Journal of Studies on Art, Culture, and Society
The scope of research in art is the range or limitation of topics that can be researched in the field of art. The scope of research in art can vary depending on the purpose, method, and approach of the research. However, in general, the scope of research in art can include: 1. The journal explores various aspects of art, culture, and society in the contemporary world. 2. The journal covers topics such as performing arts, visual arts, music arts, literary arts, media arts, digital arts, popular culture, local culture, global culture, subaltern culture, hybrid culture, and transnational culture. 3. The journal also covers topics such as multicultural society, civil society, post-industrial society, post-modern society, identity, difference, power, resistance, agency, representation, and negotiation. 4. The journal further covers topics such as globalization, modernization, colonialism, post-colonialism, neo-colonialism, decolonization, gender, sexuality, race, ethnicity, social class, religion, ideology, and values. 5. The journal additionally covers topics such as environment, sustainable development, climate change, natural disasters, and ecological crises. and than, 6. The journal accepts research articles that present original and innovative findings and arguments on the above topics. 7. The journal also accepts book reviews that critically evaluate recent publications on the above topics. 8. The journal also accepts essays that provide personal or creative perspectives on the above topics. 9. The journal also accepts interviews that feature prominent or emerging figures in the field of art and culture studies. 10. The journal also accepts artworks that express artistic or cultural visions on the above topics.
Articles
21 Documents
<![CDATA[The Evolution of Contemporary Fine Art: From Traditional to Digital ]]>
<![CDATA[Syafira, Yumni]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 1 January 2025 ]]>
Publisher : <![CDATA[Professorline ]]>
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DOI: 10.62012/jacs.v2i1.13
<![CDATA[This article examines the evolutionary journey of contemporary fine art, from its traditional roots to its transformation in the digital age. Through a qualitative approach that includes literature studies, content analysis, and in-depth interviews with contemporary artists, this research identifies significant changes in techniques, media, and artistic concepts that have occurred with the times. Social, political, and technological changes have prompted artists to experiment with new media and innovative methods, which are drastically changing the fine arts landscape. In addition, this article highlights the challenges and opportunities faced by artists in the digital age, including issues of authenticity, copyright, and adaptation to technology. By exploring examples of artworks from different periods, this article provides comprehensive insights into the dynamics and future of contemporary fine art.]]>
<![CDATA[Understanding the Beauty of Movement and Meaning Behind Aceh Dance (Saman Dance) ]]>
<![CDATA[Hulfadila, Hulfadila]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 1 January 2025 ]]>
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DOI: 10.62012/jacs.v2i1.14
<![CDATA[Saman Dance, a cultural heritage from Aceh that has been recognized by UNESCO as an Intangible Cultural Heritage, is a unique manifestation of local wisdom and Islamic values inherent in the Gayo community. This article examines the beauty of the movements and the deep meanings contained in Saman Dance, as well as its role in preserving Aceh's cultural identity. Through an ethnographic approach and semiotic analysis, this research explores the historical origins, choreographic structure, and symbolism of Saman Dance movements. The results show that every movement in Saman Dance has a philosophical meaning that is closely related to the teachings of Islam and the social values of Gayo society. The speed, uniformity, and complexity of the movements not only reflect aesthetic beauty, but also symbolize unity, discipline, and harmony in social life. Furthermore, the lyrics sung during performances contain profound moral and spiritual messages. This article also discusses the evolution of Saman Dance from a religious ritual to an internationally recognized performing art, as well as the challenges in preserving it in the modern era. In conclusion, Saman Dance is not just an artistic expression, but an important medium in transmitting cultural and spiritual values between generations. A deeper understanding of the meaning behind Saman Dance is expected to increase appreciation and efforts to preserve this cultural heritage.]]>
<![CDATA[Interpreting Symbols and Philosophy in Papuan Wooden Sculptures (Asmat Carving Art) ]]>
<![CDATA[Arifka, Ayu]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 1 January 2025 ]]>
Publisher : <![CDATA[Professorline ]]>
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DOI: 10.62012/jacs.v2i1.15
<![CDATA[Asmat carving is one of Papua's cultural heritages that is rich in meaning and philosophical value. This article aims to explore and analyze the symbols and philosophies contained in Papuan wooden sculptures, especially Asmat carved artworks. Through an ethnographic approach and semiotic analysis, this research explores the meaning behind the motifs, forms, and techniques of making Asmat wooden sculptures. Data were obtained through direct observation, in-depth interviews with Asmat carvers, and study of related literature. The results show that Asmat wooden sculptures not only function as aesthetic artifacts, but also as a medium to represent the cosmology, spirituality and social values of the Asmat people. Motifs such as ancestors, totem animals and natural elements reflect the close relationship between Asmat people and the natural and spiritual world. Intricate carving techniques and the use of natural materials reflect local wisdom in utilizing natural resources sustainably. Furthermore, the sculpture-making process, which involves certain rituals and taboos, reveals the sacred dimension of this carving art. This research contributes to a deeper understanding of Papua's rich culture and the importance of preserving traditional arts in the context of modernization. The findings also highlight the potential of Asmat carving as a source of inspiration for the development of contemporary art and local wisdom-based creative industries.]]>
<![CDATA[Recognizing the Batik Heritage of the Archipelago: From Coastal to Inland ]]>
<![CDATA[Syafitri, Musdalifah]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 1 January 2025 ]]>
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DOI: 10.62012/jacs.v2i1.16
<![CDATA[Batik is an Indonesian cultural heritage that has been recognized by UNESCO as an Intangible Cultural Heritage. This article reviews the diversity of the archipelago's batik, from coastal to inland areas. The discussion begins with the history of batik development in Indonesia, including the influence of various cultures such as Chinese, Indian, Arabic and European. Next, the article discusses the distinctive characteristics of coastal batik, which is generally brightly colored with flora and fauna motifs, and inland batik, which tends to use dark colors with geometric motifs. The differences in philosophy, manufacturing techniques, and materials used in coastal and inland batik are also described. The article also highlights some famous batik centers such as Pekalongan, Cirebon, Lasem, Yogyakarta, and Solo, and explains the characteristics of each. Efforts to preserve and develop batik as a cultural heritage and creative economic potential are also discussed. By reviewing the richness of the archipelago's batik, this article aims to increase public appreciation of Indonesia's cultural heritage and encourage preservation and innovation in the art of batik.]]>
<![CDATA[Exploration of the Archipelago's Cultural Heritage Local Wisdom and the Beauty of Traditional Arts ]]>
<![CDATA[Dahlan, Nur Fadillah]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 1 January 2025 ]]>
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DOI: 10.62012/jacs.v2i1.17
<![CDATA[This article explores the rich culture of the archipelago through an exploration of local wisdom and traditional art aesthetics. The cultural diversity of the archipelago, spanning thousands of islands with diverse communities, offers an in-depth look at the values of local wisdom reflected in traditional arts. Traditional arts in the archipelago are not only a form of artistic expression, but also an important means of maintaining and celebrating the unique cultural identity of each region. In this study, we identify some key aspects of local wisdom reflected in the Nusantara's traditional arts, including moral, spiritual, and social values that are passed down through generations. Traditional arts such as shadow puppetry, dance, carving, and textiles, not only contain symbolic meanings, but also illustrate the distinctive aesthetic beauty of each local community. Our in-depth analysis highlights the important role of traditional arts in enriching cultural identity and promoting diversity in the Nusantara society. We argue that the preservation of traditional arts is not only about maintaining cultural heritage, but also about evoking a sense of national pride and identity. Through this approach, this article seeks to broaden the understanding of the Nusantara's cultural diversity and appreciate the contribution of traditional arts in realizing unity in diversity.]]>
<![CDATA[The Role of Emoji in Personal Chatting in Building Long Distance Romantic Relationships ]]>
<![CDATA[Khofidul A , Muhammad]]>;
<![CDATA[Nirwana, Irma Dewi]]>;
<![CDATA[Santosa, Gibran Yoga]]>;
<![CDATA[Ananda, Desta Seren]]>;
<![CDATA[Junaedi, Arif Rahman]]>;
<![CDATA[Putri, Venus Aurora]]>;
<![CDATA[Nuriza, Aurelia Zahwa]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 1 January 2025 ]]>
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DOI: 10.62012/jacs.v2i1.18
<![CDATA[This study examines the role of emojis in building personal communication in long-distance romantic relationships. In the digital era, emojis have evolved from mere message decorations to important elements in digital communication, especially in the context of long-distance romantic relationships. Using a quantitative approach with an explanatory research type, this study involved 100 student respondents from various universities who were in long-distance relationships. Data collection was carried out through structured questionnaires, in-depth interviews, and digital conversation analysis. The results showed a strong positive correlation (r = 0.72) between emoji use and improved communication quality, with 78% of respondents consistently using emojis in their daily conversations. Facial expression emojis dominated use (85%), followed by heart and love symbol emojis (72%). A total of 76% of respondents reported increased message clarity, 68% experienced a decrease in communication misunderstandings, and 82% felt an increase in the effectiveness of emotional communication. Digital literacy had a significant positive correlation (r = 0.64) with the effectiveness of emoji use. The main challenges identified included differences in emoji interpretation (45%), dependence on internet connection (38%), and difficulty expressing complex emotions (32%). This research makes a significant contribution to understanding the role of emojis as a non-verbal communication tool in long-distance romantic relationships and can be the basis for developing more effective communication strategies in the digital era.]]>
<![CDATA[Chhau Dance: Cultural Trait of Purulia District, West Bengal, India ]]>
<![CDATA[Bhutia, Namgyal Tshewang]]>;
<![CDATA[Sinha, Sanghamitra]]>;
<![CDATA[Sinha, Malavika]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 2 July 2025 ]]>
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DOI: 10.62012/jacs.v2i2.19
<![CDATA[In both political and legal spheres, culture is pervasive and fundamental to the human condition. Culture is the entirety of conduct and belief; it encompasses both normative and taught behaviour. The Chhau dance of Purulia, West Bengal, India, is included in the study. It's the dance of the earthen mask. The several kinds of drums are performed as background music in Chhau dance. It’s a self-defence martial art. The ancient Purulian people inherited Chhau dance. It's an athletic and acrobatic Indian dance that's done at Hindu festival. The various attributes of dance—the choreography, costume, and lyric patterns—have been discussed. The Chhau dance of Purulia is included on the list of intangible cultural heritage of UNESCO. The dance is distinct due to its rigorous training and accuracy, and it is a dance of heroic gesture. Purulia's Chhau dance is more specifically regional than community-specific. Instrumental music, dance, and martial arts are all combined in Chhau dance. It connects the various communities and their technical expertise and skills. The Chhau dance with conciliatory (with mask) actorish gestures is the cultural trait of Purulia, West Bengal.]]>
<![CDATA[The Tradition of Using the Manduaro/Mudawaroh Shawl as a Cultural Heritage of the Local Coastal Communities of West Coast Sumatra ]]>
<![CDATA[Soeandipratama, Soeandi Malik Pratama]]>;
<![CDATA[Simatupang, Irfan]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 2 July 2025 ]]>
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DOI: 10.62012/jacs.v2i2.20
<![CDATA[Selendang Manduaro or Mudawaroh is a cultural heritage of the coastal communities of the West Coast, holding significant historical, aesthetic, and philosophical value. This traditional shawl is not only used as an accessory in traditional attire but also carries deep symbolic meanings in various ceremonial traditions, particularly in wedding rituals and social identity. However, modernization and lifestyle changes have led to a decline in its usage and preservation.This study aims to explore the tradition of using Selendang Manduaro within local communities through a literature review approach. An analysis of various academic sources was conducted to understand its history, functions, and preservation strategies. The findings indicate that Selendang Manduaro developed as part of cultural acculturation resulting from international trade since the 14th century. However, its existence is currently threatened due to a lack of education, limited regeneration of artisans, and a lack of innovation in design and marketing. To ensure its continuity, several efforts have been undertaken, such as embroidery skills training, entrepreneurship empowerment, and digital-based marketing. This study emphasizes that the revitalization of Selendang Manduaro requires a strategic approach, including design innovation, early cultural education, and support from communities and the government. With these measures, this traditional shawl can continue to be a vital part of the West Coast’s cultural identity and be passed down to future generations]]>
<![CDATA[Mappadendang and the Politics of Religious Orthodoxy: Cultural Adaptation in Contemporary Bugis Society ]]>
<![CDATA[Yaffa, Aurea Chiara]]>;
<![CDATA[Firnanda, Deviyan Angel]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 2 July 2025 ]]>
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DOI: 10.62012/jacs.v2i2.21
<![CDATA[This study examines the transformation of Mappadendang, a traditional Bugis harvest ritual, amidst the rise of Islamic orthodoxy in contemporary Indonesia. Once a unifying cultural celebration, Mappadendang has experienced a decline in Muslim participation due to increasing scripturalist interpretations that view the ritual as incompatible with religious doctrine. Employing an ethnographic case-study approach in a South Sulawesi village, this research explores the community’s adaptive strategies, including ritual negotiation, symbolic reinterpretation, and religious reframing. The findings highlight how local actors maintain cultural resilience by transforming tradition into forms more acceptable to dominant religious norms. Through the frameworks of cultural politics and Islamic modernisation, the study underscores that cultural change in Muslim societies involves negotiation, not merely rejection, of heritage. This work contributes to broader discourses on religious orthodoxy, local identity, and the politics of cultural adaptation in plural societies.]]>
<![CDATA[Comparative Analysis of Mahr Practices in Indonesia and Saudi Arabia: Sociocultural and Economic Perspectives ]]>
<![CDATA[A'zdom, Muhammad Khofidul]]>;
<![CDATA[Asilah, Amirah Salwa]]>
<![CDATA[ Journal of Studies on Art, Culture and Society Volume 2 Issue 2 July 2025 ]]>
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DOI: 10.62012/jacs.v2i2.22
<![CDATA[Mahr the obligatory bridal gift in Islamic marriage functions simultaneously as a religious requirement, a cultural symbol, and an economic transfer. This comparative study examines contemporary mahr practices in Indonesia and Saudi Arabia, identifying the sociocultural, religious, and economic factors that shape mahr values and meanings in each country. Employing a mixed‑methods design, the study combines survey data from 612 married couples (Indonesia = 324; Saudi Arabia = 288) with 48 semi‑structured interviews. Quantitative results reveal significant cross‑national differences in median mahr amounts (USD 1,050 in Indonesia vs. USD 13,800 in Saudi Arabia) and in the weight of predictors such as bride’s education and family income. Qualitative analysis uncovers convergent themes of religious duty and social prestige, but divergent narratives around economic burden and women’s agency. By integrating both data strands, the study contributes a nuanced understanding of how local cultures negotiate global Islamic norms. Policy implications include the need for premarital counseling focused on financial literacy and the potential role of Islamic legal institutions in promoting equitable mahr agreements.]]>
