scholarly journals How Important the Role of Curator in Determining a Success of Performing Art Events

2019 ◽  
Author(s):  
Irawati Kusumorasri ◽  
Nanik Sri Prihartini ◽  
Bambang Sunarto
Keyword(s):  
Performing Art

scholarly journals Penciptaan Seni Pertunjukan Berbasis Penelitian

Panggung ◽  
2018 ◽  
Vol 28 (1) ◽  
Author(s):  
I Gusti Ayu Srinatih
Keyword(s):  
Performing Arts ◽  
Personal Taste ◽  
Creative Processes ◽  
Library Research ◽  
Art Works ◽  
New Type ◽  
Object Of Study ◽  
Performing Art

Abstract  In the discourse of performing art creations, there is an assumption that creating art works is not categorized as a scientific, based on a personal taste and instinctive. This article uses a qualitative research with the performing arts approach. By using ethnographic methods, this article focuses on the role of performers in the process of creating the performing arts. Data are collected through interviews, library research, and document studies. As an object of study, 5 (five) outstanding works will be discussed, namely: Terompong Beruk (1982), Bali Agung (2010), Ratricetana (2011), Terompong Beruk Bangkok (2015), and Stri Wiroda (2015). The results of this study indicate that the models of creative as parts of important processes in creating performances are diverse. Through researching creative processes of the works, performers can create new type of works that are different from others, and distinctive from previous works. The novelty of the creative processes contains the quality of aestethic in forms and contents, as well as their values and functions. Keywords: research, creative processes, new creations, performing arts. Abstrak Dalam pewacanaan hasil penciptaan seni pertunjukan, masih ada anggapan bahwa menciptakan karya seni itu sesuatu yang tidak ilmiah dan hanya berdasarkan selera dan insting belaka. Artikel ini merupakan hasil penelitian kualitatif dengan pendekatan seni pertunjukan, dengan menggunakan metode etnografi, dengan fokus pada pencipta/seniman seni pertunjukan. Data-data yang dikumpulkan didapat melalui observasi, wawancara, riset kepustakaan, dan studi dokumen. Sebagai objek kajian, akan dibahas 5 (lima) buah karya cipta  seni pertunjukan yang berbasis penelitian, yaitu: Terompong Beruk (1982), Bali Agung (2010), Ratricetana (2011), Terompong Beruk Bangkok (2015), dan Stri Wiroda (2015).  Adapun hasil dari kajian ini menunjukkan bahwa model proses kreatif yang sangat penting dalam penciptaan seni pertunjukan itu sangat beragam. Melalui penelitian mengenai kajian proses kreatif tersebut dapat dihasilkan karya seni pertunjukan kreasi baru yang berbeda satu sama lain, dan berbeda dari proses kreatif karya sebelumnya. Nilai kebaruan proses kreatif itu mengandung keindahan bentuk dan isi, serta nilai dan fungsinya.   Kata-kata kunci: penelitian, proses kreatif, penciptaan, seni pertunjukan

scholarly journals PERANAN SENI PERTUNJUKAN BARIKAN QUBRO DALAM MENDUKUNG PARIWISATA KEPULAUAN KARIMUNJAWA KABUPATEN JEPARA JAWA TENGAH

JOGED ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 45-58
Author(s):  
Surojo Surojo ◽  
Iqbal Satrio Wicaksono
Keyword(s):  
Positive Response ◽  
Cultural Performance ◽  
Green Beans ◽  
The Past ◽  
Village Government ◽  
Performing Art ◽  
The Village ◽  
The City

Tulisan ini memaparkan tentang peranan pertunjukan Barikan Qubra dalam mendukung pariwisata di Karimunjawa. Barikan Qubra semula adalah upacara adat bulanan, di mana setiap penduduk Karimunjawa membuat sesaji tumpeng kecil, telur, garam, kacang ijo,  dan cabe merah. Sesaji ini diletakkan di perempatan desa (sekarang sudah menjadi di tengah kota), dengan maksud sebagai ungkapan rasa syukur warga atas panen ikan setiap hari, harapan keselamatan setiap warganya, dan agar dijauhkan dari gangguan penyakit.  Adat Barikan Qubra dilaksanakan setiap hari Kamis Wage menjelang Jumat Pon. Namun 5 tahun belakangan ini dijadikan sekali dalam setahun. Pemerintah desa dengan segenap simpatisan budaya membentuk panitia penyelenggara dengan konsep pergelaran budaya yang lebih besar. Setelah dilaksanakan pertama kali di tahun 2015 dan mendapat tanggapan positif dari seluruh elemen masyarakat, maka ujicoba  ini dijadikan event penting di setiap tahunnya, guna meningkatkan kedatangan wisatawan. Barikan Qubra yang dahulu sebagai upacara adat kini dikemas sebagai seni pertunjukan arak-arakan yang menarik, namun tidak meninggalkan nilai ritual mereka. Arak-arakan atau pawai upacara Barikan Qubra menjadi hal yang ditunggu-tunggu setiap tahunnya. Pawai Barikan Qubra dilaksanakan dari perempatan desa menuju pelabuhan atau dermaga di mana para nelayan  beraktivitas mencari ikan. Tidak hanya sampai di situ, puncak acara pertunjukan berakhir di Alun-alun desa Karimunjawa di mana para warga dan pengunjung menjadi satu dengan wisatawan. Gunungan yang dibuat dengan ukuran besar menjadi rebutan para pengunjung yang hadir. Masyarakat percaya, apabila mendapatkan bagian dari gunungan tersebut, mereka akan mendapat banyak berkah dari Tuhan. This paper presents the results of research on the role of the Barikan Qubra show in supporting tourism in Karimunjawa. The original Qubra was a monthly traditional ceremony, in which every Karimunjawa resident made small cone offerings, eggs, salt, green beans and red chili. These offerings are placed at the village intersection (now in the middle of the city), with the intention of expressing gratitude for waraga for harvesting fish every day and being kept away from diseased diseases and the safety of every citizen.   Indigenous Barikan Qubra which is held every Thursday Wage before Friday Pon, the past 5 years are made once a year. The village government with all cultural sympathizers formed an organizing committee with the concept of a larger cultural performance. After being implemented in 2015 received a positive response from all elements of society, the trial was made an important event every year, to increase tourist arrivals. Baring the Qubra which used to be a traditional ceremony is now packaged as an interesting performing art but does not abandon the value of their rituals.   Indigenous Barikan Qubra which is held every Thursday Wage before Friday Pon, the past 5 years are made once a year. The village government with all cultural sympathizers formed an organizing committee with the concept of a larger cultural performance. After being implemented in 2015 received a positive response from all elements of society, the trial was made an important event every year, to increase tourist arrivals. Baring the Qubra which used to be a traditional ceremony is now packaged as an interesting performing art but does not abandon the value of their rituals.

Performing Art: Zelda Fitzgerald's Art and the Role of the Artist

2006 ◽  
Vol 5 (1) ◽  
pp. 133-163 ◽  
Author(s):  
Kathryn Lee Seidel ◽  
Alexis Wang ◽  
Alvin Y. Wang
Keyword(s):  
Performing Art

scholarly journals THE TRANSFORMATION OF TRUNTHUNG MUSIC FROM MUSICAL ACCOMPANIMENT TO MUSICAL PERFORMANCE IN WARANGAN VILLAGE, PAKIS, MAGELANG

2018 ◽  
Author(s):  
Fajry Sub'haan Syah Sinaga
Keyword(s):  
Musical Instrument ◽  
Musical Performance ◽  
Internal Factor ◽  
Performing Art ◽  
Musical Accompaniment

Trunthung is a a traditional musical accompaniment growing in Magelang region. Traditionally, Trunthung music is played by one person and used as musical acompaniment of Soreng Dance. In its development, Trunthung music evolved into a musical performance based on the idea from Sutanto Mendut and Eko Sunyoto that succeed to create a new art, called Truthung Art.This research aims to know the form of transformations in Trunthung music from musical accompaniment to musical performance. As well as to be able to assess and analyze several transformation factors of Trunthung music from musical accompaniment to musical performance that exist in Warangan vilage, Pakis subdistrict, Magelang regency.The results of this study indicate the transformation of Trunthung music from musical accompaniment to musical performance as seen from six aspects of the performing art such as style, genre, text, composition, transmission, and motion. One significant is the use of Trunthung musical instrument that are colossal or more than one, whereas musical accompaniment only played by one persone. There are factors that affecting this transformation consist of ecternal and internal factor. The role of Eko Sunyoto and some artist in Warangan vilage also important in capturing the Trunthung music so it can be an interesting performance to be enjoyed by art lovers both locally and globally

scholarly journals PERANAN SENI PERTUNJUKAN BARIKAN QUBRO DALAM MENDUKUNG PARIWISATA KEPULAUAN KARIMUNJAWA KABUPATEN JEPARA JAWA TENGAH

JOGED ◽  
2019 ◽  
Vol 10 (1) ◽  
pp. 45-58
Author(s):  
Surojo Surojo ◽  
Iqbal Satrio Wicaksono
Keyword(s):  
Positive Response ◽  
Cultural Performance ◽  
Green Beans ◽  
The Past ◽  
Village Government ◽  
Performing Art ◽  
The Village ◽  
The City

Tulisan ini memaparkan tentang peranan pertunjukan Barikan Qubra dalam mendukung pariwisata di Karimunjawa. Barikan Qubra semula adalah upacara adat bulanan, di mana setiap penduduk Karimunjawa membuat sesaji tumpeng kecil, telur, garam, kacang ijo,  dan cabe merah. Sesaji ini diletakkan di perempatan desa (sekarang sudah menjadi di tengah kota), dengan maksud sebagai ungkapan rasa syukur warga atas panen ikan setiap hari, harapan keselamatan setiap warganya, dan agar dijauhkan dari gangguan penyakit.  Adat Barikan Qubra dilaksanakan setiap hari Kamis Wage menjelang Jumat Pon. Namun 5 tahun belakangan ini dijadikan sekali dalam setahun. Pemerintah desa dengan segenap simpatisan budaya membentuk panitia penyelenggara dengan konsep pergelaran budaya yang lebih besar. Setelah dilaksanakan pertama kali di tahun 2015 dan mendapat tanggapan positif dari seluruh elemen masyarakat, maka ujicoba  ini dijadikan event penting di setiap tahunnya, guna meningkatkan kedatangan wisatawan. Barikan Qubra yang dahulu sebagai upacara adat kini dikemas sebagai seni pertunjukan arak-arakan yang menarik, namun tidak meninggalkan nilai ritual mereka. Arak-arakan atau pawai upacara Barikan Qubra menjadi hal yang ditunggu-tunggu setiap tahunnya. Pawai Barikan Qubra dilaksanakan dari perempatan desa menuju pelabuhan atau dermaga di mana para nelayan  beraktivitas mencari ikan. Tidak hanya sampai di situ, puncak acara pertunjukan berakhir di Alun-alun desa Karimunjawa di mana para warga dan pengunjung menjadi satu dengan wisatawan. Gunungan yang dibuat dengan ukuran besar menjadi rebutan para pengunjung yang hadir. Masyarakat percaya, apabila mendapatkan bagian dari gunungan tersebut, mereka akan mendapat banyak berkah dari Tuhan. This paper presents the results of research on the role of the Barikan Qubra show in supporting tourism in Karimunjawa. The original Qubra was a monthly traditional ceremony, in which every Karimunjawa resident made small cone offerings, eggs, salt, green beans and red chili. These offerings are placed at the village intersection (now in the middle of the city), with the intention of expressing gratitude for waraga for harvesting fish every day and being kept away from diseased diseases and the safety of every citizen.   Indigenous Barikan Qubra which is held every Thursday Wage before Friday Pon, the past 5 years are made once a year. The village government with all cultural sympathizers formed an organizing committee with the concept of a larger cultural performance. After being implemented in 2015 received a positive response from all elements of society, the trial was made an important event every year, to increase tourist arrivals. Baring the Qubra which used to be a traditional ceremony is now packaged as an interesting performing art but does not abandon the value of their rituals.   Indigenous Barikan Qubra which is held every Thursday Wage before Friday Pon, the past 5 years are made once a year. The village government with all cultural sympathizers formed an organizing committee with the concept of a larger cultural performance. After being implemented in 2015 received a positive response from all elements of society, the trial was made an important event every year, to increase tourist arrivals. Baring the Qubra which used to be a traditional ceremony is now packaged as an interesting performing art but does not abandon the value of their rituals.

scholarly journals The role of theatre in the training of students of Humanities

2019 ◽  
Keyword(s):  
World Literature ◽  
Large Scale ◽  
Educational Process ◽  
Research Articles ◽  
Extracurricular Activity ◽  
History Of ◽  
The University ◽  
Performing Art ◽  
The Devil

The article analyzes one of the peculiarities of organization of educational process at the Faculty of Philology, namely the use of elements of performing art in literary studies and extracurricular activity. The main ways of interaction between theatre and University in this field are visiting theatre, discussing plays, creating amateur theatres, writing literary scripts, plays, reviews, research articles and monographs dedicated to development of theatre and drama. It also contains the analysis of activity of the most prolific amateur theatres directors, these are V. Sachenko, A. Svashenko, O. Chuguj, L. Osmolovskyj, V. Svirskyj, their success in putting plays by Ukrainian and world literature classic playwrights on the stage. This article covers the history of founding and directing student theatres in the plays “Epiphany”, “The Twelve Chairs”, “Arabesque” and others, directing their own plays based on works dedicated to H. Skovoroda (“The Great Prophecy”) and V. Karazin (“Treacherous Destiny”), crash Bolshevist total-colonial regime and him consequence (“Attempt on the Devil”). The research makes an emphasize on the importance of mutual managing of large-scale creative projects, group watching and discussion of film adaptations of O. Dovzhenko (“The Poem about the Sea”), M. Sholokhov (“And Quiet Flows the Don”) as well as on creating the first university-based film studio. The article also shows that as the students of the Kharkiv University N. Zabila, O. Kolomiiets, R. Polonskyj, A. Zhytnytskyj, I. Perepeliak and L. Toma were active in providing the written literary basis for theatres, cinema and television of Ukraine. The foremost determined reason of graduates of the University (Yu. Stanishevskyj, V. Savchenko, V. Svirskyj, S. Oleshko) dedicated themselves to theatre is long and thorough mastering the secrets of Melpomene’s art during studying at the Faculty of Philology. We conclude that it is necessary to include in curriculum an extra course called “Basics of the Performing Art” for the humanitarian schools, as well as to open and manage student theatres.

Dance, aesthetics of

2018 ◽  
Author(s):  
Graham McFee
Keyword(s):  
New York ◽  
Nonverbal Communication ◽  
Human Action ◽  
Special Role ◽  
Philosophical Investigation ◽  
Art Form ◽  
Performing Art ◽  
Philosophical Questions ◽  
Selection Of

The aesthetics of dance is the philosophical investigation of the nature of dance, of our interest in it, especially as an art form, and of the variety of aesthetic judgments we make about it – judgments of beauty, grace, line and other aesthetic qualities. Most philosophical issues concerning dance result from considering philosophical questions that arise in other areas: another art form, art in general, or human action. Sometimes the issue for dance can usefully be seen as a combination of issues from other areas. Often, one’s response to such issues gives a possible direction for one’s thoughts about dance. A selection of such questions can be taken from the characteristics of dance. Since some dances are works of art, is there a kind of judgment characteristic of an interest in art, and, if so, what are its features? In particular, and in parallel with questions for other arts, does knowledge of the choreographer’s intention have any role in understanding the dance? What follows for the understanding of dance from the fact that dance is a multiple art: that a particular dance (like a particular piece of music) can be performed in London at the same time as it is performed in New York? What follows from dance’s status as a performing art (like music)? Is any special role for the understanding of dance to be assigned to a notated score in a dance notation? (If so, does this differ from music?) How is the special place of the dancer to fit into accounts of understanding dance? As some dances are regularly thought to be communicative, how does dance differ (if at all) from so-called ‘nonverbal communication’? More generally, dance study must address far-reaching philosophical issues: the place of dance as human action; the ‘role’ of dance, for example, in ritual; the relevance of the history and traditions of dance-forms to the understanding of those forms.

scholarly journals Aesthetical Transformation of Ramayana Performing Arts in Indonesia and Thailand

2021 ◽  
Author(s):  
Robby Hidajat ◽  
. Pujiyanto ◽  
Surasak Jamnongsam ◽  
Muhammad ‘Afaf Hasyimy
Keyword(s):  
Performing Arts ◽  
Conservation Strategy ◽  
Theory Approach ◽  
Functional Theory ◽  
Central Java ◽  
Qualitative Descriptive ◽  
Sacred Rite ◽  
Document Review ◽  
Performing Art

Over the years, the methods of preserving traditional performing arts have undergone a transformation in many states of Southeast Asia. In that, the performing art societies in Indonesia and Thailand have also made a shift in their conservation strategy from organizing the performing arts as a sacred rite with few participants to massive shows to entertain bigger audiences. This research intended to review the role of Maecenas (art protector) in enforcing the existence of Ramayanaperforming arts in three destinations in Indonesia and Thailand, namely Uluwatu’s Kecak Ramayana in Bali and Prambanan’s RamayanaBallet in Central Java, both located in Indonesia, and Khon Theater in Bangkok, Thailand. The research used a qualitative descriptive method with a functional theory approach. Data were collected through interviews, observation, and document review, following which they were analysed through interpretation. The result of the research showed that the aesthetical transformation of Ramayana performing arts in Indonesia and Thailand is determined by three factors, namely locality, time, and management. Keywords: performing arts, Ramayana, art protector, conservation

scholarly journals Facing the Pandemic: A Perspective on Patachitra Artists of West Bengal

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 61
Author(s):  
Maura Zanatta ◽  
Anjali Gera Roy
Keyword(s):  
West Bengal ◽  
Art Market ◽  
Social Changes ◽  
Virtual Spaces ◽  
Restrictive Measures ◽  
Performing Art ◽  
The Impact ◽  
Global Art ◽  
Shed Light

The COVID-19 pandemic has intensely impacted art production and the art market all around the world. This is dramatically visible inside the Patua or Patachitra communities in Medinipur, West Bengal, where Patachitras’ scrolls characterise the economy of folk-art communities in the so-called villages of painters. Patachitras’ singing pictures belong to an ancestral tradition of storytelling and performing art. For centuries, new themes have been embodied inside the Patuas’ repertoire, creating a living heritage that has always reflected the political, religious, cultural, and social main events and, ultimately, COVID-19. Resilience has always been an important component of this heritage, as social changes and new kinds of entertainment have changed the audience addressed and the performances’ function. In the last few decades, the role of travelling artists has resisted and been readapted to the global art market by approaching art fairs and festivals both inside and outside the villages. Now, the impact of COVID-19 on the economy of these artists has been severe, as art fairs and exhibitions have been cancelled, and lockdown orders have stopped tourism and travels, significantly reducing their income. Thus, new approaches and virtual spaces of exhibiting are being experimented with to support the survival of these artists and keep the performances’ essence alive. This article aims to address how the pandemic has affected Patuas’ art market and production both from an economic and social perspective. The difficulties encountered due to the restrictive measures and the impossibility of performing will be analysed through an empirical approach. Based on telephonic interviews conducted with 30 hereditary Patuas from Naya between April 2020 to April 2021 as part of the project “Folk Artists in the Time of Coronavirus”, the article hopes to shed light on the impact of the pandemic on hereditary, performing castes in India, which might mirror the experiences of similar groups in the rest of South Asia. The article will also try to outline the future perspectives for the art market of these folk artists. The article consists of two parts: the first traces the transformative journey of Patachitra and Patachitrakars, and the second focuses on the impact of the pandemic through deploying the concepts of precarity, precariousness, and resilience.

scholarly journals Iringan Kuda Lumping Ngesti Budaya

2013 ◽  
Vol 10 (1) ◽  
Author(s):  
SUBUH ◽  
YUNI PRASETYO
Keyword(s):  
Movement Pattern ◽  
Typical Characteristic ◽  
Dance Movement ◽  
Performing Art ◽  
Characteristic Colour ◽  
Musical Accompaniment

Musical accompaniment of Ngesti Budaya horse dance. This article describes and analyzes a unique formperformance, presentation structure and growth of accompaniment of Ngesti Budaya horse dance through a descriptiveanalysis method. This dance represents a performing art owning characteristic, colour and also typical motion.One of the typical characteristic or element of this genre is a role of its musical accompaniment. Musical accompanimentalways accommodates dance movement pattern, assuring dance character, nguripke joget and develop;building dance plot atmosphere. At its growth, musical accompaniment does not only accompany dance, but withvarious its till can become important shares of dance and have to position is same in its presentation.

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