Journal of Urban Society's Arts最新文献

{"title":"Adaptation of Pramoedya Ananta Toer's Novel Arok Dedes into Concept Art","authors":"Baskoro Suryo Banindro, Asnar . Zacky, Rikhana Widya Ardilla","doi":"10.24821/jousa.v9i2.8362","DOIUrl":"https://doi.org/10.24821/jousa.v9i2.8362","url":null,"abstract":"This research aims to obtain the creation of exploration resulting from the adaptation of the narrative text to the visual book novel Arok Dedes. The method used in this research is applied research, which is to apply basic research for practical purposes, in this case, the design of concept art. Data is collected and compiled by studying libraries related to concept art from textbooks and virtual libraries. The result of this study is that the adaptation of text narrative to visual in concept art requires a comprehensive exploration of starting to develop the concept of space transfer, visual reference, character study, and good mood board. Through the results of this study, it is expected that the exploration of the concept of designing text adaptation to visual concept art can be studied and used as a guide for illustrators who are interested in becoming concept artists, game artists, and character art visualizers. Adaptasi Novel Arok Dedes Karya Pramoedya Ananta Toer dalam Concept Art. Penelitian ini bertujuan untuk mendapatkan konsep penciptaan eksplorasi hasil adaptasi narasi teks ke visual novel Arok Dedes karya Pramoedya Ananta Toer. Metode yang digunakan dalam penelitian ini adalah penelitian terapan, yakni mengaplikasikan penelitian dasar untuk keperluan praktis dalam hal ini perancangan seni konsep (concept art). Data dikumpulkan dan dikompilasi melalui studi pustaka terkait seni konsep baik dari buku maupun pustaka digital. Hasil penelitian ini menyimpulkan bahwa adaptasi narasi teks ke visual dalam seni konsep memerlukan eksplorasi yang komprehensif mulai dari menyusun konsep alih wahana, referensi visual, studi karakter dan mood board yang tepat. Melalui hasil penelitian ini diharapkan eksplorasi konsep perancangan adaptasi teks ke visual seni konsepdapat dipelajari dan digunakan sebagai panduan bagi ilustrator yang tertarik untuk menjadi seniman konsep, seniman gim (game artist) dan pengrajin karakter visual (visualizer art character).","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127087891","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}

{"title":"Power Relations in the Design and Development of Karangwaru Riverside Yogyakarta-Indonesia – Women's Perspective","authors":"Artbanu Wishnu Aji, Suastiwi Suastiwi, Agus Burhan","doi":"10.24821/jousa.v9i2.9370","DOIUrl":"https://doi.org/10.24821/jousa.v9i2.9370","url":null,"abstract":"The design and construction of riverbanks in Karangwaru is a community participation-based development program where stakeholders play a role in the preparation of development and its implementation. The involvement of women as one of the stakeholders is one of the positive efforts for gender equality programs. However, women's voices in percieving the results of such development have never been clearly explored. How women respond to the development process and how power relations are created in a built environment are yet to be revealed. This study aims to see how power relations are formed in the design and development of Karangwaru Riverside. Using the Foucauldian discourse analysis method, this study managed to find 7 (seven) constructs and discourses that surround them. The results show that women have only control over two discourses, namely ethical and social discourse. Desain dan pembangunan bantaran sungai di Karangwaru merupakan program pembangunan berbasis partisipasi masyarakat di mana pemangku kepentingan berperan dalam persiapan pembangunan dan pelaksanaannya. Keterlibatan perempuan sebagai salah satu pemangku kepentingan merupkan salah satu upaya positif bagi program penyetaraan gender dalam pembangunan. Meskipun demikian suara perempuan dalam melihat hasil pembangunan tersebut belum pernah dieksplorasi dengan jelas. Bagaimana perempuan menyikapi proses pembangunan dan bagaimana relasi kuasa yang tercipta dalam lingkungan terbangun masih belum terungkap. Penelitian ini bertujuan untuk melihat bagaimana relasi kuasa yang terbentuk dalam desain dan pembangunan Karangwaru Riverside. Dengan menggunakan metode analisis diskursus Foucauldian, penelitian ini berhasil menemukan 7 (tujuh) konstruk dan diskursus yang melingkupinya. Hasilnya menunjukkan bahwa perempuan hanya memiliki kontrol pada dua diskurus yaitu diskursus etika dan sosial. ","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116160194","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}

{"title":"Adaptation and Representation of Narcissistic Desires of Calon Arang's Text in Bali","authors":"Koes Yuliadi","doi":"10.24821/jousa.v9i2.6486","DOIUrl":"https://doi.org/10.24821/jousa.v9i2.6486","url":null,"abstract":"Rangda and Barong appear a lot in performing art, paintings, and tattoos in Bali.  The sacred rituals involving the two creatures always attract attention—likewise forms of performances and crafts for tourists.  Historically the existence of Rangda and Barong started from the text of Calon Arang, which initially came from the island of Java in Indonesia.  This fact shows how the Balinese people attach themselves to myths and then develop them in creative works.  The relationship between the narrative text and visualization will be the material to see what desires are behind their consciousness and unconsciousness in understanding the Calon Arang.  There is an antagonistic offer on the characterizations and the creative process that perceives Calon Arang's story. The process of studying the object uses a qualitative method. In a time, observe and be directly involved in the Rangda and Barong ceremonies, see these figures' performances, visit markets and art galleries, and interview Balinese artists and cultural figures.  This process concludes that the continuous adaptation process based on the Calon Arang text involves the spiritual and creative power of the Balinese people as part of their narcissistic and analytic desires. Rangda and Barong always provide new phenomena in creative works with antagonistic ideas. Analyzing this data is very important to understand the concepts created, outcomes, and the spirituality of the interwoven in the development of Balinese art. Adaptasi dan Representasi Hasrat Narsis Teks Calon Arang di Bali. Rangda dan Barong merupakan figur yang sering terlihat pada pertunjukan seni, lukisan, dan tato di Bali. Agenda ritual sakral yang melibatkan keduanya selalu menarik perhatian. Demikian juga ketika ia muncul dalam bentuk pertunjukan dan kerajinan untuk wisatawan. Secara historis keberadaan Rangda dan Barong tidak bisa dilepaskan dari teks Calon Arang yang pada walnya berasal dari Pulau Jawa di Indonesia. Kenyaaan ini menunjukkan bagaimana keterikatan masyarakat Bali dengan mitos dan kemudian mengembangkannya dalam karya kreatif. Relasi teks naratif dan visualisasnya akan menjadi bahan untuk melihat hasrat apa yang ada di balik kesadaran dan ketidaksadaran mereka dalam menghayati Calon Arang. Terlihat adanya tawaran antagonistik pada penokohan dan proses kretif yang merpersepsi cerita Calon Arang. Proses pengkajian objek di atas menggunakan metode kualitatif.  Selain mengamati dan terlibat langsung dalam upacara Rangda dan Barong, melihat pertunjukan yang melibatkan figur tersebut, mengunjungi pasar dan galeri seni, juga wawancara dengan beberapa seniman dan budayawan Bali. Proses ini memberikan simpulan bahwa proses adaptasi yang berkenajutan berdasar teks Calon Arang melibatkan daya spiritual dan kreatif masyarakat Bali sebagai bagian dari hasrat narsistik dan anaklitik. Rangda dan Barong selalu memberikan fenomena baru dalam karya kreatif dengan berbagai gagasan yang antagonistik. Menganalisis data ini sangat menar","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124200598","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}

{"title":"Vertical Video Trends Among Amateur Digital Platform Users as an Alternative for Film Production","authors":"Retno Mustikawati, Ghalif Putra Sadewa, Muhammad Alvin Fadholi","doi":"10.24821/jousa.v9i2.7949","DOIUrl":"https://doi.org/10.24821/jousa.v9i2.7949","url":null,"abstract":"The Vertical Video Syndrome expression adequately represents the spread of the production process and projection of amateur digital content in vertical format. For smartphone users, the vertical is the king. All components of digital life make users subconsciously hold their phones vertically on various occasions. Penetration after penetration is carried out, from flexibility and artificial intelligence, to private viewing rooms that move dynamically. As a new starting point in quite an extended period, the vertical video gives birth to a glimmer of hope in a film atmosphere that seems exclusive and rigid. However, problems have arisen as user demands have increased and smartphones have become sociocultural necessity over the last decade. With a vertical screen, people are used to spending time watching video shows, including recording all their activities. Because of that, there is a big challenge for filmmakers to see the opportunities that exist. The vertical format creates a narrow, elongated reading space. The camera movement, which used to use action from left to right, now switches from top to bottom. Subjects in vertical formats are also forced to submit to limited reading space. In conventional films, close-ups can isolate the field of view while at the same time emphasizing facial expressions. But not vertically because it will bring out a different density; what arises is not a close-up but a big close-up and even an extreme close-up. As a result, this gives motivation and a different meaning visually. It would be a lie if this didn't fall into the challenges to be solved. The field of view gets more complicated. The vertical concept encourages creators to get out of the conventional mindset. Likewise, with the actors involved, the vertical format provides a more challenging exploration of expressions and gestures. This research uses qualitative methods in collecting data and utilizes a lot of current literature. The research results are in the form of knowledge and recommendations regarding the packaging and distribution of film production in a vertical format. Tren Video Vertikal di Antara Pengguna Platform Digital Amatir sebagai Alternatif Produksi Film. Sindrom Video Vertikal, ungkapan itu cukup mewakili merebaknya proses produksi dan proyeksi konten digital amatir berformat vertikal. Bagi pengguna smartphone, vertikal adalah raja. Seluruh komponen kehidupan digital membuat pengguna secara alam bawah sadar memegang telepon secara vertikal dalam beragam kesempatan. Penetrasi demi penetrasi dilakukan, fleksibilitas, kecerdasan buatan, hingga ruang tonton privasi yang bergerak dinamis. Sebagai titik pijak baru dalam kurun waktu yang cukup panjang, video vertikal melahirkan secercah harapan dalam suasana perfilman yang terkesan eksklusif dan kaku. Namun, persoalan pun muncul, di kala tuntunan pengguna semakin tinggi dan smartphone menjadi kebutuhan sosiokultural sejak satu dekade terakhir. Dengan layar vertikal, orang terbiasa menghabi","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130748443","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}

{"title":"Protest Songs From Indonesia And Australia: A Musicological Comparison","authors":"Kiernan Box, Greg Aronson","doi":"10.24821/jousa.v9i1.7146","DOIUrl":"https://doi.org/10.24821/jousa.v9i1.7146","url":null,"abstract":"Protest music is both commercially viable and an important tool for shaping community awareness of socio-political issues. Indonesian and Australian artists have produced protest music which has stimulated significant effect upon community attitudes and behaviours. Socio-political issues can be described and examined in songs using various lyrical methods, including strategic use of characters and narrative. Iwan Fals is a Javanese singer-songwriter who frequently employs satire and parody in relation to weighty political issues. Cold Chisel, Midnight Oil and Paul Kelly are Australian rock artists who have used real-life events as the inspiration for protest songs, many of which are delivered with a confrontational mode of lyric and performance. Compared to Australian acts, Indonesian artists have faced greater risk to personal freedom by engaging in protest music; this may explain why Indonesian protest songs are often presented with more subtle characteristics. from the abstract or from the body of the text, or from the thesaurus of the discipline. Lagu Protes dari Indonesia dan Australia: Perbandingan Musikologi. Musik protes layak secara komersial dan peranti penting untuk membentuk kesadaran masyarakat tentang masalah sosial-politik. Seniman Indonesia dan Australia telah menghasilkan musik protes yang memberikan pengaruh signifikan terhadap sikap dan perilaku masyarakat. Isu sosial-politik dapat dideskripsikan dan dikaji dalam lagu dengan menggunakan berbagai metode lirik, termasuk penggunaan karakter dan narasi yang strategis. Iwan Fals adalah penyanyi-penulis lagu Jawa yang sering menggunakan sindiran dan parodi terkait dengan isu-isu politik yang berat. Cold Chisel, Midnight Oil, dan Paul Kelly adalah artis rock Australia yang telah menggunakan peristiwa kehidupan nyata sebagai inspirasi untuk lagu-lagu protes, banyak di antaranya dibawakan dengan gaya lirik dan penampilan yang konfrontatif. Dibandingkan dengan artis Australia, artis Indonesia menghadapi risiko yang lebih besar terhadap kebebasan pribadi dengan terlibat dalam musik protes; ini mungkin menjelaskan mengapa lagu-lagu protes Indonesia seringkali disajikan dengan ciri-ciri yang lebih halus. dari abstrak atau dari tubuh teks, atau dari tesaurus disiplin.","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127022147","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}

{"title":"Implementation of Deconstruction Method Ideas In The Contemporary Theatre of Pilihan Pembayun Yogyakarta","authors":"Yudiaryani Yudiaryani, Hirwan Kuardhani, Silvia Anggreni Purba","doi":"10.24821/jousa.v9i1.6694","DOIUrl":"https://doi.org/10.24821/jousa.v9i1.6694","url":null,"abstract":"The presence of contemporary theatre performing arts in Indonesia can not be separated from the history of theatrical performing arts in areas in Indonesia. “Contemporary” refers to the situation in space and time today and is a way of pointing to the development and change of theatre in these areas. Today’s performing arts are undergoing significant changes in their form and content. It was inspired by the discovery of science and technology and the dynamics of the world’s cultural ideas in the 20th century. Hans Thies Lehmann’s post-dramatic ideas around the 1980s in Europe, among others, inspired the emergence of new creativity studies internationally. Performing arts transformed itself from an ‘art performance’ into an intercultural and interdisciplinary performance of art by dismantling and rebuilding elements of its performances. The research theme is the development of science within art, while the research topic is the utilization of art theory to create works of art. The study aims to examine theories and deconstruction methods based on post-dramatic ideas that improve the quality of intercultural and gender theatre creation. The specific research target is to discover the benefits of deconstruction theory for creating contemporary theatre. The theatrical performance chosen in this study was The Pilihan Pembayun, a drama script by Hirwan Kuardhani and directed by Yudiaryani and Wahid Nurcahyono. Research methods use qualitative description methods. Qualitative methods look for the meaning behind data with interpretive and thorough analysis techniques. Data collection techniques with participant elevation, interviews, observations, field records, and documents will be used in the research. The research results obtained are the theoretical foundation for eliminating the negative aspects of intercultural and gender communication in the performing arts. Kehadiran seni pertunjukan teater kontemporer di Indonesia tidak lepas dari sejarah kehadiran seni pertunjukan di daerah-daerah  di Indonesia.\"Kontemporer\" mengacu pada situasi dalam ruang dan waktu saat ini dan merupakan cara untuk menunjuk pada pengembangan dan perubahannya.  Seni pertunjukan saat ini sedang mengalami perubahan signifikan dalam bentuk dan konten. Hal tersebut terinspirasi oleh penemuan ilmu pengetahuan dan teknologi dan dinamika ide-ide budaya dunia di abad ke-20. Ide-ide pasca-dramatik Hans Thies Lehmann sekitar tahun 1980-an di Eropa, antara lain,  mengilhami  munculnya studi kreativitas baru  secara internasional. Seni pertunjukan mengubah  dirinya dari 'pertunjukan seni' menjadi pertunjukan antarbudaya dan interdisipliner dengan membongkar dan membangun kembali elemen pertunjukannya. Tema penelitian adalah pengembangan sains dan teknologi dalam ranah seni, sedangkan topik penelitian adalah  pemanfaatan  teori seni untuk penciptaan karya  seni. Studi ini bertujuan untuk memeriksa teori dan metode dekonstruksi berdasarkan ide-ide pascadramatik yang bermanfaat untuk mening","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"183 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133750376","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}

{"title":"The Struggle Never Ends (The Reflection on the History of Struggle between Socio-Political Groups in the Creation of Painting)","authors":"M. Burhan, M. Munir, Agatha Christi","doi":"10.24821/jousa.v9i1.6854","DOIUrl":"https://doi.org/10.24821/jousa.v9i1.6854","url":null,"abstract":"This artistic research aims for the creation of contemporary painting. State of art issues of art creation consists of paintings, socio-political, social functions, and visual symbols. The creation goals are to create painting from the ideas of creation and aesthetics visual form, departing from socio-political history condition in the struggle among mass organizations and politic organizations in Indonesia. By utilizing practice-based research method, the researcher is united with the object being worked in an in and through appreciation, must also refer to published creation method, thus that it is not subjective and the explanation is detailed. David Campbell’s creation method is used as the reference, i.e., Preparation, concentration, incubation, illumination, and verification-production. The study results and art design are contemporary painting “Pertarungan tak Kunjung Usai” (The Struggle Never Ends). It portrays the reflection of ideology struggle and socio-political outlook of figures or among community groups. Subject matter shows two figures group who facing and opposing each other with allegory or symbol attributes, such as weaponries, normative books, bulls, and garudas. The setting is on a ruins or ship deck wreckage. The painting is shown in decorative-expressive style, within contemporary aesthetic artistic images. Penelitian artistik ini bertujuan untuk penciptaan karya seni lukis kontemporer. State of art permasalahan penciptaan karya meliputi seni lukis, sosial-politik, fungsi sosial, dan simbol visual. Tujuan penciptaannya menciptakan lukisan dari ide penciptaan dan bentuk visual yang estetik, dari fenomena kondisi sejarah sosial politik dalam pertarungan ormas dan orpol yang ada di Indonesia. Metodenya practice based research, peneliti menyatu dengan objek yang dikerjakan dalam penghayatan secara timbal balik (in and through), juga harus merujuk metode penciptaan terpublikasi, sehingga tidak subjektif dan pemaparannya rinci. Metode penciptaan David Campbell digunakan sebagai rujukan, yaitu preparation, concentration, incubation, illumination, verification-production. Hasil penelitian dan perancangan karya ini adalah karya seni lukis kontemporer \"Pertarungan Tak Kunjung Usai\". Menggambarkan refleksi pertarungan ideologi dan pandangan sosial politik dari figur-figur atau antarkelompok masyarakat. Subject matter menampilkan dua kelompok figur-figur yang berhadapan dan saling bertentangan dengan masing-masing atribut alegori atau simbolnya, seperti senjata, kitab normatif, banteng, dan garuda. Setingnya ada dalam reruntuhan bangunan atau potongan geladak kapal. Lukisan ini ditampilkan dalam gaya dekoratif ekspresif, dalam citra artistik estetika kontemporer.","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120850726","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}

{"title":"The Transition of Dramaturgy During Pandemic: From Staging to Streaming","authors":"Dede Pramayoza, Pandu Birowo","doi":"10.24821/jousa.v9i1.6697","DOIUrl":"https://doi.org/10.24821/jousa.v9i1.6697","url":null,"abstract":"This study discusses the transition of performances dramaturgy during the Covid-19 pandemic from analog to digital formats, from live performances commonly called staging to mediated performances which can be called performance streaming. The aim of study is to understand the application of ‘dramaturgical tactics’; and the reasons. Applying the dramaturgical analysis method investigation is directed at the transformation process from the basic concept of the performance to the practice of its presentation. The research departs from the premise that a dramaturgical process, namely the pre-production, production, and presentation of performance is permanently connected by a dramaturgical awareness. The analysis was carried out: (1) the idea of streaming; (2) performance technique; and (3) the form of performance streaming. Research shows that the critical changes in dramaturgy during the pandemic were triggered by the necessity to shift the mode of performance from staging to streaming, resulting in three dramaturgical awareness about transition, namely: (1) medium: from analog to digital performance; (2) creativity: from performer to content creator; and (3) the spectatorship: from spectator to voyeur. Perubahan Dramaturgi di Masa Pandemi: Dari Pementasan ke Siaran. Artikel ini membahas perihal transisi dramaturgi pertunjukan di masa pandemi Covid-19 dari format analog ke format digital, dari moda pertunjukan langsung yang lazim dinamakan pementasan ke pertunjukan termediasi yang dapat dinamakan siaran pertunjukan. Tujuannya untuk memahami bentuk penerapan ‘siasat dramaturgi’ serta alasan di baliknya. Mengunakan metode analisis dramaturgis, berupa investigasi atas proses transformasi dari konsep dasar pertunjukan menuju praktik presentasinya, penelitian berangkat dengan premis bahwa suatu proses  dramaturgi, yakni tahap pra-produksi, produksi, dan presentasi pertunjukan selalu terhubung oleh satu kesadaran dramaturgis. Analisis dilakukan terhadap: (1) gagasan siaran pertunjukan; (2) teknik siaran pertunjukan; dan (3) bentuk siaran pertunjukan. Penelitian menunjukkan bahwa, perubahan penting dramaturgi di masa pandemi dipicu oleh suatu keharusan untuk memindahkan moda pertunjukan dari pementasan ke siaran, menghasilkan tiga kesadaran dramaturgis tentang peralihan, yakni: (1) medium: dari pementasan analog ke siaran digital; (2) kreativitas: dari penampil menjadi pembuat konten; dan (3) kepenontonan: dari spektator menjadi voyeur.","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131925198","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}

{"title":"Iconography and Iconology of The Aksi Kamisan Photo (13-2-2014) by Fanny Octavianus","authors":"Novan Jemmi Andrea, Pamungkas Wahyu Setiyanto, Agus Triyana","doi":"10.24821/jousa.v9i1.6017","DOIUrl":"https://doi.org/10.24821/jousa.v9i1.6017","url":null,"abstract":"The presence of photography as a medium of communication has transformed into an art that not only perpetuates reality in images (visuals), but also poetic values and/or image language. Likewise, journalistic photography works are created not only based on existing moments or events, but are also influenced by views, skills, and other factors inherent in the photographer. The photographer has the right to place his philosophical aspects based on the importance of his secondary needs. The creation of photographic works is the result of the integration of the social, spiritual and cultural life of the photographer, in this context as was done by Fanny Octavianus who consistently documented the Aksi Kamisan by activists to demand that the government resolve cases of human rights violations. The consistency of the Aksi Kamisan becomes a strength that makes this action full of values that can be observed through the signs implied in every action they take. From this explanation, Fanny’s work on Aksi Kamisan is studied through factual and expressive visual signs, themes and concepts, and also looks for the symbolic value in Fanny’s work. In carrying out this excavation and search, the method of art history uses the Iconography and Iconology approach of Erwin Panofsky. As a result, this study found that there were various visual markers of the Aksi Kamisan photo that were factual and expressive. Factual markers can be observed from formal aspects, while expressional markers are obtained from motion effects created by controlling the camera using slow motion techniques. The symbolic values conveyed in this Aksi Kamisan photo are the era of openness in conveying people’s opinions directly to the government, which can be seen as a symbol of cultural openness in the reform era. Ikonografi dan Ikonologi Foto Aksi Kamisan (13-2-2014) Karya Fanny Octavianus. Kehadiran fotografi tidak saja mengabadikan realitas dalam gambar (visual), namun juga nilai puitis dan atau bahasa gambar. Begitu juga dengan karya fotografi jurnalistik yang tercipta tidak sekadar berdasarkan momen atau peristiwa, tetapi dipengaruhi oleh pandangan, kemampuan keterampilan, dan faktor lain yang melekat pada diri fotografernya. Fotografer berhak menempatkan aspek filosofisnya berdasarkan kepentingan kebutuhan sekundernya. Penciptaan karya foto merupakan hasil dari integrasi kehidupan sosial, spiritual dan kebudayaan si pemotret, dalam konteks ini seperti yang dilakukan oleh Fanny Octavianus yang konsisten mendokumentasikan Aksi Kamisan yang dilakukan para aktivis untuk menuntut pemerintah menuntaskan kasus pelanggaran Hak Asasi Manusia (HAM). Konsistensi aksi Kamisan menjadi sebuah kekuatan yang menjadikan aksi ini penuh dengan nilai yang dapat diamati melalui tanda-tanda tersirat dalam setiap aksi yang dilakukan. Dari pemaparan tersebut, karya Fanny tentang Aksi Kamisan dikaji melalui tanda-tanda visual yang bersifat faktual dan ekspresional, tema dan konsep, dan juga dicari nilai simbolik","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"125 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120840391","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}

{"title":"Typological Analysis of Metalhead Community’s Logo as Visual Communication During Covid-19 Pandemic","authors":"Sujud Puji Nur Rahmat, Shabri Bin Saad, Eli Irawati","doi":"10.24821/jousa.v9i1.7073","DOIUrl":"https://doi.org/10.24821/jousa.v9i1.7073","url":null,"abstract":"Typology Analysis of Metalhead Community Logos as Visual Communication During the Covid-19 Pandemic. The Covid-19 pandemic brought many changes in terms of how to communicate within the community, namely Metalhead, both nationally and internationally by utilizing social media Facebook, Instagram, and so on through logos and graphic designs. The research problem is the tendency to use a logo which is the hallmark of the Metalhead group in terms of typography and function. Qualitative research methods with observational data collection, literature review, and documentation. The approach using typology studies includes typography and function. The findings from the results of the study show that the metalhead logo typology through digital posters has its own characteristics, in color selection, the dominant use of white in writing and the background tends to be dark in color, namely black, red, and other colors but not so dominating. Regarding letters, they tend to use unusual letters (design themselves) in writing band names. Event themes, schedules, venues, and sponsors tend to use fonts that are universally understood or still use conventional fonts in Microsoft Word. The function of the metalhead logo is to form a collective identity and communication among Metalheads and the wider community. Analisis Tipologi Logo Komunitas Metalhead sebagai Komunikasi Visual Selama Pandemik Covid-19. Masa pandemi Covid-19 membawa banyak perubahan dalam hal cara berkomunikasi di ranah komunitas yaitu Metalhead, baik secara nasional maupun internasional dengan memanfaatkan media sosial Facebook, Instagram, dan lain sebagainya lewat logo dan desain gambar. Permasalahan penelitian adalah kecenderungan penggunaan logo yang menjadi ciri khas kelompok Metalhead dalam ragam tipografi dan fungsi. Metode penelitian kualitatif dengan pengumpulan data secara observasi, kajian kepustakaan, dan dokumentasi. Pendekatan menggunakan studi tipologi mencakup tipografi dan fungsi. Temuan dari hasil penelitian memperlihatkan bahwa tipologi logo Metalhead lewat poster digital memiliki kekhasan tersendiri, dalam pemilihan warna, dominan menggunakan warna putih dalam tulisan dan latar belakang cenderung berwarna gelap yaitu hitam, warna merah, dan warna lainnya tetapi tidak begitu mendominasi. Terkait huruf, cenderung menggunakan huruf yang tidak lazim (mendesain sendiri) dalam menuliskan nama band. Tema acara, jadwal, tempat, dan sponsor cenderung menggunakan huruf yang dapat dimengerti secara universal atau masih menggunakan huruf-huruf konvensional dalam Microsoft Word. Fungsi logo Metalhead sebagai pembentuk identitas kolektif dan komunikasi di antara sesama Metalhead serta masyarakat luas. ","PeriodicalId":238981,"journal":{"name":"Journal of Urban Society's Arts","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125866947","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}