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INDONESIA
Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni
Published by Institut Seni Indonesia Surakarta
ISSN : 14124181     EISSN : 2685287X     DOI : 10.33153
Core Subject : Education, Art,
Arts Education Languange, Linguistic, Communication & Media Other
International Journal of Visual and Performing Arts draws its contributions from academics and practitioner-researchers at the interface of new visual and performing arts. It acts as a forum for critical scholarship, innovative practice, and creative pedagogy, addressing themes that may be domain-specific (e.g. theatre, dance, music, live art, visual arts) or situated at the convergence of two or more disciplines. The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to visual and performing arts. It encourages debate and cross-disciplinary exchange across a broad range of approaches. The spectrum of topics includes Ethnomusicology, Karawitanology, Music Education, Dance Theatre, Movie and Television, Interior Design, Industrial Design, Media Arts, Fine Arts, Photography. These topics are addressed in full-length academic articles, critical statements on current issues, developmental practice, and reviews of books and live/media-based visual and performing arts. The journal presents an innovative platform for researchers, students, practitioners and educators to both learn from and contribute to the field. All articles are subject to initial Editor screening and then a rigorous double-blind peer-review process before publication.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 271 Documents
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Coexistence of particularity in the universality of musical sensation Jatmika, Ovan Bagus
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5980

Abstract

This research is motivated by the debate about the issue of the universality of music. The question to be answered is, at what level does this aspect of musical universality emerge? This question is asked because, at a material level, it is clear that every piece of music is different and cannot be said to be the same, but at the same time, people tend to be able to enjoy music even if they don’t know the type or language of the music they are listening to, intuitively, unlike verbal language. Efforts to answer these questions bring this research under the qualitative umbrella with a phenomenological approach. In the context of this research, the issue of music is examined through the experience of musical sensations and reviewed using Deleuze’s theory of sensation. Data on musical sensation experiences was collected by conducting semi-structured interviews with five musicians from different genres, namely classical, jazz, pop, experimental and traditional. The research results show that the universality aspect of music is at the level of sensation, not sound material. In this case, sensation is only possible through empirical experience when people intensifically encounter sound material. This also shows that the term musical universality is not merely a metaphorical expression, but rather explains the existence of a coexistence relationship between musical material and sensation. So this finding can contribute to the need for the musician to think about performance strategies if they want to produce a universal sensation experience.
Integrating Pancasila philosophy into arts education curriculum design Hadi, Sumasno; Rachmat , Rachmat; Sulisno, Sulisno
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5986

Abstract

When national education policy in Indonesia first included art as a content of the formal learning curriculum, art learning in schools has generally underwent many developments. The dynamics of its development also raise conceptual and practical issues, one of which is about the basic paradigm of art education in higher education (universities) that prepare art teachers in public schools. This research aims to find the educational philosophy that underlies and emphasizes the concept of art education in Indonesia so that it can guide the formulation of the curriculum content of art lessons in schools. This research uses the hermeneutic-philosophical method through three steps: finding and describing concepts, systematizing concepts, and then testing the level of explanation of the resulting concept system. Based on the results of the research, it is known that the philosophy of art education in Indonesia refers to the cultural values of the Indonesian nation formulated in the philosophy of Pancasila and the opening of the 1945 Constitution. The paradigm of art education in Indonesia must also be based on the philosophical concepts of Pancasila. The implication is that the concepts of formal art education in Indonesia, which include goals, curriculum content, students and educators, as well as the socio-cultural environment, must integrate the values of Pancasila.
Rate' Singing: Religious humming as a marker of cultural identity in Makassar’s life cycle rituals Khaeruddin, Khaeruddin; Rachmat, Rachmat
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5992

Abstract

This research on traditional arts related to religion or belief aims to uncover the life cycle flow of the Makassarese people through Rate's singing. The specific objectives of this research are to answer the following questions: (1) What is the function of Rate' singing? (2) Why is Rate's singing currently rarely performed in Makassar ethnic communities? (3) How can the regeneration of Rate's singing be achieved? This ethnographic qualitative research employs various data collection methods, including observation, interviews, and document studies. The research was conducted in Makassar and Gowa cities. The results indicate the following: (1) The function of Rate' in the Makassarese community is primarily as a medium for prayer, an invitation for good fortune, a rejection of bad luck, a confirmation of customary procedures, and a means of ethical education for the next generation. Rate' singing in sacred Makassarese activities aims to bring people closer to God; (2) The period of turmoil in Sulawesi, starting with the arrival of Japan and followed by the struggle for Indonesian independence, influenced the continuity of traditional art in South Sulawesi, particularly Makassarese art. After the security in South Sulawesi gradually recovered, the community began to focus on improving their welfare, viewing cultural arts, especially traditional ceremonies, as wasteful and non-materially beneficial; (3) Rate' singing faced near extinction as the nobility, or karaeng descendants, began to lose their traditional culture. The remaining Pa'Rate' are few and elderly, with no successors to inherit their knowledge. As a form of literature, the traditional way of conveying Rate' is known only to older generations. The transmission of ma'Rate's skills is conducted within the Parate family itself.
A new role in a new world: when an Osing traditional musicians become a teachers Karsono, Karsono
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.6021

Abstract

Global socio-cultural changes have significantly impacted traditional cultural life in various regions. In Banyuwangi, East Java, global cultural changes have influenced the lifestyle of the Osing community, the indigenous people of Banyuwangi. One of the cultural changes among the Osing is the shift in economic systems from agrarian-maritime to industrial. This change has eroded the socio-cultural space of traditional performing arts. The situation has led traditional artists, especially Osing traditional musicians, to face an existential crisis regarding their roles and functions. Traditional art performances, particularly traditional music, which used to be their space for expression in society, are now rare. This has led to a reduction in the intensity and frequency of work for Osing traditional musicians. This research aims to demonstrate and explain the new role of Osing traditional musicians in preserving and reaffirming their existence through their roles as music teachers in formal schools. The study adopts an ethnomusicological approach using observation, interviews, and documentation methods. Ethnographic analysis of the data indicates that the new role of Osing traditional musicians as music teachers in formal schools has emerged due to the limited role they play in traditional performances. In such circumstances, a paradoxical situation arises. On one hand, industrialization weakens traditional arts, leading to an existential crisis for musicians as stage performers. On the other hand, the government's awareness of the need to preserve cultural identity in the global arena requires strengthening cultural heritage through education, which cannot solely rely on formal school teachers. This is where Osing traditional musicians seize the opportunity to take on roles as teachers in formal schools. As a result, the role of traditional musicians remains relevant, and the inheritance of Osing traditional music culture is preserved and sustainable.
The existence of Indonesian local performing arts in the digital era: a quantitative content analysis of trending tik tok videos Zandra, Rully Aprilia; Hidayatullah, Hengki Tri
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6131

Abstract

In the digital age, local Indonesian performing arts face both challenges and opportunities in terms of visibility and preservation. This research aims to analyze the characteristics of trending local Indonesian performing arts videos on the TikTok platform and to understand their demographics. The study employs a quantitative content analysis method to examine the representation and popularity of local Indonesian performing arts in trending TikTok videos. A sample of TikTok videos showcasing local dance, music, and theater from various regions of Indonesia was analyzed for themes and engagement metrics. The findings reveal that (1) Generation Z is the dominant force shaping the digital stage on TikTok, (2) performing arts creators are predominantly female, (3) local dance accompanied by a blend of traditional and modern music is a key strategy for high engagement on TikTok, (4) costumes have minimal impact on video engagement, (5) standard shooting and tilting are the most commonly used video styles, and (6) popular performing arts demographics are primarily from Java (West Java, East Java, and Yogyakarta). This research underscores the role of TikTok in revitalizing and disseminating local Indonesian performing arts while highlighting the implications for cultural preservation and audience engagement in the digital era.
Commodification and authenticity: a paradoxical paradigm of older and younger generations on the preservation of mask art in Bobung Yogyakarta Subiyantoro, Slamet; Wijaya, Yasin Surya; Kristiani, Kristiani; Maryono, Dwi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6255

Abstract

This study aims to examine the paradigms of the younger and older generations regarding the commodification process of mask art in Bobung, Yogyakarta. The research was conducted through a descriptive qualitative approach with a multiple case study design. Data sources included informants, locations, events, and documents/archives collected through in-depth interviews, participatory observation, and content analysis. Data validity was tested using triangulation techniques and informant reviews. Interactive data analysis techniques were employed, involving data reduction, data display, and verification stages. The study findings indicate that the older and younger generations have different perspectives on the preservation and inheritance of mask art in Bobung, Yogyakarta. The older generation believes that the effective preservation of mask art should not alter the cultural order inherited from ancestors over generations. The younger generation, on the other hand, views successful preservation of mask art as needing to adapt to the developments and demands of the times, thus requiring a commodification process. The opposing paradigms, both in practice and theory, can serve as references and foundations for society, academics, practitioners, and the government on how to preserve cultural arts in an ideal and sustainable manner.
Integrating generative artificial intelligence into Bakaran Batik: effects on design and workflow efficiency Ardhianto, Peter; Susanto , Felicia Regina; Mulyanto, Vinke Almeyda
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6316

Abstract

Artificial intelligence (AI) has been used in the development of design motifs for Bakaran Batik. This study investigates the methodological gaps in the production process, especially in the early stages of motif design, where traditional methods require a long time to design motifs, making them ineffective for clients with high demand and limited time. Qualitative methodology was used to collect data from two cross-generation batik companies. The data collection process included interviews, observations conducted before and after the application of AI, and literature analysis. Since 2023, AI technology for motif design has been applied in the Bakaran batik industry. AI generative motif design simplifies the batik pattern design process, allowing for a more measurable production process in terms of batik production time. The findings show a significant reduction in the time required for design and an increase in motif diversity. Batik artisans in Bakaran responded positively to the use of AI because it showed an increase in motif diversity and did not replace labor-intensive labor. However, the use of AI machines in motif design is less appropriate for certain clients who prioritize the motif design process through local wisdom such as fasting rituals, meditation or special inspiration from their batik makers. The use of AI has an impact on the Bakaran Batik industry including the potential for the growth of an innovative and sustainable economic system for its craftsmen considering the rarity of the younger generation who are engaged in the batik industry in Bakaran. The integration of AI in the motif creation process allows the batik business to preserve heritage motifs while increasing work productivity and overcoming creative challenges during motif design. This initiative ensures the long-term survival and expansion of Bakaran batik in the digital era.
Content analysis of different types of nirmana teaching videos and the viewers’ perception Ardianto, Deny Tri; Wicaksono, Arif Ranu; Mataram, Sayid; Widayat, Rahmanu; Yuda, Jotika Purnama
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6468

Abstract

Nirmana is a mandatory basic competency for academic artists. Strengthening the basics of Nirmana is compulsory so that fine artists and designers maintain their bargaining position in society. One of the rising media to learn Nirmana is teaching videos available on online platforms such as YouTube. With the many types and styles of Nirmana learning videos available on YouTube, a study to analyze which type of videos are effective in learning Nirmana is needed. This study uses content analysis to classify videos that convey information about Nirmana into four groups: live demonstration videos, animated videos, conventional lecture videos, and tutorials (Step-by-step). To determine the video's effectiveness, the responses from viewers were analyzed using a pragmatic approach. From the analysis results, teaching videos in the form of live demonstrations, animations, and tutorials proved to be the most effective in assisting viewers to learn about Nirmana. Videos with these concepts can convey information in an engaging, clear, and visually understandable way, thus improving student understanding more effectively. Integrating the appropriate teaching videos into the Nirmana curriculum, such as live demonstrations for practical projects and animated videos or tutorials or theory, can help students understand Nirmana better.
The meaning of the dulang dance movement as a traditional dance in traditional ceremonies in Langkat Regency, North Sumatra, Indonesia Fitri, Aida; Basri, Novysa; Ramdiana , Ramdiana; Aiman, Umul; Saputra , Rudy Juli; Hidayani, Novita; Rahmad , Rizki; Wahyudi , Wahyudi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6581

Abstract

The purpose of this study is to explore the meaning of the Dulang Dance. In this study, the method chosen is a qualitative descriptive method. The data collection process was carried out through observation, conversation, and document recording, aiming to explore the significance of the implied meaning in the Dulang Dance movements. This qualitative research is able to provide insight into the meaning contained in the Dulang Dance in Langkat. The findings of the study revealed that in the sembah movement when greeting the host of the event, each movement has its own symbolic value. Such as the contour of the sembah movement following the direction of the wind, and the low horse stance position that represents stability. In addition, the sitting position is similar to the tahyad prayer, but with the legs more open and not overlapping, expressing deep respect. The gentle movements in the martial art of silat, still contain strength and spirit, while the steps on the plate and the jumps onto the dulang have deep philosophical meanings. All of this symbolizes an expression of gratitude to the Creator, respect for respected individuals, as well as the values ​​of simplicity, humility, and respect for religion. The implication of the greeting to the steps on the stage, Dulang Dance expresses gratitude to Allah SWT while respecting the King or leader. For the future, the young generation can preserve the meaning of Dulang Dance.
Didong music form as a representation of Gayo community cultural identity: a synthetic ethnographic approach Albayan , Amris; Sunarto, Bambang; Soewarlan , Santosa; Mistortoify , Zulkarnain
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 20 No. 2 (2025)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v20i2.6512

Abstract

This study aims to analyze Didong music form as a of cultural identity among the Gayo people of Aceh, by analyzing its instruments, melodies, rhythms, and poetry. This study employs ethnomusicology using the kualitatif etnografis method, gathering data through observation, documentation, and wawancara. The main subjects of the study are Didong and traditional figures involved in preserving Gayo cultural arts. Analysis is carried out through transcription, terbuka pengkodean, penafsiran, and cultural and musical interpretation. According to the study's findings, traditional instruments like the bantal didong and the telapak tangan (palm) create a khas rhythm that serves as the rhythms foundation for syair. Melodi didong, which employs guk, tok, gelduk, and sarik vocal techniques, conveys a strong emotional expression and creates a unique musical style. Through several beat marker rhythms such as tepok tulu, tepok bantal, tingkah pumu, tingkah bantal, and geretek enhance the character of Didong rhythms. Meanwhile, Gayo-language poetry contains cultural values, social criticism, and collective symbols of the Gayo community. These elements show that Didong music serves as both an aesthetic expression and a cultural identity for the Gayo people. This study highlights the importance of integrating music and culture analysis and creating an interdisciplinary research space on music as a social and ideological phenomenon.

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