Creative and Innovative Thinking in the Holistic Development of Students’ Potentials through ‘Sekolah Bitara’ Visual Art Program

UPSI-Sekolah Bitara Visual Art Program was a smart, collaborative project involving Universiti Pendidikan Sultan Idris (UPSI) and SekolahKebangsaanDato’ Kamaruddin, BehrangStesen, Perak. The UPSI’s Sekolah Bitara Visual Art Program was a smart collaborative project held at the SekolahKebangsaanDato’ Kamaruddin, BehrangStesen, Perak. This program was implemented based on the concept of sharing and exchange of the knowledge of visual art involving several teachers and students, aged 8-12. This ‘visual art expression’ program was carried out in several series, which began in 2014 and ended in 2018, consisting of six (6) visual art projects as follows: batik craft, print art, ceramic art, fine metal art, wall murals, and textile art.The program involving art appreciation, textile art, and legacy of art helped exposed students and provided a rich experience for such participants in learning visual art through activities that enhanced their higher-order thinking skills. This six-series project produced 180 visual art works in various disciplines of art, which were put on display at the UPSI’s Art Gallery. In addition, students’ creative wall murals were displayed on the walls of the school building. Surely, such accomplishments signify their innovative and creative thinking that can help develop students holistically with strong intellectual, emotional, spiritual, and physical attributes, which are in line with the aspirations of the National Education Philosophy. Surely, more efforts of similar nature are required in the future to further enhance such a program to develop students who are highly creative, innovative, and competitive.

KNIFE ART AND CARRIERS OF INTANGIBLE CULTURAL HERITAGE IN DUZCE

Traditional arts and professions are the carriers of our culture because they carry historical background. For this reason, traditional arts and professions and cultural heritage are easily transferred to future generations. While knife was a tool that facilitated human life in the early periods, it turned into an art in time. The art of knife and the techniques and methods used in this art have been used for many years in history. Today, there are many artists who want to prevent the art of knife from turning into a craft. They intend to take this art to an even more advanced level. In this study, we interviewed three artists as samples who dealt with knifemaking by addressing the art of knife in Düzce. Interviews and works with the artists are visualized in this work. Thus, what has been done about the art of knife in Düzce, which methods and techniques are applied have been revealed. Along with the previous methods applied to this art, traditional Turkish arts such as marbling, illumination and miniature were used as a surface decoration technique in the art of knife which is a branch of Turkish metal arts. The aim of the study is to show the path that knife art has taken from its historical background to the present day and to show the feasibility of new methods in this field and thus to indicate that knife art is open to development. It is believed that this work, in which interviews and images obtained are evaluated using a descriptive analysis, will contribute to literature related to traditional art and the art of knife. Keywords: Knife art, jewelry, metal art, cultural heritage, traditional art

BADAK JAWA SEBAGAI SUMBER INSPIRASI DALAM PENCIPTAAN SENI KRIYA LOGAM

Creating an artwork with javan rhino as the source of inspiration was based on theauthor’s interest towards rhinoceros especially javan rhino. Javan rhino has its own uniquenesscompared to other species of rhinoceros and the phenomenon of its extinction that happenednowadays such as the skin’s physical form that is folded as if it’s forming an armor, its horn, andjavan rhino is considered as an animal that is almost extinct so the author was interested increating a metal craft artwork with Javan rhino as the theme in this final project as well as therequirement to graduate from bachelor degree of craft major.The methods of approach used are the expressive, contemplation, aesthetic, and thenthe data collection was done by using literature study and observation methods. The artworkscreated through three stages : exploration, design, and embodiment. Metal art presented in thisfinal project is a figurative artwork and the object was developed which is the result of Javanrhino embodiment.The produced artwork is a three-dimensional metal craft artwork with the shape ofJavan rhino as the inspiration of the craft art’s creation and has a shape development in such away. This artwork is expected to communicate with the society properly. This metal craftartwork was created neither for finding solutions nor solving the problems, but it is a touch ofexpression and a means of delivering a personal idea which is presented especially for art loversand generally for the society.Keywords: Javan rhino, Crafts art, Metal craft Menciptakan karya dengan sumber inspirasi Badak Jawa didasari atas ketertarikanpenulis terhadap binatang badak khususnya badak Jawa. Badak Jawa memiliki keunikantersendiri dari badak lainnya dan fenomena kepunahan yang terjadi saat ini seperti bentuk fisikkulit badak yang belipat seperti membentuk baju baja, cula, dan tergolong hewan yang hampirpunah sehingga penulis tertarik untuk menciptakan sebuah karya seni kriya logam bertemakanbadak Jawa ke dalam tugas akhir ini sekaligus sebagai syarat menyelesaikan studi S1 jurusankriyaMetode pendekatan yang digunakan adalah ekspresi, kontemplasi, estetis, kemudianmetode pengumpulan data dilakukan dengan studi pustaka dan observasi. Proses penciptaankarya seni ini memalui tiga tahapan yaitu, eksplorasi, perancangan, dan perwujudan. Karyalogam yang disajikan dalam Tugas Akhir ini merupakan karya figuratif dan dikembangkanobjeknya yang merupakan hasil dari perwujudan badak Jawa.Hasil karya ini adalah seni kriya logam tiga dimensi dengan bentuk badak Jawa sebagaiinspirasi dari penciptaan seni kriya dan memiliki pengembangan bentuk yang sedemikian rupa.Diharapkan karya ini dapat berkomunikasi dengan masyarakat secara baik. Karya seni kriya logam ini dibuat bukan dimaksudkan untuk mencari solusi ataupun menyelesaikan masalah,tetapi merupakan sebuah sentuhan ekspresi dan sarana penyampaian ide pribadi yangdisampaikan kepada penikmat seni pada khususnya dan masyarakat pada umumnya.Kata kunci: Badak Jawa, Seni kriya, Kriya logam

Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres

Since the dawn of experimental rock’s second coming in the new millennium, experimental artists have begun distancing themselves from Top-40 artists through formal structures that eschew recapitulatory verse/chorus conventions altogether. In order to understand the correlation between genre and form more thoroughly, this paper provides a taxonomic approach to through-composition in several post-millennial experimental rock genres including post-rock, math-metal, art rock, and neo-prog. Combining the presence or absence of two salient formal parameters (hierarchical grouping structure and thematic unification) generates four possible through-composed archetypes. Representative examples from the post-millennial rock corpus are provided for each archetype, and accompanying analyses identify the specific musical elements that engender such formal divisions. Included interviews suggest that this taxonomic model is congruent with the language musicians use to describe their own compositional strategies. Throughout the article, a case is made for the substantive link between specific types of through-composed forms and the genres in which those forms regularly appear, as well as for the difference between formal designs found in post-millennial experimental rock and those found in conventional rock music.