Traditional arts and the state: The Scottish case

McKerrell, Simon

doi:10.1080/09548963.2014.925281

Cited by 4 publications

(3 citation statements)

References 19 publications

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“…In their study, Irianto & Laksono (2017) found that (a) the marginalization of traditional arts in the form of cultural commodification has become a new necessity in the era of the global economy and the development of the tourism industry; (b) to accommodate the demands for commodification of culture is to create traditional arts that are imitative to meet the quality standards of the tourism industry. McKerrell (2014) says that commodification with the commercialization of traditional arts is fully compatible with practices and authentic creative transmissions.…”

Section: Literature Reviewmentioning

confidence: 99%

Survival of The Basing Arts of The Kajang Community in Global Challenges

Samidi

Husain

2023

MJSB

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This article describes traditional arts dealing with global challenges. Globalization that makes it easy for everyone to express entertainment arts is a serious threat to Basing's traditional arts. The slowness of adaptation and regeneration further distances Basing's art from everyday life. The people of Kajang are trying to maintain it, but recently they have faced many obstacles. The mechanism that is still maintained is the relation of traditional art to the ritual of prayer for death. The purpose of this paper is to explain the relationship between traditioal art and rituals for the death and the constraints to inherit the art. This research used qualitative data that collected and analyzed based on village monograph, participant observations, and interviews. The observation is carried out during the Basing art performance at the death prayer ritual. The interviews were conducted on several people which proportionally representing social roles, including traditional community leaders, village government bureaucrats, teachers, youth art activists, village elders, and artists. The research found that restriction to the customary areas is only able to control people's behavior based on customary values and norms, but is not able to force residents to develop the Basing arts. However, the inheritance of arts faces obstacles because the people of Kajang are not able to carry out cadre of artists as successors and reinforcers of the existence of Basing art.

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Section: Literature Reviewmentioning

confidence: 99%

Survival of The Basing Arts of The Kajang Community in Global Challenges

Samidi

Husain

2023

MJSB

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“…Kesenian tradisional merupakan hasil dari kreativitas, cipta dan karsa manusia yang bersumber pada aspek perasaan estetis yang sama dalam suatu masyarakat (McKerrell, 2014). Kesenian tradisional muncul dari latar belakang tradisi dan budaya masyarakat yang diwujudkan dalam karya dan tingkah laku dalam kehidupan.…”

Section: Pendahuluanunclassified

Periodisasi Perubahan Potret Perjalanan Seni Tradisional Ludruk

Jalal

2022

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Artikel yang berjudul performansi seni pertunjukan ludruk Jawa Timur pada era new media ini bertujuan untuk menjabarkan potret keberadaan seni ludruk mulai periode kelahirannya hingga era new media. Metode kajian dalam penelitian ini adalah deskriptif kualitatif dengan mengeksporasi data pustaka. Data pustaka yang dimaksud adalah hasil penelitian serta buku referensi yang memiliki relevansi terhadap objek yang dikaji. Pola interaksi serta hubungan sosial yang makin kontraktual, berkembangnya proses komersialisasi, serta pengaruh modernisasi kehidupan masyarakat pada era new media, telah menyebabkan keberadaan serta tampilan seni pertunjukan ludruk mengalami perubahan dari masa ke masa. Seiring dengan perkembangan zaman, ludruk pernah mengalami masa kejayaan sebagai sarana hiburan rakyat, pernah menjadi seni yang dikenal luas oleh berbagai kalangan masyarakat sebagai sarana propaganda pada masa penjajahan Belanda, Jepang, serta sarana efektif dalam mendukung program pembangunan pemerintah Orde Lama maupun Orde Baru. Selain pernah berada pada puncak kejayaan popularitas sebagai sarana hiburan rakyat, dalam perjalanannya juga pernah mengalami era keterpurukan eksistensi sebagai seni tradisi yang mulai ditinggalkan. Situasi yang lebih memprihatinkan akibat dari proses modernisasi dan globalisasi, kesenian tradisional yang pernah jaya dan menjadi ikon Jawa Timur dan kota Surabaya ini tinggal menjadi paraphernalia, yaitu semacam hiasan sosial yang tidak lagi fungsional dalam kehidupan masyarakat. Pada era new media, ludruk mengalami transformasi menyesuaikan diri dengan situasi dan kondisi. Bentuk-bentuk pakem konvensional yang ada disesuaikan dengan mengakomodasi situasi kekinian, baik itu menyangkut media pementasan maupun situasi sosial kalangan para penikmat pertunjukan. Kata Kunci: performansi seni, seni tradisional (ludruk), era new media

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“…The complex, critical scholarly histories of this term, however, often disappear within social research into music, leaving the ‘professional’ as a floating signifier or straightforward antonym of ‘amateur’ (e.g. Guerra, 2016; Lee, 2009; McKerrell, 2014). This confusion reflects the real complexities in locating the musically ‘professional’ which led Frederickson and Rooney (1990) to recommend referring to a ‘music occupation’ rather than ‘music profession’.…”

Section: Literature: Musical Professionsmentioning

confidence: 99%

Beyond the Crew: Hip-Hop and Professionalization in Mexico City

Green

2021

Cultural Sociology

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In recent years profesionalización – professionalization – has become an increasingly influential concept in the hip-hop scene in Mexico City. This term can refer to a variety of changing practices relating to artistic presentation, the organization of hip-hop events, and the hip-hop scene’s model of creative production. The influence of professionalization relates to the rising specialization of hip-hop production and the increasing importance of the digital circulation of music and images; increasingly, success is made on YouTube and Spotify. It also relates to new sources of income, such as freestyle rap battles with corporate sponsorship, and to nascent spaces for hip-hop within adult education. Above all, professionalization relates to a series of structural changes connected to the declining influence of crews, oriented around something akin to Spillman’s ‘non-strategic solidarity’: fraternity, informality, and shared identity. In some cases, crews are giving way to more formal ‘teams’, oriented around the solo artists that now dominate the hip-hop scene. This article builds on ongoing ethnographic research since 2012 and a series of interviews with over 40 local hip-hop artists, to explore professionalism and professionalization as emergent, negotiated values within Mexico City’s hip-hop scene. It offers a frame through which different ideas of the ‘professional’ may be considered: object-forming (relating to the creation of a ‘professional’ music object) and subject-forming (relating to the formation of a ‘professional’ subject). Profesionalización cannot be understood in a functionalist sense, nor may the hip-hop ‘professional’ be conceptualized as a straightforward antonym of ‘amateur’. This article instead shows different ways that ‘object-forming’ and ‘subject-forming’ professionalization both incorporate and texture the ‘non-strategic’ and distinguish hip-hop ‘professionalism’ from the same texture the ‘non-strategic’, and distinguish hip-hop professionalism from it.

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Traditional arts and the state: The Scottish case

Cited by 4 publications

References 19 publications

Survival of The Basing Arts of The Kajang Community in Global Challenges

Survival of The Basing Arts of The Kajang Community in Global Challenges

Periodisasi Perubahan Potret Perjalanan Seni Tradisional Ludruk

Beyond the Crew: Hip-Hop and Professionalization in Mexico City

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