POTENSI SENI KRIYA ISTIMEWA DALAM PAMERAN “NEGARI NGAYOGYAKARTA HADININGRAT 2012”

CORAK ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Edi Eskak
Keyword(s):  
Performance Art ◽  
Mixed Media ◽  
First Century ◽  
Creative Potential ◽  
Works Of Art ◽  
Arts Festival ◽  
Digital Prints ◽  
Wide Assortment

Arts Festival Negari Ngayogyakarta Hadiningrat 2012 undertaken in order to commemorate the first century of Hamengku Buwono IX as well as 2,5 century of Ngayogyakarta Hadiningrat, featuring the character or the privilege of Yogyakarta through works of art by artists with no exit from the corridors of copyrighted artistic distinctiveness. The works on display most of the particular character, specific and have their own specialty. Privileges of Yogyakarta with its dynamic, multicultural, and tolerant of the works reflected on display in the various mediums of expression and creation. A wide assortment of works of art displayed expression of both the traditional, conventional and non conventional, such as: painting, graphics, sculpture, video, film, animation, installation, performance art, digital prints, puppets, mixed media and others. Not to mention that the exhibition has a variety of craft works of art, such as the art which haselements of craftmanship. The uncommon art that relies on creativity ideas and handskills in this exhibition appear surprisingly with exceptional works that have creative potential prospective. These young artists, among other craft; Karyadi, Fitriasih Pudyo Atmaningrum, I Gde Suryawan, and I Gusti Ngurah Edi Basudewa.Keywords: potential, arts crafts, specialty, and Negari Ngayogyakarta Hadiningrat

scholarly journals POTENSI SENI KRIYA ISTIMEWA DALAM PAMERAN “NEGARI NGAYOGYAKARTA HADININGRAT 2012”

CORAK ◽  
2012 ◽  
Vol 1 (2) ◽  
Author(s):  
Edi Eskak
Keyword(s):  
Performance Art ◽  
Mixed Media ◽  
First Century ◽  
Creative Potential ◽  
Works Of Art ◽  
Arts Festival ◽  
Digital Prints ◽  
Wide Assortment

Arts Festival Negari Ngayogyakarta Hadiningrat 2012 undertaken in order to commemoratethe first century of Hamengku Buwono IX as well as 2,5 century of Ngayogyakarta Hadiningrat,featuring the character or the privilege of Yogyakarta through works of art by artists with no exitfrom the corridors of copyrighted artistic distinctiveness. The works on display most of the particularcharacter, specific and have their own specialty. Privileges of Yogyakarta with its dynamic,multicultural, and tolerant of the works reflected on display in the various mediums of expression andcreation.A wide assortment of works of art displayed expression of both the traditional, conventionaland non conventional, such as: painting, graphics, sculpture, video, film, animation, installation,performance art, digital prints, puppets, mixed media and others.Not to mention that the exhibition has a variety of craft works of art, such as the art which haselements of craftmanship. The uncommon art that relies on creativity ideas and handskills in thisexhibition appear surprisingly with exceptional works that have creative potential prospective. Theseyoung artists, among other craft; Karyadi, Fitriasih Pudyo Atmaningrum, I Gde Suryawan, and I GustiNgurah Edi Basudewa. Keywords: potential, arts crafts, specialty, and Negari Ngayogyakarta Hadiningrat

An Invitation from the Displaced: Refuge Restaged in The Jungle and As Far as My Fingertips Take Me

Modern Drama ◽  
2021 ◽  
Vol 64 (3) ◽  
pp. 350-372
Author(s):  
Jeff Casey
Keyword(s):  
Performance Art ◽  
First Century ◽  
Good Chance ◽  
Twenty First Century ◽  
And Performance ◽  
Remedial Strategies ◽  
Mutual Responsibility

Tania El Khoury’s audience-of-one performance piece As Far as My Fingertips Take Me and Joe Murphy and Joe Robertson’s play The Jungle, produced and developed by Good Chance, are twenty-first-century productions that foreground the medial affordances of performance art and drama to foreground Western audiences’ relationships and responses to refugees. I propose a taxonomy of the strategies used in these two works as a model for analyzing theatre and performance about refugees. These strategies are classified in terms of the responses they seek to elicit from the audience, and my analysis explores some of the tactics used to achieve these goals. Remedial strategies counter harmful stereotypes about refugees; transformative strategies challenge and reshape basic conceptions of self, other, nation, and citizenship; and ethotic strategies reorient the audience to consider their relationship with refugees, particularly with respect to their disparate identity positions, mutual responsibility, and interdependence. Fingertips and The Jungle are substantially different artworks but are able to achieve similar results by utilizing the different affordances of their respective mediums. Thus, the taxonomy of strategies provides a more systematic and precise way of analyzing how refugee drama and performance achieve their goals. It avoids being overly prescriptive in how these goals should be achieved and instead recognizes how exploiting different tactics and medial affordances can advocate for refugees and other migrants.

MIXED MEDIA SEBAGAI ALTERNATIF PENCIPTAAN LUKISAN DI MUSEUM RUDY ISBANDI SURABAYA

2016 ◽  
Vol 10 (02) ◽  
pp. 15-22
Author(s):  
Suhendroyono Suhendroyono ◽  
Novita Nugraheni
Keyword(s):  
Positive Impact ◽  
Mixed Media ◽  
3 Dimensional ◽  
Works Of Art ◽  
Museum Development ◽  
Used Goods ◽  
Painting Techniques

Mixed Media developments in the manufacture of paintings at the Museum Rudy Isbandi has evolved with new innovations to be able to attract the attention of visitors. Utilization of used goods for Mixed Media painting techniques as an alternative of making the painting a positive impact on the environment even though not all of the junk could dimanfaatakn to be a painting that transform media and creative. The use of second-hand goods can produce works of art that manifold visual and 3-dimensional character who is able to make the artists are interested in collecting. The facilities provided by the Museum Rudy Isbandi not been standardized to make visitors comfortable. Keywords: Rudy Isbndi Museum, Development of Mixed Media, Utilization of thrift, appeal used goods

scholarly journals Childhood in a digital age: creative challenges for educational futures

2012 ◽  
Author(s):  
Anna Craft
Keyword(s):  
Young People ◽  
Rapid Change ◽  
Virtual Space ◽  
First Century ◽  
Creative Potential ◽  
Digital Gaming ◽  
Digital Revolution ◽  
Childhood And Youth ◽  
Early Twenty ◽  
Educational Futures

The early twenty-first century is characterised by rapid change. Commentators note how permeating digital technologies engage increasing numbers of children, young people and adults as consumers and also producers. In the shifting technological landscape, childhood and youth are changing. Connectivity around the clock, with a parallel existence in virtual space, is seamlessly integrated with actual lives. Young people are skilful collaborators, navigating digital gaming and social networking with ease, capably generating and manipulating content, experimenting virtually with versions of their 'social face'. They are implicit, inherent and immersed consumers. They are digital possibility thinkers posing 'what if?' questions and engaging in 'as if' activity. This paper seeks to theorise such possibility thinking in a digital, marketised age, using two competing discourses: young people as vulnerable and at risk; or alternatively as capable and potent. The former perspective imbues anxiety about the digital revolution; the latter embraces it as exciting and enabling. As education providers seek to re-imagine themselves, neither is sufficient. Local and global challenges urgently demand our creative potential and wisdom. Drawing from work with schools, the paper argues for co-creating with students their education futures through dialogue to nurture the 4 Ps: plurality, playfulness, participation and possibilities.

9/11 as Avant-Garde Art?

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1820-1829 ◽  
Author(s):  
Richard Schechner
Keyword(s):  
Performance Art ◽  
Small Extent ◽  
First Century ◽  
Political Systems ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Social Morality ◽  
Avant Garde ◽  
Single Moment ◽  
History Of

[The attacks of 9/11 were] the greatest work of art imaginable for the whole cosmos. Minds achieving something in an act that we couldn't even dream of in music, people rehearsing like mad for 10 years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 [sic] people are dispatched to the afterlife, in a single moment. I couldn't do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world. … It's a crime because those involved didn't consent. They didn't come to the “concert.” That's obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.—Karlheinz Stockhausen (“Documentation”)Stockhausen aside, how can anyone call the 9/11 attack on the Twin Towers a work of art? Of what value is such a designation? What does calling the destruction of the Twin Towers a work of art assert about (performance) art, the authenticity of “what really happened,” and social morality during and after the first decade of the twenty-first century? To even begin to address these questions, I need to refer to the history of the avant-garde—because it has been avant-garde artists who for more than a century have called for the violent destruction of existing aesthetic, social, and political systems.

Politics and Poetics of Fear after 9/11: Claudia Rankine's Don't Let Me Be Lonely

2011 ◽  
Vol 45 (4) ◽  
pp. 777-791 ◽  
Author(s):  
EMMA KIMBERLEY
Keyword(s):  
Mixed Media ◽  
First Century ◽  
Fundamental Importance ◽  
Public Consumption ◽  
The World ◽  
Perceived Reality ◽  
Twenty First Century ◽  
Words And Images

The rise of the ekphrastic poem at the turn of the twenty-first century speaks of a preoccupation with the mediated representations that are increasingly a part of perceived reality. In the wake of “terror,” what we know and how we know it are subjects of fundamental importance. Mixed-media poet Claudia Rankine turns a revealing lens on the ontological implications of how combinations of words and images construct the world, taking in the virtual and material nature of contemporary existence as well as questioning the commercial and political image-texts that constitute reality for most people. I will argue that Rankine's hybrid and complex texts are representative of an increasingly urgent need to attend to the heavily mediated nature of experience and the emotional disconnect this often entails, revealing the need for a reassessment of the responsibilities involved in making representations for public consumption.

MANAJEMEN FESTIVAL SENI PERTUNJUKAN PEKAN NAN TUMPAH DI PROVINSI SUMATERA BARAT

2020 ◽  
Vol 9 (1) ◽  
pp. 100
Author(s):  
Astari Ayuni ◽  
Agusti Efi
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Art Exhibitions ◽  
Inhibiting Factors ◽  
Arts Festivals ◽  
Art Works ◽  
West Sumatra ◽  
Creative Poetry ◽  
Arts Festival ◽  
The Many

AbstrakPenelitian ini dilatarbelakangi oleh minimnya festival seni di Provinsi Sumatera Barat yang bertahan hingga beberapa kali pelaksaan dalam satu dekade terakhir. Hal ini disebabkan oleh beberapa faktor, diantaranya; tidak adanya manajemen dalam pengelolaan festival, sehingga terkesan terburu-buru dan tidak maksimal dalam pelaksanaanya. Diantara banyak festival seni yang pernah ada, terdapat satu festival seni yang berhasil bertahan hingga saat ini, ialah festival seni Pekan Nan Tumpah. Festival seni Pekan Nan Tumpah adalah festival seni yang diselenggarakan setiap dua tahun sekali oleh Komunitas Seni Nan Tumpah sejak tahun 2011. Festival ini menghadirkan berbagai macam seni, seperti seni pertunjukan teater, tari dan musik, pameran seni rupa, lomba baca puisi kreatif, workshop dan lain sebagainya. Namun, pada penelitian ini hanya difokuskan pada festival seni pertunjukan Pekan Nan Tumpah saja. Festival seni pertunjukan Pekan Nan Tumpah menampilkan beberapa karya seni pertunjukan dengan mengundang komunitas/group dan sanggar seni lain baik dari Sumatera Barat maupun luar Sumatera Barat setelah melewati sistem kurasi. Komunitas Seni Nan Tumpah menerapkan prinsip manajemen dalam setiap pengelolaan kegiatannya, termasuk dalam penyelenggaraan festival seni pertunjukan Pekan Nan Tumpah. Penerapan sistem manajemen dimulai dari perencanaan, pelaksanaan hingga evaluasi. Festival seni pertunjukan Pekan Nan Tumpah juga merupakan satu-satunya festival seni di Sumatera Barat yang berani menerapkan pertunjukan berbayar dengan menjual tiket kepada penonton. Penelitian ini bertujuan untuk mendeskripsikan manajemen serta menganalisis faktor pendukung dan penghambat pada festival seni pertunjukan Pekan Nan Tumpah.  Kata Kunci: manajemen, festival seni pertunjukan, tumpah.AbstractThis research is motivated by the lack of art festivals in the province of West Sumatra, which lasted several times in the last decade. This is caused by several factors, including; the absence of management in the management of the festival, so that it seems rushed and not optimal in its implementation. Among the many arts festivals that have ever existed, there is one art festival that has survived to this day, the Pekan Nan Tumpah art festival. Pekan Nan Tumpah arts festival is an arts festival held every two years by the Komunitas Seni Nan Tumpah since 2011. The festival presents a variety of arts, such as theater performance, dance and music, fine art exhibitions, creative poetry reading competitions, workshops and etcetera. However, this research is only focused on the Pekan Nan Tumpah performing arts festival. The Pekan Nan Tumpah performing arts festival features a number of performance art works by inviting other community / groups and art studios both from West Sumatra and outside West Sumatra after passing through the curation system. The Komunitas Seni Nan Tumpah applies management principles in every management of its activities, including the holding of the Pekan Nan Tumpah performing arts festival. The implementation of a management system starts from planning, implementation to evaluation. The Pekan Nan Tumpah performing arts festival is also the only art festival in West Sumatra that dares to implement paid performances by selling tickets to the audience. This study aims to describe management and analyze the supporting and inhibiting factors at the Pekan Nan Tumpah performing arts festival.  Keywords: management, performance art festival, tumpah.

THE BED CANOPY IN XENOPHON OF EPHESUS AND THE ICONOGRAPHY OF MARS AND VENUS UNDER THE EMPIRE

Ramus ◽  
2018 ◽  
Vol 47 (1) ◽  
pp. 78-107
Author(s):  
Anna Lefteratou
Keyword(s):  
Visual Culture ◽  
First Century ◽  
Test Case ◽  
Ancient Greek ◽  
Works Of Art ◽  
Greek Novel

This paper discusses how Roman visual culture might be useful for deciphering the ecphrastic passages of the ancient Greek novel. Whereasecphrasishas been one of the blossoming topics in the field, the examination of novelisticecphrasisalongside particular works of art is still a desideratum. As a test case I will use Xenophon of Ephesus’ecphrasisof the bed canopy depicting Ares’ and Aphrodite's embrace, in theEphesiaca,a novel that might have been written as early as AD 65. In what follows I will argue that the scene described on the canopy would have stimulated a variety of intertexts, both literary and visual, in the minds of the imperial audience: that is, Xenophon's reader would have been encouraged to recall not just Demodocus’ song of the love of Ares and Aphrodite but also the idealised Roman version of the myth, which was so frequently depicted on frescoes and mosaics in Roman villas in the first century. I then explore Xenophon's ‘interpretatio Romana’through the adaptations of the Ares and Aphrodite myth found in Plutarch and Lucian.

Liberation or emancipation? Counter-hegemony, performance and public space in Lebanon

2019 ◽  
Vol 23 (2) ◽  
pp. 264-281
Author(s):  
Hanan Toukan
Keyword(s):  
Public Space ◽  
Performance Art ◽  
Radical Democracy ◽  
Embodied Experience ◽  
The Public ◽  
Popular Protest ◽  
Arab Uprisings ◽  
Works Of Art ◽  
History Of ◽  
Set Up

This article is about the ways in which counter-hegemony is expressed in performance art dealing with notions of public space and the publics. The article examines two works of art from Lebanon: Rabih Mroué and Lina Saneh’s Photo-Romance (2009), produced and performed before the initial heady days of the Arab uprisings of 2011 unravelled, and the Dictaphone Group’s This Sea is Mine (2012), produced immediately after the onset of the uprisings. Each of the pieces interrogates public space and citizenship in Beirut in very different ways to express dissent and perform resistance. The former does so through a conceptual interrogation of public space in Beirut within an institutional set-up, and the insistence on the inability to ever represent the country’s contentious sectarian politics. The latter works through an embodied experience focusing on interaction with the public physically located outside of an art institutional set-up and literally along the city’s shoreline. By drawing on theories of aesthetics and their relationship to radical democracy in public space, the article highlights the different iterations of counter-hegemony that circulate in the work of these contemporary Arab artists to argue that, like the momentous Arab uprisings of 2011–12, resistant works of art may only be understood within a longer history of strife and popular protest in the region that have produced differing forms of dissent at various points in time.

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