2007
DOI: 10.1111/j.1469-8676.1997.tb00340.x
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Consciousness in performance. A Javanese theory*

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Cited by 12 publications
(10 citation statements)
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“…Unlike Western's society that primarily uses explicit written language, Javanese people implicitly transfer their knowledge through symbols that manifest in many aspects of their daily lives and cultural creation, including art forms (Geertz, 1974). Javanese people use dance as a whole body metaphor to transfer the knowledge of being a Javanese (Hughes-Freeland, 1997). Moreover, spirituality and dance are closely entwined in the embodied practice of inner-directed movement (Margolin, 2014).…”
Section: Kawruh Joged Mataram: the Embodiment Of Javanese Spiritualit...mentioning
confidence: 99%
See 1 more Smart Citation
“…Unlike Western's society that primarily uses explicit written language, Javanese people implicitly transfer their knowledge through symbols that manifest in many aspects of their daily lives and cultural creation, including art forms (Geertz, 1974). Javanese people use dance as a whole body metaphor to transfer the knowledge of being a Javanese (Hughes-Freeland, 1997). Moreover, spirituality and dance are closely entwined in the embodied practice of inner-directed movement (Margolin, 2014).…”
Section: Kawruh Joged Mataram: the Embodiment Of Javanese Spiritualit...mentioning
confidence: 99%
“…According to Javanese theory, Rasa maintains a spectrum of meanings and contains the involution of epistemology. Rasa combines the bodily sensation, such as touch or taste, with a deep feeling of the purest heart, connected to the consciousness (Hughes-Freeland, 1997). Stange (1984) and Geertz (1974) also underlined the mystical or spiritual part of explaining Rasa .…”
Section: Bedhaya Dance As the Representation Of Javanese Spiritualitymentioning
confidence: 99%
“…Peran masyarakat dalam menjaga keberlangsungan kesenian secara utuh dengan nilai intangible sangat penting artinya bagi keberlangsungan kesenian tradisi (Darvill 1995); (Kreps 2009). Dalam konteks ini, karisma tokoh utama tetap dijaga demi kekuatan kelompoknya (Hughes-Freeland 2007).…”
Section: Hasil Penelitianunclassified
“…There can be few vocations in which professional capital (both physical and cultural) is so dependent on the athletic body and its presentation. (Wainwright, Williams, and Turner 2005, 51)To be clear, bodily “mastery,” technique, and precision are also attributes of numerous dance styles, such as Javanese Court dance (Hughes-Freeland 2007). Dancers who identify with their bodies, as Wainwright, Williams, and Turner suggest, focus on their identity around their role and career as a dancer.…”
Section: Symbiotic and Inseparable: Dance And Disabilitymentioning
confidence: 99%