Jurnal Kajian Seni
Jurnal Kajian Seni (JKS) is a blind peer-reviewed academic journal that highlights performing arts and visual arts research and scholarship. JKS, a refereed journal of the Graduate School, UGM, published by Study Program Performing and Visual Arts Studies (Pengkajian Seni Pertunjukan dan Seni Rupa), promotes the advancement of scholarly knowledge about performance art and visual art in Indonesia and the world. Jurnal Kajian Seni was established in November 2014 and has been accredited Sinta 4 (process to reaccreditation) by the Directorate General of Higher Education, Indonesian Ministry of Education, with a printed version of ISSN 2356-296X and the online version of ISSN: 2356-3001. JKS also indexed by DOAJ, Garuda, Google Scholar, Worldcat, OneSearch, and Leiden Library University. Jurnal Kajian Seni is a space for art scholars to critically articulate and critically elaborate on issues related to performing arts and visual arts. The journal is based in Yogyakarta, Indonesia. We invite submissions of original articles from a broad spectrum of research areas, inter alia: Performing Arts, Dance Ethnology, Dance Studies, Musicology, Music Studies, Ethnomusicology, Karawitan, Theatre Studies, Performance Studies, Television studies, film studies, Visual Arts, Plastic Art, Design, Installation, Performance art, Arts and Education, Arts and Technology, Arts and Psychology, Arts and Religion, Arts and Tourism, Arts and Management, etc. Multidisciplinary and interdisciplinary research that includes performing arts and visual arts are also absolutely welcomed. The journal publishes scholarly articles, research papers, findings, artist’s projects, conversational dialogues with prominent artists, as well as reviews of books, recordings, exhibitions, and performances. Our journal is published twice a year, April and November.
Articles
160 Documents
<![CDATA[Improvisation and Music Education: From the Sonic to Social Attunement ]]>
<![CDATA[Vanja Dabic]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 1 (2021): Jurnal Kajian Seni Vol 8 No 1 November 2021 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.66845
<![CDATA[In order to create a relationship to music, artists first need to create a relationship with their inner sound, and the way in which they approach the manifestation of sound from their instrument (whether it'd be through the use of hands, voice, or a plain manifestation of thoughts). Since this process is dialectic in its nature, the ability to develop this type of responsiveness, sometimes referred to as "attunement", is as important in the musical sphere as it is in social exchanges. Therefore, musical practice can play an important role in developing such aptitude among people of all ages. This paper focuses on the factors that stimulate or inhibit expression, through the lens of western classical and Javanese gamelan musical practice. It will be argued that the change of awareness in individual experience, gained through music improvisation can find its reflection on the interactive synchrony in a larger social and cultural frame.]]>
<![CDATA[Transformasi dan Transisi Opera Batak Studi Kasus Tilhang Serindo dan Plot ]]>
<![CDATA[Jayanti Mandasari Sagala]]>;
<![CDATA[Yohanes Tanaka Pangihutan Manalu]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 1 (2021): Jurnal Kajian Seni Vol 8 No 1 November 2021 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.67603
<![CDATA[Opera Batak yang terlahir dari masyarakat Batak Toba mengalami mati suri sejak tahun 1980-an, setelah melalui perjuangan masa kolonial hingga masa kemerdekaan NKRI. Hingga pada awal abad ke-21 sekitar tahun 2000-an Opera Batak muncul kembali dengan penamaan, struktur dan makna pertunjukan berbeda. Kehadiran PLOt sebagai wujud tranformasi Opera Batak dari TIlhang Serindo, dipahami melalui teori transformasi-transisi Svašek, dengan pendeskripsian Opera Batak Klasik dan Transisi. Penelitian kualitatif dengan pendekatan studi kasus di lakukan untuk pendeskripsian sejarah-naratif (Droysen) eksistensi kedua kelompok yang berasal dari Pematang Siantar Sumatera Utara, dengan melakukan metode rekonstruksi historis, field research dan wawancara. Transformasi Opera Batak adalah peristiwa transisi objek tradisi melalui ‘pengayaan’ yang berasal dari dalam tradisi atau perubahan endogen, yakni subjek kultural sebagai pelaku (pewaris), di lokasi sama dengan ruang waktu berbeda. Pengayaan sebagai hasil transisi terjadi berupa (akibat) perubahan visi (nilai) dan konsep (wujud) dalam struktur Opera Batak, yang menghasilkan identitas, nilai dan pemaknaan baru. Arti penting eksistensi Tilhang Serindo dalam Opera Batak Klasik adalah sebagai seni hiburan profan pengusung identitas kultural batak sentris abad ke-20. Sedangkan kehadiran PLOT sebagai seni representatif adalah upaya suatu entitas etnis untuk menghidupkan kembali dan melanjutkan visi Opera Batak Klasik, melalui ‘pengayaan’ seni tradisi lisan abad ke-21 dan di definisikan sebagai Opera Batak Transisi.]]>
<![CDATA[Kajian Sifat Relasi Antara Manusia Dengan Alam Dilihat dari Bentuk dan Fungsi Gerabah Pejaten Bali ]]>
<![CDATA[Priscilla Tamara]]>;
<![CDATA[G.R. Lono Lastoro Simatupang]]>;
<![CDATA[SP. Gustami]]>;
<![CDATA[I Wayan Senen]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 1 (2021): Jurnal Kajian Seni Vol 8 No 1 November 2021 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.67631
<![CDATA[Saat ini permintaan akan gerabah mengalami penurunan yang cukup signifikan karena jumlah penggunaan yang semakin berkurang. Meski produksinya tampak menurun, para perajin gerabah di Bali masih terus membuat produk warisan leluhur ini. Pengrajin meyakini bahwa gerabah merupakan hasil alam yang mampu menjalankan fungsinya dalam berbagai peran dalam kehidupan budaya di Bali. Artikel ini akan mengkaji fungsi gerabah Bali dalam hubungan manusia dengan alam dalam konteks budaya Bali. Analisis menggunakan teori fungsi kompleks dalam aspek fungsi dari Papanek. Konsep Pangider Bhuwana dan Tri Hita Karana digunakan untuk memahami fungsi gerabah Bali dalam konteks budaya spiritual. Hasilnya, peran gerabah dalam kehidupan masyarakat Hindu Bali yaitu gerabah sebagai alat, menjalankan fungsi praktis untuk peralatan rumah tangga; gerabah sebagai komunikasi, berupa ornamen, memberikan informasi, misalnya tentang jenis bangunan, gengsi, dan status pemiliknya; gerabah sebagai simbol, adalah gerabah sebagai upakara dalam upacara agama Hindu. Penggunaan gerabah di Bali masih penting, terutama dalam konteks adat dan ritual karena gerabah mencerminkan hubungan yang kuat antara manusia dan alam. Unsur-unsur alam yang terkandung dalam gerabah melambangkan unsur-unsur yang terkandung dalam tubuh manusia.Kata kunci: gerabah, fungsi, relasi]]>
<![CDATA[Rhoma Irama: Konstruksi dan Reproduksi Tubuh Sang Raja Dangdut ]]>
<![CDATA[Michael H.B. Raditya]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 1 (2021): Jurnal Kajian Seni Vol 8 No 1 November 2021 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.70217
<![CDATA[This article deals with the relationship between construction and reproduction in dangdut music, particularly Rhoma Irama. The impact of Rhoma Irama's dangdut construction stimulates the reproduction space of listeners with various creativity through the medium of the body. Power became the main capital in perpetuating construction and reproducing the figure of Rhoma Irama. I would like to discuss the 'fake' body or fake singer phenomena to read construction and body relations. In my opinion, the phenomenon of the fake body in music practice is not just a fandom pattern or for purely economic reasons, but an intertwined form of construction and power. This reproduction makes the construction scheme even more attractive. To disclose the problem, I refer to Michel Foucault for power relations in discussing this practice. This article uses a literature study and ethnography to provide a holistic analysis of the constellation of culture through musical practice. The findings of this article articulate the pattern and power negotiation between Rhoma Irama and the agents—such as listeners, fans, or other dangdut musicians. This article provides an important concern for body reading in the anthropological world of popular music. Artikel ini membahas relasi antara konstruksi dan reproduksi dalam musik dangdut, khususnya merujuk pada Rhoma Irama. Secara lebih lanjut, dampak konstruksi dangdut Rhoma Irama yang menstimulasi ruang reproduksi dari pendengar dengan beragam kreativitas melalui medium tubuh. Kuasa menjadi modal utama dalam melanggengkan konstruksi dan mereproduksi kembali figur Rhoma Irama. Dengan menautkan beberapa fenomena besar atas tubuh ‘palsu’ atau penyanyi palsu, pembacaan relasi tubuh dan konstruksi menjadi perhatian utama. Bagi saya, fenomena tubuh palsu dalam praktik musik bukan sekedar pola fandom atau guna alasan ekonomi semata, melainkan wujud yang berkelindan atas konstruksi dan kuasa. Pilihan-pilihan reproduksi tersebut lantas membuat skema konstruksi menjadi semakin menarik. Dalam mengartikulasikan relasi tersebut, saya merujuk Michel Foucault atas relasi kuasa dalam membahas praktik tersebut. Dengan menggunakan mix-metode antara studi literatur dan etnografi, artikel ini memberikan satu analisis yang holistik dalam menyingkap konstelasi budaya melalui praktik musik. Temuan dari artikel ini akan mengartikulasikan bahwa alasan reproduksi terjalin karena adanya tarik ulur kuasa antara Rhoma Irama dan pelaku reproduksi—baik pendengar, penggemar, ataupun pelaku musik dangdut lainnya. Artikel ini memberikan satu perhatian penting atas pembacaan tubuh dalam jagad musik populer secara antropologis.]]>
<![CDATA[Media Alternatif Seni dan Konstruksi Identitas Studi Kasus Tentang Zine Blcak Metal Istiqomah ]]>
<![CDATA[Kurnia Budiarti Kusuma]]>;
<![CDATA[Vissia Ita Yulianto]]>;
<![CDATA[Martinus Dwi Marianto]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.65009
<![CDATA[Zine Black Metal Istiqomah adalah bentuk media alternatif yang mengusung tema identitas hibrid black metal dan Islam.Menggunakan konsep perpaduan identitas musik underground black metal dan identitas Islam, zine Black Metal Istiqomah menarasikan pesan keagamaan bahasa yang santai tanpa intensi menggurui. Menggunakan metode penelitian kulitatif, penelitian ini fokus, untuk menginvestigasi bagaimana strategi pengkarya, zine, dalam menegosiasikan san mengonstruksi dua identitas yang saling bersebrangan tersebut. Penelitian dianalisis secara tekstual mengunakan teori semiotika Roland Barthes untuk memahami desain karya dan bentuk visual zine Black Metal Istiqomah. Bentuk visual karya kemudian dianalisis secara kontekstual menggunkan teori hibriditas Jan Pieterse untuk mengungkap proses negosiasi identitas black metal dan identitas Islam. Hasil penelitian ini menunjukkan zine Black Metal Istiqomah mengalami proses negosiasi pada bentuk visual karya, berupa peyederhanaan beberapa simbol identitas secara visual. Identitas black metal pada zine berperan sebagai tanda visual karya, sedangkan identitas Islam berperan pada bagian konten cerita. Pda akhirnya zine Black Metal Istiqomah merupakan bentuk penggabungan identitas yang berhasil menciptakan identitas kekaryaan dan secara tidak langsung menciptakan bentuk identitas hibrid atau nbaru yaitu Black Metal Istiqomah di kalangan Penggemarnya]]>
<![CDATA[Proses Kreatif Komponis Kontemporer Slamet Abdul Sjukur dalam Berkarya Seni ]]>
<![CDATA[Elizabeth Suryani Ongko]]>;
<![CDATA[Warih Handayaningrum]]>;
<![CDATA[Eko W. Rahayu]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.71109
<![CDATA[Artwork is part of a culture that is created because of a process related to constructive creativity. This process is often referred as the creative process. The creative process can be viewed from related aspects, influencing elements, or the stages in it. The creative process that will be discussed by researcher is the creative process of a music artists who want to create something new and unique, often referred to as new music or contemporary music. The purpose of this study is to see how the stages of the creative process of contemporer composer Slamet Abdul Sjukur in creating the artwork. The method of this research is a qualitative research with literature studies, interviews and also observations of Slamet's artworks as the research subjects. Slamet is a composer who emphasizes the simple concept of producing something great, a concept known as the minimax concept. From this study, it was found that Slamet Abdul Sjukur is a contemporary composer who involves all stages of the creative process in creating artwork. However, the details of the stages of ideas and the implementation of Slamet's creative process on one artwork are very different from one another. This then makes each of Slamet's artworks have their own uniqueness.]]>
<![CDATA[Jejak Seni Pertunjukan dalam Hikayat Banjar: Silang Budaya Jawa dan Banjarmasin ]]>
<![CDATA[Naufal Anggito Yudhistira]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.71475
<![CDATA[Abstract Hikayat Banjar contains traces of ancient arts around Banjar kingdom. In this work, the poet states that the customs in Banjar have their roots in Majapahit in many times. The artistic traces of this text also show a connection with Javano-Balinese art. The aims of this research to reveal the past art forms that contained in Hikayat Banjar and see their relationship with Javanese art. The approach of this research is culture as text. In Hikayat Banjar there are various types of traditional music, dance, and traditional drama. These art forms show a similar pattern with Javanese and Balinese art, especially from the palace. These performing art in Hikayat Banjar show the relationship between Banjarese and Javanese arts. From a musical point of view, gamelan in Hikayat Banjar is closely related to the karawitan tradition in Javanese courts. The dance in Hikayat Banjar shows similarities to the wireng genre in Java. The form of theatre in the Hikayat Banjar separated in two kinds, the drama that played by humans and puppets. This traditional theatre form has a close relationship with Javanese and Balinese arts in the past. Despite having the same artistic roots as Java and Bali, the arts in Banjar developed in the different situations and conditions. The relationship between Javanese and Banjar arts also related to the migration from Java to Banjarmasin in the 17th century.Keywords: Hikayat Banjar, performing art, karawitan, dance, traditional theatre. AbstrakHikayat Banjar memuat jejak kesenian kuno Banjar dan sekitarnya. Dalam karya ini, penyair berkali-kali menyatakan bahwa adat di Banjar berakar dari Majapahit. Jejak kesenian dari teks ini juga menunjukkan adanya kaitan dengan kesenian Jawa dan Bali. Penelitian ini bertujuan untuk mengungkap bentuk kesenian masa lalu yang tertuang dalam Hikayat Banjar dan melihat kaitannya dengan kesenian Jawa. Penelitian ini berpegang pada pendekatan bahwa kebudayaan adalah teks. Dalam Hikayat Banjar terdapat berbagai jenis karawitan, tari, dan drama tradisi. Bentuk-bentuk kesenian itu menunjukkan adanya kesamaan pola dengan kesenian Jawa dan Bali, khususnya dari lingkungan istana. Jejak-jejak itu menunjukkan hubungan antara kesenian Banjar dengan Jawa. Dari segi seni musik, gamelan di Hikayat Banjar terkait erat dengan tradisi karawitan di istana-istana Jawa. Seni tari dalam Hikayat Banjar menunjukkan kemiripan dengan genre tari wireng di Jawa. Bentuk teater dalam teks Hikayat Banjar ada yang dimainkan oleh manusia dan ada yang menggunakan wayang. Bentuk teater tradisi itu memiliki kedekatan dengan kesenian Jawa dan Bali pada masa lampau. Walaupun memiliki kesamaan akar kesenian dengan Jawa dan Bali, kesenian di Banjar berkembang mengikuti situasi dan kondisi yang berbeda. Pertalian kesenian Jawa dan Banjar terkait dengan adanya perpindahan penduduk dari Jawa ke Banjarmasin pada abad ke-17.Kata Kunci: Hikayat Banjar, seni pertunjukan, karawitan, tari, drama tradisional.]]>
<![CDATA[PACITAN BATIK: CONTINUITY AND CHANGES ]]>
<![CDATA[Nanang Setiyoko]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.73000
<![CDATA[The main objective of this research is to explore and observe the existence, development, and changes of Pacitan batik, especially in the aspect of form, function and product of Pacitan batik in social, cultural and economic contexts. This research is descriptive qualitative by using a multidisciplinary approach, culture, aesthetics in the hope that it can answer all the problems. Changes caused by internal factors can occur due to new interpretations and perceptions of the Pacitan community, as a community that supports batik cloth. Pacitan people have a sense to participate in the development, innovation, ideas, and new creations of Pacitan batik. Changes caused by external factors generally occur because of relationships, communication, and social and cultural interactions with other cultures. Pacitan batik products have also experienced developments and changes, both in quantity and quality. Broadly speaking, the changes that occurred in Pacitan batik were marked by a change in its function, from the beginning as a long cloth worn by women during official events or during celebrations, to now becoming a trade commodity product. The motifs applied to Pacitan batik initially contained deep philosophical symbolic meanings, but now these meanings have been put aside, and only evaluated for their aesthetic aspects. Changes in cultural products will have an impact on the supporting community, both in terms of socio-cultural aspects, as well as socio-economic aspects.]]>
<![CDATA[Indonesian Poetry Song Composition in Musicology Perspective ]]>
<![CDATA[Kartini Ruth Maduma Manalu]]>;
<![CDATA[G. R. Lono Lastoro Simatupang]]>;
<![CDATA[Nyak Ina Raseuki]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.73079
<![CDATA[This research is an attempt by the author to answer various debates that exist to this day. This debate is often a stumbling block for musicians and also in the field of formal and non-formal education. They are in a confusing position because of the various terms that exist and the identification of the concept of Indonesian vocal music composition which is less comprehensive. Therefore, there is a personal selfishness that tends to reduce the true meaning of the work itself. The author uses a musicological perspective as an entry point to provide a new discourse regarding the composition of Indonesian vocal music. This musicological approach is a process of study, investigation and reflection while still paying attention to the relationship between context and compositional work. The author is also aware of the limitations of the space and time of the research, so that this research is not possible to fully cover all vocal music works composed by Indonesian composers. However, the author believes that the research approach carried out can be used to discuss other vocal music works.]]>
<![CDATA[Kajian Budaya Perkotaan Perspektif Lefebvrian Tentang Ruang Urban Kontemporer dan Seni sebagai Disalienasi ]]>
<![CDATA[Benny Yohanes Timmerman]]>
<![CDATA[ Jurnal Kajian Seni Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.73412
<![CDATA[Cultural studies has developed into an intrinsically interdisciplinary research practice. The emergence of Urban Cultural Studies, as an extensive field of cultural studies, tries to clarify that the humanities-centered method of urban cultural studies requires a common ground that can unite social scientists and humanities scientists, in an effort to understand urban culture by focusing on its textual dimensions. Identifying urban problems as an interdisciplinary scientific work centered on urban areas, seeks to find ways to return intellectual specialization to the totality of understanding of “cultural texts”. This paper explores the formulation of urban cultural studies to bridge the discussion about the material condition and the cultural imagination of the city in a wider social context. The focus is on the analysis of Henri Lefebvre's thoughts on urban philosophy, urban modernity, and contemporary urban culture. Lefebvre reveals an awareness of the importance of space. Space in Lefebvre's understanding is the field of experience that is perceived, felt, and, most importantly, actually lived. Through Lefebvrian's perspective, this paper offers an understanding that the position of artwork, as one of the manifestations of urban culture, by overcoming disciplinary fragmentation can be seen as a disalienation strategy, becoming "living art" in the perspective of "work" as an effort to overcome product instrumentalization. This is also what the study of urban culture must realize; the totality of understanding of urban phenomena, or urban space as a reality and complexity of knowledge, cannot be understood in a compartmental way, which is only accepted as a collection of objects-economics, sociology, history, demography, psychology, or geology.]]>
