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 11 Documents
 1   2 
Search results for , issue "Vol 2, No 1 (2015): June 2015" : 11 Documents clear
Byl, Julia, Antiphonal Histories: Resonant Pasts in the Toba Batak Musical Present. Wesleyan University Press: Middletown, Connecticut Kartomi, Margaret
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 1 (2015): June 2015
Publisher : IJCAS (International Journal of Creative and Arts Studies)

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Intersecting Multiple Belongings in the Creative Arts Djohan, Djohan
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 1 (2015): June 2015
Publisher : IJCAS (International Journal of Creative and Arts Studies)

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Video Art: Psychological Status of Orphans from the Unrest in the Three Southern Thai Province I-na Phuyuthanon
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.v2i1.1438

Abstract

The greatest loss caused by the insurgency in Narathiwat province which is in the south of Thailand is the lives of the orphans whose parents or beloved ones have been deprived among conflicts and violence. Even though the affected people have received different aids, such cases are not as important as the situation faced by the orphans. After the losses, no one truly pays attention to the extent to which the southern crisis affects these unfortunate children. Even in time of peace, the children who will become adults in future have to face and suffers from severe social biases at home and elsewhere. They also have to face violence and the lack of safety in their lives. This is a result of the fire of vengeance between local people and the government’s suppression which is a game of those villains in power. The orphans will have to sustain their lives alone despite some aids from the government and private sectors. In order to create social awareness of the orphans’ daily lives in Narathiwat province, which affects their psychological status, education, and security of individual, social, and country’s levels, the awareness is raised through video art creation. Video art is a form of art which can reflects the way of lives of those who suffer from losses by presenting the stories of those who have lost, especially in terms of mental status after the loss. Video arts also present views and cultures of the locals with motion pictures, picture placement, and actions and contemporary artistic framework to convey the important message to the society so that people will understand the reality. Video arts are produced based on the researcher’s viewpoints and attitudes gained from the five senses – vision, hearing, smell, taste and touch. Video art is also a type of media that fully responds to human’s imaginations.
Interdisciplinary and Globalisation Issue at the International Conference for Interdisciplinary Studies 2014 (ICIS) in South Korea H, Prayanto Widyo
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 1 (2015): June 2015
Publisher : IJCAS (International Journal of Creative and Arts Studies)

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Existence, Identity and Survive Strategy Kethoprak Tobong Kelana Bhakti Budaya Inggit Sitowati
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.v2i1.1439

Abstract

Kethoprak Tobong Kelana Bhakti Budaya is one of Ketoprak tobong that still exist and survive from the onslaught of modern entertainment. Ketoprak tobong is a traditional Javanese theatrical art which performs and lives by moving from one place to another within a period of time. They maintain their existence because of their deep love for the Ketoprak world. In addition they have a sense of responsibility to preserve the nation’s cultural heritage by maintaining their tobong group. For them the Ketoprak world and tobong is their identity. The members of this group were born and grew up from the Ketoprak’s family and environment. The existence and identity of this group is formed from habitus, capital and field. For survive strategy, they apply the principles of kinship, flexibly apply the rules, looking for donors, and promotes the group through a variety of cultural events. To make ends meet they have other jobs, including craft, making costumes, makeup, and a singer in a wedding.
Empowerment of the Students Creativity Through Participatory Art Project in Surakarta Adam Wahida
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.v2i1.1435

Abstract

The general objective of the participatory art project creation is to provide inspiration and concrete solutions to the creativity problems of senior high school students in Surakarta. While specifically aims to: 1) create useful the art strategies to empower the students creativity, 2) realize the art project that favors the development of students creativity potential, 3) create many artwork that comes from the students socio-cultural context. The methods of participatory art creation were done by: 1) an intensive on-site art project that was on going at SMAN 5 Surakarta, SMA Murni and MA Al-Islam in Surakarta. Object observation included student activities in and outside of school, the learning atmosphere in the classroom, student work documents, and documents teacher (curriculum, syllabus, lesson plans, learning materials). 2) In-deep interviews; with the head master, teachers, and students. 3) The literature review; to examine the theory to reinforce the concepts as a foundation that provides clear direction and path in the process of creating art works for the purpose of creating some participatory artwork. 4) Workshop and experiments; provide workshops of art creation to the students and conduct experiments with materials, techniques and formats in order to achieve a shape that corresponds to the concept of creation. The results of this art project are: 1) the product of participatory art creation strategies that are able to empower the students creativity. 2) the realization of participatory art project moving in the area of art creativity empowerment of students in the school. 3) the creation of art works based on the socio-cultural context, namely: print making, comic strips, comic puppets, etching. Through the creation of a participatory art project has been a change as follows: 1) An increase in the students activity receiving learning material of art creation, especially of the creativity led to the idea in visual forms. 2) Participatory art project can be oriented to direct experience of completing a variety of problems from simple. 3) The students have a skills to creative thinking with a different perspective and can be flexibly applied to solve a of problems as well welcoming the opportunity.
An Example of Art Management in Java: Art Management and Community Management Using Local Folk Art Kaori Okado
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.v2i1.1440

Abstract

In the present study, I examine the activities of a community network called Tlatah bocah at Mount Merapi and discuss their methods of art management and the benefit of them to the communities involved. They have been conducting festivals of folk performing arts for children and scholarship programs while very much respecting participants’ autonomy. Many benefits were gained by the communities involved. This kind of structure can be called “community management”. I demonstrate that this new system can add a new role and new value to traditional performing arts, empowering local communities.
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.
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.
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.

Page 1 of 2 | Total Record : 11

 1   2 

Filter by Year

2015 2015


Reset
Filter By Issues
All Issue 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