Search results for: carnival

Authors: Malathi Balakrishnan, Cheng Lee Ooi, Chander Vengadasalam

Abstract:

The purpose of this study is to explore a case study of trainee teachers’ learning experience on innovating traditional games during the traditional game carnival. It explores issues arising from multiple case studies of trainee teachers learning experiences in innovating traditional games. A qualitative methodology was adopted through observations, semi-structured interviews and reflective journals’ content analysis of trainee teachers’ learning experiences creating and implementing innovative traditional games. Twelve groups of 36 trainee teachers who registered for Sports and Physical Education Management Course were the participants for this research during the traditional game carnival. Semi structured interviews were administrated after the trainee teachers learning experiences in creating innovative traditional games. Reflective journals were collected after carnival day and the content analyzed. Inductive data analysis was used to evaluate various data sources. All the collected data were then evaluated through the Nvivo data analysis process. Inductive reasoning was interpreted based on the Self Determination Theory (SDT). The findings showed that the trainee teachers had positive game participation experiences, game knowledge about traditional games and positive motivation to innovate the game. The data also revealed the influence of themes like cultural significance and creativity. It can be concluded from the findings that the organized game carnival, as a requirement of course work by the Institute of Teacher Training Malaysia, was able to enhance teacher trainers’ innovative thinking skills. The SDT, as a multidimensional approach to motivation, was utilized. Therefore, teacher trainers may have more learning experiences using the SDT.

Keywords: learning experiences, innovation, traditional games, trainee teachers

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Authors: Elle Nielsen

Abstract:

Festival time on the island of St. Croix is an annual celebration of a melting pot of rich culture and heritage. All your senses are amplified by the colorful bodies that paint the streets with swaying hips commemorating the ancestors who didn’t have the voice to express themselves, let alone the bodily authority through movement. Within this atmosphere of jubilee, you will become a witness to how the melodies of Calypso and Soca music take full control of the body. As a result, the waist and hips in a trance follow the polyrhythmic patterns birthing the shunned movement practices of whining and wukkin up. Spectators on the sidelines of the festival events will either frown upon this spectacle of the whining bodies or gaze in awe at the performative history in a public space. The historical value of the Caribbean Carnival is being defaced by the transnational spectatorship using body politics to push more of a Eurocentric-influenced atmosphere. The themes within this investigation are the stereotypes of over-sexualization and resistance to assimilation to how black female bodies are being viewed in Carnival.

Keywords: women equity, West Indian movement vocabulary, critical dance studies, humanitarianism in dance academia

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Authors: David Sudre

Abstract:

Today, the National Basketball Association (NBA) is the cultural model of reference for most of the French basketball community stakeholders (players, coaches, team and league managers). In addition to the strong impact it has on how this sport is played and perceived, the NBA also influences the ways professional basketball shows are organized in France (within the Jeep Elite league). The objective of this research is to see how and to what extent the NBA show, as a globalized cultural product, disrupts Jeep Elite's professional basketball cultural codes in the organization of its shows. The article will aim at questioning the intercultural phenomenon at stake in sports cultures in France through the prism of the basketball match. This angle will shed some light on the underlying relationships between local and global elements. The results of this research come from a one-year survey conducted in a small town in northern France, Le Portel, where the Etoile Sportive Saint Michel (ESSM), a Jeep Elite's club, operates. An ethnographic approach was favored. It entailed many participating observations and semi-directive interviews with supporters of the ESSM Le Portel. Through this ethnographic work with the team's fan groups (before the games, during the games and after the games), it was possible for the researchers to understand better all the cultural and identity issues that play out in the "Cauldron," the basketball arena of the ESSM Le Portel. The results demonstrate, at first glance, that many basketball events organized in France are copied from the American model. It seems difficult not to try to imitate the American reference that the NBA represents, whether it be at the French All-Star Game or a Jeep Elite Game at Le Portel. In this case, an acculturation process seems to occur, not only in the way people play but also in the creation of the show (cheerleaders, animations, etc.). However, this American culture of globalized basketball, although re-appropriated, is also being modified by the members of ESSM Le Portel within their locality. Indeed, they juggle between their culture of origin and their culture of reference to build their basketball show within their sociocultural environment. In this way, Le Portel managers and supporters introduce elements that are characteristic of their local culture into the show, such as carnival customs and celebrations, two ingredients that fully contribute to the creation of their identity. Ultimately, in this context of "glocalization," this research will ascertain, on the one hand, that the identity of French basketball becomes harder to outline, and, on the other hand, that the "Cauldron" turns out to be a place to preserve (fantasized) local identities, or even a place of (unconscious) resistance to the dominant model of American basketball culture.

Keywords: basketball, carnival, culture, globalization, identity, show, sport, supporters.

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Authors: Oxana Vasilyeva

Abstract:

This paper draws on research in progress focusing on independent art in the Russian Federation. I am using the concept of independent art to mean art free from state control and established restrictive narratives. The Russian state pursues its interests by supporting or forbidding certain forms of art, and art that promotes values in opposition to the official political course is often forbidden. Arguments presented below draw from fieldwork carried out in Russian cities of Moscow and Saint Petersburg in June – August 2019, which included in-depth interviews with artists. This research explores socially engaged artistic works and their effect on socio-political state of affairs. It argues that artistic works entering public places have a potential to challenge autocratic system and inspire civil society to be critically engaged and to be capable to resist state propaganda. I am focusing on those artists who have a critical stance towards the current Russian political regime and analyzing their works in terms of transgression. By using the framework of transgression I aim to demonstrate how artists step across existing norms with their art influencing political and social order. To show the connection between the factors mentioned above, I will turn to two examples of transgressive aesthetics; one is individual and another is collective. The first example is Konstantin Benkovich, an artist who makes his works out of steel rebar, which is considered to be a symbol of the lack of freedom, as it is usually encountered in prison settings. The second example is a collective art practice called Monstration. It combines techniques of a demonstration and a carnival atmosphere. In 2019 Monstration was held in 30 Russian cities, despite the dissatisfaction of the authorities.

Keywords: art, culture, resistance, Russia

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Authors: Bernard Eze Orji

Abstract:

The masquerade, which is the most popular indigenous art form in Africa, is obviously identified by its elaborate, weird, and opulent costumes. The costume is the major essential accouterments in the art of the masquerade. From time past, masquerades have performed and enjoyed the freedom associated with its inscrutability and mystification solely because of its costumes. Noninitiates and women watched masquerades from a distance due to the reverence attached to its costumes and performances. In fact, whether in performance or as an item of art, the masquerade costume was seen as an embodiment of a tradition of liveliness, showiness, secrecy, and sacredness. This liveliness and showiness transformed masked characters who are believed to be possessed by spirits of ancestors and animals that inhabited the costumes. However, with the translocation of masquerade in new festivals such as carnival and state-sponsored cultural days, its costumes have been reduced to a mere item of entertainment and aesthetic values. The sacredness and reverence which hitherto elevated masquerade art to the point of wonderment have given way to an aesthetic appreciation of ingenious and individual creativity deployed in these festivals. This is as a result of the realistic and artistic creations that pervade masquerade costumes and masks in these festivals. It is a common sight to see such masquerades of animal and human genera like a lion, elephant, hippopotamus, and antelope; Agbogho Mmuo, Adamma, and Nchiekwa, respectively. This creative flair has emerged to expunge the ritual narratives associated with masquerades in the past. The study utilized performance analysis and aesthetic theory to establish that the creative ingenuity deployed by fine artists and mask designers who combine traditional artifacts to achieve modern masterpieces for the masquerades of the new festivals have reduced the ritual trappings and hype ascribed to masquerades in indigenous societies.

Keywords: costume and mask designs, entertainment, masquerade, ritual

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Authors: Zhe Wang

Abstract:

The fashion week, as a critical international fashion event in shaping world fashion cities, is one of the most significant world events that serves as the core medium for designers to stage new collections. However, its role in bringing about and shaping design ideologies of major fashion cities have long been neglected from a fashion ecosystem perspective. With the expanding scale of international fashion weeks in terms of culture and commerce, the organizational structures of these fashion weeks are becoming more complex. In the emerging fashion city, typified by Shanghai, a newly-formed 'hodgepodge' transforming the current global fashion ecosystem. A city’s legitimate fashion institutions, typically the organizers of international fashion weeks, have cultivated various cultural characteristics via rules and regulations pertaining to international fashion weeks. Under these circumstances, designers’ participatory behaviors, specifically show design and production, are influenced by the cultural ideologies of official organizers and institutions. This research compares international based Chinese (IBC) independent designers’ participatory behavior in London and Shanghai Fashion Weeks: specifically, the way designers present their clothing and show production. both of which are found to be profoundly influenced by cultural and design ideologies of fashion weeks. They are, to a large degree, manipulated by domestic institutions and organizers. Shanghai fashion week has given rise to a multiple, mass-ended entertainment carnival design and cultural ideology in Shanghai, thereby impacting the explicit cultural codes or intangible rules that IBC designers must adhere to when designing and producing fashion shows. Therefore, influenced by various cultural characteristics in the two cities, IBC designers’ show design and productions, in turn, play an increasingly vital role in shaping the design characteristic of an international fashion week. Through researching the organizational systems and design preferences of organizers of London and Shanghai fashion weeks, this paper demonstrates the embeddedness of design systems in the forming of design ideologies under various cultural and institutional contexts. The core methodology utilized in this research is ethnography. As a crucial part of a Ph.D. project on innovations in fashion shows under a cross-cultural context run by Edinburgh College of Art, School of Design, the fashion week’s organizational culture in various cultural contexts is investigated in London and Shanghai for approximately six months respectively. Two IBC designers, Angel Chen and Xuzhi Chen were followed during their participation of London and Shanghai Fashion Weeks from September 2016 to June 2017, during which two consecutive seasons were researched in order to verify the consistency of design ideologies’ associations with organizational system and culture.

Keywords: institutional ideologies, international fashion weeks, IBC independent designers; fashion show

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