Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2019-01-18T11:51:39+00:00 LEKESAN Open Journal Systems <div class="intro"><ul><li><strong>E-ISSN</strong> : <a title="E-ISSN" href="" target="_blank">2598-2192</a></li><li><strong>Lekesan: Interdiciplinary Journal of Asia Pasific Arts</strong> welcomes article submissions <br />and does not charge a publication fee</li></ul></div><br /><strong>Lekesan</strong> 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 Innovations of Governance in Balinese Joged Bumbung Dance in the era of globalization 2018-12-07T16:29:09+00:00 I Gede Arya Sugiartha <p class="p1">This paper aims to analyze the develpmental dynamics concerning the governance of Balinese<em> Joged Bumbung</em> 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 <em>Joged Bumbung</em> which exists as social dance. In recent developments many manifestations of this art form have been ridiculed as <em>joged</em> <em>ngebor<span class="Apple-converted-space"> </span></em> (meaning “drill” with pornographic connotations), also is much appreciated as innovative <em>joged</em> (<em>joged care jani</em>) 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 <em>ngebor</em> manner<span class="Apple-converted-space">  </span>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 <em>Joged Bumbung</em> 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 <em>Joged Bumbung</em> as an offer to fight the tendancy to be erotic.</p> 2018-12-07T16:29:09+00:00 ##submission.copyrightStatement## Symmetry Analysis of Double-ikat Textile Patterns: Patan Patola and Geringsing 2019-01-18T11:51:39+00:00 Nyoman Dewi Pebryani <p class="p1">Symmetry analysis of textile patterns, which appear in the <em>Patan Patola</em> and <em>Geringsing</em> 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 <em>Patan Patola</em> textiles and four <em>Geringsing</em> 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. <em>Patan Patola</em> and <em>Geringsing</em> textile patterns admitted <em>pmm2 </em>and <em>d4</em>in all samples, indicating intense interactions.</p> 2018-12-07T16:29:22+00:00 ##submission.copyrightStatement## Hindu Religion And Traditional Performing Arts In The Development Of Tourism In Bali 2018-12-07T16:29:30+00:00 I Gusti Ngurah Seramasara <p class="p1">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.</p> 2018-12-07T16:29:30+00:00 ##submission.copyrightStatement## Batik Banyuwangi: Aesthetic and Technical Comparison of Coastal Batik 2018-12-07T16:44:27+00:00 Ikhwanul Qiram Buhani - Gatut Rubiono <p class="p1">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.</p> 2018-12-07T16:29:48+00:00 ##submission.copyrightStatement## Study of Pasuruan Batik with Jawi Temple Motif by UKM Sekar Wangi Sejati Cultural Anthropology Approach 2018-12-07T16:29:58+00:00 Rizki Amalia Putri <p class="p1">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.<span class="Apple-converted-space"> </span></p> 2018-12-07T16:29:58+00:00 ##submission.copyrightStatement## Deconstructing The Meaning Of The Representation Of The Sanghyang Gandrung Dance 2018-12-07T16:30:11+00:00 Ida ayu Trisnawati <p class="p1">This present study explores <em>Sanghyan</em>g <em>Gandrung</em> Dance performed at Sidatapa Village, Banjar District, Buleleng, Bali. The qualitative approach was employed to implement the critical ethnography of the existence of <em>Sanghyang Gandrung</em> Dance.<span class="Apple-converted-space">  </span>The study focuses on the identification of the existence of <em>Sanghyang</em> <em>Gandrung</em> 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 <em>Sanghyang</em><span class="Apple-converted-space"> </span><em> Gandung</em> 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 <em>mrana, </em>whereas <em>Gandrung </em>Dance was created and performed to be offered to Gods for the abundant agricultural yield. It has usually been performed before <em>Sanghyang </em>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 <em>Gandrung</em> Dance, which is performed with 9 dancing movements, and then <em>Sanghyang </em>Dance, which is performed with 11 dancing movements. After lasting for 42 days, the procession is closed with a rite locally referred to as <em>tegen-tegenan</em> procession in which agricultural products are carried by those involved in the procession. <em>Sanghyang</em> <em>Gandrung</em> 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.</p> 2018-12-07T16:30:11+00:00 ##submission.copyrightStatement##