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 7 Documents
 1 
Search results for , issue "Vol. 8 No. 1 (2025)" : 7 Documents clear
THE DIGITALIZATION OF CULTURE THROUGH ASSISTANCE IN CREATING THE PURANA JERO PANDAK WEBSITE, PANDAK GEDE VILLAGE, TABANAN , I Komang Try Adi Stanaya; Meitridwiastiti, Anak Agung Ayu; Atmaja, I Gusti Bagus Agung Kusuma; Dharma, Komang Ari Setya; Susena, I Gde Jananuraga; Diaz, Katharina
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.2874

Abstract

Talking about culture cannot be separated from a legacy of past life passed down from generation to generation. Culture is a key element and plays an important role in sustainable living. It is an integral part of life in every country, shaped by the environment, social situations, and economic factors. The function of culture goes beyond serving as an identity; it also acts as a lifestyle and a guide for society. Today, culture is known personally by its owners and can be widely recognized by anyone through technological intermediaries. In this regard, technology is inseparable from the language used in its presentation. With technological advances, language and culture can be significantly shaped and transformed. The Jero Pandak family owns cultural artifacts, namely the Purana Jero Pandak and keris (traditional Indonesian daggers). The Purana Jero Pandak tells the origins of the family's ancestors, who possess 13 keris. The community partner aims for this cultural heritage to be recognized by the older or previous generations and serve as a means of education or learning about history and cultural heritage for the younger generation of the Jero Pandak family and society in general. This is expected to enhance understanding of the family's history and the details of the keris they own. Through digitalization in the form of a website, it is hoped to positively introduce this cultural heritage and highlight the importance of preserving and maintaining cultural aspects from extinction due to the younger generation's lack of knowledge. This community service activity aims to document the purana and keris that have been passed down in digital form via a website. Through this community service, there is a positive change in education and communication regarding the origins and history of the ancestors of the extended family. This is expected to lead in a more advanced, connected, and inclusive direction.
AESTHETIC STUDY OF GENDING BIMANIYU REPERTOIRE OF GENDER WAYANG STYLE TENGANAN KARANGASEM Hartini, Putu; Sudarta, I Gusti Putu; Muryana, I Ketut
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3037

Abstract

The gending Bimaniyu of gender wayang is one of Bali's cultural heritage that needs to be preserved. This research can provide an in-depth understanding of the aesthetics of gending, which can help its preservation efforts. The Uniqueness of the Karangasem Style The Karangasem style in the gender gending of the Bimaniyu puppet has characteristics that distinguish it from other styles. This research can reveal the uniqueness of the aesthetics of this style so that it can enrich the cultural treasures of Bali. The specific purpose of this study is to describe the aesthetics of the Gending Bimaniyu style of Tenganan Karangasem. This research will be carried out within 7 months with unique objectives, including a) aesthetics in Gending Bimaniyu style Karangasem and b) Gending Bimaniyu technique style Karangasem. This research is a qualitative descriptive research. The data source was obtained by recording and reviewing the results of the recording of Gending Bimaniyu using a literature method supported by interviews with Gender Wayang artists. The results of the data analysis used to present the results of data analysis are presented by formal and informal methods. The output of this research is in the form of journals, HKI, and teaching materials, which can be used by students and karawitan artists who graduated from ISI Denpasar in analyzing, reconstructing, and displaying a good, correct, and engaging performance composition structure in the Gender Wayang performance.
BARIS KLEMAT DANCE IN MENEGA TEMPLE, SESEH TRADITIONAL VILLAGE, BADUNG, BALI Dewi, Ni Putu Putri Laksmi; Ardini, Ni Wayan; Yudarta, I Gede
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3040

Abstract

This research aims to reveal the origin and form of Baris Klemat dance in Bali as an integral part of sacred art and religious tradition. Baris Klemat dance is one of the sacred dances in Bali that has spiritual value and is closely related to the life of coastal communities. The research used a descriptive qualitative approach with data collection techniques through participant observation and in-depth interviews with traditional leaders, choreographers, composers, and people directly involved. The results showed that the Baris Klemat dance originated from the life of Balinese coastal communities, especially fishermen, as a form of expression of gratitude for the sea catch and protection from the sea gods. This dance is performed through dynamic movements and traditional tools such as klemat, kancuh, and pancer, representing fishermen's daily lives and strengthening their spiritual values. This dance plays an important role as a cultural ritual that reflects the identity of Balinese coastal communities and is part of a belief system passed down from generation to generation. This research makes an important contribution to strengthening the understanding of the cultural and spiritual richness of Baris Klemat dance. In addition, the results of this research are expected to encourage cultural sustainability and preservation of the identity of Balinese coastal communities so that the Baris Klemat dance remains alive and thriving as a valuable cultural heritage for future generations.
COLORING THE SOUL: THE USE OF SPLIT BATIK ART IN EMOTIONAL THERAPY FOR PEOPLE WITH MENTAL DISORDERS (ODGJ) Ristya Rini, Denik; Soesanto; Lestari, Wahyu
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3085

Abstract

ODGJ (People with Mental Disorders) are individuals who have mental disorders that can affect their way of thinking, feeling and behavior. ODGJ are identical with unstable emotions, therefore they need activities that can accommodate their emotions. Through creative activities, it is hoped that it can be a place for them to express themselves. Batik splash is known for its free and expressive coloring technique. The creative process of batik splash is free and not bound by any rules. This batik splash work activity is very suitable for pouring out emotions for individuals. Based on this background, creative activities are used as emotional therapy for ODGJ. This activity is a creative process that is integrated into a therapy program to help ODGJ express emotions and overcome stress. This study involved an ODGJ group who participated in an eight-week batik splash learning session. The results showed that the activity of creating batik splash not only improved motor skills and creativity, but also contributed to improving the emotional well-being of participants. Through qualitative analysis, it was found that participants felt more able to express themselves and experienced a decrease in symptoms of anxiety and depression. These findings indicate that splash batik art can be an effective therapeutic tool in supporting the mental health of ODGJ, as well as providing new insights into the application of art in a therapeutic context. This article will inspire mental health practitioners and art activists to develop innovative and impactful therapy programs.
ANALYSIS OF EDUCATIONAL VALUE IN THE DRAMA GONG SAMPIK ENGTAY BY ISI DENPASAR STUDENTS Ida Ayu Gede Sasrani Widyastuti; Dewa Gede Satya Adi Maha Utamia
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3137

Abstract

This study aims to analyze the educational values embedded in the performance of the drama gong Sampik Engtay by students of the ISI Denpasar Performing Arts Education Study Program. The research focuses on the moral, social, cultural, and character-building values that emerge through the performance. The study employs a qualitative method with a symbolic interactionism approach, utilizing data collection techniques such as observation, in-depth interviews, and literature reviews. The analysis is conducted using Erving Goffman’s Dramaturgy Theory and George Herbert Mead’s Self-Concept, which explore identity formation, role-playing, and social interaction within the context of performing arts. The findings indicate that Sampik Engtay conveys significant educational values, including moral integrity, perseverance, and cultural appreciation. These values are reflected in the depiction of identity conflicts, personal sacrifices, and the struggle of individuals in adhering to social norms. Additionally, the performance serves as a medium for reinforcing students' understanding of ethical principles, social responsibility, and the importance of preserving cultural heritage. The research highlights the role of traditional drama gong as an effective tool for education, fostering cultural appreciation, and strengthening the character of students. Furthermore, this study provides valuable insights for educators, performing arts practitioners, and policymakers in integrating performing arts into the educational curriculum and preserving Balinese traditional performances for future generations.
“CATUR KARANA” IDA BAGUS GEDE PURWA STUDY OF SANGGIT LAKON (KAWI CARITA) BALINESE SHADOW PUPPET Widnyana, I Kadek; Sedana, I Nyoman; Sudarta, I Gusti Putu; Mawan, I Gede
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3174

Abstract

Balinese Wayang kulit contains deep philosophy and aesthetics, with plays that are not only entertaining, but also contain moral teachings and life values. An important element in the structure of the play is the concept of "Catur Karana" created by Ida Bagus Gede Purwa. This research uses a qualitative method with a text analysis and phenomenology approach, involving literature study, interviews with puppeteers, audiences and practitioners of the puppet arts. Data is analyzed through text analysis and semiotics to understand the meaning and structure of the story. The research results show that "Catur Karana" is a basic method in building a new play. Dalang needs to understand the four main elements: swamandala, antakarana, uparengga, and pasiat, which support the structure of the play in Reka Sadana. Catur Karana includes five elements (panca reka) and is equipped with Catur Perakreti and Panca Wilasa materials as raw materials for creating new plays, which is an important method in nynggit plays.Qualitative research methods using text analysis and phenomenology approaches explore the application of the concept of "Catur Karana" in the Balinese Wayang kulit play by Ida Bagus Gede Purwa. The main data analyzed came from the Purwa Wasana text and the Kawi Carita text and their documentation. Data collection, literature study, interviews, and art practitioners. Narrative data analysis of text and play structure. Catur Karana by Ida Bagus Gede Purwa in the Purwa Wasana Textbook. Understand the drupadi competition play from the main play (Ramayana, Mahabharata), memorize the characters, understand the structure of the play, characterization, scenes, building blocks, pedum coral, and understand the theme. Ida Bagus Gede Purwa implemented Catur Karana into a play called the Drupadi Competition. In it, elements of chess karana are explored which are presented as a summary of the story, scenes and scenes.
ANALYSIS OF THE FORM AND HARMONY OF WIDYA SARASWATI DANCE MOVEMENTS I Gede Tilem Pastika; I Wayan Sugita
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3197

Abstract

The Widya Saraswati dance is a mascot dance of UHN I Gusti Bagus Sugriwa Denpasar, created by I Wayan Dibia and I Gede Arya Sugiartha in 2003. This study aims to identify the structural form of the dance and analyze the harmony between its movements, music, and costumes. The analysis is based on Djelantik’s theory of instrumental aesthetics and employs a qualitative research approach. Data were collected through observation, interviews, literature review, and documentation. The findings reveal that the Widya Saraswatidance is a Balinese group dance performed by eight female dancers, representing the characters of Dewi Saraswati, swans, rays, and peacocks, and accompanied by Gong Kebyar music. The choreography, costumes, and makeup remain rooted in the stylistic conventions of traditional Balinese dance. Supporting properties include tunjung flowers, lontar leaves, genitri beads, and a rebab instrument. The harmony between costume and movement is evident in how the costume's form influences character portrayal and movement quality. Similarly, the synchronization between movement and music is achieved through choreography that adheres to the established musical patterns. Although the dance has undergone several structural modifications over time, these changes have often lacked consideration for artistic depth and harmony. This analysis serves as documentation and a means of preserving the dance, ensuring its continued relevance and integrity within Balinese cultural expression.

Page 1 of 1 | Total Record : 7

 1 

Filter by Year

2025 2025


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