Artistic Director Research Articles

Performing the ‘Invisible’ in <i>Yemoja</i> and ‘Our Family Secret’ through multimedia and virtual theatre

Modern technology has necessitated the digitalisation of stage performances, especially in the 21st century. Although, technology applies to many industries as it enhances productivity and creativity, however, theatre industry seems to benefit from technology more than other industries as the use of digital devices has boosted the industry beyond the physical stage and it has also given stage theatre popularity in the media space. It is on this premise that this study examined the exploration of “Multimedia Theatre and Virtual Theatre” towards making the invisible visible in the performances of Ahmed Yerima’s Yemoja and ‘Biola Adumati’s ‘Our Family Secret.’ The findings from the study revealed that many play directors on the Nigerian stage have experimented with multimedia and virtual theatres in the process of play directing which have enhanced the quality of their works. These production techniques have been employed by some artistic directors to tell flashback stories by projecting them to the audience during live performances, some explored the same technology to create scenes that seemed impossible on stage such as sea or fire scenes. Hence, this paper concludes that the art of play directing can be a lot easier with the use of multimedia theatre technique to tell the hidden stories within the play and making the invisible visible.

Investigating the Role and Impact of Art Management in the Contemporary Art Market

The importance of arts administration is growing as the public's emphasis on arts and culture, quality of life and spiritual needs continue to increase. This paper investigates the functioning and structure of the art market, the important missions of art management, the impact of art management on the contemporary art market, and challenges and future trends in art management. This paper utilizes the literature analysis method to study the collected literature on the current art ecology. This research finds that it is in a stage of development, constantly improving the art price and market mechanism, and is affected by the current social and economic influences. Research has shown that arts management needs to be continuously improved to promote the art market's sustainable development. In addition, the current professional training of art finance talents is still insufficient, to the sustainable development of the market, the education of talents needs to be combined with market practice. Finally, the dominance of market-oriented galleries in the art market makes it difficult for non-integrated or marginalized artists to develop, hence the need for comprehensive measures to promote the all-round development of artists. The sustainable development of the art market requires continuous improvement in arts management and measures to promote the formation of a digitized, diversified, and balanced arts ecosystem.

Explore the Employment Prospects of Art Management in the Gallery Industry in the Contemporary Chinese Society

Since the 21st century, the Chinese economy has been developing rapidly. People's demand for life is no longer limited to food, clothing, and warmth. More people have begun to pursue spiritual fulfillment. The increased demand for art has led to a diversification of the market and laid the foundation for a thriving art market. However, the development of China's art market is still imperfect, the problem of market sensitivity and vulnerability has not been solved, which also makes the market show instability. As part of the primary art market, galleries also suffer from incomplete development. This paper analyzes the current situation of China's gallery industry from its strengths and weaknesses. It points out that some galleries need to refer to and follow the development of excellent foreign cases, such as the Leo Castelli Gallery. The abilities needed by art management jobbers to work in the gallery industry are given and analyzed in detail. The basic qualities needed for art management talents to enter the gallery are analyzed, such as practical ability and connoisseurship.

Pertumbuhan Musik Klasik Barat di Kota Medan

Edward Van Ness is a violinist, conductor, writer and teacher who has lived and worked in Indonesia cumulatively for more than forty years. Composition and world music studies were completed at Wesleyan University, conducted at the Eastman School of Music, with further graduate studies also at Boston University. He undertook research on South Indian Classical Music, was a concert player in the Carnatic Vina, and founded the Madras Chamber Orchestra. He founded the music department in 1986 at the Medan International School and became head of the music and technology department at the Indonesian Music Academy, University of North Sumatra and HKBP Nommensen University. A founder of the Indonesian Promusik group. Also known as the conductor and artistic director of the first complete performance of Handel's historic Messiah with the Ensemble Nommensen and Promusika in 1987 (in the original Baroque performance style). He is also known as the first musician invited by the institution and the Vietnamese government by leading the orchestra with cellist Cecylia Barczyk from the Ho Chi Min Conservatory Orchestra in Vietnam in April 2005. Since 2003 he has led the Nusantara Symphony Orchestra in many concerts. . Most recently he was the music director and conductor of the Indonesian National Christmas celebration in December 2018 in Medan. Until now he is a Music Teacher at the Sumatra Conservatoire.

Thoughts on the Connotative Development of Music Art Management

Our country Major music (art) colleges have set up art management majors. However, at present, the development speed of art management majors in domestic music colleges is relatively slow, which cannot meet the needs of society for high-level art management talents. Therefore, it is very necessary to develop a connotation-oriented development strategy. From the perspective of music art management, this paper sorts out the constituent factors of the "connotative" development of music art management, analyzes some problems existing in the current music art management, and explores the countermeasures of "connotative" development, so as to prove the "connotative" development. It is of great significance. I hope it can provide reference for the "connotative" development of music art management in China.

Analysis of the Development Direction of Music Art Management in The Context of The New Era

As an important part of the cultural industry, music art is facing increasingly complex and diversified challenges in the context of the new era. Starting from the aspects of globalization, science and technology, industrialization, this paper discusses the development direction of music art management in the new era, and puts forward suggestions such as strengthening talent training, innovating management models, and expanding cultural markets to promote the healthy development of music art.

CREATIVITY MANAGEMENT WITHIN THE AESTHETICAL SITUATION REGARDING THE IN-REAL OR DIGITAL FORM OF PARTICIPATION IN ARTS: ART RECEIVERS’ PERSPECTIVE

Because digitalisation of the aesthetical experience, a process speeded up by the not-yet-finished COVID-19 pandemic, should be considered in the context of growth or loss of artistry/creativity, this paper aims to assess the influence of the participation form in the aesthetical situation by receivers on the level of artistry/creativity potential loss. Assessment of the quality of participation by the receivers in each of five types of arts (musical arts, performing arts, literary arts, audio-visual arts, visual arts) was done using the same ten criteria for each type of art: satisfaction, pleasure, engagement, the possibility of experiencing catharsis, contact with the artwork itself, contact with the performer itself, comfort of participation, possibilities of shaping the aesthetical experience, own motivation to participate, easiness of participation. The literature review was run using NVivo Pro software. Data analysis (n = 221) was executed using IBM SPSS and Microsoft Excel. Answering the research hypotheses: H1) the digital form of participation in arts determines the level of quality of participation in the aesthetical situation by receivers; H2) the form of participation in art shapes the level of quality of participation in the aesthetical situation by receivers of each type of art differently: in musical arts, performing arts, literary arts and visual arts, in-real participation gives higher quality than digital participation; in audio-visual arts, in-real participation gives lower quality than digital participation. The research results may be helpful for: art creators wanting to choose the optimal way of distributing their artworks; art managers to better understand art receivers’ perspectives and their opinion about participation in arts in real or digitally; art receivers to compare their private opinion about the ways of participation in arts with the general opinion of art receivers.

N15 Developing a Tool for educating newly diagnosed Patients with Inflammatory Bowel Disease based on a Quality Database Indicator

Abstract Background There is evidence that education improves quality of life and empowers patients with chronic diseases including inflammatory bowel disease(IBD). Education also indicates a better use of ressources enabling relevant treatment to be started earlier. Education meets an increasing wish from patients to be involved. ECCO recommend patient education and state that this is well handled by specialist nurses. When establishing Danish Quality Database for Inflammatory Bowel Disease(DANIBD) the steering committee agreed that education for the newly diagnosed patients with IBD should be an indicator of quality. This was a new task and a big challenge for many clinics and also it was unusual for nursing to stand out so clearly in a database. The tool aims at 1.- supporting the clinics in implementing the new task into clinical practice 2.- securing uniformity in the education in relation to fulfilling the indicator and 3.- improving quality of patient education and nurse consultations to patients with IBD. Methods In the IBD group of the Danish Nursing Association(DSR) it was decided to develop a tool that would serve as an inspiration or could be used directly by the clinics. The tool should ensure that the demands in the indicator was met but should also contain inspiration for other subjects regarding patient education and nurse consultations. Based on literature and the experience of the group members a list of subjects were made and distributed among the group members for developing slides and notes. At plenary meetings all this was put together, structured and edited. In order to get a professional product a collaboration with an art director was established. Financing was secured by donations from the pharmaceutical industry. Results There now are two powerpoint presentations - one for Crohn's disease and one for ulcerative colitis. each presentation is split in two parts. Part one meets the database and part two is an inspiration for covering other subjects relevant for patient education and nurse consultations. The presentations encourages the dialogue with the patient and can be customized by the individual clinics or the individual nurses. The presentations contain additional notes and links to further information. In order to help implement the tool two nurses from each clinic in Denmark were invited to one day of training in using the tool and in communication. The presentations were put on the webpage of the IBD group from where it can be downloaded and used by everyone interested. Conclusion Developing a quality indicator within the database has started an engaging process focusing on the patient and on improving nursong for patients with IBD. It is expected that the tool will help support and empower patients in their lives with IBD.

Retracted: Analysis and Evaluation Research on the Construction of the Music Art Management Curriculum System Based on the Deep Learning Model

Retracted: Analysis and Evaluation Research on the Construction of the Music Art Management Curriculum System Based on the Deep Learning Model

Ndarboy Genk Music Performing Arts Management on the 2022 Cidro Asmoro Album Tour

Music is a form of artistic expression, serving as a manifestation of the creator's emotions through attention to melody, rhythm, expression, and harmony. The accompanying music can act as a balance for both the left and right hemispheres of the listener's brain. Each singer is supported by a management team to present and achieve the best outcomes in a performance art that involves task distribution from general to functional areas. This study aims to investigate the management of Ndarboy Genk's music performances during the 2022 Cidro Asmoro album tour, aiming to identify weaknesses and obstacles in the management of their musical performances. The research employs a qualitative descriptive approach. The management of the music group Ndarboy Genk encompasses elements and functions that are interconnected. Additionally, the underlying factors in the artistic management of the Cidro Asmoro album tour by Ndarboy Genk include implementing organizational arts management, the second factor being production management by Ndarboy Genk, and the third factor being Ndarboy Genk's execution of performance arts management.

Ettore Romagnoli, rievocatore of ancient Greek drama

Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.

Using forecast for creating artistic bridges between people

The forecast represents the set of work methods through which the main business objectives of the institution, its behaviors as well as the resources and the modalities required for their accomplishment are determined. From the perspective of artistic management, the forecast is the foundation of the decisions of the leader of cultural organizations. The detailed analysis of culture, of how the artistic act creates an impact in society, must represent a particularly important element of documentation. The forecast represents the basis on which the change of perspective from which culture contributes to the development of society can be built. Thus, the analysis from the moment of making the forecast must be realistic regarding the current state of perception of culture, its purpose being to establish realistic targets, possible to reach, but by the very purpose of art: that of revealing the good and creating bridges between people.

Dialogue between the Concept of the Object in the Theater of Tadeusz Kantor and the Theatrical Praxis of the Periférico de Objetos

Tadeusz Kantor was a Polish artist and theater director who directly influenced the conceptual understanding of theater, especially in Argentina following two visits to Buenos Aires with his troupe Cricot 2 in the 1980s. He exerted a particularly strong influence on the Periférico de Objetos [The Periphery of Objects], a troupe founded in Buenos Aires in 1989 by Daniel Veronese, Ana Alvarado and Emilio García Wehbi, labelled by critics as “the Argentine theatre of the image”. Despite radically different socio-cultural contexts, elements arising from Kantor’s theater practices (especially his idea of the “poor object” and his concept of “reality of the lowest rank”) acquired distinctly different meanings in Latin America from those coined by Kantor. A nuanced examination of the Periférico de Objetos indicates that Kantor’s concepts, which in their original context resisted politicization, played an important role in the creation of a socially and politically engaged theatre. His concepts, adapted to local realities by the Periférico de Objetos, were reflected in debates surrounding the recent Argentinian past, most notably, the post-dictatorship period.

Individual characteristics in arts management careers: investigating the highly sensitive person scale on motivation to lead.

Research on personality in leadership indicates that self-selection to leadership careers and artistic careers correlates with diverging personality profiles. People in leadership careers traditionally display lower neuroticism and higher conscientiousness than artistic individuals. In between, there are individuals entering arts management careers. To study these individuals directly, we collected Norwegian data from 91 musical theater students and 102 arts management students and compared with 109 business management students. As expected, conscientiousness and neuroticism predicted artistic careers against business management careers, aligned with the "arts for arts' sake" myth of artists. Interestingly, arts management careers were not different from artistic careers. They weren't more motivated to take on leadership roles than performing artists either. However, the Highly Sensitive Person Scale indicated that narrower traits of sensitivity predicted higher levels of motivation to lead in many artists. Some arts and arts management students seem to bring unique talents into forms of leadership particularly useful for artistic organizations. Our findings are discussed in terms of how leadership characteristics operate in the field of art, and the effect of domain-specific characteristics in this setting.

Entrevista a Antxón Gómez: La huella de la dirección artística

Antxón Gómez is a Spanish artistic director and production designer, both for advertising and film. His beginning in the advertising field dates back to 1978 and his first cinematographic collaboration was with the film Tres por cuatro (Manuel Iborra, 1982), although his definitive introduction into the medium as an artistic director occurred thanks to the Spanish film director and screenwriter, Bigas Luna, with whom he worked in Huevos de oro (1993). His love for the arts and collecting marks his projects and he has obtained recognition from the Barcelona Film Awards in 2006 for his work in Salvador (Puig Antich) (Manuel Huerga, 2006), the Goya Award for Best Artistic Direction in 2009 for Che: Part one (Steven Soderbergh, 2008) or the European Film Academy (EFA) Award, for Best Production Design for his work for Dolor y gloria (Pedro Almodóvar, 2019).

ДИАЛОГ КАК НАУЧНАЯ ИДЕЯ: БЕСЕДЫ Д. С. ДМИТРИЕНКО С М. И. ИМХАНИЦКИМ

Dialogues as a form of communication are no less in demand today. To a certain extent, they replenish the knowledge that was previously discovered through epistolary and diary entries. We can talk about “hidden” dialogue, “internal” dialogue, and, of course, dialogue as a form of answering questions during an interview, a conversation with a famous person. Dialogues are attributes of modern knowledge about writers, artists, performing musicians, and conductors. The range of published dialogue books is vast, and their fund continues to be actively replenished. There are various approaches to this format of books: conversations, implied dialogues, interviews. The focus of dialogues on art is clear: to hear the voice of an artist, a writer, a musician answering questions about the creative process, specific works, and life path. At the same time, it is not so common to find books of conversations with scientists, since their works speak for themselves. The more interesting is the recently published book by Imkhanitsky M. I. Dialogues with D. S. Dmitrienko [2015]. Honoured Artist of the Russian Federation, Doctor of Art Criticism, Professor, M. I. Imkhanitsky, whose works have long become scientific classics on a wide range of topics “folk musical instruments”, answers the questions of the famous musician, Honoured Artist of the Russian Federation, Chief Conductor and Artistic Director of the State Russian Folk Ensemble Russia named after L. G. Zykina, D. S. Dmitrienko.

Х МЕЖДУНАРОДНЫЙ КОНКУРС СКРИПАЧЕЙ «ASTANA-VIOLIN» ПАМЯТИ ДАВИДА ОЙСТРАХА

From 6 to 11 November 2023, Astana hosted the Xth International Violin Competition “Astana- Violin” in memory of David Oistrakh. The event was timed to mark the 25th anniversary of the founding of the Kazakh National University of Arts and was held with the support of the Ministry of Culture and Information of the Republic of Kazakhstan. The jury of the Xth International Violin Competition “Astana-Violin” was headed by Aiman Mussakhajayeva, People’s Artist of the Republic of Kazakhstan, Hero of Labor of Kazakhstan, Rector of KazNUI. It included People’s Artist of the Russian Federation Zakhar Bron (Switzerland), Vice‒Rector of the National Music Academy of Vietnam Bui Kong Diu (Vietnam), Artistic Director of the Vietnam Connection Music Festival Chong Wu (USA), Music Director of the Fargo-Moorhead Symphony Orchestra, conductor Christopher Zimmerman (USA), founder (together with Igor and Valery Oistrakh) of the Oistrakh Ensemble, Artistic Director of the Ost-West-Musikfest Festival Gernot Winischhofer (Austria), People’s Artist of Kyrgyzstan, conductor Ernis Asanaliev (Kyrgyzstan). The Jubilee Competition was attended by 45 young performers from different countries in two age categories: junior group (10–15 years old) and senior group (16–28 years old). The winner of the Grand Prix in the senior group was Sarah Dragan (Switzerland, class of Z. Bron). The jury members awarded personal prizes and diplomas.

THE PERM INTELLIGENT VIEWER AT THE MEETING WITH HIGH MUSICAL ART (BASED ON THE MATERIALS OF THE ANTHROPOLOGICAL RESEARCH IN PERM)

The article examines the image of the Perm musical theatrе's viewer, formed in the theatrical environment of the regional center in 2011-2019. It was established that the myth designed by the artistic director of The Perm Tchaikovsky Opera and Ballet Theatre allows the neophyte to enter the traditionally closed world of classical music by building a specific plot (the logic of the fairy tale). The methodology is based on the concept of V. Ya. Propp. Using its language, the author indicates the stages of the intelligent viewer’s entry into the world of musical theatre. The process of becoming the viewer is based on the concept’s key elements (rite of passage - the madness of the neophyte - mastering the “cunning science”), which exist in the form of the plot’s “embryos” in the personal mythology of T. Currentzis. The main mythological motifs and images read by viewers influence the formation of their own practices of self-presentation. Focused interviews with viewers in Perm, which were conducted by the author in 2016-2019, are used as a source.

РОЛЬ КРЕАТИВНИХ ФЕСТИВАЛІВ У РОЗВИТКУ КОМУНІКАЦІЙНО-РЕКЛАМНОЇ ДІЯЛЬНОСТІ В УКРАЇНІ

The article reveals the role and significance of creative festivals in the development of communication and advertising activities in Ukraine and the impact of jury awards on the overall rating of agencies. It has been established that the evaluation of projects by participants of creative festivals is carried out according to various criteria: creativity, originality, effectiveness, efficiency, innovation, strategy, quality of execution, compliance with client goals, impact on the brand (business, culture, society), etc. The basic criteria for evaluating projects of participants in international and Ukrainian creative festivals have been analyzed. The system of scoring for the participation of domestic communication agencies in national and international creative festivals has been studied. The methodology for calculating the national rating "Communication Agency of the Year" has been described, which is based on the ratings "National Creativity Rating" (Creativity&Craft) and "National Effectiveness Rating" (Effectiveness) with the application of weight coefficients. Creative festivals are events organized to review and evaluate creativity, innovation, and creativity in various fields. Communication agencies, creative teams and independent creative experts present their projects or ideas to the jury. The use of creative and original approaches by agencies to capture and retain the attention of clients led to the idea of launching a specialized advertising festival at the Cannes Film Festival (Cannes Lions). The first Lions were awarded in Venice in 1954. The second festival was held in Monte Carlo, and the third in Cannes. After that, the international event was alternately held in Venice and Cannes, and since 1984, Cannes has been the sole venue. A new trend emerged, and other creative festivals gradually began to appear, such as: Clio Awards (1959), D&AD (Design and Art Direction) (1962), Effie Worldwide (1968), The One Show (1975), LIA (London International Awards) (1986), Epica Awards (1987), Eurobest (1988), ADCE Awards (Art Directors Club of Europe) (1990), Golden Drum (1993).

Cross cultural exchange and international art management

Cross cultural exchange and international art management