2024-03-29T09:02:16Z
https://jurnal.ugm.ac.id/jks/oai
oai:jurnal.ugm.ac.id:article/5873
2019-06-01T12:08:09Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/5873
2019-06-01T12:08:09Z
Jurnal Kajian Seni
Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014; 19-31
Penciptaan Ragam Hias Tingang Haguet sebagai Alternatif Brand Identity Kabupaten Pulang Pisau Kalimantan Tengah
Iban, Olav; Pengkajian Seni Pertunjukan dan Seni Rupa
Sekolah Pascasarjana, Universitas Gadjah Mada
2014-11-07 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/5873
en
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.
oai:jurnal.ugm.ac.id:article/5874
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https://jurnal.ugm.ac.id/jks/article/view/5874
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Jurnal Kajian Seni
Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014; 32-47
Dramaturgi Teater Rakyat Randai di Minangkabau
HS, Wendy; Jurusan Seni Teater
Fakultas Seni Pertunjukan, Institut Seni Indonesia Padangpanjang
2014-11-07 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/5874
en
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.
oai:jurnal.ugm.ac.id:article/5875
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https://jurnal.ugm.ac.id/jks/article/view/5875
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Jurnal Kajian Seni
Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014; 48-59
Seni Jathilan dalam Dimensi Ruang dan Waktu
Kuswarsantyo, Kuswarsantyo; Pendidikan Seni Tari
Fakultas Bahasa dan Sastra, Universitas Negeri Yogyakarta
2014-11-07 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/5875
en
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
oai:jurnal.ugm.ac.id:article/5876
2019-06-01T12:08:09Z
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https://jurnal.ugm.ac.id/jks/article/view/5876
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Jurnal Kajian Seni
Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014; 60-73
Makna Simbolik Pertunjukan Kelentangan dalam Upacara Belian Sentiu Suku Dayak Benuaq Desa Tanjung Isuy, Kutai Barat, Kalimantan Timur
Irawati, Eli; Program Studi Etnomusikologi
Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta
2014-11-07 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/5876
en
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.
oai:jurnal.ugm.ac.id:article/5877
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jks:ART
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https://jurnal.ugm.ac.id/jks/article/view/5877
2019-06-01T12:08:09Z
Jurnal Kajian Seni
Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014; 74-88
Seni Pertunjukan Topeng Tradisional di Surakarta dan Yogyakarta
Pramutomo, R.M.; Fakultas Seni Pertunjukan
Institut Seni Indonesia, Surakarta
2014-11-07 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/5877
en
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.
oai:jurnal.ugm.ac.id:article/5878
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https://jurnal.ugm.ac.id/jks/article/view/5878
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Jurnal Kajian Seni
Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014; 89-102
Dalang Anak dalam Pertunjukan Wayang
Junaidi, Junaidi; Jurusan Pedalangan
Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta
2014-11-07 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/5878
en
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.
oai:jurnal.ugm.ac.id:article/5965
2019-06-01T12:08:09Z
jks:ART
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https://jurnal.ugm.ac.id/jks/article/view/5965
2019-06-01T12:08:09Z
Jurnal Kajian Seni
Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014; 1-18
Wayang Kulit Tradisional dan Pasca-Tradisional di Jawa Masa Kini
Cohen, Matthew Isaac; Jurusan Teater & Drama
Royal Holloway, University of London
2014-11-07 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/5965
Wayang Kulit Tradisional, Wayang Kulit Pasca-Tradisional, Jawa
en
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.
oai:jurnal.ugm.ac.id:article/11635
2020-03-25T08:26:42Z
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https://jurnal.ugm.ac.id/jks/article/view/11635
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Jurnal Kajian Seni
Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015; 103-113
Multiplisitas Wajah Rahim: Karya Seni sebagai Narasi Feminis (Refleksi atas Pameran Tunggal Dewi Candraningrum “Dokumen Rahim”)
Noviani, Ratna; Universitas Gadjah Mada
2016-06-14 11:00:49
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11635
id
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.
oai:jurnal.ugm.ac.id:article/11636
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https://jurnal.ugm.ac.id/jks/article/view/11636
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Jurnal Kajian Seni
Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015; 114-129
Tonel: Teaterikalitas Pascakolonial Masyarakat Tansi Sawahlunto
Pramayoza, Dede; Universitas Gadjah Mada
2016-06-14 11:04:06
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11636
id
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”
oai:jurnal.ugm.ac.id:article/11637
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https://jurnal.ugm.ac.id/jks/article/view/11637
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Jurnal Kajian Seni
Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015; 130-148
"Diaspora Indonesia dan Gamelan Jawa di Inggris: Dampak Relokasi Tradisi terhadap Pembentukan Identitas dan Komunitas"
Hermiasih, Leilani; Universitas Gadjah Mada
2016-06-14 11:06:57
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11637
id
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.
oai:jurnal.ugm.ac.id:article/11638
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https://jurnal.ugm.ac.id/jks/article/view/11638
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Jurnal Kajian Seni
Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015; 149-165
Modal dan Makna Kerja Dalang Wayang Potehi di Semarang: Kisah Hidup Thio Tiong Gie
Insriani, Hezti; Universitas Gadjah Mada
2016-06-14 11:09:55
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11638
id
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.
oai:jurnal.ugm.ac.id:article/11640
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https://jurnal.ugm.ac.id/jks/article/view/11640
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Jurnal Kajian Seni
Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015; 166-178
Pada Suatu Drama: Studi Seni Pagelaran dalam Wacana Pergerakan
Belvage, Rio Heykhal; Universitas Gadjah Mada
2016-06-14 11:12:40
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11640
id
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.
oai:jurnal.ugm.ac.id:article/11641
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https://jurnal.ugm.ac.id/jks/article/view/11641
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Jurnal Kajian Seni
Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015; 179-193
Wayang Onthel Komunitas Old Bikers Velocipede Old Classic (VOC) Magelang
Fuad, Figur Rahman; Universitas Gadjah Mada
2016-06-14 11:14:32
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11641
id
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.
oai:jurnal.ugm.ac.id:article/11642
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https://jurnal.ugm.ac.id/jks/article/view/11642
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Jurnal Kajian Seni
Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015; 194-204
Seni pada Masa Pemerintahan Dinasti Abbasiyah Tahun 711 – 950 Masehi
Harimurti, Shubhi Mahmashony; Universitas Gadjah Mada
2016-06-14 11:16:34
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11642
id
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.
oai:jurnal.ugm.ac.id:article/11645
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Jurnal Kajian Seni
Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015; 1-9
Bentang Tubuh Putu Sutawijaya
Budiman, Kris; Universitas Gadjah Mada
2016-06-14 12:29:43
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11645
id
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.
oai:jurnal.ugm.ac.id:article/11646
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Jurnal Kajian Seni
Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015; 10-24
Barongsai Cap Go Meh di Makassar sebuah Pemikiran Tentang Tari, Ritual, dan Identitas
Andini, Batari Oja; Universitas Gadjah Mada
2016-06-14 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11646
id
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
oai:jurnal.ugm.ac.id:article/11647
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Jurnal Kajian Seni
Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015; 25-32
V For Vendetta Novel Grafis sebagai Ikon Revolusi
Fadhillah, Nadia Aghnia; Universitas Gadjah Mada
2016-06-14 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11647
id
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.
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Jurnal Kajian Seni
Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015; 33-49
Stigmatisasi terhadap Tiga Jenis Seni Pertunjukan di Banyuwangi: dari Kreativitas Budaya ke Politik
Nurullita, Hervina; Universitas Gadjah Mada
2016-06-14 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11648
id
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.
oai:jurnal.ugm.ac.id:article/11649
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Jurnal Kajian Seni
Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015; 50-63
Pertunjukan Body Painting di Bali sebagai Objek Pariwisata
Rediasa, I Nyoman; Universitas Gadjah Mada
Sutrisno, Langen Bronto; Fakultas Bahasa dan Seni,
Universitas Pendidikan Ganesha, Singaraja-Bali
2016-06-14 12:43:37
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11649
id
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).
oai:jurnal.ugm.ac.id:article/11650
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Jurnal Kajian Seni
Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015; 64-73
Pembelajaran Seni Bahasa dalam Konteks Lintas Kurikulum melalui Drama
Surtantini, Rin; Universitas Gadjah Mada
2016-06-14 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11650
id
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.
oai:jurnal.ugm.ac.id:article/11651
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Jurnal Kajian Seni
Vol 2, No 1 (2015): Jurnal Kajian Seni Vol 2 No 1 November 2015; 74-90
Kajian Tekstual The Drupadi Trilogy Karya Ananda Sukarlan
Kristiana, Nirai Nathalia Deasy; Universitas Gadjah Mada
2016-06-14 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/11651
id
The Drupadi Trilogy is Ananda Sukarlan’s music composition based on the story aboutDrupadi from Mahabharata. Aside from using the narrative literature, Sukarlan alsoused the music elements from Balinese gamelan in his art music composition. Therefore,by using the theory of Tripartition (Jean-Jacques Nattiez) and the theory of musicinterrelation (Philip V. Bohlman), The Drupadi Trilogy was analyzed textually to explainthe occurrence of elements of Balinese gamelan music in the composition, the connectionand correlation between the composition with other elements, and the purpose behindtheir connection and correlation.
oai:jurnal.ugm.ac.id:article/12138
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Jurnal Kajian Seni
Vol 2, No 2 (2016): Jurnal Kajian Seni Vol 2 No 2 April 2016; 151-163
The ‘New Enemet’: Politics of Religion in Indonesia and The Impact on Contemporary Artistic Practies
Luft, Adelina; Universitas Gadjah Mada
2017-03-02 12:59:34
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/12138
en
The present paper wishes to investigate the relation between the politics of religion and the consequent effects on the contemporary art practices in Indonesia during the last decade. By looking at two major cases:Christanto’s exhibition in 2002 and “Pinkswing Park” from 2005 CP Biennale, the article takes an incursion into the relations between religion and politics by looking at how and in what ways the Islamic extremist groups can influence and restrict freedom of expression in a democratic country. I argue that the Islamic fundamentalists are representing the new enemies in the current freedom of expression, after the previous eras which saw the presence of other enemies: the state and the military, affecting both the levels of nation policies, contemporary art world and the individual artistic practice.
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Jurnal Kajian Seni
Vol 2, No 2 (2016): Jurnal Kajian Seni Vol 2 No 2 April 2016; 107-115
Rasionalitas Ketubuhan Tunanetra dalam Menciptakan Estetika Rumah Tinggalnya
Cahyo, Mahdi Nur; Universitas Gadjah Mada
2017-03-02 00:00:00
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/12139
id
AbstrakTulisan ini merupakan studi untuk menyelidiki bagaimana diri tunanetra memahami sekaligus memaknai estetika rumah tinggalnya. Kondisi keterbatasan indra tidak membuat mereka lemah, tetapi justru menjadi kelebihan dalam diri mereka yang sangat berguna dalam menjalani aktivitas di dalam rumah. Melalui ‘dialog’ antara tubuh, indera dan ruang, mereka mampu menciptakan ‘rasa merumah’ sebagai bagian dari proses menciptakan estetika ruang yang mereka huni. Melalui pengalaman subtil masing-masing diri tunanetra berdasarkan cara mereka ‘meng-ada’ dalam dunia kehidupan (Lebenswelt), dapat memperoleh pencapaian pemaknaan estetika rumah tinggalnya. Semua setting elemen diolah dengan sensibilitas terhadap detail penataan ruang dan furnitur (skala, bentuk/jenis/sifat material, jarak peletakan) sehingga turut menciptakan keteraturan (order) yang akan memudahkan mereka bermanuver di dalam rumah. Dengan demikian pembentukan keteraturan (order) menjadi bagian dari proses pencapaian estetika itu sendiri.
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Jurnal Kajian Seni
Vol 2, No 2 (2016): Jurnal Kajian Seni Vol 2 No 2 April 2016; 164-177
Dinamika Pergelaran Jaran Kepang di Kota Malang dalam Perspektif Antropologi
Radhia, Hanifati Alifa; Universitas Gadjah Mada
2017-03-02 12:59:34
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/12140
id
The hobby-horse dance as known as jaran kepang, jathilan or kuda lumping is the one of dance art performance from Javanese. It also know as well in Malang City. Jaran kepang is one of entertainment art which have magic dramatical as the climax in the end of performance. It happend when one of the jaran kepang dancer was trance. This jaran kepang performance was invited and entertain folks to see and, it potentially to be carnaval event. Before they perform, called gebyak, the jaran kepang dancer do some rites to called their danyang or perewangan, and prepare sesaji or sandingan. The dynamic of art performance both personal or collective grup reflected the reality of traditional art performance in Indonesia. Today, this jaran kepang performance who had ritual function was changed by entertainment. Jaran kepang as culture is one of Javanese rural rites in selamatan or bersih desa moment. This paper was done by through context perspective with life history analysis. The aim of research is to see the social-cultural phenomena behind jaran kepang performance.
oai:jurnal.ugm.ac.id:article/12141
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Jurnal Kajian Seni
Vol 2, No 2 (2016): Jurnal Kajian Seni Vol 2 No 2 April 2016; 132-150
Mencermati Transit dan Transition Teks Aransemen Musik Nyanyian Negeriku Karya Singgih Sanjaya ke Pergelaran
Artanto, Mei; Universitas Gadjah Mada
2017-03-02 12:59:34
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/12141
id
Nyanyian Negeriku merupakan karya arasemen musik yang dibuat oleh Singgih Sanjaya dengan memiliki dua materi musik di dalamnya, yaitu sembilan lagu daerah dan musik orkestra. Sembilan lagu daerah tersebut dipindahkan (transit dan transition) oleh Singgih Sanjaya ke dalam bentuk karya musik, yang berwujud teks musik yaitu fullscore. Teks musik tersebut menjadi sebuah karya yang untuh yang tidak dapat dimainkan secara individual dari kesembilan lagu daerah tersebut. Sembilan lagu daerah yang dipindahkan ke dalam karya musik yang berwujud teks yang selanjutnya berpindah ke sebuah pergelaran.Selanjutnya mengenai peristiwa perpindahan dari teks musik ke dalam sebuah pergelaran yang menjadi fokus selanjutnya dalam penelitian ini dengan mencermati teks pergelaran seperti tubuh kondakter dan musisi.
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Jurnal Kajian Seni
Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016; 69-80
Kondisi Kritis Keaslian Laras Slendro Banyumas
Nugroho, Mukhlis Anton; Universitas Gadjah Mada
2017-11-06 15:44:14
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/12142
id
Slendro is one kind of tuning music system exists in Banyumas. The characteristic of Slendro Banyumas is different from the existed Slendro in Surakarta, to Banyuwangi Slendro, Sundanese Salendro, ect. Slendro’s character is able to be detected from the interval pattern between of its tones. This is appropriate to the theoretical concept about laras that explain “one of the musical atmosphere defi ned by the tuning system which focuses on the jangkah pattern (interval) for its tones in one cycle”. This article aims toshow about the condition of Slendro Banyumas, nowadays, it is experiencing a shift due to the infl uence of the other tones. Slendro Banyumas threaten its authenticity.
oai:jurnal.ugm.ac.id:article/12143
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Jurnal Kajian Seni
Vol 2, No 2 (2016): Jurnal Kajian Seni Vol 2 No 2 April 2016; 116-131
Membaca Makna Ruang dan Peristiwa pada Pertunjukan Saidja Karya Papermoon Puppet Theatre dan Het Volksoperahuis
Abe, Muhammad; Universitas Gadjah Mada
2017-03-02 12:59:34
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/12143
id
Tulisan ini berangkat dari masih sedikitnya penelitian yang dilakukan pada bagaimana ruang difungsikan dan digunakan dalam seni pertunjukan Indonesia. Mengambil pertunjukan teater Saidja karya kolaborasi Papermoon Puppet Theatre dan Het Volksoperahuis, penulis melakukan analisis pada peran tubuh aktor dalam membangun ruang sebagai lokasi peristiwa. Pertunjukan Saidja menampilkan ruang bernama Kampung Tebu di masa lalu dan masa kini, penulis menelusuri makna tempat dan peristiwa-peristiwa yang terjadi di dalamnya dalam pertunjukan Saidja. Meminjam klasifikasi tanda-tanda yang digunakan dalam pertunjukan teater oleh Tadeusz Kowzan, relasi tubuh dan ruang yang ditempatinya oleh Setha Low, serta klasifikasi jenis-jenis pertunjukan yang mengangkat ingatan-ingatan tentang masa lalu, penulis menemukan bahwa di atas panggung tubuh para aktor-lah yang berperan besar menciptakan tempat-tempat yang menjadi lokasi peristiwa. Analisis pada pergerakan tubuh aktor dan tempat yang mereka ciptakan di atas panggung memungkinkan untuk membaca pula makna pertunjukan pada konteks yang lebih luas, yaitu pada konteks pandangan hubungan orang Indonesia dan orang Belanda pada relasi mereka di masa lalu.
oai:jurnal.ugm.ac.id:article/12144
2020-03-25T08:26:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/12144
2020-03-25T08:26:24Z
Jurnal Kajian Seni
Vol 2, No 2 (2016): Jurnal Kajian Seni Vol 2 No 2 April 2016; 95-106
Komunikasi Visual Gambar Ilustrasi Tradisi pada Naskah Tua Jawa Masa Kolonialisme
Adisasmito, Nuning Y Damayanti; Universitas Gadjah Mada
2017-03-02 12:59:34
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/12144
id
Tulisan ini merupakan hasil penelitian mengenai Gambar Ilustrasi pada Naskah Tua Jawa khususnya data data gambar yang berhasil didokumentasi dari Naskah Tua Jawa masa Kolonialisme di Indonesia. Sebagian Naskah Tua Jawa yang memuat gambar ilustrasi banyak dibuat pada periode tahun 1800-1920. Sejumlah naskah tersebut memiliki beragam wujud visual serta karakteristik lokal seni rupa masyarakat Jawa. Keunikan terlihat dalam penggayaan, cara menggambar, tema, serta obyek visual. Konsep Visual gambar Ilustrasi pada naskah tua Jawa tersebut adalah salah satu cara mengkomunikasikan kerangka berfikir dan refleksi kehidupan masyarakat Jawa dimasanya. Dari hasil penelitian dan analisis pada sejumlah Gambar Ilustrasi dalam naskah tua Jawa periode 1800-1920 yang dipilih sebagai sampel analisi memperlihatkan adanya benang merah kesinambungan baik dari konsep estetik maupun cara komunikasi visual melalui pembacaan bahasa rupa dan kajian sosio-budaya Jawa. Meskipun terjadi perubahan dan pengembangan, hal tersebut menunjukkan bahwa terjadi dinamisasi hasil interaksi budaya lokal dengan berbagai budaya luar sejak masa Hindu hingga masa Kolonial Eropa. Dari semua karakteristik yang menjadi benang merah penghubung adalah cara komunikasi visual yang bersifat naratif denotatif dan konsep penyederhanaan bentuk dwimatra melalui pengembangan gaya stilasi wayang. Tradisi menggambar ilustrasi pada naskah tua masyarakat Jawa merupakan cara mengkomunikasikan pikiran dan pesan pesan sosial yang dibuat secara turun temurun menjadi warisan cara komunikasi bagi masyarakat Jawa yang masih memahaminya. Disayangkan modernisasi menyebabkan keberadaan naskah-naskah Jawa yang berharga ini belum banyak dipahami oleh generasi sekarang.
oai:jurnal.ugm.ac.id:article/16580
2020-03-25T08:26:16Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/16580
2020-03-25T08:26:16Z
Jurnal Kajian Seni
Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016; 1-30
Aspek Perkembangan Historis dan Inter Relasi Gatra Wayang Kulit Purwa ‘Kyai Jimat’ Gaya Pakualaman dengan Ilustrasi Wayang dalam Manuskrip Skriptorium Pakualaman
Raharja, Bima Slamet; Prodi Sastra Jawa-Departemen Bahasa dan Sastra-Fakultas Ilmu Budaya Universitas Gadjah Mada
2017-11-06 15:44:14
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/16580
id
Dalam dunia pewayangan, wujud boneka wayang merupakan salah satu unsur yang penting digunakan sebagai sarana cerita pada setiap pertunjukan yang dimainkan oleh dalang. Pada setiap wilayah di mana kebudayaan dan kesenian wayang tumbuh dan berkembang, dipastikan muncul sebuah gaya atau gagrag. Keberadaan gaya ini biasanya dipakai sebagai penanda aspek kewilayahan dan identitas sistem budaya yang berlaku di sekitarnya. Wayang kulit purwa merupakan jenis wayang yang paling banyak dikenal dan diminati oleh masyarakat Jawa pada umumnya, selain aspek naratifnya. Berbagai macam gaya wayang kulit purwa di wilayah Jawa berkembang sedemikian rupa hingga merambah ke wilayah-wilayah kerajaan. Pakualaman, sebagai salah satu kerajaan di Jawa yang mengembangkan sistem kebudayaannya sendiri. Termasuk kesenian wayang yang diyakini mempunyai bentuk dan karakteristik tersendiri dan dikenal dengan wayang kulit purwa gagrag Pakualaman. Perangkat wayang kulit purwa gagrag Pakualaman dikenal dengan nama perangkat ‘Kyai Jimat’ yang diciptakan sejak era Paku Alam II hingga Paku Alam VII. Kekhususan wayang gaya Pakualaman ini banyak terlewat dari pengamatan Ppara peneliti wayang. Keunikan dan kekhasan wayang kulit purwa ‘Kyai Jimat’ diduga berkaitan dengan aspek naratif hingga aspek iluminatif serta sejumlah ilustrasi bergaya wayang yang terdapat pada bidang kesusastraan. Tentu saja kesusastraan skriptorium Pakualaman. Meskipun sekedar sebagai sebuah hiasan, iluminasi dalam manuskrip wayang skriptorium Pakualaman mempunyai kaitan yang cukup dapat dirunut latar belakang historis yang perlu dilihat melalui kajian sejarah mikro, secara bentuk dan perubahannya. Kajian ikonografis akan digunakan untuk membedah aspek bentuk gatra wayang kulit purwa ‘Kyai Jimat’ sebagai objek materialnya. Adapun pendekatan intertekstualitas akan digunakan merunut makna secara simbolik dan naratif serta pertalian antar kedua bidang tersebut, yaitu bidang seni rupa dan aspek susastranya. Setidaknya inter-relasi kedua objek ini akan diinterpretasikan dengan jelas.Kata kunci: Wayang kulit purwa ‘Kyai Jimat’, gagrag Pakualaman, inter relasi, aspek historis, ikonografis, dan intertekstualitas
oai:jurnal.ugm.ac.id:article/22694
2020-03-25T08:26:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/22694
2020-03-25T08:26:24Z
Jurnal Kajian Seni
Vol 2, No 2 (2016): Jurnal Kajian Seni Vol 2 No 2 April 2016; 178-194
Alam Pikir Masyarakat Madura yang Terepresentasikan Melalui Lagu Ta’ Andi’ Rokok (Cia-Cia)
Hidayatullah, Panakajaya; Universitas Gadjah Mada
2017-03-02 12:59:34
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/22694
conception, Cia-cia, dangdut, Madurese, discourse
Situbondo Jawa Timur
Ethnomusicology
id
Ta’ Andi’ Rokok (Cia-cia) is a Madurese dangdut song adaptated from Indian song entitledChaiyya-Chaiyya. The song lyrics are very infl uenced by the conception or perspective ofthe creator. This reasearch aims to understand paradigm of Madurese people representedthrough the song by using Foucault’s theory. The reasearch uses multidiscipline approachesby involving several different studies in order to reach comprehensive understanding.The research showsthat the Cia-cia song contains the discourse that consists of a groupof statements (speech) of debt and humour. Through the statements, the kinship andcharacteristic model of Madurese people may be taken as conclusion. Some discourse thenconstruct some dominant subjects which are,tarétan (cousins), kanca tatanggâ (neighbour),kanca main (friends), oréng teggâs (fi rm person), oréng sabbâr (patient person), humourist,and honest person. While some subordinate subjects are Bhâlâ Jâuh (extended family),moneylender, the other, oréng lécak (the indecisive), temperamental person, serious person,and deceitful.
oai:jurnal.ugm.ac.id:article/22706
2020-03-25T08:25:51Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/22706
2020-03-25T08:25:51Z
Jurnal Kajian Seni
Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017; 136-149
Transformasi Bentuk-Representasi dan Performativitas Gender dalam Seni Tradisi Topeng Ireng
Kiswanto, Kiswanto; Universitas Gadjah Mada
2017-11-06 17:19:20
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/22706
id
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.
oai:jurnal.ugm.ac.id:article/23335
2020-03-25T08:25:51Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/23335
2020-03-25T08:25:51Z
Jurnal Kajian Seni
Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017; 111-135
Hantu Topeng Kelono, Hantu Burung Kasuari, dan Hantu Ngung Ngung Ngung Cakcakcak: Tiga Hantu Tari yang Bergentayangan dalam Sejarah Kebudayaan Nasional
Isabella, Brigitta; Kunci Cultural Studies Center
2017-11-06 17:19:19
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/23335
id
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.
oai:jurnal.ugm.ac.id:article/23818
2020-03-25T08:25:51Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/23818
2020-03-25T08:25:51Z
Jurnal Kajian Seni
Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017; 216-230
Rumangsamu Penak: Analisis Wacana Politik Hidup Harian Buruh Migran Indonesia dalam Lagu Dangdut Koplo
Darajat, Irfan R; LARAS - Studies of Music in Society
2017-11-06 17:19:23
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/23818
analisis Wacana, Buruh Migran, Dangdut Koplo, Relasi Kuasa
en
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.
oai:jurnal.ugm.ac.id:article/28524
2020-03-25T08:25:41Z
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https://jurnal.ugm.ac.id/jks/article/view/28524
2020-03-25T08:25:41Z
Jurnal Kajian Seni
Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017; 52-63
Rekonseptualisasi Dokumenter: Kebenaran Filmis dalam Perspektif Kognitif
Hasan, Renta Vulkanita
Simatupang, Gabriel Roosmargo Lono Lastoro; Universitas Gadjah Mada
Saputro, Kurniawan Adi; Institut Seni Indonesia Yogyakarta
2019-03-24 15:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/28524
id
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.
oai:jurnal.ugm.ac.id:article/29864
2020-03-25T08:26:16Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/29864
2020-03-25T08:26:16Z
Jurnal Kajian Seni
Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016; 43-57
Presentasi Sinematik melalui Kontribusi Elemen Audio dalam Film Babi Buta yang Ingin Terbang
Prayoga, Hardiwan; Universitas Gadjah Mada
2017-11-06 15:44:14
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/29864
id
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.
oai:jurnal.ugm.ac.id:article/29870
2020-03-25T08:26:16Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/29870
2020-03-25T08:26:16Z
Jurnal Kajian Seni
Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016; 58-68
Transformasi Kuttau Lampung dari Beladiri menjadi Seni Pertunjukan Tari Pedang
Bulan, Indra; Universitas Gadjah Mada
2017-11-06 15:44:14
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/29870
id
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.
oai:jurnal.ugm.ac.id:article/29875
2020-03-25T08:26:16Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/29875
2020-03-25T08:26:16Z
Jurnal Kajian Seni
Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016; 81-94
Pola Karya Konvensi pada Film Sekuel Studi Kasus Film Ada Apa Dengan Cinta? 2
Oktaviani, Danissa Dyah; Universitas Gadjah Mada
Nugroho, Sugeng; Institut Seni Indonesia Surakarta
2017-11-06 15:44:14
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/29875
id
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
oai:jurnal.ugm.ac.id:article/29880
2020-03-25T08:26:16Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/29880
2020-03-25T08:26:16Z
Jurnal Kajian Seni
Vol 3, No 1 (2016): Jurnal Kajian Seni Vol 3 No 1 November 2016; 95-109
Rencana dan Target Birama sebagai Pemicu Optimalisasi Capaian Praktik Individual Vokal Klasik di Jurusan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta
T., A. Gathut Bintarto; Universitas Gadjah Mada
2017-11-06 15:44:14
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/29880
id
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.
oai:jurnal.ugm.ac.id:article/30040
2020-03-25T08:25:51Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/30040
2020-03-25T08:25:51Z
Jurnal Kajian Seni
Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017; 150-164
Can You See What I See, Mata sebagai Objek Penciptaan Seni Fotografi Ekspresi
Happy, Handry Rochmad Dwi; Universitas Gadjah Mada
Verdiana, Elfa Olivia; STMIK Asia Malang
2017-11-06 17:19:21
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/30040
id
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.
oai:jurnal.ugm.ac.id:article/30042
2020-03-25T08:25:51Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/30042
2020-03-25T08:25:51Z
Jurnal Kajian Seni
Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017; 165-180
Efektivitas Keroncong Garapan Orkes Keroncong Tresnawara terhadap Audiensi Generasi Muda
Widyanta, Nugrahanstya Cahya; Universitas Gadjah Mada
2017-11-06 17:19:21
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/30042
id
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
oai:jurnal.ugm.ac.id:article/30045
2020-03-25T08:25:51Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/30045
2020-03-25T08:25:51Z
Jurnal Kajian Seni
Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017; 181-196
Ideologi dan Identitas Dalang dalam Seleksi Dalang Profesional Yogyakarta
Sulanjri, Bambang; Universitas Gadjah Mada
2017-11-06 17:19:22
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/30045
id
This study discusses a shadow puppet show packaged in a format in the Yogyakarta Professional Puppeteer Selection Year 2008. This research data is very unique because this kind of event does not happen again until 2016. Data were collected with audio visual recordings and direct observations. Data analysis uses formal analysis to review the performance structure, and content analysis based on various theories to reveal the ideology and identity that play a role in the show. The results of this study shows that the structure of the performance is not the same as that of the common shadow puppet show due to the adjustment of the puppeteers to the rules set by the organizers. Personal and collective identity appeared in the puppet show. Here, the puppeteers could express their personal ideas without eliminating their collective identity. There were three puppeteer ideologies: conservative, development and competitive ideologies, and the ccompetitive ideology is the dominant ideology.
oai:jurnal.ugm.ac.id:article/30047
2020-03-25T08:25:51Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/30047
2020-03-25T08:25:51Z
Jurnal Kajian Seni
Vol 3, No 2 (2017): Jurnal Kajian Seni Vol 3 No 2 April 2017; 197-215
Transformasi Budaya Adu Zatua di Nias Sumatera Utara
Halawa, Maria Veronika; Universitas Gadjah Mada
Rustandi, Aton; Pengkajian Seni Rupa
Program Pascasarjana Institut Seni Indonesia Surakarta
2017-11-06 17:19:23
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/30047
id
This study describes how the cultural transformation zatua shootout that occurred in Nias. Adu zatua was originally a ritual objects Nias tribe belief that is sacred. Entering the 2000s appeared reproduction shootout zatua being secular and profane objects. Cultural traditions in Nias slowly started to change and evolve into a global culture. This study aimed to determine the cultural transformation in the shootout zatua, shape and also the value that is applied. Transformation contest zatua produce objects tourism. The strong cultural tourism makes fi ghts zatua production of a commercial characterand commodities cultural objects.
oai:jurnal.ugm.ac.id:article/31722
2020-03-25T08:25:41Z
jks:ART
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v2
https://jurnal.ugm.ac.id/jks/article/view/31722
2020-03-25T08:25:41Z
Jurnal Kajian Seni
Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017; 92-102
Intuisi Musikal sebagai Metode Penciptaan Lagu Istikharah Cinta Karya Yedo Kurniawan dari Grup Sigma, Dumai
https://jurnal.ugm.ac.id/jks/article/download/31722/74180
https://jurnal.ugm.ac.id/jks/article/download/31722/74181
Iskanadar, Zulkarnaen
Sriwulan, Wilma; ISI Padangpanjang
Warhat, Zainal; ISI Padangpanjang
2019-03-24 15:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/31722
id
Tulisan ini membahas penciptaan lagu Istikharah Cinta oleh Yedo Kurniawan grup Sigma dari Kota Dumai yang mengandalkan intuisi musikal dalam penciptaannya. Lagu Istikharah Cinta diciptakan oleh Yedo Kurniawan terinspirasi dari pengalaman pribadinya sebelum menikahi perempuan pilihannya. Yedo Kurniawan menuangkan intuisi lagunya pada musik nasyid tanpa memikirkan baik atau buruk ketika dipublikasikan. Pada lirik lagu yang sarat sastra diperoleh dari pengalaman membaca buku-buku Buya Hamka. Melodi lagu merupakan pengalaman dan membayangkan tiap kejadian kemudian dilahirkan dengan suasana musik. Metode yang digunakan adalah metode kualitatif dengan teknik wawancara dan pengamatan mendalam terhadap lagu Istikharah Cinta. Lagu ini diaransemen hasil dari seleksi arranger dari beberapa kota, seperti: Dumai, Medan, Bandung, Semarang dan pilihannya pada arranger dari Yogyakarta, karena lebih cocok dengan selera musiknya. Hasilnya lagu Istikharah Cinta menjadi populer di kalangan pencinta nasyid.Kata Kunci: musik nasyid, instuisi musikal, lagu Istikharah Cinta, Sigma
oai:jurnal.ugm.ac.id:article/32300
2020-03-25T08:25:41Z
jks:ART
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v2
https://jurnal.ugm.ac.id/jks/article/view/32300
2020-03-25T08:25:41Z
Jurnal Kajian Seni
Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017; 12-35
Mendengar untuk Membaca Fantasia for Piano and Orchestra, Theme From The Indonesia Pusaka Music Karya Joko ‘Lemazh’ Suprayitno
https://jurnal.ugm.ac.id/jks/article/download/32300/76198
Artanto, Mei
2019-03-24 15:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/32300
music studies; musicology
id
Membicarakan karya komposisi dan aransemen musik dalam konteks musik di Indonesia merupakan hal yang cukup membingungkan. Semakin hari batas antara keduanya semakin dimaknai sebagai proses yang bertolak belakang, padahal sesungguhnya merupakan proses yang saling bertautan dan tidak terpisah. Persoalan ini kiranya perlu untuk segera diuraikan agar tidak terjadi kesalahan dalam memahami karya musik yang semakin larut. Berbekal pengalaman dalam komposisi dan aransemen musik, Joko Lemazh dan karyanya Fantasia for Piano and Orchestra, Theme from The Indonesia Pusaka Music by Ismail Marzuki menjadi pilihan tepat untuk mengurai persoalan tersebut. Systematic musicology dan tinjauan sejarah musik menjadi pintu pertama dalam menganalisis karya. Melalui pintu tersebut pembicaraan akan mengarah pada pencarian nilai estetis dalam karya sebagai upaya memahami kedalaman antara komposisi dan aransemen musik. Dengan mempraktikan deep listening, setidaknya ditemukan empat aspek dalam membentuk kemenarikan atau attractiveness sebagai estetika musik dalam karya ini. Empat aspek tersebut meliputi kerumitan, momentum, keindahan, dan vistuositas. Merujuk uraian dalam tulisan ini, dapat dikatakan bahwa komposisi dan aransemen bukan sebuah proses yang berbeda melainkan proses yang bertautan dan tidak terpisah. Hal yang membedakan hanyalah tujuan memberi pengalaman attractiveness kepada pendengar, dan upaya ini hanya bisa dilakukan dengan kedalaman pengolahan struktur formal musiknya.
oai:jurnal.ugm.ac.id:article/33954
2020-03-25T08:25:41Z
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https://jurnal.ugm.ac.id/jks/article/view/33954
2020-03-25T08:25:41Z
Jurnal Kajian Seni
Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017; 36-51
Bentuk Perkembangan Busana Pengantin Perempuan Masyarakat Gorontalo dalam Prosesi Malam Mempertunangkan
Hariana, Hariana; Universitas Negeri Gorontalo
Simatupang, G.R. Lono Lastoro; Departemen Antropologi
Fakultas Ilmu Budaya
Universitas Gadjah Mada
Haryono, Timbul; Prodi Pengkajian Seni Pertunjukan dan Seni Rupa, Universitas Gadjah Mada Yogyakarta
Gustami, SP.; Prodi Pengkajian Seni Pertunjukan dan Seni Rupa, Universitas Gadjah Mada Yogyakarta
2019-03-24 15:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/33954
id
Adat perkawinan bagi masyarakat Gorontalo merupakan peristiwa penting dan mengandung nilai-nilai budaya, di antaranya dicerminkan pada busana pengantinnya. Objek kajian penelitian ini adalah busana pengantin perempuan masyarakat Gorontalo. Fenomena perkembangan busana dari masa ke masa menjadikan busana pengantin Gorontalo juga mengalami perkembangan dari aspek bentuk. Perkembangan bentuk busana pengantin dipengaruhi faktor sosial masyarakatnya dan pengaruh perkembangan industri tekstil. Pengaruh sosial ditandai adanya perluasan masyarakat Gorontalo yang tinggal di luar daerah asal, sedangkan pengaruh bidang industri ditandai dengan alat dan bahan lebih variatif untuk membuat busana pengantin Gorontalo. Penelitian ini bertujaun menemukan bentuk perkembangan busana pengantin tahun 2013-2017, dengan objek busana madipungu sebagai busana yang dikenakan pada acara malam mempertunangkan. Analisis data dideskripsikan secara kualitatif dan disertai dengan tabel perkembangan. Hasil penelitian menemukan unsur-unsur busana pengantin perempuan yang dimodifikasi, terdiri dari aspek bentuk, tekstur, warna, ragam hias, dan cara pembentukannya.
oai:jurnal.ugm.ac.id:article/37582
2020-03-25T08:25:31Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/37582
2020-03-25T08:25:31Z
Jurnal Kajian Seni
Vol 4, No 2 (2018): Jurnal Kajian Seni Vol 4 No 2 April 2018; 114-136
Strategi Budaya melalui Mobilisasi Masyarakat untuk Membuat, Mengedarkan, dan Menonton Film Di Purbalingga
Banjaransari, Tunggul; Universitas Dian Nuswantoro
Surastio, Arie; Program D4 Film dan Televisi, Universitas Dian Nuswantoro, Semarang.
2019-06-01 22:11:28
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/37582
id
Selain itu, kehadiran lm di Indonesia memanglah tidak begitu lentur fungsinya kepada masyarakat. Jika masyarakat masih menempatkan lm sebagai hiburan, padahal lm memiliki fungsi yang beragam, maka terjadi persoalan pada tata peredarannya. Terdapat agenda politik ekonomi tertentu yang menggiring lm memiliki fungsi atas kepentingan tertentu. Padahal lm mampu memiliki fungsi sebagai media alternatif untuk mendapatkan pengetahuan yang luas, di saat konsumsi terhadap pengetahuan di Indonesia masih saja dibatasi. Celakanya pembatasan tersebut tidak dilakukan oleh pemerintah saja, tetapi juga kelompok-kelompok baik berbasis massa maupun berbasis modal. Persoalan tersebut sebenarnya sudah disiasati oleh kelompok CLC Purbalingga. Kelompok ini tidak lantas bergantung pada regulasi tata edar per lman di Indonesia dan budaya menempatkan lm sebagai strategi hiburan. Mereka berinisiasi mengelola ruang tontonan dan turut memberikan fasilitas berupa pengetahuan kepada siswa- siswa SMA dan SMK di Purbalingga dalam membuat lm. Hasilnya tidak hanya berbicara mengenai kuantitas jumlah lm saja, melainkan tontonan lm mampu menjadi bagian dari budaya masyarakat Purbalingga. Sedangkan produk lmnya, secara konsisten selalu mendapat apresiasi dan penghargaan dalam skala nasional maupun internasional dari tahun 2004 hingga 2018. Upaya yang dilakukan CLC Purbalingga terhadap lm dapat mengubah posisi lm tidak sebatas menjadi media hiburan saja, melainkan menjadi literasi bahkan menjadi bagian dari budaya.
oai:jurnal.ugm.ac.id:article/38343
2020-03-25T08:25:41Z
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https://jurnal.ugm.ac.id/jks/article/view/38343
2020-03-25T08:25:41Z
Jurnal Kajian Seni
Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017; 1-11
Sumbangan Budaya Islam dalam Pelestarian Seni Pertunjukan dan Seni Rupa Tradisional di Jawa
Haryono, Timbul; Universitas Gadjah Mada
2019-03-24 15:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/38343
Jawa
id
Genuine culture or prehistoric culture, such as: Nusantara, is a culture that was not influenced by foreign culture. However, the development stimulates possibility of culture mixing. The mixing process between that is a dialogical process, which placed the local culture as non-passive culture. The arrival (or expansion, ed) of Islamic culture in Java does not ruin the culture that existed (pre Islamic era), but there was a mixing or acculturation. This paper deals with various wayang as the material of the mixing dialogue. The conclusion of this case is the diffusion or spreading Islamic Art adopted pre-Islam element with cultural acculturation, then the continuity of Javanese culture keep continues. In other hand, the existence of traditional art is maintained.
oai:jurnal.ugm.ac.id:article/38999
2020-03-25T08:25:21Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/38999
2020-03-25T08:25:21Z
Jurnal Kajian Seni
Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018; 30-44
Menyemai Benih Nilai Multikultural melalui Pembelajaran Penciptaan Tari Kelompok di Sekolah Menengah Atas
Putraningsih, Titik; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Simatupang, G.R. Lono Lastoro; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Sayuti, Suminto A.; Universitas Negeri Yogyakarta
2019-12-07 11:36:05
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/38999
pendidikan seni
nilai multikultural, pembelajaran, penciptaan tari kelompok, SMA
seni tari
indonesia
Universitas Gadjah Mada; Universitas Negeri Yogyakarta; Kemenristek Dikti Republik Indonesia
in
Negara Indonesia dengan penduduk yang multietnis perlu mengupayakan bagaimana membangun sikap menjauhi prasangka SARA (suku, agama, ras dan antar golongan), agar memiliki sikap untuk saling toleransi, menerima dan menghormati perbedaan. Hal itu dilakukan antara lain melalui pendidikan di Sekolah Menengah Atas (SMA), pada khususnya pembelajaran tari dianggap strategis sebagai alat pendidikan multikultural di sekolah. Artikel ini bertujuan untuk mengidentifikasi bagaimana Sekolah Mengah Atas Yogyakarta menterjemahkan kurikulum 2013 dalam pembelajaran tari, bagaimana memaknai empat sifat multilingual, multidimensi, multikultural, dan multikecerdasan dalam dimensi koqnitif, affektif, dan motorik. Artikel ini difokuskan untuk mengkritisi praktik pembelajaran tari sebagai alat pendidikan dan bermanfaat untuk menyemai nilai multikultural agar siswa mempunyai sikap toleransi dan apresiatif terhadap keberagaman budaya Indonesia. Observasi dilakukan di Sekolah Menengah Atas (SMA) Yogyakarta dengan metode purposive sumpling, mendiskripsikan, dan mengidentifikasi sekolah yang menyelenggarakan pembelajaran tari dalam perspektif multikultural. Selain itu dengan kriteria menggunakan kurikulum 2013, materi tari yang diajarkan berasal dari berbagai daerah di Indonesia terutama pembelajaran penciptaan tari kelompok, siswa berasal dari beberapa daerah termasuk dari desa dan kota. Hasil pengamatan bagaimana menyemai atau menanamkan nilai multikultural perlu digali dan diupayakan terus menerus melalui pembelajaran penciptaan tari kelompok. Siswa mendapat pengalaman menciptakan tari kelompok, diharapkan akan membentuk karakter kerjasama, kreatif, dan estetis. Nilai multikultural dalam pembelajaran penciptaan tari kelompok adalah toleransi, apresiatif, dan menerima perbedaan
oai:jurnal.ugm.ac.id:article/40180
2020-03-25T08:25:21Z
jks:ART
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https://jurnal.ugm.ac.id/jks/article/view/40180
2020-03-25T08:25:21Z
Jurnal Kajian Seni
Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018; 83-111
Eksperimentasi Metode Terapi dengan Musik untuk Pasien Skizofrenia di RSJD Surakarta
https://jurnal.ugm.ac.id/jks/article/download/40180/106648
Alfionita, Elya Nindy
Wrahatnala, Bondet; Institut Seni Indonesia Surakarta
2019-12-07 11:36:06
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/40180
AbstractThe object of study "Experimentation With Music Therapy Method for the Treatment of Schizophrenia in a Psychiatric Hospital Area Surakarta" aims to uncover and describe the shape of healing method performed by a team of occupational RSJD Surakarta to patients with schizophrenia. The research appears as the existence of a form of musical phenomenon in which there are adaptations as a form of healing effort to psychiatric patients with schizophrenia. Schizophrenia is classified as severe mental disorders ( psychotic ) that attacks the majority of patients at the Mental Hospital of Surakarta. Besides occupational team also did a musical experimentation that aims to find the song material in accordance with the psychological and social conditions of patients with schizophrenia This study uses the approach of ethnomusicology delivered with the theory and the concept of the four imperatives Talcot Parson as follows; adaptation, goal Attaintment, integration, and latency. Then the author uses to do research in qualitative ethnographic methods using techniques literature study, observation, and interviews. The results of the analysis found that occupational therapy is music with a tempo of 60-75 bpm is able to stabilize the emotions in schizophrenic patients. Occupational therapy with the tempo of the achievements gained 75% of the experimentation results obtained through the four models of the patient. Keywords: Schizophrenia, Occupational Therapy, Regional Psychiatric Hospital Surakarta.
oai:jurnal.ugm.ac.id:article/41883
2020-03-25T08:25:21Z
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https://jurnal.ugm.ac.id/jks/article/view/41883
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Jurnal Kajian Seni
Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018; 45-64
Kajian Nilai Pendidikan Karakter dalam Simbolisme Visual Topeng Panji & Relevansinya pada Pembelajaran Apresiasi Seni Rupa di SMA
Wijaya, Yasin Surya; Pendidikan Seni Rupa, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sebelas Maret
Subiyantoro, Slamet; Nilai Pendidikan Karakter, Topeng Panji, Pembelajaran Apresiasi Seni Rupa, dan Simbolisme Visual
Hartono, Lili; Nilai Pendidikan Karakter, Topeng Panji, Pembelajaran Apresiasi Seni Rupa, dan Simbolisme Visual
2019-12-07 11:36:05
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/41883
Snowball Sampling
Industri Kerajinan Kayu "Karya Manunggal" dan SMA Negeri 2 Surakarta
id
Tujuan penelitian ini adalah ingin menjelaskan nilai pendidikan karakter dalam simbolisme visual topeng Panji dan relevansinya dalam pembelajaran apresiasi seni rupa di SMA. Penelitian menggunakan pendekatan penelitian kualitatif. Teknik pengumpulan data yang digunakan wawancara, observasi, dan analisis dokumen pada koleksi museum, koleksi pengrajin, dan sumber pustaka lain. Data dianalisis dengan langkah reduksi data, display data, dan verifikasi. Hasil penelitian menunjukan bahwa topeng Panji memiliki banyak simbolisme visual dari beberapa tokoh. Simbol-simbol yang ditemukan yaitu bentuk jamang, alis, mata, hidung, mulut, dan warna wajah topeng. Masing-masing simbol memiliki nilai pendidikan karakter. Nilai pendidikan karakter yang telah ditemukan relevan dalam Kurikulum 2013 yang berbasis karakter dan kompetensi. Dilain sisi, topeng panji dapat digunakan sebagai materi ajar dalam pembelajaran apresiasi seni rupa di SMA. Siswa dapat mengevaluasi dan mendiskripsikan sejarah, unsur seni, bentuk, dan makna topeng. Terdapat dua manfaat, pertama siswa tahu tentang seni rupa tradisi, dan kedua siswa memiliki karakter yang baik melalui hasil dari pembelajaran tersebut.
oai:jurnal.ugm.ac.id:article/43117
2020-03-25T08:25:31Z
jks:ART
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https://jurnal.ugm.ac.id/jks/article/view/43117
2020-03-25T08:25:31Z
Jurnal Kajian Seni
Vol 4, No 2 (2018): Jurnal Kajian Seni Vol 4 No 2 April 2018; 161-178
Kreativitas dan Spiritualitas dalam Pertunjukan Goro-Goro Diponegoro Karya Mantradisi
Nurvijayanto, Ribeth; Pengkajian Seni Pertunjukan dan Seni Rupa
2019-06-01 22:11:29
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/43117
id
INTISARIMacapat secara umum didefinisikan sebagai karya sastra Jawa Baru yang ditulis menggunakan bahasa Jawa dan memiliki aturan persajakan yang baku. Berdasarkan catatan sejarah, tercipta dari unsur budaya Islam, Hindu, dan kepercayaan Jawa (kejawen), secara implisit mengandung nilai spiritualitas dari beberapa unsur budaya religi tersebut karya sastra ini cukup populer bagi masyarakat Jawa berfungsi untuk berbagai kepentingan mulai praktik artistik, keagamaan, sosial, pendidikan, dan sebagainya.Seiring berjalannya waktu, tembang macapat dihadirkan dalam bentuk sajian budaya musik populer. Kelompok musik Mantradisi menghadirkan bentuk kreativitas penyajian tembang macapat menggunakan media musik populer dan teknologi audio-visual effect. Kehadiran Mantradisi menghadirkan bentuk baru dalam penyajian macapat, dari musik tradisional menjadi musik populer. Transformasi bentuk musikal tersebut memberikan perubahan dalam penilaian estetika dan spiritualitas.Perubahan bentuk wahana dari macapat menjadi pertunjukan Goro-goro Diponegoro menghadirkan perubahan bentuk musikal yaitu komposisi, tangga nada, dan non-musikal seperti performativitas dan estetika. Pertunjukan Goro-goro Diponegoro juga menghadirkan bentuk praktik spiritualitas bagi para pemainnya. Keterkaitan antara macapat dan pertunjukan Goro-goro Diponegoro sebagai media praktik spiritual memberikan kesimpulan bahwa sifat sakral dan profan dalam pertunjukan Goro-goro Diponegoro telah melebur menjadi spiritualitas.Penelitian ini menggunakan metode kualitatif dengan mewacanakan berbagai perspektif keilmuan. Analisis tekstual penelitian ini menggunakan wacana kreativitas, estetika, alih wahana, performativitas sedangkan Analisis kontekstual spiritualitas. Penelitian ini bertujuan untuk mengidentifikasi kreativitas yang terdapat pada pertunjukan Goro-goro Diponegoro dan mencari relasi antara seni dengan agama.
oai:jurnal.ugm.ac.id:article/43711
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https://jurnal.ugm.ac.id/jks/article/view/43711
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Jurnal Kajian Seni
Vol 5, No 2 (2019): Jurnal Kajian Seni Vol 5 No 2 April 2019; 221-235
Budaya Pop Islam: Proses Transit dan Transisi Lagu Jaran Goyang Menjadi Ayo Move On
https://jurnal.ugm.ac.id/jks/article/download/43711/120326
Maudina, Lifara Aidlika; Universitas Gadjah Mada
2020-01-08 15:33:25
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/43711
Lifara Aidlika Maudina; Universitas Gadjah Mada, Performing Arts and Visual Arts Studies
id
Penelitian ini membahas tentang perubahan lagu Jaran Goyang yang bergenre dangdut koplo, yang kemudian digubah menjadi lagu sholawatan dengan judul Ayo Move On. Kedua lagu tersebut memiliki latar belakang musik yang jauh berbeda, dimana lagu Jaran Goyang dimainkan oleh grup orkes dangdut koplo, sedangkan Ayo Move On dimainkan oleh grup hadrah Syubbanul Muslimin dari para santri remaja di Pondok Pesantren Nurul Qadim Probolinggo. Perubahan Lagu Jaran Goyang menjadi Ayo Move On mengalami proses transit (geografis) dan transisi (makna). Kedua lagu tersebut sama-sama popular melalui jejaring sosial youtube yang kemudian membentuk wacana baru di dalam budaya pop. Dengan menggunakan pisau analisis yang digagas oleh Maruška Svašek yaitu transit dan transisi, penulis mengungkap bagaimana proses yang terjadi dari perubahan kedua lagu tersebut, serta dampak yang ditimbulkan pada budaya pop khususnya budaya pop Islam yang dipengaruhi oleh kehadiran grup hadrah Syubbanul Muslimin. Kata Kunci: perubahan, dangdut koplo, sholawatan, budaya pop Islam.
oai:jurnal.ugm.ac.id:article/44427
2020-03-25T08:25:41Z
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https://jurnal.ugm.ac.id/jks/article/view/44427
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Jurnal Kajian Seni
Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017; 79-91
The Meaning Of Meaning dalam Teori Lacan
Alfionita, Elya Nindy; Universitas Gadjah Mada
2019-03-24 15:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/44427
id
In this article contains the discourse of understanding of an understanding. Self- understanding when we contemplate quite broad, abstract, and infinite. Not separated from it, the author tries to provide a frame of discussion in this paper, among others; (1.) Discourse of Lacques Jacques (Lacoste), (2.) Language and Significance, (3.) Lacanian and Language Psychoanalysis, (4.) Symbolic Order, (5.) Schizophrenia as Metaphor, (6.) Schizophrenia as Psychoanalysis. The issue discussed in this paper is the discourse of psychoanalytic semiotics and correlates with semiotic philosophy. So the reader understands a science related to philosophy as well as its relation to the truth and beliefs contained in an analysis.
oai:jurnal.ugm.ac.id:article/44428
2020-03-25T08:25:41Z
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https://jurnal.ugm.ac.id/jks/article/view/44428
2020-03-25T08:25:41Z
Jurnal Kajian Seni
Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017; 64-78
Tubuh yang Mencipta Momen: Praktik Negosiasi Tubuh dalam Tari Wajah Karya Hartati
Muliati, Roza; Universitas Gadjah Mada
Udasmoro, Wening; Fakultas Ilmu Budaya, Universitas Gadjah Mada
Murgiyanto, Sal; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
2019-03-24 15:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/44428
id
The practice of the body in contemporary dance is always marked by novelty and invention. For Indonesian choreographers, contemporary dance is a practice of negotiation that brings the influence of tradition from the past into contemporary body. This paper is intended to reveal the practice of body negotiation in Wajah (2013), a dance work of Hartati, an Indonesian choreographer of Minangkabau descent who is known for her progressive dance works. It is one of Hartati’s dance work which reflect her background as a choreographer embodied two different traditions, namely the Minangkabau tradition and the urban Jakarta. The non-linear experience of the body became the foundation of Hartati’s creativity in the creation of his contemporary works. Therefore, Wajah is an experimental dance, a result of negotiation which bring together the influence of Minangkabau dance tradition based on silat with another influences like balet and daily movements into contemporary bodies. By applying the perspective of embodiment, this paper analysed the performative text as well as the negotiation practice in the making process of dance. This practice has resulted an extra daily technique with moment making orientation.
oai:jurnal.ugm.ac.id:article/45351
2020-03-25T08:25:11Z
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https://jurnal.ugm.ac.id/jks/article/view/45351
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Jurnal Kajian Seni
Vol 5, No 2 (2019): Jurnal Kajian Seni Vol 5 No 2 April 2019; 182-191
Selfie: Culture Identity of Surabaya Youth
Ismanto, Idealita; University State Of Surabaya
2020-01-08 15:33:25
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/45351
id
The development of the world of technology has its own impact on generation Z and the world of young people today. One of the phenomena is a selfie. The presence of social media has a positive and negative impact on the development of Z generation education. Selfie photos used by teenagers are a forum for sharing expressions and self-identity. To read the signs in generation Z that use selfies as a communication tool, this study aims to explain the contribution of selfie in instagram as popular culture that has an impact on youth identity Surabaya through public space. This study conducted interviews with young men and women in Surabaya High School as a sample. This research was conducted using an exploratory qualitative approach to get a comprehensive and in-depth picture of the identity of youth in Surabaya through selfie. The results showed that The existence of environmental influences that dominate adolescents in making selfie photos to be more acceptable to teenage friendship circles, selfie photos as an arbitrary communication tool for Surabaya youth, in the context of education there is a content of values, namely the need for character education and visual literacy for adolescents as homo digitalis with character in cultural environment.
oai:jurnal.ugm.ac.id:article/45536
2020-03-25T08:25:11Z
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https://jurnal.ugm.ac.id/jks/article/view/45536
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Jurnal Kajian Seni
Vol 5, No 2 (2019): Jurnal Kajian Seni Vol 5 No 2 April 2019; 150-166
Konsep Laras Salendro R.M.A. Koeosoemadinata pada Angklung Pentatonis Ragam Laras
Fausta, Ega; Indonesia Institute of The Arts Surakarta
2020-01-08 15:33:25
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/45536
Study of music; Karawitan
Angklung; Laras; Salendro
Sunda; Jawa barat
Aton Rustandi Mulyana, Indonesia Institute of The Arts Surakarta, Department of Ethnomusicology
en
Pentatonic Angklung with variety of tunings (APRL) is one of the angklung innovation products which is created in 2017 through an experimental process by Endah Irawan et.al. Generally, it is an ansamble music consisting of several types of instruments made of bamboo. This ensemble is a recent innovation in the world of traditional Sundanese art because it has distinctive pattern / system of scales which combines several patterns of dissolution in Sundanese karawitan namely Salendro, Degung and Madenda, which are commonly found in different ensembles. This paper will present the concept of dissolution which is applied in pentatonic angklung with a variety of tunings (APRL) adapted from the concept of laras salendro by R.M.A. Koesoemadinata.
oai:jurnal.ugm.ac.id:article/45845
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https://jurnal.ugm.ac.id/jks/article/view/45845
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Jurnal Kajian Seni
Vol 4, No 2 (2018): Jurnal Kajian Seni Vol 4 No 2 April 2018; 137-160
Alua Jo Patuik Simarantang Karang Manih dalam Bingkai Proses Kreatif Efyuhardi
Sari, Fani Dila; Program Studi Seni Teater, Institut Seni Budaya Indonesia (ISBI) Aceh
2019-06-01 22:11:28
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/45845
Sumatera Barat, Padang Pariaman
id
Intellectual beauty is a wonderful thought based on science. The beauty in the sense of a purely aesthetic concerns aesthetic experience of a person in relation to everything dicerapnya. Efyuhardi traditions of knowledge as the son of Pariaman area, as well as the knowledge acquired through the theater Theater Arts education makes work interesting Manih Simarantang Reefs for review of the creative process. Efyuhardi implement cultural creativity in the form of Pariaman to Simarantang identified as Tuo Randai. Efyuhardi creative acts of the creation of the Simarantang Karang Manih shelter on aesthetics Minangkabau is Alua jo Patuik. Keywords: Simarantang Karang Manih, Efyuhardi, and Alua jo Patuik
oai:jurnal.ugm.ac.id:article/46126
2020-03-25T08:25:11Z
jks:ART
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https://jurnal.ugm.ac.id/jks/article/view/46126
2020-03-25T08:25:11Z
Jurnal Kajian Seni
Vol 5, No 2 (2019): Jurnal Kajian Seni Vol 5 No 2 April 2019; 207-220
Proses Kreatif Eko Supriyanto dalam Penciptaan Tari Balabala
Imam, Imam Kristianto; Pengkajian Seni, Pascasarjana, Institut Seni Indonesia Surakarta
2020-01-08 15:33:25
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/46126
en
Penelitian ini mengemukakan persoalan proses kreatif Eko Supriyanto dalam penciptaan tari Balabala, ditujukan untuk mengungkap bagaimana gagasan dan praktik kreatif tari kontemporer yang dikembangkan oleh Eko Supriyanto, dengan latar belakang kreativitas dalam ranah kultural dan jender yang berbeda. Metode yang digunakan adalah metode penelitian kualitatif dengan pendekatan pendekatan etnokoreologi. Dalam pengumpulan data, penelitian ini menggabungkan studi pustaka, penelitian lapangan. Penelitian nantinya meghasilkan Buraian berupa proses kreatif penciptaan tari Balabala, serta gagasan kebaruan yang ada pada karya Balabala. Disisi lain, penelitian ini dapat menjadi refleksi kritis terhadap perkembangan tari kontemporer dan seniman tari di Indonesia yang dinamis, dengan tradisinya yang terus berubah dan beradaptasi dengan situasi kontemporer saat ini. Perlu ditegakan lagi bahwa kerangka pokok yang menjadi acuan dalam tulisan ini adalah proses kreatif dan hasil.Kata kunci: tari balabala, kreativitas, proses kreatif.
oai:jurnal.ugm.ac.id:article/46448
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https://jurnal.ugm.ac.id/jks/article/view/46448
2020-03-25T08:25:31Z
Jurnal Kajian Seni
Vol 4, No 2 (2018): Jurnal Kajian Seni Vol 4 No 2 April 2018; 206-225
Proses Dramaturgi dari Teks Sastra Syair Lampung Karam ke Teks Pertunjukan Teater Under The Volcano
Pramayoza, Dede; Universitas Gadjah Mada
Simatupang, G.R. Lono Lastoro; Program Studi Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Murgiyanto, Sal; Program Studi Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
2019-06-01 22:11:30
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/46448
id
Penelitian ini dimaksudkan untuk menjelaskan proses dramaturgi yang menjembatani transformasi dari teks sastra Syair Lampung Karam menjadi teks pertunjukan teater Under The Volcano. Pendekatan yang digunakan adalah pendekatan kualitatif dengan metode analisis deskriptif. Sumber datanya adalah pengamatan langsung atas pertunjukan, pengamatan atas proses penciptaan, dokumentasi pertunjukan, catatan proses dan hasil wawancara. Berdasarkan data tersebut dilakukan analisis terhadap tindakan dramaturgi dan pemikiran dramaturgis yang melatar belakanginya terciptanya teks pertunjukan teater Under The Volcano, yang dipandang sebagai rangkaian proses dramaturginya. Hasil penelitian menunjukkan bahwa teks pertunjukan teater Under The Volcano adalah bentuk ekspresi dari pengalaman masyarakat yang tinggal di lingkungan gunung berapi, yang dibangun dengan mengambil abstraksi dari pengalaman bencana alam letusan Gunung Krakatau yang dikisahkan dalam Syair Lampung Karam.
oai:jurnal.ugm.ac.id:article/46449
2020-03-25T08:25:31Z
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https://jurnal.ugm.ac.id/jks/article/view/46449
2020-03-25T08:25:31Z
Jurnal Kajian Seni
Vol 4, No 2 (2018): Jurnal Kajian Seni Vol 4 No 2 April 2018; 103-113
Rampak Kendang Patimuan Cilacap sebagai Wujud Difusi Kesenian Jawa Barat
Siswantari, Heni; Universitas Ahmad Dahlan
Setyaningrum, Fery; Universitas Ahmad Dahlan
2019-06-01 22:11:28
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/46449
Dance
Rampak Kendang Patimuan, Difusi, Kesenian Jawa Barat
en
Persamaan atau kemiripan budaya yang ada di satu daerah dengan daerah yang lain terjadi karena adanya difusi atau persebaran budaya. Kemungkinan tersebut terjadi karena adanya agen yang membawa produk budaya tersebut ke wilayah baru yang ia tempati sehingga terjadi akulturasi di dalamnya. Seperti halnya pada pertunjukan rampak kendang yang berada di wilayah Patimuan Cilacap. Akulturasi terlihat dari bentuk pertunjukan yang memiliki perpaduan antara musik Jawa Barat dan Jawa Tengah hingga memunculkan suatu sajian baru yang menarik. Perpaduan yang ada merupakan bentuk negosiasi seni pertunjukan yang dipengaruhi oleh beberapa faktor di dalamnya.
oai:jurnal.ugm.ac.id:article/46450
2020-03-25T08:25:31Z
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driver
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https://jurnal.ugm.ac.id/jks/article/view/46450
2020-03-25T08:25:31Z
Jurnal Kajian Seni
Vol 4, No 2 (2018): Jurnal Kajian Seni Vol 4 No 2 April 2018; 197-205
Ekspresi Seni Warga Kampung Joyoraharjan
Fuad, Figur Rahman; Universitas Gadjah Mada
Wahida, Adam; Universitas Sebelas Maret
2019-06-01 22:11:29
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/46450
id
Tulisan ini merupakan studi terhadap ekspresi seni warga kampung Joyoraharjan, Purwodiningratan, Jebres Surakarta. Tujuan penelitian ini adalah untuk mengetahui motivasi warga kampung Joyoraharjan dalam membangun kampungnya melalui kegiatan kesenian dan sejauh mana warga kampung mengelola lingkungan kampung dan mengekspresikan kreativitas seninya dalam kehidupan sehari-hari. Penelitian ini adalah penelitian kualitatif deskriptif yang dilakukan dengan observasi dan wawancara dengan beberapa warga kampung. Dari penelitian ini dapat diketahui bahwa motivasi warga kampung dalam membangun kampungnya adalah memperkuat kolektivitas dalam rangka membangun identitas kampung. Ekspresi seni warga Kampung Joyoraharjan meliputi beberapa bentuk atau medium antara lain seni rupa yang terwujud dalam mural, lukisan dan musik yang berupa permainan Gejluk Lesung. Dari penelitian ini dapat dilihat bahwa kampung sebagai penyangga kota memiliki keterikatan dengan tradisi yang terus-menerus berusaha diartikulasikan kembali oleh warganya.
oai:jurnal.ugm.ac.id:article/46451
2020-03-25T08:25:31Z
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https://jurnal.ugm.ac.id/jks/article/view/46451
2020-03-25T08:25:31Z
Jurnal Kajian Seni
Vol 4, No 2 (2018): Jurnal Kajian Seni Vol 4 No 2 April 2018; 179 -196
Album Kompilasi sebagai Pembentuk Habitus Musikal bagi Komunitas Jazz Jogja
Vivian, Yofi Irvan; Program Studi Etnomusikologi
Fakultas Ilmu Budaya, Universitas Mulawarman Samarinda
2019-06-01 22:11:29
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/46451
Habitus Musikal, Komunitas Jazz Jogja, Album Kompilasi
en
Musisi dan penggemar musik jazz di Yogyakarta tergabung dalam Komunitas Jazz Jogja (KJJ). Yogyakarta yang predikatnya sebagai kota pelajar mampu merekonstruksi pertunjukan jazz yang dikatakan elit, salah satunya acara Jazz Mben Senin. Acara ini dipentaskan di halaman parkir gedung Bentara Budaya Yogyakarta. Akses yang mudah inilah membuat penikmat dan musisi jazz semakin bertambah di Yogyakarta. Komunitas Jazz Jogja telah memproduksi album kompilasi sebagai salah satu wujud eksistensinya. Pengisi atau grup pada album kompilasi ini tidak semuanya memiliki basik musik jazz. Melalui album kompilasi, habitus musikal anggota Komunitas Jazz Jogja terkonstruksi mengikuti benang merah pada setiap albumnya.
oai:jurnal.ugm.ac.id:article/46588
2020-03-25T08:25:11Z
jks:ART
driver
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https://jurnal.ugm.ac.id/jks/article/view/46588
2020-03-25T08:25:11Z
Jurnal Kajian Seni
Vol 5, No 2 (2019): Jurnal Kajian Seni Vol 5 No 2 April 2019; 167-181
Kesejahteraan Psikologis dalam Proses Kreatif Aktor Teater Satu
Syahutari, Gladhys Elliona; Faculty of Ps
2020-01-08 15:33:25
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/46588
id
Penelitian ini bertujuan mengobservasi keberadaan kesejahteraan psikologis aktor teater, secara khusus pada kelompok Teater Satu, Lampung. Aspek kesejahteraan psikologis diteliti melalui observasi partisipasi pada proses kreatif dan wawancara kepada aktor-aktor dari kelompok Teater Satu. Pengamatan partisipatif dilakukan pada saat kelompok Teater Satu sedang melakukan produksi pertunjukan Kursi-Kursi karya Eugene Ionesco selama dua minggu efektif pada Juli-Agustus 2016 untuk dipentaskan di SCOT Summer Festival, Jepang. Gejala kesejahteraan psikologis yang menjadi acuan pengamatan dalam penelitian ini adalah menurut ahli psikologi klinis Carol D. Ryff & Corey L. M. Keyes. Hasil pengamatan menunjukkan, karakteristik atau gejala kesejahteraan psikologis yang paling dapat teramati dalam dinamika proses kreatif aktor Teater Satu adalah pembangunan hubungan positif antar anggota kelompok, kemandirian, penguasaan terhadap lingkungan dan pertumbuhan diri, sedangkan penerimaan diri dan tujuan hidup timbul setelah empat aspek lainnya timbul dalam diri aktor.
oai:jurnal.ugm.ac.id:article/46736
2020-03-25T08:25:11Z
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https://jurnal.ugm.ac.id/jks/article/view/46736
2020-03-25T08:25:11Z
Jurnal Kajian Seni
Vol 5, No 2 (2019): Jurnal Kajian Seni Vol 5 No 2 April 2019; 129-149
Cerita Panji sebagai Repertoar Lakon Wayang Gêdhog Gaya Surakarta Telaah Struktur Teks, Makna dan Kaitannya dengan Pertunjukan
Wiratama, Rudy; Universitas Gadjah Mada
2020-01-08 15:33:25
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/46736
Central Java; Surakarta
18th-20th century
id
Panji stories which based on the romance-adventure of Panji, the crown prince of Jenggala who searches his lover, Galuh or Candrakirana, has inspired a vast range of art forms in Indonesia, from dances, songs to puppetry. Wayang gědhog is one of surviving art forms concerning Panji theme, born around 15th century and developed in Javanese courts until now, despite of its lack of popularity compared with the Mahabharata and Ramayana-themed wayang purwa. Wayang gědhog in two Javanese courts in Surakarta, Kasunanan and Mangkunagaran, has flourished time by time with their own unique characteristics, which are rarely known nowadays. This uniqueness wasn’t only caused by the past values of Panji stories’ setting contexts, but also related with some actual factors which are relevant in the era of those Javanese courts. This article would discuss about Surakartanese wayang gědhog’s development history, narrative structure, meanings and the relations between Surakartanese Panji-themed stories with its performance.
oai:jurnal.ugm.ac.id:article/47755
2020-03-24T19:15:47Z
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v2
https://jurnal.ugm.ac.id/jks/article/view/47755
2020-03-24T19:15:47Z
Jurnal Kajian Seni
Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019; 1-15
Gedrukan, Regeng, dan Pemicu Semangat Gerak: Makna Pemakaian Kelinthing dalam Pertunjukan Topeng Ireng
Kiswanto, Kiswanto; Institut Seni Indonesia Surakarta
Sunarto, Bambang; Institut Seni Indonesia Surakarta
2020-03-25 02:15:45
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/47755
id
The discussion of art is closely related to the issue of symbols and meanings that has become the foundation on artistic buildings. This also clarifies the existence of art as one of the elements of the embodiment of culture in a society, such as the use of kelinthing in the Topeng Ireng performances. This paper uncovers and explains the forms of artistic expression symbols of the kelinthing and conception of the artist interpret as an element of the Topeng Ireng performances that developed and spread widely in Magelang and surrounding area. Ethnographic approach supported theories related, such as culture, philosophy, and aesthetics into a rationale as outlined by the scientific method in this paper. In this paper shows that the forms of artistic expression symbols of the kelinthing has various meanings associated with intrinsic value (form) and extrinsic value (content). The intrinsic value of kelinthing closely related to dance and music TopengIreng, while the extrinsic value of kelinthing closely related to sound in the show are interpreted regeng. In addition, kelinthing also be interpreted as a stimulus to the spirit of the motion of dancers. AbstrakPembahasan seni terkait erat dengan persoalan simbol dan muatan makna yang telah menjadi pondasi pada bangunan artistiknya. Hal ini sekaligus memperjelas keberadaan seni sebagai salah satu unsur perwujudan kebudayaan dalam suatu masyarakat, seperti pemakaian kelinthing dalam pertunjukan Topeng Ireng. Tulisan ini mengungkap dan menjelaskan bentuk simbol ungkap artistik kelinthing dan konsepsi seniman dalam memaknainya sebagai unsur pertunjukan Topeng Ireng yang berkembang dan tersebar secara luas di wilayah Magelang dan sekitarnya. Pendeketan etnografi dengan didukung teori-teori terkait, seperti kebudayaan, filsafat, dan estetika menjadi landasan pemikiran yang dituangkan dengan metode ilmiah dalam tulisan ini. Pada tulisan ini menunjukkan bahwa bentuk simbol ungkap artistik kelinthing memiliki makna yang berhubungan dengan nilai intrinsik (bentuk) dan nilai ekstrinsik (isi). Nilai intrinsik kelinthing berkaitan erat dengan gerak tari dan musik Topeng Ireng, sedangkan nilai ekstrinsik kelinthing berkaitan erat dengan bunyinya dalam pertunjukan yang dimaknai regeng. Di samping itu, kelinthing juga dimaknai sebagai pemicu semangat gerak penari.
oai:jurnal.ugm.ac.id:article/48276
2020-09-30T12:29:52Z
jks:ART
driver
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https://jurnal.ugm.ac.id/jks/article/view/48276
2020-09-30T12:29:52Z
Jurnal Kajian Seni
Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020; 163-184
Tata Ruang Perjalanan Matahari di Pondok Pesantren Pabelan Mungkid Magelang Jawa Tengah: Perspektif Arsitektur Islam
Pamungkas, Bayu Aji
Triatmodjo, Suastiwi; Fakultas Seni Rupa ISI Yogyakarta
Maarif, Samsul; Studi Agama dan Lintas Budaya Sekolah Pascasarjana UGM Yogyakarta
2020-09-30 19:29:52
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/48276
id
Arsitektur Islam dalam dalam tulisan ini diwacanakan dengan perspektif teori dari Nangkula Utaberta tentang Arsitektur Islam ditambah pemahaman tentang seni Islam dari Seyyed Hossein Nasr dan penafsiran Al-Quran dari Buya Hamka. Arsitektur Islam yang terwujud dalam tatanan ruang Perjalanan Matahari terlihat dalam penerapan prinsip-prinsip; pengingatan terhadap Tuhan, ibadah dan perjuangan, kehidupan setelah kematian, toleransi kultural, dan terakhir tentang kehidupan yang berkelanjutan. Tata Ruang Perjalanan Matahari di Pondok Pesantren Pabelan dapat dimaknai sebagai sebuah karya Arsitektur Islam. Pemaknaan tersebut terwujud dari pengintegrasian model tata ruang Perjalanan Matahari sebagai penggambaran kehidupan manusia, yang tidak hanya sebatas perancangan fisik tanpa isi, melainkan model tata ruang tersebut lahir dari pemahaman akan nilai-nilai Islam yang bersumber pada Al-Quran dan Hadist.
oai:jurnal.ugm.ac.id:article/48293
2020-03-25T08:25:11Z
jks:ART
driver
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https://jurnal.ugm.ac.id/jks/article/view/48293
2020-03-25T08:25:11Z
Jurnal Kajian Seni
Vol 5, No 2 (2019): Jurnal Kajian Seni Vol 5 No 2 April 2019; 192-206
Pasar Keroncong Kotagede 2017: Sebuah Kajian Event
Novaldi, Dedi; Pengkajian Seni Pertunjukan dan Seni Rupa
Universitas Gadjah Mada
2020-01-08 15:33:25
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/48293
id
Pasar Keroncong Kotagede sebagai event musik keroncong tahunan yang telah diselenggarakan sebanyak tiga kali di Kotagede, Yogyakarta, turut mengambil peran dalam upaya menstimulus popularitas musik keroncong. Masyarakat, penyelenggara dan media kerap menyebut event ini dengan istilah festival musik. Istilah tersebut perlu diidentifikasi. Penelitian ini akan menelusuri tentang Pasar Keroncong Kotagede 2017 bila ditinjau dari perspektif event theories akan termasuk dalam kategori event apa? Penelitian ini menggunakan metode kualitatif dengan pendekatan perspektif event studies. Telaah kepustakaan dan wawancara merupakan cara pengumpulan data selain dari pengamatan langsung atas proses dan peristiwa yang sedang berlangsung. Tujuan dari penelitian ini adalah untuk mengenali bentuk event dari Pasar Keroncong Kotagede. Temuan dari penelitian ini mengetahui bahwa event Pasar Keroncong Kotagede adalah suatu event festival berdasarkan kategori dan karakternya dalam perspektif kajian event. Kata Kunci: Event, Festival, Keroncong, Pasar Keroncong Kotagede
oai:jurnal.ugm.ac.id:article/51704
2020-03-24T19:15:47Z
jks:ART
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https://jurnal.ugm.ac.id/jks/article/view/51704
2020-03-24T19:15:47Z
Jurnal Kajian Seni
Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019; 68-80
Penyajian Lagu Dewa Ayu Janger oleh Immanuel Choir
Tutupoly, Epifani Omega; Pengkajian Seni Pertunjukan dan Seni Rupa Sekolah Pascasarjana, Universitas Gadjah Mada
Simatupang, G.R. Lono Lastoro; Departemen Antropologi Budaya Fakultas Ilmu Budaya, Universitas Gadjah Mada
Koapaha, Royke B.; Institut Seni Indonesia Yogyakarta
2020-03-25 02:15:46
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/51704
ind
Immanuel Choir(IC) merupakan salah satu Paduan Suara Mahasiswa (PSM) Universitas Kristen Immanuel (UKRIM) di kota Yogyakarta yang terbilang baru berdiri. Sebagian besar anggota IC adalah mahasiswa yang tidak memahami teknik bernyanyi yang pakem yaitu teknik vokal klasik sehingga dalam latihan IC dilakukan metode yang sedikit berbeda dengan metode vokal klasik yang pakem dalam pelaksanaannya. Meski demikian IC memiliki prestasi yang tidak kalah dengan PSM lainnya terutama dalam membawakan lagu folklor. Secara spesi k terdapat hal yang unik dari penyajian IC dalam lagu folklor, salah satunya adalah karakter suara. Hal ini membuat IC memiliki karakteristik yang berbeda dan menarik perhatian penonton dalam setiap penyajiannya. Tulisan ini bertujuan untuk mengetahui hal-hal terkait dengan produksi suara dalam penyajian lagu folklor oleh Immanuel Choir. Pendekatan yang digunakan pada artikel ini adalah musikologi. Hasil memperlihatkan bahwa IC tetap mempertahankan karakter suara yang cempreng meskipun kurang sesuai dengan teori vokal klasik tetapi IC menonjolkan aspek artistik yang mencakup ekspresi, dinamika, interpretasi dan aksi panggung.
oai:jurnal.ugm.ac.id:article/51868
2020-03-24T19:15:47Z
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https://jurnal.ugm.ac.id/jks/article/view/51868
2020-03-24T19:15:47Z
Jurnal Kajian Seni
Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019; 25-37
Metode Mengajar Kendang Tunggal I Ketut Widianta
https://jurnal.ugm.ac.id/jks/article/download/51868/151479
https://jurnal.ugm.ac.id/jks/article/download/51868/151480
Pryatna, I Putu Danika
Sugiartha, I Gede Arya; Program Studi Pengkajian Seni Pasca Sarjana Institut Seni Indonesia Denpasar
Arsiniwati, Ni Made; Program Studi Pengkajian Seni Pasca Sarjana Institut Seni Indonesia Denpasar
2020-03-25 02:15:45
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/51868
id
I Ketut Widianta adalah seorang seniman karawitan Bali yang menekuni ilmu kendang tunggal dan sekaligus memiliki metode mengajar yang unik. Penelitian ini sangat penting untuk dilakukan, mengingat I Ketut Widianta memiliki metode mengajar yang sangat berbeda dengan guru-guru kendang tunggal lainnya. Tujuan dari penelitian ini adalah mengungkap bagaimana metode mengajar beliau, dari metode mengajar yang biasa dan yang tidak biasa. Penelitian ini akan di analisis dengan metode deskriptif kualitatif, dalam implementasinya menggunakan teknik observasi, wawancara dan dokumentasi. Hasil yang dicapai dari penelitian ini adalah ditemukannya dua teknik mengajar yang dimiliki oleh I Ketut Widianta, yaitu teknik mengajar yang biasa dan tidak biasa. Teknik mengajar yang biasa diterapkan beliau dengan membagi kelas pengajaran menjadi beberapa jurusan, sedangkan teknik mengajar yang tidak biasa diterapkan beliau dengan menyuruh muridnya untuk memukul bantang kendang yang belum jadi.
oai:jurnal.ugm.ac.id:article/52057
2020-03-24T19:15:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/52057
2020-03-24T19:15:47Z
Jurnal Kajian Seni
Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019; 81-90
Analisa Melodi pada Gending Sekati Ririg Cenik di Desa Adat Tejakula Kabupaten Buleleng
https://jurnal.ugm.ac.id/jks/article/download/52057/152072
Putra, I Ketut Aditya
Sugiartha, I Gede Arya; Program Studi Seni Program Magister Program Pascasarjana
Institut Seni Indonesia Denpasar
Arsiniwati, Ni Made; Program Studi Seni Program Magister Program Pascasarjana
Institut Seni Indonesia Denpasar
2020-03-25 02:15:47
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/52057
id
Gending sekati ririg cenik sebagai salah satu diantara kelima gending sekati yang ada di desa adat Tejakula kabupaten Buleleng. Pada sajiannya gending ini menggunakan barungan gamelan gong kebyar. Gending ini disajikan ketika masyarakat setempat sedang melaksanakan upacara dewa yadnya. Melodi merupakan unsur musikal yang bereperan penting dalam terbentuknya suatu karya musik. Gending sekati ririg cenik ini memiliki ciri khas atau keunikan yang dapat dilihat dari rangkaian nada yang disusun menjadi sebuah melodi. Penelitian ini bertujuan untuk menguraikan dan menganalisa melodi pada gending sekati ririg cenik. Sehingga dapat dirumuskan sebuah masalah yaitu bagaimana struktur melodi gending sekati ririg cenik di desa adat Tejakula? Penelitian ini adalah penelitian kualitatif dengan teknik pengumpulan data yaitu obeservasi, wawancara dan dokumentasi. Hasil dari penelitian ini diharapkan memberikan informasi dan pemahaman terkait dengan melodi pada gending sekati ririg cenik di desa adat Tejakula kabupaten Buleleng.
oai:jurnal.ugm.ac.id:article/52104
2020-03-24T19:15:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/52104
2020-03-24T19:15:47Z
Jurnal Kajian Seni
Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019; 58-67
Estetika Gamelan Gong Gede di Desa Adat Tejakula: Ditinjau dari Tabuh (Gending)
Supriyadnyana, Pande Gede Widya
Sugiartha, I Gede Arya; Program Studi Seni Program Magister Program Pasca Sarjana Institut Seni Indonesia Denpasar
Arshiniwati, Ni Made; Program Studi Seni Program Magister Program Pasca Sarjana Institut Seni Indonesia Denpasar
2020-03-25 02:15:46
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/52104
id
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).
oai:jurnal.ugm.ac.id:article/52230
2020-03-24T19:15:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/52230
2020-03-24T19:15:47Z
Jurnal Kajian Seni
Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019; 38-57
Perubahan Fungsi pada Ornamen Tionghoa Gereja Santa Maria De Fatima Jakarta
Kosasih, Rosa Ivana; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Haryono, Timbul; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Nugraha, Wisma; Sastra Nusantara, Fakultas Ilmu Budaya, Universitas Gadjah Mada
2020-03-25 02:15:46
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/52230
seni rupa
elemen visual, fungsi, gereja, ornamen
id
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.
oai:jurnal.ugm.ac.id:article/52258
2020-03-25T08:25:21Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/52258
2020-03-25T08:25:21Z
Jurnal Kajian Seni
Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018; 1-14
Pengalaman Musikal dalam Teori Kecerdasan Majemuk Howard Gardner
Atqa, Untsa Akramal; Universitas Gadjah Mada
Simatupang, G.R. Lono Lastoro; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Koapaha, Royke B.; Institut Seni Indonesia, Yogyakarta
2019-12-07 11:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/52258
id
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.
oai:jurnal.ugm.ac.id:article/52274
2020-03-25T08:25:21Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/52274
2020-03-25T08:25:21Z
Jurnal Kajian Seni
Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018; 15-29
Mwathirika sebagai Materi Tambahan dalam Mempelajari Sejarah 1965
Savitri, Tika; Sembunyi Tea House - Indepenent Researcher
2019-12-07 11:36:04
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/52274
performing art, puppet, education, history
performance art, education, puppet theater, G30S, PKI.
en
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.
oai:jurnal.ugm.ac.id:article/52276
2020-03-25T08:25:21Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/52276
2020-03-25T08:25:21Z
Jurnal Kajian Seni
Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018; 65-82
Plot Sebagai Penjelasan Sejarah: Perihal Kembalinya Arjuna dari Kematian atau Hilangnya
Kuncoro, Sri; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Simatupang, G.R. Lono Lastoro; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Haryono, Timbul; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
2019-12-07 11:36:06
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/52276
plot theories, historical explanation, aesthetic strategies.
en
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.
oai:jurnal.ugm.ac.id:article/52277
2020-03-25T08:25:21Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/52277
2020-03-25T08:25:21Z
Jurnal Kajian Seni
Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018; 112-127
Perhatian Tubuh dalam Bingkai Festival
Hanggayuh P.P., Ganter; Music Daily Clinic - Yogyakarta
2019-12-07 11:36:06
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/52277
Festival, Body, Community
en
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.
oai:jurnal.ugm.ac.id:article/52895
2020-09-30T12:29:52Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/52895
2020-09-30T12:29:52Z
Jurnal Kajian Seni
Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020; 111-127
Kosmologi Sekala-Niskala Refleksi Estetika Lukisan I Nyoman Sukari
https://jurnal.ugm.ac.id/jks/article/download/52895/155035
Sucitra, I Gede Arya; Fakultas Seni Rupa, Institut Seni Indonesia Yogyakarta
Murtiningsih, Rr. Siti; Jurusan Filsafat barat, Fakultas Filsafat, Universitas Gadjah Mada Yogyakarta
2020-09-30 19:29:52
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/52895
id
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.
oai:jurnal.ugm.ac.id:article/53727
2020-09-30T12:29:52Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/53727
2020-09-30T12:29:52Z
Jurnal Kajian Seni
Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020; 185-201
Akhudiat sebagai Penulis Naskah Drama Indonesia
https://jurnal.ugm.ac.id/jks/article/download/53727/158283
Candra, Iga Ayu Intan; IAIN Ambon
2020-09-30 19:29:52
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/53727
Indonesia, Surabaya
Chronological and Historical
Studi Tokoh
IAIN Ambon
id
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
oai:jurnal.ugm.ac.id:article/53834
2020-09-30T12:29:52Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/53834
2020-09-30T12:29:52Z
Jurnal Kajian Seni
Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020; 128-141
‘Being Contemporary’: Proses Ari Ersandi Dalam Karya Lalube
Prakasiwi, Galih; Pengkajian Seni Pertunjukan dan Seni Rupa Universitas Gadjah Mada Yogyakarta
Fitriasari, Rr. Paramitha Dyah; Program Studi Pengkajian Seni Pertunjukan dan Seni Rupa
Universitas Gadjah Mada Yogyakarta
Murgiyanto, Sal; Program Studi Pengkajian Seni Pertunjukan dan Seni Rupa
Universitas Gadjah Mada Yogyakarta
2020-09-30 19:29:52
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/53834
id
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
oai:jurnal.ugm.ac.id:article/54516
2020-09-30T12:29:52Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/54516
2020-09-30T12:29:52Z
Jurnal Kajian Seni
Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020; 202-220
Pesona Seni dan Teknologi pada Pertunjukan Fire Dance di Komunitas Flownesia
https://jurnal.ugm.ac.id/jks/article/download/54516/162196
Fitriana, Rifa; University of Gadjah Mada
Fitriasari, Rr. Paramitha Dyah; Prodi Pengkajian Seni Pertunjukan dan Seni Rupa
Sekolah Pascasarjana, Universitas Gadjah Mada
Sushartami, Wiwik; Prodi Pariwisata, Fakultas Ilmu Budaya, Universitas Gadjah Mada
2020-09-30 19:29:52
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/54516
id
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
oai:jurnal.ugm.ac.id:article/55035
2020-03-24T19:15:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/55035
2020-03-24T19:15:47Z
Jurnal Kajian Seni
Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019; 16-24
Postmodern Aspects of Electronic and Multimedia Music
Cahyo, Septian Dwi; Pertemuan Musik Jakarta
2020-03-25 02:15:45
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/55035
Electronic and Multimedia Music, New Music, Postmodernism.
en
Modernism spirit in the music of doing something new, create innovation and so on now facing an obstacle because material progression in new music become smaller and smaller. Based on this phenomenon, now composers nd other ways to develop their musical landscapes such as breaking the boundaries between music and other arts form until involving Postmodern aesthetic tendencies in their works. Many composers now breaking the boundaries of Modernism myth such as breaking binary opposition between high and pop culture, past and present and make it as another strategy to make music and also to give an alternative solution to the “hibernation” of material progression in new music. These phenomena are clearly appear in electronic and multimedia music where composers using many existing audio quotations from pop culture, using pop art element, and also using an existing audio quotation as a parody.
oai:jurnal.ugm.ac.id:article/55046
2021-01-18T10:50:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/55046
2021-01-18T10:50:24Z
Jurnal Kajian Seni
Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020; 95-106
Pembentukan Hiasan Kepala Busana Pengantin Sebagai Proses Pembelajaran Dalam Menciptakan Modifikasi
https://jurnal.ugm.ac.id/jks/article/download/55046/164774
Hariana, Hariana; Universitas Negeri Gorontalo
2021-01-18 17:50:24
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/55046
id
The bridal costume, seen from the structure and fashion accessories, has aestheticvalue and symbolic value. The bridal costume consists of headdresses, clothes, skirts,and accessories. This study examines the object of the bride’s clothing on the head.The phenomenon of modifying a wedding dress headdress needs attention, so that itscultural value is maintained. Qualitative research methods with an aesthetic approach. The research objective was to find the concept of the formation of a bride dress headdress and to find the value of the function of a modified bridal headdress. It is hoped that the modified form of the bride’s headdress will not leave behind the typical Gorontalo bridal dress. The results showed that the modification of the headdress of The bridal costume was born because the roles of tools, materials, and the formation process were more varied. Modification has a value of personal function, social function, and physical function. Busana pengantin perempuan Gorontalo memiliki ciri estetik dan makna simbolik. Struktur busana terdiri dari busana bagian atas (hiasan kepala), busana bagian tengah (baju dan aksesorisnya), dan busana bagian bawah (rok dan ornamen hiasnya). Penilitian ini fokus membahas busana bagian atas, yaitu hiasan kepala/sunthi. Fenomena modifikasi hiasan kepala busana pengantin Gorontalo perlu mendapatkan perhatian, agar nilai-nilai tradisionalnya tetap terjaga. Penelitian ini menggunakan pendekatan teknologi dan estetika untuk menemukan ide penciptaan. Tujuan penelitian untuk menemukan konsep pembentukan hiasan kepala busana pengantin sebagai media pembelajaran dalam membuat kreasi busana tradisional. Konsep tersebut diharapkan dapat menemukan cara pembentukan hiasan bagian kepala yang melahirkan estetika baru, tanpa meninggalkan ciri khas busana adatnya. Hasil penelitian ditemukan bahwa lahirnya bentuk modifikasi pada hiasan kepala busana pengantin karena adanya peranan aspek tecnoware. Perkembangan tecnoware yang dimaksud meliputi alat, bahan, dan proses, sedangkan nilai fungsi yang mempengaruhi modifikasi dibedakan menjadi fungsi personal, fungsi sosial, dan fungsi fisik.
oai:jurnal.ugm.ac.id:article/55817
2020-09-30T12:29:52Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/55817
2020-09-30T12:29:52Z
Jurnal Kajian Seni
Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020; 142-162
Peningkatan Kompetensi Mahasiswa dalam Komposisi Musik melalui Penggunaan Software Sibelius
Saputra, Dani Nur; Universitas Negeri Jakarta
2020-09-30 19:29:52
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/55817
Qualitative
Program Studi Pendidikan Musik, UNJ
id
ABSTRACT This study aims to determine the process of using Sibelius software in effort to improve student competence in composing a piece of music. In addition, this research is expected to add insight to music educators and students regarding the use of music software as a literacy of 21st century music education in application of learning in digital age. This research method uses qualitative methods with a research and development approach. Data collection is done by interview, observation, and documentation. Furthermore, this study would like to examine the effectiveness and efficiency of the application of Sibelius software in making music. The results showed that with the use of beam notation writing software (Sibelius), students could maximize their abilities and knowledge. The current technology-based learning model needs to be applied in universities so that it is not left behind by the development of a fast moving era.Keyword: Students Competence, Music Composition, Software Sibelius ABSTRAKPenelitian ini bertujuan untuk mengetahui proses penggunaan software sibelius dalam upaya meningkatkan kompetensi mahasiswa dalam menkomposisikan sebuah karya musik. Selain itu penelitian ini diharapkan menambah wawasan bagi pendidik dan mahasiswa musik mengenai penggunaan software musik sebagai literasi pendidikan musik abad-21 dalam penerapan pembelajaran di era digital.Metode penelitian ini menggunakan metode kualitatif dengan pendekatan penelitian dan pengembangan (research and development). Pengumpulan data di lakukan dengan wawancara, observasi, dan dokumentasi. Lebih lanjut penelitian ini hendak mengkaji efektifitas dan efisiensi penerapan software sibelius dalam pembuatan karya musik.Hasil penelitian menunjukan bahwa dengan adanya penggunaan software penulisan notasi balok (Sibelius), maka mahasiswa dapat lebih memaksimalkan kememampuan dan keilmuan yang mereka dapatkan. Model pembelajaran berbasis teknologi saat ini perlu sekali untuk di terapkan di perguruan tinggi agar tidak tertinggal oleh perkembangan jaman yang bergerak sangat cepat.Keyword: Kompetensi Mahasiswa, Komposisi Musik, Software Sibelius.
oai:jurnal.ugm.ac.id:article/56384
2021-01-18T10:50:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/56384
2021-01-18T10:50:24Z
Jurnal Kajian Seni
Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020; 107-122
Adaptasi Estetika Permainan Musik Barat pada Big Band Salamander
Dirgualam, Oki
Suganda, Dadang; Fakultas Ilmu Budaya, Universitas Padjadjaran
Wikagoe, Bucky; Fakultas Ilmu Budaya, Universitas Padjadjaran
Sufianto, Kunto; Fakultas Ilmu Budaya, Universitas Padjadjaran
2021-01-18 17:50:24
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/56384
id
This article describes the adaptation of foreign culture in the form of jazz big band music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements, namely: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. The process of adapting the aesthetics of playing music is the process of adjusting the aesthetics of playing music carried out by an individual/community to cultural outcomes from outside the individual/community culture. This research uses qualitative approach method with descriptive analysis. Researchers describe the results of the research based on the results of observation, interview, and documental studies relating to players and experts in the field of big-band music. This paper presents the basic elements of western music aesthetics, especially big band jazz music and how Salamander Big Band can adapt and implement the aesthetic values of western jazz big band music in its music playing. Through a process of appreciation, habituation, additional insight into jazz music, continuous and consistent practice, Salamander Big Band members are able to adapt to cultures from outside of Indonesia’s popular music culture, that is playing American big band music with the correct aesthetic.Artikel ini menjelaskan tentang estetika permainan musik big band jazz yang diadaptasi oleh komunitas non-formal big band Salamander. Estetika merupakan kajian tentang proses yang terjadi pada tiga elemen dasar, yaitu: objek estetis, subjek estesis, dan nilai estesis yang terkait dengan pengalaman estesis, properti estesis, dan parameter kemenarikan maupun ketidakmenarikan. Proses adaptasi estetika permainan musik adalah proses penyesuaian estetika permainan musik yang dilakukan oleh suatu individu/komunitas terhadap hasil budaya asing atau budaya baru. Tulisan ini menggunakan pendekatan kualitatif dengan metode analisis deskriptif. Tulisan ini menghadirkan elemen-elemen dasar dari estetika musik barat khususnya musik big band jazz serta bagaimana big band Salamander dapat mengadaptasi dan mengimplementasikan nilai-nilai estetika musik big band jazz barat dalam permainan musik yang dimainkan. Melalui proses adaptasi estetika dalam memainkan musik dengan benar dan sesuai, dapat menghasilkan produk musik yang lebih baik, mendekati estetika musik aslinya atau bahkan lebih baik dari versi aslinya.
oai:jurnal.ugm.ac.id:article/57161
2021-01-18T10:50:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/57161
2021-01-18T10:50:24Z
Jurnal Kajian Seni
Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020; 72-94
Musik Indisch dalam Perspektif Poskolonial: Studi Kasus Karya Ki Hadjar Dewantara dan Constant van de Wall
Ariyanti, Margi; Gadjah Mada University
Yulianto, Vissia Ita; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Koapaha, Royke B.; Jurusan Seni Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta
2021-01-18 17:50:24
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/57161
Indonesia, Dutch
Dutch East Indies Colonization
historical
Gadjah Mada University
id
Indisch music is a music that uses a combination of “Eastern” music idioms and “Western” music idioms in composition and popular in Dutch-East Indies era. This article analyses the composition of Indisch music composed by Ki Hadjar Dewantara, a well-known educational figure and composer in Indonesia and Constant van de Wall, a Javanese-Dutch composer in a postcolonial perspective. Using a qualitative method and with a music theory framework and a postcolonial theory framework, this article answers two research questions: the first is how Ki Hadjar Dewantara and Constant van de Wall in making their Indisch music works viewed in terms of their composition and the second is how the contestation of the struggle the power that is built into their piano composition in a postcolonial perspective. The composition of the two composers shows that Dutch colonialism in the Dutch East Indies has produced a mixed culture called Indisch culture which has become an arena of contestation and power struggle for the colonizers and colonized. Starting from this point, the authors hope that this article contributes to the world of piano education in Indonesia. Music teacher and student of music need to understand of postcolonial theory in addition to music theory and music history.Musik Indisch adalah jenis musik yang menggunakan perpaduan idiom musik “Timur” dan idiom musik “Barat” di dalam komposisinya dan populer di zaman Hindia-Belanda. Artikel ini menganalisis komposisi musik Indisch yang digubah oleh Ki Hadjar Dewantara, seorang tokoh pendidikan dan komponis terkenal di Indonesia dan Constant van de Wall, seorang komponis Jawa-Belanda. Dengan menggunakan metode kualitatif dan dengan kerangka teori musik dan kerangka teori poskolonial, artikel ini menjawab dua pertanyaan riset: yang pertama adalah bagaimana Ki Hadjar Dewantara dan Constant van de Wall dalam membuat karya musik Indischnya ditinjau dari bentuk komposisi mereka dan yang kedua adalah bagaimana kontestasi perebutan kuasa yang terbangun dalam komposisi piano mereka dalam perspektif poskolonial. Komposisi kedua komponis tersebut menunjukkan bahwa kolonialisme Belanda di Hindia-Belanda telah menghasilkan kebudayaan campuran yang bernama kebudayaan Indisch yang telah menjadi arena kontestasi dan pertarungan kuasa bagi si penjajah dan yang terjajah. Berangkat dari titik tersebut, penulis berharap artikel ini dapat berkontribusi dalam dunia pendidikan piano di Indonesia. Pemahaman teori poskolonial di samping teori musik dan sejarah musik penting dimiliki oleh guru dan siswa piano Indonesia.
oai:jurnal.ugm.ac.id:article/57953
2021-01-18T10:50:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/57953
2021-01-18T10:50:24Z
Jurnal Kajian Seni
Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020; 20-36
Encounter with The Other: The Serialists and The Spectralists
Nataraja, Dionysius Arya; Bennington College
2021-01-18 17:50:24
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/57953
Musicology
orientalism, postcolonialism, composition, serialism, spectralism
Contemporary Music
France
1970
en
Musik kontemporer di Paris pada tahun 1970an didominasi oleh musik serial, dan spektralisme hadir memberi alternatif. Di tulisan ini, saya berargumen bahwa fenomena naiknya musik spektral ini bukan hanya sekedar masalah domestik musik kontemporer Eropa, tetapi fenomena ini berkaitan erat dengan masalah hubungan dengan yang “Liyan”, termasuk dengan budaya musik non-Barat. Dalam analisis saya, saya menemukan tendensi pada komposer musik serial untuk menjadi eksklusif melalui apa yang saya sebut mekanisme Othering, yang muncul pada tulisan-tulisan Schoenberg dan Boulez. Sebaliknya, komposer spektral menunjukkan sikap yang lebih inklusif terhadap musik di luar musik kontemporer Eropa. Musik spektral menawarkan terobosan dalam cara pandang terhadap musik, baik dalam ranah teknis mau pun kultural. Sebagai contoh, menggunakan spektrum inharmonik untuk basis komposisi daripada spektrum harmonik—spektrum harmonik sering digunakan sebagai landasan teori untuk membingkai musik non-Barat sebagai “alami” dan “belum tersentuh”. Contoh lain adalah memblurkan perbedaan antara warnanada dan harmoni, di mana konsep ini memperluas konsep harmoni, hingga tidak terbatas pada definisi harmoni klasik Eropa. Musik spektral membuka jalan baru untuk menghadapi pertanyaan-pertanyaan tentang inklusivitas. The Parisian contemporary music scene was dominated by serial music in the 1970s, and spectral music came to provide a musical alternative. In this essay, I argue that the rise of spectral music is not merely a domestic phenomenon within the European contemporary music scene, but that it is deeply tied with the issues of Othering, including the relationship with non-Western musical cultures. My analysis points out the tendency of exclusivity of the serialists via what I call mechanisms of Othering, as appears in the writings of Schoenberg and Boulez. On the contrary, the view and approach of the spectral composers tend to be more inclusive towards various musical system. Spectral music proposes viewpoints that are groundbreaking on the technical and cultural level. For example, putting the focus on the inharmonic spectra as a compositional basis, which negates the obsession towards the harmonic spectra, as it is often used as a theoretical justification to frame non-Western music as being “natural” and “untouched”. Another example, blurring the distinction between timbre
oai:jurnal.ugm.ac.id:article/59589
2021-01-18T10:50:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/59589
2021-01-18T10:50:24Z
Jurnal Kajian Seni
Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020; 54-71
Dialektika Kreatif Penataan Tari Inai dari Panggak Laut, Daik Lingga, Kepulauan Riau Dalam Tari Seri Inai
Wibowo, Denny Eko; Universitas Universal
Widyanarto, Widyanarto; Fakultas Seni, Program Studi Seni Tari, Universitas Universal Batam
2021-01-18 17:50:24
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/59589
Deputi Bidang Penguatan Riset dan Pengembangan Kementrian Riset dan Teknologi/ Badan Riset dan Inovasi Nasional; Mawardi; Universitas Universal
id
This aims article to present a dialectic of the dance composition, Seri Inai that is based on traditional Inai dance from Sri Kemuning dance group in Panggak Laut, Daik Lingga, Kepulauan Riau. This dance composition is an effort to dance organization with local values and wisdom. The purpose of the dance composition is to enable it to be easily performed by the community, especially the younger generation. Qualitative research method is used through interviews, observation and study of references. Dance sociology approach is explain to scrutinize the dance, and choreography used in the process of the dance composition of Seri Inai. The conclusion in this article is related to dance composition of Seri Inai in textual aspects that is customized by socio-culture values of the Malay community in Panggak Laut, Daik Lingga. Key words: dance composition, Seri Inai, dance organization, Panggak LautArtikel ini bertujuan untuk menunjukan dialektika pada wujud penataan tari kreasi Seri Inai yang berpijak dari tari Inai tradisional dari Sanggar Sri Kemuning, Panggak Laut, Daik Lingga, Kepulauan Riau. Penataan tari ini merupakan upaya pelembagaan tari yang berkaitan dengan keberlangsungan wadah dan nilai-nilai kearifan lokal pada tari tertentu. Tujuan penataan tari kreasi Seri Inai adalah hasil komposisi tari yang bisa lebih menarik dan dapat diperagakan oleh masyarakat umum terutama generasi muda. Metode penelitian kualitatif dilakukan dengan teknik wawancara, observasi, dan studi pustaka. Pendekatan Sosiologi Tari digunakan untuk mencermati tentang pelembagaan tari dan pendekatan Koreografi digunakan untuk proses menata tari Seri Inai. Hasil pembahasan dalam tulisan ini berkaitan dengan wujud penataan tari Seri Inai secara tekstual yang melibatkan penyesuaian antara sumber penciptaan tarinya dengan komposisi tarinya, yang juga berkaitan dengan aspek nilai-nilai sosial budaya masyarakat Melayu di Panggak Laut, Daik Lingga.Kata kunci: penataan tari, Seri Inai, pelembagaan tari, Panggak Laut
oai:jurnal.ugm.ac.id:article/59650
2021-04-30T07:12:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/59650
2021-04-30T07:12:47Z
Jurnal Kajian Seni
Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021; 123-141
Apakah Wayang Kulit Dibentuk oleh Sunan Kalijaga?
https://jurnal.ugm.ac.id/jks/article/download/59650/184566
https://jurnal.ugm.ac.id/jks/article/download/59650/184567
https://jurnal.ugm.ac.id/jks/article/download/59650/184568
https://jurnal.ugm.ac.id/jks/article/download/59650/184569
https://jurnal.ugm.ac.id/jks/article/download/59650/184570
https://jurnal.ugm.ac.id/jks/article/download/59650/184571
https://jurnal.ugm.ac.id/jks/article/download/59650/184572
Laki, Áron Bence; Eötvös Loránd Tudományegyetem (ELTE)
2021-04-29 21:20:32
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/59650
Jawa; India; Middle-East
Hindu-Buddhist Era; Islamic Era
Dr. Agus Suwignyo, Universirtas Gadjah Mada, Fakultas Ilmu Budaya; Tempus Közalapítvány
id
AbstrakArtikel ini menganalisa cerita wali sanga, lebih tepatnya hubungan Sunan Kalijaga dengan seni wayang, dengan lebih mendalam. Legenda yang membicarakan tentang bagaimana dan kenapa Sunan Kalijaga mengubah bentuk wayang dikenal luas oleh masyarakat Indonesia. Penelitian ini membahas tentang apakah aturan agama Islam memang memerlukan wali sanga untuk mengubah bentuk wayang atau tidak. Pola pikir tentang menggambarkan tokoh-tokoh penting dalam agama lain, seperti halnya dalam agama Hindu dan Budha, juga diteliti di sini. Setelah melihat pola pikir dan aturan-aturan yang berbeda di dalam beberapa tradisi ini, kita akan bisa menarik kesimpulan yang baru tentang cerita Sunan Kalijaga.AbstractThis article examines the story of wali sanga, or to be more precise the story which connects Sunan Kalijaga with the art of shadow puppetry in detail. The story about how and why did Sunan Kalijaga change the shape of wayang figures is well known by all Indonesians. This research will examine if according to Islamic law, was it really required to change the shape of wayang figures or not. We will also talk about the way of thinking about depicting important figures in other religions, such as in Hinduism and in Buddhism too. After we saw all the different points of view and rules about this in the different traditions, we will be able to draw a new conclusion about the story of Sunan Kalijaga.
oai:jurnal.ugm.ac.id:article/60254
2020-09-30T12:29:52Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/60254
2020-09-30T12:29:52Z
Jurnal Kajian Seni
Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020; 91-110
Negosiasi Kelokalan pada Pop Dawan Nusa Tenggara Timur di Era Internet
Raditya, Michael H.B.; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana,
Universitas Gadjah Mada
2020-09-30 19:29:52
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/60254
Popular Music Studies, Performance Studies, Ethnomusicology
Glokalisasi, Hibridisasi, Musik Timor, Negosiasi, Nusa Tenggara Timur
en
Tulisan ini menyoal negosiasi masyarakat suku Dawan akan unsur lokal dan pengaruh global pada musik pop daerah mereka. Alih-alih tunduk pada globalisasi, musisi setempat justru melakukan negosiasi pada musik pop Dawan Tindakan ini dalam kerangka akademis disebut sebagai glokalisasi. Objek material di dalam penelitian ini adalah musisi pop yang mengunggah video musik mereka ke kanal YouTube. Lebih lanjut, kami memberikan fokus lebih pada bahasa, tema, dan musikalitas di dalam proses konstruksi musik pop Dawan. Dari banyaknya musisi Nusa Tenggara Timur yang mendistribusikan karyanya di kanal YouTube, kami memilih Tiga narasumber yang berbeda asal, referensi musikal, usia, dan jenis kelamin. Tiga narasumber ini dipilih berdasarkan popularitas di internet dan saran dari masyarakat setempat. Tulisan ini bertujuan untuk mengartikulasikan dan menelisik perkembangan praktik musik populer daerah di Nusa Tenggara Timur. Bermetodekan etnografi, tulisan ini merujuk konsep glokalisasi dan hibridisasi budaya Roland Robertson dan Richard Giulianotti. Hasil dari penelitian ini menguraikan sejauh mana unsur lokal dinegosiasikan oleh musisi di pulau Timor di dalam musik yang mereka unggah di internet.
oai:jurnal.ugm.ac.id:article/60448
2021-01-18T10:50:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/60448
2021-01-18T10:50:24Z
Jurnal Kajian Seni
Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020; 1-19
Konstruksi Gender melalui Senjata Tradisional Bé. Rang di Sumbawa Nusa Tenggara Barat
Tomi, Muhammad; Universitas Gadjah Mada
Sushartami, Wiwik; Prodi Pariwisata, Fakultas Ilmu Budaya, Universitas Gadjah Mada
Marianto, M. Dwi; Fakultas Seni Rupa, Institut Seni Indonesia Yogyakarta
2021-01-18 17:50:24
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/60448
id
This paper deals with how the gender construction is realized through bé. rang in the community of Rempe Village, Seteluk District, West Sumbawa. Bé. rang is a traditional weapon of the Sumbawa people in the form of a slaughter weapon made by a panre (master/blacksmith). In general, the people of Sumbawa recognize three types of gender, namely tau salaki (male), tau swai (female) and tau calabai (transgender). The absence of tau swai and tau calabai in the nganyang tradition, the use of the term bé. rang as sanak salaki (brother), and differentiation and restriction of access to tau swai and tau calabai from the use of bé. rang, becoming the reason this research was conducted. The problem of this research is dissected using the concepts of externalization, objectivation, and internalization proposed by Peter L. Burger and Thomas Luckmann (1990). The results of this study indicate that in general gender construction occurs through bé. rang. This gender construction produces “value standards” which tend to be masculine and few discriminatory but quite dynamic. Besides that, the gender construction that is manifested through bé. rang is very structure/hierarchical and tends to be negotiative. This can be seen from how tau calabai that are still given the opportunity to access bé. rang salaki with the consideration that they will return to the “normal” tau salaki. The gender hierarchy is reflected in the classification according to the type of bé. rang that can be accessed, such as tau ode (boys), tau taruna (youth), tau salaki rango (adult men), tau swai (female) and tau calabai (banci) is evidence of a very structured and hierarchical gender construction. This gender construction occurred, was inherited and strengthened by existing institutions in the Sumbawa community such as the family, the West Sumbawa Regency Government, the Tana Samawa Customary Institution, the Rempe Village Government, schools, and the Titik Api group also played an important role as a tool of legitimacy in gender construction through bé. rang. Penelitian ini menyoal bagaimana konstruksi gender terwujud melalui bé. rang di masyarakat Desa Rempe, Kecamatan Seteluk, Kabupaten Sumbawa Barat. Bé. rang sendiri merupakan senjata tradisional masyarakat Sumbawa berjenis senjata penebas yang dibuat oleh seorang panre (empu/pandai besi). Secara umum masyarakat Sumbawa mengenal tiga jenis gender yakni tau salaki (laki-laki), tau swai (perempuan) dan tau calabai (banci). Ketidakhadiran tau swai dan tau calabai dalam tradisi nganyang, adanya penggunaan istilah bé. rang sebagai sanak salaki (saudara laki-laki), serta pembedaan dan pembatasan akses tau swai dan tau calabai terhadap penggunaan bé. rang, menjadi alasan penelitian ini dilakukan. Permasalahan penelitian ini dibedah dengan menggunakan konsep eksternalisasi, objektivasi, dan internalisasi yang dikemukakan Peter L. Burger dan Thomas Luckmann (1990). Hasil penelitian ini menunjukkan bahwa secara garis besar konstruksi gender memang terjadi melalui bé. rang. Konstruksi gender tersebut menghasilkan “standar nilai” yang cenderung maskulin dan sedikit diskriminatif namun cukup dinamis. Selain itu konstruksi gender yang terwujud melalui bé. rang sangat terstruktur/hierarkis dan cenderung negosiatif. Hal itu dapat dilihat dari bagaimana tau calabai yang masih diberi kesempatan untuk mengakses be.rang salaki dengan pertimbangan akan kembali menjadi tau salaki “normal”. Adapun hierarki gender tergambar dari adanya klasifikasi sesuai jenis be. rang yang dapat diakses seperti tau ode (anak laki-laki), tau taruna (pemuda), tau salaki rango (laki-laki dewasa), tau swai (perempuan) dan tau calabai (banci) merupakan bukti terjadinya konstruksi gender yang sangat terstruktur dan hierarkis. Konstruksi gender tersebut terjadi, terwariskan dan diperkuat oleh lembaga- lembaga yang ada dalam masyarakat Sumbawa seperti keluarga, Pemerintah Daerah Kabupaten Sumbawa Barat, Lembaga Adat Tana Samawa, Pemerintah Desa Rempe, sekolah-sekolah, dan kelompok Titik Api juga berperan penting sebagai perangkat legitimasi dalam konstruksi gender melalui bé. rang.
oai:jurnal.ugm.ac.id:article/62900
2021-04-30T07:12:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/62900
2021-04-30T07:12:47Z
Jurnal Kajian Seni
Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021; 184-197
Eternal: Interpretasi Puisi Simbol “Q” Karya Sutardji Calzoum Bachri
Saiful, Abizar Algifari
Sukerta, Pande Made; Institut Seni Indonesia, Surakarta
2021-04-29 21:20:32
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/62900
Institut Seni Indonesia Surakarta
id
ABSTRACTThe work "Eternal" is a musical composition performance that adopts the meaning and significance of Sutardji Calzoum Bachri's symbolic poem "Q" as the base idea. The results of an in-depth observation of Sutardji Calzoum Bachri's symbolic poem "Q" are five main points which are derived from the interpretation of the author. The five points are (1) We (humans) and God have different positions, different substances and different characteristics, unimaginably different, so humans need guidance ('Q' = al-Quran) in order to reach Him; (2) Humans will always be limited in any ways as 'humans’, in contrast to creators and beings who are assigned the title alif, lam, mim; (3) As human beings who have reason and sense, we’ll always look for meanings and be side by side with the universe (habluminallah and habluminannas); (4) Confusion makes people speculate on everything; and (5) In the end, questions will end in questions again. These points are used as the basis for the theme or the atmospheric description for creating the materials for the musical and working on each of the musical compositions in "Eternal". The musical compositions are as follows: "Aku", "Q", "Seru!", "Alif Lam Mim", and "Tanya". The composition of the musical "Eternal" goes through three stages, namely the preparation of content ideas, the preparation of the composition ideas, and the actual composing. Keywords: Eternal, Music Analyzer, The Symbolic Poem “Q” ABSTRAKKarya “Eternal” adalah pertunjukan komposisi musik yang mengangkat arti dan makna puisi simbol “Q” karya Sutardji Calzoum Bachri sebagai ide gagasannya. Hasil pengamatan mendalam terhadap puisi simbol “Q” karya Sutardji Calzoum Bachri dapat ditemukan lima poin utama yang berasal dari hasil interpretasi pengkarya. Kelima poin tersebut yaitu (1) Kita (manusia) dan Tuhan memiliki perbedaan posisi, perbedaan zat dan perbedaan sifat, jauh tak terbayangkan, maka manusia butuh pedoman (‘Q’=al Quran) untuk sampai pada-Nya; (2) Manusia akan selalu terbatas dalam kadarnya sebagai ‘manusia’, berbeda dengan pencipta dan makhluk yang diberi predikat alif, lam, mim; (3) Sebagai manusia yang memiliki akal senantiasa mentadaburi (mencari makna) dan bersanding dengan alam semesta (habluminallah dan habluminannas); (4) Kebingungan membuat manusia berspekulasi terhadap segala hal; dan (5) Pada akhirnya pertanyaan akan berakhir pada pertanyaan kembali. Poin-poin tersebut digunakan sebagai titik pijak tema atau penggambaran suasana untuk menyusun materi musikal dan garap masing-masing komposisi musik dalam karya “Eternal”. Adapun komposisi musik tersebut sebagai berikut. “Aku”, “Q”, “Seru!”, “Alif Lam Mim”, dan “Tanya”. Penyusunan karya musik “Eternal” menggunakan tiga tahapan, yaitu penyusunan gagasan isi, penyusunan ide garapan, dan penuangan ide garapan. Kata kunci: Eternal, Analisa Musik, Puisi Simbol “Q”
oai:jurnal.ugm.ac.id:article/63090
2021-01-18T10:50:24Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/63090
2021-01-18T10:50:24Z
Jurnal Kajian Seni
Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020; 37-53
UrFear Huhu and The Multitude of Peer Gynts sebagai Tawaran Liveness pada Pertunjukan Virtual
Raditya, Michael H.B.; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana,
Universitas Gadjah Mada
2021-01-18 17:50:24
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/63090
performance studies, performing arts, theatre studies
Liveness, Moda, Pertunjukan Virtual, Teater Garasi, UrFear
streaming performance
en
This article deals with the “liveness” debate of virtual performance. Liveness is the most discussed issue when various artists choose virtual performances for their work. One of the reasons for the largest number of medium migration from live shows to virtual shows is the Covid-19 pandemic, that throughout 2020. In this article, the issue of liveness is linked to the liveness debate from scholar performance studies, Peggy Phelan, Philip Auslander, and Daniel Meyer-Dinkgräfe. Daniel Meyer-Dinkgräfe suggested that virtual performance have to be formulated differently from live performance. Regarding the suggestion, this article will discuss a virtual performance from Teater Garasi, “UrFear: Huhu and the Multitude Peer of Gynts”. Furthermore, this article investigates the various modes of performance in Teater Garasi performances. This investigation reveals the Moda initiative and special treatment that they did. According to the choice of performance modes and special treatments, Teater Garasi’s can offer the presence of liveness in virtual performance. Artikel ini membahas tentang tawaran liveness pada pertunjukan virtual. Liveness menjadi persoalan yang paling banyak dibicarakan ketika pelbagai seniman memilih pertunjukan virtual sebagai medium mereka berkarya. Salah satu penyebab banyaknya migrasi medium dari pertunjukan langsung ke pertunjukan virtual adalah pandemi Covid-19 yang terjadi sepanjang tahun 2020. Di dalam artikel ini, ihwal liveness akan ditautkan dengan perdebatan liveness dari scholar performance studies, Peggy Phelan, Philip Auslander, dan Daniel Meyer-Dinkgräfe. Khususnya Daniel Meyer-Dinkgräfe menyarankan agar pertunjukan virtual memiliki formulasi yang berbeda dari pertunjukan live. Atas dasar itu, artikel ini akan menautkan pertunjukan virtual Teater Garasi yang bertajuk UrFear: Huhu and the Multitude Peer of Gynts. Lebih lanjut, artikel ini menginvestigasi ragam moda performans pada pertunjukan Teater Garasi. Investigasi ini ditautkan dengan mempertanyakan liveness dan perlakuan khusus yang dilakukan Teater Garasi dalam menciptakan pertunjukannya. Bertolak dari pilihan moda performans dan perlakuan khusus yang ditawarkan, pertunjukan virtual Teater Garasi dapat menjadi tawaran akan hadirnya liveness pada pertunjukan virtual.
oai:jurnal.ugm.ac.id:article/63262
2021-04-30T07:12:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/63262
2021-04-30T07:12:47Z
Jurnal Kajian Seni
Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021; 213-234
Strategi Menggerakkan Festival Warga Studi Kasus Penyelenggaraan Layang Lakbok Art and Culture Festival
Kusmaya, Asep Zery
Mulyana, Aton Rustandi; Institut Seni Indonesia Surakarta
Sunardi, St.; Prodi Ilmu Religi dan Budaya, Program Pasca Sarjana
Universitas Sanata Dharma
2021-04-29 21:20:32
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/63262
id
ABSTRACTA festival is a cultural event that all cultural communities in the world have. One of the festival's functions is to improve the life energy of the cultural community that organizes it. Layang Lakbok Art and Culture Festival is a festival organized by Lakbok residents, Ciamis Regency, West Java. This festival stems from the spirit of a group of young people who are members of the Pematang Sawah Association to develop the post-harvest celebration of Lakbok residents into a bigger event. This idea and spirit then invite all citizens to be involved in the festival production process. The process of spreading ideas, spirit, and the festival production is carried out using the social capital owned by the youth, in particular, and in general by all citizens. The social capital used covers all aspects that are owned by citizens, starting from kinship relations, friendship, habits, actions, conflict management, arts, culinary, and many others. Thus, Layang Lakbok Art and Culture can be said to be a citizen festival that is owned and produced independently by them. The citizen participation aspect is the key to organizing this festival. This research is an attempt to interpret the practices that the author has alone experienced, together with the residents, to be precise in the production process of the Layang Lakbok Art and Culture Festival. For this reason, the research method used was the action research method where the author is directly involved in the process of procuring the Layang Lakbok Festival. This paper is expected to reveal the various participation done by the residents in organizing Layang Lakbok so that how the Layang Lakbok Festival is developed can be better known. ABSTRAKFestival merupakan sebuah peristiwa budaya, yang dimiliki oleh seluruh komunitas budaya di dunia. Salah satu dari fungsi festival adalah memperbaiki energi kehidupan dari komunitas budaya yang menyelenggarakannya. Layang Lakbok Art and Culture Festival adalah Sebuah festival yang diselenggarakan oleh warga Lakbok, Kabupaten Ciamis, Jawa Barat. Festival ini berangkat dari semangat sekelompok anak-anak muda yang tergabung dalam Paguyuban Pematang Sawah dalam mengemas ulang perayaan pasca panen warga Lakbok menjadi eventyang lebih besar. Ide dan semangat ini kemudian dibagikan kepada seluruh warga untuk ikut terlibat dalam proses produksi festival. Proses penyebaran ide, semangat hingga proses produksi festival dilakukan dengan menggunakan modal sosial yang dimiliki oleh anak-anak muda tersebut pada khususnya dan pada umumnya oleh seluruh warga. Modal sosial yang digunakan mencakup seluruh aspek yang dimiliki oleh warga yaitu mulai dari relasi kekerabatan, pertemanan, kebiasaan, tindakan, manajemen konflik, kesenian, kuliner dan lain sebagainya. Jadi Layang Lakbok Art and Culture merupakan sebuah festival warga, yang dimiliki oleh warga dan diproduksi secara mandiri oleh warga. Aspek partisipasi warga menjadi kunci dalam penyelenggaraan festival ini. Penelitian ini adalah upaya memaknai praktik yang telah dialami sendiri oleh penulis bersama warga dalam proses pewujudan Layang Lakbok Art and Culture Festival. Jadi metode penelitian yang digunakan adalah metode penelitian bertindak, di mana penulis terlibat langsung dalam proses pewujudan Layang Lakbok Festival. Lalu tulisan ini diharapkan dapat meraba lapis-lapis partisipasi warga dalam penyelenggaraan Layang Lakbok sehingga dapat dilihat bagaimana sesungguhnya Layang Lakbok Festival digerakkan.
oai:jurnal.ugm.ac.id:article/63932
2021-11-26T06:04:35Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/63932
2021-11-26T06:04:35Z
Jurnal Kajian Seni
Vol 8, No 1 (2021): Jurnal Kajian Seni Vol 8 No 1 November 2021; 84-95
Nilai-Nilai Tradisi Bukoba di Pasir Pengaraian Rokan Hulu Provinsi Riau
Syefriani, Syefriani
Erawati, Yahyar; Universitas Islam Riau
Defriansyah, Defriansyah; Universitas Islam Riau
2021-11-26 13:04:35
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/63932
id
Bukoba Tradition is an oral tradition that delivers news in the form of verse, and the verse contains words and meanings to be conveyed accompanied by music. Bukoba is a tradition that contains values which should be recognized by the younger generation. Bukoba contains educational, religious, social, and traditional values. Educational value is an invitation to listeners to preserve customs, culture and tradition which had been long gone. Religion value is in the form of conveying to the audience for always carrying out acts of worship and never forgetting Allah SWT. Social Value is when the audience can meet their relatives and old friends who haven't seen them for a long time. Traditional value is a medium to inherit traditional values. Introduction to values in Bukoba must be instilled to the younger generation of Rokan Hulu so that they can be nurtured and not eroded by globalization.Keywords: Bukoba, Values, Oral Tradition
oai:jurnal.ugm.ac.id:article/64209
2021-04-30T07:12:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/64209
2021-04-30T07:12:47Z
Jurnal Kajian Seni
Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021; 198-212
Esensi Manusia sebagai Makhluk Berseni dan Beragama
https://jurnal.ugm.ac.id/jks/article/download/64209/205537
Wijaya, Yasin Surya; Universitas Gadjah Mada
Maarif, Samsul; Agama dan Lintas Budaya, Sekolah Pascasarjana, Universitas Gadjah Mada
2021-04-29 21:20:32
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/64209
id
AbstractThis study is motivated by the gap between the disciplines of art and religion, which are generally considered separate and inseparable. This paper intends to prove that art and religion are actually complementary disciplines and humans cannot be separated between the two. This study aims to explain how the essence of human as a creature is religious, artistic, and religious also artistic at the same time. This study used qualitative research methods with informant data sources, places & events, and documents or archives. Data were collected using in-depth interviews, participatory observation, and document analysis. Interviews were aimed at 6 different religious figures from the IMP organization (Indonesia Merayakan Perbedaan), namely Islam, Christianity, Catholicism, Hinduism, Buddhism, and Believers. Observations are aimed at human activities of various religions in religion and art which are carried out offline and online. Document analysis is aimed at extracting data from books, journals and other literature. The validity of the data was tested by source triangulation and informant review techniques. Data were analyzed using interactive analysis techniques with data reduction, display, and verification procedures. The results of the study show that humans are actually creative creatures so that the emergence of religion and art cannot be separated from human creativity in seeking true truth. Humans have institutionalized religion while not for art, so that art and religion are not really to be contested. Artwork and religious worship are manifestations of the truth as a result of human reflection. The conclusion is that art and religion are institutions that are inseparable and complementary, which are essential for humans. AbstrakKajian ini dilatarbelakangi oleh adanya kesenjangan antara lembaga seni dan agama yang umumnya dianggap terpisah dan tidak dapat disatukan. Tulisan ini hendak membuktikan bahwa sejatinya seni dan agama menjadi disiplin yang saling melengkapi dan manusia tidak bisa lepas antara keduanya. Kajian ini bertujuan untuk menjelaskan bagaimana esensi manusia sebagai makhluk beragama, berseni, dan beragama sekaligus berseni. Kajian ini menggunakan metode penelitian kualitatif dengan sumber data informan, tempat & peristiwa, dan dokumen atau arsip. Data dikumpulkan dengan teknik wawancara mendalam, observasi partisipatif, dan analisis dokumen. Wawancara ditujukan pada 6 tokoh agama berbeda dari organisasi (IMP) Indonesia Merayakan Perbedaan yaitu Islam, Kristen, Katolik, Hindu, Budha, dan Penghayat Kepercayaan. Observasi ditujukan pada aktifitas manusia dari berbagai agama dalam beragama dan berseni yang dilakukan secara offline maupun online. Analisis dokumen ditujukan untuk mengali data yang bersumber dari buku, jurnal, dan literatur lainya. Keabsahan data diuji dengan teknik triangulasi sumber dan review informan. Data dianalisis dengan teknik analisis interaktif dengan prosedur reduksi data, display, dan verifikasi. Hasil kajian menunjukan bahwa manusia sejatinya adalah makhluk kreatif sehingga munculnya agama dan seni tidak lepas dari kreativitas manusia dalam upaya mencari kebenaran sejati. Manusia telah melembagakan agama sedangkan tidak untuk seni, sehingga seni dan agama sejatinya tidak untuk dipertentangkan. Karya seni dan ibadah agama merupakan manifestasi kebenaran hasil renungan manusia. Kesimpulanya adalah bahwa seni dan agama menjadi lembaga yang keduanya tidak dapat dipisahkan dan saling melengkapi juga dibutuhkan manusia secara esensial.
oai:jurnal.ugm.ac.id:article/64276
2021-04-30T07:12:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/64276
2021-04-30T07:12:47Z
Jurnal Kajian Seni
Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021; 168-183
Konstruksi Musikal Sekar Anyar dalam Tembang Sunda Cianjuran: Analisis Struktur Dongkari dan Formula Ornamen pada Lagu “Wegah”-“Sajeroning Sindang”
https://jurnal.ugm.ac.id/jks/article/download/64276/205805
Dzikriawan, Dika
Sushartami, Wiwik; Program Studi Magister Pengkajian Seni Pertnjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada, Yogyakarta
Mulyana, Aton Rustandi; Institut Seni Indonesia Surakarta; Program Studi Magister Pengkajian Seni Pertnjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada, Yogyakarta
2021-04-29 21:20:32
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/64276
Ubun Kubarsah; Pusat Digitalisasi dan Pengembangan Budaya Sunda UNPAD; Heri Herdini; Elis Rosliani; Daya Mahasiswa Sunda (DAMAS)
id
ABSTRACTSekar anyar is tembang sunda cianjuran innovation who created by Ubun Kubarsah. The term of serkar anyar in tembang sunda cianjuran first appeared in the XIX Pasanggiri Tembang sunda cianjuran (PTSC) Daya Mahasiswa Sunda (DAMAS) that goes on Graha Sanusi Universitas Padjadjaran (UNPAD) Bandung in December 2009. During this time, sekar anyar in tembang sunda cianjuran is still a debate among the tembang sunda cianjuran community. The discourse that appears in the sekar anyar is basically debating about the terminology itself, the problem of characteristics (in this case, the issue of musical and non-musical), the issue of character assassination, to the issue of whether sekar anyar is fit to be included in the category of the tembang sunda cianjuran genre. The following resarch aims to explain how the musical construction of sekar anyar in the tembang sunda cianjuran from the perspective of using the dongkari structure and the formula ornamen in the song "Wegah" - "Sajeroning Sindang".This research employs the ethnographic method with the theoretical framework of Bruno Nettl's selective approach to musical descriptions. The average use of dongkari and the use of ornaments in the sekar anyar song tends to be minimal. The lack of dongkari and ornamentation in the sekar anyar greatly influenced the achievement of the nuances of character that usually apply to tembang sunda cianjuran. ABSTRAKSekar anyarmerupakan karya inovasi dalam tembang sunda cianjuranyang digagas oleh Ubun Kubarsah. Istilah sekar anyardalam tembang sunda cianjuranpertama kali muncul pada Pasanggiri Tembang Sunda Cianjuran(PTSC) Daya Mahasiswa Sunda (DAMAS) ke-XIX yang berlangsung di gedung Graha Sanusi Universitas Padjadjaran (UNPAD) Bandung pada bulan Desember 2009. Keberadaan sekar anyardalam tembang sunda cianjuranhingga saat ini masih menjadi perdebatan di kalangan masyarakat tembang sunda cianjuran. Wacana yang muncul pada fenomena sekar anyarpada dasarnya memperdebatkan soal peristilahannya itu sendiri, masalah ciri-ciri mandiri (dalam hal ini adalah persoalan musikal dan non musikal), issue pembunuhan karakter, sampai pada persoalan apakah laik sekar anyardimasukkan ke dalam kategori genre tembang sunda cianjuran. Penelitian ini difokuskan untuk melihat bagaimana konstruksi musikal sekar anyardalam tembang sunda cianjurandari perspektif penggunaan struktur dongkaridan formula ornamen pada lagu “Wegah”-“Sajeroning Sindang”. Penelitian dilakukan menggunakan metode etnografi dengan kerangka teori pendekatan selektif deskripsi musikal Bruno Nettl. Hasil yang didapatkan rata-rata penggunaan dongkaridan penggunaan ornamen pada lagu sekar anyarcenderung minim. Minimnya dongkaridan ornamen pada sekar anyarsangat berpengaruh terhadap pencapaian nuansa karakter yang biasa berlaku pada lagu-lagu tembang sunda cianjuran.
oai:jurnal.ugm.ac.id:article/64445
2021-04-30T07:12:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/64445
2021-04-30T07:12:47Z
Jurnal Kajian Seni
Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021; 142-167
Teater Pose, Adaptasi Seni Peran Teater untuk Aplikasi Pertunjukan Fesyen Naratif
https://jurnal.ugm.ac.id/jks/article/download/64445/206724
https://jurnal.ugm.ac.id/jks/article/download/64445/206725
Timmerman, Benny Yohanes
2021-04-29 21:20:32
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/64445
Indonesia
2020-2021
Theatre Studies
id
The purpose of this article is to find ways and formulas to create performance models with the application of forms and expressions of body poses, in a narrative fashion performance format. The adaptation method will be applied to identify forms and expressions of theater acting that are in accordance with the concept of narrative fashion performance. This type of research combines desk-research (literature study) and field-research (phenomenon studies), resulting in the identification of a number of themes, related to the phenomenon of pose expression, especially those that develop in social media.The making of the Pose Theater model, in the form of this Narrative Fashion Performance, is carried out with a multi-theory inclusion approach, namely: Performative Body, Pose Presentation, Affect Dramaturgy, Equilibrium Narrative, Transcoding Adaptation, and Atmospheric Aesthetics.The article resulted in the formulation of applied knowledge in the form of a theater acting adaptation strategy for the application of narrative fashion performances. The performance model is a synthesis of Theater Semiotics knowledge, with a focus on studying semiotics of clothing (in fashion styles) and the creation of performative body poses, which are based on research results on the phenomenon of 'selfie' and 'TikTok' on social media. The visual form of pose theater is established through the creation of ready-to-wear fashion, as well as the arrangement of the stage atmosphere based on the adaptation of the rules of fashion-ology.The script model still applies the Aristotelian dramatic structure, intended as an act of borrowing, where this model uses materials, ideas, or forms from the previous text, namely the modeling convention in theatre. But the way of arranging the elements in each scene is a transposition where adaptation is a change from one semiotic system to another, namely from a dramatic theater system to a kinetical-visual theater system. ABSTRAKPengembangan seni teater, khususnya bidang seni peran (acting) dapat dilakukan melalui strategi inklusi (multi) teori, dan diperkaya dengan wawasan lintas disiplin sebagai rekoneksi pengetahuan. Tulisan ini akan membahas strategi inklusi teori, antara Seni Peran Teater, Semiotika Pakaian, dan Fashion-ology; yang diperkaya dengan wawasan rekoneksi keilmuan untuk menghasilkan formulasi konsep baru, yaitu Teater Pose. Tulisan ini menghasilkan rumusan konsep Teater Pose, berupa strategi kinetik-visual untuk menyampaikan unsur naratif dan semiotika busana, dan adaptasi seni peran menjadi suatu vokabuler seni pose. Pada tingkat aplikasi, konsep ini diturunkan menjadi formulasi model Pertunjukan Fesyen Naratif. Pertunjukan Fesyen Naratif dibangun oleh kekuatan kreasi pose sebagai re-kreasi seni tablo, semiotisasi gaya fesyen menjadi representasi karakter, yang konsep naratif dan mode pengisahannya dikaitkan dengan hasil riset fenomena ‘selfie’ dan ‘TikTok’ di media sosial, sebagai referensi eksternalnya.Pembuatan model skrip sebagai aplikasi dari konsep Teater Pose, menggunakan struktur dramatik Aristotelian yang klasik, dimaksudkan sebagai tindakan meminjam (borrowing), di mana model ini menggunakan bahan, gagasan atau bentuk dari teks sebelumnya, yaitu konvensi pengadeganan dalam teater. Tetapi cara menyusun unsur-unsur dalam setiap adegan merupakan sebuah transposisi di mana adaptasi adalah perubahan dari satu sistem semiotik ke sistem semiotik lain, yakni dari sistem teater literal-dramatik menjadi sistem performatif visual-kinetik.
oai:jurnal.ugm.ac.id:article/64498
2021-11-26T06:04:35Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/64498
2021-11-26T06:04:35Z
Jurnal Kajian Seni
Vol 8, No 1 (2021): Jurnal Kajian Seni Vol 8 No 1 November 2021; 15-35
Suling Dewa Sebagai Identitas Simbolik Masyarakat Sasak Kuto-Kute di Karang Bajo Bayan Lombok Utara
Nur Kholis, Muhammad Arsyad; Universitas Nahdlatul Ulama NTB
Kurnia, Wahyu; Universitas Nahdlatul Ulama NTB
2021-11-26 13:04:35
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/64498
Lombok Utara NTB
Konflik Identitas Kelompok Masyarakat Adat
Suling Dewa dan Masyarakat Adat Bayan di Lombok Utara
LPPM Universitas Nahdlatul Ulama NTB
id
This study aims to identify the role of Suling Dewa as a symbolic identity of the Karang Bajo community, North Lombok. The groups living in Bayan have different backgrounds. This phenomenon becomes interesting when among the four community groups in Wet Bayan, only the Karang Bajo people present different symbolic values for the existence of Suling Dewa. This theory used in this study is the theory of Burke and Jan E. Stets which states that identity is formed through symbols and the meaning of symbols as a perception. To see how the ideological reflection the author also refers to Thomson's opinion on ideology and the use of symbolic forms and the attraction between interpretation, self-reflection, and identity criticism. This research identifies that the background predicate as spiritualists in the Karang Bajo community is a fundamental substance that gives birth to a symbolic identity of a supernatural bridge in Suling Dewa.
oai:jurnal.ugm.ac.id:article/64930
2021-04-30T07:12:47Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/64930
2021-04-30T07:12:47Z
Jurnal Kajian Seni
Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021; 235-248
Struktur Dramatisasi Basalisiah dalam Trilogi Ritual Tabuik Pariaman
Ikhsan, Vujji El; Program Pascasarjana, Institut Seni Indonesia, Padangpanjang, Sumatera Barat
Asril, Asril; Program Pascasarjana, Institut Seni Indonesia, Padangpanjang, Sumatra Barat
Sriwulan, Wilma; Program Pascasarjana, Institut Seni Indonesia, Padangpanjang, Sumatra Barat
2021-04-29 21:20:32
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/64930
id
AbstractThis article discusses the dramatization of the basalisiah event in the Tabuik Pariaman ritual trilogy. Basalisiah as a form of cultural performance has presented a dramatic identity of the character of the Tabuik Pariaman ritual. This dramatic trilogy is contained in a separate Tabuik ritual trilogy, namely manabang batang pisang, maarak jari-jari, and maarak saroban. The performance of the show is situational, tends to change, is unpredictable, and without directing, but has clear and intact rules. The role of the basalisiah pawang, Anak Tabuik, and basalisiah audience really determines the dramatization of basalisiah. Sosoh and cime'eh become speech styles in the dramatization of the show. With the concept of theatricality, performativity and liminality become the basis for the analysis of the structure of basalisiah dramatization from the point of view of the character of the Tabuik performance, Prosest basalisiah in the Tabuik Pariaman ritual trilogy influenced by histrionic behavior so as to form a behavior that dramatizes situations from basalisiah to bacakak (fighting). Basalisiah recorded the history and dramatization style of theatricality in Tabuik cultural performances that can be relevant in the renewal of the world of performances. AbstrakArtikel ini membahas tentang dramatisasi peristiwa basalisiah dalam trilogi ritual Tabuik Pariaman. Basalisiahsebagai bentuk pertunjukan budaya telah mempresentasikan sebuah identitas ‘dramatik’ karakter ritual Tabuik Pariaman. Dramatik ini terdapat dalam trilogi ritual Tabuik yang terpisah, yaitu manabang batang pisang, maarak jari-jari, danmaarak sorban. Performatif pertunjukannya bersifat situasional, cenderung berubah-ubah, tidak bisa diprediksi, dan tanpa ‘directing’, namun memiliki aturan yang jelas dan utuh. Peran pawang basalisiah, Anak Tabuik, dan penonton basalisiah sangat menentukan dramatisasi basalisiah. Sosoh dan cime’eh menjadi gaya tutur dalam dramatisasi pertunjukan. Dengan konsep teatrikalitas, performativitas dan liminal menjadi dasar analisis struktur dramatisasi basalisiah dalam sudut pandang karakter pertunjukan Tabuik. Prosesi basalisiah dalam trilogi ritual Tabuik Pariaman dipengaruhi oleh perilaku histrionik, sehingga membentuk suatu perilaku yang mendramatisir situasi dari basalisiah sampai bacakak (berkelahi). Basalisiah mencatatkan sejarah dan gaya dramatisasi teatrikalitas dalam pertunjukan budaya Tabuik yang bisa relevan dalam pembaruan dunia pertunjukan.
oai:jurnal.ugm.ac.id:article/65009
2022-04-09T21:22:38Z
jks:ART
driver
v2
https://jurnal.ugm.ac.id/jks/article/view/65009
2022-04-09T21:22:38Z
Jurnal Kajian Seni
Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022; 167-177
Media Alternatif Seni dan Konstruksi Identitas Studi Kasus Tentang Zine Blcak Metal Istiqomah
Kusuma, Kurnia Budiarti; GADJAH MADA UNIVERSITY
Yulianto, Vissia Ita; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
Marianto, Martinus Dwi; Pengkajian Seni Pertunjukan dan Seni Rupa, Sekolah Pascasarjana, Universitas Gadjah Mada
2022-04-10 04:17:57
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
url:https://jurnal.ugm.ac.id/jks/article/view/65009
id
Zine Black Metal Istiqomah adalah bentuk media alternatif yang mengusung tema identitas hibrid black metal dan Islam.Menggunakan konsep perpaduan identitas musik underground black metal dan identitas Islam, zine Black Metal Istiqomah menarasikan pesan keagamaan bahasa yang santai tanpa intensi menggurui. Menggunakan metode penelitian kulitatif, penelitian ini fokus, untuk menginvestigasi bagaimana strategi pengkarya, zine, dalam menegosiasikan san mengonstruksi dua identitas yang saling bersebrangan tersebut. Penelitian dianalisis secara tekstual mengunakan teori semiotika Roland Barthes untuk memahami desain karya dan bentuk visual zine Black Metal Istiqomah. Bentuk visual karya kemudian dianalisis secara kontekstual menggunkan teori hibriditas Jan Pieterse untuk mengungkap proses negosiasi identitas black metal dan identitas Islam. Hasil penelitian ini menunjukkan zine Black Metal Istiqomah mengalami proses negosiasi pada bentuk visual karya, berupa peyederhanaan beberapa simbol identitas secara visual. Identitas black metal pada zine berperan sebagai tanda visual karya, sedangkan identitas Islam berperan pada bagian konten cerita. Pda akhirnya zine Black Metal Istiqomah merupakan bentuk penggabungan identitas yang berhasil menciptakan identitas kekaryaan dan secara tidak langsung menciptakan bentuk identitas hibrid atau nbaru yaitu Black Metal Istiqomah di kalangan Penggemarnya
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