None SF. Luthfie Arguby Purnomo, None Wildi Adila, None Shabrina An Adzhani
Reimagination has become a common practice in milking the revenues of comics, animated films, films, and games that experienced a past glory. However, the discussions over reimagination specifically on its markers and a typology of functions remain under investigated. In response to this gap, we investigated 31 reimagined titles from comics, animated films, films, and games by implementing the theories of space and place reimagination by Richardson (2012), the death of the reader by Gray, Sandvoss, and Harrington (2007), transtylisation by Genette (1997), and narrative identity by Ricoeur (1991). The findings indicate that reimagined works have two shared markers namely mutation and presentness on the textual, visual, and operative elements of the works. Mutation deals with the alterations of the three elements while preserving the core narrative identity of the works while presentness refers to the adjustment of the three elements in chronospatial context of the present time. The investigated works also indicate that six reimagination functions could be formulated. Those functions are stylistic, ludic, methectic, medial, branding, and cultural reimaginations.
{"title":"Nothing Stays the Same: A Typology of Markers and Functions of Reimagination","authors":"None SF. Luthfie Arguby Purnomo, None Wildi Adila, None Shabrina An Adzhani","doi":"10.21315/ws2023.22.5","DOIUrl":"https://doi.org/10.21315/ws2023.22.5","url":null,"abstract":"Reimagination has become a common practice in milking the revenues of comics, animated films, films, and games that experienced a past glory. However, the discussions over reimagination specifically on its markers and a typology of functions remain under investigated. In response to this gap, we investigated 31 reimagined titles from comics, animated films, films, and games by implementing the theories of space and place reimagination by Richardson (2012), the death of the reader by Gray, Sandvoss, and Harrington (2007), transtylisation by Genette (1997), and narrative identity by Ricoeur (1991). The findings indicate that reimagined works have two shared markers namely mutation and presentness on the textual, visual, and operative elements of the works. Mutation deals with the alterations of the three elements while preserving the core narrative identity of the works while presentness refers to the adjustment of the three elements in chronospatial context of the present time. The investigated works also indicate that six reimagination functions could be formulated. Those functions are stylistic, ludic, methectic, medial, branding, and cultural reimaginations.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the 1990s, Malaysian artists have been using performance art as an artistic medium. Nevertheless, the history and context of performance art in Malaysia have not been examined in the context of Malaysian art history in particular. Coming from the fine arts background, artists such as Intan Rafiza, Sharon Chin, Aisyah Baharuddin, Rahmat Haron, Azizan Rahman Paiman, Mislina Mustaffa, and Fared Ayam, are among Malaysian artists who have been producing performance art as their main artistic medium. These performances, as will be discussed in this article, are what we define as “socially responsive medium” as these performances are not only ways for artists to express themselves but most importantly, the performances were inspired and executed as a form of artistic assertion or response in regard to various issues happening that triggered or inspired these artists to react via the execution of these performances. To give a better historical context and background, this article will first elucidate and delineate the historical development of performance art within the larger visual arts practice in Malaysia before focussing on the examination of selected performances by the few artists that this article argues as being “socially responsive.” This section will focus the term used and the nature of the performances itself.
{"title":"Socially Responsive Performance Art: The History and Context of Selected Performance Art in Malaysia","authors":"None Clara Ling Boon Ing, None Sarena Abdullah","doi":"10.21315/ws2023.22.1","DOIUrl":"https://doi.org/10.21315/ws2023.22.1","url":null,"abstract":"Since the 1990s, Malaysian artists have been using performance art as an artistic medium. Nevertheless, the history and context of performance art in Malaysia have not been examined in the context of Malaysian art history in particular. Coming from the fine arts background, artists such as Intan Rafiza, Sharon Chin, Aisyah Baharuddin, Rahmat Haron, Azizan Rahman Paiman, Mislina Mustaffa, and Fared Ayam, are among Malaysian artists who have been producing performance art as their main artistic medium. These performances, as will be discussed in this article, are what we define as “socially responsive medium” as these performances are not only ways for artists to express themselves but most importantly, the performances were inspired and executed as a form of artistic assertion or response in regard to various issues happening that triggered or inspired these artists to react via the execution of these performances. To give a better historical context and background, this article will first elucidate and delineate the historical development of performance art within the larger visual arts practice in Malaysia before focussing on the examination of selected performances by the few artists that this article argues as being “socially responsive.” This section will focus the term used and the nature of the performances itself.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article was conducted due to the arising issues stating the connections between mendu or wayang mendu, and bangsawan but there is no further explanation regarding this matter. Moreover, there are statements from several scholar mention that the mendu or wayang mendu was the origin of bangsawan, but there is no detailed explanation. The data examined in this article involves: bangsawan performances that are still active in Kuala Lumpur, Kedah, and Sarawak which staged different stories; forms of bangsawan with different names in the coastal areas of West Sumatera and West Kalimantan, namely wayang (bangsawan) kampung, wayang Parsi, komedi Melayu, dul muluk and mamanda; while the mendu theatre which only staged Dewa Mendu story performed by respective active groups in Pulau Sedanau, Natuna (Riau Islands), Mempawah (Pontianak, West Kalimantan), and Malaysia (Universiti Malaya, Kuala Lumpur). All data collection was also obtained from interviews with mendu and bangsawan practitioners who are still active in both countries. From the data collected, this article only focusses on the connection between the historiography of mendu–bangsawan with the influence of Persian commercial theatre from Gujarat, especially in the period from 1870 to 1940. This is because, during that period, the bangsawan name was initially called wayang Parsi (mendu), tiruan wayang Parsi, and later became the main reference in the history of the development of traditional theatre in Southeast Asia. The results of the discussion in this article are divided into several important aspects which are: the relevance of historical aspects particularly the origin and development; conceptual elements (rituals and entertainment); language (dialogue); stage setting (acting space and curtain set); acting style (actors); and performance structure (scenes) of both theatres.
Artikel ini membincangkan tentang isu perkaitan sejarah dan elemen persembahan antara teater tradisional mendu dan teater bangsawan Malaysia–Indonesia. Hal ini kerana terdapat penyataan dari beberapa kajian sarjana menyatakan bahawa teater mendu atau wayang mendu adalah asal mula bangsawan, namun tiada keterangan secara terperinci. Bagi tujuan tersebut, data yang diteliti dalam artikel adalah melibatkan: persembahan bangsawan yang masih aktif di Kuala Lumpur, Kedah, dan Sarawak yang telah mementaskan cerita yang berlainan; dan juga bentuk bangsawan dengan nama lain yang masih aktif di kawasan pesisiran Sumatera Barat serta pesisiran Kalimantan Barat iaitu wayang (bangsawan) kampung, wayang Parsi, komedi Melayu, dul muluk, dan mamanda; manakala teater mendu pula hanya mengambil data dari kumpulan yang masih aktif mementaskan satu-satunya cerita Dewa Mendu di Pulau Sedanau, Natuna (Kepulauan Riau), Mempawah (Pontianak, Kalimantan Barat), dan Malaysia (Universiti Malaya, Kuala Lumpur). Pengumpulan data juga diperoleh melalui temu ramah tokoh-tokoh mendu dan bangsawan yang masih aktif di kedua-dua negara. Dari
这篇文章是由于出现了一些问题，说明了门都或wayang门都和bangsawan之间的联系，但没有进一步的解释。此外，有几位学者的陈述提到门杜或wayang门杜是bangsawan的起源，但没有详细的解释。本文研究的数据包括:在吉隆坡、吉打州和沙捞越仍然活跃的邦沙万表演，它们上演了不同的故事;西苏门答腊和西加里曼丹沿海地区不同名称的邦沙丸形式，即wayang(邦沙丸)kampung, wayang Parsi, komedi Melayu, dulmuluk和mamanda;而门都剧院只上演杜瓦门都故事，由各自活跃的团体在雪丹瑙岛、纳土纳岛(廖内群岛)、门帕瓦岛(西加里曼丹的Pontianak)和马来西亚(吉隆坡的马来亚大学)演出。所有收集的数据也都是通过对仍然活跃在这两个国家的门杜和邦萨旺从业人员的采访获得的。从收集到的资料来看，本文只关注门杜-邦萨旺的史学与古吉拉特邦波斯商业剧院的影响之间的联系，特别是在1870年至1940年期间。这是因为，在那个时期，bangsawan这个名字最初被称为wayang Parsi (mendu)， tiruan wayang Parsi，后来成为东南亚传统戏剧发展史上的主要参考。本文讨论的结果分为几个重要方面，即:历史方面的相关性，特别是起源和发展;概念元素(仪式和娱乐);语言(对话);舞台布置(表演场地及幕布);表演风格(演员);两个剧场的演出结构(场景)
& # x0D;Artikel ini(马来西亚-印度尼西亚)成员:angkan tentang isu perkaitan sejarah，成员:perembahan antara，传统的mendu, danteater bangsawan。印度语:印度语:印度语:印度语:印度语:印度语:印度语:印度语:印度语:印度语:印度语吉隆坡，吉打州，沙捞越，马来西亚，马来西亚，马来西亚，马来西亚，马来西亚，马来西亚，马来西亚，马来西亚，马来西亚，马来西亚，马来西亚dan juga bentuk bangsawan dengan nama lain yang masih aktif di kawasan pesisiran苏门答腊Barat serta pesisiran加里曼丹Barat iitu wayang (bangsawan) kampung, wayang Parsi, komedi Melayu, dulmuluk, dan mamanda;manakala teater mendu pula hanya mengbil data dari kumpulan yang masih aktif mementaskan satu-satunya cerita Dewa mendu di Pulau Sedanau, Natuna (kepuluan廖内)，Mempawah (Pontianak, Kalimantan Barat)， dan Malaysia(吉隆坡马来亚大学)。彭普兰的数据显示，她的数据显示，她的数据显示，她的数据显示，她的数据显示，她的数据显示，她的数据显示达里语数据杨dikumpul——penelitian hanya dibuat ke ata perkaitan pensejarahan mendu bangsawan dengan pengaruh奶头komersial帕西人seperti达里语拉特terutama篇tahun 1870 hingga 1940。Hal ini kerana, padadtempoh tersebut nama bangsawan awalnya telah digelar wayang Parsi(门都)，tiruan wayang Parsi, dan kemudian telah menjadi sebuah bentuk teater rakyat kaum Melayu yang menjadi rujukan utama dalam sejarah perkembangan teater传统的亚洲登加拉。Hasil dari perbincangan dalam artikel ini terbahagi kepaada beberapa讲话;hubung kait mendu-bangsawan dari讲话;pensejarahan seperti fakta asal- ul dan perkembangan;Perkaitan element konsep(仪式Dan hiburan);印尼语(对话框);Panggung(阮拉康丹set tirai);盖亚湖(pelakon);但击打persembahan (babak)。
{"title":"Teater Tradisional Mendu dan Bangsawan di Asia Tenggara: Hubung Kait Sejarah dan Elemen Persembahan","authors":"None Rosdeen Suboh","doi":"10.21315/ws2023.22.3","DOIUrl":"https://doi.org/10.21315/ws2023.22.3","url":null,"abstract":"This article was conducted due to the arising issues stating the connections between mendu or wayang mendu, and bangsawan but there is no further explanation regarding this matter. Moreover, there are statements from several scholar mention that the mendu or wayang mendu was the origin of bangsawan, but there is no detailed explanation. The data examined in this article involves: bangsawan performances that are still active in Kuala Lumpur, Kedah, and Sarawak which staged different stories; forms of bangsawan with different names in the coastal areas of West Sumatera and West Kalimantan, namely wayang (bangsawan) kampung, wayang Parsi, komedi Melayu, dul muluk and mamanda; while the mendu theatre which only staged Dewa Mendu story performed by respective active groups in Pulau Sedanau, Natuna (Riau Islands), Mempawah (Pontianak, West Kalimantan), and Malaysia (Universiti Malaya, Kuala Lumpur). All data collection was also obtained from interviews with mendu and bangsawan practitioners who are still active in both countries. From the data collected, this article only focusses on the connection between the historiography of mendu–bangsawan with the influence of Persian commercial theatre from Gujarat, especially in the period from 1870 to 1940. This is because, during that period, the bangsawan name was initially called wayang Parsi (mendu), tiruan wayang Parsi, and later became the main reference in the history of the development of traditional theatre in Southeast Asia. The results of the discussion in this article are divided into several important aspects which are: the relevance of historical aspects particularly the origin and development; conceptual elements (rituals and entertainment); language (dialogue); stage setting (acting space and curtain set); acting style (actors); and performance structure (scenes) of both theatres.
 
 Artikel ini membincangkan tentang isu perkaitan sejarah dan elemen persembahan antara teater tradisional mendu dan teater bangsawan Malaysia–Indonesia. Hal ini kerana terdapat penyataan dari beberapa kajian sarjana menyatakan bahawa teater mendu atau wayang mendu adalah asal mula bangsawan, namun tiada keterangan secara terperinci. Bagi tujuan tersebut, data yang diteliti dalam artikel adalah melibatkan: persembahan bangsawan yang masih aktif di Kuala Lumpur, Kedah, dan Sarawak yang telah mementaskan cerita yang berlainan; dan juga bentuk bangsawan dengan nama lain yang masih aktif di kawasan pesisiran Sumatera Barat serta pesisiran Kalimantan Barat iaitu wayang (bangsawan) kampung, wayang Parsi, komedi Melayu, dul muluk, dan mamanda; manakala teater mendu pula hanya mengambil data dari kumpulan yang masih aktif mementaskan satu-satunya cerita Dewa Mendu di Pulau Sedanau, Natuna (Kepulauan Riau), Mempawah (Pontianak, Kalimantan Barat), dan Malaysia (Universiti Malaya, Kuala Lumpur). Pengumpulan data juga diperoleh melalui temu ramah tokoh-tokoh mendu dan bangsawan yang masih aktif di kedua-dua negara. Dari","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Existing studies on branding and value creation focus primarily on established brands and luxury products, with less attention paid to small and medium enterprise (SME) food souvenir products. Additionally, most studies are grounded in business, marketing, psychology, and health sciences. This study attempts to fill the gaps by enhancing understanding of the functional and emotional value of colour in food souvenir packaging from a design standpoint. Using multiple case studies, the present research intends to assess the role of colours in branding and value creation for SME food packaging in Bandung, Indonesia. The research design was comparative research. Using Microsoft Excel, the analysis was image-based descriptive and qualitative within-case and cross-case analysis based on visual perception parameters. Using common colours is advantageous for brand identification, while using uncommon colours can enhance brand visibility. In other words, common and unique colours are part of food packaging branding and value creation. The psychology of colour also influences values such as tastiness, healthiness, good quality, attractiveness, and others. This study contributes to the design literature by demonstrating that the designer may serve as a value creator in the packaging design process through colour.
{"title":"Using Multiple Case Studies to Examine the Role of Colours in SME Food Packaging","authors":"None Wirania Swasty, None Muhizam Mustafa","doi":"10.21315/ws2023.22.6","DOIUrl":"https://doi.org/10.21315/ws2023.22.6","url":null,"abstract":"Existing studies on branding and value creation focus primarily on established brands and luxury products, with less attention paid to small and medium enterprise (SME) food souvenir products. Additionally, most studies are grounded in business, marketing, psychology, and health sciences. This study attempts to fill the gaps by enhancing understanding of the functional and emotional value of colour in food souvenir packaging from a design standpoint. Using multiple case studies, the present research intends to assess the role of colours in branding and value creation for SME food packaging in Bandung, Indonesia. The research design was comparative research. Using Microsoft Excel, the analysis was image-based descriptive and qualitative within-case and cross-case analysis based on visual perception parameters. Using common colours is advantageous for brand identification, while using uncommon colours can enhance brand visibility. In other words, common and unique colours are part of food packaging branding and value creation. The psychology of colour also influences values such as tastiness, healthiness, good quality, attractiveness, and others. This study contributes to the design literature by demonstrating that the designer may serve as a value creator in the packaging design process through colour.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Commissioned by the People of Remarkable Talents (PORT), the Perak state’s creative and cultural agency, the exhibition, entitled Pera+Flora+Fauna: The Story of Indigenousness and the Ownership of History was curated as one of the official collateral events in the 59th International Art Exhibition of La Biennale di Venezia. It highlights the local inquiries and interpretations of indigenousness, ownership of history and nature through creative expressions of contemporary artists, towards further interrogating the inter-affecting relationships between inhabitants, culture, and nature in the context of Perak state (La Biennale di Venezia 2022; Nabila 2022; PORT 2022a). Through interviews with the stakeholders involved (i.e., organising and management team, curatorial team, and participating artists), this article reviews the curation, the exhibits, and the outreach of exhibition.
受霹雳州创意和文化机构“杰出人才”(PORT)的委托，该展览名为“Pera+Flora+Fauna: the Story of indigenous and the Ownership of History”，是第59届威尼斯国际艺术双年展的官方附属活动之一。它通过当代艺术家的创造性表达，突出了当地对土著、历史和自然所有权的探究和解释，进一步探讨了霹雳州居民、文化和自然之间相互影响的关系(2022年威尼斯双年展;Nabila 2022;端口2022)。本文通过对相关利益相关者(即组织管理团队、策展团队和参展艺术家)的访谈，回顾了策展、展品和展览的外展。
{"title":"Pera+Flora+Fauna: The Story of Indigenousness and the Ownership of History @ 59th Venice Biennale (23 April–27 November 2022)—An Exhibition Review","authors":"None Nicole Chang Shu Fun","doi":"10.21315/ws2023.22.8","DOIUrl":"https://doi.org/10.21315/ws2023.22.8","url":null,"abstract":"Commissioned by the People of Remarkable Talents (PORT), the Perak state’s creative and cultural agency, the exhibition, entitled Pera+Flora+Fauna: The Story of Indigenousness and the Ownership of History was curated as one of the official collateral events in the 59th International Art Exhibition of La Biennale di Venezia. It highlights the local inquiries and interpretations of indigenousness, ownership of history and nature through creative expressions of contemporary artists, towards further interrogating the inter-affecting relationships between inhabitants, culture, and nature in the context of Perak state (La Biennale di Venezia 2022; Nabila 2022; PORT 2022a). Through interviews with the stakeholders involved (i.e., organising and management team, curatorial team, and participating artists), this article reviews the curation, the exhibits, and the outreach of exhibition.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
None Li Zhuopeng, None Muhammad Jameel Mohamed Kamil
Tableware has traditionally played a significant part in China’s food culture and has a high usage rate as a product directly tied to everyday life. Therefore, designing tableware with local cultural characteristics may aid in the education of people to appreciate local culture. However, there is a considerable shortage of research on tableware with Chaoshan cultural elements. Hence, this research will include both Chaoshan culture and tableware design. It is recommended that Chaoshan culture be employed as a design element in tableware design, and that the viability of using tableware as a carrier to express regional culture be explored. The significance of this study will aid in improving the Chaoshan region’s cultural production, boosting cultural confidence, and increasing local revenues.
{"title":"Incorporating The Influence of Regional Culture in Tableware Design: The Case Study of Chaoshan Area","authors":"None Li Zhuopeng, None Muhammad Jameel Mohamed Kamil","doi":"10.21315/ws2023.22.2","DOIUrl":"https://doi.org/10.21315/ws2023.22.2","url":null,"abstract":"Tableware has traditionally played a significant part in China’s food culture and has a high usage rate as a product directly tied to everyday life. Therefore, designing tableware with local cultural characteristics may aid in the education of people to appreciate local culture. However, there is a considerable shortage of research on tableware with Chaoshan cultural elements. Hence, this research will include both Chaoshan culture and tableware design. It is recommended that Chaoshan culture be employed as a design element in tableware design, and that the viability of using tableware as a carrier to express regional culture be explored. The significance of this study will aid in improving the Chaoshan region’s cultural production, boosting cultural confidence, and increasing local revenues.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 26th edition of the Young Contemporaries Awards 2021 (BMS2021) organised by the National Art Gallery, Malaysia for the first time introduced “Seni di Lokasi” (Art in Location) as a theme that allowed the artists freely to choose their own working and exhibition space. A total of 13 entries from Sarawak made it to the finals. Although, no main awards were won by participants from the Sarawak, but the concept and production methods of their works have the potential for the development of visual art activities, especially in Sarawak, and Malaysia in general. In critically evaluating the Sarawak participation artists from the concept and art-making view, it turns out that the understanding of art in location and method is quite different compared to other participants. The method used to produce artworks that directly involve the community is closely related to the chosen location. Therefore, this article further discusses Sarawak young artists’ pattern of thought through participation in BMS2021, especially related to concepts and methodologies of work.
Pertandingan Bakat Muda Sezaman (BMS) edisi ke-26 pada tahun 2021 anjuran Balai Seni Negara julung kali diadakan dengan temanya “Seni di Lokasi” yang memberi kebebasan kepada peserta untuk memilih sendiri lokasi untuk menghasilkan dan mempamerkan karya mereka. Sejumlah 13 penyertaan dari Sarawak berjaya ke peringkat akhir. Walaupun tiada anugerah utama dirangkul oleh peserta dari zon Sarawak, konsep dan kaedah penghasilan karya-karya mereka mempunyai potensi dalam pembangunan aktiviti seni visual di Sarawak, khasnya dan di Malaysia secara umumnya. Bagi menilai penyertaan seniman dari zon Sarawak secara kritikal daripada perspektif penghasilan karya, ternyata pemahaman tentang lokasi dan kaedah agak berbeza berbanding peserta yang lain. Kaedah penghasilan karya seni yang melibatkan komuniti secara langsung sangat berhubung kait dengan lokasi yang dipilih. Justeru, penulisan ini mengulas dengan lebih terperinci tentang corak pemikiran seniman muda Sarawak dalam edisi BMS kali ini terutamanya berkaitan konsep dan metodologi pengkaryaan.
由马来西亚国家美术馆主办的第26届青年当代奖2021 (BMS2021)首次引入了“Seni di Lokasi”(Art in Location)作为主题，允许艺术家自由选择自己的工作和展览空间。沙捞越共有13个参赛作品进入决赛。虽然来自砂拉越的参与者没有获得主要奖项，但他们作品的概念和制作方法对视觉艺术活动的发展具有潜力，特别是在砂拉越，乃至整个马来西亚。从概念和艺术创作的角度对沙捞越参与艺术家进行批判性评价，发现沙捞越参与艺术家对艺术的位置和方法的理解与其他参与者有很大的不同。制作直接涉及社区的艺术品的方法与所选择的地点密切相关。因此，本文通过参与BMS2021进一步探讨砂拉越青年艺术家的思维模式，特别是与工作概念和方法相关的问题。
& # x0D;perperandingan Bakat Muda Sezaman (BMS) edisi ke-26 pada tahun 2021 anjuran Balai Seni Negara julung kali diadakan dengan temanya“Seni di Lokasi”yang成员kebebasan kepada peserta untuk memilih sendiri Lokasi untuk menghasilkan dmempamerkan karya mereka。Sejumlah 13 penyertaan dari Sarawak berjaya ke peringkat akhir。在沙捞越，我们的国家是一个独立的国家，我们的国家是一个独立的国家，我们的国家是一个独立的国家，我们的国家是一个独立的国家。在沙捞越，我的女儿是我的女儿，我的女儿是我的女儿，我的女儿是我的女儿，我的女儿是我的女儿。Kaedah penghasilan karya seni yang melibatkan komuniti secara langat berhubung kaedan lokasi yang dipilih。就在这个时候，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是。
{"title":"Ulasan Penyertaan Finalis Pertandingan Bakat Muda Sezaman 2021 Zon Sarawak: Ko-kreasi dan Seni di Lokasi","authors":"None Mohamad Faizuan Mat, None Hasnul Jamal Saidon","doi":"10.21315/ws2023.22.7","DOIUrl":"https://doi.org/10.21315/ws2023.22.7","url":null,"abstract":"The 26th edition of the Young Contemporaries Awards 2021 (BMS2021) organised by the National Art Gallery, Malaysia for the first time introduced “Seni di Lokasi” (Art in Location) as a theme that allowed the artists freely to choose their own working and exhibition space. A total of 13 entries from Sarawak made it to the finals. Although, no main awards were won by participants from the Sarawak, but the concept and production methods of their works have the potential for the development of visual art activities, especially in Sarawak, and Malaysia in general. In critically evaluating the Sarawak participation artists from the concept and art-making view, it turns out that the understanding of art in location and method is quite different compared to other participants. The method used to produce artworks that directly involve the community is closely related to the chosen location. Therefore, this article further discusses Sarawak young artists’ pattern of thought through participation in BMS2021, especially related to concepts and methodologies of work.
 
 Pertandingan Bakat Muda Sezaman (BMS) edisi ke-26 pada tahun 2021 anjuran Balai Seni Negara julung kali diadakan dengan temanya “Seni di Lokasi” yang memberi kebebasan kepada peserta untuk memilih sendiri lokasi untuk menghasilkan dan mempamerkan karya mereka. Sejumlah 13 penyertaan dari Sarawak berjaya ke peringkat akhir. Walaupun tiada anugerah utama dirangkul oleh peserta dari zon Sarawak, konsep dan kaedah penghasilan karya-karya mereka mempunyai potensi dalam pembangunan aktiviti seni visual di Sarawak, khasnya dan di Malaysia secara umumnya. Bagi menilai penyertaan seniman dari zon Sarawak secara kritikal daripada perspektif penghasilan karya, ternyata pemahaman tentang lokasi dan kaedah agak berbeza berbanding peserta yang lain. Kaedah penghasilan karya seni yang melibatkan komuniti secara langsung sangat berhubung kait dengan lokasi yang dipilih. Justeru, penulisan ini mengulas dengan lebih terperinci tentang corak pemikiran seniman muda Sarawak dalam edisi BMS kali ini terutamanya berkaitan konsep dan metodologi pengkaryaan.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
None Nur Fardilla Nadia Abu Bakar, None Mohd Fairuz Zamani
Investigations on vocal registers have been a great subject of debate. Early vocal pedagogues and scholars like Bacilly (1668–1690) and Behnke (1836–1892) paved the way for the modern-day investigation to take place through the categorisation of vocal registers across various music genres such as classical, jazz, and popular. However, an investigation on the vocal registers of Puan Sri Saloma (1935–1983) as a popular music icon of Malaysia has yet to be done. This paper intends to examine Saloma’s vocal registers through vocal analysis of five selected songs using case study as its research design. These songs are transcribed using music notation software (Sibelius) and analytical diagrams using similar software are produced to show the use of chest, middle, and head registers in each song. The finding shows the usage of the said registers and a diagram of Saloma’s vocal range is then produced, proving that Saloma was an alto. This study does not intend to limit Saloma’s vocal capability, but rather to celebrate her vocal prowess and encourage other scholars to conduct further investigations concerning Saloma as Malaysia’s national songstress.
{"title":"Breaking the Code: An Investigation on The Vocal Registers of Malaysia’s National Songstress Puan Sri Saloma","authors":"None Nur Fardilla Nadia Abu Bakar, None Mohd Fairuz Zamani","doi":"10.21315/ws2023.22.4","DOIUrl":"https://doi.org/10.21315/ws2023.22.4","url":null,"abstract":"Investigations on vocal registers have been a great subject of debate. Early vocal pedagogues and scholars like Bacilly (1668–1690) and Behnke (1836–1892) paved the way for the modern-day investigation to take place through the categorisation of vocal registers across various music genres such as classical, jazz, and popular. However, an investigation on the vocal registers of Puan Sri Saloma (1935–1983) as a popular music icon of Malaysia has yet to be done. This paper intends to examine Saloma’s vocal registers through vocal analysis of five selected songs using case study as its research design. These songs are transcribed using music notation software (Sibelius) and analytical diagrams using similar software are produced to show the use of chest, middle, and head registers in each song. The finding shows the usage of the said registers and a diagram of Saloma’s vocal range is then produced, proving that Saloma was an alto. This study does not intend to limit Saloma’s vocal capability, but rather to celebrate her vocal prowess and encourage other scholars to conduct further investigations concerning Saloma as Malaysia’s national songstress.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The objective of this article is to discuss the role of comics as a source of political and social influence, to understand the challenges in modern comics upholding of aesthetic simplicity and cultural authenticity. To explore comic’s significance and value as a cultural art-form, several aspects of comic design and characterisation development through modernisation are discussed through literature and case studies, based on the problem statement: Can comics be a source of political and social influence? For primary research, qualitative interviews and a survey were conducted among Malaysia’s art and design communities using sequential mixed method research. The aim was to examine target audiences’ perceptions of comic design and shifts in characterisation, and how global cultural trends such as media convergence and entertainment marketing affect comics’ authenticity. Findings suggest that comics are not time-bound products; hence their immense capacity to engage fans despite shifts in characterisations. Significantly, comic art fans in Malaysia seem to adopt a conservative attitude in desiring characters to maintain aesthetic simplicity and cultural authenticity. Overall analysis suggests that maintaining original essence in characterisation enable audiences to understand artists’ authentic cultural experiences through graphic storylines documenting the issues addressed. Results suggest that mainstreaming of comics propel the industry’s future growth through diversification and inclusiveness of social narratives, but audience’s perceptions of comics as a source of political and social influence maybe affected. Future research could probe the degree in which comics’ aesthetics appeal and cognitive simplicity contribute to extending comics’ role as an authentic global cultural art-form.
{"title":"Telling a Compelling Story: An Exploration of Cognitive Simplicity in Comic Book Design and Characterisation as Visual Communication for Political, Cultural and Social Influence","authors":"Stephen T. F. Poon","doi":"10.21315/ws2022.21.1","DOIUrl":"https://doi.org/10.21315/ws2022.21.1","url":null,"abstract":"The objective of this article is to discuss the role of comics as a source of political and social influence, to understand the challenges in modern comics upholding of aesthetic simplicity and cultural authenticity. To explore comic’s significance and value as a cultural art-form, several aspects of comic design and characterisation development through modernisation are discussed through literature and case studies, based on the problem statement: Can comics be a source of political and social influence? For primary research, qualitative interviews and a survey were conducted among Malaysia’s art and design communities using sequential mixed method research. The aim was to examine target audiences’ perceptions of comic design and shifts in characterisation, and how global cultural trends such as media convergence and entertainment marketing affect comics’ authenticity. Findings suggest that comics are not time-bound products; hence their immense capacity to engage fans despite shifts in characterisations. Significantly, comic art fans in Malaysia seem to adopt a conservative attitude in desiring characters to maintain aesthetic simplicity and cultural authenticity. Overall analysis suggests that maintaining original essence in characterisation enable audiences to understand artists’ authentic cultural experiences through graphic storylines documenting the issues addressed. Results suggest that mainstreaming of comics propel the industry’s future growth through diversification and inclusiveness of social narratives, but audience’s perceptions of comics as a source of political and social influence maybe affected. Future research could probe the degree in which comics’ aesthetics appeal and cognitive simplicity contribute to extending comics’ role as an authentic global cultural art-form.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41383616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marusya Nainggolan, Melani Budianta, Nyak Ina Raseuki, Harsawibawa
Trisutji Kamal, whose career spanned five decades, was one of the oldest and longest-performing Indonesian female classical composers. Her music is tinged with a unique character, stemming from the way she inserted Javanese nuances into the Western framework of her art. To discuss this musical style, the authors analysed one of her most well-known compositions in the form of an opera, called Loro Jonggrang. The article examines how the two different musical traditions from the West and Java intersect in her music and her cultural subjectivity. The authors argue that what emerges in her music is a sense of dissonance through the use of pseudo pentatonic, two chords, drone, accents, and beats, connecting Trisutji’s music with her cultural background and life history. The authors contend that the dissonant turn and glissando effect of her music comes from the tension between Western musical forms and Javanese intuition. The article contributes to the rare scholarship about female composers in Southeast Asia.
{"title":"Trisutji Kamal’s Loro Jonggrang: A Cross-Cultural Dissonance","authors":"Marusya Nainggolan, Melani Budianta, Nyak Ina Raseuki, Harsawibawa","doi":"10.21315/ws2022.21.2","DOIUrl":"https://doi.org/10.21315/ws2022.21.2","url":null,"abstract":"Trisutji Kamal, whose career spanned five decades, was one of the oldest and longest-performing Indonesian female classical composers. Her music is tinged with a unique character, stemming from the way she inserted Javanese nuances into the Western framework of her art. To discuss this musical style, the authors analysed one of her most well-known compositions in the form of an opera, called Loro Jonggrang. The article examines how the two different musical traditions from the West and Java intersect in her music and her cultural subjectivity. The authors argue that what emerges in her music is a sense of dissonance through the use of pseudo pentatonic, two chords, drone, accents, and beats, connecting Trisutji’s music with her cultural background and life history. The authors contend that the dissonant turn and glissando effect of her music comes from the tension between Western musical forms and Javanese intuition. The article contributes to the rare scholarship about female composers in Southeast Asia.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48886087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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