Elyna Amir Sharji, Lim Yan Peng, Peter Charles Woods, Rose Linda Zainal Abidin
Currently, there has been a shift in the built environment in creating engaging exhibition spaces such as museums and galleries. This is a challenge nowadays as the creation of digital exhibition spaces depend largely on technological content and devices. Issues arise where visitors may not perceive the intended environment. It is seen that this sense of change needs further study on visitors’ perception and behaviour as users of the space. Experiential design deals with human interaction with the built environment. The objective of this study is to observe how visitors’ behaviour and interaction are influenced by the experiential design concept. A case study is conducted at a local gallery with selected visitor profile of young adults and adults with art and design background. The investigation is done based on the case study guideline, mapping out setting, and timing and tracking observation method to gauge visitors’ perception and action in a multimedia gallery. Eighty visitors were observed throughout the three-day exhibition from 9:00 a.m. to 5:00 p.m. Data collected answers the research question: how does the experiential design concept influence visitors’ behaviour and interaction in a multimedia gallery? The findings are beneficial to understand gallery visitors’ needs in achieving fulfilling interactive and engaging experience. From the observation done, it is identified that multimedia galleries incorporated with experiential design elements build meaningful experiences through the five senses, promotes a sense of place and well-being as well as the allowance for visitors to be more confident in approaching tools and devices that are unfamiliar to them. Curators, designers and artists will gain from this research in designing better interactive environment. The research limitation is the visitor age group which is the young adults and adults’ age group, as well as the single case study done.
{"title":"Visitors’ Interaction in an Experiential Designed Environment: A Case Study of a Multimedia Gallery","authors":"Elyna Amir Sharji, Lim Yan Peng, Peter Charles Woods, Rose Linda Zainal Abidin","doi":"10.21315/ws2022.21.5","DOIUrl":"https://doi.org/10.21315/ws2022.21.5","url":null,"abstract":"Currently, there has been a shift in the built environment in creating engaging exhibition spaces such as museums and galleries. This is a challenge nowadays as the creation of digital exhibition spaces depend largely on technological content and devices. Issues arise where visitors may not perceive the intended environment. It is seen that this sense of change needs further study on visitors’ perception and behaviour as users of the space. Experiential design deals with human interaction with the built environment. The objective of this study is to observe how visitors’ behaviour and interaction are influenced by the experiential design concept. A case study is conducted at a local gallery with selected visitor profile of young adults and adults with art and design background. The investigation is done based on the case study guideline, mapping out setting, and timing and tracking observation method to gauge visitors’ perception and action in a multimedia gallery. Eighty visitors were observed throughout the three-day exhibition from 9:00 a.m. to 5:00 p.m. Data collected answers the research question: how does the experiential design concept influence visitors’ behaviour and interaction in a multimedia gallery? The findings are beneficial to understand gallery visitors’ needs in achieving fulfilling interactive and engaging experience. From the observation done, it is identified that multimedia galleries incorporated with experiential design elements build meaningful experiences through the five senses, promotes a sense of place and well-being as well as the allowance for visitors to be more confident in approaching tools and devices that are unfamiliar to them. Curators, designers and artists will gain from this research in designing better interactive environment. The research limitation is the visitor age group which is the young adults and adults’ age group, as well as the single case study done.","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":"45560536","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}
Chellitda Farhana Gunaish, Mohd Firdaus Abdullah, Wan Hasmah Wan Teh
This research aims to look at the role of the Malayan Film Unit (MFU) which was used as a medium of propaganda and psychological warfare by the British in Malaya from 1946 to 1957. The establishment of the MFU was seen as one of the last British strategies in boosting their image and power in Malaya after the end of the Second World War. Through the MFU, various films were produced based on political, economic, and social themes in which the British had a stake. This research is qualitative in nature and fully uses historical research methods. Materials and resources were obtained from the National Archives of Malaysia, National Archives of Kedah/Perlis, the Hamzah Sendut Library in Universiti Sains Malaysia, the Tun Sri Lanang Library in Universiti Kebangsaan Malaysia, the Kedah State Public Library, and many others. The results show that the MFU played an important role as a propaganda tool and as a part of British psychological warfare in Malaya until its independence. Furthermore, the MFU was maintained post-independence and was a propaganda tool of the Federal Government of Malaya’s psychological warfare. Penyelidikan ini bertujuan untuk melihat peranan Malayan Film Unit (MFU) yang telah menjadi medium propaganda dan perang saraf oleh British di Tanah Melayu dari tahun 1946 sehingga tahun 1957. Penubuhan MFU dilihat antara strategi terakhir British dalam mengangkat imej dan kuasa mereka di Tanah Melayu selepas tamatnya Perang Dunia Kedua. Melalui MFU, pelbagai filem telah dihasilkan berdasarkan tema-tema terpilih seperti politik, ekonomi, dan sosial yang mempunyai kepentingan kepada British. Penyelidikan ini berbentuk kualitatif dan menggunakan sepenuhnya kaedah penyelidikan sejarah. Bahan dan sumber diperoleh dari Arkib Negara Malaysia, Arkib Negara cawangan Kedah/Perlis, Perpustakaan Hamzah Sendut (Universiti Sains Malaysia), Perpustakaan Tun Sri Lanang (Universiti Kebangsaan Malaysia), Perpustakaan Awam Negeri Kedah dan lain-lain lagi. Hasil kajian menunjukkan, MFU berperanan penting sebagai alat propaganda dan perang saraf British di Tanah Melayu sehingga kemerdekaan tanah air. Malah selepas kemerdekaan, MFU dikekalkan dan telah menjadi alat propaganda dan perang saraf Kerajaan Persekutuan Tanah Melayu.
这项研究的目的是看看马来亚电影单位(MFU)的作用，它被用作宣传和心理战的媒介由英国在马来亚从1946年到1957年。MFU的成立被视为英国在第二次世界大战结束后提升其在马来亚的形象和权力的最后策略之一。通过MFU，制作了各种基于政治、经济和社会主题的电影，这些主题与英国有利害关系。本研究是定性的，充分运用了历史研究方法。资料和资源来自马来西亚国家档案馆、吉打/玻利斯国家档案馆、马来西亚圣士大学Hamzah Sendut图书馆、马来西亚Kebangsaan大学Tun Sri Lanang图书馆、吉打州立公共图书馆等。结果表明，在马来亚独立之前，MFU作为宣传工具和英国心理战的一部分发挥了重要作用。此外，MFU在独立后继续存在，是马来亚联邦政府心理战的宣传工具。Penyelidikan ini bertujuan untuk melihaperanan Malayan Film Unit (MFU) yang telah menjadi媒体宣传danperang sarafoleh英国di Tanah Melayu dari tahun 1946 sing ingga tahun 1957。Penubuhan MFU diilihat antara strategy, terakhir，英国dalam mengangkat，英国dalam，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。Melalui MFU, pelbagai film telah dihasilkan berdasarkan tema-tema terpilii独立于政治、经济、社会等领域。Penyelidikan ini berbentuk kualitatif dan menggunakan sepenuhnya kaedah Penyelidikan sejarah。Bahan dan sumber diperoleh dari Arkib Negara Malaysia, Arkib Negara cawangan Kedah/Perlis, Perpustakaan Hamzah Sendut(马来西亚大学)，Perpustakaan Tun Sri Lanang(马来西亚国民大学)，Perpustakaan Awam Negeri Kedah dan lain lagi。Hasil kajian menunjukkan, MFU berperanan正在为宣传工作做准备。马来亚人，马来亚人，马来亚人，马来亚人，马来亚人，马来亚人，马来亚人。
{"title":"Propaganda dan Perang Saraf British di Tanah Melayu melalui Malayan Film Unit (MFU) 1946–1957","authors":"Chellitda Farhana Gunaish, Mohd Firdaus Abdullah, Wan Hasmah Wan Teh","doi":"10.21315/ws2022.21.8","DOIUrl":"https://doi.org/10.21315/ws2022.21.8","url":null,"abstract":"This research aims to look at the role of the Malayan Film Unit (MFU) which was used as a medium of propaganda and psychological warfare by the British in Malaya from 1946 to 1957. The establishment of the MFU was seen as one of the last British strategies in boosting their image and power in Malaya after the end of the Second World War. Through the MFU, various films were produced based on political, economic, and social themes in which the British had a stake. This research is qualitative in nature and fully uses historical research methods. Materials and resources were obtained from the National Archives of Malaysia, National Archives of Kedah/Perlis, the Hamzah Sendut Library in Universiti Sains Malaysia, the Tun Sri Lanang Library in Universiti Kebangsaan Malaysia, the Kedah State Public Library, and many others. The results show that the MFU played an important role as a propaganda tool and as a part of British psychological warfare in Malaya until its independence. Furthermore, the MFU was maintained post-independence and was a propaganda tool of the Federal Government of Malaya’s psychological warfare.\u0000Penyelidikan ini bertujuan untuk melihat peranan Malayan Film Unit (MFU) yang telah menjadi medium propaganda dan perang saraf oleh British di Tanah Melayu dari tahun 1946 sehingga tahun 1957. Penubuhan MFU dilihat antara strategi terakhir British dalam mengangkat imej dan kuasa mereka di Tanah Melayu selepas tamatnya Perang Dunia Kedua. Melalui MFU, pelbagai filem telah dihasilkan berdasarkan tema-tema terpilih seperti politik, ekonomi, dan sosial yang mempunyai kepentingan kepada British. Penyelidikan ini berbentuk kualitatif dan menggunakan sepenuhnya kaedah penyelidikan sejarah. Bahan dan sumber diperoleh dari Arkib Negara Malaysia, Arkib Negara cawangan Kedah/Perlis, Perpustakaan Hamzah Sendut (Universiti Sains Malaysia), Perpustakaan Tun Sri Lanang (Universiti Kebangsaan Malaysia), Perpustakaan Awam Negeri Kedah dan lain-lain lagi. Hasil kajian menunjukkan, MFU berperanan penting sebagai alat propaganda dan perang saraf British di Tanah Melayu sehingga kemerdekaan tanah air. Malah selepas kemerdekaan, MFU dikekalkan dan telah menjadi alat propaganda dan perang saraf Kerajaan Persekutuan Tanah Melayu.","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":"46347471","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}
Vocal warm-ups are widespread and comprehensive in the singing community. Although it is well recognised and practised by professionals, warm-ups are sometimes bypassed and neglected by singers and voice teachers. The objective of this study is to assess the impact of vocal warm-up on vocal quality through acoustic parameters of jitter (%), shimmer (%), and harmonics-to-noise (HNR [dB]) in two-pitch conditions, A3 (chest register) and C5 (head register), before and after vocal warm-up. Forty untrained female singers were recorded twice while uttering the vowels /a/, /o/, and /i/ in two different pitches: Low—A3 (220.0 Hz) and High—C5 (523.2 Hz) for at least five seconds. A standardised warm-up protocol with a duration of 20-minute was carried out in this study. The subjects were recorded immediately before and after a 20-minute vocal warm-up session. Significant improvements were found in the mean values of measured acoustic parameters. A decrease was observed compared with the mean jitter and shimmer values before and after a vocal warm-up, while the HNR increased. All the acoustic variables, jitter, shimmer, and HNR were found to have significantly larger improvements in the lower pitch, A3 (chest register), compared to the higher pitch, C5 (head register). The findings of this study provided empirical evidence for the beneficial effect of vocal warm-up on the voice quality of untrained female singers. The positive effects of the findings indicated that the vocal warm-up should be encouraged and not bypassed.
{"title":"Acoustic Effects of the Singing Voice Quality of Untrained Female Singers in Malaysia","authors":"Wei Shean Ter, Kwan Yie Wong","doi":"10.21315/ws2022.21.6","DOIUrl":"https://doi.org/10.21315/ws2022.21.6","url":null,"abstract":"Vocal warm-ups are widespread and comprehensive in the singing community. Although it is well recognised and practised by professionals, warm-ups are sometimes bypassed and neglected by singers and voice teachers. The objective of this study is to assess the impact of vocal warm-up on vocal quality through acoustic parameters of jitter (%), shimmer (%), and harmonics-to-noise (HNR [dB]) in two-pitch conditions, A3 (chest register) and C5 (head register), before and after vocal warm-up. Forty untrained female singers were recorded twice while uttering the vowels /a/, /o/, and /i/ in two different pitches: Low—A3 (220.0 Hz) and High—C5 (523.2 Hz) for at least five seconds. A standardised warm-up protocol with a duration of 20-minute was carried out in this study. The subjects were recorded immediately before and after a 20-minute vocal warm-up session. Significant improvements were found in the mean values of measured acoustic parameters. A decrease was observed compared with the mean jitter and shimmer values before and after a vocal warm-up, while the HNR increased. All the acoustic variables, jitter, shimmer, and HNR were found to have significantly larger improvements in the lower pitch, A3 (chest register), compared to the higher pitch, C5 (head register). The findings of this study provided empirical evidence for the beneficial effect of vocal warm-up on the voice quality of untrained female singers. The positive effects of the findings indicated that the vocal warm-up should be encouraged and not bypassed.","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":"42706665","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}
Jalaine Joyce V. Malabanan, Jose Mari A. Carpena, Feorillo Petronilo A. Demeterio III
Using the phenomenological method developed by the Austrian-American philosopher and social theorist Alfred Schutz, this article studied the lifeworld of millennial stage actors in Metro Manila, Philippines. Lifeworld is the meaning-giving sphere of common sense that is shared by individuals from a given social group. Using the data gathered from key informant interviews with 12 professional actors and five consociates from the said locale, we investigated how these millennial actors started their careers in the theatre industry, how they perceived theatre in general and Philippine theatre in particular, how they experienced the challenges and difficulties in their careers, how they were motivated to persevere, and how they envisioned their long-term future in the same industry. This article contributes to the sparse literature on the lives of contemporary professional stage actors in general, and to the almost non-existent literature on Filipino professional stage actors in particular. Understanding the status and problems of the lives of professional stage actors should be the first step in further improving their plight and in appreciating more their central role in the continued existence of theatre as a cultural practice.
{"title":"The Lifeworld of Millennial Stage Actors in Metro Manila: A Schutzian Phenomenological Study","authors":"Jalaine Joyce V. Malabanan, Jose Mari A. Carpena, Feorillo Petronilo A. Demeterio III","doi":"10.21315/ws2022.21.3","DOIUrl":"https://doi.org/10.21315/ws2022.21.3","url":null,"abstract":"Using the phenomenological method developed by the Austrian-American philosopher and social theorist Alfred Schutz, this article studied the lifeworld of millennial stage actors in Metro Manila, Philippines. Lifeworld is the meaning-giving sphere of common sense that is shared by individuals from a given social group. Using the data gathered from key informant interviews with 12 professional actors and five consociates from the said locale, we investigated how these millennial actors started their careers in the theatre industry, how they perceived theatre in general and Philippine theatre in particular, how they experienced the challenges and difficulties in their careers, how they were motivated to persevere, and how they envisioned their long-term future in the same industry. This article contributes to the sparse literature on the lives of contemporary professional stage actors in general, and to the almost non-existent literature on Filipino professional stage actors in particular. Understanding the status and problems of the lives of professional stage actors should be the first step in further improving their plight and in appreciating more their central role in the continued existence of theatre as a cultural practice.","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":"45911606","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 study examines the effects of consumer-based product creativity (i.e., novelty and meaningfulness dimensions), product-brand fit, and product-category fit on attitude toward the product and purchase intention. A total of 544 university students participated in a survey, in which respondents were exposed to a stimulus product image and then required to respond to a questionnaire. Structural equation modelling results show that novelty and meaningfulness and product-brand fit significantly influence attitude, subsequently increasing purchase intention. Notably, meaningfulness, rather than product-brand fit, is found to be more influential on both the attitude and purchase intention. The importance of meaningfulness can be even more highlighted for the products less fitted for their category. Theoretical and practical implications are further discussed.
{"title":"Consumer-Based Product Creativity, Product-Brand Fit, and Product-Category Fit: Which is More Influential in Consumer Responses?","authors":"Soo In Shim, Yi Sheng Goh","doi":"10.21315/ws2022.21.4","DOIUrl":"https://doi.org/10.21315/ws2022.21.4","url":null,"abstract":"This study examines the effects of consumer-based product creativity (i.e., novelty and meaningfulness dimensions), product-brand fit, and product-category fit on attitude toward the product and purchase intention. A total of 544 university students participated in a survey, in which respondents were exposed to a stimulus product image and then required to respond to a questionnaire. Structural equation modelling results show that novelty and meaningfulness and product-brand fit significantly influence attitude, subsequently increasing purchase intention. Notably, meaningfulness, rather than product-brand fit, is found to be more influential on both the attitude and purchase intention. The importance of meaningfulness can be even more highlighted for the products less fitted for their category. Theoretical and practical implications are further discussed.","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":"41355331","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 narrative logic of mainstream Malayalam cinema is often predicated on heteronormative values and homophobic social practices. Though representations of LGBTQIA+ (lesbian, gay, bisexual, transgender, queer, intersex, asexual and agender) desires (both individual and collective) have been subject to changes particularly after the historical verdict of 2018, mainstream Malayalam cinema is quite reluctant to explore “the love that had for so long been left out in the cold” (Griffiths 2008, 130). Barring a few exceptions, most of the films produced in Kerala (since Malayalam cinema’s inception in 1928) have characterised LGBTQIA+ as aberrant, abnormal, or deviant. Having said that, there have been considerable efforts from progressive filmmakers to critique and subvert the homophobic sentiments of the society and engage with queer desires in Malayalam cinema either denotatively or connotatively. This has been made possible due to their exposure to variegated cultural values as a result of the changing socio-economic and political conditions. By identifying three major tropes (the closeted queer body, the stereotyped queer body, and the visible queer body) in queer filmic representations, the paper attempts to map the many expressions of queer subjectivities in Malayalam cinema. In the process, the article demonstrates how queer cinema in Malayalam disrupts heteronormativity using its queer aesthetics.
{"title":"Mapping the Queer Body: Queer Tropes and Malayalam Cinema","authors":"Rajesh James, Sathyaraj Venkatesan","doi":"10.21315/ws2022.21.7","DOIUrl":"https://doi.org/10.21315/ws2022.21.7","url":null,"abstract":"The narrative logic of mainstream Malayalam cinema is often predicated on heteronormative values and homophobic social practices. Though representations of LGBTQIA+ (lesbian, gay, bisexual, transgender, queer, intersex, asexual and agender) desires (both individual and collective) have been subject to changes particularly after the historical verdict of 2018, mainstream Malayalam cinema is quite reluctant to explore “the love that had for so long been left out in the cold” (Griffiths 2008, 130). Barring a few exceptions, most of the films produced in Kerala (since Malayalam cinema’s inception in 1928) have characterised LGBTQIA+ as aberrant, abnormal, or deviant. Having said that, there have been considerable efforts from progressive filmmakers to critique and subvert the homophobic sentiments of the society and engage with queer desires in Malayalam cinema either denotatively or connotatively. This has been made possible due to their exposure to variegated cultural values as a result of the changing socio-economic and political conditions. By identifying three major tropes (the closeted queer body, the stereotyped queer body, and the visible queer body) in queer filmic representations, the paper attempts to map the many expressions of queer subjectivities in Malayalam cinema. In the process, the article demonstrates how queer cinema in Malayalam disrupts heteronormativity using its queer aesthetics.","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":"67733676","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}
Edited by Richard Perez and Victoria A. Chevalier. Palgrave Macmillan, Cham (Switzerland), 2020. xxi + 650 pp. Magical realism has a chequered history with beginnings in Europe. Magischer Realismus or “magic realism” was coined by German art critic, Franz Roh, in 1923 to describe certain metaphysical elements that he saw in paintings. However, the term did not gain currency—Neue Sachlichkeit (New Objectivity) and eventually Post-Expressionism became more accepted terms (Crockett 1999, 148–155). Magical realism found its way into literature when Massimo Bontempelli (1878–1960), an Italian writer and critic, first applied the term to literature in 1926 (Walter 1993, 13). But it only gained popularity in the 1950s and 1960s when it was used to describe the “boom” literary phenomenon of Latin American fiction. And it was in Latin America that this aesthetic category developed as a form of postcolonial resistance and discourse. However, this malleable and contentious term is difficult to define. Some critics have even said it defies definition; yet there is a tacit understanding of the term. At the basic level, magical realism deals with the real and irreal in quotidian or everyday life and does not dichotomise the two. Amaryll Beatrice Chanady’s Magical Realism and the Fantastic: Resolved Versus Unresolved Antinomy (1985) demonstrates the blending of the real and irreal in Latin American fiction and differentiates magical realism from the fantastic, arguing that the fantastic create antinomies of the real and irreal. However, the European strand of magical realism (especially with Eastern Europe) is more complex and with its influence of Freud and Surrealism, challenges Chanady’s ideas.
Richard Perez和Victoria A. Chevalier编辑。Palgrave Macmillan, Cham(瑞士)，2020。魔幻现实主义的历史起伏不定，起源于欧洲。Magischer Realismus或“魔幻现实主义”是德国艺术评论家弗朗茨·卢在1923年创造的，用来描述他在绘画中看到的某些形而上学元素。然而，这个术语并没有流行起来——neue Sachlichkeit(新客观性)，最终后表现主义成为更被接受的术语(Crockett 1999,148 - 155)。1926年，意大利作家兼评论家Massimo bontemelli(1878-1960)首次将“魔幻现实主义”一词应用到文学领域(Walter 1993,13)。但直到20世纪50年代和60年代，当它被用来描述拉丁美洲小说的“繁荣”文学现象时，它才开始流行起来。正是在拉丁美洲，这种美学范畴发展成为一种后殖民抵抗和话语的形式。然而，这个具有延展性和争议性的术语很难定义。一些批评人士甚至说，它违背了定义;然而，人们对这个术语有一种默契。在基本层面上，魔幻现实主义处理的是日常或日常生活中的真实和不真实，而不是将两者一分为二。阿玛里尔·比阿特丽斯·钱纳迪的《魔幻现实主义与奇幻:已解决与未解决的矛盾》(1985)展示了拉丁美洲小说中真实与虚幻的融合，并将魔幻现实主义与奇幻区分开来，认为奇幻创造了真实与虚幻的矛盾。然而，欧洲魔幻现实主义流派(尤其是东欧)更为复杂，受到弗洛伊德和超现实主义的影响，挑战了Chanady的观点。
{"title":"Book review: The Palgrave Handbook of Magical Realism in the Twenty-First Century","authors":"David H. J. Neo","doi":"10.21315/ws2022.21.10","DOIUrl":"https://doi.org/10.21315/ws2022.21.10","url":null,"abstract":"Edited by Richard Perez and Victoria A. Chevalier. Palgrave Macmillan, Cham (Switzerland), 2020. xxi + 650 pp.\u0000Magical realism has a chequered history with beginnings in Europe. Magischer Realismus or “magic realism” was coined by German art critic, Franz Roh, in 1923 to describe certain metaphysical elements that he saw in paintings. However, the term did not gain currency—Neue Sachlichkeit (New Objectivity) and eventually Post-Expressionism became more accepted terms (Crockett 1999, 148–155). Magical realism found its way into literature when Massimo Bontempelli (1878–1960), an Italian writer and critic, first applied the term to literature in 1926 (Walter 1993, 13). But it only gained popularity in the 1950s and 1960s when it was used to describe the “boom” literary phenomenon of Latin American fiction. And it was in Latin America that this aesthetic category developed as a form of postcolonial resistance and discourse. However, this malleable and contentious term is difficult to define. Some critics have even said it defies definition; yet there is a tacit understanding of the term. At the basic level, magical realism deals with the real and irreal in quotidian or everyday life and does not dichotomise the two. Amaryll Beatrice Chanady’s Magical Realism and the Fantastic: Resolved Versus Unresolved Antinomy (1985) demonstrates the blending of the real and irreal in Latin American fiction and differentiates magical realism from the fantastic, arguing that the fantastic create antinomies of the real and irreal. However, the European strand of magical realism (especially with Eastern Europe) is more complex and with its influence of Freud and Surrealism, challenges Chanady’s ideas.","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":"45217457","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}
Art in healthcare has gone through a broad movement around the world, encompassing how art influences patient care, the hospital environment, care, and community development in medical and other contexts. Therefore, in Malaysia, whether there is a development of art in health has been explored, and this study would like to know the extent to which the development of art intervention in health occurs. Qualitative data through the interview method was used in this study by interviewing medical doctors who had been involved in art interventions in health. Having artistic knowledge in health research is very important to know and understand that many approaches have been used to date.
{"title":"Art in Health: Malaysian Experience","authors":"Muhammad Asyraf Mohd Bakri, Mohammad Kamal Sabran","doi":"10.21315/ws2022.21.9","DOIUrl":"https://doi.org/10.21315/ws2022.21.9","url":null,"abstract":"Art in healthcare has gone through a broad movement around the world, encompassing how art influences patient care, the hospital environment, care, and community development in medical and other contexts. Therefore, in Malaysia, whether there is a development of art in health has been explored, and this study would like to know the extent to which the development of art intervention in health occurs. Qualitative data through the interview method was used in this study by interviewing medical doctors who had been involved in art interventions in health. Having artistic knowledge in health research is very important to know and understand that many approaches have been used to date.","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":"45424627","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 artwork was produced as part of the residency programme organised by the Centre of Contemporary Art, Nanyang Technological University, Singapore, and the Museum of Contemporary Art and Design, Philippines called Acts of Life, with support from the Goethe-Institut. During the residency, the artist observed that media technology is utilised to abate the narratives by the nation state to define how a subject should operate and experience the world. Reflecting this, the artist created a work to discern the truthfulness and relevancy of a national narrative in individual lives. For this, a survey is devised as an artistic strategy to juxtapose the desires of a subject with the expectations of a nation state. An opinion booth was set up as part of the 2019 Singapore Art Week. With the header “What is wrong with Singapore”—the booth invites the audience to contribute their opinion towards the statement by writing it down on a postcard and pasting it on a designated wall. The accessibility, dissemination, and restriction of these opinions are left completely to the judgement of the audience visiting the booth.
{"title":"What is wrong with Singapore","authors":"Roopesh Sitharan","doi":"10.21315/ws2021.20.8","DOIUrl":"https://doi.org/10.21315/ws2021.20.8","url":null,"abstract":"This artwork was produced as part of the residency programme organised by the Centre of Contemporary Art, Nanyang Technological University, Singapore, and the Museum of Contemporary Art and Design, Philippines called Acts of Life, with support from the Goethe-Institut. During the residency, the artist observed that media technology is utilised to abate the narratives by the nation state to define how a subject should operate and experience the world. Reflecting this, the artist created a work to discern the truthfulness and relevancy of a national narrative in individual lives. For this, a survey is devised as an artistic strategy to juxtapose the desires of a subject with the expectations of a nation state. An opinion booth was set up as part of the 2019 Singapore Art Week. With the header “What is wrong with Singapore”—the booth invites the audience to contribute their opinion towards the statement by writing it down on a postcard and pasting it on a designated wall. The accessibility, dissemination, and restriction of these opinions are left completely to the judgement of the audience visiting the booth.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43351252","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 research discusses intercultural relations in the performing art of wayang kulit Kelantan, by examining the phenomena of communication between cultures that occur within the multi-ethnic Kelantanese community, with a focus on the element of music. In order to understand the intercultural communication that occurs in the element of music, Kumpulan Wayang Kulit Sri Campuran was chosen as the main research subject due to the group’s characteristic ethnic diversity, which comprises Malay, Chinese, and Siamese, as well as the community that is directly and indirectly involved in the performance, which also comprises various ethnicities, thus illustrating the existence of the phenomena of intercultural communication. Methods of observation on the element of music in performances held at several locations by this group have been able to prove the existence of clear intercultural communications within the multi-ethnic community in Kelantan. These phenomena also show that this group specifically, and the Kelantanese community in general, upholds cultural collectivism that strengthens intercultural relations, whereby people from various cultural backgrounds can be brought together by a single performance that clearly showcases characteristics of teamwork, tolerance, understanding, compatibility, sharing, and harmony.
本研究探讨了瓦扬·库利特·吉兰丹表演艺术中的跨文化关系，通过考察吉兰丹多民族社区中文化之间的交流现象，重点关注音乐元素。为了理解音乐元素中发生的跨文化交流，Kumpulan Wayang Kulit Sri Campuran被选为主要研究对象，因为该群体具有独特的种族多样性，包括马来人、华人和暹罗人，以及直接和间接参与表演的社区，也包括不同的种族，从而说明跨文化交际现象的存在。对该团体在多个地点举行的演出中音乐元素的观察方法已经能够证明吉兰丹多民族社区内存在明显的跨文化交流。这些现象也表明，这一群体，尤其是吉兰塔人社区，坚持文化集体主义，加强跨文化关系，通过一场明确展示团队合作、宽容、理解、兼容、共享和和谐特征的表演，来自不同文化背景的人可以聚在一起。
{"title":"Intercultural Communication: A Study on Music as an Element in the Wayang Kulit of Kelantan","authors":"Leng Yan Eyo, Rosdeen Suboh, Marzelan Salleh","doi":"10.21315/ws2021.20.1","DOIUrl":"https://doi.org/10.21315/ws2021.20.1","url":null,"abstract":"This research discusses intercultural relations in the performing art of wayang kulit Kelantan, by examining the phenomena of communication between cultures that occur within the multi-ethnic Kelantanese community, with a focus on the element of music. In order to understand the intercultural communication that occurs in the element of music, Kumpulan Wayang Kulit Sri Campuran was chosen as the main research subject due to the group’s characteristic ethnic diversity, which comprises Malay, Chinese, and Siamese, as well as the community that is directly and indirectly involved in the performance, which also comprises various ethnicities, thus illustrating the existence of the phenomena of intercultural communication. Methods of observation on the element of music in performances held at several locations by this group have been able to prove the existence of clear intercultural communications within the multi-ethnic community in Kelantan. These phenomena also show that this group specifically, and the Kelantanese community in general, upholds cultural collectivism that strengthens intercultural relations, whereby people from various cultural backgrounds can be brought together by a single performance that clearly showcases characteristics of teamwork, tolerance, understanding, compatibility, sharing, and harmony.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43253209","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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