International and national agendas are redesigning the terms of intellectual-property (IP) Laws to create cultural property for developing nations. Debates over IP and cultural-property "rights" or ...legal needs for "protection" are critical to anthropology's effort to reflect on how the production of knowledge, even culture itself, is variously construed to originate with, or "belong to," particular individuals, ethnic communities, or nation-states. We explore the implications of two Indonesian legal documents to show the disjunction between discourses of regional artists who describe the ritual exchanges, relationships, and transgenerational messages their arts shape and (inter)nationalists legal initiatives that bypass artists' concepts of process, access, and authority in an effort to disembed and control ritual-based expressions as products with exclusive owners.
Create, Perform, Teach Smedley, Nikky; Greaves, Sam
Jessica Kingsley Publishers,
2018, 2018-00-00, 2018-07-19
eBook, Book
Packed with tips and simple activities, this practical guide helps early years practitioners to develop their creativity and performance skills to engage children more effectively. It includes advice ...on using storytelling, role play, sensory play, puppetry, nonverbal play, photography and much more.
The new focus on performance and theater within contemporary aesthetics should prompt people to delve into forms of performing art that have hardly been discussed by philosophers. Adult puppet ...theater is not a good starting point for such inquiries. While the category of a puppet is relatively unproblematic, including glove puppets, shadow puppets, rod puppets and marionettes--a "replica of a human, animal, or other form moved by artificial means"--a host of questions surfaces when one ventures beyond mere designation. Here, Zamir demonstrates the philosophical issues that puppetry raises and suggests that puppets do not formulate make-believe possibilities of self-amplification but touch on a facet of experience that is altogether disengaged from actual and potential agency.
In February 1933, a character called Troka el poderoso began to regale young listeners who tuned into the radio station of Mexico's Secretariat of Public Education with fables in which modern ...machines conquer space and time while flaunting their strength and speed in the face of the older technologies they claim to supersede. This paper traces Troka's connections to a puppet theater movement founded in the early thirties by former members of Mexico's estridentista avant-garde. In doing so, it (re)constructs this radio/puppet as a figure for the imaginary agent of technological progress—the protagonist of the fantasies of liberation via industrialization that fueled capitalist expansion during the thirties and facilitated a fraught alliance among the artistic avant-garde, the political Left, and the Mexican state.
Roache contends that any such attempt to resolve the tension between fragment and unity in Walter Benjamin's work--and consequently to resolve the issue of its "correct" interpretation and ...reception--is already predicated upon a mishandling of the dialectical treatment of history and theology therein. Indeed, if the likes of Said, Friedlander, and many others have largely been concerned with the question of what Benjamin's work "will" or "should have meant," then he suggests the value of reading Russell Hoban's post-apocalyptic novel Riddley Walker as a way of challenging the very foundation of such interpretations on the notion of a relatively stable relationship between past, present, and future.
Traditional art forms often face rapid decline if they are not able to keep pace with a changing society. This article will examine puppet theater as performed by Chinese descent groups in temples ...and public spaces in Singapore as a case study of the adaptation of particular ethnic traditions at a time of an intense process of modernization. The island state of Singapore comprises various ethnic groups from different religious backgrounds living together in an advanced economy. On the one hand, the government ensures that the ethno-religious framework is protected through policies and laws. On the other, it seeks to maintain social cohesion by not favoring any religious group and by downplaying religious and ethnic divides. As discussed here, notions of “Chineseness” need to be accommodated within state policies based on the “harmonization” of racial and religious differences. The traditional art form investigated here, Chinese puppet theater, is characteristically linked to ethnicity and religion. How, then, does this ritual art form “negotiate” with a state that emphasizes secularism and seeks to elide multiracial and multi-religious differences? This study proposes a distinction between the “state-regulated realm” and the “state-tolerated realm” to suggest how Chinese puppet theater has engaged in negotiation with the Singaporean state to enable it to survive and even flourish. The focus will be on the Sin Hoe Ping Puppet Troupe, which has demonstrated considerable flexibility in adapting to secularized Singapore.
Long considered an isolated backwater of global cultural flows, a proud possessor of artistic traditions seemingly immune to international fashions, Southeast Asia is now coming into its own as a ...cultural powerhouse, refashioning old traditions and taking on new forms and ideas, with connections being rapidly formed between ASEAN member states in anticipation of the region's Economic Community in 2015. This introduction positions this volume's articles and the World Symposium on Global Encounters in Southeast Asian Performing Arts, where they were presented, in relation to the region's cultural shifts. It argues that the critique and subversion of tradition is a sign of its vitality and future viability. A new paradigm is emerging in which Southeast Asian theatre and performance are not being treated as the West's exotic "Other" or in relation to nation building but as a site drawing interested parties into a conversation regarding both local and global issues.
The music amalgam of Wayang Kulit provides a unique variation inside its performances. The various roles of music in Wayang Kulit are not very well understood and the possibilities of sound are ...underused or lack exposure, which points at possible slow extinction of Wayang Kulit. This study presents a framework for better understanding and using Wayang Kulit sounds which is based on distinguishing between diegetic and nondiegetic sound as motives, melody and reference. Diegetic is something that belongs to the shadow puppet realm, whereas nondiegetic is something from outside the Wayang Kulit fictive environment. The framework provides a tool for classifying Wayang Kulit sounds and audio effects, but may also be used as a design tool. This paper will study and examine the existing culture or aesthetic values related to sound motives used in Wayang Kulit. Glazbeni amalgam Wayang Kulita (lutkarskog kazališta sjena) pruža jedinstvenu raznolikost u svojim izvedbama. Razne uloge glazbe u Wayang Kulitu često se ne razumiju dobro, a zvukovne mogućnosti nisu dovoljno upotrebljavane ili istaknute, što upućuje na mogućnost polaganog odumiranja Wayang Kulita. U ovom se članku predstavlja okvir za razumijevanje i uporabu zvukova Wayang Kulita kako bi se situacija poboljšala. Taj se okvir temelji na ispitivanju i istraživanju zvukovnih efekata i razlikovanja između diegetičkog i nediegetičkog zvuka kao motiva, melodije i reference. U Wayang Kulitu diegetičko je nešto što pripada području lutkarskog kazališta sjena, dok je nediegetičko nešto izvan fiktivog okoliša Wayang Kulita. Okvir pruža oruđe za klasificiranje zvukova i audio-efekata Wayang Kulita, ali ga se može upotrijebiti i kao oruđe za dizajniranje. U članku se ispituje i proučava postojeća kultura i estetičke vrijednosti što se odnose na zvukovne motive Wayang Kulita.
