International Journal of Cultural and Art Studies (IJCAS)
International Journal of Cultural and Art Studies (IJCAS) is an academic, open access, and peer-reviewed journal founded and first published in 2018 by Talenta Publisher & the Faculty of Cultural Sciences, University of Sumatera Utara, Indonesia. Focusing on culture, language, and literature as it is viewed from the Indonesian perspective, IJCAS provides a platform for the presentation, analysis, and criticism of provocative work, publishing articles that transcend disciplines and advance the study of humanities. Topics include culture (Traditional Art & Culture, Tourism), Linguistics (morphology, phonology, semantics, syntax, sociolinguistics, antropolinguistics, psycolinguistics/neurolinguistics, discourse Analysis, translation, clinical Linguistics, forensic linguistics), literature (comparative literature, foreign literature, Indonesian literature), history (foreign history, Indonesian history). Only original research articles and book reviews are accepted. International Journal of Cultural and Art Studies (IJCAS) are published two times per year (in April and October).
Articles
82 Documents
<![CDATA[The Role of Jayengrana in the Golek Rod Puppet Show During Javanese Succession War ]]>
<![CDATA[Septarina, Sri Wahyuning]]>;
<![CDATA[Artayasa, I Nyoman]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 4 No. 2 (2020): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v4i2.3981
<![CDATA[The second Javanese succession war began after Pakubuwono I and the Company won the first Javanese succession war. Jayengrana struggling together with the descendants of the Sultan of Mataram succeeded in making Pakubuwono I. anxious. The second Javanese succession war illustrated the spirit of the struggle of the son of Untung Surapati in fighting for truth and justice. The two problems discussed in this article are to make objective reconstruction of the past. Second, how the influence of Islam on the kingdoms in Java. The author collects and enforces facts to get a conclusion in a scary show. The study method includes qualitative analysis, the historical approach of Karl Marx, and F. Engels's perspective in understanding history as a past event.]]>
<![CDATA[Visual Arts Tourism in Malaysia: A Literature Review ]]>
<![CDATA[SER, ShawHong]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 4 No. 2 (2020): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v4i2.4046
<![CDATA[This article documented the development of visual arts tourism as a new field of Malaysia's tourism. Since the new millennium, the union of visual arts and tourism has been celebrated by the Ministry of Tourism, Arts & Culture as a marketing strategy to promote Malaysia as a top-of-the-mind destination art tourism destination. The research result has shown that currently there are three significant visual arts programs which are known as (1) One Malaysia Contemporary Art Tourism, (2) Art Expo Malaysia, and (3) Kuala Lumpur Biennale has been developed along with the government's strategies for partnership between visual arts, tourism and economic development. It is hoped that this paper will provide insights into an understanding of the tourism industry in Malaysia, particularly for visual arts tourism development.]]>
<![CDATA[Art as Contextual Epistemology: A New Theoretical Perspective on Contemporary Avant-gardism in Africa ]]>
<![CDATA[Akpang, Clement Emeka]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 4 No. 2 (2020): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v4i2.4061
<![CDATA[Art constitutes a framework for the generation of new knowledge that enables a sophisticated understanding of society. It is deconstructivist/interrogative thus leads to the creation of alternative narratives and realities derived from complex visual interpretation of the universe, societies and circumstances. In a cognitivist sense, beyond aesthetic emotions/visual appeal art constitutes an intellectual source of knowledge through in-depth analysis of form, content and context of any given artwork. The paper adopts discourse and iconographic analysis as methodologies to introduce a new uncovered phenomenon of Contemporary Avant-gardism in postcolonial African art based on knowledge generation tailored to enforce change. This is achieved by interrogating the ideologies, methodologies and visual configurations of the works of contemporary African artists such as El Anatsui, Olu Amoda, Brett Murray, Kudzanai Chiurai, Clem Akpang and others. Their works instigate new lines of inquiries/knowledge through a renewed but subtle bohemian approach to artifactuality and interpretation of contemporary Africa. The paper submits that by its evocative/expressive nature, art creates structures of knowledge through subjective and visual dialogues that foster knowing in different ways beyond language. And that in contemporary African art-space this new artistic ethos is deployed as a form of avant-gardism that underpins the rationale of African art created in the continent today.]]>
<![CDATA[The Body As Canvas As Picture: Bodypainting and its Implications for the Model ]]>
<![CDATA[Jerrentrup, Maja Tabea]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 4 No. 2 (2020): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v4i2.4062
<![CDATA[Body painting turns the body into a canvas – this frequently used phrase illustrates the challenge that body painting faces: It uses a three-dimensional surface and has to cope with its irregularities, but also with the model’s abilities, likes and dislikes. After giving an introduction to the art and categorizing its various types and contexts, the article focuses on the European body painting scene and on the role of the model within the scene. Although body painting can be very challenging for her – she has to expose her body and to stand still for a long time while getting transformed – models report that they enjoy the process and the result, even if they are not confident about their own bodies. A reason is that the “double staging“ – becoming a threedimentional work of art and then being staged for a photograph – remotes the body from the model and gives her the chance to see her painted body detached from herself. On the one hand, body painting closely relates to the body, on the other hand, it can help to overcome the body.]]>
<![CDATA[A Semiotics Analysis of the Novel Illustration on Harry Potter and the Prisoner of Azkaban by J.K. Rowling ]]>
<![CDATA[Gistrama, Ionove]]>;
<![CDATA[Prastiwi, Yeny]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 4 No. 2 (2020): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v4i2.4559
<![CDATA[This research aims to study the novel illustration as a sign in Harry Potter and The Prisoner of Azkaban novel by J.K. Rowling (2014). The researcher shows how the illustrations can influence readers by illustrating images, events, colors, and the typography displayed on the novel's cover. This research is qualitative. The data source used is the Harry Potter and The Prisoner of Azkaban novel by J.K. Rowling (2014) UK edition. The data collection technique is from analyzing the novel illustration. The theory used in this study is a semiotic analysis of literature, the course of the sign, meaning, metaphor, and symbolism. The result of this study are as follows: first, the value of novel illustrations. Second, the meaning of color psychology. Third, the reviews about the different edition of Harry Potter and The Prisoner of Azkaban novel.]]>
<![CDATA[Cultural Identity and Aesthetics in Indian Folk Dance Thidambu Nritham: A Performance Outlook ]]>
<![CDATA[Puthumana, Govindan Namboothiri]]>;
<![CDATA[Puthumana, Govindan]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 5 No. 1 (2021): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v5i1.4577
<![CDATA[Thidambu Nritham is an ancient Indian folk dance performed in villages of North Malabar in Kerala state. The performance follows several rules of Natya shastra, and at the same time, has influenced the cultural and social life of Malabar due to the ritualistic nature. According to the background and history, Kolathiri dynasty has introduced Thidambu Nritham as a part of temple rituals, the art form being seven-century old. Thidambu Nritham is deep-rooted in the civilization of north Kerala, as it has close links with agrarian culture and harvests in the region. The elements used for rituals and ceremonies in Thidambu Nritham connect with soil fertility and prayers for an enhanced crop yield. The aesthetics of Thidambu Nritham is related to the colourful decorations of thidambu using flowers and drumming in four rhythms. The culture of temple procession and worshippers joining the celebration could be traced from the prehistoric Indian tradition and heritage.]]>
<![CDATA[The Social Functions of Rumah Gadang of Kinari Village in Modern Society ]]>
<![CDATA[Jingling, Zhang]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 5 No. 1 (2021): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v5i1.4802
<![CDATA[Rumah Gadang is a traditional house for Minangkabau people, the majority of whom live in West Sumatra. In addition to being a place of residence for the matrilineal family, the traditional house and a place of family consultation, places of ceremonies, inheritance of custom values, and representations of matrilineal culture. The paper will analyze the change of the traditional house function and its factors based on 146 traditional Nagari Kinari. The study uses a qualitative approach to identifying and collecting field data through the fieldwork in Nagari Kinari, Solok. The result shows that traditional houses in Kinari have dramatically changed their functions in matrilineal families' homes and educational centres. However, they are still places for important ceremonies and the manifestation of social status. The function in essential ceremonies and social status symbols These changes occur due to social changes, including changes in family structure, economic income, the national education system and personal awareness, and differences in understanding traditional culture.]]>
<![CDATA[The Culture Reproduction In the Charles Dickens’ Novel “Great Expectations†(Pierre-Felix Bourdieu Theory) ]]>
<![CDATA[Nur, Askar]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 5 No. 1 (2021): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v5i1.4866
<![CDATA[This research discusses cultural reproduction in Charles Dickens' novel Great Expectations and aims to discover the process of cultural reproduction in the novel. The researcher used the culture reproduction (habitus and field concept) theory of Pierre-Felix Bourdieu. This research focuses on culture reproduction that occurred in Great Expectations. The data were analyzed using a descriptive qualitative method to identify, describe and analyze the data found in the novel. The researcher used a coding sheet as the instrument to find out the valid data. This research is conducted to answer the problems that concerning how cultural reproduction occurred in the novel. According to Bourdieu, the findings show that some phenomena supported the process of cultural reproduction, as following the phenomena of cultural reproduction in the old and new culture based on habitus and field concept and its dialectical relation. The researcher concludes that the dialectical relation between old and new habitus, the old and new arena (field) or between unwillingness to return to old life and unwillingness to live in new life makes Pip get into a new phase of life by bringing his old culture and current culture.]]>
<![CDATA[Music Pa'baeng: The Rainmaking Ritual of the Pariopo Tribe in Bantal Village, Situbondo Regency, East Java ]]>
<![CDATA[Baidhowi, Ahmad]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 5 No. 1 (2021): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v5i1.5343
<![CDATA[Pa'beng music is accompaniment music in Hodo ritual known as rain request ritual in Pariopo Tribe. Rituals that still run every year for the survival of ancestors since hundreds of years ago. The ritual is carried out at the peak of the drought arrives hoping that the rains fall so that the resulting harvest is abundant. Despite its development, this ritual changes and develops in line with the changing times. Nowadays, Pa'beng music develops and began to be known by the public with entertainment music without eliminating its authenticity. The art community of Bantal Village elevates Pa'beng music into entertainment music so that Pa'beng music can be known by the public and maintained its sustainability. The purpose of this research is to examine the history of Pa'beng music ranging from music as an accompaniment to the traditional ceremony of Hodo rituals until now into entertainment music. This research focused on the history of Pa'beng music in the changing times and the change of music function itself. This research uses the qualitative method to describe Pa'beng Music's background as a Hodo ritual accompaniment to produce descriptive data. Descriptive data is in the form of words and actions, therefore requiring methods that allow researchers to capture language and behavior. The data covers interviews, photography, videos, personal documents, and other official recordings.]]>
<![CDATA[Study of Symbolic Meaning in Tuban Traditional Art Sandur Ronggo Budoyo ]]>
<![CDATA[Umazah, Aulina]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 5 No. 1 (2021): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v5i1.5345
<![CDATA[Traditional theatrical performance art is a valuable cultural asset in every region. Various performances of modern art have eroded traditional art into blurred and even invisible. The current globalization makes the existence of traditional art lose its true symbolic meaning because artists or artists prefer to follow the market in the process of cultivation. The traditional art of Sandur that still survives by prioritizing grip and symbolic things is the art of Sandur Ronggo Budoyo hamlet, Randu Pokak village, Prunggahan Kulon district, and Semanding Tuban district. The author is interested in researching this because some aesthetic things are studied from the symbolic study of the art of Sandur Ronggo Budoyo. This research uses a qualitative method with a case study approach—descriptive data analysis techniques with data reduction stages, data presentation, and inference. The informants in this study were government, community leaders, traditional art practitioners, and Sandur artists.]]>
