scholarly journals Bloodthirsty, or Not, That Is the Question: An Ethnography-Based Discussion of Bhadrakāḷi’s Use of Violence in Popular Worship, Ritual Performing Arts and Narratives in Central Kerala (South India)1

Religions ◽  
2020 ◽  
Vol 11 (4) ◽  
pp. 170
Author(s):  
Marianne Pasty-Abdul Wahid
Keyword(s):  
Performing Arts ◽  
South India ◽  
Folk Narrative ◽  
The Real ◽  
Popular Devotion ◽  
Founding Myth

Violence is a characteristic that has somewhat become definitional for the Hindu goddess Kālī. But looking at it through the lens of folk narrative and the popular, devotion-infused and highly personalised opinions of her devotees shows that not only the understanding, but also the acceptance of this violence and the connected anger and bloodthirst that are usually attached to it, as well as the feelings of fear and danger that arise from them on the devotees’ end, are subjects open to discussion. This article, at the juncture between anthropology, performance, and Hindu studies, analyses and compares discourses about her Malayali counterpart, Bhadrakāḷi, drawing simultaneously on various versions of her founding myth of Dārikavadham (‘The Slaying of Dārikan’), ritual routines of her temples in Central Kerala as well as ritual performing arts that are conducted in some of them. The concluding discussion of her alleged thirst for blood and identification of the ’real‘ addressee of blood offerings made to her particularly illustrates how far the negotiation of Bhadrakāḷi’s use of violence and her very definition as violent goddess reaches deep into the worshipper/deity relationship that lies at the heart of popular worship.

Siddi Street Theatre and Dance in North Karnataka, South India

2011 ◽  
Vol 4 (1) ◽  
pp. 1-26 ◽  
Author(s):  
Pashington Obeng
Keyword(s):  
South Asia ◽  
Violence Against Women ◽  
Performing Arts ◽  
South India ◽  
Political Action ◽  
Social Critique ◽  
African Heritage ◽  
The Everyday ◽  
Street Theatre ◽  
Multiple Domains

Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.

Mixed Use

2002 ◽  
Author(s):  
Grant Ian Thrall
Keyword(s):  
Real Estate ◽  
Performing Arts ◽  
Functional Integration ◽  
Real Estate Market ◽  
Market Analysis ◽  
The Real ◽  
The Real Estate ◽  
Trade Area ◽  
The North ◽  
Mixed Use

With perhaps the exception of building a new town, mixed-use (MXD) development requires the most complex real estate market analysis. As with the structural organization of the preceding chapters on real estate products in this book, this chapter will begin with a background of the real estate product type. A background of MXDs is necessary to understand those developments that are already in place across the North American landscape. Some MXDs have been successful and others have been dismal failures. A goal of this chapter is to describe and explain the instruments hypothesized to make an MXD successful. Some MXDs are approaching their functional age of obsolescence—25 or 50 years old. They may require new real estate market analysis to guide their redevelopment and that redevelopment must be executed in the context of how they originated. The background coverage, contemporary notions of trade areas, demand, supply, and report, for MXDs are presented. What Is a Mixed-Use Development? To be defined as an MXD, the real estate project must have three components (Schwanke 1987): . . . Three or more significant revenue-producing uses (such as retail, office, residential, hotel, and/or entertainment/cultural/recreation), which in well-planned projects are mutually supporting Significant physical and functional integration of project components (and thus a relatively close-knit and intensive use of land), including uninterrupted pedestrian connections Development in conformance with a coherent plan, which frequently stipulates the type and scale of uses, permitted densities, and related items. . . . Each of the above concepts is discussed below. Three or More Significant Revenue-Producing Uses Many real estate projects have multiple uses. However, MXDs as denned and discussed here must have at least three major revenue-producing uses. These uses should be nontrivial. In other words, if retail space is one of the mixed uses, then that retail space should have a trade area beyond the mere project site. In most contemporary mixed-use projects, retail, office, residential, and/or hotel facilities are the primary revenue-producing uses. Other revenue-producing uses of MXDs might include sports arenas and convention centers, performing arts facilities, and museums.

scholarly journals NYANYIAN ANAK BALAM: TERAPI MISTIK PERDUKUNAN KE SENI PERTUNJUKAN RABAB PASISIE DI PESISIR SELATAN SUMATERA BARAT

Humanus ◽  
2015 ◽  
Vol 14 (2) ◽  
pp. 165
Author(s):  
Zahara Kamal
Keyword(s):  
Performing Arts ◽  
Local Community ◽  
The Real ◽  
Performing Art

This article is part of reserch,which reveals the problem of singing of anak balam in the context of shamanism entered the real of the performing art tradition of rabab pasisie in south pesisir.in the context of shamanism,the singing of anak balam serves as a means of communication between shamans and spirit of ancestor to identify a patient’s disease and type of medicine.while the singing of anak balam in context of performing arts rabab, serves as ameans of intertainment to enliven various local community activities.this reserch use a quanlitative method sosiology approach,antropology approach,easthetic approach.data colected through observasion, interview and documentation.this research found that in term of aesthetics singing of anak balam in context of shamanic different with the singing of anak balam in the context of art performing rabab pasisie, because in shamanism context eathetic value is not considered by shamans, because preferred here is to communicate with the spirit of ancestors,while in the context of performing arts rabab,aesthitic value higly considered by rabab artists both from the cultivation of musical and singing text.

scholarly journals Seni Pertunjukan Teater Asera Berdasarkan Mitos To Balo, Suku Bentong Sulawesi Selatan

2013 ◽  
Vol 13 (1) ◽  
Author(s):  
Prusdianto
Keyword(s):  
Performing Arts ◽  
Real Life ◽  
The Real ◽  
South Sulawesi ◽  
The World ◽  
The Creation

Teater tentang absurditas dengan paradoksnya yang aneh merupakan sebuah gejala dari apa yang mungkin paling mendekati pencarian relijius murni, yaitu suatu usaha manusia menyadari realitas mutlak kondisinya, dan mengajarkan kembali kepadanya makna keajaiban kosmis yang hilang dan kegalauan purba. Penciptaan pertunjukan teater Asera mengambil ide tentang kematian yang ditentukan oleh jumlah Sembilan. Ide tersebut terinspirasi dari mitos yang ada pada To Balo, suku Bentong yang berada di Sulawesi Selatan. Hal yang mendasari penciptaan Asera ini adalah keinginan untuk mengangkat sebuah permasalahan yang mengingatkan kita akan kematian. Sebuah proses dalam kehidupan yang sebenarnya mutlak akan dialami oleh manusia, akan tetapi sering dilupakan keberadaanya. Selain menjadikan warisan mitos sebagai sumber ide penciptaan, juga memberikan warna dan corak baru dalam dunia seni, khususnya seni teater. Teater adalah dunia imajinasi dari kehidupan yang sebenarnya.Kata kunci: Teater, Asera, absurd, To Balo, Bentong.ABSTRACTThe Performing Arts of theater Asera based on the myth of To Balo, Bentong tribe South Sulawesi. The absurdity of theatre with its weird paradox is as a phenomenon of what is probably as the closest quest to the purity of religiousity that is a human’s effort to realize the reality of his absolute condition, and to teach him back the meaning of the missing remarkable cosmic and the ancient confusion. The creation of theater performance Asera takes an idea of death which has been decided by number nine. This idea was fi rst inspired from a myth that exists in To Balo, a Bentong tribe lives in South Sulawesi. The basic creating idea of Asera is a willingness to discuss a problem that reminds us to the death. A process in a real life will be absolutely experienced by man, but its existence will often be forgotten. In addition to makinga myth heritage as a source of creating ideas, it also gives the new colours and characteristics in the world of arts, especiallyin the art of theater. However, theater is the real life imagination.Keywords: Theatre, Asera, absurd, To Balo, Bentong.

scholarly journals Fusing the Fictional and the Real in the Contemporary Performing Arts

2018 ◽  
Vol 26 (1) ◽  
pp. 44-54 ◽  
Author(s):  
Barbara Orel
Keyword(s):  
Detailed Analysis ◽  
Performing Arts ◽  
Fine Art ◽  
Alain Badiou ◽  
The Real ◽  
Performance Group ◽  
Personal Investment ◽  
The Spectator ◽  
The Relationship

The exploration of the relationship between the fictional and the real in projects by ViaNegativa, a performance group from Slovenia, is based on the presumption that therecognition of what we experience as fictional or real is decisively influenced by the perceptualactivity of the spectator. The article argues that the exchange between the elements of fictionand reality takes place in two different concepts of representation: theatricality and absorption.These are two opposing notions used for defining the relationship between the imagerepresented and the spectator. Theatricality is the effect of the address that the image makes tothe spectators and thus makes them conscious of their own act of perceiving. Absorption, inturn, describes the context in which the image is put to view as a closed, self-sufficientsign-system establishing such conditions of perception that make the spectator focuscompletely upon the object represented; the audience is so overcome by the presented imagethat they experience this as if they were absorbed into the staged world. These two concepts areelaborated on the basis of Denis Diderot's essays on theatre and fine art. The essay provesuseful for the argumentation of the thesis since they testify that theatricality and absorption,each in their own way, include the spectator's personal investment into what comes across asfictional or real. A detailed analysis of selected performances by Via Negativa shows that thereal assuch (i.e. theauthenticity of the real that isconfirmed in the identity with its own self)is impossible to achieve. Under the gazeof the spectator, the real is always compelled to revealitself through some kind of representation. As also found by Alain Badiou, the authenticity ofthe real can only be presented through the role of semblance, mask or fiction.

Hindustani Classical Music in Sri Lanka: A Dominating Minority Music or an Imposed Musical Ideology?

2020 ◽  
Vol 6 ◽  
pp. 41-50
Author(s):  
Chinthaka Prageeth Meddegoda
Keyword(s):  
Sri Lanka ◽  
Performing Arts ◽  
South India ◽  
Classical Music ◽  
Minority Group ◽  
North India ◽  
13Th Century ◽  
South Indian ◽  
Indian Music ◽  
Hindustani Classical Music

In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.

scholarly journals Inscrever o acontecimento, transmitir a recordação: espaços recordantes de Ayacucho / Inscribe the Event, Transmit the Memory: Ayacucho’s Remembering Spaces

2020 ◽  
Vol 25 (1) ◽  
pp. 67
Author(s):  
Carla Dameane Pereira de Souza
Keyword(s):  
Cultural Memory ◽  
Performing Arts ◽  
The Real ◽  
With Memory

Resumo: Neste artigo recupera-se a minha passagem por dois espaços recordantes e recordados, em Ayacucho, para a partir deles formular uma reflexão sobre as dramaturgias ausentes e sua relação com a memória, com os acontecimentos que nos espaços se encerram e que, uma vez inscritos, condicionam a sua transmissão e a capacidade de afetação. Toma-se como insumos teóricos provocadores as considerações de Aleida Assmann (2011) e Pierre Nora (1993), sobre memória cultural e sua relação com a história e os estudos de Ileana Diéguez (2017) sobre imagem, memória e cenários de perda. Baseia-se em uma reflexão sobre os espaços da recordação, locais e ambientes de memória dialogando com exemplos apresentados a partir da pesquisa em contexto de imersão. Parte-se também de dois casos específicos – a comunidade de Cuclluchaca, em Huanta, e o Santuario de la Memoria La Hoyada, ambos em Ayacucho, a fim de destacar como esses dois espaços potencializam dramaturgias ausentes que, paralelas ao que se entende, no bojo dos estudos das Artes Cênicas, sobre dramaturgias, permitem que os acontecimentos ali inscritos se desdobrem em teatralidades que amplificam a dimensão dos acontecimentos reais e das cenas que ali recordadas reverberam o seu locus recordante.Palavras-chave: espaços recordantes; dramaturgias ausentes; Ayacucho.Abstract: This article recovers my passage through two remembering and remembered spaces, in Ayacucho, from which to formulate a reflection about the missing dramaturgies and its relationship with memory, with the events that closes in the spaces and, once inscribed, affects its transmission and affectability. It is taken as provocative theoretical inputs the considerations of Aleida Assmann (2011) and Pierre Nora (1993), about cultural memory and its relationship with the history and studies of Ileana Diéguez (2017) about image, memory and loss scenarios. It starts from a reflection about the spaces of memory, places and environments of memory dialoguing with examples presented from the research in immersion context. It also starts from two specific cases – the Cuclluchaca community in Huanta and the Santuario de la Memoria La Hoyada, both in Ayacucho, in order to highlight how these two spaces potentiate the missing dramaturgies that, parallel to what is meant in the scope of studies of the Performing Arts, about dramaturgies, which allow the events inscribed there unfold into theatricalities that amplify the dimension of the real events and the scenes that are remembered there reverberate their remembering locus.Keywords: remembering spaces; missing dramaturgies; Ayacucho.

scholarly journals Folk Theater and History: Constructing Indian Identity through The Khyal of Amar Singh Rathore

2020 ◽  
Vol 01 (01) ◽  
pp. 2050004
Author(s):  
SHALINI ATTRI
Keyword(s):  
Performing Arts ◽  
Northern Region ◽  
Rural Landscape ◽  
Folk Narrative ◽  
Folk Drama ◽  
Folk Theater ◽  
Indian Identity ◽  
Cultural Boundaries ◽  
Folk Literature ◽  
Folk Narratives

Folklores can epitomize the nation as a unifying principle crossing the horizons of regional divisions and subcultures. The connecting factors of folklores among regional and local levels give an understanding of manifold and contextual-based identities. The collective/coalesce of social memory is understood through the folk narratives. There is a cognitive and affective deliberation that structures the manner in which memory is interpreted. These narratives shape and reconstruct “identity” as they consist of a trans-subjective truth value providing ever new understanding of reality. The present research focuses on the Marwari folk Drama The Khyal of Amar Singh Rathoretranslated by Cecil Thomas Ault and folk performing art Khyal that constitutes meanings and symbols. Khyal, a popular folk dramatic art, is especially linked to martial and romantic ballads of Rajputana. It is indicative of the gap between past and present with spontaneity and originality and is seen as a transmissible entity with reference to the performing arts in the northern region of India. There is an exploration of the dynamics of the origin of the folk narrative of Amar Singh Rathore, a source of Rajasthani culture and identity thus paving way for the other folk narratives that form the pan-Indian identity. The folk literature draws cartographies of a nation or region giving a historical depth and continuity. The dissemination of historical folk anecdotes and their retellings are plausibly a move towards identification. The historical imagination and socio-cultural memory, mostly drawn from Rajasthani rural landscape, influences and reshapes history and culture of Rajasthan, thereby making it a historical artifact providing abidance and insights into folklore as a heritage/national construct. The research reflects and projects the values, feelings, ideas and identity of the groups which identify with and perform this art. Another dimension of the present study formulates an understanding of the forms and style of Khyal folk theater of Rajasthan and how The Khyal of Amar Singh Rathore communicates and travels through linguistic and cultural boundaries constructing new spatial cartographies serving as evidence of connectivity and consistencies.

Sign in / Sign up

Export Citation Format

Share Document