scholarly journals Traditional cultural expressions in theatrical performance: meaning and value

2021 ◽  
Author(s):  
Ana Ghilas ◽  
Keyword(s):  
Ethnic Group ◽  
Rite Of Passage ◽  
Traditional Art ◽  
Theatrical Performance ◽  
Dramatic Action ◽  
Cultural Expressions ◽  
Traditional Cultural Expressions ◽  
The Way

The object of the investigation is the relation between theatrical discourse and traditional cultural expressions. The main objective of the research is to highlight the way traditional art was made use of by directors at different historical stages and the artistic, cognitive, educational meanings and valences of some forms of traditional cultural expressions in the structure of theatrical discourse. Resorting to the comparativehistorical method, through the analyzes of the performances, we demonstrate the polysemanticism of the dramatic action and the variety of artistic functions of the traditional Romanian song, of the nuptial ceremony ”Iertarea miresei” /Forgiveness of the bride”, of the rite of passage “Moşii/Forefathers” in the spectacular universe created by directors in different theaters. These traditional forms promote and affirm identity marks – of the ethnic group and of the creative individuality (playwright, director, set designer, actor), but also the intercultural character of some shows.

scholarly journals HARMONIZING CULTURAL DIPLOMACY AND COMMERCIALIZATION OF TRADITIONAL CULTURAL EXPRESSIONS: CASE STUDY ON I LA GALIGO THEATRICAL PERFORMANCE

2020 ◽  
Vol 8 (4) ◽  
pp. 1180-1189
Author(s):  
Laina Rafianti ◽  
Ahmad M. Ramli
Keyword(s):  
Data Collection ◽  
Cultural Values ◽  
Cultural Diplomacy ◽  
Copyright Law ◽  
Research Approach ◽  
Legal Research ◽  
Theatrical Performance ◽  
Cultural Expressions ◽  
Traditional Cultural Expressions

Purpose: Indonesia is protecting Traditional Cultural Expressions (TCEs) by communal Copyright Law. In the case of I La Galigo, performers used one of Bugis's ancient literary works on theatre. Bugis people believe that there was a misappropriation of Bugis culture. This paper evaluates how cultural diplomacy gives benefit to the Bugis people and how to do Copyright law support I La Galigo theatrical performers. Methodology: From a methodological standpoint, this paper used both a normative and ethnography-legal research approach in data collection. Main Findings: Any society in Indonesia including the Bugis people has the freedom to preserve and develop their cultural values. Implications/Applications: The importance of harmonizing implementing legislation in protecting performers of traditional cultural expressions is very much needed. TCEs inscription as defending protection, its dissemination including cultural diplomacy, and its utilization become three chains supporting each other for the treatment of TCEs in the future. Novelty/Originality of this study: The research of I La Galigo theatrical performance in legal particularly traditional cultural expressions perspective has never been done by other researchers.

Voices of Spectators and Audience Power

Pólemos ◽  
2015 ◽  
Vol 9 (2) ◽  
Author(s):  
Christian Biet
Keyword(s):  
Social Relationship ◽  
The Other ◽  
Long Period ◽  
The Social ◽  
The Common ◽  
Dramatic Action ◽  
The Law ◽  
The Voice ◽  
The Way

AbstractTheatre and law are not so different. Generally, researchers work on the art of theatre, the rhetoric of the actors, or the dramaturgy built from law cases or from the questions that the law does not completely resolve. Trials, tragedies, even comedies are close: everybody can see the interpenetration of them on stage and in the courts. We know that, and we know that the dramas are made with/from/of law, we know that the art the actors are developing is not so far from the art of the lawyers, and conversely. In this paper, I would like to have a look at the action of the audience, at the session itself and at the way the spectators are here to evaluate and judge not only the dramatic action, not only the art of the actors, not only the text of the author, but also the other spectators, and themselves too. In particular, I will focus on the “common judgment” of the audience and on its judicial, aesthetic and social relationship. The spectators have been undisciplined, noisy, unruled, during such a long period that theatre still retains some prints of this behaviour, even if nowadays, the social and aesthetic rule is to be silent. But uncertainty, inattention, distraction, contradiction, heterogeneity are the notions which characterise the session, and the judgments of the spectators still depend on them. So, what was and what is the voice of the audience? And with what sort of voice do spectators give their judgments?

scholarly journals The Construction of Chinese Indonesians in Ngenest Film

K ta Kita ◽  
2019 ◽  
Vol 7 (3) ◽  
pp. 302-310
Author(s):  
Yoel Christian
Keyword(s):  
Ethnic Group ◽  
Minor Characters ◽  
The Way

The thesis focuses on how Chinese Indonesians are constructed in Ngenest and why they are constructed that way. Chinese Indonesians become a scapegoat and considered bad ethnic group since they are the minority. By using the Ethnic Construction and Stereotype theory it helps me to reveal the constructions of Chinese Indonesians in Ngenest, and also why they are constructed that way. I would analyze the Chinese Indonesian major and minor characters in Ngenest. This can be revealed from the way they interact with the society in Ngenest. In conclusion, Chinese Indonesians are not accepted as one’s own in their land because of their construction as perpetual foreigners, being loyal to Chinese traditions which makes them different from the rest of the Indonesian society, and being rich by exploiting non-Chinese Indonesians. Since the Chinese Indonesians are the minority, they become a scapegoat and target of non-Chinese Indonesians in the society. Keywords: racism, ethnic construction, stereotyping, representation, Chinese Indonesians

Inside the discipline, outside the paradigm: keeping track of the New Art History

1997 ◽  
Vol 22 (3) ◽  
pp. 12-18 ◽  
Author(s):  
Lyn Korenic
Keyword(s):  
Graduate Student ◽  
Art History ◽  
Interdisciplinary Approach ◽  
Point Of View ◽  
The Internet ◽  
Historical Sources ◽  
Traditional Art ◽  
New Methodologies ◽  
The Web ◽  
The Way

From the point of view of a student of art history in the 1980s re-entering the discipline as a graduate student, the ‘new’ art history represents a dramatically wider field of enquiry involving new methodologies, although ‘old’ art history is still pursued by some academics. The ‘new’ art history employs an interdisciplinary approach which embraces materials far beyond ‘traditional’ art historical sources, and so information has to be sought outside the art library and via the Internet. Librarians responsible for supporting art history studies need to keep in touch with teachers, with curriculum developments, and with the discipline itself; it may also be helpful to get involved in staff/student use of the Web, and to collaborate with other Humanities librarians. The way in which the ‘new’ art history branches out in all directions parallels the hypertext linkages of the Web and the complexity of our globally-connected world.

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