Artistic Professions Research Articles

АКТУАЛЬНІ НАПРЯМИ ДОСЛІДЖЕННЯ ПРОБЛЕМИ РОЗВИТКУ ПІДПРИЄМНИЦЬКОЇ КОМПЕТЕНТНОСТІ МАЙБУТНІХ ДИЗАЙНЕРІВ-ГРАФІКІВ

The article is devoted to the problem of developing the entrepreneurial competence of future specialists in graphic design, as well as the analysis of the current state of professional training in higher education institutions. The author draws attention to insufficient motivation of students for professional and entrepreneurial training. A significant part of future designers are not sufficiently aware that the development of entrepreneurial competence is a path to self-affirmation, self-employment, and a successful career in professional activity. The researcher explains this phenomenon by the contradiction between the current system of training a future graphic designer, which is not sufficiently focused on the development of the future professionals' need for continuous professional development, and the specificity of the artistic profession, in the essence of which is the need to "create" oneself and "predict" one's own professional activity, constant creative self-development Offers special attention to the creation of pedagogical conditions that enable the growth of the level of development of entrepreneurial competence of graphic designers.

PROFESSION OF A COURTROOM ARTIST

The article talks about one of the rare professions – the profession of a forensic artist, which, for a number of objective reasons, today is on the verge of extinction. Based on a comparative analysis of two related professions – forensic artist and journalist – some characteristic features of the profession of forensic artist have been identified. Also, the most famous currently existing court artists describe the specifics of working in court. Judicial sketches, as an institution that is becoming a thing of the past, still continue to exist and interest certain, albeit narrow, circles: researchers, collectors, film directors, writers, museum workers, etc.

Career decisions in artistic professions during the COVID-19 pandemic in Germany—an experimental study

The COVID-19 pandemic has had a significant impact on the professional situation in artistic professions. Repeated lockdowns resulted in the cancellation of cultural events and exacerbated economic challenges, depriving artists and people working in the culture industry of their primary source of income. Such drastic conditions could lead to important professional decisions, including career changes. This study aimed to determine the factors that could influence career decisions among artistic professionals during a second pandemic lockdown period in Germany. To examine whether health concerns or financial struggles are more important in shaping artistic professionals’ decisions to change or stay in their profession, a vignette experiment was conducted in an online survey (n = 788) in the winter of 2020–2021. In the experiment’s 2*3-factorial randomised design, all respondents were asked to put themselves in the role of artists and make decisions about career changes under different income conditions or with different health prospects. The vignette experiment revealed that income losses related to career changes decreased the willingness to change careers, whereas health prospects (hypothetical differences in vaccine efficacy) did not affect the decisions. In addition, other variables were found to explain career decisions; female gender and signs of a depressive disorder were associated with greater willingness for career turnover, whereas a higher educational level and status of earning one’s livelihood in the culture industry were associated with a diminished tendency for career turnover. The latter impact factor was interpreted as a kind of “don´t give up effect” that is particularly observable among artistic professionals.

СОВРЕМЕННЫЕ МЕТОДЫ И ПОДХОДЫ В ПРОЦЕССЕ ОБУЧЕНИЯ ПЕНИЮ ИНВАЛИДОВ И ЛИЦ С ОГРАНИЧЕННЫМИ ВОЗМОЖНОСТЯМИ ЗДОРОВЬЯ

The article discusses some issues of teaching singing to people with disabilities in professional vocal education based on the practical experience of the leading teachers of the Opera Singing Department at the Russian State Specialized Academy of Arts, adapted not through reducing of requirements, but through competent distribution of workload and educational material. The specificity of the contingent in most cases does not make it possible to unify methodological techniques and approaches in mastering singing skills. The educational process consists not only in the formation of the necessary competencies, but also in the preservation of health. Focusing on the issues of art therapy and socialization of persons with disabilities through their vocational guidance, the article emphasizes the role of inclusive opera theater, where the most important task is to rehabilitate persons with disabilities not just through participation in the staging process in something similar to amateur performances, but primarily through the professionalization of students. The creative space of an inclusive opera house brings together different phenomena: art, vocational education and rehabilitation. This is seen as the key to the success of people with disabilities mastering the profession of an opera artist.

Evaluation of wood carving skills for students of the department Family education and artistic professions

ﻟﻘد أدﺨﻝ اﻹﻨﺴﺎن ﻋﻠﻰ ﺨﺎﻤﺔ اﻟﺨﺸب ﻋدة ﺘﻘﻨﻴﺎت ﻤﻨﻬﺎ ﺘﻘﻨﻴﺔ اﻟﺘﺨرﻴم اﻟﺘﻲ دأب ﺒﺎﻟﺘﻔﻨن ﺒﻬﺎ وأﺠﺎد ﻋﻤﻠﻬﺎ ﺒﺎﻟﺤﻔر ﻓﻨﺘﺞ ﻤﻨﻬﺎ ﻨوﻋﺎً ﻤن أﻨواع اﻟﻔﻨون اﻟﻘﺎﺌم ﺒذاﺘﻪ واﻟﻤﺜﻴر ﻟﻠﻨﻔس اﻟﺒﺸرﻴﺔ . ﻤﻤﺎ ﺘطﻠب إﻟﻰ ﻤﻬﺎرة ﻴدوﻴﺔ ﺒﺘﻔﺎﻋﻝ اﻟﻨﺸﺎط اﻟﻌﻘﻠﻲ واﻟﺠﺴﻤﻲ ﻟﻠﺘﻌﺎﻤﻝ ﻤﻊ اﻟﻨﺴب اﻟرﻴﺎﻀﻴﺔ واﻟﺘﻌﺎﻤﻝ ﻤﻊ اﻟﻨواﺤﻲ اﻟﺠﻤﺎﻟﻴﺔ وﺒﺎﻟﺘﺎﻟﻲ ﺘﺤﻘق ﻗدرﻩ ﻋﻨد اﻟﻤﺘﻌﻠم ﺒﺘوازن ﺒﻴن اﻟﺠواﻨب اﻟﻤﻌرﻓﻴﺔ واﻟﺤﺴﻴﻪ واﻷداﺌﻴﺔ . ﻤﻤﺎ ﻻﺸك ﻓﻴﻪ أن اﻟﺘﻘوﻴم ﻴﻘود ﻟﻠﺘﻌرف ﻋﻠﻰ ﻤﻬﺎ ارت اﻷداء اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﻴﻛﺘﺴﺒﻬﺎ اﻟﻤﺘﻌﻠم واﻟوﻗوف ﻋﻨد ﻨﻘﺎط اﻟﻘوﻩ واﻟﻀﻌف ﻓﻲ ﺠﻤﻴﻊ اﻟﻤواد ﻤﻨﻬﺎ ﻤﺎدة ﺘﺨرﻴم اﻟﺨﺸب .

“Real war ammunition:” Artists for Victory, the National War Poster Competition, and the Hostile Imagination on the United States World War II Home Front

“Real war ammunition:” Artists for Victory, the National War Poster Competition, and the Hostile Imagination on the United States World War II Home Front

Sposoby nobilitacji zmarłego w historycznych polskich inskrypcjach nagrobnych na katolickich nekropoliach z Podola – nazwy zawodów i stanowisk

The subject of research in the article is Polish historical inscriptions on tombstones from Catholic cemeteries in Podilia. The names appeared in visual part of the inscription, created a positive characteristic of a deceased person. The professions and titles were indicated, according to the creator (founder) of the epitaph, were ennobling, valued and deserved, as indicated in the inscription. The tombstone inscriptions were dedicated to women and men. The ennobling element of characteristics for women were the husband’s professional achievements (the forms of “odżężowskie”, as an example) and social origin. In the case of men such activities as: military and governmental service, clergy, health care, lawyers, educators, included scientific and artistic professions.

Creativity of female artists in Italian fine arts of XV–XVII centuries

The article provides an overview and reveals the features of the professional formation, development and social status of female artists’ creativity in the Italian fine arts of the XVI-XVII centuries. The value of their artistic heritage for future generations has been established. It was stated that the role of a female artist in society was influenced by both social and gender factors, in particular, the fact that the profession of a master artist was assigned to men, and the teaching of art to girls was related to obligatory household chores or hobbies. It has been proven that already in the XV century, artists appeared in Italy whose activities went beyond these boundaries. Initially, they were self-taught nuns, such as Catherine of Bologna, but by the end of the century, the work of female artists acquired a professional character (for example, Pr. de’Rossi). It is noted that, since that time, works of art by female artists have influenced the change in social stereotypes about their work. It was found that Italian female artists of the Renaissance and subsequent centuries turned mainly to the genres of portrait, landscape and still life. However, there are cases of creation of monumental works (Pl. Nelli) or reflections of dramatic events (A. Gentileschi). It was revealed that by the beginning of the XVIII century in these genres, female artists were in full competition with men and were the inventors of both new genres (S. Anguissola) and new painting techniques (R. Carriera). There is also a manifestation of their author’s vision in compositions on religious themes, on historical and mythological themes. It has been proven that the achievements of Italian female artists of the XV–XVII centuries were no less significant than those of male artists.

Латышские «активные националисты» и Латвийская консерватория

In Latvia, as in several other Eastern European countries, nationalism remains an influential force that sets the agenda. Understanding the ideology and practice of modern nationalism involves studying its origin and evolution. The article uses an interdisciplinary approach and briefly outlines the prehistory and prerequisites for the emergence of Latvian “active nationalism” and, for the first time in historiography, examines in detail the relationship between the largest fascist organization in the first half of the 1920s – the Latvian National Club with the Latvian Conservatory, as well as the indirect influence of the ideas of “active nationalists” and reveals its close connection with the respectable circles of the Latvian bourgeoisie and with the leading Lat-vian bourgeois party Peasant Union. We conclude that a significant part of the Latvian artistic in-tellectuals, including pupils and graduates of the Latvian Conservatory, joined the Latvian fascism, which largely explains both the active cooperation of the Latvian intelligentsia with the Nazis during World War II, and the mass emigration of people of artistic professions from Latvia, in particular musicians, during the retreat of the German army.

SCULPTURE WORKSHOP: PROFESSIONAL REQUIREMENTS FOR CREATING A LEARNING ENVIRONMENT

One of the necessary and mandatory conditions for high-quality professional art education is training in an environment that encourages creative work and provides the necessary level of comfort, ergonomic, technological, sanitary and technical requirements and proper organization of labour protection. Compared to other artistic professions, the working environment of a sculptor is more complex. It must be equipped with the necessary technical equipment (mostly quite large) and manual and mechanical tools, take into account functional requirements and complex technological processes, as well as provide the necessary and diverse indicators of lighting level, temperature, humidity, noise, etc. All these requirements also apply to sculpture academic workshops, where students learn the basics of the profession. Subsequently, graduates of sculpture departments use the acquired skills in their creative activities. Stating a certain degradation of the requirements for the profession of the sculptor, the authors of the publication express worries about the obvious underestimation of requirements for the workplace of a professional sculptor, which can be observed in numerous examples, and remind the reader of these basic requirements

Paradigm integration of fine art training for would-be professionals of art at high school at theory and local experience

In accordance with historic analysis, the article considers the valued traditional and innovative fine arts studios of artists of different generations; they help to identify specific artistic features of artists of different generations who create artistic works of the information world. We describe the genesis of digital art practice development and demonstrate its influence on the renovation of classic fine art classification system via the digital works of different types and genres. The limits of artistic amateur field as a factor of professional and profane blurring in an artist’s personality are clarified. The new concept of “digital paradigm of fine art training at higher educational institutions” is proposed in the article as an innovative method of specific subjects studying. Methodology of professional skills development while designing digital works for students of artistic profession at higher education was justified and the results of local experience of its implementation at higher educational institutions of Ukraine were described.

Academic traditions of pre-university training in the system of school-studio education for future students of architects and designers (on the example of the experience of ten studio schools in Krasnoyarsk)

The subject of this research is the methodological approaches in the pre-university career guidance training of future students of architecture and design universities, organized in the system of pre-university or school general education – on the example of the activities of selected ten studio schools in the city of Krasnoyarsk. The goal of this work is to identify peculiarities of methodological organization of pre-university training for the development of their abilities to master future architectural and artistic professions. The results of the conducted research are presented by a set of revealed methodological features in the system of pre-university architectural and design training in teaching such key art disciplines as drawing, painting, composition (paper plastic, prototyping), and graphics.The novelty lies in the integrated approach towards the analysis of the structure of artistic training in studio schools, combining various visual disciplines, as well as in the comparative study of specific practices of pre-university training in Krasnoyarsk studios aimed at vocational architectural and artistic training. The acquired conclusions indicate the effectiveness of methods for the development of students' artistic abilities through the use of traditional academic methods of training within the framework of the key visual art disciplines, such as drawing, painting, composition, graphics.

The Institutionalization of the Bulgarian Circus between 1944 and 1957

This article analyzes the process of institutionalization of the Bulgarian circus be-tween 1944 and 1957. The appreciation of circus as “an equal member of the large family of socialist arts” was rooted in a belief that it was a democratic spectacle which transcended social divisions and classes. The source of the perception of the circus as an instrument of social change can be traced to pre-war Soviet tradition, when the circus became not only a tool of state cultural policy, but also inspired the most important creators of literary and theater avant-garde. In post-war Bulgaria, in order to improve the quality of performances, interinstitutional cooperation of the circus with literary and theater circles was initiated, and with the purchase of circuses by the state, numerous regulations were introduced in the profession of a circus artist. This purchase was not synonymous with nationalization: the state bought the circuses from the hands of their pre-war owners, allowing them to continue to perform strategic functions in the circuses.At the same time, despite deep institutional changes, the circus after 1944 main-tained its semi-peripheral status of an entertainment spectacle, not worth considering on the part of intellectual elites and unfit for the project of national high art. It is this peripheral potential of the circus as a spectacle not shaped by the refinement of the elites, that opens up new research perspectives which allow us to view the circus as a laboratory of social and cultural change. As a nomadic travelling institution, the circus crossed geographical boundaries and communicated with viewers from cities and villages, as well as representatives of various social groups and strata. On the other hand, multiethnic, international environment of the circus was a space for inten-sive transfer and intercultural dialogue, both in the artistic dimension and in the sphere of everyday interpersonal practices.

Хореографическая подготовка как компонент профессионального образования артиста мюзикла

Musical is one of the most colorful types of dramatic art. The harmonious combination of vocal, dramatic and choreographic performance enables you to immerse the viewer as much as possible in the era and plot of the performance. It is necessary to receive high-quality professional training in the field of vocals, acting and choreography in order that the actor could skillfully express the character and right emotions from a scene to the auditorium. There are various programs and technologies for preparing a musical artist and a musical theater artist in the modern Russian system of education. The article analyzes the amount of time allocated to the main disciplines in the training program of the «Musical Actor.» Basically, a significant skew goes towards acting, although the profession of a musical artist implies ownership of all components equally. The emphasis is mainly on acting, although the profession of a musical artist implies the possession of all components equally. The role of choreography in the preparation of the musical actor is not sufficiently considered and does not allow making educational process effective and full-fledged. The author of the article proposes methodological recommendations for synthesizing vocal and choreographic performance, which is an important aspect in the preparation of the musical actor

Personological vulnerability in the artistic profession The assessment of personality traits through DECAS and PID-5 scales

The connection between creativity and psychopathology is belatedly highlighted in the specialized literature, but the interest for this subject has increased over the last few years. This study will analyze particularly artists from Romania, who come from a different social, historical, cultural and economic context. They are often marginalized, perceived as “strange” or stigmatized. This is due to their way of being more nonconformist, more relaxed or of their original outfit. Objective. We wish to assess those facets of the personality dimensions that motivate and maintain artistic talent, which can influence the chances of success, highlighting those dimensions that facilitate the professional options developed, according to personal talent and skills. Materials and method. We have included in our study a batch of 24 artists from various fields of activity, who filled out the Personality Inventory for Diagnostic and Statistical Classification Manual of Mental Disorders 5th Edition (PID-5) form, and the Openness, Extraversion, Conscientiousness, Agreeableness, Emotional Stability (DECAS) form. Results. The correlations between increased openness, eccentricity and grandiosity can be advantageous factors in the artist profession. The increased values of conscientiousness can lead to the development of certain obsessive-compulsive type personality traits that can be beneficial under certain circumstances and can lead to perfectionism and perseveration. The unusual beliefs, suspiciousness and perceptual dysregulation are disadvantageous traits that can be the starting point for psychotic pathological manifestations. Conclusions. There are dimensions that predispose to an increased aesthetic sense, creativity and fantasy, which can be important factors in choosing one’s profession, but can also create a vulnerability to forays into psychopathology.

Tatuadores: principais Fatores de Risco e Riscos Laborais, Doenças Profissionais associadas e Medidas de Proteção recomendadas

Introduction/ objectives Over the last few decades getting tattoos has been progressively better accepted by society in most countries; thus, the number of establishments and professionals in the area has also increased. However, since it is a recent activity and with heterogeneous norms/ licensing, these individuals often escape the evaluation by Occupational Health. The literature on this subject is scarce. This review was intended to characterize the profession of tattoo artist with regard to: vocational training; main risk factors/ occupational risks; more prevalent semiology and associated major diseases; work accidents; collective/ individual protection measures adopted and associated legislation. Methodology This is a Scoping Review, initiated through a survey conducted in April 2019 in the databases “CINALH plus with full text, Medline with full text, Database of Abstracts of Reviews of Effects, Cochrane Central Register of Controlled Trials, Cochrane Database of Systematic Reviews, Cochrane Methodology Register, Nursing and Allied Health Collection: Comprehensive, MedicLatina, Academic Search Ultimate, Science Direct, Web of Science, SCOPUS and RCAAP. Content In most countries, a person can work in the area without having specific qualifications; the products can be purchased via internet and the rules for opening the establishment vary locally. Given the absence of norms that parameterize the necessary qualifications to exercise, the same happens in the process of teaching in this sector. The main occupational risks/ risk factors are the quimical and biological agents, vibrations, noise, forced/ maintained postures, repetitive movements, visual effort, handling needles and sharps and prolonged shifts. Musculoskeletal semiology is very prevalent. Discussion / Conclusions / Limitations / Projects for the Future The risk factors are very similar to other professional sectors, such as dental medicine, which has already been studied in detail. Most of the few published documents on Tattoo Artists have a simplistic methodology and the samples are small. In addition, the absence of uniform labor standards and licensing undermines safe work. It would be very important that these arise and be progressively perfected. In a post-implementation phase, it would be desirable to have an institution with the capacity and authority to monitor compliance and to require the correction of identified problems. Similarly, it would also be interesting if the education process were also formalized and compulsory, perhaps starting at a technical level and evolving (if the progression of the sector allows or requires), to other degree.

Continuity, change and transitions of artistic professions in the Italian theatre industry

The article reflects upon artistic work in the theatre sector, to understand how this peculiar profession has historically developed in Italy. Relying on different theoret-ical contributions and diverse empirical sources, the article delineates the institu-tionalisation process of the Italian theatre sector through different phases and transitions. Another topic addressed in this article are the past and current occupa-tional and working conditions of Italian theatre artists. Career pathways are thus discussed with respect to training, access to the profession, national collective agreements and actual forms of subordinate work and self-employment.

The comparison of the method of harpsichord teaching included in the textbook by Jean Nandi entitled "Starting on the Harpsichord" with the principles of the present core curriculum for primary music schools

The article touches on the comparison of the method of teaching included in the book entitled Starting on the Harpsichord by Jean Nandi with the principles of the present core curriculum for primary music schools in harpsichord classes. The book is one of not many available teaching materials related to harpsichord playing. The publication is aimed at comparing the topics presented in the textbook with the guidelines set out by the Minister of Culture and National Heritage. The article also includes a short description written by the author and a presentation of the content of the textbook plus selected teaching methods. The textbook as such, apart from the topics connected with harpsichord playing, also covers basic topics in the theory of music. It is written using a very simple and understandable language accessible to young students and persons who would translate it into their mother tongues. The article has a chart which clearly shows that the elements determined by the core curriculum are present in the book Starting on the Harpsichord. The content of the article and its illustration and music examples will help readers to familiarise themselves with the content of the textbook and with the learning aims related to harpsichord playing set out in the Ordinance of the Minister of Culture and National Heritage of 6 September 2017 on the core curricula for education in artistic professions at public artistic schools (Journal of laws of 2017 item 1793). The text is addressed to people interested in harpsichord playing methodology, especially to students and young teachers searching for interesting and simple practice materials and music examples which can be used for working with beginners learning the harpsichord.

The didactics of colour in art and artistic education of the 20th century

The purpose of the study is the color as a phenomenon of semantic - cultural and educational potential in art and art education. In the article, the significance of color is revealed in the aspect of historical and national peculiarities taking into account the development of modern color didactics. It has been proved that the development of color thinking is an expression of the spiritual and cultural level of society, as well as one of the main aspects in the training of future professionals in artistic professions. A historical analysis of color education in art education was conducted, color concepts and methods of work with the color of some outstanding artists and teachers were considered. The cultural and educational significance of color in the picturesque legacy of V. Kandinsky, K. Malevich, M. Krymov and other artists was considered, the discovery and achievements of which, in the field of color education of specialists, formed the basis of modern color didactics. The methodology of the research is to apply comparative, historical and logical methods with the use of cultural approaches. This methodological approach allows us to reveal the problem under study from a philosophical, pedagogical, cultural and artistic point of view. Analysis, systematization and generalization of theoretical and empirical provisions allowed to determine the state of color education of future specialists of artistic profiles in its historical aspect. Conclusions It is proved that the development of color thinking is an expression of the spiritual and cultural level of society, as well as one of the main aspects in the process of color education of future specialists in artistic professions.

Unity and diversity of executive functions in creativity.

Increasing evidence suggests that executive functions (EFs) - a set of general-purpose control processes that regulate thoughts and behaviors - are relevant for creativity. However, EF is not a unitary process, and it remains unclear which specific EFs are involved. The present study examined the association between the three EFs, both uniquely (EF-Specific) and together (Common EF), and three measures of creativity. Participants (N = 47) completed a divergent thinking test, and self-reported their real-life creative accomplishments. A subset of participants indicated their involvement in the artistic or information technology (IT) professions. Results indicated that fluency (but not originality) of divergent thinking was uniquely predicted by working memory Updating. Better response Inhibition predicted higher number of real-world artistic creative achievements. Involvement in the artistic (versus IT) professions was associated with better Common EF, and with enhanced mental set Shifting abilities. Results demonstrate that different EFs predict creativity depending on its operational definition.