Purpose: This research describes the efforts to promote entrepreneurial motivation through shadow puppet performances. Research Methodology: This research used a project-based approach, and the activities are initiated by: 1) diagnosing the problems of performing arts entrepreneurship, 2) creating art incubation designs, 3) implementing activity plans, and 4) evaluating activities through performances. The participants were students with educational backgrounds in dance, music, and fine arts at Universitas Pendidikan Indonesia, as well as partners in the Indigo Moon Theater, a community-based in London. Results: A production of shadow puppet performance art with a Jungle Book story can foster students’ entrepreneurial motivation, shown through paid performances and business planning sales of show packages, merchandise, and a shadow puppet workshop model for children and families. Limitations: This research cannot assist the participants in managerial work to continue their business. Contributions: This research contributes to developing art entrepreneurship in the performing arts field as part of Indonesia’s creative industry sub-sector. Keywords: 1. entrepreneurial motivation 2. art entrepreneurship 3. performing arts 4. shadow puppet 5. arts education

The purpose of this article is to explore the incubation model for performing arts communities to build entrepreneurship in the creative industry sector. The aim of the exploration of the incubation model is to search for a strategy in building the capacity for increasing the quality of performing arts production, to access the performing arts market, and to create network with stakeholders. We used project-based research method to diagnose, create the incubation model, do its implementation, and evaluate the model. This research involved 15 people with performing arts background; five experts in the fields of dance, music, performing arts, and entrepreneurship; and the researchers as its participants. The project was implemented on May 20-21, 2016 in Bandung. The incubation consisted of discussions, collaborations, and presentations of the community works. The experts discussed their knowledge and experiences regarding of building the business plan, producing contemporary performing arts, and accessing the national and international markets for performing arts and music industry. Participants collaborated to present their concept or/and their production. Fifteen participants came up with eight presentations of business plan, and the three experts with dance, music, and performing arts backgrounds criticized them in terms of the concepts and their production. According to the experts, the problem with their concept and production is that they are still in the safety zone; thus, they need to think out of the box to open their minds, to do more in-depth research, and to have the references in order to increase the quality of their works. Festivals and performances are the forms of their market. This model of incubation benefits the communities to change their world view of performing arts industry. However, this project needs to be followed by a community business plan in creating the production and distributing it in the festivals.

This research is aimed to improve knowledge, attitude, skill and appreciation of Nusantara Dances. It is conducted by Action Research method which is developed by Kemmis & McTaggart. The data were collected by questionnaire and analysed by Mix method which is developed by Creswell. The sample of this research is the 8th grade students of Public Junior High School 2 Kotabaru. Knowledge, attitude and skill of appreciation of Nusantara dances is important to be delivered to junior high school student as one of provision effort to nusantara culture, especially dances. The Learning of Nusantara Dances Appreciation is implemented through two cycles. Each cycle has four meetings. Before the intervention action of first cycle, there is a Pre-test. And then the final post test result of first Cycle shows that there is improvement result compared to the pre-test result. More over the post test result of second cycle is imporoved too compared to the post test result of the first cycle, even it has reached the set out target. In conclusion according to the result of the research, Blended learning model is effective to be used on improving the appreciation of Nusantara Dances. Thus, Art & Culture Teacher at school is suggested to use this blended learning model.

Zapin dance was one of the groups of Malay dances that had been influenced by the Arabs. The word Zapin came from the Arabic word “Zafn” which meant the movement of the foot quickly following the beat. The Zapin dance developed in the Malay indigenous community, which used to be performed only by male dancers. The Zapin dance was divided into three parts, the first was the opening movement, the second was the core movement, and the last was the closing movement, some of which contained philosophical values. Zapin dance had an educational and entertaining purpose because the music and dance contained educational elements and it was used as a medium for Islamic preaching. The purpose of this study was to discuss where the unique movements in the Zapin Dance were located. This study employed a qualitative approach using descriptive-analytical research methods. The data was collected by analyzing journals and literature, and documentation studies. The results of this study explained that the uniqueness of Zapin Dance lied in the choreography, namely the direction of motion and rhythmic stomping of the feet.

Dance is frequently positioned in higher education physical education as an expressive or recreational activity, with limited attention to its pedagogical function in shaping meaningful learning experiences. This study examined how dance can operate as an embodied pedagogical approach within university physical education, particularly in a distance-learning context. A mixed-methods pedagogical programme was conducted with undergraduate students who participated in a six-week structured dance programme. Quantitative and qualitative data were integrated to explore changes in student engagement, embodied awareness, and perceived learning outcomes. Findings indicated increased participation, deeper bodily awareness, and strengthened connections between movement, reflection, and self-regulation. Students described dance as fostering attentiveness to movement quality, relational interaction, and sustained motivation to engage in physical activity. The convergence of numerical trends and experiential accounts suggests that dance functioned not merely as physical exercise but as a mode of embodied learning aligned with curricular learning objectives. These findings contribute to sport pedagogy scholarship by positioning dance as a pedagogically purposeful practice capable of enhancing engagement and learning in higher education physical education, including flexible and distance delivery formats. The study contributes to physical education pedagogy by demonstrating how dance can operate as an embodied pedagogical model aligning movement practice with curriculum-based learning outcomes in higher education.

This article explores the concepts and practices of performing arts market, one of the fifteen sub-sectors of creative industry in Indonesia. This study discusses two performances namely Indonesia Performing Arts Market (IPAM) 2013 in Indonesia and Performing Arts Market in Seoul (PAMS) 2015, South Korea. The data were collected through participatory observation, interview, literature review, and personal reflections. The data were analyzed by using triangulation, member check, compare and contrast, and interpretation. The findings of this research show that the similarity of the two performing arts markets lies in their concept of globalization in regards to world society. The performing arts markets share two similar targets, festival in the country and tour abroad. The main differences between IPAM and PAMS are the scope of the event and the institution holding the event. IPAM showcased the works of Indonesian performing arts, while PAMS showcased the works of Korean performing arts and the arts from other countries. IPAM 2013 was organized by the central government, while PAMS 2015 was organized by Korean Arts Management Services (KAMS) that was financially supported by the central government of South Korea.