scholarly journals THE MOTOR SKILLS FOR PERFORMING MANIPURI PUNG CHOLOM

2021 ◽  
Vol 2 (2) ◽  
pp. 134-143
Author(s):  
Leitanthem Santosh Singh
Keyword(s):  
Motor Skills ◽  
Performing Arts ◽  
Qualitative Method ◽  
Musical Instrument ◽  
The Body ◽  
Unique Type ◽  
Art Form ◽  
Tools And Techniques ◽  
Performing Art ◽  
Conch Shell

Manipuri Nata-Sankirtana is a unique type of performing art form where Manipuri male musicians sing Sankirtana using musical instruments such as Pung (Manipuri percussion musical instrument) by Pungyeiba (Pung player), Kartal (Manipuri cymbal) by Eshei-sakpa (singers), and Moibung (Conch Shell) by Moibungkhongba (conch blower) by following its prescribed sequence. The percussion musical instrument, Pung is the soul of such performance. It is necessary to know how Pung Cholom (the dexterous and vigorous movements of the body from head to toe in tune with the beats of playing Pung simultaneously in a creative manner by the Pungyeiba) is done and what are the motor skills involved in performing it. The discussion has the following objectives: Identifying the different parts of the body involved in doing Pung Cholom, knowing the basic foundations for playing Pung, and understanding the basic motor skills for performing Pung Cholom. It uses descriptive qualitative method. This utilizes the tools and techniques of interview and observation. This will bring out the different aspects of Manipuri Pung Cholom helping in the learning area of psychomotor skill, giving global benefits in performing arts.

scholarly journals The Importance of Body Language in Costume Shows

2019 ◽  
Vol 3 (3) ◽  
pp. 220
Author(s):  
Jingran Qi
Keyword(s):  
Performing Arts ◽  
Body Language ◽  
Emotion Expression ◽  
The Body ◽  
The Core ◽  
Art Form ◽  
The Times ◽  
The Right ◽  
The Way

<p align="justify">With the development of the times, costume show has become a common art form. As the core of the fashion show, the fashion model not only shows the characteristics of the clothing itself, but also represents the fashion trend. There are also many categories of clothing models, depending on the style of clothing. As an art show, clothing models need to present the intrinsic qualities and perfect external image. Beautiful appearance is not enough just for models. If models don't have the right body language to show the unique temperament vividly, the clothing models will not have new attainments in clothing for the performing arts. In view of this situation, this paper fully discusses the necessity of the body language of the fashion model in the fashion show and the way of personalized emotion expression.</p>

scholarly journals Optimizing Curatorial Rules in Performing Arts Festival: Strategy to Sustain Cultural Values in Disruptive Era

2020 ◽  
Author(s):  
Irawati Kusumorasri ◽  
Nanik Sri Prihartini ◽  
Bambang Sunarto
Keyword(s):  
Cultural Values ◽  
Field Observation ◽  
Performing Arts ◽  
Qualitative Method ◽  
Cultural Value ◽  
Cultural Exchanges ◽  
Arts Festival ◽  
The Government ◽  
Performing Art

Indonesia as a multicultural country has a rich range of performing arts. These assets encourage artists and the government to conduct festivals, exhibitions, and cultural exchanges. However, the programs are not always managed optimally, particularly with regards to curatorial management. This paper presents a study aiming at: (1) identifying the roles of curator in conducting performing art festivals to sustain the culture; (2) investigating challenges faced by the curators in doing their tasks. A descriptive qualitative method in the form of a case study was employed using three instruments, namely field observation, interview, and documentation. The collected data were analyzed to define the principles of curatorial management and its role in conducting performing art festivals. It was revealed during the interviews that there were no standard operational procedures (SOP) yet in doing curatorial tasks, so the curators identified and undertook tasks under their own initiative. Some curators stated that their lack of curatorial knowledge made them lack the confidence to invite the well-known artists. As a result, they tended to invite the artists based on pre-existing familiarity. A further challenge was the lack of official authority which hampered the execution of curat. Keywords: Cultural value sustainability, Curatorial roles, Disruptive era, Performing Arts Festival

scholarly journals Tubuh Tari Indonesia Sasikirana Dance Camp 2015-2016

Panggung ◽  
2018 ◽  
Vol 28 (2) ◽  
Author(s):  
Eko Supriyanto
Keyword(s):  
Creative Process ◽  
Performing Arts ◽  
Historical Perspective ◽  
Comprehensive Evaluation ◽  
The Body ◽  
The Arts ◽  
Art Form ◽  
The Way

ABSTRACTSardono W. Kusumo, an Indonesian dance master and choreographer once stated that the way to understand dance should start with the study of embodiment before moving to the study of dance in its performative art form. A dancer should be able to process his/her dance by recognizing the complexity of the body and the nerves system and muscles through a creative process, resulting a confident work of performing arts. Through a historical perspective and based on the theory of embodiment, this article tries to convince that dance needs to stand as a repository of cultural memories and therefore is able to represent the habitus of Indonesian dancers. A comprehensive evaluation of the development of Indonesian Dance Festival (IDF) and Sasikirana Dance Camp (SDC) is used as real evidences of how this form of the arts must put forward physical approaches first before creating a reasonable discourse to the acts.Keywords: Dance Camp, choreography lab, embodiment  ABSTRAK Sardono W. Kusumo, maestro dan penata tari Indonesia mengungkapkan bahwa untuk memahami tari harus dimulai dengan mempelajari ketubuhannya sebelum bergerak pada studi tentang tari dalam aspek performatif pertunjukannya. Seorang penari harus mampu memahami dan mendalami kompleksitas tubuh bersamaan dengan system syaraf dan otot tubuhnya sebagai proses kreatif untuk kepercayaan tubuhnya dalam pertunjukan. Melalui perspektif sejarah dan bersumber pada teori ketubuhan, tulisan ini bertujuan menyakinkan para penari, bahwa tubuh tidak hanya sebagai tempat agensi kultur masa lalu, sehingga lebih meyakinkan bahwa tubuh tari Indonesia berakar dari habitatnya. Evaluasi komprehensif atas kegiatan Indonesian Dance Festival (IDF) berserta Sasi Kirana Dance Camp (SDC),dijadikan sebagai pembuktian tentang pentingnya pendekatan fisikal untuk ketubuhan penari sebelum merujuk pada pendekatan bidang seni lainnya.Kata kunci: Dance Camp, lab koreografi, tubuh tari 

scholarly journals Kajian Organologi Pembuatan Alat Musik Tradisi Saluang Darek Berbasis Teknologi Tradisional

Panggung ◽  
2019 ◽  
Vol 29 (2) ◽  
Author(s):  
Ediwar Ediwar ◽  
Rosta Minawati ◽  
Febri Yulika ◽  
Hanefi Hanefi
Keyword(s):  
Performing Arts ◽  
Qualitative Method ◽  
Traditional Music ◽  
Musical Instrument ◽  
Study Data ◽  
Musical Culture ◽  
Traditional Technology ◽  
Wind Instrument ◽  
Library Research

ABSTRACTThe music of Saluang Darek wind instrument is Minangkabau traditional music that uses the musical instrument of aerophone classification (air as the main source of vibration) and the kind of end-blown without-block flutes musical instrument, and this musical instrument is used to accompany Minangkabau songs or dendangs. Saluang Darek is made of bamboo. The best bamboos for making Saluang Darek are (1) Talang bamboo (Schizostachyum brachycladum kurz), (2) Buluah Kasok bamboo (Gingantocholoa apus), (3) Tamiang bamboo (Schizostachyum zollingeri steud), and (4) Cimanak bamboo (Schizostachyum longispiculatum). The production of Saluang Darek musical instrument uses the traditional technology by still maintaining the quality of instrument that's ready to be used for the performing arts particularly in accompanying dendang. The method used in this research was the qualitative method by using the approach of organology study. Data were collected through the library research, observation, interview, and documentation. This study found the importance of the musical instrument study in order to give information for the musicologists' and ethnomusicologists' works, at once conserve the musical culture in West Sumatera.Keywords: Saluang Darek, Organology, Aerophone, Traditional technology ABSTRAKMusik tiup Saluang Darek adalah musik tradisional Minangkabau yang menggunakan alat musik klasifikasi Aerophone (udara sebagai sumber getaran utama) dan alat tiup jenis end-blown without-block flutes digunakan untuk mengiringi nyanyian atau dendang Minangkabau. Alat musik Saluang darek terbuat dari bambu, yang paling baik untuk alat musik Saluang adalah (1) bambu  talang ( Schizostachyum brachycladum kurz), (2) bambu buluah kasok (Gingantocholoa apus), (3) bambu tamiang (scizostachyum zollingeri steud), (4) bambu cimanak (Schizotachyum longispiculatum). Pembuatan alat musik Saluang darek menggunakan teknologi tradisional dengan tetap menjaga kualitas alat yang siap dipakai untuk seni pertunjukan dalam mengiringi dendang. Metode yang dipakai dalam penelitian ini adalah metode kualitatif dengan pendekatan kajian organologi. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Kajian ini mendapati pentingnya   kajian instrumen musik untuk memberikan infomasi dalam pekerjaan musikolog dan etnomusikolog, sekaligus pelestarian budaya musikal di Sumatera Barat. Kata kunci: Saluang darek, Organology, Aerophone, Teknologi tradisional ABSTRACTThe music of Saluang Darek wind instrument is Minangkabau traditional music that uses the musical instrument of aerophone classification (air as the main source of vibration) and the kind of end-blown without-block flutes musical instrument, and this musical instrument is used to accompany Minangkabau songs or dendangs. Saluang Darek is made of bamboo. The best bamboos for making Saluang Darek are (1) Talang bamboo (Schizostachyum brachycladum kurz), (2) Buluah Kasok bamboo (Gingantocholoa apus), (3) Tamiang bamboo (Schizostachyum zollingeri steud), and (4) Cimanak bamboo (Schizostachyum longispiculatum). The production of Saluang Darek musical instrument uses the traditional technology by still maintaining the quality of instrument that's ready to be used for the performing arts particularly in accompanying dendang. The method used in this research was the qualitative method by using the approach of organology study. Data were collected through the library research, observation, interview, and documentation. This study found the importance of the musical instrument study in order to give information for the musicologists' and ethnomusicologists' works, at once conserve the musical culture in West Sumatera.Keywords: Saluang Darek, Organology, Aerophone, Traditional technology ABSTRAKMusik tiup Saluang Darek adalah musik tradisional Minangkabau yang menggunakan alat musik klasifikasi Aerophone (udara sebagai sumber getaran utama) dan alat tiup jenis end-blown without-block flutes digunakan untuk mengiringi nyanyian atau dendang Minangkabau. Alat musik Saluang darek terbuat dari bambu, yang paling baik untuk alat musik Saluang adalah (1) bambu  talang ( Schizostachyum brachycladum kurz), (2) bambu buluah kasok (Gingantocholoa apus), (3) bambu tamiang (scizostachyum zollingeri steud), (4) bambu cimanak (Schizotachyum longispiculatum). Pembuatan alat musik Saluang darek menggunakan teknologi tradisional dengan tetap menjaga kualitas alat yang siap dipakai untuk seni pertunjukan dalam mengiringi dendang. Metode yang dipakai dalam penelitian ini adalah metode kualitatif dengan pendekatan kajian organologi. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Kajian ini mendapati pentingnya   kajian instrumen musik untuk memberikan infomasi dalam pekerjaan musikolog dan etnomusikolog, sekaligus pelestarian budaya musikal di Sumatera Barat. Kata kunci: Saluang darek, Organology, Aerophone, Teknologi tradisional 

Adaptations for Trombone Performance: Ergonomic Interventions

2001 ◽  
Vol 16 (2) ◽  
pp. 77-80
Author(s):  
Nicholas F Quarrier ◽  
Richard N Norris
Keyword(s):  
Performing Arts ◽  
Small Body ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Body ◽  
Body Parts ◽  
Health Care Practitioners ◽  
Increased Risk ◽  
The Right ◽  
Ergonomic Interventions

Performing arts health care practitioners need to be familiar with the ergonomic features of various musical instruments, many of which put the performer at increased risk for injury. An informed practitioner can advise regarding improving the fit between the musician and the musical instrument, in order to reduce stresses due to compression of the instrument against the body or to supporting the weight of the instrument. These modifications may alter the instrument itself and/or provide external devices, such as splints, straps, or stands that disperse and minimize stress on the performer. Various thermoplastic orthoses have been designed to reduce static loading on small body parts such as the right thumb in clarinetists and flutists. The purpose of the paper is to discuss the nature of instrumental modifications and present two case studies using a simple moldable splint as well as adaptations to the trombone itself.

scholarly journals Nusantara Berdendang: Seremoni Multikulturalisme oleh Kabinet Kerja

Panggung ◽  
2018 ◽  
Vol 28 (4) ◽  
Author(s):  
Arief Rahman ◽  
Titis Srimuda Pitanav ◽  
Wakit Abdullah
Keyword(s):  
Cultural Studies ◽  
Representation Theory ◽  
Performing Arts ◽  
Qualitative Method ◽  
The State ◽  
The Arts ◽  
Arts And Culture ◽  
Stuart Hall ◽  
The Government ◽  
Performing Art

ABSTRACT Following the 1945 Constitution, the state is obliged to preserve the arts and culture of Indonesia. Kabinet Kerja commemorating 88 Years of Sumpah Pemuda with Nusantara Berdendang show at Istana Merdeka on October 28, 2016. This study discussesa multiculturalism discourse presented in the performance based on the Cultural Studies paradigm with the support of Stuart Hall's representation theory and power theory of Foucault. The research usesa qualitative method with descriptive and interpretative analysis.The multiculturalism discourse is produced by the Kabinet Kerja through performing arts that appear in Nusantara Berdendang. Performing arts are used by the state as a tool to show diversity, as well as a unifying symbol. The state ceremony becomes a discursive area of multiculturalism to implement the unity and unity of Indonesia. Multiculturalism discourse is used to facilitate the success of the Nawacita program. The implication is that Indonesia's image is a bhinneka state, (2) a tolerant and peaceful image of Indonesia,and (3) obedience to the government authorities. Keywords: multiculturalism, Kabinet Kerja, performing art, diversity, ethnicity ABSTRAK Sesuai dengan Undang-undang Dasar 1945, negara berkewajiban memelihara kesenian dan kebudayaan Indonesia.Kabinet Kerja memperingati 88 Tahun Sumpah Pemuda dengan pergelaran Nusantara Berdendang di Istana Negara pada 28 Oktober 2016. Penelitian ini membaca diskursus multikulturalisme yang dihadirkan dalam pergelaran tersebut dengan paradigma Kajian Budaya dengan dukungan teori representasi Stuart Hall (2003)  dan teori kuasa/pengetahuan. Penelitian menggunakan teknik analisis deskriptif kualitatif dan interpretatif.Diskursus multikulturalisme diproduksi oleh Kabinet Kerja melalui seni pertunjukan yang tampil di Nusantara Berdendang.Seni pertunjukan digunakan oleh negara sebagai alat untuk menunjukkan keberagaman, sekaligus sebagai simbol pemersatu.Seremoni negara menjadi area diskursif multikulturalisme untuk merawat kesatuan dan persatuan Indonesia. Diskursus multikulturalisme dilakukan oleh Kabinet untuk memperlancar suksesnya program Nawacita. Implikasinya, citra Indonesia merupakan negara bineka, (2) citra Indonesia yang toleran dan damai, serta (3) kepatuhan pada penguasa pemerintahan. Kata kunci: multikulturalisme, Kabinet Kerja, kesenian, keberagaman etnik

Representation of a Human Body: A Comparison Study between Balinese and Javanese Traditional House

Humaniora ◽  
2020 ◽  
Vol 11 (2) ◽  
pp. 83-90
Author(s):  
Anak Agung Ayu Wulandari ◽  
Ade Ariyani Sari Fajarwati
Keyword(s):  
Comparative Study ◽  
Human Body ◽  
Qualitative Method ◽  
Descriptive Analysis ◽  
The Body ◽  
Comparison Study ◽  
Architectural Drawing ◽  
Study Approach ◽  
The Comparative Study ◽  
Head Area

The research would look further at the representation of the human body in both Balinese and Javanese traditional houses and compared the function and meaning of each part. To achieve the research aim, which was to evaluate and compare the representation of the human body in Javanese and Balinese traditional houses, a qualitative method through literature and descriptive analysis study was conducted. A comparative study approach would be used with an in-depth comparative study. It would revealed not only the similarities but also the differences between both subjects. The research shows that both traditional houses represent the human body in their way. From the architectural drawing top to bottom, both houses show the same structure that is identical to the human body; head at the top, followed by the body, and feet at the bottom. However, the comparative study shows that each area represents a different meaning. The circulation of the house is also different, while the Balinese house is started with feet and continued to body and head area. Simultaneously, the Javanese house is started with the head, then continued to body, and feet area.

scholarly journals The Dimension of the Body in Higher Education: Matrix of Meanings in Students’ Diaries

Human Arenas ◽  
2021 ◽  
Author(s):  
Ramiro Tau ◽  
Laure Kloetzer ◽  
Simon Henein
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Teaching And Learning ◽  
Educational Practice ◽  
The Body ◽  
Cultural Perspective ◽  
General Process ◽  
Emotional Dimension ◽  
The Matrix ◽  
The Mind

AbstractIn this paper, we attempt to show some consequences of bringing the body back into higher education, through the use of performing arts in the curricular context of scientific programs. We start by arguing that dominant traditions in higher education reproduced the mind-body dualism that shaped the social matrix of meanings on knowledge transmission. We highlight the limits of the modern disembodied and decontextualized reason and suggest that, considering the students’ and teachers’ bodies as non-relevant aspects, or even obstacles, leads to the invisibilization of fundamental aspects involved in teaching and learning processes. We thus conducted a study, from a socio-cultural perspective, in which we analyse the emerging matrix of meanings given to the body and bodily engagement by students, through a systematic qualitative analysis of 47 personal diaries. We structured the results and the discussion around five interpretative axes: (1) the production of diaries enables historicization, while the richness of bodily experience expands the boundaries of diaries into non-textual modalities; (2) curricular context modulates the emergent meanings of the body; (3) physical and symbolic spaces guide the matrix of bodily meanings; (4) the bodily dimension of the courses facilitates the emergence of an emotional dimension to get in touch with others and to register one's own emotional experiences; and (5) the body functions as a condition for biographical continuity. These axes are discussed under the light of the general process of consciousness-raising and resignification of the situated body in the educational practice.

scholarly journals First record of the sound produced by the oldest Upper Paleolithic seashell horn

2021 ◽  
Vol 7 (7) ◽  
pp. eabe9510
Author(s):  
C. Fritz ◽  
G. Tosello ◽  
G. Fleury ◽  
E. Kasarhérou ◽  
Ph. Walter ◽  
...  
Keyword(s):  
First Record ◽  
Musical Instrument ◽  
Social Contexts ◽  
Upper Paleolithic ◽  
Wind Instrument ◽  
Large Shell ◽  
Conch Shell

Anthropologists and ethnomusicologists assert that there is no society without song, and more specifically, there is no ritual or celebration without accompanying sound. The production of sounds in social contexts is very ancient. Here, we report on the study of a seashell from the decorated cave of Marsoulas and demonstrate that the Magdalenian occupants of this site transformed this shell into a wind instrument. It is one of the very rare examples, if not the only one for the Paleolithic period, of a musical instrument fashioned from a large shell, and the first conch shell of this use thus far discovered. We already know that prehistoric people transformed many shells into portable ornaments and that they thus attributed substantial corporal symbolism to them. This seashell horn, with its unique sonority, both deep and strong with an enduring reverberation, sheds light on a musical dimension until now unknown in the context of Upper Paleolithic societies.

Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking

1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner
Keyword(s):  
New York ◽  
New York City ◽  
Performing Arts ◽  
West African ◽  
Turn Of The Century ◽  
The Body ◽  
Race And Gender ◽  
The Social ◽  
Anna Julia Cooper ◽  
And Gender

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.

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