Category: Performing Arts Practices: Theater, Dance, Music


Dramaturgy in Indonesian Post-dramatic Theater: Performing Arts Practice After Reformation Period

Hans-Thies Lehmann’s study of the post-dramatic on the development of European dramaturgical ideas and their influence on contemporary theater and performance practices played a vital role in articulating the relationship between drama and the ‘no longer dramatic’ forms of theater that emerged since the 1970s. Meanwhile, the birth of contemporary Indonesian theater developed rapidly in


The Clarinet as a Tangible Acoustic Interface: New Features

This article supports the concept that a clarinet can be transformed and considered as a Tangible Acoustic Interface (TAI), when under the influence of new media art or digital components, and several approaches to achieve it. The traditional instrument, developed over centuries by luthier´s handcraft in collaboration with instrumentalists and composers, underwent an evolution triggered


Can Virtual Theater Fulfill the Function of Live Theater in COVID–19 for Tertiary Level Dance Program Stakeholders?

As the coronavirus pandemic affected tertiary level dance education worldwide, relevant stakeholders responded to the unprecedented change to online modality, by pursuing virtual theater as a solution to the absence of the live theater format. This study examined the perceptions of tertiary level dance program stakeholders on the efficacy of virtual theater as a substitute


The Power of Personal Stories: Building Resilience Through Story-Telling in a Safe Space

The prolonged global pandemic forces much of daily operations to retreat into the domestic space (i.e. work from home) and students to learn in their home instead of going back to the school. Numerous reports have shown increased stress levels in family members, including the working mother who is burdened with work from home arrangements


Saving Underground Culture Through Bandcamp: The Case of Tokyo’s Ochiai Soup

Among the most affected categories by the COVID-19 pandemic, the performing arts have been severely hit, especially live events. Considering the clubs that operate mostly thanks to live music, many of them have been forced to close or operate with limited capacity, putting their survival at risk, especially for those related to the underground culture.

“Do Not Show But Let See”: Resilience in the Kyōto Hanamachi and Maiko/Geiko Communities

The Covid-19 pandemic and its restrictions revealed a “double” crisis for the different “Geisha” districts (Hanamachi), forcing the Maiko and Geiko to halt their ozashiki (banquets) and odori (dances) practices. Touching the artistic performance and hospitality sides of the Hanamachi, the rules to curb the spread of the coronavirus accelerated the weakening of an increasingly

“Nandopananda”- Process of Performance Rehearsal for the Creation of Contemporary Performing Arts

Nanthopananthasuttra Kham Luang is Buddhist literature that Prince Thammathibet Chaiyachet Suriyawong wrote in 1736 B.E. from the Nanthopanathapakorn scripture that Phra Buddhasiri originally composed in Pali. It is considered one of the valuable pieces of literature of the Ayuthaya period that represents the poetic genius of Prince Thammathibet, the writer who had composed this piece


Creating the Contemporary Performing Arts With an Implementation of Acting Techniques Integration: A Case Study of the Contemporary Performing Arts “Return to the Spirit”

Inspired by John Luther Long’s novel, Madame Butterfly (1904) is Giacomo Puccini’s famous opera. The story of Madame Butterfly has continued to gain popularity amoung audience, as the main character, “Jo Jo-San” depicts the idealistic female character of the Eastern world in Japanese background. During King Chulalongkorn second visit to Europe in 1907, he went


Still We Rise: Racial Discriminatory Resilience and Black American Musicians

“What does it mean for descendants of enslaved people to create a music embraced by the world and still be treated as second-class citizens, exploited, dehumanised, and subject to premature death?” thus asked author Robin Kelley. According to Chou et al, Black Americans are exposed to more racial discrimination a any other ethno-racial group (Chou


Recording of a Piano and Violin Duo: A Case Study to Explore Challenges and Opportunities of Recording During COVID-19 Pandemic

During crises, performing arts are usually the first discarded activities. This attitude towards performing arts has not changed much during the COVID-19 pandemic. Since the first instance was recorded in December 2019, COVID-19 has had a disastrous influence on the arts industry, causing cancellations and closures at thousands of arts organizations worldwide. However, the practice


Intermedia Motion Tracking in AR/VR – On Immersive Storytelling and Choreographic Patterns

According to the KAMC Submission Stream “Performing Arts Practices: Theater, Dance, Music”, we would like to contribute details on our current research project IML – “Immersive Media Lab” ( The project was funded by FFG COIN “Aufbau” and started in 2018 at the St. Pölten University of Applied Sciences under the leadership of Dr Franziska


The Societal Value of Music in the Xhosa Culture

Traditional music is a culturally crafted and created music of a particular ethnic group, orally transmitted from one generation to another with an unknown creator. In Africa generally, music plays an important part in the lives of the people and one of the major characteristics of African music is that it has cultural function. The


Peace Comes About in Your Honour’: The Arts, Migration and Reconciliation

This presentation illustrates how a multimodal and transdisciplinary project brings together dance, music, poetry and historical and natural settings, with the ultimate aim of raising awareness about issues of migration. The mixing of Maltese poetry translated into English, with corporeal gestures and movements allows the interpreter of the work to experience and embody social, historical,


Keroncong Music and Social Identity in Surakarta, Indonesia

This article aims at exploring how keroncong (folk music) musicians construct identity in community contexts. Performing music is not free from contexts rather it authorizes their position and role in that society. Being on stage they want to confirm statuses and validate world-views in public. They intend to present ideals and thoughts in larger settings.