cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
-
Contact Email
-
Phone
-
Journal Mail Official
-
Editorial Address
-
Location
Kota surakarta,
Jawa tengah
INDONESIA
Proceeding
Published by Institut Seni Indonesia Surakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Education,
Education
Arjuna Subject : -
Articles 14 Documents
 1   2 
ARTS OF PENCAK SILAT STYLE FOR EDUCATION SPIRITUAL AND PHYSICAL Suryo Ediyono
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (219.44 KB)

Abstract

The martial art of pencak silat isa combating method that teaches both spiritual and physicaleducationphilosophically helps the enthusiasts to livethe noble moral valuesin their society. The material object of this study is pencak silat andthe formalobjectis thephilosophy of artsoraesthetics. This studyaims to examine(1) norms or manners of pencak silat,(2) pencak silat style, (3) categories of pencak silatandpencak silatequipments. This research employs factual-historical method by means of description, analysisandsynthesis. Theresults are(1) norms of pencak silat are conceptually found in the attitude of performance, steps (gerak langkah), attack (serangan), and defense (belaan),(2) martial arts style (aliran gaya) consists of the mental-spiritual aspects, martial arts, arts, and, sport,(3) arts in martial artsare subdivided intowiraga, wirama, andwirasaandthe martialartsequipments includespecific use of costumes, weapons and traditional music acompaniment.Keywords: arts; philosophy; pencak silat; styles; equipments
LAKHON PHANTHANG: IN BETWEEN TRADITIONAL THEATRE AND EDUCATIONAL SYSTEM IN THAILAND Phakamas Jirajarupat
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (248.643 KB)

Abstract

In the past, lakhon phanthang emerges as a commercial theatre in Siam in the nineteenth century however at present it is named as a Thai traditional theatre. Under the Thai traditional theatre label, lakhon phanthang has been selected to present on the various Thai dance curricular in Thailand in order to preserving and developing the traditional dance-drama form. This paper examines the transmission of lakhon phanthang to the young generations through the dance educational system in Thailand by focusing on the existing of lakhon phanthang at three universities; 1) Bunditpatanasilpa Institute 2) Suan Sunandha Rajabhat University and 3) Chulalongkorn University, which are the prominent institutions in providing traditional dance and theatre education in Thailand. The finding represents the reflection of the role of educational institutions in the codification of performance. The process of learning and teaching lakhon phanthang are proposed as a set routine rather than a creative opportunity. Dance and theatre education in today’s educational system does not encourage the development of traditional forms but is seen primarily as a means of preserving them.Keywords: Lakhon phanthang, Thai dance eductation, Thai traditional theatre
COMMERCIAL MUSIC (POP CULTURE) STYLES AS THE MAIN MUSICAL SOURCE OF PRESERVATION OF ENDANGERED LANGUAGES IN A GLOBAL CONTEXT Leon Gilberto Medellin Lopez
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (112.366 KB)

Abstract

Nowadays, the acknowledge of the big amount of endangered languages around the globe is still increasing while the preservation of them still in question due to the lack or the harm of linguistic policies as well, the hegemony of national languages that, in order to establish a more standardised national linguistic paradigm pushes the minority/native language into a state of emergency in its preservation. In the age of information and globalisation, different media has been utilised in order to promote the preservation of endangered languages, among them, publications in different areas like science, humanities and literature. Besides that, music has been also playing an important part in this terms due to its popularity and its social impact. In this paper will be focused in the commercial/pop culture music and its musical, linguistic and social implications since most of this musical expression are evidently considered as alien to the musical tradition in each case and paradoxically at the same time promoting the preservation of an endangered native language since this last one is considered a fundamental part of the traditional identity of each society.Keywords: Endangered Languages, Native languages, Languages national policies, Language preservation; Rap/Hip-hop Music; Globalization, Americas, Asia, Europe, Africa
CREATIVE CONTEMPORARY PAINTING BASED ON THE ICONOGRAPHY OF YEH PULU RELIEF I Wayan Adnyana
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (711.375 KB)

Abstract

This paper is a report of creative art research under the program of Researching, Creating and Presenting Art of the Research, Technology and Higher Education Ministry of Indonesia. The subject of this research is an iconographic people‟s hero of Yeh Pulu relief. This relief is an ancient artifact of Balinese art, located in Bedulu, Gianyar Regency. Visual analysis of the Panofsky‟s iconography method (D‟alleva, 2005: 22-23) is used as a means of iconography analysis with three aspects: visual/artistic characters, allegories, and symbols. The first-year of the study focuses on analyzing the fundamental visual/artistic approach of my new of contemporary painting series. Deep analysis revealed five findings of visual/artistic approach that explore this theme as the newest visual art concept: cutting (imagining the relief like a poster); smashing (the natural effect of the relief being broken down into many small pieces); drawing (incorporating the visuals of a relief in the method of drawing); highlighting (like a macro camera that presents the profile in its largest and most detailed capacity); coloring (using color to make the visuals impressionistic). The research members are: A. A. Bagus Udayana (photographer), I Nengah Sudika (data collector), and Desi In Diana Sari (layout designer).Keywords: Iconography, People‟s hero, Yeh Pulu relief, Visual/artistic approach
AESTHETICS OF MUSICAL EMBODIMENT ON THE CONCEPT OF MUSIC AS PRESENCE (USING PHILIPPINE MUSIC EXAMPLES) José S. Buenconsejo
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (573.422 KB)

Abstract

This paper compares the aesthetics of three songs from two musical traditions (one from the indigenous Manobo community in non-Islamic Mindanao Island and two from urban popular songs). It argues that song is not merely a personal expression but a performance (song-act) that indicates concrete "presence effects" of relationships to a material, social world. This philosophy of music aesthetics departs from the once dominant European concept of absolute music as form but on the not-so-recent studies on music embodiment or incarnation where song makes sense as a substantial act in social worlds
THE INFLUENCE OF MARXISM THOUGHT THAT ARE CONTAINED IN “LES JUSTES” DRAMA SCRIPT BY ALBERT CAMUS Hadiansyah Yanuar Rizqi Aktsar
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (320.307 KB)

Abstract

Karl Marx is told as an inspirator with great ideas. Marx claimed that there are laws of social development as well as the opening of secrets about a capitalist economy. Indeed at the level of theory, communism has a noble purpose but in practice many bad things happened. Lenin was the first thinker of marxism to bring marxism to actual practice, a revolution run by it to realize the utopia of Marxism in which Marxism in the hands of Lenin is not a philosophy of ordinary economics. The Just Assassins (original French title: ―Les Justes‖, a more literal translation is The Just or The Righteous) is a drama script in 1949 by French writer and philosopher Albert Camus. The drama is based on the true story of a group of Russian Socialist-Revolutionaries who killed Grand Duke Sergei Alexandrovich in 1905, and explored the moral issues associated with murder and terrorism. In the drama, all but one (Stepan) of "Justes" is based on historical terrorists, described in Memoirs of a Terrorist by Boris Savinkov. This study aims to analyze the thought of an Albert Camus about a rebellion which he says is not as a form of resistance of the proletariat against the capitalist in the specific sense of Marxian or in other words that the existence of Marxism as a form of resistance to the domination of capitalism. Which prefers to human rebellion in the sense of opposing all sorts of life situations that are sickening, or in other words opposing the process of creation that has occurred by itself. With another meaning that is as a form of aspiration to obtain clarity and unity of a thought, so that in the form of a paradox, will lead to the level of form and public order. Camus believes that rebellion is one of the many essential dimensions of human nature. The Kaliayev character in this text provides a new perspective in the view of the revolution in order to bring out a political order or power existing in a society.Keywords: marxism; anarchism; karl marx; bakunin; realist theat
THE FOOTSTEPS OF RESISTANCE IDEOLOGY IN MANGKUNEGARAN DANCE-STYLE Widodo Aribowo; Andrik Purwasito; Titis Srimuda Pitana
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (192.369 KB)

Abstract

This study aims to describe the ideology of resistance that grew and became the basis of the politics of cultural movement during the war to the establishment of Puro Mangkunagaran up to maintainaning the existence to the present. The study was descriptive analytic using 12 advanced-steps method of Spradley Ethnography, which was shortened into 4 research steps. Triangulation data research includes direct observation of Bedhaya Anglir Mendhung dance performance, dance manuscripts in Mangkunagaran, and interviews with two respondents. The findings of this study are: a) dance art in Puro Mangkunagaran are all themed with resistance except free-patterned dance like gambyong and golek; b) Bedhaya Anglirmendhung dance is the first Puro Mangkunegaran‘s Bedaya dance as well as an attribute of power in which ideologically articulates resistance;c) the ideology of resistance is also evident in the archetypal orstate logo artefacts, batik cloths, and the family of Mangkunagaran creeds.Keywords: ideology; representation; Mangkunagaran
REPRESENTATIONS OF BORDERLAND IN MALAYSIAN AND INDONESIAN CINEMAS Mohd Erman Maharam
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (487.807 KB)

Abstract

This paper focuses on 21st century cinematic representations of frontier living in the Malaysian and Indonesian borderland. These representations raise the question of the power relationship between the progressive ‗centre‘ and the less advanced ‗periphery‘. Many of these Borderlands films deal with the issue of identity and belonging as a question of power relations among filmmakers, the people and the state. And some that transect the political and cultural borders of Southeast Asian cinemas stem from the filmmakers‘ growing recognition of the nationalist processes of cultural delimitation and border reinforcement. This investigation reads Dain Said‘s film, Bunohan (2012, Malaysia) and concentrates on representations of the borderland as a site of encounter between the traditions, the modern nation state system and its citizens in these peripheral areas. This paper draws on a chapter from my doctoral thesis, which looks at cinema as a cultural space through the representation of Malaysia, Indonesia, and Singapore.Keywords: Borders, Southeast Asian Borderlands, Malaysian Cinema, Indonesian Cinema
THE PENDHOK STYLE OFSURAKARTA KRIS A CASE STUDY OF DHONI KUSTANTO AS PENDHOKARTIST OF 90S MRANGGI GENERATIONS G., Guntur
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (880.851 KB)

Abstract

Kris(keris) is a kind of Javanese dagger with its main parts: blade, hilt, sheath, andpendhok.The pendhok is a protective part of the sheath, usually made of various metals such as silver, bronze, copper, brass, and even gold. Krisof tangguh nom (young period) which later specified as tangguh Surakarta (Surakarta period) becomes a model in the making ofpendhok. Tangguh (period) means an identification of kris based on the period of kingdoms with its empu (kris masters). The formation of pendhok inSurakarta style means connected with the form of Surakarta kris which conceptualized by PB III to differentiate with Kasunanan Kartasura. The tangguh Surakarta isaccepted as a style of kris which has aform of distinction to the another kingdom: Yogyakarta. Seemingly the aesthetic ofpendhok and Surakarta kris is remained the original post-Kartasura trace but with the authenticity of PB III. The form of Surakarta kris is recognizable by the shape of sheath (warangka), especially ladrang and gayaman, with the hilt of tunggak semi (spring stump). The pendhok form follows the sheath style, and its ornaments mostly signify an adopted art of pre-Islam: Hindu – Budha. As Majapahit diminishes and Islam arose, the kris then shaped in the palace traditions in the hegemony of Islam Kejawen and the king is in the center. Kris culture arranged as a form of synthesis between Old Java of Majapahit with the New Java of Islam Pesisiran (seashore) in the era of Islamic Mataram by Sultan Agung. During the colonialism, the conflict over Mataram authority hadchangedJava, alsomade Surakarta and its kris form producedin different identities through the kris culture and customary fashion in the Palace and then rooted in the Surakarta folk by the mranggi in the outside of Palace.Keywords: pendhok, Mranggi, Ornament, Kris, Folkart, Identity, Surakarta, Java
PHOTO : IDENTITY AND COMMODITY ON SOCIAL MEDIA INSTAGRAM Fitri Murfianti
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (147.375 KB)

Abstract

Many social media sites including instagram allow users to create a profile, upload, and share personal information, photos, music, videos, and other multimedia with their friends or followers’ networks. Photos have the ability to bring the image, so the photo becomes a favorite visual medium that is often used as a way of speaking and communicating among fellow netizens in social media instagram. Instagramer enjoyed such opportunity to make themselves visible to, and heard by, diverse audiences. This study is foccused on how people present their identity through their selected photograph in social media instagram. Drawing from the datas, this research has shown that each individual enter the mediated phase of selfrepresentation. Through the visual image of a photograph, the subject of the photo has their own mind to describe what kind of identity they want. Beside that, the creation of this identity is influenced by the pattern of social relations and interaction of the audience of the photographs. In other words, identity is something formed by society. So that "popular identity" is preferred by the community, a role model to create the identity of the photo owner in social media. Not only for the identity, Selebgram use their identity to get more follower. The number of followers make the best-selling instagram account owner is paid to promote various products, such as cosmetics, fashion, hijab, and gadget.Keywords : Photo, Identity, Dramaturgy, Commodification

Page 1 of 2 | Total Record : 14

 1   2 

Filter by Year

2019 2019


Reset
Filter By Issues
All Issue No 2 (2017)