ARTISTIC : International Journal of Creation and Innovation
The publishing of "ARTISTIC: International Journal of Creation and Innovation" specializes within the focus and scope including: 1. Creative and conceptual thinking related to the practice of art works and creative problems (Artistic Creation Thought). 2. The results of artistic research in the fields of : a. Batik b. Keris c. Crafts d. Karawitan e. Pedalangan (Puppetry) f. Dance g. Music h. Theater i. Painting j. Sculpture k. Graphics l. Interior Design m. Stage Design n. Visual Communication Design o. Product Design p. Television q. Film r. Photography s. Animation t. Games u. Visual Effects, and v. other arts. 3. New insights about the practice of art, resulting from the creative process. 4. New knowledge generated from the practice of art and artwork produced. 5. Values and meanings of novelty produced in the creation of art works, or studies of innovation in art.
Articles
116 Documents
<![CDATA[THE CREATION OF PUBLICATION MEDIA FOR RELIEF-PRINT ART EXHIBITION POST-COVID 19 ]]>
<![CDATA[Adi, Sigit Purnomo]]>;
<![CDATA[Aripin, Nur Adibah Nadiah Mohd]]>;
<![CDATA[Marutama, I Gusti Ngurah Tri]]>;
<![CDATA[Arissuta, Dona Prawita]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 5 No. 2 (2024) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v5i2.5976
<![CDATA[The creation of publication media for these relief-print artworks is a creative and innovative work because it does not only create relief-print works of art, but also creates publication media or exhibition media to exhibit relief-print works of art. This publication media work is a publication work that combines virtual and offline. The purpose of this work is the creation of relief-print art exhibition publication media that try to find alternative publication media which are environmentally friendly, efficient and global. The creation of this publication media uses the Tri Cipta Karya creation method which is an elaboration of the Artistic Creation method. The results of this creation produce an efficient Hybrid publication media, meaning that in the exhibition it is not only exhibited offline or physically, but also exhibited online or through a virtual gallery. The implications of this publication media creation have opened up wide opportunities for artists or designers to publish their works across countries online.]]>
<![CDATA[UNDERSTANDING THE CREATIVE PROCESS BEHIND THE BUDHIST SONG ]]>
<![CDATA[Kristianto, Johanes]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 5 No. 1 (2024) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v5i1.6230
<![CDATA[This study explores the creative process behind the Buddhist hymn Breathing In Breathing Out, specifically chosen for its recognized association with Buddhist meditation techniques. The study employs a qualitative methodology, involving five informants who possess expertise in music studies and Buddhism. Its objective is to investigate the process of creating Buddhist songs and analyze their influence on listeners. The results indicate that 1) songwriting for Buddhism is generally a voluntary pursuit without any external financial support or specified objectives, and 2) the creative process adheres to the four stages suggested by Graham Wallas. Furthermore, the practice of Breathing In Breathing Out has a beneficial impact on listeners’ mental well-being, improving mental conditions through enhanced concentration, focus, and self-acceptance.]]>
<![CDATA[THE INTEGRATION OF WOOD CARVING SKILLS INTO TEACHING AND LEARNING OF WOOD CARVING ]]>
<![CDATA[Archer, Thomas Brown Kow]]>;
<![CDATA[Isaac Kwabene, Agyei]]>;
<![CDATA[Adu-Agyem, Joe]]>;
<![CDATA[Adom, Dickson]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 5 No. 1 (2024) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v5i1.6279
<![CDATA[Wood carving has been an integral part of many ethnic groups in Ghana and worldwide. Currently, Ghanaian wood carvers produce countless varieties of wooden sculptures for tourist trade or export. The wood carving business in Vakpo has provided employment for natives in the production of different wooden objects such as stools, umbrella tops, linguist staffs, walking sticks, human and animal figures/figurines, and many more. Unlike any other wood carving industry, one of the major challenges facing Vakpo traditional wood carving is less recognition by art lovers due to scanty literature in the town and insufficient art enthusiasts in Ghana. The study adopts a qualitative research design with a descriptive research method. The data was gathered through observations and interviews. The results indicate that wood carvers in Vakpo exhibit mastery in creativity, intricate cuts as well as finishing, and their quality wood carvings are by no means inferior to the wooden sculptures of other wood carvers from renowned towns such as Aburi, Ahwiaa, Foase, and others.]]>
<![CDATA[PIS BOLONG POSTER DESIGN: THE ACCULTURATION OF CHINESE AND BALINESE CULTURE IN INDONESIA ]]>
<![CDATA[Rai, I Gusti Ngurah Tri Marutama]]>;
<![CDATA[Adi, Sigit Purnomo]]>;
<![CDATA[Taemprasit, Somporn]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 5 No. 1 (2024) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v5i1.6324
<![CDATA[This study explores the integration of Chinese and Balinese cultural elements in poster design as a means of visual communication. This study aims to understand how cultural acculturation is manifested in poster design by integrating visual idioms from both cultures to convey messages of solidarity, tolerance, and cultural appreciation and preservation. Using qualitative research and a Design Thinking approach, this study seeks to present cultural acculturation values in poster design elements and evaluate their impact on the audience. The research findings demonstrate that the combination of Chinese and Balinese cultural symbols, colors, and patterns effectively produced a communicative and aesthetically appealing visual narrative. These findings highlight the significance of cultural comprehension in visual communication design and contribute to the development of culture-based design practices. This study enhances our understanding of the function of design in communicating cultural values.]]>
<![CDATA[RELIGION AND CULTURE BASED ARTS SUSTAINABILITY MODEL IN THE “AMONG” SYSTEM: EMPIRICAL STUDY IN BUTUH, THE WAYANG HAMLET ]]>
<![CDATA[Kusumawati, Ita Rahmania]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 5 No. 2 (2024) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v5i2.6437
<![CDATA[It is scarce to find a village where most of its citizens are engaged in traditional wayang crafts, especially if the most residents are Muslims. Moreover, the number of puppets needed to fulfill shadow puppet shows is limited throughout the world. However, the fact shows that Butuh Hamlet has a majority of residents who work as wayang artisans and still exist today, a model for the continuation of traditional arts in facing tough challenges and is an example of the sustainability of traditional arts in facing tough challenges, both externally and internally. This sustainability can be seen in the number of residents who still pursuing the crafting profession, which craft are still the main source of income for residents. Butuh Hamlet has received the title of Kampung Berseri (a beautiful and clean village). Apart from that, they also continue to work on strengthening the wayang craft with the Among System: caring for, fostering, and sharpening each other in developing the wayang craft. The sustainability of wayang as a means of livelihood and a medium for preaching (da'wah) has made the lives of artisans better.]]>
<![CDATA[FRAGMENTS WITHIN FRAGMENTS: DISTANCING THROUGH THE PANGLINGAN PRINCIPLE IN PAINTING PRACTICE ]]>
<![CDATA[Alamsyah, Tamara Maharani]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v6i2.7124
<![CDATA[The creation of "Fragments within Fragments" originates from an analysis of the Mooi Indie phenomenon, which perceives the East Indies from a perspective of distance. This phenomenon illustrates how artworks from that era established a disparity between reality and its representation. In an era of easy and ubiquitous image production, manipulation that results in the alienation of experience frequently transpires unconsciously. Real objects and experiences are supplanted by images regarded as representations of reality. In this setting, art serves as a medium to depict images and their forms that are perceived illusorily. Through the panglingan (Sudjoko, 1992) of initially representative photographic images, blurring is created to distinguish the image from its representative elements. This process establishes a distance between subject and object, intensifying a sense of alienation between the image and its observer. This work fosters reflection on individuals' perceptions and experiences of objects in a digital era saturated with images that merely represent fragments of authentic experience by positioning the subject at a distance and inducing a sense of alienation through blurring.]]>
<![CDATA[LELAYU : A SYMBOLIC REPRESENTATION OF FLOWER PORTRAITS ]]>
<![CDATA[Permatasari, Agnes Indah]]>;
<![CDATA[Rizki Akhmad Zaelani Harry]]>;
<![CDATA[Muksin, Muksin]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v6i2.7152
<![CDATA[Lelayu is a painting series consisting of six works. This art seeks to transcend stereotypes associated with beauty. In this instance, perception can ultimately establish a stereotype for evaluation, particularly in the realm of beauty, which often involves an exaggerated impression of imperfection—resulting in the designation of ugliness—within the framework of withering. The presence of beauty stereotypes motivates our work. The painting method, employing a symbolic representational approach, serves as a conduit to perception, both presuming that perception consists of sensory impressions that are invariably interpreted directly. Flowers serve as a defining symbol of beauty and are the subject matter of this work. The symbolic representation of flowers ultimately embodies beauty through the depiction of withered flowers. The flower is depicted as a subject on the canvas, creating a portrait format that evolves from the still life impression, serving as an evaluation of the stereotypical perception that arises between the appreciators and the artwork. The symbolism of solitary, wilting flowers in the landscape underscores the notion that beauty is not represented solely in perfection, but also in imperfection. The wilted flowers ultimately symbolize the news of death, rendering the journey towards wilting and death as a form of beauty.]]>
<![CDATA[DECISIVE MOMENT IN PERFORMING ART PHOTOGRAPHY: BETWEEN AESTHETIC SENSE AND CREATIVE PRACTICE ]]>
<![CDATA[Jauhari, Jauhari]]>;
<![CDATA[Marianto, M. Dwi]]>;
<![CDATA[Irwandi, Irwandi]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v6i2.7173
<![CDATA[This creative research investigates photographic artworks by referring to Henri Cartier-Bresson's concept of the Decisive Moment. This artistic research aims to create a body of performing arts photography that transcends mere documentation, offering both aesthetic and reflective significance to spontaneously occurring sublime moments. The employed methodology is artistic research characterized by a conceptual framework, visual exploration, and art practices. The resultant work comprises a collection of documented photographs of dance performances captured during the World Dance Day event at Teater Besar ISI Surakarta, Taman Budaya Jawa Tengah, and Pura Mangkunegaran, which encapsulate peak emotional moments, body gestures, and the interplay of space and light, both intuitively and reflectively. This study is grounded in Gilles Deleuze's theory of sublime situations and M. Dwi Marianto's aesthetic insights, which inform the interpretation of artistic moments. The study's findings suggest that the Decisive Moment approach can enhance the documentation of the performing arts by providing a more deeper layer of visual interpretation. This research recommends an in-depth exploration of the interplay between artistic intuition and aesthetic awareness in the creation of performing arts photography.]]>
<![CDATA[EXPLORING AUDIOVISUAL DISSONANCE IN PRACTICE-BASED FILMMAKING: REPRESENTING DILEMMA IN BENDERA PUTIH ]]>
<![CDATA[Utami, Citra Dewi]]>;
<![CDATA[Arifianto, Budi Dwi]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v6i2.7222
<![CDATA[Bendera Putih (2023), a short fiction film that strategically employs audiovisual dissonance to represent a profound dilemma, was produced in Yogyakarta as part of a community-based film initiative funded by the Yogyakarta City Cultural Service's Special Fund and was officially screened at the 2024 JAFF. Adopting a practice-based approach, this study investigates how the deliberate juxtaposition of visual and auditory elements crafts narrative ambiguity and intense emotional tension. Drawing on theories of cinematic dissonance, narrative disruption, and experiential learning, the article reflects on how asynchronous audio-visual pairings challenge audience expectations and provoke complex ethical and moral reflections. The socio-cultural context of the Yogyakarta community, known for upholding the value of "guyub rukun," critically informs the analysis of these creative decisions, illustrating how the local context shapes both the storytelling approach and the film's reception. The findings contribute to the discourse on alternative narratives in Southeast Asian independent cinema, underscoring the capacity of practice-based research to illuminate the affective and ethical dimensions of filmmaking.]]>
<![CDATA[AN AUTO-ETHNOGRAPHY REFLECTION ON WEAWING: A PHILOSOPHICAL ACCOUNT OF LIVED EXPERIENCES ]]>
<![CDATA[Apau, Edward]]>
<![CDATA[ ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025) ]]>
Publisher : <![CDATA[ISI Press Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/artistic.v6i2.7687
<![CDATA[Hand-weaving is often perceived as time-consuming and tedious due to its labour-intensive preparatory processes, leading to declining interest in the practice. However, weaving offers insights that extend beyond technical execution, providing profound opportunities for philosophical reflection and self-realisation. This auto-ethnographic, studio-based study explores weaving as a metaphor for human experience, drawing connections between the preparatory stages of weaving and the shaping of personal growth. The findings reveal that hand-weaving transcends the physical interlacement of warp and weft, embodying a process of self-development, resilience, and reflective practice. While acknowledging the challenges associated with manual weaving, the study argues for its continued relevance, not merely as a fabric manufacturing technique, but as a medium for cultivating self-awareness and creativity. It recommends that weaving education should emphasise experiential engagement and self-discovery, rather than focusing solely on technical proficiency or theoretical instruction]]>
