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[THE SHIFTING FUNCTION OF ABDUL MULUK'S TRADITIONAL THEATER: FOLK PERFORMANCE TO AN EXCLUSIVE PERFORMANCE ]]>
<![CDATA[Wulandari, Iis]]>;
<![CDATA[N, Sahrul]]>;
<![CDATA[Asril, Asril]]>
<![CDATA[ Jurnal Kajian Seni Vol 11, No 2 (2025): Jurnal Kajian Seni Vol 11 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.102655
<![CDATA[The development of the times made the continuity of Abdul Muluk's traditional theater in Muaro Jambi Regency experience a shift. The shift in art consumption patterns resulted in a shift in the function of Abdul Muluk's traditional theater from folk entertainment to exclusive spectacle. This study aims to analyze the factors causing and the impact of the shift in the function of Abdul Muluk's traditional theater in Muaro Jambi Village, Muaro Jambi Regency, Jambi Province. The research method used is a qualitative method with an art sociology approach based on Janet Wolff's social production theory of art. Data collection techniques used literature study, observation, interviews and documentation. The results showed that this shift occurred due to internal factors, such as the lack of management in theater groups and the lack of regeneration. Meanwhile, external factors include changes in public tastes, the influx of modern entertainment, and the weakening of institutional support and patronage. This shift has had an impact on various aspects, including the duration of performances, changes in stories, and most prominently accessibility, which is now limited. This study provides insights into how traditional arts are adapting to globalization and highlights the importance of support from others.]]>
<![CDATA[PEMBACAAN ULANG SINGGÊTAN DALAM KARAWITAN JAWA GAYA SURAKARTA ]]>
<![CDATA[Putro, Galuh Argo]]>;
<![CDATA[Suyoto, Suyoto]]>;
<![CDATA[Setiawan, Aris]]>
<![CDATA[ Jurnal Kajian Seni Vol 11, No 2 (2025): Jurnal Kajian Seni Vol 11 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.103588
<![CDATA[Penelitian ini bertujuan mengungkap singgêtan sebagai salah satu bagian penting dalam karawitan Jawa gaya Surakarta. Fokus utama meliputi analisis singgêtan dalam sajian gending gaya Surakarta. Singgêtan memiliki beragam jenis dan setiap jenis singgêtan memiliki tempat serta fungsi yang berbeda. Penelitian ini menggunakan teori garap dengan pendekatan emic etic. Teori garap digunakan untuk menganalisis singgêtan dalam sajian gending gaya Surakarta. Pendekatan emic etic digabungkan untuk memahami dan mandapat kejelasan mengenai objek penelitian secara tuntas. Penelitian ini menggunakan metode penelitian kualitatif deskriptif. Data dikumpulkan melalui studi pustaka dan pengamatan pertunjukan. Analisis dilakukan dengan menafsirkan kembali pemikiran dan pengalaman pengrawit yang diperoleh melalui realitas pragmatik. Berdasarkan penelitian disimpulkan bahwa singgêtan dimaknai sebagai pembatas sêkaran pada pola kendhangan ciblon gaya Surakarta. Singgêtan bersifat wajib ada dan merupakan salah satu penciri bentuk gending. Elemen pembentuk singgêtan frasa padhang ulihan lagu balungan, frasa padhang ulihan lagu vokal, dan jumlah gåtrå dari suatu bentuk gending.]]>
<![CDATA[NEGOTIATING TRADITION AND MODERNITY: THE DIALECTICS OF CONSERVATISM AND PROGRESSIVISM IN TEMBANG SUNDA CIANJURAN ]]>
<![CDATA[Budiman, Arif]]>
<![CDATA[ Jurnal Kajian Seni Vol 11, No 2 (2025): Jurnal Kajian Seni Vol 11 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.104736
<![CDATA[Innovation in traditional arts often triggers polemics between conservative and progressive values. This study offers a dialectical model of innovation-response in traditional arts by using Tembang Sunda Cianjuran as a case study to integrate Lewis A. Coser’s functional conflict theory. Employing a qualitative methodology that combines case study and autoethnography, data were gathered through in-depth interviews, participant observation, and documentary analysis. This multi-method approach allowed for a comprehensive understanding of both the artistic negotiation process and the underlying community dynamics. The research found that (1) the innovation of "Nyiar Luang Tina Cianjuran" successfully addressed contemporary social issues without eliminating core aesthetic rules such as dongkari, laras (tuning), wanda (style), song, and lyrics; (2) thematic modernisation and multimedia integration significantly enhance the appeal to the younger generation; and (3) the conflict between conservatism and progressivism, when managed effectively, can foster internal cohesion and create harmony within traditional arts. This research concludes that responsible innovation can enrich cultural relevance without compromising traditional values.]]>
<![CDATA[FRAKTAL: ALIH WAHANA KONSEP AIR DALAM KEBUDAYAAN SUNDA PADA KARYA TARI ]]>
<![CDATA[Azhar, Angeline]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 1 (2025): Jurnal Kajian Seni Vol 12 No 1 November 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.97841
<![CDATA[The process of creating a dance work entitled Fractal stems from research on water in Sundanese culture. The creation of this dance work uses a practice-based research method. This research explores the symbolism of water in the traditions and daily lives of Sundanese people, which includes rituals, mythology, and agricultural practices. In the creative process, researchers collect data through observation, interviews, and literature review, which are then interpreted into dance movements. The stages of creation began with the exploration of basic movements inspired by the shape and dynamics of water, followed by improvisation involving dancers to explore the meanings and emotions associated with water. The results of this research are realised in a dance work that reflects the harmony, sustainability and spirituality of water in the lives of Sundanese people. This process shows that through a practice-based research approach, research becomes a scientific foundation that inspires and enriches the creation of dance art, while deepening understanding of local cultural values. This research not only produces aesthetic works of art but also raises and carries out the process of sustainability of local wisdom values.]]>
<![CDATA[STRUKTUR KOMPOSISI DAN IRINGAN PENTAS JULA-JULI PADA PERTUNJUKAN LUDRUK DI PADEPOKAN SENI KIRUN ]]>
<![CDATA[Batulloh, Harliangga Ridho]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 1 (2025): Jurnal Kajian Seni Vol 12 No 1 November 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.100844
<![CDATA[Ludruk adalah kesenian khas Jawa Timur yang mulai ditinggalkan masyarakat. Hal ini mendorong seniman Ludruk seperti H. Muhammad Syakirun melalui Padepokan Seni Kirun (PADSKI) untuk berinovasi dalam upaya melestarikan kesenian Ludruk. Perkembangan dilakukan dengan fragmentasi, yaitu menghadirkan beberapa segmen Ludruk secara ekslusif. Pertunjukan PADSKI banyak menampilkan pentas Jula-Juli sebagai ikon Ludruk karena nilai pesannya yang mendalam, dan ditampilkan dengan struktur komposisi yang lebih luwes dan responsif terhadap fenomena sosial. Penelitian ini bertujuan untuk mendeskripsikan bentuk penyajian dan struktur komposisi pentas Jula-Juli yang dimainkan Padepokan Seni Kirun. Metode yang digunakan adalah kualitatif deskriptif yang dibantu dengan studi musikologi, sedangkan pengumpulan data dalam penelitian ini dilakukan dengan studi pustaka. Hasil penelitian menunjukkan bahwa: Pertunjukan Ludruk di Padepokan Seni Kirun terdiri dari beberapa adegan, yaitu tari Ngremo, Bedayan, lawakan, dan Lakon, dengan kidungan Jula-Juli sebagai elemen khas di setiap adegan. Padepokan ini juga menampilkan segmen khusus Pentas Jula-Juli yang mengangkat tema dari kidungan lawakan dan Bedayan. Struktur komposisi musik Jula-Juli menggunakan gending pathet wolu dengan variasi tema lirik dan cengkokan di setiap adegan—sambutan dalam tari Ngremo dengan cengkokan lugu, nasionalisme dan kritik sosial dalam Bedayan dengan cengkokan dol-tinuku, serta lelucon dan persatuan dalam lawakan dengan cengkokan lugu dan dolanan]]>
<![CDATA[PROSES ADAPTASI HUTCHEON GAME KE FILM: STUDI KASUS THE LAST OF US 2023 ]]>
<![CDATA[Tarunajaya, Muhammad Raihan]]>;
<![CDATA[Purbantina, Adiasri Putri]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 1 (2025): Jurnal Kajian Seni Vol 12 No 1 November 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.103010
<![CDATA[Serial televisi "The Last of Us" (2023) telah berhasil memukau penikmat film dan game, membuktikan bahwa adaptasi video game ke layar kaca dapat menghasilkan karya berkualitas tinggi. Serial ini tidak hanya berhasil mempertahankan kualitas dari game aslinya, tetapi berhasil memperluas narasi dan karakter melalui penambahan adegan dan dialog yang mendalam dan karakter. Kesetiaan adaptasi ini terhadap sumber aslinya, baik dalam hal plot, karakter, maupun atmosfer, menjadi salah satu faktor kunci keberhasilannya. Selain itu, pemilihan pemeran yang tepat serta kualitas produksi yang tinggi turut berkontribusi dalam menciptakan pengalaman menonton yang menarik. perbandingan antara game dan serial televisi "The Last of Us" mengungkapkan beberapa perbedaan menarik yang menunjukkan keunikan masing-masing media. serial televisi memiliki lebih banyak waktu untuk mengembangkan karakter dan hubungan karakter. Jurnal ini menemukan bahwa dalam proses adaptasinya dari game ke film banyak mengalami perubahan dan penyesuaian yang dilakukan oleh sang sutradara. Proses adaptasi film “The Last of Us” ini menunjukkan bahwa adaptasi tidak harus sama persis dengan medium sebelumnya. Penyesuaian dan penambahan aspek merupakan hal yang wajar dan justru membuat sebuah adaptasi memiliki karakteristiknya sendiri.]]>
<![CDATA[DEVELOPING KUDA KEPANG ARTS IN A NEW LAND ]]>
<![CDATA[Panuju, Redi]]>;
<![CDATA[Widiarto, Didik Sugeng]]>;
<![CDATA[Budiono, Agus Prasetya]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 1 (2025): Jurnal Kajian Seni Vol 12 No 1 November 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.103666
<![CDATA[This study aims to describe and analyze how Javanese migrants in the Kintap District conceptualize their creativity in developing the traditional art of Kuda Kepang. This art form originated in various regions of Java. Cultivating traditional arts in a new environment presents challenges due to differing socio-cultural contexts. It requires effort and self-concept to make changes and adapt to the new cultural environment. Additionally, there are challenges in navigating the performing arts ecosystem. This study employs an ethnographic methodology is a way to identify how meanings in cultural contexts are formed in social interactions. Data collection techniques used in-depth interviews and participant observation. The research reveals that past experiences serve as a source of inspiration for migrants to pursue the art of Kuda Kepang. These performances provide both personal catharsis and simultaneously entertain the community. The role of members of the regional People's Representative Council is very important in bridging the interests of Kuda Kepang art activists in Kintab with the South Kalimantan regional government, especially in accessing funds from the APBD (Regional Revenue and Expenditure Budget) for art performance activities and the procurement of other supporting facilities.]]>
<![CDATA[SUSTAINABLE DEVELOPMENT GOALS AS DOXA IN THE NETWORK PRACTICE OF ART COLLECTIVES IN INDONESIA ]]>
<![CDATA[Azmi, Hidayatul]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 1 (2025): Jurnal Kajian Seni Vol 12 No 1 November 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.103746
<![CDATA[This study examine the phenomenon of networks of art collectives in Indonesia, which proliferated in the period leading up to 2020, and their connection to the global discourse of the Sustainable Development Goals. These networks represent a form of social practice that emerged from the transformation of the objective structure of the field of art and the subjective internalization of such changes by art practitioners. The research applies Pierre Bourdieu’s theory of social practice and employs a literature study method to map the social and economic relations of art collectives within the Indonesian art field from 2000 to 2024. By using Bourdieu’s framework, this study reveals that: (1) the structure of the artistic production field in Indonesia from 2000 to 2024 has been shaped by the art market and fund structures, which have driven the differing orientations of art collectives along two distinct heteronomous poles; (2) the network practices of visual art collectives in Indonesia are propelled by the discourse of sustainable development as a form of doxa produced by the field of power.]]>
<![CDATA[NEGOSIASI KALIGRAFI ARAB KONTEMPORER DALAM LAKU SENI SISWA SANGGAR PESANTREN AL-QALAM GRESIK ]]>
<![CDATA[Hukmi, Aqim Amral]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 1 (2025): Jurnal Kajian Seni Vol 12 No 1 November 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.105864
<![CDATA[Kreativitas siswa dalam menciptakan karya kaligrafi Arab kontemporer menjadi ciri khas Sanggar Pesantren Kaligrafi Al-Qur’an Al-Qalam Gresik. Namun, kajian mengenai proses pembelajaran dan dinamika negosiasi antara tradisi kaligrafi Islam dengan praktik seni kontemporer di lingkungan pesantren masih terbatas. Penelitian ini bertujuan untuk menganalisis proses pembelajaran seni kaligrafi Arab kontemporer di sanggar tersebut, sekaligus mendalami aspek kreativitas siswa dalam menegosiasikan nilai estetis dan religius ke dalam karya mereka. Penelitian menggunakan pendekatan kualitatif dengan desain studi kasus. Data diperoleh melalui observasi, wawancara, dan dokumentasi, serta divalidasi dengan triangulasi sumber. Analisis data mengikuti model interaktif Miles, Huberman, dan Saldaña. Hasil penelitian menunjukkan bahwa (1) proses pembelajaran berlangsung melalui tiga tahap sistematis orientasi, eksplorasi, dan evaluasi yang mendorong kemandirian serta eksperimen kreatif siswa; (2) kreativitas siswa tercermin dalam keberanian melakukan transformasi bentuk huruf, eksplorasi warna, serta pengkonteksan karya pada ruang religius maupun publik; (3) praktik seni siswa merupakan bentuk negosiasi kultural yang mempertemukan kaidah tradisi Islam dengan inovasi kontemporer, menghasilkan ekspresi estetis yang hibrid, transformatif, dan kontekstual. Dengan demikian, seni kaligrafi Arab kontemporer di lingkungan pesantren tidak hanya menjadi media pembelajaran teknis, tetapi juga sarana dialog kreatif antara tradisi dan modernitas.]]>
<![CDATA[FUNGSI GAMELAN DALAM RANGKAIAN SEMBAHYANG UMAT HINDU DI PURA SEDALEMAN KARANGANYAR ]]>
<![CDATA[Sanjaya, Rahmani Yanuarista Puteri]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 1 (2025): Jurnal Kajian Seni Vol 12 No 1 November 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.106500
<![CDATA[Penelitian ini bertujuan untuk mengkaji fungsi gamelan dalam rangkaian sembahyang umat Hindu di Pura Sedaleman, Karanganyar. Meskipun berbagai penelitian sebelumnya telah mengidentifikasi peran gamelan dalam konteks kegiatan keagamaan, mayoritas studi tersebut cenderung berfokus pada penggunaan gamelan dalam upacara perayaan keagamaan yang terdiri dari serangkaian kegiatan dengan tujuan yang lebih luas. Penelitian ini mengisi celah dengan mengeksplorasi fungsi gamelan pada sembahyang bersama yang lebih personal dan bertujuan mencapai kekhusyukan umat. Pendekatan yang digunakan dalam penelitian ini adalah etnografi dengan metode observasi partisipatif, wawancara mendalam, dan dokumentasi langsung untuk memperoleh data yang komprehensif. Fokus utama penelitian ini adalah mengidentifikasi fungsi gamelan dalam rangkaian sembahyang umat Hindu di Pura Sedaleman. Hasil penelitian menunjukkan bahwa fungsi gamelan di antaranya sebagai simbol dan tanda sakral, pendorong respon fisik pada tubuh umat, serta sebagai sarana kontemplasi dan penghayatan estetis selama rangkaian sembahyang berlangsung. Fungsi-fungsi tersebut berkontribusi secara signifikan terhadap kelancaran rangkaian sembahyang. Temuan ini diharapkan dapat memperluas pengetahuan terkait fungsi gamelan dalam perspektif keagamaan kepada khalayak umum.]]>
