Статті в журналах: "Multiculturalism in art"

1

Stokrocki, Mary, and Rachel Mason. "Art Education and Multiculturalism." Studies in Art Education 31, no. 3 (1990): 184. http://dx.doi.org/10.2307/1320766.

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2

Cullen, Fintan. "Art International: Confronting Multiculturalism." Circa, no. 75 (1996): 20. http://dx.doi.org/10.2307/25562926.

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3

Wasson, Robyn F., and Rachel Mason. "Art Education and Multiculturalism." Journal of Aesthetic Education 24, no. 4 (1990): 113. http://dx.doi.org/10.2307/3333114.

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4

Calisch, Abby. "Multiculturalism and Art Therapy." Canadian Art Therapy Association Journal 10, no. 2 (September 1996): 63–68. http://dx.doi.org/10.1080/08322473.1996.11432223.

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5

Mustapha, Azwady, Mohamad Quzami An-Nuur Ahmad Radzi, Zainudin Md. Nor, and Rosha Mohamed. "MULTICULTURALISM OF VISUAL ART EDUCATION CURRICULUM IN SECONDARY SCHOOL TOWARDS ART TEACHERS." International Journal of Education, Psychology and Counseling 8, no. 51 (September 27, 2023): 324–40. http://dx.doi.org/10.35631/ijepc.851023.

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This purpose of this research is to explore multiculturalism in the teaching of secondary school visual art in the district of Temerloh, Pahang, Malaysia. Multiculturalism is integral, as a foundation to promote national intergrity. This research adopted the qualitative case study approach. The methods used in this research were document analysis and interview. A total of three document policies were collected and analysed. The interview was conducted using a semi-structured interview towards six visual art teachers in secondary schools and a Head Unit of the Visual Art Education from the Ministry of Education Curriculum Development Division. The research indicated that the visual art teaching has the elements of multiculturalism. The government policy also urged that the aspect of multiculturalism is integrated in the education. Nevertheless, the integration did not happen consciously. The data obtained showed that there were positive values among the school citizens. Teachers' attitudes, especially the beliefs and values were encouraging even though the knowledge to the integration of multiculturalism is still low. In order to attain a higher level of understanding, visual art teachers have to be exposed to workshop, courses and seminars that are appropriate. The Visual Art curriculum needs to be reviewed to reflect multiculturalism a clearer manner.

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6

Richmond, Stuart. "Liberalism, Multiculturalism, and Art Education." Journal of Aesthetic Education 29, no. 3 (1995): 15. http://dx.doi.org/10.2307/3333534.

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7

Alexander, Hanan A. "Arcilla on Art and Multiculturalism." Philosophy of Education 65 (2009): 225–27. http://dx.doi.org/10.47925/2009.225.

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8

Dukov, E. V. "Leisure as a transition to multiculturalism." Voprosy kul'turologii (Issues of Cultural Studies), no. 12 (December 20, 2022): 974–82. http://dx.doi.org/10.33920/nik-01-2212-02.

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The article discusses examples of the mutual influence of post-national multiculturalism on the art of leisure and the art of leisure on the emerging new community, its thinking. Multiculturalism for society acts as a kind of new folklore (or post-folklore), designed only to identify a problem that will undoubtedly require further serious scientific study using the methods of various sciences. Today we are just getting ready to meet the phenomenon of multiculturalism.

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9

Haj Yahya, Athar. "Multiculturalism as Reflected in the Linguistic and Semiotic Landscape of Arab Museums in Israel." Israel Studies Review 36, no. 1 (March 1, 2021): 68–91. http://dx.doi.org/10.3167/isr.2021.360106.

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Multiculturalism is respectful of diversity among individuals and communities in a society, allowing them to retain and express their particular identities and engage in egalitarian dialogue. This article examines how the multiculturalist approach is reflected in the linguistic and semiotic landscape of Arab museums in Israel. It focuses on a case study of the Umm al-Fahm Art Gallery as a window onto the sociocultural realities of Israel. The article’s findings are based on an analysis of the linguistic and semiotic landscape elements of the museum space and a semi-structured in-depth interview with its founder. They attest to deficiencies in the process of retaining and designing the particular cultural elements for the Palestinian-Arab population in Israel, affecting the realization of multiculturalism and compromising egalitarian dialogue between the various communities.

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10

Kılıç, Zeynep, and Jennifer Petzen. "The Culture of Multiculturalism and Racialized Art." German Politics and Society 31, no. 2 (June 1, 2013): 49–65. http://dx.doi.org/10.3167/gps.2013.310205.

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This article invites scholars of race and migration to look at the visual arts more closely within the framework of comparative race theory. We argue that within a neoliberal multicultural context, the marketing of art relies on the commodification and circulation of racial categories, which are reproduced and distributed as globalized racial knowledge. This knowledge is mediated by the racial logic of neoliberal multiculturalism. Specifically, we look at the ways in which the global art market functions as a set of racialized and commodified power relations confronting the “migrant“ artist within an orientalizing curatorial framework.

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11

Al-Thamari, Faeza, Zahra Al-Zadjali, and Badar Al-Mamari. "Multiculturalism and Cultural Identity in Art Production." Open Journal of Social Sciences 08, no. 11 (2020): 159–73. http://dx.doi.org/10.4236/jss.2020.811016.

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12

Hatton, Kate. "Multiculturalism: narrowing the gaps in art education." Race Ethnicity and Education 6, no. 4 (December 2003): 357–72. http://dx.doi.org/10.1080/13613320332000146375.

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13

Chang, Yong-Sock. "Developing Multicultural Art Education Curriculum for Teaching Non-Art Major Students." Journal of Field-based Lesson Studies 3, no. 1 (January 31, 2022): 73–104. http://dx.doi.org/10.22768/jfls.2022.3.1.73.

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South Korea is becoming more of a multicultural society due to the increase of trade, the influx of foreign labourers, the increase of international marriages, and globalization. The term, “multiculturalism” has become a familiar term in South Korean. Multicultural education is promoted by many South Korean scholars and educators as an effective means by which to solve the many issues now occurring from the social, cultural and ethnic diversity in South Korea. My research and approach to the issues of diversity, is relevant to multiculturalism, most of the research focusing on the K-12 levels in education (elementary, middle, and high school). There are few multicultural art education programs for college students or adults in South Korea. The programs in existence are commonly used to introduce foreign cultures by using traditional art making and study, such as mask making, traditional clothing design, and doll making. Multicultural art education could be expanded into higher education curriculum to include university students and continuing education for non-traditional adult students, to cover and realize more fully the goals of multicultural education. The aim of this paper is to introduce multicultural art education lessons implemented by two international art instructors working at a university located in the United States who have implemented their multicultural art education program for more than two years. The art classes in this program are designed for non-art major students and are one of the more popular courses offered at the university. Even though the lessons in this paper are made for a particular social setting and purpose, by sharing the art lessons taught in the program, I have hope that the South Korean multicultural art education program will expand the scope of their curriculum so the goals of multiculturalism meet the needs of the diversity in the country

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14

Delacruz, Elizabeth Manley. "Multiculturalism and Art Education: Myths, Misconceptions, and Misdirections." Art Education 48, no. 3 (May 1995): 57. http://dx.doi.org/10.2307/3193523.

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15

Niziołek, Katarzyna. "One world, many peoples. Towards art for multiculturalism." Pogranicze. Studia Społeczne 18 (2011): 156–79. http://dx.doi.org/10.15290/pss.2011.18.08.

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16

Protas, Maryna. "Global Public Art as a Phatic Interaction of Multiculturalism." Art Research of Ukraine, no. 21 (November 29, 2021): 69–77. http://dx.doi.org/10.31500/2309-8155.21.2021.254675.

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From the break of the millennium, the massification of visual practices, in particular global public art, formed under the influence of multicultural processes, has been interpreted in academic circles and by the media as the success of the paradigm of contemporary art, which finally abandoned the traditional experience of aesthetic judgment, focusing instead on a phatic function of transnational interactions dependent on the market ideology of capital. Meanwhile, the formal simplification of art expression is not a new event, despite the fact that this process of mass designisation is taking place in the context of global digitalization and dissemination of public relations marketing strategies in a multicultural context. Similar inversions of spiritual culture-creating into the completely materialist optics of the creative worldview — if we consider the description of “global-local” art acts in endearing articles by engaged art critics — have occurred before, which is reflected in Foster’s important critical work Design and Crime. However, such critical assessments are silenced by the cultural industry, although the current crisis of theory and practice has entered a state of prolonged hysteresis, producing a massified phatic product and, in such a way, increasing the entropy of socio-cultural relations of nations, and at the same time exposing the inviability of global public art.

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17

Tian, Aihua. "The Reform and Practice of Multicultural Cultivation Mode of Art Talents in Colleges and Universities Under the Strategy of “Three Highs and Four New”." Journal of Contemporary Educational Research 8, no. 6 (July 5, 2024): 202–10. http://dx.doi.org/10.26689/jcer.v8i6.7372.

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As an important link in the development of modern quality education, art education is one of the methods to guide students to have a diversified vision. Under the background of multiculturalism, we need to explore the connotation and value of art education with the concept of “three highs and four new,” so that students can realize interdisciplinary and cross-cultural cognition through an immersive experience and practical operation in a wide range of multicultural situations, and to develop the knowledge of art education with the concept of “three highs and four new.” Based on the multicultural background, this paper focuses on the integration of multiculturalism into the reform practice of “student-centered” in colleges and universities, so as to cultivate art talents adapted to the multicultural background, in order to achieve the great mission of “three highs and four new” and better lead the innovative development of art education in colleges and universities.

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18

Ong, Teresa Wai See, and Su Hie Ting. "Constructing multiculturalism and national identity in Penang, Malaysia." Sociolinguistic Studies 17, no. 4 (November 17, 2023): 423–48. http://dx.doi.org/10.1558/sols.24466.

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This study focuses on examining how multiculturalism is constructed in public spaces in Penang, Malaysia. In doing so, we argue for the significance of murals in constructing multiculturalism symbolically. Data consist of 10 photos of murals displayed during the 2020 Penang International Container Art Festival in both urban and rural areas in Penang, a state with a long history of multiethnic communities living together. The analysis shows that multiculturalism is portrayed according to specific themes – occupation, living culture, and imagination – which are marshalled to create a sense of identity and belonging. Such sense is deeply imbricated in the making process of Penang’s national identity in which a series of compromises and accommodations is much needed to achieve the vision of multiculturalism. The findings contribute to the current discussion of finding a balance between studies related to urban- and ruralscapes and offer a creative sociolinguistic perspective on understanding multiculturalism.

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19

Chin, Daryl. "Multiculturalism and Its Masks: The Art of Identity Politics." Performing Arts Journal 14, no. 1 (January 1992): 1. http://dx.doi.org/10.2307/3247827.

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20

George, Jayashree, Brooke D. Greene, and Miranda Blackwell. "Three Voices on Multiculturalism in the Art Therapy Classroom." Art Therapy 22, no. 3 (January 1, 2005): 132–38. http://dx.doi.org/10.1080/07421656.2005.10129492.

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21

Chatman, Stephen. "The Influence of Multiculturalism on Canadian Contemporary Art Music." Procedia - Social and Behavioral Sciences 2, no. 5 (2010): 7403–6. http://dx.doi.org/10.1016/j.sbspro.2010.05.104.

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22

Stinespring, John A., and Linda C. Kennedy. "Meeting the Need for Multiculturalism in the Art Classroom." Clearing House: A Journal of Educational Strategies, Issues and Ideas 68, no. 3 (February 1995): 139–45. http://dx.doi.org/10.1080/00098655.1995.9957215.

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23

Morgner, Christian. "Multiculturalism and the Global Art World: The Policies of Large Scale Art Exhibitions." OMNES 6, no. 1 (July 31, 2015): 62. http://dx.doi.org/10.15685/omnes.2015.07.6.1.62.

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24

Teo, Terri-Anne. "Multiculturalism beyond citizenship: The inclusion of non-citizens." Ethnicities 21, no. 1 (January 7, 2021): 165–91. http://dx.doi.org/10.1177/1468796820984939.

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This article questions multiculturalism’s reliance on citizenship as a default condition of inclusion. While agreeing with multiculturalists that there are groups within the citizenry who are excluded from citizenship rights on the basis of their cultural background, this article highlights the misrecognition of non-citizens that is yet unaccounted for by Anglophone theories of multiculturalism where eligibility to multicultural rights-claiming hinges on the condition of formal citizenship. The status of non-citizenship affects conceptions of ‘difference’ where representations of cultural ‘otherness’ are compounded by the ‘foreignness’ of non-citizens. Frameworks of multicultural citizenship entail recognition through group-specific rights, but only for citizens, in so doing excluding the needs and rights of non-citizens. The assumption made by multiculturalists is that citizenship is a condition of multicultural rights and/or recognition despite scenarios where non-citizens may not desire the citizenship of their host country, or the idea of ‘belonging’ it is attached to. Appealing to multiculturalist principles and the neo-republican notion of non-domination, I argue that multiculturalism as a theory can challenge the limitations of citizenship by expanding its compass to include non-citizens as multicultural subjects.

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25

Liu, Hong Yu. "South Asians in “Asia’s World City”: Postcolonial Identity Struggles and Art Participation in Hong Kong." Culture and Local Governance 7, no. 1-2 (June 7, 2021): 1–16. http://dx.doi.org/10.18192/clg-cgl.v7i1-2.4625.

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Hong Kong, being the “Asia’s world city”, the government proclaimed itself committed to enhancing an inclusive society. However, critics have been questioning the effectiveness of its policy in bringing social inclusion as many South Asians in Hong Kong have to deal with post-colonial identity struggle in everyday life. By using participant observations and interviews, I will discuss how South Asians engage in community art which enables them to find other realms of (self-)representation beyond those delivered by the state and its failed promise of institutionalised assimilatory multiculturalism. Despite the policy shortcomings, a “dual” Hongkonger identity was found in minority descendants, facilitated by participating in community art activities. This article contributes to the knowledge of cultural inclusion, to understand its empowerment and potential conflicts in community art participation, and to invite more academic discussions on multiculturalism in the context of Hong Kong.

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26

Tollerton, David C. "Multiculturalism, Diversity, and Religious Tolerance in Modern Britain and the BBC’s Merlin." Arthuriana 25, no. 1 (2015): 113–27. http://dx.doi.org/10.1353/art.2015.0009.

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27

Kraus, Brittany. "Art for Everyone? Mush, Multiculturalism, and the Prismatic Arts Festival." Theatre Research in Canada 40, no. 1_2 (November 2019): 42–63. http://dx.doi.org/10.3138/tric.40.1_2.42.

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28

Москвічова, Юлія. "Діалог культур як основа сучасного мультикультурного cоціуму в умовах культурної глобалізації". Мистецтво в культурі сучасності: теорія та практика навчання, № 2 (18 грудня 2023): 47–54. http://dx.doi.org/10.31652/3041-1017-2023(2)-06.

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The article examines the origins of multiculturalism and changes in the understanding of its essence. The concept of multiculturalism, its main characteristics and features are analyzed. The problematic field of multiculturalism is defined: ideas about the cultural involvement of people, the inevitability of cultural diversity, pluralism and intercultural dialogue. It is proved that even in the early development stages, the meaning of "multiculturalism" was quite inconsistent. In the political sphere, the term multiculturalism has been used since the late 60s of the twentieth century in connection with the development of the movement for the human rights expansion, as well as with the intensification of migration flows, which led to an increase in the cultural diversity of host countries. The practical implementation of multiculturalism as an integration policy took place in the 1970s in Canada, Australia, and the United States, in particular through criticism of assimilation policies. The common factors that facilitate or hinder the implementation of multiculturalism are examined. The ethno-cultural context of Ukraine's development is highlighted. Since Ukraine gained independence, representatives of national minorities and ethnic communities have been able to unite in various national and cultural societies that allow representatives of national minorities to be involved in the social and cultural life of the country. It is confirmed that the life of ethnic communities largely depends on the initiative of the communities themselves, on the activity of their cultural, educational and artistic institutions, holding art events, national culture festivals, book publishing, distribution of media in their native language, etc. Multiculturalism and intercultural dialogue should become a strategy for Ukraine. This will contribute to the further democratization of society, European integration and Ukraine's entry into the world community.

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29

Lee, Myeongeun, Soodong Kim, and Kyeongje Kim. "The Effects of Art Therapist’s Perception of Multiculturalism on Group Art Therapy of Refugee Children." Journal of Humanities and Social sciences 21 12, no. 3 (June 30, 2021): 1443–54. http://dx.doi.org/10.22143/hss21.12.3.101.

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30

Balint, Adina. "MEMORY TRANSMISSION, SURVIVAL AND MULTICULTURALISM IN CONTEMPORARY CANADIAN LITERATURE." Alea : Estudos Neolatinos 18, no. 3 (December 2016): 422–34. http://dx.doi.org/10.1590/1517-106x/183-422.

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Abstract In 2014, the Quebecois writer Catherine Mavrikakis published Diamanda Galas, a tribute to the American artist performer of Greek origin, Diamanda Galas – at the Montreal Publishing House, Héliotrope, inaugurating a new collection, “Guerrières et Gorgones” (Warriors and Gorgons). At the same time and in the same collection, Martine Delvaux published a tribute to the American photographer Nan Goldin, in an eponymous essay. “What survives from/through artists who are prophets of the contemporary?”, inquires Mavrikakis. Acting on the tragedy of history and transgressing it, how can literature and art play with experiences of memory transmission and “survival” without necessarily working “to fix” them? What is at the heart of this link between history and creativity, reaffirmed by Georges Didi-Huberman in Survivance des lucioles? Through reflections on transcultural transference, multiculturalism and the power of women to transgress traumatic experiences, this article explores the question of memory transmission in two contemporary narratives on art and the AIDS period of the 1980s.

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31

Tkachuk, Olena. "MULTICULTURALISM BY CONRAD-EMIGRANT." Polish Studies of Kyiv, no. 35 (2019): 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.

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The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.

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32

Slonevska, I. B., and S. Yu Piroshenko. "Contemporary literature as an art representation of the phenomenon of „hybrid identity”." Bulletin of Luhansk Taras Shevchenko National University, no. 4 (335) (2020): 161–69. http://dx.doi.org/10.12958/2227-2844-2020-4(335)-161-169.

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The article considers the features of modern Western literature in postcolonial discourse. Emphasis is placed on researches that have formed the basis for understanding the phenomenon of multiculturalism in modern humanities. In this context, the concept of transculturation as a new worldview and a way of polemics with multiculturalism has been analyzed and the leading ideas have been singled out: „borderline identity”, hybridity, ambivalence, etc. The modern European literature is characterized as an artistic representation of the mentioned concepts, the so-called „borderline consciousness”, which underlies the hybrid worldview. The authors consider the phenomenon of cross-cultural (multicultural, transcultural) or postcolonial novel as one of the brightest phenomena of modern literary discourse. The dominant of creative work of cross-cultural authors is the identity crisis inherent in both the author and his or her character. In the proposed dimension, the work of immigrant authors in general and S. Rushdie’s novels in particular are considered as an artistic actualization of the theory of cultural hybridity, and the narrative of life „on the border” is defined as the most notable artistic strategy of modern literature.

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33

Henley, David R. "Questioning Multiculturalism in Art Therapy: Problems with Political Correctness and Censorship." Art Therapy 16, no. 3 (January 1999): 140–44. http://dx.doi.org/10.1080/07421656.1999.10129654.

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34

Delacruz, Elizabeth Manley. "Approaches to Multiculturalism in Art Education Curriculum Products: Business as Usual." Journal of Aesthetic Education 30, no. 1 (1996): 85. http://dx.doi.org/10.2307/3333235.

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35

Al-Zadjali, Zahra. "The Significance of Art in Revealing a Culture’s Identity and Multiculturalism." Open Journal of Social Sciences 12, no. 01 (2024): 232–50. http://dx.doi.org/10.4236/jss.2024.121015.

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36

Sharma, Alisha, and Arjun Kumar Singh. "The Expansion of New Media Art in Indian Visual Art Practices: An Analysis." ECS Transactions 107, no. 1 (April 24, 2022): 10529–41. http://dx.doi.org/10.1149/10701.10529ecst.

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Artistic creativity thrives in line with cultural contours and individual artist intent. The Digital age is a postmodern reality. The postmodern era is either on the verge of its conclusion or it has almost concluded. Galleries and museums are far from exempt from the effects of these technological transformations. By the mid’90s a number of young artists had begun to make installations and site-specific art objects even as others continued to work in the conventional mediums of painting, sculpture, and print-making. Notion of pluralism and multiculturalism infect the artists of the 90’s, as there is a confident borrowing from all cultures and frequent crossovers. Artists like Ranbir Kaleka, Shilpa Gupta, Sheba Chhachhi, Thukral and Tagra, Jitish Kallat and many more are blurring the gap between the art and cutting edge technology with their inter/multidisciplinary approaches in their art practices.

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37

Dumchak, I. "Ukrainian Constituent of American Multiculturalism: Ethnic and Cultural Aspects." Journal of Vasyl Stefanyk Precarpathian National University 2, no. 2-3 (July 2, 2015): 42–47. http://dx.doi.org/10.15330/jpnu.2.2-3.42-47.

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The paper deals with the features of the Ukrainian constituent of Americanmulticulturalism of the second half of the 20th and the beginning of the 21st century. Multiculturaltrends actively developing in the context of the American mainstream are characterized. Thescientific research analyzes the literary activity of Ukrainian-American representatives ofmulticultural literature; it outlines the problems of writers’ works of art from ethno-cultural pointof view

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38

Tavares, Paula, Maria João Félix, and Pedro Mota Teixeira. "Mapping Culture and Compromised Art in the Era of Globalization." International Journal of E-Politics 3, no. 1 (January 2012): 42–53. http://dx.doi.org/10.4018/jep.2012010104.

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This work presents an analysis of the cultural and artistic field, positively compromised with social and political questions. The authors start with the categorization of the idea of culture and move to vindication art movements. These movements, which followed the first vanguards and worked from the compromise with “otherness”, are at the origin of the contemporary denomination of political art. In this context, the authors approach the origins of activist art, referring to issues of gender, multiculturalism, globalization, and poverty. The different forms of presenting content are also an object of analysis: from art tradition to the contamination of daily life, from local to global, from street contact to digital.

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Tyquiengco, Marina, and Monika Siebert. "Are Indians in America's DNA?" Contemporaneity: Historical Presence in Visual Culture 8 (October 30, 2019): 80–97. http://dx.doi.org/10.5195/contemp.2019.288.

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A conversation between Dr. Monika Siebert and Marina Tyquiengco on: Americans National Museum of the American Indian January 18, 2018–2022 Washington, D.C. Monika Siebert, Indians Playing Indian: Multiculturalism and Contemporary Indigenous Art in North America. Tuscaloosa: University of Alabama Press, 2015.

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Gai, Hailong, Yajuan Lu, and Yajun Guo. "The evolution and development of pop art in the visual field of digital art design." Journal of Education, Humanities and Social Sciences 4 (November 17, 2022): 121–24. http://dx.doi.org/10.54097/ehss.v4i.2732.

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Pop art originated in Britain in 1950, became popular in the United States in the 1960s, and then spread to Italy, Japan and other countries. It pulled art from the high altar, obliterated the boundary between art and life, and made art less inscrutable and obscure, but more affinity. This paper focuses on the pop art style in modern and contemporary art and design works, and discusses the audience's demand for pop art pop culture in the context of contemporary multiculturalism. As a common, popular and commercial art form, pop art has exerted a subtle influence in many fields of design. It emphasizes interest and rebellious spirit, affecting the diversified development of design. This paper is an accurate control of the current design trend, and also a practical exploration of digital redesign of pop art style.

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Gołębiowski, Jacek. "The Impact of Political Transformations on the Development of Spanish Culture After 1975." Roczniki Humanistyczne 67, no. 2 SELECTED PAPERS IN ENGLISH (October 30, 2019): 79–87. http://dx.doi.org/10.18290/rh.2019.68.2-4en.

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The Polish version of the article was published in Roczniki Humanistyczne 61 (2013), issue 2. The political transformations in Spain that ended with the free parliamentary elections of 15th June 1977 were a powerful catalyst for the activity of the Spanish nation in all walks of life. Between 1975 and 1990 a real revolution took place in the Spanish mass media and in culture. It resulted in the setting up of modern periodicals (among others, El País, El Mundo, Navarra Hoy, Diario la Rioja and many others), over 2,600 radio stations and a network of modern television channels broadcasting programs devoted to the culture and languages of the autonomous communities. The Ministry of Culture established in 1977 supported initiatives promoting the multiculturalism of the Kingdom of Spain, which resulted in the opening of several dozen modern museums, institutes of modern art and the organization of numerous festivals. The decentralization of the country made it possible to emphasize the multiculturalism of the Spanish autonomous communities that today act as a magnet for 70 million tourists from all over the world.

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Serdiuk, Oleksandr. "Karol Szymanowski and multiculturalism." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 206–29. http://dx.doi.org/10.34064/khnum2-19.12.

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Background. The problem of self-determination of an artist who apprehends oneself as a representative of a certain nation, but is forced to selfactualize in the cultural space of a multinational empire, remained relevant for a long period for the majority of representatives of the Polish creative intelligentsia. Among them, it is appropriate to recall, in first, Karol Szymanowski, whose creative development took place in a multicultural environment. The outstanding musician was feeling his involvement not only in the European tradition in general, but also in the Antique, Eastern, Polish, Russian, and, especially, Ukrainian culture, because his life for 36 years was related with Ukraine. The temporal distance that has formed between the eras, the changes in cultural paradigms that have now taken place, encourage us to rethink the approaches to the various cultural-creating activities of artists in past eras, to evaluate them from modern positions. If we consider multiculturalism in a positive sense – as a phenomenon of social life characterized by coexistence and active interaction within one society of many cultures, then the analysis of Szymanowski’s creative evolution in this context looks relevant for modern cultural figures. At the same time, in Ukraine, there has not yet been a steady interest of scientists in the work by K. Szymanowski, although certain steps are being taken in this direction: PhD theses by Anatolii Kalynychenko, Hanna Seredenko, Oleksandr Serdiuk, Dmitriy Poliachok have appeared that explore some aspects of the Polish artist’s creativity, taking into account modern methodological tools. An important function of stimulating interest in the creative figure of Szymanowski is performed, in particular, by the “Kropyvnytskyi Museum of Musical Culture named after K. Szymanowski” (headed by Olexandr Polyachok) that initiates various projects related to the popularization of Shimanovsky’s creative heritage, including holding scientific conferences and publishing. A significant contribution to the study of various aspects of the K. Szymanowski’s creative activity was made by Polish scientists, in particular, Malgorzata Komorowska, Zofia Helman, Teresa Chilińska, but their works are in a greater degree focused on the analysis of the musician’s creativity in the Polish cultural context. Objectives of the study. This article is destined to examine the creative personality of the Polish artist in a new problematic field. The purpose of the study is to identify the features of the creative formation and growth of K. Szymanowski in the context of multiculturalism. The object of analysis is the creative activity of K. Szymanowski; the subject, on which the attention is focused, is the peculiarities of cultural and creative attitudes formation, the principles of artistic activity, the means of cultural communication of K. Szymanowski in the conditions of multiculturalism. Research results. The scientific novelty of the research consists in the identification of little-known facts of the creative biography of K. Szymanowski and their new interpretation, the formation of new ideas about the specifics of his creative approaches both in composing and literary work. The important role of self-education in his creative development, the ability for self-development, conscious cultural pluralism formed in the context of multicultural conditions, a tendency to innovate (for example, intense interest in new artistic and stylistic trends) are emphasized. Attention is drawn to the originality of Szymanowski’s relationships with various cultural environments, with which he was closely linked by fate. After all, his formation as a personality took place under the influence of several cultures, the features of which were intertwined, coexisting in the everyday life of his family estate in the Ukrainian village Timoshivka and Elisavetgrad, the city of his childhood and youth. The significant influence of regular visits to European cultural centers and travels to the countries of the Arab East on the formation of the cultural identity of the artist is also noted. The analysis of archival materials, in particular, comments in the margins of the pages of books from the family library, showed the enormous influence of literary texts on the composer’s cultural identity. Szymanowski carefully read, thought over and discussed with his close ones literary works, various works of philosophers and art historians. Szymanowski’s archives contain notes on the history of art of Ancient Greece in French, the history of the culture of Ancient Rome in German and Russian, extracts from the history of the origins of Christianity, the culture of Sicily and the life of King Roger II, notes from the letters by Seneca, Leonardo da Vinci, Machiavelli, works of Novalis, studies on oriental culture, etc. The composer was fascinated by the ideas of the synthesis of cultures (Ancient Greek, Ancient Roman, Byzantine, Arabic, Proto-Slavic), of religious syncretism in various forms (Christian modernism, paneroticism, etc.). Embodying his creative intentions, Szymanowski went through a fascination with a wide variety of aesthetic ideas. In the process of realizing artistic synthesis, along with the idea of cultural syncretism, signs of aesthetics of romanticism and impressionism, symbolism and modernism, expressionism and neo-folkloric trend often coexisted and intersected in his works. As a conclusion, we note: the creative formation and evolution of K. Szymanowski took place in multicultural conditions. Realizing himself a descendant of the Polish gentry family, he was at the same time a citizen of the Russian Empire and was formed as a person under the influence of many cultures, which were intricately intertwined in the space where the formation of his individuality took place, which, eventually, determined the multicultural profile of his artistic work. Szymanowski’s cultural positioning we propose to consider, to a certain extent, according to the formula: “one of our own among strangers, a stranger among our own”, because his creative searches, in which the polylogue of cultures acquired signs of multiculturalism, were not always perceived adequately by his contemporaries, especially in those cultural centers, where the traditional values of the national culture were considered priority. The artistic, aesthetic and cultural paradigms of the 21st century turn out to be largely consonant with those that determined the creative preferences of the Polish artist, which leads to the actualization of the creativity of the latter in the conditions of the dominance of the postmodern situation in the contemporary cultural space.

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Suparto, Agustinus Dias. "Multiculturalism as Indonesian National Identity in Political Satirical Comic Strip on Instagram." K@ta Kita 6, no. 1 (November 16, 2018): 11–19. http://dx.doi.org/10.9744/katakita.6.1.11-19.

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The emergence of social media especially the popularity of Instagram has been used to facilitate people to share their thoughts in public discussion. Comic strip as a work of art which commonly aims as entertainment is also used to promote the value of the author in certain societal issues. Thus, comic strip such as KOSTUM or Komik Strip Untuk Umum (Comic Strip for Public) is using satirical jokes to share the idea of multiculturalism that has been challenged by people who use religious identity, ethnicity and political factions as the thing to differentiate others. Therefore, this paper will try to reveal how this comic strip promotes Indonesian national identity and how the author sees himself as the agent of multiculturalism.

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Bade, Nikki. "Uncommitted Crimes: The Defiance of the Artistic Imagi/nation by Tara Atluri." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 289–90. http://dx.doi.org/10.15402/esj.v5i2.68352.

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Tara Atluri’s book, Uncommitted Crimes: The Defiance of the Artistic Imagi/nation, is a celebration of those who are reimagining Canadian narratives of multiculturalism, diversity, and equity. Colonial, cisgendered, heteronormative, and racist narratives that may yet be invisible to the inhabitants of Turtle Island are revealed through Atluri’s depiction of a diverse selection of artists and art.

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Stinespring, John A. "Moving from First-Stage to Second-Stage Multiculturalism in the Art Classroom." Art Education 49, no. 4 (July 1996): 48. http://dx.doi.org/10.2307/3193633.

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Williamson, Mary F. "Education for art and culture librarianship in Canada." Art Libraries Journal 19, no. 2 (1994): 22–24. http://dx.doi.org/10.1017/s0307472200008786.

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The ongoing economic recession together with redirection of dwindling educational resources towards the sciences, with less and less for culture, appears to some Canadian art librarians to be marginalizing art library collections and art librarianship. In any case, the current cultural climate invites a broader definition of ‘art’ that encompasses multiculturalism. Another source of concern is the increasing emphasis in our library schools on training information generalists, although the schools are simply addressing workplace preoccupations with technical and administrative skills. It can be more satisfying to teach art librarianship to practising librarians than to students of librarianship with differing backgrounds, expectations and motivation. In Canada, there is a need for art library associations to be instruments of positive change, by offering courses and workshops, and especially by taking advantage of teleconferencing methods to extend educational programs to librarians and students across the country.

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Wakeland, Robin Gay. "21st Century Graffiti Dialog." World Journal of Social Science Research 10, no. 2 (April 23, 2023): p23. http://dx.doi.org/10.22158/wjssr.v10n2p23.

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Case studies with photos from 2012-2016 police and court reports tracked Dallas, Texas metropolitan area transit graffiti incidents. Comprised of primarily strings of Roman alphabet letters resulting in incoherency, graffiti engaged with and resulted in various law enforcement responses. These art forms were compared with global graffiti interpretations ranging from anti-language to multiculturalism. Graffiti writers set up dialog with society.

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Wang, Liming. "Discussion on the Teaching Strategy of Oil Painting in Colleges under the Background of Multiple Art Culture Development." Lifelong Education 9, no. 6 (September 28, 2020): 136. http://dx.doi.org/10.18282/le.v9i6.1323.

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The development of multiculturalism is the inheritance of human civilization and the result of the further deepening of globalization. The diversified development of fine art culture is one of the main situations of fine art development. The art creation theories, conceptual methods, and painting skills, etc., all exhibit diverse characteristics. Based on this background, college oil painting teaching also needs to grasp this multicultural situation, carry out curriculum teaching reform and innovation, and promote the diversified development of fine arts education. This article introduces the development trend of multiple arts culture and its impact on domestic oil painting, analyzes the current status of oil painting teaching in colleges and universities, and explores effective countermeasures for oil painting teaching in colleges and universities in the context of multiple art culture.

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İsitman, Odul. "Producers of contemporary art: X, Y, Z generations." Global Journal of Arts Education 7, no. 2 (June 14, 2017): 55–60. http://dx.doi.org/10.18844/gjae.v7i2.1834.

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AbstractAccording to generational theory, individuals who share an era’s conditions, social events, distresses, and similar faith and who have similar responsibilities tend to show similar behavioral patterns. The question that the present study initially addressed was "What is the correspondence of this theory’s premises in the field of art with particular focus on contemporary art?’’ As the literature search proceeded, questions such as the following increased: Can this theory’s premises be the source of criticisms made in today’s art?, Could it be that art, like society, is also planned (or manipulated)?. Thus, the scopes that remain unanswered widened and the literature search was futile. It was deemed necessary to first outline an introductory general framework of the topic addressed. Accordingly, based on today’s discourse, an attempt was made to understand the correspondence between generations and contemporary art. This research will serve as a base for future studies on this topic. Keywords: contemporary art, generations X, Y, Z, multiculturalism, globalization.

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Işıtman, Ödül. "Producers of contemporary art: X, Y, Z generations." Global Journal of Arts Education 7, no. 2 (June 14, 2017): 55–60. http://dx.doi.org/10.18844/gjae.v7i2.1845.

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AbstractAccording to generational theory, individuals who share an era’s conditions, social events, distresses, and similar faith and who have similar responsibilities tend to show similar behavioral patterns. The question that the present study initially addressed was "What is the correspondence of this theory’s premises in the field of art with particular focus on contemporary art?’’ As the literature search proceeded, questions such as the following increased: Can this theory’s premises be the source of criticisms made in today’s art?, Could it be that art, like society, is also planned (or manipulated)?. Thus, the scopes that remain unanswered widened and the literature search was futile. It was deemed necessary to first outline an introductory general framework of the topic addressed. Accordingly, based on today’s discourse, an attempt was made to understand the correspondence between generations and contemporary art. This research will serve as a base for future studies on this topic. Keywords: contemporary art, generations X, Y, Z, multiculturalism, globalization.

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