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International Journal of Performing Arts (IJPA)
Published by Yayasan Pusat Cendekiawan Intelektual Nusantara
ISSN : -     EISSN : 29624193     DOI : https://doi.org/10.56107/ijpa
Core Subject : Humanities, Art,
Arts Humanities
International Journal of Performing Arts (IJPA) is an international journal that publishes articles in the field of performing arts. The focus of this journal is scientific studies in the field of performing arts which include: acrobatics, busking, comedy/comedy, dance, music stage, opera, magic, theater, film, linguistic arts, poetry, speech, recitations, etc.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 5 Documents
 1 
Search results for , issue "Vol. 3 No. 1 (2024): June" : 5 Documents clear
THE STUDENTS’ ATTITUDES IN ONLINE CROSS CULTURE UNDERSTANDING CLASS : THE STUDENTS’ ATTITUDES IN ONLINE CROSS CULTURE UNDERSTANDING CLASS Vitasmoro, Pamadya; Darodjat, Tubagus Achmad; Suasungnern, Sineerat; Jatmiko, Jatmiko
International Journal of Performing Arts (IJPA) Vol. 3 No. 1 (2024): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v3i1.174

Abstract

Online teaching is a way of teaching that integrates some technology to teach long-distance and it is facilitated with application and internet access. This research focuses on the student’s attitudes in online cross-culture understanding classes. There are some procedures the researcher takes to collect the data, such as: preparing the questionnaire for the students to answer. The questionnaire is based on the data needed for describing the students’ attitudes. Then the researcher distributed the questionnaire to each student through the WA group and email. After all the questionnaire is submitted then analyzed. The place for research is in an online cross-culture class at the University of Nusantara PGRI Kediri. This subject is taught in the seventh semester of the academic year 2020-2021.
CRITICAL, CREATIVE, DIFFERENT AND FREE THINKING IN ARTS AND SCIENCE EDUCATION ABOUT ARTS: CRITICAL, CREATIVE, DIFFERENT AND FREE THINKING IN ARTS AND SCIENCE EDUCATION ABOUT ARTS Ekosiwi, Embun Kenyowati; Nursilah, Nursilah
International Journal of Performing Arts (IJPA) Vol. 3 No. 1 (2024): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v3i1.248

Abstract

This article explores the intricate relationship between critical thinking, creativity, difference, andintellectual freedom within the context of art education and the philosophy of art. Through aphilosophical-aesthetic approach grounded in critical reflection, this study discusses howquestioning, opposing, and challenging norms can function as both methods of critical inquiry andexpressions of creativity. It emphasizes that creativity is not confined to unconscious inspiration orchildlike spontaneity, but emerges through disciplined thought, lived experiences, and reflectiveengagement with cultural traditions. The paper highlights the role of tacit knowledge in traditionaldance, where creative acts are embedded in embodied practices and collective memory.Furthermore, it examines how dance serves as a metaphor for freedom, offering possibilities forartistic resistance and renewal beyond conventional boundaries. Art education, in this framework,is not merely the transfer of artistic skills, but a transformative space where critical consciousnessand imaginative capacities are cultivated. With the integration of the principles of difference,plurality, and independence of mind, educators and learners are encouraged to transcend binarythought structures and hierarchical traditions. The findings of this research affirm that fosteringcritical and creative thinking is essential to producing innovative and socially meaningful artisticpractices
CHOREOGRAPHIC TRANSFORMATION IN ZAPIN KASIH: A STUDY OF MOVEMENT MOTIFS THROUGH ALMA HAWKINS' CREATIVE PROCESS: CHOREOGRAPHIC TRANSFORMATION IN ZAPIN KASIH: A STUDY OF MOVEMENT MOTIFS THROUGH ALMA HAWKINS' CREATIVE PROCESS Heniwaty, Yusnizar; DN, Rr. Ruth Hertami DN; Rahmah, Sitti
International Journal of Performing Arts (IJPA) Vol. 3 No. 1 (2024): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v3i1.258

Abstract

This study examines the creation process of the Zapin Kasih dance choreography through thetheoretical lens of Alma Hawkins' creative stages. The research aims to identify how exploration,improvisation, composition, and evaluation operate as creative strategies in developing traditionalZapin movements into innovative choreographic forms. Using qualitative artistic research methods,data were collected through rehearsal observations, interviews with choreographer YusnizarHeniwati, and performance documentation. The results indicate that Hawkins' framework effectivelysupports the transformation of traditional Zapin vocabulary—tahto, langkah dua, alif, and menitibatang —into six new movement motifs. Each stage of the creative process reflects different layersof artistic decision-making: exploration of cultural symbols ( sarongs ), improvisation of bodilyresponses, composition of rhythmic sequences, and evaluation of aesthetic and cultural coherence.These findings suggest that Hawkins' theory not only guides artistic creation but also mediatesbetween heritage preservation and contemporary innovation. This study contributes to theunderstanding of practice-as-research methodology in dance, particularly in the context oftraditional Southeast Asian arts, where choreography functions as both an artistic output and acultural inquiry.
DANCE STUDIOS AS AGENTS OF CULTURAL SOCIALIZATION: A SOCIOLOGICAL STUDY OF DANCE EDUCATION IN INDONESIA: DANCE STUDIOS AS AGENTS OF CULTURAL SOCIALIZATION: A SOCIOLOGICAL STUDY OF DANCE EDUCATION IN INDONESIA Nursilah, Nursilah
International Journal of Performing Arts (IJPA) Vol. 3 No. 1 (2024): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v3i1.259

Abstract

This study aims to analyze the role of dance studios as agents of cultural socialization in the contextof non-formal education in Indonesia. Based on the perspective of educational sociology, this studyexamines how dance studios function as spaces for the transmission of values, the formation ofartistic habitus, and cultural reproduction amidst the social dynamics of modern society. Theresearch approach used was qualitative with an ethnographic design. Data were obtained throughparticipant observation, in-depth interviews, and documentation at several traditional dance studiosin Indonesia. The analysis was conducted inductively by following the model of Miles and Huberman(1994) through the stages of data reduction, presentation, and verification. The results show thatdance studios have three main functions: (1) as non-formal educational institutions that transmitcultural and moral values; (2) as an arena for socialization that strengthens social solidarity throughcollective artistic activities; and (3) as a forum for the formation of artistic habitus and theaccumulation of cultural capital as proposed by Bourdieu (1986). The process of cultural inheritancethat takes place in the studio is generative and adaptive, enabling the reproduction of traditionalvalues in a modern context. These findings support Durkheim's (1912) view that education serves tomaintain the moral integration of society, while also broadening the understanding of arts educationas a process of socialization and cultural reproduction. This research emphasizes the importance ofstrengthening the role of studios as cultural institutions that contribute to the preservation of culturalheritage and the formation of cultural identity among the younger generation in Indonesia.
DANCE AS A SOCIAL GIFT: A STUDY OF MARCEL MAUSS'S THEORY OF THE GIFT IN PERFORMING ARTS PRACTICE: DANCE AS A SOCIAL GIFT: A STUDY OF MARCEL MAUSS'S THEORY OF THE GIFT IN PERFORMING ARTS PRACTICE Aidah, Hasna; Nursilah, Nursilah
International Journal of Performing Arts (IJPA) Vol. 3 No. 1 (2024): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v3i1.260

Abstract

This article discusses the relevance of Marcel Mauss's The Gift theory in understanding dance as aform of symbolic exchange in the context of performing arts. Based on a conceptual study and aperformance anthropology approach, this paper highlights the main principle in Mauss's theory,namely the obligation to give, receive, and reciprocate, which can be interpreted as a social structurethat binds the relationship between dancers, audiences, and society. In dance practice, the act ofdancing is seen as a "social gift" that contains moral, spiritual, and cultural values. The dancer'smovements, expressions, and performativity function not only as aesthetic representations, but alsoas a means of communication and exchange of meaning that creates a reciprocal relationshipbetween the performer and the recipient of the performance. Through an analysis of the socialfunction of dance, this article shows that the performance process is a total social event ( total socialfact ), as explained by Mauss, where the values of solidarity, empathy, and appreciation are realizedthrough symbolic interaction. The concept of the "soul of the gift" ( hau ) in Mauss's theory isreinterpreted as the artistic spirit in the performance that fosters emotional resonance betweendancers and audiences. Thus, The Gift theory not only enriches understanding of the social functionof performing arts, but also offers a new conceptual framework for dance education and practice inthe modern era.

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