The publication of Jurai Sembah [e-ISSN 2716-5523] aims to expand and create innovations in the concepts, theories, paradigms, perspectives and methodologies of research and learning of performing arts that are cross-field and cross-cultural. Published twice a year (June and December start 2024), the Jurai Sembah contains the results of original conceptual investigation and field research. The features of the Jurai Sembah are its thematic publications, innovative approaches as well as cross-cultural and cross-field learning in performing arts. Thematic studies aimed to elicit a new conceptual nuance arising from the combination of several different articles, to present the uniformity of issues, conceptual and methodological uniformity and to illustrate abstract concepts in the performing arts. Jurai Sembah supports Open Access. The electronic full text version of the journal is available Free of Charge (FOC). Jurai Sembah indexed in MyJurnal, ASCI (Asian Science Citation Index), Copernicus, Google Scholar, and Dimensions
Teaching Ontology in the Performing Arts: An Ethno-Epistemic Pedagogical Framework to Postgraduate Study
This article proposes an ethno-epistemic approach to teaching ontology in the performing arts at the postgraduate level. Ontology is often introduced to students as an abstract philosophical concern, detached from artistic practice and cultural experience. This article reframes ontology as an interpretive inquiry grounded in cultural knowledge, embodied encounters, and reflective analysis. Drawing on scholarship in the anthropology of knowledge, cultural cognition, linguistics, and adult learning theory, the article develops a pedagogical approach that treats students’ cultural backgrounds, artistic lineages, and experiential histories as epistemic resources rather than contextual noise. The discussion does not present an empirical evaluation of learning outcomes. Instead, it offers a theoretically informed articulation of course design, assignment structure, and reflective sequencing that operationalize ethno-epistemic principles in teaching practice. Ontological understanding is framed as emerging through cycles of observation, field-based engagement, analytical writing, and formative feedback. These pedagogical processes support students in identifying and interrogating the cultural assumptions that shape how performance meaning, action, and presence are interpreted. The article positions the proposed approach as context-dependent and provisional rather than universally generalizable. Its contribution lies in clarifying how ontological inquiry can be pedagogically organized in culturally diverse postgraduate settings, where performance traditions carry distinct epistemic and ontological logics. The ethno-epistemic approach advances discussions in performing arts pedagogy by shifting ontology from a static conceptual domain toward a culturally situated practice of interpretation.
Copyright (c) 2025 Hafzan Zannie Hamza, Nurulakmal Abdul Wahid https://creativecommons.org/licenses/by/4.0
Exploring the Essential Competencies of Dance Teachers in the Era of Aesthetic Education Reform
This study explores the essential competencies required of dance teachers in the context of China’s recent aesthetic education reform. Drawing on qualitative data from semi-structured interviews and classroom observations, the research identifies the shifting roles of dance educators from technical instructors to facilitators of aesthetic experience and cultural understanding. The findings reveal six core competencies: Dance and Pedagogical Competency, Aesthetic Perception and Facilitation Competency, Socio-emotional Teaching Competency, Differentiated and Student-centered Competency, Cultural Literacy and Transdisciplinary Creativity Competency, Reflective and Developmental Competency. These competencies highlight the increasing demand for teachers to integrate emotional engagement, cultural awareness, and creative exploration into classroom practice, moving beyond exam-oriented instruction. By constructing a practice grounded competency framework, this study contributes to bridging the gap between policy expectations and teachers lived realities. It also provides insights for improving teacher preparation and professional development, offering practical implications for supporting the sustainable implementation of aesthetic education in China.
Copyright (c) 2025 Liu Junjun, Leng Poh Gee https://creativecommons.org/licenses/by/4.0
Pembangunan dan Pengujian Bahan Pembelajaran Interaktif Digital Ensembel Muzik Gong untuk Pelajar Sekolah Menengah
Ensembel muzik Gong adalah sebuah genre muzik tradisional etnik Kadazan Dusun, Sabah yang memiliki latar belakang sejarah dan corak persembahan yang tersendiri. Penyelidikan ini dibuat kerana timbul kemahuan untuk memahami budaya muzikal dan nyanyian warisan, dan secara khususnya terhadap ensembel muzik Gong yang telah menjadi warisan bagi bangsa Kadazan Dusun di Sabah. Ia sebagai sebuah bentuk kebudayaan yang dipelajari oleh masyarakat etnik Sabah dari generasi ke generasi secara informal atau non-formal. Ia telah mula tenggelam di antara pelbagai perubahan perilaku masyarakat yang berlaku mengikut perkembangan zaman. Oleh yang demikian, penyelidikan ini adalah satu kerangka yang telah meneliti aspek-aspek teknik dan estetik Ensembel muzik Gong dan distrukturkan dengan ilmu pendidikan muzik sehingga dibangunkan bahan multimedia interaktif yang dapat digunakan ke dalam pengajaran dan pembelajaran di institusi pendidikan formal. Penyelidikan ini melibatkan kaedah kuantitatif dan kualitatif dengan menggunakan soal selidik dan teknik temubual separa berstruktur untuk pengumpulan data yang selanjutnya diolah dengan mengimplementasikan kaedah deskriptif-analisis. Sebuah produk bahan pengajaran dan pembelajaran multimedia interaktif Ensembel muzik Gong telah dihasilkan dan telah dinilai kesesuaiannya untuk digunakan dalam institusi pendidikan formal. Dapatan kajian melalui maklum balas guru, jurulatih dan pelajar menunjukkan bahawa bahan pengajaran dan pembelajaran ini telah menunjukkan tahap kebolehgunaan dan kesesuaian yang tinggi sebagai bahan pengajaran dan pembelajaran ensembel muzik Gong Sabah di institusi pendidikan formal.
Copyright (c) 2025 Muhammad Solehudin Tukiman https://creativecommons.org/licenses/by/4.0
Interaksi Simbolik Pelajar dan Komuniti Semasa Pembelajaran Keroncong: Impak Terhadap Sosio-budaya dalam Konteks Pendidikan Nasional
Keroncong adalah genre muzik yang tercetus daripada percampuran budaya dan telah mengalami pelbagai transformasi sepanjang sejarahnya, menyerap pengaruh daripada pelbagai tradisi muzik termasuk Jawa, Melayu, dan Barat. Keunikan percampuran budayanya dapat diterjemahkan melalui perbezaan gaya permainan muzik serta teknik nyanyiannya. Pembelajaran muzik tradisional dalam konteks pendidikan formal telah diwujudkan untuk menyemai kesedaran dan penghargaan pelajar terhadap muzik tradisi seperti keroncong namun pembelajaran ciri muzik hibrid ini masih menampakkan jurangnya. Kajian ini akan mengetengahkan kesan pembelajaran keroncong terhadap kesedaran dan penghargaan pelajar terhadap kepelbagaian budaya. Kaedah kualitatif digunakan bagi memperoleh pemahaman yang komprehensif mengenai impak pembelajaran keroncong terhadap kesedaran dan apresiasi kepelbagaian budaya dalam kalangan pelajar. Kajian ini merujuk kepada kerangka konseptual Teori Interaksi Simbolik oleh Mead (1934) dan Blummer (1969). Seramai 10 orang pelajar keroncong serta tiga orang tenaga pengajar terlibat dalam pengumpulan data kajian ini dengan menggunakan kaedah temu bual separa berstruktur dan pemerhatian peserta. Dapatan penyelidikan ini membuktikan bahawa muzik tradisional seperti keroncong berupaya menjadi medium efektif dalam membentuk kefahaman tentang nilai universal, kesedaran dan penghargaan melalui interaksi simbolik daripada kepelbagaian budaya. Hasil kajian ini diharap dapat membantu pendidikan muzik tradisional sebagai satu mekanisme untuk mengekalkan identiti budaya sambil menggalakkan interaksi silang budaya untuk membina masyarakat Malaysia yang bersatu, harmoni dan berbilang bangsa.
Copyright (c) 2025 Jamilah Abu Bakar, Dr. Bahizal bin Abu Bakar, Prof. Madya Dr. Mohd Nizam bin Nasrifan https://creativecommons.org/licenses/by/4.0
Satira dan Kritik Sosial dalam Labu dan Labi: Sebuah Analisis Pasca-Kolonial
Kolonialisme telah meninggalkan kesan yang mendalam terhadap cara hidup dan pemikiran masyarakat tempatan, dan hal ini mendapat perhatian pengarah filem Melayu, termasuk P. Ramlee. Filem-filem beliau pada era kegemilangan studio Melayu (1950-an hingga 1970-an) sering menampilkan kritikan sosial yang disampaikan melalui satira. Kajian ini meneliti filem Labu & Labi (1962) dengan menggunakan teori pasca-kolonial Homi K. Bhabha (1994), khususnya konsep ambivalensi, mimicry dan hibriditi, bagi memahami bagaimana komedi dan satira berfungsi sebagai wacana dekolonisasi budaya. Pendekatan kualitatif melalui analisis isi kandungan terhadap kata bual dan pembingkaian digunakan untuk mengenal pasti lima elemen satira mengikut model S. Othman Kelantan, iaitu humor, wit, ironi, sarkasme dan berlebih-lebihan. Dapatan kajian menunjukkan P. Ramlee menggunakan satira bukan sahaja untuk mengkritik masalah sosial, tetapi juga untuk mentertawakan peniruan gaya hidup kolonial dan membuka ruang perundingan identiti Melayu dalam ruang ketiga budaya. Hal ini memperlihatkan bagaimana sinema P. Ramlee menjadi medium penting dalam membentuk wacana kebangsaan dan identiti pasca-kolonial Malaysia.
Copyright (c) 2025 Marlenny Deenerwan, Siti Raihani Mohamed Saaid https://creativecommons.org/licenses/by/4.0
The Effects of Maqām-Based Oud Therapy on Emotional and Physiological Responses: A Study in Malaysian Listeners
This study explores the therapeutic potential of maqām-based music listening within the framework of Receptive Music Therapy (RMT). While maqām has historically been associated with spiritual healing and emotional regulation, its scientific validation remains limited. Using pre-recorded oud improvisations (taqsim) by Munir Bashir, this study examines how different maqām evoke psychological and physiological responses amonglisteners. A total of 20 participants completed pre- and post-listening assessments, measuring mood, stress levels, and emotional effects of Maqām Nahawand, Maqām Rast, and Maqām Bayati. Findings indicate a statistically significant reduction in stress levels (p < 0.05) and an overall improvement in mood post-listening. Maqām Rast was most associated with stability and clarity, Nahawand evoked deep introspection and melancholy, while Bayati was linked to spiritual warmth, nostalgia, and relaxation. These results suggest that maqām-based music can serve as an effective tool for emotional regulation and stress reduction, particularly within non-Western music therapy models. By integrating ethnomusicological insights with empirical research, this study contributes to the global recognition of maqām-based music in therapeutic settings, offering new perspectives on culturally adaptive sound healing practices.
Copyright (c) 2025 Raja Zulkarnain Raja Yusof https://creativecommons.org/licenses/by/4.0
The Adaptation and Cultural Transformation of Yuanshengtai in the Staged Performance of Tibetan Reba Dance
This study examines the underexplored processes of constructing and negotiating Yuanshengtai in staged performances of Tibetan Reba dance, addressing the tension between authenticity ideals and modern adaptations. Employing ethnographic methods, this research critically analyses how Yuanshengtai is collaboratively shaped by diverse actors within the context of Chinese intangible cultural heritage preservation. Findings indicate that Yuanshengtai in staged performances emerges through dynamic negotiations involving government agencies, choreographers, cultural elites, and folk artists. The concept serves to articulate cultural meanings related to national identity, cultural branding, and emotional nostalgia, despite sometimes detaching performances from their original social contexts. This study is dedicated to offering policymakers and cultural participants strategies to effectively balance authenticity with contemporary staging requirements.
Copyright (c) 2025 Zixuan Gao, Sangwoo Ha, Premalatha Thiagarajan https://creativecommons.org/licenses/by/4.0
Improving Oral Skills through Readers Theatre among Foreign Learners
Drama with its dialogue provide a dynamic form in which language and oral skills can be introduced and reinforced. Readers Theatre (RT) is an example of a story dramatization in which readers are given drama scripts to portray characters from the text they have read. As they portray a character, readers strive for good articulation, proper pronunciation, and projection. Our study was designed to investigate the following research questions: Do learners have positive experiences using Readers Theatre to improve their oral skills? Does Readers Theater give learners more confidence to speak? 40 foreign learners from an Asian University Summer Program joined the Language Cultural Program organized by the International Students Centre at the University Malaya from 4th- 20th August 2018. Initially we involved them in role play and improvisations before giving them a Readers Theatre script based on a local historical play. At the end of the program, they were required to give a 15-minute public performance. The participants were evaluated for their oral communication skills at the first meeting through an oral task and at the end of their program through their RT performance by a panel of three experts. The findings from our studies show that RT helped in the fluency, expression and oral skills of English Foreign Learners as they began to feel confident in using their oral skills by varying the pitch and volume to portray the characters. RT also boosted their confidence in handling spoken dialogue.
Copyright (c) 2025 Roselina Johari Md. Khir, Murina Pawanteh, John Stephens https://creativecommons.org/licenses/by/4.0
The Role of Troupes during China’s the Second Sino-Japanese War-Illustrated by the Transformation of Shanxi Small Flower Opera from Folk to Nationalism
This research explores the transformation of Shanxi’s Small Flower Opera from a folk-art form to a nationalist cultural narrative during China’s Second Sino-Japanese War, driven by the establishment of state-run troupes. The research problem focuses on understanding how these troupes facilitated the shift from folk to national discourse. Two research objectives guide the study: examining why China utilized troupes for this transformation and analysing the methods they employed. Using a case study approach and historical document analysis, the study gathers data from government reports, troupe records, and memoirs, employing content analysis to extract key themes. The findings reveal that troupes served as manifestations of state presence, enabling ideological dissemination, cultural integration, and social mobilization. The troupes not only transformed the artistic content of Small Flower Opera, removing feudal elements and incorporating nationalist themes, but also bridged state power with local communities, uniting diverse social groups including peasants and intellectuals. Ultimately, the study underscores the pivotal role of troupes in embedding state ideology within folk culture, making them instrumental in China's wartime cultural strategy.​
Copyright (c) 2025 Qingyi Meng, Leng Poh Gee, Fara Dayana Mohd Jufry https://creativecommons.org/licenses/by/4.0
Jinnan Drum Dance as a Representative Folk Dance of Shanxi Province
Jinnan Drum Dance is widely recognised as a representative folk dance within the Shanxi folk dance system, distinguished by resonant drumming, vigorous postures, and an embodied aesthetic rooted in the cultural logic of agricultural civilisation. Despite its listing as provincial intangible cultural heritage, its living transmission is increasingly threatened by globalisation and modernisation, including a shrinking base of inheritors and a growing tendency to privilege spectacle and external form over cultural meaning. At the same time, digital technologies and new media have enabled innovative remediations of the traditional performance system. Such transformations can expand modes of circulation and audience reach, yet they also risk symbolically deconstructing and reassembling cultural elements in ways that blur genealogies of practice and produce cultural alienation. Responding to these tensions, this study argues that safeguarding representative folk dances in Shanxi requires research that moves beyond morphological description toward an interpretive paradigm grounded in cultural meaning. Using dance ethnography as the primary methodology, the research integrates analysis of performance fields shaped by Jinnan’s geographical space with attention to the seasonal festival calendar, ecological conditions, and implicit cultural rules that structure local practice. Data were generated through field investigation in southern Shanxi, in-depth interviews with inheritors, folk artists, cultural workers, and community members, and systematic literature review. The study provides culturally situated documentation of Jinnan Drum Dance and proposes a meaning-centred approach to understanding, protecting, and sustaining Shanxi’s folk dance heritage.
Copyright (c) 2025 DONGHUI CHEN https://creativecommons.org/licenses/by/4.0
Harmontradiloka: Konsep Baharu Dalam Persembahan Nyanyian Lagu Tradisional Melayu
Nyanyian tradisional Melayu di Malaysia merupakan salah satu bentuk kesenian tradisional yang berasaskan kemahiran seni suara. Persembahan ini telah menjadi sebahagian daripada warisan budaya Melayu di Malaysia, mencerminkan keunikan seni suara masyarakat tempatan. Tradisi ini diwarisi sejak zaman sebelum penjajahan British, berkembang sepanjang era penjajahan dan terus bertahan serta dilestarikan selepas kemerdekaan. Penyampaian persembahan mahupun nyanyian tradisional Melayu disampaikan secara solo mahupun duet, mengekalkan cara yang sama sehingga kini dan masih belum ada inisiatif ke arah pembaharuan menyebabkan kesenian ini dilihat masih berada di takuk yang sama. Pengkaryaan persembahan Nyanyian Tradisional Melayu dalam bentuk ensembel vokal ini adalah kajian yang sedang dijalankan. Ianya merupakan sebuah konsep baru persembahan di mana matlamatnya adalah untuk menerbitkan satu alternatif baru kepada bentuk persembahan nyanyian tradisional Melayu berdasarkan 3 objektif iaitu: (a) memperkenalkan bentuk ensembel vokal dengan pengaplikasian harmoni moden di dalam nyanyian tradisional Melayu, (b) mempersembahkan koleksi nyanyian tradisional Melayu dari kompilasi muzik rakyat, muzik klasik, muzik sinkretik, muzik seni kontemporari dan muzik popular, dan (c) mengekspresikan persembahan nyanyian tradisional melayu dalam bentuk muzikal dengan gabungan elemen koreografi dan teaterikal. Ketiga-tiga isu ini dijadikan sebagai tunjang kepada ilham persembahan dan penelitian terhadap gaya baru ini akan dilakukan sekali gus objektif ini dapat membantu mencapai matlamat untuk jangka masa panjang. Kajian ini menggunakan dua kaedah, kaedah yang pertama adalah kaedah berasaskan amali untuk cetusan idea dalam pengkaryaan dan kaedah untuk penyelidikan adalah berbentuk kualitatif iaitu menggunakan kaedah temu bual tidak berstruktur, kajian perpustakaan melalui pembacaan buku, kajian-kajian lepas, artikel dan jurnal, pengalaman peribadi, pemerhatian turut serta, penglibatan secara langsung dan tontonan video terhadap kajian persembahan yang lepas. Persembahan ini dikira sebagai satu usaha ataupun inisiatif untuk membolehkan lagu tradisional Melayu mendapat tempat dalam kalangan masyarakat khususnya generasi muda yang lebih cenderung kepada genre lagu yang menjadi fenomena dan ikutan masa kini. Ianya juga dijangka bakal menimbulkan kesan terhadap idea persembahan baharu berdasarkan pendekatan rekonstruksi dalam lapangan nyanyian tradisional. Abstract Traditional Malay singing in Malaysia is a traditional art form rooted in vocal skills and deeply embedded in the Malay cultural heritage. It reflects the unique vocal artistry of the local community and has been passed down since the pre-British colonial era, evolving through the colonial period and continuing to be preserved post-independence. Traditionally performed solo or as duets, this art form has largely maintained its original format over the years, with minimal innovation, leading to perceptions of stagnation. The development of Traditional Malay Singing in the form of vocal ensembles is the focus of ongoing research. This new performance concept aims to introduce an alternative format for Traditional Malay Singing, with three primary objectives: (a) incorporating vocal ensembles using modern harmonic techniques in Traditional Malay Singing, (b) showcasing a repertoire of Traditional Malay songs spanning folk, classical, syncretic, contemporary art, and popular music, and (c) presenting performances that integrate choreographic and theatrical elements with musical expression. These aspects form the foundation of the performance concept and are actively explored to achieve long-term goals. The research adopts two methods: a practice-based approach to generate creative ideas and a qualitative research approach involving unstructured interviews, library research using books, past studies, articles, and journals, as well as personal experiences, participant observations, direct involvement, and video reviews of past performances. This initiative aims to revitalise Traditional Malay Singing by ensuring its relevance within the community, particularly among the younger generation, who tend to gravitate towards contemporary music trends. It is also expected to inspire new performance ideas through a reconstruction approach in the realm of traditional singing.
Copyright (c) 2024 Nor Azura Abu Bakar, Kamarulzaman Mohamed Karim https://creativecommons.org/licenses/by/4.0
Lansaran Tahol Murut Ethnic: Evolutions from Past to Present
Lansaran is one of the traditional culture of the Tahol Murut ethnic in the interior of Sabah. The aim of this research is to analyse on the changing function of Lansaran from the past to present. Data collected from field trips that conducted in Tahol Murut villages. By using qualitative method, interviews, observations and library were employed for data collection. This research has explained the research question on the origin of Lansaran also the different function of Lansaran and what is the cause that makes the changes of function of Lansaran. The interpretation of Lansaran’s function have been used in analysing the research data. The finding found that Lansaran originally was a children game. Then it was a ritual dance in the era of head-hunting. Now, this research found that Lansaran has been newly adapted into a secular dance.
Copyright (c) 2024 Toh Min Min https://creativecommons.org/licenses/by/4.0
Kaedah Tradisional Pewarisan Ilmu Permainan Makyung di Kelantan
Kajian ini bertujuan mengetahui dan mendalami kaedah tradisional pewarisan ilmu permainan Makyung Kelantan. Kajian ini meneroka secara terperinci berkenaan kaedah pewarisan ilmu secara tradisional menerusi kaedah Tok Guru mewariskan ilmu Makyung kepada anak murid atau pewaris, serta pewaris mewarisi ilmu Makyung daripada Tok Guru. Kajian ini turut mendedahkan dan menjelaskan kaedah tradisional pewarisan ilmu Makyung secara tepat. Kajian ini dijayakan dengan menggunakan kaedah temu bual dan pemerhatian semasa kajian lapangan yang dilakukan bersama-sama beberapa orang pakar rujuk Makyung Kumpulan Seri Gabus di Kampung Gabus To’Uban, Pasir Mas, Kelantan dan Kumpulan Sri Gunong, Persatuan Seni Pusaka Sri Gunong, Gunong, Bachok, Kelantan. Dapatan kajian menunjukkan terdapat empat pengkaedahan secara tradisional dalam pengkaedahan pewarisan ilmu Makyung tradisional Kelantan, iaitu kaedah pewarisan secara berguru angin sako bako, titih seni permainan dan juga tiru. Abstract This study explores the traditional method of knowledge transmission of Kelantanese Makyung. This study examines in detail how Tok Guru teaches Makyung to students and how students learn from the Tok Guru. This study also reveals several different ways in which Makyung is traditionally taught. This study uses the methods of interview and participant observation conducted during fieldwork with Makyung performers from the Seri Gabus Performance Group in Kampung Gabus To' Uban, Pasir Mas, Kelantan and Makyung Sri Gunong, Sri Gunong Heritage Art Association, in Gunong, Bachok, Kelantan. The findings demonstrate that there are four traditional methods of Makyung knowledge transmission, namely berguru, angin sako bako, titih seni permainan and tiru.
Copyright (c) 2024 Noor Sabiha Hatta, Patricia Ann Hardwick https://creativecommons.org/licenses/by/4.0
Latihan Terancang untuk Meningkatkan Kemahiran Improvisasi Trombon Jazz Bebop menggunakan Lagu Nyanyian Zain Azman
Abstrak Fokus kajian ini adalah mengenai strategi penggunaan Amalan Deliberat (Deliberate Practice) untuk meningkatkan keupayaan melakukan improvisasi bebop jazz pada trombon. Amalan Deliberat merujuk kepada pendekatan latihan yang dirancang secara sistematik dan dijalankan secara berulang untuk mempertingkatkan kemahiran individu serta memperkukuh keupayaan dalam bidang khusus, termasuk pendidikan muzik. Dalam konteks kajian ini, setiap sesi Amalan Deliberat berlangsung selama satu hingga dua jam dan dibahagikan kepada tiga peringkat utama: pemanasan, bermain lagu, dan improvisasi. Peringkat pemanasan bertujuan untuk menyediakan asas teknikal dan fizikal bagi pemain sebelum beralih kepada permainan lagu yang lebih kompleks. Peringkat improvisasi pula memberi tumpuan kepada penerokaan kreativiti dan pengembangan proses artistik berdasarkan garis improvisasi bebop. Matlamat utama Amalan Deliberat dalam kajian ini adalah untuk merangsang idea kreatif, membentuk ekspresi artistik yang lebih mendalam, dan meningkatkan kemahiran improvisasi dalam lagu-lagu Zain Azman mengikut garis bebop. Selain aspek teknikal, penyelidik turut memberi penekanan kepada pembangunan kompetensi instrumental dan pemupukan pemikiran positif serta motivasi dalam kalangan pemain trombon sepanjang sesi Latihan Abstract This study focuses on the strategic use of Deliberate Practice to enhance the ability to perform bebop jazz improvisation on the trombone. Deliberate Practice refers to a systematically planned and repeatedly executed training approach aimed at improving individual skills and strengthening proficiency in a specific field, including music education. In the context of this study, each Deliberate Practice session lasted one to two hours and was divided into three main stages: warm-up, playing songs, and improvisation. The warm-up stage was designed to provide the technical and physical foundation for the player before progressing to more complex song performances. The improvisation stage focused on exploring creativity and developing the artistic process based on bebop improvisation lines. The primary goal of Deliberate Practice in this study was to stimulate creative ideas, shape deeper artistic expression, and improve improvisation skills in Zain Azman’s compositions based on bebop lines. In addition to technical aspects, the researcher also emphasized the development of instrumental competence and the cultivation of positive thinking and motivation among trombone players throughout the training sessions.
Copyright (c) 2025 Mohamad Khairul Anuar Mohamad Shapie, Tham Horng Kent https://creativecommons.org/licenses/by/4.0
Evaluating the Confidence and Pedagogical Content Knowledge of Ethnic Dance Instructors in Kuching Sarawak
The study investigates the pedagogical competence of ethnic dance instructors in Kuching, Sarawak, focusing on their confidence levels and perceptions of their pedagogical content knowledge (PCK). The preservation of traditional dances, integral to the region's cultural heritage, depends significantly on the effectiveness of these instructors. This research measures their confidence in teaching ethnic dances and explores their self-assessed PCK, crucial for effective instruction. Findings suggest that while instructors possess deep cultural knowledge and respect for traditions, they face challenges such as limited resources and outdated pedagogical training. Addressing these issues through targeted professional development and enhanced teaching strategies can improve dance education quality, ensuring the accurate and engaging transmission of cultural heritage. The study's insights can inform training programs and support systems to enhance the teaching effectiveness of ethnic dance instructors, ultimately contributing to the preservation and evolution of Sarawak's vibrant cultural traditions.
Copyright (c) 2025 Rejerki Anak Misek https://creativecommons.org/licenses/by/4.0
In the 21st century, vocal jazz in China has continued to develop in a diverse global musical environment. It has produced some excellent jazz singers as well as many popular musicians and music lovers who have tried, learned and sung jazz. Introduced to China around 1930, jazz is a relatively new musical genre in China, and there will be some differences in singing techniques and musical expression. This paper compares jazz with Chinese pop and traditional music in terms of musical skills and knowledge. It explores what Chinese singers should adapt to when singing jazz. It will use qualitative research methods including documentary research, semi-structured interviews and content analysis. Based on professional conditions and comparisons, seven influential jazz singers and musicians in China were invited to participate in the interview. Their perspectives as professional jazz musicians provide novel and direct input into the experience and approach to jazz singing by Chinese. The study provides an academic theoretical foundation and expand the scope of vocal jazz singing in China. It gives advice on jazz singing, such as combining Western jazz techniques with Chinese characteristics, developing musical literacy and understanding jazz concepts. The results of this study could also affect how Chinese jazz singers are trained in the future. This approach helps Chinese jazz singers to not only play well but also to show the emotions and cultural meaning of jazz music.
Copyright (c) 2024 Lu Lu, Marzelan Salleh https://creativecommons.org/licenses/by/4.0
Traditional Dance Heritage of Southeast Shanxi Province China
Traditional dance holds a significant place not only in the realm of artistic expression but also in the preservation of a community's cultural identity and heritage. As societies worldwide strive to safeguard their cultural heritage, traditional dance has emerged as a crucial field of study. This study focuses on the traditional dance heritage of southeast Shanxi province, China. This study uses ethnographic research methods to investigate the traditional dances and culture of Southeast Shanxi. By synthesizing academic research, this study aims to develop effective practices in traditional dance to ensure the continued preservation and appreciation of traditional dance forms as essential components of cultural heritage.
Copyright (c) 2025 Hou Jinfang, Nurulakmal Abdul Wahid https://creativecommons.org/licenses/by/4.0
Harmonising Traditional and Technology: 3D Printing’s Role in Modernising Rebab Melayu
The Rebab Melayu, a traditional string instrument deeply rooted in Malay culture, symbolizes the rich cultural heritage of Southeast Asia. However, the continuity of this iconic instrument is increasingly threatened by the decline in skilled craftsmanship and the rising costs associated with traditional manufacturing techniques. This study investigates the potential of 3D printing technology as a modern solution to these challenges. By integrating 3D printing with traditional craftsmanship, the research aims to preserve the cultural essence of the Rebab Melayu while enhancing production efficiency in terms of cost, time, and space. The study also explores whether 3D printing can replicate the intricate design that defines the Rebab Melayu. Through a comparative analysis of traditional and 3D-printed Rebab Melayu, this research highlights the potential of 3D printing to revitalize interest in the instrument, particularly among younger generations. The findings suggest that a balanced approach, combining modern technology with traditional methods, can ensure the continued relevance and preservation of the Rebab Melayu as a vital part of Malay cultural heritage.
Copyright (c) 2024 Mhd Sany Mhd Hanif, Mohammad Kamal Sabran, Hasnul Azwan Azizan https://creativecommons.org/licenses/by/4.0
Pengaplikasian Model Teater Interaktif AJIH bagi Kanak-Kanak Orang Asli dalam konteks Pembelajaran Kreatif
Permasalahan yang dihadapi berkaitan pendidikan komuniti Orang Asli di Malaysia sebahagian besarnya meliputi faktor-faktor dalaman seperti minat dan kefahaman, serta faktor luaran seperti kurikulum yang tidak sesuai dengan budaya dan keperluan mereka, selain daripada faktor ekonomi dan sosial. Ini menyumbang kepada peratus keciciran tinggi, seterusnya menyaksikan kanak-kanak Orang Asli (KKOA) meninggalkan alam persekolahan selepas tamat sekolah rendah kerana tidak memiliki motivasi untuk meneruskan pendidikan. Kajian ini meneroka penggunaan Model Teater Interaktif AJIH dalam pembelajaran KKOA dengan memberikan fokus kepada KKOA di Pertak, Kuala Kubu Bharu, Selangor. Model AJIH dibangunkan sebagai intervensi kepada isu-isu yang menghalang KKOA menerima pendidikan khususnya di sekolah rendah. Dengan mengambil kira konteks budaya dan keperluan komunitinya, pengaplikasian Model AJIH bertujuan meningkatkan pemahaman, komunikasi, dan pengukuhan konsep kendiri yang rendah dalam kalangan KKOA. Objektif penyelidikan ini adalah untuk mengaplikasi Model AJIH bagi membangunkan konsep kendiri KKOA berdasarkan pengukuhan tingkah laku, minat, dan motivasi. Aktiviti dijalankan menerusi pelaksanaan bengkel didik hibur sebagai mekanisme pembelajaran kreatif bagi membina kepercayaan diri, nilai-nilai, sikap, persepsi dan keterampilan KKOA. Melalui kaedah kualitatif yang menggunakan Model Kajian Tindakan Kemmis dan McTaggart (1988), Teori Konstruktivisme Vygotsky (1978), Teori Konsep Kendiri Carl Rogers (1951) dan Teori Belajar Sambil Bermain (1962), kajian ini melibatkan pemerhatian, temu bual, dan jurnal harian KKOA. Dapatan kajian menunjukkan bahawa penggunaan Model Teater Interaktif AJIH adalah signifikan dalam meningkatkan interaksi sosial antara KKOA, memperkaya kreativiti melalui penggunaan elemen-elemen budaya dalam persembahan, serta meningkatkan pemahaman mereka terhadap nilai-nilai dan tradisi budaya Orang Asli. Penemuan kajian ini memberikan pandangan yang berharga untuk penyediaan pendekatan pembelajaran yang lebih holistik dan budaya-sensitif dalam pendidikan KKOA. Abstract The educational challenges faced by the Orang Asli community in Malaysia predominantly stem from internal factors such as interest and understanding, and external factors including curricula that are not culturally appropriate or aligned with their needs, alon g with economic and social barriers. These issues contribute to a high dropout rate, with Orang Asli children (KKOA) often leaving school after completing primary education due to a lack of motivation to continue their studies. This study investigates the application of the AJIH Interactive Theatre Model in the education of KKOA, with a focus on children in Pertak, Kuala Kubu Bharu, Selangor. The AJIH Model was developed as an intervention to address the barriers preventing KKOA from receiving education, particularly at the primary school level. By considering the cultural context and needs of the community, the AJIH Model aims to enhance understanding, communication, and self-concept among KKOA. The objective of this research is to apply the AJIH Model to develop KKOA’s self-concept through the reinforcement of behaviour, interest, and motivation. Activities were conducted through edutainment workshops as a creative learning mechanism to build self-confidence, values, attitudes, perceptions, and skills among KKOA. Using a qualitative methodology that incorporates Kemmis and McTaggart’s (1988) Action Research Model, Vygotsky’s (1978) Constructivist Theory, Carl Rogers’ (1951) Self-Concept Theory, and the Learning through Play Theory (1962), this study involved observations, interviews, and daily journals of KKOA. The findings indicate that the AJIH Interactive Theatre Model significantly enhances social interaction among KKOA, enriches creativity through the integration of cultural elements in performances, and improves their understanding of Orang Asli values and cultural traditions. These insights are valuable for developing more holistic and culturally sensitive learning approaches in KKOA education.
Copyright (c) 2024 Marlenny Deenerwan, Balkis Omar https://creativecommons.org/licenses/by/4.0
Sanggar Pendopo Agung Ronggo Hadinegoro: Conserving Local Arts and Promoting Local Culture
Art is an outward manifestation of a culture. An art studio, or “sanggar,” plays a crucial role in archiving work, serving as a platform to showcase artists and their creations. Effective management of a sanggar can ensure the preservation of creative works and potentially stimulate economic growth. This qualitative study uses direct interviews and participant observation to collect data. The analysis was conducted using Miles and Huberman’s approach, and the results were explained descriptively. The study aims to understand how a sanggar functions as a centre for preserving traditional arts. The findings suggest that the existence of Pendopo Agung Ronggo Hadinegoro contributes to local art conservation efforts by providing resources to local artists, managing art performances, promoting local art to both foreign and domestic tourists, and participating in art competitions on a national and international scale. These activities not only promote local arts but also enhance the value of local culture, preserve cultural traditions, and potentially boost the local artists’ creative industry.
Copyright (c) 2023 Warih Handayaningrum, Trisakti, Eko Wahyuni Rahayu, Rr. Maha Kayliana Mitta, Jajuk Dwi Sasana Djati, Martiana T. D. https://creativecommons.org/licenses/by/4.0
The Cross-Cultural Traditions of Korea and Bali: Performing Arts Tradition as a Cultural Diplomatic Representation
This study aims to understand the significance of the cross-cultural process of traditional performance texts as a means of bilateral cultural diplomacy. 50 years of bilateral relations between Korea and Indonesia in “Korea-Indonesia Performing Arts of Drama Dance & Music of Thousand Years” by KCCI (Korean Cultural Center Indonesia) became a concrete form of a cross-cultural phenomenon in the realm of traditional performing arts. The essence of cross-cultural is realized in the form of collaborative performances of Korean and Balinese traditional arts as a representation of Indonesia. A collaborative kecak performance intersects with the repertoire conventions of 부채춤 [buchaechum] & 사물놀이 [samulnori] with the Sri Kamelawi & Legong dance are the material objects in this study. Data was obtained using the qualitative multi-sited ethnography method through in-depth interviews and supported by secondary data through literature study, observation, and documentation. This research uses cultural diplomacy theory as a theoretical basis and main guidance for interpreting data. The crossover between Korean and Balinese performance texts is a process of negotiating traditional performance forms that have been established temporally and reduced in certain aspects. The process of reducing the convention is the way to create a new temporary convention, which becomes an alternative performance form for transmitting the values of 50 years of Korea-Indonesia bilateral relations. Bilateral cultural diplomacy is a concrete forum for cultural dialectics. Performing arts are an appropriate medium for the representation of cultural diplomacy.
Copyright (c) 2023 Dewa Ngakan Made Ari Putra Taman Bali, I Made Christian Wiranata Rediana https://creativecommons.org/licenses/by/4.0
Balinese Performing Arts through Walter Spies: A Collaborative Journey to Exploring Culture and Economic Value
This study embarks on an enthralling exploration of the intersection of culture and creative industries in the context of Balinese performing arts. While grounded in the culture and creative industries perspectives, this study delves into the multifaceted relationship between the preservation of Balinese cultural traditions and their economic implications. Walter Spies, a pivotal figure in Balinese cultural history, plays a central role in this odyssey. He took part in mapping, documenting, and narrating Balinese performing arts. The article meticulously examines how Spies’ collaborative efforts have resulted in a renaissance in the economic viability of Balinese performing arts. Using an interdisciplinary approach based on photography histories, cultural economics, and arts management, this study dissects the mechanisms by which cultural expressions become valuable assets in the burgeoning creative economy. This investigation goes beyond a simple historical examination, shedding light on the contemporary challenges and opportunities Balinese performing arts face in a globalised world. It emphasises the value of preserving cultural authenticity while capitalising on the untapped economic potential of these time-honoured traditions. In conclusion, this study provides a compelling narrative of the intricate interplay between culture, creativity, and economic sustainability in Balinese performing arts. This study adds significantly to the ongoing discussion about how cultural heritage can coexist peacefully within the dynamic landscape of the creative industries, providing invaluable insights for scholars, practitioners, and policymakers alike.
Copyright (c) 2023 I Made Bayu Pramana, Amrita Nugraheni Saraswaty https://creativecommons.org/licenses/by/4.0
The Implementation of Project-Based Learning Model to Enhance the Effectiveness of Music Education in Schools
Music education in schools still predominantly follows a teacher-centred approach. This results in limited two-way communication within the classroom, thereby hindering the optimal progression of the learning process. The primary objective of this study is to mitigate the teacher’s excessive dominance in the learning process and promote greater student engagement, thereby enhancing the effectiveness of the learning experience. The instructional model employed aims to culminate in a project-based outcome, specifically in the form of musical ensemble practice. The research methodology adopted for this study is descriptive qualitative, utilising data collection techniques such as observation, interviews, and a review of relevant literature. Data analysis involves processes of data reduction, presentation, and data inference. The findings reveal that the implementation of the learning model in the classroom aligns with the stages of the Project-Based Learning model. However, certain facilitating factors, such as the availability of musical instruments in schools, and inhibiting factors, such as educators lacking an artistic background and insufficient time for in-depth class discussions, influence the process.
Copyright (c) 2023 Dani Nur Saputra, Dian Herdiati, Sekar Vania Tertiana, Saryanto, Gandung Joko Srimoko, Ida Bagus Sudiasa https://creativecommons.org/licenses/by/4.0
Koreografi Kontemporari yang Berunsurkan Elemen Tradisi: Tari Piring sebagai Titik Permulaan Penciptaan
Kebanyakan koreografer di Malaysia dilatih dengan tarian tradisional dan teknik tarian Barat telah menggabungkan unsur ini dalam penciptaan koreografi kontemporari. Sebagai koreografer yang mempunyai latar belakang latihan seperti ini, pengkaji mengkaji kaedah rekonstruksi dari elemen Tari Piring di dalam penciptaan koreografi kontemporari. Tari Piring adalah merupakan tarian yang berasal dari Sumatera Barat dan masih diamalkan oleh masyarakat di Negeri Sembilan. Tarian ini menggunakan piring sebagai prop utama dengan pergerakan merendah, mengawal dan memanipulasi piring yang kompleks. Pengkaji telah menghasilkan koreografi kontemporari yang menggunakan kualiti dan estetika daripada elemen tari piring berjudul “Gelanggang”. Kajian ini menganalisis proses kreatif dengan mengabungkan estetika, kualiti, dan corak pergerakan yang berbeza dalam koreografi kontemporari dan menggunakan kaedah rekonstruksi. Kaedah kualitatif seperti pengumpulan data dan pemerhatian digunakan dalam proses ini, dengan produksi koreografi disokong melalui latihan di studio, catatan jurnal dan rakaman video. Abstract Most choreographers in Malaysia, trained in traditional dance and Western dance techniques, have incorporated these elements into contemporary choreography. As a choreographer with this training background, the researcher examines the reconstruction methods from the elements of Tari Piring in the creation of contemporary choreography. Tari Piring, originating from West Sumatra, is still practised by communities in Negeri Sembilan. This dance utilises plates as the primary prop, and the movements, which involve lowering, controlling, and manipulating the plates, are complex. The researcher has produced contemporary choreography titled “Gelanggang,” which employs the qualities and aesthetics of Tari Piring elements. This study analyses the creative process by combining aesthetics, qualities, and distinct movement patterns in contemporary choreography through reconstruction methods. Qualitative methods, such as data collection and observation, were employed in this process, with the choreography production supported by studio practice, journals, and video recordings.
Copyright (c) 2024 Mohd Fauzi Amirudin https://creativecommons.org/licenses/by/4.0
Internal and External Factors that Influence Students’ Persistent Participation in Music Learning
Drawing collectively from past studies on persistence and motivation, the main factors influencing students’ persistent involvement in music include interests, value orientations, past experiences, and current satisfaction with their performance in music. Internal factors, such as task value and self-concept of ability, contribute to students’ achievement and persistence (Sichivitsa et al., 2002; Sichivitsa 2003, 2004, 2007; Demorest et al., 2017). However, external factors, like parental support and support from teachers and peers, also play a significant role in shaping task value and self-concept of ability (Davidson et al., 1995-96; Frome & Eccles, 1998; Sichivitsa et al., 2002, 2003, 2004, 2007; Demorest et al., 2017). This literature research is a thematic analysis of external and internal factors influencing students’ intentions to continue music participation after joining a music lesson. The six factors being investigated are: parental musicianship and support of music; previous musical experience; self-concept in music; value of music; academic integration; and social integration. Qualitative literature research focuses on the in-depth exploration and analysis of textual sources to elicit rich insights and understandings. The concept of hermeneutics, or the art of interpretation, is central to the approach of qualitative literature studies. Researchers are constantly reading, reflecting on, and interpreting texts (Denzin & Lincoln, 2011; Gibbs, 2007; Merriam, 2009).
Copyright (c) 2023 Dayang Siti Hazar Awang Hassim, Chamil Arkhasa Nikko Mazlan https://creativecommons.org/licenses/by/4.0
Performing Arts Marketing: Issues and Challenges among Theatre Associations in Malaysia
This article explores the critical issues and challenges faced by Theatre associations in Malaysia in marketing their productions effectively. It also examines strategic solutions to enhance their sustainability within the cultural and creative ecosystem. Using a qualitative approach, this study employs in-depth interviews, direct observations, and focus group discussions (FGD) with three key Theatre associations: Sabah Theatre and Arts Management Association (STAGE Production), Kelab Katarsis Seni (KATARSIS), and Kelab Teater Asar Negeri Sembilan (ASAR). Findings reveal five major challenges: increasing competition among Theatre associations, financial constraints affecting visibility, weak financial management and auditing practices, the speculative nature of the Theatre market, and competition from dominant digital entertainment. To address these issues, this study proposes strategic measures, including strengthening internal financial audit mechanisms, compliance with accredited financial reporting standards, realistic budget planning, and diversifying revenue sources. The study emphasizes the need for theatre associations to adopt modern and effective marketing approaches, not only to boost ticket sales but also to ensure organizational sustainability in a highly competitive industry. Integrating digital technology, strengthening brand identity, and fostering collaborations with stakeholders are essential for resilience and growth. The implications of this study offer valuable insights for Theatre practitioners in crafting more effective marketing strategies while contributing to the broader discourse on developing Malaysia’s performing arts ecosystem.
Copyright (c) 2025 Amsalib Pisali, Asmiaty Amat, Ramraini Ali Hassan https://creativecommons.org/licenses/by/4.0
The Transformation of Latar Tirai in Bangsawan Tengku Anum (2002) Istana Budaya
Bangsawan is a theatre form that consists of acting, singing, music, dancing, and has a strong influence from Wayang Parsi from India. It was brought to Penang, Malaysia in the 1870s by the Indian workers who worked in Penang at that time. It experienced a period of fame in the 1890s and began its downfall in the early 1940s. The opening of Istana Budaya in 1999 gave opportunities for bangsawan to be revived in the twenty-first century, especially in dealing with modern stage technologies that were available. Bangsawan Tengku Anum, which is the third bangsawan, was staged in Istana Budaya from 18-22 December 2002, directed by Rosminah Tahir. This article examines the stage design of the bangsawan, mainly focusing on the usage of Latar Tirai. Bangsawan uses seven types of Latar Tirai that are used for each scene in this performance. Latar tirai is a backdrop hand painted on canvas representing the scene location and it is placed on stage as the stage background for each scene in bangsawan. It is painted on a canvas measuring 20’ feet wide and 15’ feet high, according to the suitability of the stage venue, and requires a high cost and is very time demanding. Bangsawan Tengku Anum transforms the use of hand painted Latar Tirai on canvas to paintings projected using a projector. It provides an innovation in traditional theatre performance. This paper discusses the transformation of Latar Tirai in Bangsawan Tengku Anum in adapting to the current modern stage technologies and in competing with the contemporary theatre today.
Copyright (c) 2023 MUHAMMAD ALHAKEEM HUSAIN, Norzizi Zulkafli https://creativecommons.org/licenses/by/4.0
Technology Enhancements for Spectacular Elements in Mak Yong Productions at Istana Budaya
Istana Budaya, the Malaysian National Theatre, took the initiative to preserve and maintain the traditional art form of Mak Yong when it was banned by the Muslim Pan Islamic Party (PAS) in Kelantan, its place of origin. This action ensured that Mak Yong would survive outside of Kelantan. In 2003, Istana Budaya staged its first production that involved contemporary technology, making it unique and modern. On the other hand, Mak Yong is also considered a theatre of imagination that focuses on the relationship between the actors and the spectators. Until 2019, Istana Budaya had produced eight Mak Yong productions with its unique artistic vision in creating performances that connected with the space and engaged with Malaysians. This article examines the visuality of these Mak Yong productions and discusses their crucial role in sustaining this traditional theatre.
Copyright (c) 2023 Norzizi Zulkafli https://creativecommons.org/licenses/by/4.0
Exploring the Elements of Main Zapin: A Preliminary Reports and Studies from Fieldwork in Johor
This paper presents a preliminary report on an ethnographic study of the elements in Main Zapin (Zapin play-performance), based on extensive fieldwork conducted in Muar, Johor. The research employed a comprehensive ethnographic approach, utilizing a combination of observation, participant-observation, and non-structured interviews to delve into the multifaceted dimensions of Main Zapin performances. By engaging with the local community and performers, this study aimed to unravel the artistic elements and community dynamics that underpin this traditional dance form. The methodology incorporated rigorous observations to capture the nuances of Main Zapin performances. Participant-observation techniques immersed the researcher in the cultural context, fostering a deeper understanding of the art form. Additionally, non-structured interviews were conducted to gather rich qualitative data, enabling the exploration of personal perspectives, experiences, and insights of individuals involved in Main Zapin. The incorporation of ethnographic techniques and non-structured interviews allowed for a holistic and in-depth examination of Main Zapin, enriching our understanding of its artistic expressions and cultural significance. Through this paper, the author aim to shed light on the diverse and vibrant aspects of Main Zapin, offering insights into the artistic elements and the lived experiences of the community. Through the utilization of an ethnographic approach and the incorporation of non-structured interviews, this research undertakes a thorough investigation of the various elements of Main Zapin. These elements, when examined collectively, enhance the artistic richness, cultural significance, and community engagement associated with Main Zapin. By shedding light on these aspects, this paper contributes to the preservation, appreciation, and documentation of this distinctive dance tradition.
Copyright (c) 2023 Hafzan Zannie Hamza https://creativecommons.org/licenses/by/4.0
Femme Fatale: Representasi Antagonis Wanita Dalam Filem Bollywood Arahan Vikram Bhatt
Kewujudan figura femme fatale telah lama dikenal pasti dalam cabang ilmu seperti karya sastera, mitos dan lukisan sejak kurun ke-19. Namun kemunculannya dalam filem hanya bermula pada sekitar 1940-an iaitu dalam filem-filem klasik noir Hollywood. Watak ini kerap dipaparkan dengan membawa imej penggoda yang mampu melakukan apa saja untuk mencapai keinginannya. Feminis filem bangkit melontarkan kritikan tentang sinema yang bersifat patriarki apabila ianya didominasi oleh lelaki, manakala wanita hanyalah sebagai objek tumpuan “male gaze.” Kekerapan munculnya femme fatale dalam filem-filem Hollywood turut menarik perhatian industri filem Bollywood apabila femme fatale mula menghiasi filem-filem mereka pada lewat tahun 1990-an. Vikram Bhatt merupakan antara pengarah Bollywood yang menjadikan femme fatale dan genre thriller sebagai satu kombinasi dalam filem-filem beliau berpaksikan budaya masyarakat di India. Artikel ini membincangkan isu-isu patriarki dan penentangan feminis terhadap sistem sosial masyarakat di India seterusnya melihat bagaimana filem dijadikan sebagai satu medium mengukuhkan ideologi patriarki dalam masyarakat di India. Bentuk-bentuk representasi wanita sebagai femme fatale dalam lima buah filem arahan Vikram Bhatt dianalisis untuk memperlihatkan bahawa kebijaksanaan wanita dalam memanipulasi lelaki hanyalah sebagai penarik naratif dan kemudian watak ini akan dibunuh pada pertengahan atau di pengakhiran cerita. Paparan wanita sebagai simbol seksual adalah sesuatu yang digemari oleh penonton berdasarkan kutipan beberapa buah filem, namun di pengakhiran cerita, ia haruslah meletakkan kembali lelaki dan wanita itu dalam corak perhubungan politik seksual yang ideal dalam sistem patriarki. Abstract: The existence of the femme fatale figure has long been identified in fields such as literature, mythology, and painting since the 19th century. However, its emergence in films only began around the 1940s, specifically in classic Hollywood noir films. This character is often portrayed as a seductive image capable of doing anything to achieve her desires. Feminist film critics have raised criticisms of cinema as a patriarchal medium, dominated by men, with women merely serving as objects of the “male gaze.” The frequent appearance of the femme fatale in Hollywood films also caught the attention of the Bollywood film industry when they started incorporating femme fatale characters in their films in the late 1990s. Vikram Bhatt is among the Bollywood directors who have combined the femme fatale archetype and the thriller genre in his films, drawing from the cultural context of Indian society. This article discusses patriarchal issues and feminist resistance against the social system in Indian society, while examining how films serve as a medium to reinforce patriarchal ideology in India. The forms of representation of women as femme fatales in five films directed by Vikram Bhatt are analyzed to demonstrate that the manipulation of men by women is merely a narrative device, as these characters are ultimately killed off in the middle or at the end of the story. The portrayal of women as sexual symbols is something favored by the audience, as evidenced by quotes from several films. However, in the conclusion of the story, it must reestablish the ideal patterns of sexual and political relationships within the patriarchal system, placing men and women back in their respective roles.​
Copyright (c) 2023 Marlenny Deenerwan, Raja Farah Raja Hadayadanin https://creativecommons.org/licenses/by/4.0