Khusus Mahasiswa PSPSR UGM
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pspsr.pasca
On Tuesday, May 14, 2024, students of the UGM’s Magister Program in Performing Arts and Visual Arts Studies conducted a field lecture on Visual Studies Theories by attending the opening of the Suluh Sumurup Art Festival 2024. The festival was held from May 14 to 22, 2024 and took place at the Yogyakarta Cultural Park. Different from last year’s event, which only involved disabled artists from the Yogyakarta region, the second Suluh Sumurup Art Festival this year presents 202 works from disabled artists from 12 provinces in Indonesia. The artists’ works are exhibited at the Taman Budaya Yogyakarta art gallery.
The Graduate Program in Performing Arts and Visual Arts Studies (PSPSR) at Universitas Gadjah Mada (UGM) actively conducts learning monitoring for its students. One of these activities was held on Tuesday, April 30, 2024, in Meeting Room A, 5th Floor, UGM Graduate School Building. This was done to ensure that the teaching and learning process runs effectively and efficiently, and to motivate students to complete their studies on time. The Monitoring and Evaluation were led directly by Dr. Rr. Paramitha Dyah Fitriasari, M.Hum., Head of the Master’s Program in Performing Arts and Visual Arts Studies, Niken Salindri, M.A., Academic and Financial Manager of the Study Program, and students from the 2020, 2021, and 2022 cohorts.
UGM Performing Arts and Visual Arts Studies Study Program in collaboration with Jogja Disability Art (Indonesia) and DaDa Fest (United Kingdom), two organizations working in the area of disability arts, held a Mini Seminar entitled Creating Meaning and Empowering Possibilities in Disability Arts Practice: A Reflection From Dada Fest (UK) and Jogja Disability Arts (Indonesia). This seminar was held on Wednesday, 8 May 2024 at 13.00-15.00 on 5th floor of the postgraduate school building UGM, guided by A. Sudjud Dartanto as moderator.
The Master and Doctoral Program in Performing Arts and Visual Arts Studies, Graduate School, Universitas Gadjah Mada (UGM) organized an event entitled “Art and Religion Studies” on Monday, March 25, 2024. This event combined a discussion and buka puasa (fast-breaking) gathering to explore the intricate relationship between art and religion, particularly in the context of Indonesia.
Opened at 4:30 PM by the Head of the Magister Study Program, Dr. Rr. Paramitha Dyah Fitriasari, M.Hum., the event featured Dr. Samsul Maarif, M.A. as the keynote speaker. Dr. Anchu, as he is familiarly called, is the Head of the Study Program in Religious and Cross-Culture and a lecturer at the PSPSR UGM Study Program. In his presentation, he emphasized the crucial role of art in responding to religious phenomena, especially in Indonesia. This aligns with one of the points in the Sustainable Development Goals (SDGs) regarding strengthening inclusive and peaceful societies to achieve sustainable development.
The Doctoral Program of Performing Arts and Visual Arts Studies (PSPSR), Graduate School, Universitas Gadjah Mada (UGM) received a visit from the Education in Arts (Doctoral) Program Universitas Negeri Semarang (UNNES) on Thursday, February 27, 2024. The visit was led by the Head of the UNNES Education in Arts Doctoral Program, Dr. Agus Cahyono, M.Hum., and was attended by 13 students of the program.
The event was opened by the Head of the PSPSR UGM Master’s Program, Dr. Rr. Paramitha Dyah Fitriasari, M.Hum., followed by an introduction session from both programs.
Dr. Agus Cahyono, in his speech, conveyed that the purpose of the visit was to realize the collaboration between the two programs, especially in the fields of education, research, and community service in the arts. Furthermore, Dr. Agus Cahyono explained the UNNES Doctoral Art Education curriculum, which focuses on developing arts and culture and art education.
Dr. Budi Irawanto, S.I.P., M.A., Head of the PSPSR UGM Doctoral Program, welcomed the visit and explained the brief profile of the PSPSR UGM Doctoral Program, including the curriculum and courses offered at PSPSR UGM. In the introduction session, the students introduced themselves and mentioned their dissertation topics.
It is hoped that through this meeting, further communication can be established between the students of both programs regarding research and development in the arts. (AU)
Admission of New Students for Odd Semester of Academic Year 2024/2025 Master and Doctoral Programs in Performing Arts and Visual Arts Studies through the portal um.ugm.ac.id
Requirements can be checked on the website pspsr.pasca.ugm.ac.id
Video Tutorial New Account PMB UM UGM click here
Download brochure here: http://ugm.id/BrosurPSPSRUGM
One step closer with PSPSR UGM click Virtual Open House archive HERE
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The Master’s and Doctoral Program in Performing Arts and Visual Arts Studies (PSPSR) of the Graduate School Universitas Gadjah Mada (UGM) held a welcoming event for new students called “Through the Layers” on Monday, February 19, 2024. The event was held in Meeting Room A, 5th Floor, UGM Graduate School and was attended by PSPSR lecturers, active students, and new Master’s and Doctoral students of PSPSR.
The event began with a welcoming speech by the Head of the Master’s Program, Dr. Rr. Paramitha Dyah F., M.Hum. She explained the program’s vision and mission, program specifications, educational philosophy, graduate profiles, expected learning outcomes, courses, and lecturers of the PSPSR Program. Dr. Paramitha also introduced the SDGs (a series of goals set by the United Nations “UN” to achieve a better and more sustainable life for everyone on the planet).
Jim Supangkat is a prominent art curator in Indonesia, as well as a witness to the history of Indonesian modern art. The relay momentum in Jim Supangkat’s thoughts is presented in the summary of the book he has compiled entitled “Satu Abad Gagal Paham” which is also the subject of a seminar organized by Buku Seni Rupa in collaboration with PSPSR in the Auditorium Room, 5th Floor, Faculty of Postgraduate School, UGM, Wednesday (10/5).
The event began with a discussion on the context of “Satu Abad Gagal Paham”, which was born from Jim Supangkat’s long contemplation after evaluating his experience in conversing with various art figures from around the world. The initial discussion was opened with a discussion of art myths that distort the understanding of western and eastern society, thus creating a misunderstanding in Indonesia. Furthermore, Jim also invites the audience and readers of his book to review artistic ideas in art events and review various artistic expressions in various parts of the world. From there, according to Jim, we will realize that there is an art discipline that influences art work practices, as well as an understanding of art itself that has been constructed through art history.
According to Jim, the history of art in Indonesia turned around with the opinion of art history which had been methodized by intellectual parties from western Europe. From here, Jim Supangkat explained that the history of art in Indonesia could be read from two signs, namely the first through Raden Saleh and the second through Raden Saleh. the term “Art” in Indonesian. According to Jim Supangkat, Raden Saleh witnessed major changes in western Europe where at that time he was in France and witnessed the 2nd French revolution. In 1882 Raden Saleh lived in Germany, which at that time coincided with the birth of Hegelian ideas. Armed with his experience in western Europe, Raden Saleh voiced justice in the form of dignity. The birth of the painting on the arrest of Diponegoro is a reflection of Raden Saleh’s thoughts on identity, in this case Western historians stutter to read the painting. Then the second sign is regarding the term Art. According to Jim, all language dialects related to tradition have nothing to do with the term Art, but here Jim reveals that in Indonesian there is a term art whose definition is similar to the definition of Art in the west, namely kagunan. The term comes from the absorption of the Javanese language which was alluded to by Ranggawarsita.
The issue of the definition of art is getting wider, but in this seminar Jim Supangkat emphasized fighting against the definition of western hegemonic art in the realm of understanding Indonesian art which tends to be universally claimed. Jim emphasized that today’s art must be read in terms of local aesthetic concepts and local spirit, so that discourse on Indonesian art can be argued in a global art world discourse. Therefore, Jim Supangkat invites the public to re-interpret the flow of art history that occurred in Indonesia.
Towards the end of the event, a deliberation was held to evaluate Jim Supangkat’s opinion moderated by Suwarno as one of the Indonesian academics and curators. In addition, other curator figures such as Alia Swastika were also presented to broaden perspectives regarding artistic works in Indonesia. Then the artist Heri Dono is presented as a very strong art practitioner with a local spirit in each of his works to complete the discourse on knowledge of art creation in Asia, especially in Indonesia.
Contributor: Topan Bagus Permadi