Cultural Arts Center Research Articles

Analysis of Organizational Change from Public Cultural Arts Center to Cultural Foundation: Focusing on Uijeongbu Cultural Foundation

최근 지자체별로 지역 문예회관과 문화재단의 설립이 증가하고 있다. 그러나 조직 차이에 대한충분한 논의가 이루어지지 않아 지역 문화예술조직의 효율적 운영에 한계를 드러내고 있다. 이에본고는 문예회관에서 문화재단으로 변화한 의정부예술의전당(현 의정부문화재단)을 대상으로관계자 인터뷰를 통해 문예회관과 문화재단 조직의 차이를 분석하고자 했다. 조직의 구조 분석을위해서 H. Mintzberg의 조직성장경로이론을 이용하였으며, 변화단계별로 조직의 복잡성, 공식화, 집권화 등의 요인을 진단하였다. 분석 결과 문예회관 조직은 기계적 관료제 구조와 전문적 관료제구조가 혼합된 형태를 띠었으며, 문화재단이 되면서 전문적 관료제 구조에 애드호크러시 구조가결합된 형태로 변화했다. 이것이 의미하는 바는 다음과 같다. 첫째, 문예회관에서 문화재단으로변화하면서 핵심운영층 뿐만 아니라 지원관리부문이 주요 부문으로 드러난다. 둘째, 문화재단은문예회관 조직에 비해 높은 복잡성, 낮은 공식화, 선택적 분권화의 구조적 특징을 지닌다. 셋째, 문화재단의 외부 환경은 더욱 복잡하고 동태적인 양상을 띤다. 이 연구는 지역 문화정책의 성격및 지역의 상황 요인에 따라 바람직한 문화예술기관의 조직구조를 설계하는데 기여할 수 있다는시사점을 갖는다.

Acoustic optimization of curved architecture in practice: The new Strait Cultural Arts Center in Fuzhou

Curved surfaces are increasingly part of the architectural language used in buildings for the performing arts, yet have known challenges both in reality and in ray-tracing-based computer simulations. The designs of the 1000-seat symphony hall, the 1600-seat opera house and the 800-seat multi-purpose hall in Fuzhou, China, were all based on curved surfaces, both convex and concave, often covered with local ceramic tiles. Providing the right amount, distribution and quality of early reflections thus required a precise analysis of the acoustic behavior of curved surfaces. The acoustic design interacted with the architecture in precisely shaping those curves in 3D. In order to explore the acoustic potential and detect problems related to the architectural concept of both rooms, novel geometrical acoustics analysis algorithms were developed within NURBS modeling software rather than relying on commercial ray-tracing algorithms. Optimization of the curved surfaces is obtained when the output of these algorithms, the interpretation of the acoustic consultant, and the required integration of acoustic solutions within the global architectural concept are all aligned – a “meeting of minds” between acoustics and architecture. The analysis procedure and geometrical acoustics algorithms used will be presented in detail, as well as the related decision-making process, the acoustic predictions and the measurement results of the three built halls.

Blurring boundaries in Rosedale Park: The importance of the Tejano Conjunto festival on the transnational dissemination of traditional Texas-Mexican accordion music

The contemporary transnational dissemination of Texas-Mexican accordion music has corresponded closely with the rise in prominence of the Tejano Conjunto Festival, sponsored by the Guadalupe Cultural Arts Center in San Antonio and, since 1982, held annually at Rosedale Park. In modern popular culture, the ease of transnational mobilization—here characterized by global participation in a local music festival—effectively blurs traditional boundaries of class, ethnicity, language, and location. However, this notion of inclusivity masks problematic and long-lasting hegemonies. Simultaneously, it shifts the historiographic narrative of conjunto as cultural resistance (within a tightly constrained notion of Texas-Mexican culture).

ОСОБЛИВОСТІ РОЗВИТКУ АГРОТУРИСТИЧНОГО ПРОДУКТУ ЖИТОМИРСЬКОГО РЕГІОНУ (НА ПРИКЛАДІ АГРОСАДИБИ «ПОЛІСЬКА ХАТА»)

In the article on the example of activity of cultural and art center the "Polesye house" forming features and structural-functional descriptions of tourist product of rural tourism were analysed in the Zhytomyr region, and also the analysis of economic activity of агросадиби is conducted the "Polesye house" for three last years taking into account all types of activity. Goal. Analysis of economic activities at the agriturismo "Polesye house " and specific features of formation and structural-functional characteristics of the tourist product of rural tourism in the region. Method. For this purpose we used a range of complementary research methods: methods are systematic and statistical analysis, generalization and systematization. In the process of research used literary sources for rural tourism in Zhytomyr region and in the country, and Internet resources. Results. Analyzing the activities of the "Polesye house " farm for three years, we can conclude that: holidaymakers are active in April - July, with the largest number of tourists in May; the most popular services are: lunch, master classes, entertainment, souvenir shopping, quests; the highest revenue was recorded in May 2016-2018 and October 2018. The results of the study indicate that, in order to attract the modern tourist and to increase the target audience you need to constantly work on expanding the range of services. Therefore, at the present stage in the creation and establishment of a quality and profitable tourist product in rural tourism in the region must take into account different interests and preferences of tourists of different age and target audience and constantly work on expanding the range of services. Scientific novelty. For the first time analyzed the activities of the cultural arts center, "Polesye house " and performed a statistical analysis of its economic activities and peculiarities of the tourist product. Practical significance of the obtained results lies in the fact that proposals for the development and creation of tourist product in rural tourism, can be used at the regional level for improvement of territorial organization of the tourist complex.

Schematic Entrance Process and Site Zoning Cultural Arts Center in Jembrana, Bali

Art is one of cultural elements that has an aesthetic value, and is carried out by a group from people hereditary. Cultur-al arts of a region can be developed to gain any profits in tourism sector as well as sustainable. Therefore, Jembrana Regency which has a unique cultural art attempts to improve their tourism sector, as well as sustainable and the publi-cation of its culture by establishing Cultural Arts Centre. Cultural Arts Centre in Jembrana is an area of buildings com-plex with an open stage as a performance area, exhibition building, restaurant, and cafeteria. In their planning process, it falls into initial stage, programming process and schematic process with site and building design criteria. The sche-matic process consists of two parts, site and building design schematic. Site design schematic is a process to deter-mine the site entrance and zonation that refer to the design criteria for the site entrance and zoning that have been de-termined. Thus, the placement of entrance as well as each building within the site is in accordance to its function de-mands.
 Index Terms— arts, cultural arts, jembrana.

Sibisa Cultural Art Center and Gallery, Toba Samosir

Lake Toba is one of the areas in Indonesia that has an attractive culture and tourism sector. Therefore the government targets lake Toba performance, as one of the destinations that will be prioritized especially, foreign tourists. But the facilities and infrastructure for the tourists to enjoy the diversity of local culture is still below standard. Therefore, the Sibisa cultural arts center as well as close to Sibisa airport is something that is expected to meet the needs of tourists who come to visit and enjoy the local culture and also accommodate artisans of local art workers culture.

Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks

Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.

The Calculation Analysis of Supporting Structure with No-Load CFG Composite Foundation

This paper introduces the design selection and implementation program of the supporting structure of no-load side-direction excavated CFG composite foundation, in the case of the foundation pit excavation of stage bin of the Jinan Cultural Arts Center Grand Theater. The monitoring data shows that the lateral reinforcement effect of no-load CFG composite foundation can not be discounted. Based on composite foundation and rock mechanics, consider the no-load CFG composite foundation as the composite soil, build its mechanics index system and calculation method. Calculating and analyzing of the supporting structure that placing a row of anchor cable in cantilever double-row pile and double-row pile by means of applying composite soil parameters and using the pit design software and numerical simulation, and comparing the result with actual monitoring data. Therefore, we can further prove that lateral reinforcement effect on soils by considering CFG composite foundation.

The Practice and Research for Total Contract Management Mode of Land Replacement - Total Contract Management Experience of Weifang Cultural Arts Center Project

This paper takes Weifang cultural arts center project total contract management as an example with the practice for total contract management mode of land replacement in order to present the background and problems of total contract management mode of land replacement and to investigate the management characteristics of total contract management mode of land replacement. The innovational management structure, management mechanism and basic management methods of total contract management mode of land replacement were proposed. These works have a good guide for reforming and improving the total contract management mode, behavior and system of land replacement.

Swimming Upstream: A Rain Dance

Drawing from her experience working with women from a wide range of backgrounds and struck by the pervasive sense of disempowerment in post-disaster New Orleans, Eve Ensler saw the need for a catalyst that could help women through their enormous distress and also provide an outlet for them to convert their pain into power. Together with the Ashé Cultural Arts Center, Ensler formed a workshop that created Swimming Upstream from personal stories of grief, loss, infringement, violation, disempowerment, insight, resolution, recovery, healing, and resilience.

Analysis of the Effects on Optimization Design about Double-Row Piles Retaining Structure

Double-row piles retaining structure has been widely used in the project now, but the stress mechanism of double-row pile is more complex; Its internal force and deformation are affected by many factors. Understanding and mastering its effects has an important significance for the design and the optimization of double-row pile supporting structure. According to the comparison of the measured data and theoretical calculation about original support scheme and optimized support plan and combined with the soil test data, this paper takes the Jinan Cultural Arts Center(Theatre) stage bin foundation pit as an example to analyse the main effects of optimization design about double-pile supporting structure. The results show that soil shear strength, soil arch effect, influence of CFG composite foundation, pile-beam synergy effect and space effect of foundation pit play an important role for optimization design about double-pile supporting structure.

Diasporic Lakou: A Haitian Academic Explores Her Path to Haiti Pre- and Post-Earthquake

In this essay, Charlene Désir reflects on her role as an academic from the Haitian diaspora and her journey to reconnect to her Haitian roots after the 2010 earthquake. Désir begins by exploring her family background and the centrality of lakou—a sacred family space in which to connect to her ancestors and cultural ways of knowing. By centering the conversation on community and reciprocity, she considers the roles and responsibilities of academics in the diaspora to give back to their communities. This essay tells the story of her experiences in Saint-Raphael, Haiti, developing the Lakou Solèy Academic Enrichment and Cultural Arts Center. In examining her own role in her community—or lakou—Désir underscores the importance of using Haitian epistemology in the process of rebuilding Haiti.

Voz de Pueblo Chicano: Sustainability, Teaching, and Intangible Cultural Transfer in Conjunto Music

With a quick and violent spring thunderstorm flooding the streets and intersections on the west side of San Antonio, I was late to arrive at the Guadalupe Cultural Arts Center (GCAC) in May 2010 for the second annual conjunto bajo sexto (twelve-string Mexican bass) workshop. But the weather delayed the whole workshop, so I had the opportunity to observe the button accordion workshop already in progress. It was led by Joel Guzman, a legendary and progressive conjunto accordionist and Grammy award winner of international renown. Guzman cheerily taught the basics to a crop of beginners and seemed to be as engaged in his teaching as it was possible to be despite the simplicity of the material and the distraction of water dripping from several leaks in the Guadalupe Theater ceiling into buckets and garbage cans. The accordion workshop students sat in a circle getting individualized advice on technique from Guzman, who calibrated his advice to the varying level of each player. He taught some simply how to hold the accordion and demonstrated elaborate runs and tunes to others. When several drenched latecomers arrived without accordions of their own, workshop organizer Juan Tejeda ran out into the rain and returned with accordions protected in plastic bags to distribute to the students to use. Despite the intensity of the storm and the star power of the workshop leader, the feel in the room was welcoming, instructive, communal, and fun. It was also productive- most people left the workshop able to play a basic polka, the core of conjunto music. When Max Baca arrived for the bajo sexto workshop, he was surprised that two people (me and a retired machinist and former conjunto radio disc jockey who did his own instrument repairs) had weathered the storm and stayed in the leaking theater to learn the fundamentals. Like Guzman, Baca is not just an accomplished professional musician but also a star. He founded and fronts a band called Los Texmaniacs, which won a Grammy award for Best Tejano Album, has performed around the world at various festivals and military bases, and has been chosen (or perhaps designated) by the Latino Center as the example of conjunto music for the Smithsonian Folkways 7rac/zaowes/Traditions series of Latino music albums (Borders y Bailes). To my surprise, Baca was nonplussed at the low attendance in the workshop and proved to be thoroughly involved in teaching bajo sexto fundamentals for several hours. It is difficult, if not impossible, to imagine a comparable situation in which the top players in the world such as Guzman and Baca offered instruction in the fundamentals of their music at very low expense and without the slightest indication of boredom, attitude, or self-interest. They were straightforwardly interested in teaching. Baca organized his workshop to teach everything from basic accompaniment for a polka to more elaborate and difficult techniques for boleros. He taught elaborate runs of notes (adornos), bajo sexto set up, varieties of technique and style, and told stories about his own experiences playing and touring around the country and world with his own band and with the biggest players in conjunto music. Eating Tex-Mex food never being far behind music making in Texas, Baca even graciously bought us lunch down the street from the theater. He also took us along to what is a conjunto music pilgrimage site in San Antonio, the Macias family bajo sexto workshop. There the Macias family has created and continued to build the most legendary instruments for both conjunto and norteno music for three generations (Burr; Hernandez 128; Young 131-34). The Macias family has also long handmade what are considered the finest bajo strings. Although handmade in a labor-intensive process, these strings are in fact not much more expensive than the commercially available sets. I watched George Macias, the grandson of founder Martin Macias, make the strings one at a time on a machine built by his father. …

A Note About the Cover

A Note About the Cover Curtis Marez [View Cover Image] The cover for this issue, designed by Bill Longhauser, incorporates images of a young Eva Ybarra from her personal collection. Ybarra is a San Antonio musician and conjunto leader who is featured in the traveling exhibit entitled “American Sabor: Latinos in U.S. Popular Music,” sponsored by Seattle’s Experience Music Project|Science Fiction Museum and guest curated by Marisol Berríos Miranda, Shannon Dudley, and Michelle Habell-Pallán (see the event review in this issue). Eva is, according to Habell-Pallán, what Deborah Vargas calls a “‘dissonant diva,’ who turns Tex-Mex music on its head. Eva has been playing accordion since she was a child and blows the socks off of many contemporary conjunto players, but she’s less esteemed because of her gender and musical style. I love this image because images of girl Tejana/Chicana musicians are so rare. There’s also an aspect of 1950s ‘Americana’ in there as well in the cowboy shirt she’s wearing, gender-bending for its time. This image captures the spirit of American Sabor in the sense that the exhibit upends received narratives of pop music in the United States” (email communication). We are grateful to Eva for allowing us to reproduce her photos. But getting to this point was an adventure in and of itself. Thanks to Michelle, who first brought the images to my attention, and to EMP’s Jasen Emmons, who supplied high-resolution versions of the photos. Thanks are also due to Belina Menchaca at the Guadalupe Cultural Arts center in San Antonio, who put us in contact with Eva. One difficulty we encountered, however, was getting a signed permission form. Eva did not have access to email or a fax machine, and given our production schedule, snail mail would have been too slow. And so Michelle contacted friend and colleague Marie “Keta” Miranda of the University of Texas, San Antonio, whose graduate student, Omar Mendoza, drove to Eva’s house to collect the necessary signature. Thanks Keta and Omar! [End Page iv] Copyright © 2009 The American Studies Association

Interview: Charles Burnett—Consummate Cinéaste

This interview occurred during the New Orleans Afrikan Film and Arts Festival (NOAFEST) events dedicated to Charles Burnett and his producer Ed Santiago, held in New Orleans, Louisiana, on August 7–8, 2008. It is comprised of two parts derived from two conversations with Charles Burnett. In Part 1, Burnett engages in conversation on stage followed by the screening of To Sleep with Anger (1990) at the Ashe Cultural Arts Center. In Part 2, Burnett discusses his film practice, aesthetic and social concerns, the UCLA film school experience, and the obstacles to working in Hollywood and mainstream media. The interview concludes with a lengthy conversation about the similarities and distinctiveness of Killer of Sheep (1977) and Namibia: The Struggle for Liberation (2007), which premiered at NOAFEST, along with his six-minute documentary on Hurricane Katrina, Quiet as Kept (2007). The interview was conducted by Michael T. Martin with the participation of Eileen Julien, NOAFEST Co-President.

Designing a user‐centered conference for user‐centered information professionals: The story of InfoCamp Seattle

Designing a user‐centered conference for user‐centered information professionals: The story of InfoCamp Seattle

Culture and rationalization: The impact of a national foundation initiative on a community‐based cultural arts center*

Culture and rationalization: The impact of a national foundation initiative on a community‐based cultural arts center*

Guadalupe Cultural Arts Center: A community arts success

AbstractA small, nonprofit Latino arts and cultural organization faces a series of critical decisions regarding a diversification of funding sources and a reassessment of its artistic mission to create a balance between the needs of the local community and those of the larger, more diverse Latino community in the United States.