The music and movement patterns in Javanese dance occupy a significant position, which both of them have an integral relationship in forming the construction of a dance. It represented through the relationship between dance music and the technique of composing and executing movement patterns. This article examines the integral relationship between dance music and movement patterns to determine the importance of these two components in the formation of Javanese dance . The case study chosen to show this integral relationship is the Mangkunegaran style of Bêdhåyå Gåndåkusumå dance. The bêdhåyå dance is the result of absorption carried out by K.G.P.A.A. Mangkunegara VII (1916-1944) through a learning system at Kridha Beksa Wirama Yogyakarta. This research uses an ethnochoreological approach in the form of qualitative research. The position of dance as a multidimensional object in the ethnochoreological approach is seen through the choreographic dimension, which is expected to be able to describe the integral relationship between dance music and movement patterns in forming a Javanese dance construction. Data collection techniques were carried out through participatory observation, literature study, and interviews. Based on research results in the Bêdhåyå Gåndåkusumå dance, the technique for composing movement patterns always pay attention to the instrument colotomy of dance music. Gêndhing rhythms have contributed to realizing the aesthetic stability of the execution of a series of movements.

Acting is considered as a way of art, the experience of acting placed as an aesthetic sublimation. The process can be seen from the development of the actor who was originally the subject of language turning into the subject of desire to become the subject of encouragement. Central to the Site-specific approach is a concern to the potential of unconventional spaces. The development of theatrical studies, particularly on actors and space, there seems to be little clarity on the parameters of this approach and it appears to have become a flexible term in which many manifestations have begun to accumulate. The Site-Specific approach seeks to use unique site landscape properties. Locations were chosen based on their ability to reinforce storytelling and form a clearer backgrounf for actors in a theatrical production. This paper aims to investigate a personalized Site-specific approach to performance interests in order to provide insight into the modes of acting and actors as subjects in theatrical performances. The practicality of the site-specific approach to the theater stage model resulted in the following conclusions: 1) natural sets create an atmosphere of intimacy, 2) help actors feel active immersion in the world that is being played, and 3) provide rich cultural visualizations that are relevant to the actor's image.

This research is an attempt by the author to answer various debates that exist to this day. This debate is often a stumbling block for musicians and also in the field of formal and non-formal education. They are in a confusing position because of the various terms that exist and the identification of the concept of Indonesian vocal music composition which is less comprehensive. Therefore, there is a personal selfishness that tends to reduce the true meaning of the work itself. The author uses a musicological perspective as an entry point to provide a new discourse regarding the composition of Indonesian vocal music. This musicological approach is a process of study, investigation and reflection while still paying attention to the relationship between context and compositional work. The author is also aware of the limitations of the space and time of the research, so that this research is not possible to fully cover all vocal music works composed by Indonesian composers. However, the author believes that the research approach carried out can be used to discuss other vocal music works.

The main objective of this research is to explore and observe the existence, development, and changes of Pacitan batik, especially in the aspect of form, function and product of Pacitan batik in social, cultural and economic contexts. This research is descriptive qualitative by using a multidisciplinary approach, culture, aesthetics in the hope that it can answer all the problems. Changes caused by internal factors can occur due to new interpretations and perceptions of the Pacitan community, as a community that supports batik cloth. Pacitan people have a sense to participate in the development, innovation, ideas, and new creations of Pacitan batik. Changes caused by external factors generally occur because of relationships, communication, and social and cultural interactions with other cultures. Pacitan batik products have also experienced developments and changes, both in quantity and quality. Broadly speaking, the changes that occurred in Pacitan batik were marked by a change in its function, from the beginning as a long cloth worn by women during official events or during celebrations, to now becoming a trade commodity product. The motifs applied to Pacitan batik initially contained deep philosophical symbolic meanings, but now these meanings have been put aside, and only evaluated for their aesthetic aspects. Changes in cultural products will have an impact on the supporting community, both in terms of socio-cultural aspects, as well as socio-economic aspects.

Artwork is part of a culture that is created because of a process related to constructive creativity. This process is often referred as the creative process. The creative process can be viewed from related aspects, influencing elements, or the stages in it. The creative process that will be discussed by researcher is the creative process of a music artists who want to create something new and unique, often referred to as new music or contemporary music. The purpose of this study is to see how the stages of the creative process of contemporer composer Slamet Abdul Sjukur in creating the artwork. The method of this research is a qualitative research with literature studies, interviews and also observations of Slamet's artworks as the research subjects. Slamet is a composer who emphasizes the simple concept of producing something great, a concept known as the minimax concept. From this study, it was found that Slamet Abdul Sjukur is a contemporary composer who involves all stages of the creative process in creating artwork. However, the details of the stages of ideas and the implementation of Slamet's creative process on one artwork are very different from one another. This then makes each of Slamet's artworks have their own uniqueness.

Ngopi culture of the Indonesian people today will proliferate services that provide various types of coffee drinks and comfortable and aesthetically pleasing seats. One of the cafes that provide this service is Noch Kafe, located in Malang City. This study aims to determine the visual elements of the interior at Noch Kafe and to determine the visitor's response to the visual elements of the interior. The study was conducted using qualitative methods to analyze descriptive data and images, and quantitative methods of percentages to analyze visitor response data. Descriptive data were obtained through interviews, documentation, and observation, while the response data were obtained through questionnaires. The results showed that the visual elements of the interior have a Scandinavian style with a blend of modern styles and are adapted to the climatic conditions and Indonesian culture. Space-forming elements are made simple and function properly. These can be seen through application of wood materials and the choice of white color on the walls. In addition, the form adapts to climatic conditions, as seen in glass ceilings and walls. Furniture is also made of wood and is simple in shape and according to its function. The results of visitors' responses to visual elements influenced by personal experience show a good/excellent response to most of the visual elements. However, the survey results also concludes that visitors are disfavored with the shape of the table, the shape of the shelves, the night lighting on the terrace area, and the photo/picture decoration.

Cultural studies has developed into an intrinsically interdisciplinary research practice. The emergence of Urban Cultural Studies, as an extensive field of cultural studies, tries to clarify that the humanities-centered method of urban cultural studies requires a common ground that can unite social scientists and humanities scientists, in an effort to understand urban culture by focusing on its textual dimensions. Identifying urban problems as an interdisciplinary scientific work centered on urban areas, seeks to find ways to return intellectual specialization to the totality of understanding of “cultural texts”. This paper explores the formulation of urban cultural studies to bridge the discussion about the material condition and the cultural imagination of the city in a wider social context. The focus is on the analysis of Henri Lefebvre's thoughts on urban philosophy, urban modernity, and contemporary urban culture. Lefebvre reveals an awareness of the importance of space. Space in Lefebvre's understanding is the field of experience that is perceived, felt, and, most importantly, actually lived. Through Lefebvrian's perspective, this paper offers an understanding that the position of artwork, as one of the manifestations of urban culture, by overcoming disciplinary fragmentation can be seen as a disalienation strategy, becoming "living art" in the perspective of "work" as an effort to overcome product instrumentalization. This is also what the study of urban culture must realize; the totality of understanding of urban phenomena, or urban space as a reality and complexity of knowledge, cannot be understood in a compartmental way, which is only accepted as a collection of objects-economics, sociology, history, demography, psychology, or geology.

In order to create a relationship to music, artists first need to create a relationship with their inner sound, and the way in which they approach the manifestation of sound from their instrument (whether it'd be through the use of hands, voice, or a plain manifestation of thoughts). Since this process is dialectic in its nature, the ability to develop this type of responsiveness, sometimes referred to as "attunement", is as important in the musical sphere as it is in social exchanges. Therefore, musical practice can play an important role in developing such aptitude among people of all ages. This paper focuses on the factors that stimulate or inhibit expression, through the lens of western classical and Javanese gamelan musical practice. It will be argued that the change of awareness in individual experience, gained through music improvisation can find its reflection on the interactive synchrony in a larger social and cultural frame.

This study aims to identify the role of Suling Dewa as a symbolic identity of the Karang Bajo community, North Lombok. The groups living in Bayan have different backgrounds. This phenomenon becomes interesting when among the four community groups in Wet Bayan , only the Karang Bajo people present different symbolic values for the existence of Suling Dewa . This theory used in this study is the theory of Burke and Jan E. Stets which states that identity is formed through symbols and the meaning of symbols as a perception. To see how the ideological reflection the author also refers to Thomson's opinion on ideology and the use of symbolic forms and the attraction between interpretation, self-reflection, and identity criticism. This research identifies that the background predicate as spiritualists in the Karang Bajo community is a fundamental substance that gives birth to a symbolic identity of a supernatural bridge in Suling Dewa .

Bukoba Tradition is an oral tradition that delivers news in the form of verse, and the verse contains words and meanings to be conveyed accompanied by music. Bukoba is a tradition that contains values which should be recognized by the younger generation. Bukoba contains educational, religious, social, and traditional values. Educational value is an invitation to listeners to preserve customs, culture and tradition which had been long gone. Religion value is in the form of conveying to the audience for always carrying out acts of worship and never forgetting Allah SWT. Social Value is when the audience can meet their relatives and old friends who haven't seen them for a long time. Traditional value is a medium to inherit traditional values. Introduction to values in Bukoba must be instilled to the younger generation of Rokan Hulu so that they can be nurtured and not eroded by globalization. Keywords: Bukoba, Values, Oral Tradition