Malaysian Journal of Performing and Visual Arts
The Malaysian Journal of Performing and Visual Arts (MJPVA) is a fully peer-reviewed research journal that focuses on the Asian performing and visual arts. It is a forum for scholars in the fields of Asian music, dance, theatre, and visual arts. Published by the Faculty of Creative Arts, Universiti Malaya, it appears once a year in December, and will be an indexed periodical covered by a number of scientific indexing services. As an online e-journal, readers can obtain hardcopy on demand with a projected global dissemination through the open access policy on the University of Malaya e-journal website. We invite submissions of original articles from the entire scope of Asian performing and visual arts fields. Please see our website for further information. The journal encompasses articles, books and audio/video reviews, and notes on current research by scholars in the related arts fields. We further extend its scope to include practice-led research and exegesis, offering a critical platform for the academic exploration of practical work in the field. This approach encourages submissions that are accompanied by links to digital archives of artworks, performances, or any form of media that supports scholarly research. Therefore, we also invite contributions that employ and document artistic practices as a method of inquiry and that articulate the process and findings through exegesis, enriching the traditional academic narrative. It is published in English and is issued annually in the month of December in online format with hard copy on demand. This journal is double-blind reviewed. For submission, see Information for Authors and Submission Rules. E-ISSN: 2462-1919 ; Print ISSN: 2462-1900
Faculty of Creative Arts, Universiti Malaya
CROSS-PERIOD ANALYSIS OF NARRATIVE FOCALIZATION IN CHINESE SCIENCE FICTION FILM: A STRUCTURALIST NARRATOLOGICAL APPROACH
The phenomenon level box office and public response to The Wandering Earth (2019) mark the successful leap of Chinese domestic science fiction film from the margins of a genre into the mainstream context. Previous studies predominantly examine industrial policy, visual effects, or thematic content, leaving a critical gap in micro-level analysis of narrative mechanisms. This study employs structuralist narratology to investigate the selection and evolution of narrative focalization across key developmental stages of the Chinese science fiction film (1980–2019), analyzing three landmark works: Death Ray on Coral Island (1980), Wonder Boy (1988), and The Wandering Earth (2019).Through comparative textual analysis, we demonstrate how focalization strategies govern plot progression, emotional pacing, and ideological transmission. Findings reveal that focalization not only shapes information distribution and audience engagement but fundamentally mediates films’ ideological construction through its regulation of who sees and how they see. Ultimately, narrative focalization emerges as a crucial structural mechanism in Chinese science fiction films, reflecting broader shifts in cultural discourse and narrative aesthetics.
Copyright (c) 2024 Malaysian Journal of Performing and Visual Arts https://creativecommons.org/licenses/by-nc-nd/4.0
REIMAGINING INTANGIBLE CULTURAL HERITAGE: A SEMIOTIC READING OF BATIK GIRL AND THE DALANG’S TALE
This article examines how Malaysian animated shorts mobilise semiotic strategies to reimagine intangible cultural heritage (ICH), focusing on Batik Girl (2018) and The Dalang’s Tale (2021). While earlier scholarship has catalogued cultural motifs in Malaysian animation, less attention has been paid to how these motifs function symbolically and narratively. Drawing on Roland Barthes’ framework of denotation, connotation, and myth, complemented by Clifford Geertz’s notion of thick description, this study analyses selected keyframes from both films to trace how cultural signs operate within cinematic storytelling. In Batik Girl, motifs, textures, and tools from the batik lukis tradition are transformed from aesthetic details into symbolic landscapes that externalise grief, resilience, and healing. By contrast, The Dalang’s Tale engages more deeply with the performative grammar of wayang kulit Kelantan (WKK), where shadows, light, and puppet aesthetics articulate secrecy, trauma, and reconciliation. At the mythic level, WKK emerges as a cultural allegory of cyclical conflict and renewal. The comparative analysis demonstrates a progression from surface symbolism to embedded performative allegory, reflecting both the creative development of the filmmaker and a broader shift in Malaysian animated shorts from folktale adaptations toward cultural marker films. These findings underscore the value of semiotic analysis for revealing the symbolic depth of ICH in animation, showing how short films function as cultural laboratories that preserve continuity, enable innovation, and resonate with both local and global audiences.
RIGIDITY AND RELATION: NEGOTIATING MASCULINITY IN SHANGHAI'S REFORM-ERA CINEMA (1978-2000)
The period of Reform and Opening up (1978-2000) was a pivotal era of socio-cultural transformation in China, profoundly reshaping identities, including cinematic representations of masculinity. This article examines the construction of Shanghai masculinities during this period through a visual and narrative analysis of four representative films: Twins Come in Pairs (1979), Under the Bridge (1984), Shanghai Triad (1995), and Horizontal and Vertical (1999). It employs the "TAO-Frame," a self-developed analytical framework, to dissect the interplay between rigid and relational masculine traits. The study finds that Shanghai cinema moved beyond the one-dimensional, heroic masculinity of the socialist era to construct a more complex, contingent masculinity. This was characterized by a negotiation between hegemonic, duty-bound "rigidity" (刚) in public and professional spheres, and softer, emotionally adaptive "relationality" (柔) in private and romantic contexts. Visual codes, particularly clothing and physique, served as key markers of this evolving identity. The article argues that Shanghai cinema acted as a cultural space for negotiating the tensions between tradition and modernity, collectivism, and individualism. It demonstrates that masculinity is not a fixed construct but a fluid performance, contextually adapted to the demands of a rapidly modernizing society.
BEYOND THE GLASS CEILING: A DIALECTICAL FRAMEWORK OF AGENCY AND IDENTITY CONSTRUCTION FOR CHINESE FEMALE SPORTSCASTERS
This article addresses the complex professional experiences of female sportscasters in China's male-dominated media industry by proposing a new theoretical framework. While existing research often focuses on either structural constraints or isolated acts of resistance, this paper argues for a more integrated, dialectical perspective. It introduces the "Dynamic Gendered Field and Agentic Identity Construction" framework, which synthesizes theories of field, power, performativity, and intersectionality to analyze the mutual constitution of structure and agency. The framework conceptualizes the media industry as a "dynamic gendered field" that imposes structural pressures and examines "agentic identity construction" as the micro-level process through which female professionals strategically navigate these pressures. To demonstrate the framework's utility, the paper presents a concise case illustration of a Chinese female sportscaster, "Xiao Hong." The analysis reveals how she strategically converted "emotional labor" from a stereotyped constraint into a form of symbolic capital, thereby performing a type of micro-resistance and successfully reconstructing her professional identity. The paper concludes that this dialectical framework offers a more nuanced and holistic tool for understanding how professional identity is negotiated, performed, and redefined within gendered industries, contributing critical insights across media studies, gender studies, and the sociology of professions.
FAMILY RELATIONS IN MAINLAND CHINESE MELODRAMA FILMS: A CASE STUDY OF THE FILM A DOG BARKING AT THE MOON
This study explores how cinematic techniques and narrative structures reflect social norms by analysing the Chinese melodrama A Dog Barking at the Moon. Using a semiotic and cultural framework, it examines how mise-en-scène elements—such as lighting, props, and spatial arrangements—convey themes of parental authority, intergenerational conflict, and the tension between tradition and modernity. Drawing on Roland Barthes's mythologies and Foucauldian discourse, the study reveals how visual symbols construct latent meanings and highlight the fluid dynamics of power within family relationships. While previous feminist studies focus on patriarchy and male privilege within the family, they often overlook the dynamic power relations shaped by familial interactions and the film's implicit reconstruction of familial mythology. This study provides a more nuanced critique of power, discourse, and representation in contemporary Chinese melodrama. The mother, constrained by societal normative discourse, functions as a proxy of governmental power, regulating and influencing other family members. Her central positioning within various cinematic scenes exemplifies this role. In contrast, the father's silence and absence symbolize the marginalization and suppression of non-heteronormative identities under heteronormative expectations, visually reinforced through his exclusion from key family interactions. The findings reveal how the film, as a melodrama, both reinforces and challenges Confucian familial ideals, offering a layered critique of evolving social expectations.
A STUDY ON COLLECTIVE IMMERSION AND COSMIC SUBLIME: AN ANALYSIS ON TEAMLAB PLANETS EXHIBITION & OLAFUR ELIASSON’S ‘THE WEATHER PROJECT’
This paper will focus on the different ideas surrounding light installations at TeamLab: Planets in Japan and Olafur Eliasson’s “The Weather Project” through curatorial writings and phenomenological analysis of the artworks. Therefore, the purpose of the thesis is to determine the impact of light installations on audiences by examining an international art collective founded in Tokyo called TeamLab, well-known for their expansive installations that engage viewers in an immersive and interactive world through the use of digital projection, sound, and interactive technology and a well-known light installation by Olafur Eliasson that was displayed in 2003 in the Turbine Hall at Tate Modern, London. Despite having various curatorial writings and researches, my thesis will be focusing on analyzing a few of the light installations at TeamLab Planets’ exhibition and also one of Eliasson’s older but still well-known pieces of art, The Weather Project. Observations are achieved by going through curatorial writing and also audiences’ responses in social media such as Facebook, Instagram & Twitter to understand the different views that are being perceived on the artworks. My overall approach is to fully understand the effects of the light installations’ surroundings on the audience, as well as the various contexts that arise within the distribution process through contextual analysis. Furthermore, this study aims to show that light installations can be exhibited and understood in a variety of ways, such as establishing a sense of unity among viewers and conveying a spiritual experience through the use of light and nature as a concept.
Copyright (c) 2023 Malaysian Journal of Performing and Visual Arts https://creativecommons.org/licenses/by-nc-nd/4.0
BRIDGING ART AND SCIENCE: A PRACTICE-LED RESEARCH METHODOLOGY FOR MULTISENSORY INSTALLATION ART THROUGH NICOLESCU’S TRANSDISCIPLINARITY
This paper proposes a structured methodological approach to practice-led research by applying Basarab Nicolescu's transdisciplinary framework to the development of immersive multisensory installation art. Drawing upon the RimbaScape project—a therapeutic art installation co-developed by artists, scientists, and medical practitioners—this study demonstrates how concepts such as Levels of Reality, the Logic of the Included Middle, and the Hidden Third can guide both creative processes and empirical inquiry. The paper contributes a clear and replicable method for bridging artistic intuition with scientific empiricism in cross-disciplinary environments, offering critical insights for researchers engaged in the convergence of art and science.
PIVOT TRANSLATION IN FILM AS A VISUAL ART MEDIUM: IMPLICATIONS FOR MEANING CONVEYANCE AND CULTURAL TRANSFER
This study examines the concept and practice of pivot translation within the context of audio-visual film translation, and its implications for the conveyance of meaning and the transfer of cultural elements. Pivot translation involves the use of an intermediary language to translate content from the source language into the target language. This method is commonly employed in translating non-English foreign language films, particularly on digital streaming platforms and television networks. Recognizing film as a form of visual art rich with imagery, symbolism, facial expressions, and cinematographic design, the study explores how pivot translation affects the audience’s reception of both linguistic meaning and visual cultural cues. The research adopts Anthony Pym’s translation theory, which emphasizes balance between source-oriented and target-oriented approaches, as a conceptual framework. A qualitative methodology is used, involving document analysis and case studies to assess the effectiveness and challenges of pivot translation in preserving intended meaning and cultural resonance. Findings suggest that while pivot translation streamlines the translation process and broadens content accessibility for large-scale dissemination, it also poses risks such as semantic distortion, cultural loss, and over-reliance on intermediary scripts. Furthermore, discrepancies between visual and verbal elements may disrupt audience comprehension and diminish aesthetic-cultural impact. This study proposes the integration of visual analysis and inter-semiotic awareness into pivot translation practices to enhance fidelity to both meaning and visual-cultural expression in translated films.
PRESERVING FOLK CERAMICS HERITAGE: POWER, KNOWLEDGE, AND THE CONFIDENTIALITY SYSTEM IN KNOWLEDGE TRANSMISSION
This article examines contemporary ceramic handicraft heritage education within the context of Chinese folk ceramics. It also investigates the current state of the confidentiality mechanism in the folk master-apprentice education system. Using ethnographic methods, the study analyzes master studios in Jingdezhen, China's porcelain capital, to document the master-apprentice educational process and evaluate the implications of preserving or modifying traditional secrecy practices. Our findings reveal a striking paradox: while long-standing identity-based "secrecy" systems are eroding , thereby expanding learning opportunities for outsiders, masters persistently maintain deliberate verbal confidentiality in teaching. Moreover, under selection mechanisms, non-verbal teaching forms embodied by "Wu" not only preserve traditions but also enhance the durability and cohesion of technical heritage transmission. Exploring how traditions adapt or maintain equilibrium amid industrialized societies' relentless pursuit of scientific productivity can advance heritage preservation and educational research.
THE MIRROR IMAGE OF CHINESE CONTEMPORARY ART: A STUDY OF THE HISTORICAL TRANSFORMATIONS AND DEVELOPMENTAL PATH OF SONGZHUANG ARTS VILLAGE
This paper takes Songzhuang arts village as the object of study, to sort out its historical changes since its formation and use it as an entry point to observe the development of Chinese contemporary art. The study adopts the narrative inquiry approach, through in-depth interviews with four artists who have lived in Songzhuang at different stages of its history, and combines archival research and field work to analyze the relationship between individual experience and the development of contemporary art in China. With the help of Pierre Bourdieu's field theory, this paper considers Songzhuang as an art field, revealing the evolution of its internal structure. By analyzing Songzhuang as a spatial sample, this paper attempts to provide a new perspective for understanding the mechanisms and paths of contemporary art development in China, and to envision the potential role of Songzhuang arts village in China's art ecology in the future.
Copyright (c) 2025 Malaysian Journal of Performing and Visual Arts https://creativecommons.org/licenses/by-nc-nd/4.0
MASCULINITY AND VISUAL REPRESENTATION IN CHINESE CINEMA: A CRITICAL REVIEW OF THEORIES AND CONTEXTUAL GAPS
Contemporary Chinese cinema features contested male images, from national heroes to “feminized” idols (niang pao娘炮), sparking intense social debate. Existing analytical frameworks, whether Western or indigenous Chinese, often fail to capture the dynamic interplay of power and visual performance in these representations. This article conducts a critical review of these theories, revealing significant gaps in cultural adaptability, visual analysis, and power critique. It argues for the necessity of a new, integrated framework to better understand the cultural anxieties surrounding modern Chinese masculinity, paving the way for more nuanced future research.
Archimedes on Balance from the inner sanctum series pursue the beauty of knowledge and how it relates and connects human knowledge to their own experiences. It portrays each layer of our experiences with the fundamental visual elements of balance and movement. It began as building blocks that represent each of our constituent characters. These experiences made us who we are now, as the layers connect in a never-ending circle.
DECOLONIZING ABSTRACT ART: TAWHID AND MUJARAD AS ISLAMIC COUNTER-NARRATIVES TO WESTERN AESTHETICS
This paper critically examines the decolonization of abstract art by interrogating the dominance of Western philosophies and ideologies in shaping its discourse. Most discussions of abstract art celebrate the medium for its secular and materialist innovations within the Western tradition underpinned by a paradigm that is at once Eurocentric in emphasis and formalist, with an attenuation of metaphysical and spiritual dimensions. This research paper discusses Tawhid and Mujarad, Islamic frameworks that contest and transcend the Western notion of abstraction. While Tawhid brings unity and coherence to all creation, Mujarad seeks to distill forms into their essential content and spiritual reality. Based on the practice of three masters of Malay and Indonesian Islamic abstraction—Sulaiman Esa, Syed Ahmad Jamal, and Adi Pirous—this paper discusses how both concepts are used as decolonial tools in giving a spiritual alternative to Western abstraction. Besides, this designates how those aesthetics that were contextual, embedded with metaphysical meaning, opposed the very modernity of the Western secular and formalist narratives. Based on this thought, the approach advances by revealing that the work has critically and constructively presented Islamic abstraction as a mode of critique or reconstruction of the very notion of abstraction. For this reason, the study also builds discourse toward the reengagement of global non-Western epistemology and perspectives about art. Beyond the theoretical contributions, this paper discusses the wider implications of integrating Tawhid and Mujarad into art education and practice, furthering an inclusive and holistic understanding of abstraction. The findings indicate that the integration of spiritual frameworks within abstract art can serve as a model for the decolonization of artistic practices, enriching global artistic dialogue with the emphasis on diverse cultural identities and shared human experiences. Ultimately, this paper will argue that the integration of Tawhid and Mujarad within abstract art not only reclaims its spiritual essence but also fosters a decolonial methodology that aligns abstraction with local epistemologies and cultural identities.
NAVIGATING THE GAZE: A CRITICAL REVIEW OF GENDER, PERFORMANCE, AND CREDIBILITY IN CHINESE SPORTSCASTING
This paper reviews existing research on female sportscasters in China, focusing on how gender, performance, and credibility intersect in their professional experiences. It explores the ongoing tension these women face between being visually appealing and being taken seriously as professionals. While Western theories like the “male gaze” and “gender performativity” help explain how female sportscasters are viewed and judged, the Chinese context adds unique cultural layers shaped by Confucian traditions, modern media markets, and evolving gender attitudes. The review highlights how these women are often caught in a double bind: they must look good to get noticed, but this same focus on appearance often undermines their credibility. By introducing the “Triangle of Contested Performance” framework, which connects media structures, cultural expectations, and individual strategies, the paper shows how this paradox is shaped by deeper systems rather than just personal bias. It also points out gaps in current research—especially the lack of studies on how class, region, or digital platforms affect these experiences. The review calls for future work that examines how younger, online-savvy audiences and female sportscasters navigate these challenges, not just by resisting, but by creatively adapting to them. In doing so, the paper offers a more nuanced understanding of female sportscasters—not simply as victims of sexism, but as active participants who constantly negotiate how they are seen and heard within a complex, changing media environment.
DECOLONISING CULTURAL PRESERVATION: LEVERAGING DIGITAL MEDIA FOR THE PROTECTION OF HAKKA HERITAGE
This study critically examines the role of emerging digital technologies in preserving Hakka cultural heritage within the broader discourse of media and cultural sovereignty. The research highlights the importance of engaging younger generations in this process and investigates how digital tools can mediate the interaction between folklore and modern technology. Drawing on field observations, interviews, and community participation, the findings reveal that while digital technologies offer innovative possibilities for heritage preservation, they also carry significant risks of commodification and cultural homogenization. These challenges underscore the need to integrate local cultural values and ensure that digital representations remain faithful to the authentic practices and identities of the Hakka community. The study emphasizes the necessity of collaborative, culturally grounded digital strategies that reflect both local aspirations and global best practices. By centring Hakka voices and advocating for contextually relevant approaches, this research contributes to a more nuanced understanding of how digital technologies can empower ethnic communities and maintain cultural integrity in the digital age.
BRIDGING THE DIGITAL DIVIDE: BUILDING ACCESSIBLE DIRECTORIES FOR MALAYSIA'S CREATIVE HUBS
This paper examines the creation of a digital platform to document Malaysia's creative hubs, bridging the gaps in accessibility and community engagement. Although creative hubs have been expanding in Malaysia, their visibility remains limited, especially for smaller, non-traditional spaces. Drawing on community development theories, this study emphasizes the need for structure, shared identity, and power in building effective digital directories. A comparative analysis of international platforms illustrates effective approaches in usability, detailed content, and community-driven features. Through this framework, the article offers insights into strengthening Malaysia’s creative industry by fostering digital cohesion among creative hubs.
BOWED LUTES AMONG THE BAJAU AND THE IRANUN OF SABAH: THEIR STRUCTURES, PERFORMANCE, MUSIC AND POSSIBLE ORIGINS
Bowed lutes, often called biola, are relatively rare in Sabah. They were traditionally found only among certain maritime communities, such as the Brunei and Kadayan, the Iranun, some west coast Bajau and east coast Bajau, including the Sama Dilaut. In the Kota Belud District of Sabah, the biola (Bajau) or biula (Iranun) is a three-stringed bowed lute shaped like a violin. It is stood in an upright position in front of the seated performer and supported by their right foot, with its scroll leaning backwards towards one shoulder. It is bowed with a horsehair or, nowadays, nylon stringed bow. Among the Sama Dilaut of the east coast, however, the biola has four strings and resembles the European violin. When played, it is usually held with its base against the performer’s chest like a fiddle. Many scholars claim the four-stringed biola originated from the European violin and viola that the Portuguese introduced into Southeast Asia. Some assume the same origin for the three-stringed instruments. Some musicians, however, say the violin came from the Philippines. The three-stringed instruments and their performance reflect bowed lutes of Arab origin. This paper will compare the organology, performance practice and music of the west coast Bajau biola and Iranun biula with the east coast Bajau biola, and will suggest possible origins for these instruments.
AN ANALOGY OF SCIENTIFIC KNOWLEDGE AND AESTHETIC EXPERIENCE IN BACTERIAL ART: A QUESTION OF CONTENT OR EMOTION?
Based on two exhibitions of bacterial paintings in 2018 and 2019, we posit that knowledge about bacteria can both impede and enhance viewers' aesthetic experiences. Artists can manipulate biological material to create intriguing visual experiences that evoke emotions ranging from discomfort to admiration by understanding how different types of bacteria interact with one another and their potential uses for artistic expression. We revisited and challenged both Noel Carroll's and Gary Iseminger's theories on the approach to aesthetics due to the inherent complexity of the making process as well as its philosophical implications in bacterial art. During the exhibition, 111 questionnaires and brief interviews were used to collect responses and comments from the audience. We discovered two main themes in the audience responses: "universal knowledge" of bacteria and "pursuit of truth," demonstrating distinct aesthetic experience that is both cognitively motivated and emotionally engaged. From this perspective, bacterial art nudged audiences to look at these works of art with wonder and appreciation for the beauty they contain. As a result, having a basic understanding of bacteria allows us to encounter bacterial art in novel and intriguing ways.
EXPLORING THE 21ST CENTURY NEW AGE MUSIC GENRE: COMPOSERS' IDEOLOGIES, CREATIVITY AND PROMOTION
This paper aims to establish a better understanding of the New Age Music (NAM) genre in the 21st century. The intent is to explore underlying ideologies and expressions held by its composers and obtain a multifaceted viewpoint towards the genre. Through content analysis conducted among secondary data including 19 archived interviews, an article, and 24 NAM albums, it was found that the ideologies and musical creativity held by the NAM artists leaned towards healing, expansion of the mind, and spirituality; the identity issue was observed amongst several artists who didn't regard themselves and outputs related to NAM; few 21st century NAM albums displayed individualism by showing artists’ portrait although the commercialization of NAM inclined towards mental health and awareness instead of a form of entertainment.
PRACTICE-RELATED RESEARCH IN CONTEMPORARY CHOREOGRAPHY: A REVIEW OF METHODS
Practice-related research, such as practice-led research, practice-based research, and Practice as Research, has become increasingly significant in the academic study of creative practices, including contemporary choreography. Six doctoral research projects presented between 2013-2022 will be studied to demonstrate the implication of practice-related research in contemporary choreography. This textual review analyses the definition of practice-led research, practice-based research, and Practice as Research from the perspectives of their fundamental aims and frameworks. With the review of the doctoral research in contemporary choreography, the research problems, questions, methods, and products will be analysed. This paper will foreground the research in contemporary choreography, focusing on practice-related research as the methodology at the doctoral level.
HANDBOOK OF VISUAL COMMUNICATION (2ND EDITION) EDITED BY SHEREE JOSEPHSON, JAMES D. KELLY, AND KEN SMITH. NEW YORK: ROUTLEDGE, 2020. 591PP. ISBN: 9781138590311
Sheree Josephson, James D. Kelly, and Ken Smith edited the Handbook of Visual Communication: Theory, Methods, and Media (2020), the second edition. This book was published by Routledge (Taylor and Francis Group) in New York, United States of America. The first edition of this book was released in 2004. The key theoretical areas and research methods of visual communication are reviewed in this Handbook of Visual Communication. This volume brings together important and influential work in the discipline, with chapters attributed by many of the most well-known and highly regarded researchers in visual communication. The second edition of this already-classic text has been totally modified to reflect the evolution of communication over the last 15 years, as well as the prevalence of visual communication in our modern mediated lifestyle. There are 13 major visual communication theories described by leading experts in their fields namely perception, cognition, aesthetics, visual rhetoric, semiotics, cultural studies, ethnography, narrative, media aesthetics, digital media, intertextuality, ethics, and visual literacy. Each chapter of this book covers a theory followed by an exemplar study or two in the relevant field, displaying the different methods used in visual communication research and also the research strategies appropriate to particular kinds of media. The Handbook of Visual Communication is a theoretical and methodological handbook for visual communication researchers, as well as a collection of most of the theoretical foundation required to comprehend visual communication. This book is an essential reading material for scholars, investigators and students in visual communication, because it may have an impact on many other fields like advertising, persuasion, and media studies. This book is useful especially for the media practitioners who want to comprehend the visual aspects of how viewers use media in order to make good use of each medium.
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Choreographing Contemporary Dance with Objects in Asia: A Review of Literature and Performances
The use of stage objects as a dominant performative element in contemporary choreography has become increasingly significant due to its inevitable referentiality, which offers an essential understanding of materiality's potentialities. Five choreographies from China, Taiwan, and Singapore presented between 2015-2019 will be reviewed to anticipate these practices in East and Southeast Asia. This textual and performance review analyses the function of stage objects in chosen choreographies from the perspectives of their functionality, referentiality, signification, and subjectivation. This paper will foreground the marginalisation of objects used in choreographies and practice-based research in the Asia regions.
Copyright (c) 2021 Malaysian Journal of Performing and Visual Arts http://creativecommons.org/licenses/by-nc-nd/4.0
Exploring the positionalities of dancer, choreographer and editor in screendance from the perspective of surveillance
This paper is a self-review and reflection of a screendance choreographic project, arguing that screendance is an art form that invites surveillance. Surveillance, seen as a power of watching, was distributed to three positionalities (choreographer, dancer and video editor, all encapsulated in an individual with only one exception) in managing the choreography, dance and video editing. This power of watching was embedded in the relationship between watching through camera lenses and the positionalities. The analysis of panopticon and synopticon was later applied to extend the idea of self-surveillance and the viewer society in the screendances, respectively. Also, these screendances brought insight into the power negotiations of positionalities during the choreographic process. And this decentralisation of control will also be discussed in the paper.
Copyright (c) 2021 Bee Hung Tan, Chai Chen Tan http://creativecommons.org/licenses/by-nc-nd/4.0
Cultural Representation of Anshun Dixi Opera in the Context of Tunpu Culture
Anshun Dixi, a form of traditional opera, is one of the most dynamic and characteristic representations of Tunpu culture in Anshun City, Guizhou Province, China. In order to clarify in what ways things observed in Anshun Dixi bring meanings, this article applies Hall’s (1997) cultural representation theory to comprehensively explain the cultural symbols in the music, dance, script, costume props, and rituals of Anshun Dixi. This study found that, in the unique Tunpu cultural context, under the operation of the representation system, the cultural symbols of Dixi have been given special meanings. Anshun Dixi redefines Tunpu culture by explicating the aspects of the migration history and the military-influenced lifestyle of Tunpu people and how worship is practiced in the Tunpu community.
Copyright (c) 2021 Malaysian Journal of Performing and Visual Arts https://creativecommons.org/licenses/by-nc-nd/4.0
Total Self-concept, Academic Self-concept and Artistic Self-concept of Malaysian Art School Students and Their Associations with Art Achievements
In this study, we investigated the profile of self-concept of artistically and musically talented students, urged by the fact that gifted students in general were reported to have low self-concept and suffered from societal-behavioural problems. The study also determined the associations of self-concepts and their achievements in art subjects. A total of 232 samples were taken from the Malaysian Art School. Data were collected using Self Description Questionnaire-II (SDQ II), Arts Self Perception Inventory (ASPI) and the results of the students’ Form Three Evaluation (PT3). Artistically talented students were found to have a moderately high level of self-concept, and their self-concept was significantly different between genders and the specific artistic domain they major in. There was also a positive association between total self-concept and academic self-concept with the artistic achievement of the art school students.
Copyright (c) 2021 XI YING WONG, Prof. Madya Dr., Prof. Madya Dr. http://creativecommons.org/licenses/by-nc-nd/4.0