Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni
Journal title Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Initials Dewa Ruci Abbreviation Dewa Ruci J. Pengkaj. dan Pencipta. Seni. Frequency 2 issues per year (June and December) DOI Prefix 10.33153 ISSN 1412-4181 (print) | 2685-287X (online) Editor-in-chief Dr Zulkarnain Mistortoify, M.Hum Publisher Pascasarjana ISI Surakarta Citation Analysis Dimensions| Google Scholar Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni draws its contributions from academics and practitioner-researchers at the interface of new visual and performing arts. It acts as a forum for critical scholarship, innovative practice, and creative pedagogy, addressing themes that may be domain-specific (e.g., theatre, dance, music, live art, visual arts) or situated at the convergence of two or more disciplines. The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to visual and performing arts. It encourages debate and cross-disciplinary exchange across a broad range of approaches. The spectrum of topics include: Ethnomusicology Karawitanology Music Education Musicology Dance Theatre Movie and Television Interior Design Industrial Design Media Arts Fine Arts Photography These topics are addressed in full-length academic articles, critical statements on current issues, developmental practice, and reviews of books and live/media-based visual and performing arts. The journal presents an innovative platform for researchers, students, practitioners, and educators to learn from and contribute to the field. All articles are subject to initial Editor screening and then a rigorous double-blind peer-review process before publication. Scopus References Search Keywords: "Dewa Ruci J. Pengkaj. dan Pencipta. Seni" OR "Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni" <a href="https://www.scopus.com/results/results.uri?sort=plf-f&src=s&st1=%22JURNAL+JPSD+%28Jurnal+Pendidikan+Sekolah+Dasar%29%22&sid=7d2c01ab13fa65d5ec1b1a931db583db&sot=b&sdt=b&sl=52&s=REF%28%22Dewa+Ruci+J.+Pengkaj.+dan+Pencipta.+Seni%22+OR+%22Dewa+Ruci%3A+Jurnal+Pengkajian+dan+Penciptaan+Seni%22%29&origin=searchbasic&editSaveSearch=&yearFrom=Before+1960&yearTo=Present&sessionSearchId=7d2c01ab13fa65d5ec1b1a931db583db&limit=10" target="_blank" rel="noopener">SCOPUS CITATION RESULT (NEED LOGIN) Before submission, You have to make sure that your paper is prepared using the Dewa Ruci paper template and Carefully read the submission guidelines. If you have problems with the journal, please contact us at journaldewaruci@gmail.com
Pascasarjana Institut Seni Indonesia Surakarta
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Negotiating the screen: Indonesian audience reception of AI virtual characters and its implications for film marketing communication
This study examines how Indonesian film audiences receive virtual characters built with artificial intelligence (AI), and it asks what that reception implies for film marketing communication. Screen culture, in this article, refers to the shared viewing habits, tastes, and meaning-making practices through which audiences engage with moving images. The objectives are to map the patterns of audience reception, to explain how cultural background mediates the meaning audiences assign to virtual characters, and to translate those patterns into specific implications for marketing. Data were gathered through an online survey of 36 purposively selected respondents who are students, alumni, and practitioners in communication and film, so the design is exploratory rather than representative of the national audience. Analysis combined descriptive statistics with thematic coding of open-ended answers. The results reveal a consistent pattern of negotiated reception. Familiarity with computer-generated imagery is high, yet concern about losing acting authenticity (80.6%) and reducing actor employment (69.4%) remains pronounced, and most respondents accept virtual characters only for certain roles (77.8%). Audiences also prefer characters that look openly artificial (52.8%) over near-human ones, a preference that reads as a way of avoiding uncanny valley discomfort. Read through Hall's encoding and decoding model and Mori's uncanny valley, these findings extend reception theory to AI character reception in a non-Western screen culture, and they direct marketing toward genre-calibrated, transparency-led positioning rather than technology-centred promotion.
Copyright (c) 2026 Chatarina Heny Dwi Surwati, Eka Nada Shofa Alkhajar, Tanti Hermawati, Laurence Lingat Ramos https://creativecommons.org/licenses/by-sa/4.0
Puzzle-based learning media design for early childhood spice introduction to support cultural education
This study aims to design a puzzle-based educational toy for introducing Indonesian spices to early childhood learners as an effort to support cultural education and preserve local knowledge. The study was conducted at Cihaurgeulis Early Childhood Education Center, Bandung, involving children aged 4–6 years and four teachers. A Qualitative and Development Research (Q&D) approach was employed using observations, interviews, thematic analysis, and the ADDIE instructional design model up to the development stage. The analysis revealed that children showed strong interest in puzzle-based learning activities, yet their knowledge of Indonesian spices was limited, with most children recognizing only one or two spice types. Based on these findings, a puzzle-based learning medium was designed, consisting of spice-themed puzzle pieces, flashcards, magnetic learning cards, and authentic spice samples integrated into a contextual learning framework. The design was developed according to the cognitive characteristics of children in the intuitive thinking stage, emphasizing concrete, visual, and hands-on learning experiences. Initial prototype trials and teacher evaluations indicated that the learning media were appropriate for classroom implementation and supported children’s engagement in learning activities related to Indonesian spice heritage. The study suggests that culturally integrated puzzle-based learning media can serve as an innovative educational tool for introducing Indonesian spices while supporting contextual and culture-based learning in early childhood education.
Copyright (c) 2026 Andin Rahmani, Nurul Fitriana Bahri https://creativecommons.org/licenses/by-sa/4.0
Transforming traditional Kerinci carving motifs into creative products: a qualitative study of cultural transmission and heritage sustainability
This study analyzes the transformation of traditional Kerinci carving motifs into creative products as an entry point for cultural heritage revitalization within a heritage based creative economy framework. It examines motif transformation as a multi level process linking changes in cultural knowledge, design adaptation, and cultural ecosystem revitalization. Using a qualitative case study approach, data were collected through semi-structured interviews, observation, visual documentation, and literature review in Kerinci Regency and Sungai Penuh City, involving 25 purposively and snowball-selected informants. Data were analyzed through open coding, constant comparison, and thematic interpretation based on heritage revitalization, cultural sustainability, and the heritage-based creative economy. Results indicate that transformation is driven not only by design innovation but also by weakening intergenerational knowledge transmission, shifting motifs from cultural meaning systems into fragmented visual resources. Motif adaptation remains non-standardized and highly dependent on individual initiatives. The study proposes a five-stage revitalization model linking documentation, design transformation, product innovation, artisan regeneration, and pentahelix ecosystem strengthening for cultural sustainability.
Copyright (c) 2026 Nofrial Nofrial, Yuli, Fera, Wid https://creativecommons.org/licenses/by-sa/4.0
“God or Idol?” Research exploration of AI idolization awareness in poster design
This study aims to explore how poster design can be utilized as a medium for critical reflection on the relationship between humans and artificial intelligence (AI). Using a research-through-design approach, the study developed and compared two poster concepts: a collaborative human–AI poster and a provocative AI-idolization poster. The design process began with the creation of a poster intended to convey a message about the respective positions of humans and AI. A knowledge-tree theme was selected to represent harmony between organic and technological elements. The poster depicts humans and AI sitting side by side beneath a tree with circuit-shaped roots, symbolizing synergy and connectedness. However, despite being aesthetically appealing and communicative, this visual model relies on a widely used metaphor, potentially resulting in a weak awareness effect because audiences are already accustomed to similar representations. As an alternative, a second approach was developed through a provocative poster that combines a religious figure with robotic elements to represent AI as a modern idol. This unconventional visual creates a sense of shock and prompts audiences to reconsider the position of AI, questioning whether it should be perceived as a collaborative partner or excessively glorified. Using a qualitative descriptive approach, the results indicate that the AI-goddess poster is more effective in stimulating critical awareness than the knowledge-tree poster. Through visual rhetoric and semiotic analysis, the findings suggest that unconventional visual metaphors have greater potential to stimulate critical reflection on the position of AI in contemporary society.
Copyright (c) 2026 Andreas James Darmawan, Sugiyanto Sugiyanto, Putri Karin Cinthya, Sitinjak Eunike Yolanda Zefanya https://creativecommons.org/licenses/by-sa/4.0
Artificial intelligence-based innovation of batik motif design in Indonesia and Malaysia: a cross-cultural collaborative approach for sustainable cultural preservation
This study documents and analyses a practice-based collaboration in which Indonesian and Malaysian designers used generative artificial intelligence (AI) to synthesise shared batik motifs, and examines how faithfully the source motifs survived that process. Adopting a practice-based / research through-design approach, the study brought together practitioner researchers from three Indonesian and two Malaysian institutions. Six iconic source motifs Parang, Truntum, and Mega Mendung (Indonesia) and Bunga Kerak Nasi, Pucuk Rebung, and the Tiger Orchid motif (Malaysia) were combined through a structured prompt protocol using two text to image platforms (Midjourney and Bing Image Creator) and refined in Adobe Illustrator. The resulting nine motif outputs and two garment visualisations were assessed through iconographic visual analysis and collaborative expert appraisal across four dimensions: cultural fidelity, cultural distortion, design innovation, and design-stage resource efficiency. The analysis shows that generative AI was effective for ideation and cross tradition synthesis but unreliable for fidelity. Only the discrete, radially repeatable Truntum was reproduced with high fidelity, whereas the directional, field-organising geometric motifs Parang and Pucuk Rebung were the least faithful; because this weakness appeared in motifs from both traditions, it reflects a structural limitation of the technology rather than a national bias. Colour was the least controllable parameter, and culturally faithful results emerged only through a human corrective stage, positioning AI as a partner in human AI co-production. The study contributes a replicable cross-national workflow, an analytical mapping of motif fidelity, and a reframing of the two traditions from contested ownership toward shared authorship.
Copyright (c) 2026 Adlien Fadlia, Farid Abdullah, Ahamad Tarmizi Azizan, Aneeza Mohd Adnan https://creativecommons.org/licenses/by-sa/4.0
Musical coexistence of gendhing gati mardawa in the accompaniment of bedhaya sang amurwabumi dance
This study discusses the musical coexistence in Gendhing Gati Mardawa as an accompaniment to the Bedhaya Sang AmurwabumiDance, by highlighting how the musical construction of Javanese tradition negotiates with the aesthetic context, history, and cultural representation in the contemporary era. This study uses a qualitative method with a case study approach, the research analysis combines three main perspective lenses: postcolonial, hybridity, and musicology. Through a postcolonial perspective, this study examines how traces of power discourse, palace cosmology, and Javanese cultural narratives are rearticulated through the structure of the gendhing. The hybridity perspective is used to examine the mixture of traditional musical elements, such as the balungan pattern, the accompaniment work, and the relationship of the gendhing structure with the aesthetic needs of palace performances, resulting in a musical form that is not entirely traditional but still maintains its cultural legitimacy. Meanwhile, the musicological perspective provides a foundation for reading the relationship between musical structure, ritualistic function, and the embodied experience of gamelan musicians, musicians, and dancers. The results of this study indicate that Gendhing Gati Mardawa displays a coexistence between the harmony of gamelan instruments and European musical instruments, never in harmony, in the accompaniment to the Bedhaya Sang Amurwabumi Dance. This coexistence not only enriches the aesthetic experience but also offers new insights into how the karawitan tradition transforms through a dialogue between cultural continuity and contemporary artistic demands. This research contributes to the study of dance accompaniment music, demonstrating that musical hybridity should not be understood as deviation, but rather as an adaptive expression that maintains cultural relevance in the context of court performances.
Copyright (c) 2026 Raden Mas Surtihadi, Bayu Wijayanto https://creativecommons.org/licenses/by-sa/4.0
The characteristics of topeng klana udeng dance movements in tambi style using laban analysis
While previous studies on Indramayu mask dance have predominantly focused on visual fine arts or the Pekandanganstyle, empirical research systematically decoding the kinetic movement vocabulary of the Tambi style remains limited. To address this research gap, this study examines the movement characteristics of the Klana Udeng Mask Dance (Tambistyle) using an ethnographic framework integrated with an ethnochoreological approach and Laban Movement Analysis (LMA). Fieldwork was conducted through multi-angle video documentation, in-depth interviews with key practitioners, and Laban notation transcription. LMA findings reveal that the Tambi style is kinetically defined by a locked torso, wide open stance (pasang baplang), and sharp level variations, driven by an Effort combination dominated by direct space, strong weight, sudden time, and bound flow. These dynamic qualities generate assertive spatial Shapes and aggressive, martial-inspired (pencak silat) movement patterns that symbolize the authoritative and heroic nature of the Klana figure. The novelty of this research lies in providing the first standardized, count-scaled Laban notation and empirical Effort-Shape baseline for the Tambi stylistic tradition. Scientifically, this study demonstrates a replicable methodology bridging qualitative dance ethnography with formal choreological analysis. Practically, these findings offer a technical framework for curriculum standardization in local arts sanggars, cultural policy formulation, and Intellectual Property Rights (HKI) preservation for Indramayu’s intangible cultural heritage
Copyright (c) 2026 Farah Azizah, Nunung Nurasih, Desya Noviansya Suherman https://creativecommons.org/licenses/by-sa/4.0
Deconstruction of iconic characters: binary opposition and différance in the visual-narrative design of Darth Vader, Naruto, and Mario
Character design plays a crucial role in visual narrative effectiveness and emotional connection with audiences, yet existing scholarship privileges visual-narrative coherence over the role of contradiction in shaping emotional resonance. This study asks how Derridean mechanisms, binary opposition and différance, operate within iconic character design to generate interpretive depth. It employs a qualitative multiple-case design analyzing three purposively selected characters: Darth Vader, Naruto Uzumaki, and Super Mario. Selection followed three operational criteria: documented global iconicity, representation of three distinct visual traditions (Hollywood cinema, Japanese anime, and Japanese video games), and contrasting modes of iconization (tragic-antagonistic, heroic-developmental, and functional-iconic). Each case was analyzed through a four-stage deconstructive procedure—identification of the privileged binary, contradictory close reading, exposure of the moment of différance, and synthesis of layered meaning—applied to two defined units of analysis: visual units (silhouette, color, costume, facial configuration, movement, and symbolic marker) and narrative units (scene, action, transformation, and symbolic reversal). Interpretive claims were validated by returning each reading to its primary text, by cross-case pattern testing, and by author consensus. The analysis finds that resonance is generated not by design harmony but by sustained tension between visual meaning and narrative subversion, with each character organized around a distinct collapsing hierarchy: power/weakness, recognition/alienation, and complexity/simplicity. The study contributes an operational deconstructive procedure for visual-narrative research, reframes visual contradiction as a designed resource rather than a flaw, and extends deconstructive analysis across three cultural production contexts. As a textual analysis, it describes interpretive potential inscribed in the design and makes no claim about measured audience response; empirical reception testing remains a task for subsequent research.
Copyright (c) 2026 Ahmad Faisal Choiril Anam Fathoni, Ercilia Rini Octavia, Cahyono Budi Santosa https://creativecommons.org/licenses/by-sa/4.0
Panji beyond Java: narrative transformation in the Andi-Andi oral art of South Kalimantan
The Panji stories have spread widely from East Java to various parts of Southeast Asia, but their transformation in indigenous oral traditions outside the royal cultural centers remains understudied. This article examines the transformation of Panji narrative elements in the oral art of Andi-andi in the Dayak people of the Meratus Mountains and the Dayak Bakumpai around the Barito River. Using a qualitative approach through ethnographic documentation, narrative transcription, and comparative literary analysis of Andi-andi stories featuring characters such as Bungsu Kaling, Angkau Melayu, and Galuh Mendam Jinaman, this study integrates theoretical perspectives of cultural diffusion, narrative mobility, and performativity. The findings identify three main transformation processes: cosmological relocation from the Javanese royal sphere to the sacred landscape of the Meratus Mountains and the Barito River valley; character indigenization through the replacement of Panji and Candrakirana with local ancestral figures; and performative ritualization, where the narrative is embedded in local ritual practices and spiritual systems. Rather than preserving the Panji story textually, the Andi-andi tradition rearticulates its narrative ethos of wandering, separation, and reunion within local cosmologies and collective memory, illustrating how classical narratives are continually reinterpreted through the storytelling traditions of indigenous peoples in South Kalimantan.
Copyright (c) 2026 Sulisno Sulisno, Sunarto Sunarto , Suwardi Endraswara, Widodo Widodo https://creativecommons.org/licenses/by-sa/4.0