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I Putu Udiyana Wasista
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udiyanawasista@isi-dps.ac.id
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+6287861236918
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lekesan@isi-dps.ac.id
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Jl. Nusa Indah, Banjar Abiankapas Tengah, Denpasar, Bali
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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
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Search results for , issue "Vol. 2 No. 2 (2019): October" : 6 Documents clear
Television Advertising As An Artwork In Representing National Identity Alit Kumala Dewi; Artayasa I Nyoman
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 2 No. 2 (2019): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v2i2.887

Abstract

Advertising has a dual role, one side of the advertising is a medium of information to convey messages, both commercial and non-commercial to the audience, and the other side as artwork (applied art) with all its appeal. The priority for advertising is marketing and selling products or services. In its representation, advertising always uses any aesthetic elements, which in principle can potentially be a great attraction for the products or services offered. Concepts that are often represented in ad impressions include, social status, ideal image, lifestyle, identity, etc., which are displayed implicitly or explicitly. This study focuses on the representation of Indonesia’s national identity in the SGM formula milk television commercials. The purpose of the study is to provide a description and description so as to open up insights and knowledge in understanding how Indonesia’s national identity is represented in advertisements for SGM children’s formula milk. The method used is interpretive qualitative The results of the research, that the advertising of SGM formula milk as a work of applied art represents Indonesian national identity, which can be classified into three parts 1) Culture, Religion, Ethnicity of Indonesia; 2) Nusantara Territory (Enchantment of Indonesian and Urban Nature); 3) Characteristics of Indonesian Communities (Habits / Lifestyle) The characteristics of Indonesian society can be interpreted as a socialist and minimalist society. Based on the three classifications of the representation of Indonesia’s national identity, the most dominant part displayed in the SGM formula milk television commercials is the element of religion
Photography As A Bridge To Intercultural Interaction In Bali During The Netherland Indies Colonial Period Of The 1920-1930S I Made Bayu Pramana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 2 No. 2 (2019): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v2i2.888

Abstract

This article presents the process of commencing inter-cultural interactions and artistic collaboration between Balinese and western photographers through photography. In the beginning, the photography project only showed visual record of the Kings, the royal family along with the royal government apparatus in Bali. Beginning with Gregor Krause, a colonial doctor who practiced photography, the others photographers then began exploring nature, culture, art and Balinese society into recording their photographic works. The activity then continued to be an artistic collaboration between westerners as photographers and Balinese as photo models. Not only that, the collaboration also extends to the incorporation of many western cultural elements into photography properties. In addition, the models that appear in photographic works are not only from the royal community, but begin to spread to ordinary residents, artists and their environment. Through the bridge of photography, many western artists combine their ideas with Balinese artists to design and create works of art in the needs of photographic documentation. The collaborative work then attracted tourists to Bali to enjoy the exotica of Bali which was first collaborated by western photographers and writers.
Manuk Nom As A Java-Netherland Acculturation Form Of The Government Culibary Sultan HB VII-VIII (1877-1939) Sri Wahyuning Septarina
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 2 No. 2 (2019): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v2i2.889

Abstract

Manuk nom, one of the typical Karaton Yogyakarta desserts that has historical value that cannot be separated from the influence of acculturation of Javanese-Dutch culture. Nom manuk is made of green sticky rice tape and the egg is equipped with two melinjo chips placed on top of it resembling bird wings. During Sultan HB VII’s reign, Yogyakarta experienced a period of transition to modernity. During this period the life of the Yogyakarta Palace received elements of modern education, modern minds, ideas, enthusiasm, ideology and western culture. The purpose of this paper is to find out the history of the development of Javanese-Dutch acculturation in the form of culinary in the era of Sultan HB VII-VIII’s administration. The research method used is qualitative by means of collecting data in the form of observation, interviews, literature data and documentation. This study uses the acculturation theory of cultural approaches to history. The implication of Manuk Nom, which is a favorite food of the Sultanate of Yogyakarta Sultanate, is a reflection of Javanese people’s pride in the culinary results of Javanese-Dutch acculturation as a reflection of national identity.
The Acculturation of Batik Lasem’s Culture With Chinese Motif in the 18th to 20th Century Vera Jenny Basiroen
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 2 No. 2 (2019): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v2i2.890

Abstract

Batik Lasem is one of the famous heritages in Indonesia. Lasem has a unique batik motif because it is a blend of Chinese and Javanese culture, which results in a combination of motifs with distinctive shapes and colors, as well as having motifs that are full of meaning. The city of Lasem was chosen because it plays an important role as a batik producer in Indonesia, which is bought by Chinese culture. The purpose of this research is to study and analyze the variety of Chinese decoration in Lasem and its development in the 18th century until the 20th century. The research method used is the study of literature, while the theory used is cultural acculturation theory and discussion of the theory from previous research.
Rare Kelangon The Innovation Of Gender Wayang Colosal For Children Ni Ketut Suryatini; Nyoman Lia Susanthi
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 2 No. 2 (2019): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v2i2.891

Abstract

Indonesia is a country with a high level of cultural heterogeneity. In accordance with the State of the Republic of Indonesia’s President Joko Widodo, the country needs disruptive innovations. Disruptive innovation reverses the impossibility into opportunities and results intransformative value for the Indonesian people and nation. Disruptive innovation can also be applied in the arts. Moreover, amid the setbacks in the ethical and moral values ​​of the Indonesian nation, art offers a way to shape character. One of the Balinese arts which has succeeded in changing the character is the art of Balinese traditional music. The tradition of storytelling, traditional children’s games and songs (gending) Bali is needed in upholding moral values ​​and character education early on. For this reason, the creation of the “Rare Kelangon” which has been tested by the international public at the Cultural Performance at the IMF in Nusa Dua Bali on October 11, 2018 and the 24th National Education Day on August 25, 2019. The method used in creating this music innovative of Gender wayang was the research and development of Brog and Gall combined with Bandem and Suteja’s Balinese art creation method. There are 8 stages of creations, namely ngerencana,nuasen, makalin, refinement of the initial product, ngebah I, revision of the final refinement and ngebah II. The results of the study found that the innovations which made in the creation of Rare Kelangon works were extension types, which the invention of the development of existing products, added so that it becomes something new and valuable. The gender wayanggamelan has existed before, but to revive the genderwayang songs, a component of work which also needs to be preserved is gending rare (traditional children’s songs), traditional games, and satua (fairy tales) of the Balinese people who are also full of values ​​of character education.
Tenganan Pegringsingan Bali In Ethnography I Komang Arba Wirawan
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 2 No. 2 (2019): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v2i2.895

Abstract

The purpose of this study is to create photos that visualize the activities of the Tenganan Pegringsingan community based on Tri Hita Karana’s cause of happiness to achieve balance and harmony. First, Parahyangan is a balanced relationship between humans and God, second, Pawongan a harmonious relationship between humans and humans, and thirdly Palemahan means a harmonious relationship between humans and the surrounding natural environment. This research and photography creation method was in the form of in-depth data exploration (depth observations) in the form of interviews and observations. Art and cultural activities and ceremonies in Pegringsingan Village were explored through in-depth research and presented with the concept of ethnophotography. Ethnography does not see a photograph of the work alone, but it is an ethnographic method of viewing society from an anthropological perspective. The anthropological world of photography emphasizes the extraordinary side of conventional things. The harmony of life-based on Tri Hita Karana was reflected in the Tenganan Pegringsingan community as the subject matter of ethnographic creation. Ethnographic results and analysis in Tenganan Village were dissected with the aesthetic theory of photography. First, the aesthetic of photography created through the beauty of photographs based on an ideational and technical level. It was the ethnographic ideational level of upakara in Tenganan Pegringsingan Village. The technical level was related to technical concerning the equipment used for creation. The second theory of semiotic photography analyzed photographs based on the signs contained in the photo. The results of the ethnographic creation of the community in Tenganan Pegringsingan Village found a harmonious relationship between the community and nature, humans and God in the village. This relationship is the subject of representative ethnophotography. The results of ethnographic creation reflect harmonious relationships through the implemented ceremonies that reflect Tri Hita Karana.

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