cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
pramesti
Contact Email
pramesti@isi-ska.ac.id
Phone
+6281233916226
Journal Mail Official
bambangsunarto@isi-ska.ac.id
Editorial Address
Pascasarjana ISI Surakarta Jl. Ki Hadjar Dewantara 19 Surakarta 57126
Location
Kota surakarta,
Jawa tengah
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 281 Documents
 25   26   27   28   29 
Mythology as the guardian of the authenticity of the angkola Tor-tor dance in traditional wedding ceremonies in the modern era Ramdiana Ramdiana; Novysa Basri; Tengku Hartati; Raihana Salsabila Dalimunte
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.v20i2.7811

Abstract

This study explores the role of mythology in maintaining the authenticity of the Angkola Tor-tor Dance in contemporary wedding traditions. By examining the phenomena of cultural commodification, simplification of movements, and the use of digital media that can obscure the meaning of rituals, this study explores how mythological narratives, ancestral symbols, and ceremonial structures serve as normative references and sources of legitimacy for these practices. This study applies a qualitative methodology using cultural mythology and ethnochoreology. The methods used include literature review, participant observation in several Angkola wedding ceremonies, and in-depth interviews with traditional leaders and artists. The research findings reveal that mythology, particularly the story of the origins of the Angkola Tor-tor, the relationship between humans and ancestral spirits, and the value of respect for the clan, serves as a framework of meaning that maintains consistency between form (movement, costume, formation) and function (prayer, respect, social cohesion). In the context of modernization, innovation is still permitted as long as it does not violate the main mythological principles: the order of presentation, the ethics of family interactions, and the symbolic meaning of attributes. Performance curation provides an understanding of the ritual context, and the use of digital media to document accurate interpretations. The implications of this research emphasize that the power of mythology is not only about the romanticism of the past, but also a flexible cultural capital to negotiate the identity, customary authority, and aesthetic sustainability of Tor-tor Angkola in the current cultural context.
Montage experimentation as pedagogical strategy: a practice-led and artistic research study of student films in Bandung, Indonesia Erik Muhammad Pauhrizi; Hery Supiarza; Dedi Warsana; Erika Ernawan; Danendra Alfathadiningrat
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.v20i2.7735

Abstract

Film education in Indonesia, often prioritizing industry goals, forcing students to adapt to industry targets and serve the economic gains over artistic achievement. As Indonesian Film and Television Study Program Association (PROSFISI) stated, this industry-oriented view correlates to students who merely consume foreign film entertainment, causing them to become less active, creative, and connected to Indonesian culture and identity. An approach like this breeds a lack of critical thinking and a limited artistic imagination with montage as a contextual device. The purpose of this study is to demonstrate that recreate montage in filmmaking education in Indonesia is an opportunity to renew freedom, cultural address, and critique. Through Practice-Led and Artistic Research, the research was conducted in the Film Study Program Bandung, analyzed the application of montage theories by Eisenstein, Pudovkin and Vertov, on student films. Findings suggest that narrative and symbolic montage facilitated deeper meaning around local topics and more straightforward and emotionally resonant narratives. Through a consideration of social-cultural issues the study shows the power of the montage as both an artistic and research tool. This study argues that the curriculum should approach film as a tool that promotes experimentation integrating montage and local culture to deepen student” understanding of film beyond its commodified nature.
Puzzle-based learning media design for early childhood spice introduction to support cultural education Andin Rahmani; Nurul Fitriana Bahri
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v21i1.6751

Abstract

This study aims to design a puzzle-based educational toy for introducing Indonesian spices to early childhood learners as an effort to support cultural education and preserve local knowledge. The study was conducted at Cihaurgeulis Early Childhood Education Center, Bandung, involving children aged 4–6 years and four teachers. A Qualitative and Development Research (Q&D) approach was employed using observations, interviews, thematic analysis, and the ADDIE instructional design model up to the development stage. The analysis revealed that children showed strong interest in puzzle-based learning activities, yet their knowledge of Indonesian spices was limited, with most children recognizing only one or two spice types. Based on these findings, a puzzle-based learning medium was designed, consisting of spice-themed puzzle pieces, flashcards, magnetic learning cards, and authentic spice samples integrated into a contextual learning framework. The design was developed according to the cognitive characteristics of children in the intuitive thinking stage, emphasizing concrete, visual, and hands-on learning experiences. Initial prototype trials and teacher evaluations indicated that the learning media were appropriate for classroom implementation and supported children’s engagement in learning activities related to Indonesian spice heritage. The study suggests that culturally integrated puzzle-based learning media can serve as an innovative educational tool for introducing Indonesian spices while supporting contextual and culture-based learning in early childhood education.
“God or Idol?” Research exploration of AI idolization awareness in poster design Andreas James Darmawan; Sugiyanto Sugiyanto; Putri Karin Cinthya; Sitinjak Eunike Yolanda Zefanya
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v1i21.7759

Abstract

This study aims to explore how poster design can be utilized as a medium for critical reflection on the relationship between humans and artificial intelligence (AI). Using a research-through-design approach, the study developed and compared two poster concepts: a collaborative human–AI poster and a provocative AI-idolization poster. The design process began with the creation of a poster intended to convey a message about the respective positions of humans and AI. A knowledge-tree theme was selected to represent harmony between organic and technological elements. The poster depicts humans and AI sitting side by side beneath a tree with circuit-shaped roots, symbolizing synergy and connectedness. However, despite being aesthetically appealing and communicative, this visual model relies on a widely used metaphor, potentially resulting in a weak awareness effect because audiences are already accustomed to similar representations. As an alternative, a second approach was developed through a provocative poster that combines a religious figure with robotic elements to represent AI as a modern idol. This unconventional visual creates a sense of shock and prompts audiences to reconsider the position of AI, questioning whether it should be perceived as a collaborative partner or excessively glorified. Using a qualitative descriptive approach, the results indicate that the AI-goddess poster is more effective in stimulating critical awareness than the knowledge-tree poster. Through visual rhetoric and semiotic analysis, the findings suggest that unconventional visual metaphors have greater potential to stimulate critical reflection on the position of AI in contemporary society.
Negotiating the screen: Indonesian audience reception of AI virtual characters and its implications for film marketing communication Chatarina Heny Dwi Surwati; Eka Nada Shofa Alkhajar; Tanti Hermawati; Laurence Lingat Ramos
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v1i21.7829

Abstract

This study examines how Indonesian film audiences receive virtual characters built with artificial intelligence (AI), and it asks what that reception implies for film marketing communication. Screen culture, in this article, refers to the shared viewing habits, tastes, and meaning-making practices through which audiences engage with moving images. The objectives are to map the patterns of audience reception, to explain how cultural background mediates the meaning audiences assign to virtual characters, and to translate those patterns into specific implications for marketing. Data were gathered through an online survey of 36 purposively selected respondents who are students, alumni, and practitioners in communication and film, so the design is exploratory rather than representative of the national audience. Analysis combined descriptive statistics with thematic coding of open-ended answers. The results reveal a consistent pattern of negotiated reception. Familiarity with computer-generated imagery is high, yet concern about losing acting authenticity (80.6%) and reducing actor employment (69.4%) remains pronounced, and most respondents accept virtual characters only for certain roles (77.8%). Audiences also prefer characters that look openly artificial (52.8%) over near-human ones, a preference that reads as a way of avoiding uncanny valley discomfort. Read through Hall's encoding and decoding model and Mori's uncanny valley, these findings extend reception theory to AI character reception in a non-Western screen culture, and they direct marketing toward genre-calibrated, transparency-led positioning rather than technology-centred promotion.
Transforming traditional Kerinci carving motifs into creative products: a qualitative study of cultural transmission and heritage sustainability Nofrial Nofrial; Yuliarni Yuliarni; Ferawati Ferawati; Widdiyanti Widdiyanti
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v1i21.8111

Abstract

This study analyzes the transformation of traditional Kerinci carving motifs into creative products as an entry point for cultural heritage revitalization within a heritage based creative economy framework. It examines motif transformation as a multi level process linking changes in cultural knowledge, design adaptation, and cultural ecosystem revitalization. Using a qualitative case study approach, data were collected through semi-structured interviews, observation, visual documentation, and literature review in Kerinci Regency and Sungai Penuh City, involving 25 purposively and snowball-selected informants. Data were analyzed through open coding, constant comparison, and thematic interpretation based on heritage revitalization, cultural sustainability, and the heritage-based creative economy. Results indicate that transformation is driven not only by design innovation but also by weakening intergenerational knowledge transmission, shifting motifs from cultural meaning systems into fragmented visual resources. Motif adaptation remains non-standardized and highly dependent on individual initiatives. The study proposes a five-stage revitalization model linking documentation, design transformation, product innovation, artisan regeneration, and pentahelix ecosystem strengthening for cultural sustainability.
Musical coexistence of gendhing gati mardawa in the accompaniment of bedhaya sang amurwabumi dance Raden Mas Surtihadi; Bayu Wijayanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v21i1.7257

Abstract

This study discusses the musical coexistence in Gendhing Gati Mardawa as an accompaniment to the Bedhaya Sang AmurwabumiDance, by highlighting how the musical construction of Javanese tradition negotiates with the aesthetic context, history, and cultural representation in the contemporary era. This study uses a qualitative method with a case study approach, the research analysis combines three main perspective lenses: postcolonial, hybridity, and musicology. Through a postcolonial perspective, this study examines how traces of power discourse, palace cosmology, and Javanese cultural narratives are rearticulated through the structure of the gendhing. The hybridity perspective is used to examine the mixture of traditional musical elements, such as the balungan pattern, the accompaniment work, and the relationship of the gendhing structure with the aesthetic needs of palace performances, resulting in a musical form that is not entirely traditional but still maintains its cultural legitimacy. Meanwhile, the musicological perspective provides a foundation for reading the relationship between musical structure, ritualistic function, and the embodied experience of gamelan musicians, musicians, and dancers. The results of this study indicate that Gendhing Gati Mardawa displays a coexistence between the harmony of gamelan instruments and European musical instruments, never in harmony, in the accompaniment to the Bedhaya Sang Amurwabumi Dance. This coexistence not only enriches the aesthetic experience but also offers new insights into how the karawitan tradition transforms through a dialogue between cultural continuity and contemporary artistic demands. This research contributes to the study of dance accompaniment music, demonstrating that musical hybridity should not be understood as deviation, but rather as an adaptive expression that maintains cultural relevance in the context of court performances.
The characteristics of topeng klana udeng dance movements in tambi style using laban analysis Farah Nurul Azizah; Nunung Nurasih; Desya Noviansya Suherman
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v21i1.7933

Abstract

While previous studies on Indramayu mask dance have predominantly focused on visual fine arts or the Pekandanganstyle, empirical research systematically decoding the kinetic movement vocabulary of the Tambi style remains limited. To address this research gap, this study examines the movement characteristics of the Klana Udeng Mask Dance (Tambistyle) using an ethnographic framework integrated with an ethnochoreological approach and Laban Movement Analysis (LMA). Fieldwork was conducted through multi-angle video documentation, in-depth interviews with key practitioners, and Laban notation transcription. LMA findings reveal that the Tambi style is kinetically defined by a locked torso, wide open stance (pasang baplang), and sharp level variations, driven by an Effort combination dominated by direct space, strong weight, sudden time, and bound flow. These dynamic qualities generate assertive spatial Shapes and aggressive, martial-inspired (pencak silat) movement patterns that symbolize the authoritative and heroic nature of the Klana figure. The novelty of this research lies in providing the first standardized, count-scaled Laban notation and empirical Effort-Shape baseline for the Tambi stylistic tradition. Scientifically, this study demonstrates a replicable methodology bridging qualitative dance ethnography with formal choreological analysis. Practically, these findings offer a technical framework for curriculum standardization in local arts sanggars, cultural policy formulation, and Intellectual Property Rights (HKI) preservation for Indramayu’s intangible cultural heritage  
Artificial intelligence-based innovation of batik motif design in Indonesia and Malaysia: a cross-cultural collaborative approach for sustainable cultural preservation Adlien Fadlia; Farid Abdullah; Ahamad Tarmizi Azizan; Aneeza Mohd Adnan
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v21i1.8047

Abstract

This study documents and analyses a practice-based collaboration in which Indonesian and Malaysian designers used generative artificial intelligence (AI) to synthesise shared batik motifs, and examines how faithfully the source motifs survived that process. Adopting a practice-based / research through-design approach, the study brought together practitioner researchers from three Indonesian and two Malaysian institutions. Six iconic source motifs Parang, Truntum, and Mega Mendung (Indonesia) and Bunga Kerak Nasi, Pucuk Rebung, and the Tiger Orchid motif (Malaysia) were combined through a structured prompt protocol using two text to image platforms (Midjourney and Bing Image Creator) and refined in Adobe Illustrator. The resulting nine motif outputs and two garment visualisations were assessed through iconographic visual analysis and collaborative expert appraisal across four dimensions: cultural fidelity, cultural distortion, design innovation, and design-stage resource efficiency. The analysis shows that generative AI was effective for ideation and cross tradition synthesis but unreliable for fidelity. Only the discrete, radially repeatable Truntum was reproduced with high fidelity, whereas the directional, field-organising geometric motifs Parang and Pucuk Rebung were the least faithful; because this weakness appeared in motifs from both traditions, it reflects a structural limitation of the technology rather than a national bias. Colour was the least controllable parameter, and culturally faithful results emerged only through a human corrective stage, positioning AI as a partner in human AI co-production. The study contributes a replicable cross-national workflow, an analytical mapping of motif fidelity, and a reframing of the two traditions from contested ownership toward shared authorship.  
Deconstruction of iconic characters: binary opposition and différance in the visual-narrative design of Darth Vader, Naruto, and Mario Ahmad Faisal Choiril Anam Fathoni; Ercilia Rini Octavia; Cahyono Budi Santosa
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v21i1.8357

Abstract

Character design plays a crucial role in visual narrative effectiveness and emotional connection with audiences, yet existing scholarship privileges visual-narrative coherence over the role of contradiction in shaping emotional resonance. This study asks how Derridean mechanisms, binary opposition and différance, operate within iconic character design to generate interpretive depth. It employs a qualitative multiple-case design analyzing three purposively selected characters: Darth Vader, Naruto Uzumaki, and Super Mario. Selection followed three operational criteria: documented global iconicity, representation of three distinct visual traditions (Hollywood cinema, Japanese anime, and Japanese video games), and contrasting modes of iconization (tragic-antagonistic, heroic-developmental, and functional-iconic). Each case was analyzed through a four-stage deconstructive procedure—identification of the privileged binary, contradictory close reading, exposure of the moment of différance, and synthesis of layered meaning—applied to two defined units of analysis: visual units (silhouette, color, costume, facial configuration, movement, and symbolic marker) and narrative units (scene, action, transformation, and symbolic reversal). Interpretive claims were validated by returning each reading to its primary text, by cross-case pattern testing, and by author consensus. The analysis finds that resonance is generated not by design harmony but by sustained tension between visual meaning and narrative subversion, with each character organized around a distinct collapsing hierarchy: power/weakness, recognition/alienation, and complexity/simplicity. The study contributes an operational deconstructive procedure for visual-narrative research, reframes visual contradiction as a designed resource rather than a flaw, and extends deconstructive analysis across three cultural production contexts. As a textual analysis, it describes interpretive potential inscribed in the design and makes no claim about measured audience response; empirical reception testing remains a task for subsequent research.  

Page 28 of 29 | Total Record : 281

 25   26   27   28   29 

Filter by Year

2008 2026


Reset
Filter By Issues
All Issue Vol. 21 No. 1 (2026) Vol. 20 No. 2 (2025) Vol. 20 No. 1 (2025) Vol. 19 No. 2 (2024) Vol. 19 No. 1 (2024) Vol. 18 No. 2 (2023) Vol 18, No 1 (2023) Vol. 18 No. 1 (2023) Vol 17, No 2 (2022) Vol 17, No 1 (2022) Vol 16, No 2 (2021) Vol 16, No 1 (2021) Vol 15, No 2 (2020) Vol 15, No 1 (2020) Vol 14, No 2 (2019) Vol 14, No 1 (2019) Vol 13, No 2 (2018) Vol 13, No 1 (2018) Vol 12, No 2 (2017) Vol 12, No 1 (2017) Vol 11, No 2 (2016) Vol 10, No 1 (2015) Vol 8, No 3 (2013) Vol 8, No 2 (2013) Vol 8, No 1 (2012) Vol 7, No 3 (2012) Vol 7, No 2 (2011) Vol 7, No 1 (2011) Vol 6, No 3 (2010) Vol 6, No 2 (2010) Vol 6, No 1 (2009) Vol 5, No 3 (2009) Vol 5, No 2 (2008) More Issue