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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

â€œTrue musical experience is the experience of trustâ€â€”trust between the student and teacher. Whatever teaching method a teacher applies, it will not work without any trust. â€œIt is only when we learn to trust one another, to dissolve in the realization of our shared humanity, will the music finally play.â€ 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)â€” 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.

Interculturalism through a cognitive filter: Gilles Tremblay recomposes gamelan in OrallÃ©luiants [1975] Goldman, Jonathan
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 1 No 1 (2018): April
Publisher : Institut Seni Indonesia Denpasar

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 OrallÃ©luiants (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 QuÃ©bÃ©cois. 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.

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

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

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.

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

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

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 UNESCOâ€™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.

Deconstructing The Meaning Of The Representation Of The Sanghyang Gandrung Dance Trisnawati, Ida ayu
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 1 No 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

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.Â 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 SanghyangÂ 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 peopleâ€™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.

Innovations of Governance in Balinese Joged Bumbung Dance in the era of globalization Arya Sugiartha, I Gede
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 1 No 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

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, Baliâ€™s Joged Bumbung which exists as social dance. In recent developments many manifestations of this art form have been ridiculed as joged ngeborÂ (meaning â€œdrillâ€ 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 (peopleâ€™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 mannerÂ 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 Baliâ€™s Joged Bumbung as an offer to fight the tendancy to be erotic.

Hindu Religion And Traditional Performing Arts In The Development Of Tourism In Bali Seramasara, I Gusti Ngurah
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 1 No 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

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 artsâ€™ 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.

Batik Banyuwangi: Aesthetic and Technical Comparison of Coastal Batik Qiram, Ikhwanul; -, Buhani; Rubiono, Gatut
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 1 No 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

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.

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name -

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Journal Mail Official -

Editorial Address -

Location Kota denpasar, Bali INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
-

Contact Email
-

Phone
-

Journal Mail Official
-

Editorial Address
-

Location
Kota denpasar,

Bali

INDONESIA