Master Program of Performing Arts and Visual Arts Studies, Graduate School, Universitas Gadjah Mada, officially succeeded in obtaining the AUN-QA international certification in February 2022 after participating in a field assessment on June 7-11, 2021. The certificate is valid for five years (2021-2026). The success of the Master Program of Performing Arts and Visual Arts Studies, Graduate School, Universitas Gadjah Mada in obtaining international certification is very strategic as a step forward towards international standard higher education and towards international accreditation and expected to open up opportunities to participate in the AUN-QA program of activities, and to expand the higher education network in ASEAN in the field of performing arts and visual arts studies, for example in organizing conferences, workshops, training, as well as student and staff mobility.

On December 9, 2021, at the Alana Hotel, Yogyakarta, the Performing Arts and Visual Arts Studies (PSPSR) held a Work Program Evaluation and Projection Meeting (evaluation meeting for 2021, program activities, and strategic plans for 2022). The discourses that emerged in 2021 became an exciting reflection to welcome 2022. Apart from being related discourse, the demand to maintain a superior reputation position as Indonesia’s first art study program needs to be adequately maintained. Consolidation of adjustments to policies related to regulations, education systems, educational philosophy in PSPSR in higher education operations is continuously anticipated by preparing strategies accompanied by effective and efficient programs related to art discourse in the future.

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.

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On Monday, August 30, 2021, Forum30 was again held and running in its 5th edition. Forum30 as a series of the 30th Anniversary of PSPSR UGM “The Future of Arts” in this 5th edition raised the topic “Menjelajahi Pergelaran Tertayang”, with Yudi Ahmad Tajudin (Teater Garasi) as a resource for the discussion, G.R. Lono L. Simatupang (PSPSR UGM) as responder, and Dina Triastuti (Kalanari) as moderator. Sixty-nine participants attended this discussion through the Zoom Meeting platform, and 8 participants took part in this discussion through a live stream through the “PSPSR UGM” YouTube channel.

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.

New student admission extended until 6 July 2021

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If you have any questions, please submit via email us here

Important:

1. Applicants do not need to send files to the study program email, just register online.
2. Doctoral program applicants must send a dissertation plan proposal to study program email at pspsr.pasca@ugm.ac.id with the subject “Nama – Nomor Pendaftaran – Rencana Proposal Disertasi”, and accompanied by an explanatory statement in the body of the email.

The Performing Arts and Fine Arts Study Program, Postgraduate School, Gadjah Mada University has contributed to the academic realm of art studies for 6th lustrum. The Study of Performing Arts and Fine Arts has been in its 30th year, with hundreds of alumni scattered throughout Indonesia.

Tuesday, March 30, 2021, the Dies Natalis opening of the Performing Arts and Fine Arts Study Program was held for the first time online. The online Anniversary opening was carried out through the Zoom Cloud Meetings platform, which was attended by around 164 participants, including students, alumni, and the academic community at Gadjah Mada University.

The opening of the 30th Anniversary of PSPSR was participated in by university, faculty, and study program leaders. The beginning of the 30th Anniversary of PSPSR began at 15.00 WIB, opened by Dr. Rr. Paramitha Dyah Fitriasari, M.Hum as the Head of the Master of Performing Arts and Fine Arts Studies Program.

The main activity of the Anniversary was filled with a material presentation by 3 (three) main speakers, namely Dr. Rr. Paramitha Dyah Fitriasari, M.Hum (Head of the Master of Performing Arts and Fine Arts Studies Program), Dr. Budi Irawanto, S.I.P., M.A. (Head of Doctoral Study Program of Performing Arts and Fine Arts Studies), and Dr. G. R. Lono L Simatupang, M. A. (Academic Committee for the Study of Performing Arts and Fine Arts). The topic of conversation covered the issue of art development in the digital era and the possibility of art development in its future existence. The Dies Natalis activity was continued with the art of question and answer related to the topic presented by 3 (three) speakers). The anniversary activity was closed with a group photo through a zoom screen as documentation and perpetuation of the activity, carried out for the first time online. (Ysn)

Photo: Teuku Shofwan

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The cultural mission in the Indonesian homeland had been implemented after Indonesia’s independence in 1945. For Sukarno, it was through culture that Indonesia could demonstrate independence, as well as its cultural diversity. On that basis, Sukarno had carried out a cultural mission by sending various artists abroad. In short, the cultural mission kept Sukarno’s foreign policy agenda. Read more …