Performance Art Research Articles

지역 문예회관 활성화에 미치는 영향요인 분석: 지역 특성 요인의 유의성 검증

This study aims to analyze the factors that influence the revitalization of local cultural and arts centers, which have been established to foster regional cultural development and enhance the cultural lives of local residents, within the context of past decentralization efforts and recent emphasis on balanced regional development. Specifically, the study examines the significance of various social and economic conditions affecting local area, such as population decline, regional extinction, aging populations, youth outmigration, and economic slowdown, on the revitalization of local cultural and arts centers. By investigating the causal relationship between the current limitations of local areas and the activation of local cultural and arts centers, the study seeks to propose future strategic directions for regional cultural policies to enhance the vitality of these centers. The research employs a panel regression analysis on data from 53 local cultural and arts centers in small and medium-sized cities, using performance-related data from 2016 to 2020, as detailed in the Board of Audit and Inspection's report on the Status of Population Structure Change III(Local Administration). The analysis reveals that higher operational expertise, achieved through the residency of professional performance groups and the employment of specialized personnel for performance planning and related projects, as well as higher operational capacity for hosting and planning both fine and popular art performances, positively impact the revitalization of local cultural and arts centers. However, regional characteristics were found to have no significant causal relationship with the activation of local cultural and arts centers. Consequently, to enhance the activation of cultural and arts facilities, including local cultural and arts centers, local areas should not remain constrained by their current physical limitations or social and economic issues. Instead, efforts should focus on developing regional culture through the branding of cultural and arts facilities, facilitated by necessary changes in systems and policies that allow for the continuous infusion of professional personnel and high-quality art programs into local cultural and arts centers.

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.

Installation: Environmental Awareness through Multiple Artistic Performances

Installation: Environmental Awareness through Multiple Artistic Performances

Syair in the Life of Contemporary Malays in Singapore

Syair, a form of traditional Malay poetry believed to have been adapted from the Persian or Arab civilization, has been a popular performative art in the Malay world, including Singapore. It has evolved since its first introduction to the Malay Archipelago with the coming of Islam, and what constitutes as syair today is a culmination of its language structure, aesthetics, and depth of author’s insights as a form of the Malay community’s creative art. Once prevalent amongst the Malays until the 1970s, syair has significantly declined in popularity with the emergence of modern poetry and printed prose, and modern-day forms of entertainment, among other things, though it is still familiar to the urban and contemporary Malays in Singapore. Based on the data collected from a research project (2018 to 2020) in Singapore, this paper demonstrates that syair in the form of rare hikayat (tales) texts and manuscripts are still kept as personal collection and family heirloom. Albeit dwindling in number, the art of syair recital is slowly eroding if not for individuals who perceive the preservation of syairtexts and the art of syair recital as their honourable responsibility, akin to preserving the Malays’ social memory and collective wisdom.

Ukraine – ASEAN: new opportunities for strengthening partnership

The article provides a comprehensive scientific analysis of the current state of relations between Ukraine and ASEAN. The article considers promising areas of cooperation between them in the areas of food, agriculture, digitalisation, trade, energy, disaster management, demining, and socio-cultural cooperation. The author outlines Ukraine’s advantages in the field of agriculture and its ability to make a significant contribution to the sustainable supply of products to the ASEAN markets, given the production potential that far exceeds the needs of the domestic market. The article considers Ukraine’s readiness to share its experience in the field of digitalisation, given the existence of successful projects, such as the Diia mobile application developed by the Ministry of Digital Transformation of Ukraine in 2019; the ‘Trembita’ system for electronic interaction of state electronic information resources; and experience in disaster prevention. And to learn from the experience of ASEAN member states in demining agricultural land in de-occupied communities, given their unique experience in demining in Cambodia, where years of war left a significant number of mines. It is proposed to develop and strengthen partnerships between the parties in the socio-cultural sphere to promote contemporary Ukrainian cinema, music, theatre, performance, literature, classical and contemporary fine arts. A separate area of this sphere is the promotion of the Ukrainian language among ASEAN countries, as well as the promotion of Ukrainian cultural heritage and projects in the field of culture and art of indigenous peoples and national minorities, including the promotion of Crimean Tatar culture in ASEAN countries.

Minimalist Art and the Iconization of Trees in Waiting for Godot

The minimization of performance art is aimed at presenting human darkness and innocence in a philosophical interpretation. This is what Samuel Beckett presented in his 1953 performance Waiting for Godot. Art minimization makes the number of props less, but is able to visualize the desired thematic of the script. This minimalism, which is supposed to display simplicity, becomes more “luxurious” due to the presence of iconic things from absurd performances. In the midst of the minimalist, gloomy, and arid decorations in Waiting for Godot, the tree becomes the center of attention. This tree becomes something very iconic and will strongly remind the audience of the show. The process of something becoming iconic is called iconization, which is a “deliberate” process. Beckett allegedly deliberately iconizes the tree, with a number of realities in the text (textual) and the reality of the performance (atmospheric). This iconization and minimization is intended to make the performance more basic and simple, less philosophical and metaphysical. This article is the result of an analysis of several texts written by Samuel Beckett.

Performance Artist with an Infatuation for Nature

Performance Artist with an Infatuation for Nature

Performance and Feminist Collectivizing

On November 23, 2022, three original core members of the all‐woman art collective DISBAND—Ilona Granet, Donna Henes, and Martha Wilson—sat down to discuss the therapeutic effects of collaborative performance, the role of comedy in addressing traumatic topics, and the activist potential of feminist collectivizing. Between 1978 and 1982, DISBAND performed in a diverse cultural circuit in downtown New York City where the burgeoning performance art, no wave, and feminist art scenes collided. The multidisciplinary backgrounds of the women in DISBAND matched the hybridity of this cultural circuit; other members included Barbara Kruger, Ingrid Sischy (former editor in chief of Artforum), Diane Torr (performance artist, drag king, and gender activist), Barbara Ess (photographer and member of the no wave band Y Pants), and Daile Kaplan (photographer and drummer of The Gynecologists). The women of DISBAND approached the song format fluidly, combining hymn, anthem, cheer, and protest movement (stomping, chanting, clapping) with rapid‐fire improvisation. DISBAND's songs reflected the members’ personal and collective political concerns, often focusing directly on female oppression. The women's use of costumes, role‐playing, and DIY instruments brought levity and playfulness to what they describe as an apocalyptic moment.

A report of research on the digital human and digital medicine in China

The progress of science and technology has provided new methods and means for modern medical research, providing strong support and guarantee for modern clinical medicine. Science and technology have not only changed the traditional methods of surgery, but also changed the behavior and service mode of healthcare. The promotion and popularization of digital humans and digital medical research in China have been comprehensively applied in medical education, clinical medicine, aerospace, automotive manufacturing, sports, and artistic performances. This is a new thing, an emerging technology, and a brand-new undertaking.

Collaborative songwriting as and for artistic activism

This article explores collaborative songwriting as a form of artistic activism – the creation, performance and/or distribution of art to advance social justice – and demonstrates its potential both in terms of the process of songwriting and the songs that result from it. In doing so, it compares two songwriting workshops facilitated as part of Sex Worker’s Opera (SWO), a grassroots musical theatre project by and for sex workers, drawing on participant observation, archival research and music elicitation interviews. In unpacking the contingent nature of this potential, it evaluates the practical significance of different intentions and material constraints, approaches to fostering ownership and solidarity, and the balance between structure and freedom in facilitating the workshops. Critically, the findings suggest that public engagement, alongside a commitment to community leadership, can help to harness the activist potential of the practice. Looking at how collaborative songwriting can function as and for artistic activism – through creative processes and cultural products – the article emphasizes the opportunity this practice offers for marginalized groups to reclaim cultural space and to challenge norms of silencing in both the cultural and political spheres.

Digital eternity: The holographic resurrection of music icons

Holographic reincarnations blend the allure of the past with the possibilities of modern technology, navigating through ethical quandaries and the redefinition of performance art. Central to this exploration is the fusion of memory and digital perpetuity, pushing the limits of what constitutes a live performance. The holographic rebirth of legends such as Elvis Presley, Amy Winehouse and Whitney Houston sparks debate over the ethics of posthumous consent, the authenticity of such representations and the implications of monetizing the afterlife of artists. This shift towards digital eternity prompts a critical assessment of the moral dimensions involved in resurrecting artists through technology. Exploring the history and development of holography, from historical illusions to contemporary artificial intelligence-enhanced presentations, reveals both the technological achievements and the ethical challenges presented by these endeavours. The drive behind these resurrective projects shines a light on a lucrative industry focused on ‘Delebs’, turning the legacies of deceased celebrities into profitable ventures. Yet the quest to immortalize artists digitally invites scrutiny over potential misuse, privacy breaches and the erosion of the true essence of their legacies. Addressing these complex issues demands a concerted effort from ethicists, legal scholars, technology experts and cultural commentators. The journey into this uncharted domain highlights the necessity of balancing innovation with respect, advocating for a principled approach to honouring those who have passed. The concept of confining artists to a ‘digital purgatory’, where they exist solely for entertainment devoid of self-determination, emphasizes the urgency of establishing ethical guidelines. This digital afterlife, fraught with the risk of diminishing the soul of artistic works to mere commercial assets, calls for a vigilant approach to safeguard the dignity and volition of artists in the realm of digital legacy.