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+6282220828827
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INDONESIA
International Journal of Visual and Performing Arts
ISSN : -     EISSN : 26849259     DOI : https://dx.doi.org/10.31763/viperarts
nternational Journal of Visual and Performing Arts draws its contributions from academics and practitioner-researchers at the interface of new visual and performing arts. It acts as a forum for critical study, innovative practice, and creative pedagogy, addressing themes that may be domain-specific (e.g., theatre, dance, music, live art, visual arts) or situated at the convergence of two or more disciplines. The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to visual and performing arts.
Articles 10 Documents
CREATIVE PANTOMIME ARTS THROUGH INDONESIA WAYANG MOTION TECHNIQUES S.Pd., M.Pd, Surya Ndoko
International Journal of Visual and Performing Arts Vol 1, No 2: December 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i2.25

Abstract

Pantomime is art that is present to create illusions, dreams come true by talking and telling stories with other mouths (body and expression), carrying them in silence with a story without words, there are also undisclosed emotions. That creative pantomime has a wealth of bodily techniques which are then expressed in the form of pantomime performances. Pantomime techniques can form body awareness based on cultural relations that shape the quality of each pantomime's body. Indonesia has a puppet as a cultural product, representing Indonesian people through its stories and forms of body play performed by wayang as a representative medium of Indonesian humans. In the study of pantomime techniques based on the movement of Indonesian puppets through the movement of Puppets this Cakil figure is divided into several parts 1) Ngasak or Asakan, 2) Ceklekan, 3) Kelitan (ngelit), 4) Ngancap. The technique was processed into a new pantomime form using the approach of the Indonesian puppet movement Cakil.
VISUAL AESTHETICS UNDERSTANDING OF ELEMENTARY STUDENTS IN CREATING THE ARTWORKS Probosiwi, Probosiwi
International Journal of Visual and Performing Arts Vol 1, No 2: December 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i2.64

Abstract

This research has motivated by the author's desire to know deeply of elementary students' understanding of visual aesthetics through the objectification process. The purpose of this research is to explore the ability of elementary school students to interpret beauty and visual arts through practical activities in making three-dimensional artworks. The author using qualitative research methods with data collection techniques are observation, interviews, and document reviews. The subjects are students in Grade 6 at SD Negeri Bhayangkara Yogyakarta. The data analysis technique used is narration. The results are obtaining students taking the stages in making artworks with a visual aesthetic approach and the objectification process towards natural objects. Their understanding of the beauty of objects begins with the process of sensing, belief in tastes, translating in the concept of creating art, and giving reasoning about art through the presentation of works. In addition, the conditions for learning activities are more relaxed and get closer to the teacher. This can be seen in the process of making work, there is an interaction with the teacher outside the classroom, so the students issue more opinions, thoughts, and ideas in creating diverse works of art. 
Comparison between Pakistani Kashi Tiles and Persian Kashan Tiles Ain, Qurat ul
International Journal of Visual and Performing Arts Vol 1, No 1: June 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.11

Abstract

Kashi tiles are the traditional ceramic tiles of Pakistan. They have been produced in Pakistan (previously India) for centuries now; they were brought to India by Persian potters of city Kashan. This paper is in effort to remedy the regrettable absence of documentation of Kashi tiles in the heritage of Muslim enamel tiles. The purpose was to investigate the connection between Persian and Kashi tiles and analyze their similarities and differences. The hypothesis is investigated by literature review of different books and research papers and by interviewing Kashikar of Pakistan about their practices and they were studied and compared. The results and conclusions of this study are the ceramists have very limited knowledge and have refused to accept any new idea due to their loyalty to the craft. They believed in keeping the original recipe intact and have firmly refused to experiment and explore. These tiles were never exactly same to Seljuk blue and white tiles; and the forefathers of these ceramists had obviously studied their environment and experimented with local raw materials. However it is clear from the close remembrance in Design and color palate of these crafts that the original migrated potters were definitely recreating the blue and white craft of Persia, that was imitation of Chinese porcelain
Nengsemaken in Surakarta Karaton Karawitan Performance Daryanto, Joko
International Journal of Visual and Performing Arts Vol 1, No 1: June 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.7

Abstract

The Surakarta Karaton Karawitan which has lived and developed for centuries in the Javanese culture and its distribution leaves many questions, especially those related to the aesthetic concept of the Surakarta Karaton karawitan. The description of the Surakarta Karaton Karawitan musical concept as a reference for the Surakarta community has not been widely revealed. This article aims to reveal and describe one of the aesthetic concepts of the Surakarta Karaton Karawitan, namely the concept of nengsemaken. The paradigm of text and context is used to see the Surakarta Karaton Karawitan events as readable sentences or texts. Texts or sentences have tendency with certain meanings that show certain thoughts that ultimately produce meaning. The concept of interpretation of Clifford Geertz was used to read and interpret musical events in the Surakarta Karaton. From the study conducted, nengsemaken was interpreted as tan sora swarané, rempek rampak kabèh mung jinawil, and sajanturing ringgit.
The Art of Re-Interpreting Self (Self Imagery in Works of Indian Artists) Kalita, Nazima Rangwala
International Journal of Visual and Performing Arts Vol 1, No 2: December 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i2.52

Abstract

Industrialization, urbanization, modernization, and globalization have contributed to significant changes in the culture of the world. The sudden burst and power of globalization has swept like a flood tide through the world's diverse cultures, destroying stable localities, displacing peoples, re-interpreting the development of a new self (bicultural and multicultural self), a new sense of autonomy, and newer sense of individuation. The nature and meaning of selfhood have been recurring questions implicitly or explicitly, on every known human time and place. The self is a spirit. It visions and peruses the supreme norms of ideals of truth, good, beauty and holy. In Indian art scenario, artists took extreme steps showcasing their self. I would like to address the Indian artist whose self is predominantly represented in their art. Their art does not simply present and reinforce dominant ideologies or assert social models; it contains hidden, layered and contested messages or meanings. Through its making, using and display, art and history helps people share underlying understanding of the world.
The Phenomenon of Urban Culture in Film Dendang Bantilang Afrianto, Damar Tri
International Journal of Visual and Performing Arts Vol 1, No 1: June 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.14

Abstract

Film titled Dendang Bantilang Director M. Ikhwan is one of the films that focus on cultural issues primarily in Bulukumba Regency. As a work of film, in addition to serving an aesthetic spectacle, but also showing the reality of the existence of a legend that is in the middle of a Pinisi of the current global era. This film does not only show the existence of pinisi at present, but show how urban culture contestation takes place in Bulukumba contextually. This is why the concern of this research leads to aspects of urban culture in the phenomenon in the film Dendang Bantilang. Through the method of semiotics Roland Barthes, this research found several realities behind their urban phenomenon in Bulukumba, among them: 1) the ceased of the chain of inheritance skills in the community of Bulukumba in making the pinisi ship as the main livelihood, 2) The fascination of work outside the village especially in Malaysia, and 3) The work of making Pinisi ship with a long process has an impact on the cost of wages that received late because wait for the completion of the shipbuilding. The results of the research showing the film Dendang Bantilang can be a reflection of contemplation that maintaining and harmonizing pinisi culture requires a strong and high awareness effort. Pinisi is the ancestral heritage of Indonesian culture both in form and knowledge, not to improve the flow of urban culture accompanied by the extinction of knowledge and skills about Pinisi.
Sari Oneng Parakansalak Gamelan Tuning System and Its Comparison with Machjar’s Theory Fausta, Ega
International Journal of Visual and Performing Arts Vol 1, No 1: June 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.6

Abstract

The research of measuring laras of Sari Oneng Parakansalak gamelan uses convergent parallel mixed methods. It attempts to find out the interval arrangement, which forms a scheme called laras system. This research give a provides clues about the existence of pelog gamelan in Sunda which is still debated until nowadays, which becomes the main reason why the writer is interested to measure the laras of Sari Oneng Parakansalak gamelan. In this research, laras theory of R.M.A. Koesoemadinata is used as the comparison to investigate what kind of laras is the laras scheme resulted from Sari Oneng Parakansalak gamelan?s interval arrangement. The result of this research is in form of persentation numbers which reveals the similarity between laras system of Sari Oneng Parakansalak gamelan and laras theory of R.M.A. Koesoemadinata. Besides giving a conclusion about the conformity between laras theory of R.M.A. Koesoemadinata and the fact found in the field, this research also informs about Sundanese pélog gamelan, which its existence is still hesitated/questioned by some Sundanese society. This study uses Da Tuner Lite which is validated with Korg Orchestral Tuner (OT-12) as the measuring instrument. The data of each waditra and the average of whole measured waditra are used to analyze the data of measurement result. From those two techniques, it can be detected that there are some waditra which are inappropriate to be used as samples. Therefore, the result of this study is taken from three waditra saron which indicates that Sari Oneng Parakansalak gamelan tends to have laras pélog djawar with its 87,19% of similarity. That result can also reveal that pélog gamelan really exists in Sundanese culture, proven by Sari Oneng Parakansalak gamelan which is made in Sumedang in 1825.
Visual Semiotics Analysis on Television Ads UHT Ultra Milk “Love Life, Love Milk” Ardhianto, Peter; Manuel Son, William
International Journal of Visual and Performing Arts Vol 1, No 1: June 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i1.13

Abstract

The number of adverts that have sprung up this digital era has made the creative industry try to break new breakthroughs so that advertisements can be more able to get the attention of the audience by making many innovations. As in the uht ultra love life love milk television television ad. What is applied to television advertising media that has a general target for all people who see this ad, and the main target is young people because it is more relevant and consumers are mostly young people, because milk supports the development period. The purpose of this study is to help review the meaning of a modern advertisement, especially milk advertisements which are usually for children but aimed at all ages.This study uses Roland Barthes's semiotic theory as a theory in the study of television ads, with methods of documentation, interviews, literature studies, so that the right data is collected to be analyzed. So the conclusion in this study is that uht ultra love live love milk television advertising has the message contained in each video scene that is combined with verbal text emphasis and changes in typographic elements that have their own meaning to trigger emotions from consumers.
MODIFIED FILM FORM IN REFERENCE TO CONTEXTUAL 3-D FILMMAKING To Challenge the Monopoly of Film Form and Dissemination of Knowledge in Indonesia Banjaransari, Tunggul
International Journal of Visual and Performing Arts Vol 1, No 2: December 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i2.15

Abstract

The variety of films distributed in Indonesia are homogenous, which highly impacts the dissemination of knowledge generated by the films. Since the information exposed to the public derived from one single source, it is highly potential to politicize the dissemination of the society?s collective knowledge. For example, the arrangement on film circulation. Indonesian Censorship Institute does not only authorized the quantity of the film circulated in the country but also regulates the quality of the films. Films that contain any ideological deviation, moral standards digression, and disobedience of the State will surely be banned. Inevitably, the flow of capital for filmmaking shall follow the State?s standard of circulation. The flourishment of community-based independent film screenings network in Indonesia simultaneously provides alternative information to society. Such knowledge?regarded by the State as the Other?is important since the greater scope of knowledge is inaccessible, not to mention limited by the State. The film communities dedicate the screenings as a space for the audience to explore various kind of films with various kinds of knowledge. The researcher conducted an experiment in combining the situation of the society constrained by the State with the adaptation of 3-D filmmaking. The adaptation manifested in the utilization of layered-narrative as an effort to illustrate the role of information obtained from various sources. The experiment is expected to encourage the audience to dig the information as if they were putting the pieces of the film scenes into a puzzle. Key words: Film Distribution Monopoly, Film Form Monopoly, Adaptation on 3-D Technology
Hidden Curriculum Design of Traditional Art Community Rampak Kendang Setyaningrum, Fery; Siswantari, Heni; Simatupang, Lono Lastoro; Fitriasari, Paramitha Dyah
International Journal of Visual and Performing Arts Vol 1, No 2: December 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i2.65

Abstract

The hidden curriculum is defined as the hidden curriculum imposed on system-specific education (both formal and non-formal. Discussion of the curriculum in Indonesia is interesting is related to the hidden curriculum in non-formal education is the Rampak Kendang community. The characteristics of the population and the different teaching processes from other cities can form different and exciting outputs to be studied. The purpose of this study is to find and describe curriculum designs in the traditional art community of Rampak Kendang in Patimuan Cilacap, Indonesia. This study used a qualitative descriptive method. Data collection techniques using observation, interviews, and documentation. Participation observation with the subject of scrutiny and discussions with the Rampak Kendang community, Patimuan community, the Department of Education in Patimuan. Analysis of the data used data reduction, data presentation, and data verification. The results of this study are the discovery of curriculum design in the form of a hidden curriculum prototype of the Patimuan Rampak Kendang. In the prototype, there is an art learning process through agents as trainers (community leaders) equipped with Patimuan (Sundanese Javanese) art and arts (engineering & creativity). This is then taught through training (learning processes) to other members of the Rampak Kendang community, in the long learning process influenced by the consensus (mutual agreement), and the support system form society. So that six more slices are found in the form of P, T, I (Process, Textual, Internal), K, P, I (contextual, Internal Process), T, P, E (Textual, Process, External), K, H, E (contextual, result, external), T, H, E (Textual, Result, External), K, I, H (Contextual, Internal, Result). These processes resulted in the discovery of the development of multiple intelligence members, namely kinesthetic, musical, visual-spatial, verbal, interpersonal, and intrapersonal.

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