Development Of Traditional Art Research Articles

The application of friend recommendation algorithm in the design of traditional handicraft art communication platform

Abstract Cultural awareness is a context in which the integration and development of traditional arts and crafts can be promoted by establishing an exchange platform. In this paper, the exchange platform is designed through the exploration of traditional handicraft art resources and the study of different classifications. The main points of the platform design and key operational processes are explored based on the analysis of the users’ needs for the traditional handicraft art platform. In response to the lack of accuracy of the traditional buddy recommendation algorithm, a buddy recommendation algorithm incorporating user interests was proposed based on big data to carve out different user preferences for traditional arts and crafts. The user interaction response rate of the platform was good, with TPS of 98.7, 137.4 and 75.6 on the sending side, service side and receiving side, respectively, in stable operation. The friend recommendation algorithm incorporating user interests can effectively dig out user groups with similar interests, which is optimized by 11.83% compared to the traditional friend recommendation algorithm. The exchange platform supported by big data, based on friend recommendations to strengthen user interaction, can effectively promote the exchange and integration of traditional handicraft arts.

“Art of Uncertainty”—Taking Fujian Art as an Example

As Fujian is located in a culturally open area, its art presentations have distinctive regional characteristics. From a holistic perspective, the development of traditional art in Fujian is dominated by art forms represented by art inheritors and cultural heritage. From a local perspective, Fujian art has entered the context of contemporary art history and has been divided into contemporary Fujian art and traditional Fujian art by modern cultural viewpoints. In this paper, “Fujian art” from both the holistic and local perspectives is discussed at three levels: the uncertainty principle and the study of Fujian’s regional culture, the contemporary characteristics of Fujian culture and art, and the development of contemporary Fujian art, which are discussed based on different art types and their cultural and regional characteristics. The paper argues that the development of Fujian art has a strong artistic vitality and cultural inclusiveness and, from the contemporary perspective, has an obvious characteristic of “uncertainty” in the field of cultural geography.

The Role of The Ethnic Borneo Studio as An Empowered Community in The Development of Traditional Arts in The City of Samarinda

ABSTRACT:
 The Borneo Etnika Studio is one of the studios in Samarinda City that was founded in 2008 and turned into a community in 2013 with a wider focus on art. The training and coaching activities include basic theory in dancing and playing traditional musical instruments which consist of three realms of artistic culture which include the palace, the coast and the hinterland. The Borneo Etnika Studio opened the activity in general to the wider community, then the studio as a supporting element in developing traditional arts also played its role in creating new works by participating in various kinds of performances and competitions as well as collaborating with the local government, one of which was UPTD Taman Budaya which is a facilitator in providing a place for the activities carried out by the Borneo Ethnic Studio.
 
 ABSTRAK:
 Sanggar Borneo Etnika merupakan salah satu sanggar di Kota Samarinda yang berdiri sejak tahun 2008 dan berubah menjadi komunitas pada tahun 2013 dengan fokus seni yang lebih luas. Kegiatan pelatihan dan pembinaan didalamnya meliputi teori dasar dalam menari dan memainkan alat musik tradisional yang terdiri dari tiga ranah budaya kesenian yang meliputi keraton, pesisir dan pedalaman. Sanggar Borneo Etnika membuka kegiatan tersebut secara umum untuk masyarakat luas, kemudian sanggar sebagai unsur pendukung dalam mengembangkan kesenian tradisional juga menjalankan peranannya dalam menciptakan karya-karya terbaru dengan mengikuti berbagai macam pementasan dan perlombaan serta menjalin kerjasama dengan pemerintah setempat salah satunya UPTD Taman Budaya yang merupakan fasilitator dalam menyediakan tempat untuk kegiatan yang dilaksanakan Sanggar Borneo Etnika.

Research on the Inheritance and Development of Thangka under the Mode of Art Management

Thangka is an important part of the intangible cultural heritage of Qinghai-Tibet region. At present, The protection and development of this traditional art are valued and promoted, while we study its artistic characteristics and inheritance law, we should also actively explore the government, artists, educational institutions and other integration of multiple development paths, The principles and methods of art management activities play a guiding role in the inheritance and development of traditional Thangka art.

Sentiment Analysis of Chinese Paintings Based on Lightweight Convolutional Neural Network

Chinese painting is one of the representatives of our country’s outstanding traditional culture, and it embodies the long history and intellectual wisdom of the Chinese nation. In the paper, we combine the artistic characteristics of Chinese paintings and use an optimized SqueezeNet model to study the sentiment analysis of Chinese paintings. To make full use of the advantages of lightweight convolutional neural networks, we make two optimizations based on SqueezeNet. On the one hand, expand the model width to obtain more effective Chinese painting sentiment features for classification tasks, thereby improving the classification accuracy of the model. On the other hand, introduce the idea of residual network to prevent gradient disappearance and gradient explosion in the training process, thereby enhancing the model’s generalization ability. To verify the effectiveness of the optimized SqueezeNet model used in the sentiment analysis of Chinese paintings, four kinds of sentiment classifications were carried out on the multitheme Chinese paintings downloaded on the Internet. The results of comparative experiments show that the optimized SqueezeNet model used in this paper can improve the accuracy of classification and has better generalization ability. Finally, the research results of this paper can be applied to the protection of traditional culture, the appreciation of traditional Chinese painting, and art education and training, which is conducive to the inheritance and innovation of the national quintessence and promotes the prosperity and development of traditional art and culture.

Challenges of Designing Adolescent Reproductive Health Promotion Media: Facilitator Perspectives

Utilization of traditional art media as a media for promoting adolescent reproductive health. Traditional art played by teenagers can contain informative messages about the reproductive health of teenagers so that it is no longer taboo to talk about. It is hoped that teenagers get a good understanding and become quality healthy teenagers. This study aims to identify the challenges in making traditional art media as a media to promote adolescent reproductive health from the perspective of accompanying facilitators. Research is a qualitative research with an exploratory approach. Research location in Tegallalang Village, Gianyar Regency, Bali. Research informants are reproductive health facilitators and art facilitators as many as 9 people. Data collection through focus discussion group or FGD. Data analysis was done thematically. The results of this qualitative research Art facilitators and reproductive health facilitators present the difficulties encountered when accompanying STT peers to develop traditional dramaturgy arts. This is useful for input and improvement in activities. Obtained three themes, namely: 1) obstacles and challenges, 2) the benefits of activities, 3) about staging. Challenges and barriers experienced, namely the personal barriers experienced by drama actors are shyness to talk, lack of understanding of the project, consistency of training and coordination of time. Obstacles in general include time and coordination issues. While the challenge that motivates facilitators to assist STT peers in developing traditional arts is the challenge in uniting various teenage characters, a sense of responsibility, family and trust, as well as a sense of togetherness that develops. The benefits of activities for facilitators can blend with the community, learn to organize in the village and gain experience assisting STT peers in the development of traditional arts. About staging is high commitment and creativity as well as improvisation. In the manufacture of health promotion media through traditional art media, requires good preparation from the aspect of reproductive health message to be delivered and from the aspect of art in playing drama. Implications of research results in the form of learning in creating media that is directly beneficial to the young players. Seriousness is needed in training.

Alternative Media for the Preservation of Traditional ARTS Through Collaboration Pop Art Style Wayang Pacitan Beber

This research is a qualitative descriptive study with the main focus of describing and explaining the illustrative style of pop art stylization as an alternative medium for the development of Beber Pacitan puppets. This research aims to develop the wayang beber character through the stylization of the wayang characters, which seeks to preserve the Pacitan beber puppet. The stages of analysis from various sources were generated in the form of information, literature reviews and interviews which were all carried out using an interactive model, where each component of the analysis included the stages of data collection, data reduction, presentation, and concluding. The data validity test used data triangulation techniques, namely, data source triangulation and theory triangulation. The data analysis technique uses interactive chain analysis with the stages of data collection, data reduction, data presentation, and conclusion drawing. The results of the research are the characters of the wayang beber characters with pop art stylization so that they can become alternative media for the development of traditional art. Traditional art combined with various styles and illustration techniques can develop the Beber Pacitan wayang so that it can be more attractive to future generations without losing its identity.

Research on Quanzhou Arts and Crafts Resource Library Based on 3D Printing Platform

Objective:Under the background of attaching importance to the arts and crafts industry, this paper will explore the ideas and methods for the development of the Quanzhou City Arts and Crafts Resource library based on the 3D printing platform. Method: From the perspective of analyzing the general situation of the arts and crafts in Quanzhou and the advantages of the 3D printing-based development process, the three aspects of the construction content, the innovation and the cross-industry derivative nature of the resource library were described. Conclusion:For the development of traditional arts and crafts industrialization, digitization is the only way to go. Quanzhou’s arts and crafts resource library based on 3D printing platform not only realizes digitalization, but also provides a reference for the development of other regional arts and crafts resource libraries .

Perkembangan Kesenian Pendalungan di Kota Probolinggo Jawa Timur Tahun 1984-2018

This study has discussed about the development of traditional art in Probolinggo or its called Pendalungan art in 1984-2018. Traditional art from Probolinggo, which not widely known by the people has experienced revival through several periods of years which are supported by social community until nowadays. The formulation of the problems of the study are, (1) How are the process of developing Pendalungan art in Probolinggo? (2) What are supporting factors for the development of Pendalungan art in Probolinggo? (3) What are the implications of the development of Pendalungan art in Probolinggo ?. This study used cultural history method, and historical theory of Ida Bagus Sidemen and social science theory namely Rhole Teory by Dwi Narwoko and Bagong Suyanto were applied.The results of this study revealed that there were several roles carried out in the community elements in developing the traditional art in Probolinggo to find and preserve the identity of Probolinggo art in the midst of other arts in this area. Along the time, Pendalungan Arts finally has found the lines, namely Pendalungan Probolinggoan which consists of various kinds of art.

Development of Traditional Arts in Traditional Javanese Marriage Ceremony in Surakarta

Nowadays, traditional arts in Traditional Javanese marriage ceremony are increasingly replaced by other forms of art. This is partly caused by the lack of appreciation by the society to traditional arts, and also by efforts to increase efficiency in the ceremony organization by eliminating several processions usually conducted in the ceremony.This condition raises concern to traditional art performers and the Javanese culture enthusiasts. Therefore, an effort to resurrect traditional arts in Traditional Javanese marriage ceremonyhas been initiated. To give new atmosphere and feels, new dances are choreographed and new gending songs arecomposed, in which these new creations are expected to be more interesting. Moreover, dances, karawitan songs, and traditional songs are also composed to suit the contexts and atmosphere of the ongoing event. By creativity and new innovation, songs are composed for every processions of the ceremony, namely for pasrah pengantin (handover and receiving of the bride), atur pambagyo (welcoming speech), and donga (prayers). Furthermore, dances of romance theme, such as Loro Blonyo , and gendings for the newlywed couple’s reception ( pahargyan ). The effort has been conducted in Surakarta, primarily by the civitas academica of Indonesia Institute of the Arts Surakarta. It, as a form of conservation of Javanese traditional arts of dance and karawitan , has been well-appreciated, proven by the numerous performances in many occasions of wedding ceremonies in Surakarta. The development itself has not been fully maximized, since the performers should have a fine ability in singing and dancing. Therefore, a continuous effort is necessary to socialize traditional arts in Traditional Javanese marriage ceremony. Keywords : traditional arts, dance, tembang , marriage ceremony. DOI : 10.7176/ADS/76-06 Publication date :September 30 th 2019

National-Regional Component in the Training of Artists of Decorative-Applied Art

The article considers the regionalization of education as an important condition for preservation and development of ethnocultural artistic traditions. Regional culture is understood to mean a world of material and spiritual elements that make up being of particular region inhabitants with their constituent parts such as history, religion, folklore, and traditional applied art. The authors emphasize special role of culture and art universities in the process of humanizing art education. The article draws attention to the problem of identity in the modern global world and the importance of introducing the values of the past through the knowledge of the region’s cultural heritage to the modern person. In this context, the authors emphasize the importance of traditional folk art as an area of self-determination and human identity.The article proposes a set of special tasks for inoculation of a regional component in the educational process. The main methodological task is the formation of national historical self-awareness, group and individual self-identification, patriotism through the acquisition of cultural samples by their mastering in the process of creative activity and the further development of traditional arts and crafts in the new conditions of cultural existence.The article concludes the renewal of the content of teaching arts and crafts on the basis of its enrichment by studying various national cultures taking into account regional peculiarities becomes the most important thing at the present stage. The training of future artists of decorative and applied art should be based on the principles of cultural appropriateness, historicism, creative development and socialization, which presuppose students’ development in the process of nonmaterial culture learning

К ПРОБЛЕМЕ СОВРЕМЕННОГО БЫТОВАНИЯ ТРАДИЦИОННОГО ИСКУССТВА

Works of folk art crafts from a certain time change the territory of existence, turning from objects with an emphasized utilitarian function to souvenirs. That contradicts their material essence and role in the context of the national spiritual culture. Traditional products, originally endowed with a bright and imaginative decorative, deep substantial meanings, have nothing to do with external embellishment are perceived as souvenirs, at the same time, the decorative function of these things can’t be reduced to their souvenir use. It is necessary to recognize the production of these things as a special form of industry, proceeding from the fact that the decorative richness of folk art has nothing to do with embellishment. In the USSR, measures have been developed and taken to preserve this material and spiritual activity, which has its own specific features and in the current conditions of development that need special protection. Important decisions were proposed in the USSR aimed at the development of traditional art: the preservation of handicrafts and artels, the institutionalization of traditional art within the Union of Artists of the USSR, special measures to support scientific creativity and a comprehensive study of folk art by specialized organizations. The collapse of the Soviet system of folk arts and crafts, production, loss of continuity in the development of traditional art leads to a steady drop in the artistic quality of products and the erosion of professional criteria in the approach to this unique field of creativity. in the field of folk crafts and disruptions in the continuity of both artistic and scientific schools, led to a drop in the average level of products and the erosion of the professional criteria for commercial production. The article gives an analysis of the processes taking place in the last decades in this field, and expresses the need to return to professional methods of running the industry, cultivating specialists who understand the role of preserving traditional culture, which, in turn, is impossible without fixing it in the legislative framework. Proceeding from a detailed study of Soviet experience, it is possible to give a number of recommendations on the qualitative development of folk crafts. They are the legislative protection of fisheries and the prevention of counterfeit, the holding of festivals and seminars for the exchange of experience, the art expertise of the workshops and the wider involvement of artists in craftwork, implying the critical acceptance of their stylistic searches as a necessary part of the development of folk crafts.

On History of Cultural Traditions Transformation

The article examines the development of traditional arts and crafts among Kazakhstan’s Uyghurs under the influence of various historical factors. The Uyghurs of Kazakhstan and other Central Asian countries comprise ethnographic group which developed over the last centuries separated from the main Uyghur population in Xinjiang, China, which resulted in emergence of their particular features. The article argues that the transformation of traditional arts and crafts among the Uyghurs of Kazakhstan occurred under the influence of political events, which changed dramatically the life of the entire population of the Russian Empire. With the establishment of Soviet power, the country’s rapid industrialization meant that products produced by individuals in workshops could not compete with less expensive and more practical products manufactures at factories and plants. Thus, blacksmiths, and artisanal producers of leather and cloth declined. Nevertheless, certain types of traditional art crafts (jewellery art, production of musical instruments, working out calabash) survived albeit on a limited scale due to the development of national idea, which requires symbols of ethnic culture. Modern artists exploit fantasy and go beyond traditional frames of ethnicity. The article argues that the arts and crafts of the Uyghurs received a new impetus in the Soviet era, despite the threat of a certain loss of ethnic peculiarities.

"Komposisi Baru": On Contemporary Composition in Indonesia

founded, the creativity of traditional artists began to be discussed in a wider scope, notably from the perspective of Indonesian national rather than regionalarts [4]. This was a very different situation from earlier years, when traditional arts were discussed only by a few, and were rarely topics for publication. Jakarta became the cultural center of Indonesiaa place where many cultures intersected and were brought together by an exchange of information. Artists from villages outside of Jakarta were invited to perform at festivals and concerts and experts participated in discussions and conferences at educational institutions and public arts centers. Artists from Jakarta also traveled to the regional areas. This atmosphere encouraged discussion of art and culture and the exchange of ideas and experiences among artists from various areas in Indonesia as well as from other countries (Fig. 1 ) . In the past we have always absorbed regional elements and foreign influence in our arts. But since the creation of theJakarta Arts Council, we have been made more aware of this, particularly as the development of traditional arts begins to be debated. Some of these issues were first discussed at Festival Desember 1975, an important precursor to the Pekan Komponis. Some of the questions discussed during this symposium were reported in the publication Conclusions from the Symposium of Traditional Music. These questions address the situation of traditional music, the inclinations of society (the audience), the quality of traditional and contemporary music and the social conditions of artists. 1. To what extent should traditional music be taken as a foundation for contemporary composition?