Pub Date : 2023-05-26DOI: 10.31091/mudra.v38i3.2293
Cornelius Kiki Hartanto, Donatianus BSE. Praptantya, Diaz Restu Darmawan, Ita Lusia, Devi Fridayanti
It is the product of qualitative research with a phenomenon approach that covers several stages of observation, deep interview, and documentation. This qualitative work is done in the large Sajingan district, Sambas. The research discussed the phenomenon of tattooing the Dayak Salako people. In the Dayak, tattoos get important attention inside, where the value and meaning behind the tattoo motif adorns the body of the Dayak. The tattoo on the dayak has a long history. Especially the traditional tattoo that is commonly known to the dayak people as the flower of eggplant, it is one of the tattoos in dayak Iban. In Dayak Salako's own well-known tattoos are a form of transcultural interaction with other hackers who have tattoos. Views have also been given to tattoos in which the study includes two types of tattoos found in the Dayak Salako, it has a traditional motif and contemporary tattoos. With the development and progress of knowledge technology regarding tattoos and tattoo meanings transferred to a new meaning to the use of tattoos among the Dayak Salako people. New tattoo motifs emerged that included artistic value, meaning, and viewpoint. The essence of the tattoos used by the dayak Salako people has become an interesting issue because of their many interfaces with the Dayak Iban and their tattoos add to their knowledge of the tattoo.
{"title":"Tattoos: Art, Symbol, and History in Dayak Salako","authors":"Cornelius Kiki Hartanto, Donatianus BSE. Praptantya, Diaz Restu Darmawan, Ita Lusia, Devi Fridayanti","doi":"10.31091/mudra.v38i3.2293","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2293","url":null,"abstract":"It is the product of qualitative research with a phenomenon approach that covers several stages of observation, deep interview, and documentation. This qualitative work is done in the large Sajingan district, Sambas. The research discussed the phenomenon of tattooing the Dayak Salako people. In the Dayak, tattoos get important attention inside, where the value and meaning behind the tattoo motif adorns the body of the Dayak. The tattoo on the dayak has a long history. Especially the traditional tattoo that is commonly known to the dayak people as the flower of eggplant, it is one of the tattoos in dayak Iban. In Dayak Salako's own well-known tattoos are a form of transcultural interaction with other hackers who have tattoos. Views have also been given to tattoos in which the study includes two types of tattoos found in the Dayak Salako, it has a traditional motif and contemporary tattoos. With the development and progress of knowledge technology regarding tattoos and tattoo meanings transferred to a new meaning to the use of tattoos among the Dayak Salako people. New tattoo motifs emerged that included artistic value, meaning, and viewpoint. The essence of the tattoos used by the dayak Salako people has become an interesting issue because of their many interfaces with the Dayak Iban and their tattoos add to their knowledge of the tattoo.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84517483","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 : 2023-05-26DOI: 10.31091/mudra.v38i3.2020
Y. Andriana, Rizka Ramayanti, N. Rachmawati
The textile and fashion industries are the most polluting industry in the world. This is because the industries driven by the fashion trend which is rapidly change. During the production and distribution process, the fashion and textile industries produce waste that can damage the air, water and soil. Moreover, the industries use non-renewable materials, and the life span of their product is short, eventually it will end up on the landfill. The application of circular economic principles on the textile and fashion industry is a step in an effort to reduce the level of environmental pollution. In this study, the principles that applied are, using biomaterial, obtain it from local resources, producing less waste, and after use the material can be naturally decomposed. The method used in this research is a qualitative method with an experimental approach. Data collected through a several exploration stages, processing purple sweet potato peel into composite materials. Processing purple sweet potato peel in this study is to produce an alternative raw material for the industries, so that they can use a more environmentally friendly material. Using biomaterials also can adding value to the textile and fashion products, so it can foster awareness to the consumer, in aim to make a systemic social behavioral change. The output of this study is the design of fashion products made of composite materials from purple sweet potato peel which are carried out using digital simulation sketches. The design was made based on the consideration of the character and potential of the composite material from the results of a series of experimental processes, so that the product sketch made is an accessory product consisting of earrings with a relatively small size.
{"title":"Processing Purple Sweet Potato Peel as Alternative Material of Textile and Fashion Products with Circular Economic Principles","authors":"Y. Andriana, Rizka Ramayanti, N. Rachmawati","doi":"10.31091/mudra.v38i3.2020","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2020","url":null,"abstract":"The textile and fashion industries are the most polluting industry in the world. This is because the industries driven by the fashion trend which is rapidly change. During the production and distribution process, the fashion and textile industries produce waste that can damage the air, water and soil. Moreover, the industries use non-renewable materials, and the life span of their product is short, eventually it will end up on the landfill. The application of circular economic principles on the textile and fashion industry is a step in an effort to reduce the level of environmental pollution. In this study, the principles that applied are, using biomaterial, obtain it from local resources, producing less waste, and after use the material can be naturally decomposed. The method used in this research is a qualitative method with an experimental approach. Data collected through a several exploration stages, processing purple sweet potato peel into composite materials. Processing purple sweet potato peel in this study is to produce an alternative raw material for the industries, so that they can use a more environmentally friendly material. Using biomaterials also can adding value to the textile and fashion products, so it can foster awareness to the consumer, in aim to make a systemic social behavioral change. The output of this study is the design of fashion products made of composite materials from purple sweet potato peel which are carried out using digital simulation sketches. The design was made based on the consideration of the character and potential of the composite material from the results of a series of experimental processes, so that the product sketch made is an accessory product consisting of earrings with a relatively small size.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79591011","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 : 2023-05-26DOI: 10.31091/mudra.v38i3.2334
Agus Cahyono, Septian Cipto Nugroho, W. Wadiyo
The trumpet is an ancient instrument made of a sheep’s horn that is found in the Bible. In worship at the Higher Than Ever Church, the trumpet instrument is combined with modern musical instruments. Dealing with the background, the main focus of this study is related to symbolic interaction in the playing of Trumpet. The qualitative method using a research approach to the sociology of art approach was used in this research. The data obtained through observation, interviews, and documentation. Checking the validity of the data used source triangulation and data analysis used the contextualization of the synthesis model. The finding indicated that the symbolic interaction of playing the Trumpet started with Bible study activities, then it was conveyed to the congregation through the activity of Family Altar and other congregational activities, then after that the Trumpet instrument was played in the main worship ceremony. The conclusion has showed that symbolic interaction occurs between the Pastoral team and God through Bible study. Further, it is also between the Pastoral team and the leaders of the Family Altar, between the head of the Family Altar and church members, between the Trumpet players. Congregation and God when the worship ceremony is taking place.
{"title":"The Symbolic Interaction in Trumpets Playing During Worship Ceremony at Higher Than Ever Church","authors":"Agus Cahyono, Septian Cipto Nugroho, W. Wadiyo","doi":"10.31091/mudra.v38i3.2334","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2334","url":null,"abstract":"The trumpet is an ancient instrument made of a sheep’s horn that is found in the Bible. In worship at the Higher Than Ever Church, the trumpet instrument is combined with modern musical instruments. Dealing with the background, the main focus of this study is related to symbolic interaction in the playing of Trumpet. The qualitative method using a research approach to the sociology of art approach was used in this research. The data obtained through observation, interviews, and documentation. Checking the validity of the data used source triangulation and data analysis used the contextualization of the synthesis model. The finding indicated that the symbolic interaction of playing the Trumpet started with Bible study activities, then it was conveyed to the congregation through the activity of Family Altar and other congregational activities, then after that the Trumpet instrument was played in the main worship ceremony. The conclusion has showed that symbolic interaction occurs between the Pastoral team and God through Bible study. Further, it is also between the Pastoral team and the leaders of the Family Altar, between the head of the Family Altar and church members, between the Trumpet players. Congregation and God when the worship ceremony is taking place.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78164272","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 : 2023-05-19DOI: 10.31091/mudra.v38i2.2369
Sandi Kristian, Narsen Afatara, N. Bahari
Pottery is a craft made of clay that the Indonesian people are familiar with because it is spread throughout Nusantara (the Indonesian archipelago). One region that has long been known as a producer of pottery products for generations is Bentangan Village in Klaten Regency. Pottery production in this village is done to preserve the ancestral heritage and fulfill the community’s daily needs. Society has a dynamic nature marked by changes in the community's way of life due to economic, social, political, and cultural shifts. Dynamics and alterations also occur in the pottery craftsman community in Bentangan Village, Klaten Regency. This study aims to describe, in general, the forms, functions, and characteristics of the dynamics of the craftsman's behavior that influence the development of the pottery business in Bentangan Village, Klaten Regency. This study used a qualitative descriptive method based on existing data in the field to provide an overview based on observations and studies at the research location. The pottery products from Bentangan Village, Klaten Regency, have unique values and advantages: the production process is carried out by hand, and the products have functional and economic value for the people of Bentangan Village. Pottery craft in this area is also one of the village's identities in the form of the local wisdom heritage. This legacy certainly contributes to the repertoire of the various kinds of ceramics and pottery in Nusantara.
{"title":"Dynamics of Pottery Products in Bentangan Village Klaten","authors":"Sandi Kristian, Narsen Afatara, N. Bahari","doi":"10.31091/mudra.v38i2.2369","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2369","url":null,"abstract":"Pottery is a craft made of clay that the Indonesian people are familiar with because it is spread throughout Nusantara (the Indonesian archipelago). One region that has long been known as a producer of pottery products for generations is Bentangan Village in Klaten Regency. Pottery production in this village is done to preserve the ancestral heritage and fulfill the community’s daily needs. Society has a dynamic nature marked by changes in the community's way of life due to economic, social, political, and cultural shifts. Dynamics and alterations also occur in the pottery craftsman community in Bentangan Village, Klaten Regency. This study aims to describe, in general, the forms, functions, and characteristics of the dynamics of the craftsman's behavior that influence the development of the pottery business in Bentangan Village, Klaten Regency. This study used a qualitative descriptive method based on existing data in the field to provide an overview based on observations and studies at the research location. The pottery products from Bentangan Village, Klaten Regency, have unique values and advantages: the production process is carried out by hand, and the products have functional and economic value for the people of Bentangan Village. Pottery craft in this area is also one of the village's identities in the form of the local wisdom heritage. This legacy certainly contributes to the repertoire of the various kinds of ceramics and pottery in Nusantara.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77741660","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 : 2023-05-19DOI: 10.31091/mudra.v38i3.2328
S. Tobing, A. Munandar, L. Tjahjandari, T. Christomy
A secondary burial practice known as Mangongkal Holi originated in the Toba Batak people. For hundreds of years, the Toba Batak tribe has incorporated this ceremony completely. Mangongkal Holi, unlike other Indonesian burial customs that have been successful in attracting tourists like the Ngaben and Rambu Solo celebrations, is going through an existential crisis, as evidenced by the somewhat less intense manner in which it is currently being practiced. The purpose of this study is to examine how the discourse around the Mangongkal Holi rite contributes to the development of Toba Batak cultural identity. In-depth interviews with Toba Batak tribal members served as the source of the research's data, along with a literature review. This study uses Ernesto Laclau's insight analysis as its analytical framework. According to the findings, the Mangongkal Holi ritual was articulated into four nodal points: reverence for ancestors, indifference to other religions, prestige, and unity. Based on the subject position analysis, the individuals from Jakarta Toba Batak demonstrate that there is a contingency of identity for Jakarta Toba Batak in the Mangongkal Holi discourse brought on by the individual's involvement with traditional institutions. The Mangongkal Holi rite seeks to promote clan harmony among those Jakarta Toba Batak people who have a close relationship with adat. It is no longer relevant to the social reality of Jakarta, which stresses efficiency in all aspects of life, such as time and money efficiency, for Jakarta Toba Batak people who are far from the Mangongkal Holi ceremony.
{"title":"Jakarta Toba Batak Subject Position in Toba Batak Mangongkal Holi Discourse: Laclau Discourse Analysis","authors":"S. Tobing, A. Munandar, L. Tjahjandari, T. Christomy","doi":"10.31091/mudra.v38i3.2328","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2328","url":null,"abstract":"A secondary burial practice known as Mangongkal Holi originated in the Toba Batak people. For hundreds of years, the Toba Batak tribe has incorporated this ceremony completely. Mangongkal Holi, unlike other Indonesian burial customs that have been successful in attracting tourists like the Ngaben and Rambu Solo celebrations, is going through an existential crisis, as evidenced by the somewhat less intense manner in which it is currently being practiced. The purpose of this study is to examine how the discourse around the Mangongkal Holi rite contributes to the development of Toba Batak cultural identity. In-depth interviews with Toba Batak tribal members served as the source of the research's data, along with a literature review. This study uses Ernesto Laclau's insight analysis as its analytical framework. According to the findings, the Mangongkal Holi ritual was articulated into four nodal points: reverence for ancestors, indifference to other religions, prestige, and unity. Based on the subject position analysis, the individuals from Jakarta Toba Batak demonstrate that there is a contingency of identity for Jakarta Toba Batak in the Mangongkal Holi discourse brought on by the individual's involvement with traditional institutions. The Mangongkal Holi rite seeks to promote clan harmony among those Jakarta Toba Batak people who have a close relationship with adat. It is no longer relevant to the social reality of Jakarta, which stresses efficiency in all aspects of life, such as time and money efficiency, for Jakarta Toba Batak people who are far from the Mangongkal Holi ceremony.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78783978","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}
The process of making the Gandang Tamba traditional musical instrument in Padang Pariaman Regency. This study aims to describe the process of making the Gandang Tamba musical instrument. The approach used is a qualitative approach with a descriptive research type. This research was conducted with data collection techniques using observation, interview, and documentation techniques. Data analysis techniques are carried out by reducing, presenting data and verifying data. The aim is to find out the structure, process, manufacturing techniques, and playing techniques, of Gandang Tamba. This musical instrument is made of plywood and has a hole (resonator), and uses goat skin. The results of this study indicate that the parts and stages of the process of making traditional Gandang Tambua musical instruments include: cutting plywood for the body of Gandang Tambua, processing goat skin (membrane), cleaning rattan, making iron battens, and how to produce sound, tuning system on traditional Gandang musical instruments Tambua. The tools used in the process of making traditional Gandang Tambua musical instruments include: Cater knives (plywood cutters), Cutting Saws, Hammers (Penokok), Measuring tools (meters), Pencils, Sandpaper, Screwdriver, Scissors, Bamboo type gutters, and Tongs. The ingredients are; Wooden battens (circle 40), plywood, goat skin, iron lath, rope, nails, and wood glue. The process of making the Gandang Tambua musical instrument includes several stages, namely: 1) The process of making the body (plywood), to the finishing of fine and coarse sanding, 2) The processing of the skin, including the shearing of the skin using dry fuel ash and measuring the width of the diameter, 3) The installation process, includes the skin to the body of the Tambua drum, attaching iron battens and attaching strings as for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber. attach the iron battens and attach the rope for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber. attach the iron battens and attach the rope for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tens
{"title":"Gandang Tambua Pariaman From Triplek Material an Organological Study Based on Coding","authors":"Wimbrayardi Wimbrayardi, Bambang Parmadi, Irdhan Epria Darma Putra, Wembrayarli Wembrayarli","doi":"10.31091/mudra.v38i3.2366","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2366","url":null,"abstract":"The process of making the Gandang Tamba traditional musical instrument in Padang Pariaman Regency. This study aims to describe the process of making the Gandang Tamba musical instrument. The approach used is a qualitative approach with a descriptive research type. This research was conducted with data collection techniques using observation, interview, and documentation techniques. Data analysis techniques are carried out by reducing, presenting data and verifying data. The aim is to find out the structure, process, manufacturing techniques, and playing techniques, of Gandang Tamba. This musical instrument is made of plywood and has a hole (resonator), and uses goat skin. The results of this study indicate that the parts and stages of the process of making traditional Gandang Tambua musical instruments include: cutting plywood for the body of Gandang Tambua, processing goat skin (membrane), cleaning rattan, making iron battens, and how to produce sound, tuning system on traditional Gandang musical instruments Tambua. The tools used in the process of making traditional Gandang Tambua musical instruments include: Cater knives (plywood cutters), Cutting Saws, Hammers (Penokok), Measuring tools (meters), Pencils, Sandpaper, Screwdriver, Scissors, Bamboo type gutters, and Tongs. The ingredients are; Wooden battens (circle 40), plywood, goat skin, iron lath, rope, nails, and wood glue. The process of making the Gandang Tambua musical instrument includes several stages, namely: 1) The process of making the body (plywood), to the finishing of fine and coarse sanding, 2) The processing of the skin, including the shearing of the skin using dry fuel ash and measuring the width of the diameter, 3) The installation process, includes the skin to the body of the Tambua drum, attaching iron battens and attaching strings as for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber. attach the iron battens and attach the rope for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber. attach the iron battens and attach the rope for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tens","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84054171","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 : 2023-03-30DOI: 10.31091/mudra.v38i3.2285
Dewa Putu Oka Prasiasa, D. A. Widari, Putu Herny Susanti
The creative industry places an emphasis on the creativity of a product, the understanding that the creator is known and has a copyright. In addition, the creative industry has links with the cultural industry, because its products are components of culture. When market tastes lead to post-industry, it is found that creative industry products consumed by tourism experience a change from homogeneous to heterogeneous with mass production. Changes in market tastes encourage the emergence of highly varied creative art products, as a result of the creative economy industry. The entry of the creative economy industry into the realm of culture, which then develops into the cultural industry, apart from growing the local and national economy, also has an impact on cultural components, especially from the aspects of authenticity and commodification. The areas affected include performing arts, tourism, entertainment, fashion, craft products, and culinary. In order to increase the competitiveness of Indonesian tourism, especially from the cultural pillar, the aspects of authenticity and commodification can increase its contribution to the local and national economy through the implementation of internationalization, traditionalization, and sacred versus profane.
{"title":"Authenticity and Commodification of Creative Industry Products in The Tourism Sector, Bali","authors":"Dewa Putu Oka Prasiasa, D. A. Widari, Putu Herny Susanti","doi":"10.31091/mudra.v38i3.2285","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2285","url":null,"abstract":" \u0000The creative industry places an emphasis on the creativity of a product, the understanding that the creator is known and has a copyright. In addition, the creative industry has links with the cultural industry, because its products are components of culture. When market tastes lead to post-industry, it is found that creative industry products consumed by tourism experience a change from homogeneous to heterogeneous with mass production. Changes in market tastes encourage the emergence of highly varied creative art products, as a result of the creative economy industry. The entry of the creative economy industry into the realm of culture, which then develops into the cultural industry, apart from growing the local and national economy, also has an impact on cultural components, especially from the aspects of authenticity and commodification. The areas affected include performing arts, tourism, entertainment, fashion, craft products, and culinary. In order to increase the competitiveness of Indonesian tourism, especially from the cultural pillar, the aspects of authenticity and commodification can increase its contribution to the local and national economy through the implementation of internationalization, traditionalization, and sacred versus profane.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76145464","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 : 2023-03-27DOI: 10.31091/mudra.v38i2.2342
Sri Rustiyanti, Wanda Listiani, Anrilia Ema M.N
Pencak silat is one of Indonesia's cultural identities, recognized by UNESCO as an Intangible Cultural Heritage. Apart from being a martial arts defence, Pencak silat also contains the values of local wisdom textually and contextually. Pencak silat in Indonesia comes from 2 regions: Minangkabau (West Sumatra) and Cimande (West Java). This research discusses the study of martial arts as a medium of self-defence and traditional educational media in Minangkabau, West Sumatra. A Minangkabau youth must learn martial arts and learn to read the Quran in a mosque (surau) as a provision for a man who has grown up if he wanders to other areas. The Minangkabau community in ancient times had two important educational institutions, namely surau and sasaran silat. Location of Surau (masjid) and sasaran silat usually side by side. In surau, young people learn to read the Al-Quran and religious knowledge, while in sasaran silat, they learn martial arts and various arts. Islamic teachings during the Minangkabau community have succeeded for generations in supporting the philosophy of life: 'adat bersandi syara'- syara' bersandi kitabullah'. This philosophy has been ingrained since birth, strengthening the mental health of youth and coloured in the daily life of the Minangkabau people. In other words, the embodiment of Islamic culture folklore minang can be seen in the life of the Minangkabau people. This made Minangkabau martial arts develop and spread in various parts of Indonesia.
{"title":"Minang Folklore of Pencak Arts to Strengthen Mental Health in Indonesian Muslim Society","authors":"Sri Rustiyanti, Wanda Listiani, Anrilia Ema M.N","doi":"10.31091/mudra.v38i2.2342","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2342","url":null,"abstract":"Pencak silat is one of Indonesia's cultural identities, recognized by UNESCO as an Intangible Cultural Heritage. Apart from being a martial arts defence, Pencak silat also contains the values of local wisdom textually and contextually. Pencak silat in Indonesia comes from 2 regions: Minangkabau (West Sumatra) and Cimande (West Java). This research discusses the study of martial arts as a medium of self-defence and traditional educational media in Minangkabau, West Sumatra. A Minangkabau youth must learn martial arts and learn to read the Quran in a mosque (surau) as a provision for a man who has grown up if he wanders to other areas. The Minangkabau community in ancient times had two important educational institutions, namely surau and sasaran silat. Location of Surau (masjid) and sasaran silat usually side by side. In surau, young people learn to read the Al-Quran and religious knowledge, while in sasaran silat, they learn martial arts and various arts. Islamic teachings during the Minangkabau community have succeeded for generations in supporting the philosophy of life: 'adat bersandi syara'- syara' bersandi kitabullah'. This philosophy has been ingrained since birth, strengthening the mental health of youth and coloured in the daily life of the Minangkabau people. In other words, the embodiment of Islamic culture folklore minang can be seen in the life of the Minangkabau people. This made Minangkabau martial arts develop and spread in various parts of Indonesia.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73796322","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 : 2023-03-27DOI: 10.31091/mudra.v38i2.2365
Sumbo Tinarbuko, Risvi Pangestu, I. W. Nuriarta
Gulo Puan is a traditional food from the Pampangan sub-district, South Sumatra Province. Its existence has sunk into the ages. Gulo Puan does not yet have a visual brand that can represent her existence. The absence of a visual brand makes people less aware of the existence of this gastronomy. The purpose of this study is to present the Gulo Puan visual brand as a promotional medium for the gastronomic tourism destination "Guwan" Gulo Puan in the Pampangan sub-district. This study uses a qualitative method with a five-stage approach to design thinking according to Tim Brown's version: empathy, define, ideate, prototype, and test. The data collection process was carried out by interviews, observation, literacy, documentation, and questionnaires. The data obtained were then analyzed using the Triadik Sumbo Tinarbuko design concept approach. The results of this synthesis form the basis for designing the Gulo Puan visual brand. The results of the synthesis are also positioned as a solution for the Gulo Puan visual brand for visual communication problems found at the Gulo Puan production center, Pampangan sub-district, South Sumatra Province. The novelty of the results of this design puts forward the concept of Gulo Puan's visual branding as a promotional medium that represents the Gulo Puan gastronomic tourism destination in the Pampangan sub-district. The theory used in this study: visual branding for strategies to design visual branding, sociology theory of design to determine the needs of target audiences, theory of tourist destinations to design tourist destinations, and visual communication design theory is used to design the form of messages and the contents of verbal and visual messages. Conceptually, this research also contributes theoretical and practical knowledge to the development of visual communication design science.
{"title":"Gulo Puan Visual Brand: Medium Promotion of Gastronomic Tourism Destinations, Pampangan District, South Sumatra","authors":"Sumbo Tinarbuko, Risvi Pangestu, I. W. Nuriarta","doi":"10.31091/mudra.v38i2.2365","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2365","url":null,"abstract":"Gulo Puan is a traditional food from the Pampangan sub-district, South Sumatra Province. Its existence has sunk into the ages. Gulo Puan does not yet have a visual brand that can represent her existence. The absence of a visual brand makes people less aware of the existence of this gastronomy. The purpose of this study is to present the Gulo Puan visual brand as a promotional medium for the gastronomic tourism destination \"Guwan\" Gulo Puan in the Pampangan sub-district. This study uses a qualitative method with a five-stage approach to design thinking according to Tim Brown's version: empathy, define, ideate, prototype, and test. The data collection process was carried out by interviews, observation, literacy, documentation, and questionnaires. The data obtained were then analyzed using the Triadik Sumbo Tinarbuko design concept approach. The results of this synthesis form the basis for designing the Gulo Puan visual brand. The results of the synthesis are also positioned as a solution for the Gulo Puan visual brand for visual communication problems found at the Gulo Puan production center, Pampangan sub-district, South Sumatra Province. The novelty of the results of this design puts forward the concept of Gulo Puan's visual branding as a promotional medium that represents the Gulo Puan gastronomic tourism destination in the Pampangan sub-district. The theory used in this study: visual branding for strategies to design visual branding, sociology theory of design to determine the needs of target audiences, theory of tourist destinations to design tourist destinations, and visual communication design theory is used to design the form of messages and the contents of verbal and visual messages. Conceptually, this research also contributes theoretical and practical knowledge to the development of visual communication design science.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81528541","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 : 2023-03-09DOI: 10.31091/mudra.v38i2.2005
Putu Diah Ari Kusumadewi, M. Jerusalem
As a cultural product of the Indonesians, Kebaya has become a national dress that sticks with its philosophical principles and values. However, along with the times and the influence of popular culture, the kebaya changed its design lines. It caused a transformation of the meaning of the Indonesian national dress into a medium of self-representation and the lifestyle of modern women. This review aims to analyze the transformation of the meaning of kebaya as a medium of self-representation and lifestyle. The method used is a narrative review by analyzing several articles using the PRISMA method. The analysis results show that the kebaya, as Indonesia's national dress, has design characteristics, materials, and accessories that contain philosophical meanings that reflect the personality of Indonesian women. The design transformation of the traditional kebaya gave birth to a modern kebaya far from the standard of the conventional kebaya. Modern kebaya is interpreted as a symbol representing the wearer's self-image and social class. The modern kebaya, as a medium of self-image and social class, gives birth to a new lifestyle in society, namely a consumptive lifestyle, because someone will carry out consumption activities continuously without considering the use value of the item. Besides being able to complete references related to kebaya, the results of this review are also expected to be input for related parties to maintain the traditional kebaya standard and consider ethics in buying kebaya so as not to create a consumptive lifestyle.
{"title":"Review: The Transformation Of The Meaning Of Kebaya From National Clothing To A Media Of Self-Representation And Lifestyle","authors":"Putu Diah Ari Kusumadewi, M. Jerusalem","doi":"10.31091/mudra.v38i2.2005","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2005","url":null,"abstract":"\u0000As a cultural product of the Indonesians, Kebaya has become a national dress that sticks with its philosophical principles and values. However, along with the times and the influence of popular culture, the kebaya changed its design lines. It caused a transformation of the meaning of the Indonesian national dress into a medium of self-representation and the lifestyle of modern women. This review aims to analyze the transformation of the meaning of kebaya as a medium of self-representation and lifestyle. The method used is a narrative review by analyzing several articles using the PRISMA method. The analysis results show that the kebaya, as Indonesia's national dress, has design characteristics, materials, and accessories that contain philosophical meanings that reflect the personality of Indonesian women. The design transformation of the traditional kebaya gave birth to a modern kebaya far from the standard of the conventional kebaya. Modern kebaya is interpreted as a symbol representing the wearer's self-image and social class. The modern kebaya, as a medium of self-image and social class, gives birth to a new lifestyle in society, namely a consumptive lifestyle, because someone will carry out consumption activities continuously without considering the use value of the item. Besides being able to complete references related to kebaya, the results of this review are also expected to be input for related parties to maintain the traditional kebaya standard and consider ethics in buying kebaya so as not to create a consumptive lifestyle.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72400735","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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