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
167 Documents
<![CDATA[PERFORMATIVITAS GENDER SENI CROSS GENDER SINDEN LANANG DINA LAURA SANGGAR GUYUBING BUDAYA KOTA BLITAR ]]>
<![CDATA[Anggia, Venella Yayank Hera]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.88537
<![CDATA[Sinden secara umum dikonsepsikan sebagai penyanyi solo perempuan. Namun, konsep ini dipatahkan oleh adanya fenomena cross gender sinden lanang pada Sanggar Gubyubing Budaya Kota Blitar. Pelakunya adalah Udin dengan nama panggung Dina Laura yang memperlihatkan bahwa gagasan gender dan jenis kelamin tidak harus biner. Tujuan dari penelitian ini berupaya mengkaji kesenian cross gender sinden lanang melalui sudut pandang performativitas gender untuk mengetahui bagaimana pelaku sinden lanang melakukan transformasi dan rekonstruksi bineritas gender feminin-maskulin melalui performativitas gendernya di dalam pertunjukan. Penelitian ini berupa penelitian kualitatif yang menggunakan pendekatan etnografi feminis. Penggalian datanya dengan cara triangulasi yang dianalisis menggunakan teori performativitas gender Judith Butler. Hasil penelitiannya ditemukan bahwa melalui pertunjukan cross gender sinden lanang, Udin berusaha menunjukkan bahwa transformasi gender feminin-maskulin dapat dilakukan dengan mudah. Terutama ditempuh dengan penanda permukaan tubuh, seperti make up, suara, perilaku dan pakaian. Ini menunjukkan bahwa gender sebenarnya adalah sesuatu yang dinamis dan dapat berubah-ubah melalui tindakan pengulangan. Maka dari itu, sinden lanang menjadi salah satu bentuk rekonstruksi atas bineritas gender.]]>
<![CDATA[PERAN ELEMEN DESAIN TERHADAP KEPUASAN PELANGGAN (STUDI PADA CONCORDIA LOUNGE BANDAR UDARA INTERNASIONAL I GUSTI NGURAH RAI BALI) ]]>
<![CDATA[Salmannida, Nisriina]]>;
<![CDATA[Wahyudie, Prasetyo]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.98458
<![CDATA[Sebagai pusat pariwisata utama di Indonesia, Bali tidak hanya menjadi destinasi wisata tetapi juga merupakan titik transit penting untuk berbagai kegiatan regional, nasional, maupun internasional. Oleh karena itu, dengan adanya perkembangan ini, transportasi udara menjadi pilihan utama bagi banyak orang karena efisiensi waktu dan kenyamanan yang ditawarkannya. Dari perspektif ini, ruang tunggu eksekutif bandara berperan sebagai pilihan yang nyaman bagi penumpang yang menunggu keberangkatan, didukung oleh fasilitas yang dibuat untuk memberikan kenyamanan dan kepuasan kepada pengguna. Penelitian ini bertujuan untuk mengevaluasi peran elemen desain terhadap kepuasan pelanggan di Concordia Lounge, Bandara Internasional I Gusti Ngurah Rai di Bali. Fokus utama penelitian ini adalah untuk mengidentifikasi bagaimana elemen desain interior, termasuk warna, pencahayaan, tata letak, dan elemen budaya lokal, mempengaruhi pengalaman dan kepuasan pengguna lounge. Metode penelitian melibatkan wawancara mendalam dengan dua narasumber untuk memperoleh perspektif tentang suasana lounge, kenyamanan, dan kesan desain. Hasil penelitian menunjukkan bahwa desain yang cermat dan integrasi elemen budaya Bali secara signifikan berkontribusi terhadap kepuasan pengguna. Kata kunci: Elemen Interior, Kepuasan Pelanggan, Lounge]]>
<![CDATA[TRANSFORMATION OF ‘MOOIE INDIË’ VISUAL DISCOURSE THROUGH RADEN SALEH’S PAINTING ‘MERAPI, ERUPTION BY DAY’ ]]>
<![CDATA[Krisnambudi, Dionisius]]>;
<![CDATA[Habsari, Sri Kusumo]]>;
<![CDATA[Farhah, Eva]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.104551
<![CDATA[This study examines the transformation of the “beautiful Indies” (mooie Indië) visual discourse through Raden Saleh’s painting “Merapi, Eruption by Day”. The “beautiful Indies” style celebrated an idealized vision of the Dutch East Indies, raising questions about the influence of late-romantic European on Indigenous artists such as Raden Saleh. The research employs a qualitative and interpretive design grounded in Pierre Bourdieu’s theory of structuration. This framework enables a deconstruction of colonial aesthetic orders and the dynamics of symbolic power embedded in the ‘mooie Indië’ tradition. Methodologically, the study integrates heuristic and source criticism to contextualize colonial discourse, and montage analysis to reinterpret art elements of Raden Saleh’s painting, thereby exposing tensions between colonial ideology and artistic agency. Findings reveal that “Merapi, Eruption by Day” both appropriates and subverts the ‘mooie Indië’ aesthetic. Through the lens of Pierre Bourdieu, the painting demonstrates how Raden Saleh’s artistic practice can negotiates structures of domination while asserting symbolic capital for the colonized subject. At the same time, the Mount Merapi motif embodies the romantic sublime, destabilizing orientalist expectations of harmony and exotic natural beauty. Raden Saleh’s work thus transforms the colonial discourse of “the beautiful Indies” into a site of symbolic struggle, where visual strategies articulate resistance and intellectual agency within the colonial field of power.]]>
<![CDATA[VIETNAMESE NATIONAL COSTUMES IN INTERNATIONAL BEAUTY PAGEANTS: SYMBOLS OF HERITAGE AND CULTURAL IDENTITY ]]>
<![CDATA[Tram, Oanh Thi Trach]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.107337
<![CDATA[This article examines Vietnamese national costumes in international beauty pageants as collaborative creative achievements through which designers and contestants jointly communicate cultural heritage and national identity to global audiences. Drawing on a qualitative descriptive approach with visual analysis, the study surveys Vietnamese national costume design at three major international competitions - Miss Universe, Miss World, and Miss Grand International - between 2014 and 2024, and examines four outstanding designs in depth: “Ngu Phung Te Phi” (2018), “Ken Em” (2020), “Chieu Ca Mau” (2022), and “Vu Khuc Thien Long” (2023). These four cases were selected to represent a range of cultural referents, design approaches, and forms of international recognition, all sharing a common thread: each is built on the ao dai as a foundational form, extended through specific Vietnamese cultural symbols and living craft traditions. Analysis finds that successful Vietnamese national costume designs consistently demonstrate three interlocking principles: deep grounding in identifiable Vietnamese cultural symbols; technical mastery that elevates traditional craft to contemporary design; and communicative clarity that makes cultural meaning legible to diverse international audiences. The findings affirm that Vietnamese national costume design is a sustained field of cultural creativity in which innovation and tradition mutually reinforce one another]]>
<![CDATA[SYMBOLIC INTERACTIONISM IN MUSIC: ANALYSIS OF SOCIAL MEANING AND CULTURAL IDENTITY NEGOTIATION ]]>
<![CDATA[Wrahatnala, Bondet]]>;
<![CDATA[Luwiga, Abraham Anton Febrindo]]>;
<![CDATA[Rahman, Ifa Hanifa]]>;
<![CDATA[Kapri, Riana]]>;
<![CDATA[Setyanto, Kristoforus Frederic]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.112544
<![CDATA[This study examines musical practice as an arena of symbolic interaction in society, using the theoretical framework of symbolic interactionism. The framework stems from the assumption that social meaning is not inherently attached to objects or actions, but is formed through symbolic exchange between individuals and through processes of reflection and self-interpretation in social interaction. This research explores how music actors (players, listeners, communities) participate in the construction of musical meaning, how musical symbols are interpreted and negotiated, and how music functions as a medium for identity formation and social transformation. Through a descriptive-interpretive approach based on literature review of theories and previous research findings, it was found that symbolic interaction in musical practice encompasses processes of symbol repetition, public negotiation, role internalization, and intergenerational reinterpretation. Music becomes more than sound: it is a vehicle for symbolic communication that actively shapes and is shaped by society. These findings confirm that music analysis in ethnomusicology must consider aspects of symbolic micro-interaction in order to understand how cultural meaning, identity, and social structure are realized and transformed through music.]]>
<![CDATA[MEMBACA KUNTAU MUSI RAWAS SEBAGAI PRAKTIK SENI DAN KESADARAN EKOLOGIS ]]>
<![CDATA[Sapentri, Evan]]>;
<![CDATA[Warni, Trusti]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.115337
<![CDATA[Krisis ekologis di Kabupaten Musi Rawas, Sumatra Selatan, tidak hanya menimbulkan degradasi lingkungan, tetapi juga berpeluang mengancam keberlangsungan seni tradisi lokal seperti kuntau. Artikel ini berupaya membaca kuntau musi rawas dalam perspektif eco art untuk menelaah bagaimana seni bela diri tradisional ini berfungsi sebagai praktik seni dan kesadaran ekologis. Penelitian ini menggunakan pendekatan kualitatif dengan teknik observasi, wawancara mendalam, dan studi dokumentasi terhadap tiga belas pe-kuntau di delapan kecamatan. Hasil penelitian ini menunjukkan bahwa ritual kuntau yang melibatkan unsur alam, seperti hutan, sungai, tumbuhan, dan fauna merepresentasikan relasi ekologis masyarakat Musi Rawas. Namun, deforestasi, pencemaran sungai, dan hilangnya habitat satwa berpotensi mendeterminasi eksistensi kuntau, mengikis makna kosmologisnya, dan menimbulkan krisis regenerasi. Dalam konteks eco art, kuntau dipahami sebagai praktik yang meneguhkan hubungan spiritual dan ekologis antara manusia dan alam. Revitalisasi kuntau melalui pendidikan budaya, kelembagaan seni, dan kolaborasi lintas sektor menjadi strategi penting untuk melestarikan kuntau di tengah krisis ekologis yang kian akut.]]>
<![CDATA[FROM VISUAL CUES TO MUSICAL MNEMONICS: ADAPTATION IN ANGGUK DANCE FOR MUSICIANS WITH VISUAL IMPAIRMENTS ]]>
<![CDATA[Nurvijayanto, Ribeth]]>;
<![CDATA[Prakasiwi, Galih]]>;
<![CDATA[Rahayu, Idhayu Mugia Ningrat Tri]]>
<![CDATA[ Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.116154
<![CDATA[This research investigates the development of creative, effective, and applicable inclusive learning methods in traditional Indonesian music and dance, focusing on individuals with disabilities at Sanggar Sripanglaras in Kulon Progo, Yogyakarta. This study employs a qualitative method with a participant observer and ethnomusicological approach. Data were gathered through a combination of observational studies, interviews, and a thorough analysis of documents related to the practice of teaching music and Angguk dance to students with visual, hearing, speech, and intellectual impairments, as well as those with down syndrome. The results demonstrate that the studio’s pedagogy adheres to a gradual, participatory approach, leveraging auditory senses and musicality to enhance the students’ capabilities. The acquisition of knowladge extends beyond technical aptitudes to include the cultivation of mental resilience and character. The musical aspect is explored using Rahayu Supanggah’s concept of “garap”, while the educational ascpect is analyzed through Bloom’s taxonomy. Sanggar Sripanglaras has emerged as a prominent social and educational institution that fosters inclusivity, promoting cohesion and fostering the growth of self-esteem in children with disabilities throught the mediums of traditional music and dance. These findings can serve as a model for sustainable inclusive arts education that is relevant to the arts education needs of people with disabilities in Indonesia.]]>
