A Study on Residents' Participation in Performing Arts Festival: focusing on Gwacheon Festival

2021 ◽  
Vol 17 (1) ◽  
pp. 205-224
Author(s):  
Eun Jin Huh
Keyword(s):  
Performing Arts ◽  
Arts Festival

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

New Theatricality and Old in Seoul

2007 ◽  
Vol 23 (2) ◽  
pp. 184-185
Author(s):  
Ian Herbert
Keyword(s):  
Performing Arts ◽  
International Association ◽  
Fiftieth Anniversary ◽  
Arts Festival

Ian Herbert reports on the fiftieth anniversary congress of the International Association of Theatre Critics, held in Seoul during the Seoul Performing Arts Festival, 7–29 September 2006.

Postcolonial Curating: Insights from the Connexion Kin Performing Arts Festival

2019 ◽  
Vol 63 (1) ◽  
pp. 100-124
Author(s):  
Rahel Leupin
Keyword(s):  
Performing Arts ◽  
Democratic Republic ◽  
Cultural Processes ◽  
Republic Of The Congo ◽  
Arts Festival

Brussels-based theatre Koninklijke Vlaamse Schouwburg (KVS) relocated part of its program to Kinshasa in the Democratic Republic of the Congo to collaborate with Kin artists and partners. Experimenting with a participatory curatorial approach, the KVS gradually moved from a model that showcased local artists to an interactive encounter in which sharing and discussing cultural processes became as important as the performances.

scholarly journals Membangun Kewirausahaan Seni Melalui Festival Dalam Bandung Isola Performing Arts Festival (BIPAF)

2020 ◽  
Vol 35 (3) ◽  
pp. 323-330
Author(s):  
Neneng Yanti Khozanatu Lahpan ◽  
Bunga Dessri Nur Ghaliyah
Keyword(s):  
Performing Arts ◽  
Site Specific ◽  
Specific Stage ◽  
Arts Festival

Wirausaha seni, khususnya di bidang seni pertunjukan, menjadi hal penting dalam kaitan dengan perkembangan ekonomi dan industri kreatif. Bidang ini mendapat perhatian khusus dari pemerintan dalam 4 tahun belakangan, dengan dibentuknya sebuah badan khusus, BEKRAF. Mengembangkan wirausaha seni di antaranya dapat dilakukan melalui festival. Tulisan ini mengambil studi kasus Bandung Isola Performing Arts Festival (BIPAF) yang telah meletakkan dasar wirausaha seni sejak tahun 2016. Dengan menggunakan metode kualitatif melalui pendekatan teori social enterpreneurship, penelitian ini menghasilkan sejumlah rumusan bahwa (1) BIPAF telah menawarkan sebuah model pengembangan wirausaha seni dengan model pasar seni pertunjukan (performing arts market) yang menggunakan site specific stage, yakni Villa Isola UPI Bandung, untuk mempromosikan bentuk karya tari dan atau teater tari inovatif berbasis tradisi dan kolaborasi, serta mempertemukan para kreator dengan stakeholdernya, sekaligus berperan dalam pelestarian seni budaya; (2) untuk menjaga kualitas karya yang dihasilkan, karya-karya yang ditampilkan di BIPAF melalui sejumlah tahapan seleksi dan kurasi, inkubasi, pertunjukan hingga evaluasi. Indikator keberhasilan program ini di antaranya terlihat pada meningkatkan kuantitas pementasan para pentolan BIPAF yang dikelola secara profesional oleh para pengelola event, baik di dalam maupun di luar negeri. 

scholarly journals Organizing Bandung Isola Performing Arts Festival (BIPAF) As A Market of Innovative Performing Arts in Indonesia

2020 ◽  
Vol 20 (1) ◽  
pp. 47-57
Author(s):  
Yudi Sukmayadi ◽  
Juju Masunah
Keyword(s):  
South Korea ◽  
Performing Arts ◽  
Research Method ◽  
Group Discussion ◽  
Interview Study ◽  
Qualitative Approach ◽  
Creative Industry ◽  
Personal Reflection ◽  
Evaluation Data ◽  
Arts Festival

The purpose of this article is to discuss a festival model which promotes innovative performing arts in Indonesia. This qualitative approach used a project-based research method. The procedure of this research began with diagnosing the problems, making plan to conduct the festival in Bandung, conducting the festival, and evaluation. Data were collected by participation observation, interview, study of documentation, focused group discussion, and personal reflection. The findings of this research showed that Bandung Isola Performing Arts Festival (BIPAF) is a festival model as a form of market for innovative performing arts. The activities of BIPAF began with selecting/curating the performing artworks, holding art incubation, making promotion, show casing and pitching, as well as discussion and evaluation. BIPAF organizer designed a meeting within choreographers/producers and festival directors, curators and promotors of performing arts in Villa Isola outdoor stage in Universiatas Pendididkan Indonesia. This meeting was followed up by performing some pieces from BIPAF in the stage of SIPA and IMF Surakarta, and Korean Festival in South Korea. This festival contains a strategy value to develop creative industry sub sector of performing arts in Indonesia.

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>

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.

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