Reconstituting Vernacular Performance on YouTube: Liveness, Disaggregation, and Digital Object Formation in Janger Banyuwangi

Heru S.P. Saputra; Wiwin Indiarti; Mochamad Ilham; Dominikus Rato; Titik Maslikatin; Lilis Yuliati; Edy Hariyadi; Panakajaya Hidayatullah; Siswanto Siswanto

doi:10.55927/fjmr.v5i9.207

Authors

Heru S.P. Saputra Universitas Jember https://orcid.org/0000-0002-5246-6852
Wiwin Indiarti Universitas PGRI Banyuwangi https://orcid.org/0000-0001-5134-7520
Mochamad Ilham Universitas Jember https://orcid.org/0000-0001-7269-7300
Dominikus Rato Universitas Jember https://orcid.org/0000-0003-1323-0529
Titik Maslikatin Universitas Jember https://orcid.org/0009-0005-2448-0867
Lilis Yuliati Universitas Jember https://orcid.org/0000-0002-2224-2241
Edy Hariyadi Universitas Jember https://orcid.org/0009-0009-0336-1331
Panakajaya Hidayatullah Universitas Jember https://orcid.org/0000-0001-9993-699X
Siswanto Siswanto Universitas Jember

DOI:

https://doi.org/10.55927/fjmr.v5i9.207

Keywords:

Digital Performance Objects, Janger Banyuwangi, Mediatized Liveness, Platformization, YouTube

Abstract

This article examines how an extended vernacular performance becomes a set of digital objects on YouTube. A qualitative comparison of 16 publicly accessible Janger Banyuwangi videos from four troupes (2020–2026) combines audited video metadata and uploader framing with timecoded viewing of a dance recording linked to a longer same-event narrative upload. The corpus distinguishes extended performance, narrative, opening, dance, music, comedy, and serial objects; the viewed dance shows staged copresence made selectively visible through camera and sound. We distinguish disaggregation, recontextualization, and variable fragment autonomy without equating separate uploads with separate staged events. The study extends platformization theory to embodied communal performance and recommends preserving event-level provenance alongside segmented videos.

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