Search results for: arts

Authors: Nazia Shehzad

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Language and art can supplement and correlate each other. Through the ages art has been a means of visual expression used to convey a wide series of incarnated ideas. Art can take the perceiver into different times and into different worlds. It can also be used to introduce different levels of vocabulary to the learners of a second language. Learning a second language for most students is a very difficult and strenuous experience. They are not only trying to accommodate to a new language but are also trying to adjust to themselves and a new environment. They are anxious about almost everything, but they are especially self-conscious about their performance in the classroom. By relocating the focus from the student to an object, everyone participates, thus waiving a certain degree of self-consciousness. The experience, a student has with art in the classroom has to be gratifying for both the student and the teacher. If the atmosphere in the classroom is too grave it will not serve any useful purpose. Art is an excellent way to teach English and encourage collaboration and interaction between students of all ages. As making art involves many different processes, it is wonderful for classification and following/giving instructions. It is also an effective way to achieve and implement language of characterization and comparison and vocabulary acquirement for the elements of design (shape, size, color, texture, tone etc.) is so much more entertaining if done in a practical and hands-on way. Expressing ideas and feelings through art is also of immeasurable value where students are at the beginning stages of English language acquisition and for many of my Saudi students it was a form of therapy. It is also a way to respect, search, examine and share the cultural traditions of different cultures, and of the students themselves. Art not only provides a field for ideas to keep aimless, meandering minds of students' busy but is also a productive tool to analyze English language in a new order. As an ESL teacher, using art is a highly compelling way to bridge the gap between student and teacher. It’s difficult to keep students concentrated, especially when they speak a different language. To get students to actually learn and explore something in your foreign language lesson, artwork is your best friend. Many teachers feel that through amalgamation of the arts into their academic lessons students are able to learn more profoundly because they use diverse ways of thinking and problem solving. Teachers observe that drawing often retains students who might otherwise be dispassionate and can help students move ahead simple recall when they are asked to make connections and come up with an exclusive interpretation through an artwork or drawing. Students use observation skills when they are drawing, and this can help to persuade students who might otherwise remain silent or need more time to process information.

Keywords: amalgamation of arts, expressing ideas and feelings through arts, effective way to achieve and implement language, language and art can supplement and correlate each other

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Authors: Stephanie Ann Houghton

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SDG-driven intercultural citizenship education through performing arts and history research, combined with dance-fitness development inspired by performing arts, can provide a third space in which performing arts, local history, and contemporary society drive educational and social development, supporting the performing arts in student-generated ways, reflecting their sense, priorities, and goals. Within a string of rugged volcanic peninsulas along the north-western coastline of the Ariake Sea, Kyushu, southern Japan, are found a range of traditional performing arts endangered in Japan’s ageing society, including Menburyu mask dance. From 2017, Menburyu culture and history were explored with Menburyu veterans and students within Houghton’s FURYU Educational Program (FEP) at Saga University. Through collaboration with professional fitness instructor Kazuki Miyata, basic Menburyu movements and concepts were blended into aerobics routines to generate Menburyu-Inspired Dance-Fitness (MIDF). Drawing on history, legends, and myths, three important storylines for understanding Menburyu, captured in students’ bilingual (English/Japanese) exhibition panels, emerged: harvest, demons and gods, and the Battle of Tadenawate 1530. Houghton and Miyata performed the first MIDF routine at the 22nd Traditional Performing Arts Festival at Yutoku Inari Shrine, Kashima, in September 2019. FEP exhibitions, dance-fitness events, and MIDF performance have been reported in the media locally and nationally. In an action research case study, a classroom research project was conducted with four female Japanese students over fifteen three-hour online lessons (April-July 2020). Part 1 of each lesson focused on Menburyu history. This included a guest lecture by Kensuke Ryuzoji. The three Menburyu storylines served as keys for exploring Menburyu history from international standpoints.Part 2 focused on the development of MIDF basic steps and an online MIDF event with outside guests. Through post-lesson reflective diaries and reports/videos documenting their experience, students engaged in heritage management, intercultural dialogue, health/fitness, technology and art generation activities within the FEP, centring on UN Sustainable Development Goals (SDGs) including health and wellness (SDG3), and quality education (SDG4), taking a glocal approach. In this presentation, qualitative analysis of student-generated reflective diary and reports will be presented to reveal educational processes, learning outcomes,and apparent areas of (potential) social impact of this classroom research project. Data will be presented in two main parts: (1) The mutually beneficial relationship between local traditional performing arts research and local history researchwill be addressed. One has the power both inform and illuminate the other given their deep connections. This can drive the development of students’ intercultural history competence related to and through the performing arts. (2) The development of dance-fitness inspired by traditional performing arts provides a third space in which performing arts, local history and contemporary society can be connected through SDG-driven education inside the classroom in ways that can also drive social innovation outside the classroom, potentially supporting the performing arts itself in student-generated ways, reflecting their own sense, priorities and social goals. Links will be drawn with intercultural citizenship, strengths and weaknesses of this teaching approach will be highlighted, and avenues for future research in this exciting new area will be suggested.

Keywords: cultural traditions, dance-fitness performance and participation, intercultural communication approach, mask dance origins

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Authors: Wang Yanze

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Architectural design results from the interaction between space and drawing. Stemming from the Beaux-Arts architectural education, drawing kept its dominant position in teaching and learning process for centuries. However, this education system is being challenged in the present time due to the development of the times. Based on the architectural education of China after 1949, a brief introduction to the history of the evolution of the design concept and drawing is given in this paper. Illustrating with the reference to the students’ works in Nanjing Institute of Technology, the predecessor of Southeast University, in China, the paper analyses the relationship between concept and representation, as well as the participation of Space, the modernism discourse. This process contains the transmission of the character of architects, the renovation of drawing skills and the profound social background. With different purposes, the emphasis on representation tends to be combined with the operation on space, and the role of drawing in architectural design process also changes. Therefore, based on the continuity of the traditional architectural education system, the discussion on the “Drawing of Space” in contemporary education system is proposed.

Keywords: architectural education, beaux-arts, drawing, modernism

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Authors: Tamer Mokhtar Mohamed Ahmed

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The metalwork industry during the Mamluk period received the attention and care of the sultans and princes, thus helping in the prosperity of this industry during this period. We are fortunate that a huge number of metal artifacts from the industry of Egypt and Syria of this period have come down to us, many of which are preserved in Egyptian and international museums as well as private collections. Characterized by great diversity in its forms, sizes and functions, including the decorative designs executed on them, the artifacts reflected the extent of artistic creativity that characterized the arts in the two Mamluk period. This research paper aims to study three copper dishes from the Mamluk Circassian period and the rare documentary texts on them that have not been previously studied. These dishes date back to different decades from the 9th AH/15 AD century. One of them bears the name of Sultan Al-Muayyad Shaikh, and the second is the name of one of the great Mamluk princes in the Mamluk Circassian period, Prince Yashbak min Mahdi. The third dish is attributed to Prince Jan Balat Al-Ashrafie.

Keywords: metalwork, dishes, decorative, calligraphy, Mamluk Arts

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Authors: Ihab Al-Mokrani

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The Arabic heritage has two types of spoken rhetoric: the first type which al-Jaahiz calls “the rhetoric of the sign,” which means body language, and the rhetoric of silence which is of no less importance than the rhetoric of the sign, the speaker’s appearance and movements, etc. The second type is the spoken performance of utterances which bears written rhetoric arts like metaphor, simile, metonymy, etc. Rationale of the study: First: in spite of the factual existence of rhetorical phenomena in the Arabic heritage, there has been no contemporary study handling the spoken rhetoric in the Arabic heritage. Second: Arabic Civilization is originally a spoken one. Comparing the Arabic culture and civilization, from one side, to the Greek, roman or Pharaonic cultures and civilizations, from the other side, shows that the latter cultures and civilizations started and flourished written while the former started among illiterate people who had no interest in writing until recently. That sort of difference on the part of the Arabic culture and civilization created a rhetoric different from rhetoric in the other cultures and civilizations. Third: the spoken nature of the Arabic civilization influenced the Arabic rhetoric in the sense that specific rhetorical arts have been introduced matching that spoken nature. One of these arts is the art of concision which compensates for the absence of writing’s means of preserving the text. In addition, this interprets why many of the definitions of the Arabic rhetoric were defining rhetoric as the art of concision. Also, this interprets the fact that the literary genres known in the Arabic culture were limited by the available narrow space like poetry, anecdotes, and stories, while the literary genres in the Greek culture were of wide space as epics and drama. This is not of any contrast to the fact that some Arabic poetry would exceed 100 lines of poetry as Arabic poetry was based on the line organic unity, which means that every line could stand alone with a full meaning that is not dependent on the rest of the poem; and that last aspect has never happened in any culture other than the Arabic culture.

Keywords: Arabic rhetoric, spoken rhetoric, Arabic heritage, culture

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Authors: Rin Li Si Samantha

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The arts and cultures of Southeast Asia, particularly ancient or precolonial Southeast Asia, are commonly understood via two distinct theories: Indianisation and localisation. Indianisation takes Southeast Asia as a region to be cultural satellites or even colonies of a great Indian civilisation; Philip Rawson, in his 1967 book The Art of Southeast Asia, is to a large degree a proponent of this perspective. Localisation, a theory which has gained much traction in contemporaneous discourse, chooses instead to privilege local continuities and agencies in selectively accepting and adapting foreign influences to give form to new, syncretised traditions. The art historian Fiona Kerlogue’ similarly-named Arts of Southeast Asia, published in 2004, takes this perspective as its bedrock. This essay compares the many opposing ideological commitments of Rawson and Kerlogue: Indianisation versus localisation, evaluation versus explanation, and antiquity versus entirety. In the end, it reconciles the two as hallmarks of their time periods and is complementary in the pursuit of a holistic study of the art history of Southeast Asia.

Keywords: art history, Southeast Asia, Indianisation, localisation, precolonial, orientalism, comparative analysis, text

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Authors: Derek Brandon G. Yu, Clyde Vincent O. Pilapil, Christine F. Peña

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College students of Cebu province have been indoors since March 2020, and a challenge encountered is the sudden shift from face to face to online learning and with the lack of empirical data on online learning on Higher Education Institutions (HEIs) in the Philippines. Sentiments on face to face and online learning will be collected from University of San Carlos (USC), School of Arts and Sciences (SAS) students regarding Mathematics in the Modern World (MMW), a General Education (GE) course. Natural Language Processing with machine learning algorithms will be used to classify the sentiments of the students. Results of the research study are the themes identified through topic modelling and the overall sentiments of the students in USC SAS

Keywords: natural language processing, online learning, sentiment analysis, topic modelling

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Authors: Pirada Techaratpong

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This qualitative research has 2 objectives: to study marketing management of the cultural learning center in Suansunandha Rajabhat University and to suggest guidelines to improve its marketing management. This research is based on a case study of the Arts and Culture Office in Suansunandha Rajabhat University, Bangkok. This research found the Art and Culture Office has no formal marketing management. However, the marketing management is partly covered in the overall business plan, strategic plan, and action plan. The process can be divided into 5 stages. The marketing concept has long been introduced to its policy but not apparently put into action due to inflexible system. Some gaps are found in the process. The research suggests the Art and Culture Office implement the concept of marketing orientation, meeting the needs and wants of its target customers and adapt to the changing situation. Minor guidelines for improvement are provided.

Keywords: cultural learning center, marketing, management, museum

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Authors: Meera Rajeev Kumar

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An overall social, emotional, and cultural development in a child is what a parent expects. There is no point in comparing the generations of 70’s or 80’s with that of the children of today as the trends are changing drastically. Technology has enabled them to become smart as well as over smart in one way or the other. Children today are quite ignorant of today’s values or ethics and are imbibing different cultures around them and ultimately confused on what to follow. The researcher has gained experience in transmitting or imparting the traditional culture through performing arts. It is understood that the children undergo a transformation from what they knew to what the truth is, through learning and experience. Through performing arts, the child develops an emotional, quick learning, abundant creativity, and ultimately self-realisation on what is right and wrong. The child also gains good organising skills, good decision making skills, therefore summing up to a holistic development. The sample study is 50, and a random sampling technique is adopted to differentiate between a normal child and a child learning an art. The study is conducted in Tamil Nadu, in India.

Keywords: creativity, cultural, emotional, empower

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Authors: Vivian Li

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With the rapid development of technology, virtual reality (VR) and augmented reality (AR) are becoming increasingly prominent in our lives. Museums have led the way in digitization, offering their collections to the wider public through the open internet, which is dramatically changing our experience of art. Technology is also being implemented into our physical art-viewing experience, enabling museums to capture historical sites while creating a more immersive experience for patrons. This study takes a qualitative approach, examining secondary sources and synthesizing information from interviews with field professionals to answer the question: to what extent is the contemporary perception of art transformed by the digitization of art museums? The findings establish that museums are becoming increasingly open with their collections, utilizing digitization to spread their intellectual content to people worldwide and to diversify their audiences. The use of VR and AR is also enabling museums to preserve and showcase historical artifacts and sites in a more interactive and user-focused way. Technology is also crafting new forms of art and art museums. Ultimately, the intersection of technology and museums is not changing the definition of art but rather offering new modes for the public to experience and learn about arts and history.

Keywords: art, augmented reality, digitization, museums, technology, virtual reality

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Authors: K. H. Yang, T. C. Yeh, P. S. Lu, F. C. Yang, T. Y. Wu, W. J. Sung

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In this study, a series of full-scale hot smoke tests has been conducted to validate the performances of the smoke management system in the WWY center for arts before grand opening. Totaled 19 scenarios has been established and experimented with fire sizes ranging from 2 MW to 10 MW. The measured ASET data provided by the smoke management system experimentation were compared with the computer-simulated RSET values for egress during the design phase. The experimental result indicated that this system could successfully provide a safety margin of 200% and ensure a safe evacuation in case of fire in the WWY project, including worst-cases and fail-safe scenarios. The methodology developed and results obtained in this project can provide a useful reference for future applications, such as for the large-scale indoor sports dome and arena, stadium, shopping malls, airport terminals, and stations or tunnels for railway and subway systems.

Keywords: building hot smoke tests, performance-based smoke management system designs, full-scale experimental validation, tenable condition criteria

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Authors: Montri Meenium

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The purpose of this research was to examine youths’ analysis and evaluation of three protagonists, one female and two males involved in sexual relationship in the stage play “Kaki” held by the Faculty of Liberal Arts, Prince of Songkla University. The interviews were conducted with 10 youths in the production team and 10 audience youths, totalling 20. The findings, which were presented in the form of a descriptive analysis, showed that all the 10 youths in the production team and the 10 audience youths did not accept the behaviour of the protagonists: the female who committed adultery and the males who were corrupted by power, had sexual relationship with a married woman and deceived people. The youths, however, knew that such behaviour resulted from being overpowered by human passion, especially infatuation, which was in accordance with the theme of the play. It was suggested that the story twines ideology or points of view that defy moral and ethics, prompting questions to be asked. Hence, the stage play can be used as an instrument to develop critical thinking in youths.

Keywords: descriptive analysis, protagonists, youths, stage-play

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Authors: Diana Isabel Torres Silva

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Doris Salcedo is the most prominent sculptor from Colombia ever and currently, one of the most prestigious Latin-American artists in the world. Her artwork, intended as political art, has war as a background, in particular the Colombian civil conflict, and it addresses the way that its violence affects victims’ lives irreparably. While Salcedo is internationally recognized as a talented and a politically committed artist, some Colombian critics consider her artwork as the propagandist and influenced by the interest of multinational companies and the organizations that fund it. This paper, as part of a more extended research project, attempts to demonstrate that Doris Salcedo’s artwork makes visible the victims suffering and mourning and compels the viewers’ sympathy, although its approach is superficial. It does not achieve a complete or complex understanding of the social and historical causes underneath the war and maybe because of that has become a successful commodity for the international arts market. The paper considers, firstly, the influence that Colombian Nuevo Teatro, from the sixties, had on Salcedo’s early political perspective and, secondly, analyzes in detail the first series of her artwork (1992-1998) and how those works address grieving. The focus point of this analysis will be the domestic furniture sculptures, which are the main symbolic element of Salcedo’s oeuvre.

Keywords: Arts and politics, Doris Salcedo, Colombian art, Political Art

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Authors: Kingkan Pongsiri

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This paper aims to study the role and activities of the participants and the impact of activities created in the local area in order to sustainably develop the local areas. This study applied both qualitative and quantitative approaches presented in descriptive style; the data was collected via survey, observation and in-depth interviews with samples. The results illustrated five sorts of roles of participants of the Cicada Walking-street and four types of creative activities; recreation based, art based, cultural based, and live events. Integration of local characteristics, arts and cultures were presented creatively and interestingly. Participants are various. The roles of the participants found in the Cicada Market are group of the property and area management, entrepreneurs, leisure (entertaining persons), local people, and tourists. The good impacts on local communities are those in terms of economy, environmental friendly and local arts and cultures promoting. On the other hand, the traffic congestion, waste and the increasing of energy consumption are negative impacts from area development.

Keywords: creative tourism activity, destination development, sustainable development, walking street

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Authors: Supranee Wattanasin

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This research study was a qualitative documentary research by using an in-depth interview with many experts in the field who has both knowledge and experience to provide information to create a strategic plan to enhance the students’ ethics. The findings revealed that there were five areas that require an attention. The five areas included honesty, accurate fact, human right, speed, and responsibility. The development of the strategic plan to enhance the ethics for students who major in communication arts can be concluded as follows. First, the government, private, and religion sectors need to come up together and set up the activities to promote the ethical standard in schools, universities, and organizations. Second, it is important to cultivate the knowledge that ethics is important of the professional jobs, especially in the mass communication and media. Third, the Philosophy of Sufficiency Economy should be brought to explain to students in order for them to have some immunity to the negative attitude such as drinking alcohol, gambling, cut classes, and cheating at exams. Fourth, experts in the field of ethics should be found to provide more knowledge to students and allow students to participate in activities that will increase their experience and knowledge of the real world problem.

Keywords: communication arts, ethics, mass communication, media, strategy

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Authors: Eleonora Carloni, Michela Arnaboldi

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In academia, the investigation of the relationship between cultural heritage and corporations is ubiquitous in several fields of studies. In practice corporations are more and more integrating arts and cultural heritage in their strategies for disparate benefits, such as: to foster customer’s purchase intention with authentic and aesthetic experiences, to improve their reputation towards local communities, and to motivate employees with creative thinking. There are diverse forms under which corporations set these artistic interventions, from sponsorships to arts-based training centers for employees, but scholars agree that the maximum expression of this cultural trend are corporate museums, growing in number and relevance. Corporate museums are museum-like settings, hosting artworks of corporations’ history and interests. In academia they have been ascribed as strategic asset and they have been associated with diverse uses for corporations’ benefits, from place for preservation of cultural heritage, to tools for public relations and cultural flagship stores. Previous studies have thus extensively but fragmentally studied the diverse benefits of corporate museum opening to corporations, with a lack of comprehensive approach and a digression on how to evaluate and report corporate museum’s performances. Stepping forward, the present study aims to investigate: 1) what are the key performance measures corporate museums need to report to the associated corporations; 2) how are the key performance measures reported to the concerned corporations. This direction of study is not only suggested as future direction in academia but it has solid basis in practice, aiming to answer to the need of corporate museums’ directors to account for corporate museum’s activities to the concerned corporation. Coherently, at an empirical level the study relies on action research method, whose distinctive feature is to develop practical knowledge through a participatory process. This paper indeed relies on the experience of a collaborative project between the researchers and a set of corporate museums in Italy, aimed at co-developing a performance measurement system. The project involved two steps: a first step, in which researchers derived the potential performance measures from literature along with exploratory interviews; a second step, in which researchers supported the pool of corporate museums’ directors in co-developing a set of key performance indicators for reporting. Preliminary empirical findings show that while scholars insist on corporate museums’ capability to develop networking relations, directors insist on the role of museums as internal supplier of knowledge for innovation goals. Moreover, directors stress museums’ cultural mission and outcomes as potential benefits for corporation, by remarking to include both cultural and business measures in the final tool. In addition, they give relevant attention to the wording used in humanistic terms while struggling to express all measures in economic terms. The paper aims to contribute to corporate museums’ and more broadly to arts-based initiatives’ literature in two directions. Firstly, it elaborates key performance measures with related indicators to report on cultural initiatives for corporations. Secondly, it provides evidence of challenges and practices to handle reporting on these initiatives, because of tensions arising from the co-existence of diverse perspectives, namely arts and business worlds.

Keywords: arts-based initiative, corporate museum, hybrid organization, performance measurement

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Authors: Rusne Kregzdaite

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The value of the cultural sector stems from the symbolic exploration that differentiates cultural organisations from other product or service organisations. As a result, the cultural sector has a dual impact on the socio-economic system: the economic value (expressed in terms of market relations) created influences the dynamics of the country's financial indicators, while the cultural (non-market) value indirectly contributes to the welfare of the state through changes in societal values, creativity transformations and cultural needs of the country. Measurement of indirect (cultural value) impacts is difficult, but in the case of the cultural sector (especially when it comes to economically inefficient state-funded culture), it helps to reveal the essential characteristics of the sector. The study aims to analyze the value of cultural organisations that are invisible in market processes and to base it on quantified calculations. This was be done by analyzing the usefulness of the consumer, incorporating not only the price paid but also the social and cultural decision-making factors that determine the spectator's choice (time dedicated for a visit, additional costs, content, previous experiences, corporate image). This may reflect the consumer's real choice to consume (all the costs he incurs may be considered the financial equivalent of his experience with the cultural establishment). The research methodology was tested by analyzing the performing arts sector and applying methods to the Lithuanian national drama theatre case. The empirical research consisted of a survey (more than 800 participants) of Lithuanian national drama theatre visitors to different performances. The willingness to pay and travel costs methods were used. Analysis of different performances lets identifies the factor that increases willingness to pay for the performance and affects theatre attendance. The research stresses the importance of cultural value and social perspective of the cultural sector and relates it to the discussions of public funding of culture.

Keywords: cultural economics, performing arts, willingness to pay, travel cost analysis, performing arts management

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Authors: Sereen Itani

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As the world aspires for technological innovation, Innovative Robotics Technology-Supported Pedagogic Models in STEAM Education (Science, Technology, Engineering, Arts, and Mathematics) are critical in our global education system to build and enhance the next generation 21st century skills. Thus, diverse international schools endeavor in attempts to construct an integrated robotics and technology enhanced curriculum based on interdisciplinary subjects. Accordingly, it is vital that the globe remains resilient in STEAM fields by equipping the future learners and educators with Innovative Technology Experiences through robotics to support such fields. A variety of advanced teaching methods is employed to learn about Robotics Technology-integrated pedagogic models. Therefore, it is only when STEAM and innovations in Robotic Technology becomes integrated with real-world applications that transformational learning can occur. Robotics STEAM education implementation faces major challenges globally. Moreover, STEAM skills and concepts are communicated in separation from the real world. Instilling the passion for robotics and STEAM subjects and educators’ preparation could lead to the students’ majoring in such fields by acquiring enough knowledge to make vital contributions to the global STEAM industries. Thus, this necessitates the establishment of Pedagogic models such as Innovative Robotics Technologies to enhance STEAM education and develop students’ 21st-century skills. Moreover, an ICT innovative supported robotics classroom will help educators empower and assess students academically. Globally, the Robotics Design System and platforms are developing in schools and university labs creating a suitable environment for the robotics cross-discipline STEAM learning. Accordingly, the research aims at raising awareness about the importance of robotics design systems and methodologies of effective employment of robotics innovative technology-supported pedagogic models to enhance and develop (STEAM) education globally and enhance the next generation 21st century skills.

Keywords: education, robotics, STEAM (Science, Technology, Engineering, Arts and Mathematics Education), challenges

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Authors: Wenwen Liu, Robert Burton, Simon McKeown

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Climate change is seriously threatening human security and development, leading to global warming and economic, political, and social chaos. Many artists have created visual responses that challenge perceptions on climate change, actively guiding people to think about the climate issues and potential crises after urban industrialization and explore positive solutions. This project is an interdisciplinary and intertextual study where art practice is informed by culture, philosophy, psychology, ecology, and science. By correlating theory and artistic practice, it studies how art practice creates a new way of understanding climate issues and uses art as a way of exploring speculative futures. In the context of practical-based research, arts-based practice as research and creative practice as interdisciplinary research are applied alternately to seek the original solution and new knowledge. Through creative art practice, this project has established new visual ways of looking at climate change and has developed it into a new model to generate more possibilities, an alternative social imagination. It not only encourages people to think and find a sustainable speculative future conducive to all species but also proves that people have the ability to realize positive futures.

Keywords: climate change, creative practice as interdisciplinary research, arts-based practice as research, creative art practice, speculative future

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Authors: Slamet Subiyantoro, Mulyanto

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Revealing the structure and symbolism meaning of the walisanga’s mosque arts in Java is very important to explain the philosophy of religious foundation which is a manifestation of the norms/ value system and behavior of the Javanese Islam society that support the culture. This research's aims are also to find the structure pattern of walisanga’s mosque and its symbolic meaning in the context of Javanese Islam society. In order to obtain the research objectives, the research were done in several walisanga’s mosques in Java using anthropological approach which is focused on its interpretation and semiotic analysis. The data were collected through interviews with key informants who well informed about the shape and symbolism of walisanga’s mosques in Java. The observation technique is done through visiting walisanga’s mosques to see directly about its structure/ architecture. In completing the information of comprehensive result of the research, it is also used documents and archives as well as any other source which is analyzed to deepen the discussion in answering the problems research. The flow of analysis is done using an interactive model through stages of data collection, data reduction, data presentation and verification. The analysis is done continuously in a cycle system to draw valid conclusions. The research result indicates that the structure/architecture of walisanga’s mosque in Java is structured/built up vertically as well as horizontally. Its structure/architecture is correlated to each other which is having a sacred meaning that is a process represents the mystical belief such as sangkan paraning dumadi and manuggaling kawula gusti.

Keywords: Walisanga’s mosques, Java, structure and architecture, meaning

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Authors: Anna Lytvynova

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This essay presents labour as a performatively national phenomenon from a cultural perspective. Considering Engels’ proposition of labour as the epicentre of development of social structures and communities, it theorizes the formation and sustainment of group identities through labour identities. Taking labour in the cultural sector as the starting point case study, the essay further enunciates such labour and labour identity as a form of engaged citizenship. In doing so, this piece hopes to arrive at a potential contemporary understanding of labour as having a central and dynamic role in cultural organization and citizenship. A parallel goal is to de-link sociological models of cultural labor from narratives of art and culture as something that stands separate from the 'real world' and the economy and exists in precarity. Combining discourse from cultural sociology, performance studies, and economics and grounding it in historical archive, the essay makes a primarily discursive theoretical contribution. Taking North American theatre organizations as the exemplifying starting point, this project positions cultural workers not solely as workers in a professional industry but as active citizen-subjects who are deeply involved in their society’s democratic processes. The resulting discourse can be used to shape more effective labour policies, as well as help art and cultural organizations find more effective organizational structures to engage the arts in the economic, political, and social spheres.

Keywords: arts labour, cultural sociology, national identity, performativity

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Authors: Sonia Bernardo Correia

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This paper is part of ongoing research that aims to understand the role of gender in the composition of the Portuguese contemporary art world and the possibilities and limits to the success of the professional paths of women and men artists. The field of visual arts is gender-sensitive as it differentiates the positions occupied by artists in terms of visibility and recognition. Women artists occupy a peripheral space, which may hinder the progression of their professional careers. Based on the collection of data on the participation of artists in Portuguese exhibitions, art fairs, auctions, and art awards between 2012 and 2019, the goal of this study is to portray female artists’ participation as a condition of professional, social, and cultural visibility. From the analysis of a significant sample of institutions from the artistic field, it was possible to observe that the works of female authors are under exhibited, never exceeding one-third of the total of exhibitions. Male artists also enjoy a comfortable majority as gallery artists (around 70%) and as part of institutional collections (around 80%). However, when analysing the younger age cohorts of artists by gender, it appears that there is representation parity, which may be a good sign of change. The data shows that there are persistent gender inequalities in accessing the artist profession. Women are not yet occupying positions of exposure, recognition, and legitimation in the market similar to those of their male counterparts, suggesting that they may face greater obstacles in experiencing successful professional trajectories.

Keywords: inequalities, invisibility of the woman artist, gender, visual arts

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Authors: Hiba Taim

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This abstract falls within the scope of entrepreneurship and regulates cultural and creative entrepreneurship. It tackles the topic of "The Ecosystem in Cultural and Creative Entrepreneurship in North Africa". This piece of work deals with the problem of the absence of the ecosystem in cultural and creative enterprises in North Africa, meaning the absence of a clear structure of the ecosystem in the field of cultural and creative entrepreneurship in North Africa. The aim of this research is to create an integrated ecosystem that brings together all those involved in cultural and creative entrepreneurship in North Africa: from training, financial support, continuing, international organizations, government banks, and means of communication. This study is significant not only because it suggests some activities to develop this system but also because it provides all of the information to cultural and creative entrepreneurs in order for them to create project opportunities and activate the entrepreneurship process. It will also enable the creation of opportunities to work among them and formulate common cultural policies to develop the quality of cultural and creative services in North Africa. This research paper uses a qualitative approach to gather information of good quality about the problem being tackled, as well as studying and analyzing different documents and conducting interviews with cultural entrepreneurs, which will help to collect all the information on the state of the ecosystem in North Africa. For the moment, this paperwork is at the stage of collecting preliminary data regarding the problem and developing appropriate schedules for all the phases of the research in order to be productive and deliver this study in the coming months.

Keywords: cultural innovation, design innovation, design thinking, cultural entrepreneurship

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Authors: Mariko Hara, Mari Aoki, Takako Ito, Masao Sugita

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Social distancing measures due to the COVID-19 crisis had a severe impact on music and art practices based in community settings. They had to re-think how to connect with their dispersed community using online tools. As the social distancing continues, there is an urgent need to investigate the possibilities of online community music and art practices. Are they sustainable actions that can have positive impacts on the community and the quality of lives of people over time? The Online Lindgren Café (hereafter ‘OLC’) is a monthly online literature event which started in June 2020. In the OLC, up to 14 members meet online to discuss the works of Astrid Lindgren and similar authors. Members come from various places in Japan and Norway, with a variety of expertise from music therapy, music education, psychotherapy, music sociology, storytelling, and theatre, and their family members join them. In these meetings, music and arts activities emerged in response to interests among the members. The resources and experiences of the members helped to develop these activities further. This paper first introduces one of the music and art activities in one specific event, a collaborative picture book-making with music, which was initiated and led by the second author. The third author chose the music, and the activity itself was recorded. This is followed by the description of a reflecting event, where the recording of the collaborative picture book-making activity was shared to facilitate further creations (drawings, haiku, and fabric weaving) as well as group reflections on the trajectories of the Online Lindgren Café. Finally, we will discuss the preliminary findings using the data collected at the reflecting event. Key findings suggest that the resource-driven approach of the OLC leveled the relationships among the intergenerational, multi-cultural, and interdisciplinary members. This enabled the members to set aside their professional and/or predominant identities, which allowed them to discover their own and others’ resources. The relaxed, unstructured, and liminal phenomenon at OLC can be regarded as a form of communitas, where members gain a sense of liberation and belonging in a different way from in-person communications. Participation from one’s home, as well as a video conferencing function that allowed the members to position themselves among the other participants in equal-sized windows, seems to have enabled members to feel safe to express themselves openly at the same time feel a sense of belonging. Furthermore, in the OLC, music and arts activities acted to inclusively connect and re-connect dispersed, intergenerational members with each other. For instance, in a music and drawing activity, music acted as a means for each member to engage in their own ‘drawing space’ while still feeling connected with the others. The positive experiences from these activities inspired the members to use similar approaches outside of the OLC. The finding suggests that, because of its resource-driven approach supported by the music and arts activities, the OLC could be developed further as a permeable and sustainable action even after any current social distancing measures are lifted.

Keywords: communitas, COVID-19, musical affordances, online community of practices, resource-driven approach

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Authors: Ahmed Tahsin Shams

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The right to dissent through any form of art has been facing challenges through various strict legal measures, particularly since 2018 when the Government of Bangladesh passed the Digital Security Act 2018 (DSA). Therefore, the references to ‘popular’ culture mostly include mainstream religious and national festivals and exclude critical intellectual representation of specific political allusions in any form of storytelling: whether wall art or fiction writing, since the post-DSA period in Bangladesh. Through inductive quantitative and qualitative methodological approaches, this paper aims to study the pattern of censorship, detention or custodial tortures against artists and the banning approach by the Bangladeshi government in the last five years, specifically against static visual arts, i.e., cartoon and wall art. The pattern drawn from these data attempts to redefine the popular notion of ‘pop culture’ as an unorganized folk or mass culture. The results also hypothesize how the post-DSA period forcefully constructs ‘pop culture’ as a very organized repetitive deception of enlightenment or entertainment. Thus the argument theorizes that this censoring trend is a fascist approach making the artists subaltern. So, in this socio-political context, these two similar and overlapping elements: culture and art, are vastly separated in two streams: the former being appreciated by the power, and the latter is a fearful concern for the power. Therefore, the purpose of art also shifts from entertainment to an act of rebellion, adding more layers to the new postmodern definition of ‘pop culture.’

Keywords: popular culture, visual arts, censoring trend, fascist approach, subaltern, digital security act

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Authors: Eriberto R. Astorga Jr., Herbert D. Vertucio, Evelyn M. Polison

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This study was conducted in order to determine the analysis with regards to the Characterization of Self-Esteem of EARIST Students according to their origin of self-esteem and low self-esteem as well as its causes. The respondents of this study are three thousand three hundred twenty three (3,323) randomly selected students from eight colleges of EARIST such as Arts and Sciences, Education, Public Administration and Criminology, Business Administration, Hospitality Management, Architecture and Fine Arts, Engineering, and Industrial Technology. A survey was conducted by using a validated questionnaire for information gathering about respondents profile and different factors relating to self-esteem of students such as self-origin, familial and social relationship, financial situation and education. Frequency, percentage, ranking and standards deviation, standard t-test and ANOVA were applied to investigate the differences of the answers of the respondents to the origin of their self-esteem and the reasons for low self-esteem. The results revealed that there are no significant differences in the origin of their self-esteem and the reasons of low esteem as to the eight group of respondent’s. Moreover, most causes of low esteem are caused by hearing a comment or experiencing an incident that has a negative impact student mentally and emotionally, poor health, being bullied, lack of support from family, friends, and job loss, experiencing verbal and sexual abuse and are in a violent relationship, feelings of isolation, divorce, dysfunctional family, death and lack of achievement at work and at school, trying to conform to stereotypes and prove our independence from our parents.

Keywords: characterization, plan of action, profile, self-esteem

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Authors: Leslie Nobler

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African fabrics based specifically on the Dutch Wax Print, or Ankara, popularized during Africa's colonial era, have had an enormous impact on western fashion (especially in the US and UK), in the last half-decade. The trend has had an effect on the world of visual arts as well, which circuitously, also heavily impacts fashion design. In fashion, and notably in celebrity apparel choices, this is in part due to ‘identity’ and taking pride in one's African roots; in the visual arts, artists such as Yinka Shonibare and Njideka Akunyili Crosby are making statements about identity politics, colonialism up through post-colonialism, and racism. The ‘global village’ brought on by the internet has driven this proliferation, as have improvements in the printing technology with which the Ankara print is made, combining wax-resist with roller printing. The newest patterns can now be designed authentically in western African and easily sent electronically to Europe for printing. Examples of Ankara's new reach across the Atlantic abound. They have taken several paths, which the paper will detail. Briefly, the first is its greater utilization in the fashion world, from authentic textile shops in African American neighborhoods to copied (knocked-off) low-end reproductions in discount chains. Secondly, we are seeing far more uses of these textiles/patterns in important works of fine arts from major museums, in Philadelphia to Palm Beach to the Mass MOCA (in the US), all the way to the Israel Museum in Jerusalem, and everywhere in between. And lastly, but quite significantly, we see this trend throughout social media thanks to Instagram, Pinterest and celebrity photos –even at the recent royal wedding. What shall sustain this major new design direction is that Ankara changes with and adapts to the times. Some of it is now printed in West Africa, often in the Nigeria area. And some may be designed in Europe or even at knock-off apparel studios in NY or Asia. But it stays utterly relevant because the motifs are based on objects and scenes in everyday life. In my design studio and university design classes, this idea is first and foremost, from our big spiritual eye motifs to drawings of our art supplies to the ‘politically-loaded’ chain patterns. This first-hand creativity experience becomes part of the research of this paper, along with historic and contemporary sources of inquiry, both through a literature/image search and anecdotal experience into what is behind this exciting and surprising trend.

Keywords: African wax print, Ankara, identity (politics), textile design, surface design

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Authors: Maari Sugawara

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This arts-based research is about "self-torture": the interplay of seemingly opposing elements of pain, pleasure, submission, and power. It asserts that "self-torture" can be considered a nontrivial mediation between the aesthetic and the sociopolitical. It explores what the author calls queered self-torture; "self-torture" marked by an ambivalence that allows the oppressed to resist, and their counter-valorization occasionally functions as therapeutic solutions to the problems they highlight and condense. The research goal is to deconstruct normative self-torture and propose queered self-torture as a fertile ground for considering the complexities of desire that allow the oppressed to practice freedom. While “self-torture” manifests in many societies, this research focuses on cultural and national identity in post-WWII Japan using this lens of self-torture, as masochism functions as the very basis for Japanese cultural and national identity to ensure self-preservation. This masochism is defined as an impulse to realize a sense of pride and construct an identity through the acceptance of subordination, shame, and humiliation in the face of an all-powerful Other; the dominant Euro-America. It could be argued that this self-torture is a result of Japanese cultural annihilation and the trauma of the nation's defeat to the US. This is the definition of "self-torturous thresholds," the author’s post-WWII Japan psycho-historical diagnosis; when this threshold is crossed, the oppressed begin to torture themselves; the oppressors no longer need to do anything to maintain their power. The oppressed are already oppressing themselves. The term "oppressed" here refers to Japanese individuals and residents of Japan who are subjected to oppressive “white” heteropatriarchal supremacist structures and values that serve colonialist interests. There are three stages in "self-torturous thresholds": (1) the oppressors no longer need to oppress because the oppressed voluntarily commit to self-torture; (2) the oppressed find pleasure in self-torture; and (3) the oppressed achieve queered self-torture, to achieve alternative futures. Using the conceptualization of "self-torture," this research examines and critiques pleasure, desire, capital, and power in postwar Japan, which enables the discussion of the data-colonizing “Moonshot Research and Development program”. If the oppressed want to divest from the habits of normative self-torture, which shape what is possible in both our present and future, we need methods to feel and know that the alternative results of self-torture are possible. Phase three will be enacted using Sarah Ahmed's queer methodology to reorient national and cultural identity away from heteronormativity. Through theoretical analysis, textual analysis, archival research, ethnographic interviews, and digital art projects, including experimental documentary as a method to capture the realities of the individuals who are practicing self-torture, this research seeks to reveal how self-torture may become not just a vehicle of pleasure but also a mode of critiquing power and achieving freedom. It seeks to encourage the imaginings of queer Japanese futures, where the marginalized survive Japan’s natural and man-made disasters and Japan’s Imperialist past and present rather than submitting to the country’s continued violence.

Keywords: arts-based research, Japanese studies, interdisciplinary arts, queer studies, cultural studies, popular culture, BDSM, sadomasochism, sexuality, VR, AR, digital art, visual arts, speculative fiction

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Authors: Paulo O. Motita

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The Philippine Association of State Colleges and University (PASUC) is an association of State owned and operated higher learning institutions in the Philippines, it is the association that spearhead the conduct of the Annual National Athletic competitions for State Colleges and Universities and Arnis is one of the regular sports. In 2009, Republic Act 9850 also known as declared Arnis as the National Sports and Martial arts of the Philippines. Arnis an ancient Filipino Martial Arts is the major sports in the Annual Palarong Pambansa and other school based sports events. The researcher as a Filipino Martial Arts master and a former athlete desired to determine the extent of acceptability of the arnis rules in competition which serves as the basis for the development of arnis rules. The study aimed to assess the conduct of Arnis competition in PASUC Olympics 2015 in Tugegarao City, Cagayan, Philippines.the rules and conduct itself as perceived by Officiating officials, Coaches and Athletes during the competition last February 7-15, 2015. The descriptive method of research was used, the survey questionnaire as the data gathering instrument was validated. The respondents were composed of 12 Officiating officials, 19 coaches and 138 athletes representing the different regions. Their responses were treated using the Mean, Percentage and One-way Analysis of Variance. The study revealed that the conduct of Arnis competition in PASUC Olympics 2015 was at the low extent to moderate extent as perceived by the three groups of respondents in terms of officiating, scoring and giving violations. Furthermore there is no significant difference in the assessment of the three groups of respondents in the assessment of Anyo and Labanan. Considering the findings of the study, the following conclusions were drawn: 1). There is a need to identify the criteria for judging in Anyo and a tedious scrutiny on the rules of the game for labanan. 2) The three groups of respondents have similar views towards the assessment on the overall competitions for anyo that there were no clear technical guidelines for judging the performance of anyo event. 3). The three groups of respondents have similar views towards the assessment on the overall competitions for labanan that there were no clear technical guidelines for majority rule of giving scores in labanan. 4) The Anyo performance should be rated according to effectiveness of techniques and performance of weapon/s that are being used. 5) On other issues and concern towards the rules of competitions, labanan should be addressed in improving rules of competitions, focus on the applications of majority rules for scoring, players shall be given rest interval, a clear guidelines and set a standard qualifications for officiating officials.

Keywords: PASUC Olympics 2015, Arnis rules of competition, Anyo, Labanan, officiating

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Authors: Danilo Pesce, Emilio Paolucci, Mariolina Affatato

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Looking at the future and at the post-digital era, innovations commonly tend to dismiss the old and replace it with the new. The aim of this research is to study the role that digital innovation can play alongside the information chain within the traditional sectors and the subsequent value creation opportunities that actors and stakeholders can exploit. By drawing on a wide body of literature on innovation and strategic management and by conducting a case study on the cultural heritage industry, namely Google Arts & Culture, this study shows that technology augments complements, and amplifies the way people experience their cultural interests and experience. Furthermore, the study shows a process of democratization of art since museums can exploit new digital and virtual ways to distribute art globally. Moreover, new needs arose from the 2020 pandemic that hit and forced the world to a state of cultural fasting and caused a radical transformation of the paradigm online vs. onsite. Finally, the study highlights the capabilities that are emerging at different stages of the value chain, owing to the technological innovation available in the market. In essence, this research underlines the role of Google in allowing museums to reach users worldwide, thus unlocking new mechanisms of value creation in the cultural heritage industry. Likewise, this study points out how Google provides value to users by means of increasing the provision of artworks, improving the audience engagement and virtual experience, and providing new ways to access the online contents. The paper ends with a discussion of managerial and policy-making implications.

Keywords: big data, digital platforms, digital transformation, digitization, Google Arts and Culture, stakeholders’ interests

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