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International Journal of Visual and Performing Arts
Published by Association for Scientific Computing Electronics and Engineering
ISSN : -     EISSN : 26849259     DOI : https://dx.doi.org/10.31763/viperarts
Core Subject : Humanities, Education, Art,
Arts Humanities Education
nternational 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 study, 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.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
 1 
Search results for , issue "Vol 1, No 1 (2019)" : 5 Documents clear
Nengsemaken in Surakarta Karaton Karawitan Performance Joko Daryanto
International Journal of Visual and Performing Arts Vol 1, No 1 (2019)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.7

Abstract

The Surakarta Karaton Karawitan which has lived and developed for centuries in the Javanese culture and its distribution leaves many questions, especially those related to the aesthetic concept of the Surakarta Karaton karawitan. The description of the Surakarta Karaton Karawitan musical concept as a reference for the Surakarta community has not been widely revealed. This article aims to reveal and describe one of the aesthetic concepts of the Surakarta Karaton Karawitan, namely the concept of nengsemaken. The paradigm of text and context is used to see the Surakarta Karaton Karawitan events as readable sentences or texts. Texts or sentences have tendency with certain meanings that show certain thoughts that ultimately produce meaning. The concept of interpretation of Clifford Geertz was used to read and interpret musical events in the Surakarta Karaton. From the study conducted, nengsemaken was interpreted as tan sora swarané, rempek rampak kabèh mung jinawil, and sajanturing ringgit.
The Phenomenon of Urban Culture in Film Dendang Bantilang Damar Tri Afrianto
International Journal of Visual and Performing Arts Vol 1, No 1 (2019)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.14

Abstract

Film titled Dendang Bantilang Director M. Ikhwan is one of the films that focus on cultural issues primarily in Bulukumba Regency. As a work of film, in addition to serving an aesthetic spectacle, but also showing the reality of the existence of a legend that is in the middle of a Pinisi of the current global era. This film does not only show the existence of pinisi at present, but show how urban culture contestation takes place in Bulukumba contextually. This is why the concern of this research leads to aspects of urban culture in the phenomenon in the film Dendang Bantilang. Through the method of semiotics Roland Barthes, this research found several realities behind their urban phenomenon in Bulukumba, among them: 1) the ceased of the chain of inheritance skills in the community of Bulukumba in making the pinisi ship as the main livelihood, 2) The fascination of work outside the village especially in Malaysia, and 3) The work of making Pinisi ship with a long process has an impact on the cost of wages that received late because wait for the completion of the shipbuilding. The results of the research showing the film Dendang Bantilang can be a reflection of contemplation that maintaining and harmonizing pinisi culture requires a strong and high awareness effort. Pinisi is the ancestral heritage of Indonesian culture both in form and knowledge, not to improve the flow of urban culture accompanied by the extinction of knowledge and skills about Pinisi.
Sari Oneng Parakansalak Gamelan Tuning System and Its Comparison with Machjar’s Theory Ega Fausta
International Journal of Visual and Performing Arts Vol 1, No 1 (2019)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.6

Abstract

The research of measuring laras of Sari Oneng Parakansalak gamelan uses convergent parallel mixed methods. It attempts to find out the interval arrangement, which forms a scheme called laras system. This research give a provides clues about the existence of pelog gamelan in Sunda which is still debated until nowadays, which becomes the main reason why the writer is interested to measure the laras of Sari Oneng Parakansalak gamelan. In this research, laras theory of R.M.A. Koesoemadinata is used as the comparison to investigate what kind of laras is the laras scheme resulted from Sari Oneng Parakansalak gamelan’s interval arrangement. The result of this research is in form of persentation numbers which reveals the similarity between laras system of Sari Oneng Parakansalak gamelan and laras theory of R.M.A. Koesoemadinata. Besides giving a conclusion about the conformity between laras theory of R.M.A. Koesoemadinata and the fact found in the field, this research also informs about Sundanese pélog gamelan, which its existence is still hesitated/questioned by some Sundanese society. This study uses Da Tuner Lite which is validated with Korg Orchestral Tuner (OT-12) as the measuring instrument. The data of each waditra and the average of whole measured waditra are used to analyze the data of measurement result. From those two techniques, it can be detected that there are some waditra which are inappropriate to be used as samples. Therefore, the result of this study is taken from three waditra saron which indicates that Sari Oneng Parakansalak gamelan tends to have laras pélog djawar with its 87,19% of similarity. That result can also reveal that pélog gamelan really exists in Sundanese culture, proven by Sari Oneng Parakansalak gamelan which is made in Sumedang in 1825.
Visual Semiotics Analysis on Television Ads UHT Ultra Milk “Love Life, Love Milk” Peter Ardhianto; William Manuel Son
International Journal of Visual and Performing Arts Vol 1, No 1 (2019)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.13

Abstract

The number of adverts that have sprung up this digital era has made the creative industry try to break new breakthroughs so that advertisements can be more able to get the attention of the audience by making many innovations. As in the uht ultra love life love milk television television ad. What is applied to television advertising media that has a general target for all people who see this ad, and the main target is young people because it is more relevant and consumers are mostly young people, because milk supports the development period. The purpose of this study is to help review the meaning of a modern advertisement, especially milk advertisements which are usually for children but aimed at all ages.This study uses Roland Barthes's semiotic theory as a theory in the study of television ads, with methods of documentation, interviews, literature studies, so that the right data is collected to be analyzed. So the conclusion in this study is that uht ultra love live love milk television advertising has the message contained in each video scene that is combined with verbal text emphasis and changes in typographic elements that have their own meaning to trigger emotions from consumers.
Comparison between Pakistani Kashi Tiles and Persian Kashan Tiles Qurat ul Ain
International Journal of Visual and Performing Arts Vol 1, No 1 (2019)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.11

Abstract

Kashi tiles are the traditional ceramic tiles of Pakistan. They have been produced in Pakistan (previously India) for centuries now; they were brought to India by Persian potters of city Kashan. This paper is in effort to remedy the regrettable absence of documentation of Kashi tiles in the heritage of Muslim enamel tiles. The purpose was to investigate the connection between Persian and Kashi tiles and analyze their similarities and differences. The hypothesis is investigated by literature review of different books and research papers and by interviewing Kashikar of Pakistan about their practices and they were studied and compared. The results and conclusions of this study are the ceramists have very limited knowledge and have refused to accept any new idea due to their loyalty to the craft. They believed in keeping the original recipe intact and have firmly refused to experiment and explore. These tiles were never exactly same to Seljuk blue and white tiles; and the forefathers of these ceramists had obviously studied their environment and experimented with local raw materials. However it is clear from the close remembrance in Design and color palate of these crafts that the original migrated potters were definitely recreating the blue and white craft of Persia, that was imitation of Chinese porcelain

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