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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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Jl. Nusa Indah, Banjar Abiankapas Tengah, Denpasar, Bali
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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 129 Documents
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Electronic News Gathering (Eng) Style in The Production of Dabdap Putih Village’s Profile Video I Made Denny Chrisna Putra; Nyoman Lia Susanthi; I Nyoman Payuyasa; Made Rai Budaya Bumiarta; Ida Bagus Hari Kayana Putra; Gangga Lawranta; Ketut Hery Budiyana
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

Abstract

This research focuses on analyzing the process of creating a profile video of Dabdap Putih Village with the application of the Electronic News Gathering (ENG style) concept as part of village branding efforts. The background of the study illustrates the change of village name from Dapdap Putih to Tista, which is considered to have a negative impact on the community's economy. In response, on January 1, 2023, the name of the village was re-inaugurated as Dapdap Putih, requiring an effective information medium to disseminate this change. The research method used is qualitative with data collection through literature studies, in-depth interviews with related parties, direct observation at profile video production sites, and electronic and non-electronic media documentation. The research analysis refers to the concept of ENG style by utilizing film production management theory and process management. The results of the analysis show that the use of ENG mode in making profile videos provides speed, flexibility in editing, and effective mobility. The production process of the Dabdap Putih Village profile video consists of three stages, namely pre-production, production, and post-production. In production management, five management process frameworks are applied: planning, organizing, staffing, leading, and controlling. In conclusion, the use of modern media technology such as village profile videos with an ENG style approach can be an effective village branding tool. With the involvement of a skilled production team, the use of this technique can increase efficiency in disseminating information and promoting village name changes, as well as showing the best characteristics of the village to the wider community.
Improving The Potential of Tourism Assets Through Souvenirs in Soko Village, Miri District, Sragen Regency Arif Ranu Wicaksono; Deny Tri Ardianto; Sayid Mataram; Anugrah Irfan Ismail; Rudy Wicaksono Herlambang
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.v6i2.2519

Abstract

Villages have a variety of potential assets, one of which is the tourism sector. Under the management of Badan Usaha Milik Desa (BUMDes), a centralized and profit-oriented village asset management unit, tourism assets can impact village progress. A medium that can provide information to the public about tourism assets and simultaneously generate profits is needed. Soko Village in Miri District, Sragen Regency, has potential tourism assets managed by BUMDes SOKO WIJAYA. This village uses tourist souvenir t-shirts that can introduce its tourism assets to the public and generate profits from their sales. Training for village youth as human resources is required to produce souvenir t-shirts with trend-setting designs and effective and efficient production. The result of this research and training activity can improve and introduce the village's potential by optimizing tourism assets and human resources.
The Theatre of “Glass Puppetry” Enhanced With The Use of The Technology of Lighting I Made Sidia
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.v6i2.2538

Abstract

The life of a Wayang Artist is an honorable role to have in the society of the Balinese people. Storytellers using the art of the wayang are highly respected, whose role in the community is to pass on the precious stories about the history, the culture and the spiritual heart of the Balinese people. The Wayang artist, known as the dalang goes on a life journey in sharing their philosophies through stories for the enrichment and soul of society. The process of internalization of the Puppet master from an early age through the world of wayang, forms a cognitive map of the creator who is immersed in the stories and characters of wayang art figures. The wayang artist continues to strive for innovation in form, exploring new techniques and exciting presentations, and with that in mind, the invention of the Glass Wayang enables the creator to explore the new technologies in developing a new way forward in the shadow puppet world. The process of creating Glass Puppets using the technology of lighting as a medium, opens one up to reflect on the mirroring of the self-image- to self-awareness and the inner workings our role in this human life Dramatic depictions of life processes are conveyed through the medium of glass puppets. Experiences and realities of life from the past until now. The search for identity is awakened. Wayang Kaca's work ranges from the making of various styles and forms of puppets supported by one hundred and six dancers accompanied by digital musical instruments (midi) and Bebonangan and Semarandhana gamelan. Digital musical instruments (midi) and gamelan are not only accompaniment but are an important part in providing a traditional and modern feel. The performance venue at Sanggar Paripurna Bona, Gianyar includes a side stage along with the traditional proscenium stage.  allowing for a full presentation for displaying this Glass Wayang work. The facilities the sanggar offers allow for all aspects of the creation process in developing, rehearsing, and presenting a final performance.
INNOVATION OF WAYANG PERFORMANCE THROUGH CINEMA AND THEATER TECHNIQUES AS NEW MEDIA Widnyana, I Kadek; Marhaeni, Ni Komang Sekar; Sudarta, I Gusti Ngurah; Dwiyani, Ni Kadek; Widyarto, Rinto
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v7i1.2539

Abstract

Fungsi wayang kulit sangatlah komplek dan selalu eksis dalam situasi dan pada zaman apapun. Setidaknya ada 7 fungsi pertunjukan wayang kulit: 1. Sebagai penggugah rasa indah dan kesenangan, 2. Sebagai pemberi hiburan sehat, 3. Sebagai media komonikasi, 4. Sebagai persembahan simbolis. 5. Sebagai penyelenggaraan keserasian norma-norma masyarakat, 6. Sebagai pengukuhan institusi sosial dan upacara keagamaan, 7. Sebagai kontribusi terhadap kelangsungan dan stabilitas kebudayaan. Sebagai sebuah keniscayaan, bahwa pertunjukan wayang dalam bentuk, jenis dan model apapun, tetap harus kontektual dan menyesuaikan dengan perkembangan zaman. akselerasi teknologi yang sedemikian berkembang pesat memberikan peluang positif terhadap eksistensi kesenian wayang itu sendiri jika kita mampu memberdayakan teknologi dan budaya modern sesuai porsinya. Namun demikian marwah seni pewayangan hendaknya tetap bisa dipertahankan agar nilai tuntunan, tontonan, tatanan tetap bisa dipertahankan. Terlebih lagi dalam karya inovasi ini penggarap diharapkan mampu juga menjawab nilai tantangan, tuntutan dan tanggung jawab terhadap karya yang dibuat. Aktivitas penciptaan diterapkan melalui proses, dengan meminjam pendapatnya Dr. I Kt Suteja, yang menggunakan lima tahapan atau metode yaitu: ngerencana, noasen, makalin, nelesin, ngebah. Metode suteja akan dipadukan dengan metode penciptaan Alma M. Hawkins yang menggunakan tiga tahapan yaitu: eksplorasi, improvisasi, dan formin. Luaran yang ingin dicapai adalah terwujudnya sebuah karya seni inovasi baru yang bertajuk Wayang Cinema, yaitu sebuah karya yang menggabungkan seni Pewayangan dan teknik Cinema dan teater ke dalam sebuah pola pertunjukan baru. Kata kunci: Wayang Cinema, Inovatif, Kresna, Duta Perdamaian.
Surface Design Exploration to Diversify Ciwaringin Cirebon Batik Design JOHN MARTONO; EKA ARIFIANTY PUSPITA
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.v6i2.2549

Abstract

Diversification has been recognized as effective in developing commercial enterprises. However, this strategy requires the commercial business to deeply understand its basic competencies and be aware of changing market trends. In the efforts to develop Ciwaringin batik SMEs, the diversification plan necessitates the Ciwaringin batik SMEs revisiting their unique competencies, namely the hand-writing batik process and the popular trend in 2022/2033, particularly the rising consumption of home décor and hypernature themes. As a result, implementing a diversification strategy in Ciwaringin batik SMEs requires investigating opportunities for developing Ciwaringin batik designs that are unique in their written batik techniques through surface design exploration in order to be responsive to the hypernature-themed home décor trend. Exploration of surface design on textiles was carried out to develop the appearance of Ciwaringin hand-writting batik so that it is relevant to the changing home decor market trends, namely the organic and textured appearances of the hypernature theme. The surface design exploration process is equipped with a data analysis to implement appropriate surface design exploration that supports the Ciwaringin batik diversification strategy. The creative method that combines data analysis and surface design exploration produced several Ciwaringin hand-writing batik designs that display the quality of the organic textured textile surfaces with bright colors typical of the hypernature theme. The Ciwaringin batik designs from surface design exploration are also designed to be home décor items, namely aesthetic wall elements that beautify a residential space.
NEMU–ANG, A NEW MUSICAL COMPOSITION Santosa, Hendra; Darmawan, I Komang Werdi; Hartini, Ni Putu
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i1.2782

Abstract

Nemu-Ang is an innovative Karawitan musical composition. The background of the musical artwork is from the phenomenon of appreciate the melody, which currently doesn't exist in almost every musical artwork. The main reason for that is that the lay public can't enjoy the work. This phenomenon inspired Karawitan's composition with the medium of the Gamelan Singapraga. This Karawitan music composition takes the object of honey as a central object because this honey has a multitude of benefits and a sweet taste that stands out, so this focuses on aspects of how honey is produced and the taste of honey itself. Nemu-Ang's innovative form of musical composition uses rhythm, melody, and harmonization from the Singapraga Gamelan to have a sweet taste like honey and the process of making it. The method for producing this work is Panca Stithi Ngawi Sani by Prof. Dr. I Wayan Dibia, and it is very easy to understand for ordinary people who want to create art. This method includes the ngawirasa (find the inspiration), ngawacak (object exploration), ngarencana (conception of the object), ngawangun (execution of the concept), ngebah (presentation/performed the artwork). Based on the results of applying this method, Nemu-Ang's work was very effective, and the work was realized as it should have a duration of 11 minutes. In the future, this work can be enjoyed by the wider community to become an inspiration for further musical works.
THE STORY OF YOUNG PHOTOGRAPHER IN “MESATYA – TELUSUR PUPUTAN BADUNG” DOCUMENTARY FILM Bumiarta, Made Rai Budaya; I Ketut, Muka; I Wayan, Suardana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i1.2804

Abstract

Documentary films are a medium for crafting a message and getting that message out to the broader community. The philosophical value of cultural roles and responsibilities can be presented through visual and verbal messages, and documentaries are one of the most accessible digital educational media. The presentation of the documentary Mesatya – Telusur Puputan Badung is a historical story that happened in 1906. It was inspired by the National Museum of Badung royal heritage collection, which the Dutch confiscated during the Military Expedition in 1906. This film depicts Bali with its beautiful nature and culture and the story of the bloody tragedy that ever happened to maintain self-respect and country. Focuses on sequences described in terms of the opening, central, and closing scenes, including the cultural and inspiring values presented in the film through visual and linguistic information. Also, most visuals of Mesatya – Telusur Puputan Badungdocumentary film represented a reconstruction photography technique. We can see that the story runs from the perspective of a young photographer who wants to find inspiration from the event. Audiences are invited to enjoy every shot and scene with a visual aesthetic full of meaning. We can see a detailed description of the meaning of the photographer's journey.
TETIKESAN PRACTICAL TRAINING OF WAYANG PARWA BEBADUNGAN STYLE PERFORMANCE IN SANGGAR MAJALANGU Marajaya, I Made; Marhaeni, Ni Komang Sekar; Suteja, I Kt.
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i1.2805

Abstract

Abstract Wayang Parwa performances in the last three decades have become increasingly rare in society. This performance originates from the Mahabharata epic and is accompanied by the Gender Wayang gamelan, which is one of the oldest in Bali. Wayang Parwa is usually used as a basis for learning to become a puppeteer in formal and non-formal education. Wayang Parwa has many versions, and in Bali, there are four styles of Wayang Parwa: Bebadungan Style, Sukawati Style, Tunjung Style, and Buleleng (North Bali). One of the styles with the most favorite is the Bebadungan style, which is spread across six districts/cities in Bali, such as Tabanan, Negara, Klungkung, Bangli, Karangasem, and Denpasar City. With the emergence of various variants of innovative wayang performances, the popularity of Wayang Parwa has decreased. To maintain the existence of the Wayang Parwa Bebadungan Style performance in this millennial era, conservative efforts needed to be made, namely through training. Considering the Wayang Parwa Bebadungan style performances by today's young puppeteers, many need to be stronger in Tetikesan (puppet movements). For this reason, the training material provided to members of Sanggar Majalangu, Kerobokan Village, North Kuta District, Badung Regency, led by I Made Agus Adi Santika, is Tetikesan. This training could answer the public's opinion that the weakness of the Wayang Parwa Bebadungan style performance refers to Tetikesan. The training was focused on one of the studio members using instructional, structured, gradual, and innovative learning methods by utilizing YouTube media, which releases audio recordings of Wayang Buduk performances by puppeteer Ida Bagus Arnawa (deceased) and his son, puppeteer Ida Bagus Puja (deceased) as standardization of the Bebadungan style. Keywords: Training, Tetikesan, Wayang Parwa Bebadungan Style
VISUAL SIGNS ON THE BILLBOARD OF BALI ARTS FESTIVAL XLV YEAR 2023 : PEIRCE SEMIOTICS ANALYSIS Gede Bayu Segara Putra; I Kadek Jayendra Dwi Putra
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v7i1.2812

Abstract

This study is aimed at examining the visual signs found on the billboard of the Bali Arts Festival XLV Year 2023 using Charles Sander Peirce's semiotics approach. In an effort to understand how messages are communicated to the audience, an analysis is conducted on the icons, indexes, and symbols that appear in the design of the billboard. Through qualitative descriptive methods, the visual elements in the billboard are separated and observed, then analyzed using Peirce's semiotics framework. The results of the analysis indicate that the theme "Segara Kerthi" (Ocean of Harmony) is successfully represented in the billboard by using icons such as the illustration of Gajah Mina, which symbolizes the protector of the sanctity of the sea, indexes such as the rising sun, which depicts hope and a new beginning, and symbols such as government logos and social media icons that reflect support and technological advancement. These visual signs provide profound meanings related to the protection and appreciation of the sea as a source of life and civilization. In conclusion, this analysis provides a deeper understanding of how the visual signs in this billboard create a strong cultural identity, educate, and capture the audience's attention. This research offers a positive contribution to the analysis of visual communication works and has the potential to be further developed with diverse theoretical approaches and disciplines.
INTEGRATION OF GREEN OPEN SPACES IN TOURISM ACCOMMODATION GLAMPING RICHLAND BATURITI BALI Kerdiati, Ni Luh Kadek Resi
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i1.2839

Abstract

Glamping tourism is currently experiencing rapid growth. This is because this type of tourism offers a unique natural tourism experience with modern and comfortable facilities. This research focuses on green open spaces at Richland Glamping Baturiti Bali. Richland Glamping Baturiti is a glamping accommodation that provides green open space in an area with beautiful natural beauty. This allows the development of optimal green open spaces harmoniously with the surrounding environment. Hopefully, this research can contribute to realizing glamping tourism, which provides a unique and exciting tourist experience, preserves nature and supports sustainable development. This research uses qualitative methods with the object of the Richland glamping case study in Bali, which has green open spaces. Primary data was collected through observation and documentation, while secondary data was obtained from the library. All information and data are analyzed using relevant theories and then explained descriptively. Glamping offers luxury accommodations in nature with a commitment to cleanliness and personal service. The green open space is designed with ecological principles to improve the quality of life, groundwater, and ecosystem balance. Through these environmental design principles, an analysis was carried out on the case objects of green open space at Glamping Richland Bali. The Richland Glamping Baturiti Bali case study shows how this principle can be applied by choosing the right plants and location, creating a harmonious and environmentally friendly experience for visitors.

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