Artistic Genres Research Articles

Decolonising neo-colonial hegemonies in Africa: A comparative case for socialist realism in the drama and law of Kenya, Nigeria and South Africa

Through a comparative investigation of the function of socialist realism in the drama and law of Kenya, Nigeria, and South Africa, this research investigates the decolonization of neo-colonial hegemonies in Africa. Using the drama and legal systems of Kenya, Nigeria, and South Africa as comparative case studies, the research explores how African societies can challenge and demolish oppressive systems of domination sustained by colonial legacies and contemporary neo-colonial forces. Relying on the Socialist Realism and Critical Postcolonial theoretical frameworks which both support literary and artistic genre that encourages social and political transformation, the research deploys the case study analysis, comparative literature analysis and focused group discussion methods. Data obtained are subjected to content and thematic analysis. The study emphasizes how important the relationship between the legal and artistic worlds is to the fight against neo-colonialism. It further reveals the transformational potential of socialist realism as a catalyst for social change by looking at themes of resistance, social justice, and the amplifying of disadvantaged voices in drama and legal discourse. The research contributes to ongoing discussions about de-neo-colonization through this comparative case study, and emphasizes the role socialist realism plays in overthrowing neo-colonial hegemonies. The study sheds light on the distinct difficulties and opportunities these nations—and indeed, all of Africa—face in their pursuit of decolonial justice by examining the experiences of Kenya, Nigeria, and South Africa.

ƏSAS MUSİQİ ALƏTİ MƏŞĞƏLƏLƏRİNDƏ MUSİQİ JANR XÜSUSİYYƏTLƏRİ HAQQINDA BİLİKLƏR

Learning the Features of Genres in The Classes of the Main Instrument Summary The presented article is devoted to the topic of studying genre features in the process of teaching students on the main instrument. The article makes an excursion to the main varieties of genres of musical art. The student's orientation in a variety of genres expands the boundaries of his worldview and professional field of activity. As a result of this, the presented article carries methodological value in the educational process. Key words: student, art, music, genre, piano

“(The) Play’s the Thing”: Shakespearean drama as an end in itself

Drama, more obviously than other genres of art, is a form of play; and play, according to Johan Huizinga, is essentially autotelic, or not a means to an end. Shakespeare’s plays are trivialised if they are seen essentially as means to other ends. Science conceives of the material world as an endless chain of causes, just as utilitarianism demands that all human artefacts and endeavours take their place on an eternal chain of purposes. This model devalues all its elements, for they acquire their worth only in terms of what appears next along the chain, never in or of themselves. The model is also counter-intuitive, since human experience values things, people and events differently from one another. Some items give us more pause than others; a few invite us to lose ourselves, as a child becomes lost in a game. Drama asks an audience to play along with its playing actors, pointlessly. If there is a point – moral or utilitarian – it is a mere side effect. A play, like Cleopatra’s hopping, is a digression from the straight journey of human lives toward death; and, as Freud suggests in Beyond the Pleasure Principle, detours are the only places in which the life drive makes any inroads into the death instincts’ relentless onward progress. Shakespeare’s dramatic works not only demonstrate play, and hook their audiences into the delightful, terrifying and all-absorbing world of (the) play, but they also provide a metanarrative about play, playing with the idea of playing. This essay resists the tendency to interpret Shakespeare’s dramatic works pragmatically, and instead shows, with examples from comedies and romances, especially The Tempest and A Midsummer Night’s Dream, and from tragedies including King Lear, Macbeth, Hamlet and Antony and Cleopatra, how they refuse to be means toward other ends, but “play till doomsday”, throwing reflective aspects up to their audiences and defying the puritans to stop them as they do so.

Reflection of sacred symbols in folklore and dance culture of Chechens

The article is devoted to the study of sacred symbols represented in the petroglyphs of Chechnya and widely used in the material culture of the local population of the ancient and late medieval era: in the decoration of metal products, the ornament of carpets and ceramics. The author believes that sacred symbolism is reflected in spiritual culture. The circle, the cross, the spiral and other sacred symbols have been embodied in a variety of forms in oral folk art, dance culture, ritual traditions, the Nart epic, thereby defining the stylistic features of the culture of the North Caucasus. Sacred meanings are imprinted not only in the images of dancing anthropomorphic figures on the walls of residential and combat towers, but also the pattern of their movements and gestures repeats the outlines of ancient symbols, thereby testifying to the ritual nature of the origin of folk dance and many genres of oral folk art. The methodological basis of the research is a set of general historical, ethnographic and archaeological research methods, the use of which is determined by the nature of the material being studied. Thus, the internal space and structure of the phenomena of spiritual culture correspond to the forms of the main sacred symbols that existed in the culture of the peoples of the region in ancient times, thereby creating a special style of North Caucasian culture, which is characterized by inner sacredness. The reflection of mythological plots and symbols in petroglyphs and bronze plastics of the Koban culture of late Bronze and early iron testifies to the deep antiquity of folk dance and many genres of oral folk art of the population of the North Caucasus and speaks about the close intertwining of the phenomena of material and spiritual culture in that period, about the sacredness of being in its representations. Ritualism penetrates into all spheres of life (labor, funeral rite, wedding ceremony), protecting the ancient man from all bad things.

Conceptualizing ‘Chinese surrealism’ through translation: a case study of the China independent fine arts association’s cultural identity and its translation of surrealism in 1930s

ABSTRACT This paper examines the questions of cultural identity in the surrealist related translation practices led by the China Independent Fine Arts Association (CIFAA) around 1935. It was the first time in the history of modern Chinese art that a group of artists translated ‘surrealism’ together and that an art association independently translated a modern Western art genre into China. Accordingly, the CIFAA’s work evidences that translation has played a vital role in the modernization of Chinese art. In this translation movement, the young artists-as-translators expressed their pioneering art concepts through translation, expressing their desire to be both ‘reformers’ of Chinese art and ‘mediators’ of Chinese and Western modern art. As reformers, the artists attempted to innovate Chinese art by introducing surrealism, while as mediators they sought to reconcile the contradiction between their desire for innovation and the mainstream left-wing Chinese expectations of realistic art by adding ‘realism’ to the Chinese semantic meaning of ‘surrealism’. This paper thus argues that the CIFAA’s translation of surrealism reflects a complex relationship between translation and the artists’ cultural identity, which ultimately conceptualizing an unprecedented ‘Chinese surrealism’ that is very different from the original Western surrealism.

Influence of Japanese Namban Lacquer in New Spain, Focusing on Enconchado Furniture

This work studies one type of artistic production from the Viceroyalty of New Spain during the second half of the seventeenth century and the beginning of the following century. Furniture decorated with the technique of enconchado is studied to point out the influence of Namban lacquer as well as the relationship with enconchado painting, a better known and studied corpus than furniture, and also its link to Mexican lacquer, maque. The identification and study of three pieces of furniture that feature the enconchado technique, and a cross, probably decorated with maque, offer a complementary vision of the art of enconchado and allow us to consider enconchado furniture an independent artistic genre.

THE ROLE OF UZBEK FOLKLORE GENRES IN SPIRITUAL AND MORAL EDUCATION

The article provides information about the genres of Uzbek folk art. The method of developing the spiritual and moral education of future teachers through folklore is highlighted. The role of folklore genres in education is given.

MARIAM AL-ZAROUNI: CRYSTALLIZING DIVERSITY

Mariam Al-zarouni is a prolific writer and artist in UAE: she is a poet, a novelist, a short story writer, a painter, and a sculpture. Her literary and artistic genre diversity has duly attracted the attention of both readers and critics due to the relatively brief span of time during which she has emerged as a female renown writer who has enjoyed a Pan-Arab fame, in addition to her connections with literary societies abroad. Interestingly, she embarks on a variety of contemporary issues that are related to her society. This paper is devoted to the study of Al-zarouni's literary works: selected poems from her two Poem Collections. The selected poems mainly focus on her feminist criticism of the outcomes of the Masculinity ancient societal structure. Her one novel A Letter from Harvard is a fiction work that has been granted the A'wees award, and it has been written to discuss Juveniles' issues. In her novel, the novelist\poet elegantly introduces a great lesson that the basic way to improve and develop her society is that of science. She really displays poignant knowledge of the Juveniles' mentalities

4차산업혁명이 낳은 융합예술 디카시의 메타포에 관한 연구

As the origin theory of Dicash, I place it in the theory of the yin and yang of the East. Therefore, while the philosophical ideas expressed in Dicash are based on the idea of Cheonji, the idea of Cheonji was verified by limiting it to the collection of Dicapoem published within three years. “Dicapoem a combination of the digital camera Digital pixel, picture element and Poem, is an independent genre of competitive fusion art that overtakes Photo Poem and walks the cutting edge of the Fourth Industrial Revolution. It has been listed as a new literary term in the Korean language spring of the National Institute of the Korean Language.” In the digital age, poetry is accepted in various ways from writing art to video language, but it can be said that decasi is unique and representative in writing poetry using digital cameras as a tool. Photographic poetry has a history of about 200 years. Dicapoem an independent genre of convergent art, has a history of over 20 years. The founder of decasi was Professor Lee Sang-ok. In addition, since the publication of the first digital poetry collection Lee Sang-ok's 『Goseonggado (Hall of Literature, 2004』 in 2004, discussions on decasi have spread not only in Korea, but also in Asia and around the world. Conventional photographic poetry is an analog method that combines photography and poetry. On the other hand, decasi is a digital method that combines digital cameras and poetry. The text was a collection of digital poems by three people, Lee Gyeong-soon, Son Gye-guk, and Kim Sun-mi. Each of their decasi collections was made in connection with the Cheon In-ji ideology. I described with an emphasis on the scalability of Dicapoem. As digital literature, Dicapoem can be said to be a gift of God born by the digital revolution, and it can be confirmed that Dicapoem expresses the metaphor of 'the sky', 'people' and 'the land'.

Analyzing Socio-Cultural and Cognitive Components in Sobha Brahma's Contemporary Paintings

"Contemporary" suggests that a person is roughly the same age as another person from the same historical period, as well as contemporary and Contemporary. The late 1900s global improvements in socioeconomics, culture, spirituality, politics, and education had a profound effect on art, among many other productive sectors. This led to a considerable loss of flexibility in the classification of various art genres throughout time, and this is what was eventually referred to as contemporary art. Contemporary art is flexible and addresses issues that are mostly pertinent to its time.

The transformation and interpretation of Carmen’s image in contemporary sports choreography

The novel Carmen by Prosper Mérimée and later the opera by Georges Bizet from the 19th century to this day serve as the basis for many works of various types and genres of art, including choreography. In the modern conditions of development, the sports dance, as a part of art and sport, is associated with current trends in the evolution of choreographic art. The sports dance is acquiring an increasingly bright aesthetic orientation, expanding the artistic possibilities of the choreographic language. Based on classical canons, using improvisation, the development of the personal style and manner of the dancer, the sports dance can open up new opportunities for the choreographic development, including in terms of involving classical plot themes. The relevance is also determined by the insufficient level of research into the problem of the development of the sports dance in the context of the modern development of choreographic art, the need to improve the training system, both for choreographers and sports dance performers.

Interaction of Digital Trends and Sustainable Development: The role of Contemporary Art

The purpose of the work is to analyze the impact of digital technologies on the sustainable development of contemporary art - an overview of the main trends that have emerged as a result of the integration of new media into artistic practices. The article methodologically classifies various genres of digital art by means of a critical qualitative analysis of practices, artworks, installations, exhibitions, collectives and events at the forefront of artistic innovation with new technologies. The scientific novelty lies in a comprehensive analysis of digital art through the prism of the concept of sustainable development. The work considers digital art not just as another technological innovation, but as a full-fledged artistic phenomenon of our time. The systematization of artistic practices associated with the use of the latest technologies is carried out, their common conceptual foundations are revealed. In addition, the article deals with issues of environmental sustainability, social responsibility, inclusiveness of digital practices. The dilemmas around the balance of technological innovation and artistic freedom from the perspective of sustainability ethics are outlined. The conclusions provide a conceptual understanding of optimal pathways for developing digital art in relation to societal sustainability.
 Keywords: digital art, sustainable development, new media art, network art, generative art, interactive art, AI, VR, AR, digital culture

A BÁBOZÓ GYEREK TITKA, AVAGY A BÁBU MINT A LÉLEK KIHANGOSÍTÓJA

According to Teréz Virág (1998) a psychologist with regard to the 'mysteries' of the power of the puppet, three different spheres are worth investigating, namely the mysteries of the puppets, that of the child who plays with the object, and that of the puppeteer's. She views puppetry as creation, the puppeteer as the life-giver, and the puppet as an object of transition. When the aim is to develop the artistic methods as well as explore the 'general utility' of puppetry, it is worth further focusing on segments such as the making of the puppet, acting with the puppet, and perceiving the puppet play. These are three different viewpoints and three approaches. The study presents that the puppet in the child's hand is capable of embodying incomprehensible and insufferable feelings as well as making the unknowable accessible. In pedagogy today puppet play is believed to undoubtedly have a developmental impact, argued for widely with conventions, but it seems that there is still a lack of sincerely understanding of the being of the puppet and its mechanism of action, its principal essence. In my study, I elaborate on the questions of why and how puppet play can be of assistance, and what the puppet can actually mean in the child's hands. The puppet is an object, that makes a motion as it is assuming a role and takes action while portraying this role, it substitutes for someone or something. Being the puppet presupposes a space for the play, in which it takes the place of this someone/something by replacing what it represents. The primary goal of the study is to show that by playing with an object, a puppet lays a bridge in an abstract way between the visible and the invisible world, enabling thus art pedagogy to develop the child with its complex mode of action. The psychological mechanism of identification is best characterized by the eagerness to act, and the artistic genre of puppet play, providing the stage for action, is eminently capable of satisfying this urge. In the creative process, the approach of animation, the metaphorical thinking of the puppeteer, the abstraction as well as the development of the related assertive skills rely on all the operations of thinking; also, the simultaneity of the multi-lateral perception, the complex interpretation of communication play important roles.

Arts in Modern Ghanaian Festival: Kwahu Easter in Context

This paper explores modern art forms and tourism products associated with Ghana's Kwahu Easter festival using a large qualitative sample of 30 stakeholders. Findings reveal continued cultural vibrancy across artistic genres, including handicrafts, cuisine, dance, Music, sculpture and storytelling. Youth incorporates modern narratives, materials and technologies to augment heritage arts, signalling evolution rather than erosion from globalisation. Strategic development opportunities centre on participatory workshops showcasing living culture, community-based ecotourism capitalising on natural assets, enhanced destination events, grassroots adventure sports establishment, and nuanced hospitality/lodging that sustains regional character. Key constraints around access, infrastructure and controlled scaling require acknowledgement. Overall, braided traditional and emerging creative production persists through intergenerational transmission, with targeted support around mentorship continuity, policy funding and coordinated promotion consolidating these strengths. Artistic reinvention and participation, not rigidity, underpin the Kwahu Easter celebrations' resilience and accretion of meaning over generations. The festivals showcase Ghanaian culture's systemic ability to dynamically nurture heritage on its own evolving terms through embracing internal diversity and global exchange.

The Fragility of Solace: Pothos and Memory in Late Roman Gold-Glass Portraiture

: Using a rarely-explored format of Roman portraiture, the gold-glass medallion, I argue that the yearning desire for someone absent can illuminate the force of intimacy behind such small-scale private images. Known as pothos in ancient Greek, this longing both catalyzed portraiture’s invention anecdotally and grounded the artistic genre conceptually in a web of absence, memory, and surrogacy. Employing visual, literary, and epigraphic evidence alongside gold-glass medallions, I advance pothos as an interpretive tool to demonstrate the rich emotional tenderness afforded by some Roman portraits, expanding our notion of the genre beyond its more common political and honorific associations.

МИФОПОЭТИКА ВИНА КАК ИМАГИНАТИВНЫЙ АБСОЛЮТ ЧЕЛОВЕЧЕСКОГО БЫТИЯ

the article introduces a new concept at the intersection of philosophy, aesthetics, literary criticism, history, oenology and branding: mythopoetics. Mythopoetics of wine is understood as a special method of wine analytics that takes the perception of wine beyond the narrow classification of color, bouquet and taste with elements of terroir into the area of image formation: the harmony of historical fact, myth, terroir, poetry, symbol, which are quintessed in a certain wine brand. The article is a continuation of the efforts of José Ortega y Gasset, Massimo Dona, Eric Asimov, Rauf and Alexei Akchurinov in creating an approach to the philosophical understanding of wine. Wine is defined as an essential element of human intellectual and emotional life, firmly embedded in religious practices, secular culture and various genres of art. An important fact is the strong incorporation of wine into the economic structure, especially in the great wine regions of France, Italy, Spain, and Germany: from wine tastings and wine tours to the formation of a solid segment of the alcohol market in the wholesale and retail trade networks. Mythopoetics of wine allows creating its legendarium, project myths about life and death, beauty and ugliness, harmony and chaos onto a specific brand of wine, form the image of a particular wine producer, enhancing the tasting value of wine, increasing interest in thecourtliness of drinking wine, stimulating the tourist development of various regions, bringing the topic of wine to the level of the most pressing problems for interdisciplinary research, both in the field of fundamental knowledge and at the level of applied results.

МОНТАЖ И ДЕМОНТАЖ: О ЦИКЛЕ ИЛЛЮСТРАЦИЙ ЮРИЯ РОЖКОВА К ПОЭМЕ ВЛАДИМИРА МАЯКОВСКОГО "РАБОЧИМ КУРСКА, ДОБЫВШИМ ПЕРВУЮ РУДУ…"

In 1924 the artist Yuri Rozhkov created a series of illustrations for Vladimir Mayakovsky’s poem To the workers of Kursk who mined the first ore, dedicated to the discovery of iron ore in the area of the Kursk magnetic anomaly. Rozhkov’s illustrations, made using the technique of photomontage, are among the earliest examples of turning to such technique, which played a key role in the development of avant-garde art in the 1920s. However, they did not become widely known, unlike, for example, the works of Klutsis and especially Rodchenko, whose photomontages for Mayakovsky’s poem About That (1923) served as the source and prototype of Rozhkov’s photomontages. But Workers of Kursk is an original and and yet characteristic of its time work, in which the key ideas of the Soviet avant-garde were embodied. The main one is a polemic against the restoration tendencies, expressed in support of traditional types and genres of art, in particular the sculptural monument. Rozhkov, following Mayakovsky, contrasts it with the idea of a “temporary monument”, not separated from the process of socialist construction. The idea corresponds to the image of a split, kaleidoscopic world, in creating which the artist uses some principles of the early avant-garde, including the technique of “words in freedom” by Marinetti. Unlike Rodchenko, he includes the full text of the poem in his illustrations, thereby blurring the boundaries between word and image.

Application and analysis of online and offline blended teaching mode based on online and offline in art theory course civics

Abstract In the context of the new era of socialism with Chinese characteristics, college, and university curricula need to reform the content of curriculum Civics and Politics in keeping with the times and introduce new era Civics and Politics elements into the curriculum content. The study integrates civic and political elements into the art theory classroom in a scientific and refined way according to the concept of civic and political curriculum. Then, data mining of students’ online learning behavior in online-offline blended teaching is carried out by constructing an improved Apriori algorithm. There is no significant difference between the midterm grades of the experimental group and the control group, and the mean score of the experimental group’s final grade is 10.55 points higher than that of the control group, and the significance P-value is less than 0.01. The experimental group and the control group present significant differences in the three aspects of artistic creation, artistic symbolism, and artistic content (P<0.05), and P>0.05 in the artistic genre and artistic performance, and the differences between the two groups are relatively small. There is a high correlation between the number of visits to the learning page, the completion of resource learning, the completion of chapter testing, and the learning effect, and there is no significant effect of homework submission initiative on the students’ learning effect.

Регіональні особливості функціонування заручин та вінчання на теренах сучасного Слобожанського краю

The article is aimed at deepening the understanding of the importance of recording and popularizing family ritual poetry, wedding customs of the 21st century. The authors substantiated the relevance of the topic of collecting and studying wedding rituals and the folklore that accompanies them in the territory of the Sumy region. Emphasis is placed on the local history aspect of oral folk art. The published sources of folklore collectors of the Sumy Oblast were elaborated and the existing source base was supplemented with materials of own field research with a description of family rites, customs, and modern genres of oral folk art. The regional peculiarities of ancient wedding customs and the modern state of family and household rituals of the Western Slobojan region are considered. The stages of the wedding ceremony, such as engagement and wedding, were studied on the territory of the Sumy region (Western Slobojan region), as well as the changes, transformations and innovations experienced by the wedding rituals of the Slobojan region were traced.

ИНДУСТРИАЛЬНЫЙ ЖАНР В ИЗОБРАЗИТЕЛЬНОМ ИСКУССТВЕ:КУЙБЫШЕВСКАЯ ГЭС В ПРОИЗВЕДЕНИЯХ ЖИВОПИСИ И ГРАФИКИ

The article examines the development and features of the industrial genre in Russian fine art in the context of the work of artists on the construction of the Kuybyshev hydroelectric station. The general features of the industrial genre of the mid-20th century are given, the works of painting and graphics dedicated to the construction of the Kuybyshev hydroelectric station are analyzed, reflecting and preserving the history for the younger generation of the following artists: A.K. Vingorsky, V.G. Gremitskikh, G.V. Filatov. In addition to the artistic analysis of the works, the article briefly presents the biography of the above-mentioned artists, reviews the features of their work, highlights the features of the figurative solution of the industrial genre of the 50s.