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[Transformasi Bentuk-Representasi dan Performativitas Gender dalam Seni Tradisi Topeng Ireng ]]>
<![CDATA[Kiswanto Kiswanto]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.22706
<![CDATA[Transformation of Topeng Ireng Traditional Arts into Topeng Ireng Gugur Gunung of Duta Seni Pelajar Boyolali in this paper was discourse through some theory perspective developed by Maruška Svašek, Judith Butler, and some related writers. Transformation is characterized by changes in objects that transit within the location or the new owner, that is the material or forms of traditional art patterns of Topeng Ireng that transit as the initial idea of the creator. The object changed because in the process has been adapted to the concept of Gugur Gunung, which then processed, combined, developed, transformed into new works of art. Transformation is also marked by transitions related to the shifting meaning, value, and benefi ts of the object. The changes show a transition in several aspects, including content represented through art forms and performativity of gender.]]>
<![CDATA[Hantu Topeng Kelono, Hantu Burung Kasuari, dan Hantu Ngung Ngung Ngung Cakcakcak: Tiga Hantu Tari yang Bergentayangan dalam Sejarah Kebudayaan Nasional ]]>
<![CDATA[Brigitta Isabella]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.23335
<![CDATA[Tulisan ini membahas tiga hantu tari dalam sejarah kebudayaan nasional Indonesia. Mereka adalah hantu Topeng Kelono dari dramatari Kelono karya (1916) Raden Mas Jodjana (1893-1972), hantu Burung Kasuari dari Tari Merak (1964) gubahan Irawati Durban Ardjo (1943 - ) dan hantu ngung ngung ngung cakcakcak dari koreografi Cak Tarian Rina (1972) karya Sardono Waluyo Kusumo (1945 - ). Tiga tari ini dibaca sebagai hantu-hantu yang bergentayangan karena karakternya yang hibdrid dianggap menganggu keutuhan wacana identitas nasional. Dengan melacak jejak hantu-hantu tari ini, akan disinggung relasi antara tradisi dan modernitas dalam kaitannya dengan struktur produksi pengetahuan estetik yang diciptakan oleh jalinan wacana orientalisme, wacana identitas nasional Negara pascakolonial dan wacana ideologi pembangunan. ]]>
<![CDATA[Rumangsamu Penak: Analisis Wacana Politik Hidup Harian Buruh Migran Indonesia dalam Lagu Dangdut Koplo ]]>
<![CDATA[Irfan R Darajat]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.23818
<![CDATA[Musik dangdut begitu lekat dengan tema persoalan hidup harian. Dalam perkembangannya muncul irama musik baru yang disebut dangdut koplo. Meskipun irama dalam musik dangdut terus berkembang karakternya yang ramah terhadap persoalan hidup harian tetap dipertahankan. Salah satu contoh menarik adalah lagu ‘Rumangsamu Penak’. Lagu tersebut lahir dari ujaran-ujaran dan curahan hati seorang buruh migran. Ujaran tersebut lahir dari polemik antara buruh migran (perempuan) dengan kaum lelaki di kampung halaman, serta dengan kelompok buruh migran yang lain. Dengan menggunakan analisis wacana Michel Foucault, penulis mencoba mencatat bagaimana praktik diskursif yang berlangsung dalam lagu tersebut. Bagaimana relasi kuasa bekerja di dalamnya, yang secara spesifik berkaitan dengan persoalan buruh migran Indonesia. Serta bagaimana mereka dipandang dan diposisikan oleh negara dan oleh masyarakat.]]>
<![CDATA[Rekonseptualisasi Dokumenter: Kebenaran Filmis dalam Perspektif Kognitif ]]>
<![CDATA[Renta Vulkanita Hasan]]>;
<![CDATA[Gabriel Roosmargo Lono Lastoro Simatupang]]>;
<![CDATA[Kurniawan Adi Saputro]]>
<![CDATA[ Jurnal Kajian Seni Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.28524
<![CDATA[Rekonseptualisasi dokumenter memiliki urgensi dalam kajian dokumenter untuk memberikan sudut pandang lain bagi klaim kebenaran filmis. Rekonseptualisasi ini berangkat dari persepektif film kognitif dengan melibatkan kegiatan menonton, di mana proses pemahaman dan pengalaman penonton menjadi dasar bagi rekonseptualisasi ini. Kajian literatur menjadi langkah awal dalam rekonsetualisasi dengan tujuan (1) mengkaji berbagai isu dan pemahaman dokumenter mutakhir: (2) memetakan dan mengulas teori-teori yang menjelaskan bagaimana dokumenter didefinisikan selama ini: dan (3) menentukan sudut pandang alternatif bagi kebenaran filmis bagi dokumenter. Rekonseptualisasi dilakukan bertahap melalui tiga jalur konseptual, yaitu: (a) penyelidikan terhadap penelitian terdahulu, (b) pemetaan problem dari penelitian terdahulu, dan (c) tawaran sudut pandang sebagai alternatif bagi penyelesaian problem terdahulu. Tiga jalur konseptualisasi tersebut dipilih dengan alasan bahwa sejak dokumenter didefinisikan dan diteorikan, maka saat itu juga muncul isu-isu sentral yang memusatkan pembicaraan terhadap klaim kebenaran. Problem terkait klaim kebenaran yang dimaksud, notabene diletakkan pada hubungan antara fakta (realitas) dan kebenaran filmis dalam film dokumenter, di mana hubungan itu memiliki keterkaitan yang sesungguhnya keduanya tidak dapat diidentikan.]]>
<![CDATA[Presentasi Sinematik melalui Kontribusi Elemen Audio dalam Film Babi Buta yang Ingin Terbang ]]>
<![CDATA[Hardiwan Prayoga]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.29864
<![CDATA[Film became concrete presentation of reality. Indonesian fi lm title Babi Buta yang Ingin Terbang was produced in 2006. Directed by Edwin, this fi lm focuses on the issue of Chinese families in Indonesia were giddy at her own identity when it comes to clash with the social environment. The fi lm uses the song I Just Call to Say I Love You, from Stevie Wonder were repeated in some parts of the fi lm, and sung in many different ways by almost all the characters. On the other hand, Film is basically elaborate audio and visual elements. Babi Buta yang Ingin Terbang has not attractive visual displays, the picture that appear with a static camera movement and shot in a long duration, this way extremely provoke boredom for the audience, in this position audio elements are present to contribute. Represent the viewpoint of the audience, this paper examines the technical side of cinematic presentations using audio elements as the medium, starting from how the fi lm uses the audio aspects of the cinematic presentation in its purpose narrating the premise.]]>
<![CDATA[Transformasi Kuttau Lampung dari Beladiri menjadi Seni Pertunjukan Tari Pedang ]]>
<![CDATA[Indra Bulan]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.29870
<![CDATA[Transformation of kuttau Lampung from martial art become Tari Pedang performance research, has been done at Sukadana Village in East Lampung Regency. To examine both kuttau and Tari Pedang in the forms of martial art and performance contexts. The objective of this reaserch is to show the transformation form and martial art value of kuttau become Tari Pedang performance. Otherwise to show the transformation agent factor that happened in kuttau. The research of art examine, has been done byparticipant observation, supported by some theory. The approach used in this research is performance studies. To analysis the form of kuttau in martial art context are used the text theory that is discuss as text and context. Continued by analysis of transformation form used adaptation and appropriation theory, that is also discuss as text and context. In general, the result of this research are both kuttau and Tari Pedang in the forms ofmartial art and performance contexts.the basic element that distinguish between kuttau and Tari Pedang are the change of martial art aesthetic become performance aesthetic. Otherwise Tari Pedang is representation of kuttau in theatrical mimicry form, even the movements, costums, and other elements are adaptation, but only imitation without scenario. Tari Pedang is the result of appropriation process, although the text of Tari Pedang was adaptation from kuttau. But, the context of Tari Pedang is very different from the origin, so we can assume that the result of appropriation process are new product that following the society supporter pretentions.]]>
<![CDATA[Pola Karya Konvensi pada Film Sekuel Studi Kasus Film Ada Apa Dengan Cinta? 2 ]]>
<![CDATA[Danissa Dyah Oktaviani]]>;
<![CDATA[Sugeng Nugroho]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.29875
<![CDATA[Film Ada Apa dengan Cinta? 2 is a romance drama genre fi lm that was released in 2016. This study will identify the characteristics of the genre of the fi lm Ada Apa Dengan Cinta? 2 as drama romance. Dilakuakan identifi cation process using the basic scheme of the genre. The analysis aims to look at the depth of a movie as a genre film drama romance. The theory used is a genre theory drama by Jane Stokes as the main genre and romance as a sub-genre. The results of the research will be found pieces of pictures depicting scenes drama become romance film characteristics are becoming a common convention in the fi lm Ada Apa Dengan Cinta? 2. Characteristics of the setting and location diantanya is commonly used in everyday life, using the iconography in the form of specifi c causal fashion, narrative events culinary journey, locations and adventurous vacation, the whole character is the protagonist, and the structure of the plot told a farewell and an encounter back in love triangle. As a sequel, the film has differences with its predecessor]]>
<![CDATA[Rencana dan Target Birama sebagai Pemicu Optimalisasi Capaian Praktik Individual Vokal Klasik di Jurusan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta ]]>
<![CDATA[A. Gathut Bintarto T.]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.29880
<![CDATA[The effective efforts on higher education of arts including many improvement aspects such as cognitive and skill. The Western vocal study on Music Department, Performance Art Faculty of ISI Yogyakarta has several challenges such as limited duration of study, the complexity of historical background of the repertoar and the needs to study at leastfour different songs from foreign languages. The way to manage the sensation of the unseen vocal cord combined with the needs of the student to make adaptations to the higher educational systems lead to the thought of using the student’s planning form and individual progress report on their vocal study. This aids helped to observe the individual skill progress, the changing of the student’s attitude and emotions, make it easier forthe teacher to maintain the study and also anticipating the habit of postponing the final exam. Through action research method, the usage of the student’s planning form and individual progress report serves as trigger and guidance to make further comprehension on individually characteristic of each voice and the forming of the singer’s attitude through controlling his/her emotions.]]>
<![CDATA[Can You See What I See, Mata sebagai Objek Penciptaan Seni Fotografi Ekspresi ]]>
<![CDATA[Handry Rochmad Dwi Happy]]>;
<![CDATA[Elfa Olivia Verdiana]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.30040
<![CDATA[The human eye holds a beauty potential that is rarely seen. In contrast to the eyes of animals such as insects and reptiles that are almost the same in the preparation and shape, the human eyes are composed of a different variety of patterns and textures even right and left eye on each person. In this paper, the photographs are presented using the conceptual techniques of macro photography and photographic expression. By using macro photography techniques that can magnify an object and capture the details of the beauty of the human eye, it can be seen clearly. The creation process concist ofexploration, experimentation, and formation. Taking picture was done by using DSLR camera and helped by the lighting from studio. Selection of the human eye as an object in photography using macro technique is a new thing. The results obtained in each image capture raise an unexpected impression.]]>
<![CDATA[Efektivitas Keroncong Garapan Orkes Keroncong Tresnawara terhadap Audiensi Generasi Muda ]]>
<![CDATA[Nugrahanstya Cahya Widyanta]]>
<![CDATA[ Jurnal Kajian Seni Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.30042
<![CDATA[Nowadays, kroncong of music seems less attractive to young people. The listener of this style of music is dominated by the elders. Orkes kroncong Tresnawara appeared to revive kroncong to be more appealing to younger generation. Orkes kroncong Tresnawara modifi ed kroncong in its every performance to be fi twith the musical taste of the younger generation. Kroncong creation relatively has high tempo and dynamic beat with thebeat syncopation with accents. It brings orkes kroncong Tresnawara a unique musical style. The style andits young players make the kroncong song arranged by this group is very appealing to the youth. Kroncong creation is a mean chosen by orkes kroncong Tresnawara to communicate with young people. In this modern era, the environment and function are different. Therefore, Orkes kroncong Tresnawara attempts to adapt to the era]]>
