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All Journal Kiryoku: Jurnal Studi Kejepangan Jurnal Seni Nasional Cikini
Aldrie Alman Drajat
Universitas Indonesia
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences

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Pementasan Berusaiyu no Bara oleh Takarazuka Revue : Reaksi terhadap Maskulinitas dan Femininitas Jepang Aldrie Alman Drajat
Jurnal Seni Nasional Cikini Vol 1 No 1 (2017): Jurnal Seni Nasional Cikini Vol. 1 No. 1
Publisher : Riset, inovasi dan PKM - Institut Kesenian Jakarta, DKI Jakarta.

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (662.624 KB) | DOI: 10.52969/jsnc.v1i1.47

Abstract

Adaptasi sebagai bentuk reproduksi karya seni dan sastra adalah hal yang sangat umum di Jepang. Manga, produk budaya urban yang telah menjadi salah satu ikon kebudayaan populer Jepangadalah salah satu wahana yang sering diadaptasi ke berbagai wahana lain seperti anime, serial TV, dan pementasan teater. Berbeda wahana maka struktur dan aspek lainnya juga berbeda.Tulisan ini akan membahas perubahan struktural dan estetis yang terjadi pada pementasan drama musikal adaptasi manga Berusaiyu no Bara yang dimainkan oleh kelompok teater wanitaJepang Takaradzuka Revue. Dengan memanfaatkan pendekatan alih wahana, tulisan ini akan mengungkapkan ideologi-ideologi dalam proses pembentukan lakon yang berimbas padapembawaan maskulinitas di dalam pementasan. Analisis menunjukkan bahwa nilai maskulinitas tokoh pada manga Berusaiyu no Bara berbeda dengan adaptasi drama musikalnya. Perubahanstruktural dan estetis yang ada pada pementasan diasumsikan sebagai reaksi Takarazuka Revue pada maskulinitas dan femininitas Jepang yang telah mapan pasca berakhirnya Perang Pasifik.
Queer Resistance to Heteronormativity in Battan's Kakeochi Gāru Shafirani Aisyah Zahra; Aldrie Alman Drajat
KIRYOKU Vol 10, No 2 (2026): Kiryoku: Jurnal Studi Kejepangan (On Progress)
Publisher : Vocational College of Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/kiryoku.v10i2.578-587

Abstract

This article examines how resistance to heteronormativity is represented in Battan's manga Kakeochi Gaaru. The study addresses how queer female characters negotiate social expectations that attach adulthood, happiness, and respectability to heterosexual marriage, reproduction, and family life. Using descriptive qualitative analysis, the research reads selected dialogue, narrative scenes, character interaction, and visual motifs through Judith Butler's concept of gender performativity and Lisa Duggan's concept of homonormativity. The findings show that resistance is not represented as a single heroic break from heteronormativity, but as a gradual and situational process. Midori first internalizes heteronormative adulthood by leaving her lesbian relationship and pursuing marriage with Tazune; later, through renewed intimacy with Maki, she rejects Tazune's masculine authority and reclaims queer desire. Maki represents quieter resistance through refusal and non-participation, while Komari illustrates selective resistance shaped by the need for safety in a heteronormative environment. The article argues that Kakeochi Gaaru criticizes heteronormativity by exposing the violence of normative masculinity and the limits of heterosexual respectability. However, the manga also resolves queer happiness through coupledom, wedding imagery, and family, indicating a homonormative strategy of making queer life socially legible. The study contributes to discussions of lesbian representation in contemporary Japanese popular culture and highlights the ambivalence of queer resistance in media produced during Japan's LGBT Boom.
Co-Authors Shafirani Aisyah Zahra