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[ANALISA PRINSIP PROXIMITY DAN SIMILARITY PADA KHAT DIWANI JALY KARYA HAMID AYTAC ]]>
<![CDATA[Amrulloh, Ahmad Yasir]]>;
<![CDATA[Ato’illah, Ato’illah]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 2 (2024): Jurnal Kajian Seni Vol 10 No 2 April 2024 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.85520
<![CDATA[The elements of proximity and similarity was basic principles in typographic design. So far, these elements have only been used on objects such as logos, animations, monuments, and graphic designs. Meanwhile, the study of artwork in the form of Arabic calligraphy is still very minimal, even though it also has these elements. This study aim to identify these elements in a piece of Yusuf surah: 101 written by Turkish calligrapher, Hamid Aytac in the Diwani Jaly khat type written in 1348 AH. This work has become a reference for calligraphy students today. This research uses a descriptive qualitative method, data sources are documents of calligraphy works written, then analyzed using gestalt theory in the form of proximity and similarity elements. The results showed that Hamid's work contains elements of proximity and similarity. The element of proximity is found in the writing of letters in the work that are close together in a balanced manner. The similarity element is found in the hollow of the letter ba' from the sentence rabbi which has a similar shape to the letter kaf from the sentence al-mulk, the letter tsa from the sentence al-ahadits, the letter ta' from the sentence al-samawat and the letter nun from the sentence anta. Then, the concavity of the letter ya' of the sentence ataitani has similarities with the letter ya' of the sentence allamtani. The nun of the sentence min is similar to the lam of the sentence ta'wil. While at the end of the verse, the similarity element is found in the letters wawu, ya’ and nun in the sentence tawaffani musliman wa alhiqni bi al-shalihin. This finding shows that Hamid's work has aesthetic value based on the typographic perspective in the form of the principles of proximity close edge and shape similarity.]]>
<![CDATA[AESTHETIC DIMENSION OF BEDHAYA ANGLIRMENDHUNG DANCE: QUALITY OF DANCER STUDY BASED ON SERAT KRIDHWAYANGGA ]]>
<![CDATA[Wibowo, Angga Febri]]>;
<![CDATA[Pramutomo, R.M.]]>;
<![CDATA[Sriyadi, Sriyadi]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 1 (2023): Jurnal Kajian Seni Vol 10 No 1 November 2023 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.86905
<![CDATA[Dancers play a significant role in determining the success of a dance performance. The dancer's body serves as a medium of expression to convey the choreographer's ideas and concepts, which can be enjoyed and critiqued by the audience. Therefore, dancers are expected to possess the skill to implement forms and techniques of movement. In Javanese dance, there are various aesthetic concepts related to the quality of the dancer as a performer. The Serat Kridhwayangga expresses aesthetic concepts related to the qualification of character types and movement styles used. This article aims to present the aesthetic dimension of Bedhaya Anglirmendhung dance at Pura Mangkunegaran based on the perspective of the Serat Kridhwayangga. Through this, it is hoped to demonstrate the quality of the dancer as one of the aesthetic standards in presenting Bedhaya Anglirmendhung dance. As a cultural heritage, Bedhaya Anglirmendhung naturally possesses high aesthetic standards, one of which is the dimension of the dancer as a performer. This research adopts an ethnochoreological approach with qualitative research design. Data collection techniques mainly involve literature review. The research findings indicate that Bedhaya Anglirmendhung dance, based on the Serat Kridhwayangga, belongs to the wanodya character type with the patrap beksa pucang kanginan. The wanodya character type has normative rules related to the positions and forms of movements for the head, arms, torso, and legs. Therefore, in order to achieve aesthetic quality in the presentation of Bedhaya Anglirmendhung dance, dancers must possess the skills necessary to implement these positions and forms of movements.]]>
<![CDATA[PERTUNJUKAN SILAT PANGEAN SEBAGAI ATRAKSI WISATA BUDAYA DI KECAMATAN PANGEAN KABUPATEN KUANTAN SINGINGI ]]>
<![CDATA[Prasetia, Anggi]]>;
<![CDATA[Saputra, Alkis]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 1 (2023): Jurnal Kajian Seni Vol 10 No 1 November 2023 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.87356
<![CDATA[Kecamatan Pangean memiliki banyak warisan turun temurun yang masih eksis sampai saat ini, salah satunya adalah seni bela diri yang cukup terkenal sampai ke belahan nusantara, seni bela diri ini dinamakan Silat Pangean dikarenakan berasal dan dikembangkan di wilayah kecamatan Pangean. Silat Pangean awalnya adalah seni bela diri yang tidak boleh dipamerkan dikarenakan kerendahan hati masyarakat Pangean, namun dengan seiringnya perkembangan zaman perlahan silat pangean mulai dimainkan saat penutupan laman (tempat latihan) tepatnya pada hari raya idul fitri setiap tahunnya, pertunjukan silat inipun menjadi daya tarik pariwisata yang dibanggakan oleh masyarakat Pangean sampai sekarang tentunya dengan dukungan pemerintahan setempat. Pariwisata pertunjukan seni silat pangean yang dibanggakan oleh masyarakat kuantan singingi tentunya harus terus didikung agar bisa berdampak baik bagi kesejahteraan dan kepopuleran pariwisata di rindonesia khususnya pada industri pariwisata di kecamatan pangean itu sendiri, dengan begitu sangat dibutuhkan peran aktif dari pemerintah, masyarakat dan swasta untuk berperan aktif membangkitkan pariwisata yang ada di daerah yang mempunyai banyak potensi pariwisata seperti Kabupaten Kuantan Singingi. Penelitian ini bertujuan untuk mengenalkan sebuah seni tradisional dari Kecamatan Pangean yang masih menjadi menjadi ikon penting khususnya bagi Kecamatan Pangean. Penelitian ini menggunakan metode faktual historis melalui deskripsi, analisis, dan sintesis.]]>
<![CDATA[IDENTIFICATION OF MORAL VALUES IN EARLY CHILDHOOD GAMELAN GAMES ]]>
<![CDATA[Rumara, Puteri Aprilianeu Cahya]]>;
<![CDATA[Maryatun, Ika Budi]]>;
<![CDATA[Pamungkas, Joko]]>;
<![CDATA[Cholimah, Nur]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 2 (2024): Jurnal Kajian Seni Vol 10 No 2 April 2024 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.91321
<![CDATA[This research is specifically conducted to find out and focus on the identification of moral values contained in gamelan games at Budi Pekerti Kindergarten Sleman Yogyakarta. Researchers will use qualitative research with a descriptive approach in carrying out research in the field, exploring and processing data. Then the researcher obtained findings in the field which stated that there were several moral values such as character values that appeared in gamelan games at Budi Pekerti Kindergarten, including: sensitivity, harmony, self-adjustment, self-confidence, cooperation, socialization, being able to position themselves according to the demands of the times and perseverance. These values start from gamelan learning which is prepared through planning activities tailored to children's abilities, then implementing appropriate activities so that they can be realized and evaluations used in playing gamelan to see the development of successful behavior in the implementation of gamelan learning. Field results also show that activities/toys/learning carried out by carefully designing concepts will make it easier for teachers or coaches to achieve the expected goals, as well as gamelan games on children's character values at Budi Pekerti Kindergarten Sleman Yogyakarta.]]>
<![CDATA[THE CULTURE OF TOLERANCE IN THE SHORT FILM "WEI" ]]>
<![CDATA[Rifaqi, Dela Aufa]]>;
<![CDATA[Adiprabowo, Vani Dias]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 2 (2024): Jurnal Kajian Seni Vol 10 No 2 April 2024 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.92111
<![CDATA["Wei" is a family-style short film released in 2020. This research will discuss religious tolerance in diverse societies like Indonesia. The film "WEI" is the subject of research that describes the values of religious tolerance through family relations in the film story. This research aims to know the meaning of tolerance in this film. The method used is narrative analysis; this film will identify the meaning, character development, and tolerance values in the story's beginning, middle, and end. The values of tolerance include recognition of family rights and mutual understanding between the film characters. This film illustrates that religious tolerance can grow through the appreciation of individual rights and understanding between different religious beliefs. This study concludes that tolerance is essential in social life, especially in the family, because tolerance itself is one of the reasons for the harmony of families with differences or religious convictions. As a family film, this film differs from some family films in Indonesia, where the main character, from the beginning to the end, has no dialogue. Still, the expression and character can explain the character's purpose to the audience in the film; this is the distinction between the Film Wei and the other family films.]]>
<![CDATA[NEO EVOLUSI BUDAYA TARIAN PERANG DALAM TRADISI OJUNG DI DESA BLIMBING KECAMATAN KLABANG KABUPATEN BONDOWOSO ]]>
<![CDATA[Fatihah, Lauhil]]>;
<![CDATA[Dwi Riyanto, Edi]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 2 (2024): Jurnal Kajian Seni Vol 10 No 2 April 2024 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.92631
<![CDATA[The Ojung tradition is a ritual tradition of requesting rainfall which is carried out by the Madurese and Pandalungan communities in East Java. When tracing the cultural genealogical roots of the tradition, it seems to remind people's collective memory of war dance movements from the classical period, but it is possible that the Ojung tradition is thought to have originated from a much older period of time, which is in prehistory. This study aims to determine the Neo Evolution of War Dance in the Ojung Tradition found in Blimbing Village, Klabang District, Bondowoso Regency. This research uses data collection methods in the form of field methods, namely case studies and uses data collection techniques, namely triangulation techniques. This research uses an analysis method in the form of an interpretative qualitative analysis method and uses a historical analysis model. The results of this study indicate that the Ojung Tradition which is still preserved in Blimbing Village, Klabang Subdistrict, Bondowoso Regency is an evolved culture rooted in the war dance of the Austronesian Nation which has undergone various processes of change and development while maintaining the main concept or core value of the tradition itself.]]>
<![CDATA[KOMODIFIKASI MOMEN NOSTALGIA MUSIK KOES PLUS OLEH GRUP BAND PELITA HATI ASAL KARANGANYAR ]]>
<![CDATA[Setiawan, Nuri]]>;
<![CDATA[Setiaji, Denis]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 2 (2024): Jurnal Kajian Seni Vol 10 No 2 April 2024 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.93611
<![CDATA[This research examines the Koes Plus music performance and the commodification of nostalgic moments by the Pelita Hati group to explain how the Pelita Hati group utilizes a memory or nostalgic moment of Koes Plus song lovers to become a commodity as a process of transforming use value into exchange value. The researcher explains three problem formulations presented in this scientific thesis, namely: (1) What is the general picture of the pop music industry during the Koes Plus era? (2) What is the performance process carried out by Pelita Hati? (3) What is the process of commodification of nostalgic moments that occurs in the Pelita Hati group? In order to explore and understand the phenomenon of music in the context of performances of nostalgic moments through the song Koes Plus, this research uses Vincent Mosco's theory of audience commodification. This research uses a qualitative method described descriptively, in collecting data using the results of observation, interviews, documentation, literature study.The results of this research are that there is a commodification process that occurs in the band Pelita Hati which takes advantage of a memory or nostalgic moment of Koes Plus song fans to gain profit. Apart from that, the Pelita Hati group also brought back songs from Koes Plus with their creativity. From these two things, Pelita Hati tries to reproduce industrial products that it tries to resell. In this case, it can be interpreted that the profits are not only obtained by the Pelita Hati group itself, but also by listeners and audiences who love Koes Plus music. Keywords: Commodification, Nostalgia, Koes Plus ]]>
<![CDATA[PENDEKATAN AUTOETNOGRAFI DALAM PENELITIAN ARTISTIK: STUDI KASUS DAN IMPLIKASI METODOLOGIS ]]>
<![CDATA[Peradantha, Ida Bagus Gede Surya]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 2 (2024): Jurnal Kajian Seni Vol 10 No 2 April 2024 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.95192
<![CDATA[The primary aim of this research is to enhance understanding of autoethnographic perspectives in artistic research. It also seeks to explore the contributions, challenges, and potential of this approach in expanding creative knowledge. Certain artists may perceive the evaluation of their own artworks as excessively subjective, which may lead to doubts regarding the scientific rigor of the subsequent research. This study examines various autoethnographic models within artistic research and their application in previous studies. Employing a qualitative framework, this study utilizes a literature review approach. Content analysis was employed to extract data from relevant documents, while meta-synthesis was used for comprehensive analysis. This study uncovers that there are four distinct kinds of autoethnographic approaches: realistic, impressionistic, expressionistic, and conceptualistic. These models provide several frameworks that can be utilized for studies focused on artwork, practice, studio, and reflective experiences, particularly in relation to the subjective experiences of creators. This study discovered a theory of artistic experience that is strongly linked to the fusion of the artistic research model and the autoethnographic approach model. This research has profound implications for broadening art research approaches, enhancing comprehension of the creative process, promoting critical cultural analysis, producing novel theories of artist experience, and fostering future art and autoethnographic research.]]>
<![CDATA[ANALISIS BENTUK DAN MAQOM SHOLAWAT TARKHIM DI MASJID JAMI’ ASSAGAF, PASAR KLIWON, SURAKARTA ]]>
<![CDATA[Wardana, Sapto]]>;
<![CDATA[Setiawan, Aris]]>;
<![CDATA[Manggala, Bondan Aji]]>
<![CDATA[ Jurnal Kajian Seni Vol 10, No 2 (2024): Jurnal Kajian Seni Vol 10 No 2 April 2024 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.95380
<![CDATA[Penelitian ini berawal dari ketertarikan mengamati takmir Masjid Jami’ Assagaf yang selalu konsisten mengumandangkan Sholawat Tarkhim, yang dipancarkan melalui pengeras suara yang berada di menara masjid, pada setiap menjelang adzan di waktu sholat Subuh, Dhuhur, Ashar, Mgrib, kecuali sholat Isya’, karena waktu antara Magrib ke Isya’ digunakan untuk kegiatan rutin (pengajian). Aktifitas tersebut sudah berlangsung sejak tahun 1990, hingga sekarang (2024). Penelitian ini bertujuan untuk memahami bentuk pelaguan Sholawat Tarkhim di Masjid Jami’ Assagaf, yang dilafalkan oleh Mahmoud Khalil Al Hussary, dan menjelaskan dampak dari Sholawat Tarkhim terhadap Masyarakat sekitar Masjid Jami’ Assagaf. Dalam penelitian ini dikaji menggunakan teori bentuk musik dan teori fungsi musik. Teori bentuk musik digunakan untuk mempermudah dalam menelaah dan memahami bentuk lagu Sholawat Tarkhim, dan teori fungsi musik digunakan untuk mengetahui fungsi lagu Sholawat Tarkhim. Hasil penelitian menunjukkan: pertama, bahwa bentuk pelaguan Sholawat Tarkhim memiliki 3 (tiga) bagian yakni Verse, Courus, dan Reff. Kedua, bahwa Sholawat Tarkhim menggunakan Maqam Bayati, namun memiliki ciri khas irama sendiri. Ketiga, Sholawat Tarhim yang dikumandangkan di Masjid Jami’ Assagaf memiliki dampak positif terhadap masyarakat sekitar. Kata Kunci : Sholawat Tarkhim, Masjid Jami’ Assagaf.]]>
<![CDATA[PROTO-PERFORMANCE DALAM DEMONSTRASI BURUH DI DAERAH ISTIMEWA YOGYAKARTA: YANG TIDAK BIASANYA ]]>
<![CDATA[Putri, Prashasti Wilujeng]]>
<![CDATA[ Jurnal Kajian Seni Vol 11, No 1 (2024): Jurnal Kajian Seni Vol 11 No 1 November 2024 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.83557
<![CDATA[Kajian ini menelaah bagaimana relasi kuasa antara buruh Daerah Istimewa Yogyakarta dan Kesultanan selaku Pemerintah Daerah Istimewa Yogyakarta terungkap melalui konstruksi demonstrasi yang dipersiapkan oleh Serikat Buruh di Daerah Istimewa Yogyakarta. Aktivisme buruh di Yogyakarta dan sekitarnya dinilai unik karena relasi antara buruh sebagai rakyat dan Sultan sebagai raja tidak bisa dilihat secara hitam putih. Kajian ini mengungkap sifat-sifat radikalitas dan iterabilitas dari persiapan demonstrasi (proto-performance) melalui kacamata kajian budaya dan kajian performans (performance studies). Kajian ini menggunakan metode etnografi performans untuk melihat demonstrasi sebagai aksi performatif, dan oleh karena tubuh para demonstran memiliki pengetahuannya sendiri tentang budaya. Sumber data primer dalam penelitian ini berupa observasi langsung dan percakapan dengan aktivis-aktivis buruh di DIY, serta sumber sekunder berupa artikel-artikel berita. Data dikumpulkan melalui catatan-catatan selama observasi. Hasil dari kajian ini adalah bahwa proto-performance dari demonstrasi buruh bersifat radikal karena mereka berusaha membebaskan diri dari script kultural normatif untuk mengimajinasikan kehidupan buruh yang sejahtera.]]>
