Pub Date : 2022-12-24DOI: 10.31763/viperarts.v4i2.742
Gopalkrishna Hegde, Gautam Hegde
Many of the Indian performing arts have deep scientific/engineering aspects involved in them without being recognised or studied. Yakshagana is one of such arts being performed in coastal districts of Karnataka and has a history of more than 500 years. Yakshagana is a team, multidisciplinary art involving classical music, percussions, dance, dialogue, comedy, costumes, and scholarly discussions. This article discusses the components/parameters of the Yakshagana art form from a scientific and engineering perspective, and we have attempted to formulate mathematical equations for a better understanding of the art execution, artist’s capacity and overall performance. Empirical mathematical relations are formulated to estimate the performance index to grade the quality of the overall performance of the day. As art is an “all-in-one” form of art performance, it is represented using a Venn diagram. Four main components of Yakshagana and the importance of the coordination between them for successful, cohesive and high-quality performance are analysed by incorporating scientific and engineering approaches. We hope that the present study will open up further scientific research on long-duration performing Indian traditional art forms
{"title":"A Scientific view and analysis of theatre art Yakshagana","authors":"Gopalkrishna Hegde, Gautam Hegde","doi":"10.31763/viperarts.v4i2.742","DOIUrl":"https://doi.org/10.31763/viperarts.v4i2.742","url":null,"abstract":"Many of the Indian performing arts have deep scientific/engineering aspects involved in them without being recognised or studied. Yakshagana is one of such arts being performed in coastal districts of Karnataka and has a history of more than 500 years. Yakshagana is a team, multidisciplinary art involving classical music, percussions, dance, dialogue, comedy, costumes, and scholarly discussions. This article discusses the components/parameters of the Yakshagana art form from a scientific and engineering perspective, and we have attempted to formulate mathematical equations for a better understanding of the art execution, artist’s capacity and overall performance. Empirical mathematical relations are formulated to estimate the performance index to grade the quality of the overall performance of the day. As art is an “all-in-one” form of art performance, it is represented using a Venn diagram. Four main components of Yakshagana and the importance of the coordination between them for successful, cohesive and high-quality performance are analysed by incorporating scientific and engineering approaches. We hope that the present study will open up further scientific research on long-duration performing Indian traditional art forms","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127934149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-24DOI: 10.31763/viperarts.v4i2.808
Lardianto Budhi, Slamet Subiyantoro, Adam Wahida
Besides being an expression of culture, traditional artworks carry various kinds of knowledge and values that are useful for the survival of the community. This is one of the reasons why a product of traditional artworks survives in the midst of the progress of the times. This research on the ruwatan murwakala ritual aims to; (1) find out how the transmission of educational values occurs in wayang performances; (2) Analyse the scenes in Ruwat Murwakala's story that show the process of transmitting educational values and supporting the implementation of the Merdeka Belajar idea. The method used in this research is descriptive qualitative interpretive. Data was collected through participant observation (observation), literature review and in-depth interviews. Observations were made by observing the performance directly or by looking at the recording of the performance of Ruwatan's play Murwakala. The study of library sources consisting of articles and writings related to the research subject aims to complete the research data. Triangulation of data sources and sources is used to validate the data obtained so that the validity of the data can be accounted for. The results of the research on the Ruwatan ritual of the Murwakala play show that there are findings in the form of a process of delivering character education values to the community, including curiosity; honesty and knight; respect; religion; obeying the rules; respect; fair; smart; creative; critical knights; honest; respectful; and intelligent. These values are contained in each chapter in the story of Ruwatan Murwakala, namely: the pathet nem scene (beginning), the pathet sanga scene (middle) and the pathet manyura scene (end)
{"title":"Ruwat Murwakala ritual: transmission of educational value through the traditional performing arts and its relevance with the implementation of the concept of merdeka belajar","authors":"Lardianto Budhi, Slamet Subiyantoro, Adam Wahida","doi":"10.31763/viperarts.v4i2.808","DOIUrl":"https://doi.org/10.31763/viperarts.v4i2.808","url":null,"abstract":"Besides being an expression of culture, traditional artworks carry various kinds of knowledge and values that are useful for the survival of the community. This is one of the reasons why a product of traditional artworks survives in the midst of the progress of the times. This research on the ruwatan murwakala ritual aims to; (1) find out how the transmission of educational values occurs in wayang performances; (2) Analyse the scenes in Ruwat Murwakala's story that show the process of transmitting educational values and supporting the implementation of the Merdeka Belajar idea. The method used in this research is descriptive qualitative interpretive. Data was collected through participant observation (observation), literature review and in-depth interviews. Observations were made by observing the performance directly or by looking at the recording of the performance of Ruwatan's play Murwakala. The study of library sources consisting of articles and writings related to the research subject aims to complete the research data. Triangulation of data sources and sources is used to validate the data obtained so that the validity of the data can be accounted for. The results of the research on the Ruwatan ritual of the Murwakala play show that there are findings in the form of a process of delivering character education values to the community, including curiosity; honesty and knight; respect; religion; obeying the rules; respect; fair; smart; creative; critical knights; honest; respectful; and intelligent. These values are contained in each chapter in the story of Ruwatan Murwakala, namely: the pathet nem scene (beginning), the pathet sanga scene (middle) and the pathet manyura scene (end)","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131964542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-24DOI: 10.31763/viperarts.v4i2.804
Ryan Sheehan Nababan, Peter Ardhianto
The Indonesian Government Ministry has carried out a health campaign to prevent the spread of COVID-19. One of his campaign strategies is to publish infographics in online media. This study describes the existence of infographics produced by the Ministry of Government of the Republic of Indonesia during the COVID-19 pandemic. This research design is qualitative descriptive research with a case study approach. Data were obtained by random sampling through digital data browsing on the internet, recording, in-depth observation, and content analysis. The data obtained were analyzed using interactive analysis. The results of this study reveal that the infographics produced by the Ministry of the Government of Indonesia consist of various types and forms. Each type and form has a constituent structure, Vitruvius principles, and aspects, which are almost the same pattern. Furthermore, the research team found that the infographic aims to convey persuasive appeals, news, statistical data, and messages regarding preventing the spread of COVID-19. The various infographics also play a role in increasing public awareness about the dangers of COVID-19, being disciplined in implementing health protocols and playing a role in suppressing the spike in the spread of COVID-19 in all regions in Indonesia
{"title":"A study of the covid-19 infographic design issued by Indonesian Ministries in online media","authors":"Ryan Sheehan Nababan, Peter Ardhianto","doi":"10.31763/viperarts.v4i2.804","DOIUrl":"https://doi.org/10.31763/viperarts.v4i2.804","url":null,"abstract":"The Indonesian Government Ministry has carried out a health campaign to prevent the spread of COVID-19. One of his campaign strategies is to publish infographics in online media. This study describes the existence of infographics produced by the Ministry of Government of the Republic of Indonesia during the COVID-19 pandemic. This research design is qualitative descriptive research with a case study approach. Data were obtained by random sampling through digital data browsing on the internet, recording, in-depth observation, and content analysis. The data obtained were analyzed using interactive analysis. The results of this study reveal that the infographics produced by the Ministry of the Government of Indonesia consist of various types and forms. Each type and form has a constituent structure, Vitruvius principles, and aspects, which are almost the same pattern. Furthermore, the research team found that the infographic aims to convey persuasive appeals, news, statistical data, and messages regarding preventing the spread of COVID-19. The various infographics also play a role in increasing public awareness about the dangers of COVID-19, being disciplined in implementing health protocols and playing a role in suppressing the spike in the spread of COVID-19 in all regions in Indonesia","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"359 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115201025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-24DOI: 10.31763/viperarts.v4i2.718
A. Sudarwanto, Danang Priyanto
This article carries the application of creating wayang beber patterns with sinjang batik techniques. This research aims to answer the endless question regarding the variation of batik patterns. Batik patterns are not only used in clothing but also as decoration. In this case, batik is used as decoration with wayang beber patterns using batik painting techniques. The research was carried out by making an example of a model, starting with looking for possible utilization by using a design from a computer graphics program. The research scope is limited by the creation of the wayang beber patterns and their application. The steps of designing are to create a prototype model, starting with conducting emic and ethical research. The next step is contemplating the whole pattern development design using digital technology. This is done by looking for suitability based on aesthetic principles and followed by pencantingan using the SGL-4332 series digital batik canting machine. For the final step, colouring is carried out using the batik painting technique, which is done manually using the rules of sungging gradation. This research produced a prototype model of wayang beber creation with batik techniques, which can be used by batik craftsmen to bring out new innovations in their work
{"title":"The process of making batik wayang beber using digital canting with sungging painting coloring technique","authors":"A. Sudarwanto, Danang Priyanto","doi":"10.31763/viperarts.v4i2.718","DOIUrl":"https://doi.org/10.31763/viperarts.v4i2.718","url":null,"abstract":"This article carries the application of creating wayang beber patterns with sinjang batik techniques. This research aims to answer the endless question regarding the variation of batik patterns. Batik patterns are not only used in clothing but also as decoration. In this case, batik is used as decoration with wayang beber patterns using batik painting techniques. The research was carried out by making an example of a model, starting with looking for possible utilization by using a design from a computer graphics program. The research scope is limited by the creation of the wayang beber patterns and their application. The steps of designing are to create a prototype model, starting with conducting emic and ethical research. The next step is contemplating the whole pattern development design using digital technology. This is done by looking for suitability based on aesthetic principles and followed by pencantingan using the SGL-4332 series digital batik canting machine. For the final step, colouring is carried out using the batik painting technique, which is done manually using the rules of sungging gradation. This research produced a prototype model of wayang beber creation with batik techniques, which can be used by batik craftsmen to bring out new innovations in their work","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132589524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-30DOI: 10.31763/viperarts.v4i1.735
Teti Darlenis
The preservation and transmission of talempong pacik music culture have a significant impact on the preservation of Minangkabau music culture. In addition, on a national scale, it contributes to the promotion of the healthy growth of the national culture. This research seeks to determine how the protection and inheritance model of the Minangkabau talempong pacik has evolved in the Internet era. The necessary data consist of (1) Minangkabau talempong pacik data and (2) talempong pacik inheritance pattern data. Literature review and observation of talempong pacik music performances on digital platforms such as YouTube, Instagram, and Facebook provided the data. The analysis is conducted by stressing the pattern resulting from the talempong pacik's maintenance and transmission. Ultimately, the results of this study show that the quality of talempong pacik's musical legacy will improve greatly as a result of the extensive and continuous use of new media to assist its preservation. New media used to study traditional talempong pacik music, including videos of talempong pacik performances, animation of talempong musical instrument games, and talempong pacik music software as a form of learning innovation, demonstrate that the quality of inheritance is highly adaptable to technological advancements
{"title":"Internet-era patterns of protection and inheritance methods for Minangkabau talempong pacik music","authors":"Teti Darlenis","doi":"10.31763/viperarts.v4i1.735","DOIUrl":"https://doi.org/10.31763/viperarts.v4i1.735","url":null,"abstract":"The preservation and transmission of talempong pacik music culture have a significant impact on the preservation of Minangkabau music culture. In addition, on a national scale, it contributes to the promotion of the healthy growth of the national culture. This research seeks to determine how the protection and inheritance model of the Minangkabau talempong pacik has evolved in the Internet era. The necessary data consist of (1) Minangkabau talempong pacik data and (2) talempong pacik inheritance pattern data. Literature review and observation of talempong pacik music performances on digital platforms such as YouTube, Instagram, and Facebook provided the data. The analysis is conducted by stressing the pattern resulting from the talempong pacik's maintenance and transmission. Ultimately, the results of this study show that the quality of talempong pacik's musical legacy will improve greatly as a result of the extensive and continuous use of new media to assist its preservation. New media used to study traditional talempong pacik music, including videos of talempong pacik performances, animation of talempong musical instrument games, and talempong pacik music software as a form of learning innovation, demonstrate that the quality of inheritance is highly adaptable to technological advancements","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133875521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-27DOI: 10.31763/viperarts.v4i1.633
Bilambita Banisudha
Melody is the soul of Indian classical music. A musician presents different captivating melodic motions of a certain set of notes, showing their diverse permutations and combinations as well as their hidden beauty. This melodic exposition decorates the mind with several melodic expressions and embellishments and is hence referred to as Rāg – which brings aesthetic pleasure. The main objective of this research is the presentation and style of certain rags, as well as the improvisation of the melodic structure. The data obtained by recording the song's melody audio technique and watching the concert live and all of them will be used to analyze and check the composition of the song. The musical analysis is carried out with respect to Rāg. This is because a composition like a mirror reflects a complete picture of an Rāg. It reveals and also retains its characteristics, such as its ascending and descending notes, its dominating notes, other sub-dominant notes, its intricacies, and its special combination of notes, i.e., svara-sañgati. The different Bandīś-s in an Rāg highlight the different aspects and shades in which it can be rendered. The results of this study indicate that compositions in Indian music are a combination of traits that includes the aspects of the musical structure, vocal style and techniques, instrumentation, rhythmic style, and poetry. Bandīś in Khyāl of Hindustani music refers to the text of the composition. The text is marked by the elegant use of words. The musical structure of Bandīś-s is comprised of certain essential laya (Tempo), tāl (beat), Rāg (melody), and dhātu-s (the melodic component)
旋律是印度古典音乐的灵魂。音乐家将某一组音符的各种迷人的旋律运动呈现出来，展示出它们的不同排列和组合，以及它们隐藏的美。这种旋律的展示用一些旋律的表达和修饰来装饰心灵，因此被称为Rāg——它带来了审美的愉悦。本研究的主要目的是某些破布的呈现和风格，以及旋律结构的即兴创作。通过记录歌曲的旋律音频技术和观看现场音乐会获得的数据，所有这些数据都将用于分析和检查歌曲的组成。对Rāg进行了音乐分析。这是因为像镜子一样的构图反映了Rāg的完整画面。它揭示并保留了它的特点，比如它的升降音符，它的主导音符，其他的次主导音符，它的复杂性，以及它特殊的音符组合，例如svara-sañgati。Rāg中的不同Bandīś-s突出显示了可以渲染的不同方面和阴影。这项研究的结果表明，印度音乐的作品是一个特征的组合，包括音乐结构、声乐风格和技巧、乐器、节奏风格和诗歌等方面。印度斯坦音乐的band ā in Khyāl指的是乐曲的文本。这篇文章的特点是用词优美。Bandīś-s的音乐结构由一定的基本层(节奏)、tāl(节拍)、Rāg(旋律)和dhātu-s(旋律成分)组成。
{"title":"Bandīś-s in khayāl of Indian classical music: a study of selected song-texts with special reference to the bandīś-s of sadāraṇg in Hindustani music","authors":"Bilambita Banisudha","doi":"10.31763/viperarts.v4i1.633","DOIUrl":"https://doi.org/10.31763/viperarts.v4i1.633","url":null,"abstract":"Melody is the soul of Indian classical music. A musician presents different captivating melodic motions of a certain set of notes, showing their diverse permutations and combinations as well as their hidden beauty. This melodic exposition decorates the mind with several melodic expressions and embellishments and is hence referred to as Rāg – which brings aesthetic pleasure. The main objective of this research is the presentation and style of certain rags, as well as the improvisation of the melodic structure. The data obtained by recording the song's melody audio technique and watching the concert live and all of them will be used to analyze and check the composition of the song. The musical analysis is carried out with respect to Rāg. This is because a composition like a mirror reflects a complete picture of an Rāg. It reveals and also retains its characteristics, such as its ascending and descending notes, its dominating notes, other sub-dominant notes, its intricacies, and its special combination of notes, i.e., svara-sañgati. The different Bandīś-s in an Rāg highlight the different aspects and shades in which it can be rendered. The results of this study indicate that compositions in Indian music are a combination of traits that includes the aspects of the musical structure, vocal style and techniques, instrumentation, rhythmic style, and poetry. Bandīś in Khyāl of Hindustani music refers to the text of the composition. The text is marked by the elegant use of words. The musical structure of Bandīś-s is comprised of certain essential laya (Tempo), tāl (beat), Rāg (melody), and dhātu-s (the melodic component)","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122095682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-22DOI: 10.31763/viperarts.v4i1.658
Syamsul Barry, Pande Made Sukerta, M. D. Marianto, T. S. Suparno
Purbalingga Regency, Central Java, is one area that has a unique and unique way of developing film-making. This article aims to find the concept of a participatory community approach in developing rural cinema through training/discussion programs, film production, and film screenings/Festivals from 2006 to the present. This study uses qualitative methods that include participatory, direct observation, and interviews with a data processing interactive analysis model. The results show that rural cinema encourages the empowerment of rural communities. Rural communities' high interest and participation in film activities are because the concept of cinema development comes from local cultural values (Banyumasan/Ngapak). This concept has succeeded in forming a unique, independent, and dynamic film ecosystem that can be a model for film development elsewhere
{"title":"Continuity of resistance: indigenous participatory concepts in Purbalingga rural cinema culture","authors":"Syamsul Barry, Pande Made Sukerta, M. D. Marianto, T. S. Suparno","doi":"10.31763/viperarts.v4i1.658","DOIUrl":"https://doi.org/10.31763/viperarts.v4i1.658","url":null,"abstract":"Purbalingga Regency, Central Java, is one area that has a unique and unique way of developing film-making. This article aims to find the concept of a participatory community approach in developing rural cinema through training/discussion programs, film production, and film screenings/Festivals from 2006 to the present. This study uses qualitative methods that include participatory, direct observation, and interviews with a data processing interactive analysis model. The results show that rural cinema encourages the empowerment of rural communities. Rural communities' high interest and participation in film activities are because the concept of cinema development comes from local cultural values (Banyumasan/Ngapak). This concept has succeeded in forming a unique, independent, and dynamic film ecosystem that can be a model for film development elsewhere","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129787634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-21DOI: 10.31763/viperarts.v4i1.595
Maria Paskalia Aninda, L. Sihombing
Caci dance is one of the traditional fighting dances that is unique and contains an intense value. Caci is often displayed during traditional events of the Manggarai tribe. This shows that Caci is an essential part of the journey of the Manggarai community. Caci dance is now widely known because of its uniqueness and because the dance moves are hazardous because they contain physical violence; this is undoubtedly very interesting to study more deeply. The main problem is How the value of Caci reduces the perspective of Violence in Caci perceived by the audience. This study aims to determine the values that exist in the Caci dance and how the true meaning of Caci is so that it can change the perspective of the broader community that Caci is not only a dance that teaches physical violence. This descriptive qualitative research is located in Lentang Village, Lelak District, Manggarai Regency. Data was collected directly from local sources through interviews with traditional leaders and conducting a content analysis on YouTube channels categorised as having many viewers, national television channels, and Caci performances. This study shows that the art of Caci dance does not teach physical violence. Still, Caci has strong historical values and influences the social life of the Manggarai community. Caci has a definite philosophical meaning, showing the character of the Caci players. In conclusion, the values contained in Caci can strengthen socio-cultural values in the Manggarai community, in this case, significantly able to maintain the existence of Caci dance as a cultural identity with the values of life contained in it
{"title":"The value of the Caci dance performance: changing the perspective of cultural violence on fighting dance performances in Manggarai Indonesia","authors":"Maria Paskalia Aninda, L. Sihombing","doi":"10.31763/viperarts.v4i1.595","DOIUrl":"https://doi.org/10.31763/viperarts.v4i1.595","url":null,"abstract":"Caci dance is one of the traditional fighting dances that is unique and contains an intense value. Caci is often displayed during traditional events of the Manggarai tribe. This shows that Caci is an essential part of the journey of the Manggarai community. Caci dance is now widely known because of its uniqueness and because the dance moves are hazardous because they contain physical violence; this is undoubtedly very interesting to study more deeply. The main problem is How the value of Caci reduces the perspective of Violence in Caci perceived by the audience. This study aims to determine the values that exist in the Caci dance and how the true meaning of Caci is so that it can change the perspective of the broader community that Caci is not only a dance that teaches physical violence. This descriptive qualitative research is located in Lentang Village, Lelak District, Manggarai Regency. Data was collected directly from local sources through interviews with traditional leaders and conducting a content analysis on YouTube channels categorised as having many viewers, national television channels, and Caci performances. This study shows that the art of Caci dance does not teach physical violence. Still, Caci has strong historical values and influences the social life of the Manggarai community. Caci has a definite philosophical meaning, showing the character of the Caci players. In conclusion, the values contained in Caci can strengthen socio-cultural values in the Manggarai community, in this case, significantly able to maintain the existence of Caci dance as a cultural identity with the values of life contained in it","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114650705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-11DOI: 10.31763/viperarts.v4i1.656
Paku Kusuma, D. Dharsono, Martinus Dwi Marianto, G. Guntur
This article discusses the use of visual assets during the covid-19 pandemic in Indonesia. There are regulations related to restrictions on movement for everyone during the pandemic, and there is much confusion in information, resulting in information chaos, and one of the reasons is the inappropriate use of visual assets as a medium for the Covid-19 prevention campaign in Indonesia. This study aims to identify the misuse of these visual assets. This study uses visual data spread on social media and observation to examine billboards, banners, and the like scattered in the community. In addition to visual data, interviews were also conducted with graphic designers. The questions asked were about the reasons for determining the design and their motivation in utilizing visual assets. The analysis is carried out by building relationships between the designs created, the use of visual assets, and contextual relationships with other interests outside the substance of the Covid 19 prevention campaign program in Indonesia. The results of the study show that visual assets are not used proportionally in conveying the Covid-19 prevention campaign in Indonesia. The conclusion is that there is no policy that provides direction regarding the provisions for the use of visual assets in preventing the Covid-19 health disaster in Indonesia. This research contributes to the government because this research finds a rule model for the use of visual assets in Indonesia
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Pub Date : 2022-06-01DOI: 10.31763/viperarts.v4i1.655
Ricky Widyananda Putra
Visual imagery is the most important part of game design. Game designers should pay particular attention so that the visual character of the game can be effectively realized and able to convey the depth of its visual meanings. Taking use of the widespread fear of the Indonesian Ghost's appearance, the game is able to present challenges to its players. This study aims to develop the creation of character designs, especially by elevating visual images of Indonesian ghosts into visual characters' in-game media. The method for designing Indonesian ghost characters is to dismantle the visual image of Indonesian ghost characters in the Dreadeye VR game. The strategy is to consider the following three components: (1) the matrix of shapes, (2) the costume matrix, and (3) the matrix of traits. All three were analyzed with the approach of manga matrix theory. This research has led to the emergence of relatively distinct ghost figures that are frequently feared by Indonesians, such as pocong, kuntilanak, and tuyul. By examining the matrices of the shape, costume, and nature of each character of the three Indonesian ghosts, it is possible to conclude that to create visual characters of Indonesian ghosts, game designers must identify these three components, while the contribution of this research is to provide a visual image analysis model including shape imagery, costume imagery, and traits imagery of Indonesian ghosts used in the Dreadeye VR Game in Indonesia.
{"title":"Manga matrix's approach to creating Indonesian ghost game visual characters on Dreadeye VR","authors":"Ricky Widyananda Putra","doi":"10.31763/viperarts.v4i1.655","DOIUrl":"https://doi.org/10.31763/viperarts.v4i1.655","url":null,"abstract":"Visual imagery is the most important part of game design. Game designers should pay particular attention so that the visual character of the game can be effectively realized and able to convey the depth of its visual meanings. Taking use of the widespread fear of the Indonesian Ghost's appearance, the game is able to present challenges to its players. This study aims to develop the creation of character designs, especially by elevating visual images of Indonesian ghosts into visual characters' in-game media. The method for designing Indonesian ghost characters is to dismantle the visual image of Indonesian ghost characters in the Dreadeye VR game. The strategy is to consider the following three components: (1) the matrix of shapes, (2) the costume matrix, and (3) the matrix of traits. All three were analyzed with the approach of manga matrix theory. This research has led to the emergence of relatively distinct ghost figures that are frequently feared by Indonesians, such as pocong, kuntilanak, and tuyul. By examining the matrices of the shape, costume, and nature of each character of the three Indonesian ghosts, it is possible to conclude that to create visual characters of Indonesian ghosts, game designers must identify these three components, while the contribution of this research is to provide a visual image analysis model including shape imagery, costume imagery, and traits imagery of Indonesian ghosts used in the Dreadeye VR Game in Indonesia.","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115541984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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