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INDONESIA
LEKESAN
Published by Institut Seni Indonesia Denpasar
ISSN : 25982192     EISSN : 25982192     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Lekesan is the name of Interdisciplinary Journal of Asia Pacific Arts, is dedicated to the best representation of Asia Pacific Arts from various perspectives. As the link of exchange knowledge and experience, its provides opportunities to world scholars, artists, and the community, who are focused in the aesthetic theory and practice of Asia Pacific Arts.
Arjuna Subject : -
Articles 28 Documents
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Subconscious Memory Narrative In The Exploration Of Iconic Puppet Of I Ketut Teja Astawa’s Painting Parta, I Wayan Seriyoga; Suardana, I Wayan
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 3 No 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1042

Abstract

The process of creation in creating works of art is stimulated by various factors, one of which is the personal experience of the artist who is so imprinted that makes it an inspiration and motivation in the work. In the context of the creation of experiential works of art, it then undergoes a process of internalization and interpretation in an artist, which is then reconstructed back into the medium of art. The reconstruction is related to the reimagining process, which at the level of implementation can vary by artist. Similarly, the work process of Teja Astawa, a young artists who grew up in the coastal environment of Sanur, Bali. Teja’s works highlight his childhood experiences when playing with frangipani leaves and jackfruit leaves which then made into various forms of puppets. That experience made an impression and room in Teja’s artistic life as an adult, especially in the media of painting. Teja also re-knits the series of experiences by bringing back the puppet figures in his work. To begin the reconstruction process, Teja conducted a field study by observing various forms of puppets with their respective symbolic characters.
A Western And Eastern Learning Model For Teaching “Young Artists” Painting Style In Indonesia Lodra, I Wayan; Arif, Muchlis
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 3 No 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1079

Abstract

Every country in the world has its own learning models, which depend on the social, cultural, and economic conditions of the nation. In principle, learning aims to transfer knowledge, technology, and information to others to free them from ignorance. In developing countries like Indonesia, learning models vary in every educational institution. Educational institutions can be categorized according to the characteristics of the learner, and include formal, informal, and non-formal education. It is not possible to apply the same learning models to educational institutions with different geographical, social, and cultural conditions. Bali is an Indonesian province which has developed formal, informal, and non-formal education in the field of painting. One outcome of this non-formal education is the “Young Artists” style. This non-formal learning model, developed by Arie Smit, combines western and eastern learning models. The research focuses on how Arie Smit’s eastern and western learning model was applied to children from the village of Penestanan, Ubud, Bali. The goal is to describe Arie Smit’s western and eastern learning model that he used with children from Panestanan Ubud, Bali. The research method is qualitative descriptive and the data collection techniques include observation, interviews, and documentation. The analysis was performed by studying, disentangling, arranging, and summarizing the “Young Artists” learning model for teaching painting. The research findings show that this western and eastern learning model applies a method of cooperative active teaching.
Epic Ramayana As A Medium for Teaching Indonesian Culture and Language: A Perspective of Darmasiswa Students Dewi Yulianti, Ni Ketut
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 3 No 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1080

Abstract

This paper discusses the epic Ramayana as a medium for teaching Indonesian culture and Indonesian language for the students of Darmasiswa RI / DRI (Darmasiswa of Republic of Indonesia). The epic Ramayana story contains adjective phrases as a media for teaching Indonesian culture which is full of the value of character education. This paper can be a reference for students and teachers who study and teach Indonesian culture and also Indonesian language for foreign speakers. Besides, it can also be beneficial for those who want to learn more about the structure of Indonesian language and character education of with the values of Indonesian culture in accordance with Ramayana text in which good character and personality become the main goal of national education in Indonesia. The research methodology statement is missing in this abstract. Considering that the Darmasiswa RI program is also part of education in Indonesia, the education of Indonesian character values cannot be separated from the education followed by Darmasiswa RI program participants. For this reason, there are two main points discussed in this paper, (1) the Ramayana text as a medium for teaching Indonesian culture and enhancing the mastery of Indonesian language and (2) the adjective phrase in the Ramayana text as a medium for the education of Indonesian character values. Theoretically and practically, this paper can contribute to the world of education both in terms of Indonesian culture and language and the noble values of Indonesian characters for foreign speakers, so that it can help in improving the success of national education, and also to improve the competitiveness of the nation.
Fine Art and Design Works In the Context of Intellectual Property Widayat, Rahmanu; Ardianto, Deny Tri
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 3 No 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1085

Abstract

Fine Art and design works are classified as Intellectual Property that is protected by law. On the other hand, art creations are prone to be imitated or falsified on the grounds of being taken as inspiration or for commercial advantage. In Higher Education, especially in the field of Art and Design, methods to create original works have been taught to prevent intelectual property violation. However, due to dishonorable interests, the possibility of plagiarism and forgery can still occur. The questions that arise were: 1) what are classified as works of art and design? 2) What are the Intellectual Property Laws related to the field of art and design? 3) What are the prevention methods offered by fine arts and design higher education? Interpretation method was applied on the law concerning art and design, complemented with an explanation of art and design work creation process as a form of prevention to avoid imitations.
Inventory And Documentation For Bebali Mask Dance Sustiawati, Ni Luh; Sariada, I Ketut
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 3 No 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1100

Abstract

The objective of this research is to describe the kinds and the function of Bebali mask dances in each regency or municipality in Bali province and the perception of the public about them. This research was conducted in 9 districts / cities in Bali, namely Jembrana, Buleleng, Tabanan, Badung, Denpasar, Gianyar, Klungkung, Bangli and Karangasem, each represented by the two villages that develop the Bebali Mask dance. This research intended to expose a phenomenon, therefore it applies the phenomenological qualitative approach. It was chosen due to the consideration that this research is focused upon action or activity by one or more people related to the making of inventory and documenting the Bebali mask dance in Bali province, by classifying the kinds and functions of Bebali mask dances and by uncovering the perception of the public concerning the Bebali mask dance in the regencies/municipalities in Bali. The result shows that almost all instances of Bebali mask dance, especially the Pajegan variety, is connected with religious rituals, such as the Dewa Yadnya, Resi Yadnya, Pitra Yadnya, Manusa Yadnya, and Bhuta Yadnya. The Bebali mask dance in the province of Bali symbolizes the cycle of human life which can be described as a circle where life rotates naturally. The mask dance contains an ideal of how to live a life, that is to strike a balance between the adoration of the Divine and compassion and duty to fellow men and love of nature, which in Hindu philosophy is called “Tri Hita Karana”.
Expansion Of Value And Form Dol Musicality As Ritual Tabot In Bengkulu Parmadie, Bambang; Arya Sugiartha, I Gede
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 | Full PDF (525.874 KB) | DOI: 10.31091/lekesan.v1i1.301

Abstract

The expansion of value and form musicality in Tabot ritual music includes ideology, musicality and new sociocultural phenomena in the performing arts extend to all elements of Bengkulu society in general. The sacred music referred to in the Tabot rituals of Bengkulu is Dol music. The transformations in forms of Dol music and musicality are: sacred musicality becomes secular or profane. The physical form, function, and aesthetic of Dol music in Tabot rituals have an ever-increasing creativity in their development, musical progress and sociocultural-supporter progress. The commodification of Dol music transforms the artistic identity associated with new music from Bengkulu. The development of musicality moves freely, making changes in sacred ideology. This analysis reveals problems using social practice theory, hegemonic theory, and popular culture theory, applied eclectically by using a qualitative method. Data is collected Through observation, interview, and document study. The findings of this research are that there are forms of exploration and exploitation of Dol music from sacred to secular or profane and vice versa in the context of the commodification of physical musicality, function, and aesthetics in the ideological identity of the supporting community and the musical space dimension. The secular or profane Dol music permeates and indoctrinates the sacred Dol musical ideology as the musical ceremony of Tabot ritual. The counter-assumption about a sacred art form that will experience a shift into secular or profane is not entirely true for Dol music in Bengkulu.
Performing Authenticity And Contesting Heritage In The UNESCO-Inscribed Jerusarema/Mbende Dance Of Zimbabwe Mapira, Nesta Nyaradzo; Hood, Made Mantle
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 | Full PDF (1448.747 KB) | DOI: 10.31091/lekesan.v1i1.340

Abstract

In African societies, traditional dances form and shape a multitude of cultural expressions that reflect socio-cultural status, stalwart traditions and degrees of heritage maintenance. Due to colonisation, westernisation and Christianity, the performative aesthetics of many African traditional dances have been drastically modified over time. One such traditional dance in Zimbabwe that has undergone continual socio-cultural and aesthetic change is Jerusarema/Mbende from the Murehwa and Uzumba-Maramba-Pfungwe districts of Mashonaland Eastern province. In 2005, The Mbende Jerusarema Dance of Zimbabwe was proclaimed on the United Nations Educational Scientific and Cultural Organisation (UNESCO) list of Masterpieces of Oral and Intangible Heritage of Humanity. Authentic elements of the dance were compiled by the Zimbabwe National Oral and Intangible Cultural Heritage (ZNOICH) committee in an effort to safeguard it against change. This safeguarding led the Jerusarema/Mbende dance along a contested path of endorsement and utilisation in multiple contexts by some performance ensembles such as Swerengoma, Ngomadzepasi, Zevezeve, Shingirirai and Makarekare as promoted by prominent dance festivals. These ensembles assert different agendas through music, props, instruments and dance movements. Drawing upon documentary video evidence from the National Arts Council of Zimbabwe and interviews, this paper evaluates the extent to which the authentic elements of the Jerusarema/Mbende dance inscribed on the UNESCO list have been safeguarded in formalised performances from 2013 to 2015. Video recordings from this period showing continuous participation of Ngoma Dzepasi, Makarekare and Shingirirai are used to assess similarities and differences from the fixity of authentic elements. We argue that UNESCO’s recognition of the Jerusarema/Mbende dance as intangible cultural heritage has, on the one hand, revived and maintained some characteristics of this dance but, on the other hand, gradually compromised innovative aesthetic music and dance elements introduced by inheriting generations.
Meguru Panggul and Meguru Kuping; The Method of Learning and Teaching Balinese Gamelan Sudirana, I Wayan
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 | Full PDF (1007.942 KB) | 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 Susanto, Mikke; Simatupang, GR. Lono L.; Haryono, Timbul
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 | Full PDF (1026.939 KB) | 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 Putriani, Nina Eka; Marwati, Sri; Mudra, I Wayan
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 | Full PDF (1827.036 KB) | 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.

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