Pub Date : 2023-07-03DOI: 10.31091/mudra.v38i4.2350
Hasdiana, I. Sudana, M. Sakakibara, Ni Kadek Karuni
This study aims to clarify the influence of various factors on the development of traditional textiles, by examining the case of the development of traditional karawo textiles in Gorontalo Province, Indonesia from 1970 to 2020. This study employs a qualitative research method with a historical approach. Data were collected through historical documents, observation, interviews, and a literature review. Data were analyzed interactively with continuous comparisons during and after data collection. The results showed that the development of traditional karawo textiles from 1970 to 2020 can be further divided into three distinct periods: 1970–2000, 2000–2010, and 2010–2020. During each period, karawo textiles were influenced by various factors, both internal and external. The most influential internal factors were the emergence of craftspeople and designers as production bases and continuous innovation. The most influential external factors were the actions of government and commercial institutions. Government policies encouraged individuals and non-governmental organizations to contribute to the development of karawo textiles. Commercial institution influent the distribution and marketing of karawo textile products. The study also describes the types of factors and their impacts. The study concludes that to ensure the sustainable development of traditional textiles, therefore those internal and external factors must consistently contribute from time to time.
{"title":"Influence of Various Factors on the Development of Karawo Traditional Textiles in Gorontalo Province, Indonesia","authors":"Hasdiana, I. Sudana, M. Sakakibara, Ni Kadek Karuni","doi":"10.31091/mudra.v38i4.2350","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2350","url":null,"abstract":"This study aims to clarify the influence of various factors on the development of traditional textiles, by examining the case of the development of traditional karawo textiles in Gorontalo Province, Indonesia from 1970 to 2020. This study employs a qualitative research method with a historical approach. Data were collected through historical documents, observation, interviews, and a literature review. Data were analyzed interactively with continuous comparisons during and after data collection. The results showed that the development of traditional karawo textiles from 1970 to 2020 can be further divided into three distinct periods: 1970–2000, 2000–2010, and 2010–2020. During each period, karawo textiles were influenced by various factors, both internal and external. The most influential internal factors were the emergence of craftspeople and designers as production bases and continuous innovation. The most influential external factors were the actions of government and commercial institutions. Government policies encouraged individuals and non-governmental organizations to contribute to the development of karawo textiles. Commercial institution influent the distribution and marketing of karawo textile products. The study also describes the types of factors and their impacts. The study concludes that to ensure the sustainable development of traditional textiles, therefore those internal and external factors must consistently contribute from time to time.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81211895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.31091/mudra.v38i4.2146
J. Yuda, D. Wulandari, Y. Perwira, Karlina Denistia, Intan Mustika Sari, A. Priyanto
Mental health and the concept of wellness have not been widely known by the Indonesian people, especially the millennial generation and Gen Z. Rumah Atsiri Indonesia (RAI) is an organization engaged in the creative industry sector that promotes wellness as their main theme. In its business, RAI strives to educate the public about the concept of wellness and introduce the benefits of essential oils as their product. To support these activities, attractive and effective means of communication and education are needed. Responding to this problem, the English for Creative Industry Research Group of the English Diploma 3 Study Program, Vocational School (SV), Universitas Sebelas Maret conducted a community service activity by developing infographics as educational media about the concept of wellness and essential oil products. The infographic was created using the ADDIE design method. Evaluation was done by distributing the developed infographics to get input from 129 respondents. The evaluation results show that the developed infographic media is effective and attractive in delivering educational content about wellness and essential oil product internationalization. Visual displays and dissemination media that are tailored to the target audience have succeeded in improving respondents' understanding of the concept of wellness and inspiring them to implement it, as well as to participate in sharing the created infographics.
心理健康和健康的概念并没有被印度尼西亚人广泛了解，尤其是千禧一代和z世代。Rumah Atsiri Indonesia (RAI)是一个从事创意产业部门的组织，以促进健康为主题。在其业务中，RAI努力教育公众关于健康的概念，并介绍精油作为其产品的好处。为了支持这些活动，需要有吸引力和有效的通讯和教育手段。针对这一问题，Sebelas市场大学职业学校英语文凭课程(SV)创意产业英语研究小组开展了一项社区服务活动，通过开发信息图表作为有关健康和精油产品概念的教育媒体。使用ADDIE设计方法创建信息图。评估是通过分发开发的信息图表来完成的，以获得129名受访者的意见。评价结果表明，开发的信息图表媒体在传播健康和精油产品国际化教育内容方面是有效和有吸引力的。为目标受众量身定制的视觉展示和传播媒体成功地提高了受访者对健康概念的理解，并激励他们实施健康概念，并参与分享所创建的信息图表。
{"title":"Developing Infographics as Wellness Education Media and Local Product Internationalization","authors":"J. Yuda, D. Wulandari, Y. Perwira, Karlina Denistia, Intan Mustika Sari, A. Priyanto","doi":"10.31091/mudra.v38i4.2146","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2146","url":null,"abstract":"Mental health and the concept of wellness have not been widely known by the Indonesian people, especially the millennial generation and Gen Z. Rumah Atsiri Indonesia (RAI) is an organization engaged in the creative industry sector that promotes wellness as their main theme. In its business, RAI strives to educate the public about the concept of wellness and introduce the benefits of essential oils as their product. To support these activities, attractive and effective means of communication and education are needed. Responding to this problem, the English for Creative Industry Research Group of the English Diploma 3 Study Program, Vocational School (SV), Universitas Sebelas Maret conducted a community service activity by developing infographics as educational media about the concept of wellness and essential oil products. The infographic was created using the ADDIE design method. Evaluation was done by distributing the developed infographics to get input from 129 respondents. The evaluation results show that the developed infographic media is effective and attractive in delivering educational content about wellness and essential oil product internationalization. Visual displays and dissemination media that are tailored to the target audience have succeeded in improving respondents' understanding of the concept of wellness and inspiring them to implement it, as well as to participate in sharing the created infographics.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79309333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.31091/mudra.v38i4.2210
Wahyudiyanto Wahyudiyanto
In the Ngrema Surabayan dance performance there is an expression called Greget. Greget that the audience felt are in form of vibrations when the dancers make movements. Suspected Greget is a dancer's interpretation work to present certain figures as a reflection of dance themes. This research uses a descriptive approach by applying technical and kinesthetic analysis of motion. Ethnographic methods are used as data collectors and compile narratives to realize an understanding of Greget. The results of the study explained that the Greget in Surabayan Ngrema Dance was formed by the quality of technique and kinesthetic. The technique as the application of the basic guidelines for the implementation of the motion presents kinesthetic that is a sense of gallant, agile, and authoritative. Sense of movement is the implication of a deep appreciation of the value of heroism. The value of heroism as a dance theme is represented by dancers from the Cakraningrat figure the regent of Madura. An imaginary expression of the spirit of struggle in the Ngrema Surabayan dance embodies the legitimacy of the Surabaya City hero identity.
{"title":"“Greget” in The Surabaya Ngrema Dance Performance Representation of The Value of The Fighting Spirit of Arek Surabaya","authors":"Wahyudiyanto Wahyudiyanto","doi":"10.31091/mudra.v38i4.2210","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2210","url":null,"abstract":"In the Ngrema Surabayan dance performance there is an expression called Greget. Greget that the audience felt are in form of vibrations when the dancers make movements. Suspected Greget is a dancer's interpretation work to present certain figures as a reflection of dance themes. This research uses a descriptive approach by applying technical and kinesthetic analysis of motion. Ethnographic methods are used as data collectors and compile narratives to realize an understanding of Greget. The results of the study explained that the Greget in Surabayan Ngrema Dance was formed by the quality of technique and kinesthetic. The technique as the application of the basic guidelines for the implementation of the motion presents kinesthetic that is a sense of gallant, agile, and authoritative. Sense of movement is the implication of a deep appreciation of the value of heroism. The value of heroism as a dance theme is represented by dancers from the Cakraningrat figure the regent of Madura. An imaginary expression of the spirit of struggle in the Ngrema Surabayan dance embodies the legitimacy of the Surabaya City hero identity.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89901991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.31091/mudra.v38i4.2444
Dewa Ayu Diyah Sri Widari
The purpose of this study was to identify the utilization of colonial heritage as a tourist attraction in the development of tourism. The writing of this article uses a method of data collection through document studies. The use of colonial heritage in several countries raises different views. The understanding of inheritance in general is influenced by a variety of dynamics. The utilization of colonial heritage in the development of tourism in a country raises pros and cons among the local population. On the one hand, it has the view that the uniqueness of colonial heritage can be a tourist attraction aimed at obtaining income for the community and the country. In addition, colonial heritage can also be used as a regional or national identity. But other parties argue, colonial heritage can remind people of the past so that its use can cause unpleasant memories. The economic benefits arising from the development of the tourism sector are an important factor in building preservation decisions and acknowledging colonial heritage has an important role so much effort is made for conservation. Some colonial heritage still survives and reveals the country's history and the identity of its citizens, serving as administrative and business venues as well as tourist attractions.
{"title":"The Utilization of Colonial Heritage in Tourism Development","authors":"Dewa Ayu Diyah Sri Widari","doi":"10.31091/mudra.v38i4.2444","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2444","url":null,"abstract":"The purpose of this study was to identify the utilization of colonial heritage as a tourist attraction in the development of tourism. The writing of this article uses a method of data collection through document studies. The use of colonial heritage in several countries raises different views. The understanding of inheritance in general is influenced by a variety of dynamics. The utilization of colonial heritage in the development of tourism in a country raises pros and cons among the local population. On the one hand, it has the view that the uniqueness of colonial heritage can be a tourist attraction aimed at obtaining income for the community and the country. In addition, colonial heritage can also be used as a regional or national identity. But other parties argue, colonial heritage can remind people of the past so that its use can cause unpleasant memories. The economic benefits arising from the development of the tourism sector are an important factor in building preservation decisions and acknowledging colonial heritage has an important role so much effort is made for conservation. Some colonial heritage still survives and reveals the country's history and the identity of its citizens, serving as administrative and business venues as well as tourist attractions.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80827323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-20DOI: 10.31091/mudra.v38i3.2200
Irwan Sarbeni, D. Agustiningsih, Muhammad Tiffano Zetha El-Xavier
Babad Tanah Jawi is one of the masterpieces of Javanese literature which contains kingdoms story in Java land which have been written in several versions. Javanese scholars deeply hopes that the constructive and forward-minded values contained in the Babad could be disseminated and studied by all levels of society, especially Java, in an easily understandable way and through a media that is close to society's daily, so that Javanese may recognize their original identity and avoid historical conflicts that come from non-primary sources. Therefore, Javanese scholars are very sorry when studies on the Babad always end up in formal writing that can only be accessed by a limited circle (academics). Responding to these problems, this research was carried on the behalf of studying the script text character of the Babad Tanah Jawi and adapt its Asal-muasal Tanah Jawa chapter content (The Origins of the Land of Java) to a screenplay (film script) as an act of salvaging the valuable content of the Babad script to a feature film. This research is presented qualitatively with ‘Adaptation’ method to compose the screenplay. The adaptation is an essential stage in filmmaking since a well-prepared film is largely determined by the quality of its creation guidelines (screenplay). This study resulted in fiction film screenplay. The screenplay is composed based on the hypogram script character of Asal-muasal Tanah Jawa which tends to present the story concisely so that the essence of the adaptation is emphasized on the clarity of the plot. To make each piece of the story in the Babad more logic and connected to each other, it is added some dramatical elements and events that are studied and concluded from external relevant sources of Asal-muasal Tanah Jawa.
Babad Tanah Jawi是爪哇文学的杰作之一，它包含了爪哇土地上的王国故事，已经写成了几个版本。爪哇学者非常希望Babad所包含的建设性和前瞻性的价值观能够以易于理解的方式，通过接近社会日常的媒体，在社会各阶层，特别是爪哇，传播和研究，使爪哇人认识到自己的原始身份，避免来自非主要来源的历史冲突。因此，爪哇学者非常遗憾，因为关于巴巴德的研究总是以正式的书面形式结束，只有少数人(学者)才能看到。针对这些问题，本研究以研究Babad Tanah Jawi的剧本文本字符为代表进行，并将其Asal-muasal Tanah Jawa章节内容(爪哇土地的起源)改编为剧本(电影剧本)，作为将Babad剧本中有价值的内容拯救为故事片的行为。本研究定性地提出了“改编”的方法来撰写剧本。改编是电影制作中必不可少的一个阶段，因为一部准备好的电影在很大程度上取决于它的创作指南(剧本)的质量。这项研究产生了小说电影剧本。剧本是根据阿萨尔-穆萨尔·塔纳·贾瓦的表形剧本性格创作的，力求简洁地呈现故事，强调情节的清晰是改编的精髓。为了使Babad中的每一个故事片段更有逻辑性并相互联系，它添加了一些戏剧性的元素和事件，这些元素和事件是从Asal-muasal Tanah Jawa的外部相关来源研究和总结出来的。
{"title":"Screenplay of Asal-Muasal Tanah Jawa: A Prototype of The Babad Tanah Jawi Script Content Saving Through Adaptation","authors":"Irwan Sarbeni, D. Agustiningsih, Muhammad Tiffano Zetha El-Xavier","doi":"10.31091/mudra.v38i3.2200","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2200","url":null,"abstract":"Babad Tanah Jawi is one of the masterpieces of Javanese literature which contains kingdoms story in Java land which have been written in several versions. Javanese scholars deeply hopes that the constructive and forward-minded values contained in the Babad could be disseminated and studied by all levels of society, especially Java, in an easily understandable way and through a media that is close to society's daily, so that Javanese may recognize their original identity and avoid historical conflicts that come from non-primary sources. Therefore, Javanese scholars are very sorry when studies on the Babad always end up in formal writing that can only be accessed by a limited circle (academics). Responding to these problems, this research was carried on the behalf of studying the script text character of the Babad Tanah Jawi and adapt its Asal-muasal Tanah Jawa chapter content (The Origins of the Land of Java) to a screenplay (film script) as an act of salvaging the valuable content of the Babad script to a feature film. This research is presented qualitatively with ‘Adaptation’ method to compose the screenplay. The adaptation is an essential stage in filmmaking since a well-prepared film is largely determined by the quality of its creation guidelines (screenplay). This study resulted in fiction film screenplay. The screenplay is composed based on the hypogram script character of Asal-muasal Tanah Jawa which tends to present the story concisely so that the essence of the adaptation is emphasized on the clarity of the plot. To make each piece of the story in the Babad more logic and connected to each other, it is added some dramatical elements and events that are studied and concluded from external relevant sources of Asal-muasal Tanah Jawa. \u0000 ","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72720881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-19DOI: 10.31091/mudra.v38i3.2452
Ni Wayan Iriani, Ni Wayan Mudiasih
The pependetan dance "Panca Sani" is a creative dance whose movements are based on a developed traditional dance. This dance describes the reception and expression of gratitude to the gods who descend into the natural world. The idea for this work was inspired by the Wayang Istri dance at the Pangrebongan Kesiman temple. Wayang Istri dance is a ngerebong traditional dance of the Kesiman people held at the Agung Petikan Pengarebongan Kesiman Temple, Denpasar. This ceremonial dance is held every 6 months and falls on Buda Cemeng Langkir Day. The movements and costumes are presented very simply by bringing a property of a rectangular shape made of cow/buffalo leather. The method of creating the "Panca Sani" Pependetan dance refers to I Wayan Dibia's concept in the Panca Sthiti Ngawi Sani creation methodology through five stages of the art creation process, as follows: inspiration/ngawirasa, exploration/ngawacak, conception/ngarencana, execution/ngawangun and the production/ngebah stage. 5 female dancers dance this Pependetan creative dance to express the characters in the dance: majesty, nobility, sincerity which is presented through the graceful beauty of the movements, and the costumes. The dance accompaniment uses a set of Gong Gede gamelan. Pependetan dance is a character education effort with the community to foster a conducive mood and moral formation for each individual involved in the world of education. Growing individuals as moral persons according to what is desired is the core of character education. The results of this work are expected to preserve the teaching and development of pependetan to form a positive attitude for the formation of good character.
{"title":"Character Education in Panca Sani Pependetan Dance Creation","authors":"Ni Wayan Iriani, Ni Wayan Mudiasih","doi":"10.31091/mudra.v38i3.2452","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2452","url":null,"abstract":"The pependetan dance \"Panca Sani\" is a creative dance whose movements are based on a developed traditional dance. This dance describes the reception and expression of gratitude to the gods who descend into the natural world. The idea for this work was inspired by the Wayang Istri dance at the Pangrebongan Kesiman temple. Wayang Istri dance is a ngerebong traditional dance of the Kesiman people held at the Agung Petikan Pengarebongan Kesiman Temple, Denpasar. This ceremonial dance is held every 6 months and falls on Buda Cemeng Langkir Day. The movements and costumes are presented very simply by bringing a property of a rectangular shape made of cow/buffalo leather. The method of creating the \"Panca Sani\" Pependetan dance refers to I Wayan Dibia's concept in the Panca Sthiti Ngawi Sani creation methodology through five stages of the art creation process, as follows: inspiration/ngawirasa, exploration/ngawacak, conception/ngarencana, execution/ngawangun and the production/ngebah stage. 5 female dancers dance this Pependetan creative dance to express the characters in the dance: majesty, nobility, sincerity which is presented through the graceful beauty of the movements, and the costumes. The dance accompaniment uses a set of Gong Gede gamelan. Pependetan dance is a character education effort with the community to foster a conducive mood and moral formation for each individual involved in the world of education. Growing individuals as moral persons according to what is desired is the core of character education. The results of this work are expected to preserve the teaching and development of pependetan to form a positive attitude for the formation of good character.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88573859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-14DOI: 10.31091/mudra.v38i3.2370
I. Trisnawati, Dedi Gusman
This study aims to determine the meaning and potential as a tourist attraction for the Baris Jangkang Dance in Sidatapa village. This dance is very distinctive with the Balinese Aga culture which is different from Balinese culture in general. This research is qualitative in nature starting with determining the location in Sidatapa village. Collecting data using in-depth interviews, observation, and document studies. The results were analyzed using interactive analysis. The results showed that the Baris Jangkang Dance in Sidatapa village was popularly known as the Jangkang dance or war dance. This dance is used as a representation of the warrior spirit of the Sidatapa community in dealing with enemies who disturb the peace of the village. Baris Jangkang dance dancers are divided into two types of dancers, namely truna dancers (never dance) and surudan dancers (already dancing). Its position is divided into prabangsa (leader) and prawira (troop). The first potential could be watching dance and drum practice. The second is by watching live during the show. Third, selling various documentations of the Baris Jangka dance in various forms, such as VCDs, photos, clothes and as souvenirs for Sidatapa.
{"title":"Jangkang Baris Dance in Sidatapa Village Study on The Meaning And Potential as Tourist Attraction","authors":"I. Trisnawati, Dedi Gusman","doi":"10.31091/mudra.v38i3.2370","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2370","url":null,"abstract":"This study aims to determine the meaning and potential as a tourist attraction for the Baris Jangkang Dance in Sidatapa village. This dance is very distinctive with the Balinese Aga culture which is different from Balinese culture in general. This research is qualitative in nature starting with determining the location in Sidatapa village. Collecting data using in-depth interviews, observation, and document studies. The results were analyzed using interactive analysis. The results showed that the Baris Jangkang Dance in Sidatapa village was popularly known as the Jangkang dance or war dance. This dance is used as a representation of the warrior spirit of the Sidatapa community in dealing with enemies who disturb the peace of the village. Baris Jangkang dance dancers are divided into two types of dancers, namely truna dancers (never dance) and surudan dancers (already dancing). Its position is divided into prabangsa (leader) and prawira (troop). The first potential could be watching dance and drum practice. The second is by watching live during the show. Third, selling various documentations of the Baris Jangka dance in various forms, such as VCDs, photos, clothes and as souvenirs for Sidatapa.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82087769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-05DOI: 10.31091/mudra.v38i3.2351
A. Agung, Made Anom, W. Kusuma, M. Jazuli
The people of Sanur Traditional Village preserve culture through a process of solidarity, meaning the process between the dance performance of Baris Gede Télék as a local art entity and the local community as its supporters who are faced with something sublimation. The sublimation in question is a process of adjusting society to the development of newer times, but not abandoning existing art. The focus of this research is the form and function of Baris Gede Télék dance. The purpose of this research is to increase understanding and awareness of Balinese art, especially in Baris Gede Télék dance in life, which will basically always exist and remain sustainable. The method used as the basis for the analysis stage is a qualitative method that is descriptive-analytical by identifying and describing a phenomenon that occurs in the field as it is. The sources presented in this paper are obtained from direct observation, then an interview was conducted with the relevant informant, and deepened by the study of documents obtained from a collection of archives, books, videos, and audio recordings related to Baris Télék dance. The collected data is then analyzed through the stages of data reduction, data presentation, and data verification before the data is concluded. With the application in the cultural inheritance space, the people of Sanur Traditional Village are expected to be able to be faced with a process of educating the self-awareness of the community as cultural supporters in the context of directing art, so as to form a character value that will have a major influence on the development of the local community.
Sanur传统村的人们通过一个团结的过程来保存文化，这一过程意味着Baris Gede tsamlsamac作为当地艺术实体的舞蹈表演与当地社区作为其支持者之间的过程，后者面临着某种升华。这里所说的升华是一个调整社会以适应新时代发展的过程，而不是放弃现有的艺术。本文研究的重点是巴里斯格德-塔斯海姆舞蹈的形式和功能。本研究的目的是增加对巴厘艺术的了解和认识，特别是生活中的Baris Gede tsamlsamk舞蹈，它将基本永远存在并保持可持续发展。作为分析阶段基础的方法是一种定性方法，通过识别和描述该领域中发生的现象来进行描述性分析。本文所提供的资料来源是通过直接观察获得的，然后对相关的线人进行了采访，并通过研究从与Baris tastimac舞蹈有关的档案，书籍，视频和录音中获得的文件而加深。收集到的数据经过数据还原、数据呈现、数据验证等阶段进行分析，最后得出结论。通过在文化传承空间的应用，期望萨努尔传统村落的人们能够在艺术指导的语境中面对一个教育社区作为文化支持者的自我意识的过程，从而形成一种对当地社区发展产生重大影响的性格价值。
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Pub Date : 2023-06-05DOI: 10.31091/mudra.v38i3.2353
Suastiwi Triatmodjo, Riza Septriani Dewi
The suitability of the bathroom design for the user, in this context, elderly people (elderly) is urgent. This urgency exists because a degenerative process has occurred, a decline in the quality of the elderly's body, and the elderly population continues to increase significantly. This study aims to find out the bathroom design approach model suitable for the elderly who live in the suburbs. By using practice-based research, this study has developed a conceptual bathroom design for the elderly who live in suburban areas and concludes that adaptive design is a suitable strategy to implement this design. In the future, this adaptive design strategy can also be applied to create various other spaces in homes for the elderly who live in the same or similar living environment.
{"title":"Design Adaptations in the Bathrooms for the Elderly Living in the Suburbs","authors":"Suastiwi Triatmodjo, Riza Septriani Dewi","doi":"10.31091/mudra.v38i3.2353","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2353","url":null,"abstract":"The suitability of the bathroom design for the user, in this context, elderly people (elderly) is urgent. This urgency exists because a degenerative process has occurred, a decline in the quality of the elderly's body, and the elderly population continues to increase significantly. This study aims to find out the bathroom design approach model suitable for the elderly who live in the suburbs. By using practice-based research, this study has developed a conceptual bathroom design for the elderly who live in suburban areas and concludes that adaptive design is a suitable strategy to implement this design. In the future, this adaptive design strategy can also be applied to create various other spaces in homes for the elderly who live in the same or similar living environment.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73956517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.31091/mudra.v38i3.2225
Tiko Prabhata, Ilham Ari Susanto, Savira P., W. Murwonugroho
Fashion now has become an inherent part of people’s lives, especially in urban settings. One’s fashion sense may be expressed in numerous ways, such as by donning unique clothing, wearing accessories that carry certain identities, or putting on symbols with special meanings or messages. Over the past few years, contemporary fashion design has returned to traditional design values in ethnic motifs, shapes, and even technologies used. Such a phenomenon is worth close observation, drawing interest in how traditional art creative concepts are processed into part of contemporary-styled fashion. To answer this question, this research employed the phenomenological method. From the analysis carried out, the following four appealing traditional values in contemporary design works were identified: 1) symbolization; 2) environmentally friendly materials; 3) traditional technologies; and 4) philosophies. These four values are the most frequently adapted by designers in creating contemporary fashion designs. Finally, we theorize about the ability of symbolic representations of a particular culture to be transferred to fashion over time, without losing the bond with the local tradition.
{"title":"Local Culture Synchronization in Global Contemporary Fashion Style Breakthroughs","authors":"Tiko Prabhata, Ilham Ari Susanto, Savira P., W. Murwonugroho","doi":"10.31091/mudra.v38i3.2225","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2225","url":null,"abstract":"Fashion now has become an inherent part of people’s lives, especially in urban settings. One’s fashion sense may be expressed in numerous ways, such as by donning unique clothing, wearing accessories that carry certain identities, or putting on symbols with special meanings or messages. Over the past few years, contemporary fashion design has returned to traditional design values in ethnic motifs, shapes, and even technologies used. Such a phenomenon is worth close observation, drawing interest in how traditional art creative concepts are processed into part of contemporary-styled fashion. To answer this question, this research employed the phenomenological method. From the analysis carried out, the following four appealing traditional values in contemporary design works were identified: 1) symbolization; 2) environmentally friendly materials; 3) traditional technologies; and 4) philosophies. These four values are the most frequently adapted by designers in creating contemporary fashion designs. Finally, we theorize about the ability of symbolic representations of a particular culture to be transferred to fashion over time, without losing the bond with the local tradition.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77333327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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