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I Putu Udiyana Wasista
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udiyanawasista@isi-dps.ac.id
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lekesan@isi-dps.ac.id
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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 123 Documents
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Creative Process Of Janger Dance “Nusantara Mahardika” Ni Made Haryati; Ni Putu Hartini; Tudhy Putri Apyutea Kandiraras
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2202

Abstract

The creation of this Janger Dance refers to the concept of a dance based on the moral message contained in the philosophical meaning of Bhineka Tunggal Ika. One of the efforts to cultivate Bhineka Tunggal Ika is to incorporate this philosophy into a dance piece that will eventually serve as a tool for expressing the values and meaning of unifying the nation.Janger is performed by 16 dancers, 8 of whom are female and 8 of whom are male. As a social dance, Janger is expected to be able to encourage the younger generation to comprehend and implement the philosophy of Bhineka Tunggal Ika by utilizing the creative process in its creation effectively. The creation of the Janger dance "Nusantara Mahardika" implements the method of artistic creation described by Alma M. Hawkins in his book "Creating Through Dance.", which was translated by Y. Sumandiyo Hadi (2003) in Mencipta Lewat Tari. According to Alma M. Hawkins, the stages of art creation consist of exploration, improvisation, and forming."
Ilustration Style in Balinese Childdren’s Song Animation I Putu Arya Janottama; Agus Indram Bayu Artha
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2203

Abstract

This article is a study to support the pre-production process of animation that takes the theme of Balinese children's songs. Studies that discuss the visualization of illustrations in animated Balinese children's songs are still rarely, even though Balinese children's songs are one of the most sought-after content on Youtube social media. The urgency of this research lies in the existence of animated visualizations that tend to follow the style of outside Bali causing the audience's representation of Balinese identity to shift. With the rapid development of digital media, the space for displaying animation is unlimited, and can be accessed from various places. This article aims to provide references and suggestions for traditional Balinese styles that can be developed as a reference in the animation pre-production process. Data obtained through observation, documentation, and literature, then analyzed to obtain a synthesis, namely the style of illustration design for animation production. Based on the data obtained, there is still a visual style of Balinese children's song animation that tends to follow the western style or minimalist style due to the lack of character deepening and manufacturing techniques. In conclusion, the animation of Balinese children's songs using Balinese illustration style needs to pay attention to Balinese visual styles such as Ubud, Batuan, and Kamasan, as a reference. This visual style can later be applied starting from the script, scene, character design and also the background that dominates the animation visualization.
Gender Wayang Learning Video Design to Build the Characters of The Millennial Generation Nyoman Lia Susanthi; Ni Wy. Suratni; Ida Ayu Wayan Arya Satyani; Ketut Hery Budiyana; Ni Kadek Dwiyani; Wahyu Indira
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2205

Abstract

Nowadays the number of students engaged in criminal acts is alarming. In response to this, the role of parents, teachers in schools and the government is very important to strengthen character building, especially in the golden generation, namely students. Strengthening character education should not only be pursued through formal schools but also through non-formal and informal routes. Art studios can be a platform that offers an alternative to character building. However, in the process of transferring knowledge in the studio, several problems are encountered, including the low increase in students' ability to learn gender (Balinese musical instrument). For this reason, the gender wayang learning video was designed by implementing character education values for the millennial generation. The design of the gender wayang learning video to help build the character of the millennial generation uses a qualitative descriptive method. The data collection method was carried out through literature studies and field studies by interviewing the director and the production team involved in creating the learning video. In addition, an observation was made at one of the studios in Bali which has quite a lot of students, namely the Swati Swara Studio. The design and creation of a gender wayang learning video for the millennial generation began with conducting a target analysis for the millennial generation. Sanggar Swasti Swara is a place where one can find millennials who need a form of teaching using technology. For this reason, gender wayang learning video is the solution for this generation. This learning video is designed to be easy to access, namely having a good quality video that can be sent via cellphone and stored on the YouTube channel so that they are easy to access and distribute. The millennial generation at Sanggar Swasti Swara, in terms of learning style, prefers learning from practice, visuals, and a learning process that can be applied at home in groups and is fun. In addition, the educational values of the nation's character can be included in the text of the gender wayang learning video, namely religious values, tolerance, hard work, and love for the motherland.
Sokora's Kecapi as Performing Art of The Geneology Study of Assimilation Art in Identity Mukomuko Aristocratic Community Bambang Parmadil; Bernardin -; Abdul Muktadir; Wembrayarli -
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2275

Abstract

The dynamics exposed to the traditional music of the Mukomuko coast in Bengkulu province have made researchers interested in uncovering the genealogy of the identity of the Sokora lute. Sokora lute art as a result of cultural assimilation from outside (Gujarat/India) of the people of the coastal city of Mukomuko has become local traditional music with local cultural wisdom values, both in the sociocultural context and in performances. Cultural assimilation and acculturation play an important role in making Sokora a traditional art in Mukomuko City. The word Kecapi Sokora itself comes from the word mancubo or roughly in the mukomuko dialect. This research is a qualitative phenomenological research type. Research that emphasizes more aspects of the description or description of the object being observed. Research with this qualitative approach seeks to understand and provide in-depth information both contextually and factually. The research was conducted to understand and explain the phenomena that have been going on and are being carried out as well as to provide information on knowledge about the transformation of local cultural wisdom values of traditional music of the Bengkulu coastal community. Based on qualitative methods and a cultural studies approach, this research emphasizes exploring, traveling, explaining, and describing ethically, emically, and holistically. Genealogically, at first Kecapi Sokora was a form of solo music and oral literature that was developed in Mukomuko, especially among the nobility. The Sokora Harp Performance is an art that is characteristic of the aristocratic society in Mukomuko at the time when the Mukomuko port was still a transit center for traders from outside, especially from Gujarat India in ancient times. The word Kecapi Sokora itself comes from the word mancubo or roughly in the mukomuko dialect. The Sokora Kecapi instrument is one of the melodic instruments in its class, including the chordophone, which means that the sound source comes from strings or strings. The tones of the Sokora Kecapi instrument consist of seven notes in the following order, 1, 2, 3, 4, 5, 6, and 7 which are called diatonic. In terms of scale, the Kecapi Sokora is unique from other forms of traditional musical instruments, where the tones of traditional musical instruments are usually pentatonic (five tones). The Performing Arts of Kecapi Sokora is one of the traditional arts in Mukomuko. The art of Kecapi Sokora Mukomuko as a traditional art of the Mukomuko nobility consists of a series of Malay musicality and dances accompanied by percussion drums and vocal/speech instruments. In the show, the Sokora Mukomuko lute art, the duration of the performance is determined by the number of requests for speech/poem and dance performances.
Tutur Candra Bherawa Pakeliran Theater: A New Process of Creation For Traditional Theater I Gusti Putu Sudarta; Dru Hendro
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i2.2362

Abstract

Tutur Candra Bherawa Pakeliran Theatre is a total theatre work that explores and uses the elements of the art in Balinese Traditional theatre. This work uses a song as a means for storytelling, becoming a theatrical music presentation. The melodies and vocals are not only based on Balinese and Javanese traditions but also adapt and transform the styles of qawwali music (Sufi songs) and other spiritual songs. It is presented in the Sangita song form, accompanied by instrumental music and dance. The concept of this work is ngarcana sarining lango, described as bukti-mukti-jiwan mukti. The method of creation utilizes the Gandha Sesa composition technique. Bhasma Sesa is the framework for the play, dramatic plot, play script, and form of presentation.
Arts and Culture Education in Bali Urban Sketchers Community Activities: A Netnographic Study Perspective Anak Agung Trisna Ardanari Adipurwa; I Putu Udiyana Wasista; Ni Luh Kadek Resi Kerdiati; Putu Ari Darmastuti
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2391

Abstract

Urban Sketchers Bali (USK Bali) is a community engaged in capturing life's moments in the surrounding environment through sketches. Cultural moments become objects most often used as sketches. In the process, USK Bali members come from various professional backgrounds, from artists to those without an artistic background. Then there is an interesting phenomenon in transferring knowledge about art and culture. USK Bali members do not have a professional educator background, but the learning process and learning climate are conducive and enjoyable. The purpose of this study is to see the educational process that occurs both in its interactions and strategies. This research is qualitative with a netnographic approach, which summarizes and analyzes a sample of interactions on social media. The result is that naturally and instinctively, the educational process that is formed already uses four approaches in education: behavioristic, cognitivist, constructivist, and humanist. This process shows that in the spontaneous transfer of knowledge, someone already has all of these approaches even though they do not have a professional educator background.
The Concept of Harmony and Modulation in Kwanji Sempidi's Gambang I Nyoman Mariyana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2433

Abstract

Gamelan Gambang is a Balinese musical ensemble that has a unique and distinctive characteristic of its musicality. Gamelan Gambang belongs to gamelan saih pitu (seven notes), where in one octave the tone consists of seven principal notes. Each of the instruments in the Gambang Kwanji Sempidi gamelan has a different concept of tone harmonization and tone modulation. The method used in this study uses a type of qualitative descriptive research method through data collection using observation, interview, discography, and documentation methods. While measuring the frequency of the tone using the Curltone application tool. Through this method, in the Gambang Kwanji Sempidi gamelan, harmony appears in the arrangement of the Gambang tones on each Gambang instrument. Harmony is related to the interval or pitch distance. The pitch distance between dAng (A) and dang (a) is called ngembat or octave, the distance between dAng (A) and dEng (e) is called ngepat or ngempyung (kwint), while the distance between dAng (A) and dOng (o) tones called nelu or quart. If they are hit together in one tone simultaneously, four forms of tone harmonization patterns occur (nelu, ngepat, and ngembat). The harmony playing pattern on the xylophone is supported by the gambang beater (panggul) which has been set in such a way. The xylophone panggul has a different distance between the right and left pairs of mallets. The left pair spans four notes, while the right pair spans five notes. The Gambang Kwanji modulation system, namely the transition from one basic tone to another, is called Sengkeran. In the game, there is a change of one note in the order of the notes used. This sengkeran is found in the Gambang Labdha and Manukaba songs.
Studying Typography Used in Ability "Rashomon: Tenma Tengai" in The Bungou Stray Dogs Anime Adaptation Kirana Rizqina; Devinnisa Jehan
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i2.2441

Abstract

Typography is the art and technique of arranging letters in a way that makes the written language easier to read and more appealing, display, or distribute. Typography is not limited to Latin or Romaji and is seen in the anime industry, especially anime, where it is used in kanji. Bungou Stray Dogs is an anime that adapts old literature to a younger audience and is a perfect study subject for kanji typography. Despite its manga and anime adaptations, it still sticks to its "old literature" antics. Hence, the focus of the typographic study in this article is solely on the anime version of the Bungou Stray Dogs manga, and specifically on the scene in the anime where the words "rashomon: tenma Tengai" are presented utilizing specific typographic approaches.
The Concept of Tri Hita Karana in Kakawin Siwaratrikalpa as a Means to Interpret Life Suminto Suminto; Dyah Kustiyanti
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2445

Abstract

  Old Javanese literature, especially Kakawin Siwaratrikalpa, has an essential role among the Hindu community in Bali, not only because of its captivating story elements but also because it is essential for human life as it contains artistic values, religious values, moral teachings (ethics), manners, character education, philosophy, law, and morals. Tri Hita Karana is a concept of balancing the relationship between humans and God, humans and others, and humans and their natural environment to achieve prosperity and harmony in life in the world. Human life has undergone significant changes due to the changing times. The demands of modern life have brought human behavior to problems that need attention. The advancement of science and technology has caused a shift in social values, which has led humans to promiscuity, moral decline, the conflict between religious communities, lifestyle changes, environmental degradation, exploitation of natural resources, and even environmental destruction. This research is qualitative descriptive research by applying the concept of Tri Hita Karana. The source of the data is scientific, meaning that apart from observing texts, researchers are trying to observe and understand empirical phenomena directly in people's lives. The theory used is the theory of Human Relations. The results of the discussion prove that the three parts of the Tri Hita Karana concept are always related and cannot be separated. Humans, as the main actors in life, must continue to seek and strive for a safe, peaceful, and happy life.
Raising the Spirit of Sekaha Gong Kebyar Desa Ulian Through the Creation of "Sekar Jepun" Gending I Nengah Sama; Saptono Saptono; Hendra Santosa
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i2.2513

Abstract

Thematic KKN is a form of education that provides a learning experience for students outside the campus/university, which directly together with the community, identifies the potential that exists in the Village and also provides a solution to the problems that exist in the Village so that in thematic KKN it can develop the Village and provide solutions to the problems faced by the Villaexplain that in this Thematic KKN program, the authors chose partners in Ulian Village, Kintamani District, Bangli Regency. I chose a partner in Ulian Village because art was still lagging in Ulian Village, especially in musical arts. Therefore, the author aims to raise the spirit of the sekaha Gong Kebyar in Ulian Village by conducting Karawitan art training and building community enthusiasm in Ulian Village to preserve art, especially Karawitan Art. The results of this Thematic Community Service Program have positively impacted the people of Ulian Village and as a first step to awaken the arts, especially musical arts in Ulian Village. In this activity, it can be useful for the people in Ulian Village to develop their arts through musical training, and it is also useful for writers to learn to socialize in the community, improving their ability to think in collaboration.

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