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.

scholarly journals Performing Arts Festivals, Festivalization and Global Public Sphere: Locating DNT Performances of India and the Māori Performances of Aotearoa/New Zealand in Post-colonial Asia-Pacific

2021 ◽  
Author(s):  
◽  
Swatibahen Bhatt
Keyword(s):  
New Zealand ◽  
Public Sphere ◽  
Case Studies ◽  
Performing Arts ◽  
Indigenous Communities ◽  
Theoretical Models ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Arts Festivals ◽  
Arts Festival

<p>The project aims at theorising the idea of ‘festivalization’ of the local and global public sphere generated by performing arts festivals. The thesis challenges the concept of ‘festival’ in its popular framework of a celebratory event that is well-planned, culture specific and entertaining. I provide three different study models to accommodate my theoretical conceptualization and discuss the theory in detail in context of selected case studies.  The research also seeks to investigate the politics around (re)presentation of indigeneity through the medium of theatre within various socio-political contexts through case studies from several Indigenous theatre groups located in Oceania and beyond. The project offers detailed discussion of the first two theoretical models developed by me in context of case studies from India and Aotearoa/New Zealand followed by an exploration of the artistic festivals and their implications within and beyond Oceania in context of my third and final study model.  The theoretical models study theatre performances in the contexts of their representation, reception and efficacy within the festival generated space as well as the initiatives of Indigenous communities across the globe to create artistic festivals to celebrate their Indigeneity and authority over Indigenous arts. These two focuses together will locate the reception, representation and (re)production of Indigeneity through the medium of theatre within the festivalized space locally and globally. The third study model finally locates the festival itself within both local and global space to explore its political implications within the socio-political context.  I also aim to investigate the politics behind provisions of ‘space’ and ‘funds’ for the international display of indigeneity through international performing arts festivals; and juxtapose the tourist centred performing arts festival against the festival created by the Indigenous communities through funding generated though ‘donations’ made by local communities. The discussions on this segment is focused on the politics of (mis)presentation of indigeneity through hybrid performances alongside exotic traditional indigenous performances on international stages.  As an Indian citizen, crossing multiple boundaries between the so-called third world, indigenous world and metropolitan culture, I am aware about, respect and acknowledge the Indigenous intellectual and cultural property rights. Being a non-Indigenous researcher working with Indigenous communities, I followed the principles of ‘decolonising methodologies’ (Smith, 1999). I am aware and adhered to the matters including self-determination, cultural aspiration, socio-economic mediation, culturally preferred pedagogy, collective philosophy, extended family structures, respect to Treaty of Waitangi and growing respectful relationships as essential aspects of conducting this research. I have applied collectively chosen pedagogy and philosophy when I conducted the interviews within Indigenous communities and when wrote about them in my thesis.  Indigenous theatre within the context of performing arts festival is a rarely explored area of post-colonial studies which makes the present project significant in itself. The project will document original ideas directly from indigenous theatre practitioners and their experiences of participation in international performing arts festivals. And finally, I believe this study could contribute to a better understanding of the politics of international performing arts festivals in (re) producing indigeneity, distinct from their conventional reception as an exotic 'other' culture.</p>

scholarly journals CONGWAYNDUT: REFLEKSI FUNGSIONALISME STRUKTURAL SENI PERTUNJUKAN YANG MELINTAS BATAS

2021 ◽  
Vol 12 (2) ◽  
pp. 116-123
Author(s):  
Bondet Wrahatnala
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Social Institutions ◽  
Cultural Development ◽  
Point Of View ◽  
Theory Of Evolution ◽  
Traditional Art ◽  
Structural Functionalism ◽  
Functional Point ◽  
The Many

Abstract This paper positions itself as a study that portrays the Keroncong Wayang Gendut (Congwayndut) performance, as performance art that reflects structural functionalism. Because Congwayndut explicitly contained aspects of structural functionalism. In this paper, Congwayndut is positioned as an organism that has a structure and functions socially and culturally. Congwayndut is one of the many performing arts groups capable of interpreting traditional art in contemporary, meaning that it responds to the millennial generation with the construction of traditional performances, namely shadow puppet art. . Congwayndut has an important role in the development process or as a performance art model that accommodates other art disciplines, including music, wayang, theater, script, visuals, dramaturgy, which are combined as a typical Indonesian performance art prototype. Therefore, the structural-functional point of view emerged, as a step to explain to the public about the cultural phenomena experienced by Congwayndut. Structural functionalism was born as a reaction against the theory of evolution. If evolutionary studies aim to establish the stages of human cultural development, then structural-functionalism studies aim to build a social system, or social structure, through the study of the functioning patterns of relations between individuals, between groups. -groups, or between social institutions in a society, at a certain period of time. Keywords: Congwayndut, Cross-Border Performing Arts, Structural Functionalism  Abstrak Tulisan ini, memposisikan diri sebagai kajian yang memotret pertunjukan Keroncong Wayang Gendut (Congwayndut), sebagai seni pertunjukan yang merefelksikan fungsionalisme struktural. Karena di dalam Congwayndut secara eksplisit terkandung aspek fungsionalisme struktural. Congwayndut di dalam tulisan ini diposisikan sebagai organisme yang memiliki struktur, dan memiliki fungsi secara sosial budaya.Congwayndut adalah satu satu dari sekian banyak kelompok seni pertunjukan, yang mampu menafsir seni tradisi secara kekinian, artinya merespon generasi milenial dengan konstruksi pertunjukan tradisi yakni kesenian wayang kulit. Congwayndut memiliki peran penting dalam proses pengembangan atau sebagi model seni pertunjukan yang mengakomodir disiplin seni yang lain, ada musik, wayang, teater, naskah, rupa, dramaturgi, yang dijadikan satu sebagai purwarupa seni pertunjukan yang khas Indonesia. Oleh sebab itu lah sudut pandang struktural fungsional muncul, sebagai langkah untuk menjelaskan kepada publik, tentang gejala fenomena budaya yang dialami oleh Congwayndut. Fungsionalisme struktural lahir sebagai reaksi terhadap teori evolusi. Jika tujuan dari kajian-kajian evolusi adalah untuk membangun tingkat-tingkat perkembangan budaya manusia, maka tujuan dari kajian-kajian fungsionalisme struktural adalah untuk membangun suatu sistem sosial, atau struktur sosial, melalui pengajian terhadap pola hubungan yang berfungsi antara individu-individu, antara kelompok-kelompok, atau antara institusi-institusi sosial di dalam suatu masyarakat, pada suatu kurun masa tertentu. Kata Kunci : Congwayndut, Seni Pertunjukan Lintas Batas, Fungsionalisme Struktural

scholarly journals Performing Arts Festivals, Festivalization and Global Public Sphere: Locating DNT Performances of India and the Māori Performances of Aotearoa/New Zealand in Post-colonial Asia-Pacific

2021 ◽  
Author(s):  
◽  
Swatibahen Bhatt
Keyword(s):  
New Zealand ◽  
Public Sphere ◽  
Case Studies ◽  
Performing Arts ◽  
Indigenous Communities ◽  
Theoretical Models ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Arts Festivals ◽  
Arts Festival

<p>The project aims at theorising the idea of ‘festivalization’ of the local and global public sphere generated by performing arts festivals. The thesis challenges the concept of ‘festival’ in its popular framework of a celebratory event that is well-planned, culture specific and entertaining. I provide three different study models to accommodate my theoretical conceptualization and discuss the theory in detail in context of selected case studies.  The research also seeks to investigate the politics around (re)presentation of indigeneity through the medium of theatre within various socio-political contexts through case studies from several Indigenous theatre groups located in Oceania and beyond. The project offers detailed discussion of the first two theoretical models developed by me in context of case studies from India and Aotearoa/New Zealand followed by an exploration of the artistic festivals and their implications within and beyond Oceania in context of my third and final study model.  The theoretical models study theatre performances in the contexts of their representation, reception and efficacy within the festival generated space as well as the initiatives of Indigenous communities across the globe to create artistic festivals to celebrate their Indigeneity and authority over Indigenous arts. These two focuses together will locate the reception, representation and (re)production of Indigeneity through the medium of theatre within the festivalized space locally and globally. The third study model finally locates the festival itself within both local and global space to explore its political implications within the socio-political context.  I also aim to investigate the politics behind provisions of ‘space’ and ‘funds’ for the international display of indigeneity through international performing arts festivals; and juxtapose the tourist centred performing arts festival against the festival created by the Indigenous communities through funding generated though ‘donations’ made by local communities. The discussions on this segment is focused on the politics of (mis)presentation of indigeneity through hybrid performances alongside exotic traditional indigenous performances on international stages.  As an Indian citizen, crossing multiple boundaries between the so-called third world, indigenous world and metropolitan culture, I am aware about, respect and acknowledge the Indigenous intellectual and cultural property rights. Being a non-Indigenous researcher working with Indigenous communities, I followed the principles of ‘decolonising methodologies’ (Smith, 1999). I am aware and adhered to the matters including self-determination, cultural aspiration, socio-economic mediation, culturally preferred pedagogy, collective philosophy, extended family structures, respect to Treaty of Waitangi and growing respectful relationships as essential aspects of conducting this research. I have applied collectively chosen pedagogy and philosophy when I conducted the interviews within Indigenous communities and when wrote about them in my thesis.  Indigenous theatre within the context of performing arts festival is a rarely explored area of post-colonial studies which makes the present project significant in itself. The project will document original ideas directly from indigenous theatre practitioners and their experiences of participation in international performing arts festivals. And finally, I believe this study could contribute to a better understanding of the politics of international performing arts festivals in (re) producing indigeneity, distinct from their conventional reception as an exotic 'other' culture.</p>

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

A Study on the Transition of Yedang International Performing Arts Festival

2021 ◽  
Vol 21 ◽  
pp. 229-244
Author(s):  
Won-Soub Pyo ◽  
◽  
Mi-Kyong Yu
Keyword(s):  
Performing Arts ◽  
Arts Festival

scholarly journals KEBERADAAN RAPA’I DABO’IH GRUP BUNGONG SITANGKEE SEBAGAI REPRODUKSI BUDAYA DI PERKAMPUNGAN BEKAS EVAKUAS CARE KORBAN PASCA TSUNAMI ACEH

2019 ◽  
Vol 8 (2) ◽  
pp. 455
Author(s):  
Beni Andika ◽  
Fani Dila Sari
Keyword(s):  
Data Collection ◽  
Cultural Identity ◽  
Performance Art ◽  
Performing Arts ◽  
Qualitative Method ◽  
Cultural Reproduction ◽  
Government Organization ◽  
Original Culture ◽  
City District

AbstrakKreativitas grup Bungong Sitangkee mempertunjukan Rapa’i Daboi’h merupakan upaya reproduksi budaya di perkampungan bekas pengungsian NGO (Non Goverment Organization) CARE di perkampungan Teurebeuh Kecamatan Kota Jantho Kabupaten Aceh Besar. Rapa’i Dabo’ih adalah seni pertunjukan atraksi yang menakjubkan. Seni pertunjukan ini digemari karena bentuk sajian pertunjukan Rapa’i Dabo’ih yang atraktif dengan debus sebagai puncak dari permainan yang disertai instrumen Rapa’i dengan lantunan syair-syair berisikan syiar agama Islam. Reproduksi budaya adalah proses mempertahankan identitas budaya yang dilakukan oleh masyarakat korban pascatsunami yang sudah tinggal menetap di area bekas pengungsian sebagai  pelestarian dan eksistensi kebudayaan asalnya. Tujuan penelitian ini adalah mengungkap keberadaan Rapa’i Daboih sebagai  reproduksi budaya yang terjadi di perkampungan CARE bekas pengungsian korban pascatsunami di Aceh 2004 lalu. Identifikasi reproduksi budaya ditinjau dari pemkanaan ulang seni pertunjukan Rapa’i Dabo’ih oleh Grup Bungong Sitangkee di Kecamatan Kota Jantho Kabupaten Aceh Besar. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati pertunjukan dan wawancara. Hasil penelitian ini mengungkapkan bagaimana kebradaan reproduksi budaya dengan studi kasus Rapa’i Dabo’ih.Kata Kunci: rapa’i dabo’ih, reproduksi, budaya.AbstractThe Bungong Sitangkee group's creativity demonstrates Rapa 'i Daboi'h is an effort to reproduce culture in the CARE (Non Government Organization) in Teurebeuh village, JAntho City District, Aceh Besar District. Rapa’i Dabo’ih is an amazing performing arts performance. This performance art is favored because of the attractive form of the Rapa'i Dabo'ih show with debus as the culmination of the game accompanied by the Rapa'i instrument with the recitation of verses containing Islamic symbols. Cultural reproduction is the process of maintaining cultural identity carried out by post-tsunami victims who have settled in ex-refugee areas as a preservation and existence of their original culture. The purpose of this study is to uncover the existence of Rapa'i Daboih as a cultural reproduction that occurred in the CARE village of ex-refugee victims after the tsunami in Aceh in 2004. Identification of cultural reproduction is reviewed from the reopening of the Rapa 'i Dabo'ih performance by the Bungong Sitangkee Group in Kota Jantho District, Aceh Besar Regency. The method used is a qualitative method, data collection is done through observation and observing performances and interviews. The results of this study reveal how the existence of cultural reproduction with the Rapa'i Dabo'ih case study.  Keywords: rapa'i dabo’ih, reproduction, culture.  

The Human-Machine: Possibilities for Expression in Robotic Dance

2018 ◽  
Author(s):  
Hannah M. Brown
Keyword(s):  
Performing Arts ◽  
Human Performance ◽  
Installation Art ◽  
Scientific Field ◽  
Point Of View ◽  
Human Beings ◽  
The Arts ◽  
Art Works ◽  
Social Applications ◽  
Insight Into

Robots have been a source of both intrigue and anxiety for artists and a lively apparatus for study by scientific researchers for several decades. Though many people view robots as being cold, unemotional, and frightening, there is a growing field in robotics specifically focused on social applications including therapy, elder care, and the arts. Robots have been utilized extensively in installation art works and sculpture, but the performing arts have been somewhat more resistant to them. Machines which have all the technical abilities to perform tasks, such as playing an instrument or executing choreography without fatiguing or making errors, can be threatening to human performers who have honed these abilities and rely upon them for creative expression and their livelihoods. By synthesizing studies in the scientific field of social robotics, philosophical insight into technology and the arts, and case studies of robots used in dance and other art forms, I seek to provide an alternative point of view of robotic integration into performance. Robots do not need to act only as avatars of human beings, they can be effectively utilized in dance to expand upon the capabilities of the human body, act as automatic ‘puppets’ for choreography, integrate into human performance, and be ‘autonomous’ performers in their own right. Robot dancers do not inherently replace or devalue human artists; instead, they can provide complex insight into the understanding of human bodies, emotions, and technology.

HIDDEN POTENTIAL OF CHILDREN’S ART EXHIBITIONS AND THEIR IMPACT ON THE INCREASE IN TEACHER’S SELF-EFFICACY

2021 ◽  
Vol 2 ◽  
pp. 795-804
Author(s):  
Katerina Stepankova
Keyword(s):  
Self Efficacy ◽  
Well Being ◽  
Kindergarten Teachers ◽  
Highly Qualified Teachers ◽  
Highly Qualified ◽  
Art Exhibitions ◽  
Children's Art ◽  
Art Works ◽  
The Impact

A key element contributing to the quality of teaching in all educational areas is teacher’s belief in their professional competencies. The paper describes the impact of high or low teacher’s self-efficacy beliefs on the quality of their teaching, as well as the ways to promote self-efficacy. We see a gap in knowledge regarding the issue of whether kindergarten teachers are able to recognise the sources of self-efficacy offered by their practice. The aim of the research was to find out whether teachers can use the potential of children's art exhibitions to strengthen their teacher’s self-efficacy, not only to present children's art works. A qualitative approach has been applied to the research that involved 30 kindergarten teachers awarded for an excellent level of art education. The research has shown that even the most highly qualified teachers benefit from the exhibition in terms of being professionally inspired and motivated. These are mainly self-efficacy supports in the category of vicarious experience and social persuasion. The impact of perceived personal well-being is also very significant. These findings highlight the importance of self-evident activities, such as the presentation and exhibition of children's art works. They can thus serve as a guide in the conception of exhibitions and conscious support for teacher’s self-efficacy.  

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