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Prasetyo Adhitama
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INDONESIA
Journal of Visual Art and Design
Published by Institut Teknologi Bandung
ISSN : 23375795     EISSN : 23385480     DOI : https://doi.org/10.5614/jvad
Core Subject : Humanities, Art,
Arts Humanities
Journal of Visual Art and Design focuses on theoretical and empirical research articles in the Visual Art and Design disciplines in the region of Asia and Pacific. The scope includes the following subject areas: Design and Art History, Visual Culture, Art and Design Methodology, Art and Design Discourse, Design and Culture, Art and Design Sociology, Design and Art Management, Art Criticism, Anthropology of Art and Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architectural Design, Film, Multimedia, Design Policy, Psychology of Art and Design as well as Art and Design Education. Journal of Visual Art and Design welcomes original research, Art and Design work, and critical discourse on traditional and contemporary issues in the field of Art and Design. Researchers, Artists, and Designers are welcomed to contribute in the form of conceptual or theoretical approaches, designer/artists writings, case studies or critical essays in the fields of Art and Design.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 7 Documents
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Search results for , issue "Vol. 15 No. 2 (2023): Journal of Visual Art and Design" : 7 Documents clear
KAJIAN SENI DAN BUDAYA PADA HINGGI DAN LAU DALAM UPACARA ADAT MASYARAKAT SUMBA TIMUR Putu Diah Ari Kusumadewi; Sri Wening
Journal of Visual Art and Design Vol. 15 No. 2 (2023): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2023.15.2.1

Abstract

Hinggi and lau, as East Sumba woven fabrics, are inseparable from the cultural identity contained in the motifs. In order to understand this culture, the symbolic meanings of the various motifs of hinggi and lau need to be understood. This study examined the hinggi and lau motifs in terms of visual analysis (contour), meaning (content), and background (context). The research method used was systematic literature review by analyzing selected articles using the PRISMA method and going through the identification, screening, eligibility, and inclusion stages with exclusion and inclusion criteria. The results showed that the physical form (contour) of hinggi and lau motifs varied, such as horse, chicken, human, and even skull motifs. These motifs represent meanings (content) related to life, death, and nature. All the meanings and motifs come from the Marapu belief system of East Sumba (context). Hinggi and lau, as cultural heritage, can adapt to change. Through this research, the authors recommend to relevant parties that the motives and functions of hinggi and lau themselves cannot be separated from the philosophical values contained therein, because they reflect the cultural identity of the people of East Sumba.
Representation of Multicultural Identity Through Old Houses and Displays: Case Study of Lasem, Indonesia Virliany Rizqia Putri
Journal of Visual Art and Design Vol. 15 No. 2 (2023): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2023.15.2.4

Abstract

Lasem, located in Central Java, Indonesia, is an area where diverse cultural and religious groups, such as Javanese, Chinese, and Muslim communities coexist. In recent years, old houses that are considered heritage in Lasem have been revitalized and opened as commercial spaces such as guest houses, restaurants, and/or museums, displaying their collections to the public. This paper discusses cultural representation through the display of heritage buildings or artifacts. Employing qualitative methods with purposive sampling, three specific old houses located in Lasem were chosen as case studies: Rumah Oei, Rumah Merah, and Nyah Lasem. Similarities can be drawn between the three houses, in that they displayed old and new objects, combined to construct and represent the values, ideas, and meanings that are wanted to be exhibited by the exhibitors. Further research is needed to analyze the actual selections and curatorial system for the displays in each house.
Japanese and Western Influences on the Local Animation Character Design Identity in Malaysia Faryna Mohd Khalis; Syazliyati Ibrahim; Shafilla Subri; Nurul Atikah Adnan; Abdullah Kula Ismail
Journal of Visual Art and Design Vol. 15 No. 2 (2023): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2023.15.2.5

Abstract

Identity is regulated by culture and can be delivered meaningfully in numerous expressions, among which animated designs. In tandem with technological evolution, animation today shows fusions of various cultures. Two main influences in the Malaysian animation industry are Japan and Western countries due to their status as pioneers in animation. Therefore, this study aimed to examine the influence of Malaysian, Japanese and Western animated character designs on the local university students’ production of their character designs. This study was conducted based on semiotic theory, followed by a research method that employed a content analysis approach using the SPSS software. Through the analysis of cross-distribution and Chi-Square, it was found that the criteria of physique, national characteristics, and colors in the students’ work showed similar characteristics to both local and foreign animations. Consequently, further studies should be conducted to comprehend why the students are inspired by Japanese and Western styles. These influences also raise the question of whether these cross-cultural forms lead to a new identity of Malaysian animation or only a trend.
Remappings of a Region: Popular Map Images Around and Beyond ‘Southeast Asia’ Hera Hera
Journal of Visual Art and Design Vol. 15 No. 2 (2023): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2023.15.2.2

Abstract

Our spatial understandings and perceptions are augmented by media representations of spaces. Whilst maps are often studied within the academic fields of geography and art history, their discussion within the context of design and design history remains insufficient. This paper delves into the study of popular maps as cross-cultural design artefacts. This is done through case studies from the perspective of graphic communication, analyzing maps along their symbolic, narrative, and discursive interpretations as well as how they interplay with lived experiences. The period from 1930s to the 1960s saw several events that led to frequent remappings of geo-entities around the loose assemblage of nations that we now know as Southeast Asia, which included the birth of new nations and the forging of alliances. This process of repeated remappings enables an interesting study on the nature of maps, their instrumentalization, and their consumption.
Preserving Cultural Identity of Angklung Paglak through Visual Identity-based Approach Zzyafra Iomaski Zihana; Inne Chaysalina
Journal of Visual Art and Design Vol. 15 No. 2 (2023): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2023.15.2.3

Abstract

Angklung Paglak, a traditional musical instrument rooted in the rich cultural heritage of Kemiren Village, Banyuwangi, East Java, Indonesia, has played a pivotal role in entertaining farmers and expressing gratitude during the Great Harvest ceremonies. However, with the gradual decline of traditional harvest practices and the advent of modernization, the once vibrant Angklung Paglak tradition faces the risk of extinction. This study used the endogenous development theory to investigate the historical existence of Angklung Paglak and its evolution under the influence of tourism, emphasizing the structure of awareness, social relations, and practical techniques. In summary, by employing an ethnographic approach, the research involved real-world observations and interactions with local participants for one year to gain first-hand insight into the complex interplay between Angklung Paglak as a cultural asset and tourist attraction. The envisioned visual identity plays a significant role in fostering cultural continuity and unity, thus revitalizing and preserving Angklung Paglak’s significance within the community’s collective memory.
Sebuah Penelitian Tentang Pan-Sensualisme Sebagai Bentuk Silang Budaya: Karya Seni Oleh Jim Supangkat; Ken Dedes (1975) Aprilia Ariesty Wibowo; Kiki Rizky Soetisna Putri; Irma Damajanti
Journal of Visual Art and Design Vol. 15 No. 2 (2023): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2023.15.2.7

Abstract

This study examined the use of the term ‘Pan-Sensualism’ in the discourse on contemporary Indonesian new art and how this manifested itself in artworks created at the beginning of the Indonesian New Order era (1966-1998). Jim Supangkat was one of the artists and initiators in forming the artist group Gerakan Seni Rupa Baru Indonesia (Indonesian New Art Movement), which then organized the first Seni Rupa Baru 75 exhibition in 1975. Jim Supangkat presented six installation works with different narratives, but Ken Dedes was the only one that presented the dialectic of traditional and modern culture. The Prajnaparamita, or Ken Dedes statue is presented with a drawing of the body of a woman wearing jeans with the buttons open. In looking at the formal, social-historical, cultural, feministic, and other elements in the work of Ken Dedes (1975-1996), we used the iconographic research method. This method helps to see several aspects of Supangkat’s visual works related to the aesthetic paradigm of Pan-Sensualism and the intersection of two cultural elements, i.e., high and low art, which may be distinguished based on social class appreciation.
Understanding ‘Batik Belanda’ in Dutch Society via Co-Creation Experience of Creative Tourism Practice Arlene Dwiasti Soemardi
Journal of Visual Art and Design Vol. 15 No. 2 (2023): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2023.15.2.6

Abstract

Batik Belanda is a long-established acculturated cultural heritage from the Dutch East Indies era. Some examples of Batik Belanda can be seen in Batik Buketan (bouquet) and Batik Snow White (folklore). However, the representation and understanding of Batik Belanda remain deceptive. Additionally, this specific batik is still underrepresented in modern society, losing its dialogical purpose as a heritage and its connection to Indonesian and Dutch individuals’ cultural identities. Developing creative tourism is one of the solutions to promote heritage – deemed to provide a better understanding via in-depth learning and personal contact. This qualitative research was conducted in the Netherlands to analyze the potential of Batik Belanda and creative tourism practice. The creative tourism practice was done by creating an immersive batik workshop with the goal of generating interest in both Indonesian and Dutch communities in the Netherlands to connect with their cultural heritage from Indonesia. Participants’ observations and interviews with 10 workshop participants served as the main methodology. This research indicated how participants’ experiences increased their understanding of cultural heritage and fulfilled their emotional needs through the workshop, giving them motivation and shaping their interest in the pre-visit stage of cultural tourism in Indonesia. On the other hand, their interest in culture and tourism in Indonesia was divided, determined by how they perceive post-colonial subjects and their cultural identities as a community in the Netherlands.

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