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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 180 Documents
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Parody Idioms in the Visual Characteristics of KNIL Andjing NICA Reenactors Andrian Dektisa
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 1 (2015): June 2015
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v2i1.1436

Abstract

This research is to study the phenomena of wearing military costumes of the past as an alternative ‘means’ of visual communication. People in Indonesia like old military costumes and celebrate them as reenactors (a name for the wearers of old military uniforms) in various social activities that can be categorized into two types of stage, namely main and parallel stage. The main stage is related to learning military history, while parallel stage correlates to euphoria for military fashion. Both stages become an expression of mockery toward postcolonial mimicry and create a cultural postcoloniality that takes place in the contemporary life in Indonesia. This research applies Rose’s visual method that emphasizes the aspect of site image itself by making interviews and getting observation data in the groups of KNIL Andjing NICA reenactors in Surabaya, Bojonegoro, Bandung, and Jakarta. It also applies Barthian semiotics unit analysis.
Cultural Survival, Continuance and the Oral Tradition: Mendu Theatre of the Riau Islands Province, Indonesia Karen Kartomi Thomas
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v2i2.1792

Abstract

This article seeks to describe Mendu theatre that is performed in Sedanau, Natuna regency (kabupaten) of one of Indonesia’s newest provinces, the Riau Island. 1 Once popular at the turn of the 20 th century and in the 1970s and 1980s, there were local Mendu groups in every village of Natuna in parts of northern and eastern Bunguran island, and other smaller islands such as Sedanau, Pulau Tiga, Karempak, Midai, Siantan, and Anambas (K.S. Kartomi 1986; Illyassabli, 2013; Akib 2014). The oral tradition keeps a people’s culture alive across generations by performing episodes from memory. Mendu theatre episodes express and reinstate the cultural values of the Natuna people. Language, culture, customary laws and how the people think are transmitted orally through the arts and through the embodied knowledge of theatre performance practices.
Jember Fashion Carnaval as a Reaction of Visual Culture to The Principle of Binary Opposition (A Case Study) Lois Denissa
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 1 (2014): June 2014
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v1i1.1570

Abstract

It has been commonly understood that fashion shows are always associated to glamor, luxurious, starred hotels, city centers, elite society, lights, and glittering costumes. It is often not realized that fashion shows have created strong boundaries between the center and the periphery, the elite and the public, the upper and the lower class, glamorous and old-fashioned. Since 2003, Jember Fashion Carnaval has been a peripheral phenomenon against the common convention on fashion. Streets as catwalks have totally changed territorial borders, social hierarchy, and created a favorable fashion carnaval arena. This yearly consistent performance and the reaction to binary opposition in fashion turns out to be able to create positive impacts in various fields of the creative industry, created a social and cultural carnival arena, education, and improve the economy of the people and tourism. The fashion carnaval phenomenon which has grown in the community was a result of dealing with foreign influences to create a new visual culture in Jember.
The Convergence of Art and Science in New Arts Studies Research Mustikawati, Retno
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 2 (2014): December 2014
Publisher : IJCAS (International Journal of Creative and Arts Studies)

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Abstract

Relative Nature of Thai Traditional Music through its Tuning System Nattapol Wisuttipat
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 1 (2015): June 2015
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v2i1.1441

Abstract

Thai traditional music exhibits number of relative characteristics, though many of them are not expressed explicitly but only demonstrated orally. Its tuning system, despite having been put through many scientific studies for decades, cannot be given the absolute pitch frequencies. It is therefore possible that the tuning system does not have any absolute pitch frequencies but possesses relative nature. This papers aims to present the historic background, characteristics, past, current practices of Thai traditional music’s tuning system and to put forward the theoretical idea of non-existence of absolute tuning frequency and that of relative nature of Thai traditional music’s tuning system. The data was collected from previous researches on Thai traditional music’s tuning system and from sample instruments. The latter was then compared to each other and analyzed with respect to the former. The preliminary results were that tuning system of Thai traditional music was in the form of seven-tone equal temperament without any sharps or flats. But practically, it was not exactly equal as musicians still prefer the traditionalbiased tunings which is believed to be more tuneful. Regarding the tuning practices, the tuning of Fine Arts Department are most dominating among several others. Even though, the tuning of Fine Arts Department measure from various sources are slightly different in terms of frequencies and intervals. It can be concluded that the tuning system of Thai traditional music does not rely on specific pitch frequency, but is relative to intervals and personal preferences and its absolute pitch frequency is yet to be established.
Pita Maha Social-Institutional Capital (A Social Practice on Balinese Painters in 1930s) I Wayan Adnyana
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v2i2.1798

Abstract

Research Topic: Pita Maha Social-Institutional Capital (A Social Practice on Balinese Painters in 1930s) aims at describing creative waves of Balinese village youth in designing new paintings. The artwork is considered to be the latest development of classical paintings of Kamasan puppet. The pattern of development is not just on artistic technique, but also on aesthetic paradigm. Yet, the invention and development of painting concept, which were previously adopted from stylistic pattern of puppet Kamasan has successfully disseminated paintings as a medium of personal expression. The artist and patron consolidated art practice in the art function, which was well ordered and professional. Agents including palaces, Balinese and foreign painters as well as collectors and dealers were united in arts social movement, named Pita Maha. Despite the fact that Pita Maha also encompassed the sculpture, this research focuses more on the path of paintings. Socio-historical method is applied to explore the characteristics and models of social capital-institutional ideology that brought forth and commercialized paintings on Pita Maha generation. This topic is also an important part of the writer’s dissertation entitled Pita Maha: Social Movement on Balinese Paintings in 1930s. The discussion on socialinstitutional capital enables expansion and exploration of a more complete socio-historical construction on Pita Maha existence. The study on social capital aspects, which embodies the initiation of Pita Maha, has constructed a tremendous growth of Balinese paintings, both in terms of aesthetic “ideology”, and institutional competence of the painters.
Anna Halprin, Dancing Life/ Danser la vie Edited by Baptiste Andrien and Florence Corin Gardner, Sally
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 1 (2014): June 2014
Publisher : IJCAS (International Journal of Creative and Arts Studies)

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Abstract

Traditional Thai Music Competition: The Culture of Pipat Competition Veera Phansue
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 2 (2014): December 2014
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v1i2.1561

Abstract

The title of this research is “The Culture of Pipat Competition” has three purposes as follows: 1) To study the knowledge of Pipat competition; 2) To study the process of Pipat competition; 3) To study the process of judging and deciding a Pipat competition. This research used the qualitative method and presented the research by using descriptive analysis. The results found that; 1) The knowledge of Pipat competition. The competition is to bring ensembles to perform their skills and abilities. Mostly, in a Pipat ensembles the knowledge and skills displayed are governed by a definite set of form and rules during the competition. Only the Pipat Mon that there is no any form or rule in the competition. The ensembles that want to join the competition have to prepare very well in term of musicians and place for rehearsal before the event. Moreover, the conductor of ensemble has to be highly skilled and experienced in coming up with a new technique for playing in order to take an advantage over the rivals. And the conductor should know the strength and weakness of the rivals too. 2) The Study of the process of Pipat competition. The competition has a certain set of forms and rules. The detail of forms and rules will be set by each competitor agreement and it is very easy for practice. It is different from the competition that there is no form or rule so, this kind of competition, the musicians should have a lot of knowledge and in an easy and a relax ways without strict rule, form or time in the competition many kinds of songs will be played. Therefore the conductor must plan everything for the competition. There are 2 types of competition; 1) different song, each ensembles will take turn to play a song and begin with the basic melody until the highly complicated notes and those songs must be in the same style. 2) same song, each ensemble plays same song simultaneously during the whole competition. This kind of competition is very serious and if any of the ensemble cannot play or keep pace with the melody it means they lose the competition. 3) Study of the process of deciding and judging a Pipat competition. There are 3 types of judging in the Pipat competition. 1. The musician and the singer know the result by themselves. 2. The audience decides who wins the competition. 3. The judge decides who wins the competition. The advantage of decision is choosing the best ensemble with developed technique and playing method while the disadvantage is when the musicians do not accept the decision often leading to quarrel and disharmony.
The Role of Petronage in the Existence of the Temple of Ganjuran Danang Bramasti
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 1 (2015): June 2015
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v2i1.1437

Abstract

Ganjuran temple is a place of Catholic worship located in Yogyakarta. The temple had been built by Schmutzer family, a Dutch sugar mill owner, from 1927 until 1930 in the shape of a Hindu temple. However, after the temple was erected, it did not get the attention of Catholics that it was dirty. Finally it was neglected and became a playground for children. It was only in 1990, Father Tomo made the temple a pilgrimage site by creating a series of activities centered on the temple. This paper is dedicated to study the role of patron, the Schmutzers and Father Tomo in the existence of the Temple of Ganjuran in three steps. Firstly, it strives to explain why this Catholic place of worship was built in the shape of a Hindu temple. Secondly, it explains the social process by which the temple then had been forgotten for sixty years. Thirdly, it explains the social process by which the temple became a major Catholic pilgrimage site in Indonesia. This study utilizes the concept of patronage in the development of an artwork as the main framework (Becker, 2008). The methods of applied study are by examining documents, interviews with people involved with the temple and field observations. By treating Ganjuran temple as an artwork embedded in an ‘art world’, web of actors who contributed to the making of Ganjuran temple as a locus of religius and artistic action is made visible.
Aesthetic Transformation of Video4Change Project Through Postmodernism Studies Sazkia Noor Anggraini
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 1 (2014): June 2014
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v1i1.1571

Abstract

Related research on community videos commonly limited in the social domain. This may happen because making video community is not classified as work of art, but rather as a tool to convey messages on community organizing method. Video4Change (v4c) project here consist different organizations in four countries; Indonesia, India, America and Israel. The review of videos conducted in textual and visual ethnography. This method used to specify all the things captured in the sense, the visual, the voice (audio) and the symbol on each video. Video as a medium in the postmodernism era considered as an illusion and simulation, now has more authority. Video build new structures and functions that transformed from mere aesthetic imagery into practical media with particular meanings. The video made by common people has been taking control of society to understanding the images by interpret it. This research attempts to trace and shift the study of community video from the perspective of art, vice versa from what have done before. However, the video as a tool has particular rules and approach to effectively deliver ‘text’ or message in visual language. This study expected to be a reference in a cultural context that comes from the artistic perspective. The analysis will shift the meaning of aesthetic perspective that could be transforming into practical solution-based. Beyond that, this study is able to see how the perspective transforms as the co modification of art in society changes.

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