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 123 Documents
 2   3   4   5   6 
Meguru Panggul and Meguru Kuping; The Method of Learning and Teaching Balinese Gamelan I Wayan Sudirana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 1 (2018): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i1.341

Abstract

“True musical experience is the experience of trust”—trust between the student and teacher. Whatever teaching method a teacher applies, it will not work without any trust. “It is only when we learn to trust one another, to dissolve in the realization of our shared humanity, will the music finally play.” This is an autoethnography. It exhibits the long process of musicianship in a traditional Balinese community. Also, I explore how, as a modern Balinese musician, my musicianship fit in with the new musical setting of a Western community. The paper is divided into three parts: the first part is an exploration of the traditional learning process and Balinese musical pedagogy called meguru panggul. The second is an exploration of my experience in continuing my studies at ISI Denpasar (the Balinese Arts Institute)— how the teacher conducts the learning process in a formal setting, and my own discovery in learning with ear (meguru kuping). And lastly, the third explores the development of my perception and conception of a new learning and teaching style, when I was exposed to the Western way of teaching and learning music at the University of British Columbia, Vancouver, Canada.
Curating the Painting Collection of the Presidential Palace of the Republic of Indonesia Mikke Susanto; GR. Lono L. Simatupang; Timbul Haryono
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 1 (2018): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i1.342

Abstract

The Presidential Palace of the Republic of Indonesia's collection of art objects was started by Indonesia's first president, Sukarno. Today, this collection includes more than 2,500 paintings, and as such this institution has acted like a museum. Throughout the tenure of Indonesia's seven presidents, this collection has experienced diverse stories related to its curation by various individuals over time. This article will focus on the historical issues of this collection's curation using qualitative research methods, in the hopes of revealing various curatorial issues. More specifically, the qualitative research conducted for this study is related to art history. This articleutilizes theory related to curation to discuss a number of topics, ranging from the role of the individuals responsible for the collection (i.e. curators), the systems of caring for and selecting works (curation), and the curatorial practices that have occurred until now. Elaborating on a number of archival documents related to this collection, this article examines the work of the collection's curators, from inventorization to opening the collection to the public. Over the course of 70 years, the Presidential Palace's collection has undergone various forms of curation, including acquisition, documentation, preservation, and exhibition. This research concluded that the role of the curator is very important and causes the collection to be preserved and more valuable. As such, this article suggests a special museum related to the paintings within the palace collection.
Interpreting the Tri Mandala Concept on the Motif of Gringsing Wayang Kebo Woven Cloth Nina Eka Putriani; Sri Marwati; I Wayan Mudra
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 1 (2018): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i1.343

Abstract

Gringsing wayang kebo woven cloth is one of specialty cloths owned by Tenganan Pegringsingan Village, Manggis Sub-district, Karangasem Regency, Bali. This research aims to interpreting the Tri Mandala concept on the motif of gringsing wayang kebo woven cloth. The approach of this research is descriptive qualitative. Techniques for collecting data are observation, interview, and documentation, data analysis is using interactive analysis model and the validity of the data will be confirmed with triangulation technique. The result of this research shows that the motif of gringsing wayang kebo follows the of Tri Mandala concept that consists of 3 parts, Main pattern, Center pattern, and edge pattern. The motifs consisted of each pattern are 1). The motif on the main pattern consists of the plus, swastika, building, and scorpion motif; 2). The motif on the center pattern consists of an animal motif, floral, mountain, wayang; and; 3). The motif on the edge pattern consists of plus sign (+) and sun.
Interculturalism through a cognitive filter: Gilles Tremblay recomposes gamelan in Oralléluiants [1975] Jonathan Goldman
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 1 (2018): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i1.344

Abstract

In an article on the impact of gamelan music on Claude Debussy's musical language, Nicholas Cook shows Debussy's musical interpretations that navigate between viewpoints that claim that the gamelan presents "confirmation" of the principles that have been acquired by French composers and others who judge inspired techniques from the gamelan to imitate foreign musical culture. This article applies Cook's thought to the Javanese gamelan inspiration case in Oralléluiants (1975) by Gilles Tremblay (1932-2017), by trying to go beyond the opposition between pastiche orientalist style and deeper style assimilation by giving credit to the composer Québécois. This paper proposes the idea of "cognitive filters" as a way to understand how gamelan affects Tremblay without the same effect on other composers who are exposed to the same musical culture. The phrase "cognitive filter" shows every musical schematic that listeners have not mastered in terms of their training, ability, acculturation and psychological specificity, and that represents an order perceptual data to enable in the capture of previously unknown music.
Deconstructing The Meaning Of The Representation Of The Sanghyang Gandrung Dance Ida ayu Trisnawati
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i2.383

Abstract

This present study explores Sanghyang Gandrung Dance performed at Sidatapa Village, Banjar District, Buleleng, Bali. The qualitative approach was employed to implement the critical ethnography of the existence of Sanghyang Gandrung Dance.  The study focuses on the identification of the existence of Sanghyang Gandrung Dance and on the description of the form of its performance and meaning as the dance performed at Sidatapa Village, Banjar District, Buleleng, Bali. The result of the study shows that when Sanghyang  Gandung Dance was created and how it has been developed cannot be definitely described; however, its existence at Sidatapa Village cannot be separated from the local people’s belief. It was created and has been performed as an attempt to ward off misfortune. It was created and performed to avoid disaster or epidemic locally referred to as mrana, whereas Gandrung Dance was created and performed to be offered to Gods for the abundant agricultural yield. It has usually been performed before Sanghyang Dance is performed. The ceremonial procession during which they are performed is initiated with several traditional activities, starting from a notification which is made for the local people to get involved in the event when cockfighting is held. Then, the procession, which lasts for 42 days (the Balinese calendar-based one month and seven days), is held. They are performed at night from 7.00 to 10 p.m. Indonesia Central Time. The procession starts with Gandrung Dance, which is performed with 9 dancing movements, and then Sanghyang Dance, which is performed with 11 dancing movements. After lasting for 42 days, the procession is closed with a rite locally referred to as tegen-tegenan procession in which agricultural products are carried by those involved in the procession. Sanghyang Gandrung Dance has religious, social and educational functions. The local people perform it to express their thanks to God, ethics and aesthetics, and to ward off misfortune.
Batik Banyuwangi: Aesthetic and Technical Comparison of Coastal Batik Ikhwanul Qiram; Buhani -; Gatut Rubiono
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i2.407

Abstract

Banyuwangi, a district located in eastern end of Java island has batik as cultural herritage. Batik Banyuwangi as well as other batik has own characteristic according to the origin of the region. In the other side, Banyuwangi has a ethnics origin which is Osing ethnic with own character and local wisdom. Batik Banyuwangi is a kind of batik Pesisiran as batik from coastal region. Batik Pesisiran has a specificity in terms of material and method. Batik Banyuwangi has an interesting spesificity and become distinguishing identity of batik from other area. This research is aimed to compare batik Banyuwangi characteristic with other batik Pesisiran by literature study method. The result shows that batik banyuwangi has own aesthetics (motive and meaning) comparing with other batik Pesisiran. From technical aspect (material and method), batik Banyuwangi have in common with other batik Pesisiran.
Symmetry Analysis of Double-ikat Textile Patterns: Patan Patola and Geringsing Nyoman Dewi Pebryani
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i2.493

Abstract

Symmetry analysis of textile patterns, which appear in the Patan Patola and Geringsing textiles produced by the double ikat technique in India and Indonesia, can provide information about the cultural relationship between ethnic groups. Symmetry is categorized into classes according to the Symmetry Group Theory. This article is based on a study in which eight textile samples were used: four Patan Patola textiles and four Geringsing textiles collected from an exhibition catalog. Each sample was examined based on the Symmetry Group Theory and divided into three class categories: point symmetry, one-dimensional, and two-dimensional classes. The results indicate high similarities among the symmetry classes of samples from these two ethnic groups, thereby suggesting that the patterns possess a common connection. Patan Patola and Geringsing textile patterns admitted pmm2 and d4in all samples, indicating intense interactions.
Study of Pasuruan Batik with Jawi Temple Motif by UKM Sekar Wangi Sejati Cultural Anthropology Approach Rizki Amalia Putri
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i2.498

Abstract

Studying culture is endless because each culture will change along with current development. Gradual change causes the function of culture has shift or it increases the function for people. A culture that has shift in function aspect is object of Jawi Temple from Pasuruan. Jawi Temple is a tourist destination. It was a part of Singhasari Kingdom. At that time, the function of the Temple was to worship then became the place for Shinghasari King’s ash. Function shift of Jawi Temple is to become tourist object and one of object for Batik motif of Pasuruan Batik that uses local wisdom object. Function shift was studied by researcher using empirical approach with data of documentation and observation. The research problems were showing form of Jawi Temple Batik (semiotics), batik motive as function to introduce culture and history and Jawi Temple batik as cultural reflection. Cultural reflection from created motif had representation of culture and history or site in Pasuruan such as Jawi Temple, ornament motif of chrysanthemum flower, podang bird, Harmoni Building and betel leaf as icons. Representation identity through batik motif can raise tourism indirectly and become introduction of knowledge through Temple motif of Batik. People also can clearly know that batik is a representation identity in Pauruan that has many cultures. 
Hindu Religion And Traditional Performing Arts In The Development Of Tourism In Bali I Gusti Ngurah Seramasara
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i2.524

Abstract

Religion and traditional performing arts in Bali are two fields that are not separated as cultural identities that make Bali famous in the eyes of the world and admired as being able to create peace and prosperity. Based on consideration of Hinduism and the traditional performing arts, tourists arrive to visit Bali. Therefore this paper aims to analyze the relationship between Hinduism and traditional performing arts and its relation to tourism development, as well as the impact it has on the social phenomena of Balinese society. There is an interest in maintaining the relationship of Hinduism with traditional performing arts as part of a whole religious ceremony with the development of tourism, but there is a very strong stream of commercialization, which can destabilize the relationship between Hinduism and the life of the performing arts. This inequality is a problem that needs to be studied because it is not uncommon for the packaging of sacred art to become a tourist art, thereby reducing the importance of traditional performing arts’ sacredness. The effort to counteract the aforementioned problem will be the main focus that will be studied in this paper. The method used to examine the problems above is qualitative research methods based on the historical paradigm. The historical paradigm understands changes through sources, documents, artifacts, texts on performing arts and observations and interviews in connection with the current conditions. As an analytical tool, the concepts of ideology, communication and acceptance are used. The results of this writing indicate that there is a cultural ideology, namely the classification of performing art and the concept of cultural tourism to counteract the negative influence of tourism on Hindu religious life and Balinese culture.
Innovations of Governance in Balinese Joged Bumbung Dance in the era of globalization I Gede Arya Sugiartha
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i2.567

Abstract

This paper aims to analyze the develpmental dynamics concerning the governance of Balinese Joged Bumbung performances in the era of globalization. Developments being analyzed involve innovations in governance of performance standards. The methodologies utilized in conducting this research include observations, interviews, and literature studies. Post-modern aesthetic theory is utilized for analysis of phenomena such as, receptivity aesthetics and aesthetics in relation to social facts and arts of the community (Mukarovsky, 1970). Organizational innovation is a manifestation of changes in aesthetic functions by the role of supporting art, Bali’s Joged Bumbung which exists as social dance. In recent developments many manifestations of this art form have been ridiculed as joged ngebor  (meaning “drill” with pornographic connotations), also is much appreciated as innovative joged (joged care jani) due to a change in governance of performance standards. This happens because of the interplay of extraneous factors (people’s taste and the influence of television entertainment arts), as well as intrinsic forces (creative power and pragmatic attitudes of performers). The taste of the people who want dancers to move in this ngebor manner  is understood to be pragmatic by the performers whose affirmation of these movement modalities only for the sake of monetary interest (economic goals). Even though there are also Joged Bumbung Bali innovations; which are creative in organizing performances without being eroded to appear as pornographic and are still in demand by the community. The offer of a model of grooming performance, which prioritizes creativity in the development of accompaniment music and dance movements, has been an innovative Bali’s Joged Bumbung as an offer to fight the tendancy to be erotic.

Page 4 of 13 | Total Record : 123

 2   3   4   5   6 

Filter by Year

2018 2025


Reset
Filter By Issues
All Issue 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