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I Putu Udiyana Wasista
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udiyanawasista@isi-dps.ac.id
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INDONESIA
Lekesan: Interdisciplinary Journal of Asia Pacific Arts
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 25982192     DOI : https://doi.org/10.31091/lekesan
Core Subject : Humanities, Art,
Arts Humanities
The journal presents as a medium to share knowledge and understanding art, culture, and design in the area of regional, national, and international levels. The journal accommodates articles from research, creation, and study of art, culture, and design without limiting authors from a variety of disciplinary/interdisciplinary approaches such as art criticism, art anthropology, history, aesthetics, sociology, art education, and other contextual approaches.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 6 Documents
 1 
Search results for , issue "vol. 9 no. 1 (2026)" : 6 Documents clear
ERISAN TARANGKAMBREI: INTERPRETATION OF THE YAPEN ISLANDS, PAPUA TRADITION THROUGH CONTEMPORARY DANCE CREATION Welly Kadiwaru; Peradantha Ida Bagus Gede Surya; Winerungan Febiola Karolina
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v9i1.3606

Abstract

The Erisan Tarangkambrei tradition in Papuma Village, Yapen Islands, Papua, is a cultural ritual marking a girl’s first ear piercing as a symbol of maternal kinship. However, under the pressure of globalization, its cultural values risk decline. This study aims to interpret the symbolic and philosophical values of Erisan Tarangkambrei into the medium of contemporary dance as an effort to preserve local culture. Using a qualitative autoethnographic approach, this research applies artistic exploration, choreography development, and critical reflection to translate the ritual into contemporary dance form. Data were collected through the creator’s reflective notes and audiovisual observation, analyzed through cultural interpretation and literature synthesis. The study identifies five choreographic sections that reflect the ritual sequence, namely (1) Spiritual and Mental Preparation, (2) Transition and Tension, (3) The Piercing Moment, (4) Togetherness, and (5) Reflection. These sections form a solo dance that employs a contemporary approach while maintaining the traditional symbolism of the ritual. This research demonstrates that cultural rituals can be revitalized through artistic transformation, enriching Indonesia’s contemporary dance repertoire and serving as an educational model for cultural preservation through creative expression.
THE EXISTENCE OF BALINESE MASK DANCE DRAMA IN THE MILLENNIAL GENERATION IN GIANYAR REGENCY I Gede Tilem Pastika; I Wayan Sugita; Cokorda Krisna Dwiyoga
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v9i1.3671

Abstract

This qualitative research aims to examine the phenomenon and analyze the forms of existence of the Balinese Mask Dance Drama among the millennial generation in Gianyar Regency. Traditionally, this art demands multi-competency and a pawintenan ritual, usually performed by mature dancers. However, contemporary observation shows that millennials are actively involved, significantly influencing the evolution of art due to their distinct lifestyle. Data were collected through observation, interviews, and documentation. The analytical framework used is the aesthetics of existentialism. The results demonstrate that millennial mask artists ensure the art's existence through specific innovations. These include: integrating dance movements that imitate viral trends (such as TikTok dances) while maintaining core Balinese movements; mask shape innovations (e.g., movable mouth parts); emphasizing costume colors; and using multiple languages (Indonesian, English, slang) to address current social dynamics. Furthermore, digital media is leveraged for accompaniment music and promotion, serving as a primary learning source.
THE SYMBOLIC MEANING OF KEMBANG URA DANCE IN THE SIDAKARYA MASK TRADITION: AN ETHNO-AESTHETIC STUDY Dewa Ayu Galih Mas Narapadi; Ni Made Ruastiti; Kompiang Gede Widnyana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v9i1.3767

Abstract

The Kembang Ura Dance is a contemporary work reinterpreting the flower-scattering ritual of the Sidakarya Mask, a vital component of Balinese Hindu ceremonies. This study examines how ritual actions are transformed into aesthetic choreography without losing spiritual depth or profaning sacred symbols. Employing a qualitative method with ethno-aesthetic and ethnochoreological approaches, the research analyzes the dance’s structure, creative process, and significance. The findings reveal that the dance transcends mere movement; it articulates symbols of purification, universal compassion, and ritual blessing. These meanings are embedded in its choreographic structure, vintage-inspired costumes, and its role as a ritual completer of Yadnya. The study concludes that Kembang Ura Dance serves as a model for ritual-based creative dance, successfully balancing modern aesthetics with the continuity of sacred values within the evolving landscape of contemporary Balinese culture.
DEVELOPMENT OF STANDARD LAYOUT FOR TRADITIONAL BALINESE TEXTILE EXHIBITION TO SUPPORT VISITOR APPRECIATION AND TEXTILE MATERIAL STABILITY Putu Ari Darmastuti; Yuni Diantari; Kadek Resi Kerdiati
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v9i1.3849

Abstract

Textile preservation presents significant challenges in non-commercial exhibition contexts in Indonesia, particularly in Bali, where many exhibition spaces have yet to implement adequate conservation standards. At the same time, research on exhibition layout design remains fragmented between interior architecture and museum studies, limiting the development of integrated approaches. This gap becomes increasingly important alongside the growing emphasis on sustainability in exhibition practices. This study adopts a qualitative approach through a systematic review of literature published within the last five years. The analysis focuses on the relationship between spatial configuration, environmental control, and textile conservation, aiming to identify design strategies that respond to both material preservation and visitor needs. The findings suggest that textile exhibitions require careful and holistic planning that not only protects fragile materials but also creates a meaningful and comfortable experience for visitors. Key considerations include controlling light exposure, maintaining stable humidity and temperature, and organizing spatial layouts that minimize physical interaction while supporting visual accessibility. Circulation design plays a critical role in achieving this balance. While unstructured layouts encourage exploratory movement, they may lead to overcrowding and uneven distribution. In contrast, directed circulation systems provide better control over visitor flow, viewing duration, and spatial experience, making them more suitable for sensitive textile exhibitions.
WAYANG GAMBUH AS A REPRESENTATION OF BALINESE CULTURAL VALUES: AN AESTHETIC PERSPECTIVE ON THE PERFORMING ARTS I Made Marajaya
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v9i1.3872

Abstract

Wayang Gambuh is a form of Balinese shadow puppet theater rich in aesthetic and cultural-philosophical values. This performance has its roots in the Gambuh dance-drama, so the essence of Gambuh is strongly felt in every performance. The aesthetics of Wayang Gambuh are reflected through the elements that form the structure of the performance, such as the narrative, the visual imagery, the characterization, and the accompanying music in the form of the Gambuh gamelan. This study aims to analyze the aesthetics of Wayang Gambuh as a representation of Balinese cultural values from the perspective of performing arts. As a hybrid of the Gambuh dance-drama, Wayang Gambuh is often perceived as complex and difficult to master by aspiring puppeteers. However, this is not the case. Unlike Wayang Arja, which follows the patterns of Arja dance-drama, Wayang Gambuh retains the structure of traditional wayang kulit performances, though its aesthetic nuances differ due to the accompaniment of Gambuh gamelan. The research findings indicate that Wayang Gambuh follows the structure of traditional wayang kulit performance art, such as Wayang Parwa, in a complete and dynamic manner. The audio-visual components including vocal performances, visual effects, characterization, and musical accompaniment blend into a symbolic unity that represents the values of harmony, artistry, aesthetics, and spirituality within Balinese society. Wayang Gambuh serves not only as entertainment but also as a medium for cultural and spiritual education that strengthens the identity of the Balinese people. This research is expected to open up broader avenues of study for researchers and enthusiasts of traditional art to re-examine the aesthetic elements of Wayang Gambuh, while also encouraging the preservation and development of this art form so that it remains relevant amidst the changing times.
MATERIAL REGENERATION AND CULTURAL SUSTAINABILITY THROUGH MODULAR FASHION DESIGN: RECONCEPTUALIZING BALINESE ENDEK WEAVING SCRAPS Ni Kadek Yuni Diantari; Gede Bayu Segara Putra; Anak Agung Gede Rai Remawa; I Wayan Dedy Prayatna; I Putu Udiyana Wasista
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v9i1.3908

Abstract

The fashion industry generates textile waste throughout the production and consumption stages, while leftover Balinese endek weaving fabric is still frequently treated as production residue that remains underutilized. This study aims to develop a sustainable modular fashion design model based on leftover Balinese endek fabric by integrating the principles of less waste design, subtraction pattern, draping, Traditional Ecological Knowledge (TEK), and regenerative design. The research employed a qualitative approach using a Research Through Design strategy, involving participant observation of the design process, visual documentation, in-depth interviews with designers and artisans, analysis of pattern and prototype documentation, as well as thematic and design analysis. The findings reveal that leftover endek fabric can be classified according to size, motif, texture, grain direction, and joining potential to form structural panels, visual elements, and transitional modules. Subtraction pattern and draping enable irregular fabric remnants to be negotiated with the body, while the modular system expands possibilities for configuration, functionality, and product life cycles. These findings demonstrate that leftover endek fabric should not be viewed merely as textile waste but as a cultural material that embodies ecological, technical, and symbolic values. This article contributes to the sustainable fashion discourse by proposing the concept of tradition subtraction as a design approach that connects material efficiency, the regeneration of local textile values, and the development of a tradition-based circular economy.

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