A Non-Governmental Organization in Formal Consultative Relations with UNESCO
The host and local arranger for this symposium is the Institut Seni Indonesia (ISI) Denpasar, Bali, Indonesia.
Throughout the history of Southeast Asia, people have moved across the region, bringing with them their music, dance and theater. Trade, colonialism, religious evangelization, and transnationalism have promoted the diverse flow of the arts, for example, the circulation of Muslims and associated music/dance genres in Southeast Asia, early exchanges between the courts of Yogyakarta and Siam, the presence of gong chime ensembles throughout insular Southeast Asia, the current pop music scene, and so on. Southeast Asian music and dance have also been displayed in world's fairs in Europe, North America, and other countries. What happens when the performing arts move across the regions or continents? What are the reception and the impact of the performing arts in question in their new cultural space? How do people, musicians, dancers and other artists represent cultural difference and appropriation? These are some of the pertinent questions that would challenge us to explore the kind of transformations that take place when the performing arts travel outside their home country, in the past and the present.
This theme opens a platform for a rich description of the various aural and visual elements involved in Southeast Asian performing arts. Cross-modal relationships between sound and movement have deep implications for the way we perceive objects, moving bodies, color and sonic events among others. The interactions between sound and movement are not always congruent even though the two mediums may cohabit the same space. Analyzing the convergence and divergence of sound, movement, and place is crucial to an understanding of the emotional, perceptual, and affective features of humanly organized expression. In music, dance, puppetry, and other movement arts, the variable relationships between sound and movement reveal characteristics of performance traditions housed in culturally organized social contexts. This theme brings attention to multisensory experience, the interactions between sound and movement, the field of metonymic relationships between music, dance, and space in Southeast Asian societies.
LANGUAGE: English is the official language of this symposium, however, the official language of the host country is Indonesian and papers may be presented in Indonesian with English language Powerpoint and Abstract, and a detailed Outline of the presentation in English to be handed out at the time of the session. The proposal Abstracts are to be submitted in English for review and selection purposes.
Proposals are invited in the following formats:
Please submit an abstract for your individual paper, panel, round table discussion, film/video, workshop or 'lightning paper' presentation along with a very short biographical note (100 words or less) about the presenter. The abstract should be a maximum of 300 words. Organizers of panels and roundtables must submit a statement on the focus and central concern of the panel/roundtable along with an abstract from each presenter on his/her presentation (each abstract is limited to 300 words and biographical notes are strictly limited to 100 words).
Please send your proposal by email. The text should be pasted in the body of the email and also sent as a Word file (.doc or .docx) or Rich Text Format (.RTF) attachment to your email to assure access. If you are unable to send your proposal by email, you may send a hard copy and an electronic version on a CD to the Chair of the Program Committee (see email address above). Please label all communications clearly with your full electronic and postal contact details.
The Program Committee reserves the right to accept only those proposals that, in their opinion, fit best into the scheme of the Symposium, and that can be scheduled within the time frame of the Symposium.
For those of you who are interested in starting a sub-study group focusing on a specific theme or topic, you will need to select a chair or spokesperson and write up a brief description of your proposed sub-study group, noting the rationale and any projects that can be earmarked by the group at the time of your proposal. Submit your proposal for the particular sub-study group to the Chair of this Study Group at email: firstname.lastname@example.org Your proposal will be included at the Study Group Meeting for discussion and approval.
Please note that all presenters must register as a member of the International Council of Traditional Music directly with the ICTM Secretariat before attending the Study Group Symposium. The email contact is: email@example.com. Those visitors who wish to attend this Symposium as non-members will be able to do so under a special registration fee, as will students. All registration fees and other information will be forthcoming from the Local Arrangements Committee.
The Program Committee for this Symposium is Tan Sooi Beng, Chair (Malaysia), Lilymae Montano (Philippines), Ako Mashino (Japan), Sumarsam (USA), R. Anderson Sutton (USA), Bussakorn Binson (Thailand), Tan Shzr Ee (UK), Paul Mason (Australia).
SUBMISSION INFORMATION (please complete and copy onto the head of your Abstract proposal and Biographical note)