This research seeks to look deeper into interrelationships between technology, past, and nostalgia in musical reissue products of Indonesian independent recording labels. This research adopted qualitative-descriptive method. Data were extracted from documents which are in the form of reissue releases. This research used Media Archeology and Hauntology perspective in analyzing the data collected, which are in the form of physical reissue releases, photographic, and poster archives. Based on the results of analysis it can be concluded that nostalgia is a technology-mediated condition. Even though reissue releases are laden with past elements, it can be utilized to project future by tracing or identifying various potential creativities contained in past cultural products.

The research aimed to investigate the event of Pangung Kahanan and its cultural strategy amidst the Covid-19 pandemic. The method used in the research was the Sociology of Art approach, focusing on the event and artwork productions during the three editions of Panggung Kahanan. The data were collected from the interviews with the artists involved in Panggung Kahanan and the committee/team of Panggung Kahanan. The data collection methods used in the research were observation and in-depth interviews. The observation method covered the data related to the production of Panggung Kahanan event. The in-depth interview method covered the data related to the concept of the Panggung Kahanan event. The analytical method used in the research was to investigate how far Panggung Kahanan impacted the art ecosystem in Central Java and what kind of cultural strategy was applied for the resilience of Indonesian art and culture amidst the Covid-19 pandemic. The research showed that Panggung Kahanan could model an art and cultural event amidst social distancing and strict health protocol. Amidst the pandemic, preserving this kind of cultural strategy becomes essential.

This study aims to examine three merchandise of Semarang bands/musicians, namely Soegi Bornean, Pyong-pyong, and Vice Versa. The method used is a Sociology of Art approach with a focus on the production and distribution of works of art. The data of this research is the result of observations on the unique side of the merchandise production of Soegi Bornean, Pyong-pyong, and Vice Versa. The data collection method used is in-depth observation. The observation method is used to cover data related to the production and distribution of merchandise. The analytical method used in this study is to examine the extent to which merchandise has an effect on the musicians, both artistically and in terms of market advantages. The results of this study indicate that the unique merchandise of musicians has a great influence from the artistic side, sales profits, self-image, and the existence of the musician.

This research was conducted in order to identify forms of adaptation and experiment by the Semarang music ecosystem in facing impacts of Covid-19 pandemic. This research adopted Sociology of Art approach by which art product is not viewed as worked by an individual, but rather, it is produced by an art world. This research focused on three aspects of music ecosystem, namely production and release, concert, and distribution. Data were collected by conducting observation and in-depth interviews. Observation was conducted to collect data concerning adaptive and experimental practices implemented by music actors in Semarang during the pandemic. Meanwhile, in-depth interviews were implemented to synchronize data of adaptations and experiments conducted by the Semarang music ecosystem.

The research aimed to investigate three cultural events: Panggung Kahanan, Lembah Gana Festival, and Semarang musicians' movement, along with their cultural strategy amidst the Covid-19 pandemic. The method used in the research was the Sociology of Art approach, focusing on the event and artwork productions. The data were collected from the interviews with the artists involved in Panggung Kahanan and Lembah Gana Festival events and Semarang musicians. The data collection methods used in the research were observation and in-depth interviews. The observation method covered the data related to the event and work productions. The in-depth interview covered the data related to the event and work concepts. The analytical method used in the research was to investigate how far the art experiment had an impact on the performing arts ecosystem in Central Java and the cultural strategy for the art and cultural resilience amidst the Covid-19 pandemic. The research showed that the Covid-19 pandemic opened many new opportunities to continue experimenting and adapting in the art and cultural areas in Central Java.