Pub Date : 2022-04-21DOI: 10.31763/viperarts.v4i1.596
Budi Tri Santosa, Diana Hardiyanti
Covid-19 impacts universities around the world, changing online teaching and learning activities. These changes occur rapidly, causing teachers to look for creative online learning methods, especially learning theatre performances. Virtual theatre learning looks difficult and gives a challenge for teachers during the Covid-19 pandemic. Hence, it is necessary to change the performance mode of production and virtual theatre teaching with the audience's presence through the gadget screens in their homes. This research evaluates and answers the challenges of acting pedagogy that has existed so far and designs a virtual theatre performance format that is certainly different from conventional performances. This research uses the exploratory case study research design. This design was used as a procedure to identify, analyse, and design pedagogical challenges and design a virtual theatre for University of Muhammadiyah Semarang students by giving them a questionnaire. The result shows that collaboration between art and technology is an effective formula for virtual theatre performances. The zoom application and its accompanying features were chosen to be a virtual stage for staging a work. The transition of theatre performances from the traditional to the digital era also impacts the creative team's duties and work responsibilities. It can be observed in the directors, costume stylists, music stylists, lighting stylists, video stylists, stage directors, and production directors. Virtual theatre performances challenge the creativity of actors and creative teams to produce works of art with the help of digital technology. By analyzing the challenge and designing virtual theatre performances, this research can benefit the art community in the future
{"title":"Pedagogical challenges and design of virtual theatre performance: an exploratory case study","authors":"Budi Tri Santosa, Diana Hardiyanti","doi":"10.31763/viperarts.v4i1.596","DOIUrl":"https://doi.org/10.31763/viperarts.v4i1.596","url":null,"abstract":"Covid-19 impacts universities around the world, changing online teaching and learning activities. These changes occur rapidly, causing teachers to look for creative online learning methods, especially learning theatre performances. Virtual theatre learning looks difficult and gives a challenge for teachers during the Covid-19 pandemic. Hence, it is necessary to change the performance mode of production and virtual theatre teaching with the audience's presence through the gadget screens in their homes. This research evaluates and answers the challenges of acting pedagogy that has existed so far and designs a virtual theatre performance format that is certainly different from conventional performances. This research uses the exploratory case study research design. This design was used as a procedure to identify, analyse, and design pedagogical challenges and design a virtual theatre for University of Muhammadiyah Semarang students by giving them a questionnaire. The result shows that collaboration between art and technology is an effective formula for virtual theatre performances. The zoom application and its accompanying features were chosen to be a virtual stage for staging a work. The transition of theatre performances from the traditional to the digital era also impacts the creative team's duties and work responsibilities. It can be observed in the directors, costume stylists, music stylists, lighting stylists, video stylists, stage directors, and production directors. Virtual theatre performances challenge the creativity of actors and creative teams to produce works of art with the help of digital technology. By analyzing the challenge and designing virtual theatre performances, this research can benefit the art community in the future","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121559384","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 : 2021-12-29DOI: 10.31763/viperarts.v3i2.421
Priscilla Tamara, G. R. L. Simatupang, Gustami Gustami, I. W. Senen
Pejaten pottery is one of the aesthetically unique potteries. The pottery has various ornaments such as god ornaments, god weapons, barong, and animals and plants. These ornaments are often found in Hindu worship ceremonies. This shows that, aesthetically, Pejaten pottery cannot be separated from Hindu aesthetics, so it is interesting to study. The problem is how the implementation of Hindu aesthetics in Pejaten pottery works and how Hindu aesthetics is used as a strategy for preserving Hindu aesthetics in Pejaten pottery. This study aims to determine the basis for applying Hindu aesthetics as a strategy for preserving Pejaten pottery. This qualitative research took the location of Pejaten Village, Kediri District, Tabanan Regency, Bali. Data were collected by direct observation, interviews, and also collecting literature data related to Hindu aesthetics. The aesthetic analysis process of Pejaten pottery is carried out using the concepts of Rwa bhineda (balance), satyam (truth), sivam (holiness), sundaram (beauty), and Pangider Bhuana (Pangider-ider). This study indicates that the ornaments and various forms of Pejaten pottery have a strong Hindu philosophical foundation, and this shows the religious nature of the Pejaten pottery craftsman. The conclusion is that the religiosity of the Pejaten pottery craftsmen is very influential in their creative process, and this is significantly able to maintain the preservation of the Hindu aesthetics of Pejaten pottery, Bali
{"title":"Preservation strategy through implementation of Hindu aesthetics on Balinese Pejaten pottery in Indonesia","authors":"Priscilla Tamara, G. R. L. Simatupang, Gustami Gustami, I. W. Senen","doi":"10.31763/viperarts.v3i2.421","DOIUrl":"https://doi.org/10.31763/viperarts.v3i2.421","url":null,"abstract":"Pejaten pottery is one of the aesthetically unique potteries. The pottery has various ornaments such as god ornaments, god weapons, barong, and animals and plants. These ornaments are often found in Hindu worship ceremonies. This shows that, aesthetically, Pejaten pottery cannot be separated from Hindu aesthetics, so it is interesting to study. The problem is how the implementation of Hindu aesthetics in Pejaten pottery works and how Hindu aesthetics is used as a strategy for preserving Hindu aesthetics in Pejaten pottery. This study aims to determine the basis for applying Hindu aesthetics as a strategy for preserving Pejaten pottery. This qualitative research took the location of Pejaten Village, Kediri District, Tabanan Regency, Bali. Data were collected by direct observation, interviews, and also collecting literature data related to Hindu aesthetics. The aesthetic analysis process of Pejaten pottery is carried out using the concepts of Rwa bhineda (balance), satyam (truth), sivam (holiness), sundaram (beauty), and Pangider Bhuana (Pangider-ider). This study indicates that the ornaments and various forms of Pejaten pottery have a strong Hindu philosophical foundation, and this shows the religious nature of the Pejaten pottery craftsman. The conclusion is that the religiosity of the Pejaten pottery craftsmen is very influential in their creative process, and this is significantly able to maintain the preservation of the Hindu aesthetics of Pejaten pottery, Bali","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130524647","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}
The transformation of folklore as oral literature is often used for traditional performances. Its function is to strengthen the resilience of a local culture. This research aims to gain better knowledge about the transition process of traditional theatre performances to increase the awareness of the local community. The method used in this research uses a qualitative approach with an explanatory analytical approach and focuses on a multidisciplinary approach that comes from the theory of several branches of science. The results obtained from this study, namely the oral literature of the archipelago, have an important role in historical knowledge. The use of oral literature in stage performances makes a simple story more complex, one of which is manifested in the performing arts of the Dolalak dance. The conclusion that can be drawn is that the transformation of folklore as oral literature into stage performances provides a spiritual experience for the community because it is packaged interestingly through the dance movements. This article will contribute to the use of oral literature as a source of stories in traditional performances so that the results can be used to nurture and maintain the resilience of a local culture
{"title":"Transforming folklore into stage performance: the role of oral literature as local resources for traditional performing arts in Indonesia","authors":"Djarot Heru Santosa, Heni Siswantari, Niswi Mukarromah","doi":"10.31763/viperarts.v3i2.439","DOIUrl":"https://doi.org/10.31763/viperarts.v3i2.439","url":null,"abstract":"The transformation of folklore as oral literature is often used for traditional performances. Its function is to strengthen the resilience of a local culture. This research aims to gain better knowledge about the transition process of traditional theatre performances to increase the awareness of the local community. The method used in this research uses a qualitative approach with an explanatory analytical approach and focuses on a multidisciplinary approach that comes from the theory of several branches of science. The results obtained from this study, namely the oral literature of the archipelago, have an important role in historical knowledge. The use of oral literature in stage performances makes a simple story more complex, one of which is manifested in the performing arts of the Dolalak dance. The conclusion that can be drawn is that the transformation of folklore as oral literature into stage performances provides a spiritual experience for the community because it is packaged interestingly through the dance movements. This article will contribute to the use of oral literature as a source of stories in traditional performances so that the results can be used to nurture and maintain the resilience of a local culture","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116705572","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 : 2021-12-20DOI: 10.31763/viperarts.v3i2.509
Ari Palawi, Setyabudhi Rahardjo Situmorang, Raden Agustinus Arum Eka Nugroho
Many researchers are fascinated by creativity and innovation. The question of creative resources at the Yogyakarta Guitar Orchestra (YGO) becomes the primary topic to be discussed in this paper. The premise is that the innovation and creativity framework embedded in YGO's creative resources directly impacts and influences the creative process so that the role of creative resources becomes visible. The goal of this study was to establish a model for YGO's creative resource management to manage innovation and creativity effectively. The research method is grounded theory, with data collected via interviews, literature reviews, and photo documentation. The data analysis was conducted using the innovation paradigm and the creative resource management perspective on creativity. The study's findings include information about how YGO acts as an accelerator for creative resources in order to foster innovation and creativity. This contribution can assist policymakers in directing resources and actions toward YGO or similar communities in order to foster the future development of a high-quality innovation and creative ecosystem
{"title":"Yogyakarta Guitar Orchestra (YGO): managing innovation and creativity in creative resource management for classical guitar education in Indonesia","authors":"Ari Palawi, Setyabudhi Rahardjo Situmorang, Raden Agustinus Arum Eka Nugroho","doi":"10.31763/viperarts.v3i2.509","DOIUrl":"https://doi.org/10.31763/viperarts.v3i2.509","url":null,"abstract":"Many researchers are fascinated by creativity and innovation. The question of creative resources at the Yogyakarta Guitar Orchestra (YGO) becomes the primary topic to be discussed in this paper. The premise is that the innovation and creativity framework embedded in YGO's creative resources directly impacts and influences the creative process so that the role of creative resources becomes visible. The goal of this study was to establish a model for YGO's creative resource management to manage innovation and creativity effectively. The research method is grounded theory, with data collected via interviews, literature reviews, and photo documentation. The data analysis was conducted using the innovation paradigm and the creative resource management perspective on creativity. The study's findings include information about how YGO acts as an accelerator for creative resources in order to foster innovation and creativity. This contribution can assist policymakers in directing resources and actions toward YGO or similar communities in order to foster the future development of a high-quality innovation and creative ecosystem","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132429961","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 : 2021-12-10DOI: 10.31763/viperarts.v3i2.505
Indah Tjahjawulan
In recent years, the interdisciplinary approach to art has gained popularity in the field of art studies. Numerous art studies transcend creative disciplines, allowing for the production of novel ideas and works. This study aims to understand the multidisciplinary art and design processes at the Institut Kesenian Jakarta. The data were acquired by observation and a review of the literature. Observations were made in order to collect field data about the work of art. This observation method was employed while visiting numerous exhibitions and performances at the Institut Kesenian Jakarta, and the literature was sourced by reading articles published in foreign magazines. The examination focuses on the difficulty inherent in diverse art practices. This study discovered that collaborative work increases the process of knowledge exchange between members and groups. As a result, an art ecosystem is developed from the standpoint of art creation and study. This research contributes to the discovery of new creative models or value chains and the provision of fundamental knowledge to develop a diverse art ecosystem. Art colleges can also contribute to interdisciplinary understanding and culture by fostering knowledge and abilities in art creation that are applicable across fields and are not constrained by the nomenclature of a single 'subject of arts'
{"title":"Collaboration in the arts for interdisciplinary practice at the Institut Kesenian Jakarta, Indonesia","authors":"Indah Tjahjawulan","doi":"10.31763/viperarts.v3i2.505","DOIUrl":"https://doi.org/10.31763/viperarts.v3i2.505","url":null,"abstract":"In recent years, the interdisciplinary approach to art has gained popularity in the field of art studies. Numerous art studies transcend creative disciplines, allowing for the production of novel ideas and works. This study aims to understand the multidisciplinary art and design processes at the Institut Kesenian Jakarta. The data were acquired by observation and a review of the literature. Observations were made in order to collect field data about the work of art. This observation method was employed while visiting numerous exhibitions and performances at the Institut Kesenian Jakarta, and the literature was sourced by reading articles published in foreign magazines. The examination focuses on the difficulty inherent in diverse art practices. This study discovered that collaborative work increases the process of knowledge exchange between members and groups. As a result, an art ecosystem is developed from the standpoint of art creation and study. This research contributes to the discovery of new creative models or value chains and the provision of fundamental knowledge to develop a diverse art ecosystem. Art colleges can also contribute to interdisciplinary understanding and culture by fostering knowledge and abilities in art creation that are applicable across fields and are not constrained by the nomenclature of a single 'subject of arts'","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122033767","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 : 2021-12-10DOI: 10.31763/viperarts.v3i2.545
Kuwat Kuwat
Bongkel is the music of a farming community that developed in Gerduren Village, Purwajati, Banyumas, Central Java. This music only uses a four-tone slendro tuning. The current condition is that it is very difficult to find bongkel players; if there is no tracking of information about the history of bongkel, then in the future, it will be very difficult to find important information about bongkel. The purpose of this research is to trace and document the bongkel, from the side of its early history to its musicological review. The research method used is observation and interviews to explore oral sources. The use of oral sources is done because, until now have never received written data that specifically discusses bamboo music, especially in the Banyumas language. The interview focused on Kasmudi, Ibu Kunes, Maryadi Kresek and several other informants who were selected as sources, especially Kasmudi (a bongkel player) because he was the perpetrator the main witness. Kasmudi is the fourth generation of his entire family, which is a bongkel player on average. There are three types of data analyzed, including the history of the appearance of the bongkel, organology data, and musicological data. The grouping of data is done based on the three types of data, and the analysis is done by referring to the grouping of the three types of data. The results of this study found that the strongest characteristic of bongkel music is the imbal technique; besides that, bongkel is one of the musical instruments that became the forerunner to the development of angklung buncis, krumpyung, and calung music. The contribution of this research provides important information for the interest of Banyumas musical studies, especially for the development of bamboo music
{"title":"Tracing the bongkel: bamboo music of rural farmers in Banyumas, Central Java, Indonesia","authors":"Kuwat Kuwat","doi":"10.31763/viperarts.v3i2.545","DOIUrl":"https://doi.org/10.31763/viperarts.v3i2.545","url":null,"abstract":"Bongkel is the music of a farming community that developed in Gerduren Village, Purwajati, Banyumas, Central Java. This music only uses a four-tone slendro tuning. The current condition is that it is very difficult to find bongkel players; if there is no tracking of information about the history of bongkel, then in the future, it will be very difficult to find important information about bongkel. The purpose of this research is to trace and document the bongkel, from the side of its early history to its musicological review. The research method used is observation and interviews to explore oral sources. The use of oral sources is done because, until now have never received written data that specifically discusses bamboo music, especially in the Banyumas language. The interview focused on Kasmudi, Ibu Kunes, Maryadi Kresek and several other informants who were selected as sources, especially Kasmudi (a bongkel player) because he was the perpetrator the main witness. Kasmudi is the fourth generation of his entire family, which is a bongkel player on average. There are three types of data analyzed, including the history of the appearance of the bongkel, organology data, and musicological data. The grouping of data is done based on the three types of data, and the analysis is done by referring to the grouping of the three types of data. The results of this study found that the strongest characteristic of bongkel music is the imbal technique; besides that, bongkel is one of the musical instruments that became the forerunner to the development of angklung buncis, krumpyung, and calung music. The contribution of this research provides important information for the interest of Banyumas musical studies, especially for the development of bamboo music","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121641622","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 : 2021-12-03DOI: 10.31763/viperarts.v3i2.516
Kaddour Abdallah Tani
In the aesthetic study, semiotic interpretation is an intellectual approach to deciphering the hidden meaning of an aesthetic achievement's taste. The study's goals include comprehending the artwork's structure, which necessitates an in-depth interpretation of the language by translating it into official symbols. This research method uses a linear formation sample with semantic attributes attached to the Kufic calligraphy of artworks. The findings reveal that the emergence of geometric lines in a linear composition has a decorative abstraction that may be used to argue that the artist intended to place it there and that this is a symbol of the cosmos and its existence. This study adds to our understanding of compositional insight in Arabic calligraphy as an expressive aesthetic expression that alludes to the text in the sense of meaning that lies underneath the direct meaning
{"title":"Visual semiotics in the structure of Kufic calligraphy","authors":"Kaddour Abdallah Tani","doi":"10.31763/viperarts.v3i2.516","DOIUrl":"https://doi.org/10.31763/viperarts.v3i2.516","url":null,"abstract":"In the aesthetic study, semiotic interpretation is an intellectual approach to deciphering the hidden meaning of an aesthetic achievement's taste. The study's goals include comprehending the artwork's structure, which necessitates an in-depth interpretation of the language by translating it into official symbols. This research method uses a linear formation sample with semantic attributes attached to the Kufic calligraphy of artworks. The findings reveal that the emergence of geometric lines in a linear composition has a decorative abstraction that may be used to argue that the artist intended to place it there and that this is a symbol of the cosmos and its existence. This study adds to our understanding of compositional insight in Arabic calligraphy as an expressive aesthetic expression that alludes to the text in the sense of meaning that lies underneath the direct meaning","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132910604","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 : 2020-06-20DOI: 10.31763/viperarts.v2i1.152
M. Haque
{"title":"A Comparative Study of Contemporary Ceramic Sculptures between China and Bangladesh","authors":"M. Haque","doi":"10.31763/viperarts.v2i1.152","DOIUrl":"https://doi.org/10.31763/viperarts.v2i1.152","url":null,"abstract":"<jats:p />","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"143 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114009309","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 : 2019-06-01DOI: 10.31763/VIPERARTS.V1I1.6
Ega Fausta
The research of measuring laras of Sari Oneng Parakansalak gamelan uses convergent parallel mixed methods. It attempts to find out the interval arrangement, which forms a scheme called laras system. This research give a provides clues about the existence of pelog gamelan in Sunda which is still debated until nowadays, which becomes the main reason why the writer is interested to measure the laras of Sari Oneng Parakansalak gamelan. In this research, laras theory of R.M.A. Koesoemadinata is used as the comparison to investigate what kind of laras is the laras scheme resulted from Sari Oneng Parakansalak gamelan’s interval arrangement. The result of this research is in form of persentation numbers which reveals the similarity between laras system of Sari Oneng Parakansalak gamelan and laras theory of R.M.A. Koesoemadinata. Besides giving a conclusion about the conformity between laras theory of R.M.A. Koesoemadinata and the fact found in the field, this research also informs about Sundanese pélog gamelan, which its existence is still hesitated/questioned by some Sundanese society. This study uses Da Tuner Lite which is validated with Korg Orchestral Tuner (OT-12) as the measuring instrument. The data of each waditra and the average of whole measured waditra are used to analyze the data of measurement result. From those two techniques, it can be detected that there are some waditra which are inappropriate to be used as samples. Therefore, the result of this study is taken from three waditra saron which indicates that Sari Oneng Parakansalak gamelan tends to have laras pélog djawar with its 87,19% of similarity. That result can also reveal that pélog gamelan really exists in Sundanese culture, proven by Sari Oneng Parakansalak gamelan which is made in Sumedang in 1825.
{"title":"Sari Oneng Parakansalak Gamelan Tuning System and Its Comparison with Machjar’s Theory","authors":"Ega Fausta","doi":"10.31763/VIPERARTS.V1I1.6","DOIUrl":"https://doi.org/10.31763/VIPERARTS.V1I1.6","url":null,"abstract":"The research of measuring laras of Sari Oneng Parakansalak gamelan uses convergent parallel mixed methods. It attempts to find out the interval arrangement, which forms a scheme called laras system. This research give a provides clues about the existence of pelog gamelan in Sunda which is still debated until nowadays, which becomes the main reason why the writer is interested to measure the laras of Sari Oneng Parakansalak gamelan. In this research, laras theory of R.M.A. Koesoemadinata is used as the comparison to investigate what kind of laras is the laras scheme resulted from Sari Oneng Parakansalak gamelan’s interval arrangement. The result of this research is in form of persentation numbers which reveals the similarity between laras system of Sari Oneng Parakansalak gamelan and laras theory of R.M.A. Koesoemadinata. Besides giving a conclusion about the conformity between laras theory of R.M.A. Koesoemadinata and the fact found in the field, this research also informs about Sundanese pélog gamelan, which its existence is still hesitated/questioned by some Sundanese society. This study uses Da Tuner Lite which is validated with Korg Orchestral Tuner (OT-12) as the measuring instrument. The data of each waditra and the average of whole measured waditra are used to analyze the data of measurement result. From those two techniques, it can be detected that there are some waditra which are inappropriate to be used as samples. Therefore, the result of this study is taken from three waditra saron which indicates that Sari Oneng Parakansalak gamelan tends to have laras pélog djawar with its 87,19% of similarity. That result can also reveal that pélog gamelan really exists in Sundanese culture, proven by Sari Oneng Parakansalak gamelan which is made in Sumedang in 1825.","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"45 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114156059","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 : 2019-06-01DOI: 10.31763/VIPERARTS.V1I1.11
Q. Ain
Kashi tiles are the traditional ceramic tiles of Pakistan. They have been produced in Pakistan (previously India) for centuries now; they were brought to India by Persian potters of city Kashan. This paper is in effort to remedy the regrettable absence of documentation of Kashi tiles in the heritage of Muslim enamel tiles. The purpose was to investigate the connection between Persian and Kashi tiles and analyze their similarities and differences. The hypothesis is investigated by literature review of different books and research papers and by interviewing Kashikar of Pakistan about their practices and they were studied and compared. The results and conclusions of this study are the ceramists have very limited knowledge and have refused to accept any new idea due to their loyalty to the craft. They believed in keeping the original recipe intact and have firmly refused to experiment and explore. These tiles were never exactly same to Seljuk blue and white tiles; and the forefathers of these ceramists had obviously studied their environment and experimented with local raw materials. However it is clear from the close remembrance in Design and color palate of these crafts that the original migrated potters were definitely recreating the blue and white craft of Persia, that was imitation of Chinese porcelain
{"title":"Comparison between Pakistani Kashi Tiles and Persian Kashan Tiles","authors":"Q. Ain","doi":"10.31763/VIPERARTS.V1I1.11","DOIUrl":"https://doi.org/10.31763/VIPERARTS.V1I1.11","url":null,"abstract":"Kashi tiles are the traditional ceramic tiles of Pakistan. They have been produced in Pakistan (previously India) for centuries now; they were brought to India by Persian potters of city Kashan. This paper is in effort to remedy the regrettable absence of documentation of Kashi tiles in the heritage of Muslim enamel tiles. The purpose was to investigate the connection between Persian and Kashi tiles and analyze their similarities and differences. The hypothesis is investigated by literature review of different books and research papers and by interviewing Kashikar of Pakistan about their practices and they were studied and compared. The results and conclusions of this study are the ceramists have very limited knowledge and have refused to accept any new idea due to their loyalty to the craft. They believed in keeping the original recipe intact and have firmly refused to experiment and explore. These tiles were never exactly same to Seljuk blue and white tiles; and the forefathers of these ceramists had obviously studied their environment and experimented with local raw materials. However it is clear from the close remembrance in Design and color palate of these crafts that the original migrated potters were definitely recreating the blue and white craft of Persia, that was imitation of Chinese porcelain","PeriodicalId":315645,"journal":{"name":"International Journal of Visual and Performing Arts","volume":"23 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121007805","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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