A Comparative Study of Ghā̃tu Performance and Balan Dance (original) (raw)

FOLK PERFORMING ART, ITS, IMPORTANCE AND PARADIGM SHIFTING

Indigenous Nationalities Studies, Government of Nepal , 2024

The folk performing art is a combine enactment of traditional ritual, culture, art, drama, dance, balled, music, opera as well as many more enactments. Conceptually, this article closely observes enactment of folk performing arts and emotional attachments with community because this folk performing art is not only performed by the performer to fulfill their ritual and ritual goals in the communality but they also performed to create their cultural identity. Consequently, this article aims to concerns finding out the performance studies in this folk performing art with its structural body, significance and paradigm shifting. Firstly, it wants to evoke philosophical enactment inherent in its performance and then explores the performance studies employed to evoke the themes. This article is also based on mix methods including researcher's experience method of performing art from the perspective of performance studies.

The Relation of Human Being and Environment in the Cultural Event of Laesan Performance

E3S Web of Conferences, 2021

Laesan is a traditional art that comes from the word “laesun” which means “suwung” or empty. In the show, it tells the story of a human being from the womb to return to the grave which is told through a dance accompanied by songs according to the session. This study aims to describe the relationship between humans and elements of communication and communicative actions in the cultural event of laesan performance. This research applied a qualitative descriptive approach with ethnographic studies of communication. The research data were in the form of fragments of speech and actions involved in laesan performing arts. The research method was ethnographic and participatory. The results show that laesan art communication has a communication system related to the sequence of GASKENPI components. The forms of messages in laesan art are mantras and song lyrics. The act of communication in laesan art is divided into two: (1) the act of communication between laesan players and the empty atmo...

The Transformation of a Folk Theatre: A Study of Gambhira with the aid of Performance Theory

Cape Comorin Journal, Vol-2, Issue -6, 2020

Gambhira, a folk theatre form of Maldah district of West Bengal is quite old and popular among the mass. The theatre has a prominent context as it is traditionally performed on the last day of the month of Chaitra in the pretext of Gajan, which is a folk festival associated with Shiva worshipping prevalent in West Bengal. The theatre form has its own distinctiveness as it has an episode of 'local news reading' which is rarely found in any other theatre form of Bengal. The local news section enlightens the viewers about the current happening of the locality which mostly media and news channels take as trivial incidents. Another interesting fact about the theatre is its secular approach. Though the theatre is primarily performed in a festival associated with Hindu God but the Muslim community of Bengal also performs in it. The theatre has characters which are Hindu but when Muslim community presents it the character alters immediately. So, due to its social significance even in the present scenario it is gaining enormous popularity which eventually results into the drift of the theatre from its original context to the induced context. The paper tries to trace how a dynamic folk theatre like Gambhira loses its originality for being popular. Moreover, the paper had taken the aid of Richard Schechner's Performance Theory and Theory of Contextualism to study the text, context and settings of Gambhira in the changing scenario. Ultimately while studying the transformation of Gambhira, the paper will contribute to the existing literature on fakelore and performance theory.

The Artistic Response of Bustaman Village Society to Dance Performance in Tengok Bustaman Tradition

Catharsis, 2018

Tengok Bustaman Tradition is a kind of art tradition in Bustaman village held once a year with various show performances, one of them is dance. The tradition of Tengok Bustaman is pioneered by Hysteria community where the aim is to address the city's issues with art as one of its approaches to build an artistic response in Bustaman society. Hysteria is a community that engages in city-sensitive research and with art as its approach. The formulation of the problem in this research is to explain the form of dance performances in Tengok Bustaman tradition, the function of dance performance in Tengok Bustaman tradition and artistic response in Bustaman village. This study uses a qualitative method. This research is studied through interdisciplinary approach named Performance Studies and Sociology of Art. The data collection techniques used are observation, interviews, document studies, and recording techniques. The validation technique uses source triangulation. The data analysis pr...

Aesthetic Form of Lembu Suro Dance Performance in Kelurahan Jagalan Kecamatan Jebres Surakarta City

2021

Lembu Suro dance is a dance originating from Jagalan Subdistrict, Jebres District, Surakarta City which depicts a symbol of the people who dare to defend the truth and dare to sacrifice for the people. Lembu Suro dance has a distinctive impression of beauty that characterizes the dance. The beauty is in the form of the show through its elements. The purpose of this research is to find out, find, describe the aesthetics of Lembu Suro Dance Performance in Jagalan Village, Jebres District, Surakarta City. This research uses a research approach of a descriptive qualitative approach, a choreographic structure approach and an emic ethical approach. Data collection techniques used were observation, interviews, and documentation. The data validity technique used triangulation. Triangulation of sources, triangulation of techniques and triangulation of time. The data obtained were then analyzed by describing the components in the dance performance, understanding between the components, and in...

The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study From The Perspective of Social Context

Harmonia: Journal of Arts Research and Education, 2020

This study aims at analyzing the non-aesthetic aspect of Mangkunagaran-style dance from the perspective of its social context. The method employed in the study is interpretative-descriptive qualitative. The approach used social culture to analyze the perspectives. The research was conducted in Pura Mangkunagaran, with the focus of research lies on the non-aesthetic aspect of Mangkunagaran-style dance taken from the perspective of its social context. Techniques for collecting data was an observation, interview, and documentation study. The data validity mainly used data triangulation. Results show that from the perspective of social context, the Mangkunagaran-style dance is divided into four major social functions, i.e., the social order for integration, the function of expression, the function of entertainment, and the function of Psychiatric, Aesthetic, and Economic. These for main social functions are taken part in the existence of Mangkunagaran-style dance in Pura Mangkunagaran a...

Dancing for the Audience: Contemporary Dance and Audience Perception Defining Contemporary Dance: the Indian Context

Narrative has been an important aspect of Indian dance tradition. Both classical and nonclassical forms have had their own means of story-telling. Around the culturally specific story traditions, these dance forms have developed formally. With the advent of globalization, newer paradigms of engaging with the narrative via an evolving form have been opened up. The result has been a boom in experimental dance works, some doing away with narrative completely and some keeping narrative as a part of the abstract thematic structure of the larger text that is the performance itself. Still in its, I'd say, nascent form, Indian dance may have turned towards contemporary, but much has to be understood about the orientation of the audience perception and reception in the scenario. This paper will attempt to place Indian contemporary dance in this debate around narrative abstraction and audience perception of dance. I will look at dance choreographer Navtej Johar's 2006-8 dance work, Fanna: Ranjha Revisited (duet version) as an entry point into this debate.

Indian Classical Dances: Techniques and Means of Expression 1

2017

Similar to all dancers around the world, performers of Indian classical dances use body limbs and their movements as the medium of expressing their message too. In every dance, the body movements represent feelings, emotions and the purpose of the dancers. Since Indian classical dances have got their roots in Hindu gods worshiping, and are performed to worship them (based on religious laws, dancing is essential in worshiping), each movement of the dance has a special meanings. Present research aims to study and identify the means of expression including body movements, make up method, costume and stage accessories as the media and tool of expression in this ancient art. Present research also tries to answer the following question: are these body movements symbolic in Indian ritual dances? What are their meanings? When are they employed? Present research is a descriptive study documenting data through documentary and field study methods. Based on obtained results dancers try to repre...

The Shifting Nature of 'Folk Dance' Performance: A Study of the Kuki 'Cultural Dance'

Performing Arts and Culture, 2022

Every indigenous community in the world has their own unique folk traditions that persist into the present time through songs, dances, legends, myths, tales, arts and crafts, etc. The Kukis living in the Bangladesh-India-Myanmar tri-junction are no less in this regard. Among the various traditions of the Kukis, folk songs and dances play an important role in preserving the community’s oral traditions. These dances are categorised into seasonal dances, ritual dances, martial art dances, and dances of the youths. For the indigenous Kuki people, performance of folk dances indicate not merely a showcasing of art, rituals or an act of recreation, but also reflected the cultural lore, orientation and worldview of the community. As time passes by, many of these folk dances slowly disappear, thereby endangering the true meaning of the traditions. However, there has been renewed interest in the last few decades in the performance of folk dances as ‘cultural dance’. Though the term ‘cultural dance’ is scarcely used in academic literature, it has become an integral part of a variety of festivals. Therefore, this paper attempts to study the emergence of ‘cultural dance’ as a popular cultural item among the Kukis by tracing back to their folk songs like Ju-ne-la, the earliest known musical tradition. The paper argues that the emergence of ‘cultural dance’ as performing art will not only popularise the rich cultural heritage of the community but also help in preserving the tradition. Keywords: Cultural dance, folk song, folk dance, Kuki, Ju-ne-la