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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 5 Documents
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Search results for , issue "Vol. 4 No. 1 (2021): April" : 5 Documents clear
Ergonomics and Tri Hita Karana on Balinese Traditional Houses Building I Nyoman Artayasa
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1351

Abstract

Tri Hita Karana is the concept of three things that can lead to happiness, which consist of the relation of human beings with God, amongst human beings, and the relationship of human beings with the environment, which is embodied in the circulation, the design space forming element, the supporting build a room, design of facilities, utilities and decoration. The study of ergonomics on traditional residential houses in Bali focuses on task elements, organization, and environment. The task examines how the facilities were created based on anthropometric and activity flow. Organization study about traditional Balinese buildings layout in terms of space organization resulted in a large scale, function space, and circulation space. Environment review the two sides, firstly is the physical environment, namely: the use of circulation, lighting and handling the current season every year, and secondly is the social environment, namely: religion, beliefs, norms, and others. There are similarities between Ergonomics and Tri Hita Karana; therefore, this study intends to it. It is conducted by using qualitative descriptive analysis with Tri Hita Karana concept on traditional Balinese buildings and accompanied with ergonomic values based on the subject of the task and environmental organizations. This writing aims to observe whether the ergonomics and Tri Hita Karana have similar views in the embodiment of traditional Balinese houses. At the end of the discussion, we can conclude that the embodiment of traditional Balinese residential buildings has to be considered on the relationship of human beings with God and the relationship between human beings and the environment. It also includes a consideration in ergonomics consists of task, organization, and environment; and it is found out that the concept of Tri Hita Karana has similarities with the idea of ergonomics on traditional Balinese houses.
Performance Model and the Problems of Packaging Balinese Dance in the New Normal Era Ida Ayu Trisnawati; Sulistyani Sulistyani
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1411

Abstract

This study aims to explain the adaptation patterns of dance in the new normal era to maintain the existence of art and prevented Covid-19 terviews, and observations of various art performances in the new normal era. Furthermore, the data were analyzed with interactive analysis and presented critically with analysis assisted by the socio-cultural theory and art. Research results show that Covid-19 has changed various orders of human life, including dance. Dance performances must follow health protocols to prevent the spread of Covid-19, as a result, there is an adaptation from aesthetics to health. This then led to the staging of the Covid-19 model using various preventative equipment such as masks, face shields, keeping your distance, wearing hand slopes, limiting the number of spectators, and virtual performances. All done by the artist to be able to keep performing arts, but also not neglecting the safety of the dancers, musicians, and the audience. Even though it is realized that using various Covid-19 prevention equipment has caused the aesthetic level of art to decrease. Also, artists experience various problems such as discomfort when performing, the problem of uneven technology facilities, the cost of providing expensive equipment, many artists do not have sufficient knowledge of digital art. Even so, artists are still trying to adapt to be accepted by the wider community in the new normal era.
Portrait Of The Japanese Colonial Period In The Wayang Kamasan Illustration Of ‘Lintang Perau Pegat’ At The Klungkung Royal Palace I Wayan Agus Eka Cahyadi
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1417

Abstract

The Wayang Kamasan illustrations at the Klungkung Royal Palace store traces of the history of Bali during the Japanese colonial period. This research analyzed one located in the Bale Kambang pavilion with the ‘Lintang Perau Pegat’ scene to discern representation in that era. An art historical method was used drawing from field observation and literature resources with an iconography and iconology analysis approach of Erwin Panofsky. Findings from a pre-iconography phase showed that this illustration presents a scene about the splitting of a Japan-flagged ship by a large fish. An iconographic analysis was about themes and concepts regarding belief in the strength of nature (gods), which can influence human life and undermine the glory of human beings. Given the psychological atmosphere during the Japanese colonial period, hence, this illustration is the crystallization of a symbol from an attitude of resistance amidst helplessness towards a ruler (the Japanese occupation government), and hopes for the presence of the power of the gods to help eliminate oppression and misery that occurred during that era in Bali.
Indonesian Fine Art Terms and Their English Equivalence Ronald Umbas; I Gusti Agung Sri Rwa Jayantini
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1451

Abstract

The objective of this study is to identify the procedures of translation of fine art terms from English into Indonesian found in the catalog of Kun Adnyana's paintings entitled Candra Sangkala and to identify linguistic phenomena that arise from the translation. The catalog promotes the work of art and provides as much information as possible so that the work of the artist can be more widely appreciated. Therefore, the specific terms used in this fine art text should be translated appropriately in order to communicate the messages accurately, readably and naturally. The method used in this research was qualitative method which was conducted by doing content analysis in accordance with the theories of translation. This study found that the translation of fine art terms from Indonesian to English was conducted through seven procedures, namely couplet consisting of shift and reduction and expansion, second couplet, which is the combination of shift and literal translation, descriptive equivalent, reduction and expansion, literal translation, shift, and transference. The application of these procedures lead to two interesting phenomena that occur in the translation of Indonesian-English translation of fine art terms, i.e. (1) the use of equivalents that are previously naturalized from English into Indonesian and several terms that are literally translated and (2) the combination of more than one procedure of translation that is irrefutable in translating phrases. All of the procedures were utilized to meet the accuracy, naturalness and acceptability in translation.
Mtsitso Wa Wuraru; The Analysis of Chopi People’s Music and Its Relation to Indonesia I Wayan Sudirana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1455

Abstract

Many scholars have suggested that Chopi performance was influenced by Indonesian performance practices because of its similarity to Javanese and Balinese Gamelans (Jones 1964, 6). By using non-musical evidence to support their arguments, some have explored in depth the similarities in the use of the terminology, tuning system, organology and orchestration. Even though they found some striking similarities, the lack of evidence of this issue rendered their arguments inconclusive. Therefore, I am here not to argue against or to agree with these scholars. Instead, I will reexamine their arguments, especially the one by A.M. Jones in his Book “Africa and Indonesia,” and based on my knowledge of Indonesian music and literature review of the music of Chopi people, and hopefully to come to the most coherent conclusion. This paper discusses the historical, cultural, and musical form of the music of the Chopi people of Southern Mozambique. The Chopi has an extraordinary musical culture, which features their large xylophone orchestras. I will examine their xylophone (timbila) in terms of its history, instrumentation, cultural and social context, as well as briefly explore the performance of dance based on literature review. I will analyze a piece from Hugh Tracey’s impressive recording called “Msitso Wa Wuraru,” the third orchestral introduction of the Migodo dance performance, to illustrate the complexity of the playing technique and musical performance. Then, I will compare the xylophone tradition of the Chopi and Indonesian, in order to find the similarities and differences between them.

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