cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
I Putu Udiyana Wasista
Contact Email
udiyanawasista@isi-dps.ac.id
Phone
+6287861236918
Journal Mail Official
lekesan@isi-dps.ac.id
Editorial Address
Jl. Nusa Indah, Banjar Abiankapas Tengah, Denpasar, Bali
Location
Kota denpasar,
Bali
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 5 Documents
 1 
Search results for , issue "Vol. 3 No. 1 (2020): April" : 5 Documents clear
Subconscious Memory Narrative In The Exploration Of Iconic Puppet Of I Ketut Teja Astawa’s Painting I Wayan Seriyoga Parta; I Wayan Suardana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1042

Abstract

The process of creation in creating works of art is stimulated by various factors, one of which is the personal experience of the artist who is so imprinted that makes it an inspiration and motivation in the work. In the context of the creation of experiential works of art, it then undergoes a process of internalization and interpretation in an artist, which is then reconstructed back into the medium of art. The reconstruction is related to the reimagining process, which at the level of implementation can vary by artist. Similarly, the work process of Teja Astawa, a young artists who grew up in the coastal environment of Sanur, Bali. Teja’s works highlight his childhood experiences when playing with frangipani leaves and jackfruit leaves which then made into various forms of puppets. That experience made an impression and room in Teja’s artistic life as an adult, especially in the media of painting. Teja also re-knits the series of experiences by bringing back the puppet figures in his work. To begin the reconstruction process, Teja conducted a field study by observing various forms of puppets with their respective symbolic characters.
A Western And Eastern Learning Model For Teaching “Young Artists” Painting Style In Indonesia I Wayan Lodra; Muchlis Arif
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1079

Abstract

Every country in the world has its own learning models, which depend on the social, cultural, and economic conditions of the nation. In principle, learning aims to transfer knowledge, technology, and information to others to free them from ignorance. In developing countries like Indonesia, learning models vary in every educational institution. Educational institutions can be categorized according to the characteristics of the learner, and include formal, informal, and non-formal education. It is not possible to apply the same learning models to educational institutions with different geographical, social, and cultural conditions. Bali is an Indonesian province which has developed formal, informal, and non-formal education in the field of painting. One outcome of this non-formal education is the “Young Artists” style. This non-formal learning model, developed by Arie Smit, combines western and eastern learning models. The research focuses on how Arie Smit’s eastern and western learning model was applied to children from the village of Penestanan, Ubud, Bali. The goal is to describe Arie Smit’s western and eastern learning model that he used with children from Panestanan Ubud, Bali. The research method is qualitative descriptive and the data collection techniques include observation, interviews, and documentation. The analysis was performed by studying, disentangling, arranging, and summarizing the “Young Artists” learning model for teaching painting. The research findings show that this western and eastern learning model applies a method of cooperative active teaching.
Epic Ramayana As A Medium for Teaching Indonesian Culture and Language: A Perspective of Darmasiswa Students Ni Ketut Dewi Yulianti
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1080

Abstract

This paper discusses the epic Ramayana as a medium for teaching Indonesian culture and Indonesian language for the students of Darmasiswa RI / DRI (Darmasiswa of Republic of Indonesia). The epic Ramayana story contains adjective phrases as a media for teaching Indonesian culture which is full of the value of character education. This paper can be a reference for students and teachers who study and teach Indonesian culture and also Indonesian language for foreign speakers. Besides, it can also be beneficial for those who want to learn more about the structure of Indonesian language and character education of with the values of Indonesian culture in accordance with Ramayana text in which good character and personality become the main goal of national education in Indonesia. The research methodology statement is missing in this abstract. Considering that the Darmasiswa RI program is also part of education in Indonesia, the education of Indonesian character values cannot be separated from the education followed by Darmasiswa RI program participants. For this reason, there are two main points discussed in this paper, (1) the Ramayana text as a medium for teaching Indonesian culture and enhancing the mastery of Indonesian language and (2) the adjective phrase in the Ramayana text as a medium for the education of Indonesian character values. Theoretically and practically, this paper can contribute to the world of education both in terms of Indonesian culture and language and the noble values of Indonesian characters for foreign speakers, so that it can help in improving the success of national education, and also to improve the competitiveness of the nation.
Fine Art and Design Works In the Context of Intellectual Property Rahmanu Widayat; Deny Tri Ardianto
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1085

Abstract

Fine Art and design works are classified as Intellectual Property that is protected by law. On the other hand, art creations are prone to be imitated or falsified on the grounds of being taken as inspiration or for commercial advantage. In Higher Education, especially in the field of Art and Design, methods to create original works have been taught to prevent intelectual property violation. However, due to dishonorable interests, the possibility of plagiarism and forgery can still occur. The questions that arise were: 1) what are classified as works of art and design? 2) What are the Intellectual Property Laws related to the field of art and design? 3) What are the prevention methods offered by fine arts and design higher education? Interpretation method was applied on the law concerning art and design, complemented with an explanation of art and design work creation process as a form of prevention to avoid imitations.
Inventory And Documentation For Bebali Mask Dance Ni Luh Sustiawati; I Ketut Sariada
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1100

Abstract

The objective of this research is to describe the kinds and the function of Bebali mask dances in each regency or municipality in Bali province and the perception of the public about them. This research was conducted in 9 districts / cities in Bali, namely Jembrana, Buleleng, Tabanan, Badung, Denpasar, Gianyar, Klungkung, Bangli and Karangasem, each represented by the two villages that develop the Bebali Mask dance. This research intended to expose a phenomenon, therefore it applies the phenomenological qualitative approach. It was chosen due to the consideration that this research is focused upon action or activity by one or more people related to the making of inventory and documenting the Bebali mask dance in Bali province, by classifying the kinds and functions of Bebali mask dances and by uncovering the perception of the public concerning the Bebali mask dance in the regencies/municipalities in Bali. The result shows that almost all instances of Bebali mask dance, especially the Pajegan variety, is connected with religious rituals, such as the Dewa Yadnya, Resi Yadnya, Pitra Yadnya, Manusa Yadnya, and Bhuta Yadnya. The Bebali mask dance in the province of Bali symbolizes the cycle of human life which can be described as a circle where life rotates naturally. The mask dance contains an ideal of how to live a life, that is to strike a balance between the adoration of the Divine and compassion and duty to fellow men and love of nature, which in Hindu philosophy is called “Tri Hita Karana”.

Page 1 of 1 | Total Record : 5

 1 

Filter by Year

2020 2020


Reset
Filter By Issues
All Issue Vol. 8 No. 2 (2025) Vol. 8 No. 1 (2025) Vol. 7 No. 2 (2024) Vol. 7 No. 1 (2024) Vol. 6 No. 2 (2023) Vol. 6 No. 1 (2023) Vol. 5 No. 2 (2022): October Vol. 5 No. 1 (2022): April Vol. 4 No. 2 (2021): October Vol. 4 No. 1 (2021): April Vol. 3 No. 2 (2020): October Vol 3 No 1 (2020): April Vol. 3 No. 1 (2020): April Vol 2 No 2 (2019): October Vol. 2 No. 2 (2019): October Vol 2 No 1 (2019): April Vol. 2 No. 1 (2019): April Vol 1 No 2 (2018): October Vol. 1 No. 2 (2018): October Vol 1 No 1 (2018): April Vol. 1 No. 1 (2018): April More Issue