GaMelLED: Kaedah Pensampelan Audio Keromong Dalam Pembangunan Dan Aplikasi Keromong Elektronik

Artikel ini adalah berdasarkan kepada satu kajian yang dijalankan dengan tujuan untuk membangunkan dan mengaplikasi keromong elektronik yang dinamakan GaMelLED Keromong. Fokus artikel ini adalah untuk membincangkan kaedah pensampelan audio keromong yang merupakan salah satu fasa yang digunakan dalam kajian. Sampel audio memainkan peranan penting bagi GaMelLED Keromong kerana dapat memberi impak dalam pengaplikasian alat bersama karya kreatif yang dipersembahkan. Kajian ini dilaksana melalui pendekatan practice-led research yang mana proses kreatifnya meliputi kaedah-kaedah yang merangkumi seperti (a) analisis media; (b) cuba jaya; (c) rakan kritikal; dan (d) jurnal refleksi. Dapatan kajian ini mendapati bahawa pensampelan audio yang dinamakan Kaedah Pantul dapat meningkatkan kualiti sampel audio keromong dari aspek pengurangan frekuensi bising di sekitar 125 Hz - 8 kHz, kualiti pelarasan yang lebih tepat tanpa suntingan digital dan nada yang lebih jelas. Hasil kajian dapat menyumbang kepada kaedah baharu bagi pensampelan audio keromong terhadap elemen teknikal rakaman menggunakan peralatan yang minima dengan hanya memanipulasikan posisi keromong yang dirakamkan.

Kasurupan: Spirits Taxonomies and Interpretation in the Practice of Kasenian Réak

Kasenian réak is a regional variant of the Javanese horse dances from Bandung, Indonesia. Commonly known in the archipelago as jaranan, kuda lumping or jathilan, the Javanese horse dances are a group of ceremonial musical performances during which a group of performers, led by a trance master, undergo voluntary possessions on behalf of spirits of the ancestors and other supernatural beings, under the influence of a musical ensemble. In different possession and trance phenomena around the world recognizing the acting spirit is often the key to communication with the supernatural being and treatment of the possessed. Thus, more or less different and precise taxonomies may be developed in order to do so. In réak, the possessed behaviour is interpreted by the trance master and members of the group in order to meet the spirit’s various demands and act accordingly to manage the possession. The purpose of this article is to examine the spirits’ taxonomies at play in réak as a case study. I do this in order to show in which sense analyses of the phenomenon of possession based on classification often fail to grasp the complexity and thus the significance of the experience. The outcome will underline which benefits can be obtained by a an approach that gives more value to a context-based ethnography of the possessed and its peculiarities than to the development of a general theory of possession with comparative purposes.

Satu Tinjauan Muzikologi Lagu Melayu Asli

Kajian mengenai muzik tradisional semakin mendapat tempat dalam kalangan para sarjana, khususnya melibatkan salah satu muzik Malaysia, iaitu lagu Melayu Asli. Hasilnya, terdapat banyak artikel yang mengkaji lagu Melayu Asli, baik dari kaca mata instrumentalis mahupun dari sudut nyanyian vokal. Artikel ini melampirkan tinjauan dalam lagu Melayu Asli, berfokuskan pada ciri-ciri yang terkandung di dalamnya. Metodologi yang digunakan untuk meninjau ciri lagu Melayu Asli ini menggunakan analisis dokumen kualitatif dengan pendekatan analisis kandungan daripada artikel dan diskografi lagu Melayu Asli. Bagi meningkatkan kesahan dapatan yang diperolehi daripada artikel dan diskografi, triangulasi dilakukan dengan kaedah temu bual. Rumusannya, ciri-ciri umum lagu Melayu Asli boleh dilihat dari aspek berikut: struktur asal komposisi lagu Melayu Asli berasaskan struktur AB, kemudian ditambah dengan bahagian intro, interlud dan outro. Rentak asli atau senandung ini dimainkan dalam tempo yang perlahan, sekitar 55 sehingga 75 bit per minit. Akhir sekali, ciri yang harus ada dalam komposisi lagu Melayu Asli ialah melodi pengantar lagu, iaitu satu rangkai melodi pendek yang dimainkan sebelum atau selepas melodi utama atau melodi nyanyian. Ciri pengantar lagu ini juga seperti fungsi counter-melody yang melengkapi melodi utama dalam lagu Melayu Asli.

Sustaining Mak Yong – Main Puteri in Raman: A Discussion of its Existence in Cultural Evolutionary Thread

Mak Yong, a traditional Malay dance-theatre recognised by UNESCO as one of the intangible cultural heritage of Malaysia has indeed seen its progress since its revival in the 1970s by some of its prominent artists such as Khatijah Awang of the Sri Temenggung troupe fame. Sadly, although Mak Yong belongs to the region of Kelantan-Pattani of the Malay Peninsula, the art form has seen its greater decline in its southern Thailand counterpart. This could be as a result of the political climate aside from the inclination of the local towards Sunni Islamic values that forbid some of its ritualistic elements. This is apparent especially in the neighbouring state of Kelantan where Mak Yong has already been banned to be performed in public since the early 1990s unless it adheres to the Syariah law. However, in the context of the forms' existence in Pattani, despite its resilience towards the test of time, it has not gained as much attention compared to the Kelantan counterpart. Most extensive case studies in the past were based on the Kelantanese group (Sheppard, 1974; Yousof, 1976 & 1992; Nasuruddin, 1995). To extend our understanding of the study of Mak Yong of the Malay world, this paper aims to discuss the forms existence in Southern Thailand, particularly in the district of Raman, Yala Province. Special focus on its discussion will centre around the question of sustaining the tradition in the region through the relationship with Main Puteri, another ritualistic dance-theatre closely related to Mak Yong. Through the epistemological approach of Cultural Evolution, this paper intends to preliminarily explore the importance of this relationship in the bigger picture of Mak Yong as part of the cultural evolution in the Malay world. By identifying its natural phenomena, it is hoped that more exploration can be done in the future on the realm of Southeast Asian traditional performing arts.

Anna Pavlova, Live in Manila!: The Globalization of Ballet and its Localization in the Philippines

Anna Pavlova was the first ballerina to tour the world, effectively globalizing ballet and transforming it from a European/Russian art form into a universal one. The places that she performed in, exotic, war-torn or on the brink of a civil revolt, with either unbearably hot or achingly cold climates, all received her differently, according to the local culture, affecting the ballerina as much as she had an effect on the people who came to see her dance. In most places, such as Cuba, Argentina, the US, Australia, and the Philippines, Pavlova had inspired the localization of ballet in their respective cultures, where appropriation had turned into tradition. This paper looks at how Anna Pavlova accomplished the globalization of ballet as a universal art form, and how it had successfully embedded itself as a local tradition in several countries, specifically in the Philippines, where there exist three professional ballet companies that are still currently active. This paper analyzes Pavlova’s contribution using the concepts of globalization, culture contact, and localization or indigenization.

Study of Literature Transformation in Bedhaya Hagoromo Dance

Bedhaya Hagoromo dance was arranged by Didik Nini Thowok in 2001, and last performed in 2014. The dance was adapted from Jaka Tarub Nawang Wulan folklore and Hagoromo stage play which was manifested into its dancing composition. This literature transformation contained the plot adapted from folklore literature into the bedhaya dance literature, creating a unique assemblage. The purpose of this study is to identify the form of literature transformation and to study the elements performed in the dance. The qualitative research method in this study is literature transformation approach, namely by observing the parts of this dance that are in accordance with the default framework of bedhaya dance. From the observation, the literature transformation has shown a collaboration of Javanese and Japanese folklores through the language that can be understood well by Javanese. Therefore, this indirectly helps in reviving the bedhaya kakung dance to this day.

Amalan Pentaksiran Berasaskan Produksi Bagi Kursus Bangsawan Di Sebuah Akademi Seni

Kajian ini bertujuan untuk meneliti aktiviti, kaedah dan instrumen pentaksiran menerusi tajuk Amalan Pentaksiran Berasaskan Produksi bagi Kursus Bangsawan di sebuah Akademi Seni. Seramai 20 orang responden kajian yang terdiri daripada 10 orang pelajar kursus Bangsawan, lima orang tenaga pengajar kursus Bangsawan dan lima orang pakar bidang dipilih melalui teknik pensampelan bertujuan. Kajian ini akan menggunakan Model Penilaian Kurikulum KIPP oleh Stufflebeam & Coryn (2014) bagi meneliti keseluruhan perjalanan pentaksiran secara berperingkat di dalam produksi yang mana melalui empat komponen KIPP iaitu konteks, input, proses dan produk. Teori Taksonomi Bloom (1956) dipraktikkan untuk melihat amalan pentaksiran berdasarkan objektif pembelajaran dan kriteria Metarubrik oleh Arter & McTighe (2001) digunakan untuk menganalisis dokumen rubrik produksi Bangsawan. Pengumpulan data secara pemerhatian dan temu bual dianalisis secara tematik bagi menemui hasil dapatan yang bersesuaian. Hasil kajian ini mempunyai dua implikasi. Dari sudut teoretis, kajian ini berjaya menggabungkan model penilaian kurikulum dengan teori objektif pengajaran dalam semakan pentaksiran produksi Bangsawan. Manakala dari sudut amalan, kajian ini menyediakan tatacara perlaksanaan pentaksiran secara tersusun mengikut kategori di dalam peringkat pentaksiran produksi Bangsawan. Oleh itu, kajian ini menyumbang kepada ilmu baru di dalam bidang kurikulum pendidikan terutama yang melibatkan pendidikan seni persembahan di Malaysia.

Peranan Wanita Dalam Persembahan Ritual Pengubatan Tradisional Magbuaya

Etnik Bajau yang menduduki Kampung Seloka Empat, Pulau Bum-Bum, Semporna masih mengekalkan dan mengamalkan adat istiadat tradisional amalan nenek moyang yang berpaksikan kepada amalan ritual pengubatan berbentuk tradisional. Amalan nenek moyang yang diamalkan sehingga kini menerapkan nilai-nilai penghormatan kepada kaum wanita kerana mereka dianggap sebagai satu identiti gender yang berwibawa dan suci. Permasalahan kajian yang didapati adalah berkaitan dengan peranan penting kaum wanita dalam persembahan ritual pengubatan tradisional seperti ritual pengubatan magbuaya. Selain itu, wanita memainkan peranan yang sangat penting dalam pelaksanaan persembahan ritual pengubatan tersebut. Ini disebabkan, persembahan ritual pengubatan tradisional magbuaya ini penting bagi wanita untuk menjadi tumpuan dalam keseluruhan proses pelaksanaan serta kelancaran persembahan ritual pengubatan tradisional magbuaya ini. Hal ini kerana, waris kalamat (bomoh) adalah seorang wanita yang akan meneruskan persembahan ritual pengubatan tradisional magbuaya ini. Selain itu, para pembantu utama kalamat adalah wanita dan para pembantu atau dikenali sebagai dayang ini akan dibantu oleh para wanita terpilih yang terdiri daripada ibu tunggal, janda atau balu sahaja. Selain itu, kertas kerja ini mengaplikasikan kaedah kajian etnografi bagi mendapatkan data yang lebih kukuh. Salah satu syarat yang paling penting dalam persembahan ritual pengubatan tradisional magbuaya adalah peranan tujuh orang wanita yang masih dara sebagai dayang-dayang. Dapatan kajian menemukan bahawa wanita sangat memainkan peranan penting dalam ritual pengubatan magbuaya kerana kemenjadian sesuatu proses pengubatan adalah ditentukan oleh kewujudan peranan wanita.

Developing Theatre for the Young in Malaysia: Benefits and Challenges

This study investigates how young people in Malaysia enjoy theatre or find it relevant at all in the era of television, films and technology. The research was done using three approaches: A Naturalistic Inquiry methodology where the research was done at site which is in Kinabatangan, in East Malaysia with 25 young people to develop a script; a creative arts methodology was done in the studio where the script was explored and developed into a performance; the last phase of the research used a primary qualitative methodology to explore how young audiences watch theatre in which the research instruments used were questionnaires and open-ended interviews. There were 9 respondents from a Primary School and 23 respondents from a secondary School. This research that came out of the practice, enabled the researcher to investigate children’s life experiences and listen to themThe knowledge gathered is that the young in Malaysia are definitely excited about theatre which communicates to them and which has aesthetic, entertaining, imaginative and educational merits. The research connected the young in East Malaysia as participants who contributed to the script with the young in West Malaysia who performed it and young audiences who watched it.