High Art Research Articles

Methodological bases for the formation of professional competence of future art specialties teachers

The article is devoted to the theoretical analysis of methodological bases for the formation of professional competence of applicants of higher art and pedagogical education. The purpose of the article is to substantiate the leading methodological approaches to the formation of professional competence of future teachers of art specialties. Methods. The following methods were used in the research process: analysis of scientific and pedagogical literature, generalization, synthesis, formulation of conclusions. The results. The authors of the article highlight the essence of the concept of "professional competence of future teachers of art specialties" and outline the directions of formation of this pedagogical category. The article suggests the analysis of the concept of "methodology" and "methodological approach". The benefit of the study is that the authors proved that the successful formation of professional competence of future teachers of art specialties will contribute to the implementation in the educational process of higher pedagogical education ideas of competency, system, activity, culturological, axiological and acmeological approaches. The essence and content of the mentioned methodological approaches in the context of art pedagogy are characterized. Conclusions. The authors of the article state that the analysis of scientific literature together with the essence and specifics of forming the professional competence of future teachers of art specialties enabled definition and theoretical substantiation of the leading methodological approaches, which realization in educational process of establishments of higher pedagogical education will promote achievement of the stated purpose. Among the outlined methodological approaches, the authors define the most important as studies have shown, they are acmeological, culturological and competence approaches. The competence approach helped to increase the professional competence of future teachers of art history. The acmeological approach allowed us to outline new plans and tasks, more complex than the previous ones. The culturological approach allowed outlining the main tasks of professional training of future teachers of art history. Their use should be done due to a number of factors defined by the authors according to every approach.

Gramophone, Masinatahikan – Typewriter, Press, Our Mother(s) Tongue

This essay discusses a wide range of media—including an 1853 Albion Cree Press, a Cree typewriter, and contemporary Indigenous artworks—to create a sense of the multiplicity of Indigenous technologies available for study today and the vastness of the visual record. While older art historical studies would be limited to so-called high art, namely paintings and sculpture, this essay takes an expansive approach to consider multiple examples of visual culture in the formation of Indigenous literacy traditions. The work considers the importance of birchbark biting and moss in the pictorial record, for example, as a form of Indigenous technology. This essay has also been inspired by recent conversations with my mom and colleagues in the discipline of contemporary art and for that I am thankful and try to reflect a more conversational approach to the media discussed herein as a methodology of upending binaries and tensions of spoken and unspoken and not-as-yet written stories. The research engages in visual analysis of Indigenous literary artifacts and images. By Indigenous literacies I mean the way Indigenous people have engaged and engage technologies and media to move ideas forward, to create art and culture. The essay takes a speculative approach, using some stories about artworks and narrative approaches to honor a history of Métis and Cree paths to knowledge that are based on storytelling rather than definitive histories. As a person of Métis ancestry on my maternal side, I write this essay not as a fluent Cree or Michif speaker, but as one who is in a life-long process of language learning. Analysis of visual imagery expands staid notions and simplistic understandings of Indigenous literacies as solely based on writing.

Pedro Costa’s realism of the poor

Portuguese filmmaker Pedro Costa has over the years pictured the lives of immigrants from Cabo Verde in Lisbon, in In Vanda’s Room (No Quarto de Vanda, 2000), Colossal Youth (Juventude em Marcha, 2006), Horse Money (Cavalo Dinheiro, 2014), and more recently Vitalina Varela (2019). His portrayal of impoverished Black communities in Fontainhas, a slum in the outskirts of the capital, uses the style of art cinema to portray how his protagonists are excluded from Portuguese society. His work features non‐professional actors, mixing documentary techniques with a highly aestheticized approach. This has led several critics (Pantenburg, 2010; Guarneri & Costa, 2015; Fajgenbaum, 2019) to describe Costa’s films as realist, emphasizing links between formal and material aspects of his work and how they relate to a manner of political engagement. In this article, I trace the discourse on realism in Costa up to the present day, leading to an assessment of how his most recent film, Vitalina Varela, relates to his past practice. The concept of “cosmopolitanism of the poor,” coined by Silviano Santiago ([2008] 2017), is introduced in order to read Costa’s films as engaging in a form of realism that appropriates high art to tell stories of migration and poverty in a postcolonial context.

Ideology, identity, and pedagogy in English language arts teachers’ linguistic styling in U.S. classrooms

Linguistic styling is an important component of the language ideologies teachers communicate to their students. This study explores the of role identity and intent in shaping teachers’ language use in the classroom, and considers how students receive teachers’ linguistic style. Three high school English Language Arts (ELA) teachers’ linguistic style is explored through three sources of data: a Dialect Density Measure, discourse analysis of marked instances of linguistic styling by each teacher, and interviews with the teacher and their students. The social meaning of differences in teachers’ styling of language is examined in relation to each teacher's social identity and the context of their teaching. Findings show that teachers use their style to model academic norms, to counter academic norms, to develop relationships with students, and to complicate ideas about what kind of person can use what kind of language. The marked differences in each teacher's styling reveal the pedagogical and relational work that language use enacts in classrooms. Implications for further study of teachers’ styling, and for supporting teachers’ critical language teaching are considered.

The Development of a Virtual Module Based on the Infographic Dynamics of Art Materials

The COVID-19 pandemic in Indonesia has had a very significant impact on learning activities in schools, including learning at the UM Lab SMP. Teachers who are accustomed to using technology can make their own or take teaching materials from various sources on the internet. There are not many teaching materials that can be found on the internet that discuss specifically about junior high school art material. Teachers still have to reduce text material into easily digestible material for students to learn. This research used Sugiyono’s development method which has 10 research steps. The virtual module developed in this study is in the form of an application that can be operated on a smartphone or laptop, and contains junior high school art material in a systematic and attractive learning package that makes the learning experience easier for teachers and students. In using the module, the teacher becomes the facilitator, and students can understand the steps that must be taken in each basic competency, without even asking the teacher. The module directs students to follow the learning flow like playing a game. The interactive digital module was tested on UM Lab SMP students and showed good results. It got a score of 90.6% for the material expert validation test, 92.3% for the media expert validation test, 85% for the product trial with a small group, and 87.5% for the trial with a large group. This module can minimize the role of the teacher, enable students to learn independently, and can increase student activity with media in learning and learning activities.
 Keywords: Virtual module, Dynamix module, art module

Music Against the Challenges of Digital Society

The aim of the article is to separate the concepts of musicology, music anthropology, music, and instrumentalism. This very division and reflection of the interrelations of concepts provide a starting point for a detailed study of the problems of musical instrumentalism. The article is methodological in nature. It contains a number of important settings that are necessary for the anthropological analysis of music. The Central theoretical explanation of the article is the separation of musical anthropology and the anthropology of music. For this purpose, a number of tasks, namely, the definition of the theoretical fields of musical anthropology and the anthropology of music, and the disclosure of the role of music in traditional and modern society are proposed. The concept of musical action is introduced. Solving these problems allows to give a more complete analysis of the relationship between a person and music. It is this problem that becomes the main problem in the music media mainstream, where popular music is used as a way of producing moods and experiences. Music becomes a particularly valuable commodity in a networked society, which is made not so much for the purpose of incorporating into the values of high culture but to control the behavior of people in the music market. In addition to commercialization, music is becoming an effective political technology that provides consensus among voters. In this regard, there is a cultural problem, how high art in general and music, in particular, can preserve its traditional purpose – to promote humanization

Posthumous trading patterns affecting artwork prices

Abstract This study aims to identify factors contributing to price fluctuations in artworks after an artist’s death. With access to information on seller characteristics from a historical dataset of all art auctions that took place in London between 1741 and 1913, we investigate how trading patterns and network effects at auctions affect art sales prices. Following an artist’s death, we capture dynamic effects in sales patterns and find that prices decline by 7%. We attribute this decline on the confluence of non-strategic and strategic effects, first on a frequent lack of access to professional consultation and secondly on changes in trading patterns of art dealers posthumously. Our results highlight the long-term influence of those factors on high valued art.

The Adelaide Festival and the development of arts in Adelaide

ABSTRACT This paper asks: why, given the Australian city of Adelaide’s early intervention to embed a flagship arts festival, has it failed to develop as an arts city with a more democratized cultural terroir, with greater diversity and inclusion? We argue that part of the answer lies in the continuing influence of its flagship Adelaide Festival, which, from the beginning, was not of, and for, the entire city, nor “art for all,” but very much the opposite. It was explicitly orientated to the virtues of high art, packaged for a social elite, and linked to tourism–led urban regeneration. Rather than a celebration of Adelaide’s cultural terroir, it established a marketized form of arts festival built around a core of imported art. Informed by multiple data sources, this case study offers a positive critique at a pivot point in Adelaide’s festival history, suggesting that a consideration of other types of art city offers alternatives for the future.

Using UDL to Plan a Book Study Lesson for Students With Intellectual Disabilities in Inclusive Classrooms

Students with intellectual disabilities are among the least likely students to spend a significant amount of time in general education classrooms. When they are included, they may spend their time on non-academic learning experiences. Universal Design for Learning is a lesson planning framework that can guide teachers in inclusive lesson planning. This article explores the Universal Design for Learning framework and how teachers can incorporate it into the lesson planning process for a book study in high school English Language Arts. This lesson planning process provides genuine learning experiences to students with intellectual disabilities in the general education classrooms. The article offers examples of how to incorporate multiple means of representation, multiple means of engagement, and multiple means of expression and action within the four steps of the lesson planning process: learning goals, instructional methods, instructional materials, and assessment.

Ulos as Batak Cultural Wisdom Towards World Heritage

Ulos as one of Indonesia's intangible cultural heritages is the fruit of thought and the result of high quality art as an ancestral heritage that must be preserved. The sacred value of ulos is a picture of the inner world of the Batak people. Each ulos has a meaning and purpose between the giver and recipient of ulos. The stipulation of ulos as an intangible cultural heritage of Indonesia is a new hope to move towards a world heritage. The purpose of writing this article is to describe ulos as a Batak cultural identity that has been established as an intangible cultural heritage of Indonesia accompanied by efforts to become a world heritage, in addition to increasing literacy about Ulos. The method used in this paper is descriptive method, by describing the existing phenomena and collecting literature study data. Under the auspices of UNESCO as the world organization that houses cultural heritage, every country is obliged to report and propose new cultural heritage to become world heritage on a regular basis. With this step, Ulos under the auspices of the Aceh BPNB (Cultural Value Conservation Center) continues to strive and strive to be registered in accordance with the requirements of a cultural heritage to become a world heritage.

The artist as entrepreneur

We develop a theory of the supply side of art markets building on Kirzner’s understanding of entrepreneurship as alertness to profit opportunities. Whereas Kirzner’s entrepreneur is alert to the existence of resource misallocation, the artistic genius is alert to the opportunity of producing aesthetic value out of mundane objects and resources with no such value of their own. Our theory produces an important empirical implication: when market conditions are such that most art is “high art,” the artist will perform both functions, alertness to artistic value and alertness to profit opportunities. Instead, when most art is “low art,” the two functions will belong to distinct individuals. To substantiate our theoretical arguments, we discuss their relevance to the markets for paintings in Renaissance Italy and contemporary visual art.

Inclusive Artmaking in High School Visual Arts Classes

In this article, I examine inclusion, disability, image making, and representation through case studies in a high school setting. K–12 school settings often focus on student deficits; however, the theories of disability studies provide a critical model for understanding language, disability, and enabling structures that move away from deficit models. Grounded in a disability studies framework, I focus this article on students’ capabilities to develop artmaking skills and the value of diverse image making. Although universal theories of artistic development exist, the literature review suggests that student artistic development varies. Through case studies, I examine inclusion for students with emotional disabilities using artwork, interviews, and observational data. I examine student artwork in terms of individual development of artmaking skills as measured quantitatively by a rubric. A qualitative analysis of student artwork and interviews reveals students’ inclusion as an opportunity to become members of a community and create work that expresses individual viewpoints.

Functioning and development of conscious ability in communication, play, artistic activity

A necessary condition for the existence of conscious ability in the way of correlative correlation between the planes of mental acts (noesis) and content-meanings (noema) – is an activity. Despite the communicative content of other activities, there is actually a communicative activity – communication, the leading motive of which is communication itself. Psychological and physical contact with the object of such communication is a self-sufficient goal for the subject. The emotional-dispositional basis of his motivation is all kinds of love and amicability. Deprivation of communication causes serious damage to the mental health of almost all people. Therefore, communication is a basic condition and a way of normal functioning of human conscious ability, the main factor of mental development of speech as a basis for this ability of infants and young children, who desperately need communication, full of expressive manifestations of love and tenderness. Children, who suffer from the deprivation of such communication, noticeably lag behind in development: their own speech and understanding of what is addressed to them, intelligence, self-awareness, adequate emotionality, social activity and adaptability. Mechanisms of social-psychological interaction are gradually “connected” to the process of intuitive “interiorization” of infants and young children, the essence of which is that in the noems of the subject’s conscious ability, the attitude to him, to other people, to the world of authoritative and referent for him individuals and groups is reflected. The most powerful subjective factor of the effectiveness of a child’s personal development is authentic activity through the volitional effort required to follow the rules of the game that attracts and captures it. Children benevolently accept the restrictions required by the rules of the game and are happy to follow them, because these are the conditions for testing their mental and somatic life potential, because in the process of the game «play» the vital forces of the child that please her. Such pleasure is the emotional-motivational basis of any real game and the deep foundation of the psychological affinity of game self-limitation and self-overcoming with the morality and spirituality of a personality, and thus a subjective factor in the development of his spiritual-moral conscious ability. At the same time, its aesthetic sensitivity develops due to the fact that the rules of the game form the harmonious system that gives the aesthetic impression of the beauty of the game. The deep basis of motivation of artistic-figurative activity (creation and perception of works of art) is a secret human desire – freedom of spirit, liberation from the shackles of its biological and social “handcuff”. Therefore, the ideological-emotional core of the images of high art is the freedom-loving human spirit, which is subject to the urges caused by the biological nature of human and social taboos and imperatives that oppress him. In the process of artistic-figurative activity, the subject empathically identifies with the struggles of the spirit of the art works’ heroes. These empathic shifts of one’s own spiritual-moral ability delight the subject, who develops the emotional-dispositional foundations of corresponding noems of his conscious ability. Cognition requires a serious attitude and hard work, which is most motivated by interest in its content. An effective way of such interest is the game psychological content of teaching. In general, the question of including the game into cognitive activity makes sense only as a fulfillment of the learning process with game psychological content. To organically combine the hard efforts of students, which requires knowledge and assimilation of scientific truths and spiritual values with game attractiveness - is not easy, but possible, especially concerning subjects of artistic-aesthetic cycle due to the semantic affinity of motivation of game and artistic-figurative activities. A necessary condition for the humanistic mission of sport is that it must be a noble competition, that is, a real game.

Forms of culture (Culture Coverage)

Forms of culture (Culture Coverage)

Those Dancing Feet! Musical Theater Dance as an Ethnographic Identifier

ABSTRACT Commercial dance forms, specifically musical theater dance, remain highly marginalized within higher education research. This article presents the need to establish more scholarly research in musical theater dance and points out the ethnographic identity of the genre in our global society. Ethnographic study can be useful in validating musical theater dance and the way it reflects American culture back to itself, while also blurring the lines between dance forms that traditionally carry the “high art” designation and those that are more commercial in nature. Establishing a stable platform to research and preserve these commercial forms situates musical theater choreographers, dancers, and their art within academic and artistic history.

Looting of Cultural Property in Europe for the Fuhrer – Museum in Linz

The article analyzes the activities of the Nazi “Special Mission Linz”, its organization and preparations for the opening of the Fuhrer-Museum in Linz. By A. Hitler’s design, Berlin was supposed to become a kind of Rome, and Linz – to become the European capital of world art. Although this museum was never established, its creation project and precious collections, most of which were seized from Jewish families, deserve a great deal of attention, and the connected with it secrets continue to be a concern of mankind. The crucial role in the selection and formation of the creating museum's expositions was played by its leaders. They took charge of future museum and selected for it the most precious items of the looted collections of Europe, coordinating the process of museum’s filling with Hitler.
 The author finds out that the Fuhrer-Museum in Linz expositions consisted mainly of art collections of Jews. The main criterion for the selection of valuable pieces of art for the museum was its belonging to the European high art.
 The article analyzes the components of the “mission’s” activities, outlines the routes of the artworks, which got into the museum collections in different ways. Besides, significant attention is paid in the article to the key figures: architects whose projects were approved by the Fuhrer, leaders of the museum in Linz – art historians and other executors who were directly involved in organizing and conducting of a large-scale looting of cultural property in Europe. The author notes that the purpose of the “Special Mission Linz”, was, inter alia, to find artworks created by masters of “Aryan” birth. The study emphasizes that such kind of museum establishment was an attempt to prove the greatness and steadfastness of the German Reich. It is noted in the article that Hitler was planning to build cultural centers in Königsberg and Drontheim (Norway) during the war. The Fuhrer wanted to establish a museum with cultural property from Eastern Europe in Königsberg, and the artworks of German authors were supposed to decorate the exposition of the newly created museum in Drontheim – the northernmost center of the future Great Empire. The fact that the Fuhrer-Museum in Linz was never built does not give any grounds to reject the facts of systematic looting and confiscation of cultural property that were conducting during many years of Nazi rule.

Hiring Practices and its Connection to the Conceptualization of ‘a Good Teacher’ in Diverse Classrooms

Abstract: This article explores the role of hiring practices in the conceptualization of what makes a teacher ‘a good teacher’, especially in diverse classrooms. It is based on a multiple case study that examined the perceptions of the experience of four high school English language arts educators teaching in diverse classrooms in Alberta, Canada. These practitioners suggest that hiring practices are mostly unreliable as principals’ hiring decisions are often strongly influenced by noticeable teachers’ personal traits and their preconceived perceptions of what a ‘good’ teacher is. During the hiring process, such interpretation often relies on the sole perceptions of the experience of school principals, which are usually not supported by effective hiring practices research. Hiring ‘the most suitable’ teacher to meet the needs of increasingly complex classrooms is key to education. As education strives for responding to the needs of an increasingly diverse community of learners, reflecting on hiring practices is important to improve the quality of the education provided to students. Teachers’ perspectives on hiring practices are important as they could potentially contribute and inform professional development initiatives, teacher preparation programs, and educational policies regarding a possible connection between administrative roles and teacher effectiveness.

PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

Air and Ghosts

91 ERIKA VEURINK Air and Ghosts • nne Sexton called her relationship with the monk Brother Dennis Farrell “a love built on air and ghosts.” He told her he loved her. She told him he was haunted. It began with a fan letter he wrote her in 1961 after the publication of her first poetry collection. Fan mail is generally one-sided optimism, but who has ever written without the slightest hope of being the exception ? This is my understanding of prayer. Correspondence is inevitably imbalanced. ‘ Anne Sexton wrote back to Brother Dennis. She wanted to believe in God. Could he help her? She thought of God as “large, covering up the sky / like a great resting jellyfish.” I think God would rather be called a feeling than a sea creature. But if he created both, what’s the harm? ‘ Conversion is courtship of ideology. When Anne Sexton told the monk “for some reason I love faith, but have none,” she was offering a challenge. I have a theory. In every relationship one person releases a fantasy while the other enacts one. If timed perfectly, it’s compatibility. When we love the wrong things well, we are caught in the miscommunication of what it means to be human. ThefirsttimeIlovedarightperson,itfeltlikefallingasleepontime. ‘ Another theory: Pick a god. Hold it loosely. a 92 ‘ Brother Dennis mailed Anne Sexton a crucifix after the exchange of a few letters. He introduced something physical to the exchange. He braved a new dimension. The cross was something to sink her teeth into. ‘ My pastor growing up said, “We should all be wearing empty tombs around our necks. It’s the resurrection that matters, not the death on the cross.” But where is the romance in an empty tomb? The cross and Christ were soaked in blood and vinegar, lit by cracks of lightning. It was a seed then a tree then a vessel then a grave then a symbol. Sexton fashioned a necklace out of the crucifix with packing string and wrote that she would “never wear it without a feeling of humility and awareness.” As a kid, all I wanted was to know my salvation was set in stone. I bowed to false gods on the bathroom floor just to try things out. I fashioned plenty of crucifixes. ‘ All love is iconography. Worship is high art. ‘ The monk sent her a photograph of himself, which Sexton hung above her desk. “I am hunting for the truth,” Sexton wrote to the monk. “It might be a kind of poetic truth, and not just a factual one, because behind everything that happens to you there is another truth, a secret life.” ‘ 93 Sexton thought writing should be painful.1 Otherwise, leave it unsaid. She understood the way suffering glimmered in the right light. In this way, prayer and poetry come from the same place. Sexton said we are all writing “God’s poem.” ‘ In her confusion and visions, in her forty days in the desert, there was the monk, waiting, ready to apostatize, for a word, for a chance at his new religion—Anne. ‘ I imagine Anne Sexton swore not to write poems about flowers or spring, but then flowers and spring happened anyway. The planet shuddered and her private world spun in a neighboring orbit. We are the worlds we occupy. We are the worlds we leave behind. ‘ There is a surrender in the act of extension. ‘ “I wish we were real,” wrote the poet to the monk in their final correspondence . She died of suicide years later after the publishing of her last book, The Awful Rowing Toward God. The invocation read “For Brother Dennis, wherever he is.” 1. Interview with Patricia Marx. “Interview with Anne Sexton.” The Hudson Review. Vol. 18, No. 4 (Winter, 1965–1966), pp. 560–570. ...

Science policy as implicit cultural policy: evaluation of the arts in Polish academia

ABSTRACT This paper is concerned with the evaluation of artistic production within the Polish science policy. It analyses the performance-based research funding system (PRFS) in Polish higher arts education and discusses the assessment techniques and value hierarchies underlying the evaluation model. We analyse data from the Integrated System of Information on Science and Higher Education, to examine the cultural activity of artists-academics in Poland and discuss the impact of science policy on the cultural sector. We also compare the Polish system with alternative solutions introduced in other countries (e.g. UK, Australia, Finland, Sweden) and consider possible consequences of different evaluation paradigms.