Performance Art Research Articles

Study on the Dissemination Path of Song and Opera Non-Heritage in Short Video Ecology--Taking Henan "Ma Jie Shu Hui" as an Example

Traditional Chinese performing arts, with their profound history and rich cultural heritage, constitute an important part of China's intangible cultural heritage. The emergence of short videos has expanded the space for the performance and inheritance of traditional arts, facilitated the construction of cultural communication rituals, and reshaped the atmosphere of cultural exchanges. This provides a new pathway for the dissemination of traditional Chinese performing arts, which are centered on "rap and sing" performances. By analyzing the dissemination of the world's largest traditional Chinese performing arts exchange conference, "Majie Shuhui," on the Douyin platform, this paper reveals limited creative forces and a lack of innovation in dissemination content, resulting in insufficient overall dissemination effectiveness. Therefore, based on a comprehensive consideration of the characteristics of short videos and the dissemination of traditional Chinese performing arts, it is believed that the dissemination effect of short videos on traditional Chinese performing arts can be further enhanced through three aspects: incubating high-quality personal IPs, optimizing video quality, and tapping into emotional values.

Investigating the Link between Flow, Perceived Feedback and Performance in Art

The current study set out to investigate the effect of flow experienced during artistic activities on performance. Furthermore, the study looked into how the relationship between flow and performance was affected by a moderating variable, namely the perceived feedback given by art teachers. Based on a non-experimental cross-sectional model, the research included a sample of 108 students of various art degrees. The results suggested that flow predicts performance in art (ΔR2 = .10, p < .001), while perceived feedback acts as a moderator on the link between flow and performance (F(3, 104) = 11.17, p < .001), having a buffering effect and not an enhancing effect as this study initially proposed (ΔR2 = .057, β = -.24, p < .01). Moreover, a separate moderation analysis was performed for each subscale of the perceived feedback measuring instrument. Some possible explanations of the buffering effect are presented based on the scientific literature.

Menggali Potensi Daerah Dengan Pengembangan Potensi Kesenian Serta Edukasi Wisata Melalui Program KKNT di Desa Carangwulung

Every country has distinctive characteristics that become selling points in terms of economy and infrastructure, including small regions such as districts, sub-districts, villages, and hamlets that need to be developed to be more widely known. These distinctive values, including natural potential, plantation products, micro-businesses, tourism sectors, and arts, are important for regional existence. Carangwulung Village in Wonosalam Sub-district, Jombang Regency, has high natural potential such as durian, salak and coffee. Located in the highlands, the village excels in plantations. The tourism sector stands out with its beautiful environment and friendly people, making it an ideal destination for tourists. Plantation products are processed into high-value products through MSME businesses that prioritize quality. Arts potential, such as Gamelan, Jaranan, and Remo Dance, are also preserved. The community service program focused on the development of arts and tourism in Carangwulung Village, including the "Selepas Senja" art performance and tourism. The research used a qualitative descriptive methodology, collecting data through observation, interviews and FGDs. The findings show the importance of preserving and promoting local coffee culture and traditional arts to attract tourists. The eco-tour involved 10 UPN "Veteran" East Java students and the local community.

Art performance as a political communication tool in Indonesia: beyond the stage

PurposeThis retrospective phenomenological case study examines the experiences of 18 politicians who participated in a political campaign using performing arts and artists in a regional heads and legislators in Indonesia. Also, the role of Gandrung art as a performing art is becoming a political communication tool for political actors in Indonesia.Design/methodology/approachThis study employs a retrospective phenomenological case. The informants recruited were 18 politicians who have local, regional and national political levels. The participants were interviewed about their experiences of campaigning using traditional performing arts as a form of political communication. Data collection techniques used in this study include interviews and photo documentation during the campaign process to triangulate findings.FindingsBased on a case study analysis and through thematic analysis, this research reveals three emerging themes which indicate that performing arts function as political communication tools in three significant ways: (1) as a form of artistic expression for conveying political messages through movement and the use of dancer costumes; (2) as a medium for showcasing cultural identity and representation as a form of concern for the local culture of voters; and (3) as a means to garner mass appeal and propagate political propaganda.Research limitations/implicationsThe study has two limitations. First, the study only interviewed a small number of participants. Thus, generalization for wider contexts of politicians is not possible. Second, the study focuses on examining the voice of politicians and analyzing it using thematic analysis.Originality/valueThere is a scarcity of research that specifically focuses on uncovering the perspectives of politicians who employ performing arts as a political communication tool. This study contributes to the understanding that art performance is inherently non-neutral, highlighting how performing arts can actively engage in political communication by conveying messages, shaping cultural identity and influencing public opinion in the context of Indonesia.

Shakespeare at large: law and the First Folio

ABSTRACT This special issue brings together several essays that celebrate the quadricentennial anniversary of the publication of Shakespeare’s First Folio in 1623. Following on from the 2023 Law and Humanities roundtable, the articles in this special issue adopt an interdisciplinary stance and lie at the crossroads of law, literature, history, and performative arts, with the First Folio acting as a crucial driver. Marking the quadricentenary of the First Folio allows the authors to discuss several issues related to its publication, such as questions of identity, authorship, and copyright.

Approaching actor training in nature

In July of 2022 following a public call for participation, a collective of South West undergraduate and graduate performance artists came together in order to participate in a residential summer school responding to the theme of actor training in nature. Drawing on research in the field of cognition studies, the study adopted micro-phenomenological interview techniques to capture and analyse participant experience. Data reveals that training techniques when situated within land and seascape – coupled with use of micro-phenomenological interviews – supports greater sensitivity to the sensorial experience of nature, attunement to natural environments and different living species, the promotion of ecocentric thinking, and positive behaviour change continuing beyond the residential experience. The study offers readers critically reflective insight into summer school performer-training production processes guided by eco-feminist and egalitarian principles, situated in the rural South West of England, UK.

MAPPILAPPAATTU AND OPPANA: AN ANTHROPOLOGICAL NOTE ON MAPPILA SONGS AND PERFORMING ART

The Muslim population of Kerala state is known as the Mappilas. The community is formed due to commerce between the Arabians and the Malabarians. Indigenous culture had a significant effect on Mappila's arts and ceremonies. The Mappilas created a distinctive cultural pattern that encompassed a variety of artistic aspects, including their traditional song, Mappilappaattus, and one of the most exquisite performing arts, Oppana. Most scholarly research on Mappilas is historical and ignores anthropological elements like arts and rituals. Thus, this essay aims to offer an anthropological perspective on Mappila songs, known as Mappilappaattu and the performing art of Mappila women, known as Oppana. While examining the nature of Mappilappaattus and its many genres, this research highlights that the secularised Mappilappaattus, which was primarily romantic in substance, drew people from beyond the Mappila community. Oppana also had a secular and romantic tone, which appealed to the public. The popularity of Mappilappaattus and Oppana can be explained, for example, by looking at the history of Malayalam films. Mappilappaattu and Oppana were staples of Malayalam film from the beginning of the 1950s.

Kendine Zarar Verme Davranışının İnşa Edilmiş Doğası: Eleştirel Bir Değerlendirme

Despite the increasing interest in self-harm behaviors after 1980, comprehensive approaches regarding the definition, classification, reasons for preference, and motivations that sustain such behaviors have not been established. This situation has led individuals who engage in self-harm behaviors to encounter negative attitudes and behaviors such as stigmatization and unqualified service provision. In order to minimize negative attitudes and behaviors, all professional groups who are in contact with individuals engaging in self-harm behaviors need to consider their own personal, cultural, political, and intellectual backgrounds. The aim of the current study is to discuss the ambiguity, fluidity, and permeability of the boundaries between pathologically classified self-harm behaviors and socio-cultural or artistically approved self-harming acts. In this regard, definitions of self-harm behaviors have been critically evaluated to encourage awareness of the socially constructed nature of self-injury and to call for reflective practices. Self-harming acts embedded in literary texts, cultural practices, and art performances have been explored for this purpose. As a result, there are multiple individual and cultural meanings attached to what self-harm is, and no meaning takes precedence over the other because all meanings are historically and culturally relative. When this relativity, contextuality, and fluidity are understood, it will be realized that self-harm behaviors are not marginal but even common human experiences. This awareness can enable reflective and empathic practices that are important in increasing individuals’ self-care capacities and enhancing their well-being in self-harm behaviors.

Autoethnographic Memoirs of Rimba Resonance Vibes Ensemble Festival Performances

Marimba music performance practice has emerged globally in hundreds of marimba ensembles since the Kwanongoma marimba was designed in Bulawayo in the 1960s. The purpose of the study is to explore, the situation of marimba performance within Zimbabwe from an emic perspective. The country has a fledgling economy which is a push factor leading to the problem of about eighty-five percent of the population intending to relocate to other countries. This has not spared the marimba music industry as numerous marimba builders, performers and tutors have already, or intend to migrate. In this autoethnography I present perspectives on my marimba music performance experiences at local and regional festivals in Zimbabwe and South Africa. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s performances, describe the culture of Zimbabwe marimba music performance practices, and reflect on various permutations of the practice in which the art has been kept alive in Zimbabwe in the wake of a brain drain. The findings show multiple challenges that we face as marimba musicians. There is a glaring need for agency and advocacy to sustain the art of marimba music performance by bands based in Zimbabwe.

Dissemination of Marimba Performance Skills through Workshops: The Case of Rimba Resonance Vibes Ensemble

The Zimbabwe Marimba music performance has been disseminated both locally and globally, transcending national barriers since the Kwanongoma marimba was designed in Bulawayo in the 1960s at the United College of Education. There has been a phenomenal rise in marimba performance activities in Europe and America, while there is relative calm in Zimbabwe where the marimba was designed. This study chronicles my role in the dissemination of marimba performance within Zimbabwe with Rimba Resonance Vibes Ensemble from an insider perspective. The lull in local activity is largely due to the country’s socio-economic struggles which have led to marimba instructors, lecturers, tutors, and performers leaving for greener pastures. A yawning gap now exists, and the agency role is critically needed so that there are deliberate efforts to pass marimba performance knowledge and skills to the next generation, and conducting workshops is one way in which applied ethnomusicologists can advocate for the continuity of this culture. This paper is an autoethnographic account of my role in teaching marimba music performance experiences at marimba workshops in Zimbabwe. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s marimba workshops, describe the situation in Zimbabwe marimba music performance practices, and reflect on the nature of practice, skills development, and education. The paper reveals the concerted effort that marimba teachers need to invest to ensure the survival of their art in the future. There is a glaring need for action and dissemination to sustain the art of marimba music performance by bands based in Zimbabwe.

POTENTIAL OF METAVERSE TECHNOLOGY FOR THE ARTISTS OF PERFORMING ARTS IN INDIA

POTENTIAL OF METAVERSE TECHNOLOGY FOR THE ARTISTS OF PERFORMING ARTS IN INDIA

Гас Брюле и его соперники в искусстве пения и любви: исполнение песни на концерте

In the lyrical songs of Gace Brulé, one of the first French trouvères (probably born c. 1159 and died after 1213), a performance art orientation is obvious: his songs in many cases allow us to recreate the conditions of their performance; it follows from them that the poet addressed not only the lady, but also a gathering of listeners, among whom were his patrons and other poets, and Gace more than once emphasized his rivalry with his brothers, challenging them to competition; such songs account for more than two-thirds of those attributed to him in H. Petersen Dyggve's edition. The theatrical expressiveness of Gace's poetry is due to the fact that in his collection of poems, as well as in other's poets of the late 12th and even later times, the lyrical song and jeu-parti, formed, like the Provençal tenson, by the dialogue of interlocutors, are not completely differentiated: his collection poems includes only one jeu-parti, consisting entirely of dialogue — perhaps the earliest example of this genre in the poetry of the trouvères — while elements of argument with other poets are integrated into the songs.A comparison of Gace's songs with the songs of his contemporaries and younger contemporaries (Blondel de Nesle, Châtelain de Coucy, Thibaut de Champagne, Richard de Fournival) shows that his orientation towards performance art is much more pronounced than that of other trouvères of his time. Gace is superior in this regard to those troubadours whose songs also contain appeals to patrons or other poets presumably present among the listeners — like Guillaume IX d'Aquitaine' songs to «friends» (n 1-3) or some of Bernard de Ventadorn' songs addressed to «seigneur» (gentlemen); however, such songs constitute a significantly smaller part of their heritage compared to Gace. The theatrical expressiveness of Gace’s songs is created, in addition to numerous addresses to listeners or other poets, by the dialogues of imaginary interlocutors included in them. We can conclude that the characteristic features of Gace’s poems correlate not only with the history of small genres — jeux-partis and songs, the contours of which had not yet developed in the poetry of the trouvères of his time, but also with the peculiarity of his talent.

PELATIHAN DAN PEMBERDAYAAN MASYARAKAT DALAM PENGELOLAAN SAMPAH PLASTIK UNTUK MENDUKUNG EKONOMI SIRKULAR DI DESA SESETAN

The village of Sesetan is known to have high artistic and cultural value in Bali and has been worldwide, with communities engaged in art and culture for a long time. The art of carving, barbecue performances, and carving is very popular with tourists. However, an increased standard of living leads to increased plastic waste, which is difficult to clean, disturbing appearance, and a source of disease. Information about how to turn plastic garbage into a high-value product is crucial to society. In Sesetan Village, a team of lecturers from the University of PGRI Mahadewa Indonesia conducted a Social Bakti to socialize and encourage people to transform plastic garbage into innovative and creative products. As a result of this activity, people learn how to manage plastic garbage, how to use it to make bags and pots of crops, and to make artworks of "Barong" and eyelashes from plastic trash.

Bentuk Penyajian Kesenian Didong Grup Musara Bintang di Desa Linung Bulen II Kecamatan Bintang Kabupaten Aceh Tengah

This research is entitled "Forms of Presentation of the Didong Arts of the Musara Bintang Group in Linung Bulen II Village, Bintang District, Central Aceh Regency". The author examines the form of presentation of Didong art by the Musara Bintang Group in Linung Bulen II Village, Bintang District, Central Aceh Regency. The research method used is a descriptive qualitative approach. Data obtained in the field used observation, interview and documentation techniques.The theory used in this research is the presentation theory from Djelantik's theory which states that form is the basic element of manifestation. In the form of presentation, it means that form is a fundamental element of a performance. These elements include artists, musicians, seating formation, movement, songs presented, costumes, performance venue, and audience. Based on the results of research in presentation, Didong art is played by 15 people consisting of: 1 Ceh Apit (Ceh Companion), 1 Main Ceh, and 2 Penepok Pumu and 2 Penepok pillow splits, each of which acts as a pillow act, split pillow , and 9 players who act as penepok/penunung (followers). The Didong art performance consists of 9 stages, for the costumes the players wear black unity t-shirts with the words "Musara Bintang" written on the chest and wear a headband called Jembolang.

Research on The Innovative Development of Digital Media Art in The Era of Artificial Intelligence

From desktop design to virtual imaging, digital media art has jumped beyond the "screen" and undergone tremendous changes in the past few decades. Its application fields have also shifted from the initial graphic design and film and television special effects to display design, military, geography and other fields. Digital media art brings novel audio-visual experiences and provides convenience in life. Human activities are closely connected with digital media. Digital media art relies on digital media technology to artistically display creativity, which has a profound impact and is crucial to the development and growth of cultural and creative industries. In order to explore the characteristics and future development of digital media art, this article uses interdisciplinary research methods, comparative research methods, literature research methods, etc. to understand the relationship between digital media technology and artificial intelligence, from the perspectives of technology, communication, and art Let’s observe the current performance of digital media art as it becomes more and more intelligent, find out the problems and solutions hidden under the wave of intelligence, and explore the innovative development strategies of digital media art.

MAH MERI’S MAIN JO-OH (HARI MOYANG PUJA PANTAI RITUAL DANCE): FROM TRADITIONAL TO A TOURISM ART ENTERTAINMENT

Hari Moyang Puja Pantai is the traditional ritual still being practised by the Mah Meri indigenous tribe in Malaysia. The ritual celebrated is to seek protection, forgiveness and requests for a better fortune and faith of life for the next new year to come. From their ancestorial spirits and ancestors. On this note, this study emphases only the ritual dance named Main Jo’oh demonstrated during Hari Moyang Puja Pantai ritual ceremony. Focusing on the capability of Main Jo’oh ritual dance transforming into the art of dance performance as a tourism perspective. The research objective that will be discussed is, to identify and explore the capability of this Main Jo’oh ritual dance through dance performance of Poetics Method by Aristotle, as an art of dance to the tourism art performance. It is a qualitative method, emphases on observation approaches. Using the Poetics Method by Aristotle as instruments for data collection and analysing process. The sacredness of this ritual setting has been deconstructed into the element of tourism setting. In the sense of the crowded spectators: tourists and media, who at this extent establish the concept of Main Jo’oh is an art of tourism art of entertainment. Drawing the Aristotle Poetic to the notion of Main Jo’oh ritual dance, interestingly, the six Poetic structures designed by Aristotle did not signify the element of SETTING as part of the structure. Which to the ritual ceremonial, the element of setting contributes to most important structure to the ritual dance such as Main Jo’oh.

The Art of Chinese Suona Performance from an International Perspective: An Exploration of Cross-cultural Communication and Educational Value

The Art of Chinese Suona Performance from an International Perspective: An Exploration of Cross-cultural Communication and Educational Value

CABOCLINHO AND THE TEACHING OF INDIGENOUS HERITAGE THROUGH DANCE

The caboclinho is an artistic performance that combines elements of dance to narrate the stories of warriors and heroes, strongly influenced by indigenous culture. This performance embodies the historical ancestry of the Brazilian nation and serves as an expression of popular culture with a century-old tradition, with dance as its identifying element. The general objective of this article is to reflect about caboclinho dance as a useful element for teaching indigenous culture, conducted through bibliographic research. The findings indicate that caboclinho, through the body and within the context of art education in dance, contains elements, signs, and symbols useful for strengthening the teaching of indigenous heritage and Brazilian cultural identity, thereby demystifying foreign influences in Brazil. Consequently, caboclinho dance can be incorporated into the arts curriculum, presenting concepts, definitions, and necessary tools for decisions related to the conservation of indigenous heritage. It also encourages those interested in studying popular culture, meeting the requirements set by Law 11.645/2008.

Application of social entertainment robots based on machine learning algorithms and the Internet of Things in collaborative art performances

In terms of control strategies for social entertainment robots, advanced control system design was adopted in the study, aiming to enable robots to achieve efficient collaborative art performances. The control system is based on machine learning algorithms and Internet of Things technology, combined with the application of sensing technology, providing accurate environmental perception and real-time feedback mechanisms for robots. Considering the collaboration and interaction between robots and human actors, control strategies adapted to different scenes were designed by analyzing and understanding the needs of artistic performances. These strategies not only consider the robot’s own actions and performance, but also the interaction with human actors and the coordination with the entire performance scene. The control method in this article combines machine learning algorithms and sensing technology to enable robots to make intelligent decisions and action planning by learning and perceiving real-time environmental information. By modeling and simulating the structure and characteristics of the robot, precise planning and control of the robot’s motion trajectory can be achieved. Through dynamic modeling, it is possible to better understand the motion characteristics and energy consumption of robots, and to adjust and optimize their actions during the performance process.

Deliberate Starvation: Hunger Artists in Kafka, Różewicz, and Sinking Ship

How can a negative action, the decision to abstain from food, be enacted on stage? Examining hunger as a conscious choice to avoid food for spectacle rather than an unwanted need arising from lack of basic nourishment, this article illustrates several ways to make hunger visible in performance. Through the critical lens of actor-network theory (ANT), hunger’s apparently scarce dramatic action is shown to be framed by and networked with the performance of several other human and non-human actors. Case studies chart a process of “translation” of the typical hunger artist performance from its historical examples to its contemporary theatre-within-the-theatre adaptations. In the West, self-inflicted starvation became a form of entertainment more distinctly in the late nineteenth century, when living skeletons and hunger artists were shown at circuses, fairs, and amusement parks, and produced income for themselves and their impresarios. Franz Kafka’s short story “Ein Hungerkünstler” (“A Hunger Artist,” 1922) looked back at the history of the profession, identifying the main components of the spectacle of hunger. Polish playwright Tadeusz Różewicz turned the short story into a play, Odejście głodomora (The Hunger Artist Departs, 1977), exploring the potential for dialogic interactions at the textual level and developing side-characters only implied by Kafka. By contrast, the contemporary NYC-based company Sinking Ship created A Hunger Artist (2017), an adaptation that expanded the short story’s theatricality around a single performer who plays multiple characters with the aid of all the resources of theatre, from puppets to audience members “enrolled” in the show.