TIRAI PANGGUNG

This is Not a Self-Portrait: Exploring the Concept of Self in the Contemporary Artistic Practices of Middle Eastern Women Artists

Elnaz Rostami Gharagozloo — 2024-08-04

This article examines self-portraiture by several Middle Eastern women artists (MEWA) through a historical and feminist lens, emphasising their unique approach that subverts traditional self-portrait iconography. It also explores how changes in women's standing in the region from the early 20th century to recent decades are reflected in Middle Eastern women artists' approach to self-portraiture. The shift moves away from the conventional individualistic and objective approach to self-portraiture, instead embracing a collective and unified approach in which the artists deliberately refrain from titling their works as self-portraits. The article suggests that collective self-representation is used to reveal critical views of Middle Eastern women artists on issues such as representation, veil/hijab, wars, complexities of the region and gender inequality. The introspective lens of artists enriches the discourse on these issues.

Documenting Dian Dancers’ Two Decades of Malay Cultural Youth Activism

Muhammad Noramin Mohamed Farid — 2024-08-04

This article is a preliminary endeavour to document a Malay dance youth group, Dian Dancers’ twenty years of activism (2003-2023) in promoting Malay dance practice to youths in Singapore. Written through a scholarly personal narrative, it features a reflections and critical perspectives of Dr. Noramin Farid who is an active Singaporean Malay dance practitioner-scholar and the group’s co-founder. This documentation offers insights to a selection of Dian Dancers’ productions and activities. It also presents the group’s key focus namely, international and interlocal collaborations; creating platforms for young choreographers; and their adaptation to evolving conditions – particularly the Covid-19 period. Ultimately, the objective of this article is to address the need for highlighting the activisms of current and succeeding generations of practitioners to show the evolving practice in the art world and the adaptability of its practitioners.

Systematic Integration of 4C Skills in Music Education in the 21st Century

Naixue Bao — 2024-08-04

21st-century skills are critical for China and the world today. This study examines the development of the 4C skills—critical thinking, creativity, communication, and collaboration—in music education. Through an extensive search of music education-related materials, special attention was given to the effectiveness and value of the current music education system and its reform programs and implementation. In the context of education, the 4C skills of the 21st century are recognized as key factors in students' future workplace success. This study focuses on an in-depth examination of methods for integrating 4C skills theory with music practice. The analysis revealed that the current research methodology in music education is too homogeneous, especially regarding the integration of music education with the 4C skills of the 21st century, with most studies biased towards exploring a single skill. However, this study emphasizes the importance of integrating critical thinking, creativity, communication, and collaboration into music education, demonstrating that the integration of these skills can significantly improve students' musical literacy, promote the overall development of their basic competencies, and highlight the critical role of arts education in students' overall educational experience. Methodologically, this study adopts a systematic approach to sort out and analyze research related to the development of 4C skills in music education in the 21st century, focusing mainly on descriptive analysis. This approach reflects the current status and value of music education reform and lays the foundation for future development. The final findings show that by systematically analyzing studies related to 4C skills in music education in the 21st century, these skills can not only significantly improve students' musical literacy and performance ability but also effectively promote the progress of music education. Additionally, the study emphasizes the importance of arts education for students' overall development, providing useful insights for future music education reform and practice.

Community-Centric Dynamics: The Interplay of Dancers, Musicians, and Audience in Main Zapin Performances

Hafzan Zannie Hamza — 2024-08-04

This article examines the intricate interactions among dancers, musicians, and audience members within Main Zapin, a traditional Malay dance practice in Johor. The study addresses three primary research questions: (a) How do performers navigate their multifaceted roles within Main Zapin, transitioning fluidly between dancer, musician, and active participant? (b) What are the key relational dynamics between dancers, musicians, and audience members in Main Zapin? (c) How do these interactions shape the overall performance experience? Main Zapin is characterized by its spontaneity and improvisational elements, involving complex interactions among dancers, musicians, and the audience. The findings reveal that pemain zapin (Zapin performers) embody multiple roles as dancers, musicians, and active participants, seamlessly transitioning between these functions. This versatility enables performers to engage deeply with each other, actively shaping the performance through personal expression and interaction. This study offers a novel exploration of the fluid roles of performers in Main Zapin, providing new insights into the relational dynamics that sustain this living tradition. These findings contribute significantly to the cultural preservation and revitalization of Main Zapin, highlighting its unique integration of spontaneity, community engagement, and performer versatility. Fieldwork conducted in Muar, Johor, documents the practices of Main Zapin performers, providing an emic perspective that deepens the understanding of Malay dance culture and offers insights beyond Western-centric paradigms. This study highlights the importance of these interactions for community engagement and the sustainability of the tradition in contemporary contexts.

Navigating Piano Teaching Challenges: Lecturers' Perspectives on Performance, Pedagogy, and Interpretation in Henan, China

Jin Ding — 2024-08-04

This qualitative study explores the perspectives and experiences of six piano lecturers at Shangqiu Normal University in Henan, China, as they navigate the challenges of piano teaching, with a focus on performance, pedagogy, and interpretation. Semi-structured interviews were conducted to gather in-depth insights into the participants' performing and teaching practices, the obstacles they encounter, and the strategies they employ to overcome these challenges. The findings reveal a common struggle among lecturers to effectively integrate the teaching of musical interpretation alongside technical skill development. While the participants acknowledge the importance of both technique and interpretation, they highlight a lack of systematic approaches and resources for nurturing students' interpretive abilities. The study introduces the concept of "topic theory" as a potential framework for enhancing piano pedagogy and facilitating a deeper understanding of musical expression. By examining the experiences and reflections of these piano lecturers, the research sheds light on the complexities of piano teaching in contemporary China and offers insights into the potential for pedagogical innovation and reform.

Strategies for the Protection of Shandong Qinshu as an Intangible Cultural Heritage in China from the Perspective of Audience Development

Bo Wen Zhang — 2024-08-04

The Chinese traditional oral art of Shandong Qinshu, characterized by its unique storytelling and musical elements, is facing great challenges in the present era due to rapid modernization and changes in the cultural ecosystem. This article conducts in-depth interviews and observations of the audience, practitioners, and cultural administrators of Shandong Qinshu. It analyses the current situation of the art in terms of audience expansion, and highlights the main issues affecting this factor. On this basis, this research proposes a series of targeted audience development strategies, with special emphasis on the synergistic roles of the government, cultural institutions, educational departments, and the media. Finally, this study puts forward specific suggestions for the implementation of the strategy, aiming to provide reference for the inheritance and promotion of Shandong Qinshu.

Interactive Theater Model AJIH: A Method to Improve the Learning of Indigenous Children in Pertak, Kuala Kubu Bharu, Selangor

Balkis Omar — 2024-08-04

This article develops the potential of the Interactive Theater Model AJIH as an effective alternative learning approach to increase the interest, motivation, and self-concept of Indigenous children's learning (KKOA) by modifying the Sidek & Jamaludin model (2005). Issues such as peer influence and low self-concept, which are influenced by culture, social interaction, and economic conditions, are discussed as factors that shape an individual's self-image. This study was conducted on KKOA in Pertak, Kuala Kubu Bharu, and was divided into two phases. The first phase involved the development of a model based on KKOA's needs identified through a preliminary survey, followed by the modification of the Sidek & Jamaludin model to form the Interactive Theater Model AJIH. The second phase involves the implementation of this model through a theater workshop that aims to measure the changes in KKOA's self-concept, interest, and motivation. The entire intervention process is based on the qualitative design of the action study by Kemmis Mc Taggart (1988). Vygotsky's theory of Constructivism (1978) provides a framework for social interaction in learning, Carl Rogers' theory of Self-Concept (1951) is used to understand the development of self-concept, and the theory of Play Based Learning (1962) supports the use of playful learning elements. The results of the study show an increase in collaboration and social interaction as well as the role of the facilitator in enhancing children's interest and motivation. In summary, the Interactive Theater Model AJIH is an approach to learning that has the potential to enhance Indigenous children's interest, motivation, and self-concept in the context of their unique culture and lives.