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I Putu Udiyana Wasista
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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 129 Documents
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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.
AESTHETIC TRANSFORMATIONS OF BALINESE WAYANG PARWA AND RAMAYANA PERFORMANCES IN THE GLOBAL ERA Marajaya, I Made; Surya Peradantha, Ida Bagus Gede
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i2.3446

Abstract

Since the 1970s, Wayang Parwa and Wayang Ramayana performances in Bali have undergone significant aesthetic transformations in response to the currents of global culture. This study examines the forms and processes of these transformations, as well as their implications for the sustainability of Balinese shadow puppet theatre. The research employs a qualitative method, with data collected through observation, interviews, and documentation, and analyzed using theories of transformation, aesthetics, and creativity. Findings indicate that globalization has influenced Balinese puppeteers (dalang) to innovate various components of the performance, including musical accompaniment, lighting, the screen (kelir), the use of comedic puppets (bebondresan), the structure of the performance, and the overall style of presentation. These creative efforts have succeeded in attracting public interest back to the shadow puppet performances and have also spurred innovations in other types of wayang performances, such as Wayang Calonarang and Wayang Babad. The aesthetic transformation of Wayang Parwa and Wayang Ramayana performances has contributed significantly to the government, entrepreneurs, and society at large, as these performances are often utilized as a medium for communication and dissemination of information directly related to social life in the era of globalization.
A STUDY ON THE MULTIFUNCTIONALITY OF GARDENS IN RESTAURANT INTERIORS: AESTHETICS, HEALING SPACE, AND GREEN BRANDING Kerdiati, Ni Luh Kadek Resi; I Putu Udayana Wasista; Putu Ari Darmastuti
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i2.3499

Abstract

This study discusses the multifunctional role of gardens in restaurant interiors through three main aspects: aesthetics, healing space, and green branding. The research focuses on the function of gardens in restaurant buildings, which are not only used as aesthetic elements, but also serve to support psychological healing and strengthen brand identity. This study employs a qualitative approach using the literature review method, by examining books, journal articles, and scientific publications relevant to the research topic. The literature selection process was conducted using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) diagram. The findings indicate that the aesthetic, healing space, and green branding functions complement one another. From an aesthetic perspective, the presence of plants enhances the visual appearance of interior spaces. As a healing space, gardens create a relaxing atmosphere that can improve psychological comfort. In terms of green branding, gardens within restaurant buildings serve as a symbol of sustainability.This study emphasizes the integration of gardens within restaurant interiors as a strategy that combines aesthetic, psychological, and ecological values. The results provide practical insights for designers and restaurant entrepreneurs in creating interior designs that are not only visually appealing, but also function as restorative environments while remaining aligned with the principles of sustainable business.
THE HARMONIZATION OF TRADITION AND SUSTAINABILITY: COSTUME DESIGN IN KALPATARU CONTEMPORARY DANCE AT THE KITAPOLENG FOUNDATION Diantari, Yuni
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i2.3509

Abstract

This study aims to examine the role of Kalpataru contemporary dance costume design at the Kitapoleng Foundation as a medium of expression that integrates Balinese cultural heritage with the principles of sustainability and design innovation. The focus is on symbolism, sustainable materials, and the contribution of costumes to the narrative of the performance. This study uses a descriptive qualitative approach with case studies. Data was collected through semi-structured interviews with the choreographer, designer, and founder of Kitapoleng; observation of performances at IFEX 2024; and visual documentation. Analysis was conducted using data reduction, thematic categorization, and source triangulation methods. The woven ental fabric costumes combine symbols of tradition and sustainability. Design innovations include reinterpretations of Legong headdresses and badong accessories. The costumes reinforce the Kalpataru philosophy of the “tree of life” and increase the audience's understanding of ecological and cultural issues. Cultural negotiation emerges in the reinterpretation of tradition. The results of this research enrich performance studies through the perspective of sustainability. In practical terms, this research offers a model of collaboration between artists and craftsmen as an environmentally friendly design practice based on local culture. These findings also have implications for arts education strategies and the strengthening of Indonesian performing arts in the global discourse on sustainability.
ASA ESA: A DANCE PERFORMANCE REPRESENTING THE TRIDATU SYMBOL IN BALINESE HINDU COSMOLOGY Prabhawita, Gita; Miftakhul Hauna; Mega Cantik Putri Aditya
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i2.3520

Abstract

Asa Esa is a Balinese contemporary dance performance inspired by the sacred Tridatu thread, a symbolic element deeply rooted in Balinese Hindu society. The Tridatu symbolizes the Tri Murti in Balinese Hindu cosmology, representing the unity of three principal deities. This study aims to analyze how the symbolism of the Tridatu is manifested through choreography, music, visual design, and collaborative elements, thereby bridging spiritual values with contemporary artistic expression. The creative process follows Alma M. Hawkins’ method of exploration, improvisation, and performance. Data were collected through literature review, interviews, and observations of Balinese Hindu religious practices. The movement vocabulary combines traditional Balinese dance with contemporary techniques, while the use of lighting, costume, and visual design emphasize the symbolic essence of the Tridatu. The work originates from the exploration of intertwined threads that gradually unravel, evoking multiple layers of spiritual interpretation. Asa Esa represents the belief in spiritual unification embodied in the Tridatu. The findings reveal that the work synthesis of tradition and innovation, conveying symbolic meaning through movement, music, makeup, and stage design, while maintaining both aesthetic and spiritual harmony. The implications highlight the potential of performing arts as a medium for cultural preservation, philosophical reflection, and spiritual communication grounded in local wisdom.
GRINGSING ETHNOSCIENCE: STRUCTURAL HOMOLOGY AND BALI AGA IDENTITY IN TENGANAN PEGRINGSINGAN I Nengah Juliawan; I Kadek Edi Palguna; I Kadek Abdhi Yasa; Kadek Anggie Noviari Dewi
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i2.3565

Abstract

This study analyzes the integrated ethnoscience system of the Wayang patterned Gringsing cloth, examining its role as an active agent in rituals, and understanding its function as a marker of cultural identity for the Bali Aga Tenganan Pegringsingan community. Qualitative-ethnographic research in Tenganan Pegringsingan, Bali. Data collection techniques: in-depth interviews, participant observation in the Usaba Sambah ritual, and analysis of awig-awig documents. Data analysis techniques: Miles and Huberman's model, Spradley's ethnographic analysis. Theoretical framing: ethnoscience, cultural semiotics, and structuralism. Gringsing is a woven codex that integrates ethno-chemistry (overdyeing as Rwa Bhineda) and ethno-technology. This cloth functions as spiritual armor during liminal rites of passage and a portable constitution that replicates the Tri Mandala. Structural homologies are found that connect the logic of purity in the domains of cloth, body (endogamy), and law (awig-awig). This study introduces productive inefficiency (slowdown as resistance) and structural homology as theoretical frameworks. Practically, this study identifies a controlled commodification model in which Geographical Indications (GI) are used as a defensive shield, leveraging market value to address the artisan regeneration crisis.
KITES AS SYMBOLS IN BALINESE KARAWITAN MUSIC NEW CREATIONS: DECONSTRUCTING THE KITE TRADITION Agus Eko Sattvika, I Putu; Ruastiti, Ni Made; Gede, Yoga Kharisma Pradana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i2.3561

Abstract

In Balinese gamelan art, a new Balinese musical creation featuring kites has been introduced. While kite-flying traditions had previously existed, there had been no Balinese gamelan musical works featuring. This phenomena reflects a transformational style that involves deconstructive techniques. The concerns are: 1) What is the shape of new kite building in Balinese karawitan art activities?; 2) Are there differences in kite traditions & in Balinese karawitan art activities?; 3) What is the purpose of deconstruction of kite traditions in Balinese karawitan art activities?. A qualitative methods was applied from a cultural studies standpoint. An interdisciplinary strategy was used to collect all data, which included document studies, participant observation, and interviews with Karawitan artists. All data were analyzed qualitatively-interpretively, with consideration given to deconstruction, aesthetics, and ethnomusicology theories. The results show tha t: 1) a new construction of kite tradition elements is seen in the sound patterns of new creative karawitan music; 2) the form of kite tradition is seen in the phase preceding the realization of new creative karawitan music works with a kite theme; and 3) artistic, religious, and communicative meanings are implied in the new creative karawitan artworks as a deconstruction of the kite tradition. These discoveries help to shape karawitan art based on local wisdom and create opportunity for discussion amongst traditional cultural forms.

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