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The article discusses the Radar Festival held in New York City, featuring self-aware experimental performances engaging in critical inquiry, transparency in production, and participatory dialogue, reaffirming its support for experimental performance-makers.

Dangdut koplo is a genre of dangdut music that is popular in Indonesia, especially among teenagers. This research aims to determine the influence of Deny Caknan's dangdut koplo performance art on the cultural awareness of teenagers with a correlation study of Deny Caknan's band song entitled Ambyar. Researchers applied quantitative methods in this research. Researchers apply data collection techniques from two aspects, namely method and source. Researchers will analyze the data using correlation analysis and linear regression analysis in this research. The research results show that performing arts has a significant effect on the dependent variable, namely Cultural Awareness. Based on the Rsquare test hypothesis testing criteria, it can be concluded that the magnitude of 0.600 indicates that the proportion of influence of the Performing Arts variable on the Cultural Awareness variable is 60%. This means that performing arts have a huge influence on cultural awareness. It is proven that every time Deny Caknan's performing arts is held, it is packed with visitors, the majority of whom are young people. [ABSTRACT FROM AUTHOR]

The author uses the story of Mary of Bethany anointing Jesus's feet in John 12 as a jumping-off point for considering the prophetic role of artistic conversation, in the Gospel of John, in the whole Bible and in her own artistic life. [ABSTRACT FROM AUTHOR]

This article positions queer nightlife as a central vehicle in the lives and practices of queer Latinx artists working in Los Angeles over the past decade. It highlights how queer nightlife has provided a generative space for art making and community building in LA and considers how the usage of queer nightlife as a frame of study ruptures existing art historical and curatorial methodologies relative to Latinx art. I closely analyze works by artists rafa esparza, Sebastian Hernandez, and Gabriela Ruiz drawn from the gay bars and streets of downtown and East Los Angeles to underscore the radical and sophisticated ways by which these artists create art, community, and opportunity. By critically examining three case studies—Escandalos Angeles (2018), a performance by Hernandez and Ruiz at Club Chico in Montebello, California; Nostra Fiesta (2019), a storefront mural by esparza, Ruiz, and friends at the New Jalisco Bar in downtown; and YOU (2019–ongoing), a queer party directed by Hernandez and launched at La Cita Bar in downtown—I reveal how queer nightlife has served as an incubator for these artists to come together, express themselves, and generate a sense of joy and freedom from the struggles of everyday life. [ABSTRACT FROM AUTHOR]

This article delves into the underexplored intersection of Jewish identities and feminist art. It critically examines artworks by Judit Hersko and Susan Hiller, aligning with evolving identity constructs in contemporary aesthetics. Concepts like "postmemory" link second-generation Jewish artists to past experiences and unveil the erasure of Jewish women's memory of Jewish genocide. Analyzing Hersko and Hiller's diverse works, from landscape photography and sculpture to performance art, it underscores their shared pursuit: illuminating lingering "ghosts" of the Holocaust in modern landscapes. Susan Hiller's The J Street Project represents an ongoing exploration of loss and trauma beyond the Holocaust in Germany, using archives as a dynamic, evolving phenomenon. Judit Hersko's art calls for bearing witness to a potential climate catastrophe in Antarctica. The article culminates in the exploration of "The Memorial" (2017), an art project by the activist collective Center for Political Beauty that focuses on the resurgence of overt anti-Semitism in Germany. In essence, Hiller and Hersko confront erasures in history and nature, emphasizing justice and repair. Their art, intertwined with a project addressing contemporary anti-Semitism, serves as a testament to the enduring power of feminist art, reflecting, mourning, and transforming a world marked by historical traumas and war. [ABSTRACT FROM AUTHOR]

Renaissance clothes were piecemeal assemblages of parts. This pervasive practice is connected to early English theater, which emphasized variety rather than the (neo)classical focus on unity of time, place, action, genre, audience, and affect. Like aging costumes, aging plays could be updated by changing their parts without needing to create or buy something entirely new. Like early modern clothes and costumes, and like the earliest portraits of Shakespeare, the Shakespeare First Folio of 1623 is a heterogeneous miscellany. But for marketing purposes the Folio constructs a series of bibliographical and rhetorical uniformity-effects. The Folio celebrates 'the great Variety of Readers' but denigrates the great variety of play-texts. Its claims to unity of authorship and condemnation of alternative printings underlie the myth of a unified one-parent canon consisting of one-version and one-date works., which misrepresents early modern composite play-production and its most successful patchwork playwright. To illustrate the complexity of the relationship between early performances and posthumous print, the essay examines in detail the Folio text of The Life of Henry the Fift, re-examining certain Folio-only passages in light of the known performance of the play by the King's Men at Whitehall for a court audience on 7 January 1605. [ABSTRACT FROM AUTHOR]

Barrie Kosky's new production of 'Das Rheingold' at the Royal Opera House serves as a stark reminder of the impending climate catastrophe and our collective responsibility for it. The production, directed by Kosky, portrays scenes remembered or dreamed by Erda, symbolizing Mother Earth or Gaia. The set design features a burnt-out tree, representing the destruction of the natural world. The performance highlights the dire consequences of the rape of the natural world and emphasizes the need for reflection and action in the face of climate change. [Extracted from the article]

Objective: The contemporary world is characterized by the emergence of new media, marking an era in which media has become an indispensable component of human existence. In today's society, the pervasive presence of novel communication technologies has bestowed significance upon various facets of life. Notably, new forms of artistic media hold a crucial position in the realm of art education and the advancement of culture. Modern artistic media, encompassing video art, layout, photography, conceptual art, digital art, performance art, and more, play a particularly pivotal role in the realms of education, presentation, and the introduction of artistic works and culture within society. This research endeavors to examine the role of new artistic media in cultural education and the promotion of urban society, aiming to address the following question: How do new artistic media contribute to cultural education and the advancement of urban society? The objective of this article is to enhance our understanding of modern artistic media and evaluate their efficacy within the realm of education and culture in society. Methods: Employing a descriptive-analytical research method, this study relies on library and documentary sources for data collection. Results: The findings indicate that, facilitated by technological advancements and the ability to reproduce artworks, new media possess the potential to exert a significant impact on education and culture within society. This research can serve as a valuable tool in increasing the visibility and public awareness of new artistic media, thereby fostering improvement within urban societies. Conclusions: By recognizing the capabilities of new artistic media, we can progress towards the production and development of culture, education, and the overall prosperity of society. [ABSTRACT FROM AUTHOR]

The field of multimodal robotic musical performing arts has garnered significant interest due to its innovative potential. Conventional robots face limitations in understanding emotions and artistic expression in musical performances. Therefore, this paper explores the application of multimodal robots that integrate visual and auditory perception to enhance the quality and artistic expression in music performance. Our approach involves integrating GRU (Gated Recurrent Unit) and GoogLeNet models for sentiment analysis. The GRU model processes audio data and captures the temporal dynamics of musical elements, including long-term dependencies, to extract emotional information. The GoogLeNet model excels in image processing, extracting complex visual details and aesthetic features. This synergy deepens the understanding of musical and visual elements, aiming to produce more emotionally resonant and interactive robot performances. Experimental results demonstrate the effectiveness of our approach, showing significant improvements in music performance by multimodal robots. These robots, equipped with our method, deliver high-quality, artistic performances that effectively evoke emotional engagement from the audience. Multimodal robots that merge audio-visual perception in music performance enrich the art form and offer diverse human-machine interactions. This research demonstrates the potential of multimodal robots in music performance, promoting the integration of technology and art. It opens new realms in performing arts and human-robot interactions, offering a unique and innovative experience. Our findings provide valuable insights for the development of multimodal robots in the performing arts sector. [ABSTRACT FROM AUTHOR]

James scholarship sees chapter 17 of The American , which takes place at a performance of Mozart's opera Don Giovanni , as particularly significant. However, a fundamental error about Don Giovanni has led to erroneous conclusions. The error is that Don Giovanni as performed during the 19th century was different from this opera as performed recently. Nevertheless, even the most historically informed criticism on chapter 17 has fallen prey to incorrect assumptions due to not taking into consideration the opera's performance history. Considering the chapter in light of this performance history leads to a re-interpretation of the characterization of Christopher Newman and of Urbain de Bellegarde. [ABSTRACT FROM AUTHOR]

Cultural geography has a long and fruitful tradition of working at the intersections between geography and performance art: in this piece we build upon this by considering how artistic practice can shed light on the housing crisis via a focus on quotidian practices of housing design. Here, we focus on Anne Tallentire's exhibition Material Distance, which took place in 2022–23 at the John Hansard Gallery, Southampton, UK. A conceptual artist working with moving image, installation, performance and photography, Tallentire's work has frequently addressed issues of spatial cognition, homemaking and transience. Material Distance extends this interest by foregrounding issues of housing size, adopting the abstract forms of representation – floorplans, measurements, technical drawings – which professionals use for determining the material and physical requirements of domestic inhabitation. Contrasting abstract and lived experiences of home, and comparing housing constructed on post-war council estates with some of the smaller homes recently converted from industrial or retail premises, Tallentire's work invites us to develop a critical awareness of dimensionality through an embodied encounter with art that is relational, performative and experiential. [ABSTRACT FROM AUTHOR]

The article discusses performance maker Nancy Tam's performance installation "wreckage upon wreckage," which explores the relationship between historical time and physical experience through her body's wrapping, taping, and cutting. It reports that Tam's work is influenced by German philosopher Walter Benjamin's concept of history and the physical effort in her performance, and it highlights the "zero-hour" as a chance for deeper listening and understanding.

Music is a form of artistic expression, serving as a manifestation of the creator's emotions through attention to melody, rhythm, expression, and harmony. The accompanying music can act as a balance for both the left and right hemispheres of the listener's brain. Each singer is supported by a management team to present and achieve the best outcomes in a performance art that involves task distribution from general to functional areas. This study aims to investigate the management of Ndarboy Genk's music performances during the 2022 Cidro Asmoro album tour, aiming to identify weaknesses and obstacles in the management of their musical performances. The research employs a qualitative descriptive approach. The management of the music group Ndarboy Genk encompasses elements and functions that are interconnected. Additionally, the underlying factors in the artistic management of the Cidro Asmoro album tour by Ndarboy Genk include implementing organizational arts management, the second factor being production management by Ndarboy Genk, and the third factor being Ndarboy Genk's execution of performance arts management. [ABSTRACT FROM AUTHOR]

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The article reviews the performance "Promenade" directed by Eliza Soroga at the Prague Quadrennial, Czech Republic, June 8-18, 2023, along with other performances, highlighting themes of COVID-19 isolation, environmental vulnerability, and communal empathy.

The article reports on an online symposium on the topic of aging in the performing arts, which took place on the occasion of the 25th anniversary of the project "x-mal Mensch Stuhl" (x-times Human Chair). The symposium addressed the invisibility of age in art and the need for a change in cultural policy. Various perspectives and positions were presented, emphasizing the significance of age in aesthetic development and artistic expression. The symposium raised questions about the discrimination experienced by older cultural actors and the integration of age into art. The theater's program series "Coming of Age" explores various aspects of aging and intergenerational dialogue. The article also discusses the existential situation of self-employed individuals and hybrid workers in the performing arts, as well as the topic of age and gender. The final chapter of the article deals with the heritage and archiving of cultural artifacts in performance art. [Extracted from the article]

Shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. It allows the incorporation of music and sound effects that help students discover movement possibilities in the stage space. It also encourages collaborative work through the creation of groups. Therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. An action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. The learning situation is carried out in two public schools in the province of Malaga, with a sample of 213 students. The results indicate that shadow theatre effectively improved pupils' body expression and group cohesion. Some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. It is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective. [ABSTRACT FROM AUTHOR]

Postphenomenology is not a critique of phenomenology, but a practical interpretive epistemology where technological artifacts and practices are studied. These new researchers can be called 'R&D postphenomenologists'. Over the past 25 years, the expanding hermeneutics of postphenomenology has been undertaken by classical phenomenologists, cultural anthropologists, media/communications writers and performance artists. But these face Scharff's challenge of 'insufficient critical consideration' and an entire world of artifice experienced through embodied mobile devices. In response there is a 'weaving metaphor' and performance art with the intentional use of artifice/illusion to allow for multistability and 'implicit idealism' in a complex and unpredictable sensory world of ontological experiments and case studies. Allowing for multistable interpretations, variational theory, and the study of illusions, technoscience researchers and users of emerging technologies can develop heuristics for interpreting the world through devices, if programmers of these technologies make the hermeneutics accessible and visually interpretable. Both groups must expand the purview of the 'readable technologies' of Patrick Heelan, allowing for an expanding material hermeneutics of postphenomenology that is poised to become a praxis of perception for users of ubiquitous digital technologies and devices. [ABSTRACT FROM AUTHOR]

Choreographer and performance-maker Faye Driscoll's performance installation Come On In (2020) offered spectators an aesthetic experience that included very little physical contact—yet investigated deeply the nature of physical touch. The sensation, artistic implications, and sociopolitical valences of touch provoke a rich and complex set of questions for considering artistic, physical, and gendered forms of control across performance and visual art, including abstract sculpture, a history into which Driscoll's installation intervenes. [ABSTRACT FROM AUTHOR]

Quandamooka playwright Wesley Enoch's adaptation Black Medea indigenises the Ancient Greek myth, reimaging the story within an Australian First Nations context. This paper reflects a 2022 studio production of Black Medea performed by First Nations actors enrolled in the Aboriginal Performance program at the Western Australian Academy of Performing Arts (WAAPA). Using yarning as a methodology, the rehearsal and performance reveal how Enoch's themes of destruction of Country, intergenerational violence and the Spirit World were embodied and realised, demonstrating how First Nations influences can be incorporated into performer training programs and creating a more culturally diverse curriculum for contemporary performance training. [ABSTRACT FROM AUTHOR]

Launched in 2023, the groundbreaking Southeast Asian Arts Censorship Database tracks artistic censure from the past 12 years in Cambodia, Indonesia, Malaysia, The Philippines, Thailand, and Vietnam. When focused on staged productions, it showcases unique works seen as performative in these countries and reveals how socio-political shifts and power struggles can render long-celebrated performances offensive and unfit for public viewing, as it confirms a growing conservatism specific to these contexts. Clearly, performance as a form, and the creative freedom that cradles it, remain threatening to those who seek to maintain the status quo. [ABSTRACT FROM AUTHOR]

This article characterizes theatrical production in Sri Lanka as it has emerged from the tumultuous years of war and the onslaught of the pandemic. The author has supported the efforts of a local organisation, InterAct Art, which leads the way in reshaping Sri Lankan theatre and providing spectators with a reason to return. With this background as a basis, the author participated as an invited jury member of the first Monodrama Competition on the Emerald Island; this same theme of monodrama competition was also used for this year's Colombo International Theatre Festival (CITF) - 2023. The present article not only reviews specific performances from the festival, but also comments critically on contemporary Sri Lankan theatre, while at the same time exploring possibilities for advancing and expanding Sri Lankan theatre in general. [ABSTRACT FROM AUTHOR]

The present paper proposes a (post- and) eco-critical reading of Alexandra Pirici's ongoing action, Encyclopedia of Relations, staged at the Venice Biennale in 2022. While it addresses a considerable gap within Romanian performance art studies, this article aims to offer a case study of how artistic practice can generate alternative modes of being together. With no doubt, as Rosi Braidotti stated at the Biennale conference, the art exhibited at the 2022 edition works collaboratively with theory to become an imaginative tool of research. Following this lead, the article discusses Pirici's performative work that takes the task of exploring non-human relational modes through cognitive embodiment. This approach underlines how performance art practices move beyond the aesthetic sphere, projecting solutions to emerging environmental crises and offering a fresh perspective on knowledge production. [ABSTRACT FROM AUTHOR]

This article examines the work of multidisciplinary artist José Villalobos through a queer Latinx lens using the theory of "disidentification" as put forth by José Esteban Muñoz and argues that Villalobos makes space for queer visibility and representation within Tejano norteño culture by subverting culturally specific objects that often perpetuate, sometimes violently, traditional Mexican and Mexican-American gender norms. By critically analyzing two artworks, Soledad (loneliness) (2022), a mixed-media triptych that takes the form of an ex-voto, and a performance, A Las Escondidas (Hide-and-Seek) (2019), this study demonstrates how Villalobos challenges gender-normative thinking in border culture through his artworks by incorporating the body and its adornments. Villalobos utilizes his body in his performances and the implied body in his installations and assemblages to critique and subvert homophobia. By doing so, he grafts queer identity onto norteño iconography to carve out space for representation and inclusion for himself and other members of the queer community. [ABSTRACT FROM AUTHOR]

This paper is a reflection on the points of convergence between live performance and the media within Indian stand-up comedy. Traditionally, live performance has been seen in opposition to the media. While the former is defined by spatial and temporal co-presence of the audience and spectators, the latter has neither (Auslander, 2012). While stand-up comedy is primarily live, digital and mass media are used extensively by comedians to build a professional reputation for themselves through their presence and participation on social media. However, after the onset of the COVID-19 pandemic, much of performance art – including stand-up comedy – has moved online. That is, comedians are experimenting with the online media: Zoom, Instagram Live, Facebook Live and so on, to put up live performances that would otherwise have been performed within a comedy club or café. This paper derives its theoretical basis from Philip Auslander's postulation of liveness in a mediatised culture and digital liveness which 'results from our conscious act of grasping virtual entities as live in response to the claims [technology makes] on us' (2012: 13). The paper attempts a theoretical reflection on how to 'read' a stand-up comedy performance for pedagogical purposes in these different contexts as the idea of liveness, mediatisation and our experience of the live evolves with time and context. [ABSTRACT FROM AUTHOR]

By researching the intersections of art, geography, and violence, this paper interrogates performance art and its capacity to question one's gendered existence in space/place. Through an analysis of two performance art pieces--J. Hawkes's Playing Kate (2018) and Cassils's PISSED (2017)--I explore the connections between art, gendered bodies, and space/place, while establishing a link between and across feminist and trans* gendered tyrannies. While discussing feminist and trans* performance art, this paper probes the felt and lived harms that are experienced by feminist women and trans* individuals in gendered locales and addresses ways in which art can challenge socio-spatial violence. Overall, through a broad exploration of geographies of art and violence, this paper speaks of spatial gendered oppression as well as spatialized potential and hope. [ABSTRACT FROM AUTHOR]

Urbanity and Gender: what displaces a walking body? – This article explores the relation between body and urban displacement from an intersectional feminist perspective. Based on recent studies on urbanity and gender – feminisms, art and public space – we will analyze modern and contemporary artistic practices in the city, considering the friction between gendered bodies and the city. The aim is to discuss the displacement that certain bodies establish when walking freely through the urban space.

Urbanidade e Gênero: o que desloca um corpo que caminha? – O presente artigo explora a relação entre corpo e deslocamento urbano desde uma perspectiva do feminismo intersec-cional. Com base em estudos recentes sobre urbanidade e gênero – feminismos, arte e espaço públi-co –, serão analisadas práticas artísticas modernas e contemporâneas na urbe, considerando a fricção entre corpos genderizados e cidade. O intuito é discutir o deslocamento que certos corpos instau-ram ao caminhar livremente pelo espaço urbano.

I think we have wrapped up the interview but, in spite of the salty rain coming off the North Atlantic, Ragnar Kjartansson insists on giving me a tour of his [...]

On January 23, 2012, Tobaron Waxman performed Red Food for luncheon guests at the Raging Spoon, a restaurant in Toronto, Ontario. In this performance from the Jess Dobkin–curated Artists’ Soup Kitchen luncheon series, Waxman shaved his hair as viewers slurped borscht, sipped red-dyed water, and gnawed on other red foods, aptly surrounded by all-red decor. After cutting his hair, a bald Waxman approached the viewers at their tables, serenading them with slow, melancholic mourning tunes from the Jewish Eastern European and Central Asian diaspora. In this essay, I argue Waxman’s Red Food used the context of sharing a meal alongside a ritualistic performance to grieve for the loss of queer communal space. I suggest that in hardship, this mourning process can be repeated to strengthen community relations.

Considering writing and performance in its broadest sense, this article questions the role of text in art works where the presence of the textual element does not seek to make an immediate visual impact, but rather hides behind conventions of administration (Art & Language); exhibition information (Teresa Margolles) or contracts (Adrian Piper; Gina Pane; Marina Abramović; Margolles). Through a comparison of two installation pieces linked to conceptual art and exhibited at Invisible: art about the unseen 1957–2012 (Hayward Gallery, London), the ways in which this 'quiet' text questions the conventions of language as a static form is discussed with reference to ideas of the figural put forward by Jean-François Lyotard in Discourse, Figure. Lyotard's concern for the 'thickness' of language is exemplified in the writings of Marguerite Duras as pictured in an article by Sanford. S. Ames, printed in the journal Visible Language in 1978. Such references help us to recognise the role that textual practice has played in the development of contemporary art practice as both discursive and unsettled: an art history of revisiting, re-performance and restlessness. [ABSTRACT FROM AUTHOR]

A Sign in Space is an interdisciplinary project by media artist Daniela de Paulis, in collaboration with the Green Bank Observatory, the National Institute for Astrophysics, the SETI Institute and the European Space Agency. The project consists in transmitting a simulated extraterrestrial message as part of a live performance, using an ESA spacecraft as celestial source. The objective of the project is to involve the worldwide search for extraterrestrial intelligence (SETI) community, professionals from different fields and the broader public in the reception, decoding and interpretation of the message. This process will require global cooperation, bridging a conversation around the topics of SETI, space research and society, across multiple cultures and fields of expertise. • Live performance art and network art combined with space technologies, science outreach and citizen science methodologies. • Science as a culturally transformative experience with a potentially open-ended outcome. • Concrete simulation of a potential post-detection scenario. • Composition of a simulated extraterrestrial message as opposed to a terrestrial message designed for an extraterrestrial intelligence. • Project highlights process leading to the formation of meaning of a potential extraterrestrial message within a complex society. [ABSTRACT FROM AUTHOR]