IJCAS (International Journal of Creative and Arts Studies)
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.
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<![CDATA[Malaysia-Thailand, Beyond the New Ornamentalism in Contemporary Jewelry ]]>
<![CDATA[Veerawat Sirivesmas]]>;
<![CDATA[Alias Yussof]]>
<![CDATA[ IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015 ]]>
Publisher : <![CDATA[Graduate School of Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/ijcas.v2i2.1799
<![CDATA[Towards a new perspective of pedagogical approach and constructive criticism in art practice based education, the investigation is focusing on Malaysia-Thailand contemporary art & craft jewelry in academic area. From the traditions of national craft heritage the jewelry, silverware and metalwork is now a day almost lost its conservation to their modern people and its community. The Jewelry is representative of national artifact of high crafting. It passes through present where number of contemporary art objects and lifestyle design gadgets are already dominating new behavioral to society. From this perspective, the different between lifestyle and culture can shape up concept and identity of contemporary jewelry. Where the traditional elements can still remain in somewhere with us! Many academicians, designer makers are working and try to modernize these national prides which obtained the traditional implicit knowledge and local wisdoms. The art and design education also concerns this matter by raising many cultural topics involved into curriculum. It becomes a subject that students can reflect their role of preservation or expression on their cultural contents. The cross cultural perspective of rising perception of the author on contemporary jewelry education between Thailand and Malaysia has begun in 2008 by the invitation of Department of Fine Metal, Universiti Teknologi MARA (UiTM) Malaysia. The UiTM invited a staff (author ) of Department of Jewelry Design, Silpakorn University Thailand, as an external assessor for final year student assessment. The participatory research occasionally began from that point under the pedagogical framework. Observations, interviews, critics on student artworks, were the main activity process that both of students and staff of institution also interacted according to the process of assessment. Definitely, the differentiation between the students’ outcome of jewelry project in Malaysia and Thailand are obviously divergence. However, the traditional ornament of each country and cultural influences also be noticed that have been frequently inspired in students’ work. The constructive criticism was always the core discussion during the students’ assessment and exit meeting with UiTM department members. During year by year, there were number of improvements can be noticed not only on the students’ outcomes but also the academic relationship through collaboration activities that create among two institutions.]]>
<![CDATA[Rājādhirāt: From the History to an Influential literature for Mon-accented Thai traditional Repertoires ]]>
<![CDATA[Jarun Kanchanapradit]]>;
<![CDATA[Wanida Bhrammaputra]]>
<![CDATA[ IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015 ]]>
Publisher : <![CDATA[Graduate School of Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/ijcas.v2i2.1795
<![CDATA[This article aimed to study Mon-accented Thai traditional repertoires through Rājādhirāt literature, which owe its origin from the Chronicles of the Mon. It is the story about the battle between the king Rājādhirāt of Pegu and King Farang Mang Kong of Ava. The translated Thai language prose version was arranged by Chao Phraya Phra Khlang (Hon), a poet master during King Rama I. Later during King Rama V, the Rājādhirāt was adapted for theatrical play – Lakorn Pan Tang – leading to development in musical front in order to assign appropriate Mon-accented musical pieces for the characters, their expressions, and story. Anthropologically, Rājādhirāt Literature was not only an entertainment, but also a revival of Mon-accented Thai traditional repertoires which have been associated with the Thai society for so long. The repertoires served as a reminder of once-flourishing Mon history through literature, play, music. Analysis of historical evidence, concerned persons such as the translator of Rājādhirāt from Burmese to Thai language, experienced Thai musician who played and assigned the repertoires; and expressive interpretation of musical repertoires from Rājādhirāt play by the Fine Arts Department are the integral process that made this article present another perspectives of Mon-accented Thai traditional repertoires while featuring relationship between literature, play and music in Thailand.]]>
<![CDATA[Ojo Kuwi song As Communist Discourse Formation In the election of the President of the Republic of Indonesia in 2014 ]]>
<![CDATA[Arhamuddin Ali]]>
<![CDATA[ IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015 ]]>
Publisher : <![CDATA[Graduate School of Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/ijcas.v2i2.1793
<![CDATA[The aim of this research is to find answers to song Ojo Kuwi as media of the Republic of Indonesia’s presidential election campaign of 2014. In addition, another purpose is to reveal the campaign messages that are communicated through this song’s lyric. This case study focuses on the study of Ojo Kuwi song along with talk on the Internet news media. Data collected from Internet news, analysis of musical elements and lyrics Ojo Kuwi. As a result of research, discovered an attempt to revive the collective memory of Indonesian communism society. Furthermore, the messages are communicated in Ojo Kuwi lyrics urge people to choose presidential number 1 candidate by providing an explanation of the shortcomings of his opponent.]]>
<![CDATA[Comparison of the Effects of Using Traditional Thai Musical Instruments and Carl Orff’s Instruments on Mentally Disabled Children’s Perception and Reaction to the Musical Elements ]]>
<![CDATA[Tepika Rodsakan]]>
<![CDATA[ IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015 ]]>
Publisher : <![CDATA[Graduate School of Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/ijcas.v2i2.1796
<![CDATA[This research dealt with the comparison of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The objectives of the research were 1) to study the results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements 2) to study the results of the effects of Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements 3) to compare the results of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The sample used in the research were 11 educable mentally disabled children from Panyawutikorn School aged between 8-10 years old. The sample had been tested and confirmed by the psychologist to have IQ range from 50-70, to be non-sound sensitive and to be devoid of any multiple handicaps. The sample were selected using purposive sampling. The tool used in this research were an interactive 9-question test of the sample group’s perception and reaction to musical elements using traditional Thai musical instruments and Carl Orff’s instruments. The sample group responded accordingly to the different given tasks in the test including singing, physical movement, playing musical instruments and musically melodic creation. The data obtained are then analyzed using statistical calculation, i.e. median, percentage and mean. The test results revealed the following findings; the results were as follows: 1. Results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. 2. Results of the effects of using Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. When considered each factor individually, the perception and reaction to sound was in the “fair” criteria while the perception and reaction to rhythm and melody were in the “good” criteria. 3. By comparing the results of the effect of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements, it was found to be different on the whole. When considered each factor individually, there was a difference in the perception of sound while there was no difference in perception and reaction to rhythm and melody.]]>
<![CDATA[Editorial Foreword ]]>
<![CDATA[Djohan, Djohan]]>
<![CDATA[ IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015 ]]>
Publisher : <![CDATA[IJCAS (International Journal of Creative and Arts Studies) ]]>
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<![CDATA[Organizing System of Tayub Performance (Case Study in Kabupaten Grobogan in Central Java) ]]>
<![CDATA[Rachel Mediana Untung]]>
<![CDATA[ IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015 ]]>
Publisher : <![CDATA[Graduate School of Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/ijcas.v2i2.1797
<![CDATA[The aim of this study is to figure out a management model of Tayub performance which is performed in Grobogan, Central Java. The research background is Tayub performance is still preserved as a folk art competing with modern art in this modern era. This study is based on sociology and anthropology’s management prespective. This study was conducted in a qualitative research by interviewing several informants. The issue is about early management of functional aspect which includes production management, marketing, human resources and finance. Sociology and anthropology’s perspective sees from the methodology and human’s aspect in management. The results showed that four functions of management have not been implemented well. Yet, Tayub performance can still be performed successfully. The role of dancers, karawitan group, guest leaders, sound and light’s operator also the hosts perform its role professionally. In conclusion, the study found that a successful Tayuban is not about a good management in it but the people themselves who dedicate their abilities, a good understanding in orientation process and highly entrepreneurial spirit. Academically, this research aims to reveal how Tayub’s management model is. Practically, this result can be used by the government to empower socio-economics’ community life as well as to preserve Tayub’s performance.]]>
<![CDATA[Cultural Survival, Continuance and the Oral Tradition: Mendu Theatre of the Riau Islands Province, Indonesia ]]>
<![CDATA[Karen Kartomi Thomas]]>
<![CDATA[ IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015 ]]>
Publisher : <![CDATA[Graduate School of Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/ijcas.v2i2.1792
<![CDATA[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.]]>
<![CDATA[Pita Maha Social-Institutional Capital (A Social Practice on Balinese Painters in 1930s) ]]>
<![CDATA[I Wayan Adnyana]]>
<![CDATA[ IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015 ]]>
Publisher : <![CDATA[Graduate School of Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/ijcas.v2i2.1798
<![CDATA[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.]]>
