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Journal articles on the topic 'Contemporary art in villages'
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1
Zhang, Yue. "Governing Art Districts: State Control and Cultural Production in Contemporary China." China Quarterly 219 (July 24, 2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.
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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that, despite the pluralization of Chinese society and the inroads of globalization, the government maintains control over the art community through a series of innovative mechanisms. These mechanisms create a globalization firewall, which facilitates the Chinese state in global image-building and simultaneously mitigates the impact of global forces on domestic governance. The article illuminates how the authoritarian state has adopted more sophisticated methods of governance in response to the challenges of a more sophisticated society.
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Liu, Xinqu, Yongfa Wu, Junyang Liu, and Zaiyi Liao. "Re-Exploration of the Sustainability of Traditional Village Spatial Development in The Epidemic Era – From the Perspective of Jiangnan Region, China." E3S Web of Conferences 237 (2021): 04009. http://dx.doi.org/10.1051/e3sconf/202123704009.
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The global spread of the COVID-19 has given severely challenge to the contemporary human settlement environment. Traditional villages, as an essential human settlement, which has been significant in contemporary life. This article takes the traditional village space in the Jiangnan region, China as an example to analyse the positive interaction between humans and nature, health, and space in its traditional design. This research points out that in the traditional village space, healthy human settlements have two levels: “material form” and “internal sprite”. In addition to focusing on the transformation, innovation, and application of the technology, designers should exceed the material level to seek non-material dialogue and integration, to explore the important role of inner spiritual art for healthy living. Finally, this research combine with the urban epidemic prevention function and pointed out that the symbiosis mechanism between urban and rural areas should be actively explored. The penetration and integration of urban and rural areas can better cure, and promote the sustainable protection, activation, utilization and innovation of traditional villages in the future.
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Liu, Qi, Zaiyi Liao, Yongfa Wu, Dagmawi Mulugeta Degefu, and Yiwei Zhang. "Cultural Sustainability and Vitality of Chinese Vernacular Architecture: A Pedigree for the Spatial Art of Traditional Villages in Jiangnan Region." Sustainability 11, no. 24 (December 4, 2019): 6898. http://dx.doi.org/10.3390/su11246898.
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Presently, the rapid urbanization in contemporary cities in China has resulted in more buildings of low cultural value and high energy consumption. Many traditional Chinese villages exhibit special spaces that have been optimally adapted to the climatic and environmental features of the area using vernacular methods. The buildings in these villages can maintain the environment more sufficiently for the intended programs and consuming a lower level of resources. The construction technics and the artistic features in these spaces are invaluable and inspiring for contemporary architectural practices. This study aims to establish a pedigree of the artistic features exhibited in traditional Chinese villages to support sustainable development. This is to be achieved through thoroughly exploring the spatial design of these villages archived in a big-data resource. The pedigree integrates the dynamics (cultural changes over a certain period of time) and static (spatial features at a fixed time) of how the spaces in these villages have evolved. It is concluded that both a high level of sustainability and exceptional artistic quality have been achieved over a long history in many of these villages where traditional construction methods and design principals were employed.
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Konstantinou, Katerina, and Aris Anagnostopoulos. "Interweaving Contemporary Art and “Traditional” Crafts in Ethnographic Research." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 58–82. http://dx.doi.org/10.18432/ari29420.
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This article presents a fieldwork collaboration between contemporary art, “traditional” craft, and ethnographic research in which community engagement plays a key role. Two decades after the abandonment of weaving in a depopulated mountainous village of Crete, Greece, a group of researchers invite an artist to turn the village’s old school into a weaving studio. Aiming at the active participation of the local community in weaving heritage interpretation, and the interdisciplinary collaboration of art and anthropology, the weaving studio experience provides a fertile ground for discussing the relationships between disciplines, the difficulties of crossing the boundaries of these disciplines and the challenges of community participation in managing knowledge production. Here we discuss our experience working with an artist in a project between art and research, including various observations, different approaches, and challenges.
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Wang, Meiqin. "Village transformed: Jin Le and community development through contemporary art." Journal of Contemporary Chinese Art 5, no. 2 (September 1, 2018): 193–213. http://dx.doi.org/10.1386/jcca.5.2-3.193_1.
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Martindale, Andrew, Susan Marsden, Katherine Patton, Angela Ruggles, Bryn Letham, Kisha Supernant, David Archer, Duncan McLaren, and Kenneth M. Ames. "The role of small villages in Northern Tsimshian territory from oral and archaeological records." Journal of Social Archaeology 17, no. 3 (September 26, 2017): 285–325. http://dx.doi.org/10.1177/1469605317730411.
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Small villages have been central to progressive models of hunter-gatherer-fisher complexity on the Northwest Coast as a stage in the narrative of increasingly nonegalitarian social relations. We argue that Tsimshian settlement history is more complicated. We examine settlement and chronological data for 66 village sites in the Tsimshian area, 22 of which we define as small. Small villages were present in the area as early as 6500 years ago, but they are also contemporary with larger settlements until after 1300 years ago. We suggest that small villages represent a traditional Tsimshian social entity known as the wilnat’aał, or lineage, knowledge of which is preserved in Tsimshian oral records. We argue that the persistence of this settlement and community form illustrates the foundational role of this social unit throughout Tsimshian history, a result that has implications for archaeological research in the context of Indigenous history.
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Machotka, Ewa. "The Geopolitics of Ecological Art: Contemporary Art Projects in Japan and South Korea." Mutual Images Journal, no. 5 (December 20, 2018): 105–22. http://dx.doi.org/10.32926/2018.5.mac.geopo.
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The notion of ‘affinity with nature’ functions as a powerful political concept employed in the national identification of different cultural regions of East Asia including Japan and South Korea. Both countries have much in common. They share the myths of a ‘love of nature’ and a comparable history of post-war economic miracles followed by an ecological crisis and the subsequent development of environmentalism. They also host highly recognised contemporary art events guided by an environmentalist agenda: the Echigo-Tsumari Art Triennale (ETAT), established in the depopulated countryside of Niigata Prefecture in 2000 by the Art Front Gallery, a commercial gallery from Tokyo; and the Geumgang Nature Art Biennale, initiated by the Korean Nature Art Association (Yatoo), sponsored by the Ministry of Culture, Sports and Tourism, and first held in 2004 in Gongju, South Chungcheong Province. Guided by ecological thought, both art events aim to induce harmonious interaction between human and non-human realms, while questioning established modes of artistic interaction with ‘nature’ related to modern Western art discourses. Satoyama (lit. village mountain), an agricultural site based on harmonious human-nature interactions, the foundational concept of the ETAT, challenges the notion of gaze that defines the modern Western notion of landscape and its relationships with power. The ‘nature art’ practiced in Gongju, which involves simple interventions in the environment that are spontaneous and impermanent, questions the paradigms of Land Art. While responding to concrete environmental issues pertinent to the operation of social-ecological systems, the Echigo-Tsumari Art Triennale and the Geumgang Nature Art Biennale both attempt to create localised alternatives to dominant epistemologies associated with global (Western) art discourses. But the question is if these practices are capable of challenging the established geopolitics of ecological art and conventional hierarchies of power between the local and the global embodied by the institutional framework of the eco-art biennale.
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Wang, Meiqin. "Place-making for the people: Socially engaged art in rural China." China Information 32, no. 2 (January 1, 2018): 244–69. http://dx.doi.org/10.1177/0920203x17749433.
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In the past decade, socially engaged artistic practices have become a growing trend in China, embraced not only by contemporary art circles but also by broad intellectual communities. In this article, I explore this under-studied trend by looking at the practices of a number of art professionals who engage themselves with place-making in different rural villages against the backdrop of a rapidly declining countryside which has resulted from China’s top–down, GDP-driven urbanization and social development. Mainstream place-making, led by government in collaboration with private developers, has been primarily concerned with a good business environment in order to attract the highly mobile elite class or realize a quick return from speculative development. Place-making led by art professionals, on the contrary, aims to revitalize the deprived countryside through art and cultural activities, foster the growth of place-specific civic spaces, and accentuate the participation of local, grass-roots populations as well as the collaboration of urban intellectuals from various backgrounds. I argue that the efforts of these art professionals not only provide critical reflections and bottom–up alternatives to the dominant social developmental discourse, but also activate and expand the potential of art as an agent of social intervention, community building, and cultural change.
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Gehlawat, Monika. "Strangers in the Village." James Baldwin Review 5, no. 1 (September 2019): 48–72. http://dx.doi.org/10.7227/jbr.5.4.
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This essay uses Edward Said’s theory of affiliation to consider the relationship between James Baldwin and contemporary artists Teju Cole and Glenn Ligon, both of whom explicitly engage with their predecessor’s writing in their own work. Specifically, Baldwin’s essay “Stranger in the Village” (1953) serves a through-line for this discussion, as it is invoked in Cole’s essay “Black Body” and Ligon’s visual series, also titled Stranger in the Village. In juxtaposing these three artists, I argue that they express the dialectical energy of affiliation by articulating ongoing concerns of race relations in America while distinguishing themselves from Baldwin in terms of periodization, medium-specificity, and their broader relationship to Western art practice. In their adoption of Baldwin, Cole and Ligon also imagine a way beyond his historical anxieties and writing-based practice, even as they continue to reinscribe their own work with his arguments about the African-American experience. This essay is an intermedial study that reads fiction, nonfiction, language-based conceptual art and mixed media, as well as contemporary politics and social media in order consider the nuances of the African-American experience from the postwar period to our contemporary moment. Concerns about visuality/visibility in the public sphere, narrative voice, and self-representation, as well as access to cultural artifacts and aesthetic engagement, all emerge in my discussion of this constellation of artists. As a result, this essay identifies an emblematic, though not exclusive, strand of African-American intellectual thinking that has never before been brought together. It also demonstrates the ongoing relevance of Baldwin’s thinking for the contemporary political scene in this country.
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Marshak, A. L. "Sociology of culture: Paths of scientific development (1968-2018)." RUDN Journal of Sociology 19, no. 2 (December 15, 2019): 313–21. http://dx.doi.org/10.22363/2313-2272-2019-19-2-313-321.
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The article considers the long path of the development of sociology of culture as a special sociological theory within the system of Russian sociological knowledge. The author describes the fifty-year period of the empirical enrichment of sociology of culture; identifies main research issues within cultural and educational activities (clubs, museums, parks, groups of artistic and technical creativity in cities and villages); provides an overview of key achievements in the sociological study of theater, cinema and the media in the 1970-1980s. It was during this period that the basic directions of the sociological study of cultural life were formed and consolidated the efforts of sociologists: planning, forecasting and managing various types of cultural institutions; scientific planning of cultural development of the city, village, and region; forecasting the development of art and its different types; social indicators of the development and management of artistic culture; economy of culture - improvement of its material and technical base, pricing, efficiency; interaction of different types and forms of artistic culture, their relationship with art; analysis of the cultural life of different social-demographic groups; development of the theoretical-methodological foundations of sociology of culture, its self-determination as a special sociological theory. The author also considers such aspects of the spiritual life as musical culture and features of leisure activities and describes the multicultural state of the contemporary Russian society.
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Malcolm, Annie. "The past at the edge of the future: Landscape painting and contemporary places." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 221–40. http://dx.doi.org/10.1386/jcca_00027_1.
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In this article, I offer an ethnographic account of Wutong Shan, and engage landscape painting as an interpretative device. Wutong Shan represents a unique phenomenon of urban transformation in that its residents cultivate a life harkening back to a rural past in an attempt to build a utopia unfettered by the deafening noise of modernity, which can easily be found down the road in Shenzhen, China’s newest city. Similar to what landscape painters throughout history have created through image, Wutong residents create a world of retreat, escape and natural beauty in a space at the edge of the urban. Both a landscape painting and this ethnographic place are built through a set of creative acts, a sense of self-cultivation, and a desire for escape. In Wutong Shan, the other side of the creative process is a livable environment rather than an art object. One of the ways I read landscape painting to understand Wutong Shan is by thinking with contemporary Chinese art works that, through illusion, revisit the landscape in light of industrial urbanization. I bring together three strains of thinking: (1) my contemporary ethnographic research on Wutong Art Village, (2) understandings of Chinese landscape paintings and their associated conceptions of nature and utopia and (3) contemporary art that renegotiates the landscape form, analysed through the emergent field of eco-art history.
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Singh, Charanjit. "CONTEMPORARY EFFECTS ON MADHUBANI FOLK PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 222–28. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3740.
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Today, artists are doing new experiments in Madhubani folk painting, these experiments are natural as well with changing times. This change is the eternal truth of nature. We believe that art is the same. Which change with changing time, but do not let it lose its original form. With this spirit, Madhubani folk painting is being done in the main areas of Madhubani painting even today in Jitwarpur, Darbhanga, Purnia and surrounding areas. And it has been done before also.Today, if we study the folk painting of both decades (past and present) and the work style of their artists, then we get that the style of art has changed to some extent but the sentiment towards Madhubani folk painting is the same. Even today some women are working on natural things in rural areas. The same contemporary artist is busy with his work style with contemporary themes. Where previously the subjects of Madhubani folk paintings have been mainly related to the Gods and Goddesses. Madhubani folk painting was first used by women to decorate the walls and courtyards of their homes. The women here incorporate historical, religious and spiritual subjects into their art with their imagination. Religious folk life has been the main theme of Madhubani Lak paintings. Jilwarpur, a small village in Madhubani region has been the center of this art.
आज मधुबनी लोक चित्रकला में कलाकार नित नये प्रयोग कर रहे हैं यह प्रयोग बदलते समय के साथ-साथ स्वाभाविक भी हैं। यह परिवर्तन प्रकृति का शाश्वत् सत्य है। हमारा मानना भी यही है कि कला वही है। जो बदलते समय के साथ परिवर्तित होती रहे, लेकिन अपने मूल स्वरूप को खोने न दे। इसी भावना के साथ आज भी मधुबनी चित्रकला के प्रमुख क्षेत्र जितवारपुर, दरभंगा, पूर्णिया व आस-पास के क्षेत्रों में मधुबनी लोक चित्रकला का अंकन किया जा रहा है। और पहले भी किया जाता रहा है।अगर आज हम दोनों दशकों (पूर्व व वर्तमान) की लोक चित्रकला व उनके कलाकारों की कार्य शैली का गहन अध्ययन करें तो हमें प्राप्त होता है कि लेाक कला शैली कुछ हद तक परिवर्तित हुयी है लेकिन मधुबनी लोक चित्रकला के प्रति भावनात्मकता वही है। ग्रामीण अंचलों में आज भी कुछ महिलाएँ प्राकृतिक चीजों को लेकर कार्य कर रही हैं। वही समकालीन कलाकार समकालीन विषयों को लेकर अपनी कार्य शैली में व्यस्त है। जहाँ पहले मधुबनी लोक चित्रों के विषय मुख्य रूप से देवी-देवता व प्रकृति से सम्बन्धित रहे हैं। मधुबनी लोक चित्रकला का प्रयोग पहले महिलाएँ अपने घरों की दीवारों व आँगनों को सजाने के लिये करती थी। यहाँ की महिलाएँ अपनी कल्पना से ऐतिहासिक, धार्मिक व आध्यात्मिक विषयों को अपनी कला में समाहित करती है। धार्मिक लोक जीवन मधुबनी लेाक चित्रों के मुख्य विषय-वस्तु रहे हैं। मधुबनी क्षेत्र का छोटा सा गाँव जिलवारपुर इस कला का केन्द्र रहा है।
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Barkwill Love, Lori. "Rethinking “Village” at Mogollon Village (LA 11568): Formal Chronological Modeling of a Persistent Place." American Antiquity 86, no. 1 (June 19, 2020): 153–72. http://dx.doi.org/10.1017/aaq.2020.38.
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In the U.S. Southwest, large pithouse sites are often referred to as “villages,” implying a continuous settlement of contemporary households. But determining pithouse contemporaneity at these sites is challenging, even when relying on radiocarbon dates. Using a Bayesian chronological framework, I examine the overall chronology and occupational histories of individual pithouses at Mogollon Village (LA 11568), a large pithouse site in western New Mexico. The results presented here suggest Mogollon Village occupation began at least by cal AD 5–130 and ended around cal AD 895–990. The modeled dates suggest only a few pithouses were inhabited at any given time throughout the site's occupation. Given these findings, Mogollon Village is best understood as a persistent place—a place of repeated, transient occupation—rather than a village. This study demonstrates that Bayesian modeling can be used to reassess an existing chronological framework, shed light on the contemporaneity of structures at a site, and change our understanding of a site's nature.
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Dholakia, Ruby Roy, Jingyi Duan, and Nikhilesh Dholakia. "Production and marketing of art in China." Arts and the Market 5, no. 1 (May 5, 2015): 25–44. http://dx.doi.org/10.1108/am-10-2013-0023.
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Purpose – The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production. Design/methodology/approach – In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth. Findings – In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed. Practical implications – The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods. Social implications – The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development. Originality/value – Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.
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Merantzas, Christos. "Assessing Local Cultural Heritage through a Walking Trail: The Case Study of the Theodoros Papagiannis’ Museum of Contemporary Art." International Journal of Culture and History 3, no. 2 (December 24, 2016): 9. http://dx.doi.org/10.5296/ijch.v3i2.6737.
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<p>The paper focuses on the cultural components of a walking trail axed upon the ‘Theodoros Papagiannis’ collection of sculpture. The latter is hosted in the Museum of Contemporary Art of Helliniko, a village tucked within the Municipality of Northern Tzoumerka, Epirus, Greece. While the artist’s sculptures are also found in the Museum’s courtyard are they also admired along a walking trail that begins at the village’s entry point and ends at the Post-Byzantine Monastery of Tsouka. The research is carried out from the perspective of a walking trail’s cultural value. Our trail of interest joins two locations, the one being secular and the other sacred, thus defining an itinerary which unfolds along these two different attraction sites. As a result, the walker/traveler moves from one established location to the other, all the while objectifying the two and defining space under his/her own terms. He/She makes connections between both sites in order to restore the unity of space and thus becomes a travelling witness to the creation of a single narrative. He/She enjoys the privilege of the travelled route, as well as all that exists along this route.</p>
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Jasińska, Anna, and Artur Jasiński. "SUSCH MUSEUM." Muzealnictwo 61 (April 2, 2020): 27–38. http://dx.doi.org/10.5604/01.3001.0014.0805.
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Opened in January 2019, the Museum Susch crowned the collecting efforts of Grażyna Kulczyk, who, following her failed attempts at establishing a contemporary art Museum in Poznan and Warsaw, finally found home for her collection in a small Swiss village located between two Alps resorts: Sankt Moritz and Davos. The combination of both spectacular mountainous landscape and the edifices of an old convent into which the display has been built, as well as the purposefully created art pieces, contribute to creating a peculiar atmosphere of the place. Nature, architecture, and art have all merged into one total work here, namely into a contemporary Gesamtkunstwerk. Poland is echoed in the Museum: e.g. the genuine name of the institution: ‘Muzeum Susch’ is a combination of Polish and German words; furthermore, the pieces presented in the collection are to a great extent made up of works by contemporary Polish artists; wooden walls of the Museum Café are decorated with prints showing the Zakopane ‘Under Fir Trees’ (Pod Jedlami) Villa. The question whether Grażyna Kulczyk’s collection has found its final home here, or whether it is still possible for it to return to Poland, continues open. The collector herself does not provide an unambiguous answer to this.
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Oparin, Dmitriy. "The commemoration of the dead in contemporary Asiatic Yupik ritual space." Études/Inuit/Studies 36, no. 2 (May 31, 2013): 187–207. http://dx.doi.org/10.7202/1015984ar.
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Contemporary Asiatic Yupik living in Chukotka (Russia) practise various types of ritual feeding of the spirits. People feed the spirits for specific purposes and at different places. The core ritual of feeding the deceased is an autumn commemoration of the dead (aghqesaghtuq), which is described in this article with examples from Novoe Chaplino and Sireniki. This seemingly simple ceremony is full of nuances, and each family practises it in its own manner. The variability of this ritual and the many models of behaviour within present-day ritual space reflect social diversity. Two aspects, the diverse practices of feeding the spirits and the specific ritual of commemoration of the dead, are key to understanding different social and cultural processes in Yupik villages.
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Minkner, Kamil. "Polish contemporary art to the anti-semitism of Poles and its political significance." Review of Nationalities 6, no. 1 (December 1, 2016): 195–221. http://dx.doi.org/10.1515/pn-2016-0011.
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Abstract This article presents artistic creativity which worked through the problem of Polish anti-Semitism. Almost all discussed works, performances, films, projects appeared after 2000, when Jan Tomasz Gross published his book Neighbors, in which he described the massacre in the village of Jedwabne (1941) launching a public debate about the responsibility of Poles in the Holocaust of the Jews. In the text, I showed as art, which is conventionally called “post-Jedwabne” was part of this debate. Its political status on possibly general level was associated primarily with the revision of conventionalized historical memory and national identity formed on romantic patterns. The text shows that the debate with the participation of artists formed part of the rules of socalled ritual chaos, so the highly polarized positions, in which anti-Semitism was considered as an obvious and determining such events as the ones in Jedwabne (the opinion was adopted by artists), or it was denied. Even those works that sought to break away from this dichotomy, as Ida by Paweł Pawlikowski were placed secondarily in it as a part of the public debate. In the text, I explained that the post-Jedwabne art worked through primarily so-called secondary anti-Semitism. The political potential of these gestures was related to the disclosure of social antagonisms and tensions arising from the fact that Poles denied phenomenon of their own anti-Semitism and put the blame on the Jews for the fate, which they met. A very important aspect (political as well) also proved the psychotherapeutic function of post-Jedwabne art. In this perspective, events such as the pogrom in Jedwabne appear like trauma, which disintegrates the national identity. Translating it into artistic strategies many artists applied measures that were to deprive the viewer the secure role of an observer in favor of an active, working through participant.
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Farthing, Stephen. "A case study, Eric Hebborn, Rome Scholar 1959‐61: The art and craft of forging a drawing." Drawing: Research, Theory, Practice 5, no. 1 (April 1, 2020): 73–83. http://dx.doi.org/10.1386/drtp_00021_1.
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An exploration of forgery and drawing that focuses on a twentieth-century practitioner, his art education, motivation and methodology, this critical article was inspired by a meeting that took place in a village near Rome during the autumn of 1976 between the author and Eric Hebborn (1934‐96). Written some forty years later, this article has two goals; first to contribute to the debate that now circles the role of drawing within the contemporary fine art curriculum and then to question the nature of the biographical information Ruskin suggested was embedded in artists drawings. Hebborn, a skilful draftsman and award-winning alumnus of the Royal Academy Schools and British School at Rome is unusual in that he left no significant trace of himself as a contemporary artist. Using his memoire Drawn to Trouble, a once misattributed drawing The Lamentation of the Three Mary’s and my recollections of the meeting, as entry points. This article portrays Hebborn as a victim of his art education, who in the final analysis was neither a fine artist nor copyist but instead an art school trained illusionist who openly admited to creating a modus operandi that was designed to trick experts into uttering false instruments.
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Shanken, Edward A. "In Forming Software: Systems, Structuralism, Demythification." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 12, no. 2 (July 1, 2014): 9–28. http://dx.doi.org/10.7195/ri14.v12i2.726.
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In the mid-1960s, Marshall McLuhan prophesied that electronic media were creating an increasingly interconnected global village. Such pronouncements popularized the idea that the era of machine-age technology was drawing to a close, ushering in a new era of information technology. This shift finds parallels in a wave of major art performances and exhibitions between 1966-1970, including nine evenings: theatre and engineering at the New York Armory, spearheaded by Robert Rauschenberg, Billy Klüver, and Robert Whitman in 1966; The Machine: As Seen at the End of the Mechanical Age, curated by Pontus Hultén at the Museum of Modern Art in New York (MOMA) in 1968; Cybernetic Serendipity, curated by Jasia Reichardt at the Institute of Contemporary Art in London in 1968; and Software, Information Technology: Its New Meaning for Art, curated by Jack Burnham at the Jewish Museum in New York.
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Gizzi, Ferdinando. "Photographing a miraculous apparition in fin-de-siècle France." Magic, Vol. 5, no. 1 (2020): 28–35. http://dx.doi.org/10.47659/m8.028.art.
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This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit photography, bringing these exotic visual materials into the tradition of religious “authentic fakes”. But more importantly, such images manifested the “visionary fervour” of late nineteenth-century France, that is, the growing desire of the modern crowd to see the invisible in more and more spectacular and convincing ways. Such a new spectatorial desire – that can also be found in the very successful genre of the photographs of the real bodies of mystics, saints, and seers – would be perfected by a whole series of contemporary forms and attractions, and finally, by cinematographic special effects. Keywords: nineteenth century, Marian apparitions, visionaries, photography, superimposition
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Roy, Sreejata, and Mrityunjay Chatterjee. "Re-imagining the everyday: Street art in an ‘urban village’, Delhi." Journal of Urban Cultural Studies 7, no. 2-3 (September 1, 2020): 281–93. http://dx.doi.org/10.1386/jucs_00030_1.
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The proposed article questions how a group of women (age 15–20 years) from different ethnic backgrounds in working-class settlement in New Delhi, who individually and collectively tries to reclaim and create their own spaces through wall painting on the street. This is to respond and to adapt to the pressures of the constantly changing urban ecology, within the larger contemporary discourses and experiences of risk and vulnerability negotiated by them in public space. Thus the article foregrounds the ‘relational’ approach and collaborative ethic with the trajectory of ‘dialogue’ as key method within the socially engaged art project. The idea of reclaiming spaces to negotiate the changes of local ecology, which accommodates the change of perception of men regarding women in public, has been initiated through creating wall painting in the streets. A wall painting initiative evolved through series of discussion sessions with a group of young women in Khirki and Hauz Rani, an urban village in New Delhi. The idea was to paint a series of ordinary women doing daily activities and engaging in work that is customarily done by men in the locality. The intent was to draw men on the street into a dialogue about the gender equality in terms of the acceptance of women in male-associated professions, as well as a dialogue about the visibility of women in public spaces.
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Koteterova-Dobreva, Binka. "THE BULGARIAN FOLKLORE SONG - MODERNITY, TRANSFORMATION AND VIEW TO THE FUTURE." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1803–9. http://dx.doi.org/10.35120/kij31061803k.
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The last decades are time of dynamic changes in folk music, which is a part of contemporary Bulgarian musical culture. Singer's performing art related to Bulgarian musical folklore is the part of Bulgarian culture that makes it recognizable and valued in the world. Thus, the Bulgarian folk song presented by its contemporary performers is perceived simultaneously as one of the oldest and most local manifestations of art in the cultural world, and as well as an artefact and a value, one of the most modern and global manifestations of the shared cultural heritage of humanity. The Bulgarian folklore, with its specificity and characteristics, develops on the land of the Bulgarian ethnos and it was formed on a space in Southeastern Europe, which far exceeds the state borders of present-day Bulgaria. Bearers of this culture are as numerous diasporas in southern Russia, in Ukraine and Moldavia, as well as Bulgarian settlers in the Banat region of present-day Romania, population in Bosilegrad, Dimitrovgrad and the surrounding villages in present-day Serbia. Why is it so important to preserve and rediscover our folk song, to develop it as art, concert policy, media content, educational practices, market mechanisms? Bulgarian folk song contains every single human experience, every emotion, the history of past and present generations, wisdom, folly, heroism, cunning, love, hate, faith, hope, kindness ... It is a mystical memory, a philosophy of life, a way to understand the spiritual and the eternal. The folklore song is both old and modern; simultaneously our, local and common, global; because it reflects our cultural identity and makes us unique and recognizable in the world; because it is one of the strongest manifestations of the human, the aesthetic, the moral. Imagine that you are listening to a favorite folk song: the power of words pierces the brain, the melody caresses and warms the heart, the magic of the song carries you like a time machine backwards, in the memory of the Golden Ages of harmonious worlds and forward, in the dreamed better worlds... Without the folk song, our Bulgarian world will not be the same because our Bulgarian folk song is bread, life, history, past, present and future.
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d’Incà Levis, Gianluca. "Efficacia dell’arte, strategie di rete e approccio trasformativo a paesaggio e patrimonio alpino." Manipolazioni metasemiche del patrimonio 2 NS, Issue 2 Ns, July 2019 (June 15, 2019): 123–33. http://dx.doi.org/10.30682/aa1902i.
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Ever since 2011, Dolomiti Contemporanee (DC) has been operating on the contemporary identity of the mountain, and on the state of the Landscape, as well as the cultural, historic, and architectural Heritage inside the region of UNESCO’s Dolomites. Its research takes shape in the reactivation of large, issue-heavy industrial archaeology sites and compounds: former factories, former social villages, iconic architectural creations, with a great historical or aesthetic value, abandoned and underutilized, immersed in the powerful nature of the Dolomitic region. DC works on the redefinition of the mountain’s identity, building re-innovative and thematic critical images. In this sense, we refuse to recognize as an acceptable identity for the Alpine landscape the hotchpotch of stereotypical reductions which deliver a bland and reified vision of it, one that almost always involves plain and simple economic and touristic exploitation of the asset, to the detriment of its real potential’s nourishment. DC’s practice puts at the centre the need for re-enhancement and functional re-use of a few exceptional sites, which must be re-processed and re-activated. It is a responsible necessity of care and an opportunity for the regeneration of extraordinary underdeveloped sources of potential at the same time. Contemporary art, innovation culture, network strategies, those are some of the “techniques” through which such sites, so important in the past and now lifeless, are tackled, and morphed into cultural and artistic production centres, finally operative again, engines able to represent and provide new value to the territory.
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Jorgensen, Joseph, Richard Mccleary, and Steven Mcnabb. "Social Indicators in Native Village Alaska1." Human Organization 44, no. 1 (March 1, 1985): 2–17. http://dx.doi.org/10.17730/humo.44.1.61r44v7782262307.
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Social indicators-constructs to assess, and to measure changes to socio-economic conditions of life for contemporary societies-are analyzed for eight Aleutian and northwestern Alaskan villages whose native residents derive their sustenance from hunting, gathering, and fishing. Because of federal, state, and oil corporation actions, these villages and others like them are changing rapidly and dramatically. The analysis proposes a structure for the changes that are occurring, and measurable factors that will "indicate" future changes. Two competing models to explain social change are evaluated-"Western Industrial" and "Underdevelopment"-although both are modified to account for the Alaskan arctic and subarctic and the importance of subsistence economies in those areas. The method employed, commonly referred to as "triangulation," comprises several methodologies, several research designs, and several data sets: autoregressive time series analysis of archival data, multivariate analysis of protocol (interview) data, and contextual and anecdotal analysis of ethnographic observations. Each method has strengths and weaknesses with the strengths of one helping to compensate for the weaknesses of another. Conclusions drawn from the analyses of these several data sets allow us to posit a set of indicators while offering several concluding hypotheses throughout our exposition. Among our conclusions is that if naturally-occurring species on which village life depends are so disrupted by man-made or man-influenced events that they cannot sustain native subsistence and commercial pursuits, the underdevelopment model, shaped to accommodate the uniqueness of the arctic, will be fulfilled. The concluding hypotheses can be tested for validity in restudies, a monitoring system is implied, and a forecasting methodology to assess impacts is suggested. Thus, the study represents a new methodology for social impact assessments (SIA).
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Mittal, Shweta, Vishal Gupta, and Manoj Motiani. "Qasab: Kutch Craftswomen’s Producer Co. Ltd." Asian Case Research Journal 22, no. 02 (December 2018): 255–77. http://dx.doi.org/10.1142/s0218927518500116.
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The ‘Qasab’ case is designed to teach students about the characteristics of social entrepreneurship and the impact it has on the society. It also describes how sustainable development and social innovation are interlinked. ‘Qasab’ was an organization whose main focus was to preserve the traditional art of the Kutch region. The case describes the genesis and the journey of ‘Qasab,’ how it preserved the traditional art forms, and the personality traits of Pankaj Shah (the social entrepreneur who started ‘Qasab’). The case talks about the problems faced by the artisans in the region, which led to the formation of this social venture. Also, it touches upon the HR challenges faced by a social entrepreneur. At the time this case was written, ‘Qasab’ had become a collective enterprise comprising 1,200 rural master craftswomen from 11 ethnic communities spread across 62 villages in the arid interiors of Kutch and has been formally structured and registered as a ‘Producer Company’ owned by traditional craftswomen. ‘Qasab’ included different communities such as — ‘Mutwa’, ‘Sodha Rajput’, ‘Jat-Daneta’, ‘Meghwal’, ‘Sindhi Memon’, ‘DhebariyaRabari’, ‘KacchiRabari’, ‘Ahir’, ‘Halepotra’, ‘Sumra,’‘Hingorja’ and ‘Pathan’ — that had distinct embroidery styles and emphasized maintaining these styles (since the embroideries were an integral part of their cultural identity) — to preserve their unique identities. ‘Qasab’ was known for its outstanding quality of authentic Kutch embroidery, appliqué and patchwork products, its hallmark being traditional motifs reflecting the cultural identity of each community in contemporary designs through items of premium quality. ‘Qasab’ had made artisans stakeholders in the organization and was able to preserve the distinct art of each community. The case is based on the theme of social entrepreneurship and analyzes the process of the emergence of such enterprises, their importance and the factors that lead to their success and sustainability. Students can assess how these organizations are different from other types of organizations. The case should help students to find the parameters that show that social innovation and sustainable development are interlinked. The case can be used to study the business model of social innovation.
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Witcher, Robert. "New Book Chronicle." Antiquity 90, no. 349 (February 2016): 270–81. http://dx.doi.org/10.15184/aqy.2015.194.
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With over half of the world's population living in cities, urbanism is one of the defining characteristics of the contemporary age. In the past, by contrast, most people lived scattered in villages and rural settlements. Yet pre-industrial cities still exerted a disproportionate influence on society, economy and culture. InCities that shaped the ancient world,John Julius Norwichcollects 40 of the most influential. Taking inspiration from this urban super league, this instalment of New Book Chronicle tackles a selection of new volumes, each concerned with one of the cities identified by Norwich, taking us 5000 years and 13 000 km from Ur to Tikal. Each book also presents a different publication format, offering the opportunity to think not only about the individual cities, but also how we write about them.
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Rahayu, Ni Nyoman Sri, and Luh Gde Niti Swari. "“CULTURAL MURAL” SEBAGAI VISUALISASI ESTETIKA KONTEMPORER PADA LAPANGAN ASTAGINA, DENPASAR." Jurnal Lentera Widya 2, no. 1 (December 22, 2020): 42–47. http://dx.doi.org/10.35886/lenterawidya.v2i1.143.
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ABSTRACT
Community Service Activities were also organized by IDB Bali (Bali Design and Business Institute), in the form of mural design activities located in Astagina Court, Padangsambian Klod Village, Denpasar City.
In this community service, a mural with a cultural and aesthetic function was created. The cultural function is manifested by presenting the unique and distinctive culture of Denpasar City, some of which are Legong dance, Baris Dance, Genggong traditional music, Janggan kites, traditional children's games, and etcetera. This mural is not just an art medium without a message, but its also able to bring out the identity of Denpasar City. The aesthetic function is displayed in a contemporary design that were displayed as a contemporary impression so that it can encourage and increase comfort for Astagina Court’s users.
The implementation method used in the activities includes sketching the initial image first. This sketches aims to make it easier for students to get an initial picture before creating the mural on the wall. This mural design has the theme of a typical Denpasar culture.
In the site of the implementation, students and lecturers began cleaning the wall area and amplifying the walls. Followed by basic paint on the wall, and made sketches on the wall. Then the next day continued with coloring and finishing using Dulux paint. This activity was carried out by IDB Bali students who are members of an art club called “Perkamen”, involving 40 students and 45 lecturers from IDB Bali (Bali Design and Business Institute) and New Media College.
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PETERSEN, MAREE, and JENI WARBURTON. "Residential complexes in Queensland, Australia: a space of segregation and ageism?" Ageing and Society 32, no. 1 (February 7, 2011): 60–84. http://dx.doi.org/10.1017/s0144686x10001534.
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ABSTRACTIn western countries, large residential complexes comprising retirement villages and care facilities have become synonymous with specialised housing for older people, but gerontology has tended to view retirement villages and care facilities as separate and different spaces. By researching these spaces separately, gerontology's examination of the development of residential complexes and older people's housing has been hindered. This paper explores the geographies of residential complexes in south-east Queensland, Australia, by employing data from a larger study that utilised Lefebvre's spatial framework, social space. Its specific focus is Lefebvre's concept of representations of space, part of the triad of social space. The paper outlines how the professional knowledge of designers, planners and policy makers shape and frame the place of older people in contemporary society. The findings indicate that professional knowledge is characterised by contradictions, and that business interests sustain stereotypes of older people as either ageless or dependent. Furthermore, spaces designed for older people reinforce historical legacies of separation from the community. This form of built environment can thus be seen as both a cause and effect of ageism. Generally, the lack of attention by gerontology to these spaces has hampered discussion of alternatives for older people's housing in Australia and, importantly, the development of responsive urban and social planning.
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Hsiung, Hansun. "Knowledge Made Cheap: Global Learners and the Logistics of Reading." PMLA/Publications of the Modern Language Association of America 134, no. 1 (January 2019): 137–43. http://dx.doi.org/10.1632/pmla.2019.134.1.137.
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“You only have to know one thing: You can learn anything. For free. For everyone. Forever” (Khan Academy). Utopias of learning abound in our contemporary media landscape. Take, for instance, the above motto of Khan Academy (#YouCanLearnAnything), one of the earliest providers of open online education. With lessons in over twenty-four languages on topics from algebra to art history, Khan Academy aspires to reach an unprecedented global audience—not only children from the United States who are stuck in “a corrupt or broken [school] system” but also the “young girl in an African village” and the “fisherman's son in New Guinea” (Khan 4). In this sense, Khan Academy enjoys a paradoxical kinship to the diverse geographies studied in this cluster of essays. By promising the global provision of education, it seeks to conquer geography itself.
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Oentoro, Kristian. "Pengembangan desain teko set gerabah kontemporer berbasis budaya lokal di Kabupaten Bojonegoro." Productum: Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) 3, no. 6 (July 15, 2019): 189–96. http://dx.doi.org/10.24821/productum.v3i6.2431.
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Pottery is a type of traditional craft that has taken root in the history of art and culture of the Indonesian society. This fact is supported by various forms of ancient earthenware crafts which discovered since prehistoric times and the emergence of pottery craft centers in various parts of Indonesia, including in Rendeng Village, Malo District, Bojonegoro Regency. The changing of market needs and tastes today are a common problem faced by the traditional craft industry, including pottery crafts. Local wealth inside the traditional handicraft design which increasingly disappearing is one of the common concerns. The development of this contemporary pottery design aims to revive the skills of pottery craftsmen and the local culture of the Bojonegoro society in a modern design style. The research and development produced three sets of earthenware teapots, namely a turtle-shaped teapot set, a white combination of turtle-shaped teapot and teapot set inspired by Bojonegoro local coffee. Design research uses action research methods which consist of three design cycles. The application of this research method is useful to improve the capabilities and creativity of pottery craftmen in designing craft designs. Each design development cycle has four stages, namely planning, observation, action and reflection. The results of the study show that the color of the local clay Bojonegoro can characterize contemporary designs with a blend of colors and materials. The local way of drinking coffee as an inspiration for ‘kothok’ coffee teapots set has the potential to commercialize products and new experiences in drinking coffee.Key words: teapot, pottery, contemporary, Bojonegoro
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Nessim, Marian, Sara Khalifa, and Karim El Sheikh. "City Identity Reflected in Art Craft School Student Projects at Sour Magra El Oyoun in Cairo." Academic Research Community publication 3, no. 4 (May 27, 2019): 49. http://dx.doi.org/10.21625/archive.v3i4.538.
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This paper addresses a very critical issue which concerns designing a project in a historical area meanwhile coping with the contemporary architecture with all its aspects and needs.In this paper, authors represent a real experience with a group of undergraduate students from Arab Academy for Science Technology & Maritime Transport (AASTMT), Smart village. Those groups of students were required to design an “Art craft school and tannery museum” at the wall of “Magra El Oyoun” at “Masr el Kadima”.This historical area had a very special historical and social nature and regulations which opposed a great challenge to the students, especially since all the tanneries now are being demolished and moved to the “Rubeiky”, including the old tanneries that should have been considered as a heritage worth conserving.The course was conducted over 2 phases: Research phase and Design Phase. In research phase, students were requested to study 3 main aspects: Social, Physical and Building regulations.All these studies beside the program of the project formed the identity of the projects which came out with a rich variety of ideas and designs and reflects in different ways the special character of this historical area.The research conclusions, design process and the deliverables will be presented in this paper to show to which extent those group of students succeeded to achieve this goal socially and physically.
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محمود, سعد الجندي. "البعد الديني وأثره في التشكيل الزخرفي، على مجموعة من التراكيب الرخامية الإسلامية الباقية بمحافظة المنوفية ﺗﻄﺒﻴﻘﺎً (ﻡ ۱۹۱۲ - ۱۸۸۱ / ھ ۱۳۳۱ - ۱۲۹۹)." Abgadiyat 13, no. 1 (September 30, 2018): ۱٤۲—۱۷٥. http://dx.doi.org/10.1163/22138609-01301016.
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The art and archaeological study of a unique collection of marble compositions in Sersmos village, Menoufia Governorate, which are not registered as Islamic monuments, is very significant given the fact of a few number of these particular marble compositions in cemeteries in rural regions compared with a large number of wooden compartments.This research is conducted for detailed descriptive study of characteristics and art features of each composition to highlight the religious dimension and its impact on the decorations; writings, in particular Quranic verses, doaa, funeral and historical writings. The research studies these holy verses and their significance and compatibility with the nature and function of the compositions. In addition, the decorations include plants, lush trees, flowers and the fruits of Paradise represent a prominent role in the decorative formation.The research adopts a descriptive approach through field study for the decorative formation of this unique collection. In addition, adopts an analytical approach through sources and references, and their characteristics and features to highlight the religious impact in implementation. Also, a comparative study with other contemporary compositions.The research views the risks and challenges to this unique unregistered collection, and recommends immediate protection and registration as Islamic monuments in order to maintain their significant value.
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Delgado, Henry Navarro. "The Junction Collection: A site-specific public fashion project as a (conceptual) magazine editorial." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 295–321. http://dx.doi.org/10.1386/fspc_00084_2.
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In the summer of 2018, the author was selected for the Junction Art Residency (JAR) programme, and for three months, he was integrated into the daily life of the Haines Junction village, a rural town in the Kluane region, Yukon. Like the rest of the Yukon, the Haines Junction village includes a sizable community of First Nation residents. To gain a practical understanding on how aboriginal principles and values shape life in Yukon, the author created a series of garments and accessories informed by the nature, histories and peoples of the Kluane region. This critical essay contextualizes the project and discusses the implications of using a magazine editorial as an alternative vehicle to disseminate it. With the direct participation of a diversity of Haines Junction’s residents, the author explored Yukon’s social and cultural complexities by means of integrating fashion design and public art methodologies. Titled The Junction Collection, the site-specific public fashion project incorporated locally available fabrics, traditionally harvested furs and upcycled materials. Throughout the design process, he consulted with indigenous makers, elders and knowledge keepers. Upon completing the series of garments, the author executed a photo shoot featuring Haines Junction’s residents wearing the outfits against the natural setting of the Kluane wilderness. Those images are the central content for the long-format magazine editorial presented and examined here. The critical essay argues that, as a visual narrative, this magazine editorial makes the project more accessible to the general public while effectively translating The Junction Collection’s theme of incorporating indigenous knowledge with contemporary aesthetics.
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Zhu (朱健刚), Jiangang, and Yanchun Jing (景燕春). "Push and Pull: a Case Study of the Dynamics of Chinese Diaspora Philanthropy." China Nonprofit Review 11, no. 2 (December 11, 2019): 282–303. http://dx.doi.org/10.1163/18765149-12341366.
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Abstract The contribution of overseas Chinese to their ancestral homeland in China is an important topic for research. This article uses the concept of diaspora philanthropy to analyze the patterns and mechanisms of philanthropic giving by overseas Chinese to their ancestral hometowns or villages, also known as qiaoxiang. Based on an ethnographic study in Shunde, Guangdong Province, this article argues that Chinese diaspora philanthropy is not just based on a tradition based on the donors’ affinity, emotional ties, and personal relations to their hometowns, but is involved in the historical process organized and strategically orchestrated by multiple actors, including individuals, organizations, and the state. In this process, the associations of overseas Chinese and local governments in China, especial through the cooperation between local “qiao cadres” and leaders of oversea Chinese communities, play important roles in promoting philanthropy and bringing about desirable outcomes. The intersection of push and pull mechanisms in stimulating donor giving constitutes the basic dynamics of contemporary Chinese diaspora philanthropy. This is the reason why philanthropic giving from overseas Chinese continues to rise even as qiaoxiang have been already well developed.
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Davenport, Nancy. "The Holy Spirit and the Soul as Revealed in Nature." Religion and the Arts 19, no. 3 (2015): 163–213. http://dx.doi.org/10.1163/15685292-01903001.
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The artist Anna Lea Merritt (1844–1930) was born in Philadelphia, Pennsylvania and spent most of her professional life in London and in a rural village in Surrey. She settled in England in 1871 and soon became a friend of the members of the Pre-Raphaelite Brotherhood in their mature years, the art critic John Ruskin, the late Victorian artists George Frederick Watts and Frederick, Lord Leighton, and others in the London artistic and literary community. In the milieu she had chosen, her intimate and spiritual relationship with nature and her sympathy for all mankind, ingrained in her in childhood among Unitarians and Quakers in Philadelphia, developed into paintings, murals, and etchings that were at once academic, naturalistic, and mystical. In re-introducing this little known woman artist today, this article focuses on her work as one that evokes the spirit and beauty of the natural world and sympathy for the plight of the suffering, both eloquent testimonials to the ideals and beliefs of her renowned friend and contemporary, John Ruskin and to late Victorian liberal sensibilities.
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Putra, Gede Jaya. "SPIRITUALITAS URBAN DALAM PENCIPTAAN KARYA SENI RUPA KONTEMPOTER." Jurnal Nawala Visual 1, no. 1 (May 31, 2019): 18–28. http://dx.doi.org/10.35886/nawalavisual.v1i1.5.
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This article discusses the rate of growth from traditional to postmodernism visualized through the work of contemporary art. Based on observations in the field with the Kerobokan village as an observation location whose growth has been categorized as urban. The work focuses on the periodization of change by looking for new meanings that can be used as a process of awareness of current cultural values. Sources of data obtained through a qualitative approach using descriptive analysis method with interview techniques in 2015. Creation uses the theory of Alma M. Hawkins namely exploration, improvisation, and forming. Along with the Faucault Knowledge and Power Relations theory to read the discourse and cultural phenomena under study. Employment shows the results of the life cycle of the postmodernism period, the development of the stage of life is so fast as if there is no pause in accordance with the results of research on the kerobokan community. Likewise on cultural values, significant changes are present through the procession of postmodern marriage, which currently not only questions spirituality / religiosity but gives birth to a new discourse on wedding fashion.
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Darmayanti, Ni Wayan Ririn Putri, and Luh Putu Kerti Pujani. "Pengaruh Erupsi Gunung Agung Terhadap Produksi Kerajinan Patung Di Desa Sebatu, Kecamatan Tegallalang, Kabupaten Gianyar." JURNAL DESTINASI PARIWISATA 7, no. 1 (July 1, 2019): 131. http://dx.doi.org/10.24843/jdepar.2019.v07.i01.p20.
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This research was conducted to determine the effect of Mount Agung eruption on the production of sculpture
in Sebatu Village, Tegallalang District, Gianyar Regency. The types of data and sources of data used are qualitative, primary and secondary data. Data collection is conducted by observation, in-depth interviews and documentation. Analysis of the data used was qualitative data analysis to seek the relationship between the influence of the Mount Agung eruption on the qaunitity of sculpture production and the distribution network of sculpture crafts in Sebatu Village. The results of this study indicate that sculpture crafts produced in Sebatu Village are a type of contemporary sculpture that is dominated by animal statues. The production capacity of sculpture crafts in Sebatu village after the eruption of Mount Agung has increased, contrary to when the eruption occurred tourists could not come directly to order sculpture and their production capacity had declined. The working system of sculpture craftsmen has started to run normally with increasing production capacity. The distribution network of sculpture crafts in Sebatu Village can be distributed in five ways through distribution to the Sukawati art market, Balinese souvenirs, shipping by sea, shipping via cargo and distribution to the villa. From the conclusion, the Gianyar Regency Government should provide capital support for the sculpture industry, especially in Sebatu Village, Tegallalang District.There is a need to increase capital for handicraft business owners by providing financial or credit assistance for sculpture.Thus, there will be many entrepreneurs who are growing and increasing their production.
Keywords: Statue Craft, Mount Agung Eruption, and Distribution Network.
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Yahya, Mayendra Rifai. "PERAN KESENIAN REYOG KENDHANG SANGTAKASTA SEBAGAI SARANA BEREKSPRESI MASYARAKAT DESA TUGU KECAMATAN SENDANG KABUPATEN TULUNGAGUNG." DESKOVI : Art and Design Journal 2, no. 1 (June 30, 2019): 35. http://dx.doi.org/10.51804/deskovi.v2i1.407.
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Keberadaan Sangtakasta memiliki daya tarik tersendiri untuk dijadikan sebagai objek penelitian. Kesenian-kesenian tradisional dihadapkan dengan modernitas kemajuan zaman di era globalisasi yang serba canggih ini. Perubahan kebudayaan suatu daerah sedikit banyak dipengaruhi oleh perubahan-perubahan masyarakatnya. Kesenian-kesenian tradisional dengan konsep-konsep lama semakin sulit mencari peminat, setelah para generasi mudanya kurang tertarik karena tidak adanya suatu pembaharuan. Anak-anak muda lebih cenderung menyukai bentuk kesenian yang kekinian atau masa kini. Munculnya grup-grup kesenian di Kabupaten Tulungagung dengan kreativitasnya masing-masing, sedikit banyak memberi angin segar terhadap pelestarian kearifan lokal daerah. Kesenian tradisional seperti Reyog Kendhang tak luput dari objek ajang berkreativitas dalam berkesenian. Sangtakasta sebagai sanggar seni yang berada di Desa Tugu Kabupaten Tulungagung ini, saat ini sangat berperan penting dalam hal memfasilitasi minat dan bakat anak-anak muda yang ingin terjun langsung dalam berkesenian. Konsep garapan baik tarian atau musikal, semuanya disesuaikan dengan perkembangan zaman atau tren masa kini tanpa meninggalkan dasar-dasar dari kesenian itu sendiri. Kesenian tanpa adanya sebuah pembaharuan mustahil akan tetap eksis melintasi generasi ke generasi, sebab sebuah kesenian akan selalu berkembang sesuai dengan perubahan zaman. Reyog Kendhang sebagai kesenian ikon dari Kabupaten Tulungagung saat ini juga tidak luput dari sebuah pembaharuan, karena kearifan lokal akan hilang tanpa adanya masyarakat pendukung. Pendekatan etnomusikologi,sosiologi dan antropologi digunakan sebagai sarana untuk memperoleh informasi yang lebih efisien dengan metode deskriptif analisis. Hasil daripada penelitian ini bahwasanya sebuah kesenian akan terus berkembang sesuai dengan perubahan zaman, mengikuti alur perkembangan zaman sah-sah saja asalkan tidak meninggalkan dasar dari kesenian itu sendiri. Musik Reyog Kendhang Sangtakasta saat ini mampu menyesuaikan zaman sesuai dengan minat masyarakat pendukungnya.Sangtakasta's existence has its own attraction to be used as the object of research. Traditional arts are confronted with modernization in globalization era. Changes of the culture in region are influenced by changes of society. Traditional arts with old concepts are difficult to find enthusiasts, after young people generation is less interested because there is no update in traditional art. Young people prefer contemporary art forms. The emergence of art groups in Tulungagung Regency with their respective creativity, gave a fresh update to the preservation of the local wisdom of the region. Traditional arts such as Reyog Kendhang is always as an objects of creativity in the arts. Sangtakasta as an art studio located in Tulungagung Regency Tugu Village currently plays an important role in facilitating young people’s talent who want to get involved in art. The project of sangtakasta studio is dance and musical, all adapted to the current trends without leaving the basics of the art itself. Art without update is can’t exist across generations, because an art will always develop in accordance with changing times. Reyog Kendhang as an iconic art from Tulungagung Regency is currently has an update, because local wisdom will be lost without the support community. Ethnomusicology, sociology and anthropology approaches are used to obtain more efficient information with descriptive analysis methods. The results of this study that an art will continue to develop in accordance with the changing times, follow the flow of the development of the times is fine as long as it does not leave the basis of art itself. Reyog Kendhang Sangtakasta Music is currently able to adjust the times according to the interests of the supporting community
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HANNON TEAL, KIMBERLY. "Fred Hersch at the Village Vanguard: The Sound of Jazz Heritage at New York's Oldest Jazz Club." Journal of the Society for American Music 12, no. 4 (November 2018): 449–76. http://dx.doi.org/10.1017/s1752196318000366.
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AbstractA small basement in Manhattan's Greenwich Village neighborhood, an area known for its bohemian values, is home to what is now one of jazz's oldest and most significant venues, the Village Vanguard. Although its very name, geography, and twentieth-century countercultural context define the Village Vanguard, a haven for experiment, its unequaled historical significance and current status as a major landmark within worldwide jazz culture have led to a twenty-first-century reality in which the club not only features but also plays an important role in defining the music that constitutes the most widely accepted subgenre of contemporary jazz, an improvisatory, small-group tradition rooted in the philosophical and musical heritage of bebop. Through an examination of performances both at the Vanguard and in other contexts by pianist Fred Hersch, a performer regularly featured at the club, this article argues that the cultural role of the Village Vanguard, both in spite of and because of the way its longtime owner Lorraine Gordon retained mid-twentieth-century appearances and practices, has shifted from its former purpose as a space for avant-garde experiments to become a powerful force in defining mainstream jazz. Hersch tailors his performances to suit the culture of the Vanguard at multiple levels, including his choice of personnel and ensemble type, the repertoire he does and does not play there, and the musical details of his improvisatory practices. Due to the venue's fame and prevalence as a recording space, choices like these by Hersch and other musicians shape the music widely understood to be at the center of the “jazz tradition,” marking a shift in the nature of the Vanguard that parallels changes in both its local and global context over the past half century as Greenwich Village has undergone substantial gentrification and jazz has gained an ever-stronger foothold as an institutionally recognized art music.
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Phipps, Alison M. "Risking Everything: Political Theatre for Mass Audiences in Rural Germany." New Theatre Quarterly 15, no. 2 (May 1999): 109–22. http://dx.doi.org/10.1017/s0266464x0001280x.
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In the south-west German village of Hayingen, the playwright-director Martin Schleker presents large open-air productions of politically sensitive yet entertaining plays to mass audiences on an annual basis. This article explores the element of risk in Schleker's work: his use of purely amateur performers; his job-creation schemes for young people; and his left-wing and often anti-Catholic stance on issues such as racism and nuclear arms before often deeply conservative, culturally Catholic audiences. Schleker's work is situated in the wider context of the state-funded, civic theatres in Germany, and of the tradition of open-air ‘Naturtheater’ which is particularly strong in the Swabian region. Some assumptions surrounding such binary divides as amateur-professional and high art-entertainment are also explored. Data for this article was collected in the Hayingen ‘Naturtheater’ during a period of ethnographic research supported by the Leverhulme Trust. Having completed her doctorate at Sheffield University, Alison Phipps has been working as a lecturer in the Department of German – and in particular in the Centre for Intercultural Germanistics – at Glasgow University since October 1995. She has published in the areas of her research interests, which include contemporary German theatre and performance research, Ethnographic approaches to language education, and popular German culture and intercultural studies.
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KREAGER, PHILIP. "Migration, social structure and old-age support networks: a comparison of three Indonesian communities." Ageing and Society 26, no. 1 (January 2006): 37–60. http://dx.doi.org/10.1017/s0144686x05004411.
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Contemporary trends in population ageing and urbanisation in the developing world imply that the extensive out-migration of young people from rural areas coincides with, and is likely to exacerbate, a rise in the older share of the rural population. This paper examines the impact of migration on vulnerability at older ages by drawing on the results of anthropological and demographic field studies in three Indonesian communities. The methodology for identifying vulnerable older people has a progressively sharper focus, beginning first with important differences between the communities, then examining variations by socio-economic strata, and finally the variability of older people's family networks. Comparative analysis indicates considerable heterogeneity in past and present migration patterns, both within and between villages. The migrants' contributions are a normal and important component of older people's support, often in combination with those of local family members. Higher status families are commonly able to reinforce their position by making better use of migration opportunities than the less advantaged. Although family networks in the poorer strata may effect some redistribution of the children's incomes, their social networks are smaller and insufficient to overcome their marked disadvantages. Vulnerability thus arises where several factors, including migration histories, result in unusually small networks, and when the migrations are within rural areas.
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Partyka, R., and N. Cherevko. "Residential building in the contemporary villages." Vìsnik L’vìvs’kogo nacìonal’nogo agrarnogo unìversitetu. Arhìtektura ì sìl’s’kogospodars’ke budìvnictvo 19 (December 1, 2018): 140–43. http://dx.doi.org/10.31734/architecture2018.19.140.
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Kesarwani, Sachin. "IN THE CONTEXT OF CONTEMPORARY INDIAN ART-CONTEMPORARY ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 281–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3755.
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English: The overall development of art is part of the historical, social process. The artist establishes new dimensions through innovative experiments. In present times, not only in India but in the whole world, experimentism can be clearly marked. As change is a continuous process that exists from time to time in which the prevailing beliefs go on being accepted by generations. But a thoughtful conscious community rejects those beliefs and leads the society towards a new direction and new values. This is where change starts, as fast as the meanings of life are changing, the art is changing as fast as possible.
Hindi: कला का समग्र विकास ऐतिहासिक, सामाजिक प्रक्रिया का अंग है। कलाकार नित-नवीन प्रयोगों के माध्यम से नये आयाम स्थापित करता है। वर्तमान समय में भारत ही नहीं अपितु समस्त विश्व में प्रयोगधर्मिता को स्पष्ट रूप से चिन्हित किया जा सकता है। जैसा कि परिवर्तन एक निरन्तर प्रक्रिया है जो आदिकाल से आज तक विद्यमान है जिसमें प्रचलित मान्यताएं पीढ़ियों द्वारा स्वीकृत होती हुई आगे बढ़ती है। किन्तु एक विचारशील सजग समुदाय उन मान्यताओं को अस्वीकार करते हुए एक नवीन दिशा एवं नवीन मूल्यों की ओर समाज को ले जाता है। यहीं से परिवर्तन प्रारम्भ होता है जितनी तीव्रता से जीवन के अर्थ परिवर्तित हो रहे हैं उतनी ही तीव्रता से कला में परिवर्तन हो रहा है।
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Purwanthari, Aristha. "PELATIHAN PEMBUATAN BROSS DENGAN BAHAN DASAR KAIN PERCA DESA CANGKRINGTURI KECAMATAN PRAMBON KABUPATEN SIDOARJO." Jurnal Abadimas Adi Buana 1, no. 1 (July 31, 2017): 9–14. http://dx.doi.org/10.36456/abadimas.v1.i1.a674.
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Cain perca handicrafts are Crafts that memperpadukan between traditional and contemporary art. Perca handicraft is a combination of two sheets of cloth center in charge with the warming batting material from silicone. The top layer of handicrafts perca can consist of a combination or one of the patch work or application. The three layers of shaped sandwhich sewn with tailoring machine or hand (Delujur).Use of fabrics perca can be various forms but this time the use of fabrics perca only focused on bross. Bross is bross to scarf, so the committee invited only PKK mothers and women representatives from each RT. For the purpose of this activity is aimed to provide skills to the community so that later can increase their creativity and productivity to the community besides that can increase the level of community economic Turi Cangkring village when the handicrafts perca cloth can be in comersil. In the era of MEA economic competition tight enough so the requirement of qualified Human Resources improvements to compete with other countries. All the people who follow the training quite enthusiastic so that the implementation of the training the alleged price running well enough and smoothly. For almost two hours the people have been able to create bross from cain perca. As a result most people who participate are able to create bross beautiful and beautiful. Saw it should be village governments provide mentor for people who want to serve in the world of business sales bross. So that the proceeds from the sale of bross additional will gesture can earn money for their families.
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Belik, Eva, and Matthew Cullerne Bown. "Contemporary Russian Art." Leonardo 23, no. 4 (1990): 447. http://dx.doi.org/10.2307/1575353.
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Cooper, John, Stephen Bann, and Willian Allen. "Interpreting Contemporary Art." Leonardo 24, no. 5 (1991): 631. http://dx.doi.org/10.2307/1575685.
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Herwitz, Daniel, Stephen Bann, and William Allen. "Interpreting Contemporary Art." Journal of Aesthetics and Art Criticism 50, no. 3 (1992): 265. http://dx.doi.org/10.2307/431243.
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Sladkova, Hanka. "Framing Contemporary Art." International Journal of Communication and Linguistic Studies 12, no. 2 (2015): 15–27. http://dx.doi.org/10.18848/2327-7882/cgp/v13i02/43649.
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Mirfenderesky, Jamshid, Stephen Bann, and William Allen. "Interpreting Contemporary Art." Circa, no. 58 (1991): 39. http://dx.doi.org/10.2307/25557645.
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