S. Hamdan, Ahmad Faudzi Musib, M. Sawawi, Saiful Hairi Othman
This work evaluates four violins from three distinct manufacturers, notably Eurostring, Stentor, and Suzuki, using a scientific approach. Eurostring1 and Eurostring2 were the names given to the two Eurostring units. The purpose of this study is to identify elements in various violins that could be used as tools for selecting a pleasantsounding violin by having them classified by a professional violinist. The signal’s time varying frequency was evaluated using a frequency spectrum and a time frequency plane, and the combination of frequency spectrum and time frequency domain is utilised. PicoScope oscilloscopes and Adobe Audition version 3 were used to record the acoustic spectra in terms of time and frequency. The time frequency plane is identified, and time frequency analysis (TFA) is produced by Adobe Audition spectrograms. The sound was processed in order to generate Fast Fourier Transform analysis: Fourier spectra (using PicoScope) and spectrograms (using Adobe Audition). Fourier spectra identify the intensity of the fundamental frequency and the harmonic spectra of the overtone frequencies. The highest frequencies that can be read are up to and including the 9th overtone. All violins have a constant harmonic overtone pattern with an uneven acoustic spectrum pattern. Eurostring1 showed inconsistent signal in the string G with 6th and 7th overtone missing, whereas Eurostring2 lack of the 6th overtone. Among the string D, only Eurostring1 display an exponential decay for the overtone. All the string A except for Suzuki showed nice and significant peak of fundamental and overtone. Stentor displays up to the 5th overtone. Among the string E, Suzuki showed inconsistent harmonic peak intensity. TFA revealed that the fundamental frequency of string E for Eurostring1 was lower than the first overtone. Only Eurostring1 has an uneven decay for the overtone frequency, whereas Eurostring2 exhibits a large exponential decay for the overtone frequency.
{"title":"The Frequency Spectrum and Time Frequency Analysis of Different Violins Classification as Tools for Selecting a Good-Sounding Violin","authors":"S. Hamdan, Ahmad Faudzi Musib, M. Sawawi, Saiful Hairi Othman","doi":"10.21315/ws2021.20.3","DOIUrl":"https://doi.org/10.21315/ws2021.20.3","url":null,"abstract":"This work evaluates four violins from three distinct manufacturers, notably Eurostring, Stentor, and Suzuki, using a scientific approach. Eurostring1 and Eurostring2 were the names given to the two Eurostring units. The purpose of this study is to identify elements in various violins that could be used as tools for selecting a pleasantsounding violin by having them classified by a professional violinist. The signal’s time varying frequency was evaluated using a frequency spectrum and a time frequency plane, and the combination of frequency spectrum and time frequency domain is utilised. PicoScope oscilloscopes and Adobe Audition version 3 were used to record the acoustic spectra in terms of time and frequency. The time frequency plane is identified, and time frequency analysis (TFA) is produced by Adobe Audition spectrograms. The sound was processed in order to generate Fast Fourier Transform analysis: Fourier spectra (using PicoScope) and spectrograms (using Adobe Audition). Fourier spectra identify the intensity of the fundamental frequency and the harmonic spectra of the overtone frequencies. The highest frequencies that can be read are up to and including the 9th overtone. All violins have a constant harmonic overtone pattern with an uneven acoustic spectrum pattern. Eurostring1 showed inconsistent signal in the string G with 6th and 7th overtone missing, whereas Eurostring2 lack of the 6th overtone. Among the string D, only Eurostring1 display an exponential decay for the overtone. All the string A except for Suzuki showed nice and significant peak of fundamental and overtone. Stentor displays up to the 5th overtone. Among the string E, Suzuki showed inconsistent harmonic peak intensity. TFA revealed that the fundamental frequency of string E for Eurostring1 was lower than the first overtone. Only Eurostring1 has an uneven decay for the overtone frequency, whereas Eurostring2 exhibits a large exponential decay for the overtone frequency.","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":"44035492","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 first performance of Sarah was presented at the School of Art, Universiti Sains Malaysia on 16 until 18 October 2019. Sarah’s script is the work of Noordin Hassan and directed by Halimi Mohamed Noh. The performance of Sarah is in-conjunction with the 90th anniversary of Malaysian National Laureate, Noordin Hassan. In critically evaluating theatre Sarah from the staging point of view, the production has achieved performance objectives, especially in terms of designing set and spectacle elements. Thus, this article further discusses Noordin Hassan’s patterns of thoughts through his work as well as the actions of the director in highlighting various aspects of staging Sarah.
{"title":"Ulasan Pementasan Teater Sarah: Paradigma dalam Persembahan, Performance Review: The Paradigm in Performing of Theatre Sarah","authors":"Mohd Amir Mohd Zahari","doi":"10.21315/ws2021.20.9","DOIUrl":"https://doi.org/10.21315/ws2021.20.9","url":null,"abstract":"The first performance of Sarah was presented at the School of Art, Universiti Sains Malaysia on 16 until 18 October 2019. Sarah’s script is the work of Noordin Hassan and directed by Halimi Mohamed Noh. The performance of Sarah is in-conjunction with the 90th anniversary of Malaysian National Laureate, Noordin Hassan. In critically evaluating theatre Sarah from the staging point of view, the production has achieved performance objectives, especially in terms of designing set and spectacle elements. Thus, this article further discusses Noordin Hassan’s patterns of thoughts through his work as well as the actions of the director in highlighting various aspects of staging Sarah.","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":"41952797","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}
Azian Tahir, Arba’iyah Mohd Noor, Mohd Firdaus Abdullah, S. Mansor
Unlike in the West, the emergence of visual printing and printing press in Malaya was comparatively lagged behind. Publication and printing reached the Malayan shore through the Straits Settlements after the first publication was brought in and introduced by A. B. Bone in 1806. Since then, various visual reports regarding Malaya made their way into the well-known newspapers in Britain, The Illustrated London News (ILN) and The Graphic. Social activities in Malaya became part of the main visual report in these newspapers. Nonetheless, it was found that these newspapers were not objective in reporting the news on social activities in Malaya. In lieu of this, the current research attempted to find out the extent of the action of ILN and The Graphic in manipulating visual news report about the social activities in Malaya in the 19th century. In addition, this research also aimed to find out how far the ideas and thoughts of both newspapers in describing the news reports related to social activities in Malaya in the 19th century. This research focuses on the 19th century, within the specified period, of which the two respective presses released many visual news reports regarding social activities in Malaya. The qualitative method and visual approach were chosen as the research itself was conducted in London, especially at the National Art Library, situated in the Victoria and Albert Museum. In Malaysia, materials and resources were obtained from the Malaysian National Archive, National Museum, National Library, and libraries at higher learning institutions.
与西方不同，马来亚的视觉印刷和印刷机的出现相对滞后。1806年，A. B. Bone将第一本出版物带进并引进后，出版物和印刷业通过海峡殖民地到达马来亚海岸。从那时起，各种关于马来亚的视觉报道出现在英国著名的报纸《伦敦新闻画报》(the Illustrated London News)和《图形报》(the Graphic)上。马来亚的社会活动成为这些报纸的主要视觉报道的一部分。然而，人们发现这些报纸在报道马来亚社会活动的新闻时并不客观。与此相反，目前的研究试图找出ILN和the Graphic在操纵19世纪马来亚社会活动的视觉新闻报道方面的行动程度。此外，本研究还旨在了解两份报纸在描述与19世纪马来亚社会活动有关的新闻报道时的观点和思想有多远。本研究的重点是19世纪，在指定的时期内，两家出版社各自发布了许多关于马来亚社会活动的视觉新闻报道。由于研究本身是在伦敦进行的，特别是在位于维多利亚和阿尔伯特博物馆的国家艺术图书馆，因此选择了定性方法和视觉方法。在马来西亚，资料和资源是从马来西亚国家档案馆、国家博物馆、国家图书馆和高等院校的图书馆获得的。
{"title":"An Analysis of Reports by The Illustrated London News (ILN) and The Graphic against Social Activities in Malaya in the 19th Century","authors":"Azian Tahir, Arba’iyah Mohd Noor, Mohd Firdaus Abdullah, S. Mansor","doi":"10.21315/ws2021.20.5","DOIUrl":"https://doi.org/10.21315/ws2021.20.5","url":null,"abstract":"Unlike in the West, the emergence of visual printing and printing press in Malaya was comparatively lagged behind. Publication and printing reached the Malayan shore through the Straits Settlements after the first publication was brought in and introduced by A. B. Bone in 1806. Since then, various visual reports regarding Malaya made their way into the well-known newspapers in Britain, The Illustrated London News (ILN) and The Graphic. Social activities in Malaya became part of the main visual report in these newspapers. Nonetheless, it was found that these newspapers were not objective in reporting the news on social activities in Malaya. In lieu of this, the current research attempted to find out the extent of the action of ILN and The Graphic in manipulating visual news report about the social activities in Malaya in the 19th century. In addition, this research also aimed to find out how far the ideas and thoughts of both newspapers in describing the news reports related to social activities in Malaya in the 19th century. This research focuses on the 19th century, within the specified period, of which the two respective presses released many visual news reports regarding social activities in Malaya. The qualitative method and visual approach were chosen as the research itself was conducted in London, especially at the National Art Library, situated in the Victoria and Albert Museum. In Malaysia, materials and resources were obtained from the Malaysian National Archive, National Museum, National Library, and libraries at higher learning institutions.","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":"45272572","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}
For the first time in history, full-scale performances on musical compositions by a Malaysian composer, Razak Abdul Aziz, were presented through two academic recitals—27 July 2019 and 6 February 2020—at Orchestra Hall, Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA). These recitals consisted of solo and collaborative piano works, performed by me and a team of music collaborators that were specifically selected for this purpose. Razak Abdul Aziz, who is still actively composing, spent most of his career life as an academic, first serving for Institut Teknologi MARA (ITM), then Universiti Sains Malaysia (USM) until his retirement in November 2019. Besides fulfilling the academic requirements set by Universiti Pendidikan Sultan Idris (UPSI) for my doctoral degree, I had chosen to perform works by this composer as he is generally known to the local music community as one of the earliest contemporary composers in the country (started composing in the 1980s). Yet, a full-scale performance of his works was long overdue, though he had the opportunities to have some of his works premiered and performed on local and international platforms as part of concert programmes. This artist project talks about the preparation I made for both recitals, briefly explaining the creative process I journeyed through and the challenges I faced during this time span, discussing each work I had selected for these academic recitals. These recitals could, perhaps, be the pioneers in studying and performing works by Razak Abdul Aziz, hoping to expand this effort to national and international levels.
2019年7月27日和2020年2月6日，马来西亚作曲家拉扎克·阿卜杜勒·阿齐兹(Razak Abdul Aziz)的音乐作品将在阿斯瓦拉学院管弦厅(ASWARA)举行两场学术独奏会，这是历史上首次全面演出。这些独奏会包括独奏和合作钢琴作品，由我和一个专门为此挑选的音乐合作者团队演奏。拉扎克·阿卜杜勒·阿齐兹(Razak Abdul Aziz)仍在积极作曲，他的大部分职业生涯都是作为一名学者度过的，先是在马拉理工学院(ITM)任职，然后是马来西亚理科大学(USM)，直到2019年11月退休。除了满足Pendidikan Sultan Idris大学(UPSI)对我博士学位的学术要求外，我选择演奏这位作曲家的作品，因为他是当地音乐界公认的该国最早的当代作曲家之一(20世纪80年代开始作曲)。然而，尽管他有机会在本地和国际舞台上首演和演出他的一些作品，但他的作品早该全面演出了。这个艺术家项目讲述了我为两场学术独奏会所做的准备工作，简要解释了我在这段时间里所经历的创作过程和所面临的挑战，讨论了我为这两场学术独奏会选择的每件作品。这些独奏会可能是学习和表演拉扎克·阿卜杜勒·阿齐兹作品的先驱，希望将这一努力扩大到国内和国际水平。
{"title":"Music of Razak Abdul Aziz: Preparing Chosen Solo and Collaborative Piano Works for Two Academic Recitals","authors":"M. Zamani","doi":"10.21315/ws2021.20.7","DOIUrl":"https://doi.org/10.21315/ws2021.20.7","url":null,"abstract":"For the first time in history, full-scale performances on musical compositions by a Malaysian composer, Razak Abdul Aziz, were presented through two academic recitals—27 July 2019 and 6 February 2020—at Orchestra Hall, Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA). These recitals consisted of solo and collaborative piano works, performed by me and a team of music collaborators that were specifically selected for this purpose. Razak Abdul Aziz, who is still actively composing, spent most of his career life as an academic, first serving for Institut Teknologi MARA (ITM), then Universiti Sains Malaysia (USM) until his retirement in November 2019. Besides fulfilling the academic requirements set by Universiti Pendidikan Sultan Idris (UPSI) for my doctoral degree, I had chosen to perform works by this composer as he is generally known to the local music community as one of the earliest contemporary composers in the country (started composing in the 1980s). Yet, a full-scale performance of his works was long overdue, though he had the opportunities to have some of his works premiered and performed on local and international platforms as part of concert programmes. This artist project talks about the preparation I made for both recitals, briefly explaining the creative process I journeyed through and the challenges I faced during this time span, discussing each work I had selected for these academic recitals. These recitals could, perhaps, be the pioneers in studying and performing works by Razak Abdul Aziz, hoping to expand this effort to national and international levels.","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":"48935297","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}
{"title":"Interview with Adrian Teh—The Director of PASKAL: The Movie","authors":"Sheau-Shi Ngo, M. Ahmad","doi":"10.21315/ws2021.20.6","DOIUrl":"https://doi.org/10.21315/ws2021.20.6","url":null,"abstract":"","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":"48698004","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}
As an artist, Njoo Cheong Seng (writer, playwright, film producer, and director) made efforts to respond to colonial discourse through his works and activities from the mid-1920s to the 1940s. His responses manifested in the forms of resistance and counter discourse. This paper seeks to explore the ideas and forms expressed in the counter discourse by Njoo Cheong Seng, an artist of Chinese Indonesian ethnicity. The perspective applied in this research is the postcolonial approach, particularly with regard to the concepts of hybridity and resistance. The deconstructive reading framework interpretation method was applied to determine the opposing relationship between the colonised and the coloniser discourses. The results show that Njoo Cheong Seng supported the movement to restore Chinese characteristics as a form of cultural resistance to the idea of Dutch colonial liberalism. The strategy that he used seemed to support the colonial discourse while simultaneously masking the hybridity that he promoted through ideas such as cultural nationalism. In addition, Njoo Cheong Seng and other similar collective artists developed a strategy that seemed to be of a puritan nature; however, it was, in fact, a simultaneous hybridity that consistently responded to modernity values. Njoo Cheong Seng actually opposed modernity born of liberalism. Essentially, he opposed the concept of the human as the centre of everything, or anthropocentrism.
{"title":"Njoo Cheong Seng: An Artist in the Fight between Liberalism and Eastern Traditions","authors":"D. Susanto, D. Ardianto","doi":"10.21315/ws2021.20.2","DOIUrl":"https://doi.org/10.21315/ws2021.20.2","url":null,"abstract":"As an artist, Njoo Cheong Seng (writer, playwright, film producer, and director) made efforts to respond to colonial discourse through his works and activities from the mid-1920s to the 1940s. His responses manifested in the forms of resistance and counter discourse. This paper seeks to explore the ideas and forms expressed in the counter discourse by Njoo Cheong Seng, an artist of Chinese Indonesian ethnicity. The perspective applied in this research is the postcolonial approach, particularly with regard to the concepts of hybridity and resistance. The deconstructive reading framework interpretation method was applied to determine the opposing relationship between the colonised and the coloniser discourses. The results show that Njoo Cheong Seng supported the movement to restore Chinese characteristics as a form of cultural resistance to the idea of Dutch colonial liberalism. The strategy that he used seemed to support the colonial discourse while simultaneously masking the hybridity that he promoted through ideas such as cultural nationalism. In addition, Njoo Cheong Seng and other similar collective artists developed a strategy that seemed to be of a puritan nature; however, it was, in fact, a simultaneous hybridity that consistently responded to modernity values. Njoo Cheong Seng actually opposed modernity born of liberalism. Essentially, he opposed the concept of the human as the centre of everything, or anthropocentrism.","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":"47241064","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}
Y. D. Purbadi, R. Lake, B. Sumardiyanto, Yohanes Taus
This article aimed to show the existence of gender concepts in the culture and settlement of the Dawan tribe in Kaenbaun Village, as indicated with its strong presence in the everyday life of the community, including the formal and ritual aspects. The concept exists in the inner world and mindset of every villager and has also become the guiding element of their world view, behaviour, place arrangement, and living space structures. This study was, there, conducted using participatory observation based on the Husserlian phenomenology paradigm supported by the inductive-empirical and qualitative descriptive methods to discover and understand the gender concept as well as its application and background in the selected tribe. The results showed the fetomone gender concept has become a paradigm of the thought expressed broadly and consistently through words, behaviour, as well as place and spatial arrangements among the villagers. Its function and meaning were further clarified in relation to the life and settlement architecture of the people. The core principle observed to be behind the concept is the separation and integration of life elements in an intense and permanent mutualism symbiotic relationship. Therefore, it was necessary to research the concept, function, and meaning of gender in ethnic cultures throughout Indonesia in order to form a collection of knowledge on gender and spatial planning which is useful to the understanding of ethnic settlements’ uniqueness based on local or ethnic perspectives and their preservation.
{"title":"Feto-mone Gender Paradigm in the Culture and Architecture of the Dawan Tribe Settlement in Kaenbaun Village","authors":"Y. D. Purbadi, R. Lake, B. Sumardiyanto, Yohanes Taus","doi":"10.21315/ws2021.20.4","DOIUrl":"https://doi.org/10.21315/ws2021.20.4","url":null,"abstract":"This article aimed to show the existence of gender concepts in the culture and settlement of the Dawan tribe in Kaenbaun Village, as indicated with its strong presence in the everyday life of the community, including the formal and ritual aspects. The concept exists in the inner world and mindset of every villager and has also become the guiding element of their world view, behaviour, place arrangement, and living space structures. This study was, there, conducted using participatory observation based on the Husserlian phenomenology paradigm supported by the inductive-empirical and qualitative descriptive methods to discover and understand the gender concept as well as its application and background in the selected tribe. The results showed the fetomone gender concept has become a paradigm of the thought expressed broadly and consistently through words, behaviour, as well as place and spatial arrangements among the villagers. Its function and meaning were further clarified in relation to the life and settlement architecture of the people. The core principle observed to be behind the concept is the separation and integration of life elements in an intense and permanent mutualism symbiotic relationship. Therefore, it was necessary to research the concept, function, and meaning of gender in ethnic cultures throughout Indonesia in order to form a collection of knowledge on gender and spatial planning which is useful to the understanding of ethnic settlements’ uniqueness based on local or ethnic perspectives and their preservation.","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":"44900349","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 concept of “rwa bhineda” on the island of Bali is reflected in the intertwining of “kriya,” religion, tourism and local customs as regulators. These qualities make “kriya” beautiful because it is very adequate in carrying out its functions, namely meeting religious and non-religious needs. This art is sacred and profane, reflecting the nature of “kaja” (north) and “kelod” (south), which denotes mountains and sea, or upstream (above) and “teben” (below). In “kriya” on the island of Bali, this concept is manifested in the form of “barong” and “rangda” as symbols of good and evil. The “kriya,” which appear creepy, frightening, but making you miss it, have a function as decorations, making the temple beautiful and comfortable like heaven on earth. This situation shows the activities of the Balinese Hindu community at the ceremonial level and also tourism is full of “kriya” dynamics. This art grows and develops in various variations, emerging as a continuous manifestation of the soul in fulfilling the necessities of life towards the “jagadhita.”
{"title":"The Concept of Rwa Bhineda Kriya on the Island of Bali towards Jagadhita","authors":"I. K. Sunarya","doi":"10.21315/WS2020.19.4","DOIUrl":"https://doi.org/10.21315/WS2020.19.4","url":null,"abstract":"The concept of “rwa bhineda” on the island of Bali is reflected in the intertwining of “kriya,” religion, tourism and local customs as regulators. These qualities make “kriya” beautiful because it is very adequate in carrying out its functions, namely meeting religious and non-religious needs. This art is sacred and profane, reflecting the nature of “kaja” (north) and “kelod” (south), which denotes mountains and sea, or upstream (above) and “teben” (below). In “kriya” on the island of Bali, this concept is manifested in the form of “barong” and “rangda” as symbols of good and evil. The “kriya,” which appear creepy, frightening, but making you miss it, have a function as decorations, making the temple beautiful and comfortable like heaven on earth. This situation shows the activities of the Balinese Hindu community at the ceremonial level and also tourism is full of “kriya” dynamics. This art grows and develops in various variations, emerging as a continuous manifestation of the soul in fulfilling the necessities of life towards the “jagadhita.”","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43698914","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 paper examines the social realist paintings of the art groups Yiyanhui and the Equator Art Society which emerged during the 1950s in Malaya and Singapore. Their works centred on the social functions of art and its subject matters featured the working class, the Japanese occupation and anti-British colonial sentiment. Their artworks are viewed here as cultural productions shaped by the negotiation between dominant-subordinate relationships within a postcolonial framework. It is argued that the artistic productions examined here may be viewed not only for its overarching “social realist” endeavours but, also as a struggle to rewrite the narrative of the Chinese in Malaya against of the prevailing static representations forwarded by the colonial campaign. The first part of the paper illustrates how colonial discourse in the local press propagated an image of the Chinese as inherently susceptible to communism, untrustworthy, and opportunistic. The second part of the paper shows how the artists resisted this essentialist image of Chinese identity and offered a more complex picture of a Chinese-Malayan identity. Through a combination of interviews, written artist’s statements, formal and contextual considerations of the artworks, as well as a cultural studies framework, I demonstrate how a different narrative is being offered by these artists through two related processes in identity construction: qualifications for authenticity and belonging, the articulation of ambivalence. Resistance thus, is explored as encompassing a network of strategies employed by these artists as a way to reject colonialist representations of otherness and gain authorial agency against the intellectual and ideological dominance of colonial discourse.
{"title":"Resistance and Representation: The Making of Chinese Identity in the Art of The Yiyanhui and the Equator Art Society in 1950s Singapore","authors":"E. Ong","doi":"10.21315/WS2020.19.2","DOIUrl":"https://doi.org/10.21315/WS2020.19.2","url":null,"abstract":"This paper examines the social realist paintings of the art groups Yiyanhui and the Equator Art Society which emerged during the 1950s in Malaya and Singapore. Their works centred on the social functions of art and its subject matters featured the working class, the Japanese occupation and anti-British colonial sentiment. Their artworks are viewed here as cultural productions shaped by the negotiation between dominant-subordinate relationships within a postcolonial framework. It is argued that the artistic productions examined here may be viewed not only for its overarching “social realist” endeavours but, also as a struggle to rewrite the narrative of the Chinese in Malaya against of the prevailing static representations forwarded by the colonial campaign. The first part of the paper illustrates how colonial discourse in the local press propagated an image of the Chinese as inherently susceptible to communism, untrustworthy, and opportunistic. The second part of the paper shows how the artists resisted this essentialist image of Chinese identity and offered a more complex picture of a Chinese-Malayan identity. Through a combination of interviews, written artist’s statements, formal and contextual considerations of the artworks, as well as a cultural studies framework, I demonstrate how a different narrative is being offered by these artists through two related processes in identity construction: qualifications for authenticity and belonging, the articulation of ambivalence. Resistance thus, is explored as encompassing a network of strategies employed by these artists as a way to reject colonialist representations of otherness and gain authorial agency against the intellectual and ideological dominance of colonial discourse.","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47486918","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}
{"title":"Book Review: Eclectic Cultures For All: The Development of the Peranakan Performing, Visual and Material Arts in Penang + CD","authors":"Wayland Quintero","doi":"10.21315/WS2020.19.9","DOIUrl":"https://doi.org/10.21315/WS2020.19.9","url":null,"abstract":"","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42151247","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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