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1
IOAN, Tudor. "Artistic and Scientific Activity Professionalization, a Trend of Contemporary Culture." Annals of Dunarea de Jos University of Galati. Fascicle I. Economics and Applied Informatics 27, no. 2 (September 1, 2021): 129–32. http://dx.doi.org/10.35219/eai15840409200.
2
Postolachi, Iulia. "Specificity and levels of artistic excellence of teaching staff in primary education." Acta et commentationes: Științe ale Educației 30, no. 4 (December 2022): 175–81. http://dx.doi.org/10.36120/2587-3636.v30i4.175-181.
Анотація:
The article presents the description of the results of the experimental pedagogical research of the artistic excellence of primary education teachers carried out in the continuous training courses in the field of professionalization. The content of the article includes the experimental data at the ascertainment stage regarding the levels of formation of artistic excellence of teaching staff and the particularities of their affirmation through values (artistry, expressiveness, communicative assertiveness, enthusiasm and choreographic mastery, etc.) and specific components (theatrical, artistic communication, deontology pedagogical and professional identity) affirmed in the intrapersonal area and the social area in deontological conduct.
3
Levitсka, V. A., and N. M. Pavlyuk. "ARTISTIC EDUCATION 2019: AS A MOVING FORCE OF FORMATION OF NATIONAL CULTURE." Innovative Solution in Modern Science 5, no. 32 (August 14, 2019): 99. http://dx.doi.org/10.26886/2414-634x.5(32)2019.7.
Анотація:
The article examines the traditions of the extrashaltors in the context of the professionalization of the Ukrainian national art, clarifies the importance of the national tradition for Ukrainian art and the spiritual culture of our people as a whole. It was noted that in the development of the Ukrainian national extra-curricular education the ideas about the introduction of national priorities and the democratization of education were established. It has been established that the development of nationally oriented artistic education is possible only in the state of unity and contradiction of the national and global. It is proved that artistic education continues to develop. Attention is drawn to the processes of national diversification and global unification of artistic education of the second half of the 20th century. Key words: artistic education, national tradition, extra-curricular education, artistic and national culture.Citation: V. A. Levitсka, N. M. Pavlyuk. (2019). ARTISTIC EDUCATION 2019: AS A MOVING FORCE OF FORMATION OF NATIONAL CULTURE. Innovative Solutions in Modern Science. 5(32). doi: 10.26886/2414-634X.5(32)2019.7
4
Tallián, Tibor. "Oper spielen — Opern schaffen Entstehungs- und Aufführungsgeschichte der ersten ungarischen Operntragödie." Studia Musicologica 55, no. 3-4 (September 2014): 179–235. http://dx.doi.org/10.1556/6.2014.55.3-4.1.
Анотація:
The paper investigates the genesis as well as the performance history of Ferenc Erkel’s first opera. Bátori Mária, the first Hungarian tragic national opera was premiered on 8 August 1840 at the Hungarian Theatre in Pest. In it, Erkel adapted the model of Italo-French romantic opera. Further representations of Bátori Mária spanned over the following two decades. Based on contemporary critical reviews, the author offers a reconstruction of the performances, traces the soloists’ artistic carreer, and highlights the difficult process of professionalization of Hungarian opera playing.
5
Sieveking, Nadine. "‘CREATE YOUR SPACE!’ LOCATING CONTEMPORARY DANCE IN OUAGADOUGOU." Africa 84, no. 1 (February 2014): 55–77. http://dx.doi.org/10.1017/s0001972013000661.
Анотація:
ABSTRACTSince the turn of the century contemporary dance has been gaining momentum as a pan-African artistic movement in which a new generation of performers is engaging. In contrast to more popular forms of ‘traditional’ or ‘modern’ performance genres, this new movement has evolved within the cosmopolitan urban elite and is driven by processes of professionalization that lead to the creation of new, border-crossing artistic spaces. These spaces are characterized by new boundaries and inequalities, related to various modes of distinction reflecting the shifting grounds of social status – gendered, generational, knowledge-based and economic. Taking an artistic ‘capacity-building’ project targeting female dancers in West Africa as an entry point, the article analyses how the practice of contemporary dance in Ouagadougou leads to the emergence of a translocal social space embedded in a dense network of transnational relations and connected to global art worlds. It is argued that the unequal power relations characterizing the professional art world of contemporary dance reflect the tensions and contradictions of local urban societies in the making and at the same time contribute to a reconfiguration of urban spaces where new forms of rooted cosmopolitanism can be invented.
6
Pérez Solís, Rocío. "El performance como recurso didáctico en la Educación Socia." Qurriculum. Revista de Teoría,Investigación y Práctica educativa, no. 35 (2022): 123–31. http://dx.doi.org/10.25145/j.qurricul.2022.35.06.
Анотація:
In this paper we present an innovation proposal for the use of performance as a didactic resource in the initial training of the Social Education Degree. Social Education involves a multidimensional practice, and its purpose is to contribute to the integral development of people, so we reflect on the figure of the educator and its possibilities of professionalization in the line of Education through Art. The core activity of this work are some didactic guidelines on how to work the components and elements that constitute the creation of a performance for the use of a social intervention by future social educators, focusing on this artistic practice as an active methodology. The objective is to approach the creative process and its didactic orientations to carry out the phases of interdisciplinary learning, to know the components of performance and the use of the multilanguage characteristic of contemporary art. Among the conclusions we highlight that the practice of performance as an intervention tool for the field of Social Education can generate new narratives in contemporary society and urges an initial training in these artistic practices.
7
Calmis, Dumitru. "The constitution of the academic accordion art in the Moldavian SSR in the period 1940–1960." Arta 30, no. 2 (December 2021): 38–44. http://dx.doi.org/10.52603/arta.2021.30-2.05.
Анотація:
With the annexation of Bessarabia to the USSR, the process of professionalization of accordionists, convering all levels of artistic education in the country, is influenced by the evolution of performing arts in Eastern Europe (especially Russia, Belarus, Ukraine). The academic bases are consolidated by illustrious pedagogues, such as Iziaslav Birbraier, Valentin Zagumionov (I. Birbraier’s student), Ivan Folomkin (one of the first graduates of the Gnesin State Musical-Pedagogical Institute in Moskow) and others. Durind the years 1940–1960, the establishment of the accordion interpretive art in the Moldavian SSR was directly conditioned by the massive ideologization of the ex-Soviet cultural space, which largely blurred the national identity aspect in the accordion academization process. Based on the classical-romantic aesthetics „adjusted” by the doctrine of socialist realism, the professionalization of Bessarabian instrumentalists is distinguished by a prominent conservatism compared to other accordion schools of that period, such as German, Danish, Czech etc. (we refer primarily to the compositional domain). Even if in this time segment the accordion failed to fully integrate into the „family” of European academic instruments, taking into account some areas (organological, compositional, pedagogical, interpretive) that needed to be intensely perfected, the first postwar decades can still be considered the reference point for establishing the academic status of chromatic harmonics in the Moldavian SSR
8
Losano, Antonia. "The Professionalization of the Woman Artist in Anne Brontëë's The Tenant of Wildfell Hall." Nineteenth-Century Literature 58, no. 1 (June 1, 2003): 1–41. http://dx.doi.org/10.1525/ncl.2003.58.1.1.
Анотація:
Critics of Anne Brontëë's The Tenant of Wildfell Hall (1848) have frequently noted the artistic endeavors of the novel's heroine, Helen Graham, yet they have not fully considered the historical and narratological ramifications of Helen's career as a painter. This essay argues that Helen's artworks cannot be considered as mere background to the novel or as simply symbolic reflections of the heroine's (or the author's) emotions. Instead, we must see the scenes of painting in Tenant as indicators of the novel's radical view of women's role as creative producers during a particularly complex moment in art history, one in which early-nineteenth-century female amateurism began its gradual transition from amateur "accomplished" woman to the professional female artist——a historical transition that, as is suggested in readings of various nineteenth-century novels, is in its earliest stages at precisely the moment of the writing and publication of Tenant. At the narrative level, the novel's many scenes of painting provide its readers with detailed, if oblique, guidelines for interpretation; the novel is formally and ideologically impacted by the presence of its painter-heroine. Most particularly, such a reevaluation of the role of painting in the novel resolves a central critical debate over the novel's problematic narrative structure.
9
Bardi, Augustine Okola. "7. Universal Studios of Art: Professionalization and Contributions to Art Education in Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 175–85. http://dx.doi.org/10.1515/rae-2017-0023.
Анотація:
Abstract During the 2nd Black World and African Festival of Arts and Culture (FESTAC) in 1977, a lot of novel, creative and artistic events took place in Lagos. One of these was the construction of a monument, the National Arts Theatre, which also accommodated the National Gallery of Art. Invariably, the presence of the Gallery made the Arts Theatre management allocate the premises of the Theatre to some notable Nigerian artists for use as Artists in Residence. The premises eventually, by 1980, became an institutional and inspirational workshop for budding Nigerian artists. The activities of the artists were so professionally accepted that it was named the National Studios of Art. However, at the time the Studio had become the centre of sound informal art training, it was given a relocation order which caused serious controversy between the Gallery and the artists. The artists eventually accepted the relocation order, and this, necessarily, led to changing the name to the Universal Studios of Art (USA). As the professional artists became globally known, the USA also became a tourist centre for both local and foreign visitors and artists. Till today, the activities of the USA continue to attract national and international attention. Very as unfortunately, no scholarly study of the Universal Studios of Art has been carried out, despite its outstanding professional qualities.. For many years, the artists have developed valuable art forms and art styles that have contributed to the advancement of modern Nigerian art. It is the objective of this article, therefore, to document the artists of the Universal Studios of Art.
10
Kuryshev, Eugen. "Competitions of performing skills in the conditions of distance carrying out (experience 2020 - the beginning of 2021)." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 119–23. http://dx.doi.org/10.32461/2226-2180.39.2021.238704.
Анотація:
The purpose of the article is to identify the specifics of remote art events, including competitions of performing skills. The research methodology includes the use of methods of comparative analysis and synthesis, the basis of the study is the dialectical principle of cognition, systemic, socio-cultural approaches. General scientific and interdisciplinary research methods are used: analysis and synthesis, induction and deduction, comparison and formalization. The scientific novelty lies in an attempt to identify the main types of remote forms of art activities, identification of the main requirements for distance competitions, and determining their professionalism vector and the possibilities of using distance learning technology in further artistic practice is in the contest performance skills. Conclusions. The main forms of art projects are highlighted in some examples of the Institute of Arts of Borys Hrinchenko Kyiv University. It was found that the elements of the use of information (remote technologies) have been used as a method of selectivity in some international competitions. It is determined that at present clear rules for recording have been formed, which promote professionalization and create conditions for the development of chamber music in the performing arts. It is emphasized that the new conditions of functioning of performing arts allow asserting the remote space of concert-competitive activity and is a place of creation of new artistic values and a carrier of original ideas and concepts.
11
Muñoz-Diaz, Javier Alonso. "Indigenous-Inspired Authorial Figures and Networks of Rural-Urban Migrants in The Fox from Up Above and the Fox from Down Below (1971), by José María Arguedas." English Language Notes 58, no. 1 (April 1, 2020): 75–91. http://dx.doi.org/10.1215/00138282-8237421.
Анотація:
Abstract This article discusses the representation of Indigenous-inspired authorial figures in The Fox from Up Above and the Fox from Down Below, by José María Arguedas. In the context of the 1960s Latin American Boom, Arguedas’s novel includes a reflection on the professionalization of literary writing, as well as the impact of commodification on Indigenous migrants in Chimbote. This article draws parallels between the diarist Arguedas (who defines himself as a nonprofessional writer attached to Indigenous cultures), the fishing entrepreneur Braschi (a mythical figure and the begetter of Chimbote’s industrialization), and the networks of rural-urban migrants (which assimilate the “gringo” Maxwell, performer of Andean folklore). As a model for Indigenous-inspired authorial figures, this article suggests the importance of Arguedas’s articles about the mestizo retablista Joaquín Lopez Antay, who defended the artistic integrity of his craftwork against economic demands. On that note, the networks of rural-urban migrants negotiate their standing in the modernizing process with a strong and flexible Indigenous identity.
12
Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, № 57 (10 березня 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
Анотація:
Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Preda, Caterina. "The Role of Artists' Collectives in Producing State Socialist Art in 1950s Romania the Bottom-Up, Pragmatic Professionalization of State Commissions." ARTMargins 9, no. 3 (October 2020): 29–52. http://dx.doi.org/10.1162/artm_a_00271.
Анотація:
This article analyzes the collective basis of the establishment of the Socialist Realist model of production for the fine arts in Romania in the early 1950s. It discusses the unstudied case of the “artists' collectives” (of production) together with other collective forms, such as the collective studios and the guiding commissions. This is an archive-based study of cultural institutionalism of socialist regimes, based on the analysis of under-explored archival sources such as those of the Romanian Artists' Union (UAP) or the Artistic Fund (FP). Focusing on two specific case studies, those of the artists' collectives “Progressive art” and “Th. Aman”, both founded in 1951, it provides more context to the establishment of the socialist model in Romania. The article finds the state assumed definition of art considered the artist as a simple executioner, and the “artists' collectives” participated in eradicating the individuality of the artist, one of the goals of the new socialist model.
14
He, Xian, and Phiphat Sornyai. "Cultural Studies and Heritage Education of Nanyin Performance Art in Quanzhou City, Fujian Province, China." International Journal of Education and Literacy Studies 11, no. 4 (October 20, 2023): 141–50. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.141.
Анотація:
Nanyin, a traditional Chinese music genre originating from Fujian Province, China, encompasses a wide range of singing and instrumental playing techniques. This study aims to analyze the historical development and performance form of Nanyin in Quanzhou, Fujian, China, employing an interdisciplinary approach that incorporates musicology, ethnomusicology, historical musicology, and organology, the study aims to gain a comprehensive understanding of Nanyin and its relevance to cultural studies and heritage education. Key informants, interviews, and observations were utilized as primary research tools, and a systematic data analysis approach was employed. The research results emphasize the enduring popularity and recognition of Nanyin. Nanyin’s development is traced through different periods, highlighting its ancient origins, fusion with diverse musical influences, professionalization, and contemporary revitalization. The performance forms of Nanyin encompass various styles, including duet singing, chorus singing, enchant singing, rotating singing, and group singing, demonstrating the artistic versatility and expressive capabilities of this cultural heritage. The research findings align with theoretical principles in the field of musicology and contribute to a deeper understanding of Nanyin’s cultural significance and its role in preserving China’s traditional culture.
15
Nekhvyadovich, Larisa I. "BIBLICAL HISTORICISM: SOME APPROACHES TO UNDERSTANDING IN THE RUSSIAN CULTURE OF THE XIX CENTURY." Society and Security Insights 6, no. 4 (December 28, 2023): 31–38. http://dx.doi.org/10.14258/ssi(2023)4-02.
Анотація:
The article studies the specifics of understanding biblical historicism in the Russian culture of the XIX century from the perspective of the Orthodox Christian worldview, notes the role of religion, the texts of Holy Scripture on the ideological and artistic dramaturgy of works. It is established that there is no general approach in social and humanitarian knowledge that would allow determining the forms and results of the reception of this phenomenon in art. The purpose of the article is to illustrate the thesis that in Russian culture biblical historicism follows from the perception of history as a drama of human relations with the Creator. The historical path of the sacred relationship between God and man is presented as a historical event about the exit of God to man and the ascent of man to God. The factors of formation of ideas about the Holy Scripture in Russia are considered. It is noted that the peculiarity of the situation was that the XIX century was a time of professionalization of historical research. However, it is during this period that the difference is determined.
16
Aryan, Arya. "The Literary Critic and Creative Writer as Antagonists: Golding’s The Paper Men." Interdisciplinary Literary Studies 25, no. 3 (August 2023): 338–53. http://dx.doi.org/10.5325/intelitestud.25.3.0338.
Анотація:
ABSTRACT After the institutionalization of English within higher education, academia starts to become a rival to creative writing and, particularly after the High Theory of the 1960s, writers are gradually displaced or replaced by critics. This article argues that because of the twentieth-century critics’ deemphasis on the author since the professionalization of English literature as an academic discipline and in the wake of Roland Barthes’s famous announcement of the death of the author, symptoms of paranoia and anxiety projected onto protagonists of novels who are often writers begin emerging as a feature of creative writing from the 1960s to the 1980s. This article argues that paranoid delusions and the fear of losing authorial agency are a significant source of artistic creativity as the writer projects these semi-paranoid delusions, fears, and anxieties onto characters and stories. This article contends that the protagonist, Wilfred Barclay, is a paranoid creative writer, the author’s alter-ego, who anxiously tries to construct and defend an authorial identity and agency, though a textualized fictitious one. This article also argues that Tucker is a symbolic reification of Barclay’s own delusions and perhaps Golding’s.
17
Nechesnyi, Ihor. "Formation of Basson Classes at the Paris Conservatory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 98–111. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296802.
Анотація:
The object of the study was the origins and initial period of the formation of bassoon classes at the Paris Conservatory. The author analyzed the early stages of the training process involved in the French bassoon school. The role of maîtrise and military bands in the instruction of bassoon performers before the beginning of the revolutionary events in 1789 was revealed. The study exposed the influence of the church music-educational system on the professionalization of secular instrumental and vocal performance, as well as its importance in the creative development of prominent French bassoonists who were formed in the second half of the 18th and early 19th centuries. The author investigated the essence of the ideological and political factors of the French Revolution in the creation of a new democratic system that began to exist in professional musical education, which guaranteed its accessibility to the general population and free education on a competitive basis. The article provides a chronology of the beginning and development of bassoon classes on the path of professionalization of performance on wind instruments at the National Guard Music School, the National Institute of Music and the Paris Conservatory. The peculiarities of the implementation of the competitive system of professional training of instrumentalists, as well as the formation of didactic materials to ensure the educational process at the Paris Conservatory became the basis for further artistic education. This fact was carefully analyzed and became the basis for the conclusions of the article. The innovative guide of E. Ozi "School of Playing the Bassoon", was regarded as one of the first complete instructional materials for the bassoon. It was officially approved as a study guide for mastering the instrument, became a powerful impetus for the development of the conservatory students’ performance skills. The author emphasized and defined the role of E. Ozi in the creation of bassoon classes at the Paris Conservatory, as well as in the founding of the French performing school. It has been proven that an important factor in the development of French bassoon performance in the second half of the 18th century was the inclusion of the bassoon in the training programs of metris and its use in church ensembles to accompany choral singing during divine services
18
Decker, Adam, Veronique Richard, John Cairney, Philip Jefferies, Natalie Houser, Patrice Aubertin, and Dean Kriellaars. "Assessment of Professional Circus Students’ Psychological Characteristics at Four Strategic Timepoints over the Scholastic Year: A Longitudinal Study Using the Stress Process Model." Medical Problems of Performing Artists 37, no. 4 (December 1, 2022): 249–58. http://dx.doi.org/10.21091/mppa.2022.4036.
Анотація:
OBJECTIVE: The circus professionalization process entails extensive training to mitigate the high-risk demands which increase stress in artists. In high-risk professions, everyday hassles (challenges) contribute greatly to overall stress. To capture the impact of daily challenges on student-artists, the aim of the current study was to describe the magnitude and pattern of daily challenges as well as their relationships with perceived coping, anxiety, fatigue, and psychological distress. METHODS: Ninety-two students at École Nationale de Cirque (ENC), in Montreal, Canada, completed the Circus Daily Challenges Questionnaire (CDCQ) and scales assessing perceived coping, state anxiety, and fatigue at four time points over 1 school year. The Kessler 6 Non-Specific Psychological Distress Scale (K6) was implemented at one time point. RESULTS: Findings revealed significant fluctuations in challenge level and management of challenges throughout the school year, with schedule, technical development, artistic expression, physical preparation, and sleep reported as high during the two examination periods. The lowest challenge-level scores were achieved following the extended breaks in the annual calendar. Daily challenge positively correlated to state anxiety and fatigue, and negatively correlated with perceived coping. The student-artists reported higher prevalence of moderate psychological distress to general populations. CONCLUSION: Befitting the Stress Process Model, a strong interplay between variables was observed, and the life challenges assessment provides a basis for interventions based upon commonalities across the group, as well as individually tailored.
19
Blahova, T. "PRE-PROFESSIONAL CHOREOGRAPHIC TRAINING IN THE STRUCTURE OF PRIMARY SPECIALIZED ART EDUCATIONAL INSTITUTIONS: HISTORICAL AND PEDAGOGICAL ASPECT." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 4(111) (December 30, 2022): 19–32. http://dx.doi.org/10.35433/pedagogy.4(111).2022.19-32.
Анотація:
The article reveals the peculiarities of the development of choreographic education in Ukraine in primary specialized art educational institutions (PSAEI) in the historical-pedagogical discourse, analyzes the organization, structure, content component of choreographic training of student youth in the specified types of institutions. In the process of holistic consideration of the outlined problem, the methods of system-structural, pedagogical and retrospective analysis, as well as the method of theoretical generalization, were used. Based on the study of a wide range of archival sources, it was found that in terms of their structure, target guidelines, organization of the educational process, art schools had signs of binary nature, combining the characteristics of an extracurricular institution and a professional education institution. The general concept of the development of children's art schools was written down in statutory regulations, where it was noted that the educational process is carried out on the basis of a personal-oriented approach to students, ensuring artistic and creative activity and a personal-value attitude to varieties of art. At various stages of formation and development, children's art schools united common functional characteristics such as early professional orientation of pupils, creation of a favorable educational environment for the upbringing of a creative personality with a special type of education, aimed at continuing artistic training in pre-higher and higher education institutions.
The educational significance of the phenomenon of children's dance creativity in art schools as a component of pre-professional choreographic education is clarified. It was observed that in the out-of-school structure, primary art education institutions were an effective form of organizing pre-professional choreographic training. By combining general education and professionally oriented choreographic training, they had a great potential for forming dance performing abilities in systemic and multifaceted choreographic work. We define the early professionalization of education and the correlation of narrowly professional and general choreographic training as progressive trends in the development of pre-professional choreographic education in the studied types of schools. In addition to the realization of the tasks of self-realization and general cultural development of pupils, choreographic training provided them with prospects for further specialized training.
20
Loshkov, Yu I. "Kapellmeister’s activity of J. Jurjāns in musical life of Kharkiv at the turn of the XIX and XX centuries." Culture of Ukraine, no. 83 (March 21, 2024): 27–34. http://dx.doi.org/10.31516/2410-5325.083.03.
Анотація:
The purpose of the article is to clarify the specifics and role of J. Jurijāns’ kapellmeister’s activity in the musical life of Kharkiv at the turn of the XIX and XX centuries.
The methodology of the research is based on a combination of historical, systematic and art-historical approaches, empirical and comparative methods of analysis, the application of which ensures the determination of the specifics and role of the kapellmeister’s activity of J. Jurijāns in the musical life of Kharkiv at the turn of the XIX and XX centuries.
The scientific novelty lies in the introduction into the scientific circulation of art history of little-known, previously undisclosed facts from the musical history of Kharkiv, which highlight the specifics of J. Jurijāns’ professional self-realization as one of the adepts of academic musical art within the framework of his kapellmeister’s activitiy.
Conclusions. In the course of the research, it was found out that J. Jurijāns’ carried out his kapellmeister’s activities in Kharkiv from 1890 to 1906 striving for professional self-realization. Having started this path by working with an amateur children’s wind orchestra, the musician then professionalized to lead the wind orchestra of the students of KhMU; the next step was to work out the specifics of leading a symphony orchestra, first with an amateur team and, finally, with a daily practicing orchestra of professional musicians. The specified professionalization was carried out in the context of J. Jurijāns’ development of the kapellmeister’s functions: organizational (selection of talented children, then professional musicians, to the orchestra, solving issues of the rehearsal process and concert practice), pedagogical (preparing children to play in the orchestra), educational (instilling a culture of learning highly artistic repertoire based on the ideological foundations of academic music), repertoire creator (implementation of repertoire policy based on public reproduction of academic music), performing and conducting (direct management of the process of music reproduction during concert performances). The influence of J. Jurijāns’ kapellmeister’s activity can be traced in the context: the spread of musical professionalism in the amateur environment of Kharkiv, its use in KhMU as a type of performance practice of the wind orchestra, the successful continuation of the tradition of summer symphony concerts in the city as an artistic phenomenon.
21
YUZYUK, Nataliya. "STANISLAV LIUDKEVYCH – GREAT UKRAINIAN COMPOSER, PROGRESSIVE PUBLIC ACTIVIST, ORGANIZER OF THE MUSICAL LIFE IN THE WESTERN UKRAINE." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 16–29. http://dx.doi.org/10.30970/vas.21.2023.12126.
Анотація:
The article investigates the main features of artistic, educational, pedagogical, scientificpublicist and sociopolitical progressive activity of Stanislav Liudkevych that is exceptionally significant for the development of the national culture and, specifically, Ukrainian music, even in the new historical circumstances. It also dwells upon Stanislav Liudkevych’s public activity as the organizer of the musical life in Lviv and other cities of the Western Ukraine that resulted in the organization of the Union of Professional Musicians of Ukraine (1934–1939), the work of which put an end to the professionalization of Halych musicians and started the traditions that exist till now. It also studies the questions from the artist’s report on the First Pedagogical Congress of the Union of Professional Ukrainian Musicians on November 2nd and 3rd, 1935, and from his scientific articles, that still answer the thorny problems of the current development of the Ukrainian culture. The article reveals the aspects of the composer’s biography referring to the creation of vocal chamber music (choirs and solo singing), piano music for the pedagogical repertoire (original works and the translation of the Ukrainian folk songs for the piano), and ensemble works for the piano duets. The paper separately investigates the composer’s input in the pedagogic area and musical schooling as well as teaching music in the public schools that has an immense impact on the esthetic upbringing of the young person. Stanislav Liudkevych started his artistic path on the verge of 19th and 20th century, in the period of essential conflicts in social and cultural life. He soon became an example of the progressive national artist that joined the worldly and artistic aspirations together. He was a highly-qualified musician, a person with wide and comprehensive general education, for whom the fight for the artistic progress and creative professionalism constituted the very basis of his diverse activity. The life and creativity of Stanislav Liudkevych is an example of unique purposefulness and active desire to fulfill the primary ideals of humanity. He responded heartily to the most significant and thrilling social events. The main idea of the composer’s music as well as his multiple publicist and musicological articles is the fight for freedom, for the development of the spiritual and, specifically, musical culture of his people, for the relationship with other progressive cultures, etc. The composer’s diverse activity is characterized by the integrity of the worldview, standpoint of a progressive person formed by the examples of the leading national thought, as well as the ideals of the symbolic poets, such as Taras Shevchenko and Ivan Franko. The composer understood the art as a social phenomenon that is inseparably connected to the life of a community, as a reflection as the whole history of the society. Throughout many decades the composer acted as the leading artist that strives for the life of his native culture and for the improving of the spiritual health of Ukrainian nation. Thus, not only music composition, but also the whole progressive activity of Stanislav Liudkevych, such as sociopolitical, educational, pedagogical and critic, are vital for the development of the Ukrainian art.
22
Kozak, Alla, and Lyudmyla Blyznyuk. "INTERCULTURAL COMMUNICATION IN A GERMAN LANGUAGE STUDY." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 12(80) (December 23, 2021): 143–46. http://dx.doi.org/10.25264/2519-2558-2021-12(80)-143-146.
Анотація:
The article deals with a study of intercultural communication formation problems in the process of learning German language. Foreign languages in a modern society are becoming increasingly important, as well as the growing need for a high level of proficiency, but it is impossible to fully communicate with other cultures without knowing anything about the characteristics of this people. A foreign language is an effective factor in the development of personality in a multicultural space. As a phenomenon of the spiritual life of mankind, it plays a major role, it promotes the process of communication, socialization, professionalization and social adaptation. At the present stage of development of teaching foreign languages methods, researchers identify three main goals of teaching a foreign language as a language of international communication and communication itself. It is noted that a foreign language should be studied in an inseparable unity with the world and culture of the peoples who speak these languages. The main components of foreign culture include the following elements: everyday behavior; traditional household culture; traditions, as well as rites that can be perceived as traditions; national pictures of the world that reflect the specifics of perception of the world around; artistic culture, which can also be attributed to the elements of ethnography and ethnology. It is emphasized that it is necessary to use authentic materials for its mastering when including aspects of intercultural communication in the content of foreign language teaching. We have identified the following ways to simultaneously study of German language and culture by the students who have proven themselves best during the learning process: role-playing games, preparation of individual messages, group messages or dialogues, presentations of the topics, home reading, contacts with other cultures, general discussion, homework on a given topic. Thus, the emphasis in the educational process on the features of intercultural communication make foreign language classes more diverse, interesting, which leads to the increased learning motivation and perception of the real picture of the world.
23
Hiner, Susan. "Feminized Commodities, Female Communities." French Historical Studies 43, no. 2 (April 1, 2020): 223–52. http://dx.doi.org/10.1215/00161071-8018483.
Анотація:
Abstract This article uncovers the backstory of two of the most important fashion-plate illustrators of nineteenth-century France, Héloïse and Anaïs Colin, in relation to their artistic and commercial production. By exploring how the sisters' commercial art is linked to their early “self-portrait,” produced in the studio of their artist father, in which female community is foregrounded, the article argues that their fashion plates express at once a personal response to their exclusion from the male-dominated world of fine arts and a pragmatic trajectory toward professionalization for women in the fashion sector. While largely conventional, some of their plates elicit readings reaching beyond an explicit commercial aim and suggest disruptions of the seamless norms of bourgeois femininity. Likewise, critical analysis of these plates expands to a consideration of the layered work practices of other women in the growing fashion industry of the period. Cet article offre un portrait de deux des plus importants illustrateurs de mode français du dix-neuvième siècle, Héloïse et Anaïs Colin, replacé dans le contexte plus large de leur production artistique et commerciale. Comme point de départ, il prend l'autoportrait de jeunesse des deux sœurs, peint dans l'atelier de leur père, un tableau qui met en valeur leur idée de communauté féminine tout en préfigurant aussi leur art commercial. Leurs gravures de mode expriment à la fois leur réponse personnelle à leur exclusion du monde masculin des beaux-arts, tout en reflétant aussi leur parcours, alors représentatif de la professionnalisation des femmes dans le domaine de la mode. Bien que conventionnelles pour la plupart, certaines des gravures suscitent une interprétation qui dépasse le cadre de la question commerciale et aborde celle de la transgression de la norme de la féminité bourgeoise. Plus loin, l'analyse critique de ces gravures touche plus largement aux pratiques complexes du travail réalisé par d'autres femmes dans l'industrie croissante de la mode.
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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.
Анотація:
The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial practice for townspeople throughout the world. In the pre-WWI Kyiv dozens of ateliers produced photographic portraits in large quantities. While the urbanization and economic growth boosted migration activity and washed out traditional family and neighborhood networks, the photography provided an instrument for maintaining emotional connections between people. The author emphasizes the role of a professional photographer who acted as a maker of ‘memory artifacts’ for individuals and families and, therefore, established aesthetic standards for their private visual archives. It is stated that the professional photography played a noticeable role in modernization and westernization of Kyiv. With its relatively low barrier to entry, it provided a professionalization opportunity for women, representatives of the lower social classes or discriminated ethnic groups (such as Poles after the January Insurrection, and Jews). While working in a competitive environment, photographers had to adopt new technologies, improve business processes and increase their own educational level. At the same time, their artistic freedom was rather limited. The style of photographic portrait was inherited from the Eighteen and Nineteen-century academic art, so it is usually hard to distinguish photographic portraits made in Kyiv or in any other European city of that period. Body language of models, their clothing and personal adornments as well as studio decorations and accessories aimed to construct the image of successful individuals, faithful friends, closely tied family members with their own strictly defined social roles etc. The old-fashioned style of the early twentieth century portraiture shaped the visual aesthetics of photographic portrait that was noticeable enough even several decades later.
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Milanovic, Biljana. "Politics in the context of the “Opera question” in the national theatre before the first world war." Muzikologija, no. 12 (2012): 37–61. http://dx.doi.org/10.2298/muz120202002m.
Анотація:
Part of the history of the National Theatre in Belgrade in the decade before the First World War relates to processes of discontinuity in the professionalization and modernization of the musical section in this institution and its repertoire. It had to do with abrupt changes reflected in three short-lived phases: improvements in musical ensemble and opera performances (1906-1909), the annulment of these efforts and results with a return to the old repertoire, and then again a new beginning once more with a fresh attempt to establish the Opera (1913-14). These dynamics were affected by the social and political context. It was dependent on frequent changes of the Theatre?s management staff whose main representatives had mutually conflicting views on important questions concerning the functioning of their institution. Relations between them were strongly marked by contested political motives. Theatre managers were appointed by ministers of education who could also be relieved of their posts, and members of the management staff were always active in political parties. These facts acted as a decisive factor in their communication which was similar to the behaviour and customs of public political life where an opponent is seen as an enemy, not as a partner in solving common problems. Critical and polemical discourses on important aspects of organization and programme strategy of the Theatre were burdened by political rivalry which also found its place in discussions on the cultivation of music. Questions relating to music were considered in a declarative way, so that music was instrumentalized as a means of political empowerment. The facts about music in the National Theatre raise many issues related to aspects of modernization, national identification, transfers of ?high? and popular musical cultures as well as to other problems of social, historical and cultural contexts that were intertwined in the operation of the Theatre. The context of political problems in the National Theatre opens some important topics discussed in the text: the discontinuous process of the development of the musical ensemble and its repertoire in conditions of changing management staff; prominent musical professionals and ideologists of cultural life and their relations to the musical and dramatic repertoire as well as to their audiences; potential Belgrade audience reception and their reactions to the musical and dramatic repertoire of the National Theatre. An integral analysis of these may show inconsistency between ideological and artistic intentions of individuals and the needs of the audience during the course of modernization.
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Lajic-Mihajlovic, Danka, and Smiljana Djordjevic-Belic. "Singing with gusle accompaniment and the music industry: The first gramophone records of gusle players` performances (1908−1931/2)." Muzikologija, no. 20 (2016): 199–222. http://dx.doi.org/10.2298/muz1620199l.
Анотація:
The gramophone record industry had developed in the Yugoslav region from the beginning of the 20th century. The paper is based on an analysis of the corpus of 78 rpm records of singing with gusle accompaniment, which were produced between 1908 and 1932. Available recordings highlight the issue of representing both the epic and the gusle playing tradition in this media format and its relationship with ?unmediated? live gusle playing practice. Therefore the authors opted to analyze gramophone records as both a text in culture and an actor in tradition. After introductory theoretical and methodological remarks, the authors offer a brief description of the historical, political and socio-cultural context that emphasized epic singing with gusle accompaniment as a representative traditional genre in this area. For that reason it was noteworthy for both western and local production companies which made recordings in the Balkans (Deutsche Grammophon Gesellschaft mbH., Odeon Records, Marsh Laboratories, Inc., Edison Bell Penkala Ltd.). Analysis of the recordings is focused on examination of the way in which gusle players responded to different requirements of the new media (e.g. the insufficient capacity of a record itself compared to the usual duration of a performance; the reduction of a complex form of artistic communication to an oral, auditory message, while additional forms of non-verbal communication are excluded). Through discussion of the treatment of verbal and musical components of the recorded performances it has been shown that tradition was simultaneously exemplified and reshaped by this new medium. In addition to the guslars themselves, being already recognized artists in this traditional genre and the acoustic source (the voice accompanied by the gusle), the representative base of the epic tradition comprised traditional (poetic) texts, although modifications / innovations are recognizable at different levels of verbal content, as well as on the level of music interpretation. On these bases, it is possible to talk about the contribution of new media to the professionalization of guslars? practice and the creation of ?stars? among them on the one hand, and the progressive transformation of once-active audience members (in the sense of potentially exchangeable performer / listener positions) into passive buyers and consumers, on the other. It is noted that these, first gramophone records of guslars had a great role in and impact on the survival of the epic singing tradition, brokering its promotion in urban areas and among the ?cultural elite?. Finally, in this way they contributed to the strengthening of this tradition in a historical period that brought disintegration of the system of traditional culture and ?crisis? of the most of the current classic folklore genres.
27
Miethke, Jürgen. "Johannes Buridan und die Professionalisierung der Artisten." Studia Antyczne i Mediewistyczne 17, no. 51 (December 31, 2019): 49–66. http://dx.doi.org/10.37240/saim.2019.17.52.4.
Анотація:
The paper does not consider the contributions of the magister artium Buridanus to the Artes liberales and the Aristotelianism of the Later Middle Ages, that is the topic of some other participants of our colloquium in Katowice. It is aiming at giving a short overview over the very few data of his biography which are known to us framing them by the general social trends of his time. First of all (I.) a sketch of his biography is given which sheds some light on his social background, his milieu and career at Paris university. Secondly (II.) there follows an outline of his main income, namely church benefices, which are given to the university master by papal allowance and are registered mainly in the Vatican Archives. Thirdly (III.) the more than three decades of teaching at the Arts Faculty of Paris are considered within the framework of general social professionalization of teaching at the universities in the Later Middle Ages.
28
Wang, Ke. "Vectors of Liu Shikun’s Creative Activity in the Context of China Piano Art of the Second Half of the XX — Beginning of the XXI Century." Culture of Ukraine, no. 73 (September 23, 2021): 81–85. http://dx.doi.org/10.31516/2410-5325.073.11.
Анотація:
Problem statement and its relevance. One of the pioneers of Chinese contemporary piano art, whose creative activity certainly contributed to its formation, further rapid rise and recognition of creative achievements on the world art horizon, is a prominent pianist — Liu Shikun, who today has received complete recognition as a brilliant performer, composer and teacher thus marked the beginning of the socalled piano boom in China, and with it — the gradual formation and confident rise of the Chinese piano school. If various aspects of contemporary Chinese performing arts have repeatedly been subjected to musicological discourse in the scientific community, the direct and comprehensive coverage of Liu Shikun’s leading role in the process of forming the foundations of Chinese piano performing arts, as well as careful analysis and representation of his creative achievements and pedagogical fields are still relevant for basic musicological research.
The purpose of this article is to highlight and analyze the main vectors of creative activity of the famous Chinese musician Liu Shikun in the context of the development of piano art in China in the second half of the XX — early XXI centuries.
The methodology of the work focuses on the principles of historicism and source studies, which provides coverage of Liu Shikun’s musical work in a single context with cultural, historical and artistic phenomena and their interaction. In addition, methods of retrospective, structuralsystem analysis, interpretation of facts, argumentation and generalization are involved.
The results obtained during the achievement of the goal of this work focus on the representation and characterization of Liu Shikun’s creative achievements in the field of concert performance, teaching and composition and the artist’s contribution to the development of Chinese piano culture.
The topicality of the article lies in the first attempt in Ukrainian musicology to comprehensively cover the main directions of creative activity of the famous Chinese pianist Liu Shikun in the projection of his influence on the formation of the current state of Chinese piano art.
The practical significance of the facts and analysis of the main vectors of Liu Shikun’s creative activity carried out in this work is the possibility of using this material in courses on the history and theory of modern piano art, in particular in sections on the Chinese piano school, as well as for further more thorough research of Liu Shikun’s musical creativity, systematization of scientific information on his contribution to the development of musical art of this country.
Conclusions. Summarizing the above given material, it should be noted that the fruitful and multifaceted work of this artist directly influenced the development and professionalization of piano performance in China at that time. This influence was due to the comprehensive recognition of the artist’s creative achievements by the world music community, in particular through numerous concert performances in leading countries (especially in partnership with leading orchestras and outstanding musicians); creation of original samples of concert repertoire on the basis and with specificity of the Chinese traditional melody; organization of a dense network of author’s music schools (art centers) and formation of the foundations of the Chinese national piano pedagogy.
29
Polianska, I. M. "Specificity and functions of a dance as a component of syncretic “mousikē” art of the Ancient world." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 274–87. http://dx.doi.org/10.34064/khnum1-51.16.
Анотація:
Background. The rapid development of contemporary art has intensified the scientific thought in relation to the theory and history of dancing art. Domestic art criticism pays much attention to the problems of dancing functioning in contemporary culture; periodicals publish theoretical and methodological works, general critical reviews of ballet performances. In historical plane, the majority of publications contain information about outstanding artists – performers and choreographers of various times and stylistic trends. However, the evolution of a dance as a socio-cultural and artistic phenomenon, the specifics of its functioning in different epochs and in different regions to a great extent remains unknown. Objectives. The purpose of this study is to identify the peculiarities of dancing art development in the ancient world, its functions and the influence of dancing on the development of “mousikē” creativity of the Antiquity. Methods. The research uses the following methods: the analytical method, which directed on consideration of individual elements of “mousikē” art, expressive means of dancing and its interaction with all parts of artistic-syncretic action, characteristic features of ancient art; the method of classification applied for definition of functions of a dance in the syncretic art of the ancient world; the method of generalization consumed to analyze the facts collected and the logical transition from a singular to general judgment, knowledge, and evaluation. Results. Art as a socio-cultural phenomenon in various cultural-historical periods reflects the specifics of the spiritual sphere of social life. In this regard, the art of the ancient world can be a vivid example. Unlike other types of art, ancient dancing did not leave behind so many artifacts as the classic examples of ancient art – monuments of sculpture, architecture and literature did. Even when methods of fixing language and music were found, dancing as a language of movements remained within the “oral tradition” for quite a long time. It is proved that the art of the ancient world was artistically syncretic. It is a well-known fact that music and dancing are based on rhythm. Rhythm contributed to the interconnection of “mousikē” arts, it was a core that combined words, singing, music, dancing and dramatic action. The implementation of monotonous movements in a single rhythm contributed to uniting the community together to achieve a collective goal. The great social significance of dancing is also confirmed by the fact that almost all-important events in the life of an ancient man were accompanied by dancing: birth and death, war, hunting, etc. In his treatises, the great philosopher, Plato, prescribed all the sacred songs and dances that, in his opinion, were the means of real implementation of the law, that is, they had a specific social function. For a long time dancing was an indispensable component and obligatory attribute of ceremonial and religious rituals. Such celebrations were characterized by magical significance, which in turn formed a magical function of dancing. Also, ancient philosophers had a special attitude to “mousikē” forms of creativity as a means of education. Confucian doctrine put forward the issue of moral and ethical perfection of the individual, whose one of the effective means was considered “mousikē” creativity. Confucius developed the forms of “mousikē” influence not only theoretically, but also applied them in practice. The greatest justification and great importance of the educational function of dancing as an integral element of “mousikē” art was in ancient Greece. Since the VIIth century B. C. the upbringing by the way of “mousikē” art was widely cultivated in Sparta. It is known that the Spartans provided “mousikē” creativity a great state and educational value. Teaching the skills of “mousikē” creativity was part of the general youth education system. In addition, in ancient culture, dancing was an integral part of tragedy and comedy, the then contemporary genres of theatrical art, and had an entertaining aesthetic function. Conclusions. Based on the foregoing, one can conclude that dancing was of great importance in the art of the ancient world. Dances were the object of discussions of writers, philosophers and religious leaders of that time; the rhetoric of that period about the art of dancing were either of ethical-applied or theoretical character and often used dance images as metaphors. The source of dancing art development were ritual dances of magical character, which eventually turned into an important part of artistic and syncretic creativity of the “mousikē” art of Antiquity. Dancing as a reflection of an emotional state of the ancient man through rhythmic moves traditionally got special magic meaning, it was a mandatory attribute of ceremonial and religious rituals. By dancing marked all the significant events in the life of an individual and society of the ancient time. Dancing in the ancient world was an integral part of the spatial-temporal action, but it had a variety of functions. Great social significance of dancing is confirmed by the fact that the teaching the skills of “mousikē” creativity was part of the general education system of the youth of Greece, Sparta and China. In ancient culture, dancing was an integral part of the then genres of theatrical art – tragedy and comedy, had an entertaining aesthetic function. The professionalization of music and dancing art led to the emergence of dancing genres that were theatrical and stage-oriented; as a result, the aesthetic function of dancing in the art of the ancient world was reinforcing gradually. Thus, the dancing had various aspects of functioning in “mousikē” forms of creativity in the ancient world from ritual and magic to aesthetically entertaining ones.
30
Bridger, Maggie, Sydney Erlikh, and Amanda Lautermilch. "Unfolding Disability Futures: Enacting care and transforming professionalization through disability art practices." Sociographe N° hors série 16, no. 4 (November 6, 2023): 81–95. http://dx.doi.org/10.3917/graph1.hs016.0081.
Анотація:
Les trois auteures de cet article sont en charge du programme « Unfolding Disability Futures » à Chicago qui comporte un cycle de performances et une exposition d’art multimédia. Maggie Bridger, chercheuse et danseuse, Sydney Erlikh, chercheuse, et Amanda Lautermilch, curatrice, proposent une réflexion sur la manière dont la professionnalisation artistique se trouve transformée par les pratiques qui intègrent la dimension de handicap. Les auteures reviennent en détail sur l’expérience menée à Chicago en 2022. Examinant les pièges d’une production artistique incluant le handicap (« Disability art »), l’article insiste sur l’importance du mentorat intergénérationnel, inter-handicap et intergenre. En introduisant les notions de durabilité, d’accès (intentionnel et multiforme) et d’éthique du soin, les auteures nous informent sur les conditions réservées aux artistes en situation de handicap aux États-Unis et nous invitent à faire l’expérience d’une performance inédite dans un espace exceptionnel.
31
Spolska, Olena. "PIANO ART OF THE TERNOPIL REGION OF THE SECOND HALF OF THE NINETEENTH CENTURY: HISTORICAL AND MUSICOLOGICAL ASPECT." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 86–93. http://dx.doi.org/10.25128/2411-3271.19.2.12.
Анотація:
Piano art of Ternopil region and one of the main forms of its realization – performance, started, according to scientific sources, in the second half of the nineteenth century. This was the time when in Galicia abolished serfdom in 1848 and began the period of formation of educational and cultural organizations “Native School”, “Prosvita”,“Literary Society” and others. They became the main factors in shaping the national consciousness and culture of the local people.The most important role in these processes in the Ternopil region was played by the “Native School” society, in which groups of choral and vocal singing, artistic recitation, and playing musical instruments were organized. Actually, these circles formed a love of art in different directions, including piano music.The founder of piano art in the Ternopil region is the Polish pianist, teacher and cultural and public figure Vladyslav Vshelyachynskyi, a native of the town of Kopychyntsi, in Ternopil region. It was he who became the brightest representative of the piano movement in our study area initially.In 1876, after completing his studies at the Conservatory, Vladyslav Vshelyachinskyi moved to Ternopil to continue and improve his practical activity. He organized the “Friends of Music” Society and a school for piano lessons with him. He was the music director of these two institutions for twelve years.One of the founders of the creation of piano art in Ternopil region was also Denys Leontovych, born in Lviv in 1868. Denis’s father, Theodore Leontovych, whose family started in the village Novosilka Buchach county (now Buchach district of Ternopil region), was at one time a wellknown Lviv cultural and public figure, pianist, music critic, owner of the newspaper “Osnova”), author of popular songs at that time. He became the first piano teacher for his son.Unfortunately, Denys Leontovych’s short life did not allow him to develop his musical talent to the full, but those few years of concert activity of the drunkard deserve attention from musicologists and point to his invaluable contribution to the formation and development of the piano art of the Ternopil region, he had a special love.An important contribution to the formation and development of the piano art of Ternopil region was made by Denys Sichynskyi as a composer, pianist and accompanist. His creative activity was, first of all, connected with Ternopil region. In the initial stages of being in the land, besides creating musical compositions and managing the countryside and small-town choirs, he was involved in the promotion of piano art through his direct creation and representation as an accompanist.Denys Sichinskyi, as a creator of piano art, has realized himself in three spheres – in writing works for piano, in preparing piano accompaniment for choral and vocal works and in accompaniment for famous singers – Solomiia Krushelnytska, Evgen Gushalevych, Oleksandr Myshuga and others. It was these aspects of his creative activity that determined the formation of piano art in Ternopil region in the first half of the nineteenth century.Thus, the piano art of the Ternopil region of the second half of the nineteenth century represents a stage connected with the birth of its main forms of realization – pedagogical, concertperforming, composer-reproductive. All these forms are clearly traced in the activities of such representatives as Vladyslav Vshelyachinskyi, Denys Leontovych and Denys Sichynskyi. Each of them laid the foundations of piano art for its further development and development to the best of its creative potential. This was, first and foremost, designed to ensure that their successors made a more representative contribution to its transfer. And the piano works of Denys Sichynskyi formed a repertoire performed by the Galician pianists of that time, marked by lyricism, genre linearity and typical harmonious turns derived from traditional folk music. Overall, this stage provided the basis for the subsequent professionalization of piano art in the twentieth century.
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Martyniv, Liubomyr. "Music as a component of the processes of professionalization of the cultural and artistic life of Drohobych region at the end of the 19th and the beginning of the 20th centuries." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 114–30. http://dx.doi.org/10.33398/2310-0583.2019.44.114.129.
Анотація:
The purpose of this intelligence is to analyze the musical and artistic components of cultural and educational processes in the life of the Ukrainian community of Drohobychyna of the interwar period, which prepare the ground for the further professionalization of professional music education. The methodology of the study is to use retrospective and structural-system methods in the analysis of sources; historical - in the study of the peculiarities of the development of the traditions of performing and the formation of the principles of musical creativity in the context of artistic and cultural life of the region. Scientific novelty consists in the fact that for the first time the author has isolated and comprehensively considered the musical components of cultural and educational activity of Ukrainian public associations of Drohobychnia of the studied period. The consistent activity of public, sports, artistic, cultural, educational and singing associations and societies of Drogobych, with numerous amateur groups, resulted in their high creative activity, a strong social request for musical concert activity in the context of national and social events, awareness of the need for its centralization, and professionalism at the level of cells in many towns and villages of the region. The multifaceted study of the aforementioned aspects enables us to identify the sources of professionalization of the concert practice forms relevant for the region relevant to their needs in the professional training of practicing musicians.
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Green, Andrew. "Beyond the Crew: Hip-Hop and Professionalization in Mexico City." Cultural Sociology, June 11, 2021, 174997552110151. http://dx.doi.org/10.1177/17499755211015170.
Анотація:
In recent years profesionalización – professionalization – has become an increasingly influential concept in the hip-hop scene in Mexico City. This term can refer to a variety of changing practices relating to artistic presentation, the organization of hip-hop events, and the hip-hop scene’s model of creative production. The influence of professionalization relates to the rising specialization of hip-hop production and the increasing importance of the digital circulation of music and images; increasingly, success is made on YouTube and Spotify. It also relates to new sources of income, such as freestyle rap battles with corporate sponsorship, and to nascent spaces for hip-hop within adult education. Above all, professionalization relates to a series of structural changes connected to the declining influence of crews, oriented around something akin to Spillman’s ‘non-strategic solidarity’: fraternity, informality, and shared identity. In some cases, crews are giving way to more formal ‘teams’, oriented around the solo artists that now dominate the hip-hop scene. This article builds on ongoing ethnographic research since 2012 and a series of interviews with over 40 local hip-hop artists, to explore professionalism and professionalization as emergent, negotiated values within Mexico City’s hip-hop scene. It offers a frame through which different ideas of the ‘professional’ may be considered: object-forming (relating to the creation of a ‘professional’ music object) and subject-forming (relating to the formation of a ‘professional’ subject). Profesionalización cannot be understood in a functionalist sense, nor may the hip-hop ‘professional’ be conceptualized as a straightforward antonym of ‘amateur’. This article instead shows different ways that ‘object-forming’ and ‘subject-forming’ professionalization both incorporate and texture the ‘non-strategic’ and distinguish hip-hop ‘professionalism’ from the same texture the ‘non-strategic’, and distinguish hip-hop professionalism from it.
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Flisbäck, Marita, and Anna Lund. "Artists’ Autonomy and Professionalization in a New Cultural Policy Landscape." Professions and Professionalism 5, no. 2 (August 20, 2015). http://dx.doi.org/10.7577/pp.867.
Анотація:
Using literature on the professions, the article explores how a new political model for funding and steering may affect professional autonomy. Professional groups’ efforts to independently practice their profession during times of political change are elaborated. The professional group in questions is artists, the context is Sweden, and the new model is called the Collaborative Cultural Model. This model entails a shift in the funding and realization of cultural policy from the national to the regional level. From a situation in which civil servants with specific culture knowledge were involved, politicians, representatives of civil society, civil servants and artists are now to work together to create a regional culture plan. In the article, two different outcomes of the new model are discussed as possible. It can lead to de-professionalization process, particularly if the policy on keeping outside influences at “arm’s length” weakens. On the other hand, negotiations between different actors could result in artists’ knowledge becoming more prominent and receiving more recognition than previously. This, in turn, could promote professional artists’ status.
Keywords: Cultural policy, public funding, autonomy, artistic (de)professionalization, dominated and dominating
35
Ekkelboom, Oscar. "Exhibiting Surinamese Histories of Art: Curatorial Approaches Towards Diversity." Stedelijk Studies Journal 1 (2022). http://dx.doi.org/10.54533/stedstud.vol011.art06.
Анотація:
In December 2020 the Stedelijk Museum Amsterdam opened the exhibition Surinaamse School: Schilderkunst van Paramaribo tot Amsterdam (Surinamese School: Painting from Paramaribo to Amsterdam, 2020–2021). The exhibition displayed over a hundred paintings by thirty-six artists who were born or had worked in Suriname from 1910 to the mid-1980s. In particular, attention was paid to artists who were important for art education and the professionalization of artistic practice in the country. This is an unconventional topic for the Dutch museum, because it has not often displayed the work of Surinamese artists, let alone in the context of a Surinamese national history of art. In general, when delving into the exhibition histories of Dutch art museums, it stands out that little interest is shown in histories of art outside the west
36
Gerischer, Christiane. "Music education in social contexts – a Study program." Revista da FAEEBA- Educação e Contemporaneidade 26, no. 48 (April 28, 2017). http://dx.doi.org/10.21879/faeeba2358-0194.v26.n48.3582.
Анотація:
This article outlines the foundational considerations of the academic qualification ‘Music Pedagogy in Social Work’ conceptualized and realized in Potsdam, Germany. Based on knowledge about possible benefits of cultural and musical education for the aims of social work, namely the empowerment of individuals, social participation and inclusion, the author specifies the needs and competences for professionalization inthis field. Examples from student and graduate experiences with musical education in kindergarten, youth clubs and other social institutions make clear the objective of the qualification. The importance of aesthetic experiences and aesthetic education in social work contexts constitute the theoretical framework for an interdisciplinary combinationof music education competencies with an academic qualification in social pedagogy.The evaluation of musical pedagogy in social contexts underlines the necessity of an artistic musical qualification as fundamental for successful implementation of music education in the context of aesthetic and cultural education within social work.
37
Marshall, Elsa. "Fostering a Public Appreciation of Film Music inthe U.S.A." Journal of Film Music, May 22, 2024. http://dx.doi.org/10.1558/jfm.23826.
Анотація:
The American periodical Film Music Notes spurred a critical consideration of film music and of building public appreciation of the arts during its run from 1941 to 1958. This history of its first decade starts with the connections and efforts of a group of Hollywood women on behalf of the National Federation of Music Clubs, to their founding of the National Film Music Council, to the final stage in editor turnover from the founding editors. It contributes to histories of professionalization of artistic and cultural study through its analysis of how the editors experimented with structuring content in a way to encourage the public to appreciate film music. This was influenced by changing relations between Film Music Notes and Hollywood studios, the Motion Picture Producers and Distributors of America, and educational organizations. This context explains how prominent composers and critics came to contribute to the periodical and the larger debates that were shaping their writings.
38
Campos, Ricardo, Leda Barbio, and Ágata Sequeira. "Urban Art in Lisbon: Emerging Opportunities and Career Aspirations." Cultural Sociology, July 23, 2022, 174997552110686. http://dx.doi.org/10.1177/17499755211068656.
Анотація:
This article focuses on contemporary urban art in the city of Lisbon. We understand urban art as an art world that has developed through a historical process that, in Portugal, is essentially three decades old. It began with the emergence of the subculture of graffiti in Portugal and it culminates in the gradual artification, commodification and institutionalization of graffiti and street art. We believe this was caused by a particular historical arrangement during the previous decade that produced extremely favourable conditions for the emergence of a set of artists in this field. This arrangement is characterized internationally by the expansion and recognition of street art and, on a national level (especially in Lisbon), by the actions of a number of agents (media, municipalities, art world, commercial entities, academia) that contributed to a higher visibility and legitimacy of this artistic community. Thus, we argue that a structure of opportunities was created that a allowed a number of actors to establish and define a strategy of professionalization in this field. In this article we analyse three types of opportunities: practice opportunities, symbolic, and financial. We consider the social actors that generate these opportunities as well as the way in which artists perceive them and adapt.
39
Maneliuk, Oksana. "The creative activity of the choir class of Ivano-Frankivsk Vocational Music College named after Denys Sichynskyi." National Academy of Managerial Staff of Culture and Arts Herald, no. 3 (November 16, 2021). http://dx.doi.org/10.32461/2226-3209.3.2021.244493.
Анотація:
The purpose of the article. To reveal the principles of professional growth of the choir class of Ivano-Frankivsk Vocational Music College named after Denis Sichinsky through the prism of conducting its leaders. Outline the repertoire findings and concert and festival achievements of the group. The methodology consists in the implementation of a system-chronological approach in the analysis of individual pages of the team's activities, first published personal archival materials of the author. It is also possible to use a scientific method to combine and adjust new and previously obtained results, thus tracing the process of professionalization of the college choir for more than 80 years of existence. The scientific novelty is to trace and highlight the stages of the creative practice of the choir class. For the first time, an attempt was made to characterize the activities of the teaching staff of the college from its founding to the present day, which allows us to recreate a holistic picture of its artistic development. Conclusions. For a long time the choir class of the college was headed by famous choirmasters, thanks to whom creative youth has the opportunity to form professionally and popularize samples of the world and Ukrainian choral music in the region, different parts of Ukraine, and abroad. The basis of the choir's repertoire consists of works of various genres and styles, but the uniqueness of the ensemble's funds lies in the sound of D. Sichynsky's choral heritage. Thus, in the cultural process of Prykarpattia and Ukraine, the student academic choir, as a participant in the educational process and a unique concert unit of the region, has an important role.
40
Kray, Thorn-R. "Nothing Left to See." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 60, no. 2 (2015). http://dx.doi.org/10.28937/1000106266.
Анотація:
Warum ist die Sprache der gegenwärtigen Kunstkritik so gesättigt mit Theorie und klingt zugleich so inhaltlich leer? Ausgehend vom Beispiel einer computergenerierten Künstlerbiographie sucht dieser Beitrag die gestellte Frage zu beanworten, indem er auf die soziologische Ästhetik Arnold Gehlens zurückgreift. Um den Gegenstand des Kunstkommentares richtig zu greifen, diskutiert er nach dem generellen Problemaufriss die Tradition der Ekphrasis, der Übertragung visueller in textuelle Repräsentationsformate, und isoliert dabei drei Entwicklungen – Professionalisierung, Ökonomisierung und Abstraktion – in ihrer Produktionsgeschichte. Mit dem Hinweis auf die ›Krise der Ekphrasis‹, bedingt durch das Erscheinen nicht-repräsentationaler Kunst, wendet sich der Beitrag seinem Kronzeugen Arnold Gehlen zu. Dessen Philosophische Anthropologie wird umrissen und mit den Gedanken aus Zeitbilder (1960) kurzgeschlossen, deren zentrale Hypothese die »Kommentarbedürftigkeit« (insbesondere) der zeitgenössischen Malerei ist. Im Kontext von Gegenwartsdebatten der Kunsttheorie kombiniert der Artikel dieses Konzept Gehlens mit linguistischen Untersuchungen über den heutigen Zustand der Sprache der Kunstkritik und bietet im letzten Abschnitt eine kritische Erklärung und (pessimistische) Diagnose des Kunstkommentars wie man ihn heute in Fachmagazinen, Feuilletons und Vernissagen findet. <br><br>Why does the language of art commentary often seem so theoretically sophisticated while jargonistically empty? Introducing the puzzle of a computer generated artistic biography, this essay uses the sociological aesthetics of German theorist Arnold Gehlen to answer this question and account for the ‘algorithmic example.’ Since art commentary deals with the translation of images into words, the first section discusses the tradition of ekphrasis and isolates three developments – professionalization, marketization, abstraction – in its conditions of production. Emphasizing the ‘crisis of ekphrasis,’ set off by non-representational art, the essay continues with its key witness Arnold Gehlen. Adumbrating his approach of ‘philosophical anthropology,’ the article connects (t)his wider circle of thought to his aesthetic theory with the idea of modern and contemporary art’s “Kommentarbedürftigkeit” (need of commentary) in the center. The conclusion uses this concept, combines it with a linguistic argument concerning International Art English, and thus offers a critical explanation for and a pessimistic diagnosis of the language of art commentary today.
41
Siqueira Dias, Clímaco Cesar. "Carnaval de Salvador: o declínio da festa mercantil." GeoTextos 14, no. 1 (July 15, 2018). http://dx.doi.org/10.9771/geo.v14i1.27384.
Анотація:
O carnaval da cidade de Salvador, importante metrópole brasileira, sempre foi uma das mais expressivas festas de rua do País e pesquisá-lo é algo necessário, pelo fato de este conter muitas das dinâmicas socioespaciais do lugar. Este artigo faz um breve histórico, desde o surgimento da festa até o momento atual, e se detém no período da profissionalização, iniciado na década de 1990, que transforma a festa em uma atividade econômica, fonte de grandes lucros para o segmento de artistas e produtores culturais que fizeram sucesso nacional com o ritmo denominado axé music, integrado à cultura de massas. Tal período foi marcado por uma grande projeção da festa no cenário nacional, mas hegemonizado por um segmento, o bloco de trio comandado por estrelas musicais. Esse modelo, por ser produtor de muitas desigualdades, também produziu muitos conflitos, sobretudo no choque da cultura de massas com a cultura popular, e, atualmente, vive uma crise, que é derivada dos acúmulos dessas exclusões e desigualdades. Existem alguns cenários para o futuro, mas ainda não existem tendências consolidadas.
Abstract
SALVADOR`S CARNIVAL: THE DECLINE OF MERCANTILE PARTY
The carnival in the city of Salvador, important Brazilian city, has always been one of the most expressive public celebrations in this country and is necessary to research it, because this manifestation contains many socio spatial dynamics of the place. This paper draws a brief historical, since the beggining of the party to this days, and concentrates in the professionalization period, started in the 1990’s, that turned the party into an economic activity, source of great profits for performing artists and producers that experienced national success with the musical genre axé music, integrated to the mass culture. That period is known by a great projection of the party in national mainstream, but hegemonized by a segment, i.e. the bloco de trio (large group of people that follows a moving performing stage set up in the top of a large truck, called Trio Elétrico, in a musical parade by the city streets, protected by a line held by private guards). This model, by being producer of many inequalities, also produced many conflicts, mostly in the clashes between mass culture and popular culture and, nowadays, experience a crisis that is a resultant of accumulation of exclusion an inequality. There are a few scenarios for the future, but there are still no consolidate tendencies.