Cultural Syndrome
Cultural Syndrome welcomes and acknowledges high quality theoretical and empirical original research papers, case studies, review papers, literature reviews, book reviews, conceptual framework, analytical and simulation models, technical note from researchers, academicians, professional, practitioners and students from all over the world. Cultural Syndrome focused to publish high-quality articles in the field of Cultural Studies, Art and Humanities, Visual Culture, and other related fields of Humanities and Social Science. The scope of this jurnal to study Design Thinking, Visual Communication, Photography, Creativity, Typography, Graphic Design, Semiotics, Communication Design, Visual Design, Design Education, Visual Rhetoric, Signage Design, Wayfinding & Environmental Graphics, Critical Thinking, Popular Cultures, Media Studies, Visual Cultures, Folklore, Folk Art, Performing Art and Cultural Heritage.
Articles
33 Documents
<![CDATA[The Balustrade and the ‘kekisi’: A strategy in infusing Malay identity through filters and railings in South East Asian urbanism and architecture ]]>
<![CDATA[Norzalifa Zainal Abidin]]>;
<![CDATA[Puteri Shireen Jahn Kassim]]>;
<![CDATA[Zumahiran Kamaruddin]]>
<![CDATA[ Cultural Syndrome Vol 1, No 2 (2019): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v1i2.234
<![CDATA[Fundamentally, the element of the Malay decorative kekisi is either as a perforation between inside and outside or separation between two functional spaces are endemic in the traditional world. The same functions can be re-engaged in the modern world, to encourage good airflow and natural ventilation, rather than fully dependent on air conditioning. The paper discusses how the element itself reflects a fusion and unity of both form and function. It has sustainable and climatic functions and also has versatile elements which can be inserted to infuse identity consciousness and expressions in a range of scale of spaces, construction elements and forms. In this paper, the generic elements and their cultural variations are highlighted in the traditional building of Melaka and Kedah in Malaysia.]]>
<![CDATA[The Art of Adaptation: From Folk Literature to the Age-Appropriate Visual Media ]]>
<![CDATA[Santi Sidhartani]]>;
<![CDATA[Muhammad Iqbal Qeis]]>;
<![CDATA[Dendi Pratama]]>
<![CDATA[ Cultural Syndrome Vol 1, No 1 (2019): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v1i1.22
<![CDATA[The art of adaptation is a process to translate the art form fromone mediainto another.Folklores as a form of media that express the experience and beliefs that was shared amongst the society living in a certain region are usually passeddown from the older generation to the younger generation by word of mouth orthoughoral tradition. Althoughsome of thefolklores havebeen compiledand translated in the form of folk literature andare transcribedin books and written media, these folk literaturesgenerally consist oftexts with little visuals. This is a problem since the main target of folklores is usually children who are more attracted to colorful and rich world of illustration rather than a text-filled literary book. This paper aims to describe the process involved in the art of adaptation that transforms folk literature into a more age-appropriate visualmediaforchildren as an effort to preserve the tradition of folklore in society. The conclusion shows that the process involved a deep understanding of the folklore, not only the story but also the characters and the background location depictedin order to design an appealing visual media thatretainsthe cultural values shared within the society]]>
<![CDATA[Designing of Comic Strip as Learning Media in Future Tense Material ]]>
<![CDATA[Catur Sunu Wijayanto]]>;
<![CDATA[Fitria Iswari]]>;
<![CDATA[Dian Handayani]]>
<![CDATA[ Cultural Syndrome Vol 2, No 2 (2020): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v2i2.501
<![CDATA[In Indonesia, English is one of language which is learnt from elementary school University level. College students from Visual communication design program in first semester will get future tense material in English 1. In future tenses there 2 formulas which are used based on the functional of the sentence, and it is difficult for student in differentiating the formulas, Media has important role in teaching learning process. Comic strip is familiar for milenilal. Based on the background writer decide to design a comic strip as learning media. The designing of comic strip is aim to give new or alternative media in teaching learning process. This comic strip covers future tense material that includes “to be going to” and “will” form. This research used qualitative method. The results of this research is designing of a comic strip in 8 panels that is written in English and covered future tense material which give ilutration how the two formulas of future tenses are used. The typography is comic sans MS, the main characters are three girls of Senior High School student. Comic strip is made in tradiotional/ manual process by drawing use pencil then through digitally process for the finishing. The colour of the comic strip uses calm colours and are dominated grey according to senior high school uniform colour, in order to make the reader feel the comfortable. The conclusion shows comic strip could be an alternative media in learning process.]]>
<![CDATA[Nostalgia, Co-creation, and Practice of Design ]]>
<![CDATA[Renu Zunjarwad]]>
<![CDATA[ Cultural Syndrome Vol 2, No 1 (2020): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v2i1.243
<![CDATA[The study proposes that the research design integrating co-creation, interviews, and visual analysis can effectively operationalize a difficult concept of gastronomic nostalgia surrounding ethnic food artifacts. I employed an example of Mumbai’s street foods to examine consumption, production, and distribution practices and compared the cities of Mumbai, India, and Phoenix, United States. Rigorous qualitative analysis of the data gathered from fourteen Indian immigrants in Phoenix suggested that consumption declined when street foods’ core identity shifted in Phoenix. I discovered that the differences in having street foods in sit-down settings or the lack of a public street food culture might never be bridged in Phoenix. However, specific production and distribution strategies rooted in nostalgic memories from Mumbai may boost consumption. ]]>
<![CDATA[Baitul Rahmah: a Final Evolution of The Malay Classical Style Amidst Change ]]>
<![CDATA[Noorhanita Abdul Majid]]>;
<![CDATA[Puteri Shireen Jahn Kassim]]>;
<![CDATA[Tengku Anis Qarihah Binti Raja Abdul Kadir]]>;
<![CDATA[Abdul Razak Bin Sapian]]>;
<![CDATA[Abu Dzar Bin Samsudin]]>
<![CDATA[ Cultural Syndrome Vol 2, No 1 (2020): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v2i1.347
<![CDATA[The paper highlights the significance and position of the Baitul Rahmah, an early 20th-century mansion in Kuala Kangsar, Perak, Malaysia, as a key milestone of stylistic evolvement of local vernacular architecture. Its form embodies, a typological variation at a time of growing Colonial imperialism, while its grammar and language refers to early modern stylistic expression reflecting the fundamental principles of indigenous architecture. The Baitul Rahmah brings to light how a final evolution and epitome of the vernacular projects an identity as a cosmopolitan manifestation. Its internal ornamentation recalls the stylized forms of local motifs and reflect a form of control and minimalism; i.e. an ‘ornamental decorum’. Its wood-carved expressions seem stylised into increasing ‘modernised’ simplication and modularity, while its masonry- timber structure reflect the identity of hybridity in architecture which symbolise the tensions of local communities as they step into the 1900s into a global context. ]]>
<![CDATA[Topeng Surakarta as a Source of Ideas for Batik Motif Design in Women's Casual Clothes ]]>
<![CDATA[Kristanti Kristanti]]>;
<![CDATA[FP Sri Wuryani]]>
<![CDATA[ Cultural Syndrome Vol 2, No 2 (2020): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v2i2.399
<![CDATA[Indonesia is a country that has a diverse form of arts and cultures, one of which is the art of mask that grows and develops in various regions. Masks in a broad sense vary greatly from shape, function, and materials for which they are made. The need for the use of masks is often found in artistic, ritual, religious, health, and performance activities. The tradition of mask in Indonesia has existed since before the history of writing. Masks are believed to represent the spirits of the deceased and are often decorated with human and animal forms to symbolize the supernatural world and the relationship between humans and their origins. This paper explored the form of mask, specifically the Surakarta mask as a source of idea in batik motif creation. The batik motif was made by stylization of the mask using remasol dye and colet technique, resulting in five batik clothes that are cut and sewn into women casual clothes. By turning Surakarta mask batik motif into casual clothing, the clothes made can introduce the art of mask in Surakarta to the wider community, preserving both the art of mask and the art of batik as a high value tradition full of local wisdom.]]>
<![CDATA[‘Mukha’: The Mask Tradition of Assam-with Special Reference to Samaguri Sattra ]]>
<![CDATA[Saswati D Bordoloi]]>
<![CDATA[ Cultural Syndrome Vol 2, No 1 (2020): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v2i1.267
<![CDATA[Cultural heritage influences every aspect of life. Man has made the masks in dance rituals, dramas, folk songs, temples and different socio-cultural context. The use of masks in rituals or ceremonies is a very ancient human practice across the world. This mask or mukhas are said to be the base of the Assamese culture and tradition. They are worn mostly in bhaonas. Materials like bamboo, cane, cloth, clay etc. are used for making masks. Samaguri Sattra is a place of conservation and retention of vanishing art form of mukha. Sankardeva’s philosophies had transcended the boundaries of religion and culture and hence today Majuli is one place where devotion has mingled with art in a unique way.]]>
<![CDATA[Journey of Signs and Shop Signs From Prehistory to Digital Age ]]>
<![CDATA[Nanki Nath]]>
<![CDATA[ Cultural Syndrome Vol 2, No 2 (2020): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v2i2.517
<![CDATA[The published research related to history of signs presents a generic commentary. Therefore, this paper presents a detailed scrutiny of the essence and the narrative behind the evolution of signs [focus: shop signs]. According to The Complete Encyclopedia of Signs and Symbols, ‘Signs are vehicles for information and meaning, operating on many different levels – the universal and particular, intellectual and emotional, spatial and temporal, spiritual and material.’ Later periods of human civilization witnessed a conscious shift from the traditional industry to a knowledge-based economy that inculcates information-digitization. These signs were not only reflections of owners’ tastes and personality, but also formed the ethnic makeup of a street market. Gradually in the digital age, commercially oriented signs started giving continuity to public spaces and built streetscapes. This paper brings forth an emergence of signs and shop signs in India, rest of the Asian Pacific Rim countries followed by European countries and finally the Western Pacific Rim countries in North and South America]]>
<![CDATA[Sustainable Resource Based Materials in Food Packaging Design ]]>
<![CDATA[Nur Hidayah Azhar]]>;
<![CDATA[Nor Zalifah Zainal Abidin]]>
<![CDATA[ Cultural Syndrome Vol 2, No 2 (2020): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v2i2.523
<![CDATA[This paper provides and understanding on the utilization of sustainable resources in food packaging. It reviews the negative impacts of plastic and current sustainable materials that are used to substitute plastic in food packaging. In order to replace plastics, many researches have been done to surmount the issue and biodegradable materials such as cellulose, plant fibres, starch based, and any bio-based material have undergone research and experiments to achieve the plastic free food packaging. Moreover, there has been strength and weaknesses in every bio-based material that need to be considered such as its polymer structure and its ability to withstand the outside properties. Different composition and structure of the polymer from this bio-based material determine the shelf life of a food when they are used as the packaging and how it can affect the food. Lesser additives of chemicals used to support the polymer is better. However, much research is still needed in discovering which bio-based material is the most suitable to use as the permanent eco-friendly food packaging design. ]]>
<![CDATA[Speech Acts of Pangeuyeuks in Ngeuyeuk Seureuh Ceremony ]]>
<![CDATA[Euis Kurniasih]]>
<![CDATA[ Cultural Syndrome Vol 2, No 1 (2020): Cultural Syndrome ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/cs.v2i1.270
<![CDATA[Pangeuyeuks as the guide in Ngeuyeuk Seureuh ceremony has an important role to explain the marriage values through symbols to prospective bride and groom. This article describes speech acts used by pangeuyeuks in Ngeuyeuk Seureuh ceremony. Descriptive qualitative and distributional method was applied in doing the analysis of data. The speech acts were analyzed by the theory of illocutionary act to find the function of speech act, syntactic types of sentences to find the form of speech acts, and relationship between the function and form of speech acts to find the directness and indirectness of speech acts. The result shows that the illocutionary acts of pangeuyeuks classified into four types: assertives, directives, commissives and expressives, while the sytanctic types of sentences consist of declarative, interrogative, imperative and exclamatory. The direct speech acts are embodied in assertives, directives, commissives and expressives, wheareas the indirect speech acts are embodied in directive speech acts. The embodiment of the speech acts used by pangeuyeuks reflects special norms of interaction based on Sundanese local genius.]]>
