Pub Date : 2023-02-15DOI: 10.31091/mudra.v38i1.2147
Prayanto Widyo Harsanto, Anak Agung Gde Bagus Udayana
This study aims to identify and critically analyze Outdoor Advertising in Yogyakarta using a socio-design approach. Outdoor Advertising, such as banners, banners, posters, billboards, and other media installed in every corner of Yogyakarta, is a dilemma. According to the view of a person or institution/industry, existence of Outdoor Advertising is an effective medium for conveying promotional messages to the public. Meanwhile, for regulators, especially for local governments, this can provide regional income through relatively high taxes. Nevertheless, on the other hand, the rise of Outdoor Advertising raises aesthetic, security, and environmental management issues in Yogyakarta City. This study uses a qualitative method with a socio-design approach (social aesthetics). The social-aesthetic process appreciates design work in a socio-environmental context, both the human environment, the natural environment, and the social environment. The design work in this study is the design of Outdoor Advertising is an essential variable because the delivery of messages through Outdoor Advertising will determine the content, shape, and type, as well as the location or installation. When viewed from a functional context, advertising is to help market products and services persuasively. From the aesthetic context, outdoor advertising displays must focus on Yogyakarta's social, economic, cultural, and environmental aspects. The results of this study indicate that Outdoor Advertising is needed for communicators to convey messages on products/services. As an essential regulator, the local government makes public spatial planning policies related to ad placement. Therefore, Outdoor Advertising can help increase the positive perception of the correlated people to form the image of the Yogyakarta city planning, which is unique and has a comfortable heart.
{"title":"Outdoor Advertising in Yogyakarta During Post-Pandemic Covid-19 in Socio–Design Study","authors":"Prayanto Widyo Harsanto, Anak Agung Gde Bagus Udayana","doi":"10.31091/mudra.v38i1.2147","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2147","url":null,"abstract":"\u0000This study aims to identify and critically analyze Outdoor Advertising in Yogyakarta using a socio-design approach. Outdoor Advertising, such as banners, banners, posters, billboards, and other media installed in every corner of Yogyakarta, is a dilemma. According to the view of a person or institution/industry, existence of Outdoor Advertising is an effective medium for conveying promotional messages to the public. Meanwhile, for regulators, especially for local governments, this can provide regional income through relatively high taxes. Nevertheless, on the other hand, the rise of Outdoor Advertising raises aesthetic, security, and environmental management issues in Yogyakarta City. This study uses a qualitative method with a socio-design approach (social aesthetics). The social-aesthetic process appreciates design work in a socio-environmental context, both the human environment, the natural environment, and the social environment. The design work in this study is the design of Outdoor Advertising is an essential variable because the delivery of messages through Outdoor Advertising will determine the content, shape, and type, as well as the location or installation. When viewed from a functional context, advertising is to help market products and services persuasively. From the aesthetic context, outdoor advertising displays must focus on Yogyakarta's social, economic, cultural, and environmental aspects. The results of this study indicate that Outdoor Advertising is needed for communicators to convey messages on products/services. As an essential regulator, the local government makes public spatial planning policies related to ad placement. Therefore, Outdoor Advertising can help increase the positive perception of the correlated people to form the image of the Yogyakarta city planning, which is unique and has a comfortable heart.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"61 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80290259","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 : 2023-01-27DOI: 10.31091/mudra.v38i1.1983
A. P. Wibawa, I. Santosa, S. Sabana, A. Destiarmand
In the beginning, the poleng motif was a sacred motif by the Balinese people. The poleng motif has a meaning as a form of petition and protection to God Almighty in His form and manifestation as creator, preserver, and harmonizing to achieve a happy and prosperous life. Another meaning is as a form to neutralize and restore balance from dark forces to help achieve the perfection of life. In its application as a motif wrapped around sacred objects, the poleng motif has the meaning of a repellent to strengthen and as a place of worship of God in His manifestation as a guardian. In subsequent developments due to tourism with increasing local and foreign tourist visits, the poleng motif has functioned as a decoration. This shift certainly leads to a reinterpretation of the meaning of the poleng motif in Bali. This study aims to get a new meaning for the poleng motif in Bali. To get this new meaning, a qualitative methodology is used based on the theoretical basis of Panofsky's iconology which emphasizes the study of visual analysis. The study carried out resulted in new findings in the form of a new meaning for the poleng motif. Based on the analysis, it was found that there was a shift in meaning from sacred to profane with the new meaning of the poleng motif being cultural communication. The form of communication created is a self-image product that reflects Balinese cultural identity. Local cultural identity is used to introduce Balinese culture.
{"title":"Review of Shape and Color on Poleng Motifs in Bali","authors":"A. P. Wibawa, I. Santosa, S. Sabana, A. Destiarmand","doi":"10.31091/mudra.v38i1.1983","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.1983","url":null,"abstract":"\u0000In the beginning, the poleng motif was a sacred motif by the Balinese people. The poleng motif has a meaning as a form of petition and protection to God Almighty in His form and manifestation as creator, preserver, and harmonizing to achieve a happy and prosperous life. Another meaning is as a form to neutralize and restore balance from dark forces to help achieve the perfection of life. In its application as a motif wrapped around sacred objects, the poleng motif has the meaning of a repellent to strengthen and as a place of worship of God in His manifestation as a guardian. In subsequent developments due to tourism with increasing local and foreign tourist visits, the poleng motif has functioned as a decoration. This shift certainly leads to a reinterpretation of the meaning of the poleng motif in Bali. This study aims to get a new meaning for the poleng motif in Bali. To get this new meaning, a qualitative methodology is used based on the theoretical basis of Panofsky's iconology which emphasizes the study of visual analysis. The study carried out resulted in new findings in the form of a new meaning for the poleng motif. Based on the analysis, it was found that there was a shift in meaning from sacred to profane with the new meaning of the poleng motif being cultural communication. The form of communication created is a self-image product that reflects Balinese cultural identity. Local cultural identity is used to introduce Balinese culture.\u0000","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77583004","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 : 2023-01-10DOI: 10.31091/mudra.v38i1.2270
I. G. N. Sudibya, Ni Made Arshiniwati, Ni Luh Sustiawati
The empowerment of the Ratu Kinasih studio through the Gulma Penida dance training is expected to be able to enrich the types of dance that previously existed in Nusa Penida and can also be presented as entertainment to tourists visiting Nusa Penida. The benefit of this program is that it can channel creativity; increase knowledge and skills of dance art; promote more interesting traditional dances with meaningful movements from the potential of local wisdom that has never been published; and be an attraction for foreign and local tourists. Empowerment of the Gulma Penida dance was carried out in Lembongan Village, a coastal area with the local wisdom of cultivating seaweed that has been practiced for a long time. Besides that, Nusa Penida is also known for its woven cloth crafts made by residents in Karang Ampel Village. The two potentials in Nusa Penida, namely the potential for seaweed farming and the craft of woven cloth, have been used as a source of ideas in the creation of the Gulma Penida dance. The implementation of this empowerment was carried out from April to August 2022. The empowerment program participants totaled 12 people. From this empowerment program, the result shows that students are skilled at dancing the Gulma Penida dance and can promote the Gulma Penida dance.
{"title":"Empowerment of Ratu Kinasih Studio as a Media for Introducing Gulma Penida Dance for Tourists in Lembongan Village Nusa Penida Klungkung","authors":"I. G. N. Sudibya, Ni Made Arshiniwati, Ni Luh Sustiawati","doi":"10.31091/mudra.v38i1.2270","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2270","url":null,"abstract":"The empowerment of the Ratu Kinasih studio through the Gulma Penida dance training is expected to be able to enrich the types of dance that previously existed in Nusa Penida and can also be presented as entertainment to tourists visiting Nusa Penida. The benefit of this program is that it can channel creativity; increase knowledge and skills of dance art; promote more interesting traditional dances with meaningful movements from the potential of local wisdom that has never been published; and be an attraction for foreign and local tourists. Empowerment of the Gulma Penida dance was carried out in Lembongan Village, a coastal area with the local wisdom of cultivating seaweed that has been practiced for a long time. Besides that, Nusa Penida is also known for its woven cloth crafts made by residents in Karang Ampel Village. The two potentials in Nusa Penida, namely the potential for seaweed farming and the craft of woven cloth, have been used as a source of ideas in the creation of the Gulma Penida dance. The implementation of this empowerment was carried out from April to August 2022. The empowerment program participants totaled 12 people. From this empowerment program, the result shows that students are skilled at dancing the Gulma Penida dance and can promote the Gulma Penida dance.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73211619","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 : 2023-01-10DOI: 10.31091/mudra.v38i1.2253
Ni Nyoman Manik Suryani, Ruastiti Ni Made, Katie Basset
The Legong Dedari is one of the sacred dances performed by the Balinese Hindu community at Banjar Abian Nangka Kaja, Kesiman Petilan Village, East Denpasar. Despite the fact that this dance is frequently performed for ceremonial offerings, no one has studied the Legong Dedari dance. This article aims to discuss the form and meaning of the Legong Dedari dance. The data sources for this research were the Legong Dedari dance performance itself, the dancers, musicians, traditional leaders, village elders, and the local community, who were selected based on purposive sampling and snowball techniques. All the data that has been collected through observation, interviews, and literature studies was analyzed descriptively and qualitatively using structural-functional theory and aesthetic theory. The results showed that the Legong Dedari dance, which is a wali dance (sacred dance), is presented in the form of a loose dance. This can be seen in the manner of presentation, fashion make-up, performance structure, and musical accompaniment. The Legong Dedari dance, which is danced by three female dancers who use delicate princess make-up, is accompanied by Gamelan Gong Kebyar. The community in Banjar Abian Nangka performs this Legong Dedari dance during piodalan ceremonies in the local area, along with Ratu Ayu's sasuhunan on Tumpek Wayang, Tumpek Uduh, and when a prolonged disaster occurs. The local community has continued to preserve the Legong Dedari Dance because the dance contains religious meaning, aesthetic meaning, social meaning, & ecological meaning.
{"title":"Meaning of Legong Dedari Performance in Banjar Abian Nangka Kaja, Kesiman Petilan, East Denpasar","authors":"Ni Nyoman Manik Suryani, Ruastiti Ni Made, Katie Basset","doi":"10.31091/mudra.v38i1.2253","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2253","url":null,"abstract":"The Legong Dedari is one of the sacred dances performed by the Balinese Hindu community at Banjar Abian Nangka Kaja, Kesiman Petilan Village, East Denpasar. Despite the fact that this dance is frequently performed for ceremonial offerings, no one has studied the Legong Dedari dance. This article aims to discuss the form and meaning of the Legong Dedari dance. The data sources for this research were the Legong Dedari dance performance itself, the dancers, musicians, traditional leaders, village elders, and the local community, who were selected based on purposive sampling and snowball techniques. All the data that has been collected through observation, interviews, and literature studies was analyzed descriptively and qualitatively using structural-functional theory and aesthetic theory. The results showed that the Legong Dedari dance, which is a wali dance (sacred dance), is presented in the form of a loose dance. This can be seen in the manner of presentation, fashion make-up, performance structure, and musical accompaniment. The Legong Dedari dance, which is danced by three female dancers who use delicate princess make-up, is accompanied by Gamelan Gong Kebyar. The community in Banjar Abian Nangka performs this Legong Dedari dance during piodalan ceremonies in the local area, along with Ratu Ayu's sasuhunan on Tumpek Wayang, Tumpek Uduh, and when a prolonged disaster occurs. The local community has continued to preserve the Legong Dedari Dance because the dance contains religious meaning, aesthetic meaning, social meaning, & ecological meaning.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83719263","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 : 2023-01-09DOI: 10.31091/mudra.v38i1.2269
I. Suardana, I. M. Sumantra
This study aims to discover in depth the existence of the creation of pure and sacred silver crafts today and the public's attention to these works. The results of this study will also be very useful for craftsmen, entrepreneurs, academics, and the government as information material about the growth and development of the creation of silverworks in an uncertain tourism situation. The decline in Bali tourism has impacted the decline in silver handicraft production in Gianyar, especially in products for tourism needs. Several areas that used to be centers of silver crafts, such as Celuk Village, Singapadu Village, and Taro Village, are now no longer productive because they rarely receive orders. In a quiet situation, some creative and highly skilled craftsmen began to divert their production by creating several pure art and sacred art as collectibles and Sesuhunan (sacred crafts) such as Barong, Rangda, and Masks which are purified and sacred by the Balinese people. The orientation of creating silverworks eventually leads to works of high quality and aesthetic value. A very interesting phenomenon to study holistically is the following: how is the existence of the creation of pure and sacred silverworks in Gianyar today? The method used in this study is a descriptive qualitative method with data collection techniques of observation, interviews, and documentation. This paper is also very appropriate to be carried out to examine in depth the development of silverworks of pure art and sacred art. There is a huge struggle between cultural and economic capital in the quest for power and the preservation of silverwork as noble works of art. This research is expected to contribute to science, especially related to arts and crafts in general.
{"title":"The Existence of Pure and Sacred Silver Craft Creation in Gianyar Bali","authors":"I. Suardana, I. M. Sumantra","doi":"10.31091/mudra.v38i1.2269","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2269","url":null,"abstract":"This study aims to discover in depth the existence of the creation of pure and sacred silver crafts today and the public's attention to these works. The results of this study will also be very useful for craftsmen, entrepreneurs, academics, and the government as information material about the growth and development of the creation of silverworks in an uncertain tourism situation. The decline in Bali tourism has impacted the decline in silver handicraft production in Gianyar, especially in products for tourism needs. Several areas that used to be centers of silver crafts, such as Celuk Village, Singapadu Village, and Taro Village, are now no longer productive because they rarely receive orders. In a quiet situation, some creative and highly skilled craftsmen began to divert their production by creating several pure art and sacred art as collectibles and Sesuhunan (sacred crafts) such as Barong, Rangda, and Masks which are purified and sacred by the Balinese people. The orientation of creating silverworks eventually leads to works of high quality and aesthetic value. A very interesting phenomenon to study holistically is the following: how is the existence of the creation of pure and sacred silverworks in Gianyar today? The method used in this study is a descriptive qualitative method with data collection techniques of observation, interviews, and documentation. This paper is also very appropriate to be carried out to examine in depth the development of silverworks of pure art and sacred art. There is a huge struggle between cultural and economic capital in the quest for power and the preservation of silverwork as noble works of art. This research is expected to contribute to science, especially related to arts and crafts in general.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"13 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85747378","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 : 2022-12-27DOI: 10.31091/mudra.v38i1.2164
I. K. Arba Wirawan, I. M. Ruta, Paul Trinidad, I. Darmawan, I. M. Saryana, Made Rai Budaya Bumiarta
This research aimed to discover how the Angkara movie is based on Balinese traditional art and to find out the mise and scene in the pre-production, production, and post-production processes. Clekontong Mas for the Balinese people is a comedian studio (Bondres), which is well known and admired by the community. Clekontong is translated as ritual media, and Mas means noble. This studio was founded in Denpasar in 2012 and pioneered by I Komang Dedi Diana (Tompel), I Ketut Gede Rudita (Sokir), and I Nyoman Ardika (Sengap). Bondres profoundly has the opportunity to be the inspiration for innovative film productions. However, there is no related research that has examined it further. The data sources used Angkara movies, film directors, cultural experts, and the audience. The method of data collection was conducted through observation, interviews, and documentation; online and offline. The Angkara movie was analyzed from the initial scene to the final scene qualitatively using the approach of setting, directing style, blocking, costumes, lighting, and revealing the aesthetics of the Angkara film. The result found that Angkara is a comedy genre film based on Balinese traditions. Directing style, and blocking the placement of Clekonteng Mas were successful role measurements in acting. The costumes of Angkara actors with traditional Balinese characteristics can describe the comedian's situation based on Balinese’s local wisdom. The social phenomenon in the production of the Angkara movie was produced and won national and international festivals. Presenting local Balinese cultural identity can be a source of film creation and characteristics to enrich the aesthetics of Balinese’s local wisdom in the form of films.
本研究旨在发现安卡拉电影是如何以巴厘传统艺术为基础，并找出在前期制作，制作和后期制作过程中的场景和场景。Clekontong Mas是巴厘岛人的喜剧演员工作室(Bondres)，在社区中很有名，也很受欢迎。Clekontong被翻译为仪式媒介，Mas的意思是高贵。这家工作室成立于2012年，由I Komang Dedi Diana (Tompel)， I Ketut Gede Rudita (Sokir)和I Nyoman Ardika (Sengap)开创。邦德斯完全有机会成为创新电影制作的灵感来源。然而，并没有相关的研究对其进行进一步的研究。数据来源使用了安卡拉电影、电影导演、文化专家和观众。数据收集方法采用观察、访谈、文献法;线上和线下。运用场景设置、导演风格、阻隔、服装、灯光等方法，对安卡拉电影从最初的场景到最后的场景进行定性分析，揭示安卡拉电影的美学。结果发现，《安卡拉》是一部基于巴厘传统的喜剧类型电影。导演风格、克克康腾马的阻挡放置是成功的表演角色衡量标准。具有传统巴厘特色的安卡拉演员服饰，可以根据巴厘人的地方智慧来描述喜剧演员的处境。这一社会现象在安卡拉电影的制作过程中被制作出来并赢得了国内和国际的节日。呈现巴厘本土文化身份可以成为电影创作的源泉和特色，以电影的形式丰富巴厘本土智慧的美学。
{"title":"Angkara Movie Based on Bali Traditional Art","authors":"I. K. Arba Wirawan, I. M. Ruta, Paul Trinidad, I. Darmawan, I. M. Saryana, Made Rai Budaya Bumiarta","doi":"10.31091/mudra.v38i1.2164","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2164","url":null,"abstract":"This research aimed to discover how the Angkara movie is based on Balinese traditional art and to find out the mise and scene in the pre-production, production, and post-production processes. Clekontong Mas for the Balinese people is a comedian studio (Bondres), which is well known and admired by the community. Clekontong is translated as ritual media, and Mas means noble. This studio was founded in Denpasar in 2012 and pioneered by I Komang Dedi Diana (Tompel), I Ketut Gede Rudita (Sokir), and I Nyoman Ardika (Sengap). Bondres profoundly has the opportunity to be the inspiration for innovative film productions. However, there is no related research that has examined it further. The data sources used Angkara movies, film directors, cultural experts, and the audience. The method of data collection was conducted through observation, interviews, and documentation; online and offline. The Angkara movie was analyzed from the initial scene to the final scene qualitatively using the approach of setting, directing style, blocking, costumes, lighting, and revealing the aesthetics of the Angkara film. The result found that Angkara is a comedy genre film based on Balinese traditions. Directing style, and blocking the placement of Clekonteng Mas were successful role measurements in acting. The costumes of Angkara actors with traditional Balinese characteristics can describe the comedian's situation based on Balinese’s local wisdom. The social phenomenon in the production of the Angkara movie was produced and won national and international festivals. Presenting local Balinese cultural identity can be a source of film creation and characteristics to enrich the aesthetics of Balinese’s local wisdom in the form of films.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82580935","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 : 2022-12-27DOI: 10.31091/mudra.v38i1.2223
Nyoman Lia Susanthi, Ketut Hery Budiyana, Igor de Almaida Amanajas, I. Suardana
The Covid-19 pandemic has changed the order of life in various sectors, including education. In 2020 online learning was applied to the Advanced Tv Production class, Film and TV Production Study Program, Faculty of Fine Arts and Design, ISI Denpasar. Changes in the behavior of classroom practice in producing tv programs have shifted virtually. Even though students in groups created a weekly talk show program called “VirtueAll” they held it face-to-face. The purpose of this study is to recognize how the production process of the ViertueAll program based on virtual live streaming. In this study, the author used a qualitative descriptive research design. Descriptive research is a study to collect information about the transformation of the form of television production into virtual. The results showed that: The virtual live streaming production process used two stages, namely pre-production, preparation of the production design for the VirtueAll tv program, and agenda setting. The production stage is to change the production design into audiovisual. In the production of virtual live streaming using several platforms, including Google Meet, Zoom and OBS (Open Broadcaster Software). Google Meet facilities as a virtual master control room (MCR) and zoom as a virtual studio. The positive impact of this research is beneficial for the community to provide knowledge to become content creators with minimalist and adaptive tools to the current pandemic conditions. The negative impact is less appreciative to interact as a team work in production team and highly dependent on the readiness of technology including high specification computers and a good internet network.
{"title":"VirtueAll: Television Talkshow Program Based on Virtual Live Streaming","authors":"Nyoman Lia Susanthi, Ketut Hery Budiyana, Igor de Almaida Amanajas, I. Suardana","doi":"10.31091/mudra.v38i1.2223","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2223","url":null,"abstract":"The Covid-19 pandemic has changed the order of life in various sectors, including education. In 2020 online learning was applied to the Advanced Tv Production class, Film and TV Production Study Program, Faculty of Fine Arts and Design, ISI Denpasar. Changes in the behavior of classroom practice in producing tv programs have shifted virtually. Even though students in groups created a weekly talk show program called “VirtueAll” they held it face-to-face. The purpose of this study is to recognize how the production process of the ViertueAll program based on virtual live streaming. In this study, the author used a qualitative descriptive research design. Descriptive research is a study to collect information about the transformation of the form of television production into virtual. The results showed that: The virtual live streaming production process used two stages, namely pre-production, preparation of the production design for the VirtueAll tv program, and agenda setting. The production stage is to change the production design into audiovisual. In the production of virtual live streaming using several platforms, including Google Meet, Zoom and OBS (Open Broadcaster Software). Google Meet facilities as a virtual master control room (MCR) and zoom as a virtual studio. The positive impact of this research is beneficial for the community to provide knowledge to become content creators with minimalist and adaptive tools to the current pandemic conditions. The negative impact is less appreciative to interact as a team work in production team and highly dependent on the readiness of technology including high specification computers and a good internet network.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"124 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89431400","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 : 2022-12-27DOI: 10.31091/mudra.v38i1.2221
Ni Kadek Dwiyani, I. K. Puriartha, Dewa Ayu Leliana Sari
Documentary film is a film genre that has a very important role in human civilization. Documentary films can "revive" everything that did not exist before, so that it can be known by a wide audience through visualization and verbal information that can be accounted for. One of the functions that documentaries also have is as a cultural educational medium that is easily accessed digitally by anyone, anywhere. This writing will examine the philosophical values that are visually transformed in the Cultural Documentary Film "The Balinese Bride Makeup: Symbols and Meanings". This writing uses a qualitative descriptive method, by providing explanatory descriptions of the results of the study using Documentary Film theory (Ayawaila: 2018) and Anthropological theory (Sare: 2007). The results obtained through this paper include findings on 3 cultural philosophical values contained in the documentary films used as research objects, as follows: 1) Character Education Values; 2) Values of Roles and Responsibilities, and 3) Cultural Inheritance Values.
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Pub Date : 2022-12-27DOI: 10.31091/mudra.v38i1.2220
D. Ardianto, S. Mataram, Anugrah Irfan Ismail, A. Wicaksono
Phonogram is a visual element in comics that represents the existence of sound. Together with picture elements, they both create a construction that is governed by a narrative. As a manifestation of sound, phonogram’s existence also delivers a message in the form of signs. By using a semiotic approach, this study seeks to identify the nature of the phonogram, its function, and the way it is produced and perceived. Symbolic messages are created to dramatize comics. Because of phonogram’s nature that imitates stereotypes in the real world, comic artists lead the reader to agree on the false reality presented in comic works. Phonogram’s creation requires two step interpretations, namely interpretation of sound and interpretation of visualization. The form of expression on the phonogram is not universal, because it refers to certain cultural stereotypes.
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Pub Date : 2022-12-27DOI: 10.31091/mudra.v38i1.2231
I. M. Bendi Yudha, Anak Agung Gde Alit Geria, I. W. Gulendra, I. M. Jodog
Gurita in English is called Octopus which often refers only to animals of the genus Octopus. This creation is based on the results of research on the octopus which is used as a symbolic brand icon to reveal the existence of the current social, cultural, economic and political realities. In interpreting the characteristics of the shape and nature of the Octopus, it is expressed through a metaphorical visual language to represent the value of rajas and tamas that permeates the human soul. This study aims to present visual aesthetic values and symbolic meanings through the processing of forms of abstraction, distortion and deformation, as an expression of the growing influence of global capitalism in people's lives which are dominated by the energy of guna rajas and guna tamas. The research method is carried out by observation, interviews, documentation and media reset as well as the stages of creation through exploration, improvisation and formation. The visualization of the work presents the complexity of lines, colors, shapes and textures by carrying out technical and coloring hybridization, in order to present meaningful forms which are symbolic representations of the rajas and tamas that dominate people's lives today. The concept of creation offered is a form of concern for the emergence of moral and moral degradation in society which has implications for the fading of ethical values, and a sense of humanity as contained in animal values which promote love and tolerance among others, which in Hinduism is known as term; mutual sharpening, compassion and care, sagilik, saguluk, salunglung sabayantaka, paras paros sarpanaya.It is not enough for this kind of concept to be offered only through works of art, but it really needs to be communicated in the wider social field, so that interactive and communicative dialogue occurs, while at the same time providing education and enlightenment, so as to create new awareness, so that we have the ability and strength to facing or overcoming current global issues.
Gurita在英语中被称为Octopus，通常只指章鱼属的动物。这个创作是基于对章鱼的研究结果，章鱼被用作象征性的品牌图标，以揭示当前社会，文化，经济和政治现实的存在。在解释章鱼的形状和性质的特点时，它通过一种隐喻性的视觉语言来表达，以代表弥漫在人类灵魂中的rajas和tamas的价值。本研究旨在通过对抽象、扭曲和变形等形式的处理，呈现视觉审美价值和象征意义，表达全球资本主义对人们生活日益增长的影响，这种影响是由古纳拉加和古纳塔玛斯的能量所主导的。研究方法是通过观察、访谈、文献、媒介重置以及探索、即兴、形成的创作阶段来进行的。作品的可视化通过技术和色彩的杂交，呈现出线条、色彩、形状和纹理的复杂性，以呈现有意义的形式，象征着当今人们生活中占主导地位的rajas和tamas。创造的概念是对社会中出现的道德和道德退化的一种关注，这意味着道德价值观的衰落，以及动物价值观中包含的人类意识，这些价值观促进了彼此之间的爱和宽容，这在印度教中被称为术语;相互磨砺，同情和关怀，sagilik, saguluk, salunglung sabayantaka, paras paros sarpanaya。这种观念仅仅通过艺术作品来提供是不够的，它确实需要在更广泛的社会领域中传播，让互动和沟通的对话发生，同时提供教育和启蒙，从而创造新的意识，这样我们才有能力和力量去面对或克服当前的全球性问题。
{"title":"“Sabda Bayu” Rajas Tamas Octopus Methapor in Contemporary Painting Work","authors":"I. M. Bendi Yudha, Anak Agung Gde Alit Geria, I. W. Gulendra, I. M. Jodog","doi":"10.31091/mudra.v38i1.2231","DOIUrl":"https://doi.org/10.31091/mudra.v38i1.2231","url":null,"abstract":"Gurita in English is called Octopus which often refers only to animals of the genus Octopus. This creation is based on the results of research on the octopus which is used as a symbolic brand icon to reveal the existence of the current social, cultural, economic and political realities. In interpreting the characteristics of the shape and nature of the Octopus, it is expressed through a metaphorical visual language to represent the value of rajas and tamas that permeates the human soul. This study aims to present visual aesthetic values and symbolic meanings through the processing of forms of abstraction, distortion and deformation, as an expression of the growing influence of global capitalism in people's lives which are dominated by the energy of guna rajas and guna tamas. The research method is carried out by observation, interviews, documentation and media reset as well as the stages of creation through exploration, improvisation and formation. The visualization of the work presents the complexity of lines, colors, shapes and textures by carrying out technical and coloring hybridization, in order to present meaningful forms which are symbolic representations of the rajas and tamas that dominate people's lives today. The concept of creation offered is a form of concern for the emergence of moral and moral degradation in society which has implications for the fading of ethical values, and a sense of humanity as contained in animal values which promote love and tolerance among others, which in Hinduism is known as term; mutual sharpening, compassion and care, sagilik, saguluk, salunglung sabayantaka, paras paros sarpanaya.It is not enough for this kind of concept to be offered only through works of art, but it really needs to be communicated in the wider social field, so that interactive and communicative dialogue occurs, while at the same time providing education and enlightenment, so as to create new awareness, so that we have the ability and strength to facing or overcoming current global issues.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"122 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89010647","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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