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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 112 Documents
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Nunggak semi Al Suwardi: organology and perspective of harmonic planet music creation Aton Rustandi Mulyana; Joko Suranto
International Journal of Visual and Performing Arts Vol 3, No 1 (2021)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v3i1.203

Abstract

This article examines the artistry of a composer named Aloysius Suwardi. This composer, who grew up in the Javanese gamelan music tradition, has produced musical compositions and created musical instruments as a means/medium to express it on the journey of his creativity. His works have been staged in various forums or world music festivals. The musical instruments he has created fill the laboratory spaces to create his musical compositions. Two musical ensembles that have been created are Gamelan Genta and Gamelan Planet Harmonic. These two musical instruments complement the many personal musical instruments he has created, such as the vibrander, tering, gerendang, and other musical instruments. Regarding the two ensembles, this article examines the aspects of the creation process. For example, how did Al Suwardi choose the materials used, how to make them, to how he determined the barrel system for these tools. In terms of compositing, this article examines how Al Suwardi started his work, his models of creation, and how he composes his works until they are declared final. The gragas and dridis creeds and Nunggak Semi's concept are the main topics in this composition creation model. Both creeds and concepts have ushered in the landscape of making Al Suwardi's musical compositions expand, from the gamelan tradition to more contemporary models of music creation
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.
Transforming folklore into stage performance: the role of oral literature as local resources for traditional performing arts in Indonesia Djarot Heru Santosa; Heni Siswantari; Niswi Mukarromah
International Journal of Visual and Performing Arts Vol 3, No 2 (2021)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v3i2.439

Abstract

The transformation of folklore as oral literature is often used for traditional performances. Its function is to strengthen the resilience of a local culture. This research aims to gain better knowledge about the transition process of traditional theatre performances to increase the awareness of the local community. The method used in this research uses a qualitative approach with an explanatory analytical approach and focuses on a multidisciplinary approach that comes from the theory of several branches of science. The results obtained from this study, namely the oral literature of the archipelago, have an important role in historical knowledge. The use of oral literature in stage performances makes a simple story more complex, one of which is manifested in the performing arts of the Dolalak dance. The conclusion that can be drawn is that the transformation of folklore as oral literature into stage performances provides a spiritual experience for the community because it is packaged interestingly through the dance movements. This article will contribute to the use of oral literature as a source of stories in traditional performances so that the results can be used to nurture and maintain the resilience of a local culture
Yogyakarta Guitar Orchestra (YGO): managing innovation and creativity in creative resource management for classical guitar education in Indonesia Ari Palawi; Setyabudhi Rahardjo Situmorang; Raden Agustinus Arum Eka Nugroho
International Journal of Visual and Performing Arts Vol 3, No 2 (2021)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v3i2.509

Abstract

Many researchers are fascinated by creativity and innovation. The question of creative resources at the Yogyakarta Guitar Orchestra (YGO) becomes the primary topic to be discussed in this paper. The premise is that the innovation and creativity framework embedded in YGO's creative resources directly impacts and influences the creative process so that the role of creative resources becomes visible. The goal of this study was to establish a model for YGO's creative resource management to manage innovation and creativity effectively. The research method is grounded theory, with data collected via interviews, literature reviews, and photo documentation. The data analysis was conducted using the innovation paradigm and the creative resource management perspective on creativity. The study's findings include information about how YGO acts as an accelerator for creative resources in order to foster innovation and creativity. This contribution can assist policymakers in directing resources and actions toward YGO or similar communities in order to foster the future development of a high-quality innovation and creative ecosystem
Pedagogical challenges and design of virtual theatre performance: an exploratory case study Budi Tri Santosa; Diana Hardiyanti
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.596

Abstract

Covid-19 impacts universities around the world, changing online teaching and learning activities. These changes occur rapidly, causing teachers to look for creative online learning methods, especially learning theatre performances. Virtual theatre learning looks difficult and gives a challenge for teachers during the Covid-19 pandemic. Hence, it is necessary to change the performance mode of production and virtual theatre teaching with the audience's presence through the gadget screens in their homes. This research evaluates and answers the challenges of acting pedagogy that has existed so far and designs a virtual theatre performance format that is certainly different from conventional performances. This research uses the exploratory case study research design. This design was used as a procedure to identify, analyse, and design pedagogical challenges and design a virtual theatre for University of Muhammadiyah Semarang students by giving them a questionnaire. The result shows that collaboration between art and technology is an effective formula for virtual theatre performances. The zoom application and its accompanying features were chosen to be a virtual stage for staging a work. The transition of theatre performances from the traditional to the digital era also impacts the creative team's duties and work responsibilities. It can be observed in the directors, costume stylists, music stylists, lighting stylists, video stylists, stage directors, and production directors. Virtual theatre performances challenge the creativity of actors and creative teams to produce works of art with the help of digital technology. By analyzing the challenge and designing virtual theatre performances, this research can benefit the art community in the future
The value of the Caci dance performance: changing the perspective of cultural violence on fighting dance performances in Manggarai Indonesia Maria Paskalia Aninda; Lambok Hermanto Sihombing
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.595

Abstract

Caci dance is one of the traditional fighting dances that is unique and contains an intense value. Caci is often displayed during traditional events of the Manggarai tribe. This shows that Caci is an essential part of the journey of the Manggarai community. Caci dance is now widely known because of its uniqueness and because the dance moves are hazardous because they contain physical violence; this is undoubtedly very interesting to study more deeply. The main problem is How the value of Caci reduces the perspective of Violence in Caci perceived by the audience. This study aims to determine the values that exist in the Caci dance and how the true meaning of Caci is so that it can change the perspective of the broader community that Caci is not only a dance that teaches physical violence. This descriptive qualitative research is located in Lentang Village, Lelak District, Manggarai Regency. Data was collected directly from local sources through interviews with traditional leaders and conducting a content analysis on YouTube channels categorised as having many viewers, national television channels, and Caci performances. This study shows that the art of Caci dance does not teach physical violence. Still, Caci has strong historical values and influences the social life of the Manggarai community. Caci has a definite philosophical meaning, showing the character of the Caci players. In conclusion, the values contained in Caci can strengthen socio-cultural values in the Manggarai community, in this case, significantly able to maintain the existence of Caci dance as a cultural identity with the values of life contained in it
Continuity of resistance: indigenous participatory concepts in Purbalingga rural cinema culture Syamsul Barry; Pande Made Sukerta; Martinus Dwi Marianto; T Slamet Suparno
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.658

Abstract

Purbalingga Regency, Central Java, is one area that has a unique and unique way of developing film-making. This article aims to find the concept of a participatory community approach in developing rural cinema through training/discussion programs, film production, and film screenings/Festivals from 2006 to the present. This study uses qualitative methods that include participatory, direct observation, and interviews with a data processing interactive analysis model. The results show that rural cinema encourages the empowerment of rural communities. Rural communities' high interest and participation in film activities are because the concept of cinema development comes from local cultural values (Banyumasan/Ngapak). This concept has succeeded in forming a unique, independent, and dynamic film ecosystem that can be a model for film development elsewhere
Bandīś-s in khayāl of Indian classical music: a study of selected song-texts with special reference to the bandīś-s of sadāraṇg in Hindustani music Bilambita Banisudha
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.633

Abstract

Melody is the soul of Indian classical music. A musician presents different captivating melodic motions of a certain set of notes, showing their diverse permutations and combinations as well as their hidden beauty. This melodic exposition decorates the mind with several melodic expressions and embellishments and is hence referred to as Rāg – which brings aesthetic pleasure. The main objective of this research is the presentation and style of certain rags, as well as the improvisation of the melodic structure. The data obtained by recording the song's melody audio technique and watching the concert live and all of them will be used to analyze and check the composition of the song. The musical analysis is carried out with respect to Rāg. This is because a composition like a mirror reflects a complete picture of an Rāg. It reveals and also retains its characteristics, such as its ascending and descending notes, its dominating notes, other sub-dominant notes, its intricacies, and its special combination of notes, i.e., svara-sañgati. The different Bandīś-s in an Rāg highlight the different aspects and shades in which it can be rendered. The results of this study indicate that compositions in Indian music are a combination of traits that includes the aspects of the musical structure, vocal style and techniques, instrumentation, rhythmic style, and poetry. Bandīś in Khyāl of Hindustani music refers to the text of the composition. The text is marked by the elegant use of words. The musical structure of Bandīś-s is comprised of certain essential laya (Tempo), tāl (beat), Rāg (melody), and dhātu-s (the melodic component)
Internet-era patterns of protection and inheritance methods for Minangkabau talempong pacik music Teti Darlenis
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.735

Abstract

The preservation and transmission of talempong pacik music culture have a significant impact on the preservation of Minangkabau music culture. In addition, on a national scale, it contributes to the promotion of the healthy growth of the national culture. This research seeks to determine how the protection and inheritance model of the Minangkabau talempong pacik has evolved in the Internet era. The necessary data consist of (1) Minangkabau talempong pacik data and (2) talempong pacik inheritance pattern data. Literature review and observation of talempong pacik music performances on digital platforms such as YouTube, Instagram, and Facebook provided the data. The analysis is conducted by stressing the pattern resulting from the talempong pacik's maintenance and transmission. Ultimately, the results of this study show that the quality of talempong pacik's musical legacy will improve greatly as a result of the extensive and continuous use of new media to assist its preservation. New media used to study traditional talempong pacik music, including videos of talempong pacik performances, animation of talempong musical instrument games, and talempong pacik music software as a form of learning innovation, demonstrate that the quality of inheritance is highly adaptable to technological advancements
Manga matrix's approach to creating Indonesian ghost game visual characters on Dreadeye VR Ricky Widyananda Putra
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.655

Abstract

Visual imagery is the most important part of game design. Game designers should pay particular attention so that the visual character of the game can be effectively realized and able to convey the depth of its visual meanings. Taking use of the widespread fear of the Indonesian Ghost's appearance, the game is able to present challenges to its players. This study aims to develop the creation of character designs, especially by elevating visual images of Indonesian ghosts into visual characters' in-game media. The method for designing Indonesian ghost characters is to dismantle the visual image of Indonesian ghost characters in the Dreadeye VR game. The strategy is to consider the following three components: (1) the matrix of shapes, (2) the costume matrix, and (3) the matrix of traits. All three were analyzed with the approach of manga matrix theory. This research has led to the emergence of relatively distinct ghost figures that are frequently feared by Indonesians, such as pocong, kuntilanak, and tuyul. By examining the matrices of the shape, costume, and nature of each character of the three Indonesian ghosts, it is possible to conclude that to create visual characters of Indonesian ghosts, game designers must identify these three components, while the contribution of this research is to provide a visual image analysis model including shape imagery, costume imagery, and traits imagery of Indonesian ghosts used in the Dreadeye VR Game in Indonesia.

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