DOCSLIB.ORG

Choreographic Modernities: Movement, Mobility and Contemporary Dance from Southeast Asia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Choreographic Modernities: Movement, Mobility and Contemporary Dance from Southeast Asia CHOREOGRAPHIC MODERNITIES: MOVEMENT, MOBILITY AND CONTEMPORARY DANCE FROM SOUTHEAST ASIA LIM HOW NGEAN (B. BUSINESS ADMINISTRATION), NUS (MASTERS IN DRAMA & THEATRE), ROYAL HOLLOWAY AND BEDFORD NEW COLLEGE A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY THEATRE STUDIES PROGRAMME DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE NATIONAL UNIVERSITY OF SINGAPORE 2014 DECLARATION I hereby declare that the thesis is my original work and it has been written by me in its entirety. I have duly acknowledged all the sources of information which have been used in the thesis. This thesis has also not been submitted for any degree in any university previously. ______________________________________________ Lim How Ngean 20 January 2014 ii ACKNOWLEDGEMENTS This thesis would not have been possible without the kind support and generous contributions of many individuals. I am grateful for the discussions, interactions and valuable feedback that I have received throughout the undertaking of this thesis. My appreciation to the National University of Singapore for granting me a research scholarship, which has enabled many learning opportunities through the institution’s financial and resource support. I would also like to extend my appreciation to the personnel of the Department of English Language and Literature for their administrative assistance. I am indebted to the artists who have been extremely generous in sharing their time, experiences, knowledge and expertise that contributed directly to this thesis: Pichet Klunchun, Sunon Wachirawarakarn, Padung Jumpan, Kornkarn Rungsawan, Porramet Maneerat, Jirayus Puatput, Phon Sopheap, Chumvan Sodhachivy (Belle), Chey Chankethya (Kethya), Noun Sovitou (Tou), Emmanuèle Phuon, Arco Renz Azanin Ahmad, Marion D’Cruz, Daniel Kok, and Joavien Ng. Fred Frumberg and Rithisal Kang of Amrita Performing Arts, Soji Singholka of Pichet Klunchun Dance Company, and Pornrat Damrhung who have been forthcoming with their assistance, guidance and advice in facilitating my research activities in Phnom Penh and Bangkok. Faith Tan and Rydwan Anwar of Esplanade for their assistance in facilitating my research within the grounds of Esplanade. James and Cecilia Low for their hospitality during my stay in Bangkok. Mark Teh and Five Arts Centre for their invaluable assistance in Kuala Lumpur. My deep gratitude to Dr Paul Rae for his inimitable insights, uncompromising rigour and fierce passion in the process of supervising my thesis. You have inspired new ways of thinking, seeing and perceiving. To Anne James for your warm friendship and encouraging spirit. To Mohd Arifwaran for the many discussions, debates and discourses, and help in my research of Azanin Ahmad. To Dr Philipa Rothfield for the gentle advice and suggestions. To Kaan Sheung Kin for the much needed sanctuary. To Charlene Rajendran for unrelenting encouragement, great conversations, illuminating guidance, soulful advice, and, just for the grand old company. Terima kasih, Kawan. To my family for their blind faith and understanding in every endeavour I undertake. Last but not least, this thesis would not have been possible without the unwaivering support, understanding, care and tough love of my partner Ramesh Sahathevan. Thank you for standing beside me the entire time, Apu. iii TABLE OF CONTENTS SUMMARY I LIST OF FIGURES III INTRODUCTION - Ground Movements in Southeast Asia 1 - New Movements and Mobilities 5 - Modernity, Movement, Choreography 7 - Investigating Choreographic Modernities 15 - Locating the Researcher, Positioning the Research 16 - Thesis Organisation 21 1. MALAYSIA: ChorEographIc ModErnItIEs Past And PrEsEnt - Introduction 28 - Azanin Ahmad and The Malay Dance Drama 31 - Choreographic Modernity #1: Innovating the Classical 33 - Malay Modernity Through Cultural Transformations 37 - Choreographic Modernity #2: The Tradition Will Be Televised 40 - Marion D’Cruz and Political Choreographies 47 - Politicised Everyday Movements 48 - Choreographed Contestations 53 - Remembrance, Dance, Modernity 54 - Between Different Choreographic Modernities 60 - Networks of Themes and Traits 61 2. RHYTHMIC OPERATIONS: MatErIal DEscrIptIon and AnalysIs In DancE - Introduction 66 - Rhythm Situation #1: Sustaining Creativity 69 - Subtraction in Dance 71 iv - Rhythm Situation #2: Unfettered Improvisation 74 - Rhythm Situation #3: From Destabilisation to New Movements 79 - The Isolated Rhythm and Other Influences 82 - Discussion: Politics in Dance 86 - Further Aesthetic and Political Considerations 90 3. GESTURING TOWARDS IDENTITY – PART I: Of The Self - Introduction 93 - From Bangkok to St Petersburg, and Back 95 - Pointing to the Self 98 - The Emergent Self 105 - Signature and Signature Practice as the Choreographer’s Identity 109 - From Gesture to Character 113 - Monkey Modernity 116 - Between Different Selves 120 4. GESTURING TOWARDS IDENTITY – PART II: The Ensemble In PerformancE - Introduction 124 - Differences Yielding Diversities 127 - New Identities in Multiplicities and Becomings 130 - Of ‘Faint Becomings’ 138 - Mis(s)fit Multiplicities 143 - Reconfiguring The Audience and the Performer 148 - Situated Choreographic Modernities 153 5. DANCING FROM JETLAG TO BODY REGIMES - Introduction 156 - Learning and Rehearsing Disruptions 159 - Performing Desynchronisation 165 - Stammering Towards a Minor Dance 167 - The Modern (Dance) Body 170 - Locating Modernity in the Traditional 173 v - Vulnerability and Precarity 177 - Life As Usual 180 6. SINGAPORE: ModErnIty Through CapItal MobIlIsatIon - Introduction 187 - Accumulation of Capital: The Singapore Arts Festival 191 - Southeast Asian Cultural Capital: Esplanade 195 - Mutual Benefits 199 - Singaporean Movements 203 - Beyond Capital: Personal and Informal Ties 210 - Choreography of the Hub 215 CONCLUSION - Choreographic Modernities and Their Qualities 218 - Circular Choreographic Modernities 220 - Refracted Choreographic Modernities 222 - ‘Conjunctural’ Multiple Modernities 223 - Choreographic Modernities and Social Movements 227 BIBLIOGRAPHY 233 vi SUMMARY Recent developments in Euro-American dance studies have emphasised movement as inherent to the expression of modernity, and choreography as imbricated in the cultural and political formations of the larger community and society. This thesis contributes to this line of inquiry by examining the creation and performance of contemporary dance from Southeast Asia under the conditions of globalising modernities. Emergent identities and new body techniques are impacting the creation of new choreographic practices, while the mobility born of international performance touring and foreign artistic collaborations are transforming how dance movements and gestures ‘travel’ from one form to another. Choreographic experimentation, I contend, both reflects and produces these modernising aspects of movement and mobility to create ‘choreographic modernities’ amongst certain Southeast Asian dancers and their performances. These emergent ‘choreographic modernities’ are analysed through comparative studies of dancers from Kuala Lumpur (Malaysia), Bangkok (Thailand), Phnom Penh (Cambodia), and Singapore, and through the analysis of a range of dance creations and performances. In recognition of the spatiotemporal disjunctions of modernity, the body of the thesis is ‘bookended’ by case studies in two parts of Southeast Asia with very distinctive patterns of modernisation. It begins with a contextualising chapter on choreographic experimentation in Malaysia over a period of three decades. It analyses the works of choreographers Azanin Ahmad in the 1980s, and Marion D’Cruz in the 1990s and 2000s, and highlights the impact of diverse political and sociocultural developments on their dance aesthetics and processes. The next four chapters closely examine the dances and choreographic processes of Thailand’s Pichet Klunchun, and the dancers of Cambodia’s Amrita Performing Arts organisation. Trained in classical conventions of Thai Khon and Cambodian Lakhon Kaol and Robam Kbach Boran respectively, Klunchun and the Amrita dancers are continually experimenting with their classical forms. They have also developed new I and varied strategies for dancemaking through their engagement with new choreographers and body techniques, and opportunities arising from foreign artistic commissions and the traveling this entails. In successive chapters, I focus on how different aspects of Klunchun’s and the Amrita dancers’ choreographic foundations have been transformed into new forms of expression that indicate a contemporisation of their dance practices. These are, respectively: variations in classical rhythm, the redefinition of gesture, the reconfiguration of characterisation, and the adaptation of performance conventions. The penultimate chapter is the other ‘bookend’, which analyses Singapore as a regional cultural hub with flourishing institutional arts events and venues such as the Singapore Arts Festivals and Esplanade Theatres by the Bay. It pays attention to how the city-state’s cultural and social policies have given risen to its aggressive capital mobilisation that foreign artists such as Klunchun and the Amrita dancers become beneficiaries. In concluding, I consider how an understanding of ‘choreographic modernities’ within the field of dance may lead to broader insights into the processes and effects of globalising modernities on the wider social, cultural and political choreographies of contemporary Southeast Asian societies. II LIST OF FIGURES 1.1. Screen capture of Azanin Ahmad (centre)
Load more

Recommended publications
  • Perspective, 1 | 2016, « Textiles » [Online], Online Since 21 September 2016, Connection on 01 October 2020
    Perspective Actualité en histoire de l’art 1 | 2016 Textiles Electronic version URL: http://journals.openedition.org/perspective/6672 DOI: 10.4000/perspective.6672 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 30 June 2016 ISSN: 1777-7852 Electronic reference Perspective, 1 | 2016, « Textiles » [Online], Online since 21 September 2016, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/6672 ; DOI : https://doi.org/10.4000/ perspective.6672 This text was automatically generated on 1 October 2020. 1 TABLE OF CONTENTS Entretien Interview with Jean-Paul Leclercq by Rémi Labrusse Jean-Paul Leclercq and Rémi Labrusse Perspective, 1 | 2016 2 Entretien Perspective, 1 | 2016 3 Interview with Jean-Paul Leclercq by Rémi Labrusse Jean-Paul Leclercq and Rémi Labrusse Translation : Trista Selous Rémi Labrusse. Could you describe your career path as a researcher? How did it lead you to textiles? Jean-Paul Leclercq. From 1994 to 2006 I was curator of the collections of pre-1914 costumes and textiles at Les Arts décoratifs in Paris, and I took on the task of expanding them.1 Putting my advocacy for collaboration between museums into action, I drew up the dossier that enabled the Musée des Tissus in Lyon to acquire the 190 Grands livres de fabrique of the Lyon-based company Bianchini-Férier (1889-1964, a continuous series of some 25,000 fabrics to stimulate thinking), which had employed artists such as Raoul Dufy and Paul Iribe. This acquisition was made with assistance from the Heritage Fund,2 whose support is “reserved for acquisitions of cultural properties of major heritage importance” and had the fortunate effect of conferring inalienability on the collection, both aspects that acted to counter the threats of closure facing the museum.
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-1-107-10591-1 - The Material Atlantic: Clothing, Commerce, and Colonization in the Atlantic World, 1650–1800 Robert S. DuPlessis Index More information Index Textiles and garments frequently found in Atlantic dress regimes are noted only when first mentioned and/or defined. Abenaki alamode, 96, 118 dress adornment among, 49 alapeen. See alpine acculturation Algonquin attempts at, 89 dress adornment among, 110, 266 pressures for, 85 alpine, 69 adornment, 46 Amerindians absence of, 87, 131 and peddlers, 77 among Amerindians, 48, 95, 97, change in dress of, 52, 99, 100–1, 108, 98, 104, 109, 114, 120, 121, 114, 122, 123, 124 263, 266 clothing gifted to, 118 among Europeans, 31 comparison with European dress, among Khoikhoi, 226 114–16, 118, 121 among Tainos, 255 comparison with slave dress, 162 among Tupinambá, 41 comparisons with European dress, 118 Atlantic African, 36, 37, 39, 40, 236 corporeal adornment of, 110, 114, corporeal, 7, 41, 49, 84, 89 120, 121 European attitudes about corporeal, 26 dress and gender among, 94 non-corporeal, 24, 27, 43, 114 dress diversity among, 48–49, 121, of Carib dress, 226 122, 123 of free settler dress, 180, 203, 205, 222 dress gifted to, 92–94, 106, 118 of free women of color, 188, 189, dress regimes among Christian converts, 190, 203 101–2, 106, 108, 121 of indentured servants, 150 dress regimes at contact, 46–50 of slave dress, 152, 153, 156, 158 dress syncretism among, 101, 102, 105, advertisements 113, 121, 123 and textile retailing, 71, 73, 74, 174 fashion among, 115, 118,
    [Show full text]
  • Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO
    Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO 7 -9 July 2017 Tokyo, Japan Center for Glocal Studies (CGS), Seijo University and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO 7 -9 July 2017 Tokyo, Japan Center for Glocal Studies (CGS), Seijo University and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Published by Center for Glocal Studies, Seijo University (CGS) Seijo 6-1-20, Setagaya-ku, Tokyo 157-8511, Japan E-mail: [email protected] website: http://www.seijo.ac.jp/research/glocal-center/ and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) c/o Sakai City Museum, 2 Cho Mozusekiun-cho, Sakai-ku, Sakai City, Osaka 590-0802 Japan E-mail: [email protected] website: http://www.irci.jp © Center for Glocal Studies, Seijo University (CGS) © International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Published on 30 November, 2017 Contents Foreword Wataru IWAMOTO and Tomiyuki UESUGI ………………………………………………………ⅳ Welcome Remarks Junichi TOBE …………………………………………………………………………………… 3 Opening Remarks 1.Tomiyuki UESUGI ……………………………………………………………………………… 4 2 .Wataru IWAMOTO………………………………………………………………………………… 6 3.Tim CURTIS ………………………………………………………………………………………
    [Show full text]
  • Liste Représentative Du Patrimoine Culturel Immatériel De L'humanité
    Liste représentative du patrimoine culturel immatériel de l’humanité Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Al-Ayyala, un art traditionnel du Oman - Émirats spectacle dans le Sultanat d’Oman et 2014 2014 01012 arabes unis aux Émirats arabes unis Al-Zajal, poésie déclamée ou chantée Liban 2014 2014 01000 L’art et le symbolisme traditionnels du kelaghayi, fabrication et port de foulards Azerbaïdjan 2014 2014 00669 en soie pour les femmes L’art traditionnel kazakh du dombra kuï Kazakhstan 2014 2014 00011 L’askiya, l’art de la plaisanterie Ouzbékistan 2014 2014 00011 Le baile chino Chili 2014 2014 00988 Bosnie- La broderie de Zmijanje 2014 2014 00990 Herzégovine Le cante alentejano, chant polyphonique Portugal 2014 2014 01007 de l’Alentejo (sud du Portugal) Le cercle de capoeira Brésil 2014 2014 00892 Le chant traditionnel Arirang dans la République 2014 2014 00914 République populaire démocratique de populaire Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Corée démocratique de Corée Les chants populaires ví et giặm de Viet Nam 2014 2014 01008 Nghệ Tĩnh Connaissances et savoir-faire traditionnels liés à la fabrication des Kazakhstan - 2014 2014 00998 yourtes kirghizes et kazakhes (habitat Kirghizistan nomade des peuples turciques) La danse rituelle au tambour royal Burundi 2014 2014 00989 Ebru, l’art turc du papier marbré Turquie 2014 2014 00644 La fabrication artisanale traditionnelle d’ustensiles en laiton et en
    [Show full text]
  • Masyarakat Kesenian Di Indonesia
    MASYARAKAT KESENIAN DI INDONESIA Muhammad Takari Frida Deliana Harahap Fadlin Torang Naiborhu Arifni Netriroza Heristina Dewi Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara 2008 1 Cetakan pertama, Juni 2008 MASYARAKAT KESENIAN DI INDONESIA Oleh: Muhammad Takari, Frida Deliana, Fadlin, Torang Naiborhu, Arifni Netriroza, dan Heristina Dewi Hak cipta dilindungi undang-undang All right reserved Dilarang memperbanyak buku ini Sebahagian atau seluruhnya Dalam bentuk apapun juga Tanpa izin tertulis dari penerbit Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara ISSN1412-8586 Dicetak di Medan, Indonesia 2 KATA PENGANTAR Terlebih dahulu kami tim penulis buku Masyarakat Kesenian di Indonesia, mengucapkan puji syukur ke hadirat Tuhan Yang Maha Kuasa, karena atas berkah dan karunia-Nya, kami dapat menyelesaikan penulisan buku ini pada tahun 2008. Adapun cita-cita menulis buku ini, telah lama kami canangkan, sekitar tahun 2005 yang lalu. Namun karena sulitnya mengumpulkan materi-materi yang akan diajangkau, yakni begitu ekstensif dan luasnya bahan yang mesti dicapai, juga materi yang dikaji di bidang kesenian meliputi seni-seni: musik, tari, teater baik yang tradisional. Sementara latar belakang keilmuan kami pun, baik di strata satu dan dua, umumnya adalah terkonsentasi di bidang etnomusikologi dan kajian seni pertunjukan yang juga dengan minat utama musik etnik. Hanya seorang saja yang berlatar belakang akademik antropologi tari. Selain itu, tim kami ini ada dua orang yang berlatar belakang pendidikan strata dua antropologi dan sosiologi. Oleh karenanya latar belakang keilmuan ini, sangat mewarnai apa yang kami tulis dalam buku ini. Adapun materi dalam buku ini memuat tentang konsep apa itu masyarakat, kesenian, dan Indonesia—serta terminologi-terminologi yang berkaitan dengannya seperti: kebudayaan, pranata sosial, dan kelompok sosial.
    [Show full text]
  • LCSH Section K
    K., Rupert (Fictitious character) Motion of K stars in line of sight Ka-đai language USE Rupert (Fictitious character : Laporte) Radial velocity of K stars USE Kadai languages K-4 PRR 1361 (Steam locomotive) — Orbits Ka’do Herdé language USE 1361 K4 (Steam locomotive) UF Galactic orbits of K stars USE Herdé language K-9 (Fictitious character) (Not Subd Geog) K stars—Galactic orbits Ka’do Pévé language UF K-Nine (Fictitious character) BT Orbits USE Pévé language K9 (Fictitious character) — Radial velocity Ka Dwo (Asian people) K 37 (Military aircraft) USE K stars—Motion in line of sight USE Kadu (Asian people) USE Junkers K 37 (Military aircraft) — Spectra Ka-Ga-Nga script (May Subd Geog) K 98 k (Rifle) K Street (Sacramento, Calif.) UF Script, Ka-Ga-Nga USE Mauser K98k rifle This heading is not valid for use as a geographic BT Inscriptions, Malayan K.A.L. Flight 007 Incident, 1983 subdivision. Ka-houk (Wash.) USE Korean Air Lines Incident, 1983 BT Streets—California USE Ozette Lake (Wash.) K.A. Lind Honorary Award K-T boundary Ka Iwi National Scenic Shoreline (Hawaii) USE Moderna museets vänners skulpturpris USE Cretaceous-Paleogene boundary UF Ka Iwi Scenic Shoreline Park (Hawaii) K.A. Linds hederspris K-T Extinction Ka Iwi Shoreline (Hawaii) USE Moderna museets vänners skulpturpris USE Cretaceous-Paleogene Extinction BT National parks and reserves—Hawaii K-ABC (Intelligence test) K-T Mass Extinction Ka Iwi Scenic Shoreline Park (Hawaii) USE Kaufman Assessment Battery for Children USE Cretaceous-Paleogene Extinction USE Ka Iwi National Scenic Shoreline (Hawaii) K-B Bridge (Palau) K-TEA (Achievement test) Ka Iwi Shoreline (Hawaii) USE Koro-Babeldaod Bridge (Palau) USE Kaufman Test of Educational Achievement USE Ka Iwi National Scenic Shoreline (Hawaii) K-BIT (Intelligence test) K-theory Ka-ju-ken-bo USE Kaufman Brief Intelligence Test [QA612.33] USE Kajukenbo K.
    [Show full text]
  • The Blending of Thai- Muslim Musical
    THE BLENDING OF THAI- Phleng Na and Phleng Tak. Those of the MUSLIM MUSICAL Muslim groups are: Rong Ngeng, Ma’yong, Dikia, Li Ke Hulu and Sila. PERFORMANCES IN SOUTHERN THAILAND This article will present information only about the music and performances of the Bussakorn Sumrongthong1 Muslim social group as the Buddhist related research is covered in a separate article. This report will focus on the key Abstract elements and characteristics, succession of musical knowledge, rituals and beliefs, Introduction including the knowledge succession of each musical performance. This paper is a research report of investigative fieldwork on the musical Musical culture of southern culture of the southern provinces of Thailand Thailand. The research was conducted by interviewing prominent musicians from each of the following provinces: Chumphon, Krabi, Nakhon Si Thammarat, Phang-Nga, Phatthalung, Phuket, Satun, Songkhla, Surat Thani and Trang. The current political instability in the provinces of Pattani, Yala and Narativas prevented conducting research in these locales. The process of this qualitative research consisted of direct observation, in-depth interviews of well-known artists, a survey of musical instruments and related performance or ritual materials /documents. The research found that the culturally significant music and Figure 1: Map of Southern Thailand performances in this region can be divided into 2 socio-religious groups delineated by Historically, the South of Thailand has the Buddhist and Muslim faiths. been a commercial trading center of South-east Asia. It served as a hub The core songs and performances of the between the two great nations of India and Buddhists are: Ka Lo, Nang Talung, Nora, China and as a result, facilitated the Phon and Li Ke Pa, while the key classical dissemination of both Brahmanism and Thai songs are Phleng Ruea, Phleng Bok, Buddhism in this region.
    [Show full text]
  • Laporan Kinerja Pemerintah Pusat Direktorat Jenderal Kebudayaan
    LAPORAN KINERJA PEMERINTAH PUSAT DIREKTORAT JENDERAL KEBUDAYAAN Kementerian Pendidikan dan Kebudayaan Republik Indonesia 2015 LKPP Direktorat Jenderal Kebudayaan 2015 1 2 LKPP Direktorat Jenderal Kebudayaan 2015 KATA PENGANTAR Puji syukur kita panjatkan ke hadirat Tuhan Yang Maha Esa, atas berkat dan rahmat-Nya Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan dapat menyelesaikan Laporan Akuntabilitas Kinerja Tahun 2015. Laporan ini merupakan bagian dari upaya Direktorat Jenderal Kebudayaan dalam rangka penguatan sistem akuntabilitas kinerja seperti tertuang dalam Inpres Nomor 7 Tahun 1999 Tentang Akuntabilitas Kinerja Instansi Pemerintah. Laporan Kinerja ini merupakan bentuk pertanggungjawaban Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan atas pelaksanaan kontrak kinerja yang telah diperjanjikan maupun pelaksanaan tugas pokok dan fungsinya dalam membantu Menteri Pendidikan dan Kebudayaan dalam menyelenggarakan pemerintahan di bidang pendidikan dan kebudayaan. Laporan ini menyajikan target dan capaian kinerja Direktorat Jenderal Kebudayaan tahun 2015, berupa tingkat capaian Indikator Kinerja Program (IKP) Pelestarian Budaya yang digunakan untuk mengukur tingkat capaian sasaran strategis Direktorat Jenderal Kebudayaan. Laporan Kinerja Direktorat Jenderal Kebudayaan ini diharapkan dapat memberikan manfaat bagi pihak-pihak yang berkepentingan, baik sebagai informasi maupun evaluasi kinerja serta dapat digunakan sebagai acuan dalam penyusunan dan pelaksanaan program/kegiatan tahun yang akan datang.
    [Show full text]
  • Daftar Tarian Kabupaten/Kota Di Aceh
    DAFTAR TARIAN KABUPATEN/KOTA DI ACEH NO KAB/KOTA NAMA TARIAN KETERANGAN I BANDA ACEH 1 Tari Rebana 2 Tari Bungong Jeumpa 3 Tari Poh Kipah 4 Tari Bungong Sie Yung-yung 5 Meusaree-saree 6 Ranub Lampuan 7 Tron U Laot 8 Tari Ramphak Beusare 9 Tari Peumulia Jame 10 Tari Piasan Raya 11 Tari Geudumbak 12 Likok Dara 13 Phok Teupeuen 14 Tari Marhaban 15 Punca Utama 16 Tari Prang Sabilillah 17 Rampo Aceh 18 Tari Sange 19 Tari Perang 20 Muda Ban Keumang II SABANG 1 Sendratari "Srikandi Aceh" 2 Bungong Rampoe 3 Trieng Meususu 4 Murratal 5 Geulumbang Tujoeh 6 Meu'een Ija Kroeng 7 Likok Puloe III ACEH BESAR 1 Seurune Kale 2 Ratoh Duek/Ratoh Taloe 3 Rapai Pulot 4 Nasib 5 Sendratari Cakradonya Iskandar Muda 6 Tari Peuron Eungkot 7 Likok Pulo Aceh IV PIDIE 1 Tarian Seudati Aceh Pidie 2 Geundrang 3 Grempheng 4 Lapeih 5 Meuteuot 6 Laweut 7 Drop Darut NO KAB/KOTA NAMA TARIAN KETERANGAN V BIREUEN 1 Tari Rencong Pusaka 2 Tari Ratoh Bruek 3 Tari Seudati 4 Tari Ramphak Beusare 5 Tari Mengeundum Beude 6 Tari Lapan Sikarang 7 Tari Rebana 8 Rapai Bruek 9 Meurukon 10 Dalael Khairat 11 Kreasi Baru 12 Rebani Wahid 13 Biola 14 Saman 15 Rapai Leupek 16 Rapai Daboh 17 Tarian Magic Yogya Atraksi 18 Rapai Likee 19 Rapai grimpheng 20 Zikir Maulid 21 Kontemporer VI ACEH UTARA 1 Rapai Pase 2 Geudrang Pase 3 Alee Tunjang 4 Tari Tarek Pukat 5 Tari Tanah Lon Sayang 6 Tari Meu-idang 7 Tari Poh kIpah 8 Tari Gaseh seutia 9 Tari Dom Drien 10 Tari Limong Sikarang 11 Tari Rapai aceh VII ACEH TIMUR 1 Saman Lokop 2 Tari Ular Lembing 3 Bines Lokop 4 Cuwek 5 Tari Likok rampou 6 Tari Zapin
    [Show full text]
  • Teater ‘Uraong Ulu WARGA MOTAC Hatinya Luke Lagih’ Oleh Kumpulan Kesenian Uraong Ulu (Keulu) Telah I Memenangi Tempat Ketiga Dalam Festival Teater Malaysia 2006
    3 FESTIVAL OF ASEAN CULTURAL EXPRESSIONS Festival Kesenian 2015 Orang Asli dan Peribumi Antarabangsa 2015 JKKN MENERAJUI HARI SUKAN NEGARA Teater ‘Uraong Ulu WARGA MOTAC Hatinya Luke Lagih’ Oleh Kumpulan Kesenian Uraong Ulu (Keulu) Telah i Memenangi Tempat Ketiga Dalam Festival Teater Malaysia 2006. Sudut Berita JKKN SEKILAS TINTA EDITOR YBhg. Datuk Norliza Rofli Ketua Pengarah YBrs. En. Mohamad Razy Mohd Nor Timbalan Ketua Pengarah (Sektor Dasar dan Perancangan) YBrs. Tn. Hj. Mesran Mohd Yusop Timbalan Ketua Pengarah (Sektor Kebudayaan dan Kesenian) Editor Assalamualaikum dan Salam 1Malaysia. Mohd Zin Mohd Sahid Penolong Editor Seni Budaya Malaysia semakin mengalami ketirisan. Membina masyarakat Zuriah Mohamad yang berbudaya dan berkeperibadian tinggi adalah menjadi tanggungjawab SIDANG EDITORIAL setiap rakyat Malaysia kerana setiap kita adalah pemimpin diperingkat sidang redaksi Penulis masing-masing. Peristiwa-peristiwa negatif yang pernah berlaku akibat • Mohd Zin Mohd Sahid kebiadaban segelintir rakyat yang tidak bertanggungjawab, seharusnya • Zuriah Mohamad • Muhammad Haqkam Hariri dijadikan iktibar agar tidak berulang dan menjadi gejala yang memusnahkan • Ismarizal Zulamran bangsa Malaysia. Kebiadaban tersebut seharusnya dibendung supaya ia • Muhammad Faizal Ruslee tidak menjadi gejala kepada masyarakat keseluruhannya. Hanya dengan • Siti Anisah Abdul Rahman • Fauziah Ahmad disiplin, kesedaran dan keimanan yang jitu pada setiap insan sahaja yang akan dapat mengatasinya. Pereka Grafik/Kreatif Bafti Hera Abu Bakar Sama-samalah kita menjadikan iktibar dan pengajaran bahawa salah Jurufoto Zaman Sulieman satu sebab kejatuhan kerajaan Melayu Melaka pada tahun 1511 ialah ‘angkara sikitul yang menjual maklumat kepada portugis’ ketika itu. Jika SIDANG REDAKSI kita sama-sama berpegang teguh kepada rukun negara dan disiplin • Unit Komunikasi Korporat diri, InshaAllah seni budaya Malaysia akan terus relevan selaras dengan • Bahagian Khidmat Pengurusan ungkapan ‘Tidak akan Melayu hilang di dunia’.
    [Show full text]
  • TITLE Fulbright-Hays Seminars Abroad Program: Malaysia 1995
    DOCUMENT RESUME ED 405 265 SO 026 916 TITLE Fulbright-Hays Seminars Abroad Program: Malaysia 1995. Participants' Reports. INSTITUTION Center for International Education (ED), Washington, DC.; Malaysian-American Commission on Educational Exchange, Kuala Lumpur. PUB DATE 95 NOTE 321p.; Some images will not reproduce clearly. PUB TYPE Guides Non-Classroom Use (055) Reports Descriptive (141) Collected Works General (020) EDRS PRICE MFO1 /PC13 Plus Postage. DESCRIPTORS Area Studies; *Asian History; *Asian Studies; Cultural Background; Culture; Elementary Secondary Education; Foreign Countries; Foreign Culture; *Global Education; Human Geography; Instructional Materials; *Non Western Civilization; Social Studies; *World Geography; *World History IDENTIFIERS Fulbright Hays Seminars Abroad Program; *Malaysia ABSTRACT These reports and lesson plans were developed by teachers and coordinators who traveled to Malaysia during the summer of 1995 as part of the U.S. Department of Education's Fulbright-Hays Seminars Abroad Program. Sections of the report include:(1) "Gender and Economics: Malaysia" (Mary C. Furlong);(2) "Malaysia: An Integrated, Interdisciplinary Social Studies Unit for Middle School/High School Students" (Nancy K. Hof);(3) "Malaysian Adventure: The Cultural Diversity of Malaysia" (Genevieve M. Homiller);(4) "Celebrating Cultural Diversity: The Traditional Malay Marriage Ritual" (Dorene H. James);(5) "An Introduction of Malaysia: A Mini-unit for Sixth Graders" (John F. Kennedy); (6) "Malaysia: An Interdisciplinary Unit in English Literature and Social Studies" (Carol M. Krause);(7) "Malaysia and the Challenge of Development by the Year 2020" (Neale McGoldrick);(8) "The Iban: From Sea Pirates to Dwellers of the Rain Forest" (Margaret E. Oriol);(9) "Vision 2020" (Louis R. Price);(10) "Sarawak for Sale: A Simulation of Environmental Decision Making in Malaysia" (Kathleen L.
    [Show full text]
  • Five Arts Centre Report: January – December 2011
    FIVE ARTS CENTRE REPORT: JANUARY – DECEMBER 2011 Five Arts Centre is a collective of artists and producers dedicated to generating alternative art forms and images in the Malaysian creative environment. The collective’s scope of work includes theatre, dance, music, visual arts and young people’s theatre. Since it was formed in 1984, Five Arts Centre has been committed to articulating multiple Malaysian identities and championing local creativity. Founded by theatre directors Chin San Sooi and Dato’ Krishen Jit, and dancer- choreographer Marion D’Cruz, Five Arts Centre has been instrumental in the growth of a Malaysian identity in the arts. Today, the collective includes 14 arts activists and practitioners from across the generations and disciplines. Current members of Five Arts Centre include Anne James, Chee Sek Thim, Chew Kin Wah, Fahmi Fadzil, Ivy N. Josiah, Janet Pillai, June Tan, Kubhaer T. Jethwani, Lew Chee Seong, Mac Chan, Marion D’Cruz, Mark Teh, Ravi Navaratnam, and Suhaila Merican. For 27 years, Five Arts has been at the forefront of creating experimental, interdisciplinary and intercultural work, as well as providing platforms for the next generation of arts practitioners. Contemporary social and cultural issues impinging on Malaysian life are precipitated by the collective by way of exhibitions, performances, and creative and research workshops. The collective has performed and presented its work widely in South-East Asia, Japan, Korea, Hong Kong, India, Egypt, Australia, Canada, Germany, Austria, Belgium, Portugal and the UK. From 2004 to 2006, Five Arts Centre was the manager of Arts Network Asia, a regional organisation supporting arts work in Asia.
    [Show full text]