scholarly journals A Reflection on The Inter-Semiotic Transformation of Select Vacanas of Akka Mahadevi into a Music-Dance Production

2021 ◽  
Vol 11 (1) ◽  
pp. 239-253
Author(s):  
MA JYOTHI ◽  
Keyword(s):  
Twelfth Century ◽  
Performing Arts ◽  
Aesthetic Experience ◽  
Traditional Music ◽  
National Government ◽  
Reform Movement ◽  
Free Verse ◽  
Semiotic System ◽  
Religious Lyrics ◽  
Spiritual Reform

This project was set out to curate dance videos of select vacanas, meaning, religious free verses in Kannada, of Akka Mahadevi, a twelfth century poet from Karnataka, India. Vacanas are religious lyrics in free verse which mean ‘a saying’ or ‘a thing said’. By translating Akka’s vacanas to music and dance the project aimed to transport the essence of her poetry to the viewer. The symbols, images and metaphors used by the poet from discursive fields such as Bhakthi movement (a spiritual reform movement in India), Vedas, Upanishads, Yoga and feminism were re-interpreted through traditional music and dance styles recognized as classical arts by the national government, by a process of, what I theorize, as inter-semiotic transformation. Inter-semiotic transformation is the reinterpretation of symbols from one semiotic system, say, literature into others like music, dance, film or theatre. This paper analyses strategies of bringing poetry into the realm of aesthetic experience of viewers through the performing arts.

Two pre-Conquest manuscripts from Glastonbury Abbey

1987 ◽  
Vol 16 ◽  
pp. 197-212 ◽  
Author(s):  
James P. Carley
Keyword(s):  
Twelfth Century ◽  
Tenth Century ◽  
Early History ◽  
Reform Movement ◽  
Anglo Saxon ◽  
The West ◽  
History Of ◽  
Fine Collection ◽  
Irish School ◽  
William Of Malmesbury

The earliest identified surviving manuscripts from Glastonbury Abbey date from the ninth and tenth centuries, but there are reliable post-Conquest traditions claiming that valuable books were found at the monastery as early as the reign of Ine, king of the West Saxons (688–726). By the tenth century at the latest there are reports of an ‘Irish school’ at Glastonbury, famous for its learning and books, and St Dunstan's earliest biographer, the anonymous. B., relates that Dunstan himself studied with the Irish at Glastonbury. During Dunstan's abbacy (940–56) – that is, at the period when most historians would place the beginnings of the English tenth-century reform movement – there was a general revival at Glastonbury which included a concerted policy of book acquisition and the establishment of a productive scriptorium. Not surprisingly, Dunstan's abbacy was viewed by the community ever afterwards as one of the most glorious periods in the early history of the monastery, especially since the later Anglo-Saxon abbots showed a marked falling off in devotion and loyalty to the intellectual inheritance of their monastery. Æthelweard and Æthelnoth, the last two Anglo-Saxon abbots, were especially reprehensible, and confiscated lands and ornaments for the benefit of their own kin. Nor did the situation improve immediately after the Conquest: the first Norman abbot, Thurstan, actually had to call in soldiers to quell his unruly monks. In spite of these disruptions, a fine collection of pre-Conquest books seems to have survived more or less intact into the twelfth century; when the seasoned traveller and connoisseur of books, William of Malmesbury, saw the collection in the late 1120s he was greatly impressed: ‘tanta librorum pulchritudo et antiquitas exuberat’.

scholarly journals The appropriation cycle: novice and expert consumers

2018 ◽  
Vol 52 (9/10) ◽  
pp. 1886-1908 ◽  
Author(s):  
Georgia Stavraki ◽  
Emmanuella Plakoyiannaki ◽  
Jackie Clarke
Keyword(s):  
Cultural Capital ◽  
Performing Arts ◽  
Aesthetic Experience ◽  
Current Knowledge ◽  
Single Case ◽  
Multiple Sources ◽  
Content Type ◽  
Aesthetic Experiences

Purpose Recognizing the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research aims to generate a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience. Design/methodology/approach This research uses a single case study design of Miró’s blockbuster exhibition, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observations and archival records. Findings An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and personal versus communal interpretations – amongst other features – in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital. Research limitations/implications The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences. Practical implications The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences. Originality/value This research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

scholarly journals Music Education and Sustainability in Lombok, Indonesia

2019 ◽  
Vol 19 (1) ◽  
pp. 1
Author(s):  
David Harnish
Keyword(s):  
Music Education ◽  
Performing Arts ◽  
Field Research ◽  
Traditional Music ◽  
Educational Institutions ◽  
Male Youth ◽  
Government Interventions ◽  
The Arts ◽  
The Government ◽  
New Generation

This article discusses the challenges of teaching and sustaining music and other performing arts on the island of Lombok in Indonesia. It follows my field research trajectory on the island over a period of 34 years and analyzes the efforts of government interventions, non-government actors, and teachers and educational institutions in the transmission and sustainability of the arts. Interpretations indicate that a combination of globalization, urbanization, social media, everyday mediatization, and Islamization over recent decades negatively impacted traditional musics in specific ways, by problematizing sustainability. However, several agents–individuals inside and outside the government who understood the situation and had the foresight to take appropriate action–developed programs and organizations to maintain or aestheticize the performing arts, sustain musician livelihoods, and engage a new generation of male youth in music and dance. These efforts, supplemented by the formation of groups of leaders dedicated to the study of early culture on Lombok and fresh initiatives in music education, have ushered in new opportunities and visibility for traditional music and performing arts and performing artists.

scholarly journals Performing a Victory in Performing Arts Competitions

2021 ◽  
pp. 251-256
Author(s):  
Rully Aprilia Zandra
Keyword(s):  
Performing Arts ◽  
Traditional Music ◽  
Natural Consequence ◽  
Or Groups ◽  
Winning Strategies ◽  
Research Questions ◽  
The Way

Winning or losing is a natural consequence experienced when participating in an art competition. There is an individual or group that succeeds, then fails in another event or vice versa. But some individuals or groups always win in every competition. To bridge the gap, this research focused on strategies to sustain victory in group dance and traditional music competitions. Data were collected through interviewing, observation, and documentation analysis. Researchers took data before, during and after the competition. The researchers interpreted the data then grouped them according to research questions. Habitus and domination theory were used to analyze the data. Confirmed or negated information was used to find winning strategies. The results of this study indicate that the way to perpetuate victory is to equip students with adequate capital, map out the jury’s tastes, and have a unique art Olympiad class.   Keywords: Competition domination, art strategy, perpetuating victory, performing arts

Aesthetics of Dance

2021 ◽  
Author(s):  
Beatriz Calvo-Merino
Keyword(s):  
Cognitive Neuroscience ◽  
Experimental Psychology ◽  
Performing Arts ◽  
Expressed Emotion ◽  
Aesthetic Experience ◽  
Prior Experience ◽  
Dance Movement ◽  
Dance Performance ◽  
Embodied Aesthetics ◽  
The Brain

How does the brain see and experience dance? Performing arts have captured the attention of empirical aesthetics and neuroaesthetics. In this chapter, the author reviews studies from cognitive neuroscience and experimental psychology that have contributed to our understanding of the brain mechanisms for dance perception. The author introduces the concept of sensorimotor aesthetics, the process whereby the observer evokes an internal simulation of the perceived action of a dance performance, during its emotional and aesthetic experience. The author proposes an embodied aesthetics framework, in which the perception of the dancer’s body, the dance movement, and the expressed emotion are significantly influenced by an observer’s prior experience. Finally, the author discusses potential avenues for enhancing interactions between the science and artistic communities in pursuit of a deeper understanding of the aesthetics of dance.

Dance, Expertise, and Sensorimotor Aesthetics

2021 ◽  
pp. 199-202
Author(s):  
Beatriz Calvo-Merino
Keyword(s):  
Performing Arts ◽  
Aesthetic Experience ◽  
Brain Activity ◽  
Aesthetic Judgment ◽  
Sensorimotor Processing ◽  
Dance Movements ◽  
The Aesthetic ◽  
Motor Representations ◽  
Performing Artist

The article reviewed in this chapter discusses how questions initially originated in cognitive neuroscience can be answered with collaborations with nonscientific disciplines, such as performing arts. The author describes the first study that showed dancer’s brain activity when observing dance movements. By investigating how the expert brain works, they demonstrated the important role of sensorimotor processing for movement perception, emotion perception, and aesthetic judgment. This work opened a channel of communication between neuroscientists and performing artists, enabling conversations that have generated novel questions of interest to both disciplines. The chapter discusses three fundamental insights: the importance of prior experience for perception, the importance of motor representations for perception, and the existence of a system for embodied aesthetics. Finally, the author provides some consideration on neuroscientists’ capacity to dissect the aesthetic experience and how this knowledge can be absorbed by the performing artist during the artistic and choreographic process.

“Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand

1995 ◽  
Vol 26 (2) ◽  
pp. 366-400 ◽  
Author(s):  
Margaret J. Kartomi
Keyword(s):  
North America ◽  
Performing Arts ◽  
Social Economic ◽  
Traditional Music ◽  
Southeast Asian ◽  
Colonial Era ◽  
The Past ◽  
The Social ◽  
Research Agendas ◽  
Cross Fertilization

One of the most remarkable features of the past twenty years of scholarship on the Southeast Asian performing arts has been the sparking off of ideas between Southeast Asian-born scholars, whether trained in Southeast Asian universities or overseas, and Western scholars of the Southeast arts who live in North America, Australia, Europe, Japan and elsewhere. In colonial Indonesia (until 1945) and Malaysia (until 1957), research agendas of Dutch and British scholars respectively had complied with the social, economic and political priorities of the colonial powers and associated local court-centred artistic interests, though not always consciously. In Thailand, which was the only country in the region not to be colonized by a European power, Thai scholars had been actively researching their own court performing arts in the late colonial era but were nevertheless influenced by the colonial ethos of the region. In the past twenty years or so, the developing dialogue and contradictions between Southeast Asian and foreign scholars, each with their own partly distinctive assumptions and methodologies based on the priorities of their respective traditions and governments, have resulted in a healthy divergence, convergence, and cross-fertilization of ideas.

scholarly journals Strategi Seni Pertunjukan dengan Segmentasi Pariwisata

2020 ◽  
Vol 2 (2) ◽  
pp. 119-126
Author(s):  
Damar Tri Afrianto ◽  
Muhajir Muhajir
Keyword(s):  
Performing Arts ◽  
Aesthetic Experience ◽  
Mutual Influence ◽  
Strategic Thinking ◽  
Tourism Promotion ◽  
Conceptual Strategy ◽  
The World ◽  
Initial Basis ◽  
The Aesthetic

Art and tourism rarely become concerned in a study or research. Though it is allegedly both have the power of mutual influence and profitable. Efforts have been made to make the art as a medium to develop the world of tourism but sometimes have no strategy and formulation appropriately so that the art is just a patch or entertainment when melalkukan travel. Through the study and analysis of Tallu Cappa's performances by Makassar artists Muhajir can be formulated conceptual strategy or some strategic thinking related to performing arts and tourism. Among others, 1) presentation of Multi-disciplinary Art and Innovative Packaging, 2) Collaboration of art with the concept of tourism and 3) Excavation of local Wisdom as an effort to get the aesthetic experience for tourists. Performing works of artists Muhajir perceived successfully menyjiakan concept performances with tourism segmentation. So hopefully this strategy becomes the initial basis for the development of art as an effective, innovative and cultured tourism promotion media.

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