Transcriptional repressor proteins play essential roles in controlling the correct temporal and spatial patterns of gene expression in Drosophila melanogaster embryogenesis. Repressors such as Knirps, Krüppel, and Snail mediate short-range repression and interact with the dCtBP corepressor. The mechanism by which short-range repressors block transcription is not well understood; therefore, we have undertaken a detailed structure-function analysis of the Knirps protein. To provide a physiological setting for measurement of repression, the activities of endogenous or chimeric Knirps repressor proteins were assayed on integrated reporter genes in transgenic embryos. Two distinct repression functions were identified in Knirps. One repression activity depends on dCtBP binding, and this function maps to a C-terminal region of Knirps that contains a dCtBP binding motif. In addition, an N-terminal region was identified that represses in a CtBP mutant background and does not bind to the dCtBP protein in vitro. Although the dCtBP protein is important for Knirps activity on some genes, one endogenous target of the Knirps protein, the even-skipped stripe 3 enhancer, is not derepressed in a CtBP mutant. These results indicate that Knirps can utilize two different pathways to mediate transcriptional repression and suggest that the phenomenon of short-range repression may be a combination of independent activities.Transcriptional repression is a critical component of genetic regulation during development, and the Drosophila melanogaster embryo has served as an important model for elucidation of basic repression mechanisms (7,19). Differential gene expression in the early embryo is controlled in large part by the activity of repressor proteins encoded by gap, pair-rule, and other genes (42, 45). Repression of transcription can involve reactions occuring off the DNA, such as the formation of inactive heteromeric complexes. Another mechanism involves competition between activators and repressors for binding sites on DNA. DNA-binding repressors that function by mechanisms other than competitive binding have been termed active repressors (24).An active repressor can repress basal promoters or enhancer elements over a short range (Ͻ100 bp) or, alternatively, over long ranges (Ͼ1,000 bp) (7,17). One model of repression in the embryo suggests that the short-range-long-range distinction results from the recruitment of distinct classes of cofactors (36, 55). Short-range repressors may interact with dCtBP, while long-range repressors interact with Groucho.Long-range repressors are typified by the Hairy protein, a transcription factor that binds the Groucho cofactor (5, 27, 40). Long-range repression complexes regulating the dpp, tld, and zen genes also recruit Groucho (7, 27), as do Engrailed, Runt, and dTCF, Drosophila repressors whose range of action has not yet been determined (3, 9, 50).Short-range repressors present in the early Drosophila em-
UNESCO since the 1970s has debated the best way to support and preserve cultural heritage forms. Masterpieces of Oral and Intangible Cultural Heritage of Humanity were declared from 2001 until 2006, when the new Intangible Cultural Heritage convention replaced that program. Japan provided models and leadership for the masterpieces program. New thinking in museum practice, interest in finding ways to value performing arts as much as geographical or architectural monuments, and hopes for safeguarding and giving communities ownership of genres concerned were involved in the evolution from the masterpieces model to the Intangible Cultural Heritage model. The needs of Southeast Asian groups and their ownership of the process are queried.
This article discusses the relationship of Islam, female performance, wayang/topeng , and transvestite practices in the performing arts of West Java, giving a very brief overview of three periods: the mytho-historic moment of the wali (saints), who used arts, including ronggeng (female-style singing-dancing) as a tool of conversion; the colonial era, when the palaces that were fonts of religious wisdom and colonial resistance became major centers that hired and influenced ronggeng arts, which dispersed through the Sundanese area of West Java, further developing genres like tayuban (dance parties of the aristocracy) and ketuk tilu (Sundanese popular dance performance); and the contemporary period, when the art has been devalued, noting that anti-pornography legislation enacted in 2008 is, in part, aimed at eliminating remnants of these long-existing female-singer-dancer and transvestite male performance practices, which are mentioned in literature of the colonial period and linked in oral histories with the advent of Islam. Through changing assumptions about ronggeng and the arts we see shifts in attitudes toward performance, sexuality, and religious discourse in local Islam.
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