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IJCAS (International Journal of Creative and Arts Studies)
Published by Institut Seni Indonesia Yogyakarta
ISSN : 2339191X     EISSN : 24069760     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Recently, the value of arts studies in higher education level is often phrased in enrichment terms- helping scholars find their voices, and tapping into their undiscovered talents. IJCAS focuses on the important efforts of input and output quality rising of art education today through the experiences exchange among educators, artists, and researchers with their very own background and specializations. Its primary goals is to promote pioneering research on creative and arts studies also to foster the sort of newest point of views from art field or non-art field to widely open to support each other. The journal aims to stimulate an interdisciplinary paradigm that embraces multiple perspectives and applies this paradigm to become an effective tool in art higher institution-wide reform and fixing some of biggest educational challenges to the urban imperative that defines this century. IJCAS will publish thoughtprovoking interdisciplinary articles, reviews, commentary, visual and multi-media works that engage critical issues, themes and debates related to the arts, humanities and social sciences. Topics of special interest to IJCAS include ethnomusicology, cultural creation, social inclusion, social change, cultural management, creative industry, arts education, performing arts, and visual arts.
Arjuna Subject : -
Articles 10 Documents
 1 
Search results for , issue "Vol 3, No 1 (2016): June 2016" : 10 Documents clear
Soliloquies: A Movement-based Approach towards Beckett’s Waiting for Godot Riana Diah Sitharesmi
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.1833

Abstract

The research entitled “Soliloquies: a movement-based approach towards Beckett’s Waiting for Godot” examines my understanding of the play, which is manifested in the form of a dance piece along with a writing component. The conceptual foreground is drawn from the circumstantial analysis of a duality of human’s strategies confronting the difficult situation in their waits. “Waiting for Godot” (WfG), the biggest iconic of modern theatre, is the baseline to address the pragmatic understanding towards human condition and human self-reflection. The research aims to discover an alternative way bringing the abstract concept of human condition into a tacit understanding of the dance performance as well as the writing component. Both literary investigation and artistic-based research are processed simultaneously to discover the coherence, through which the creative process would find the equilibrium in both practical and academic. The observation of WfG’s dramatic tension leads the choreographic process in focusing kinesthetic exploration to represent ‘body and mind’. The idea is manifested through the dance performance entitled “Soliloquies”, which uses the presence of Balinese and Javanese elements as a starting point as well as the development of individual aesthetic experiences of the dancers. The results of the research generate distinctive movement vocabularies to convey its choreographic structure, while they also challenge an intercultural dialogue in the process of studio research. It draws the conclusion that such investigation could articulate the manifestation of movement-based approach towards Beckett’s WfG, that is the absurd of human condition. It also brings out a hermeneutic sphere in the art process, which works for me, as a female Indonesian dancer, to reconstruct identity within Indonesia contemporary state.
Sound And Celebration of Death: Gong Ensembles in The Secondary Mortuary Rituals of the Jarai (Central Vietnam) Compared with Those of the Dayak Benuaq (East Kalimantan, Indonesia). Do They Originate from the Dong Son Culture? Della Rata
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.1830

Abstract

The Jarai people are an Austronesian language speaking group living in Central Vietnam. They reached mainland Southeast Asia from Northern Borneo, or possibly from the Malay Peninsula, around the 5th century B.C. as part of the more general migratory movement that took the Austronesian people from Formosa to Madagascar, westwards, and to Easter Island, eastwards. The Pa thi ritual is one of the most remarkable of the many ceremonies celebrated by the Jarai, in terms of its magnificence and the complexity of the elements involved. Pa thi (the “tomb abandonment”) is a secondary mortuary ritual that allows the spirits of the dead to reach their final destination. When the ritual is held, the tomb, carefully decorated with symbolic elements, becomes the centre of a sumptuous feast, lasting three days, which includes gong music, dances and buffalo sacrifices. The aim of this paper is to analyse some features of the Pa thi ceremony and to compare them with some of the scenes depicted on the Dong Son bronze drums (Heger I type). In fact, as many scholars such as Goloubew (1929) and Bemet Kempers (1988) have pointed out, there is a connection between the people of Dong Son and “men who might be the more direct ancestors of the Indonesians we know from the archipelago”. As evidence of this connection, these scholars explicitly mentioned the culture of the Dayak people of Borneo and the mountain populations living in Central Vietnam. In addition to my analysis of the Jarai ritual, I will give a few comments on the Kwangkai, the secondary mortuary ritual of the Dayak Benuaq people (East Kalimantan, Indonesia). Rather than attempting to provide a definite analysis of the bronze drums, this paper intends to open some new perspectives for a better understanding of the scenes depicted on the bronze drums as well as giving an interpretation based on the comparison with living rituals.
The Development of Formal Ceremonial Coronation Attire of Seri Paduka Baginda yang di-Pertuan Agong From I-XIV Starting From 1957 until 2016 Nor Idayu binti Ibrahim
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.1834

Abstract

There is specific formal attire wear by “Seri Paduka Baginda Yang di-Pertuan Agong”. The exploration related with Malaysia royal institution and royal etiquettes are aspiring, interesting and there are numbers of printed publications had discovered in depth, onto this fields. Unfortunately, most of them have not yet discovered in-depth research about the development of formal ceremonial coronation attire of “Seri Paduka Baginda Yang diPertuan Agong”. The purpose of this paper is to discover the development of ceremonial coronation attire and to document the knowledge regarding the research paper topic. Meyer Schapiro theory of style is used in this research equivalent to feature its style and design of the ceremonial coronation attire. Method applied was the qualitative method because it is the suitable approach to gathering valid data from the experience experts. It is also discussed on the style, muskat and the design of ceremonial attires of them. The coronation attire also known as Royal Regalia. The items are Tengkolok di-Raja, Pending di- Raja, Short Keris and Long Keris. Finally, this research hopefully will benefit and provide a vital source of references to the Malay civilization, researchers, academicians, scholars, students, cultural activist, and also Malaysian regarding with the formal coronation ceremonial attire of “Seri Paduka Baginda Yang di- Pertuan Agong” especially back dated during the period of 1957 until 2016.
Literary Performance in the Act of Pendendang Noni Sukmawati
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.1835

Abstract

This study is aimed to find out the power of pendendang as the main actor in Sastra Pertunjukan (Literary Performance), an art performance which places literature – in this case pantun or verse as the spoken literature of Minangkabau – as the main medium. Pantun is delivered through berdendang or singing tradition which is accompanied by an instrument named saluang. Hence this performance is so called saluang dendang performance. The main strength of this performance is the selection of the pantun delivered by pendendang and his ability to build a contextual connection or to interact with the audience or the surroundings.Pendendang combines the pantun with the new pantun and creates new ones spontaneously and contextually in his live performance. Therefore, this art performance of Minangkabau is also a literary performance because of the main strength lies on the pantun that are delivered. Framed in the theoretical proposition of Pierre Felix Bourdieu, this study tries to recite the role and the pendendang’s strength to improvise in his efforts to create an interesting performance for the audience, through his selection of pantunthat is delivered spontaneously and his mastery, habitus and position in the performance.
Research In Creating Artworks – Comparison 3 Case Studies of Fine Art Creative Process Octalyna Puspa Wardany
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.1871

Abstract

In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.
The Artist: Silent Technique in Film Form Agustinus Dwi Nugroho
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.1831

Abstract

The Artist is a film that uses the silent era techniques to visualize the film. This study sought to uncover what the motivation behind the use of techniques to the silent era films with his observation of the text of both aspects of the narrative as well as aspects of the technique. The findings of the observation process could be the basis of analysis. The Artist makes this silent era technology into a cinematic technique to visualize the film. This has become a strong motivation and able to demonstrate the strength of the story as a whole that tells about the silent era transition process from the perspective of the player. The silent era techniques were used to make this technique as a force in the film. This study focuses on how the technique of the silent era emerged as a new technique in the world of film and brings new perspective in film studies. This new technique emerged because it was never used fully in the present.
Making Wayang Along Anthropology and Art Giulia Panfili
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.1836

Abstract

Practices of art and anthropology are interlacing a dynamic dialog especially for the methodology of research, the process for awakening knowledge. Historically anthropology treated art in its various expressions as privileged field of study for being in a certain way caught up in social and cultural relations. Nowadays more and more the both practices share ways of thinking through making and making through thinking in processes of active going along, engagement with the surroundings and self-discovery. In researching how wayang kulit is being alive in Yogyakarta at the present on going time, art to be intended as creative doing and practical understanding became all in one object, subject and process of the research. Learning by making and performing wayang kulit as well as observing, sharing and discussing with people gives path to experience and question some issues about ways of knowledge and skill transmission; practices of growing between forces, materials and gestures; borders of completion of never-finished objects and practices; relations between practitioners, materials and surroundings; projections of imaginative design between local and global dynamics.
Digital Fabrication, Architectural and Material Techniques Iwamoto, Lisa Stephanus Evert Indrawan
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.2074

Abstract

Art of Engagement: Visual Art of Thailand in Global Contexts Thanom Chapakdee
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.1832

Abstract

This paper on the topic of Art of Engagement: Visual Art of Thailand in Global Contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. Globalization based on the notion of Global art and transform Thai art scene into the state of international art movement such as Installation art, Performance art, Community art, i.e. these movement becomes the mainstream of art since 1980s. This kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences can participate with people in community as relational art practice. The relational art becomes the space of exchange and participants can share experienced of taste, aesthetic, criticism which it’s related to art objects and sphere of community. This paper will explains that relational art is in the process of art of engagement. That is why art has become the community engagement which art objects and practical based are of the relational art and relational aesthetics.
The Socio-technical Constitution of Resilience: Structures, Practices, and Epistemologies Kurniawan Adi Saputro
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 1 (2016): June 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i1.2075

Abstract

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