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 8 Documents
 1 
Search results for , issue "Vol. 5 No. 2 (2022): October" : 8 Documents clear
Different Types of Curators Based on Field of Work and Responsibilities in OHD Museum Khoirul Anam; Lono P. Simatupang; Suwarno Wisetrotomo
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 2 (2022): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i2.1821

Abstract

The development of curatorial work practices will be very important for the development of museums, arts, and culture. However, it is undeniable that studies and understanding of the development of curatorial work practices are still not optimal in Indonesia. Awareness of the realm and responsibility of the curator is also sometimes poorly understood by the public and the practitioners of curatorial work practices themselves. This vacancy becomes an obstacle in the development of the profession of independent curator and museum curator. Where the curator profession is no longer seen only as a museum guard or seen only as a writer in an exhibition. The discourse in this study will raise the question of how curatorial work practices at OHD Museum are based on the field of work and responsibilities, which we can see from the different types of curators in an art museum. This study focuses on explaining and understanding the definition of curator and the types of the curator in the development of curatorial studies in an art museum. The results of this study indicate that from the division of In-House Curators and Guest Curators at the OHD Museum, they are distinguished by their field of work and responsibilities. The In-House Curators has responsibilities, among others; acquisition, deaccession, borrowing, conservation, restoration, documentation, and research, where related to the field of collection. Then, look at the Guest Curator with responsibilities, among others; creating a curatorial concept for an exhibition, selecting the collections and artists involved, producing a narrative document (curatorial text), and designing an exhibition.
The Effectiveness of Graphic on Product’s Virtual Exhibitions as Learning Media in VCD UC Quina Reivaldi Limantara
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 2 (2022): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i2.1953

Abstract

One way to convey student ideas and concepts is through exhibitions. We are in a pandemic COVID-19, the Graphic On Product (GOP) course in the Visual Communication Design study program at Universitas Ciputra (VCD UC) Surabaya uses virtual exhibitions as an alternative service so that students can still expose their work, considering it is part of the exam assessment and is a pass requirement. This study aims to find views on the effectiveness of virtual exhibitions as learning media in GOP courses, used for future considerations, including after the COVID-19 pandemic. This study uses qualitative methods through descriptive analysis of the results of data collection from exploration sources. The virtual exhibition of Graphic On Product VCD UC Surabaya is the subject of research in this study. The informants who will be the study are determined using the purposive sampling method. From the results of the interview, it can be concluded that the virtual exhibition in the GOP course runs quite effectively as a learning medium. The exhibition has given students access to appreciation from visitors, but there is no access to negative comments that can be constructive in their next work. In the future, virtual exhibitions are considered to still be able to be carried out, even after the COVID-19 pandemic because they have a wider range of visitors and the use and operation of the gallery is quite easy but adequate gadgets and internet are needed to be able to access virtual exhibitions.
Still-life Photography as Visual Poetry Media for Social Criticism of Lumpur Lapindo Yulius Widi Nugroho
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 2 (2022): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i2.2083

Abstract

Visual media photography is prioritized to present actual and factual information as news media and art media, and Visual Poetry is a work of art that combines two visual and verbal media as one work. The purpose of this research is to make still life photography works and the meaning of photo works as a medium for Visual Poetry. The object of the photo is about the condition of the Lapindo Mud on Porong Sidoarjo Indonesia, which has been neglected for years without serious handling. This creation method uses a photographic method of photographing natural objects. Methods of collecting data by observation, interviews, and documentation offline and online. The discussion of meaning uses the semiotic theory of Roland Barthes. The result of this creation is to capture visual phenomena which are then converted into words and finally assembled into poetry. The meaning of the final work of the photo comes from the visual and verbal media that are presented together, and of course it remains open to meaning that is free from the audience. Visual Poetry's work is used as a social critique of the condition of the Lapindo Mud which is physically and socially neglected. The conclusion of this creation is that visual and verbal media have their respective advantages and limitations, but can be combined into new works and new meanings. The benefit of the creation of this work is the development of methods of visual meaning that can produce new art media.
Southeast Asian Visual Culture In The Animated Film “Raya And The Last Dragon” Shienny Megawati Sutanto
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 2 (2022): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i2.2089

Abstract

In the year of 2020 “Raya and The Last Dragon” was launched and became part of the Disney Princess animated series. This animated film is rumored to be Disney's first film created based on Southeast Asian visual culture. This study aims to analyze the visual culture of Southeast Asia portrayed in the animated film Raya and The Last Dragon. The research is carried out with qualitative approach, through documentation of previous studies, especially those related to visual culture in Disney Princess animation, as well as direct observation of the film studied. Animated films are a reflection of the thoughts, feelings, and desires of the creators through visual media in the form of signs or semiotics. Therefore, the film Raya and The Last Dragon is analyzed using the semiotic analysis method. These data is strengthened by interviews with cultural experts. The results of this study indicate that Raya and The Last Dragon displays visual signs in the form of settings, costumes, and tools that are a fusion Southeast Asian culture are observable in characterizations, character visualization, to visualization of promotional media of “Raya and the Last Dragon”. However, the visualization is not a genuine representation, and does not properly reflect the visual culture of Southeast Asia.
Trend in Art Studies Post SWOT Analysis Setyo Budi; Deny Tri Ardianto
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 2 (2022): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i2.2097

Abstract

Historical pieces of Indonesian Fine Arts show that art was once used as a provocative medium for political interests. This condition occurred when people only positioned art inthe factual aesthetic area without being balanced with conceptual intelligence. In the early 21st century, there was a revival of art discourse. Art-based higher education institutionsbegan to study arts in a balanced portion. This policy-oriented qualitative research produced a historiographical map of Indonesian art position, clarified by some changes in various policies in the academic environment. The era of 'National intelligenceawakening' is marked by visionary openness in the Higher Education environment. Such phenomenon demands adaptation and acceleration from the technical to strategic levels. The acceleration of educational technology eliminates various models of positivistic monitoring and evaluation. The use of SWOT Analysis in art fields should also be reviewed. The SDCS (Superiority, Differentiations, Connectedness, and Sustainability) analysis model offers a more visionary analysis in building the awareness that all higher education bodies in Indonesia should be “one giant educational mechanism” under one vision of improving the national intellect.
Android-Based Learning Media Development of the Condong Legong Keraton Dance and Baris Tunggal Dance Ni Made Liza Anggara Dewi; A.A. Trisna Ardanari Adipurwa; I Putu Arya Janottama
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 2 (2022): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i2.2128

Abstract

This article discusses the process of developing learning media for Condong dance and Baris Tunggal dance based on Android. Currently, dance learning can be done by using alternative media indirectly. However, existing media tend to be less communicative and require complex tools to use. The data is presented in the form of a description of the basic techniques of women's dance, namely the Condong Legong Keraton dance, and the men's dance, the Baris Tunggal dance which is then analyzed to produce material that is ready to be applied in media that gives users space to access the desired information. The development of learning media for the Condong Legong Keraton dance and the Baris Tunggal dance based on Android consists of three stages. First, identify problems related to the basic material in learning Balinese dance. Second, the process of making this learning media application has several main things, namely the stage of making flowcharts and storyboards. Third, a development that contains activities to make a design into a product and test the validity of the product repeatedly until the product is produced per the specified specifications. Based on the description in this article, it can be concluded that the development of learning media for the Condong Legong Keraton dance and the Baris Tunggal dance based on Android, it presents an alternative to basic learning media for Balinese dance that is flexible and accommodates a variety of materials used in the interactive learning process.
Motivation for Creating the Baris Nadewa Creation Dance in the New Normal Era I Gede Gunadi Putra; I Gede Mawan; I Bagus Wijna Bratanatyam
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 2 (2022): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i2.2156

Abstract

Baris Nadewa creation dance is one of the male dance creations whose existence is still relatively new in Bali. The duration of this dance is approximately 10 minutes and in each performance, this dance is accompanied by the Gong Kebyar gamelan instrument. Baris Nadewa dance is a duet dance because it is performed by two male dancers and each carries the property of a spear that looks like a bow. This dance represents the bravery and patriotism of Nakula and Sahadewa fighting on the battlefield. The creation of this dance was inspired by the characters Nakula and Sahadewa who are part of the Five Pandavas in the Mahabharata story. The idea of the movement comes from the development of the bebarisan dance movement (a traditional dance genre in Bali) that already existed before. The form of presentation of this dance represents the spirit of patriotism, courage, and skill of Nakula and Sahadewa in martial arts while on the battlefield. The motivation for creating this dance is none other than responding to the existence of radicalism that has begun to poison the younger generation in particular which  can break up national unity. Presented through dynamic and firm movements, indirectly the creation of this dance work wants to convey the message of the importance of cultivating patriotism, such as being brave, never giving up, and being willing to sacrifice for the nation and state. This study uses a qualitative descriptive research method to determine the function and motivation for the creation of the Baris Nadewa dance.
The Embodiment of Mahakrya Lango Film I Nyoman Payuyasa; Nyoman Lia Susanthi; I B. Hari Kayana Putra
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 2 (2022): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i2.2157

Abstract

The Indonesian Institute of the Arts Denpasar (ISI Denpasar) is an arts college in Bali that is established based on the values of local wisdom and national insight in order to enrich human values. ISI Denpasar seeks to strengthen media literacy to campaign for the heritage of cultural arts values through audio-visual media to the public. In order to support the presence of this audio-visual media, the author conducted research and created a short film with the title Mahakrya Lango. Mahakrya Lango is a short film that is strengthened by a poetic narrative. In short, this film covers the journey of Balinese art and culture, the hustle and bustle of Bali, the oblivion of heritage, to the presence of ISI Denpasar as an art and cultural advisory institution. In its embodiment, this film takes several main visuals with a water background set as a symbol of the source of life, flexibility, dynamism, firmness, to fragility. The film creation method uses three stages, namely pre-production, production, and post-production. In the embodiment of the Mahakrya Lango film, the location set is Tamblingan Lake to visualize water as a source of life, waterfalls to symbolize flexibility and dynamism, and beach locations to depict celebrations.

Page 1 of 1 | Total Record : 8

 1 

Filter by Year

2022 2022


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