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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 2, No 2 (2020)" : 5 Documents clear
Komunitas Lima Gunung: Concept of Art Communitas on Five Slopes Mountain of Central Java, Indonesia Brian Trinanda Kusuma Adi; Samsul Ma’arif
International Journal of Visual and Performing Arts Vol 2, No 2 (2020)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v2i2.169

Abstract

Komunitas Lima Gunung (KLG, the five-mountain community) was founded in 2002 by Sutanto Mendut—a well-known budayawan (cultural practitioner). KLG refers to communities living in areas of the five mountains of Magelang, Central Java that together join into one single organization, the KLG. Those mountains are the Mount Sumbing, Merbabu, Andong, Merapi, and Menoreh. Sutanto Mendut, the president of KLG, builds the community with the characteristics of what Victor Turner may call communitas, which is traditionally inherited in the calendrical ritual performances of KLG in which those groups of people continually re-articulate and re-contextualize their worldviews and social norms and orders. This research examines those ideas of communitas as forged in the KLG. This research was conducted through fieldwork: participant observation and unstructured interviews. Data were collected by participating in and documenting several activities (performances). “Meanings” of those performances were gathered through a series of unstructured interviews with practitioners that included Sutanto Mendut himself, leaders of the communities, and many members of the KLG. This research is indebted to theories of performance studies to analyze those collected data. The results of this study indicate that first, society emerges through ritual performances that create moments of liminality. This moment is the result of the re-articulation of the anti-norms/social order structure/structure. Second, Sutanto Mendut, through the Land Oath, re-articulated the sense of togetherness of KLG to become the Five Mountains Festival (FLG). Third, KLG is the strength of the community; members learn about freedom and are not dependent on established social structures. They are free to feel the moment of togetherness.
Afghan Rugs Pattern in a Visual Ethnographic Perspective Shaheera Barmaki
International Journal of Visual and Performing Arts Vol 2, No 2 (2020)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v2i2.187

Abstract

Carpets are the most important and most famous handicraft item from Afghanistan. There are various patterns of carpet weaving in the provinces of North and Northwest Afghanistan. The development of carpet patterns in Afghanistan is very dynamic. In the past, traditional carpets contained stories, beliefs, and prayers. These patterns have adapted to the social, political, and cultural conditions of the Afghan people. This has led to a change in the Afghan carpet pattern. The problem is how the pattern changes occur, what is behind the changes. This research intends to reveal this problem. The method used is qualitative—data obtained from collecting visual data from carpet artisans. Data grouping consists of traditional and modern visual carpet data, and then the data is analyzed using a visual ethnographic approach. The assumptions made in this study are that the patterns and designs of Afghan rugs that started before the alphabet, until the Afghan war conflict or until now, are caused by the craftsmen's closeness to the problems they face and their life trends, which are influenced by the socio-political conditions of the country. The duration of the war in Afghanistan has affected many things, including the design of the carpet pattern. It can be seen that the patterns of soldiers, helicopters, and weapons are found in the creation of the carpet. This study concludes that this change in pattern occurs due to psychological pressures caused by war. The massive displacement of the Afghan population outside the country, and in the country where they come, has the effect of forming a new pattern. The way a carpet engraver makes a pattern change is by creating a pattern unit, repeating the design, and cultivating the pattern organization system. The changes were made as a result of the interpretation process carried out by Afghan carpet craftsmen
“New Colonisers” Play in Postcolonial Music Education in Mauritius Marie-Christinne B. Clarisse
International Journal of Visual and Performing Arts Vol 2, No 2 (2020)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v2i2.174

Abstract

Indo-Mauritian group cultural hegemony has become a trend in music education in Mauritius. This fact has led to social imbalances and inequality of art education. In this situation, Mauritius needs openness and a new policy of arts education, and this must be taken into account because Mauritius has a diverse population. The problem is how the condition of postcolonial music education affects the art education policy in Mauritius. This study aims to uncover this problem. The approach taken is based on an ethnographic approach using a grounded theory strategy. In a postcolonial context and highly multicultural society, hegemonic forces are at play that promotes the Hindu majority ethnic group (termed the “new colonizers”) over all the other ethnic groups. This argument is supported on one side by an analysis of the public music education system, and on the other, by the process of teacher training and certification. An analytic autoethnographic method grounded in a transformative philosophical perspective informs this qualitative research. Results demonstrate a substantial disparity of opportunities for students and prospective music teachers in favor of the Hindu ethnic group. An intercultural perspective on music education in Mauritius is provided that could portray Mauritian nationhood within the public music education system.
Witchcraft of Saluang Sirompak: Music of Broken Hearts in the Taeh Baruah Minangkabau Community Nil Ikhwan
International Journal of Visual and Performing Arts Vol 2, No 2 (2020)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v2i2.179

Abstract

Saluang Sirompak is a type of music that has spiritual power in Taeh Baruah, Payakumbuh District, Lima Puluh Koto Regency, Minangkabau, West Sumatra. Saluang Sirompak is a show aimed at witchcraft, a woman who has insulted a man who wants to propose to her. This witchcraft activity is known as Basirompak. The problem that was revealed was how the music of Saluang Sirompak affected women's mental disorders. The ethnographic method was used in this study - the data were obtained through observation and interviews with actors or musicians Saluang Sirompak. The analysis was carried out by paying attention to the function of music and the organology of the musical instruments as a power-producing tone that can affect mental disorders for women who are the target victims. The conclusion that can be drawn is that witchcraft in Basirompak activities can distinguish what is right and what is wrong; If the women were not mistaken, they would not be victims of Basirompak's activities.
Audience and Social Criticism in Sisir Tanah Songs Anang Masduki; Panqiang Niu; Rr. Octa Dwina Fauzia
International Journal of Visual and Performing Arts Vol 2, No 2 (2020)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v2i2.173

Abstract

This research focuses on social criticism in an environment that is reflected in the lyrics of Sisir Tanah songs. The songs of Sisir Tanah are entirely focused on highlighting social issues, especially the environment in today's society. The purpose of this study is to describe audience reception as a resource person on how to see the role of Sisir Tanah songs as media to convey messages of social criticism. This research uses a descriptive qualitative method with a reception analysis method. The primary data is taken from the two songs of Sisir Tanah, namely Hidup and Bebal. The following data is obtained from interviews from several sources, journals, books, and the internet. The researcher also uses an interdisciplinary approach as a method of communication science studies whose lyrics are delivered by Sisir Tanah in the music media, social criticism theory, which describes Sisir Tanah into the category of social criticism in the environment, and the theory of respect analysis, which is the basis of the interview result of several speakers in interpreting the songs of Sisir Tanah. The results of this study show that social criticism through music media, in this case, is a song, is quite useful. Because the five speakers: Labib, Riska, Dedy, Sonnia, and Fachri, feel the social critique message delivered by Sisir Tanah through music becomes active when the listeners of the music can receive the message conveyed, as well as the effects obtained by the five speakers.

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