Material Conceptualisms: Philippine Art under Authoritarianism, 1968-1986

Material Conceptualisms: Philippine Art under Authoritarianism, 1968–1986 explores the subversive connotations of artists who experimented with organic, mundane, and/or vulgar materials at the state-supported Cultural Center of the Philippines (CCP) under Ferdinand and Imelda Marcos through four case studies: Jose Maceda, Roberto Chabet, artist collective Shop 6, and Luis “Junyee” Yee, Jr. While Ferdinand Marcos’ declaration of martial law resulted in the elimination of independent press, the limitation of assembly, and covert instances of violence, coinciding with nearly a decade of control was a flourishing art scene largely due to the efforts of First Lady Imelda Marcos. Yet under the conjugal dictatorship, more than half of all presidential issuances from 1972 to Ferdinand Marcos’ deposition in 1986 affected the relationship between the arts and the state in the Philippines. While artists exhibiting at the state-supported CCP were censured due to their presumed elitism and collusion with the Marcoses, close examination of their works reveals how art performed or displayed at the CCP was not necessarily beholden to the ideology of the regime. These artists proved that art made under surveillance could still refuse to adhere to, and even preclude, the instrumental desires of an oppressive dictatorship. In fact, the artists’ manipulation of vulgar or banal materials such as toilet paper, stockings, rubber tires, panty liners, banana leaves, and acacia pods resulted in indecorous displays that frustrated rather than upheld the administration’s program of beautification and progressive modernism. Thus instead of taking an explicit stance against the Marcoses, these artists provide a model of a more ambivalent form of resistance grounded in the implicit critique of Imelda’s pursuit of truth, beauty, and goodness, which at times bordered on self-parody. Combining textual analysis of artist interviews, archival documents, artist essays, and art criticism with sustained formal analysis of conceptual performances, installations, and objects, the dissertation argues that seemingly politically innocuous artworks by Maceda, Chabet, Shop 6, and Junyee proposes resistance under Ferdinand and Imelda Marcos not in binaristic terms, but as elastic and unequivocal processes.PHDHistory of ArtUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/146098/1/tinale_1.pd

Composing race and nation: intercultural music and postcolonial identities in Malaysia and Singapore

This thesis examines the process of hybridity in intercultural music and its deployment as sites for the politics of identity, of both racial and national, in a cross-cultural context in contemporary Malaysia and Singapore. To demonstrate this process, this thesis analyses four pieces of contemporary music written for mixed and vocal ensembles by composers in Malaysia and Singapore. These four case studies reflect the differences in identity formation by different races, and varying notions of belonging and not-belonging. The 'speaking' positions of the composers (with regard to issues of majority/minority, class and race) are the essential starting points for the inference of any identity construction. The analyses reveal that new identities or new interpretations of racial identities are performatively constructed through the citations of(and 'play' on)fixities and such established norms. To successfully argue my case, I use Bakhtin's (1981) concept of intentional hybridity and dialogism to explain the process of inter-culturalism. In polyglossic societies such as Malaysia and Singapore, hybridity and dialogism naturally take place in the day-to-day interactions between races. Within the framework of a composition, differences(of cultures)are not smoothed over but are allowed to come up against each other, to, virtually, fight it out. This is demonstrated in my analysis of the musical works: the ways in which different textures, discordant timbre and tuning systems, performance styles and assortments of rhythms are incongruously juxtaposed to each other. This thesis also examines these compositions within their performance contexts to better apprehend the process of identification, arguing that it is the concerted effort of composer, performer and audience that produce meaning

Making Copyright Work for the Asian Pacific

This book provides a contemporary overview of developing areas of copyright law in the Asian Pacific region. While noting the tendency towards harmonisation through free trade agreements, the book takes the perspective that there is a significant amount of potential for the nations of the Asian Pacific region to work together, find common ground and shift international bargaining power. Moreover, in so doing, the region can tailor any regional agreements to suit local needs. The book addresses the development of norms in the region and the ways in which this can occur in light of the specific nature of the creator–owner–user paradigm in the region and the common interests of Indigenous peoples

Music CD in development and consumer value in the Thai music industry

While the digital market, especially the music streaming market, has rapidly grown in recent years, however the physical music segment still remains relevant in the Thai market. The Thai music market has inimitable characteristics within the market in terms of the physical music record offers, recorded musical works, and a growth trend in physical sales. Moreover, the behaviour in physical music consumption is opposite to that in world markets. Music consumption practices in the Thai market and why physical music, and CDs in particular, remain relevant to the Thai music industry are an enigma. The music industry itself has suggested that the physical music market needs to be revamped and its physical products redeveloped. In addition, the major record companies have also refocused into developing physical markets. However, precisely how this is to be achieved has not been specified. The twin aims of this study are to more fully comprehend Thai music consumption practices in today’s market and to examine how the concepts of product development could be effective in responding to consumer needs and desires. Consumer-led product development is the main concept of this study used to create ideas to enhance music CDs. This study combined many perspectives related to consumer-led product development and then applied them to construct the conceptual framework named “The Seminal Framework for CD Development”. The framework is a roadmap to create a new set of features for a new form of music CD based on the input of the music industry’s representatives and consumers. A new form of music CD which includes a new set of features is named in this study as the “prototype CD”. Also, the framework is used to evaluate the effectiveness of the prototype CD; how the prototype CD is responsive to consumer needs as far as functional and psychological perspectives are concerned. Bearing in mind the aim of this research, the researcher considered the interpretive paradigm to be the most appropriate approach for capturing consumers’ experiences in music consumption practices and for studying the opinions, points of view and ideas derived from the consumers, and the experts in music CD development. In the data collection process, this study employed the technique of purposive sampling for selecting from the population. The purposive sampling technique allows the researcher to judge and select people or prospective participants who: 1) are available to participate I in conducting the research, 2) are knowledgeable about the industry, 3) have experience related to the context of the study, and 4) can provide the reliable and detailed information required to understand the focal themes of the study. This study conducted nine interviews with the music industry’s experts, 60 one-on-one interviews and four group interviews with consumers. For the data analysis, this study adopted the manual coding analysis. The Seminal Framework determined the coding structure, and sets of data could be organised into distinct themes, such as the new features of music CDs or future positive possibilities for music consumption. This enabled, at the end of the process, an easier and more efficient identification of the experiential values derived from prototype music CDs. In addition, in more fully understanding the needs and expectations inherent in music consumption practices, such careful coding analysis helps to re-define the typology of music consumers. The typology and the concepts also facilitated the identification of music consumption behaviour in today’s environment. This study contributes a wider concept in consumer-led product development that has been applied to the context of music consumption practices and music product (CD) development

2020-2021 Lindenwood University Undergraduate Course Catalog

Lindenwood University Undergraduate Course Cataloghttps://digitalcommons.lindenwood.edu/catalogs/1190/thumbnail.jp

Selected solo piano works by contemporary Malaysian composers: An analysis

Although the influence of Western art music has been present in Malaysia for a little short of two centuries, much of the scholarly research, both locally and globally, has shown more interest in traditional music and popular music. As such, this study serves as an introduction to the art-music scene in Malaysia, particularly through the analyses of selected solo piano works by three contemporary Malaysian composers---namely, Chong Lim Ng\u27s A Distant Voice of the Rain Forest (Fragments from Rimba ...), Adeline Wong\u27s Paces for solo piano and electronics, and Kah Hoe Yii\u27s My Spirit is Dancing!.;These works show that Malaysian composers can be traditional and experimental, national and international at the same time. Most importantly, they reflect a common aspiration to incorporate and retain a certain quality or sound that defines these composers\u27 identities and cultural origins, which is not necessarily determined by ethnicity or nationality. This is achieved by assimilating foreign knowledge and technique with local or regional influences and inspirations.;This small but carefully chosen sampling of contemporary art music by Malaysian composers not only symbolizes the country\u27s diversity in culture, it also represents the essence of the contemporary art music in Southeast Asia. For that reason, it is the author\u27s hope that this research will promote interest and further studies in the contemporary art music by Malaysian composers and composers from the Southeast Asian region

Vibrancy of Public Spaces: Inclusivity and Participation Amidst the Challenges in Transformative Process in the City of Cagayan de Oro, Philippines

This study examines the dynamics which lead to revitalization of everyday life in the public spaces of Cagayan de Oro, a medium-sized urban center in Northern Mindanao, the Philippines. By employing the oriental philosophies together with western thoughts such as Henri Lefebvre, Alain Touraine and Jürgen Habermas, this study elucidates that the core of perceived, lived and conceived spaces is ‘the Subject.’ Once the Subject utilizes the public sphere to instill social action, social space is ultimately produced. Hawkers, grassroots environmental activists, street readers and artists are the social Subjects who partake in the vibrancy of public spaces. The social Subjects utilize public spaces as venues of social transformation. Thus, this study argues that the social Subjects’ role in democratic process lead to inclusivity of the marginalized sector in the public spaces of the city

The Asian Studies Parade

The Asian Studies Parade reflects a lifetime of commitment to the field by Paul van der Velde, a leading Asian studies innovator, scholar, and publisher. The first chapters examine aspects of the Dutch colonial presence in Asia and its intellectual support system in the Netherlands. The author's engagement with historical biography emerges in studies of such contrasting figures as Japanese interpreter Imamura Gen’emon Eisei, pioneering anthropologist P.J. Veth, and anti-colonialist Jacob Haafner. Van der Velde then continues to describe the development of Asia-Europe links at the end of the 20th century and the emergence of the ‘New Asia Scholar’ in the 21st century. This unique work will interest anyone concerned with wider issues in Asian studies