New Student Admission (Second Intake) Odd Semester Academic Year 2022/2023 Masters and Doctoral Programs in the 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
📧 pspsr.pasca@ugm.ac.id
📞 0857 2614 0906
The Performing Arts and Visual Arts Studies (in Indonesian: Pengkajian Seni Pertunjukan dan Seni Rupa – PSPSR), Graduate School, Universitas Gadjah Mada received a visit from representatives of Teater Garasi, including Yudi Ahmad Tajudin, Lusia Neti Cahyani, and Shohifur Ridho’i, on Wednesday 27 April 2022. The visit included more about the collaboration between PSPSR and Teater Garasi in the Intersection Media Laboratory Project (Project Laboratorium Sesilangan Media).
Yudi Ahmad Tajudin stated that the Intermediality Laboratory Project, which targets the Performing Arts, Film, and Digital Games (Digital Games), is an effort to link themselves with academic friends. The program aims to track and conduct cross-media experiments that go further than transmedial, to express ideas and social issues through the medium of performing arts, films, and digital games in an increasingly mediated society. As a ‘laboratory,’ this program will be realized in 3 types of interrelated activities: discussion forums and workshops, the creation of cross-media works, and public presentations.
Dr. Budi Irawanto as the Head of the Doctoral Program and Dr. Rr. Paramitha Dyah Fitriasari, as the Head of the Master’s Program, welcomes collaboration with Teater Garasi because it can provide new experiences for students and support each other’s development of the university, especially the Performing Arts and Fine Arts Study Program. This collaboration and initial meeting can formulate future cooperation programs to explore art and see the interrelationships in media intersections.
Later this collaboration will involve PSPSR students as facilitators who will participate in the brainstorming, discussion, recording, documentation, study, and presentation stages.
New Student Admission Odd Semester Academic Year 2022/2023 Masters and Doctoral Programs in the 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
Download brochure here: http://ugm.id/BrosurPSPSRUGM
📧 pspsr.pasca@ugm.ac.id
📞 0857 2614 0906
Performing Arts and Visual Arts Studies, Graduate School, Universitas Gadjah Mada, on Thursday 24 February 2022 held a Virtual Open House which was held as a further introduction agenda for prospective students about the study program, and also in scholarships, lecture information, graduate prospects to the advantages of doctoral and master study programs. A total of 120 participants (98 participants from Zoom and 22 participants from YouTube) were very excited and provided evidence that Performing Arts and Visual Arts Studies continues to gain public interest with its commitment to producing the best graduates.
This meeting was attended by Dr. Budi Irawanto, SIP, M.A., as the Head of the PSPSR Doctoral Study Program, Dr. Rr. Paramitha Dyah Fitriasari, M. Hum., as the Head of the PSPSR Masters Study Program, Dr. G.R. Lono Lastoro Simatupang, M.A., as Academic Coordinator of the PSPSR Study Program, Ike Niken Salindri, M.A., as PSPSR Academic and Financial Staff, Agustinus Paulus Umbu Tali, M.A., as PSPSR Quality Assurance Staff, Michael HB Raditya, M.A. and Deni Kristianto as Staff of the Jurnal Kajian Seni, and M. Bayu Tejo Sampurno, M.A., as Website Staff. The holding of the Work Program Evaluation and Projection Meeting aims to realize coordination, integration, and synchronization of the work plans of each division in PSPSR in the implementation of the Tridarma of Higher Education and its supporting resources.
The expected result of this activity is synergy and consistency, even a leap in achieving priority targets and actions according to the main tasks and functions of the PSPSR based on the principles of performance studies and visual studies.
Postgraduate students of the UGM Performing Arts and Fine Arts Study Program (PSPSR) batch 2020 held community service activities in Pucungsari Village, Teneran Hamlet, Grabag, Magelang. This activity was accompanied by the Head of the Study Program, Dr. Rr. Paramitha Dyah Fitriasari, M. Hum. Community service activities are indeed one of the annual activities routinely held by the UGM Graduate School PSPSR study program. This activity involves students to go directly into the community and carry out various activities with the community. Service activities as a form of implementation of the Tri Dharma of Higher Education. The purpose of holding community service activities is as a means for PSPSR 2020 Postgraduate students to present dialogue in the field of art with the community, provide education, innovate visual arts to the community, and help revitalize local arts in Pucungsari village, Grabag sub-district, Magelang.
In his speech, Dr. Budi Irawanto (Head of PSPSR Doctoral Program) said that our topic was a derivative of the big theme “The Future of Arts,” one of which was triggered by the pandemic phenomenon, how art is produced, presented, discussed, and circulated in the future. Furthermore, this discussion looks further into how the future of art is emerging in specific art fields. “Continuing the conversation about art-data, new media art, and so on, and this time we will look specifically at how performing arts position themselves in a pandemic condition and especially in the era of digital technology which certainly raises new challenges when screen culture is in dominant position,” said Budi.
Yudi Tajudin explained the project “UrFear: Huhu and the Multitude of Peer Gynts.” Yudi explained the show network with a modular approach, which was staged on a specially designed interactive website. Modular is a method for working with diversity, both in terms of the diversity of issues and the aesthetic diversity of the collaborators—next, modular experimenting with various modes of performance in a plural-universe (pluriverse). UrFear is “staged” on a scheduled basis for one month; there are certain hours and days on the website from October 31, 2020, to November 30, 2020.
Multitude of Peer Gynts is part of a long project that started in 2018. Multitude of Peer Gynts is an inter-Asian contemporary theater collaboration project that explores and performs “fear/anxiety” and “mobility/immobility” issues in contemporary Asia using Henrik Ibsen’s manuscript, Peer Gynt, as a dramaturgical framework.
Research and work in progress in Flores (June-July 2019), Tokyo (August-September 2019), and Shizuoka (October-November 2019). The premiere of the performance will take place at the Shizuoka Performing Arts Center (SPAC) on November 4-19, 2020.
The planned performances for July 2020 and beyond should be in Yogyakarta, Jakarta, and other countries. However, due to the pandemic in March 2020, this project will not be physically implemented. At the same time, discussions about live performances being transferred to digital format and via the internet are intensively carried out. Yudi tried to accommodate that, who presented UrFear in a specially designed interactive website. The works, artists, and presentation modes of UrFear: Multitude of Peer Gynts (2020) include (1) “The Search for the Lost Favorite Song,” featuring artists MN Qomaruddin, Abdal Majed Danko, Abu Baker, Alyas Hassan, and Alhadi, of which four the last name is a refugee from Sudan who is in Jakarta. The mode of the show is pre-recorded game-theater, with chatbox interactions; (2) “Tana Tani (Tanah Grief)” featuring East Flores Theater Artists (STFT). Concept and directing by Silvester Hurit and Inno Koten, who played the film-theater mode (pre-recorded); (3) “On the Origin(s) of Huhu” by Abdi Karya, which is presented in a lecture mode (Live) with multi-camera; (4) “Monopoly: Assylum Edition” by Andreas Ari Dwianto. It features a monologue with an interactive digital-game monopoly; (5) “About the Ghost Worker Dancing in Your Shoes” Arsita Iswardhani, The mode of the show is (live) long-durational performance (4 hours) with two cameras; (6) Venuri Perera’s “On Gaze and Anonymity (or See You Don’t See Me)” with recorded lecture performance mode; (7) Darlane Litaay’s “Dancing with the Minotaur” is a solo dance recorded with 6 cameras and 6 angles where the audience can choose which angle will be their point of view; (8) “Savior for Beginners” from Gunawan Maryanto with a monologue/interactive lecture (live) performance mode where the audience is free to choose the costumes, narration, and style to be displayed; (9) “Aase’s Dreams” by Micari Fukul, which features a recorded film-theater mode; and (10) “Huhu’s UrSound” by Yasuhiro Morinaga in collaboration with Nyak Ina Raseuki. They put on a recorded sound/audio show.
Yudi said that when Teater Garasi found out that they could not perform due to the pandemic, they were reluctant to do online shows. However, the reflection on the issues raised in the project UrFear: Multitude of Peer Gynts about fear and anxiety and mobility and immobility is considered very appropriate to the conditions experienced. Therefore, they consider the issue mandatory but with the development of digital technology by inviting Wok the Rock as one of the collaborators. The staging room through the website is an exclusive space setting to represent the space and physical stage of the performance. They still prioritize the concept of “here and now” to still be simulated to maintain liveness, intimacy, and interactivity.
In addition, online performances also consider the nature of the internet to provide audience experiences in enjoying online performances that cannot be found in live (offline) performances. The concept of online live performances provides a new creative power, for example, providing the audience with the opportunity to gain new affection and experience in enjoying performances with new modes as a reinterpretation of intimacy and interactivity even though they are in a different real space. Beyond the discussion, the dialogue that takes place both on the artistic agenda and on the political agenda in the media can open a wider, newer sensibility for these media.
What was conveyed by Yudi Tajudin was in line with the response from Lono Simatupang, who started by inviting him to see the events of the performance from the audience’s point of view. The virtual space provides affection and an interactive experience when the audience is actively involved in the game with the artist. Alternatively, the audience makes their own, for example, by “nonton bareng” which is done with a mature setting to become a new atmosphere in watching online shows. The freedom and new habits of the audience to enjoy online shows need to be explored. Growing online performance service providers starting from ticketing, merchandise center, which became new specialists.
Discussion archive can be accessed HERE.
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