Jurnal Kajian Seni最新文献

{"title":"Eternal: Interpretasi Puisi Simbol “Q” Karya Sutardji Calzoum Bachri","authors":"Abizar Algifari Saiful, Pande Made Sukerta","doi":"10.22146/JKSKS.62900","DOIUrl":"https://doi.org/10.22146/JKSKS.62900","url":null,"abstract":"ABSTRACT The 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” ABSTRAK Karya “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”","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45420136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Apakah Wayang Kulit Dibentuk oleh Sunan Kalijaga?","authors":"Áron Bence Laki","doi":"10.22146/JKSKS.59650","DOIUrl":"https://doi.org/10.22146/JKSKS.59650","url":null,"abstract":"Abstrak Artikel 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. Abstract This 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.","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47632417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Teater Pose, Adaptasi Seni Peran Teater untuk Aplikasi Pertunjukan Fesyen Naratif","authors":"Benny Yohanes Timmerman","doi":"10.22146/JKSKS.64445","DOIUrl":"https://doi.org/10.22146/JKSKS.64445","url":null,"abstract":"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. ABSTRAK Pengembangan 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. Pembuata","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49230248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Struktur Dramatisasi Basalisiah dalam Trilogi Ritual Tabuik Pariaman","authors":"Vujji El Ikhsan, Asril Muchtar, Wilma Sriwulan","doi":"10.22146/JKSKS.64930","DOIUrl":"https://doi.org/10.22146/JKSKS.64930","url":null,"abstract":"Abstract This 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. Abstrak Artikel ini membahas tentang dramatisasi peristiwa  basalisiah  dalam trilogi ritual Tabuik Pariaman.  Basalisiah sebagai 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,  dan maarak 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.","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44428796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Konstruksi Musikal Sekar Anyar dalam Tembang Sunda Cianjuran: Analisis Struktur Dongkari dan Formula Ornamen pada Lagu “Wegah”-“Sajeroning Sindang”","authors":"Dika Dzikriawan, Wiwik Sushartami, Aton Rustandi Mulyana","doi":"10.22146/JKSKS.64276","DOIUrl":"https://doi.org/10.22146/JKSKS.64276","url":null,"abstract":"ABSTRACT Sekar 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. ABSTRAK Sekar anyar merupakan karya inovasi dalam  tembang sunda cianjuran yang digagas oleh Ubun Kubarsah. Istilah  sekar anyar dalam  tembang sunda cianjuran pertama 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 anyar dalam  tembang sunda cianjuran hingga saat ini masih menjadi perdebatan di kalangan masyarakat  tembang sunda cianjuran . Wacana yang muncul pada fenomena  sekar anyar pada 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 anyar dimasukkan ke dalam kategori genre  tembang sunda cianjuran . Penelitian ini difokuskan untuk melihat bagaimana konstruksi musikal  sekar anyar dalam  tembang sunda cianjuran dari perspektif penggunaan struktur  dongkari dan 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  dongkari dan penggunaan ornamen pada lagu  sekar anyar cenderung minim. Minimnya  dongkari dan ornamen pada  sekar anyar sangat berpengaruh terhadap pencapaian nuansa karakter yang biasa berlaku pada lagu-lagu  tembang sunda cianjuran .","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43238422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Adaptasi Estetika Permainan Musik Barat pada Big Band Salamander","authors":"Oki Dirgualam, Dadang Suganda, Bucky Wikagoe, Kunto Sufianto","doi":"10.22146/JKSKS.56384","DOIUrl":"https://doi.org/10.22146/JKSKS.56384","url":null,"abstract":"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.","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43176902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pembentukan Hiasan Kepala Busana Pengantin Sebagai Proses Pembelajaran Dalam Menciptakan Modifikasi","authors":"H. Hariana","doi":"10.22146/JKSKS.55046","DOIUrl":"https://doi.org/10.22146/JKSKS.55046","url":null,"abstract":"The bridal costume, seen from the structure and fashion accessories, has aesthetic value 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 its cultural 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.","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46201077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Konstruksi Gender melalui Senjata Tradisional Bé. Rang di Sumbawa Nusa Tenggara Barat","authors":"Muhammad Tomi, Wiwik Sushartami, M. D. Marianto","doi":"10.22146/JKSKS.60448","DOIUrl":"https://doi.org/10.22146/JKSKS.60448","url":null,"abstract":"This paper deals with how the gender construction is realized through be. rang in the community of Rempe Village, Seteluk District, West Sumbawa. Be. 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 be. rang as sanak salaki (brother), and differentiation and restriction of access to tau swai and tau calabai from the use of be. 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 be. 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 be. 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 be. 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 be. 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 be. rang. Penelitian ini menyoal bagaimana konstruksi gender terwujud melalui  be. rang  di masyarakat Desa Rempe, Kecamatan Seteluk, Kabupaten Sumbawa Barat.  Be. 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 be. rang sebagai sanak salaki (saudara laki-laki), serta pembedaan dan pembatasan akses tau swai dan tau calabai terhadap penggunaan be. 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 gen","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43809782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"UrFear Huhu and The Multitude of Peer Gynts sebagai Tawaran Liveness pada Pertunjukan Virtual","authors":"Michael H. B. Raditya","doi":"10.22146/JKSKS.63090","DOIUrl":"https://doi.org/10.22146/JKSKS.63090","url":null,"abstract":"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.","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48783281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Encounter with The Other: The Serialists and The Spectralists","authors":"D. Nataraja","doi":"10.22146/JKSKS.57953","DOIUrl":"https://doi.org/10.22146/JKSKS.57953","url":null,"abstract":"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  ","PeriodicalId":31594,"journal":{"name":"Jurnal Kajian Seni","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47732504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}