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trance</title> <meta name="description" content="Search results for: trance"> <meta name="keywords" content="trance"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="trance"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 7</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: trance</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Effect of Globalization on Flow Performance in Godean Jathilan Pranesa Yogyakarta</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maria%20Armalita%20Tumimbang">Maria Armalita Tumimbang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Jathilan or Kuda Lumping is a dance-drama with warfare as the main theme and the dancers mimicking mighty horsemen armed with sword in the middle of the battle field. However, to most people this dance-drama is more identical with magical nuanced dance and trance, beside the attractive and even dangerous acts of the dancers, such as eating shard or broken glass in a state of trance. Several music players play the accompaniment made up of incomplete gamelan set that include saron, kendang, gong, and kempul. In general, it remains unchanged with regards to the seemingly monotonous beat and occasional “bumps” that may lead the dancers into a trance state. The dances performed also tend to be of repetitive patterns. The development of Jathilan and other traditional art performance in this globalization and industrialization era can be divided into two: firstly, they are subjected to the power of industrialization, which means their performances are to be recorded for commercial purpose, and secondly, they are to be presented in live performances. To some people, live performances are preferable, and for some reasons, they represent a form of cultural résistance to globalization and industrialization. The present study is qualitative in nature. It aims to describe the music and performance of Jathilan in the era of globalization in Indonesia. The subject of this study is a traditional art group, Jathilan Kuda Pranesa of Godean, Yogyakarta. Data collection was conducted by interviews with the leader of the group, the dancers and music players, as well as the audience. The wave of globalization has brought strong capitalistic industrialization that render traditional arts simply into industrial commodities tailored to the need of the era. This very fact has made the repositioning of traditional art performance of Jathilan a necessity. And by repositioning we mean that Jathilans should be put back to their traditional forms and functions as they used to be. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jathilan" title="Jathilan">Jathilan</a>, <a href="https://publications.waset.org/abstracts/search?q=globalization" title=" globalization"> globalization</a>, <a href="https://publications.waset.org/abstracts/search?q=industrialization" title=" industrialization"> industrialization</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance "> performance </a> </p> <a href="https://publications.waset.org/abstracts/26824/effect-of-globalization-on-flow-performance-in-godean-jathilan-pranesa-yogyakarta" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26824.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">306</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> Mapping the Sonic Spectrum of Traditional Music and Instruments Used in Malaysian Kavadi Rituals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ainolnaim%20Azizol">Ainolnaim Azizol</a>, <a href="https://publications.waset.org/abstracts/search?q=Valerie%20Ross"> Valerie Ross</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is as old as mankind and rituals using music such as Kavadi have been associated with social, cultural, and spiritual practices in many traditional and modern societies. Recent literature has provided scientific evidence that music affects psychological and physical changes through stimulation of brainwave. Despite such advances, the scientific study of the sonic qualities peculiar to traditional instruments and how it impacts on ritualistic activities is still lacking. This study addresses one such phenomenon. Devotees in Kavadi rituals are known to be in a state of trance state and do not experience pain nor suffer injury despite the hundreds of needles pierced through their skins. Although scientists have sought to understand how this is possible, lesser is known about the music that is used to prepare devotees to enter into the trance state. This study fills this gap of knowledge by providing scientific evidence through the identification and mapping of the sonic spectrum or sound fingerprint of the instruments and the repertoire used in these ritualistic forms in their ethnographic environment and in audio-controlled situations. The objectives are to identify and categorize the different types of traditional music used in Kavadi rituals; to record, transcribe and digitally score the musical repertoire used in the oral tradition of Kavadi rituals; to map the sonic spectrum of ritual music using spectromography and advanced music analytical software a mixed methodology will be used. This comprises ethnographic field studies using interviews, participant observation, audio-video recordings and audio-methodology using spectromography and advanced audio-technology for sonic mapping and the transcription of audio recordings into digital scores. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sonic" title="sonic">sonic</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Kavadi" title=" Kavadi"> Kavadi</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/54012/mapping-the-sonic-spectrum-of-traditional-music-and-instruments-used-in-malaysian-kavadi-rituals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54012.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">242</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> God in Jesus, a Daimonion in Socrates and Their Respective Divine Communication</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yip-Mei%20Loh">Yip-Mei Loh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Jesus and Socrates shared a remarkable gift; a channel of inner spiritual communication, to afford them truthful guidance in their respective religious discourse. Jesus is part of the Trinity; he is the Son, the Son of God. In mortal life he is the son of a carpenter. He called on all peoples to repent of their sins but fell foul of the authorities and was crucified. Socrates was an ancient Greek philosopher and the son of an artisan. His mission is to drive the Athenians to investigate truth, but he too incurs the displeasure of fellow citizens, to the extent of execution. The accusations made against them centre around, in Jesus’ case, proclaiming himself the Son of God, with the means to pardon, and in Socrates’, that a <em>daimonion</em>, an inner voice, speaks to him in his heart. Jesus talks with God directly through prayer, as the pneuma of God, i.e. to pneuma to <em>hagion</em>, or Holy Spirit, is with him. Socrates seems to enter what we would now think of as a trance-like condition, wherein he communicates with his inner <em>daimonion</em>, who directs him to take courage on the righteous path. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=daimonion" title="daimonion">daimonion</a>, <a href="https://publications.waset.org/abstracts/search?q=God" title=" God"> God</a>, <a href="https://publications.waset.org/abstracts/search?q=Holy%20Spirit" title=" Holy Spirit"> Holy Spirit</a>, <a href="https://publications.waset.org/abstracts/search?q=pneuma" title=" pneuma"> pneuma</a>, <a href="https://publications.waset.org/abstracts/search?q=truth" title=" truth"> truth</a> </p> <a href="https://publications.waset.org/abstracts/80651/god-in-jesus-a-daimonion-in-socrates-and-their-respective-divine-communication" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80651.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">188</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> Healing Performances: Ethnographic Concepts and Emic Perspectives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Ishak">S. Ishak</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20G.%20Nasuruddin"> M. G. Nasuruddin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper looks at healing performances as ethnographic expressions of local knowledge and culture embedded within the Malay psyche and gemeinschaft. As society develops and progresses, these healing performances are caught within conflicting trajectories which become compounded by the contestations of tradition, religious concerns, locality and modernity. As exemplifications of the Malay ethos, these performances practice common rituals, cater to the innate needs of the practitioners and serve the targeted, closed, local community. This paper traces the ethnographic methods in documenting these practices as rituals of healing in a post-modern world. It delineates the ethnographic concepts used to analyze these rituals, and to semiotically read the varied binarial oppositions and juxtapositions. The paper concludes by highlighting the reconciliatory processes involved in maintaining these ritual performances as exemplifications of the Malay ethos playing an important role in the re-aligning, re-balancing and healing of the Malay community’s psyche. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=angina" title="angina">angina</a>, <a href="https://publications.waset.org/abstracts/search?q=winds" title=" winds"> winds</a>, <a href="https://publications.waset.org/abstracts/search?q=semangat" title=" semangat"> semangat</a>, <a href="https://publications.waset.org/abstracts/search?q=spirits" title=" spirits"> spirits</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20theatres" title=" traditional theatres"> traditional theatres</a>, <a href="https://publications.waset.org/abstracts/search?q=trance" title=" trance"> trance</a> </p> <a href="https://publications.waset.org/abstracts/3357/healing-performances-ethnographic-concepts-and-emic-perspectives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3357.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">351</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Ethnographic Studies of the Choreographic Exploration Unveiling the Black Caribbean Female Body</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elle%20Nielsen">Elle Nielsen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Festival time on the island of St. Croix is an annual celebration of a melting pot of rich culture and heritage. All your senses are amplified by the colorful bodies that paint the streets with swaying hips commemorating the ancestors who didn’t have the voice to express themselves, let alone the bodily authority through movement. Within this atmosphere of jubilee, you will become a witness to how the melodies of Calypso and Soca music take full control of the body. As a result, the waist and hips in a trance follow the polyrhythmic patterns birthing the shunned movement practices of whining and wukkin up. Spectators on the sidelines of the festival events will either frown upon this spectacle of the whining bodies or gaze in awe at the performative history in a public space. The historical value of the Caribbean Carnival is being defaced by the transnational spectatorship using body politics to push more of a Eurocentric-influenced atmosphere. The themes within this investigation are the stereotypes of over-sexualization and resistance to assimilation to how black female bodies are being viewed in Carnival. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=women%20equity" title="women equity">women equity</a>, <a href="https://publications.waset.org/abstracts/search?q=West%20Indian%20movement%20vocabulary" title=" West Indian movement vocabulary"> West Indian movement vocabulary</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20dance%20studies" title=" critical dance studies"> critical dance studies</a>, <a href="https://publications.waset.org/abstracts/search?q=humanitarianism%20in%20dance%20academia" title=" humanitarianism in dance academia"> humanitarianism in dance academia</a> </p> <a href="https://publications.waset.org/abstracts/157243/ethnographic-studies-of-the-choreographic-exploration-unveiling-the-black-caribbean-female-body" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157243.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">95</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> Temporary Autonomous Areas in Time and Space: Psytrance Rave Parties as an Expression Area of Altered States of Consciousness in Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ugur%20Cihat%20Sakarya">Ugur Cihat Sakarya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research focuses on psychedelic trance music events in Turkey in the context of altered states of consciousness (ASC). The fieldwork that was conducted from 2018 to 2019 is the main source of the research. Participant observation method was followed in 15 selected events. To direct the musical experiences of participants, performances were also presented as a Dj. Ten of these events are open-air festivals. Five of them are indoor parties. The observations made during fieldwork and suitable answers for inference from the interviews with participants, artists, DJs, and volunteers were selected, compiled, and presented. In the result, findings showed that these activities are perceived as temporary autonomous areas by the participants both in time and space and that these activities are suitable areas for expressing themselves as a group (psyfamily) against mainstream culture. It has been observed that the elements that complement the altered states of consciousness in these events are music, visual arts, drug use, and desire to experience spiritual experiences. It is thought that this first academic study -about this topic in Turkey- will open a door for future researches. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=consciousness" title="consciousness">consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=psychedelic" title=" psychedelic"> psychedelic</a>, <a href="https://publications.waset.org/abstracts/search?q=psytrance" title=" psytrance"> psytrance</a>, <a href="https://publications.waset.org/abstracts/search?q=rave" title=" rave"> rave</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkey" title=" Turkey"> Turkey</a> </p> <a href="https://publications.waset.org/abstracts/132244/temporary-autonomous-areas-in-time-and-space-psytrance-rave-parties-as-an-expression-area-of-altered-states-of-consciousness-in-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132244.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">135</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Communicating with Spirits: Bridging the Nether World of Spirits and the Real World in Healing Performances</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Ishak">S. Ishak</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20G.%20Nasuruddin"> M. G. Nasuruddin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional Malay performances are carried out for both entertainment and curing purposes. In curing rituals, the men and women serving as shamans, communicates with the spirits and beings from the nether world to facilitate the curing process. The dependency on engaging with these other-worldly beings however, have raised religious issues of being <em>syirik</em>, namely practicing in rituals which are religiously forbidden. This study aims to observe how ritual leaders attempt to negotiate the fine balance between what has been religiously forbidden and the psychological and sociological needs of the patient. Two curing rituals, the <em>main peteri</em> and the <em>malibobou</em> were chosen to exemplify the communication between the physical and spiritual realities. In both rituals, the healers engaged in procedures of curing as they attempted to diagnose sicknesses and proffer cures with the help of the spirits. The <em>main peteri</em> was conducted by a male shaman, the <em>tuk teri</em> whereas the <em>malibobou</em> was conducted by a female ritual specialist, the <em>bobohizan</em>. <em>Main peteri</em> and the <em>malibobou</em> both ended with ritually thanking and sending off the spirits back to their nether, invisible domains. These curing rituals heal not only the sick individual, but by extension, the village community. Therefore, there is a need to reconcile these rituals with religious tenets, beliefs and sociological-political-cultural dimensions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20healing" title="traditional healing">traditional healing</a>, <a href="https://publications.waset.org/abstracts/search?q=trance" title=" trance"> trance</a>, <a href="https://publications.waset.org/abstracts/search?q=spirits" title=" spirits"> spirits</a>, <a href="https://publications.waset.org/abstracts/search?q=main%20peteri" title=" main peteri"> main peteri</a>, <a href="https://publications.waset.org/abstracts/search?q=bobohizan" title=" bobohizan"> bobohizan</a> </p> <a href="https://publications.waset.org/abstracts/14880/communicating-with-spirits-bridging-the-nether-world-of-spirits-and-the-real-world-in-healing-performances" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14880.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">359</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); 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