Artistic Research Articles

A STUDY ON THE ORIGINS AND EVOLUTION OF SATTRIYA DANCE IN ASSAM

Sattriya dance was established in the 15th century A.D. by the Vaishnava saint Mahapurusha Sankaradeva as a vital means of propagating the Vaishnava faith. It has been maintained, as a unique dance form, by the Sattras or Vaishnava monasteries for centuries, hence the name. The tradition is strict on the principles of hand gestures, footwork, costumes, and music. It mainly consists of two streams of Bhaona repertoire such as Gayan-Bhayanar Nach and Kharmanar Nach and independent dances such as Chali, Rajagharia Chali, Jhumura, and Nadu Bhangi. Chali is characterized by grace, while Jhumura is characterized by vigor and grandeur. Sankardeva integrated his new form of art with elements from other treatises and local folk dances. Even before the neo-Vaishnava movement, Ojapali and Devadasi dances were prevalent in Assam to infuse classical elements to the Sattriya. While both Ojapalis-Sukananni and Vyah Goa Ojah are still performed, Vyah Goa Ojah is now an integral part of Sattras rituals. Devadasi influence can be seen in rhythmic syllables and postures. Assamese folk dances, such as Bihu and Bodos, have also influenced Sattriya, with some very visible similarities in gestures and rhythms.

Digital Surrealism: Video Game Space

The concept of virtual reality (VR), perceived as a copy of physical reality, restricts both the creators and users of the space, leaving no room for potential surreal experiences. The main motivation for conducting the research on virtual surreal space is to open up creative/productive spatial possibilities for discussion from a thought perspective that goes beyond this definition. Although there are various approaches to digital space in the literature, these studies mostly rely on computational methods. In contrast, this study aims to explore space from the perspective of "digital surrealism" which is ignored in spatial studies, through the computer-based gaming experience. Scholars writing about architecture and surrealism have argued that, unlike other forms of fine art, architecture was never an integral part of surrealism. Against this perspective of the digital game experience, the study aims to question whether it is possible to interpret the space with a surreal perspective and to investigate whether the space can approach surrealist thought with the digital game experience fed by computational methods that support the concepts of 'autonomy' and 'ubiquity'. The main goal of the study is to explore the relations between surrealism and architecture and the spatial potential of these relations through the experiences of the players. The surrealist spatial potential of digital space experience is explored in Superliminal (2019), a puzzle game that transforms the experience into allegories of dreams, free-thinking and multiple opportunities. Data analysis performed on the STEAM platform and the First Manifesto of Surrealism (1924), in which surrealism came into existence as a movement, were analyzed with Python software. The experimental group's thoughts and comments expressed on the STEAM platform were analyzed. Preliminary results of the study are presented with the "regression tree" method. Using the Python programming language, analyses are prosuded to discuss game spaces from a lens of surrealism perspective.

Challenging gender stereotypes in dance and physical education: exploring body percussion as a neutral practice

ABSTRACT The history of dance has long been associated with women, creating stereotypical limitations for men in this discipline, particularly evident in Physical Education (PE) where teachers often feel uncomfortable teaching Body Expression (BE) and dance content, especially male educators. Despite various artistic languages available for BE instruction in classrooms, body percussion (BP) has recently emerged as a multidisciplinary art form combining dance, theatre, and music, showing potential for transversal application in education. This study aimed to assess how BP practices are perceived by men and women and their effects on both genders. A specialized BP teaching application was introduced into higher education, involving 62 Spanish university students who completed the Profile Mood States questionnaire before and after the intervention. Statistical analyses revealed significant differences between men and women in pre- and post-tests. However, the findings indicated a positive experience for men, showcasing modifications in their emotional states – particularly reduced tension, depression, and anger, while exhibiting increased vigor. Fatigue, a common aspect in physically demanding PE activities, persisted. The study suggests that BP practices offer positive experiences related to BE and dance content, serving as a potentially more comfortable resource for classroom use compared to other artistic languages.

SCULPTURE IN THE MODERN ERA: INNOVATIONS IN MATERIALS AND STYLES

The Modern Era of sculpture has been marked by significant innovations in materials and styles, reflecting broader artistic movements and technological advancements. Traditional materials like marble and bronze have been complemented and sometimes replaced by diverse new media, including plastics, metals, found objects, and digital elements. Artists have experimented with unconventional materials to challenge and expand the boundaries of sculptural form and meaning. Additionally, modern sculpture has embraced various styles, from abstract and minimalist to kinetic and interactive, often breaking away from representational norms. These innovations have allowed for a more dynamic and inclusive exploration of themes, contributing to the evolution of sculpture as a vital and versatile art form in contemporary society.

Folk-stage dance of the Carpathian region as a folklore basis of contemporary choreographic art

The article analyzes the history of the development and popularization of folk-stage dance in Prykarpattia. The study of folk art in general and folk dance in particular in the context of the full-scale russian invasion of Ukraine is becoming more relevant than ever, because «the identity of a nation is its civilizational brand, the country’s socio-cultural niche, and the defining principle of the state’s foreign and domestic policy» [8, p. 4]. Folk dance is the cultural code of a nation. As a part of theatrical art, it is able to raise the patriotic spirit in the viewer, to foster a sense of pride in own nation and culture. The intangible cultural heritage, including folk dance as a national cultural product, must meet the demands of the present. One of the contemporary forms of dance art is the choreographic show performance. The lexeme «show» indicates the mass nature of the product, its entertainment character. In addition, shows use the latest digital technologies, software, laser art and musical infrasound techniques. The show is a kind of synthesis of different genres and art forms. Vasyl Vovkun’s mytho-dance opera Ole (Oleksa Dovbush) performed by the National Academic Hutsul Song and Dance Ensemble Hutsuliya as a modern form of popularizing traditional Hutsul dance culture and as a cultural national product meets all the requirements of the show. The performance combines different genres and art forms. It harmoniously intertwines drama, dance, and song. This unusual combination increased the interest of the cultural product consumer in the dramatic action of the show and added to its popularity. The scenery, costumes, and lighting meet the needs of the present. The choreographer created modern dances and choreographic compositions based on authentic Hutsul folklore. Folk-stage dances are organically combined with modern choreography, they are full of sophisticated technique and complex choreographic text, which demonstrates the skill of the author and ballet dancers. Based on the analysis of the peculiarities of folk dance staging, we have formulated and characterized the main criteria that should ensure the relevance of a contemporary choreographic work.

The Interrelation and Influence of Cultural Identity in the Performing Arts: Archetypes, Reflections, Interpretations

Relevance. In the modern global world, the relationship between cultural identity and the performing arts is becoming increasingly relevant. The academic paper focuses on the role of cultural identity, its search and transformation, based on archetypes, reflection and interpretation in forming the identity of performers. Archetypes, which are universal symbols and images, influence the creative process of performers. They can be manifested in musical compositions, choreography, acting, and other forms of art. Performers’ reflections on their cultural heritage and identity help them enrich their performances and express themselves. Purpose. The present academic paper will help reveal important aspects of the interaction between cultural identity and the performing arts, and it will also consider practical examples from the world of art, in particular, music. The object of the research is the specificity of the cultural identity of certain countries (Ukraine, the USA, Brazil, India, and China) and the possibilities of the performing arts to use cultural specificity/identity in the modern world. The principles of tolerance, awareness of cultural relativism and tolerance, cultural variety, and the aim to preserve cultural heritage by popularizing these notions served as the methodological basis for writing the academic paper. In order to accomplish the research tasks, the works of the following scholars and their methodological approaches were used, namely: the works of C. Jung, T. Adorno, the theories of F. Clackson and F. Strodtbeck, and the development of the study of cultural features of countries by G. Hofstede. In the context of cultural globalization, the issues of cultural identity are gaining particular importance. Musical art is particularly appropriate for demonstrating both timeless and supranational aspects of existence, and vice versa – for shaping and cultivating cultural differences, using both established archetypal images and performing reflections and interpretations of the author's intent, interpreted in accordance with the personal background and historical and cultural context.

Псевдо-Хафиз В.С. Соловьева и влияние переводческой традиции Г.Ф. Даумера и А.А. Фета

The essay analyses the Russian translations of Ḥāfeẓ by V.S. Solov’ev in 1885 (24 poems in the first journal edition, reduced to 11 in all subsequent volume editions). The Russian philosopher’s interest in the Persian poet is part of European, and specifically German, Orientalism, which became popular since the publication of J.W. Goethe’s “West-Eastern Divan” (1819). This interest has a direct connection with the translations of Hafiz published by A.A. Fet in 1860. As has been shown, Fet translated Ḥāfeẓ not directly, but through the poetic imitations of him by the German poet G.F. Daumer (“Hafis. Eine Sammlung persischer Gedichte”, 1846; in particular, he used the second edition of these poems, published in 1856). Solov’ev’s lyrics have hitherto been thought to be translations of Hafezian imitations by the German poet F. Bodenstädt (1877). The essay shows how actually Solov’ev used the same imitations by Daumer as Fet, probably taking them from the same volume used by the older poet. This enables to relate the two Hafezian poetic cycles more directly and to draw some general considerations on the different intentions that drove the two poets in translating the Persian mystic: for both, Ḥāfeẓ was functional in conveying their own artistic form and philosophical meaning, although each of them had a different understanding of him. The analysis shows that Solov’ev was much closer to Ḥāfeẓ than Fet. In the Persian poet Fet saw a singer of beauty and regarded the aesthetic phenomenon as self-valuable; for Solov’ev, beauty was a conduit of the divine, as it was for Ḥāfeẓ. In his poems, the young beautiful cupbearers (replaced in Daumer by the beloved woman) are always the personification of God. It was these themes (the power of love; its dual nature, both mystical and earthly; the immanence of the divine in the world) that Solov’ev would develop in the following years and would be reflected in a series of articles key to understanding his worldview and which became the object of attention of Symbolist poets: “Beauty in Nature” (1889), “The General Meaning of Art” (1890), “The Meaning of Love” (1892), “The Life Drama of Plato” (1898), and others.

Cultivating Cultural Awareness in Early Childhood: The Role of Batik Tulis in Preserving Local Heritage

This study explores the efficacy of batik tulis (written) for introducing and preserving local cultural heritage in early childhood education. Conducted at TK Batik PPBI Yogyakarta, this qualitative research utilized observations, interviews, and documentation to assess how batik-making activities influence cultural awareness among preschoolers. Results reveal that the batik introduction process familiarizes children with this local art form and instills a profound appreciation for cultural traditions. The educational methodology was designed to be age-appropriate and interactive, integrating safety measures and encouraging active participation throughout all stages of learning—from understanding the cultural significance of batik to hands-on crafting. The findings highlight the pivotal role of integrating cultural elements into early education to cultivate a long-lasting appreciation and knowledge of local heritage. This approach not only aids in cultural preservation but also enriches the educational experience, fostering a generation that values and understands its cultural roots. However, the study's limited scope, focused on a single educational setting, suggests the need for further research. Future studies should aim to replicate and validate these findings across various educational contexts to understand better the effectiveness and scalability of integrating cultural education in early childhood settings. These insights advocate for educational reforms recognizing and utilizing local cultural heritage as a fundamental component of comprehensive educational strategies, potentially influencing broader pedagogical practices.

Corona Pandemic Representations on Contemporary Graffiti Art

Over the ages, plastic art has dealt with societal issues and the multiple crises of human society. In light of the crisis of the outbreak of the Corona pandemic --the most prominent crisis in the world of the twenty-first century-- contemporary graffiti art around the world addressed the repercussions of the pandemic in its various aspects. This study aimed to shed light on the interactive artistic and social role presented by this type of art, through its patterns, techniques and materials available during the Corona pandemic. The study also aimed to document that technical interaction with the pandemic. The researchers followed the descriptive analytical method, to describe and analyze the study samples, which numbered eight, from different countries. The study concluded that the products of this contemporary art form reflect visions that express the reality of the Corona crisis, through symbolic connotations of the lived reality, and provide moral support and positive energy to overcome the state of fear and panic in societies. Keywords: Pandemic, Corona, Graffiti Art, Contemporary Art

LONGEVITY: NOW AVAILABLE IN CANS! A PERFORMANCE LECTURE APPROACH TO ADDRESSING LONGEVITY ISSUES FROM A RESPONSIBLE INNOVATION PERSPECTIVE

This article describes the development of a theatre- and design-based Performance Lecture whose goal is to develop reflexivity around the theme of longevity and innovation in secondary and university level students. Theatre is an art form that aims at developing self-reflection and reflexivity in both audiences and participants, opening the door to reflective learning which, if combined with critical design and design fiction, offers an effective medium for addressing many dimensions of Responsible Innovation (RI). The workshop involves the presentation of a fictional “near-future” product, a drink called "Longevity". The drink contains nanobots that once ingested can be directed (with an app) to stimulate the body to produce certain compounds, allowing the user to control different properties in their blood “in flow”. This innovative use of technology offers more bodily efficiency, leading to a longer life. This methodology was primarily developed during the A Society for All Ages. Longevity-driven design Masters course at Milan Polytechnic (2022-23) and the Interaction Design and Service Design Masters courses at Milan Domus Academy (2023), and is grounded in grassroots approaches to Responsible Innovation.

Language and cultural creolisation in nigerian script texts

This article deals with the peculiarities of script texts being a part of cinematography – one of modern art form. The scientific problem is determined by the trend towards globalisation of all contemporary art types, on the one hand, and the need to preserve cultural heritage, on the other hand. The aim of the work is to identify the characteristic features of Nigerian English script texts – phenomena created due to creolisation process defined as the process of British English adapting procedure to the realities of local languages and cultures. The Nigerian script text is a creolised type of text with characteristic of unique properties – the presence of detailed instructions in the form of author’s remarks which provide expanded information for subsequent stepwise actions for the director, actors, editors, makeup and costume designers; a double process of creolisation due to the necessary adaptation to numerous local languages and cultures. It is proved that Nigerian script texts, influenced by the process of creolisation, are largely subject to grammatical transformations. The most productive grammatical changes include: the consistent use of nouns and pronouns within the same semantic group; the simplification of the specific verb forms manifested in the use of simple forms and omission of auxiliary verbs in interrogative and negative sentences. High-frequency grammatical transformation processes in Nigerian script texts are explained by the influence of tribal languages and be needs of the Nigerians to preserve the heritage of local cultures.

Arts education in Hong Kong kindergartens: provision of activities and impact of teachers’ demographics

Arts and Creativity is one learning area of Hong Kong’s official kindergarten curriculum framework. Kindergarten teachers are expected to foster children’s creativity via four art forms: music, visual arts, dance, and drama. However, prior studies have investigated the provision of activities for each of the art forms in isolation and have not explored the demographic variables that predict teachers’ provision of arts education activities. Investigating the provision of the four art forms and its relationship with teachers’ demographics could provide an overview of the status of arts education in Hong Kong kindergartens. We had two research goals: (1) investigate the frequency with which kindergarten teachers conduct arts education activities focusing on music, visual arts, dance, and drama; (2) identify subgroups of teachers who differ regarding the provision of arts education activities and analyze how key demographic variables predict their memberships to these subgroups. We surveyed 477 teachers. Descriptive statistics, latent profile analysis, and multinomial logistic regression analysis were performed. We found that the presence of the four art forms was unbalanced. Participants reported conducting music and visual arts activities frequently, while dance and drama activities were occasionally or rarely conducted. Moreover, we identified three subgroups of teachers who provided arts education activities with different frequencies. Participants with a master’s degree and those who worked in government-funded kindergartens were more likely to be in the highest arts provision group. Findings suggest that the curriculum is not being implemented accurately, as teachers do not equally expose children to the four art forms. We interpret these findings as a reflection of teachers’ uneven preparation in the various art forms. Implications for educational policy regarding professional development are discussed.

Reactivating and Preserving Interactive Multimedia Artworks: An Analog Performance from the Seventies

Interactive multimedia art shows a complex nature as it is time- and process-based, interconnected with technology, derived by the participation of several authors (artists, technicians, performers, to name a few) and an audience, and it is strongly tied to the moment and space of the original exhibition. These characteristics make the preservation of these artworks a multifaceted process. Building on the foundations developed since the 2000s by international projects focused on preserving and restoring these new art forms, the paper proposes an original model for achieving dynamic preservation, called “the multilevel preservation model”. Since it is no longer possible to guarantee physical integrity for interactive multimedia artworks, dynamic preservation involves recording all the changes that occur to display the artworks in the future. In other words, it makes it possible to record the dynamic authenticity of artworks. The model proposes two fundamental properties: multiple layering, which allows to handle different levels of information about the artwork; multiple belongingness , which allows to represent the dynamic authenticity of the artwork at the archival level and achieving dynamic preservation. The paper demonstrates the high-level implementation of the model by presenting a case study: the reactivation and preservation of an analog video art performance from the 1970s. This case study proposes an interesting real scenario for testing the model, as the reactivation process involved the migration of the entire analog technological apparatus of the artwork into the digital domain.

Pengaruh Perkembangan Seni Kaligrafi Arab Terhadap Budaya di Indonesia

This research discusses the influence of the development of Arabic calligraphy art on culture in Indonesia. The art of Arabic calligraphy, with its beauty and philosophical meaning, has become an integral part of Islamic culture. In Indonesia, Arabic calligraphy is not only considered a form of visual art, but also as an expression of spiritual values ​​and Islamic aesthetic beauty. This research identifies and analyzes the impact of the development of Arabic calligraphy on various aspects of culture in Indonesia. First, Arabic calligraphy art has made a significant contribution to the development of Indonesian fine arts. His influence is visible in the decorative arts, architecture, and other works of art. Arabic calligraphy is not only an aesthetic element, but also a means of conveying religious and spiritual messages. Second, the art of Arabic calligraphy plays an important role in enriching language culture in Indonesia. Many Arabic words used in calligraphy became part of the local vocabulary, creating linguistic synergy between Arab and Indonesian cultures. Third, the art of Arabic calligraphy also has an impact on religious culture in Indonesia. The use of calligraphy in religious contexts, such as in mosques and other places of worship, creates a deeply spiritual environment and adds value to religious practices. Thus, this research details how Arabic calligraphy not only functions as a visual art medium, but also as an agent of cultural and spiritual change in Indonesia. It is hoped that this in-depth understanding of the impact of Arabic calligraphy art can enrich perspectives on cultural dynamics and diversity in Indonesia.

THE ROLE OF DRAMATIC PADAGOGY IN DEVELOPING TRANSVERSAL COMPETENCE ON STUDENTS

The old didactic theatre must be replaced by, let us say, pedagogical.” (Augusto Boal). Lifelong learning education can be ensured also with the dramatic pedagogy learning curricula due to the specific of student’s competences that can be improved and valued in formal and nonformal learning on promoting skills, attitudes a key-competences, social and positive values. The key-competences frame has a transversality characteristic but the most important is to identify the life key-competences you need to ensure, along with the selected methods used to achieve them. In this study we propose dramatic pedagogy methods to develop the acquisition of knowledges and skills of students and also to highlight their benefits thru drama teaching. The impact dramatization curricula in formal learning context encourages all students to participate to activities using their creativity or to express their personalities in solving problems, to express their imagination and most off all to be authentic. All teachers can use on their learning context planning such as dramatization, as a significant element of their teaching according with the used drama methods. Dramatization as an art form involves cohesion and mutual cooperation between students and teachers. It encourages students to think positively about themselves, to learn and believe in their own growing abilities. Dramatization as an educational method, through integrated approaches of learning contributes permanently to adapt and to design curriculum for students need of learning and to increases the perspective of expansion knowledges outside the curriculum, to free movement and to research on the worldwide science.

Policy Solutions: Education policy reform for the hip-hop era

Fifty years after the birth of hip-hop, Jonathan E. Collins considers how hip-hop can transform U.S. education. Many schools have barred hip-hop and disciplined students who use it. But these restrictions have been built on flimsy premises that ignore the beauty and complexity of the art form. Embracing and incorporating hip-hop can improve student engagement, particularly among Black students, and help schools forge stronger connections with the community.

Music Style Transfer with Time-Varying Inversion of Diffusion Models

With the development of diffusion models, text-guided image style transfer has demonstrated great controllable and high-quality results. However, the utilization of text for diverse music style transfer poses significant challenges, primarily due to the limited availability of matched audio-text datasets. Music, being an abstract and complex art form, exhibits variations and intricacies even within the same genre, thereby making accurate textual descriptions challenging. This paper presents a music style transfer approach that effectively captures musical attributes using minimal data. We introduce a novel time-varying textual inversion module to precisely capture mel-spectrogram features at different levels. During inference, we utilize a bias-reduced stylization technique to get stable results. Experimental results demonstrate that our method can transfer the style of specific instruments, as well as incorporate natural sounds to compose melodies. Samples and code are available at https://lsfhuihuiff.github.io/MusicTI/.

Transitional art forms: genesis and modifications

The article examines the processes of formation of transitional kinds of culture and highlights the grounds for their functioning. It is shown that the reasons for the emergence of transitional forms of culture also underlie cultural genesis, where pure examples of genres, styles, and trends are rather the exception to the rule. More often, the influence of other trends is always felt in the work, as V.D. Konen showed in her time in her work “The Third Layer”. At the same time, the author demonstrates those conditions of our time that contribute to an increase in the number of examples of transitional forms in music and culture in general, i.e. the development of the techno-environment and communication means, the capabilities of artificial intelligence and neural networks for simulating styles and genres both of classical elite and traditional culture, and mass entertainment, and social transformations leading to the formation of small social groups with their own aesthetic preferences. The article is of interest within the framework of the disciplines “Music Theory” and “Culture Theory”.

Artistic and Structural Connections Between Architecture and Music – a Comparative Case Study of the Forbidden City and Palace Memories

Architecture and music have a potential to trigger similar psychological effects in people due to commonalities in artistic and structural properties. Current studies exploring the relationship between architecture and music have often focused on analyzing how music can inspire architectural design, but there have been a lack of studies exploring artistic and structural commonalities between architecture and music in such a context. Therefore, this study adopts semiotics and analogy as an interdisciplinary approach aiming to comprehensively investigate connections and commonalities between architecture and music, particularly in terms of design forms and organization patterns. Using the architecture of the Forbidden City, and the musical piece Palace Memories, as selected cases for this study, this research demonstrates how both of the cases’ artistic forms can be translated into structural similarities in terms of both architecture and music. The results of this study reveal significant commonalities in forms and patterns across the fields of architecture and music for the selected cases. This study provides new perspectives for better understanding potential connections between the two fields, and how each may shed new light and provide surprising insights on the other.

La glyptique : du berceau des civilisations à nos jours, un art millénaire en constante évolution

The art of stone or gem engraving was invented at the dawn of civilizations. It has played an essential role in the history of art and culture from its start to nowadays, evolving over the centuries to become a means of artistic expression. The earliest forms of glyptic art were observed among ancient Mesopotamia and Egypt, around 4,000 BC. Engraved cylindrical seals and scarabs served both as objects of art and means of personal identification. Glyptic art reached its first peak in Greece and Rome. Talented artisans produced intaglios featuring mythological motifs, portraits, and historical scenes, used as personal seals, jewelry, amulets, and collectibles. Throughout the ages of medieval Europe, the art of glyptics survived mainly through ancient collections and a few scattered monastic workshops. The Renaissance saw a renewed interest in engraved gemstones, with the development of a new form of tourism driven by the bourgeoisie. Glyptic art experienced its second peak in the 18th-19th centuries with the fashion for cameos. Today, glyptic art is gradually making a comeback, not only drawing the interest of collectors of ancient pieces but also coming back to the front of the jewelry scene.