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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 6 Documents
 1 
Search results for , issue "Vol 9, No 2 (2022): December 2022" : 6 Documents clear
Museums in Ghana: Visitor Education, Experiences and Satisfaction Samuel Nortey; Kwasi Amoako-Hene; Edwin Kwesi Bodjawah
IJCAS (International Journal of Creative and Arts Studies) Vol 9, No 2 (2022): December 2022
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v9i2.6170

Abstract

This study looked at visitor experience and satisfaction on museum education in Ghana. Visiting and studying nine museums under the Ghana Museums and Monument Board (GMMB) and using both qualitative and quantitative approaches, the study revealed that visitor experiences, satisfaction, and education within museums under GMMB are unsatisfactory. There are issues with teaching methods, the state of exhibits and exhibition styles and a challenge of low possibility for visitor revisit. There is the need to commit resources to strengthen museums and the introduction of activities which would serve as grounds for museum learning. A strong engagement of visitor education in a positive, socio-cultural, and conducive learning atmosphere is very much expedient. The paper recommended a framework of diversity and inclusion that would support the creation of meaningful visitor experiences and enhance museum education in Ghana. Museum di Ghana: Pendidikan, Pengalaman, dan Kepuasan Pengunjung Abstrak Studi ini melihat pengalaman dan kepuasan pengunjung terhadap pendidikan museum di Ghana. Mengunjungi dan mempelajari sembilan museum di bawah Dewan Museum dan Monumen Ghana (GMMB) dan menggunakan pendekatan kualitatif dan kuantitatif, studi ini mengungkapkan bahwa pengalaman pengunjung, kepuasan dan pendidikan di dalam museum di bawah GMMB tidak memuaskan. Ada masalah dengan metode pengajaran, keadaan pameran dan gaya pameran dan tantangan kemungkinan rendah untuk kunjungan kembali pengunjung. Ada kebutuhan untuk menyediakan sumber daya untuk memperkuat museum dan pengenalan kegiatan yang akan berfungsi sebagai landasan untuk pembelajaran museum. Keterlibatan yang kuat dari pendidikan pengunjung dalam suasana belajar yang positif, sosial budaya dan kondusif sangat diperlukan. Artikel ini merekomendasikan kerangka keragaman dan inklusi yang akan mendukung terciptanya pengalaman pengunjung yang bermakna dan meningkatkan edukasi museum di Ghana.
Semiotics Studies in Agan Harahap's Work: Manipulation of Reality on social media Satrio Hari Wicaksono; Shidqi Annas Al Haris Sholih
IJCAS (International Journal of Creative and Arts Studies) Vol 9, No 2 (2022): December 2022
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v9i2.8228

Abstract

Digital-based media art is growing massively because it is in line with the existence and usefulness of digital-based devices, which are increasingly crucial in their function in society, such as photography which is not just for capturing moments and aesthetic needs but the need to offer information to others. It no longer presents the image as it is but can also deliver a 'fantasy' and appearance that does not happen in the real world through the editing process. The easier it is for virtual access to be obtained through devices in their hands, people are increasingly flooded with text and images with different content. To minimize misinformation, it takes public agility to sort out information and maturity in tracing cyberspace, mainly social media. Agan Harahap, an artist who uses the medium of photography as his language, often uses the process of editing photos to provide a representation of the 'new reality in his work. Harahap, who is interested in this phenomenon, uses social media as a means of publication so that it can be appreciated and provide an overall awareness process. The method used in this study is a case study through a semiotic approach to reading the symbols used by Harahap in his work. With the direction of the medium of photography and social media, Harahap arouses people's awareness to be aware of the reality offered in a piece of information. Kajian Semiotika dalam Karya Agan Harahap: Manipulasi Realitas pada Media Sosial Abstrak Seni media berbasis digital tumbuh secara masiv karena sejalan dengan keberadaan dan kegunaan gawai berbasis digital yang semakin krusial fungsinya di masyarakat. Seperti fotografi yang tidak hanya sekedar untuk menangkap momen dan kebutuhan estetik saja namun kebutuhan menawarkan sebuah informasi bagi orang lain. Tak lagi menghadirkan gambar apa adanya, namun juga mampu menghadirkan sebuah ‘fantasi’ dan tampilan yang sebenarnya tak terjadi di dunia nyata melalui proses editing. Semakin mudahnya akses virtual didapatkan melalui gawai dalam genggaman, masyarakat kian dibanjiri oleh teks maupun image yang memiliki beragam konten. Dibutuhkan kesigapan masyarakat untuk memilah informasi dan kedewasaan dalam menelusuri dunia maya, khususnya media sosial untuk meminimalisir informasi yang salah. Agan Harahap, sebagai seniman yang memanfaatkan media fotografi sebagai bahasa ungkapnya, acapkali melakukan proses pengeditan foto untuk memberikan sebuah representasi ‘realitas baru’ dalam karyanya. Harahap yang tertarik dengan fenomena ini menggunakan media sosial sebagai sarana publikasi agar dapat diapresiasi dan memberikan proses penyadaran secara luas. Metode yang digunakan dalam penelitian ini ialah studi kasus melalui pendekatan semiotika untuk membaca simbol yang digunakan Harahap dalam karyanya. Dengan pendekatan medium fotografi dan media sosial, Harahap berupaya menggugah kesadaran masyarakat untuk mawas terhadap realitas yang ditawarkan dalam sebuah informasi.
Virtual Choir: To Sing Together, Individually Indra Kusuma Wardani
IJCAS (International Journal of Creative and Arts Studies) Vol 9, No 2 (2022): December 2022
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v9i2.8226

Abstract

The pandemic has forced choir practitioners and enthusiasts to shift from in-person rehearsal and performance to online and virtual choir performance. The virtual choir is seen as an alternative to choir activity during the pandemic. However, it also generates another concern related to its inclination to reduce the role of the conductor, singers, and social interaction in achieving musical targets and enhance the so-called social skills, empathy. The study employs two conductors in an in-depth interview to understand the condition and dynamics of online rehearsal and virtual choir performance. The exploration of the data emphasized three important themes: (1) the role of virtual choir to choir continuity, (2) the impact of virtual choir technology in reducing individuals’ role, and (3) the absence of in-person social interaction in empathy enhancement. Paduan Suara Virtual: Bernyanyi bersama, seorang diri Abstrak Pandemi memaksa praktisi dan penggemar paduan suara untuk beralih dari latihan dan penampilan live menjadi skema latihan online dan pertunjukan virtual. Paduan suara virtual dipandang sebagai alternatif untuk tetap menjalankan aktivitas paduan suara di kala pandemi. Namun, paduan suara virtual juga memunculkan keprihatikan dan perhatian khusus terkait kecenderungan untuk mereduksi peran konduktor, penyanyi, dan interaksi sosial dalam mencapai target musikal dan juga peningkatan keterampilan sosial, salah satunya empati. Penelitian ini berupa wawancara terfokus pada dua konduktor paduan suara yang bertujuan untuk menggali pemahaman terkait kondisi dan dinamika latihan daring dan pertunjukan paduan suara virtual. Hasil ekspolasi data dan analisis menunjukkan tiga tema penting yakni (1) peran paduan suara virtual untuk keberlanjutan aktivitas paduan suara, (2) dampak teknologi yang digunakan dalam paduan suara virtual terhadap reduksi peran humanis, dan (3) ketiadaan interaksi interpersonal secara langsung dan dampaknya terhadap peningkatan empati.
An Iconographic Study of Sultan Mohammad Naqash's Painting Called "Masti Lahouti - Nasuti " Seyed Mohammad Taheri Qomi
IJCAS (International Journal of Creative and Arts Studies) Vol 9, No 2 (2022): December 2022
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v9i2.5846

Abstract

The painting called “Lahouti (divine) and Nassotti (worldly) Intoxication”, has been drawn on a page in Divan Hafez by Sam Mirza, whose painter was Sultan Mohammad Naqash, a Tabriz Safavid School painter, who is regarded as one of the shining examples of pictorial icons for the creation of a mystical, symbolic, and theatrical atmosphere as well as visual attractions. The present study is a theoretical one and has been conducted through a descriptive-analytical method, analyzing the iconography used in the above-mentioned painting by collecting images and information using the library method. By utilizing a historical and semantic approach to Hafiz's poetry as well as the artistic style of Sultan Mohammad, this study aims at decrypting the mystical and narrative concepts in this painting. The main research question raised here is: "What are the philosophical, mystical, lyrical and mythological concepts behind the relationship between icons and the visual atmosphere dominating the image?" Review of literature was conducted on Hafez's life as well as semantics and stylistics used in his odes as well as the history of the Turkmen and Tabriz Safavid Painting Schools and the style of Sultan Mohammad Naqash, recorded in articles and books by Iranian and foreign authors. The above-mentioned resources were studied, and it was concluded that Sultan Mohammad’s exaggerated, and humorous style matches Hafiz's quick-witted outlook and it is appropriate to divide the painting into three distinctive parts from top to bottom and consider the appropriate icons for each of the sections through a mystical and separating perspective as Nassott, Malakut and Lahout. Kajian Ikonografi Lukisan Sultan Muhammad Naqash Berjudul "Masti Lahouti - Nasuti" Abstrak Lukisan yang berjudul “Lahouti (divine) and Nassotti (worldly) Intoxication”, digambar pada sebuah halaman di Divan Hafez oleh Sam Mirza, di mana pelukisnya adalah Sultan Mohammad Naqash, seorang pelukis Sekolah Tabriz Safawi, yang dianggap sebagai salah satu contoh cemerlang ikon bergambar untuk penciptaan suasana mistis, simbolis dan teatrikal serta atraksi visual. Penelitian ini bersifat teoretis dan dilakukan melalui metode deskriptif-analitik, menganalisis ikonografi yang digunakan dalam lukisan tersebut dengan mengumpulkan gambar dan informasi menggunakan metode kepustakaan. Dengan memanfaatkan pendekatan historis dan semantik pada puisi-puisi Hafez serta gaya artistik Sultan Mohammad, kajian ini bertujuan untuk mendekripsi konsep mistik dan naratif pada lukisan. Pertanyaan penelitian utama yang diangkat yaitu: "Apa konsep filosofis, mistis, liris, dan mitologis dibalik hubungan antara ikon dan suasana visual yang mendominasi gambar?" Tinjauan literatur dilakukan pada kehidupan Hafez serta semantik dan gaya yang digunakan dalam syairnya serta sejarah Sekolah Lukisan Safawi Turkmenistan dan Tabriz dan gaya Sultan Mohammad Naqash, yang dicatat dalam artikel dan buku oleh penulis Iran dan asing. Melalui sumber yang didapat maka disimpulkan bahwa gaya Sultan Mohammad yang berlebihan dan humoris cocok dengan pandangan Hafez yang cerdas dan pantas untuk membagi lukisan menjadi tiga bagian yang berbeda dari atas ke bawah dan mempertimbangkan ikon yang sesuai untuk masing-masing bagian melalui perspektif mistis dan terpisah sebagai Nassott, Malakut dan Lahout.
Observation on The Use of Visual Scripting for Interaction Design Students Yusup Sigit Martyastiadi
IJCAS (International Journal of Creative and Arts Studies) Vol 9, No 2 (2022): December 2022
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v9i2.8217

Abstract

Programming for Visual Communication Design students is a challenge in learning it. Their competencies are developing visual communication materials for interactive media designs. Programming competence in learning interaction design in the Visual Programming course focuses on programming logic. This study observes the method of visual programming using the Bolt add-on (visual scripting). This data was collected from students majoring in Interaction Design, Visual Communication Design Study Program at Universitas Multimedia Nusantara when they took Visual Programming courses. The indicators of this research are studying the understanding of programming logic from several materials and the learning outcomes of each observed material. The researcher found positive results using visual scripting in understanding programming logic for Visual Communication Design students on some of the material observed. In general, it can be concluded that the Bolt add-on in the UNITY game engine software can help students work on interactive media design projects. Observasi Penggunaan Pemrograman Visual untuk Mahasiswa Desain Interaksi Abstrak Pemrograman bagi mahasiswa Desain Komunikasi Visual menjadi tantangan tersendiri dalam mempelajarinya. Kompetensi mereka adalah mengembangkan materi komunikasi visual untuk desain media interaktif. Kompetensi pemrograman dalam pembelajaran desain interaksi pada mata kuliah Pemrograman Visual berfokus pada logika pemrograman. Penelitian ini mengamati penggunaan metode pemrograman visual dengan menggunakan aplikasi tambahan Bolt (visual scripting). Pengumpulan data ini dilakukan kepada mahasiswa peminatan Desain Interaksi, Program Studi Desain Komunikasi Visual, Universitas Multimedia Nusantara di saat mereka mengambil mata kuliah Pemrograman Visual. Indikator penelitian ini adalah mempelajari pemahaman logika pemrograman dari beberapa materi dan hasil belajar dari setiap materi yang diamati. Peneliti menemukan hasil positif menggunakan pemrograman visual dalam proses pemahaman logika pemrograman bagi mahasiswa Desain Komunikasi Visual pada beberapa materi yang diamati. Secara umum dapat disimpulkan bahwa aplikasi tambahan Bolt pada piranti lunak UNITY (game engine) dapat membantu mahasiswa dalam mengerjakan proyek perancangan media interaktif.
Fetish in Amateur Photography Practices Hartono Karnadi
IJCAS (International Journal of Creative and Arts Studies) Vol 9, No 2 (2022): December 2022
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v9i2.8218

Abstract

People, including amateur photographers, have been experiencing development on digital technology. Amateur phothographers are those who practicing photography as a hobby and join a photography club. Although at first people doubted the quality and performance of the digital tecnology, until now it has been growing to become a fetish. In the practice domain, it is cherished as a god-powered machine able to do incredible tasks. This research aimed at studying the psychological and sociological conditions of amateur photographers at the shift of technology from analog to digital photography and close to the the post-digital era. Technology transformation has brought about significant impacts on photographers’ perspective about creating, displaying, and publishing photographs. The qualitative data were collected from literature study and interviews with senior photographers famous for their achievements among the amateurs, especially those who joined the Salonfoto Indonesia. The result of this study shows that fetishism on digital technology in amateur photographers’ practices does not automatically become the only method employed in exploring their creativity sources. Based on the aesthetical experiences of the amateurs, it can be concluded that digital technology functions only as a computing system to perfect the creative works. Technigue is important but not the most important one. Fetis dalam Praktik Fotografi Amatir Abstrak Perkembangan digital sangat dirasakan oleh semua orang termasuk fotografer amatir. Mereka termotivasi untuk pengembangan diri, bersosialisasi dan berpartisipasi dalam kontes fotografi. Walaupun pada awalnya diragukan dalam performa kualitasnya. Dalam praktiknya, teknologi digital seperti mesin yang menjadi dewa, ia menjadi fetis, seolah-olah memiliki kekuatan yang luar biasa untuk menghasilkan foto yang bagus. Penelitian ini mengkaji kondisi-kondisi psikologis dan sosiologis amatir sebagai akibat dari peralihan teknologi analog ke digital dan menjelang pasca digital. Dampak transformasi teknologi sangat memengaruhi perspektif dalam mencipta, menyajikan, dan mempublikasikan foto mereka. Metode pengumpulan data menggunakan kualitatif yang bersumber pada studi kepustakaan dan mewawancarai beberapa fotografer senior yang sudah sangat dikenal prestasinya di kalangan amatir, khususnya Salonfoto Indonesia. Hasil awal dari penelitian ini menunjukkan tranformasi teknologi digital mengubah paradigma amatir senior, yang semula menganggap digitalisasi merupakan mesin rumit dan membingungkan, sehingga mereka berusaha mempertahankan nilai-nilai 'tradisional' fotografi analog yang mengutamakan proses manual. Kesimpulan yang dapat dirangkum bahwa fetisisme teknologi digital dalam praktik fotografer amatir, tidak serta-merta menjadi satu-satunya metode yang dapat mendukung eksplorasi sumber daya ciptanya. Berdasarkan pengalaman estetika amatir, teknologi digital hanya sebagai suatu sistem komputasi untuk menyempurnakan olah kreatif. Teknis penting, tapi bukan yang terpenting!

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