scholarly journals Sinematografi Wayang: Persoalan Transmedia Seni Pertunjukan Tradisional dalam Program Tayangan Televisi

2019 ◽  
Vol 15 (2) ◽  
pp. 137-152
Author(s):  
Arif Eko Suprihono
Keyword(s):  
Cultural Change ◽  
Performing Arts ◽  
Research Work ◽  
Research Process ◽  
Television Industry ◽  
Traditional Art ◽  
The Arts ◽  
The World ◽  
Conflicting Interests ◽  
Traditional Arts

ABSTRAKMerujuk pada proses penelitian delapan tahun terakhir, dan melihat hasil kerja Penelitian Hibah Bersaing, Penelitian Produk Terapan, terungkap kompleksitas pengelolaan kegiatan seni pertunjukan tradisional di masyarakat. Berkait erat dengan budaya industri televisi, terbentang peluang sekaligus ancaman serius bagi eksistensi seni tradisi. Hasil  kerja penelitian dalam rencana makro, disarankan urgensi tindakan konstruktif dan sistematis kepada para pekerja seni untuk mengantisipasi benturan kepentingan industri pertelevisian Indonesia dengan pengelolaan seni pertunjukan tradisional. Persoalan cinematography seni  tradisional  membahas proses dialektika kreatif mengarah pada pemikiran, tindakan, dan produk budaya dengan menyadari kerangka perubahan dan penyesuaian kultural. Diyakini, bahwa kesenian tradisi memiliki nilai luhur, kearifan lokal, identitas karakter masyarakat, menunjuk pada kebhinnekaan dan keunggulan, kekhasan suku bangsa Indonesia, berbeda dibandingkan dengan bangsa-bangsa lain di dunia. Referring to the research process of the last eight years, and looking at the work of the Competitive Grant Research, Applied Product Research, revealed the complexity of managing traditional performing arts activities in the community. Closely related to the culture of the television industry, opportunities and serious threats lie for the existence of traditional arts. The results of research work, suggest the urgency of constructive and systematic action to the arts workers to anticipate the conflicting interests of the Indonesian television with the management of traditional performing arts. The issue of traditional art cinematography refers to the process of creative dialectics leading to thoughts, actions, and cultural products by being aware of cultural change and adjustment frameworks. It is believed, that traditional arts have noble values, local wisdom, the identity of the character of the community, pointing to diversity and excellence, the uniqueness of Indonesian from other nations in the world.

Literature and the Arts as a Basis for Curriculum in the Work of Maxine Greene

2021 ◽  
Author(s):  
Janet L. Miller
Keyword(s):  
Literary Criticism ◽  
Lived Experience ◽  
Performing Arts ◽  
Lived Experiences ◽  
Teacher Educators ◽  
Matter Content ◽  
The Arts ◽  
The World ◽  
Imaginative Literature ◽  
Maxine Greene

Maxine Greene, internationally renowned educator, never regarded her work as situated within the field of curriculum studies per se. Rather, she consistently spoke of herself as an existential phenomenological philosopher of education working across multidisciplinary perspectives. Simultaneously, however, Greene persistently and passionately argued for all conceptions and enactments of curriculum as necessarily engaging with literature and the arts. She regarded these as vital in addressing the complexities of “curriculum” conceptualized as lived experience. Specifically, Greene regarded the arts and imaginative literature as able to enliven curriculum as lived experience, as aspects of persons’ expansive and inclusive learnings. Such learnings, for Greene, included the taking of necessary actions toward the creating of just and humane living and learning contexts for all. In particular, Greene supported her contentions via her theorizing of “social imagination” and its accompanying requisite, “wide-awakeness.” Specifically, Greene refused curriculum conceived as totally “external” to persons who daily attempt to make sense of their life worlds. In rejecting any notion of curriculum as predetermined, decontextualized subject-matter content that could be simply and easily delivered by teachers and ingested by students, she consistently threaded examples from imaginative literature as well as from all manner of the visual and performing arts throughout her voluminous scholarship. She did so in support of her pleas for versions of curriculum that involve conscious acts of choosing to work in order not only to grasp “what is,” but also to envision persons, situations, and contexts as if they could be otherwise. Greene thus unfailingly contended that literature and the arts offer multiplicities of perspectives and contexts that could invite and even move individuals to engage in these active interpretations and constructions of meanings. Greene firmly believed that these interpretations and constructions not only involve persons’ lived experiences, but also can serve to prompt questions and the taking of actions to rectify contexts, circumstances, and conditions of those whose lived lives are constrained, muted, debased, or refused. In support of such contentions, Greene pointed out that persons’ necessarily dynamic engagements with interpreting works of art involved constant questionings. Such interrogations, she argued, could enable breaking with habitual assumptions and biases that dull willingness to imagine differently, to look at the world and its deleterious circumstances as able to be enacted otherwise. Greene’s ultimate rationale for such commitments hinged on her conviction that literature and the arts can serve to not only represent what “is” but also what “might be.” As such, then, literature and the arts as lived experiences of curriculum, writ large, too can impel desires to take action to repair myriad insufficiencies and injustices that saturate too many persons’ daily lives. To augment those chosen positionings, Greene drew extensively from both her personal and academic background and interests in philosophy, history, the arts, literature, and literary criticism. Indeed, Greene’s overarching challenge to educators, throughout her prolonged and eminent career, was to think of curriculum as requiring that persons “do philosophy,” to think philosophically about what they are doing. Greene’s challenges to “do philosophy” in ways that acknowledge contingencies, complexities, and differences—especially as these multiplicities are proliferated via sustained participation with myriad versions of literature and the arts—have influenced generations of educators, students, teaching artists, curriculum theorists, teacher educators, and artists around the world.

scholarly journals Getting our act together: a qualitative evaluation of the impact of a play on issues relating to women, sex work and substance use

2021 ◽  
Vol 6 ◽  
pp. 234
Author(s):  
Anne Campbell ◽  
Jo Egan ◽  
Paul Murphy ◽  
Carolyn Blair
Keyword(s):  
Substance Use ◽  
Sex Work ◽  
Performing Arts ◽  
Social Issues ◽  
Qualitative Evaluation ◽  
Research Process ◽  
Service Users ◽  
Policy And Practice ◽  
The Arts ◽  
The Impact

Background: The arts have always sought to explore significant social issues through literature, performing arts and visual art. However, more recently there has been an increase in the use of theatre as a means of gauging audiences’ perception and understanding of key social issues. The primary aim of the current evaluation was to seek the views of audience members, service users of addiction services and expert commentators as regards their perception of a number of key issues related to the content of a play entitled Madame Geneva. Methods: The evaluation used an exploratory qualitative design incorporating a dualistic approach to the research process: including post show discussion with panellists and members of the audience and a focus group comprising service users who had also viewed a live performance of the play. Results: The topics elucidated by the performance of the play included women and sex work, women and substance use, and impact on policy and practice. The discussion of the issues raised reiterated that women still experience high levels of oppression and discrimination in areas of substance use, sex work and welfare ‘reform’ which are often couched within male dominated political discourses and structures in contemporary society. Conclusions: The arts and specifically dramaturgical representations of substance use and related issues is an effective method of initiating important pragmatic and policy discussion of issues, which affect women

scholarly journals REPRESENTASI KOMUNIKASI BUDAYA “NGARAK PENGANTIN BUAYA PUTIH” DALAM PERUBAHAN SOSIAL MASYARAKAT PADARINCANG

2017 ◽  
Vol 10 (2) ◽  
pp. 22
Author(s):  
Rahmi Mulyasih ◽  
Ahmad Sururi
Keyword(s):  
Social Change ◽  
Data Collection ◽  
Cultural Communication ◽  
Communication Model ◽  
Traditional Art ◽  
Community Activities ◽  
The Arts ◽  
Traditional Arts ◽  
The Impact ◽  
Made In

As one part of local wisdom, traditional art of Ngarak Pengantin Buaya Putih in Padarincang Village, Serang Regency experienced various dimensions of change in facing social change. The tendency is that people are slowly starting to display the outside culture in the wedding. This indicates a social change in Padarincang society, this social change is characterized by the reluctance of some younger generation to preserve the arts of " Ngarak Pengantin Buaya Putih ". The purpose of this study is to find out how the representation of cultural communication of White Buaya bride in the changes of social change at this time, the identification of efforts made in maintaining the traditional arts of white crocodile bride, the obstacles faced and the model of cultural communication in social change. The method used in this study is phenomenology with data collection techniques using interviews, observation and documentation. The results of the study and discussion show that the interaction and transactional communication model between Padarincang community and the outside community has resulted in the impact of social change which resulted in the local cultural stragnation. Although Padarincang society still strives to maintain the existence of art of " Ngarak Pengantin Buaya Putih " in the middle of social change and communication model that occurs in a responsive and transactional interaction. Various efforts of the stakeholders have been done in maintaining the existence of art of white crocodiles bride like the presence of sanggar, socialization and appreciation of local art displays in various community activities.

scholarly journals பாரம்பரியக் கூத்தில் பறையறைவோன் பாத்திரமும் அதன் மீளுருவாக்கமும்

2021 ◽  
Vol 5 (3) ◽  
pp. 13-23
Author(s):  
T Gowrieeshwaran
Keyword(s):  
Gender Discrimination ◽  
Performing Arts ◽  
Research Work ◽  
Great Influence ◽  
Timely Manner ◽  
Art Form ◽  
The Subject ◽  
And Gender ◽  
Traditional Arts ◽  
Caste Structure

The caste structure, which is deeply rooted in the culture of Tamil societies and its inequitable mentality, has a great influence on the traditional forms of performing arts carried on by Tamils.We often see caste inequality and gender discrimination reinforced in traditional chants that are mostly epic and mythologically centered. As a result, traditional performances have become increasingly predictable. The vast majority of artists who seek to speak of the progressive issues of the time are drawn to express their ideas not in the traditional arts but in the modern art form. In this context, the participatory research work on the koothu renaissance carried out at the Eelathu Kootharangu in the years 2002-2003 is proposed as a practical study to recreate the subject of traditional performing arts forms with the participation of the communities that follow them in a timely manner. In this way, this article examines the process by which the Valluvar community, which has been marginalized as a marginalized caste in Tamil culture, and the rhetorical character it represents, have recreated that character in a contemporary manner, questioning the structure of Eelam’s Vadamodik koothu.

scholarly journals Community identity politics of Brijo Lor society, Klaten in Ki Ageng Glego myth through Reog performance

2017 ◽  
Vol 17 (2) ◽  
pp. 144
Author(s):  
Sutiyono Sutiyono ◽  
Bambang Suharjana
Keyword(s):  
Identity Politics ◽  
Qualitative Data ◽  
Community Identity ◽  
Research Approach ◽  
Traditional Art ◽  
The World ◽  
Collection Data ◽  
Research Questions ◽  
Traditional Arts ◽  
The Relationship

<p>This research is aimed to describe community identity politics of Brijo Lor society, Klaten in Ki Ageng Glego myth through Reog performance. The research questions are how is the community identity politics in Brijo Lor society, and what is the relationship between the identity politics with Ki Ageng Glego myth through Reog performance? The research approach used is qualitative. Data collecting technique was obtained by these ways: observation, documentation, literature, and interview. Data analysis was conducted by: data collection, data reduction, data diagnose, and conclusion. To ensure the validity of the data, the researcher conducted triangulation. The result of this research proposed that community identity politics in Brijo Lor society in preserveing Reog is a strategy to maintain traditional art for many other traditional arts are extinct. Reog performance conducted regularly is a mediationof the society who ngalap berkah (beg for blessing) to Ki Ageng Glego spirit. When Reog is performed, Ki Ageng Glego spirit descends upon the world. Many people come to watch Reog because they want to get blessing for the descend of Ki Ageng Glego spirit. Ki Ageng Glego myth became an identity political way of Brijo Lor society through Reog performance.</p>

scholarly journals Introduction: Community and Creative Research. Developing Participatory Methodologies

2018 ◽  
Vol 5 (1) ◽  
pp. 1-6
Author(s):  
Lorena Sancho Querol ◽  
Cláudia Pato Carvalho
Keyword(s):  
Action Research ◽  
Research Work ◽  
Research Network ◽  
Cultural Participation ◽  
Cultural Contexts ◽  
Democratic Practice ◽  
The Arts ◽  
Cultural Research ◽  
Creative Research ◽  
The World

In September 2016, we organized a roundtable entitled “Community engaged cultural research: an emerging agenda of practice” at the 9th Midterm Conference of the ESA Research Network Sociology of the Arts in Porto, Portugal. The authors sharing their research during that session challenged us to go further and publish our experiences with society-friendly research in a variety of cultural contexts, practices, backgrounds and beliefs. By choosing the theme of “community and creative research”, this thematic issue of Conjunctions has gathered experiences from around the world (Australia, Brazil, Denmark, Finland, Portugal, Switzerland, Argentina and Cyprus) on different approaches to democratic practice using the lens of cultural participation. It feeds on the intersection of action research work performed by academics, activists, artist, theorists and citizens, who study and work within different sectors of our societies through participatory methodologies.

Improvisation and new frontiers in creative practice

2020 ◽  
pp. 1-24
Author(s):  
Raymond A. R. MacDonald ◽  
Graeme B. Wilson
Keyword(s):  
Everyday Life ◽  
Cultural Change ◽  
Performing Arts ◽  
Music Industry ◽  
Digital Technologies ◽  
Spontaneous Generation ◽  
Creative Practice ◽  
The Arts ◽  
Improvised Music ◽  
The Media

This chapter draws together recent advances across musical fields to frame improvising as an innovative and vibrant way of doing creative practice at a professional level and in everyday life. It presents examples of cross-disciplinary improvised work and festivals at the cutting edge of the performing arts. Improvised music is discussed in relation to broader social and cultural change and transformations within the media and music industry. The possibilities of new digital technologies for expanding improvising are reviewed and help set the context for the proceeding chapters. It shows how group improvisation involves the spontaneous generation of novel music, dance, or art by two or more people. It describes the groundswell of interest across the arts in improvisation with artists, festivals, and venues dedicated to pushing this creative approach beyond genre boundaries.

Development of the creative potential of students studying in the field of training "Musical Variety Art"

2021 ◽  
Author(s):  
Dariya Aleksandrovna Streltsova
Keyword(s):  
Education System ◽  
Performing Arts ◽  
Professional Training ◽  
Educational Institution ◽  
Professional School ◽  
Creative Potential ◽  
Educational Standard ◽  
The Arts ◽  
The World ◽  
Performing Art

This article is devoted to musical pedagogy in the broadest sense of this concept. The teaching of the performing arts is very specific. In our country, there is a system of training musicians, which, as a rule, consists of the initial, secondary professional and higher stages of ascent to mastery. Such a professional school has evolved over several centuries. It received its consolidation in practice in the 19th and 20th centuries. The performing art of Russian musicians and singers is recognized all over the world. The arts education system continues to improve. The author of this article offers her analysis of the professional training of students at the Department of Art at the higher educational institution. The materials of the article will be of interest to our colleagues, especially in the part related to the comprehension of the educational standard in the musical variety art.

Behind the Scenes

2017 ◽  
Vol 6 (2) ◽  
pp. 80-90
Author(s):  
Adilla Anggraeni ◽  
Adilla Amelia
Keyword(s):  
Collection Method ◽  
Traditional Art ◽  
The Arts ◽  
Arts Marketing ◽  
Art Consumption ◽  
Traditional Arts ◽  
Performing Art ◽  
Service Experiences ◽  
Art Elements ◽  
Depth Interviews

Delivering a satisfactory experience to the customers is an inseparable part of a service organization. This article investigates how two different groups of wayang orang (human wayang), a form of traditional art in Indonesia deliver service experiences to the audiences. Qualitative methods consisted of in-depth interviews and open-ended survey were utilized as the data collection method. The findings suggest that service experiences were delivered through the combination of various art elements in the performance, and some of the elements are considered to be more important than the others. Several barriers have also been identified as the barriers that inhibit consumption of this traditional art. Bharata and Swargaloka performing art groups were utilized as the context of this research. This article contributes to limited studies on traditional arts within the arts marketing domain, especially with regards to art experience delivery and art consumption.

scholarly journals Engaging creative communities in an industrial city setting: A question of enclosure

2012 ◽  
Vol 5 ◽  
Author(s):  
Chris Gibson ◽  
Ben Gallan ◽  
Andrew Warren
Keyword(s):  
Performing Arts ◽  
City Planning ◽  
Research Process ◽  
Theoretical Concept ◽  
Academic Community ◽  
Cultural Industries ◽  
Research Strategies ◽  
Research Project ◽  
Industrial City ◽  
The Arts

This article discusses the politics and practicalities of research process in a major government-funded, academic/community collaborative research project on cultural assets in Wollongong, a regional industrial city 85 km south of Sydney, Australia. It does so through the theoretical concept of ‘enclosure’, which helps illuminate how policy discourses are framed, and reveals capacities to challenge and reframe policy imaginations through research. The setting is pivotal: Wollongong has a legacy of steel and coal industries that dominates contemporary discourses about the city’s future prosperity. Cultural industries such as music, film, art, circus and theatre have at various times been either marginalised as insignificant to economic futures or, when they have been noticed, have been worked into city planning in very particular ways – as cultural pastimes, as prospects for economic diversification or as means to renew socioeconomically disadvantaged neighbourhoods. Such visions have rested on notions of what constitutes ‘culture’ and ‘creativity’, with a focus on the performing arts, while other forms of vernacular creativity have remained largely unnoticed. Our research project has sought to respond to this, identifying and engaging with people involved in forms of vernacular creativity outside the arts orthodoxy among Wollongong’s blue-collar and youth populations (including surfboard shapers, Aboriginal rappers, custom car designers and alternative music subcultures). Our hope is that such engagement can better inform future planning for cultural industries in Wollongong. However, engaging with such creative communities is complicated, and in different times and places research strategies confronted apathy, suspicion, absence of representative organisation and ‘consultation fatigue’. We discuss our efforts at engagement with creative communities beyond the arts orthodoxy, and appraise some of the prospects and difficulties of the research methodologies adopted. Keywords: Cultural industries, engagement, enclosure, community, vernacular creativity, Wollongong, Australia

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