cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
-
Contact Email
-
Phone
-
Journal Mail Official
-
Editorial Address
-
Location
Kab. bantul,
Daerah istimewa yogyakarta
INDONESIA
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
 6   7   8   9   10 
Alternative Conceptions of Modernity in the History of Iban Popular Music Connie Lim Keh Nie
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 2 (2016): December 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i2.1845

Abstract

This paper examines how modernity has historically shaped developments in the industry of Iban popular music. The Iban make up one third of the Sarawakian population and are the largest indigenous ethnic group in Sarawak, Malaysia. As with other ethnicities in the nationstate, modernity has presented challenges for socio-cultural development and lifestyle of Iban people. Historically, the Iban are a cultural group located geographically and politically on the periphery of the multi-cultural nation of Malaysia. Throughout much of the 20th century, the music industry has experienced a rapid embrace of modernity through the nation to the detriment of traditional practices in culture in order to adapt themselves in the era of modernization. Iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of Malaysian nationalism. Drawing upon Barendregt’s (2014) ‘alternative conceptions of modernity’ this paper examines how the Iban reference both a national as well as a local music industry particularly through their use of language as an expression of Iban. First the paper will examine changes in Iban society through political and economic modernization. Then I look at differential transformation within Iban music industry because of relative exposure to agents of change such as the influence through Christian missionary and education. This reflects how the Iban react and reflect in adaptation of modern demands of change as a result of the effects of historical processes on the social, cultural and physical environments.
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.
Tarantism: The Italian Pizzica from Music Therapy to New Formsof Performance Daniele Zappatore
IJCAS (International Journal of Creative and Arts Studies) Vol 4, No 2 (2017): December 2017
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v4i2.1962

Abstract

Far from being a mere historical reconstruction of the complex and culturally conditioned zymology of tarantism, the aim of this paper is to highlight its dynamic diachronically. Originally came from Italy, tarantism and its dynamics couldn’t be disjoined from its ancient concepts: cults, ritual possession, choral-music exorcism, that can be understood as a music therapy. In ethnomusicology standpoints, the particular significance would join the analysis of its from and its cultural aspect to elaborate the preservation of its choral nature or even its original ritual use in some maintained tarantellas. Through a cultural approach, this paper showed how, in the next period, political and economic development of these processes of capitalization resulting form of commodification focused in the aspects of dance and music. This lead to a decontextualization of the tarantula’s symbol into ideological discourse that transformed into cultural heritage in order to give it the status of capital goods, to be launched in cultural market.
Anna Halprin, Dancing Life/ Danser la vie \ Edited by Baptiste Andrien and Florence Corin Sally Gardner
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.v1i1.2066

Abstract

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

Rejection of the Cigarette Billboard Sampoerna A Mild “Mula Mula Malu-Malu, Lama Lama Mau” Donna Carollina
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 2 (2016): December 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i2.1841

Abstract

In early 2015, a billboard advertisement of cigarette product Sampoerna A Mild titled “Mula Mula Malu-Malu, Lama Lama Mau” or in English means “Initially Feel Shy, Gradually Want” were protested by the majority of Indonesian people. Protests were stated on the website www.change.org, with a petition asking for the billboard to be removed immediately. Shortly after, Sampoerna A Mild company responded to the protest by apologizing to the people of Indonesia and removing the billboard. This case raises several questions for the author: Why was Sampoerna A Mild’s billboard removed?; What were the communicative sign contained in the illustrations that causes the billboard to be removed?; What was the idelogical background of Indonesian society which causes them to reject the billboard of Sampoerna A Mild? To answer these questions, this research based on a case study uses the methods of art critic as described by E.B Feldman. Data collection was done based on the study of literature, then the findings were analyzed inductively. Results of research revealed that the billboard was removed because it was considered a pornographic illustration. Pornography as seen in the communicative sign illustration of a young couple hugging each other, as well pornography in the illustration which includes the text that reads “Mula Mula Malu-Malu, Lama Lama Mau” or “Initially Feel Shy, Gradually Want”. The majority of Indonesian society rejected the billboard of Sampoerna A Mild and considered the billboard illustration to contain pornography due to their ideological background which is based on ethics and morality of Indonesian culture. Therefore, that rejection of the billboard is mainly due to an illustration displaying things that are in violation of Indonesian culture.
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.
Dance Dramaturgy (Collecting Articles) Edited by: Pil Hansen and Darcey Callison Kiki Rahmatika
IJCAS (International Journal of Creative and Arts Studies) Vol 4, No 2 (2017): December 2017
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v4i2.2082

Abstract

“I Liked it, Didn’t Love It,”3 Edition Screenplay Development from the Inside Out, Los Angeles, ESE (Edwards Skerbelis Entertainment by Edwards, R. & Skerbelis, M. (2016) rd Gabrielle Kelly
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.v2i2.2072

Abstract

Sahita’s Performance, Satire of the Life of Javanese Women Yustina Devi Ardhiani
IJCAS (International Journal of Creative and Arts Studies) Vol 3, No 2 (2016): December 2016
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v3i2.1846

Abstract

Sahita is a performance art group established in Surakarta-Central Java with four members of Javanese women who are in their forties to fifties. On stage performance, Sahita acts upon old women who are not pretty, but plump, attractive, energic, and humorous. Their performance is considered “uncommon” considering the fact that Sahita’s cultural background is Javanese which is dominated by youth, beauty, proportional body as the beauty of female bodily form, and gentle manner as women described on stage performance. The research questions highlights why Sahita prefers to have satire style and chooses traditional art as the basis in producing new works? The data are gained through field observation, deep interview and library study. The finding reveals that Sahita prefers the satire style to express what is hard to talk in the daily life and to express critics in humorous ways so that the critized party can also enjoy the performance. In their works, Sahita makes traditional art as its base because of its strong background in traditional art and because of its unlimited exploration. What makes Sahita unique besides its members who are all women voicing women’s anxiety, Sahita also presents traditional art with contemporary taste in their works.

Page 8 of 18 | Total Record : 180

 6   7   8   9   10 

Filter by Year

2014 2025


Reset
Filter By Issues
All Issue Vol 12, No 1 (2025): June 2025 Vol 11, No 2 (2024): December 2024 Vol 11, No 1 (2024): June 2024 Vol 10, No 2 (2023): December 2023 Vol 10, No 1 (2023): June 2023 Vol 9, No 2 (2022): December 2022 Vol 9, No 1 (2022): June 2022 Vol 8, No 2 (2021): December 2021 Vol 8, No 1 (2021): June 2021 Vol 7, No 2 (2020): Desember 2020 Vol 7, No 1 (2020): June 2020 Vol 6, No 2 (2019): December 2019 Vol 6, No 1 (2019): June 2019 Vol 5, No 2 (2018): December 2018 Vol 5, No 1 (2018): June 2018 Vol 5, No 1 (2018): June 2018 Vol 4, No 2 (2017): December 2017 Vol 4, No 1 (2017): June 2017 Vol 3, No 2 (2016): December 2016 Vol 3, No 1 (2016): June 2016 Vol 2, No 2 (2015): December 2015 Vol 2, No 2 (2015): December 2015 Vol 2, No 1 (2015): June 2015 Vol 2, No 1 (2015): June 2015 Vol 1, No 2 (2014): December 2014 Vol 1, No 2 (2014): December 2014 Vol 1, No 1 (2014): June 2014 Vol 1, No 1 (2014): June 2014 More Issue