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[Estetika Gamelan Gong Gede di Desa Adat Tejakula: Ditinjau dari Tabuh (Gending) ]]>
<![CDATA[Pande Gede Widya Supriyadnyana]]>;
<![CDATA[I Gede Arya Sugiartha]]>;
<![CDATA[Ni Made Arshiniwati]]>
<![CDATA[ Jurnal Kajian Seni Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (865.564 KB)
|
DOI: 10.22146/jksks.52104
<![CDATA[Barungan gamelan Gong Gede adalah satu wujud dari berbagai bentuk di Bali. Penelitian artikel ini bertujuan untuk menganalisis estetika tabuh Gong Gede di Desa Adat Tejakula di Kabupaten Buleleng Bali. Penulis menggunakan metode penelitian deskriptif kualitatif yaitu mengungkapkan suatu masalah sesuai dengan logika yang ada dengan teknik pengumpulan data melalui observasi, wawancara, dan dokumentasi. Data diperoleh dari sumber data primer berupa wawancara dengan informan Pande Gede Mustika dan Made Imawan (Jro Bau) dengan teknik purposive sampling. Data sekunder diperoleh melalui hasil dokumentasi pelaksanaan pertunjukkan Gamelan Gong Gede di Pura Desa Adat Tejakula. Hasil penelitian ini adalah mengetahui bentuk estetika pertunjukkan gending lelambatan Gamelan Gong Gede. Dalam penyajiannya, estetika pertunjukkan Gamelan Gong Gede yang terdapat di Desa Adat Tejakula diawali dengan tabuh gilak, tabuh telu, dan tabuh megending (tabuh pat dan tabuh nem). Dalam estetika terdapat wujud atau rupa (appreance), bobot atau isi (content), dan penampilan (presentation).]]>
<![CDATA[Perubahan Fungsi pada Ornamen Tionghoa Gereja Santa Maria De Fatima Jakarta ]]>
<![CDATA[Rosa Ivana Kosasih]]>;
<![CDATA[Timbul Haryono]]>;
<![CDATA[Wisma Nugraha]]>
<![CDATA[ Jurnal Kajian Seni Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (2911.725 KB)
|
DOI: 10.22146/jksks.52230
<![CDATA[Gereja Santa Maria de Fatima merupakan sebuah bangunan rumah tinggal seorang kapitan Tionghoa. Pater Wilhelmus Kraus Van Eiden. SJ mengubah dan menetapkan bangunan rumah tinggal tersebut sebagai gereja Katholik. Sebagian ornamen–ornamen Tionghoa yang dipertahankan dianggap memiliki nilai filosofis karena pemilik sebelumnya merupakan seorang kapitan yang memilik kepercayaan Konfusius, Taoisme, dan Buddha (Tridharma). Tulisan ini bertujuan untuk mengetahui elemen visual pada ornamen Tionghoa dan perubahan fungsi ornamen Tionghoa gereja Santa Maria de Fatima pada saat menjadi rumah tinggal dan setelah menjadi bangunan gereja. Teori yang digunakan pada artikel ini adalah estetika. Hasil memperlihatkan bahwa terdapat perubahan fungsi pada beberapa ornamen Tionghoa yang dipertahankan, dan melalui elemen visual pada ornamen Tionghoa dapat memberikan budaya baru di dalam gereja Katholik Indonesia. Kesimpulan dari penelitian ini adalah ornamen Tionghoa yang dipertahankan memiliki bentuk khas yang memiliki nilai loso s yang berkaitan dengan nilai religi dan kebudayaan pemilik rumah ,fungsi ornamen Tionghoa juga berubah setelah bangunan dialih fungsikan sebagai bangunan gereja. Perubahan fungsi tergantung pada sudut pandang manusia itu sendiri.]]>
<![CDATA[Pengalaman Musikal dalam Teori Kecerdasan Majemuk Howard Gardner ]]>
<![CDATA[Untsa Akramal Atqa]]>;
<![CDATA[G.R. Lono Lastoro Simatupang]]>;
<![CDATA[Royke B. Koapaha]]>
<![CDATA[ Jurnal Kajian Seni Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (165.806 KB)
|
DOI: 10.22146/jksks.52258
<![CDATA[The interest in music studies from various disciplines has increased in recent years. This is because the results of studies that show musical abilities are related to non-musical abilities. One example is research on music and intelligence. Music with intellectual intelligence and emotional intelligence has been proven to have strong relationships. Therefore, this paper was made as one of the studies on the relationship of music with intelligence, especially multiple intelligences that have not been widely studied before. The research method used is the study of literature. This literature study aims to build and construct conceptions more strongly based on empirical studies that have been done before.]]>
<![CDATA[Mwathirika sebagai Materi Tambahan dalam Mempelajari Sejarah 1965 ]]>
<![CDATA[Tika Savitri]]>
<![CDATA[ Jurnal Kajian Seni Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (192.331 KB)
|
DOI: 10.22146/jksks.52274
<![CDATA[30th of September Movement, or Gerakan 30 September in 1965 was one of the watershed moments in the course of history of Indonesia. The transition to the New Order from the Old Order and the events surrounding it are deemed so important that the Department of Education and Culture includes it into the official curriculum taught at XII grade students. G30S and the conflicts around the year 1965 are pictured in an optimistic tint, like a good struggle towards a better new era of development. On the other hand, what happened – and what is felt - in the artistic world is more on the contrary, since many artists associate the events with dark, dreadful situations of violence and unrest. Mwathirika by Papermoon Puppet Theater is one example of artists’ works regarding G30S, with this one in particular using the medium of contemporary puppet theater. The play Mwathirika itself doesn’t explicitly show the transition of governmental power. Instead, it focuses on the loss of the victims around the events. These differing point of views from the government and artistic world is what prompted this research, thus arriving to the question of whether contemporary performance art can provide supplemental education for high school students, especially regarding sensitive matters in one own’s history.]]>
<![CDATA[Plot Sebagai Penjelasan Sejarah: Perihal Kembalinya Arjuna dari Kematian atau Hilangnya ]]>
<![CDATA[Sri Kuncoro]]>;
<![CDATA[G.R. Lono Lastoro Simatupang]]>;
<![CDATA[Timbul Haryono]]>
<![CDATA[ Jurnal Kajian Seni Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (181.68 KB)
|
DOI: 10.22146/jksks.52276
<![CDATA[Arjuna died. He was accidentally killed by Prabu Suteja. There was a war between Prabu Suteja and Raden Purwagada, sons of Prabu Kresna. In its next few scenes, Arjuna is revived and appears in Dwarawati Kingdom’s scene without any explanation. It is narrated in a play entitled Kresna Adu Jago by Ki H. Anom Rusdi from Cirebon. Arjuna disappeared since the war between Prabu Kresna and Dewi Pertiwi’s son Bomanerakasura and Samba the son of Prabu Kresna and Dewi Jembawati. Punakawan reported that Arjuna had died in the war. Arjuna and punakawan were both vanished while Arjuna actually lives as an ascetic in Mintaraga cave and later be called as Begawan Ciptaning Mintaraga. Arjuna as Begawan Ciptaning Mintaraga appears in Mintaraga play by Ki Timbul Hadiprayitno from Yogyakarta. Kresna Adu Jago and Mintaraga plays are not identical. Names of the involved characters are different though problems within both plays are similar: a war between sons of Kresna which exacerbates the next problem. The next problem in Kresna Adu Jago is Nerakasura’s grudge against the death of his father, Prabu Suteja, which makes him face Gatutkaca and meet the same fate: died in Gatutkaca’s hands. Problem in Mintaraga is liberation efforts of Dewi Supraba in avoiding Prabu Nirbita Niwatakaca’s intention to marry the angel. Both plays appear identical only on matters of Arjuna’s death, disappearance, as well as his reappearance. Arjuna’s reappearance have the most important difference: Arjuna’s reappearance in Kresna Adu Jago is without reason while it has reasons in Mintaraga. In theories of plot, this cause-effect or effect-cause patterns (instead of a time-based sequence) are called plot. In historical theories, this cause-effect interaction, rather than a sequence of events based on the background of time, is referred to as historical explanation. Through theories of plot, Arjuna’s death in Kresna Adu Jago is a muted history. Through historical theories, Arjuna’s reappearance in Mintaraga is a forged history. Both ways of telling, as options of storytelling, are equally valuable as aesthetic strategies.]]>
<![CDATA[Perhatian Tubuh dalam Bingkai Festival ]]>
<![CDATA[Ganter Hanggayuh P.P.]]>
<![CDATA[ Jurnal Kajian Seni Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (176.284 KB)
|
DOI: 10.22146/jksks.52277
<![CDATA[Studies on the festival are much found, both traditional and modern festivals. However, there are still many focus points that discuss management and governance, especially in an organization. We know that the festival is a moment which is an event to break the time and space temporarily in real time. At least there are certain techniques that unconsciously ‘capture’ what we are seeing and feeling as personal experiences. Then the part that constructs our understanding of what message the organizer communicates. Need to be examined further when reviewing a festival would be very important to categorize the form of the festival. This paper tries to find opportunities to examine the festival through the response of the performer and audience with a focus on body attention. Moreover, the audience is a member of a community and actively participates in festivals (outside the committee) which actually always emphasizes culture. Some of the possibilities that have been described in this paper can be stimulus to start viewing a festival from the attention of the body of the audience, participants, performer as well as what is involved in the scope of the festival. In addition, this paper highlights the festival through its community, social movements, expressive culture, individual bodies, social bodies, and interactions between bodies as a methodological offer in groping and sorting out what are likely to be studied.]]>
<![CDATA[Kosmologi Sekala-Niskala Refleksi Estetika Lukisan I Nyoman Sukari ]]>
<![CDATA[I Gede Arya Sucitra]]>;
<![CDATA[Rr. Siti Murtiningsih]]>
<![CDATA[ Jurnal Kajian Seni Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (361.472 KB)
|
DOI: 10.22146/jksks.52895
<![CDATA[Philosophical reflection provides an understanding of all the activities of various components of the work of human works as a related entity in a network with one another. Language, myth, religion, and art and artists as human creators are not unrelated, but rather integrated into a single bond.I Nyoman Sukari as an artist, has a pluralistic and multicultural variety of artistic achievements bringing all the charm, experience, mystery, stories, mythology of Bali and Java inherent in his body, mind, and soul. The philosophical issues in Sukari's paintings are full of Balinese locality values and their multicultural nature; religiosity, mythology, history, scale, tradition art, cross-culture, and contemporary or globalization issues become more complex and multi-layered in aesthetic and metaphysical terms.In this article, I will investigate and study with a hermeneutic-metaphysical approach; what is the nature of the art for I Nyoman Sukari, how far the basic principles of Hindu aesthetics reflect in his art, how Sukari understands the world of metaphysics and then interprets all inner and worldly issues (Sekala-niskala), how to negate Hindu-Balinese philosophy and the contemporary world to give birth the narratives of spirituality through painting with metaphors and symbolizations. Keywords: Metaphysics, Painting, Hindu-Balinese Philosophy, Aesthetics, Hermeneutics.]]>
<![CDATA[Akhudiat sebagai Penulis Naskah Drama Indonesia ]]>
<![CDATA[Iga Ayu Intan Candra]]>
<![CDATA[ Jurnal Kajian Seni Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1132.9 KB)
|
DOI: 10.22146/jksks.53727
<![CDATA[Abstrak Akhudiat merupakan tokoh penulis naskah drama Indonesia yang benyak memberikan kotribusi terhadap perkembangan teater. Penelitian ini mengungkapkan latar belakang kreativitas Akhudiat, yang terdiri dari kehidupan masa kanak-kanak, proses pendidikan, berkesenian dan dukungan keluarga. Penelitian ini merupakan penelitian kualitatif dengan pendekatan naratif. Cerita naratif dalam penelitian menuturkan pengalaman individual, dikumpulkan melalui beragam bentuk data, disusun secara kronologis, dianalisis, mengandung titik balik dan berlangsung di tempat dan situasi yang spesifik. Data penelitian berfokus pada tokoh Akhudiat, naskah-naskah yang dihasilkan dan motivasi berkarya yang dilakukan. Pengambilan data dilakukan dengan proses observasi dan wawancara terhadap tokoh-tokoh yang terlibat dalam proses kesenian Akhudiat yaitu tokoh di Bengkel Muda Surabaya dan keluarganya. Selain itu proses pengumpulan data juga menggunakan kajian literatur berupa buku dan artikel yang berhubungan dengan Akhudiat dan proses berkaryanya.Kata Kunci : Akhudiat, naskah drama, tokoh, teater]]>
<![CDATA[‘Being Contemporary’: Proses Ari Ersandi Dalam Karya Lalube ]]>
<![CDATA[Galih Prakasiwi]]>;
<![CDATA[Rr. Paramitha Dyah Fitriasari]]>;
<![CDATA[Sal Murgiyanto]]>
<![CDATA[ Jurnal Kajian Seni Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (987.951 KB)
|
DOI: 10.22146/jksks.53834
<![CDATA[Artikel ini melihat bagaimana perspektif kekontemporeran seorang koreografer muda, yakni Ari Ersandi, melalui pengalaman serta prosesnya berkarya Lalube. Pelabelan tari kontemporer secara ekplisit maupun implisit pada festival maupun pergelaran karya tari. Produksi karya terus dihasilkan namun tidak seturut dengan produksi wacananya. Penelitian ini menggunakan metode kualitatif dengan memperhatikan fenomena yang terjadi melalui proses latihan dan pengalaman koreografer. Pewacanaan rasionalitas, kebebasan, kreativitas, dan kemanusiaan oleh Sal Murgiyanto dipadukan dengan konsep kekontemporeran Giorgio Agamben. Ari Ersandi, koreografer urban yang datang dari Lampung ke Yogyakarta mulai belajar tari di perguruan tinggi. Keterbatasannya menari tarian tradisi dan pengalaman hidupnya membuat Ari terpacu untuk mencari teknik gerak sendiri. Lalube menjadi ungkapan resistensi dan eksistensi Ari Ersandi. Kata Kunci : Kekontemporeran, Koreografer, Muda]]>
<![CDATA[Pesona Seni dan Teknologi pada Pertunjukan Fire Dance di Komunitas Flownesia ]]>
<![CDATA[Rifa Fitriana]]>;
<![CDATA[Rr. Paramitha Dyah Fitriasari]]>;
<![CDATA[Wiwik Sushartami]]>
<![CDATA[ Jurnal Kajian Seni Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (181.599 KB)
|
DOI: 10.22146/jksks.54516
<![CDATA[Flownesia is one of the Indonesian flow-art communities that use visual performance with fire props. Based on the existing phenomena, researchers see the existence of special tricks that are used when performing and also various forms of property for enchanting the audience, so this research will explore the aesthetic impact that has emerged on visual fire dance performances and the role of technology in the Flownesia community. This research uses a qualitative method, that is done with participant observation. Alfred Gell's (2006) theory of technology of enchantment was chosen to analyze the forms of visual art and technology performances in flow-art performances. The results of this research flow-art performances in the Flownesia community is a manifestation of art and technology, especially when exploring innovations in their performances. The enchantment that displayed is the result of extraordinary techniques also thr concept of modern and tradition, elaborated on the fire dance props. The movement structure, floor pattern, choreography and tool exploration are important aspect to create interesting visual effects in the Flownesia community performance]]>
