Academic literature on the topic 'Artistic professionalization'
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Journal articles on the topic "Artistic professionalization":
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IOAN, Tudor. "Artistic and Scientific Activity Professionalization, a Trend of Contemporary Culture." Annals of Dunarea de Jos University of Galati. Fascicle I. Economics and Applied Informatics 27, no. 2 (September 1, 2021): 129–32. http://dx.doi.org/10.35219/eai15840409200.
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Postolachi, Iulia. "Specificity and levels of artistic excellence of teaching staff in primary education." Acta et commentationes: Științe ale Educației 30, no. 4 (December 2022): 175–81. http://dx.doi.org/10.36120/2587-3636.v30i4.175-181.
Abstract:
The article presents the description of the results of the experimental pedagogical research of the artistic excellence of primary education teachers carried out in the continuous training courses in the field of professionalization. The content of the article includes the experimental data at the ascertainment stage regarding the levels of formation of artistic excellence of teaching staff and the particularities of their affirmation through values (artistry, expressiveness, communicative assertiveness, enthusiasm and choreographic mastery, etc.) and specific components (theatrical, artistic communication, deontology pedagogical and professional identity) affirmed in the intrapersonal area and the social area in deontological conduct.
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Levitсka, V. A., and N. M. Pavlyuk. "ARTISTIC EDUCATION 2019: AS A MOVING FORCE OF FORMATION OF NATIONAL CULTURE." Innovative Solution in Modern Science 5, no. 32 (August 14, 2019): 99. http://dx.doi.org/10.26886/2414-634x.5(32)2019.7.
Abstract:
The article examines the traditions of the extrashaltors in the context of the professionalization of the Ukrainian national art, clarifies the importance of the national tradition for Ukrainian art and the spiritual culture of our people as a whole. It was noted that in the development of the Ukrainian national extra-curricular education the ideas about the introduction of national priorities and the democratization of education were established. It has been established that the development of nationally oriented artistic education is possible only in the state of unity and contradiction of the national and global. It is proved that artistic education continues to develop. Attention is drawn to the processes of national diversification and global unification of artistic education of the second half of the 20th century. Key words: artistic education, national tradition, extra-curricular education, artistic and national culture.Citation: V. A. Levitсka, N. M. Pavlyuk. (2019). ARTISTIC EDUCATION 2019: AS A MOVING FORCE OF FORMATION OF NATIONAL CULTURE. Innovative Solutions in Modern Science. 5(32). doi: 10.26886/2414-634X.5(32)2019.7
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Tallián, Tibor. "Oper spielen — Opern schaffen Entstehungs- und Aufführungsgeschichte der ersten ungarischen Operntragödie." Studia Musicologica 55, no. 3-4 (September 2014): 179–235. http://dx.doi.org/10.1556/6.2014.55.3-4.1.
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The paper investigates the genesis as well as the performance history of Ferenc Erkel’s first opera. Bátori Mária, the first Hungarian tragic national opera was premiered on 8 August 1840 at the Hungarian Theatre in Pest. In it, Erkel adapted the model of Italo-French romantic opera. Further representations of Bátori Mária spanned over the following two decades. Based on contemporary critical reviews, the author offers a reconstruction of the performances, traces the soloists’ artistic carreer, and highlights the difficult process of professionalization of Hungarian opera playing.
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Sieveking, Nadine. "‘CREATE YOUR SPACE!’ LOCATING CONTEMPORARY DANCE IN OUAGADOUGOU." Africa 84, no. 1 (February 2014): 55–77. http://dx.doi.org/10.1017/s0001972013000661.
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ABSTRACTSince the turn of the century contemporary dance has been gaining momentum as a pan-African artistic movement in which a new generation of performers is engaging. In contrast to more popular forms of ‘traditional’ or ‘modern’ performance genres, this new movement has evolved within the cosmopolitan urban elite and is driven by processes of professionalization that lead to the creation of new, border-crossing artistic spaces. These spaces are characterized by new boundaries and inequalities, related to various modes of distinction reflecting the shifting grounds of social status – gendered, generational, knowledge-based and economic. Taking an artistic ‘capacity-building’ project targeting female dancers in West Africa as an entry point, the article analyses how the practice of contemporary dance in Ouagadougou leads to the emergence of a translocal social space embedded in a dense network of transnational relations and connected to global art worlds. It is argued that the unequal power relations characterizing the professional art world of contemporary dance reflect the tensions and contradictions of local urban societies in the making and at the same time contribute to a reconfiguration of urban spaces where new forms of rooted cosmopolitanism can be invented.
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Pérez Solís, Rocío. "El performance como recurso didáctico en la Educación Socia." Qurriculum. Revista de Teoría,Investigación y Práctica educativa, no. 35 (2022): 123–31. http://dx.doi.org/10.25145/j.qurricul.2022.35.06.
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In this paper we present an innovation proposal for the use of performance as a didactic resource in the initial training of the Social Education Degree. Social Education involves a multidimensional practice, and its purpose is to contribute to the integral development of people, so we reflect on the figure of the educator and its possibilities of professionalization in the line of Education through Art. The core activity of this work are some didactic guidelines on how to work the components and elements that constitute the creation of a performance for the use of a social intervention by future social educators, focusing on this artistic practice as an active methodology. The objective is to approach the creative process and its didactic orientations to carry out the phases of interdisciplinary learning, to know the components of performance and the use of the multilanguage characteristic of contemporary art. Among the conclusions we highlight that the practice of performance as an intervention tool for the field of Social Education can generate new narratives in contemporary society and urges an initial training in these artistic practices.
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Calmis, Dumitru. "The constitution of the academic accordion art in the Moldavian SSR in the period 1940–1960." Arta 30, no. 2 (December 2021): 38–44. http://dx.doi.org/10.52603/arta.2021.30-2.05.
Abstract:
With the annexation of Bessarabia to the USSR, the process of professionalization of accordionists, convering all levels of artistic education in the country, is influenced by the evolution of performing arts in Eastern Europe (especially Russia, Belarus, Ukraine). The academic bases are consolidated by illustrious pedagogues, such as Iziaslav Birbraier, Valentin Zagumionov (I. Birbraier’s student), Ivan Folomkin (one of the first graduates of the Gnesin State Musical-Pedagogical Institute in Moskow) and others. Durind the years 1940–1960, the establishment of the accordion interpretive art in the Moldavian SSR was directly conditioned by the massive ideologization of the ex-Soviet cultural space, which largely blurred the national identity aspect in the accordion academization process. Based on the classical-romantic aesthetics „adjusted” by the doctrine of socialist realism, the professionalization of Bessarabian instrumentalists is distinguished by a prominent conservatism compared to other accordion schools of that period, such as German, Danish, Czech etc. (we refer primarily to the compositional domain). Even if in this time segment the accordion failed to fully integrate into the „family” of European academic instruments, taking into account some areas (organological, compositional, pedagogical, interpretive) that needed to be intensely perfected, the first postwar decades can still be considered the reference point for establishing the academic status of chromatic harmonics in the Moldavian SSR
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Losano, Antonia. "The Professionalization of the Woman Artist in Anne Brontëë's The Tenant of Wildfell Hall." Nineteenth-Century Literature 58, no. 1 (June 1, 2003): 1–41. http://dx.doi.org/10.1525/ncl.2003.58.1.1.
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Critics of Anne Brontëë's The Tenant of Wildfell Hall (1848) have frequently noted the artistic endeavors of the novel's heroine, Helen Graham, yet they have not fully considered the historical and narratological ramifications of Helen's career as a painter. This essay argues that Helen's artworks cannot be considered as mere background to the novel or as simply symbolic reflections of the heroine's (or the author's) emotions. Instead, we must see the scenes of painting in Tenant as indicators of the novel's radical view of women's role as creative producers during a particularly complex moment in art history, one in which early-nineteenth-century female amateurism began its gradual transition from amateur "accomplished" woman to the professional female artist——a historical transition that, as is suggested in readings of various nineteenth-century novels, is in its earliest stages at precisely the moment of the writing and publication of Tenant. At the narrative level, the novel's many scenes of painting provide its readers with detailed, if oblique, guidelines for interpretation; the novel is formally and ideologically impacted by the presence of its painter-heroine. Most particularly, such a reevaluation of the role of painting in the novel resolves a central critical debate over the novel's problematic narrative structure.
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Bardi, Augustine Okola. "7. Universal Studios of Art: Professionalization and Contributions to Art Education in Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 175–85. http://dx.doi.org/10.1515/rae-2017-0023.
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Abstract During the 2nd Black World and African Festival of Arts and Culture (FESTAC) in 1977, a lot of novel, creative and artistic events took place in Lagos. One of these was the construction of a monument, the National Arts Theatre, which also accommodated the National Gallery of Art. Invariably, the presence of the Gallery made the Arts Theatre management allocate the premises of the Theatre to some notable Nigerian artists for use as Artists in Residence. The premises eventually, by 1980, became an institutional and inspirational workshop for budding Nigerian artists. The activities of the artists were so professionally accepted that it was named the National Studios of Art. However, at the time the Studio had become the centre of sound informal art training, it was given a relocation order which caused serious controversy between the Gallery and the artists. The artists eventually accepted the relocation order, and this, necessarily, led to changing the name to the Universal Studios of Art (USA). As the professional artists became globally known, the USA also became a tourist centre for both local and foreign visitors and artists. Till today, the activities of the USA continue to attract national and international attention. Very as unfortunately, no scholarly study of the Universal Studios of Art has been carried out, despite its outstanding professional qualities.. For many years, the artists have developed valuable art forms and art styles that have contributed to the advancement of modern Nigerian art. It is the objective of this article, therefore, to document the artists of the Universal Studios of Art.
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Kuryshev, Eugen. "Competitions of performing skills in the conditions of distance carrying out (experience 2020 - the beginning of 2021)." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 119–23. http://dx.doi.org/10.32461/2226-2180.39.2021.238704.
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The purpose of the article is to identify the specifics of remote art events, including competitions of performing skills. The research methodology includes the use of methods of comparative analysis and synthesis, the basis of the study is the dialectical principle of cognition, systemic, socio-cultural approaches. General scientific and interdisciplinary research methods are used: analysis and synthesis, induction and deduction, comparison and formalization. The scientific novelty lies in an attempt to identify the main types of remote forms of art activities, identification of the main requirements for distance competitions, and determining their professionalism vector and the possibilities of using distance learning technology in further artistic practice is in the contest performance skills. Conclusions. The main forms of art projects are highlighted in some examples of the Institute of Arts of Borys Hrinchenko Kyiv University. It was found that the elements of the use of information (remote technologies) have been used as a method of selectivity in some international competitions. It is determined that at present clear rules for recording have been formed, which promote professionalization and create conditions for the development of chamber music in the performing arts. It is emphasized that the new conditions of functioning of performing arts allow asserting the remote space of concert-competitive activity and is a place of creation of new artistic values and a carrier of original ideas and concepts.
Dissertations / Theses on the topic "Artistic professionalization":
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Stevelt, Kelly A. "Professionalization of Studio Glass Artists." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253978421.
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Rivière, Mary-Eve. "Genèse des gestes professionnels de l'accompagnement de la rencontre avec l’œuvre d'art chez des enseignants spécialistes et non spécialistes : une enquête au croisement de la didactique des arts visuels et des sciences de la formation." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30064/document.
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L'évolution des pratiques d'enseignement des arts visuels et arts plastiques dans le cadre de la commande institutionnelle préconise le recours à l'œuvre d'art authentique. Par ailleurs, l'enseignement des arts doit contribuer, au-delà de ses apports propres aux « apprentissages fondamentaux » aussi bien culturels que techniques.La mise en place et en œuvre, l'exploitation de la situation de rencontre avec l'œuvre ainsi définie requiert de la part des enseignants un ensemble de compétences qui demandent à être éclairées et problématisées. La recherche porte sur la genèse de gestes professionnels, sur le rapport à l'œuvre et le développement de compétences professionnelles, ainsi que sur la nature des objets d'enseignement, (transposition des savoirs de référence, compétences d'ingénierie didactique, articulation des savoirs spécifiques avec les « apprentissages fondamentaux » et socialisation scolaire). La problématique s'est construite sur des questions qui croisent le rapport à l'œuvre de ces enseignants, les gestes professionnels et la construction d'une théorie que nous avons explicitée comme une « théorie personnelle-en-acte ».Le recueil de données s'est fait au niveau de l'école primaire et du collège. L'enquête a intégré la spécificité d'une école maternelle possédant une Petite Galerie (espace spécifique dédié dans l'établissement où les élèves, très jeunes rencontrent des œuvres d'art « authentiques » ou réelles). Elle a apporté un éclairage sur les pratiques pédagogiques des enseignants.Les méthodologies s'appuient sur l'enquête de terrain par observation participante, l'entretien d'explicitation de type Vermersch et l'analyse du discours. Les cadres théoriques confrontent des angles d'attaque habituellement cloisonnés : esthétique, sciences de l'art, histoire des arts (Goodman, Arasse, Pélissier, Château...) ; sociologie (Heinich, Lahire) ; la didactique des arts visuels, arts plastiques (Chanteux, Gaillot, Lagoutte, Reyt...) et la didactique comparée des arts (Goodman, Rickenmann...); la théorie du développement professionnel dans les situations (théorie de l'action située, des gestes professionnels).Le rapport à l'œuvre s'est construit dans une dynamique familiale, scolaire et professionnelle et la recherche de la genèse de ce rapport à l'œuvre nous fait constater le rôle joué par certaines rencontres séminales. Les éléments d'une théorie personnelle de l'art, de l'œuvre, de l'expérience qui sous-tendent ce rapport à l'œuvre, montrent une interdépendance. La rencontre de l'art favorise la mise en place de cette « théorie-en-acte ». Enfin, le rapport à l'œuvre de nos interlocuteurs détermine leur pratique professionnelle : des liens entre rapport à l'œuvre, conceptions et gestes professionnels clefs de leur métier, ont été mis en évidenceChanges in teaching practices of the visual arts visual arts in the context of institutional control and advocates the use of authentic artwork. In addition, arts education should contribute beyond his own contributions to the "basic skills" as well as cultural techniques.The establishment and implementation, operation of the meeting situation with the work thus defined requires that teachers with a set of competencies that need to be informed and problematized. The research focuses on the genesis of professional acts on the report at work and the development of professional skills, as well as the nature of educational objects (translation of reference knowledge, didactic engineering skills, articulation specific knowledge with the "basic skills" and academic socialization). The problem is built on issues that cross the relation to the work of these teachers, professional acts and building a theory we explained as a "personal theory-in-action."Data collection was done at the elementary and middle school. The investigation has included the specificity of a kindergarten with a Small Gallery (specific space dedicated in the institution where students encounter very young art "authentic" or real). She shed light on teaching practices.The methodologies are based on fieldwork through participant observation, maintenance of explaining Vermersch type and discourse analysis. Theoretical frameworks confront angles of attack usually compartmentalized: aesthetics, art sciences, art history (Goodman, Arasse Pelissier, Castle ...) Sociology (Heinich Lahire); the teaching of visual arts, visual arts (Chanteux, Gaillot, Lagoutte, Reyt ...) and comparative arts teaching (Goodman, Rickenmann ...) theory development in professional situations (theory of situated action, professional gestures).The report on the work was constructed in family dynamics, school and work and the search for the origins of this report at work makes us see the role played by some seminal events. The elements of a personal theory of art, the work experience behind this report to work, show an interdependence. The meeting of art promoting the establishment of this "theory-in-action." Finally, the relation to the work of our interlocutors determines their professional practice: links between relation to the work, designs and professional acts keys to their profession, were highlighted
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Gauthier, Eglantine. "De cadencer à danser "jupes en l'air" : anthropologie des appropriations mémorielles et spectaculaires du séga mauricien." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0162.
Abstract:
L’objectif de cette thèse est de partir de l’observation de la danse séga pour étudier les enjeux des appropriations mémorielles et artistiques du passé colonial dans la société post-esclavagiste mauricienne. L’entrée par la danse a alors été heuristique pour appréhender la culture populaire du séga comme un processus. À différents moments de son histoire la requalification du séga a permis d’inscrire cet objet dans une culture tantôt envisagée comme noire, africaine, créole, multiculturelle, de lui attribuer des racines, et d’orienter les débats sur les circulations et branchements qui entourent cet objet, ou encore de légitimer certains emprunts tout en accusant les appropriations culturelles. Absent du marché global de la musique ou de celui des loisirs, c’est sous la forme du spectacle chorégraphique que le séga circule comme étendard national, principalement sur les marchés touristiques. La récente inscription du séga traditionnel sur la liste représentative du PCI à l’UNESCO vient s’inscrire dans ces formes hégémoniques de spectacularisation et de commercialisation. Le caractère innovant de ce travail de recherche a été d’examiner la place des danseurs – et surtout des danseuses –, qui cristallise la réputation ambivalente du séga, à la fois dénigré et admiré, et de montrer les enjeux de requalification qui se concentrent autour de la spectacularisation de cette culture populaire, révélant différents rapports de pouvoirThe objective of this thesis is to start from the observation of the sega dance to study the stakes of the memory and artistic appropriations of the colonial past in the Mauritian post-slavery society. The entry through dance was then heuristic to apprehend the popular culture of sega as a process. At different times in its history the requalification of the sega allowed to register this object in a culture sometimes considered as black, African, creole, multicultural, to attribute to it roots, and to direct the debates on the circulations and connections that surround this object, or to legitimize certain borrowings while accusing cultural appropriations. Absent from the global music or leisure market, it is in the form of the choreographic show that the sega circulates as a national standard, mainly on the tourist markets. The recent inscription of the traditional sega on the representative list of the ICH at UNESCO is part of these hegemonic forms of spectacularization and commercialization. The innovative nature of this research work was to examine the place of dancers – and especially women – which crystallizes the ambivalent reputation of sega, both denigrated and admired, and to show the challenges of requalification that focus on the spectacularization of this popular culture, revealing different power relations
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Grondin, Béatrice. "La Société des artistes décorateurs à l’épreuve de l’institutionnalisation des arts décoratifs en France (1901-2007)." Electronic Thesis or Diss., Paris 10, 2023. http://www.theses.fr/2023PA100138.
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L’objet de cette recherche doctorale porte sur l’histoire culturelle de la Société des artistes décorateurs (SAD), une association à but non lucratif reconnue d’utilité publique de 1901 à 2007. Il s’agit de comprendre dans quelle mesure la volonté de reconnaissance orchestrée par les artistes décorateurs a été justifiée et aboutie. À partir d’un fonds d’archives inédit conservé au musée des arts décoratifs de Paris, nous proposons de saisir chronologiquement les différentes étapes du processus de légitimation à partir d'actions diverses, verticales (le projet de création d’un ordre des décorateurs reconnu par l’État) et horizontales (exposer au Grand Palais au même titre que les autres sociétés d’artistes). Au cœur du processus, se trouve le Salon pensé comme un espace singulier de production (création de prototypes après la Seconde Guerre mondiale), de diffusion et de réception. De par l'organisation de ses Salons, de 1904 jusqu’en 2007, l’histoire de la SAD se nourrit de la compréhension esthétique de l’objet articulée aux processus dont il est issu (formation, système de production, de promotion et de distribution). Au cours de la seconde moitié du XXe siècle, le champ de la création s’élargit. Il comprend toujours des meubles, des céramiques, des tapisseries mais aussi des walkmans, des motos, du design industriel. Nous proposons de comprendre les processus de légitimation de ces expressions aussi bien artistiques qu’utilitaires. Cependant, une figure se construit et s’affirme celle de l’architecte d’intérieur dont nous cernerons les différents aspects notamment à partir d’une analyse sémantique historique. L'intitulé de la présente étude « À l'épreuve de l'institutionnalisation des arts décoratifs en France » précise la problématique du propos. L'institutionnalisation fait référence au processus par lequel les arts décoratifs peuvent être reconnus par les pouvoirs publics, intégrés à des institutions culturelles et sociales. Nous montrerons les processus d'institutionnalisation entre les instances entrepreneuriales, les instances gouvernementales et les instances corporatistes (associations, syndicats) articulés dialectiquement à la figure de l'individu créateur. L'enjeu de la recherche consiste également à saisir le rôle de la SAD dans l'historiographie des arts décoratifs français du XXe siècleThis doctoral research focuses on the cultural history of the Société des artistes décorateurs (SAD), a non-profit association recognized as a public utility from 1901 to 2007. The aim is to understand the extent to which the desire for recognition orchestrated by decorative artists was justified and successful. Drawing on a previously unpublished archive held at the Musée des Arts Décoratifs in Paris, we propose to chronologically capture the various stages in the legitimization process, based on a variety of actions, both vertical (the project to create a state-recognized order of decorators) and horizontal (exhibiting at the Grand Palais on the same footing as other artists' societies). At the heart of the process was the Salon, conceived as a unique space for production (prototypes were created after the Second World War), distribution and reception. Through the organization of its Salons, from 1904 to 2007, the history of SAD is nourished by an aesthetic understanding of the object, articulated to the processes from which it emerged (formation, production, promotion and distribution systems). In the second half of the twentieth century, the field of design expanded. It still includes furniture, ceramics and tapestries, but also walkmans, motorcycles and industrial design. We propose to understand the legitimizing processes of these artistic and utilitarian expressions. However, a figure is emerging and asserting itself, that of the interior architect, whose various aspects we will identify, notably on the basis of a historical semantic analysis. The title of this study, "Putting the institutionalization of the decorative arts in France to the test", clarifies the problem. Institutionalization refers to the process by which the decorative arts are recognized by public authorities and integrated into cultural and social institutions. We will show the processes of institutionalization between entrepreneurial, governmental and corporatist bodies (associations, unions), dialectically articulated with the figure of the individual creator. The aim of our research is also to understand the role of SAD in the historiography of twentieth-century French decorative arts
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Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
Abstract:
Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
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Märak, Leffler Björn. "Bildandet av Konstnärernas riksorganisation : Konstnärlig representation och sakkunskap 1936-1946." Thesis, Uppsala universitet, Institutionen för idé- och lärdomshistoria, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411916.
Abstract:
In an effort to understand the formation of the artist’s role in society from the perspective of the artists in relation to the founding of the State Art Council (Statens konstråd) during the period 1936-1946, this thesis studies the formation process and central problems of the Swedish Artists’ Association (Konstnärernas riksorganisation, K.R.O.). Using the analytical concept of representation as a base for the methodological framework, the thesis explores material including meeting protocols, letters, transcribed debates and the union members’ journal Medlemsbladet, as well as several Swedish daily newspapers. While the role and importance of K.R.O. in the 1930s and 1940s have been treated parenthetically in most prior historical writing regarding the relationship between artists and the welfare state, this thesis argues that the first decade of K.R.O’s history can shed light on important themes in the historiography. It argues also that several common assumptions about the organization need to be reconsidered, including the notion that K.R.O. was constituted with the primary task of proposing candidates for the State Art Council. The need for an artists’ union had existed prior to the formation of the State Art Council, and K.R.O. should be regarded in light of a longer history of attempts to organise artists on a national level. These prior experiences informed the artists’ considerations about how representation, in the political sense of the concept, should and could be achieved for the organisation’s claims to legitimacy towards the state and the Swedish artists. Likewise, the legitimacy of the state’s initiative hinged on the success of the organization’s claims to representativity. By analysing two central problems connected to the state’s and other actors’ involvement in the Swedish cultural life and social reformist claims - wartime taxation of artworks and the system of art exhibitions - this thesis argues that the commitment and enthusiasm regarding the changed structures within Swedish cultural life, which usually is ascribed to the artists during the period, has been inordinate. Whereas the state’s new involvement and the formation of K.R.O. can be seen as initiating the process of professionalizing the occupation of artist, the experiences of other actors not heeding their claims of expert knowledge during the organization’s first ten years highlighted the need for the artists to advance their social position.
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Santos, Cristiano Carvalho dos. "Ensino artístico no contexto escolar: práticas e percepções da Escola Artística António Arroio." Master's thesis, 2016. http://hdl.handle.net/10071/12503.
Abstract:
O ensino artístico no contexto escolar tem passado, ao longo dos séculos, por diferentes realidades e propostas metodológicas no que respeita à sua prática. Esta situação é encontrada, em vários países do mundo, e Portugal não é excepção. O ensino artístico promove e estimula a sensibilização de crianças e jovens através de suas variadas maneiras de expressão. Sendo assim, a Instituição Escolar, apresenta-se como organização social mediadora que contribui para a formação de uma sociedade mais crítica, fruidora de arte e também para a profissionalização deste setor. Diante deste cenário, a Escola Artística António Arroio destaca-se como referência nacional e modelo institucional no âmbito do ensino artístico. Esta dissertação tem como principal objetivo analisar qual lugar que o ensino da arte ocupa no contexto escolar e suas implicações em níveis individuais e sociais, tendo como estudo de caso a Escola Artística António Arroio. A metodologia utilizada baseou-se na recolha e análise de dados, através de uma abordagem simultaneamente qualitativa e quantitativa, assente na observação participante, em entrevistas semiestruturadas aos professores, alunos e diretor da António Arroio e ainda num inquérito por questionário ao corpo discente. Verifica-se que, esta instituição de ensino artístico, formada por profissionais específicos, potencia características essenciais do indivíduo e desenvolve um trabalho significativo para a formação de uma sociedade fruidora e sensibilizada para as artes.The artistic education in the school context, over the centuries, has undergone different realities methodological proposals with regard to their practice. This situation is present in several countries, including Portugal. Arts education promotes and encourages awareness of children and young people through their varied ways of expression. Thus, the School Institution, presents itself as a mediator social organization that contributes to the formation of a more critical society, appreciator art and to the profissionalization of the sector. In this scenario, the Artistic School António Arroio stands out as national and institutional model reference in the subject. This thesis aims to analyze what place art education occupies in the school context and its implications for individual and social levels, taking as a case study Secondary School Artistic School António Arroio. Therefore, the methodology used was based on data collection and analysis, from a qualitative and quantitative approach, based on participant observation, semi-structured interviews with teachers, students and director of the Antonio Arroio School. An online exploratory questionnaire to the student body was also made available. Notes that an artistic educational institution, formed by specific professionals, potentiates essential characteristics of the individual and develops a serious and meaningful work to society.
Books on the topic "Artistic professionalization":
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Wilson Kimber, Marian. The Odyssey of a Nice Girl. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0001.
Abstract:
Ruth Suckow’s novel, The Odyssey of a Nice Girl (1925), based on her elocution school experiences, demonstrates how gender shaped women’s artistic lives in the Progressive era. Elocution enhanced men’s careers, yet women’s voices were for education or domestic entertainment. However, changing social roles allowed for women to adopt elocutionary performance as a mode of expression. Women’s educations at elocution schools allowed them undertake careers as professional performers and teachers. Female elocutionists’ desire to embody acceptable feminine attributes and to separate themselves from morally suspect actresses influenced their performances, presented as highbrow interpretations of great literature. The decline of elocution was in part due to the backlash against the professionalization of women in the field.
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Banks, C. Kenneth. Professionalization in Ontario: The social construction of art. 1988.
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Prieto, Laura R. At Home in the Studio: The Professionalization of Women Artists in America. Harvard University Press, 2001.
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Prieto, Laura R. At Home in the Studio: The Professionalization of Women Artists in America. Harvard University Press, 2001.
Book chapters on the topic "Artistic professionalization":
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Fillis, Ian, Boram Lee, and Ian Fraser. "Cultural Value and Professionalization of Emerging Contemporary Artists." In Professionalization in the Creative Sector, 164–83. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003138693-11.
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Franco Harnache, Andrés. "“Mostrar, no decir”: The Influence of and Resistance Against Workshop Poetics on the Hispanic Literary Field." In New Directions in Book History, 325–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_14.
Abstract:
AbstractUntil recently, due to the Romantic imaginary of the artist-as-genius, the Hispanic literary tradition has been wary of a literary advice industry or academic programs of creative writing. This wariness hindered the professionalization of Hispanic authors, but at the same time it kept Hispanic literature out of anglicized uniformity which permitted, by the mid-twentieth century, a reinterpretation of western literature by writers such as Gabriel García Márquez, Jorge Luis Borges, and Mario Vargas Llosa. Nonetheless since the early 2000s a series of MFA programs in creative writing, first in the United States, but more recently in Latin America and Spain, have been changing Hispanic literature. These programs, with syllabi imported from the Anglophone canons, have influenced a new generation of writers who mirror the English savoir-faire and reject their own literary traditions, which were more experimental, less rooted in realism, and even somewhat baroque. There is, however, also resistance in the field, where workshop-inspired developments coincide with a return to a more Hispanic tradition of innovation.
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Kleppe, Bård, and Ola K. Berge. "Profesjonalitetens pris – om ambivalens og profesjonalisering blant konsertarrangører." In Musikerne, bransjen og samfunnet, 147–70. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.160.ch6.
Abstract:
In the fields of art and music, professionalization is an important prerequisite for success in an increasingly globalized and competitive market. In Norway, professionalization is a recurrent topic in policy papers, and several cultural policy schemes aim at increased professionalization. Professionalism is also a key concept when referring to musicians and artistic activity. Who are professionals and who are amateurs decides who are inside and who are outside when recognition and grants are to be awarded. At the same time, professionalization also comes with a considerable downside, which is largely undescribed and unrecognized. In this paper, we discuss the term professionalization both as a theoretical as well as a rhetorical concept. Based on two different studies of concert promoters, we describe and analyse the downsides, both in terms of increased expenses and reduced enthusiasm among volunteers.
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Varkøy, Øivind, and Elin Angelo. "I spennet mellom samfunnsmandat og kunstnerisk frihet – en filosofisk drøfting." In Musikerne, bransjen og samfunnet, 121–45. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.160.ch5.
Abstract:
This chapter presents a philosophical discussion of challenges related to processes of professionalization in higher music education, especially the education of performing musicians. What kind of fundamental, principal challenges can professionalization possibly create when it comes to how we think about the social mandate of musicians as well as artistic freedom? This question is discussed in relation to professional theory, the concept of entrepreneurship, and neoliberal tendencies in educational politics. The concept of re-romantization in relation to higher music education is introduced in the last part of the chapter.
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Booth, Eric. "A Teaching Artist’s Curriculum." In The Music Teaching Artist’s Bible, 96–103. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195368390.003.0012.
Abstract:
Abstract Ideal. Doesn’t the word have a nice ring to it? “What would be the ideal way to learn something you care about?” Just considering such a question begins to make me happy. Of course, we rarely get to live in an ideal anything, but conjuring the ideal can clarify what we aspire to. What would be the ideal curriculum for training a music teaching artist? In a best of all possible worlds, what would that young musician study to develop her educator’s skills along with her artistic skills? The nationwide trend, widely referred to as “the professionalization of the teaching artist,” invites us to consider the development of those skills and even indulge in the luxury of considering what might work best.
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Skwirblies, Robert. "Verso la creazione di un patrimonio storico-artistico: il restauro pittorico nelle collezioni reali e pubbliche in Prussia (1760-1830)." In Sapere l’Europa, sapere d’Europa. Venice: Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-623-7/007.
Abstract:
Efforts to preserve paintings in the Prussian royal collections in the 18th century aimed mainly at repairing damage caused by war or inadequate storage, and at presenting them in representative and educational settings. After the Napoleonic Wars, this first aim of emphasising the dignity and timeless beauty of the works was supplemented by an ideal of ‘truth’ as a presumed historical originality, which had to be preserved or recreated. This ideal was partially linked to a nationalistic patriotism and led not only to professionalization, by creating a special school of restoration, but also to a renewed artistic heritage.
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Lena, Jennifer C. "Opportunity Structures." In Entitled, 70–85. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0004.
Abstract:
This chapter examines the concept of “opportunity structures.” Sociologists have argued that certain favorable conditions facilitate the artistic legitimation process—what they refer to as “opportunity structures.” The term is meant to describe exogenous factors that encourage or inhibit collective action. The chapter then explores several exogenous factors that might reasonably have aided or limited the efforts of aesthetic entrepreneurs to access, enjoy, or offer a diverse palette of culture as art. These include forms of economic, political, and technical change, like class formation or dissolution; the liberalization of political and social attitudes; and the emergence or decline of technologies. Changes within the arts sector can also facilitate the diversification of the field. Thus, the chapter also considers the advance of rational management; the professionalization of curatorial and programming department staff; shifts in audience demographics, funding sources, and objectives; and changes in law and regulations.
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Hooper, Kirsty. "Exhibitions and Exchange." In The Edwardians and the Making of a Modern Spanish Obsession, 243–302. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621327.003.0005.
Abstract:
Considers how the flow of aesthetic objects, capital and knowledge between Britain and Spain was conditioned by the unequal balance of power between Britain and Spain. Traces the history of exhibiting Spanish art and the factors shaping British taste in Spanish artists, including the professionalization of knowledge about Spain and Spanish arts. Explores the dark side of cultural flows and the effects of Spanish attempts to take back control, including the controversial trade in Spanish artworks, and the exploitative fraud known as the ‘Spanish swindle’.
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"The Creation of a Community Teaching Artist Certificate Programme: Professionalization in the Gig Economy." In Artwork Scholarship: International Perspectives in Education, 287–97. Intellect, 2023. http://dx.doi.org/10.1386/9781789387346_25.
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Geoffroy-Schwinden, Rebecca Dowd. "Public Servants." In From Servant to Savant, 112–31. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511510.003.0005.
Abstract:
This chapter situates the founding of the Paris Conservatory in 1795 within French educational and cultural reforms during the French Revolution. It exposes the careful political line that musicians tread during the Revolution and the significance of their alignment with the military as they successfully institutionalized training and accreditation in their field, a critical final step to professionalization. The chapter argues that musicians recast themselves from cosmopolitan artists to national servants as a way to gain government funding for the Conservatory. Musicians who did not earn a place in the Conservatory also began to characterize their Old Regime work as patriotic service to the nation rather than to the monarchy as a way to obtain financial rewards. Because musicians received government support and served the nation, music came to be considered a public property.
Conference papers on the topic "Artistic professionalization":
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VICOL, Nelu. "Profesionalizarea cadrelor didactice și manualul școlar: între "a învăța" și "a se forma"." In Educația în contextul provocărilor societale: paradigme, inovații, transfer tehnologic. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.17-11-2023.p131-140.
Abstract:
The text focuses on the dichotomy the professionalization of teaching staff-the recoverable module „the manual school”. The author has investigated such a problematic and intervenes with epistemic analyzes and interpretations regarding the correlation curriculum contents and their contextualization in school textbooks. However, the school textbook must be perceived by teaching staff as the essential means, scientifically based, of directing the teacher’s activity and the student. That is why the problems related to the quality of the school manual are in the attention of the authorities, scholars- pedagogues and psychologists, authors, teachers, students, parents, civil society. The manual is a book that includes the basic notions of a science, a school book, a book used in schools where they are presented and explained the fundamental notions of a school/scientific, artistic or technical subject.
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PERLIMAN, Victoria. "Current contexts regarding the status of the teaching profession." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p413-417.
Abstract:
The image and status of the teacher have become topics of discussion both at national and international level, because it has been found that the status of the teacher covers both the social and pedagogical perspective. This article represents a conceptualization of the terms of profession, status, teacher, image and prestige in the context of continuous professional training of teachers. Therefore, we emphasize the categorical relevance regarding the status and image of a profession which, in turn, are essential components for establishing its interest for young people and, maintaining competent and qualified employees, and by the need for professionalization, they become an absolute necessity, being a prerequisite for achieving an improvement of the status of the teacher. In the educational practice, the status indicated and granted reveals to the teacher the tasks and tasks that will contribute to the successful achievement of the objectives of the training / development of the students. Historically, the teaching profession has been considered one of the oldest professions, being initiated at the same time with the structuring of social positions in society. Thus, the concept of the profession sums up a multitude of connotations depending on the cultural and historical contexts in which it is defined and, represents the activity that has a certain prestige, through its intellectual or artistic character, manifests the social position of the one who exercises it.