Pub Date : 2023-03-09DOI: 10.31091/mudra.v38i2.2142
M. Takdir, M. Maksum, Sinawar Sinawar
This study aims to reveal three main issues that are the focus of this research, namely (1) how is the potential of wood carving art in Karduluk village as an artistic and cultural heritage of the Sumenep Madura community, (2) how is the promotion strategy of wood carving by craftsmen, and (3) what is the role of the government area in promoting the wood carving art of Karduluk village as the center of the craft industry in Madura. This study uses qualitative research to explore the promotion strategy of Karduluk village carving as a cultural heritage of the Madurese community. Data collection techniques in the field use three techniques, namely observation, interviews, and documentation. Meanwhile, the analytical method used is deep analysis to process empirical data in the field. In conducting data analysis, the researcher carried out several stages: data reduction, presenting empirical material, and verifying. There are three main findings in this research. First, is the potential of the wood carving art in Karduluk village, namely the economic potential, the potential for carving tourism development, and the potential interest of foreign consumers. Second, promotion strategies for wood carving art are done by participating in art exhibitions, personal selling, online promotion, increasing the variety of wood carving art models, maintaining product quality standards, and mentally competing. Third, the role of the government in promoting the wood carving art of Karduluk village, namely holding an exhibition of wood carving art products, establishing Karduluk village as a carving village, providing marketing capital assistance, assisting in partnership, and facilitating business licensing.
{"title":"The Economic Potential of Wood Carving Art and Its Marketing Strategy in Sumenep","authors":"M. Takdir, M. Maksum, Sinawar Sinawar","doi":"10.31091/mudra.v38i2.2142","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2142","url":null,"abstract":"\u0000This study aims to reveal three main issues that are the focus of this research, namely (1) how is the potential of wood carving art in Karduluk village as an artistic and cultural heritage of the Sumenep Madura community, (2) how is the promotion strategy of wood carving by craftsmen, and (3) what is the role of the government area in promoting the wood carving art of Karduluk village as the center of the craft industry in Madura. This study uses qualitative research to explore the promotion strategy of Karduluk village carving as a cultural heritage of the Madurese community. Data collection techniques in the field use three techniques, namely observation, interviews, and documentation. Meanwhile, the analytical method used is deep analysis to process empirical data in the field. In conducting data analysis, the researcher carried out several stages: data reduction, presenting empirical material, and verifying. There are three main findings in this research. First, is the potential of the wood carving art in Karduluk village, namely the economic potential, the potential for carving tourism development, and the potential interest of foreign consumers. Second, promotion strategies for wood carving art are done by participating in art exhibitions, personal selling, online promotion, increasing the variety of wood carving art models, maintaining product quality standards, and mentally competing. Third, the role of the government in promoting the wood carving art of Karduluk village, namely holding an exhibition of wood carving art products, establishing Karduluk village as a carving village, providing marketing capital assistance, assisting in partnership, and facilitating business licensing.\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":"82535056","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 : 2023-03-08DOI: 10.31091/mudra.v38i2.2217
I. Dewa, Gede Agung, Diasana Putra, I. M. Adhika, Anak Agung, Ngurah Aritama, Gede Bagus Udayana
Covid-19 has tremendously impacted global daily life and the built environment, particularly in tourist places' pleasure. Modern architectural practices, such as planning tourist sites, must display new patterns while updating current ones to control contagious diseases efficiently. Polarity is a spiritual concept in Bali that focuses on the impact of nature and geography on traditional Balinese societies. The island's natural environment influences traditional Balinese beliefs and practices on the propriety of specific architectural types and space layouts. According to this theory, the universe was created by colliding two opposed poles. It makes some suggestions for improving the layout of rural villages. This architecture can be seen on the Indonesian island of Bali at several major tourist spots, most notably in the island's eastern area. Despite this, the Covid-19 pandemic underscored the significance of virus prevention in building design, particularly tourist-oriented hotels. Architects, designers, environmentalists, and others in the tourism industry face several challenges while creating and building environmentally sustainable tourist facilities. The study's goal was to see if the traditional architectural principles of eastern Bali could be leveraged to create a tourism facility template that would allow the hospitality industry to meet the demand for new, effective layouts and layout variants. As a result, the villages in eastern Bali that have preserved their old practices have contributed significantly to our understanding of what it means to be a modern human. Professionals can use historical knowledge to build resilient patterns and configurations even when confronted with modern threats, such as viral attacks on famous tourist locations. This study refuted several long-held ideas in light of the Covid -19 results.
{"title":"Cultural Landscape and Spatial Orientation: Designing Tourism Facilities and Addressing Covid 19 Protocol in the Eastern of Bali","authors":"I. Dewa, Gede Agung, Diasana Putra, I. M. Adhika, Anak Agung, Ngurah Aritama, Gede Bagus Udayana","doi":"10.31091/mudra.v38i2.2217","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2217","url":null,"abstract":"\u0000Covid-19 has tremendously impacted global daily life and the built environment, particularly in tourist places' pleasure. Modern architectural practices, such as planning tourist sites, must display new patterns while updating current ones to control contagious diseases efficiently. Polarity is a spiritual concept in Bali that focuses on the impact of nature and geography on traditional Balinese societies. The island's natural environment influences traditional Balinese beliefs and practices on the propriety of specific architectural types and space layouts. According to this theory, the universe was created by colliding two opposed poles. It makes some suggestions for improving the layout of rural villages. This architecture can be seen on the Indonesian island of Bali at several major tourist spots, most notably in the island's eastern area. Despite this, the Covid-19 pandemic underscored the significance of virus prevention in building design, particularly tourist-oriented hotels. Architects, designers, environmentalists, and others in the tourism industry face several challenges while creating and building environmentally sustainable tourist facilities. The study's goal was to see if the traditional architectural principles of eastern Bali could be leveraged to create a tourism facility template that would allow the hospitality industry to meet the demand for new, effective layouts and layout variants. As a result, the villages in eastern Bali that have preserved their old practices have contributed significantly to our understanding of what it means to be a modern human. Professionals can use historical knowledge to build resilient patterns and configurations even when confronted with modern threats, such as viral attacks on famous tourist locations. This study refuted several long-held ideas in light of the Covid -19 results.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88709602","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 : 2023-02-23DOI: 10.31091/mudra.v38i2.2291
Ranelis Ranelis, Rahmad Washinton, Kendall Malik, Mira Utami
This article entitled “Rendo Bangku Craft of Koto Gadang West Sumatra on Fashion Products” aims to raise the potential of Koto Gadang’s rendo bangku patterns, as one of the excellent products of the Koto Gadang village community. Rendo bangku craft which was originally used to decorate the edges of women's shawls in Koto Gadang is now being innovated by placing Koto Gadang’s rendo (embroidery) on fashion products. The method used is experimental, by the means of exploration, design, manifestation, and evaluation. Exploration was carried out to find ideas or concepts related to the product of Koto Gadang local embroidery which was carried out using observation, literature study, and interviews. Designing is the step of an embodiment of ideas and concepts from exploration into the design of women’s wear, men’s wear, and accessories. Embodiment is the step to manifest the result of the pattern design of fashion products in a real form into working drawings, as well as into finished products including men's clothing.
{"title":"Rendo Bangku Craft of Koto Gadang West Sumatra on Fashion Products","authors":"Ranelis Ranelis, Rahmad Washinton, Kendall Malik, Mira Utami","doi":"10.31091/mudra.v38i2.2291","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2291","url":null,"abstract":"This article entitled “Rendo Bangku Craft of Koto Gadang West Sumatra on Fashion Products” aims to raise the potential of Koto Gadang’s rendo bangku patterns, as one of the excellent products of the Koto Gadang village community. Rendo bangku craft which was originally used to decorate the edges of women's shawls in Koto Gadang is now being innovated by placing Koto Gadang’s rendo (embroidery) on fashion products. The method used is experimental, by the means of exploration, design, manifestation, and evaluation. Exploration was carried out to find ideas or concepts related to the product of Koto Gadang local embroidery which was carried out using observation, literature study, and interviews. Designing is the step of an embodiment of ideas and concepts from exploration into the design of women’s wear, men’s wear, and accessories. Embodiment is the step to manifest the result of the pattern design of fashion products in a real form into working drawings, as well as into finished products including men's clothing.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89844680","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 : 2023-02-23DOI: 10.31091/mudra.v38i2.2273
Irma Suryani, Julisah Izar, Rengki Afria
Pragmatics is a branch of linguistics that examines the external meaning of an utterance that is interpreted by the listener. This study aimed to examine the Politeness Principles in the oral tradition of "jawab dilaman" of the Malay society in Kemingking Village, Jambi Province. Jawab dilaman is one of the oral tradition the Malay society when the groom came and want to sit beside the bride, this tradition uttered the seloko by the customary elder which consists of some proverbs, the proverbs contain some advice that interesting to analyze by using politeness principle. This study used the descriptive qualitative method. Data collection techniques used recording and interview techniques. The results obtained were seventeen maxims, including two data maxims of wisdom, two data maxims of generosity, four data maxims of praise, one data maxim of humility, one data maxim of sympathy and one maxim of agreement data. Based on the final result, the maxim that appears the most is the maxim of agreement the consensus maxim wants every speaker and interlocutor to maximize agreement between them and minimize disagreement in speech acts.
{"title":"Examining The Politeness Principles in The Oral Tradition of Jawab Dilaman Malay Society in Kemingking Village, Jambi Province","authors":"Irma Suryani, Julisah Izar, Rengki Afria","doi":"10.31091/mudra.v38i2.2273","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2273","url":null,"abstract":"Pragmatics is a branch of linguistics that examines the external meaning of an utterance that is interpreted by the listener. This study aimed to examine the Politeness Principles in the oral tradition of \"jawab dilaman\" of the Malay society in Kemingking Village, Jambi Province. Jawab dilaman is one of the oral tradition the Malay society when the groom came and want to sit beside the bride, this tradition uttered the seloko by the customary elder which consists of some proverbs, the proverbs contain some advice that interesting to analyze by using politeness principle. This study used the descriptive qualitative method. Data collection techniques used recording and interview techniques. The results obtained were seventeen maxims, including two data maxims of wisdom, two data maxims of generosity, four data maxims of praise, one data maxim of humility, one data maxim of sympathy and one maxim of agreement data. Based on the final result, the maxim that appears the most is the maxim of agreement the consensus maxim wants every speaker and interlocutor to maximize agreement between them and minimize disagreement in speech acts.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77619218","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 : 2023-02-22DOI: 10.31091/mudra.v38i2.2018
Ni Nyoman Sudewi
Legong Keraton, one of the most influential Balinese dance genres in the growth of dance in Bali, has existed since the end of the nineteenth century. This dance has undergone three eras in Balinese culture, starting from the reign of kings, Dutch colonialism, and post-independence of Indonesia. The objective of this study is to find out how Balinese artists construe the existence of Legong Keraton. As a performing art, Legong appears in multiple layers and requires a multidisciplinary approach. The ethnochoreological approach, considered as a multidisciplinary approach, was implemented to examine objects from various aspects to obtain a complete and comprehensive understanding. The author carried out this qualitative study in procedural systematic manner including literature review, informant determination and interview, field observation, data sorting, and analysis. The results of the study indicate that Legong Keraton acts as a milestone in changing form of Balinese dance as a source of inspiration for the creation of works of art as well as a means of education. Furthermore, as a learning material, Legong Keraton has unique form and transmission method. Balinese artists consider Legong Keraton as a traditional art carrying the identity of Balinese dance that make it deserve to be appreciated and preserved.
{"title":"Legong Keraton in the Perspective of Balinese Artists","authors":"Ni Nyoman Sudewi","doi":"10.31091/mudra.v38i2.2018","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2018","url":null,"abstract":"\u0000Legong Keraton, one of the most influential Balinese dance genres in the growth of dance in Bali, has existed since the end of the nineteenth century. This dance has undergone three eras in Balinese culture, starting from the reign of kings, Dutch colonialism, and post-independence of Indonesia. The objective of this study is to find out how Balinese artists construe the existence of Legong Keraton. As a performing art, Legong appears in multiple layers and requires a multidisciplinary approach. The ethnochoreological approach, considered as a multidisciplinary approach, was implemented to examine objects from various aspects to obtain a complete and comprehensive understanding. The author carried out this qualitative study in procedural systematic manner including literature review, informant determination and interview, field observation, data sorting, and analysis. The results of the study indicate that Legong Keraton acts as a milestone in changing form of Balinese dance as a source of inspiration for the creation of works of art as well as a means of education. Furthermore, as a learning material, Legong Keraton has unique form and transmission method. Balinese artists consider Legong Keraton as a traditional art carrying the identity of Balinese dance that make it deserve to be appreciated and preserved.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74761000","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 : 2023-02-22DOI: 10.31091/mudra.v38i2.2199
Samidi Samidi, Sarkawi B Husain
This article describes traditional arts dealing with global challenges. Globalization that makes it easy for everyone to express entertainment arts is a serious threat to Basing's traditional arts. The slowness of adaptation and regeneration further distances Basing's art from everyday life. The people of Kajang are trying to maintain it, but recently they have faced many obstacles. The mechanism that is still maintained is the relation of traditional art to the ritual of prayer for death. The purpose of this paper is to explain the relationship between traditioal art and rituals for the death and the constraints to inherit the art. This research used qualitative data that collected and analyzed based on village monograph, participant observations, and interviews. The observation is carried out during the Basing art performance at the death prayer ritual. The interviews were conducted on several people which proportionally representing social roles, including traditional community leaders, village government bureaucrats, teachers, youth art activists, village elders, and artists. The research found that restriction to the customary areas is only able to control people's behavior based on customary values and norms, but is not able to force residents to develop the Basing arts. However, the inheritance of arts faces obstacles because the people of Kajang are not able to carry out cadre of artists as successors and reinforcers of the existence of Basing art.
{"title":"Survival of The Basing Arts of The Kajang Community in Global Challenges","authors":"Samidi Samidi, Sarkawi B Husain","doi":"10.31091/mudra.v38i2.2199","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2199","url":null,"abstract":"\u0000This article describes traditional arts dealing with global challenges. Globalization that makes it easy for everyone to express entertainment arts is a serious threat to Basing's traditional arts. The slowness of adaptation and regeneration further distances Basing's art from everyday life. The people of Kajang are trying to maintain it, but recently they have faced many obstacles. The mechanism that is still maintained is the relation of traditional art to the ritual of prayer for death. The purpose of this paper is to explain the relationship between traditioal art and rituals for the death and the constraints to inherit the art. This research used qualitative data that collected and analyzed based on village monograph, participant observations, and interviews. The observation is carried out during the Basing art performance at the death prayer ritual. The interviews were conducted on several people which proportionally representing social roles, including traditional community leaders, village government bureaucrats, teachers, youth art activists, village elders, and artists. The research found that restriction to the customary areas is only able to control people's behavior based on customary values and norms, but is not able to force residents to develop the Basing arts. However, the inheritance of arts faces obstacles because the people of Kajang are not able to carry out cadre of artists as successors and reinforcers of the existence of Basing art.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85048264","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 : 2023-02-22DOI: 10.31091/mudra.v38i2.2096
Pandu Pramudita, S. Sarwanto, S. Soetarno, Dendi Pratama
Wayang Kayon filling is often understood as an ornament that is interpreted separately. The fillings are composed in such a way that they interact. The interaction between Wayang Kayon fillings forms landscape perception. This study aims to explain landscape perception in Wayang Kayon figures. The theory used to explain the landscapes depicted on Wayang Kayon figures is the perception theory. This research uses qualitative methods with an interpretive-iconographic approach. The Wayang Kayon filling is three composed layers of the structure, including pucukan, genukan, and lengkeh. The filling found on the pucukan Wayang Kayon is a tree of life form that is the landscape perception as mountain and forest. The filling of the genukan and lengkeh on the Wayang Kayon Blumbangan figure shows the ponds, animals, plants, and/or mythological creatures formation that are the landscape perception as an ecosystem around a water source. The filling of the genukan and lengkeh on the Wayang Kayon Gapuran figure shows the gate formation that is the landscape perception as a landscape of sacred buildings. Wayang Kayon filling is depicted through pasemon artistic concept so that it is understood as native art. This research is expected to be a guide for shadow puppet spectators to understand the Wayang Kayon figures filling and for shadow puppet artists to pay attention to the Wayang Kayon filling results creations so that the interaction between fillings still perceives the landscape.
Wayang Kayon填充物通常被理解为一种单独解释的装饰品。填充物是这样组成的，它们相互作用。Wayang Kayon填充物之间的相互作用形成了景观感知。本研究旨在解释瓦扬卡戎人物的景观感知。用来解释大阳卡戎人物画上的风景的理论是感知理论。本研究采用定性方法和图解解释方法。Wayang Kayon填充物由三层结构组成，包括pucukan, genukan和lengkeh。在puukan Wayang Kayon上发现的填充物是一棵生命形式的树，它是山和森林的景观感知。Wayang Kayon Blumbangan图上的genukan和lengkeh的填充显示了池塘、动物、植物和/或神话生物的形成，它们是围绕水源的生态系统的景观感知。在Wayang Kayon Gapuran雕像上的genukan和lengkeh的填充显示了门的形成，这是作为神圣建筑景观的景观感知。通过pasemon的艺术概念来描绘Wayang Kayon填充物，使其被理解为本土艺术。本研究旨在引导皮影戏观众了解瓦扬卡戎人物的填充，并引导皮影戏艺术家关注瓦扬卡戎填充结果的创作，使填充之间的互动仍能感知景观。
{"title":"Landscape Perception as Pasemon Artistic in Wayang Kayon Figure","authors":"Pandu Pramudita, S. Sarwanto, S. Soetarno, Dendi Pratama","doi":"10.31091/mudra.v38i2.2096","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2096","url":null,"abstract":"\u0000Wayang Kayon filling is often understood as an ornament that is interpreted separately. The fillings are composed in such a way that they interact. The interaction between Wayang Kayon fillings forms landscape perception. This study aims to explain landscape perception in Wayang Kayon figures. The theory used to explain the landscapes depicted on Wayang Kayon figures is the perception theory. This research uses qualitative methods with an interpretive-iconographic approach. The Wayang Kayon filling is three composed layers of the structure, including pucukan, genukan, and lengkeh. The filling found on the pucukan Wayang Kayon is a tree of life form that is the landscape perception as mountain and forest. The filling of the genukan and lengkeh on the Wayang Kayon Blumbangan figure shows the ponds, animals, plants, and/or mythological creatures formation that are the landscape perception as an ecosystem around a water source. The filling of the genukan and lengkeh on the Wayang Kayon Gapuran figure shows the gate formation that is the landscape perception as a landscape of sacred buildings. Wayang Kayon filling is depicted through pasemon artistic concept so that it is understood as native art. This research is expected to be a guide for shadow puppet spectators to understand the Wayang Kayon figures filling and for shadow puppet artists to pay attention to the Wayang Kayon filling results creations so that the interaction between fillings still perceives the landscape.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83868417","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 : 2023-02-22DOI: 10.31091/mudra.v38i2.2052
Nasfati Iktarastiwi, Marwanti Marwanti
Pendap is a fish-based food that is cooked for 8 hours. Currently, Pendap is one of the culinary heritages of the Bengkulu region. However, of the Pendap is still rarely studied. This study aims to determine Pendap as a culinary treasure typical of Bengkulu. This study uses a qualitative research design with research subjects are pendap producers and owners of typical Bengkulu restaurants, and data collection using observation, interviews, and documentation techniques. Data analysis used an interactive analysis model consisting of data collection and conclusion. The results show that Pendap has existed since 1 century ago and is passed down from generation to generation and is often presented in community events. Pendap has a uniqueness that can be seen from the cooking process which is carried out for 8 hours and has become part of Bengkulu cuisine. Pendap is successfully traded as a Bengkulu typical side dish because it can last for 2 days without preservatives and for 2 weeks if packaged using a vacuum. The results of this study are expected to increase the understanding of people who are involved in the Bengkulu traditional culinary world to pay more attention and know about local wisdom because there are still few studies that discuss the related topics.
{"title":"Pendap as a Bengkulu Culinary Treasure","authors":"Nasfati Iktarastiwi, Marwanti Marwanti","doi":"10.31091/mudra.v38i2.2052","DOIUrl":"https://doi.org/10.31091/mudra.v38i2.2052","url":null,"abstract":"\u0000Pendap is a fish-based food that is cooked for 8 hours. Currently, Pendap is one of the culinary heritages of the Bengkulu region. However, of the Pendap is still rarely studied. This study aims to determine Pendap as a culinary treasure typical of Bengkulu. This study uses a qualitative research design with research subjects are pendap producers and owners of typical Bengkulu restaurants, and data collection using observation, interviews, and documentation techniques. Data analysis used an interactive analysis model consisting of data collection and conclusion. The results show that Pendap has existed since 1 century ago and is passed down from generation to generation and is often presented in community events. Pendap has a uniqueness that can be seen from the cooking process which is carried out for 8 hours and has become part of Bengkulu cuisine. Pendap is successfully traded as a Bengkulu typical side dish because it can last for 2 days without preservatives and for 2 weeks if packaged using a vacuum. The results of this study are expected to increase the understanding of people who are involved in the Bengkulu traditional culinary world to pay more attention and know about local wisdom because there are still few studies that discuss the related topics. \u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88908985","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 : 2023-02-21DOI: 10.31091/mudra.v38i1.2101
Ni Nyoman Karmini
Balinese folktale is rich in moral and religious values. Thus,promoting it to the youngergeneration is crucial to cultivate character education. This paper discusses the Balinese folktale, Men Sugih Teken Men Tiwas. It was a famous folktale in Bali. However, nowadays, only a few Balinese parents still tell this folktale to their children. Specifically, this paper discusses the moral and religious values in the folktale of Men Sugih and Men Tiwas. These values were seen from the concept of Hinduism, which is universal and can be applied by anyone. In other words, this study aims to investigate and bring to light the values found in that folktale. The scope discussed is only about the values contained in the folklore of Men Sugih Teken Men Tiwas This study followed a qualitative investigation method. The study data were gathered using documentation and note-taking techniques.Then, the collected data were examined using the hermeneutic and verstehen procedures. Inductive-deductive approaches were also used to portray the research findings descriptively. As a result, Men Sugih Teken Men Tiwas folktale embodies the spirit of Hindu religious principles in the sphere of ethics, especially the teachings of Subha Karma and Asubha Karma. The conclusion is that the teachings of Subha Karma, which are written and implied in the story, are TrikayaParisudha and Dasa Yama Brata. TrikayaParisudha includes kayika, wacika, and manacika. The Dasa Yama Brata includes anresangsya or arimbawa, ksama, satya, dama, ardjawa, priti, prasada, madurya, and mardawa. The figure who carries out the teachings of Subha Karma is Men Tiwas. It was these good qualities that caused Men Tiwas and his children to live happily ever after. The teachings of Asubha Karma that are expressed and implied in the story are lobha and matsarya. The figure who carries out Asubha Karma (lobha and matsarya) is Men Sugih. It was this greed and envy that caused Men Sugih to suffer in his life.
{"title":"The Spirit of Hindu Religious Values in Balinese Folktale Men Sugih Teken Men Tiwas","authors":"Ni Nyoman Karmini","doi":"10.31091/mudra.v38i1.2101","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2101","url":null,"abstract":"\u0000Balinese folktale is rich in moral and religious values. Thus,promoting it to the youngergeneration is crucial to cultivate character education. This paper discusses the Balinese folktale, Men Sugih Teken Men Tiwas. It was a famous folktale in Bali. However, nowadays, only a few Balinese parents still tell this folktale to their children. Specifically, this paper discusses the moral and religious values in the folktale of Men Sugih and Men Tiwas. These values were seen from the concept of Hinduism, which is universal and can be applied by anyone. In other words, this study aims to investigate and bring to light the values found in that folktale. The scope discussed is only about the values contained in the folklore of Men Sugih Teken Men Tiwas This study followed a qualitative investigation method. The study data were gathered using documentation and note-taking techniques.Then, the collected data were examined using the hermeneutic and verstehen procedures. Inductive-deductive approaches were also used to portray the research findings descriptively. As a result, Men Sugih Teken Men Tiwas folktale embodies the spirit of Hindu religious principles in the sphere of ethics, especially the teachings of Subha Karma and Asubha Karma. The conclusion is that the teachings of Subha Karma, which are written and implied in the story, are TrikayaParisudha and Dasa Yama Brata. TrikayaParisudha includes kayika, wacika, and manacika. The Dasa Yama Brata includes anresangsya or arimbawa, ksama, satya, dama, ardjawa, priti, prasada, madurya, and mardawa. The figure who carries out the teachings of Subha Karma is Men Tiwas. It was these good qualities that caused Men Tiwas and his children to live happily ever after. The teachings of Asubha Karma that are expressed and implied in the story are lobha and matsarya. The figure who carries out Asubha Karma (lobha and matsarya) is Men Sugih. It was this greed and envy that caused Men Sugih to suffer in his life.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78280349","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}
This study aims to understand the cottagecore aesthetic and its relationship to fashion, especially the extent to which it could act as a form of self-expression and coping mechanism. This research used an exploratory descriptive research approach with the application of interview, observational research and pattern exploration. Samples were chosen non-random and purposively aiming on the representative values and perspectives. Taking inspiration from Netflix’s series ‘Anne with an E’, which has comparable aesthetics to the cottagecore movement, this study took a modern approach on the cottagecore aesthetic to produce more wearable and versatile ready-to-wear pieces while retaining the principal elements and traditional techniques. It is found that the cottagecore aesthetic may appear to have arisen as a trend during the pandemic. However, as people are now seeking to be more sustainable, the cottagecore concept, which promotes slow living in connection with nature and appreciating craftsmanship, can continue to be prioritized in the future. Overall, this study offers pieces that boost people’s moods and transport them to a bucolic pastoral fantasy while aiming on better suit the current local market preferences.
{"title":"Women’s Ready-to-Wear Collection with the Influence of Cottagecore","authors":"Katharina Rossa Dewayanti, Grasheli Kusuma Andhini","doi":"10.31091/mudra.v38i1.2232","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2232","url":null,"abstract":"\u0000This study aims to understand the cottagecore aesthetic and its relationship to fashion, especially the extent to which it could act as a form of self-expression and coping mechanism. This research used an exploratory descriptive research approach with the application of interview, observational research and pattern exploration. Samples were chosen non-random and purposively aiming on the representative values and perspectives. Taking inspiration from Netflix’s series ‘Anne with an E’, which has comparable aesthetics to the cottagecore movement, this study took a modern approach on the cottagecore aesthetic to produce more wearable and versatile ready-to-wear pieces while retaining the principal elements and traditional techniques. It is found that the cottagecore aesthetic may appear to have arisen as a trend during the pandemic. However, as people are now seeking to be more sustainable, the cottagecore concept, which promotes slow living in connection with nature and appreciating craftsmanship, can continue to be prioritized in the future. Overall, this study offers pieces that boost people’s moods and transport them to a bucolic pastoral fantasy while aiming on better suit the current local market preferences.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79833606","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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