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WAHYU NOVA RISKI
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INDONESIA
Proceeding of International Conference on Art, Media, and Culture (ICAMAC)
Published by Institut Seni Indonesia Padang Panjang
ISSN : -     EISSN : -     DOI : -
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) is a medium to publish proceeding papers of the ICAMAC organized by Institut Seni Indonesia Padangpanjang.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 20 Documents
 1   2 
FUNCTION OF THE SEKATEN GAMELAN IN THE SEKATEN CEREMONY Anton Nugroho, Mukhlis
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

The Sekaten ceremony cannot take place without the presence of the Sekaten Gamelan. Two indispensable elements in the Sekaten event are the gamelan and the gunungan. However, this discussion focuses more on the Sekaten Gamelan, which is played every day during the Sekaten ceremony. This fact has prompted researchers to delve deeper into how the gamelan is utilized in the Sekaten ceremony. This research employs a qualitative approach that combines literature review, interviews, and field observations to gain a profound understanding of the function of the Sekaten Gamelan in the Sekaten ceremony. Through the analysis of practices conducted by the king, the courtiers, and the attending community during the Sekaten ceremony, it can be seen that the Sekaten Gamelan holds a special position and serves several functions. The analysis of the functions of the Sekaten Gamelan reveals at least four functions: as a tool to demonstrate the king's existence, as a means to gather the masses, as a marker for the beginning of the Sekaten ceremony, and as a medium for religious preaching to recall Islamic teachings.
Expanding Technologized Theatre to Perform Intermedial Dramaturgy Yudiaryani; Hirwan Kuardhani; Pius Rino Pungkiawan
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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This article attends to how the utilization of technological devices in twenty-first-century theatre performances can influence audiences' perception of the relationship between humans and technology. Representing artists' work in the fields of new media dramaturgy, intermedial performance strengthens the role of the human body in performance by organizing the embodiment as a technologized theatre strategy. This means that through theatrical technologization, the theatre expands into intermedial performance. This research applies Marco de Marinis' semiotic theory and Chiel Kattenbelt's intermedial theory as the formal objects. A contemporary performance, Jack the Robot performance, becomes the material object. The research uses a hermeneutic qualitative method. The data analysis technique is to reduce and classify data to discover concepts and theories between data in practice. The findings show that dramaturgy is no longer treated only as science, technology, and art, but its benefits are extended to society. Human resources' creativeness and expanded capacity return the body of art organically into interdisciplinary, intercultural, and educational embodiment. Dramaturgy, expanded with theatrical technologization, in its exploration extends to the intersection between embodiment, mise-en-scène, intermedial space, and its impact on the audiences' perception.
CHARACTERISTICS OF DECORATIVE MOTIFS AND FUNCTIONS OF TRADITIONAL SILUNGKANG WOVEN FABRIC IN SAWAHLUNTO CITY IN THE CONTEXT OF MINANGKABAU CULTURE Prihatin, Purwo; Sunarmi; Andar Indra Sastra
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

              Traditional Silungkang woven fabric is a rich and valuable cultural heritage of the Minangkabau people in West Sumatra, Indonesia. Silungkang woven fabric is passed down through generations, taught from one generation to the next, ensuring its preservation to this day. The purpose of this paper is to describe and analyze the decorative motifs on traditional Silungkang woven fabric, as well as to reveal the cultural, aesthetic, and local wisdom values of the Minangkabau people contained within it.            Through an aesthetic approach, including data collection from literature studies, observations, documentation, and interviews, as well as data analysis, it is concluded that the weaving is not just a piece of cloth but also a reflection of the beauty, skill, and local wisdom of its people. The decorative motifs found in Silungkang woven fabric reflect the harmony between nature, daily life, and the cultural values of the Minangkabau community. Characterized by geometric patterns and rich colors, each piece of woven fabric becomes a unique and distinctive work of art. The decorative motifs used in Silungkang woven fabric depict symbols of life, nature, religion, and Minangkabau cultural customs, thus representing traditional cultural values in line with the Minangkabau philosophy "alam takambang jadi guru" (nature as the teacher). The traditional Silungkang woven fabric motifs are categorized into three groups: motifs named after flora, fauna, and natural objects, which form the cultural identity of the Minangkabau. Flora motifs include patterns like bamboo shoots and mangosteen buds, fauna motifs such as "itiak pulang patang" (ducks going home in the evening) and "bada mudiak" (fish swimming upstream), and natural object motifs such as the traditional house (rumah gadang), rice barns (rangkiang), stars, and so on. Each decorative motif on Silungkang woven fabric possesses characteristics, beauty, finesse, and meaning within the Minangkabau cultural context. Silungkang woven fabric, as a cultural heritage of the Minangkabau people, serves both traditional and commercial.
THE EFFECT OF TECHNOLOGY ON THE EXPRESSION AND CONSUMPTION OF ART IN INDONESIA Nurul Hichmah
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

Technology has become increasingly prevalent in the art industry in recent decades, fundamentally impacting the way art is produced as well as society's views and values. This article provides a comprehensive overview of how digital technology has transformed traditional art media and enabled new forms of creativity. The article analyzes Ruangrupa as an Indonesian contemporary art collective that utilizes technology in its projects and activities. The article uses literature analysis to provide insights into the opportunities and challenges faced by artists and society in the digital era. The results show that technology affects the way art is created and viewed by society. The article concludes with recommendations on how society and government can support these positive developments and at the same time manage the associated risks. Amidst ever-changing technological innovations, proper support will ensure that art remains an authentic expression of human experience and an important agent of social and cultural change.
THE MUSICALITY OF BATANGHARI SEMBILAN: A REPRESENTATION OF SOUTH SUMATRA'S SOCIETY Siswanto, Silo; Sunarto, Bambang; Sunarto, Budi Setiyono
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

Batanghari Sembilan Music is a term used to name a musical art form in one of the regions of South Sumatra. This art form consists of musical elements, including a type of poetry called "pantun," which is sung and accompanied by guitar. The lyrics of the pantun are in the regional language of South Sumatra. This study aims to explain the structure of the musical form of Batanghari Sembilan by examining its constituent musical elements, where the melodic structure becomes a character and style that represents the habitual behavior patterns of the South Sumatran community. Therefore, this research poses one primary question: How does the musicality of Batanghari Sembilan represent the habitual behavior patterns of the South Sumatran community? This question forms the problem statement that needs to be answered to explain aspects related to the musicality as an artistic phenomenon of Batanghari Sembilan, which depicts its supporting community.The methodology employed is a qualitative interpretative method with an emic approach, wherein the researcher understands and describes the character of Batanghari Sembilan as a cultural element by referring to the perspective of the community that owns the culture. The results of this study will elaborate and explain the musical structure of Batanghari Sembilan, which forms its regional musicality both in its musical composition and in the naming of its musical elements, representing the habitual behavior patterns of its community. Ultimately, this paper will offer an understanding of the local music of South Sumatra as a concept that has its own structure and formation, shaping its musicality
VIRTUAL PAKELIRAN WAYANG KULIT PURWA SURAKARTA STYLE DURING PANDEMIC COVID19: STUDY OF GARAP, FORM, FUNCTION, AND MEANING Catur Nugroho; Sugeng Nugroho; Bambang Sunarto
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

Abstract                                                                                                This article discusses the virtual pakeliran of wayang kulit purwa during the Covid19 pandemic. The pandemic has forced puppeteers to continue to exist in the midst of society along with strict government restrictions. The presence of virtual pakeliran is an innovation created by the puppeteers as a solution to this problem. This article pays special attention to how a virtual pakeliran is created so that it is still accepted by the public. The material object chosen is the virtual pakeliran presented by Ki Purbo Asmoro and Ki Cahyo Kuntadi which is tracked through Youtube live streaming documentation. The concept used as a framework for analysis is the concept of Surakarta-style pakeliran garap, which consists of four elements of garap, namely the play, catur, sabet, and karawitan/ pakeliran accompaniment.  In addition, the post-structuralism approach is used as a perspective to see the form, function, and meaning of virtual pakeliran. The research method used is descriptive analytical through observation data on the documentation of virtual wayang performances. The virtual pakeliran during the Covid-19 pandemic shows the adjustment of the play to the phenomena that occurred, with a meaning that leads to hope and goodness. The form of virtual pakeliran tends to be packaged with a solid work presented through the use of streaming technology. This means that solid work affects various elements, including the work of the play, catur, sabet, and accompaniment. The collaboration process between conventional, concise, and compact arrangements results in an adaptive, responsive, and communicative virtual pakeliran. Virtual pakeliran functions as a creative space for puppeteers and entertainment media for the public during the pandemic. The important meaning in virtual pakeliran is in the form of hopes and prayers for a better life.
Short Film About The Dangers of Online Loans for Young Adults in Surabaya Katya Jocelyn
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

Advances in technology conveniences society to use online transactions as daily lifestyle. One of the services in financial technology advances is online loan service, lending users temporary funds that is needed. Social groups in society that have expertise in utilizing technology and have a hedonistic lifestyle are dominated by young adults. Enjoying life became their main purpose, driving young adults to use online loans without thinking twice. Social media also triggers young adults to feel FOMO (Fear Of Missing Out), so they use the services to fulfill their desires. Online loans become a financial stumbling block if users do not have financial literacy. This caused many young adults fall into debts, unable to settle the bills with interest. Feeling that there is no way out, users who are trapped in debt will try to find a quick solution, hoping to solve the problem by using other loan services. In the end, this action did not completely solve the problem. The psychological pressure experienced by young adults often led them to do extreme things, such as taking their own life or someone else's. A short film about the dangers of online loans with the title "Pinjol Benjol" is an attempt by the author to increase young adults awareness of the risks of online loan services, while encouraging the target audience to increase financial literacy. This research was conducted within the scope of the city of Surabaya. Qualitative research methods in the form of interviews and surveys were carried out as primary data, while theory and supporting data were used as secondary data. Benchmarks are obtained through surveys after watching films.
The Cultural Ecology Representation in the Talempong Kayu Art of the Nagari Rangking Luluih Community, Solok Regency, West Sumatra Septriani, septriani
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

This research examines one cultural element in the form of talempong kayu art. There are seven elements of universal culture, one of which is art. Talempong is a typical Minangkabau art that has been passed down from generation to generation, one of which is in Nagari Rangking Luluih, West Sumatra. However, this talempong is different from talempong in general. Talempong is usually made of brass, tin and copper. Meanwhile, the talempong in Nagari Rangking Luluih is made of wood so it is called talempong kayu. Talempong kayu is no longer played much in West Sumatra. In general, Minang people play talempong which is made of copper and brass. However, in Rangking Luluih talempong kayu still exists and is often played on several occasions, especially during ritual ceremonies. Therefore, the aim of this research is to examine in more depth the talempong kayu representation, especially the background to its creation and the manufacturing process. The methods used in this research are direct observation, in-depth interviews and documentation. The research results showed that in talempong kayu there is a reciprocal relationship between humans and nature in the process of creating a culture, as stated in cultural ecology. Talempong kayu is not only an art, but it also contains people's knowledge and technology about the surrounding natural environment so that talempong kayu can fulfill people's needs for beautiful sounds and rituals of gratitude for sufficient harvests and a good life. This ritual must be carried out as a form of harmonious human relationship with the natural environment.
Patterns of Accelerating the Creation of Works of Art: Appropriation of Work Ideas Sandra, Yofita; Ondira ASa, Ferdian; Pebriyeni, Eliya
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

Art lecturers are challenged to maximize the quality of the work produced by students. Lecturers need a long time to prepare the learning equipment. At the same time, the activities that have to be completed are not only teaching but also researching and implementing community service as well. This article describes how realizing such efforts starts with the lecturers themselves. One of the strategies used to create such a work is to make appropriations. Various sources of reading and events triggered the spirit of the lecturer and spread it to the students. The artistic ideas that can be used to stimulate come from music, literature, and even medicine. The method used in this report is art-based research. It is believed that the process of drawing and building a new structure of the existing work has also succeeded in shortening the time and saving the cost of money. As a result, when a lecturer produces one product, students can develop it into more than two to three varied alternatives. This spirit is an important part of transforming the values of new creativity in art and cultural education. It is highly recommended that lecturers make their work a learning medium before adding other sources and references. To enhance student learning, institutions of higher education must prioritize the development and support of their lecturers. Keywords: acceleration, product, appropriation, artwork, education.
Simulating Reality: An Exploration of Autoethnography, Deconstruction and Reconstruction in Epic Theater Creation Darius, Nanda; Bagong Pujiono
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

The migration to Tanjungpinang brought the author consciously into a space of simulation. This movement is a 'self-turn away' from the dynamic productivity of the metropolitan city to the quieter rhythm of a small town. In this new environment, the author not only wanders but also integrates into the rhythm of the local community, experiencing time differently. Isolation from the bustle of the metropolis became a deliberate choice, providing distance and space for deep introspection. Using the method of otoethnography and the anthropological insights of Erving Goffman, Richard Schechner, and Augusto Boal, the author interrogates himself and develops a new concept called epic theater work. The epic is not a Brechtian notion that creates a critical distance for reflection and analysis. Rather, it involves the director's fusion of deconstructed and reconstructed realities into an epic theatrical performance with substance. The resulting method of creation offers theater directors a way to discover themselves and their work through certain stages, namely using intuition over conventional knowledge, rejecting traditional plots and structures, acting as the ultimate experimenter, integrating dynamics, deconstructing the script, encouraging engagement and surprise within themselves and the artistic team, and aiming for a surprising and exciting performance.

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