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Sjöholm, Jenny, und Cecilia Pasquinelli. „Artist brand building: towards a spatial perspective“. Arts Marketing: An International Journal 4, Nr. 1/2 (30.09.2014): 10–24. http://dx.doi.org/10.1108/am-10-2013-0018.
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Purpose – The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management. Design/methodology/approach – A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations. Findings – Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined. Research limitations/implications – This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice. Practical implications – This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these. Originality/value – The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.
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Lee, Jisoo, und Jong Woo Jun. „Personal Branding in Art: A Focus on In Depth-Interview with Art Workers“. Korean Society of Culture and Convergence 45, Nr. 5 (31.05.2023): 305–17. http://dx.doi.org/10.33645/cnc.2023.05.45.05.305.
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This study viewed art as an industry and discussed strategies for artists to establish themselves as important members of the art market. The brand strategy of viewing and managing individual artists as an independent personal brand was explored. We explored the potential of individual brands for Kim Whanki, Kim Tscang-yeul, and Lee Kang-so to find out about the brand identity of Korean artists. In-depth interviews were conducted with people in the art industry. They answered that building an artist's identity, continuity of activity, and active use of SNS are important factors for artists to grow as a brand. This means that it is important for the artist himself to engage in work activities with a clear direction based on his firm artistic philosophy and to continue such work activities. Communication works that actively promote and inform this are absolutely necessary. These results provide academic implications for the artist's personal brand strategy and practical implications in the contemporary art market.
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Yanti, Putu Dea Anggita, und Muhamad Sulhan. „Tiktok Micro Influencer as a New Communication Marketing Tactic in Building Brand Equity“. International Journal of Social Science and Business 7, Nr. 4 (29.11.2023): 1004–11. http://dx.doi.org/10.23887/ijssb.v7i4.60384.
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Marketing influencer is a recent phenomenon occurs due to the marketing era 4.0. This study aimed at elaborating Tiktok micro influencer as a communication tactic in marketing field to build brand equity at WYAH Art & Creative Space Ubud. Qualitative method was used as a research design particularly by adapting case study model. The subjects were one Tiktok micro influencer, 2 visitors, and 2 marketing staffs of WYAH Art & Creative Space Ubud. The data were collected by conducting observation, interview, and document analysis through the use of observation sheet and interview guide. The collected data was analysed quantitatively by using Qualitative Data Analysis. The findings showed that TikTok micro influencer could be used as an opinion leader in marketing communications. The vibes of normal people shown by the Tiktok micro influencer delivered the message naturally. Marketing communication tactics with TikTok micro influencer could be used free of charge to communicate and build a brand equity for WYAH Ubud through creating awareness in all components of TikTok micro influencer. They could communicate the brand image of WYAH Ubud and create high awareness among TikTok users. Continuously, this tactic built a strong brand equity for its brands, including WYAH Ubud.
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L. Rodner, Victoria, und Finola Kerrigan. „The art of branding − lessons from visual artists“. Arts Marketing: An International Journal 4, Nr. 1/2 (30.09.2014): 101–18. http://dx.doi.org/10.1108/am-02-2014-0013.
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Purpose – The purpose of this paper is to highlight the importance of the field of visual arts marketing in the development of wider branding theory and practice. Drawing on examples from visual artists and the art mechanism that connects them, the paper reveals how artists and art professionals foster various types of capital (social, cultural, symbolic) as a way of developing a brand name, ensuring longevity in the field, and gaining financial value on the market. Design/methodology/approach – As a conceptual paper, the authors draw on a range of published works as well as examples from the world of visual arts in order to provide fresh theoretical insight into how branding in the arts may be applied to other industries. Findings – The key findings are the importance of the consideration of the development and nurturing of social and cultural capital in developing brand identity. Additionally, visual art brands are required to be innovative and dynamic, and lessons learned regarding these processes have relevance for mainstream brands. The paper also found that creativity is often collective and that looking to methods for developing work in the visual arts can be utilised by brand managers more broadly in the age of social media and user generated content. Originality/value – This paper follows on the developing body of work, which indicates what mainstream business can learn from looking at the visual arts. The paper highlights the collective nature of creativity in building the art brand as well as the importance of non-economic measures of value in the realm of branding.
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Limantara, Quina Reivaldi. „Exploring the Role of Generative Artificial Intelligence in Crafting Brand Experiences: Insights from Selected Case Studies“. International Journal of Creative Multimedia 5, Nr. 2 (30.09.2024): 88–100. http://dx.doi.org/10.33093/ijcm.2024.5.2.6.
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This study explores the role of Generative Artificial Intelligence (GAI) in enhancing brand experiences, focusing on selected case studies from a niche art gallery and a global beverage brand. Generative AI - a subfield of AI - is a smart tool that can autonomously generate content, offering exciting possibilities for brand storytelling and consumer engagement through descriptive text prompts. In today's experience-driven economy, brands are no longer just offering commodities, goods, and services, they are striving to create personalised experiences to make them more memorable and meaningful to customers. In the 4E’s of individual realms of experience – entertainment, education, escape, and aesthetic – powerful brand narratives are needed. Using an analysis of interviews and real-life case studies like the immersive art exhibitions at Unicorns Young Collectors Club (UYCC), Surabaya, Indonesia, and the advertising of multinational companies, Coca- Cola, this study finds that brands who utilise GAI can effectively enhance brand experiences, make brand stories feel more personal and engaging. This not only helps them stay competitive in the marketplace but also strengthens their connection with customers. In conclusion, this study contributes to our understanding of the pivotal role of Generative AI in building brand experience. While the findings offer valuable insights, further research is recommended to expand the scope and generalizability across industries and regions. Generative AI holds promise as a powerful tool for shaping the future of branding, enabling brands to create experiences that resonate with consumers in meaningful and impactful ways.
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Jha, Ananya, und Ritambhara Jha. „The Art and Science of Marketing: Building the Ideal Media Mix Model“. Journal of Marketing & Supply Chain Management 1, Nr. 1 (31.03.2022): 1–2. http://dx.doi.org/10.47363/jmscm/2022(1)127.
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In an era of fractured media landscapes and fleeting consumer attention, crafting the ideal marketing media mix has become an intricate puzzle. This paper navigates the labyrinthine path towards an effective and dynamic blend of channels, ensuring brand messages resonate with the ever-evolving digital audience. By prioritizing audience understanding, aligning with strategic goals, selecting the right channels, and implementing machine learning based modeling, brands can orchestrate a symphony of strategies that captivate consumers and drive meaningful results. The paper also emphasizes the need for data-driven decision-making and continuous optimization of the media mix in an ever-changing marketing environment.
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Kim, Hanbyul, und Sunyoung Kim. „A Study on Brand Building Plan of Anyang Public Art Project(APAP) - Focused on the Brand Myth Building Model -“. Journal of Region & Culture 10, Nr. 3 (30.09.2023): 77–96. http://dx.doi.org/10.26654/iagc.2023.10.3.077.
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Xu, Yueqing. „Research on the Artistic Construction of Luxury Brands from the Perspective of Brand Culture Communication“. Highlights in Business, Economics and Management 2 (06.11.2022): 387–94. http://dx.doi.org/10.54097/hbem.v2i.2392.
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With the rejuvenation and diversification of the luxury market, luxury brands face the challenge of maintaining economic growth while considering the challenges of brand image building and customer loyalty. There is growing evidence that the younger generation of customers will gradually become the protagonists of the luxury market. One of the customer journeys they care most about is matching personal and brand values and the consumption experience. From this perspective, this article uses case studies, comparative studies, and literature research, taking Cartier Beyond Boundaries - Cartier Palace Museum Crafts and Restoration Special Exhibition as the main case. By comparing with other luxury brands’ art exhibitions in Asia, Analyze and study why contemporary luxury brands have increased their artistic construction and the relationship between luxury brand curatorial activities in the Asian market. By implementing the recommendations in this paper, Cartier can create a digital environment within the experience of its artistic curatorial events, facilitating interaction with their products, stories, and artworks.
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Buschgens, Mark, Bernardo Figueiredo und Kaleel Rahman. „How brand visual aesthetics foster a transnational imagined community“. European Journal of Marketing 53, Nr. 11 (11.11.2019): 2268–92. http://dx.doi.org/10.1108/ejm-10-2017-0655.
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Purpose The purpose of this paper is to investigate how visual aesthetic referents used in branding can help foster a transnational imagined community (TIC). The authors use brands embedded with Middle Eastern visual aesthetics as a research context. As such, the study aims to examine how Middle Eastern non-figurative art is used by non-Middle Eastern brands to foster an imagined Middle Easternness. Design/methodology/approach Through a critical visual analysis, the authors apply a visual social semiotic approach to Middle Eastern art canons to better understand the dimensions of transnational imagined communities. Findings The study finds and discusses six sub-dimensions of Middle Easternness, which compose two overarching dimensions of TIC, namely, temporal and spatial. These sub-dimensions provide brand managers and designers with six different ways to foster transnational imagined communities through the use of visual aesthetic referents in branding. Research limitations/implications This research identifies the specific visual sub-dimensions of brands that enable transnational communities to be imagined. Practical implications Understanding the visual aesthetic sub-dimensions in this study provides brand managers with practical tools that can help develop referents that foster transnational imagined communities in brand building to achieve competitive advantage and reach a transnational segment. Originality/value Prior studies have primarily focussed on how visual aesthetics help in understanding issues related to national identity. In contrast, this paper examines the use of visual aesthetics in branding from a transnational perspective.
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Qin, Wei. „An Analysis of the Development and Marketing Strategy of Art Merchandise in Art Museums“. Highlights in Art and Design 2, Nr. 1 (20.02.2023): 44–48. http://dx.doi.org/10.54097/hiaad.v2i1.5323.
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There have been many limitations and lags in the commercial operation of public art institutions, while art merchandise is an important business for the commercial operation and profitability of art museums. How to make profits in the market while still building an art brand image has been the priority for art museum operators to think and study. This paper examines the new experiences and innovative initiatives of public art museums in the art merchandising business through the case of the National Museum of Modern and Contemporary Art, Korea (MMCA). First, through the experience of operating art merchandise at the MMCA, it is found that a sound archival management of art museums is conducive to boost the quality and diversity of art merchandise and to dominating the market. Secondly, the production of high-quality digital content and its display on the visited web pages are favorable to increase online sales, raise profits and advertise the brand at the same time.
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Li, Ming, Chee Hua Chin, Shangke Li, Winnie Poh Ming Wong, Jun Zhou Thong und Kang Gao. „The Role of Influencing Factors on Brand Equity and Firm Performance with Innovation Culture as a Moderator: A Study on Art Education Firms in China“. Sustainability 15, Nr. 1 (28.12.2022): 519. http://dx.doi.org/10.3390/su15010519.
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Presently, particularly in China, the market for art education is still in the growth stage of industrial development. Nevertheless, there is a huge number of art education businesses competing for a share of China’s art education industry, which is of a very modest size. Given the evolution of the economy and innovative culture, it is of the utmost necessity to comprehend both brand equity and corporate success in the present day. This study explored the relationship between brand equity and company performance under the adjustment of innovation culture using Chinese art education businesses as the baseline study. The present study examined the relationship between the five components of brand equity that are primarily comprised of brand awareness, brand association, perceived quality, brand loyalty, brand relevance, and brand equity with the moderating impact of innovation culture. A total of 300 respondents, including art education firm managers, teachers, and other key employees, participated in the survey and WarpPLS 8.0 was used to evaluate the proposed model. Subsequently, the statistical findings revealed a significant positive relationship between the brand equity components (i.e., perceived quality and brand relevance) and a firm’s performance, while a firm’s innovation culture was discovered to moderate the said relationship. The implications of these findings are further discussed.
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Kim, Sun Young, und Hee-young Song. „A Study on the Strategy of Brand Building in the Tongyeong Theater Arts Festival: Focused on the Strategy of Brand Construction“. Korean Society of Culture and Convergence 44, Nr. 11 (30.11.2022): 405–17. http://dx.doi.org/10.33645/cnc.2022.11.44.11.405.
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The need for brand building is growing at local arts festivals. Therefore, this study tried to contribute to the establishment of the brand strategy of the local art festival by analyzing the brand construction status of the Tongyeong Theater Arts Festival(TTAF) as a brand myth construction model. As a result of the study, in terms of the dominant ideology, the TTAF was exposed to negative perceptions such as their own league, low artistic level, and doubts about individuality and creativity, as commonly found in other regional festivals. In addition, the desires of consumers and masses were marked by independent consumption, demand for easy and comfortable arts, and enhancement of pride and self-esteem in local culture. To overcome the cultural contradiction, the TTAF is judged to have to focus more on regional specialization and artistic level improvement using the unique cultural resources of the region. Therefore, this study specifically suggests the improvement of the brand strategy of the TTAF through the supplementation and innovation of the PR marketing strategy.
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Moffett, Todd. „The Sorcerer in Sword Art Online: A Glance at the Archetype“. Popular Culture Review 35, Nr. 1 (Dezember 2024): 11–45. http://dx.doi.org/10.1002/j.2831-865x.2024.tb00808.x.
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ABSTRACTSome villains in the anime Sword Art Online are influenced by the sorcerer archetype, drawn from legends of fairyland, medieval tales of hostile magicians, and the ancient figure of the shaman. The concentration of sorcerers in SAO makes it fertile ground for tracing the archetype in both Western and Japanese sources before turning to how SAO uses those influences in its world‐building and in the development of its own brand of sorcerer.
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Pandey, Mithilesh, und Rajesh Poonia. „Punjabi Jutti: the case of a missing brand“. Emerald Emerging Markets Case Studies 10, Nr. 4 (03.11.2020): 1–25. http://dx.doi.org/10.1108/eemcs-03-2020-0071.
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Learning outcomes The learning outcomes are as follows: to familiarize students with the concept of segmentation, targeting and positioning; to make students understand the need and process of building a brand; to help students to identify the market gap and meet customer’s requirement by delivering the right value proposition; and to examine the feasibility of business opportunity, develop a business plan and run a successful firm. Case overview/synopsis This case is about the quest of three MBA students who accidentally get into argument about footwear brands. This argument leads them to Punjabi ethnic footwear popularly known as “Punjabi Jutti.” They decide to understand the background of “Punjabi Jutti” and the possibility of developing a brand for the same. An extensive research was carried out through the various online and offline platforms. The research included searching through the existing literature, collecting data from the various online platforms such as e-commerce websites and interviews from the field. The research revealed that this traditional artwork is an unorganized sector. The manufacturers and marketers are two main parts of this business. However, the mainstay of the business is the skilled labors who know the art of making “Punjabi Jutti.” This art has been inherited by them from their previous generations. Also, it was found that there was good demand of the “Punjabi Jutti” in India and it was exported to various countries as well. Customers had a mix response toward these products. This extensive research has now put these students in a dilemma as to what should be the next step. Should they step into this business by creating their own brand? Will this entrepreneurship venture be sustainable? If they created a brand for the “Punjabi Jutti” then what kind of brand it would be? Complexity academic level Post graduate, entrepreneurs. Supplementary materials Teaching Notes are available for educators only. Subject code CSS 3: Entrepreneurship.
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Baumgarth, Carsten, und Daragh O’Reilly. „Brands in the arts and culture sector“. Arts Marketing: An International Journal 4, Nr. 1/2 (30.09.2014): 2–9. http://dx.doi.org/10.1108/am-08-2014-0028.
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Purpose – The purposes of this editorial are first, to review the background to, and development of, the Special Issue call for papers issued in March 2013 on the topic of “Brands in the Arts and Culture Sector”, second, to introduce the eight papers in the double issue (seven in the Special Issue plus one paper (by Caldwell)) which was submitted to the journal in the normal course and whose topic fits well with the arts and cultural branding topic, and third, to set out a framework designed to facilitate the analysis of individual arts and cultural brands, as well as the directions for future research in the area. Design/methodology/approach – The papers in this Special Issue use a variety of approaches-some qualitative (e.g. ethnography, expert interviews), others quantitative (e.g. laboratory experiment, surveys); others deal with conceptual issues for individual artists and for the arts market. Findings – Findings and insights relate to topics such as: how the “in-between spaces” (e.g. art studios) can be key building blocks of a strong artist’s brand; the importance of western ideas for the Chinese art market; how pro-activeness, innovation, and risk-taking are the three key drivers for the decision to integrate blockbusters as a sub-brand in museum brand architecture; the importance of experiential design for low-involvement museum visitors; the utility of the notion of brand attachment in explaining volunteering; the potential of visual arts branding for general branding theory; the concept of millennial cultural consumers and how to reach them; and celebrity casting in London’s West End theatres. Research limitations/implications – The authors believe that all of the papers have implications for future thinking, research, scholarship, paedagogy, and practice in the area of arts and cultural branding. Originality/value – As far as the editors are aware, this is the first ever journal Special Issue on arts and cultural branding. More specifically, the authors have taken the opportunity to present in this editorial essay the “C-Framework” of arts and cultural brands, which offers a new way of thinking about arts and cultural brands − one which can accommodate classical or so-called “mainstream” branding ideas as well as insights from cultural, media, and consumer studies, and other disciplines. This framework can be applied to individual arts and cultural brands as well as to the entire field.
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Chiang, Chien-Ting, und Ying-Chieh Chen. „The Effect of Destination Brand Identity on Tourism Experience: The Case of the Pier-2 Art Center in Taiwan“. Sustainability 15, Nr. 4 (10.02.2023): 3254. http://dx.doi.org/10.3390/su15043254.
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This paper examines the tourism destination brand identity and brand experiences which can influence visitors’ intention to recommend. The study of the importance of destination brand identity and brand experiences in the context of Taiwan has shaped some important insights with the potential to enhance the attractiveness of cultural and creative sectors. In this study, this paper explores perceptions of destination brand identity (tourism brand perception and tourism brand self-concept) and brand experiences. The analysis draws upon data collected at the Pier-2 Art Center in Taiwan in 2019, using a self-administrated questionnaire survey. Both confirmatory factor analysis (CFA) and structural equation modeling (SEM) were applied. It has been found that the role of various constructs of a brand perception and a brand self-concept of the tourism brand identity during a visit to cultural and creative parks is on top of the list of concerns associated with visitors’ brand experience. An examination of the research comments concluded that the cultural and creative tourism sector about consumer demands and update the development of appropriate marketing strategies, thereby providing visitors to experience the brand characteristics within the creative arts sector.
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Radermecker, Anne-Sophie V. „Buy one painting, get two names. On the valuation of artist collaborations in the art market“. Arts and the Market 10, Nr. 2 (08.06.2020): 99–121. http://dx.doi.org/10.1108/aam-10-2019-0030.
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PurposeTo analyze the market reception of multi-authored works of art through the lens of collaborative old master paintings (“formal/prestige collaboration”). This paper tests whether multi-authored attribution strategies (i.e. naming two artists as brand names) affect buyers' willingness to pay differently from single-authored works in the auction market.Design/methodology/approachThis case study focuses on collaborative paintings by Flemish masters, based on a data set comprising 11,630 single-authored and collaborative paintings auctioned between 1946 and 2015. Hedonic regressions have been employed to test whether or not co-branded artworks are differently valued by buyers and how the reputation of each artist might influence valuation.FindingsDespite the opportunity for buyers to purchase one artwork with two brand names, this study reveals that the average value of collaborative paintings is statistically lower than that of single-authored paintings. This is especially true when a reputed master was involved in the collaboration. The present findings suggest that the valuable characteristics of formal collaborations (i.e. double brand name, dual authorship and reputation, high-quality standards) are no longer perceived and valued as such by buyers, and that co-branding can affect the artist brand equity because of a contagion effect. We argue that integral authorship is more valued than partial authorship, suggesting that the myth of the artist as a lone genius is still well-anchored in purchasing habits.Research limitations/implicationsPrestige collaborations are a very particular form of early co-branding in the art world, with limited data available. Further research should consider larger samples to reiterate the analysis on other collaboration forms in order to challenge the current findings.Practical implicationsResearchers and living artists should be aware that brand building and co-branding are marketing strategies that may generate negative effects on prices in the art market. The perceived and market value of co-branded works are time-varying, and depends on both the context of reception of these works and the reputation of the artists at time t.Originality/valueThis market segment has never been considered in art market studies, although formal collaboration is one of the earliest documented forms of co-branding in the art world. This paper provides new empirical evidence from the auction market, based on buyers' willingness to pay, and it further highlights the reception of multi-authored art objects in Western art markets that particularly value individual creators.
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Sutanto, Shienny Megawati, Agung Eko Budi Waspada und Ganal Rudiyanto. „MERCHANDISE SEBAGAI PENDUKUNG VISUAL BRANDING UNTUK KEKAYAAN INTELEKTUAL LOKAL“. Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 2, Nr. 2 (01.04.2020): 231. http://dx.doi.org/10.25105/jsrr.v2i2.8236.
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<br /><div>Merchandise to support visual branding for local intellectual property merchandise as a support for visual branding for local intellectual property. Intellectual property are creative works that arise or born from human intellectual abilities can be in the form of technology, science, art and literature. These works were produced on the intellectual ability of humans through the outpouring of time, energy, thought, creativity, and taste. An intellectual property brand especially domestic brand needs a strategy</div><div>to increase their brand exposure in order to compete with international brands. building a brand image in the minds of the public are not instant and can be sufficiently done by creating and publishing a creative work alone, but through a long and continuous process. Designing merchandise is one small step towards building an image for intellectual property brand, to raise awareness and recoqnizion towards target audience. To know how merchandise can support the visual branding of intellectual property, research needs to be carried out by examining various literature specifically relating to branding, intellectual property, characteristics of yarget audiences and semiotic theory. <br /><br /><strong>Abstrak</strong><div><br />Merchandise sebagai pendukung visual branding untuk kekayaan intelektual lokal. Kekayaan intelektual merupakan kekayaan yang timbul atau lahir dari kemampuan intelektual manusia.</div><div>Karya-karya yang timbul atau lahir dari kemampuan intelektual manusia dan dapat berupa karya di bidang teknologi, ilmu pengetahuan, seni dan sastra. Karya-karya tersebut dilahirkan atau dihasilkan atas kemampuan intelektual manusia melalui curahan waktu, tenaga, pikiran, daya cipta, rasa dan karsanya. Sebuah brand kekayaan intelektual khususnya produksi dalam negeri membutuhkan strategi untuk meningkatkan paparan brand agar mampu bersaing dengan brand internasional. Membangun citra di benak khalayak bukanlah hal yang instan dan</div><div>cukup dikerjakan dengan menciptakan dan mempublikasikan sebuah karya saja, melainkan melalui rangkaian proses yang panjang dan kontinyu. Perancangan merchandise menjadi salah satu langkah kecil untuk membangun citra karya kekayaan intelektual agar lebih</div><div>dikenal oleh khalayak sasaran. Untuk mengetahui bagaimana merchandise dapat mendukung visual branding kekayaan intelektual, perlu dilakukan penelitian dengan mengkaji berbagai pustaka yang berkaitan khususnya yang berkaitan dengan branding, kekayaan intelektual, karaktertistik khalayak sasaran dan teori semiotika.</div></div>
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GERAGA, MAGDALENA. „"I WILL HIRE HIS MAJESTY'S DRIVER". A STORY ABOUT THE SEARCH FOR AN EMPLOYEE, I.E. NARRATOLOGY IN PRACTICE“. sj-economics scientific journal 33, Nr. 2 (30.06.2019): 69–82. http://dx.doi.org/10.58246/sjeconomics.v33i2.16.
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Job advertisements are a very important element of the recruitment process. Among other things, it depends on them whether the company will appear as an attractive place for specialists. Atypical job advertisements, based on narratology, i.e. the art of telling stories, have three goals: interest, building a brand and finding suitable candidates. The article is an attempt to analyze several job advertisements in the context of narratology and to answer the question about their value.
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Vuković, Milovan, Dejan Dašić und Aleksandra Vuković. „Marketing public relations in textile industry“. Tekstilna industrija 72, Nr. 2 (2024): 48–56. http://dx.doi.org/10.5937/tekstind2402048v.
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This research paper explains the importance of public relations and its role of public relations in textile organization. Public relations are the art and social science of that link inside and outside the organization together. PR in the textile industry plays a crucial role in building and maintaining a positive company image. The aim of this paper is to highlight the role and importance of public relations in creating a strong brand through effective communication with the public, customers, and partners. Additionally, PR strategies help in managing crisis situations and preserving the company's reputation. Effective PR can increase brand recognition, leading to higher sales and customer loyalty. Nowadays, as consumers become more aware of social responsibility, PR can contribute to promoting sustainable and ethical practices within the textile industry.
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Zheng, Zexi. „The Innovative Application of Hubei Shadow Play Art in Literary and Creative Stationery“. Highlights in Art and Design 5, Nr. 2 (16.03.2024): 49–53. http://dx.doi.org/10.54097/hiaad.v5n2.10.
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Hubei shadow play art, as a national intangible cultural heritage, has a long history and unique artistic charm. This study focuses on the innovative application of this art form in the emerging cultural and creative stationery industry, and analyzes its current situation in the contemporary cultural and creative field as well as the problems and challenges it faces. By extracting the classic elements of Hubei shadow play art, combined with modern design and production technology, this paper explores the innovative transformation mode and market feedback of shadow play art in cultural and creative products, and examines the balance between cultural protection and commercial innovation. In addition, in view of the dilemma of market competition and brand building, this study puts forward the strategy of industrial transformation and upgrading, and emphasizes the importance of strengthening the cultivation of cultural and creative talents and international exchanges and cooperation. The results of this research not only provide theoretical guidance for the inheritance and innovation of Hubei shadow play art, but also contribute new experience and perspective to the development of cultural and creative industry.
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Babin, Jessica, und John Hulland. „Exploring online consumer curation as user-generated content“. Spanish Journal of Marketing - ESIC 23, Nr. 3 (02.12.2019): 325–38. http://dx.doi.org/10.1108/sjme-07-2019-0053.
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Purpose Some consumers are engaged in online curation, a type of user-generated content, in ways that can be impactful for brands. An example of online curation includes organizing themed collections of product images on Pinterest. The purpose of this paper is to present a framework of online consumer curation, introducing this topic to the marketing literature. Design/methodology/approach Through the analysis of the business and academic literature, as well as a careful study of many examples of online consumer curation, the authors present a framework for understanding online consumer curation. Findings The actions taken by online consumer curators are similar to those of museum or art gallery curators: acquiring, selecting, organizing and displaying content for an audience. The motivations for consumers to engage in online curation include building/displaying their identities and making social connections with their online audience. One outcome possible for the audience that views the curation is gaining access to carefully selected and recommended content. Research limitations/implications As online consumer curation is a new area of research, the authors suggest several marketing- and brand-relevant propositions that can be addressed in future research. Practical implications As consumers are frequently using product images and brand symbols in their online curation, it is important for marketing academics and practitioners to understand their actions. Originality/value The aim of the paper is to present a thorough introduction to the idea of online consumer curation by outlining relevant examples, providing a framework for understanding this activity and its implications for brand management, and listing ideas for future research.
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Tleuken, Aidana, Galym Tokazhanov, Mert Guney, Ali Turkyilmaz und Ferhat Karaca. „Readiness Assessment of Green Building Certification Systems for Residential Buildings during Pandemics“. Sustainability 13, Nr. 2 (06.01.2021): 460. http://dx.doi.org/10.3390/su13020460.
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One of the consequences of COVID-19 pandemic is the momentum it has created for global changes affecting various aspects of daily lives. Among these, green building certification systems (GBCSs) should not be left behind as significant potential modifications may be required to ensure their versatility for residential buildings due to the new pandemic reality. The present study aims to evaluate the readiness of chosen GBCSs for a proper assessment of existing residential housing sustainability in a post-pandemic world. Based on a literature review of the state-of-the-art data sources and round table discussions, the present study proposes a particular set of sustainability indicators covering special sustainability requirements under pandemic conditions. Then, those indicators are used to evaluate the readiness of selected GBCSs (BREEAM, LEED, WELL, CASBEE) to meet new pandemic-resilient requirements based on their responses to the indicators. The assessment shows that none of the reviewed GBCSs are fully ready to cover all the proposed indicators. GBCSs have differing focuses on particular sustainability pillars, which also affected their responses to pandemic-resilient categories. For instance, WELL rating system successfully responded to the health and safety category, whereas LEED showed better preparedness in terms of environmental efficiency. BREEAM and CASBEE systems have a more evenly distributed attention to all three pandemic-resilient categories (Health & Safety, Environmental Resources Consumption, and Comfort) with an accent on the Comfort category. On a specific note, all GBCSs are insufficiently prepared for waste and wastewater management. In the future, GBCSs should be modified to better adapt to pandemic conditions, for which the current work may provide a basis. As an alternative, brand new standards can be created to face newly arising and evolving post-pandemic requirements.
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Drakopoulou, Konstantina. „THE GRAFFITI COVERING OF THE NATIONAL TECHNICAL UNIVERSITY OF ATHENS AND ITS POLITICO-CULTURAL SYMBOLISM“. ARTis ON, Nr. 5 (04.01.2018): 159–67. http://dx.doi.org/10.37935/aion.v0i5.140.
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Artistic activity which violates urban space is based on the aesthetics of vandalism; it underscores the emergence of the artist as a guerrilla fighter and a defacer, reminiscent of art practices developed during the historical and the post-war avant-garde. The intervention of three graffiti artists, who completely covered the southern annex facades of the National Technical University of Athens’ neoclassical building with large-scale black and white abstract patterns in March 2015, can be understood within the framework of trauma theory and destruction art, as explained by the art historian Kristine Stiles.The writers’ choice to intervene in the Athens Polytechnic in the Exarcheia district―both traditional enclaves of political protest―as well as the morphology of the pieces themselves arising from bottom up mutual interactions with no underpinning organising principle, need to be interpreted on the basis of the political model of emergent democracy. The objective of this correlation is to exemplify how the graffiti writers’ self-organizing behaviour during the production of the works can be viewed within the workings of political movements. This brand of politics, the self-organizing of local communities and collectives, may prove to be extremely apt in recognizing and improving troubled domains of community life, especially today when Greeks are facing a traumatic crisis.
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Wijaya, Ariani, Astrid Kusumowidagdo und Stephanus Evert Indrawan. „KONSEP GRAPHIC INDUSTRIAL PADA DESAIN INTERIOR PERUSAHAAN SOUVENIR & GIFT BERBASIS KARIKATUR DI SURABAYA“. KREASI 2, Nr. 1 (11.04.2017): 34–55. http://dx.doi.org/10.37715/kreasi.v2i1.263.
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Nowadays community lifestyle has rapidly growing in society, these are directly affecting the business development in Indonesia especially souvenir and gift business that specialized in face caricature, Illustration and silhouette. Communities are often having a difficulty to find a souvenir & gift that are unique and memorable yet multifunctional. These souvenir and gift are commonly used in variety events such as graduation, farewells, anniversaries and so on. Although consumers required to have a direct inspection of product quality, shape, and function. However these caricature souvenirs and gifts are hardly can be found in many retail stores in Surabaya. Therefore, NGIDE (art and craft venture space) is an innovative solution that created to meet consumer’s demand. In the initial phase, NGIDE (art and craft venture space) will be based on online shop, which sells souvenir and gift. Afterward, in the third phase, NGIDE (art and craft venture space) will be developed as building facility, which contains retail area, mini eatery, office, studio and meeting room. Consumers are able to freely choose product variant and consult their needs in the retail area. Furthermore, to give an extra added value, some of the souvenir and gift working progress can be awaited thus mini eatery is provided. Customers can relax and enjoy their meal in this area. Other facilities such as studio, office and meeting room are designated for employees as the production area. Besides, NGIDE (art and craft venture space)’s interior are designed with industrial style that combines the implementation of graphic and exposed material to outshine company identity as souvenir and gift company which specialized in caricature, illustration, and silhouette; and the focus of NGIDE (art and craft venture space)’s brand personality itself will be creative, fun and fresh. The purpose of designing interior architecture of NGIDE (art and craft venture space) is not only improving business development but also creating brand new art and craft space in Surabaya.
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Andersen, Peter Bach, Seyedmostafa Hashemi Toghroljerdi, Tiago Sousa, Thomas Meier Soerensen, Lance Noel und Bjoern Christensen. „The Parker Project: Cross-Brand Service Testing Using V2G“. World Electric Vehicle Journal 10, Nr. 4 (26.10.2019): 66. http://dx.doi.org/10.3390/wevj10040066.
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The Parker project sought to experimentally validate that contemporary series-produced electric vehicles (EVs), capable of V2G, are ready to participate in a number of advanced grid services. In such services, the timing, size and direction of power and energy exchanged between the EV battery and grid is controlled as to support either a single building, the local neighborhood or the regional power system. Vehicles purposely designed for such services are referred to as grid integrated electric vehicles (GIVs). The field of research, describing how GIVs may be used to actively support the power system, is called Vehicle–Grid Integration (VGI).The purpose of this paper is to present how the Danish Parker project has systematically categorized a range of grid services, collected in a service catalog, and then illustrate state-of-the-art EVs ability to support such services through experimental validation. Results are presented for three different tests performed in Parker; marginal emission factor charging, frequency containment reserves and a performance test for controlling power setpoints. The ultimate aim of this paper, and the Parker project, is to promote the GIV concept so that it may inform the design and capabilities of present and future EVs, EV supply equipment (EVSE) and communication standards.
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GROSS, Eduard Claudiu. „The Artists in the Branded World. A Theoretical Approach to Artist Personal Branding“. Journal of Media Research 15, Nr. 2 (43) (25.07.2022): 56–68. http://dx.doi.org/10.24193/jmr.43.4.
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This paper presents the need for artists to develop the ability to promote their work through marketing and communication theories. Currently, marketing is not an essential component for art faculties and artists in general. Through Personal Branding, emerging artists would have the chance to grow and build their audience and reputation without depending on curators, art critics, and museums. This paper emerges in a difficult context for the arts sector following an unprecedented health crisis that has deeply affected the labor market. In addition to summarizing the current literature, this study will present three different frameworks to support the artists in building a personal brand. This study aims to be a starting point for future empirical work on the artist in the world of branding. This theoretical approach aims to present the literature in the field of communication, highlight the differences between artists and content creators, as well as look at how the world of art functions, to find common ground for a better application of marketing theory from an artist's perspective.
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Galli, Raoul. „Kungliga Akademien för de fria konsterna“. Kulturella Perspektiv – Svensk etnologisk tidskrift 19, Nr. 4 (01.12.2010): 26–40. http://dx.doi.org/10.54807/kp.v19.28231.
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This article is based on fieldwork in a house. It discusses how different forms of capital are being transformed in direct or indirect connection to activities of The Royal Swedish Academy of Fine Arts, some of its members, and some of their social relations. Capital accumulation and transformation in predominantly symbolic economies, such as the field of art production, are normally long-term projects and therefore difficult to grasp through ethnographic observations. Here, the starting point is precisely a set of observations made of different artistic enterprises taking place in and around the Academy's building in central Stockholm. Through the analysis of them an understanding is reached of how financial capital is transformed into field specific capital and, for example, the concept of "brand" is socially used to both explain and somewhat mask the economically interested nature of these enterprises on behalf of sponsors, investors, and producers in the art field.
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吴, 晨晨. „Analysis of the Pattern Composition of “Great Ideological and Political Affairs” and the Path of Building Party Building Brand—Taking Anhui Art Institute as an Example“. Advances in Education 13, Nr. 01 (2023): 139–43. http://dx.doi.org/10.12677/ae.2023.131021.
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Augustínová, Eva, und Slavka Pitoňáková. „The Relevance of Illustration in Book Marketing in the 18th and 19th Centuries in Slovakia“. European Journal Of Media, Art & Photography 12, Nr. 1 (April 2024): 76–85. http://dx.doi.org/10.34135/ejmap-24-01-03.
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In each era, there are distinctive features that have influenced the possibilities of promoting intangible art products in the broader context of marketing. The possibilities, methods and forms of promotion have changed and evolved over the centuries and have depended on the development of mass means of communication, as well as on new methods and forms of promotion that reflected the requirements of the target groups during a particular period of time. In the present article, we focus on brand building of the printer (i.e. the printer’s signet), on the relevance of illustration in book marketing that takes the form of an artistic reference to the content of the work (the content frontispiece) and we also focus on building the PR of the author (the frontispiece portrait). The present study deals with the period from the 18th to the 19th century and in terms of geography, it is concerned with the territory of Slovakia.
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Almeida, Giovana Goretti Feijó de, Paulo Almeida, Lucília Cardoso und Luís Lima Santos. „Uses and Functions of the Territorial Brand over Time: Interdisciplinary Cultural-Historical Mapping“. Sustainability 15, Nr. 8 (10.04.2023): 6448. http://dx.doi.org/10.3390/su15086448.
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Several approaches to the concept of the territorial brand have been given over time, which has generated different contextualizations to and applications of the concept. In order to homogenize and clarify the concept, the present paper aims to present the state-of-the-art of this theme through an interdisciplinary mapping of the uses and functions of the territorial brand. To this end, the study adopts a qualitative analysis approach, integrating content analysis with the historical method encompassing an interdisciplinary cultural-historical mapping. The results point to a clear and fertile body of theory, which, in turn, suggests a fertile path for future studies. The findings reveal more than 15 centuries across four dimensions of analysis: characteristics, uses, functions and discourses of the territorial brand. Different trends and future research agendas for this area are also discussed. The practical value focuses on the application of the four dimensions of analysis as a tool for territorial management and planning for territorial managers and decision-makers.
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Jestratijevic, Iva, und Urška Vrabič-Brodnjak. „Sustainable and Innovative Packaging Solutions in the Fashion Industry: Global Report“. Sustainability 14, Nr. 20 (19.10.2022): 13476. http://dx.doi.org/10.3390/su142013476.
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The fashion industry generates packaging waste through the entire supply chain. Although brands are making efforts to improve packaging sustainability as demands for low-impact packaging are rising, there is a lack of empirical evidence of innovative packaging solutions among fashion retailers. This study represents the first global report on sustainable packaging innovation in the fashion sector. A data-mining approach was utilized to gather a sample of 400 international fashion brands that advertise sustainable packaging solutions across five continents. The sustainability of the packaging solution was evaluated for each brand based on three factors: sustainability mission, the availability of packaging data, and the actual sustainability of the package. The results showed that 57% of brands have made evident progress in the sustainable packaging area; 34% of brands have initiated the transition from conventional to improved packaging; the remaining brands have committed to rethink (1%) or to improve (8%) their packaging in the future. By providing comprehensive state-of-the-art evidence about practical achievements in the sustainable packaging field, this global report intends to help academics and practitioners to evaluate the environmental, social, and economic impacts of existing packaging products and to design circular packaging that minimizes these impacts.
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Wang, Zhuoxuan, Puvasa Ruangchewin und Poradee Panthupakorn. „The Study of Zodiac Culture on the Development and Management of Cultural Brands in Jingdezhen Ceramics“. International Journal of Sociologies and Anthropologies Science Reviews 4, Nr. 5 (01.09.2024): 61–74. http://dx.doi.org/10.60027/ijsasr.2024.4532.
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Background and Aim: Based on the Chinese zodiac culture, this paper explores the brand management of contemporary zodiac ceramics in Jingdezhen. The zodiac culture is one of the most widespread traditional cultures in China, intimately related to every Chinese individual and permeating various fields of Chinese cultural and artistic expression. Regardless of the occasion or form of expression, zodiac patterns exhibit distinct local characteristics and artistic styles. The zodiac accompanies individuals throughout their lives, serving as a symbol used for age counting while also imbuing auspicious meanings and hopeful aspirations. Belonging to the realm of excellent folk art, zodiac culture shines as a brilliant gem in the treasure trove of Chinese culture. Through the study of zodiac ceramics, it is hoped not only to gain a systematic understanding of Chinese zodiac culture but also to reflect the artistic charm of Jingdezhen ceramics. This endeavor aims to inspire ceramic artists and designers, fostering their enthusiasm for creation to produce better works. Consequently, it will lead to a new development for Jingdezhen's zodiac ceramics and ultimately establish a brand for zodiac ceramics. Materials and Methods: This study adopts the methods of literature review and questionnaire survey to provide a theoretical basis and ideological foundation for the application of zodiac culture in ceramic product design. Relevant journals, academic papers, books, magazines, and online information related to zodiac culture and ceramics are reviewed and organized. Experts, enterprises, and designers are grouped for interviews, and surveys are conducted to understand the clear context of the development of zodiac ceramics and the market trends of ceramic cultural and creative products. In terms of expert selection, we will interview Professor Cao Chunsheng, a doctoral supervisor at Jingdezhen Ceramic University; Zhang Jinghui, president of Jingdezhen Sculpture Association, engaged in the production of zodiac products; and Yu Zhichao, founder of Ceramic Gift Brand, and product designer. We use interview forms and on-site visits to comprehensively understand the current development status and trends of the zodiac in Jingdezhen from academic, production, and design perspectives. Results: The research findings indicate that zodiac culture is a significant component of traditional Chinese culture. Zodiac ornamentation is frequently utilized in the design and production of ceramics in Jingdezhen as a traditional cultural symbol in China. With the continuous attention to zodiac culture and the persistent pursuit of creative design, the development prospects of zodiac ceramic cultural and creative products will continue to expand, bringing forth more market opportunities and cultural value. The establishment of zodiac brands plays a crucial role in driving the development of zodiac culture. Building a zodiac ceramic brand is not only about product sales but also about cultural expression and the transmission of values. Establishing a zodiac ceramic brand is not only a commercial necessity but also a practical endeavor to inherit and promote traditional culture. Conclusion: Zodiac ceramics serve as one of the carriers of the zodiac culture. By incorporating zodiac elements into ceramic brands, products can be endowed with richer cultural connotations, attracting cultural enthusiasts and collectors. There is a close connection between the promotion of zodiac culture and the management of zodiac ceramic brands, which mutually promote each other. Through the inheritance and promotion of zodiac culture, we can not only promote traditional culture but also provide new opportunities for creative industries and brand management. By combining creative design, cultural education, and marketing strategies, zodiac ceramic brands can achieve greater commercial success while playing a positive role in the inheritance of cultural traditions.
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Yu Ran. „Excellent Case of Building A "School-land" Co-construction and Sharing Pattern Network of School Aesthetic Education and Regional Culture“. Journal of Electrical Systems 20, Nr. 2 (04.04.2024): 740–44. http://dx.doi.org/10.52783/jes.1229.
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With the development of computer science, some of the excellence artworks of Henan Provence are very popular through network dissemination. To achieve the transformation of Henan cultural brand from "parts" to "whole" and from "internet celebrity" to "long-lasting", it is necessary to establish an active inheritance mechanism network for Henan regional cultural resources and enhance the endogenous and innovative capabilities of traditional regional culture. The modern school aesthetic education system that runs through all stages has a natural advantage in incubating regional cultural communities. However, in reality, the aesthetic and spiritual attributes shared by school aesthetic education and regional culture have not been sufficiently valued, and the connection between the two lacks active policy design and mechanism innovation. Through Literature, field research and interviewing professors, artists and persons in charge of regional culture, the Department of Public Art Education at Zhengzhou University of Aeronautics has recognized the value of integrating school aesthetic education with regional culture in terms of cultivating students and building a rich cultural life. Leveraging their connections with social artist groups and individuals online and offline, who have conducted research on the ecological conditions of Zhengzhou's art districts, intangible cultural heritage, and the current status and issues of various school aesthetic education programs in the province through various ways. The working mechanisms and platforms have been establishment online and offline. The establishment of a pattern of co-construction and sharing of art education and regional culture network in the school is essentially a practical and methodological issue. Some plans have been made for the future. Research has found that for school aesthetic education, curriculum, teaching staff, and internal and external collaborative mechanisms are key points for the reform and development of aesthetic education. Schools aesthetic education curriculum system should integrate regional culture from multiple dimensions with network. A collaborative art education framework should be formed which integrates social and cultural resources at the regional level.
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Lindsay, Georgia. „One icon, two audiences: how the Denver Art Museum used their new building to both brand the city and bolster civic pride“. Journal of Urban Design 23, Nr. 2 (21.11.2017): 193–205. http://dx.doi.org/10.1080/13574809.2017.1399793.
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Bondarchuk, Viktor. „International Activity of P. I. Tchaikovsky National Music Academy of Ukraine as A Vector of Brand Development of A Higher Educational Institution“. Часопис Національної музичної академії України ім.П.І.Чайковського, Nr. 2(55) (16.06.2022): 50–64. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266547.
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The specificity of cultural creation in the 21st century is considered in terms of certain unification, which is characterized by powerful trends towards globalization and alterglobalization, as well as the intensity and dynamism of communicative processes that affect the mutual enrichment and mutual borrowing of various cultural strategies and practices. The article highlights the problems of modern art education in Ukraine. There is an updated need for branding art universities as institutions that enable young people to obtain professional training in accordance with the requirements of current legislation and constantly fight for the right to be in the rating of potential and competitive subjects in the educational activity. The multi-vector nature of the artistic educational paradigm, thanks to which modern trajectories of the development of a competitive higher education brand are formed, are described in the article. The priority directions of the international activity of the P. I. Tchaikovsky National Music Academy of Ukraine are highlighted as those that ensure competitiveness. It was found that the lack of a clear understanding of the nature and structure of art education branding leads to the loss and devaluation of a significant number of principles in the process of purposeful development of the higher education brand. The co-branding initiatives of the P. I. Tchaikovsky National Academy of Music of Ukraine are outlined, aimed at building systemic partnerships with other institutions in the form of international parity cultural and artistic dialogues, which in terms of content and design comprehensively meet the demands of modernity. The four-vector model of the Academy's international partnership is substantiated and detailed, in which the first vector involves interaction with the prioritization of the educational component, the second is aimed at partnership with the dominance of the cultural and artistic direction, the third enables the conclusion of interinstitutional agreements with a particular emphasis on the synergy of scientific cooperation, and the fourth has universal in nature and oriented towards cooperation with global international organizations such as UNESCO and the UN
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Kumar, Hari, und Satish Raghavendran. „Gamification, the finer art: fostering creativity and employee engagement“. Journal of Business Strategy 36, Nr. 6 (16.11.2015): 3–12. http://dx.doi.org/10.1108/jbs-10-2014-0119.
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Purpose – Fostering employee engagement in large organizations is a formidable problem that gets even more challenging in a sluggish economy, when the standard lever of monetary incentives are not a viable option for boosting employee engagement and motivation. As the organization gets larger, building emotional connectedness or bonding becomes challenging as teams expand to operate in different time zones. The overwhelming pace of work in the modern workplace can also hamper bonding. Yet emotional connectedness, when present, serves as a catalyst in driving superior performance and employee loyalty. The culture of many large organizations discourages innovation and out-of-the-box thinking because their institutional structures encourage risk aversion. Even though large organizations are best positioned to absorb the ups and downs of intelligent risk-taking, their talent processes enforce conformity, legitimize mediocrity and penalize failed attempts at innovative thinking. Performance appraisals tend to promote employees who take the path of least resistance. Managers, of course, help perpetuate this risk-averse cycle of mediocrity. Either they have been conditioned to think only in a linear fashion or organizational systems perpetuate managerial insecurity at all levels. This insecurity manifests in several ways: managers may take credit for the work performed by a subordinate; shoot down ideas a subordinate may have; or deflect opportunities that a subordinate may get. Survival in such an environment is based on being average and staying within the system. As a result, the spirit of entrepreneurship is lost. The authors designed a creative and playful contest called “Maverick” to tackle employee engagement in large organizations. The contest deeper goals include: shifting culture and behavior, talent discovery, brand building and meaningful engagement. The impact of the program on a broader organizational culture parameters were assessed through a survey. The survey results validate the impact of the program. Design/methodology/approach – The paper develops a conceptual approach that underlies the design of the Maverick program. Surveys were deployed to determine the perceived impact of the program on the broader culture. Findings – The secret ingredient in employee engagement is gaining the “emotional share of wallet” of employees to drive meaningful, enduring organizational change. Emotional wallet share is the sweet spot that lies at the intersection of employees’ skill sets, their aspirations and the value they generate for the organization. Proactively identifying the sweet spot empowers an organization to capture employees’ emotional wallet share to identify enablers and catalysts that can unlock motivation and performance. The survey results indicate that the Maverick contest was perceived to have a positive impact on all the identified attributes. This is a testament to the program’s success as a pivotal driver of a positive organizational culture. Further, it validates that the Maverick contest identifies several levers that leaders can use to positively influence organizational culture. Research limitations/implications – The organizations can adapt the proposed conceptual framework in designing meaningful programs to tackle employee engagement and motivation. Practical implications – The paper provides a meaningful framework to tackle employee engagement in large organizations. The Maverick approach is of interest to leaders of large organizations that are struggling to increase employee engagement with limited resources and that wish to foster creativity to drive innovation. The program offers a compelling way for talented professionals to meaningfully contribute to their organization that is agnostic to their position in the hierarchy. It gives employees the freedom to strive without being paralyzed by fear of failure; the chance to build their personal brand and pride; and a safe environment in which they can question received wisdom and attempt an unconventional approach to problem-solving. It creates a playful environment to bust stress, foster innovation and encourage an entrepreneurial mindset. Originality/value – This paper offers a superior alternative to the standard gamification solutions that are routinely applied to business situations. Gamification mechanics work effectively in roles that are transactional, instead of roles that demand autonomy, mastery and a sense of purpose. Maverick program is designed while being mindful of the intrinsic motivation of the professionals.
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Christopher, David. „Early Cronenberg and the Anarchist-Apocalypse“. Anarchist Studies 32, Nr. 1 (01.02.2024): 12–42. http://dx.doi.org/10.3898/as.32.1.01.
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The anarchistic and apocalyptic vein in Canadian cinema, and even in the larger context of Canadian art in general, takes a particular turn with the films of David Cronenberg. Such early Cronenberg films as Shivers (1975) and Rabid (1977) betray an almost prurient desire for the destruction of bourgeois social harmony and the annihilation of patriarchal social relations in the context of apocalypse. Even Cronenberg's earliest experimental films such as Stereo (1969) and Crimes of the Future (1970) make use of post-apocalyptic settings in building towards his more explicitly apocalyptic early commercial films to explore what might be identified as specifically anarchist social considerations. However, while the themes of anarchism and apocalypse permeate almost all of Cronenberg's works, these are almost universally overlooked in favour of traditional analyses of his 'Canadian weirdness' or his unique brand of body horror. This article looks back to the origins of Cronenberg's avant-garde anarchist-apocalyptic sensibilities to begin to recover their recognition in scholarship.
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Moskaleva, Anastasiia, Alexander Safonov und Enrique Hernández-Montes. „Fiber-Reinforced Polymers in Freeform Structures: A Review“. Buildings 11, Nr. 10 (16.10.2021): 481. http://dx.doi.org/10.3390/buildings11100481.
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This article is a survey discussing the application of fiber-reinforced polymer composites in freeform structures and their impact on the design and shape generation process. The analysis of case studies showed that the use of FRP composites not only helps to overcome some challenges in the construction of objects with complex geometry, but also creates brand new types of structures and design approaches. On the other hand, there is a problem—although FRP materials are frequently used in construction, the shapes of structures and design methods are often traditional and are simply copied from materials such as wood, concrete, and steel. FRP composites have been applied in civil engineering for several decades, since the 1960s, as building envelopes, façade skins, load-bearing structures, and internal and external reinforcement. The article aims to analyze this accumulated experience and to explore the role of FRP materials in the design of buildings with free, complex, fluid, and organic shapes. A new classification of freeform composite structures is proposed. They are classified in this article according to the methodology applied at the conceptual design stage: structures created by using a geometric approach, a form-finding (equilibrium) approach, or a biomimetic approach. Each approach is described in its own separate section, with a thorough literature and state-of-the-art review.
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Gede Budi Puja Arka Dana, Komang Pera Apriwati und I Nyoman Fajar Pramana. „IMPACT OF THE 2022 BALI ARTS FESTIVAL (PKB) AT THE DENPASAR ART CENTER ON THE ECONOMY AND TOURISM SECTOR IN BALI“. Ride: Journal of Cultural Tourism and Religious Studies 1, Nr. 2 (26.10.2023): 32–38. http://dx.doi.org/10.25078/ride.v1i2.3082.
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The open-air Ardha Candra building has become a special place for the people of Yogyakarta and has also contributed valuable cultural heritage to Indonesia. The specific research objectives will depend on the discipline and the need for deeper research. MICE (Meeting, Incentive, Convention, Exhibition) has become an integrated and efficient concept in organizing various types of events. The use of the Ardha Candra open stage in MICE events offers several advantages. First, this open location provides a unique experience for event participants with a refreshing natural atmosphere and beautiful scenery. Second, the open stage provides flexibility in space arrangement and event layout, allowing adjustments according to different event needs. Furthermore, the use of advanced technology in managing sound, lighting, and the layout of the Ardha Candra open stage can enhance the efficiency and quality of MICE events. High-quality sound systems and creative lighting create an impressive atmosphere, while flexible stage layouts allow for optimal use of space. In this article, we will also discuss several case studies of MICE events held on the Ardha Candra open stage. Research results show that the use of this open stage has successfully increased participant participation, improved brand image, and created unforgettable experiences.
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БАЛАКИР, А. С. „TRANSPARENT ORGANIZATIONS: TRAIL AS ACTOR-NETWORK“. Экономика и предпринимательство, Nr. 4(153) (15.06.2023): 1289–93. http://dx.doi.org/10.34925/eip.2023.153.4.255.
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Работа продолжила теоретический цикл, посвященный исследованию самоорганизации сквозь призму акторно-сетевой теории в контексте нестабильных скрытых сетей. В терминологии акторно-сетевой теории описаны примеры самоорганизованных узлов типа «тропа» — накопленный след от индивидуальных взаимодействий, сплетающие тропу как актор-сеть. Концептуализация подобных узлов в терминологии акторно-сетевой теории дополняет менеджмент и расширяет его границы: пространства, в которых акторы создают нечто ценное в ходе множества распределнных во времени и пространстве взаимодействий, подталкивает управленческую мысль к включению в рассмотрение неживых агентов. Как и продукты, созданные на производстве, тропа, являет собой накопленный след от множества взаимодействий вокруг нее, с тем исключением, что ее форму никто не согласовывал, а пешеходов не нанимал. Статьей рассмотрены такие примеры кооперации в рамках «троп» как создание фанатских вселенных в виде фанфиков и любительских рассказов, кооперация между туристами на пляжах Тенерифе при постройке пирамид из камней, воссоздание постоянно исчезающей вселенной участниками форума «Двач», создание автомобилистами карты полицейских рейдов в приложении «EasyRide», привязанные к карте спортивные состязания в приложении «Strava» и «ЖЭК-арт». Paper continues a chain of articles devoted to research of hidden unstable self-organized networks with actor-network perspective. Trails or accumulated individual traces were conceptualized and described using ANT language. Such conceptualization expands notion of management and organizational studies by including non-human actors and defining their connection with humans. Multiple interactions distributed both physically and in time crates a stand-alone agent just like real companies but without management, brand or payment. Paper briefly mentions cases of path-building in fandom communities, cooperation between tourists on beaches of Tenerife where individuals stack rocks on each other, recreation of constantly eroding universe on «Dvach» forum, real-time map with police raids in «EasyRide» app, map-driven sport events in «Strava» and local art next to apartment buildings on post-soviet countries.
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Paul, Mekhla, und Megha Paul. „USE OF HISTORICAL PAINTINGS IN ADVERTISEMENTS THROUGH YEARS AND ITS IMPACT ON CONSUMERS: A CASE STUDY“. International Journal of Engineering Applied Sciences and Technology 8, Nr. 3 (01.07.2023): 81–84. http://dx.doi.org/10.33564/ijeast.2023.v08i03.010.
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This case study explores the evolution, idea, impact, and reasons for using historical paintings in advertisements over the years. This paper will also analyze various advertisement campaigns and their popularity and effectiveness on the consumers and enhancement of brand messaging. This study will also try to elucidate the strategies used by advertisers to clout the power of historical artworks to grab the attention of consumers and possible customers. This paper will also try to investigate the ethical considerations surrounding the usage of historical paintings in advertisements and their significance for both the art world and the advertising industry.
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Stutje, Klaas. „The Diamond from Banjarmasin: A Story in Facets“. Rijksmuseum Bulletin 70, Nr. 4 (14.12.2022): 340–55. http://dx.doi.org/10.52476/trb.13473.
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This article tells the socio-political life story of the Banjarmasin diamond that is on display in the Rijksmuseum’s nineteenth-century colonial room. How the diamond came into the possession of the Dutch in 1859 was not entirely clear, although both in the Netherlands and in Indonesia it is cited as a typical example of ‘war booty’ and ‘looted art’. It is therefore used in debates about contemporary identity formation, like the Dutch approach to their violent colonial past and Indonesian post-colonial nation building. But the stone has more to tell: stories about war and violent subjugation, about resistance and the co-optation of the local rulers, about trade and monopolization and about colonial pretension. On the basis of a provenance report written as part of the Pilot Project Provenance Research on Objects of the Colonial Era, this article aims to shed more light on various moments in the diamond’s life story, from mining to exhibition. This also makes it clear that the present-day debate about its painful history and its possible restitution to Indonesia will be not the conclusion but a brand-new chapter in the diamond’s long socio-political history.
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Popović-Bodroža, Ana. „Constructing of the narcissistic artistic character in the autobiography of Salvador Dali: Salvador Dali with an insight into the painting metamorphosis of narcissus, and the Dali museum/bequests“. Kultura, Nr. 170-171 (2021): 167–78. http://dx.doi.org/10.5937/kultura2171167p.
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By applying the methodology of transdisciplinary studies, this work examines the phenomenon of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali "I am the genius" (The Secret World of Salvador Dali), in the paining "The Metamorphosis of Narcissus", and in Dali's original poetry through the prisms of mythology, psychoanalysis and psychosexuality by constructing of the narcissistic character (artistic "Persona") as a model for identity strategies in contemporary art practices. The text is analysing some of Dali's unique personality characteristics and creative and personal expression, with a special insight into his childhood and the term of narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his work, from the "Surrealism Manifesto" and the Surrealism practices. In a case study, the text analyses the painting "Metamorphosis of Narcissus", its content, symbolism, style and visual elements. A possible influence of Sigmund Freud is described, and Dali's original method of "Critical Paranoia" is elaborated. The closing sections are describing the fascinating dimensions of the personality cult that Dali and his narcissistic character reached in the last years of his life. A special focus is made on the musealisation of Dali - his numerous museums and bequests, memorials and collections, the founding of which has contributed to the building of a permanent monument to the artist and finally to the establishment of his status of a mythical personality - the "Dali" brand.
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Dewi, Nuria Indah Kurnia, Agni Saraswati und Audrey Nafisa Falihah Furqon. „Penerapan Pola Komunikasi Soft Selling melalui Storytelling dalam Film Iklan “Metamorfodream”“. ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, Nr. 02 (03.11.2022): 231–45. http://dx.doi.org/10.33633/andharupa.v8i02.5270.
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Abstrak Prodi D3 Animasi ISI Yogyakarta (Prodi Animasi) sebagai lembaga pendidikan pencetak pekerja seni dalam bidang animasi perlu melakukan proses diseminasi yang berkesinambungan sebagai upaya untuk meningkatkan animo masyarakat. Terkait tujuan tersebut, Prodi Animasi memerlukan sebuah media diseminasi komunikasi yang relevan dengan perkembangan zaman, sesuai dengan latar belakang target audiens, serta mampu merepresentasikan karakter Prodi Animasi itu sendiri. Berdasarkan kriteria tersebut, maka film iklan animasi berjudul “Metamorfodream” dipilih sebagai sebuah model media diseminasi. Film iklan ini dirancang dengan memadukan unsur storytelling dan periklanan sehingga menghasilkan iklan dengan pola komunikasi soft selling. Landasan teori yang digunakan adalah teori film animasi oleh Jean Ann Wright dan konsep mengenai identitas brand oleh Derrick Chong serta teori penceritaan Struktur Tiga Babak oleh Weels Root. Metode penciptaan yang dipakai adalah proses penciptaan kreatif oleh Graham Wallas. Tujuan penelitian ini difokuskan untuk mengetahui bagaimana penerapan pola komunikasi soft selling melalui storytelling dalam film iklan Metamorfodream, di mana unsur storytelling akan digunakan dalam membangun bahasa komunikasi sehingga iklan yang dihasilkan akan bersifat soft selling sehingga dapat dinikmati sebagai sebuah karya film. Kata Kunci: diseminasi, film iklan animasi, storytelling, soft selling AbstractAs an educational institution that produces art workers, the Animation Program in the Indonesia Institute of the Arts Yogyakarta needs to carry out a continuous dissemination process to increase public interest. Related to this goal, the Animation Program requires a communicative dissemination medium that is relevant to the times and suitable to the audience's background. It should be able to represent the character of the Animation Study Program itself. Based on these criteria, the animated advertising film entitled “Metamorphodream” was chosen as a media dissemination model. This advertising film is designed by combining storytelling and advertising elements, so as to produce advertisements with soft-selling communication type. The theoretical basis used is the theory of animated films by Jean Ann Wright, the concept of brand identity by Derrick Chong, and the theory of storytelling in Three Acts Structure by Weels Root. The method of creation used is the creative creation process by Graham Wallas. This research aims to know how soft- selling communication patterns can be applied through storytelling in the Metamorphodream advertising film. Storytelling elements will be used in building a communication language so that the resulting advertisements will be soft selling so that they can be enjoyed as a film. Keywords: animated advertising films, concept art, dissemination, storytelling
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Zhu, Xiaojun, Zheng Zhang, Jian Ruan, Houde Liu und Hanxu Sun. „ResSANet: Learning Geometric Information for Point Cloud Processing“. Sensors 21, Nr. 9 (06.05.2021): 3227. http://dx.doi.org/10.3390/s21093227.
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Point clouds with rich local geometric information have potentially huge implications in several applications, especially in areas of robotic manipulation and autonomous driving. However, most point cloud processing methods cannot extract enough geometric features from a raw point cloud, which restricts the performance of their downstream tasks such as point cloud classification, shape retrieval and part segmentation. In this paper, the authors propose a new method where a convolution based on geometric primitives is adopted to accurately represent the elusive shape in the form of a point cloud to fully extract hidden geometric features. The key idea of the proposed approach is building a brand-new convolution net named ResSANet on the basis of geometric primitives to learn hierarchical geometry information. Two different modules are devised in our network, Res-SA and ResSA2, to achieve feature fusion at different levels in ResSANet. This work achieves classification accuracy up to 93.2% on the ModelNet40 dataset and the shape retrieval with an effect of 87.4%. The part segmentation experiment also achieves an accuracy of 83.3% (class mIoU) and 85.3% (instance mIoU) on ShapeNet dataset. It is worth mentioning that the number of parameters in this work is just 1.04 M while the network depth is minimal. Experimental results and comparisons with state-of-the-art methods demonstrate that our approach can achieve superior performance.
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György, Kubinyi. „Stílus, forma, esztétika“. Építés - Építészettudomány 49, Nr. 3-4 (30.08.2021): 329–42. http://dx.doi.org/10.1556/096.2021.00013.
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Olyan átfogó stílusok, mint a gótika a reneszánsz vagy a barokk voltak, napjainkban nem segítik az építész munkáját a formaalakításában, de különböző stílusok, brandek és ideológiák nagy számban választhatók. A választás létre is jön – elsősorban az azonosíthatóság és a jó eladhatóság érdekében – az építészirodák formaalkotási metódusát alapvetően meghatározva. Az így létrejövő építészeti formák nem az adott feladatból következnek, nem az adott feladathoz kapcsolódnak, hanem a meglévő formakészlet elemeinek használatával, adaptálásával jönnek létre. A kortárs művészetben nem csak az építészet küzd a forma ellehetetlenülésével, kiüresedésével. Az irodalomban ugyanúgy kérdésessé vált a forma, a stílus, és kérdésessé vált a gondolat, a mondanivaló direkt ábrázolása. Az irodalomra is figyelve, a párhuzamok segíthetnek a helyzet pontos leírásában, értelmezésében, és szélesíthetik az építészeti horizontot. Azonban nem csak a huszadik század végi, huszonegyedik század eleji építészet sajátja a formai dogmatizmus, az már a kezdet kezdetén megjelent a Modern Mozgalomban. A CIAM és Le Corbusier stiláris diktátumával szemben aktív és passzív ellenállás fejlődött ki. Több jelentős, korszerűen gondolkozó építész hangoztatta, írta le ellenvéleményét, tiltakozva a Modern Mozgalom kiáltványai ellen. A passzívan tiltakozó építészek egyszerűen távol tartották magukat a Mozgalomtól és járták a saját maguk szabta, de modern útjukat. Az aktív és passzív ellenállást tanúsító építészek vonulatát St. John Wilson a modern építészet másik hagyományaként írta le. A modern építészet másik hagyományának folytatásaként – a kortárs tervezésben – a stiláris, formai, esztétikai, gondolati, ideológiai megközelítések elutasítása lehetőséget jelenthet az építész számára egy olyan tervezés gyakorlására, ami a sokrétű építészeti feladatra tud koncentrálni, nem a formai kérdések határozzák meg a tervezést. Az építészet elemi sajátosságaira alapozva, a tervezési helyzet kiértékelése, a funkció betöltése a fundamentum. Minden más ezekből kiindulva alakul, következik, az építészetet praktikus művészetként (techné) gyakorolva. Ez a vonulata az építészetnek nem használ olyan formákat, amelyek nem a tervezési helyzetből következnek, így az épület populáris gesztusok, formák híján a legtöbb esetben nem lesz érdekes a primer érzékelés számára. Az ilyen mű befogadásához csend és elmélyülés kell. However, such overall styles as gothic, renaissance and baroque do not help contemporary architects in creating forms but different styles, brands and ideologies could be chosen freely. The choice is maid – usually for identification and marketability – defining the form creation method of the architecture offices. The forms created like this do not follow the assignment task nor are connected to the architectural or natural context, but these forms are stylistically or ideologically preconceived. The architectural form, structure which is independent from task is not only the contemporary architecture’s peculiarity. At the beginning of the architectural Modern Movement Le Corbusier and the CIAM canonized the International Style. But W. M. Dudok, the Dutch architect (and several other prominent architects) protested against a regime of pre-ordained geometrical form. In the contemporary architecture the MVRDV is diligent to create interesting architectural forms to raise their popularity, however, a few decades ago Winy Maas protested against the formalism: admonishing the architects to design buildings just with transforming the abstract statistic information into a concrete form. Daniel Libeskind said about his Jewish Museum in Berlin: “that was my intent in creating a building that tells a story. Architecture just like any art should tell a story.” And he developed a useless populist building using deconstructive ornaments. But there are a few star architects who do not care about brand building and popularity. One of them is Peter Zumthor, who wrote about the design process of Thermal Baths in Vals: “I remembered how we recently developed a project…not by forming preliminary images of the building in our minds and subsequently adapting them to the assignment, but by endeavouring to answer basic questions arising from the location of the given site, the purpose and the building materials – mountain, rock, water – which at the first had no visual content in terms of existing architecture.”
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Afrian, Tyas, Edial Rusli und Adya Arsita. „FOTO PRODUK AMANDA GRIYA KEBAYA DENGAN ELEMEN PENDUKUNG BANGUNAN CAGAR BUDAYA DI YOGYAKARTA“. spectā: Journal of Photography, Arts, and Media 2, Nr. 1 (16.02.2019): 69–80. http://dx.doi.org/10.24821/specta.v2i1.2469.
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AbstrakKebaya yang dulu mendapat sorotan sebagai pakaian kuno kini menjadi pakaian yang modern dan modis. Melalui media fotografi fashion, akan menarik apabila baju kebaya modifikasi dapat divisualisasikan dengan latar belakang bangunan cagar budaya di Yogyakarta sebagai elemen pendukung sehingga memberikan kesan tersendiri bagi para penikmat seni. Fotografi fashion dipilih karena mampu menampilkan produk yang dijual. Dalam karya ini, tantangan yang menarik adalah eksekusi dengan menyatukan kebaya yang modern dengan latar pemotretan berupa bangunan cagar budaya di Yogyakarta, terlebih apabila detail kebaya dapat jelas terlihat. Untuk itu, dilakukan serangkaian metode untuk menggali data yaitu observasi, studi pustaka, dan wawancara. Dlam penciptaan karya dilakukan melalui tahapan ini, yaitu kontemplasi, pravisualisasi, persiapan, eksekusi, hingga pascaproduksi. Karya foto produk dari Griya Amanda Kebaya dalam fotografi fashion ini tidak sekadar menampilkan busana secara visual, tetapi terdapat muatan informasi tentang kebaya dan bangunan yang dipakai. Melalui karya-karya ini didapatkan bahwa kebaya yang disandingkan dengan bangunan cagar budaya menjadi lebih menarik dan mudah dalam menyampaikan atau menanamkan brand image kepada audience, sehingga audience tertarik untuk menyewa atau membuat kebaya di Amanda Griya Kebaya. Kata kunci: Amanda Griya Kebaya, kebaya, cagar budaya, fotografi fashion Abstract Product Photography of Amanda Griya Kebaya with Cultural Heritage Buildings in Yogyakarta as Supporting Elements. Kebaya (a traditional Javanese blouse worn by women) which was considered as an old-fashioned dress, now becomes a modern and stylish dress, of course through a long and uneasy journey. With the medium of fashion photography, it will be interesting if the modified kebaya dress can be visualized with the background of cultural heritage buildings in Yogyakarta as supporting elements, so that it will give a certain impression for art enthusiasts. Fashion photography was chosen because it can show the product that will be sold. Fashion photography aims to make the designed dress looks interesting so that people would be eager to buy it. In this project, the challenge to combine the modern kebaya with the background of cultural heritage buildings in Yogyakarta is interesting to be executed, especially if the details of the kebaya can be seen clearly. To answer that challenge, a series of processes was carried out with some methods namely observation, literature review, and also interview. The steps that were carried out in this project were started with the description of the kebaya dress of Amanda Griya Kebaya, contemplation, pra-visualization, preparement, excecution, until post-production. The result came with the photographs of Amanda Griya Kebaya's product with the supporting element of cultural heritage buildings in Yogyakarta. In the implementation, it was not only creating an artwork that shows the dress visually, but also adding a content of information about the kebaya itself and the buildings used as the backgrounds. Through all of the photoworks, it can be concluded that the kebaya dress combined with cultural heritage building is more interesting and it is also easier to communicate or advertise the brand image to the audience, so that the audience will be interested to rent or order kebaya dress in Amanda Griya Kebaya. Keywords: kebaya, cultural heritage buildings, fashion photography, griya
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Rzepa, Agnieszka. „Recent (Re)Visions of Canlit: Partial Stock-Taking“. Studia Anglica Posnaniensia 55, s2 (01.12.2020): 273–89. http://dx.doi.org/10.2478/stap-2020-0013.
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Abstract This article approaches recent discussions on the state of contemporary CanLit as a body of literary texts, an academic field, and an institution. The discussion is informed primarily by a number of recent or relatively recent publications, such as Trans.CanLit. Resituating the Study of Canadian Literature (Kamboureli & Miki 2007), Refuse. CanLit in Ruins (McGregor, Rak & Wunker 2018), Luminous Ink: Writers on Writing in Canada (McWatt, Maharaj & Brand 2018), and the discussions and/or controversies some of those generated – expressed through newspaper and magazine articles, scholarly essays, but also through tweets, etc. The texts have been written as a response to the current state and – in some cases – scandals of CanLit. Many constitute attempts at starting or contributing to a discussion aimed at not only taking stock of, but also reinterpreting and re-defining the field and the institution in view of the challenges of the globalising world. Perhaps more importantly, they address also the challenges resulting from the rift between CanLit as implicated in the (post)colonial nation-building project and rigid institutional structures, perpetuating the silencings, erasures, and hierarchies resulting from such entanglements, and actual literary texts produced by an increasingly diversified group of writers working with a widening range of topics and genres, and creating often intimate, autobiographically inspired art with a sense of responsibility to marginalised communities. The article concludes with the example of Indigenous writing and the position some young Indigenous writers take in the current discussions.
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Rosmiati, Ana, Supriyanto Supriyanto, Joko Budiwiyanto, Tubagus Mulyadi und Soemaryatmi Soemaryatmi. „World Dance Day: A Cultural Conservation in Maintaining Local Wisdom of Traditional Arts“. Gelar : Jurnal Seni Budaya 20, Nr. 2 (01.12.2022): 75–84. http://dx.doi.org/10.33153/glr.v20i2.4564.
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The research entitled " World Dance DAay: A Cultural Conservation in Maintaining Local Wisdom of Traditional Arts" was conducted to explore the strengths in maintaining the existence of traditional arts, which began to shift with the introduction of Western culture. World Dance Day was a dance event with a duration of 24 hours. This event had been going on for several years. It had become a routine agenda at ISI Surakarta by involving the public, community, art activists, cultural observers, foreign participants, and others. World Dance Day could be used as branding in building ISI Surakarta amid competition among higher education institutions. Organized events could be media promotions both domestically and internationally. This event was held once a year in April, on the 29th. The problem in this research was how to maintain the existence of traditional arts through the activation of World Dance Day and brand World Dance Day activation as a medium for introducing art. The purpose of the research was to find ways to maintain the existence of traditional arts through the World Dance Day activation and to find ways to make World Dance Day branding activation a medium for introducing dance arts to the community. This type of research was qualitative descriptive research. The data source in this study was primarily data source in the form of World Dance Day activation. The monitoring method was carried out by identifying the types of activation included in World Dance Day. Data were obtained from the World Dance Day activation. Researchers directly observed the World Dance Day activation and saw Youtube and other social media. The result of this research was to find ways to maintain the existence of traditional arts through World Dance Day activation. Apart from that, they also carried out branding in the form of World Dance Day activation as a medium for introducing dance arts to the community.