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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 123 Documents
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Coastal Batik Ornament Design : Aesthetic Analysis and Meaning of Batik Ornaments in Ciwaringin Cirebon, West Java Nanang Ganda Prawira; Mega Fitriani Adiwarna Prawira; Eko Susanto
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 2 (2020): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i2.1170

Abstract

Along the coast of the island of Java, there is a wealth of craft art (batik), characterized by its expression of decorative motifs and techniques. In general, the most prominent characteristic of the dominance of primary and secondary colors. Courage in expressing bright colors is also the visual identity of coastal batik. In West Java, Cirebon is one of the popular coastal batik cities. Several villages have become centers for batik crafts, including Ciwaringin Village. The batik that is developed in this village has the characteristics of Cirebon which was born and developed in line with Trusmi batik. Ciwaringin batik is unique in terms of coloring and decorative motifs when compared to Trusmi batik. In terms of typical Ciwaringin coloring is produced by natural dyes (natural dyes), a batik tradition that has long developed in the Cirebon Pesisiran batik culture. This study uses descriptive-qualitative methods with aesthetic and semiotic approaches to reveal the aesthetics and meaning of ornamentation in Batik Ciwaringin. One of the important findings in this study is that in Ciwaringin batik there is no expression of animate motives, which differentiates it from batik motifs in general because Ciwaringin batik was born from the Islamic boarding school community with strong Islamic values. Another finding is that Ciwaringin batik craftsmen transform nature not only as a source of philosophical ideas, but they also care about environmental issues. Concern for the environment is proven by developing coloring techniques using natural dyes (natural dyes) and avoiding synthetic (chemical) dyes.
The Nyama (kinship) Documentary as an Intolerant Comparative Discourse in Pegayaman Village, Buleleng, Bali I Komang Arba Wirawan; I Gede Arya Sugiartha
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 2 (2020): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i2.1172

Abstract

The Nyama documentary is as a counter-discourse on intolerant attitudes in Indonesia. Nyama film was the result of research and creation of written and audio-visual data documentation of the acculturation of art and culture in the Muslim village of Pegayaman Buleleng, Bali. It was an observational/direct cinema-style documentary film acculturation of Hindu and Islamic arts and culture in Pegayaman Village, Buleleng, Bali. The Nyama film identified the perceptions and acculturation of art and culture in Pegayaman Village, Buleleng, Bali. It was a qualitative descriptive research method. Sources of data obtained through a purposive sampling method were done by accidental sampling technique. The location of the sampling was carried out in Pegayaman Village, Buleleng, Bali. The method used in achieving these goals was Representing reality. The documentary tells an event or reality (facts and data). Principally, documentary films are based on facts and are demanded to be loyal to those facts. Discussion of research and creation of this movie is the observational/direct cinema documentaries. This film tells the story of several people in Pegayaman Village. The subjects in this film are not in the same condition but are equally struggling to preserve the acculturation of Hindu and Islamic arts and culture in the Bali region. The information building in this film was a combination of interviews with selected subjects. The results of the research and creation were in the form of Nyama documentary films. The Nyama documentary is an acculturation campaign for arts and culture and a counter-discourse on the intolerant attitude of Indonesian society that is multicultural and has the character of Indonesian nationality.
Ergonomics and Tri Hita Karana on Balinese Traditional Houses Building I Nyoman Artayasa
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1351

Abstract

Tri Hita Karana is the concept of three things that can lead to happiness, which consist of the relation of human beings with God, amongst human beings, and the relationship of human beings with the environment, which is embodied in the circulation, the design space forming element, the supporting build a room, design of facilities, utilities and decoration. The study of ergonomics on traditional residential houses in Bali focuses on task elements, organization, and environment. The task examines how the facilities were created based on anthropometric and activity flow. Organization study about traditional Balinese buildings layout in terms of space organization resulted in a large scale, function space, and circulation space. Environment review the two sides, firstly is the physical environment, namely: the use of circulation, lighting and handling the current season every year, and secondly is the social environment, namely: religion, beliefs, norms, and others. There are similarities between Ergonomics and Tri Hita Karana; therefore, this study intends to it. It is conducted by using qualitative descriptive analysis with Tri Hita Karana concept on traditional Balinese buildings and accompanied with ergonomic values based on the subject of the task and environmental organizations. This writing aims to observe whether the ergonomics and Tri Hita Karana have similar views in the embodiment of traditional Balinese houses. At the end of the discussion, we can conclude that the embodiment of traditional Balinese residential buildings has to be considered on the relationship of human beings with God and the relationship between human beings and the environment. It also includes a consideration in ergonomics consists of task, organization, and environment; and it is found out that the concept of Tri Hita Karana has similarities with the idea of ergonomics on traditional Balinese houses.
Performance Model and the Problems of Packaging Balinese Dance in the New Normal Era Ida Ayu Trisnawati; Sulistyani Sulistyani
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1411

Abstract

This study aims to explain the adaptation patterns of dance in the new normal era to maintain the existence of art and prevented Covid-19 terviews, and observations of various art performances in the new normal era. Furthermore, the data were analyzed with interactive analysis and presented critically with analysis assisted by the socio-cultural theory and art. Research results show that Covid-19 has changed various orders of human life, including dance. Dance performances must follow health protocols to prevent the spread of Covid-19, as a result, there is an adaptation from aesthetics to health. This then led to the staging of the Covid-19 model using various preventative equipment such as masks, face shields, keeping your distance, wearing hand slopes, limiting the number of spectators, and virtual performances. All done by the artist to be able to keep performing arts, but also not neglecting the safety of the dancers, musicians, and the audience. Even though it is realized that using various Covid-19 prevention equipment has caused the aesthetic level of art to decrease. Also, artists experience various problems such as discomfort when performing, the problem of uneven technology facilities, the cost of providing expensive equipment, many artists do not have sufficient knowledge of digital art. Even so, artists are still trying to adapt to be accepted by the wider community in the new normal era.
Portrait Of The Japanese Colonial Period In The Wayang Kamasan Illustration Of ‘Lintang Perau Pegat’ At The Klungkung Royal Palace I Wayan Agus Eka Cahyadi
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1417

Abstract

The Wayang Kamasan illustrations at the Klungkung Royal Palace store traces of the history of Bali during the Japanese colonial period. This research analyzed one located in the Bale Kambang pavilion with the ‘Lintang Perau Pegat’ scene to discern representation in that era. An art historical method was used drawing from field observation and literature resources with an iconography and iconology analysis approach of Erwin Panofsky. Findings from a pre-iconography phase showed that this illustration presents a scene about the splitting of a Japan-flagged ship by a large fish. An iconographic analysis was about themes and concepts regarding belief in the strength of nature (gods), which can influence human life and undermine the glory of human beings. Given the psychological atmosphere during the Japanese colonial period, hence, this illustration is the crystallization of a symbol from an attitude of resistance amidst helplessness towards a ruler (the Japanese occupation government), and hopes for the presence of the power of the gods to help eliminate oppression and misery that occurred during that era in Bali.
Indonesian Fine Art Terms and Their English Equivalence Ronald Umbas; I Gusti Agung Sri Rwa Jayantini
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1451

Abstract

The objective of this study is to identify the procedures of translation of fine art terms from English into Indonesian found in the catalog of Kun Adnyana's paintings entitled Candra Sangkala and to identify linguistic phenomena that arise from the translation. The catalog promotes the work of art and provides as much information as possible so that the work of the artist can be more widely appreciated. Therefore, the specific terms used in this fine art text should be translated appropriately in order to communicate the messages accurately, readably and naturally. The method used in this research was qualitative method which was conducted by doing content analysis in accordance with the theories of translation. This study found that the translation of fine art terms from Indonesian to English was conducted through seven procedures, namely couplet consisting of shift and reduction and expansion, second couplet, which is the combination of shift and literal translation, descriptive equivalent, reduction and expansion, literal translation, shift, and transference. The application of these procedures lead to two interesting phenomena that occur in the translation of Indonesian-English translation of fine art terms, i.e. (1) the use of equivalents that are previously naturalized from English into Indonesian and several terms that are literally translated and (2) the combination of more than one procedure of translation that is irrefutable in translating phrases. All of the procedures were utilized to meet the accuracy, naturalness and acceptability in translation.
Mtsitso Wa Wuraru; The Analysis of Chopi People’s Music and Its Relation to Indonesia I Wayan Sudirana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1455

Abstract

Many scholars have suggested that Chopi performance was influenced by Indonesian performance practices because of its similarity to Javanese and Balinese Gamelans (Jones 1964, 6). By using non-musical evidence to support their arguments, some have explored in depth the similarities in the use of the terminology, tuning system, organology and orchestration. Even though they found some striking similarities, the lack of evidence of this issue rendered their arguments inconclusive. Therefore, I am here not to argue against or to agree with these scholars. Instead, I will reexamine their arguments, especially the one by A.M. Jones in his Book “Africa and Indonesia,” and based on my knowledge of Indonesian music and literature review of the music of Chopi people, and hopefully to come to the most coherent conclusion. This paper discusses the historical, cultural, and musical form of the music of the Chopi people of Southern Mozambique. The Chopi has an extraordinary musical culture, which features their large xylophone orchestras. I will examine their xylophone (timbila) in terms of its history, instrumentation, cultural and social context, as well as briefly explore the performance of dance based on literature review. I will analyze a piece from Hugh Tracey’s impressive recording called “Msitso Wa Wuraru,” the third orchestral introduction of the Migodo dance performance, to illustrate the complexity of the playing technique and musical performance. Then, I will compare the xylophone tradition of the Chopi and Indonesian, in order to find the similarities and differences between them.
Design Of Wedding Jewelry Stacking Mechanism With Vina Musical Instrument Theme On Kendalisodo Temple Relief Wyna Herdiana; Prayogo Widyastoto Waluyo; Timothy Lombardi; Maria Nadya
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 2 (2021): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i2.1609

Abstract

Kendalisada temple dates from the middle of the 15th century which is the last stage of the Majapahit period. The author would like to re-introduce the existence of Kendalisada Temple to modern society today by designing a wedding jewelry set product inspired by the reliefs of Kendalisada Temple which tells the story of Prince Panji and Dewi Sekartaji who are sitting intimately, then the prince plays the Vina musical instrument to entertain his lover, where for the surroundings there are natural landscapes such as mountains and water. In the design process, the author used a qualitative method in the form of a literature study which includes searching for data through books, electronic sources, and related journals about Kendalisada Temple, Kendalisada Temple reliefs, Vina musical instruments, types of jewelry, jewelry materials, wedding jewelry, jewelry making techniques, markets. research, and trend forecasting. The author also used the cultural design method to transfer the culture in the relief into a product. The design process used 4 stages, namely investigation, interaction, script development, and product design. After that, the author made some ornaments and then developed more. The author uses the stacking method in jewelry making where the use of jewelry in the form of sets is stacked with a total of 2-3 pcs for each type of jewelry.
The Dance Of Sacred Water Anak Agung Gde Agung Rahma Putra; I Nyoman Sedana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 5 No. 1 (2022): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v5i1.1646

Abstract

The Dance of Sacred Water featuring water in culture and religion is a brand new dance uniquely choreographed and presented for the academic commitees and the public audiences as part of an academic requirement to complete my Ph.D degre in Dance Department, Indonesian Arts Institute Surakarta, Middle-Java. The original title of this Ph.D final performance dissertation in local language is “Tari We Beji Langon” (literary means the Dance of Aqua Culture and Religion), presented in a newly chorepgraphed dance composition integrating dance, narration, song, and gamelan music. It is designed as a site specific choreography, inspired by the significant values of water surrounding the Beji Langon water spring. Located in Kapal Village, Mengwi District, Badung Regency, this water spring is still preserved by the local community as holy hydrospherec resorces. Choreographed and performed surrounding this natural environment instead of in a conventional theatre, the dance portrays elevating aqua culture in upgrading level of human purposes. The dacers start from the river where water employed in profane daily life, then they move to the outpouring water for various Hindu ritual ceremonies, until finally recounting holy water as tirtha from spring water for spiritual purification. This dance depicts ascending realms of profane-ordinary-sacred water according to the use of water in various aspects of Balinese Hindu community as often mentioned in Balinese lontar manuscripts. This choreography is the result of exploration on aqua culture among Balinese people who have recently begun to experience abrasion. Based on practice-based research this dance aims to convey the values of local Balinese wisdom regarding the essential role of water in the sociocultural and religious life of the Hindu Bali community. The performance of this dance is expected to reinforce the awareness and enlightenment of the local people around the location of the Beji Langon bathing area to always maintain the cleanliness and purity of the water and to preserve its surrounding environment.
A Play Of Performance Waktu Batu Yogyakarta Teater Garasi In The Dramaturgi Study Nur Iswantara
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 2 (2021): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i2.1757

Abstract

The title of the paper of Play of Performance Waktu Batu (WB) Yogyakarta Garasi Teater (TGY) in this Dramaturgy Study is a summary of research results at the Yogyakarta Institute of Indonesian (ISI) Research Institute in 2014. Research in dramaturgy studies uses the dramaturgy theory of George Kernodle & Portia Kernodle (1978 ). Kernodle states that in dramaturgy there are six possible dramatic values that can help arrange the unity of theater performances. The six dramatic values include plot, character, theme (structure), and dialogue, atmosphere and spectacles (texture). One of TGY’s inspirational works, namely the WB performances sourced from Javanese mythology: Watugunung, Murwakala, Sudamala and Late Majapahit History, became an aesthetic presentation especially “Waktu Batu” The Stories that Meet in the Ruang Tunggu’ (WB1) will be analyzed with a dramaturgy approach which includes structure: plot, character, theme, and texture: dialogue, atmosphere and spectacles. The results of analyzing the structure consisting of plots, characterizations and themes; texture: dialogue, mood and spectacle performance of WB 1, showing that TGY belongs to a theater group that positions as a ‘theater creation laboratory’ having a unique aesthetic concept, which is typical for building eclectic dramaturgy. The eclectic drama in the Indonesian contemporary theater scene, an TGY effort to create a WB 1 play originating from Javanese mythology: Sudamala, Murwakala, Watugunung and the late history of Majapahit so that it becomes an aesthetic presentation that can be enjoyed by the audience. TGY group can survive more than 20 years. In fact in Indonesia there are not many contemporary theater groups that can survive long enough. Every TGY staging is always in demand by the audience as the WB 1 play shows.

Page 7 of 13 | Total Record : 123

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