FOLK PERFORMING ART, ITS, IMPORTANCE AND PARADIGM SHIFTING

СЦЕНСКА НАРОДНА ИГРА И МУЗИКА Процеси (ре)дефинисања структуралних, драматуршких и естетских аспеката у сценском приказивању традиционалне игре и музике за игру у Србији, 2019

Staging traditional dance and music has a long tradition in Serbia. The vitality of this phenomenon, traced back to the mid-nineteenth century, can generally be characterized as part of the romantic activities of the “revival” of the tradition. However, this phenomenon has been present and contemporary in every period of its historical development. The method of formal structural comparative analysis of dance and music in folk dance choreographies presented in this book is an original contribution to the analytical study in ethnochoreology and ethnomusicology, the aim of which is to establish a valid scientific apparatus by which the analysis of choreographies will be facilitated, as well as the reconstruction of the creative principles of their authors.

Performing Arts, 2018

Les danseurs, médiums des pawang Stefania Rossetti Choreography, possessions and dispossessions are the sequence of the Jatilan ritual-performance in the village of Bener on Java island. The art of Jatilan is the initiation performance defined recently as a folkloristic art form of the Javanese tradition. Ancient transmissions have been handed down from the Majapahit and Mataram kingdoms, thanks to the elderly pawang masters to children’s and old people’s preparing themselves for the ability to see beyond the body practicing: dancing, playing traditional instruments and singing old songs in vernacular language. The ethnographic research that follows in this article transcribes the languages ​​and symbolisms expressed by bodies possessed by the invisible. Groups of dancers, ride black and also white horses builted with bamboo and coconut, dancing for the public and collectively offering their self like flowers, rice and incense smoke on the largest and metaphorical table of the village. Space, time and simultaneity moving the young horses under the guidance of the wise Javanese tigers. Keywords: Possession, Ritual, Dance, Ethnography

Cape Comorin Journal, Vol-2, Issue -6, 2020

Gambhira, a folk theatre form of Maldah district of West Bengal is quite old and popular among the mass. The theatre has a prominent context as it is traditionally performed on the last day of the month of Chaitra in the pretext of Gajan, which is a folk festival associated with Shiva worshipping prevalent in West Bengal. The theatre form has its own distinctiveness as it has an episode of 'local news reading' which is rarely found in any other theatre form of Bengal. The local news section enlightens the viewers about the current happening of the locality which mostly media and news channels take as trivial incidents. Another interesting fact about the theatre is its secular approach. Though the theatre is primarily performed in a festival associated with Hindu God but the Muslim community of Bengal also performs in it. The theatre has characters which are Hindu but when Muslim community presents it the character alters immediately. So, due to its social significance even in the present scenario it is gaining enormous popularity which eventually results into the drift of the theatre from its original context to the induced context. The paper tries to trace how a dynamic folk theatre like Gambhira loses its originality for being popular. Moreover, the paper had taken the aid of Richard Schechner's Performance Theory and Theory of Contextualism to study the text, context and settings of Gambhira in the changing scenario. Ultimately while studying the transformation of Gambhira, the paper will contribute to the existing literature on fakelore and performance theory.

ShodhKosh: Journal of Visual and Performing Arts, 2021

Performance is an interesting subject of study and it is the point of intersection for many academic fields within humanities and social sciences. The studies on performance, thus, could provide opportunities for exploring different aspects of human behaviours and their creative reflections on the matters that are intrinsic to the concept of performance. In pursuit of performance studies, one could come across various knots that connect performance with every aspect of the socio-cultural life of people by redefining the stereotypical notions of “stage”, “actors” and “audience.” Further, the studies on performance could not be placed on a single trajectory as several approaches, perspectives and orientations that have emerged ever since the delimitation of performance happened by opening up its boundary for interdisciplinary studies lead by the undefined ‘performance studies’ of Richard Schechner. However, by dealing with the performance as a live presentation in all perceived forms of “stages”, a significant question has been asked in this paper as a token of beginning on the “problematic” presence of audience as outsiders (non-native and non-belonging) who, by their nature of reception and response, are understood as those who have no concern either for the performance or for the performers. While each form, in the folkloristic sense, is comprising of its natural context along with a dedicated or defined audience, it seems to be a surprising phenomenon as it developed over a period of time as a result ofthe prodigious and irresistible globalization process. Thus, the unintended and unsolicited transformation, as an impact of globalization, in the traditional and modern performances has shaped the nature and role of ‘audience’, making it an insignificant and irrelevant entity for the consumption with aesthetic appreciation and conviction on the values demonstrated. So this article problematizes the nature of audience in the decontextualized performance context by drawing insights from performance studies, semiotics, and other cognate disciplines. Based on the insights drawn from the fieldwork on Sarhul festival held in Ranchi district a few years ago, this paper argues that the role of audience cannot be understood unless there is a clear perspective on the nature of performance and performance tradition as defined by the community

FOLK PERFORMING ARTS, 2023

Performance in the micro-place is an artistic research in which Cultural Anthropology and Ethnomusicology collaborate with Performing Arts. This means that it combines relevant bibliography and theoretical analysis with artistic practice [interdisciplinary research and embodied & vocal performative practices]. It involves the creation of new small [micro] frameworks and workshops for the research, teaching, and performance of the folk song, ranging from a simple classroom to outdoor or artistic venues [nature, theatres, etc.]

The main objective of the book, which is a result of field research, was to study to which extend particular, on one hand well directed, on the other hand unreal, festive, ludic and ritualized intercultural folkloric practices (on the stage and at the backstage) can constitute an interactive response to the alienation and passivity of a human being in the contemporary world and his lack of sense of being a part of a community. Intercultural folkloric festivals as syncretic structural-organisational systems of the intangible cultural heritage in the current era of increasing globalization could have the power of an interactional remedy on one side to an excessive individualization, on the other to the universalization and unification. Constituting a bridge between cultures, they awake from lethargy the participant of those events and they predispose them for being active. They motivate to the cognition, comparison and attempts to understand; to an interaction/transaction, that could have as an effect acceptation and integration, but also a polemics and controversy, negation, competition, and sometimes even a conflict, which when leading to mediation and negotiation could also be creative. Interfolkloristic dialog in action always results in exchange, transition and transformation. At the same time it becomes an opportunity to consolidate and to manifest one's own cultural identity and declared values. In a situation of a multiplied and exposed spectacle those festivals open a way to interpret a contemporary culture as a performance. It is understood as an active show and a message at the same time; realization, rendition, action and transfer (suspended between dromena : happening, act and drama : a performed/played action), that have always a special intention. This specific succession of performances can constitute a guide on a cultural diversity, as well as a representation of a socio-cultural reality.

E3S Web of Conferences, 2021

Laesan is a traditional art that comes from the word “laesun” which means “suwung” or empty. In the show, it tells the story of a human being from the womb to return to the grave which is told through a dance accompanied by songs according to the session. This study aims to describe the relationship between humans and elements of communication and communicative actions in the cultural event of laesan performance. This research applied a qualitative descriptive approach with ethnographic studies of communication. The research data were in the form of fragments of speech and actions involved in laesan performing arts. The research method was ethnographic and participatory. The results show that laesan art communication has a communication system related to the sequence of GASKENPI components. The forms of messages in laesan art are mantras and song lyrics. The act of communication in laesan art is divided into two: (1) the act of communication between laesan players and the empty atmo...

Makassar Biennale, 2019

My paper for Makassar Biennale 2019 Symposium - Art and Gender

Terob : Jurnal Pengkajian dan Penciptaan Seni

This research focuses on the performance structure contained in the Jheren Kencak traditional art that developed in Probolinggo Regency. The purpose of this study was to describe the structure of the traditional Jheren Kencak performing arts that developed in Probolinggo Regency. The method used in this research is descriptive qualitative method. Data collection techniques were carried out using interview techniques, observation, and literature study. Based on the analysis conducted, it was found that the Jheren Kencak traditional art that developed in Probolinggo Regency has a performance structure consisting of the following elements: (1) giro ketipungan, (2) jheren kember, (3) jheren tonggel, (4) tapel-napel (5) lawakan, (6) rak-arakan, and (7) mang-temang

JODEM: Journal of Language and Literature

The study employs the performance theory to analyze Ghā̃tu performance and Balan dance. They are popular cultural activities because of the beauty of artistic presentations with historical values. This bond symbolizes the harmonious relations of human beings. The network of dance masters, dancers, and audiences plays a vital role in performance. They are bound in such a way that they cannot get separated. Because of such cultural activities, man-to-man relations become strong in village life compared to urban life. After the dance masters begin to sing, the dancers begin dancing in full accordance with the words and tunes. As a result, audiences also perform the same indirectly. The performance audience is much more worth having than the performance of the two. In the performance, all the audiences get connected unknowingly. Physically, only the dance master and dancer perform but mentally, the audiences also perform at the same rate. Performance theory calls this kinesthetic impact...