CFP (corrected paper submission deadline): 20th Symposium of the ICTM Study Group on Folk Musical Instruments in Luang Prabang 2015 (original) (raw)
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Collaborative Filmmaking with Traditional Performers in Highland Java: A Practice-Based PhD Thesis
Unpublished PhD Thesis, 2019
This thesis analyzes the process of collaboration with a Javanese traditional performance group in adapting their work to film. The project has both practical and research goals. The practical goal is to collaborate with a traditional performance group from a rural area, and help facilitate their exploration of a new medium and to express themselves through film. The research goal of this project is to record, understand and analyze the process, while laying the groundwork for further collaborations and research in other contexts and with different communities. The underlying research question for this thesis is: “how does collaboration contribute and facilitate the group’s adaptation of its aesthetics and artistic expression to film?” To answer that question, it is important to first understand the group itself as local collaborators, including their members, their identities, their problems and needs, and the role of other villagers. The thesis establishes that the group has a lon...
Eyram Ahribi, 2013
Around the late 1980’s, the accessibility of VHS video cameras in Ghana made most film projectionist from various cinemas and other untrained people master the courage to experiment the art of film making. This brought about a breakout of movie productions in Ghana as more people became involved in the art and gradually it became an industry that fed the need of the Ghanaian audience. Though these movies were produced by untrained people, their productions tremendously received a great approval of the Ghanaian audience in especially urban Ghana. In recent decades, the art broke out into Kumasi where people took to making movies however, most of the movies were made with little attention to technicalities such as sound. Most rules in film making were not known to the producers of these films but audiences still enjoyed their movies because of the content that dwelt on social and religious issues. In this essay I seek to examine how sound is recorded in Kumawood movie productions (Films produced in Kumasi) Such as Fakye and Azonto Ghost, but for the scope of this research I will focus on two production companies. These include Miracle Films and Pat Thomas productions. I chose the two because they have been in production for a very long time and have contributed to creating the Kumawood movie industry of today and have several feature films to boast about. They have also been the main companies from which other trainees broke away to work on their own and establish their own production companies.
Audiovisual Ethnography of Philippine Music: A Process-oriented Approach
Humanities Diliman, 2013
Audiovisual documentation has been an important part of ethnomusicological endeavors, but until recently it was treated primarily as a tool of preservation and/or documentation that supplements written ethnography, albeit there are a few notable exceptions.The proliferation of inexpensive video equipment has encouraged the unprecedented number of scholars and students in ethnomusicology to be involved in filmmaking, but its potential as a methodology has not been fully explored. As a small step to redefine the application of audiovisual media, Dr. Usopay Cadar, my teacher in Philippine music, and I produced two films: one on Maranao kolintang music and the other on Maranao culture in general, based on the audiovisual footage we collected in 2008. This short essay describes how the screenings of these films were organized in March 2013 for the diverse audiences in the Philippines, and what types of reactions and interactions transpired during the screenings.These screenings were organized both to obtain feedback about the content of the films from the caretakers and stakeholders of the documented tradition and to create a venue for interactions and collaborations to discuss the potential of audiovisual ethnography. Drawing from the analysis of the current project, I propose to regard film not as a fixed product but as a living and organic site that is open to commentaries and critiques, where changes can be made throughout the process. In this perspective, ‘filmmaking’ refers to the entire process of research, filming, editing and post-production activities.
Ethnomusicology and Audiovisual Communication Selected Papers from the MusiCam 2014 Symposium
This text is an updated English version of an article published in Spanish on the relationship between ethnomusicology, educational, and audiovisual communications (Cámara de Landa 2012), including a discussion of relevant documentaries. The purpose of this study is to address the following questions (which were also proposed to conference participants): Is it possible to bring together, in an AV ethnomusicological project, aspects of the three types of work classified by D’Amico (2012) according to their respective purposes (scientific, didactic, or informative)? Is it possible to achieve this goal while respecting principles of flexibility, versatility, compatibility with written materials, quality of content and format, capacity for distribution, trouble-shooting for errors and security weaknesses, and epistemological issues? Which of the principles specified by Baily in his seminal text of 1989 are suitable, which are necessary and which are essential? Is there a correspondence between objectives, target audiences, and audiovisual formats in ethnomusicological production? Have current conditions of creation and reception brought about the obsolescence of certain formats? What are the most appropriate formats for fulfilling current audiovisual production objectives in ethnomusicological fields? The answer to all these questions would require a much larger space than this paper. My point is simply to emphasize the importance of keeping in mind some general principles (mentioned in the second question above) with regard to some materials recently produced.
2015 Film Video Reviews (Yearbook for Traditional Music 47, 2015).pdf
Sandrine Loncke's Dance with the Wodaabes is a seminal research film that provides profound holistic insight into the defining homologies of the nomadic Wodaabes who sporadically inhabit the Sahel subregion of West Africa. Specifically, this film focuses on the Daddo ceremony, a ritual "war," during which selected young women from an "attacked" lineage choose the most handsome from among beautified young men of the attacker's lineage. The Wodaabes use the ceremony to re-enact their shared myths of a common cosmogony, and revitalize their cherished values including community, beauty, sexuality, sensuality of the body, love and marriage, competition, individuality in creativity or personhood, societal order and respect, gendered roles and behaviour, and indigenous knowledge, culminating in the reinforcement of their bloodline identities.
From Stage to Screen: Early Filmmaking Of Indigenous Performers In Highland Central Java
No. 27 August 2016, 2016
This paper is based on an empirical study that explores issues around the process of a traditional performance art group in a village in highland Central Java adapting to film production. Wayang orang—or loosely translated human puppet—is a traditional opera-like performance rooted in Central and East Java, Indonesia. As part of a traditional society living in a rural area, members of the group discuss their productions mostly without written documents. Storylines were experienced through performing and watching different shows. Technical skills were built through lifelong intimate practices. The project explores a general explorative question: how does a traditional oral and aural art group adapt to electronic apparatuses of cinema and create their films? In answering this question, the research uses ethnography or participant observation followed by filmmaking collaborations that involve these artists, the writer and different filmmakers from the industry. The writer positions himself as the producer for the films, supporting and managing the members of the group to explore their own artistic decisions. This paper focuses on one particular production at the early stage of the project.
2018
Trunthung is a a traditional musical accompaniment growing in Magelang region. Traditionally, Trunthung music is played by one person and used as musical acompaniment of Soreng Dance. In its development, Trunthung music evolved into a musical performance based on the idea from Sutanto Mendut and Eko Sunyoto that succeed to create a new art, called Truthung Art.This research aims to know the form of transformations in Trunthung music from musical accompaniment to musical performance. As well as to be able to assess and analyze several transformation factors of Trunthung music from musical accompaniment to musical performance that exist in Warangan vilage, Pakis subdistrict, Magelang regency.The results of this study indicate the transformation of Trunthung music from musical accompaniment to musical performance as seen from six aspects of the performing art such as style, genre, text, composition, transmission, and motion. One significant is the use of Trunthung musical instrument th...