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
125 Documents
<![CDATA[Penciptaan Ragam Hias Tingang Haguet sebagai Alternatif Brand Identity Kabupaten Pulang Pisau Kalimantan Tengah ]]>
<![CDATA[Olav Iban]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.5873
<![CDATA[Pulang Pisau is a 12 years old division regency in Central Kalimantan Province. Themagnitude opportunities of tourism sector require the local government and variousrelevant stakeholders to developed their regional identity through brand identity. DayakNgaju, the biggest and dominant indigenous group in Pulang Pisau Regency, has thestand out cultural aspects and be able to represent the regency. The representation isfi ltered and merged into a visual form. The landscape aspect of Pulang Pisau Regency,like Kahayan and Sebangau rivers, also plays a main role in contributing the distinctivecharacter. This paper is an attempt to build a brand identity of Pulang Pisau Regencythrough a simple study of the cultural identity of their local community. The result is anornament named Tingang Haguet.]]>
<![CDATA[Dramaturgi Teater Rakyat Randai di Minangkabau ]]>
<![CDATA[Wendy HS]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.5874
<![CDATA[As a cultural performance, Randai traditionally organized in various ways as partof a traditional Minangkabau order adaik salingka nagari prevailing at each villagesin Minangkabau. As a folk theater, Randai always produced with distinctive-lookingdramaturgi order relating to the socio-cultural order prevailing in Minangkabau society.Based on the description dramaturgi aspects of it, seems a common thread that connectsthe various elements of the socio-cultural order Minangkabau society.Study of this paper will show that the Randai dramaturgy typically constructed based onthe existence of elements and traditional values in the range of ethnic communities in theMinangkabau of West Sumatra. Various political and social factors in the developmentof the Minangkabau people, especially friction factor of the indigenous, Islam, andthe state, has affected the order of the elements and the traditional values that buildRandai dramaturgy. As a result, aspects and positions where Randai dramaturgi inMinangkabau society today, is also changing.]]>
<![CDATA[Seni Jathilan dalam Dimensi Ruang dan Waktu ]]>
<![CDATA[Kuswarsantyo Kuswarsantyo]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.5875
<![CDATA[After the launching of tourism in 1986 by President Suharto jathilan become more varied both in terms of presentation and story themes resources are taken. The development of the presentation is able to shift the initial function jathilan as part of the ritual as Merti village, rasullan, sedhekah sea, and the like are held regularly every year. Jathilan that there transformed into a commodity that is used as a tourist attraction. The presentation function jathilan now able to adapt to the needs of the community aestetic supporters, so that there are currently several categories jathilan; First jathilan ritual that we can only meet once a year for certain ceremonial events. Both jathilan entertainment, which can be encountered at any time when no one had a lavatory. And third jathilan for the festival. Jathilan festival is formatted with choreography and certain rules by the organizers]]>
<![CDATA[Makna Simbolik Pertunjukan Kelentangan dalam Upacara Belian Sentiu Suku Dayak Benuaq Desa Tanjung Isuy, Kutai Barat, Kalimantan Timur ]]>
<![CDATA[Eli Irawati]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.5876
<![CDATA[Kelentangan is a kind of music used in a sequence of Belian Sentiu ceremony, oneof healing rites of Dayak Benuaq Society led by the pemeliatn. The ceremony can beheld when Kelentangan does also come. Kelentangan itself has two meanings, asan instrument or as an ensemble. The performance of Kelentangan in Belian Sentiuceremony is a representation of the myth about belief toward ghosts and the DayakBenuaq ancestor’s spirits. The performance of Kelentangan has a very important rolein the healing procession or also known as ngawat. All of Kelentangan performancesin the Belian Sentiu ceremony are meaningful and contain symbolical meanings in it.They functioned normatively as social adjustment in Dayak Benuaq of Tanjung Isuy,in individual and environmental, and spiritual relationships. The later concerned withghosts and the ancestors’ spirits.]]>
<![CDATA[Seni Pertunjukan Topeng Tradisional di Surakarta dan Yogyakarta ]]>
<![CDATA[R.M. Pramutomo]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.5877
<![CDATA[This article examine a study of exploration in which is ‘style’ of masked dancedrama’sconcentration of Surakarta and Yogyakarta regions. Two of them were the center ofmasked dancedrama called ‘Dramatari Topeng’ in Java island. Because of the specifi cscope of study focussed on masked dancedrama in Java, so that the article will strivesa very limited topic namely ‘identifi cation of performance style’. Basic stuff of maskeddancedrama in Java based on movement materials of two different grand style inSurakarta include its root in Klaten and arround, and Yogyakarta style and its rootarround Kalasan area. All of two grand styles will explore using ethnochoreopogicalapproach which are combined by comparative study related to its urgence on multilayeredentities of their performance each other. Through this article we would recognize theaspects of identifi cation of grand style within two movement materials of the mostinfl uence dance style in the masked dancedrama in Java.]]>
<![CDATA[Dalang Anak dalam Pertunjukan Wayang ]]>
<![CDATA[Junaidi Junaidi]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.5878
<![CDATA[Puppeteer puppet show presenter child as interesting to study, because adultsusually do, so there is a discrepancy between the condition of the child and puppet show format. Child Puppeteer appears in different areas, both in Java and the surrounding territory. Motivation theory is used to solve the presence of children in the puppet show, while the methods of qualitative research, based on fi les from the literature review and field observations. The results can be found that the child puppeteer motivation is internal and external, as an educative motive, preservation, and development of the art of puppetry to the next generation.]]>
<![CDATA[Wayang Kulit Tradisional dan Pasca-Tradisional di Jawa Masa Kini ]]>
<![CDATA[Matthew Isaac Cohen]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.5965
<![CDATA[Regional traditions of wayang kulit puppetry remain alive and vibrant in contemporary Indonesia, responding to currents of global culture, changing configurations of patronage, and the challenges of doctrinal Islam. Enterprising artists tap into new funding sources to renew audiences, strategic alliances are struck between academics and performers, and after the long hiatus of a military dictatorship under President Soeharto, wayang kulit has resumed its role as a mouthpiece for political commentary and dissent. In addition to traditional wayang kulit, the last decade has seen a surge of post-traditional wayang kulit. Post-traditional productions, which are generally not linked to ritual events or functions, etiolate and hybridize the conventions of the form, intentionally violating sacred norms and taboos. Traditionally-trained practitioners alive to global popular culture and the demands of the international contemporary art market, sometimes in collaboration with other artists, create new work that draws deeply on wayang kulit conventions and practices to speak to new audiences about issues of current relevance. While traditional and post-traditional wayang kulit present strikingly different aesthetic profiles, practitioners happily cross between the two art worlds, benefiting from contemporary society’s cultural pluralism.]]>
<![CDATA[Multiplisitas Wajah Rahim: Karya Seni sebagai Narasi Feminis (Refleksi atas Pameran Tunggal Dewi Candraningrum “Dokumen Rahim”) ]]>
<![CDATA[Ratna Noviani]]>
<![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.11635
<![CDATA[The term ‘womb’ is an organ in the lower abdomen of female body, which is particularlyassociated with pregnancy. Metaphorically, womb is perceived as the origination ofthings that are brought to life with the pour of an intense feeling of affection. The wombis an act of creation, a document of maternal procreation. This article is a refl ectivereading of ‘Womb Document’, a solo painting exhibition by a feminist female artist,Dewi Candraningrum. She tries to move away from what is considered aspure, selfreferentialand apolitical art. Artwork is a feminist narration. Clusters of her mostlyfemale portraiture paintings and sketches represent multiple faces of womb, which havebeen resided in the margins of hegemonic discourse. She uses aesthetic conventionsin her visual artworks, which are different from those applied in the canon. Dewi hasconsidered visual artworks as part of political arts, which should take a side andemancipate the considered Others.]]>
<![CDATA[Tonel: Teaterikalitas Pascakolonial Masyarakat Tansi Sawahlunto ]]>
<![CDATA[Dede Pramayoza]]>
<![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.11636
<![CDATA[Tonel is a dramatic performing arts that has been living in Tansi Society, Sawahlunto,Sumatera Barat. This study is a preliminary review of the tonel existence in the presenttime that related to the history of Sawahlunto as a colonialization effect. This research usedescriptive analysis of study literature and interview, the description is directed to explore thepostcolonial indication contained in tonel staging practices. The results answered that tonelis a part of a hybrid product in creoles culture, as the effects of colonial policy in the past.In other hand, the study also explained that through theatricality of tonel had an impectedfor Tansi society of Sawahlunto to create a new cultural identity as “Slunto Peoples”]]>
<![CDATA["Diaspora Indonesia dan Gamelan Jawa di Inggris: Dampak Relokasi Tradisi terhadap Pembentukan Identitas dan Komunitas" ]]>
<![CDATA[Leilani Hermiasih]]>
<![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.11637
<![CDATA[This study has examined the various realms of diasporic gamelan musical communitiesin Britain. While being displaced from their homeland, these members of the Indonesiancommunity reinforce their national identity through gamelan music making activities in therealm of a community of practice. These practices involve a constant interplay betweentheir participation in learning the music and reifi cation in performing it for other membersof the diaspora, as well as the British public. Within both realms of practice, as agentsof their own identity and community formation, these migrants practice authenticationthrough the establishment of claims on tradition and modernity—as this phenomenonis a part of the greater phenomena of deterritorialization, cultural displacement, andglobalization.]]>
