Women’s Contestation of Traditional Space: The Existence and Identity Transformation of Ludruk in Indonesia and Makyong in Malaysia

The purpose of this study is to illustrate how branding activities can do by the police institution through traditional music art performances and puppet stories can do on youth santri in Indonesia to coincide with National Santri Day in Indonesia. The research methods carried out are qualitative with data suber, in-depth interviews, direct observations, and literature studies. The results of the study mentioned problems with police imagery and puppet art imagery. Both of these issues actually become artistic creativity that becomes police branding activities and maintains traditional puppet art, which is also almost abandoned by Z Generation in Indonesia even though puppetry is also an ancestral heritage that received recognition from UNESCO. In conclusion, branding about the police through traditional art performances and puppet stories has been able to make the activity as entertainment and at the same time a disheartce in the hearts of youth students who are studied.

<p>This paper is aimed at describing adaptive strategy used by supported community to preserve and develop <em>Jathilan</em>, Javanese traditional ritual art performance. In describing the aim, the most fundamental nature and meaning attached in the artistic performance had been studied. Qualitative method was employed through literature review and field study. This study located in Magelang Regency, Central Java. The <em>Jathilan</em> in this paper is seen as cultural identity for its supported community, that has a specific role socially and ritually. The supported community, in addition, believes that this traditional art is not only acted as an entertainment, but also a facilitator for their hopes and prays. Despite some changes have influenced the differences of style and variation in the performing art, however, the changes themselves are the manifestation of adaptive strategy had from the supported community to preserve and conserve <em>Jathilan</em> performing art.</p>

Трансформация идентичности в постмодерне создает серьезные затруднения для ориентации личности в социокультурном пространстве и самоидентификации. В обществе постмодерна сама постановка вопроса об идентичности личности является проблематической, поскольку зависит не от только реальных трансформаций личностной идентификации, но и от мировоззренческих, и методологических установок мыслителей, которые пытаются анализировать эти процессы.Целью исследования является анализ методологических и мировоззренческих оснований постмодернистской концепции трансформации идентичности личности. Методика исследования предполагает верификацию постмодернистской концепции идентичности путем сопоставления с ее фактическими изменениями личностной идентификации в культуре постмодерна.Установлено, что методологические основания постмодернистской концепции идентичности определяются методом деконструкции, разработанным французскими постмодернистами (Ж. Деррида и другие). В мировоззренческом плане постмодернизм утверждает принципиальное равенство всех ценностей и тем самым фактически обесценивает любые конкретные ценности.Методологические и мировоззренческие основания постмодернистской концепции трансформации идентичности в эпоху постмодерна являются односторонней акцентуацией на моментах релятивизма, нигилизма этого процесса в ущерб моментам субстанциональности и позитивного конструктивизма.Философия постмодернизма является превратным отражением исторической динамики общества и личности в период перехода от индустриального к постиндустриальному обществу, поскольку абсолютизирует лишь одну сторону этого процесса – разрушение традиционных социокультурных систем и структур, в том числе и личности.

Chèo is a form of traditional folk art performance of Vietnam, originated about 10 centuries ago. Cheo derives from folk music and dance, especially parody. This form is the result of artistic creation of Vietnamese peasants in northern Vietnam to Nghe An and Ha Tinh. Since its introduction, Cheo has received the attention and love among people of all classes for centuries. Quan Am Thi Kinh, Luu Binh Duong Le, Truong Vien and Kim Nham together with famous chiếng chèo: chiếng chèo Doai, chiếng chèo Bac, chiếng chèo Dong, etc. showed intense vitality and the spread of Chèo. However, along with the history of national struggle, innovation, socio-economic development, especially international integration, many new types of culture have been introduced to Vietnam while traditional art has not caught up and met the requirements of the public. It has directly contributed to weakening the values ​​of traditional culture in general and folk art including Chèo in particular. By analyzing historical and cultural documents, the article focuses on the process of formation and development of Vietnamese Chèo in history, from which to look at the contemporary of this art form and propose measures for preservation and promotion.

<p>This research aimed to describe the model of structure arrangement of Malang Mask Puppet traditional art performance as the tourism commodity. The research method used was single case study with holistic single-case study approach toward the event program done by the traditional art performance group in Malang. It is done as an effort to maintain the existence of tradition art through tourism art performance arrangement. The result was the performance structure of the story (<em>lakon</em>) of Rabine Panji in Malang mask puppet performance. Malang mask puppet has been performed in shorter duration so that it became more interesting for the purpose of tourism.</p><p><strong>How to Cite:</strong> Pratamawati, E. W. S. D. (2016). Malang Mask Puppet Presentation Structure Arrangement of the Story Rabine Panji as Cultural Tourism Commodity in Malang Regency East Java. <em>Harmonia: Journal of Arts Research And Education</em>, 16(1), 66-74. doi:http://dx.doi.org/10.15294/harmonia.v16i1.4561</p>

Discussing about traditional communication, it is commonly connected to the tradition concept, which contains a meaning that the concept is a kind of the past finding, but it is commonly reputed as a normative thing by each part of the society. Based on the explanation, it can be concluded that the definition of traditional communication is commonly connected to the folk art performance as a traditional media that is owned by a certain society, as the result it can be identified and understood that a folk art performance is owned by that society and exist as a local wisdom for the society.Therefore, it can be cleared that discussing about traditional communication is cannot be separated with the traditional folk art performance as a media, a kind of art that is based on the folk story by using media that appears and develops in a certain society. The effort of source finding of this folk story is not only purposed to be performed in the form of art performance, but also it is further expected to carry out messages from the story. Therefore, in the review of traditional communication it is emphasized to the way of carrying the messages that are contained in an art performance as a media. Therefore, this review is not discussed about the art performance furtherly. It means that the performance can use a great and luxurious background, but also can be in a simple form.South Sulawesi as a former government of the Indonesian Archipelago (the government of Gowa-Tallo and other governments that had been exist in Indonesia) has various kinds of art performance of the traditional media which are still heired for generations, where the function of traditional media is not only as an entertaining public show, but also may be a guidance because of the role of art performance which is full of messages and senses.Therefore, people who will have an art performance are commonly have to prepare their physic, mental, and psychology, moreover in fact that they will face most of audiences and have an all night (Note 2) performance. So that, in the South Sulawasi, may be in other places, before playing the role as a persistent player in an art performance, the players are commonly practice hard their skill and ability. This ability is usually completed by a mysthical thinking through the magic words or Parimbolo (Bugis’ language). In order to learn the magic words, the players commonly meet the elders, but the magic words are not directly given, but rather have to pass some rituals within certain rules such as white cloth, a cock, or by preparing black sticky rice and black cock (Ajeip Padindang in Monoharto, 2003: ix-x).

The main objective of this paper is to investigate how the interest in the value of performing arts and the awareness of the value of performing arts among local youth in Dhofar can influence their inclinations towards performing arts. Moreover, we have incorporated the perceived brand equity of the Dhofar region as a moderator in the proposed model. A structured questionnaire was administered to a sample of young residents in the Dhofar region (N = 415). The measurement instrument was developed based on the established literature concerning youth behavior, territorial branding, and the perceived value of performing arts. All items were measured using five-point Likert scales. The main theoretical constructs were operationalized as arithmetic means (composite scores) of their corresponding items: VPA (Value of Performing Arts, 9 items), APA (Awareness of Performing Arts, 10 items), YI (Youth Inclination, 11 items), and DBE (destination brand equity). Data analysis proceeded in several stages using Stata 17. The paper concludes that there is a positive and statistically significant effect of VPA on YI. Furthermore, our results confirmed that there is a positive relationship between the awareness of performing arts and youth inclination towards performing arts. Moreover, the results indicated that destination brand equity is not a significant moderator in the relationship, which means that there is no moderating effect of DBE that was confirmed on either path. This study underscores the need of preserving intangible cultural heritage by stimulating interests and developing suitable practices to make the Dhofarian youth inclined towards performing traditional arts. The findings of this study offer some policy implications to policymakers to sustain creating an interest in valuing traditional arts performance and increasing the awareness of these types of events, which are influential factors in shaping youth inclination towards performing traditional arts. The study suggests that generating awareness is vital in creating the intention among local youth to perform traditional arts. These findings suggest that policymakers provide support for traditional art performances by devising an institutional policy that provides structural support to increase interest and awareness. The paper is an original contribution as it has provided insights into how the extent of the interest in the value of performing arts and the awareness of the value of performing arts could influence the inclination of local youth to perform art activities in the Dhofar region. Secondly, this study explores whether perceived brand equity moderates this relationship.

Traditional theatrical performance art is a valuable cultural asset in every region. Various performances of modern art have eroded traditional art into blurred and even invisible. The current globalization makes the existence of traditional art lose its true symbolic meaning because artists or artists prefer to follow the market in the process of cultivation. The traditional art of Sandur that still survives by prioritizing grip and symbolic things is the art of Sandur Ronggo Budoyo hamlet, Randu Pokak village, Prunggahan Kulon district, and Semanding Tuban district. The author is interested in researching this because some aesthetic things are studied from the symbolic study of the art of Sandur Ronggo Budoyo. This research uses a qualitative method with a case study approach—descriptive data analysis techniques with data reduction stages, data presentation, and inference. The informants in this study were government, community leaders, traditional art practitioners, and Sandur artists.

Celebrated as 'China's Tom of Finland', Xiyadie is probably one of the best-known queer artists living in China today. His identity as a gay man from rural China and his method of using the Chinese folk art of papercutting for queer artistic expression make him a unique figure in contemporary Chinese art. As the first academic article on the artist and his works, this article examines Xiyadie's transformation of identity in life and his representation of queer experiences through the art of papercutting. Using a critical biographical approach, in tandem with an analysis of his representative artworks, I examine the transformation of Xiyadie's identity from a folk artist to a queer artist. In doing so, I delineate the transformation and reification of human subjectivity and creativity under transnational capitalism. Meanwhile, I also seek possible means of desubjectivation and human agency under neo-liberal capitalism by considering the role of art in this picture. This article situates Xiyadie's life and artworks in a postsocialist context where class politics gave way to identity politics in cultural production. It calls for a reinvigoration of Marxist and socialist perspectives for a nuanced critical understanding of contemporary art production and social identities.

Minangkabaunes art performance which is played by women, both traditional and modern(contemporary) art performance, is a change in Minangkabaunes culture life. We know that Minangkabaunessociety uses matrilineal system. It means that women have special position, especially in keeping“Minangkabaunes culture moral”. Women were like “the center of Minangkabaunes culture” as revealedin a proverb “pusek jalo pumpunan ikan”. In Minangkabaunes culture tradition, women are limited toexpress their selves in public art performance. Moreover, in professional art performance, it seems to beforbidden. Women only performed often in culture activity which was part of Minangkabaunes traditionalceremony. But the world changes, and so does Minangkabaunes society. In these four last decades, manyMinangkabaunes women have performed in Minangkabaunes art performance like bagurau saluangand dendang show. It is an interesting phenomenon in Minangkabaunes culture. The development ofMinangkabaunes women in show art reflects the change and movement in Minangkabaunes culture whenit is related to Minangkabaunes matrilineal culture tradition. There were many rules in Minangkabaunesculture which forbid women to perform in art performance activities. But now, that forbidden rule hasbeen a part of reality in Minangkabaunes culture itself. Keywords: Women, art, change

Main problem is whether gender justice and equality in art performance, mainly in traditional art performance, have become central issues in efforts to socialize and as a gender mainstream in Education, Law, Economy, Politic, and Social. In general and traditional art performance, woman always involved, especially the main actresses in various art performances, they are adored both as ‘diva or idol’ who are able to attract people and also are humiliated because, in some occasions, she shows her over-sensuality so that it humiliates her dignity as a woman. The both positions generate a number of questions about position of gender mainstream and its advocating.

Main problem is whether gender justice and equality in art performance, mainly in traditional art performance, have become central issues in efforts to socialize and as a gender mainstream in Education, Law, Economy, Politic, and Social. In general and traditional art performance, woman always involved, especially the main actresses in various art performances, they are adored both as ‘diva or idol’ who are able to attract people and also are humiliated because, in some occasions, she shows her over-sensuality so that it humiliates her dignity as a woman. The both positions generate a number of questions about position of gender mainstream and its advocating.

Main problem is whether gender justice and equality in art performance, mainly in traditional art performance, have become central issues in efforts to socialize and as a gender mainstream in Education, Law, Economy, Politic, and Social. In general and traditional art performance, woman always involved, especially the main actresses in various art performances, they are adored both as ‘diva or idol’ who are able to attract people and also are humiliated because, in some occasions, she shows her over-sensuality so that it humiliates her dignity as a woman. The both positions generate a number of questions about position of gender mainstream and its advocating.

1949年，當國民黨主導的中華民國政府撤退至台灣後，在圖謀反共復國計畫的同時，作為反共復國三大主力之一的華僑，自然成為當年國民黨急欲拉攏的合作對象。過去國民黨憑藉龐大的海外黨部組織，可輕易向華僑進行宣傳，並進一步獲得支持。但經歷二戰與國共內戰後，許多海外黨部與黨中央失聯，或停止運作，造成1950年代國民黨在爭取海外華僑支持前，必須先重整失序的海外黨務。 1950年，國民黨正式成立中央改造委員會推動黨務改造運動，海外黨務改由中央改造委員會第三組專責處理。當時的第三組主任由鄭彥棻擔任，鄭擔任主任的時間長達十二多年（1950-1962），在他出任主任後便積極重整失序的海外黨務，並同時推動海外黨務改造運動。楊建成認為鄭彥棻主持海外黨務的十二年間，可稱為「海外黨務復興」時期。 本研究依重大事件將海外黨務復興運動時期其大略分為三個時期：（一）海外黨務改造時期；（二）「加強海外工作方案」的提出；（三）「海外對匪鬥爭工作統一指導委員會」的成立。不論在哪個時期，鄭與第三組在推動海外黨務復興運動時，都必須面對僑居國政府對華僑與國民黨的非難，其中又以東南亞國家最為嚴重。東南亞地區一向為國民黨海外黨部的重點發展區，但由於二戰後東南亞各國民族主義興起，許多地區紛紛出現排華事件，使得國民黨在1950年代推行海外黨務復興運動時，必須面對比以往更加棘手的環境。 另外，1950年代國民黨發展海外黨務時，同樣被捲入國際冷戰局勢之中。海外黨務一向與僑務、外交、情報交互合作，因為冷戰的關係使「美援」也加入國民黨的海外工作中，使當代的海外黨務更顯複雜。 然而，縱使海外黨務有美國方面的援助，仍不敵海外華僑認同的轉變，以及各僑居國政府的打壓。海外黨務復興運動曾多次修正路線，不斷成立新組織主持海外黨務發展，但所獲得的成果卻相當有限，且亦無法改變各海外工作單位合作不良的弊端；同時也讓國民黨在海外與中共鬥爭過程中背上干預他國內政的罪名。而國民黨在不斷修正海外黨務路線的過程中，更意味著其對海外黨務的主動性逐步減弱；不斷成立新組織主持海外黨務發展，也同樣意味黨中央第三組對海外黨務的掌控力道日漸減弱，不再做為國民黨整體海外工作的領導角色。

I. IntroductionIn the Sleman region, there are many art forms having an Islamic nature. The Islamic nature is indicated by, among others, the use of the musical instrument called terbang or rebana accompanying vocal text containing Islamic hymns or elements of dakwah (preaching). Thus, they are performing art forms using musical elements and they are, among others, called Badui, Santiswara, Larasmadya, Emprak, Kobrasiswa, Angguk, Dolalak, Mondreng, Rodat, Slawatan Maulud, Berjanjen, Samroh, Hadroh, Kuntulan, and Trengganon. All these art forms, whether they are dramatic, dance, or musical art forms, are Javanese art forms showing the influence of Islam. Murgiyanto [1993] says that the Islamic influence in the Indonesian performance arts with musical elements is felt through two aspects: content or message and instrument.At first, the type of Javanese performance art using terbang as its musical intrument was called Slawatan. However, when it spread and developed from region to region, each region showing the influence of Islam varies in name but remains uniform in musical instrument [Soedarsono, 1994]. Basically, the Islamic nature only goes as far as load or content in a Javanese art form because the dramatic, dance, and musical technique itself is not present in Islam. The varieties of movement in the dances called Badui, Trengganon, Japin, Angguk, and others have not been shaped through Islamic norms. The Macapat chorus in the Larasmadya and Santiswara music is not any vocal originating in Islam. The art form called Srandhul, a folk drama incorporating elements of dakwah into it self, is not a dramatic art form shaped through Islamic dramatic concepts. Thus, all the above art forms are Javanese art forms having inserted Islamic messages or containing elements of dakwah.A form of performance art is said to contain elements of dakwah when it contains invitations to behave in accordance with the rules of Islam by being fearful of God, by being dutiful to people considered older, by inviting others to pray, by emulating the actions of the Prophet Muhammad, and so on. In addition, the reading of verses from the holy book Al Qur'an, the utterance of greeting and sholawat to the Prophet Muhammad are all found in Islamic Javanese arts. These performance forms bearing messages of being Islamic have lasted for generations [Sedyawati, 1995]. And they have their own supporting communities in their respective regions. Therefore, these art forms count as included in the treasury of traditional arts in existence in the Sleman geocultural region.The communities supporting the traditional arts in the Sleman geocultural region frequently take the social action of conversion or transfer from one genre of art to another for a certain purpose. Performers in some traditional arts have been known to make a conversion to some other traditional arts. Some of them have made a conversion from Wayang Wong Purbawanara to Jathilan, from Karawitan to Campursari, from Kethoprak to Wayang Kulit, from Samroh to Hadroh, and from Slawatan Maulud to Larasmadya, for example.Parsons [1974] mentions that social action has a social framework. The framework is a schema consisting of five basic elements, namely, (1) the actor, who acts deliberately and with awareness, (2) the goal, which is the place to which the actor's action is directed, (3) the means, which is the instrument for achieving the goal, (4) the value orientation, which makes the actor determine the choice and goal of doing the social action, and (5) the actor's biological condition and social situation. These five elements influence each other in a certain sense. Each actor taking a social action has a consciousness also influenced by the biological condition and social situation of the actor concerned. That is not the end of the matter because an actor taking a social action is also influenced by the means that the actor would choose to achieve the goal of the social action. …