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[Modal dan Makna Kerja Dalang Wayang Potehi di Semarang: Kisah Hidup Thio Tiong Gie ]]>
<![CDATA[Hezti Insriani]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11638
<![CDATA[This study is about the work of Chinese glove puppet puppeteer in Semarang (Thio Tiong Gie). This study showed that he had been using several capitals in his work such as social and economic, and also cultural and symbolic capital. From Thio Tiong Gie’s case, we can see that cultural, social, and symbolic capitals are important for art worker’s practice. They had been used by art worker in his work for exchange with economic capital besides accumulation of those capitals. There are many meanings in Thio Tiong Gie’s work.For Thio Tiong Gie, the meanings of work are about economic, phsycologic, and religious meanings. This study has given perspective to see how the work activity of Chinese glove puppet puppeteer is, not only concerning with the product of the work.]]>
<![CDATA[Pada Suatu Drama: Studi Seni Pagelaran dalam Wacana Pergerakan ]]>
<![CDATA[Rio Heykhal Belvage]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11640
<![CDATA[A stage performance is not only a play, it has also become a medium to state somethingelse. It is possible that through the performance presented, the dynamics of life could bean inspiration for the creator to produce certain stories; constructing new reality. Everysingle scene seems unrelated at fi rst, but then combined to a story containing values.It can be social critique, politic strategy, entertainment, or money machine. Regardingthe context, this article is meant to be a critical refl ection to a particular play in TamanBudaya Yogyakarta (TBY). Here the writer is willing to share about spectator’s worldand a play performance carrying women movement issue; a stage imagined to be arefl ection of daily life, yet live so close to appreciations and full of paradoxes.]]>
<![CDATA[Wayang Onthel Komunitas Old Bikers Velocipede Old Classic (VOC) Magelang ]]>
<![CDATA[Figur Rahman Fuad]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11641
<![CDATA[This article is a study on “Wayang Onthel”, a created by an Old-Bikers community calledVelocipede Old Classic (VOC) in Magelang, which utilizes the old bicycle spare partsas the wayang-making materials. The study focuses on “Wayang Onthel” as a work ofart. It is aimed at investigating the background of the creation of “Wayang Onthel”, itsshapes and characterization, as well as the relation between its forms and the identityof VOC community. This study employs sociology of art and aesthetics approaches,supported by the studies on creativity, identity, and semiotics. The creative process inthe making of this wayang resulted in such unique forms of wayang made of old bicycleparts being compiled and put together. The wayang’s characterization is obtained throughdifferentiating the use of spare parts and its arrangement patterns. The constraint ofspare parts in accommodating visual markers in characterizing the wayang could behandled by the addition of non-spare parts materials. Under semiotic perspective, theoverall shape of “Wayang Onthel” is an iconic symbol referring to human fi gures thewayang wants to portray. Meanwhile, in its forming elements lies an indexical symbolto maintain the “Onthel” image as the identity of VOC community.]]>
<![CDATA[Seni pada Masa Pemerintahan Dinasti Abbasiyah Tahun 711 – 950 Masehi ]]>
<![CDATA[Shubhi Mahmashony Harimurti]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11642
<![CDATA[After the death of Prophet Muhammad SAW, Islam has got the glory. The gold eradidn’t see based on the territory. But it has been seen according to the particularly sector.Such as: arts, the building architecture, culture, and education. All of the successes havebeen got at Abbasid Dynasty. This dynasty is different with the other kingdom, suchas Umayyad that more concentrated in expansion mission. If discuss about Abbasid,public will know about Abu Nawas, Caliphate Harun al-Rashid, Baghdad, or 1001nights stories. Abbasid Dynasty is more inclusive than Umayyad Dynasty. This kingdompermitted to all of arts especially music. This decision is different with Umayyad onethat often prohibited the music in every society activities. In this simple paper, discussabout arts improvement at Abbasid Dynasty that one of the Baghdad glory indicator.]]>
<![CDATA[Bentang Tubuh Putu Sutawijaya ]]>
<![CDATA[Kris Budiman]]>
<![CDATA[ Jurnal Kajian Seni Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11645
<![CDATA[My friendship with Putu Sutawijaya (PS) has lasted for the last seven years. HoweverI have known of his works and activities from mass media reportations and personalconversations with friends from many years before. PS has worked as an artist sincethe mid 1990s. His attitude and stance frequently show a sense of ambiguity, and eventension: on one side he shows a critical and distanced attitude and perspective, while onanother side he also emphasizes a certain fi delity upon the matter. Through this essayI plan to trace the milestones of PS’s works as an artifactual biography throughout thelast period of nearly fi fteen years. In this essay, I do not plan to assemble a periodizationdiagram of PS’s career as an artist, but rather I want to review the patterns or conventionsand general tendencies in his works.]]>
<![CDATA[Barongsai Cap Go Meh di Makassar sebuah Pemikiran Tentang Tari, Ritual, dan Identitas ]]>
<![CDATA[Batari Oja Andini]]>
<![CDATA[ Jurnal Kajian Seni Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11646
<![CDATA[This article is a discussion of identity through performance. This research focuses onBarongsai (Lion Dance) performance on the Cap go Meh (Chinese New Year) ritual parade.The chosen research location is Makassar City, South Sulawesi. This research focuses onBarongsai in ritual context, as a compulsory attribute in the Cap go Meh Ritual Parade. Infurther explanation, this article also discuss about identity that constructed by Barongsaigroups. In order to earn an understanding of those issues, I use anthropological approachwith the participant observation and interview method. This research is a new line of themacro picture of the Tionghoa phenomenon in Indonesia]]>
<![CDATA[V For Vendetta Novel Grafis sebagai Ikon Revolusi ]]>
<![CDATA[Nadia Aghnia Fadhillah]]>
<![CDATA[ Jurnal Kajian Seni Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11647
<![CDATA[Wave of protests shook the world. Thousands facescovered by strange mask with cynicalsmile fl ooded cities around the world. They are V’s masks, the main character of ‘V forVendetta’, a graphic novel, which was inspired by Guy Fawkes, a revolutionist whoattempted to bomb British Parliament Building. Anonymous, a hactivist organization,take V’s character as its identity. In October 2011, the biggest protests in historydemand for politic and economy equality: Occupy Movement. Anonymous took big rolein the movement. Guy Fawkes’ mask became popular. In online and offl ine activism ofAnonymous. The mask expresses social critics, represents the unheard voices of thefear. V for Vendettastartsrevolutionaround the world, it inspires rebellion, shows thatthere is always a way to fi ght and hope for the freedom.]]>
<![CDATA[Stigmatisasi terhadap Tiga Jenis Seni Pertunjukan di Banyuwangi: dari Kreativitas Budaya ke Politik ]]>
<![CDATA[Hervina Nurullita]]>
<![CDATA[ Jurnal Kajian Seni Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11648
<![CDATA[This research aims to fi nd out how stigmatization toward Banyuwangi people throughthree performing arts: Damarwulan, Gandrung and Banyuwangi local music. At thefi rst emergence of three performing arts come from cultural creativity has backgroundof each. In their developments, these three performing arts genres becomes even morepopularized, for not only Banyuwangi people but also Javanese people especially EastJava and Middle Java. This popularization happened along with social, cultural andpolitical change in Java, especially Banyuwangi. Along with this, all of this social,cultural and political change becomes stigmatized towards the three performing artsin Banyuwangi. This stigmatization is related to social reality and political events inBanyuwangi especially in the postcolonial era.This research concludes that there is no purpose from artists to create a stigmatizationtoward three performing arts in Banyuwangi; Damarwulan, Gandrung and Banyuwangilocal music. There is no evidence of giving stigmatization when the artists produce thespecifi c art forms. This stigmatization happens along with social, cultural, political changein the history of Banyuwangi.]]>
<![CDATA[Pertunjukan Body Painting di Bali sebagai Objek Pariwisata ]]>
<![CDATA[I Nyoman Rediasa]]>;
<![CDATA[Langen Bronto Sutrisno]]>
<![CDATA[ Jurnal Kajian Seni Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11649
<![CDATA[The purpose of this study, to uncover and describe the aesthetic form and functionof body painting in Bali in Bali tourism. The Study is designed throgh qualitativeresearch to describe the Body painting show in Bali tourism in terms of postmodern aesthetics. The research location is at the HardRock Hotel Bali. Theoretical approachesto understand the body painting uses studies in popular culture, postmodern aestheticsand commodifi cation. The organized form of body painting HardRock Hotel Balisince2003 is a creative body painting event on women and performance art, that includesactivities of the female body painting art ist fashion shows of the painting accompaniedby music. The function of body painting Bali accomodates tourism interests, and itoccurs through the commodifi cation of popular culture in the pack includes the functionof personal, social, (recreation and appreciation).]]>
<![CDATA[Pembelajaran Seni Bahasa dalam Konteks Lintas Kurikulum melalui Drama ]]>
<![CDATA[Rin Surtantini]]>
<![CDATA[ Jurnal Kajian Seni Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11650
<![CDATA[Everyone is entitled to draw on the arts elements to create and give meanings, toexpress themselves, to communicate and share the meanings with other people, andto understand the world around them. Activities related to arts belong to every humanbeing, and anything refl ected in arts is about human being. In the context of crosscurriculum,arts can be creatively woven into other subject areas, or is linked with a widevariety of subjects in the educational program. As one of the school subject, languagearts is the vehicle of communication by which we live, work, share, and build ideas andunderstandings of the present, refl ect on the past, and imagine the future. Languagearts incorporates the integrated teaching and learning of oral, written, and visual textsthrough reading, writing, speaking, listening, and viewing. The paper highlights drama asan alternative of arts activity integrated in a cross-curricular language arts program.]]>
