Journal articles on the topic 'Performance art Themes, motives'
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1
Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.
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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.
2
Babenko, Leonid, Andrew Babenko, and Larysa Haidai. "THEORY AND PRACTICE OF INTRODUCTION OF MUSICALS IN THE TRAINING SYSTEM OF FUTURE TEACHERS OF ARTS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 52–55. http://dx.doi.org/10.36550/2415-7988-2021-1-195-52-55.
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The article deals with the introduction of performances of theatrical musicals into the educational process of preparing future art teachers on the artistic faculty of the Centralukrainian State Volodymyr Vynnychenko Pedadogic State University. Illuminated positive impact of such an introduction on the quality of professional training of students. The motivational approach to the meaningful responsibility of students for training is revealed when they carry out self-control over the process of acquiring the necessary knowledge and skills and become fully responsible for the quality of learned material. All this greatly increases the creative activity of students, prompts them to self-studying and self-development, forms an active life position. The role of a teacher in this system of educational process is the role of the coordinator. He carries out a general leadership of the educational and creative process, acts as a consultant, an assistant, and most importantly – he is a professional-mentor, a senior mate who helps students to master the whole complex of knowledge, skills and abilities. In such motivated training, it is necessary to point out initial goals, determined by the teacher, which coincides with the educational motives of students. Only under such conditions, academic actions of the students will be transformed into conscious educational activities, the motivation of success will be created. That is why students study on the basis of partnership in the chorus studio. They make their proposals for project themes, develop the concept, choose the form of material presentation, create scenarios and are interested in preparatory and organizational work, as well as independently choose the direction of its own educational activity within the project – write or distribute musical solos and choral parties, make them choral. Arrangement or perform computer arrangement of musical accompaniment, etc. Execution of such a work not only reveals existing knowledge of students on the relevant educational subjects, but also requires mastering new knowledge and skills, assimilating the material of new educational subjects that are needed to implement the plan.
3
Kuzmina, O. A. "“The House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 231–49. http://dx.doi.org/10.34064/khnum2-15.12.
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Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. However, if the information about this genre is contained in the scientifi c literature, research on opera for children-performers analogue, children’s operetta which was formed and used by considerable demand in the late 19th – in the fi rst half of the 20th century in the English-speaking countries, is practically absent. This determines the relevance of the chosen subject. Objectives. The objective of this study is to consider the features of the libretto, the compositional and dramaturgical properties of the children’s operetta by J. L. Gaynor The House that Jack Built as one of the English-language samples of the genre. Methods. So far these methods were been applied: historical, structural and functional, comparative. Results. It is diffi cult to indicate the exact date of the children’s operetta emergence. It is known from available literature that it became widespread in the 1880s. In the following decades, the popularity of children’s operettas does not fade, rather, it only grows. The school authorities even were worried about such an intensity of extracurricular work. However, this fact did not affect the number of performances. There are books containing instructions and guidance, tips on probable diffi culties that could be faced by fi rst-time directors. In particular, it was recommended to divide responsibilities between school departments and draw up a general plan of action. Attention was paid to organizing an advertising campaign to attract as many viewers as possible. With such performance enthusiasm, there was a certain lack of repertoire written specifi cally for children and adolescents. Not surprisingly, the music teachers sought to replenish it. Among them was an American piano and harmony teacher Jessie Lovel Smith Gaynor (1863–1921) who composed The House that Jack Built (1902). This is not the only sample of children’s operetta in the heritage of J. L. Gaynor, she wrote a few more works, mostly after fairy tales: The Lost Princess Bo-Peep (its plot matches Jack’s one), The Toy Shop, Snow White, The Magic Wheel, Three Wishes, The Return of Proserpina, and On Plymouth Rock. The libretto of The House that Jack Built, written by A. G. D. Riley, is compiled on the basis of nursery rhymes, which are an integral part of the English-speaking countries culture. The operetta includes 24 folklore texts (full or fragmented): poems, two counters, and a ballad. To organize the plot, the librettist used the «stringing» method, or the cumulative principle, joining each subsequent element to the previous one with the help of the Mother Goose’s recitative lines. She is the key character, who greets and introduces new guests at her party. This principle is refl ected in the organization of the whole operetta. Mother Gooses’ cues are a refrain similar to the poem The House that Jack Built. Each character is not related to the previous one or the next, they are united only by belonging to the images of folk poetry. Since the libretto is mainly based on miniatures (with one or two verses), there are many participants of the performance: 43 characters, 21 thrushes, and collective characters, the number of which is not specifi ed precisely. There is no plot in common sense – as a series of related events built in accordance with certain principles – in The House that Jack Built. Rather, it reminds the carnival procession, in which characters are appearing one by one. They have bright, sometimes extravagant costumes, which vary with the speed of the pattern in the kaleidoscope. The structure of the operetta is simple and clear. It consists of two acts, divided into 19 big numbers (9 in the fi rst action, 10 in the second), which are often built in the form of a suite. The balance among solo-ensemble and choral numbers in The House that Jack Built is unequal. The choruses prevail in the operetta (there are about 20 of them). It is diffi cult to name the exact number because the author does not always clarify the exact cast. Solo and ensemble numbers are 4 times fewer; in addition, there are 2 numbers in the 2d act, in which the soloist and choir sing together. To achieve compositional and dramatic unity, there was a need to involve additional means in addition to the cross-cutting image of Mother Goose, since the Jack’s plot is deprived of the consistent development of events. This function is performed by several themes: «fairy tale» (in the future it is associated with the appearance of fairies and elves), «pastoral» (its emergence is marked by the remark Andante Pastorale), the theme of Jack, the dance motive, and the theme of King Cole. They are exhibited in the overture for the fi rst time. When the act begins, they are joined by the themes of Mother Goose and Thrushes. For the fi rst time, most of the themes are conducted in the overture. This determines the suite character of its structure: 6 episodes that contrast with each other by tempo. The piano part plays an important role in the operetta. It presents the leading themes, the main image-bearing and poetic motives, and supports the performers in the vocal appearances. The revealed signs give grounds to consider the English-language children’s operetta a national model of opera for children-performers. Conclusions. In the English-speaking countries, particularly in the USA, at the end of the 19th – in the fi rst half of the 20th century the tradition to perform operettas at schools was formed. This works from their form and contents were similar to compositions which were called children’s operas (operas for children-performers) in Europe. An analysis of The House that Jack Built by J. L. Gaynor allows us to interpret the author’s genre name in its original linguistic meaning – «small opera». A signifi cant number of such works still remain beyond the attention of scholars and require a thorough study both in historical and in theoretical directions.
4
Dixon, Steve. "Cybernetic-Existentialism in Performance Art." Leonardo 52, no. 3 (June 2019): 247–54. http://dx.doi.org/10.1162/leon_a_01544.
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A theory of Cybernetic-Existentialism is proposed to offer a new critical perspective on technological performance art. Case studies of Wafaa Bilal, Stelarc and Steve Mann are used to demonstrate how core ideas and themes from both cybernetics and existentialism are increasingly converging in contemporary arts.
5
Swanson, Scott R., J. Charlene Davis, and Yushan Zhao. "Art for Art's Sake? An Examination of Motives for Arts Performance Attendance." Nonprofit and Voluntary Sector Quarterly 37, no. 2 (December 10, 2007): 300–323. http://dx.doi.org/10.1177/0899764007310418.
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Dixon, Steve. "Cybernetic-Existentialism and Being-towards-death in Contemporary Art and Performance." TDR/The Drama Review 61, no. 3 (September 2017): 36–55. http://dx.doi.org/10.1162/dram_a_00672.
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Ideas and themes central to both cybernetics and existentialist philosophy converge in the work of some of the world’s most celebrated contemporary artists. Utilizing little or no technology, these artists nonetheless employ “systems” approaches and protocybernetic models, while simultaneously exploring themes directly related to existentialism.
7
Naeem, Usman, and Muhammad Kashif. "Discovering the Motives to Browse Internet among MBA Students: An Interpretivist Investigation." Vision: The Journal of Business Perspective 22, no. 3 (July 16, 2018): 243–52. http://dx.doi.org/10.1177/0972262918785959.
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This study aims to discover motives to browse Internet among MBA students from Pakistan to understand its role to facilitate student leaning in business schools. The data is collected by means of focus groups and Facebook posts to discover motives to browse Internet. Thematic analysis is performed to analyse the data which includes recording, coding, and development of emergent themes. The four motives to browse Internet which are: Communication, Career Management, Information seeking, and Academic performance. The study is unique in two aspects. First, the data triangulation is achieved by methodological advancement to explore the motives behind Internet browsing. Secondly, the business students from a developing Asian country are selected to render some country specific strategies to make productive use of Internet.
8
Procop, Natalia. "Rustic and urban in the creation of Florentin Leancă." Akademos, no. 3(62) (January 2022): 146–50. http://dx.doi.org/10.52673/18570461.21.3-62.19.
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Florentin Leancă is part of the generation of visual artists, representatives of the national school of painting. The activity of the artist evolved from abstract compositions to urban landscapes with impressionistic shade and stylized decorative creations. Many of his works are made in the technique of hot handkerchief and oil painting Moreover. One of his relevant themes is the old Chisinau represented by shades of gray. Lately he has been making pieces with popular motives inspired by the art of carpeting.
9
Fedorova, Irina. "“BELOBEREZHSKIY PATERIK”: COMPOSITION, SOURCES, GENRE." Проблемы исторической поэтики 20, no. 2 (March 2022): 280–303. http://dx.doi.org/10.15393/j9.art.2022.11062.
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“Beloberezhsky Paterik” is preserved in the manuscript of the Department of Manuscripts of the Russian National Library (P. N. Tikhanov collection, no. 214) and consists of materials related to the Beloberezhskaya hermitage, founded in the early 18th century in the White Shore tract near Bryansk. The main purpose of the article was to determine the conformity of the “Beloberezhsky Paterik” to the genre canon. The work analyzes the genre composition, configuration, principles of material organization, and establishes the sources and time of compiling the collection . The analysis was carried out with regard to the tradition of ancient Russian patericons and the development of late patericography. As the study demonstrated, the constant features of the genre organically manifested themselves in the “Beloberezhsky Paterik.” Thus, the complex composition of the collection allowed to consider it as an ensemble that includes traditional patericon forms: legends about icons, parochial chronicles, patericon Lives, the Life of the founder of the monastery and the hermit's Life, miracles and visions. The “memory of the genre” also manifested itself on other levels: unification of material by topographical feature, cyclization and the chronological principle of data organization, simplicity of the narrative style, themes and motives traditional for the patericon Life (the theme of hermitage, the motives of martyrdom and temptation) are realized. The ideological and thematic unity of the collection, as the analysis of the works that comprise it has revealed, is organized by two themes — the Beloberezhskaya hermitage as “the house of the Mother of God” and “the second Jordan.” The sources of the patericon were archival materials and publications in magazines of religious and moral content (“Kormchiy,” “Emotional Reading,” “Wanderer”). It was also established that the Paterik was compiled between 1894 and 1905, but it is not yet possible to name its compiler.
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Kupchenko, Tatiana А. "Sergey Yesenin in the screenplay of V. Mayakovsky “The Story of One Nagan”." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2021): 89–100. http://dx.doi.org/10.20339/phs.5-21.089.
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For the first time, a complex of motives associated with the image of S. Yesenin in the script by V. Mayakovsky “The Story of a Nagant”, as well as “Forget about the Fireplace” and the play “The Bedbug” are considered. A connection is established between the biographical facts of Yesenin’s life and the motives of the script, and the features of the innovative poetics promoted by Mayakovsky, revealed by him in the article “How to Make Poems” and his speech at the debate “Depressive mood among youth (“Yeseninism”)”. The “Yesenin” theme of the script is considered together with the themes of “poet and poetry”, with the accompanying motives of hooliganism, drunkenness and love in poems that also contain the “Yesenin” theme, but are included in the range of works devoted to reflections on what true art is in the era of building a new socialist state: “My speech at the show trial on the occasion of a possible scandal with the lectures of Professor Shengelli”, “Sergei Yesenin”, “A Conversation with the Financial Inspector about Poetry”, “Beat the Whites and Greens”, “Marusia Was Poisoned”, “Letter to Comrade Kostrov from Paris about the Essence of Love”, “Letter to Tatiana Yakovleva”.
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Yahyabala qızı Bağıyeva, Nubar. "Carpet compositions by carpet artist Mammadhuseyn Huseynov." ANCIENT LAND 03, no. 04 (June 30, 2021): 15–18. http://dx.doi.org/10.36719/2706-6185/03/15-18.
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The artist has created valuable works of art that attract the attention of the most beautiful traditions of the pre-existing artistic heritage with a choice of different themes and styles. He created expressive images that characterize the environment in which any subject is reflected, and tried to make room for elements of national motives. This is an indication of his rich artistic imagination and delicate taste. The carpets created by the carpet artist are distinguished by the fact that the ornaments are very complex and very versatile. The ornament of these carpets will remain the object of research for a long time, because its artistic-schematic aesthetic, spiritual and emotional content is an inexhaustible treasure. The carpet patterns created by the carpet artist attract the audience's attention at first sight. The carpets he authored are always met with interest, love and appreciation. Keywords: Mammadhuseyn Huseynov, fine art, carpet art, composition, ornament
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Alam Iqbal, Badar, and Linus Nyiwul. "Evidence on Divestment Motives: An Overview." Global Trade and Customs Journal 17, Issue 11/12 (November 1, 2022): 501–14. http://dx.doi.org/10.54648/gtcj2022070.
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Corporate divestiture represents an important component of a firm’s strategy. Divestment takes different forms and is usually undertaken for a variety of general and firm-specific reasons. The objective of this article is to provide an overview and assessment of the current consensus on the empirical evidence on underlying divestiture motives. What is the direction of the literature on the antecedents of divestment? Are there important lessons to be learned from dominant and underexplored themes? We embark on the answers to these questions by analysing the existing empirical literature and providing an informative and instructive synopsis. Our synopsis contributes to the literature by integrating antecedents of divestiture from the multiple strands and synthesizing potentially rich areas of further exploration in the literature. Performance remains the dominant factor in divestiture but there is strong evidence that divestment is the result of a multitude of interacting dynamics among various factors. There remain considerable opportunities in the literature on the economics of divestiture, emerging environmental, social and governance (ESG) and its theoretical underpinnings and the general divestment theory. Divestment, Divestiture, Industrial Organization, Portfolio Management, Strategic Management, Foreign Investment, Mergers and Acquisitions, ESG JEL Classification: D22, F23, F30, G32, G34, L25, M12
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van den Akker, Olga B. A., Nicola Payne, and Suzan Lewis. "Catch 22? Disclosing assisted conception treatment at work." International Journal of Workplace Health Management 10, no. 5 (October 2, 2017): 364–75. http://dx.doi.org/10.1108/ijwhm-03-2017-0022.
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Purpose The purpose of this paper is to explore factors influencing decision making about disclosure of assisted reproductive technology (ART) use in the workplace. Design/methodology/approach A qualitative study design was used. In total, 31 women and 6 men who were using or had recently used ART were recruited from British fertility networks and interviewed. Data were transcribed verbatim and thematically analysed. Findings Two main strands were identified each encompassing two themes: “Concerns about disclosure” covered the very personal nature of disclosing ART treatment and also career concerns and “Motives for disclosure” covered feeling which was necessary to disclose and also the influence of workplace relationships. Research limitations/implications The relatively small, self-selected sample of participants was recruited from fertility support networks, and lacked some diversity. Practical implications Clarity about entitlements to workplace support and formal protection against discrimination, along with management training and awareness raising about ART treatment is needed to help normalise requests for support and to make decisions about disclosure within the workplace easier. Originality/value The study has highlighted an understudied area of research in ART populations. The data provide insight into the challenging experiences of individuals combining ART with employment and, in particular, the complexity of decisions about whether or not to disclose.
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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum2-49.12.
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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.
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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum1-49.12.
Full textAbstract:
Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.
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Griniuk, Marija. "ARTS-BASED ACTION RESEARCH ON ENHANCING CHILDREN’S CREATIVITY THROUGH AFFECT WITHIN PARTICIPATORY PERFORMANCE ART AND PERFORMANCE PEDAGOGY." Creativity Studies 14, no. 2 (December 13, 2021): 577–92. http://dx.doi.org/10.3846/cs.2021.13775.
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This article presents arts-based action research on enhancing children’s creativity through affect within participatory performance art and performance pedagogy. The study hypothesis was that children’s creativity can be enhanced by affect experienced at a performance site. The purpose of the study was to investigate the impact of children’s involvement in artistic performance on their creativity at a performance site. The impact of interactions at the site, the co-participating children,and the involved artists were monitored on a daily basis to collect qualitative data, which were analyzed using a general inductive approach. Objective themes relating to the variables were retrieved from the collected data and assigned codes, concepts, and keywords extracted from photographs,video recordings, and observation notes. The case under investigation was the “Nomadic Radical Academy 2020: The Good, the Bad, and the Art”, which built on a pilot event held in 2019. This research concluded that performance art can have a social and creative impact during an art event through children’s participation and can be used by performance artists and educators.
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Van den Berg, Mariecke. "Zie de mens." Religie & Samenleving 11, no. 2 (September 1, 2016): 249–70. http://dx.doi.org/10.54195/rs.12214.
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This article analyzes the photo-exhibition Ecce Homo (1998) by Swedish artist Elisabeth Ohlson Wallin. In Ecce Homo, which depicts twelve moments from the life of Jesus Christ, traditional church art is mixed with the themes and symbols of contemporary LGBT-culture. In the article it is investigated, through a queer focus, whether Ecce Homo has the potential to destabilize the rather strict oppositional pairing of religion and homosexuality in contemporary debates in post-secular societies like Sweden. Based on a discussion of three works (The Annunciation, Palm Sunday and Calvary) it is argued that Ecce Homo connects traditional Christian motives such as the love for one’s neighbor, (self)sacrifice and charity to queer concepts such as the instability of gender and sexuality and the destabilizing potential of ‘darkness’ as an aesthetic theme. As queer and Christian concepts inform each other they are given meaning in relation to each other, thus indeed (for the most part) suggesting that queer and Christian themes are relevant to one another and sometimes overlap.
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Mamatov, Gleb M. "Motive of the music of the moon in the poetry by K. D. Balmont." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 78–83. http://dx.doi.org/10.18500/1817-7115-2022-22-1-78-83.
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In the article the motive of the music of the moon in K. D. Balmont’s poetry is researched on the material of his poems, prose and aesthetic articles. Its symbolic value and evolution in books of the early, mature and late periods are explored. The following conclusions are drawn. In the early lyric poetry of Balmont the moon is associated with the oxymoronic motive of the ‘sounding silence’. This motive is determined by the principal role of psychologism in the early poems of the symbolist, the ‘sounding silence’ emphasizes the state of the inner world of the hero, who is always detached from reality and is reflecting on the essence of life and death. The connection of the motive of the ‘sounding silence’ with gothic symbolic range is considered, which is characteristic for the first books by Balmont. In his mature lyrical poetry, the moon is associated with the theme of music, which has a lot of connotations. Firstly, the music of the moon correlates with the traditional motives of poetry and art. In the book Let’s be Like the Sun the world is on the line between lunar silence and melody of strings, which the poet uses to play his odes to the orb of the night. But in mature poetry in the books Only Love. Seven-color Flower, Liturgy of the Beauty. Hymns of the Elements and Sonnets of Sun, Honey and Moon. The song of worlds lunar music is connected with themes of fairy tale, magic, love, dream and phantasy, but at the same time with motives of the illusion, unfeasible reveries, death, specularity and ghostliness. Particular attention is paid to the connection between the motive of lunar music and the philosophy of music of the senior symbolist and his spontaneous mythology. No less important is the functioning of this motive in the poem The Moon, dedicated to the cosmogonic myth of the creation of the world, where moon music is related to the themes of archaic mythology and the motives of initiation, death, rebirth and transformation into a deity.
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Morozov, A. Y. "MORAL AND RELIGIOUS MOTIVES IN THE WORKS OF J.R.R. TOLKIEN: CULTURAL CONTEXT." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 60–65. http://dx.doi.org/10.17721/ucs.2017.1.13.
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The main moral and religious themes of J. Tolkien`s novels “The Lord of rings” and “The Silmarillion” are observed in the article. It is analyzed that Tolkien followed Christian tradition, sharing st. Augustine`s conception of evil as the absence of good. It is clarified Tolkien`s anti-Nietzschean position where evil is equal to the will to power, while the good is associated with humility and serving. It is shown an author`s interpretation of Socratic classic inquiry: would people live virtuous life if they achieve omnipotence and why moral life is preferable than immoral one. According to Tolkien, human moral obligations are closely connected with the awareness of freedom and mortality which are regarded as a giftto a man, enabling to escape from senseless “badinfinity” (Hegel) of material determinant existence. In its turn, a notion of “gift” refersto metaphysical model of world that assumes divine being and his providential intervention in the course of earthly history. One of this divine providence`s manifestation is so called “eucatastrophe”, unexpected salvation from tragedy, therapeutic consolation that returns to a man the feeling of meaningfulness and joy of being. It is suggested thatsalvation can be interpreted in romantic way as coincidence point of trajectories of art and nature, where fairy tale embodies in life, and life starts to be built according to the laws of fairy tale.
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Khan, Noor Ullah, Haoqiang Wei, Guiling Yue, Nabila Nazir, and Noor Raihani Zainol. "Exploring Themes of Sustainable Practices in Manufacturing Industry: Using Thematic Networks Approach." Sustainability 13, no. 18 (September 15, 2021): 10288. http://dx.doi.org/10.3390/su131810288.
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Sustainability is a vital strategy for manufacturing industries to address major environmental issues. Stakeholders’ growing ecological awareness is forcing manufacturers to adopt green human resource management practices (green HRM practices) and environmental management systems (EMS) to improve sustainable performance (SP). This research explores the key themes of green HRM practices, EMS, and OCBE, and how these themes affect the environment and explain SP among ISO14001-certified manufacturing firms. This research used a qualitative methodology following an interpretivist approach. It employed the thematic networks technique, using qualitative data to achieve the objectives. The qualitative data were collected using semi-structured interviews conducted with HR managers and then analyzed using NVivo 12. Thematic network analysis explores basic and organizing themes within qualitative data. Four central (parent) themes, i.e., green HRM practices, OCBE, EMS, and SP, emerged. First, green HRM was sub-divided into three sub-themes: (i) green recruitment and selection, (ii) green training and development, and (iii) green assessment and rewards. Consequently, OCBE was then sub-divided into three themes: (i) eco-helping behavior, (ii) eco-initiatives behavior, and (iii) eco-civic engagement behavior emerged. Likewise, EMS was sub-divided into three themes: (i) ISO14001, (ii) EMS key benefits, and (iii) EMS key motives. Lastly, SP was further divided into three sub-themes: (i) economic, (ii) social, and (iii) environmental. This research also discusses important implications for managers and organizations.
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Tarwanto, Roni Desi, Dwi Susanto Susanto, and Wakit Abdullah Abdullah. "A Discourse of Theater Performance in Improving Nationalism in Surakarta." International Journal of Multicultural and Multireligious Understanding 8, no. 7 (August 8, 2021): 718. http://dx.doi.org/10.18415/ijmmu.v8i7.2867.
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Indonesian nationalism is the manifestation of Indonesians’ love to their State and homeland based on Pancasila. Nationalism is now in new civilization vortex called globalization and encounters increasingly big challenge. The feeling of nationalism has been eroded now and faded gradually as time progresses. Therefore, many parties begin to revive nationalism spirit through some activities, one of which is through theatrical art. Theatrical art was expected to improve nationalism in Surakarta City. Surakarta City or so called Solo is an autonomous area with city status under Central Java Province. This article attempted to discuss “what the role of theatrical art is in improving nationalism”. For that through theater performances with themes that uphold the values of nationality have represented and increased nationalism in the city of Surakarta. Keywords: Discourse, Theatrical Performance, Nationalism, theater comunity in Surakarta City
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H.K, Santhosh. "Poothan Kali Songs : an analysis of their types, themes and functions." Indian Journal of Multilingual Research and Development 2, no. 1 (March 30, 2021): 24–34. http://dx.doi.org/10.34256/ijmrd2114.
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'Panappoothan' is an art form performed by the Pana community at festivals at the Bhagvati temples in old Valluvanad district of Kerala.Unlike the Poothan performance of other castes, Panans also sing songs in their Poothan and Andi kali. They perform 'anchati pattukal', hymns and 'kummi pattukal' along with the performance. These songs have not yet been recorded in our folk song tradition or literary history. This essay analyzes these songs descriptively and determines the folk identity expressed in it.
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Chun, Jumi. "An Analysis of Changes and Works of Gayageum Byeonchang in North Korea by Period: With Focus on Joseon Munhak Yesul Nyeongam." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 967–1000. http://dx.doi.org/10.33645/cnc.2022.6.44.6.967.
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The purpose of this study is to examine the characteristics of the performance activities of the Gayageum Byeongchang in North Korea from the late 1990s to the present. The information is based on the Joseon Munhak Yesul Nyeongam (The Chosun Literature Art Yearbook), a series of publications that record the whole of activities and achievements of the arts in North Korea. As a result of the study, it is possible to examine the commonalities and differences in performance activities by broadly dividing them into performance classes, events, and themes. As for the performing class, it can be divided into professional art groups and smaller local art groups. Although the professional groups are represented by the likes such as the North Korean People’s Army Orchestra, and the local groups by students and female organizations, the frequency of the activities was found to be equal to each other. The events performed by both professional and local art groups were divided into a mixture of Gayageum Byeongchang, Gayageum Dok Byeongchang, and Gayageum Byeongchang, with Gayageum Byeongchang activities being the largest among them. In particular, the rampant use of electronic music was drastically reduced during this period while the use of ethnic instruments was encouraged in professional art organizations. As a result, the activities of Gayageum Byeongchang, which had been actively using electronic instruments since the 1980s, decreased significantly. The songs that are performed are also different between professional art organizations and local art groups. In sharing common themes of ideological liberal arts teachings and mass propaganda, the performances of local art groups also vary in theme related to each social class within the art groups. Through this study, it can be seen that North Korea’s Gayageum Byeongchang has changed from professional-oriented performances to developing and expanding into smaller local art groups and activities, thereby gaining popularity and universality.
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Karmakar, Goutam. "A Theological Study of Nissim Ezekiel’s Religious Outlook." Asian Journal of Humanity, Art and Literature 2, no. 2 (December 31, 2015): 71–76. http://dx.doi.org/10.18034/ajhal.v2i2.296.
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As the centuries passed by, the galaxy of Indian English Poetry become increasingly crowded. But the scenario was not like this during the early years. It is because only a few stars shine there, and Nissim Ezekiel is the pole star. His poetry contains so many aspects, themes, motives and symbols that sharpen and shape his poetic world. His poetry often shows irony, emotion, love, man-woman relationship, self- consciousness, a sense of discipline and self – criticism. He shows his concern for both modern and urban art and culture with the touch of Indian ethos and local colour. But as an Indian poet, he shows his thinking about God and religion in a vivid way. He also shows his changing view towards God and Indian theology in his poems. In this paper, I have tried to show Ezekiel’s religious outlook and aspects through some of his verses.
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LAMBERT, PHILIP. "Brian Wilson’s Pet Sounds." Twentieth-Century Music 5, no. 1 (March 2008): 109–33. http://dx.doi.org/10.1017/s1478572208000625.
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AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.
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Svetlov, Igor. "Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 108–35. http://dx.doi.org/10.36340/2071-6818-2019-15-4-108-135.
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Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.
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Rykhlitska, O. D., and O. I. Kosyk. "ORNAMENTAL MOTIVES OF MODERN DESIGN PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 59–65. http://dx.doi.org/10.17721/ucs.2021.1(8).13.
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The article analyzes modern design practices based on symbolic and ornamental motives of folk art and their modern actualization in ethno-artistic areas, reflecting the relationship of traditional aspects with innovative, symbolic translation of cultural experience in time and space, creating symbolic value images, enhancing emotional environment and creating new narratives. Symbols, as the basis of the existence of the people, reflect the ethno- national aspects of culture, is an opportunity to find yourself at the level of relationship with your people, your nation, traditions. The appeal to archetypes is a special methodological perspective in which the meaning of the future is created due to the transformation of the past into a symbol. What is relevant in modern Ukrainian realities is that the whole cultural paradigm is being reconsidered and new ways of national identification are being sought. Embroidery is marked by a special color and incredible ornamentation, complex performance technique, which is reflected in the symbols of sociocultural practices, immersing in the depths of traditional norms and values that encourage to feel, assimilate, preserve and transmit. In modern domestic discourse, design practices are thought of as aimed at transforming the cultural environment into the integrity of cultural and natural components. They serve as a basis for forming an idea of the world and building harmonious relationships with the world. And the use of symbols-amulets and a certain emotional color is a special process of self-identification and the foundation for the revival of national culture and spiritual values, seeing their own place in the global cultural and artistic space. Therefore, the use of ornamental symbols in design practice is the basis for the revival of national culture and spiritual values and the formation of a new promising direction of Ukrainian design. Among the spiritual heritage of Ukraine with its color and incredible ornamentation, complex technique is embroidery, which is reflected in the symbols-codes of modern socio-cultural practices
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Ling, Jonathan, Sandra Leyland, Emily Pattinson, Istvan Soos, and Ian Whyte. "Gateways and gatekeepers: Two factors that influence the use of performance and image enhancing drugs (PIEDs) among UK military veterans." Scientific Journal of Sport and Performance 1, no. 4 (November 15, 2022): 354–68. http://dx.doi.org/10.55860/jyxw3461.
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Recent reports have identified that PIEDs use is rising within the Armed Forces leading to concerns over health and concomitant operational risks. The aim of this study was to identify the roles of gateways and gatekeepers on PIEDs use among a cohort of UK military veterans. Semi-structured interviews were conducted with 14 ex-Service personnel. Interviews were transcribed verbatim and thematically analysed using NVivo12 software. Common themes were identified around the ways in which the veterans were introduced to PIEDs and how they accessed them. Gateways consisted of two categories of Circumstances and Behaviour, including excessive gym use, the need to cope with fitness demands of military service, overseas deployment, and previous experiences with nutritional and body-building supplements. Gatekeepers included friends, colleagues, and mentors and their roles were captured in two categories of Procurement of PIEDs and Information Dissemination. Recommendations include the need for further research on the roles of gatekeepers and gateways as important pathways to PIEDS use. Additionally, there is a need to build on themes suggested by earlier researchers to identify social, cultural, and economic factors that underpin motives for PIEDs use in the uniformed services. These two recommendations would inform the design and evaluation of PIEDs-related interventions.
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Rudianto, Rudianto, Bambang Widiyahseno, and Ida Widaningrum. "KESENIAN KEBO BULE (Media Penyiaran Agama Islam di Ponorogo)." Muaddib : Studi Kependidikan dan Keislaman 1, no. 2 (December 29, 2020): 122–38. http://dx.doi.org/10.24269/muaddib.v1i2.3350.
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This study aims to analyze the art of kebo bule as broadcasting Islam in Sukosari Village, Ponorogo Regency. Data collection techniques used were in-depth interviews, observation, collection and documentation. The research subjects were the heads of the Caucasian arts community, religious leaders and the community. The objects of this study are experiments, concepts, places and activities. steps and data analysis using the Spradley (2016) model are (1) domain analysis, which is to get a general picture of the attractions visited. Look for some observations with grandtour and minitrour; (2) Taxonomic analysis, which is choosing the appropriate domain to be described in more detail, to know the internal structure, and is done with focused observation. (3) Componential analysis finds specific features in each structure by contrasting the elements carried out by interviews and selected observations, and (4) analysis of cultural themes, namely finding relationships between domains that are used together to use themes or titles. The results showed, (1) the art of kebo bule in Ponorogo has historical roots in the emotional connection between Ponorogo and the Keraton Surakarta; (2) the art of kebo bule is a way to preserve local culture of Ponorogo which has historical value; (3) Islamic da'wah media through the art of kebo bule carried out through the performance of the designation, the content of the songs accompanying the arts, Islamic tausiyah, and (4) collaboration of art that combines Javanese art, Reog art, Middle Eastern art, Chinese art, and Balinese art.
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Kraus, Sascha, Verena Traunmüller, Norbert Kailer, and Victor Tiberius. "The Dark Triad in Entrepreneurship Research — A Systematic Literature Review." Journal of Enterprising Culture 28, no. 04 (December 2020): 353–73. http://dx.doi.org/10.1142/s0218495820500156.
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The impact of traits in entrepreneurship has been subject to intense discussion. Apart from favorable traits fostering opportunity recognition, entrepreneurial orientation, venture performance, and other variables, a younger research stream also addresses the role of negative traits. Among them, the dark triad, comprising of narcissism, Machiavellianism, and psychopathy, have gained specific attention. This systematic literature review aims to structure the field, identify current research themes, and provide a better understanding of prior research outcomes. Our results show that dark triad research addresses entrepreneurial activity, opportunity recognition, entrepreneurial orientation, entrepreneurial leadership, the and entrepreneurial motives. Among the dark triad traits, narcissism is stressed most in research so far. It relates to firm performance, risk, and leadership behavior, whereas Machiavellianism and psychopathy relate to opportunity recognition and exploitation. We also identify several research gaps, which can be addressed in future research.
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Tejo Veloso, Carlos. "Discursos desde los Márgenes: Mujer y Arte de Acción en la Galicia Contemporánea." Barcelona Investigación Arte Creación 7, no. 3 (October 3, 2019): 263. http://dx.doi.org/10.17583/brac.2019.3121.
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This article presents an analysis of contemporary performance art carried out by women in Galicia; a complex issue if we consider that the nature of the discipline is a practically unexplored matter. Our reflection begins by defining the typology and particularities of Galician performance art. After that, we address the performance art context in Galicia and, finally, we examine the production of three artists that we consider essential: María Marticorena, Ana Gesto and María Roja. Our methodology emerges from a thorough search of available bibliographic resources, updated fieldwork through interviews, and tracking of photographic and videographic documentation. We have opted for a qualitative interview, focused on the artists analysed in the article which can be consulted as "Annex I", attached at the end of the text. This article unveils performance art that starts in the second half of the first decade of the new century, with the almost exclusive presence of women developing heterogeneous themes but influenced by the Galician cultural context. They haven’t had institutional support or been part of self-management movements, so frequent in other parts of Spain.
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Omosule, Segun. "Aesthetics in Biripo indigenous musical performance." Scene 7, no. 1 (December 1, 2019): 55–67. http://dx.doi.org/10.1386/scene_00006_1.
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Abstract Biripo music, even when restricted to a group of people in the Ikale/Ilaje/Apoi milieux, is an embodiment of the consciousness of the folk and combines the art of the people with entertainment as a major cultural thrust, religious indoctrination and ethical values in the environment. This article attempts an analysis of the musical performance of Zeblon Omoranmowo entitled: word hangs loose and bursts 'Oro Ma Se Dugbe Dugbe O Be O' (2018) through an examination of the subject matter, themes and analogies that could constitute a veritable source of conflict to the larger society and internal disquietude to individuals whose indiscretion could ignite inter-personal conflicts through aesthetics as a philosophical model of analysis; claiming that religious books and selfish personal pursuits are potential sources of danger to the larger society.
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Dniprovska, N. S. "Rachmaninov. “Six choirs for children’s or women’s voices”: specific of interpretation of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 105–21. http://dx.doi.org/10.34064/khnum1-55.08.
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Introduction. In the article the cycle of children’s choruses of S.Rachmaninov is considered, his characteristic features in subjects, figurative disclosure, the special role of lofty spiritualized lyric poetry; for the first time the appearance in the choral works of the composer of the themes “Dies irae”, “katabasis”; the spiritually-aesthetic value of Rachmaninov “Six Choruses” for secular children’s choral singing and performance is revealed. “Six choirs for children’s or women’s voices” op. 15 were written by S. Rachmaninov in 1895, the date of which he indicated in a letter to B. Asafiev on April 13, 1917. By the time the cycle was created, S. Rachmaninov was already the author of a considerable number of works. In the fall of 1894, he was employed by the Mariinsky Women’s School as a teacher of music theory and an accompanist of the choir. Specially for the choir of students, “Six choirs for children’s or women’s voices” were written: 1) “Glory!”, Words by N. Nekrasov; 2) ”Night”, words by V. Ladyzhensky; 3) “Pine”, words by M. Lermontov (from G. Heine); 4) “The waves dozed off”, words by K. Romanov, 5) “Captivity”, words by N. Tsyganov; 6) “Angel”, words by M. Lermontov. The features of S. Rachmaninov’s musical and artistic thinking, which researchers usually note in his romances – the significant role of accompaniment and a simple 3-part form, having their own historical archetype in the baroque three-part aria da capo (Antipov, 2014: 9) – can be found in “Six choirs”. The enormous artistic role of the piano accompaniment, its developed texture and organic unity with the score should be especially paid attention to. The vivid imagery of the cycle owes much to the instrumental part, which the composer not only went far beyond the accompaniment, but often has independent significance too. At first glance, the choral score of the cycle is uncomplicated – mainly with diatonic two-voice. But behind seeming simplicity, inexhaustible performing tasks for the choir and piano part are in favor. The extreme choral plays frame the cycle with themes of deep ethical and spiritual content that had not previously been encountered in children’s choral music. The middle rooms are dominated by bright lyrics, youthfully light sadness, and harmony between the pictures of nature and the states of the human soul reigns. No. 1 “Glory!” – the character of the work conveys pathetic, prayer (appeal to the Almighty for blessing) and lyrical-patriotic feelings. In the 3rd section of the miniatures, the accompaniment fills the music with fanfare intonations, in the last 6 beats, the dynamic tension within the framework of one tonic harmony is steadily increasing, and in the bass of the piano the bell ringing and ceremonial drum beat are imitated, completing the picture of the celebration. In No. 2 “Night”, the author embodies a dreamy-contemplative mood with the help of the choral cantilena. Frettonal ambiguity of the extreme parts (major-minor), functions languidly lasting for several measures, delicate harmonic colors, flexible ligature of figures, masterful techniques of sound-visualization contribute to a special refinement of moods and miniature images and are associated with impressionist music. No. 3 “Pine” – S. Rachmaninov chose M. Lermontov’s translation as the theme of loneliness and dreams of happiness, giving contrast to the musical images of northern Pine and southern Palma. No. 4 “The waves dosed off” – to convey the state of spiritual harmony and dreamy peace S. Rachmaninov found a set of expressive compositional techniques. Here we emphasize the special independence of the piano part, which does not contain a choral theme, but plays an important soundvisual role, enriching the narration of the choir. No. 5 “Captivity” – the image of a gentle bird, imprisoned in a golden cage, is widespread in fairy tales and poetry of the peoples of the world, as well as in choral music. In N. Tsyganov’s verses, the denouement is optimistic – the nightingale is set free. S. Rachmaninov relies intonationally on the Russian peasant cry-lamentation. The melody has a touching colour, the miniature is distinguished by a bright national color. No. 6 “Angel”. The poem tells of the great sacrament of conception in the spiritual world of a new person’s life. The Angel carries this person’s soul from heaven to earth to connect it with the body of the unborn child. In flight, an Angel sings a song about celestial gardens to this yet unincarnated Soul. The composer weaves a fragment of the motive-symbol “Dies irae” into Angel’s theme, entrusting it to a part of the alto and veiling from above the unrecognizabl third major second part of the soprano. The smoothly descending theme of the Soul can be described in this context as “katabasis”. This symbolism gives the miniature a deep philosophical meaning. S. Rachmaninov was the first Russian composer to create an example of concert purpose in The “Six choirs”. He raised to a new level the theme of children’s works, characteristic of the genre of that time. And that is education of a spiritually rich personality. The author revealed the extraordinary rhythmic and intonational richness of musical speech, the mastery of texture, harmony, the sophistication of technical techniques, and the tonal color scheme were rare for children’s choral music of that time. The richness of colors and the layering of the piano part bring it closer to the orchestra. In The “Six choirs for children’s or women’s voices” S. Rachmaninov revealed a new example of children’s choral music for concert purposes, which has high artistic merits, a deep substantive theme, and an aesthetic and educational orientation. The composer first attracted high poetry, revealed a spiritual and moral subtext. The theme of Faith, reflected in the first and last miniatures, “rings” the cycle, like Alpha and Omega, giving special semantics and significance to its figurative content. The essay reflected important artistic principles and writing techniques, characteristic of his subsequent opuses, but new to the children’s genre. Like the First Symphony (1895), created in the same year as the cycle, the “Six choirs” for the first time include the theme “Dies irae” symbolic for S. Rachmaninoff’s art, which further permeates his work up to “Symphonic dances”, as well as the theme “katabasis” revealing the spiritual and philosophical meaning of the work. This cycle was S. Rachmaninov’s only experience in children’s choral music, in which first for the genre he embodied high spiritual and ethical ideas of a romantic artist, his Christian picture of the world, the eternal themes of love for the Fatherland, life and death, good and evil, also actual for modern society and children of the XXI century. Prior to S. Rachmaninov, children’s choral music did not know such a depth of content, mastery of embodiment, aesthetic pleasure. The unsurpassed beauty of “Six choirs for children’s or women’s voices” made them a phenomenon of perfection in musical art for children, which is timeless, of course.
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Armstrong, R., and Lauren Redhead. "/'(H)weth: Voice - breath - body - form/s." New Sound, no. 46 (2015): 155–67. http://dx.doi.org/10.5937/newso1546155a.
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/'(h)weTH is a collaborative work of visual and sound art produced by R. Armstrong (USA) and Lauren Redhead (UK). The work combines an installation, two video projections, four channel sound, and an optional solo performance part, in order to create an experience that is simultaneously aural and visual, in all of its elements. This article sets out to further explore the main themes of the work, by means of a dialogue between the voices of the two artists. In doing so, it also facilitates a discussion of how /'(h)weTH might contribute to an understanding of the materiality of sound art, and the boundaries between visual art, sound art, and music.
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Richards, Simon. "Demolition traditions: Isozaki and Sakaguchi." Architectural Research Quarterly 25, no. 1 (March 2021): 31–42. http://dx.doi.org/10.1017/s1359135521000154.
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If ever an architect bit the hand that fed, it was the young Arata Isozaki, a mercurial and uncompromising architectural talent who would go on to secure establishment respectability with the Pritzker Prize of 2019. But he made his renown with designs and exhibitions exploring themes of death and destruction, not least his ‘Fractures’ pavilion for the 1996 Venice Biennale, which sought to stage the aftermath of the Kobe earthquake from a year earlier, while also being a leading proponent of a playful, almost saccharine postmodernism, with projects including the Team Disney HQ of 1991. Immersed in the leading currents of Japanese architecture from the 1960s onwards, his tendency to snipe at the motives of his collaborators was legendary. Commentators have tried to account for these professional shifts and antagonisms, his dour and contrarian thematic obsessions, as well as his critiques of architectural traditionalism and technological progressivism. Why did he conduct his professional life and art this way? The conclusion seems to be that he was a nihilistic maverick pushing at the outer limits of architectural culture and even taste.
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Графова, Е. О. "Influence of Botanical Research on the Development of the Art Nouveau Style in Western Europe and Russia (The Late 19th – Early 20th Centuries)." Nasledie Vekov, no. 4(28) (December 31, 2020): 103–15. http://dx.doi.org/10.36343/sb.2021.28.4.007.
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Автор определяет значение ботанических исследований и связанного с ними жанра ботанической иллюстрации для эволюции отечественного и зарубежного декоративно-прикладного искусства (ДПИ) эпохи модерна. Материалами выступают мемуарная литература, альбомы ботанической иллюстрации, ряд научных разработок, отраженных в обзорных монографиях по истории и стилистике ар-нуво, а также результаты прикладных исследований. Изучены зарубежные выставки садоводства рубежа XIX–XX вв., охарактеризованы своды произведений ботанической иллюстрации и издания по дизайну, относящиеся к этому периоду. Выявлены флоральные мотивы в творчестве отечественных и зарубежных мастеров ДПИ. Установлено, что флоральные сюжеты ар-нуво возникли во многом на фундаменте открытий ученых-ботаников и ботаническая иллюстрация явилась основой для соответствующих художественных мотивов. Использование в произведениях ДПИ эпохи модерна растений служило своеобразным средством популяризации и сохранения природного наследия. The author reveals the importance of scientific research in the field of botany and plant acclimatization, as well as related works of botanical illustration, for the development of certain branches of arts and crafts of the Art Nouveau Era in Russia and abroad. A wide range of materials is used: memoirs, albums of botanical illustration, a number of scientific developments reflected in overview monographs on the history and style of Art Nouveau, the results of applied research by art historians, philosophers and specialists in the history of architecture and arts and crafts. The author proceeds from the thesis about the synergy of science and art, which presupposes the consideration of these two forms of understanding objective reality (and the corresponding methods and types of activity) as closely related objects. The author employs diachronic, systemic-historical and historical-genetic methods, as well as iconographic techniques and methods of researching the symbolic content of works. The main idea of the research is to trace and reconstruct the links between developments in the field of scientific gardening at the turn of the 20th century and the development of floral themes in the arts and crafts of the Art Nouveau Era. An exhibition of horticulture, which took place during this period in Western Europe, is considered; and plant species that were popular among specialists engaged in their acclimatization and cultivation are established. Collections of works of botanical illustration and publications on design, published during the period under study, were analyzed to identify the sources of creative searches of European Art Nouveau artists. Attention is paid to the Paris World Exhibition of 1900, which took place at the dawn of the Art Nouveau Era and was a platform for demonstrating the main trends in the development of European art. Floral motives in the works of Russian and foreign jewelers, ceramists, glassblowers and architects are revealed; the degree of their realism is determined, which serves as an indicator of the connection between artistic embodiment and natural prototype. It has been established that the floral plots of Art Nouveau arose largely on the foundation of the discoveries of botanists, and botanical illustration was the basis for the corresponding artistic motives. Knowledge in the field of plant morphology opened new contexts in the iconography of the artistic heritage of Europe and Russia. The use of plants in the works of decorative and applied art in the Art Nouveau Era served as a kind of means for popularizing and preserving natural heritage.
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Sacks, Edward S. "Theater, Performance, and Illusion in Ovid Metamorphoses 11." Illinois Classical Studies 47, no. 1 (April 1, 2022): 102–31. http://dx.doi.org/10.5406/23285265.47.1.05.
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Abstract Themes of theater, performance, and illusion course through Metamorphoses 11. The theme of “theater” and its disintegration is established in the opening Orpheus episode and culminates in Ceyx-Alcyone, where Morpheus's self-conscious acting in Alcyone's dream shatters the usual harmony between actor and role. The unveiling of theater is also connected with the unveiling of metamorphosis. This latter disruption, in the Peleus-Thetis episode, involves crucial disclosures about metamorphosis by one metamorphic deity Proteus to defeat the transformations of another (Thetis). These disintegrations are part of connected motifs, wherein art, artist, and metamorphosis are severed into component parts and exposed to view.
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Kudaibergenova, Diana T. "“My Silk Road to You”: Re-imagining routes, roads, and geography in contemporary art of “Central Asia”." Journal of Eurasian Studies 8, no. 1 (January 2017): 31–43. http://dx.doi.org/10.1016/j.euras.2016.11.007.
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This paper re-focuses the Silk Road discussions from the position of contemporary art in Central Asian region. Since the late 1980s contemporary art in Central Asia boomed and it eventually became an alternative public space for the discussion of cultural transformations, social and global processes and problems that local societies faced. Initially the questions raised by many artists concerned issues of lost identity and lost heritage during the period of Soviet domination in the region. Different artists started re-imagining the concept of the Self in their works and criticising the old rigid approaches to geography, history and mobility. Nomadic heritage became one of the central themes in contemporary art of Central Asia in the 1990s. Artists started experimenting with symbols of mobility, fluid borders and imagined geography of the “magic steppe” (see Kudaibergenova 2017, “Punk Shamanism”). Contemporary art in Central Asia continues to serve as a space for social critique and a space for search and re-conceptualisation of new fluid identities, geographies and region's place on the world map. In this paper I critically evaluate three themes connected to the symbolism of Silk Road heritage that many artists engage with – imagined geography, routes, roads and mobility. All three themes are present in the selected case studies of Gulnara Kasmalieva's and Muratbek Djumaliev's TransSiberian Amazons (2005) and A New Silk Road: Algorithm of Survival and Hope (2007) multi-channel video art, Victor and Elena Vorobievs’ (Non)Silk Road (2006) performance and photography, Almagul Menlibayeva's My Silk Road to You video-art and photography (2010–2011), Yerbossyn Meldibekov's series on imagining Central Asia and the Mountains of Revolution (2012–2015), and Syrlybek Bekbotaev's Kyrgyz Pass installation (2014–2015) as well as Defenders of Issyk Kul (2014). I trace how artists modernise, mutate and criticise main discourses about Silk Road and what impact this has on the re-imagination processes.
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Omosule, Segun. "Aesthetics in Biripo Musical Performance." AGOGO: Journal of Humanities 5 (February 14, 2021): 116. http://dx.doi.org/10.46881/ajh.v5i0.230.
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Music is a universal language. Biripo music, even when restricted to a group of people in the Ikale/Ilaje/Apoi milieux, is an embodiment of the consciousness of the folks that combines the art of the people with entertainment as a major cultural thrust, achieving religious indoctrination, and entrenching ethical values in the environment. This paper attempts an analysis of the musical performance of Zeblon Omoranmowo entitled: word hangs loose and bursts (Oro Ma Se Dugbe Dugbe o Be o) through an examination of the subject matter, themes and analogies that may constitute veritable sources of conflicts to the larger society and internal disquietude to individuals. The paper explores the stage performance through an examination of the persona, competence, interaction, talent and reception. While relying on aesthetics as a tool of explication, the study unveils the response of the audience finding expression in dancing, clapping and offer of monetary gift to band members and concludes that the musical performance fulfils the yearning of the folks for entertainment.
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Bogumil, Tatiana. "Biblical Plots in the Siberian Text." Проблемы исторической поэтики 18, no. 4 (November 2020): 331–47. http://dx.doi.org/10.15393/j9.art.2020.8742.
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The article describes and systematizes biblical plots characteristic of the Siberian text in Russian culture. The colonization of Siberia was accompanied by the Christianization of its autochthons. The influence of the church on the formation of the local literary tradition was very strong. The regional specifics of Siberia (nature, history, ethnos) influenced the selection of biblical motifs and plots in the works about this space. The comparative approach made it possible to identify and chronologically organize the following biblical themes paradigmatic for the Siberian text: apostolic / missionary. Christological initiation, exodus, the prodigal son. Biblical stories related to Siberia were inverted over time, and religious semantics were supplanted by other topics. The single core that allows to amalgamate these plots and motives is the idea of transformation (of oneself, another person, space). Hypothetically, each plot has its own period of maximum productivity, followed by a recession. The missionary plot and the plot of Christological initiation were revised in the 17th century and remained productive until the end of the 19th century. The narrative of the search for Belovodye, isomorphic to the exodus of Jews from Egypt, arose at the end of the 18th century. It was active until the end of the 20th century. The motive of the prodigal son was relevant in the middle of the 19th century in the work of the regionalists and, later, their heirs. Globalization and informatization processes and the blurring of spatial and cultural boundaries gradually make this plot irrelevant. It is possible to expand the “canonical” spectrum of biblical images, motifs, and plots for the Siberian text by engaging new material.
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Samali, Bijan, Saeed Nemati, Pezhman Sharafi, Farzaneh Tahmoorian, and Farshad Sanati. "Structural Performance of Polyurethane Foam-Filled Building Composite Panels: A State-Of-The-Art." Journal of Composites Science 3, no. 2 (April 10, 2019): 40. http://dx.doi.org/10.3390/jcs3020040.
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Composite panels with polyurethane (PU) foam-core and facing materials, such as gypsum, engineered wood or some composite materials, are being used as structural members in building construction. This paper reviews and summarises major research developments, and provides an updated review of references on the structural performance of foam-filled building composite panels from 1998 to 2017. The review revealed that previous studies on the structural performance of foam-filled building composite panels could be categorised into five themes; namely, energy absorption and dynamic behaviour; bending and shear behaviour, edgewise and flatwise compressive/tensile behaviour; delamination/deboning issues; and finally some miscellaneous issues. These categories comprise approximately 30%, 40%, 11%, 11% and 8% of related studies over the last two decades, respectively. Also, over the past five years, the number of relevant studies has increased by ~400% relative to the previous similar periods, indicating the attention and focus of researchers to the importance of the structural performance of foam-filled composite panels.
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Madeira, Claudia. "Body and Mind, and Vice-Versa, or the Continuing Performative Sexual Revolution in Portuguese Arts." Arts 11, no. 3 (May 27, 2022): 60. http://dx.doi.org/10.3390/arts11030060.
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In Everyday Life in the Modern World, first published in 1968, Henri Lefebvre presents the sexual revolution as the first instance of the cultural revolution. This aspect has remained one of the central themes of contemporary activism, often reflecting the relationship between social and artistic performance, between art and life or even presenting life as art. Hinged on this relationship, we will discuss some Portuguese art works produced between the 1960s and the present: from dictatorship into democracy. These works build a continuing thematic thread related to what has been termed the “intensification of bodies” but also, as we intend to explore in this article, to a necessary “intensification of minds”, concerning eroticism, sexuality and love.
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Vinogradov, Igor. "THE “ARABESQUES” CYCLE BY N. V. GOGOL: UNITY OF COMPOSITION AND PROBLEMS." Проблемы исторической поэтики 19, no. 4 (December 2021): 234–304. http://dx.doi.org/10.15393/j9.art.2021.10262.
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The unity of the problematics and the author’s principles of composition of the collection of N. V. Gogol “Arabesques” (1835) are investigated. The unobvious unity and integrity of the writer’s poetic encyclopedia — “Arabesque” — become apparent through the coverage of the cross-cutting themes and motives of the cycle, the numerous interconnections and overlaps between the articles, essays and stories included in the collection. It is established that the organizing beginning of the cycle is the writer’s reflections of a religious and political nature. From the point of view of this main component, all eighteen works of the collection are analyzed in detail. For the first time, the influence of spiritual literature — the lives of saints, patristic works, the significance of the articles of “Philokalia” — a well-known collection of works on the prayer-contemplative experience of monastic life — is highlighted in the early works of Gogol. The spiritual aspect of the writer’s reflections on history, arts, folk art, world literature, poetry of A. S. Pushkin is noted. Gogol’s polemic with the positions of one of the founders of German romanticism, V. G. Wackenroder, is touched upon. The problems posed in the collection of the opposition of old age and youth, “sensual” life and the poetry of spirituality are analyzed, the image of the “fragmentation” of life as a distinctive feature of modernity is traced. The organic correlation of “Arabesques” with the previous and subsequent works of the writer is revealed — with the youthful poem “Ganz Kuchelgarten,” with the cycle “Mirgorod,” with “Dead Souls,” “Theatrical tour after the presentation of a new comedy,” “Selected passages from correspondence with friends” and etc. The author emphasizes the consistency of the writer’s creative path and the integral spiritual and moral character of his legacy.
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Motion, Flow. "Astro Black Morphologies: Music and Science Lovers." Leonardo 39, no. 1 (February 2006): 23–28. http://dx.doi.org/10.1162/002409406775452258.
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Acompressed series of possible histories of science in modern music, the text outlines the themes of poetic and historic correspondences between music, cosmology and the body that informed the making of Astro Black Morphologies/Astro Dub Morphologies, a multimedia installation and live sound-art performance by Flow Motion in which data from possible black hole Cygnus X1 is transformed into an immersive electronic sound-and-image environment.
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Suharta, I. Wayan. "Ogoh-Ogoh Attraction Of Nyepi Ritual In Bali." Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 3, no. 1 (June 1, 2019): 57. http://dx.doi.org/10.25078/ijhsrs.v3i1.785.
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<p>Ogoh-ogoh as an artwork and at the same time is a cultural phenomenon in the social life of the Balinese community besides being filled with symbolic values, also giving freedom of expression. Not only does it elevate mythological tales, but it also raises actual everyday themes that are used as autocritical expressions of social phenomena.</p><p>Ogoh-ogoh in performance art is a spectacle of a combination of works of art, art, and mechanical technology. It is a creative effort of young artists to innovate. Ogoh-ogoh is seen as a central figure, even appointed as the theme of the artwork. The dancers play certain characters according to the characterization in the story, the results are displayed in the form of dance fragment.</p><p>Animatronic adopted and combined with performance art is a form of the latest developments in performing arts in Bali. It becomes a challenge, because the technology continues to grow. Aesthetic sensitivity is needed, namely the synergy between dance, music, fine art, and mechanical technology, involving skilled and qualified personnel in their respective fields.</p>
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Frfulanović, Dragana, Aleksandra Jevtović, and Milena Savić. "Modern art and stage costume: The case of Dragilev's Ballets Russes." Tekstilna industrija 70, no. 2 (2022): 40–50. http://dx.doi.org/10.5937/tekstind2202040f.
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Sergei Dragilev recognized the vitality of modern art that brought freshness to the culture, so all innovative artists of the time were invited to join his campaign and goal. And he reflected on the fact that ballet breaks the shackles of the traditional concept in the performance of dance, music, costume design, and scenography and imposes an element of challenge by introducing current contemporary tendencies in art and culture. All the famous names of the art of that time brought the latest achievements of modern art into the world of dance: Pablo Picasso, Natalia Goncharova, Henri Matisse, and Giorgio de Chirico. And with them, the design of scenography and costume design took the form of cubism, fauvism, futurism, surrealism, and other avant-garde movements, while refreshing the themes, which overall influenced ballet to become part of popular culture.
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Abdullatif, Noor Isa, and Isra Hashim Taher. "The Old Vs. New Indian Culture in Anita Desai's In Custody." Al-Adab Journal 3, no. 142 (September 15, 2022): 47–58. http://dx.doi.org/10.31973/aj.v3i142.3829.
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Anita Desai (1937- ) is a contemporary Indian novelist, short story, and children's books writer. She introduces psychological novels to India. Her works are highly symbolic. In her novels, she discusses cultural themes like the clashes of Eastern and Western cultures and the conflicts between Indian cultures and religions. In In Custody (1984), she discusses many cultural themes focusing on the death of the old valuable culture of India after Partition and the birth of a new culture.
In In Custody (1984), Desai depicts the changes that India has witnessed in post-colonial period. She focuses on the ruined ancient Indian culture which has been replaced by a new materialistic one at the hands of the British colonization. She concentrates on the death of art and poetry specially the death of Urdu poetry and language which are associated with the glorious culture once India had in the past. Deven, the protagonist, whose ambition is to be a great poet in Urdu is forced to teach Hindi instead of Urdu which is rarely used. The novelist narrates the journey of Deven who struggles to revive Urdu poetry by interviewing the famous Urdu poet, Nur. Deven faces many obstacles during his journey. These obstacles are represented in the change India has witnessed and in the change of people's motives and mentality. The paper discusses the influence of the Partition and the British colonialism on the Indian culture and the change India witnessed due to the Partition between Muslims and the Hindus.
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Hidayatullah, Panakajaya. "Islam, National, and Local History in Tabbhuwan Walisanga Performance Art." Journal of Urban Society's Arts 7, no. 2 (December 13, 2020): 94–108. http://dx.doi.org/10.24821/jousa.v7i2.3827.
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Tabbhuwân is a Madurese tradition of performing arts. In the present context, modern culture influences many young people. It has become a restlessness for the clerics who then think of strategies on how to incorporate Islamic values in the younger generation today. In 2015 in Situbondo, Wali Sanga boarding school established a tabbhuwân wali sanga art group. Tabbhuwân is considered a way of preaching according to the conditions and culture of the community of Madura Situbondo. The players consist of the santri of the younger generation of Islamic boarding schools. Tabbhuwân wali sanga features Islamic drama performances that elevate the play of Islamic history and Indonesia. The play included Islamic history (stories of the companions of the Prophet Muhammad), local history, the history of the entry of Islam on Java (walisanga), and the history of Indonesian independence, one of which was titled ‘Jihad Resolution.’ Besides, tabbhuwân also includes elements of Madurese culture, including language, traditional music, expression, decoration, and discourse. Tabbhuwân plays a role in the spread of Islam, preserving Madurese culture and instilling nationalism in society through historical themes. The lower-middle-class community assumes that tabbhuwân is a means to understand the historical, social, and cultural realities occurring today. Tabbhuwân also influences fostering a sense of nationalism through heroic historical values, especially to the younger generation. In this case, tabhuwân imagines Indonesia in the discourse of religious nationalism. Islam, Nasional, dan Sejarah Lokal dalam Seni Pertunjukan Tabbhuwan Walisanga. TabbhuwânadalahsenipertunjukantradisimasyarakatMadura.Dalamkontekskekinian, budaya modern banyak mempengaruhi kaum muda. Hal ini menjadi keresahan para ulama yang kemudian memikirkan strategi bagaimana memasukkan nilai-nilai Islam pada generasi muda saat ini. Pada tahun 2015 di Situbondo, Pondok Pesantren Wali Sanga mendirikan kelompok seni tabbhuwân wali sanga. Tabbhuwân dianggap sebagai cara dakwah yang sesuai dengan kondisi dan budaya masyarakat Madura Situbondo. Para pemainnya terdiri dari para santri generasi muda pondok pesantren. Tabbhuwân wali sanga menampilkan pertunjukan drama Islam yang mengangkat lakon sejarah Islam dan Indonesia. Lakon tersebut meliputi sejarah Islam (cerita para sahabat Nabi Muhammad), sejarah lokal, sejarah masuknya Islam di Jawa (walisanga), dan sejarah kemerdekaan Indonesia, salah satunya bertajuk ‘Resolusi Jihad’. Selain itu, tabbhuwân juga memasukkan unsur budaya Madura yang meliputi bahasa, musik tradisional, ekspresi, ragam hias dan wacana. Tabbhuwân berperan dalam penyebaran agama Islam, pelestarian budaya Madura dan menanamkan nasionalisme dalam masyarakat melalui tema sejarah. Masyarakat kelas menengah ke bawah menganggap tabbhuwân sebagai cara memahami realitas sejarah, sosial dan budaya yang terjadi saat ini. Tabbhuwân juga memiliki pengaruh dalam menumbuhkan rasa nasionalisme melalui nilai-nilai sejarah yang heroik, khususnya kepada generasi muda. Dalam hal ini, tabhuwân membayangkan Indonesia dalam wacana nasionalisme agama.
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Luczak, Tony, Reuben Burch, Edwin Lewis, Harish Chander, and John Ball. "State-of-the-art review of athletic wearable technology: What 113 strength and conditioning coaches and athletic trainers from the USA said about technology in sports." International Journal of Sports Science & Coaching 15, no. 1 (November 4, 2019): 26–40. http://dx.doi.org/10.1177/1747954119885244.
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Wearables are a multi-billion-dollar business with more growth expected. Wearable technology is fully entrenched at multiple levels of athletic competition, especially at the National Collegiate Athletic Association (NCAA) and professional levels where these solutions are used to gain competitive advantages by assessing health and performance of elite athletes. However, through the National Science Foundation (NSF) Innovation Corps (I-Corps) training experience, a different story emerged based on pilot interviews from coaches and trainers regarding the lack of trust in wearables, and how the technology falls short of measuring what practitioners need. An NSF I-Corps project was funded to interview over 100 strength and conditioning coaches (S&CCs) and athletic trainers (ATs) regarding the current state of wearables at the NCAA and professional levels. Through 113 unstructured interviews, a conceptual map of relationships amongst themes and sub-themes regarding wearable technology emerged through the grouping of responses into meaning units (MUs). Interview findings revealed that discussions by S&CCs and ATs regarding wearables could be grouped into themes tied to (a) the organizational environment, (b) the athlete, and (c) the analyst or data scientist. Through this project, key findings and lessons learned were aggregated into sub-themes including: the sports ecosystem and organizational structure, brand development, recruiting, compliance and gamification of athletes, baselining movement and injury mitigation, internal and external loads, “return tos,” and quantifying performance. These findings can be used by practitioners to understand general technology practices and where to close the gap between what is available versus what is needed.
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Prickett, Stacey. "Hip-Hop Dance Theatre in London: Legitimising an Art Form." Dance Research 31, no. 2 (November 2013): 174–90. http://dx.doi.org/10.3366/drs.2013.0075.
Full textAbstract:
Programming schedules in the West End and other prominent London venues are increasingly featuring hip-hop dance productions, marking innovative forays into the mainstream performance field by a former subcultural style. Choreography by Rennie Harris in the USA and Jonzi D, Kate Prince, Sandy ‘H20’ Kendrick and composer Michael ‘Mikey J’ Asante in London offers material through which to consider developments in the theatricalisation of hip hop culture. Discussion also centres on mass media dissemination through television talent shows, films and cultural festivals such as the Olympic Games ceremonies. Analysis of reviews by professional critics reveals how some stereotypes are disrupted as the cultural capital of hip-hop dance rises. Key themes, including the use of narrative, characterisation and the disruption of dominant gender expectations, are drawn from a Society for Dance Research Study Day on ZooNation Dance Company in 2011. *