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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 129 Documents
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A WOLIO SCRIPTURE AS A SOURCE OF INSPIRATION IN THE CREATION OF ISLAMIC CALLIGRAPHY ART Parta, I Wayan Seriyoga; Umar, Adam Almiftah; Hasmah
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i2.2780

Abstract

This research is based on developing the Wolio script into the creation of Islamic calligraphy paintings. The method applied uses a creation approach from Husein Hendriyana's theory regarding creating works (practice-led research). Through 4 stages of creation, starting with 1) Pre-design, containing preliminary research. 2) Designing and making designs/drawings using the Wolio script and the Buton Palace fort. 3) Embodiment, applying images into visual calligraphy, and 4) Appreciation exhibition. Data collection techniques were collected through observation, interviews, and documents (document study), then continued with a presentation of the creation process and the results achieved. This research suggests that Wolio script writing can be formulated into Islamic calligraphy. This creation resulted in 10 works using plaque technique painting as media with different themes/backgrounds, interpreting the Wolio script within the scope of the Buton palace as a primary source developed into artistic creations of Arabic script calligraphy. The final stage is that the works are exhibited to gain public appreciation. So that interaction and communication can be established, which inspires an increase in experience and knowledge, especially in artistic practice in Islamic calligraphy writing. Based on the evaluation results, this work is suitable as a reference for creative calligraphy. Seeing this potential, I recommend that the Cultural Heritage Development Agency coordinator in Kamali Baadia collaborate to create creative calligraphy using the Buri Wolio script.
FORM AND FUNCTION STUDY OF BARIS KEKUPU DANCE IN BANJAR LEBAH, SUMERTA KAJA VILLAGE, DENPASAR CITY Gunarta, I Wayan Adi
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i2.2810

Abstract

Dance is one of the crucial aspects of the Balinese Hindu community's artistic, cultural, and socio-religious activities. Dance is referred to as the art of movement and contains aesthetic and philosophical values, which can be enjoyed by the dancers and the audience (art lovers) during the performance. In Sumerta Kaja Village, East Denpasar Subdistrict, Denpasar City, there is a Baris Dance whose shape has a speciality, namely the Kekupu Baris Dance. This article aims to describe the beauty of the form and function of Baris Kekupu Dance. The research method used is descriptive qualitative. The results showed that the Baris Kekupu Dance is a traditional Balinese dance created around 1930 by a Balinese kakebyaran artist, I Nyoman Kaler. This dance describes the movements of a group of colourful butterflies who are playing in a beautiful flower garden, happily looking for flower honey. Baris Kekupu dance was popularized by Banjar Lebah dance maestro, Ni Ketut Arini, and until now, its existence is still sustainable and has become an icon of Banjar Lebah. The uniqueness of Baris Kekupu Dance can be seen from its dance movements and costumes, which combine Legong dance movements with Baris dance movements. Furthermore, in terms of dance costumes for body decoration using awiran type costumes (Baris Dance costumes), while for headdresses using gelungan of legong dance (the type of gelungan pepudakan). Baris Kekupu Dance has two primary functions: as a ritual tool in the Dewa Yadnya (a ceremony to Gods/Goddesses) and Pitra Yadnya (ceremonial offerings to ancestors) ceremonies, and as an aesthetic presentation.
ENGAGING INDONESIAN YOUTH WITH THE MEBUUG-BUUGAN TRADITION THROUGH THE NOVEL "SEHARI SETELAH SEPI" Danaswari, Ni Wayan Mahadewi Suci; Sutanto, Shienny Megawati
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i2.2866

Abstract

This research explores the potential of novel illustrations as an educational medium for the Mebuug-buugantradition, a unique ritual from Kedonganan Village, Bali, which has been increasingly marginalized from the younger generation's knowledge. Through a qualitative approach, this study analyzes how the "slice of life" genre and anime/webtoon visual style can be utilized in the fictional novel "Sehari Setelah Sepi" to bridge the generational gap and promote local cultural heritage. Set in 2017-2018, when the Mebuug-buugan tradition was revived, the novel aims to present a relevant and engaging story for Indonesian teenagers. Analysis of literature, competitor research, and Unique Selling Proposition (USP) formed the foundation for designing practical illustrations. Research findings indicate that combining the "slice of life" genre with anime/webtoon visual style can effectively convey complex information about the history and meaning of the Mebuug-buugan tradition in a simple yet profound manner. The novel serves as entertainment and an effective educational tool for introducing Balinese cultural values to the younger generation.
CREATIVE AND INNOVATIVE TEACHER'S ATTITUDE IN DEVELOPING THE CREATIVITY OF KINDERGARTEN CHILDREN AT TK DHARMA PUTRA DENPASAR Kadek Diah Pramanasari; Reni Anggraeni; Ida Ayu Gede Sasrani Widyastuti; Dewa Gede Satya Adi Maha Utamia
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i2.2983

Abstract

Integrating character education into the early childhood curriculum is becoming increasingly important in the modern era, mainly to ensure the balanced development of children physically, emotionally, and intellectually. At Dharma Putra Denpasar Kindergarten, dance is used as a medium to teach character values, but the effectiveness of this approach has yet to be widely studied. This research aims to determine the efficacy of integrating character education through dance at Dharma Putra Denpasar Kindergarten in supporting holistic child development. Data was collected through direct observation, in-depth interviews with teachers, and analytical documentation related to learning plans and student projects. The validity and reliability of research results are maintained through data triangulation and member checks. The data obtained were explained inductively using open, axial, and frequency coding techniques. The research results show that using dance as a medium for character education at the Dharma Putra Denpasar Kindergarten effectively balances children's physical, emotional, and intellectual development. These findings are essential in maintaining a balance between technological progress and preserving local wisdom in education, as well as providing a reference for future curriculum development that emphasizes cultural identity and character formation from an early age.
BEDAWANG NALA: ARTISTIC INSPIRATION FOR A FICTION FILM TO STRENGTHEN ENVIRONMENTAL EDUCATION AWARENESS Putra, Ida Bagus Hari Kayana; Peradantha, Ida Bagus Gede Surya; Widyastuti, Ida Ayu Gede Sasrani
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i2.3033

Abstract

This research explores the philosophical and symbolic value of Bedawang Nala in Balinese architectural art and the development of its narrative in fiction films based on Hindu mythology. Bedawang Nala, depicted as a giant fire-haired turtle with dragons Anantabhoga and Basuki, reflects cosmic balance and natural harmony in Tri Hita Karana. This qualitative research uses an interdisciplinary perspective involving the views of cultural studies and the creativity of film art creation. Data was obtained through in-depth interviews to explore the meaning and connection of the Bedawang Nala concept with environmental themes, audiovisual observations of traditional Balinese architecture, and literature studies on Bedawang Nala and ecological issues. Data were analyzed using interview transcript interpretation techniques to identify main themes related to the philosophical and symbolic values of Bedawang Nala, audiovisual analysis, and literature synthesis that connects findings from interviews and observations with current discussions about ecological education. The findings show that the Bedawang Nala mythology is not just an aesthetic ornament but has an educational value relevant to contemporary environmental issues. The development of this mythology-based film narrative can be an effective academic and cultural reflection tool, strengthening ecological awareness in society. This research suggests making and evaluating films based on Bedawang Nala and exploring other local mythologies to increase the educational impact and environmental awareness through film media.
TRADITIONAL REPETITION PATTERNS IN THE CREATIVE PROCESS OF THE KETUT SUGANTIKA LEKUNG’S POROSAN SERIES Budiaprilliana, Luh
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i2.3036

Abstract

This research examines the repetition patterns found in the creative process of Ketut Sugantika Lekung's Porosan Series artworks. Porosan Series is one of Ketut Sugantika Lekung's artworks, inspired by the shape and the making process of a sacred ritual object called Porosan. In general, Porosan Series artworks display visualizations that emphasize the impression of repetition. The creative process of the Porosan Series imitates the process of making the original Porosan. Imitation activities in this creative process were studied to see the influence of traditional repetition patterns originating from making original porosan. This research uses a descriptive method with a qualitative approach, which emphasizes more in-depth data analysis. The results of the research show indications of the influence of original porosan making's traditional repetition pattern in the creative process of the Porosan Series. The Porosan Series creative process also uses three stages like the original porosan: preparation, realization, and finishing, but the original Porosan's final stage is drying, not finishing. Even though there are several modifications, the strong influence of the traditional repetition pattern is still visible because it shows some behaviors that are similar in every stage and process between the two things, such as focus, relaxation, and sincerity, thus creating a meditative state without realizing it. This research is essential to see the impact of local wisdom, which can positively influence the creative process of original Balinese artists to create a potential new method based on Balinese traditions and local wisdom.
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.

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