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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 158 Documents
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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)

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Malaysia-Thailand, Beyond the New Ornamentalism in Contemporary Jewelry Veerawat Sirivesmas; Alias Yussof
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.v2i2.1799

Abstract

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.
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)

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From Modernism, to Intercultural Exchange, and Transculturalism. New Challenges in Contemporary Music Making and Education Giuriati, Giovanni
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 1 (2014): June 2014
Publisher : IJCAS (International Journal of Creative and Arts Studies)

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Arts Studies Research In Transnational Framework Mustikawati, Retno
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 1 (2014): June 2014
Publisher : IJCAS (International Journal of Creative and Arts Studies)

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The New Dynamic Interrelation in Arts Studies Djohan, Djohan
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 2 (2014): December 2014
Publisher : IJCAS (International Journal of Creative and Arts Studies)

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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.
Rājādhirāt: From the History to an Influential literature for Mon-accented Thai traditional Repertoires Jarun Kanchanapradit; Wanida Bhrammaputra
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.v2i2.1795

Abstract

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.
Interaction of Music as a Soft Power in the Dimension of Cultural Diplomacy between Indonesia and Thailand Surasak Jamnongsarn
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.v1i1.1572

Abstract

The phenomenon of cultural diplomacy between Indonesia and Thailand had appeared since the visit of the Kings of Thailand to Java more than a hundred years ago. In addition, the Indonesian immigrants who has come to Thailand are also an important factor of musical history of both countries. As a result of these interactions, the exchange of ideas, information, value, system, tradition, belief, and other aspects of culture are in the interest of foster mutual understanding through musical dimension. More precisely, the interaction contributes to the exchange of musical ideas. In the Thai music history, angklung and gamelan is an essential tool for building international relations between the two countries at the community level. The relation between the two countries is similar to the relationship between two people so that emotion is the key methodologies in cultural diplomacy. The purpose of diplomacy is to give those people around you to know you better. There used to be a lot of cultural imperialism in cultural diplomacy, but this should be avoided. Currently, cultural diplomacy can give an idea on how a country engaging with others, a capacity to share and accept other viewpoints. The music has a very positive impact for the development of musical culture in Thailand today.Angklung has been taught in every elementary school in the whole of Thailand, even at the level of junior high school and high school. The ideas of new works by Thailand composers today inspired many of the gamelan orchestra. Despite the fact may be felt by the people of Thailand that the influence of Indonesian music is so powerful, so far no Thai person who writes about the history of this music as cultural diplomacy. Cultural diplomacy conceived and built in three models of representation: soft power, nation branding, and cosmopolitan constructivism.
Electric Sasando of East Nusa Tenggara, Indonesia Yohanes Don Bosko Bakok
IJCAS (International Journal of Creative and Arts Studies) Vol 1, No 2 (2014): December 2014
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v1i2.1562

Abstract

Sasando is a stringed musical instrument from Rote Island, East Nusa Tenggara, Indonesia. Based on the resulting tones, this instrument consists of two types namely gong sasando that produces pentatonic tones and violin sasando that produces diatonic tones. Based on these two kinds of sasando the electric sasando has been created with the consequence that some of original characteristic of accoustic sasando had been eliminated. Up to this point, a question is raised, why the electric sasando was created and how is its history? To analyze this problem I use the popular culture studies to indicate that the creation of electric sasando is closely linked with consumer demand, that influenced by popular culture. The datas are obtained through direct observation and by interviewing the informans. Result sows that the creation of electric sasando is influenced by consumer demand who live in popular and mass culture.

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