Local Art Research Articles

Theoretical Musicology in Bukovyna (on the Example of S. Vorobkevych’s Harmony Textbook)

The purpose of the work is to characterise the state of theoretical musicology in Bukovyna in the late nineteenth and early twentieth centuries on the basis of Sydir Vorobkevych’s work “Musical Harmony”. Research methodology. The article is based on the following research methods: historical, biographical, cultural, and theoretical generalisation. The systematic approach of scientific research helped to analyse the work, which became one of the attempts to adapt the theoretical foundations of musical harmony to the needs of the multinational environment of the Bukovyna region. Scientific novelty is that for the first time, the article thoroughly analyses the music-theoretical work that became the basis for theoretical training of music specialists in Bukovyna, and draws conclusions about the peculiarities of musicology in the region. Conclusions. One of the first theoretical works in Bukovyna to appear during the period of Austro-Hungarian rule in the region was a textbook on harmony by Sydir Vorobkevych. Despite the fact that the vast majority of imported books and works of local artists were written in German, S. Vorobkevych’s “Musical Harmony” was written in Romanian, as the majority of the region’s population was Romanian. The need for such a textbook was extremely relevant among the musicians of Bukovyna and Chernivtsi. S. Vorobkevych created one of the first works of theoretical musicology in Bukovyna, which became the basis of musical education in the region. Sydir Vorobkevych’s work is fully in line with the traditions of the second half of the nineteenth century and confirms the idea that the terminology and methodological explanation of the foundations of music theory, in particular musical harmony, were at the stage of development at that time and underwent changes already in the next century. S. Vorobkevych’s “Musical harmony” is a source of information about the basic postulates of theoretical musicology, related to the principles of harmonic thinking, which, according to the author of the textbook, is an indispensable basis for successful composing.
 Key words: art of Bukovyna, musicology, musical education of Bukovyna, musical harmony, music theory.

The Influence of Cultural Congress on the Preferences of the Permanent Collection of the National Art Gallery of Malaysia

Since Malaysia's independence, the government convened the National Cultural Congress in 1971, which discussed building national identity in Malaysia through the culture of various races. The National Art Gallery, as an official institution with policy overtones, maintains a permanent collection of artworks for the nation, showcases the work of local and international artists, and encourages the development of art in the community. Therefore, this study uses a quantitative approach to secondary research, using the Cultural Congress as a dividing line, and to statistically classify works from each of the five years before and after by comparing changes in the nationality of the artists, the medium of the works, and the subject matter of the works to verify whether the emergence of the Cultural Congress had a significant impact on the National Art Gallery's collecting preferences. The results of this study show that the National Art Gallery's collection of works by national artists has also been on the rise since 1971, particularly in terms of the number of works by Malay artists and indigenous subjects. This research helps to examine the influence of the Cultural Congress from different perspectives and to understand the role of social factors on the views and approaches of artists. In addition, the collection of the art gallery will be collated and summarised to understand the preferences of the collection in each period and thus provide insight into the prevailing genres and approaches to art.

The cutting edge in Ghanaian contemporary ceramics

This article discusses Ghanaian ceramic art and the critical interventions that are driving an emerging contemporary ceramic practice. Over the last decade (2011–22), Ghanaian ceramic art appears to have had a stagnant traditional practice and has struggled to be seen, heard and valued within local and global contemporary art discourse. Reviews and reforms of art education in college and tertiary curriculum have provided critical interventions to address this situation. Discussing the works of Japheth Asiedu-Kwarteng, Eugene Ofori Agyei, Frederick Ebenezer Okai, Alex Awuku and other artists, this article reveals how young Ghanaian contemporary ceramic artists are navigating a path to creating new artistic identities and pushing the boundaries of conventional Ghanaian ceramics. These developments also point to the meaningful expansion of ceramics in contemporary art education more generally.

Kelangsungan Galeri Seni Komersil di Malaysia: 1960-1990

Commercial art galleries are essential in developing national art through various organized activities. Information and data related to commercial art galleries could be more extensive, especially in the form of scientific writing. The objective of this study is to trace and document chronologically the establishment of commercial art galleries and the activities organized from the 1960s and 1990s. It is a contributing factor to the development process of local art. Information was collected through various publications such as newspaper clippings, books, magazines and catalogues. Starting with four galleries in the 1960s, it is growing. Several galleries are run by artists and individuals who see this industry as having the potential to progress. The age of business also influenced the local painting landscape. Some commercial galleries have less than five years of operation. Kuala Lumpur is still the location of choice for entrepreneurs, and several commercial galleries are operating around the Kelang Valley, Malacca and Penang. Over the past four years, 38 commercial art galleries have been working in the country.

The Structural Illustration Reog Ponorogo Art Museum with Joglo Building as Javanese Vernacular Architecture

Vernacular architecture refers to the cultural context of buildings, with the main purpose of preserving local art, historical education, and stimulating local economy. The purpose of this study is to put forward a theoretical proposition concerning the adaptation of vernacular architectural features into cultural preserve development projects. Our approach will be from the vantage point of architecture education, using vernacular architecture in Java (Indonesia) as an illustration. With specific objects the development of design concepts for the Reog Ponorogo Art Museum of Joglo model. This paper discusses the layout configuration and the function/aesthetics properties that are important from an architectural perspective. The study contributes to link between architecture and local wisdom society, which presents a major challenge to enable the design of culturally appropriate buildings with environmental advantages. In addition, the study also highlights structural sustainability benefits ideas that are important for development construction with inherited socio-cultural norms

지역 예술지원사업 개선 방향 연구

The purpose of this study is to consider the improvement direction of the arts support project reflecting the actual conditions and characteristics of the region, focusing on the case of Gwangju Metropolitan City. For this consideration, this study examined the current status of art support projects conducted by the Gwangju Cultural Foundation in 2022, identified the actual conditions and characteristics of the region, and based on this, determined the improvement direction of the local arts support project. As a result, it was found that supports for space for practice and events, for securing audiences, for diversification of publicity strategies, for securing new artists, induction of innovative planning, and fine adjustment of support projects were necessary. As a way to solve these problems, this study proposed connection supports between art groups (artists) and public culture and arts infrastructure with low usage rates, providing information on domestic and foreign arts trends, holding planning related workshops, guidance of word-of-mouth publicity through friends, establishment of a recommendation system, inducing diversification of publicity by age group, abolishing the break year system in young artist support projects, and providing a venue for exchanges among artists.

PERAN EKSTRAKURIKULER BELA DIRI SILAMBAWIQRI DALAM MENERAPKAN NILAI KARAKTER KEBANGSAAN

Abstract
 This study aims to find out 1) How to foster national character values ​​in students through the Silambawiqri extracurricular 2) What is the role of the Silambawiqri extracurricular in preventing delinquency adolescents and the negative influence of foreign culture on students at Madrasah Aliyah Negeri 1 Serang City 3) What obstacles and challenges are faced in the Silambawiqri extracurricular activities at Madrasah Aliyah Negeri 1 Serang City. The method used in this research is descriptive method with a qualitative approach. The results of the study show that the way to cultivate national character values ​​in students through the Silambawiqri extracurricular is the application of seven national character values, namely: religious values, discipline, responsibility, respect for achievement, national spirit, hard work and creativity. It can be concluded that the role of the Silambawiqri extracurricular in minimizing juvenile delinquency at Madrasah Aliyah Negeri 1 Serang City can be concluded that it has enough roles by paying attention to several aspects, namely the good adaptability of students, the Lalubawiqri extracurricular has also become a place for students who have an interest in local arts and culture and self-defense. In addition, students are also considered to have a high social sense. The challenges and obstacles that occur in Silambawiqri extracurricular activities at Madrasah Aliyah Negeri 1 City of Serang are time management and availability of training equipment needs.

Rainforest IV at 50

Rainforest by David Tudor was a commissioned piece in 1968 for Merce Cunningham’s dance RainForest, in which Tudor experimented with using found objects (with transducers) as loudspeakers (Rogalsky 2006, 93). In 1973, Tudor “gave the piece away” and led a workshop of emerging artists in New Hampshire (Rogalsky 2006, 183-184), expanding the work to the immersive experience known as Rainforest IV. Fifty years later, our goal was to capture the creativity and community of the 1973 workshop, while incorporating new approaches.
 From exploring scrapyards to borrowing vintage geography equipment from Queen’s University, we collected items that contributed unique acoustics to the sounds we wanted to match with them. Our collection was narrowed down to 30 items chosen by participants during our workshop at the H’Art Centre, a local art centre, after two weeks of testing objects and sounds. Although many types of sounds were used, there was discussion around the use and practice of field recordings. At the end of our workshop, we took our objects to the Baby Grand Theatre, where they were suspended, lit, transducers attached, and fed sounds that suited them best. A significant difference from 1973 was the use of impulse responses, in place of contact microphones, to enhance the sounds. During a 5-hour live performance, our session was recorded and then played back through our objects as a stand-alone installation over the following ten days. 
 I discovered through this process that community is the heart of Rainforest IV. Tudor’s kindness influenced both the participants, through shared meals and encouraging advice (Adams, et al. 2023) and the piece itself. In 2023, shared skills, ideas, and meals helped create both an “electronic ecology” (Rogalsky 2006, 205), and a community. Despite our changes, Tudor’s vision of community was ever present- as if it came from the piece itself.
 
 Bibliography 
 Adams, John DS, John Driscoll, Phil Edelstein, Linda Fisher, Ralph Jones, Ron Kuivila, Petr Kotik, and Susan Stenger, interview by Matthew R Rogalsky and Laura J Cameron. 2023. David Tudor's Rainforest IV at 50: A Conversation (July 15).
 Rogalsky, Matthew R. 2006. "Idea and Community: The Growth of David Tudor's Rainforest, 1965-2006." London: none, April. Accessed 2023.

PROBLEMS OF LIVE MUSIC CONCERTS: A STUDY OF NORTH EAST INDIA

The findings reveal several key challenges encountered in organizing and executing live music concerts in North-East India. Limited sponsorship opportunities’ and ‘disappointing government funding’ emerge as significant hurdles for concert organizers. The study also uncovers a preference for artists from mainland India over local talent, attributed to their consistent preparation and higher performance standards. Moreover, the study highlights the lack of equipped auditoriums and the need to import amplification equipment, leading to increased costs for organizers. This study employs a qualitative approach to explore the problems faced by live music concerts in North East India. The research had qualitative interviews with concert organizers, performers, and attendees. The research further underscores the impact of weather conditions on outdoor concerts, as the region experiences frequent rain. It emphasizes the importance of having contingency plans and backup venues to ensure uninterrupted performances. Additionally, the study reveals the limited culture of purchasing concert tickets among the local population, requiring tailored ticket distribution strategies. These findings shed light on the complexities of organizing successful live music concerts in North East India and provide insights for concert organizers, policymakers, and local artists. The research calls for enhanced support, improved infrastructure, and a stronger platform for local talent to thrive in the vibrant music scene of the region.

Wooden Manor Houses In Estonia 1700–1850: From Archaic Traditions to Modern Ideas

Estonian manorial architecture has been a topic of interest toarchitectural and art historians for the last hundred years, buthundreds of wooden manor houses, of which many still exist day,have largely remained unnoticed. The reason for this lack of researchinto wooden architecture are manifold but can most easily beassociated with socially complex relationships and previous researchmethods, resulting in the only monograph to date, Gustav Ränk’s Dieälteren baltischen Herrenhöfe in Estland (1971), which analysed woodenarchitecture in the 17th century, known in Estonia as the Swedishperiod. Since it is generally accepted that previous classificationsof wooden architecture do not allow for great conclusions, the aimof this article is to give an overview of the architectural genesis ofwooden manor houses during the manorial ‘golden era’, asking howmodern ideas made their way into local architecture. In this regard,this paper also deals with architectural treatises and handbooks fromthe 18th and early decades of the 19th centuries and the question ofthe adaptation of architectural theorists’ ideas to local architecture.The genesis of Estonian wooden manorial architecture can bedivided into three distinguished periods that are similar to the overalldevelopment of manorial architecture in the Baltics. Although thevery first wooden noble residences built at the beginning of the 18thcentury were small urbaltisch buildings with a central chimney thatresembled those built in the Swedish era, newer architectural formsmore in touch with the architectural trends of the time appearedon lands that had either escaped the negative consequences of theGreat Northern War and plague or had been donated by the Russianrulers. In other places, manorial architecture continued with thetraditions, which began to change more strongly in the second half ofthe century, reflecting the landlords’ greater need for representativepurposes. This not only brought changes to construction techniquesbut also to the buildings’ overall appearance: most wooden dwellingsdoubled in size and were decorated according to late Baroque orearly Neoclassical elements. More major changes took place in thefirst decades of the 19th century, which gave contemporaries a chanceto describe wooden dwellings as ‘light and summery’, testifying tochanges in building traditions.Since at this stage of research only a handful of building masters,masons and construction carpenters are known to have worked inthe building of wooden manor houses, this article suggests that thelandlords may also have drawn the ground plans themselves, with thehelp of architectural treatises and handbooks of the time. Althoughthe architectural ideas of Nikolaus Goldmann, Friedrich ChristianSchmidt and David Gilly are tangible, it is possible that in manycases the influence was more indirect and depended on the generalstylistic and technical changes of the period. This architecturalconservativism can partly be explained by the fact that Baltic manorslargely depended on local craftsmen and peasants from nearbyvillages, but also by the nobility’s general aversion to all things new.A much more accessible treatise for many noblemen at the time mayhave been the economic handbook written by local pastor AugustWilhelm Hupel, which included some thoughts on the buildingprocess; however, since he did not introduce any new architecturalideas, but rather carried on with the local traditions, it is possiblethat his ideas were put to practice elsewhere, where landlords didnot actively live. The same conclusion can be drawn about thestandardised model façade projects, which made certain façadescompulsory for cities in the Russian Empire in the early decadesof the 19th century, but had very little effect on Estonian woodenmanor houses.Although this article brings clarity to many aspects of woodenmanorial architecture, the most important contribution to the historyof Baltic manorial architecture is bringing attention to the fact thatwood as a building material was not only widespread but held adominant role in building practice. This not only emphasises Balticmanorial architecture’s peripheral role on the map of European art,but also creates new perspectives to delve deeper into the connectionswith Scandinavia and other countries, where the material played apart in the building practices of the higher and lower strata of society.

DEVELOPMENT OF CRAFT EDUCATION IN KASHMIR VALLEY DURING THE RULE OF SULATAN ZAINUL AABIDEEN BUDSHAH

Abstract
 The paper explores the role of Sultan Zainul Aabideen in the development of craft education in the region of Kashmir. The study examines the Sultan's contribution towards preserving the traditional crafts of Kashmir and creating an environment that fostered innovation and creativity in the local craftsmen. The paper analyzes the initiatives taken by the Sultan to establish craft schools and workshops, provide training and support to craftsmen, and promote the products of the local artisans. The study also examines the impact of these efforts on the socioeconomic development of the region and the preservation of the cultural heritage of Kashmir. The findings of this research indicate that the Sultan's vision and commitment to craft education have played a crucial role in the development and promotion of traditional crafts in Kashmir, which has led to the growth of the local economy and the empowerment of the local artisans.

Church as a Geo-historic Archive -A Case Study of Greater Mumbai

The church is the center of Christian devotion and reflects local beliefs, practices and traditions. Ornate buildings and beautiful buildings sometimes become important landmarks of the world. These monuments echo the diversity of the region and often reflect local art, skill, and decoration. Churches serve as archives of history. Conservation and restoration is a commitment to preserving the cultural heritage of the future. Conservation activities include testing, documentation, treatment, and conservation protection, supported by research and education. The magnificent buildings of Greater Mumbai face a variety of challenges and are in dire need of a cost-effective discipline system. The precious places of worship of Mumbai should be celebrated and revered as spiritual centers and permanent places in our communities. Today, the owners of precious places of worship face many challenges. These may include parishioner’s declines, decreasing salaries, and increasing prices, outdated materials, civic security and approachability, accommodation burdens, adjustment to new features of reverence, and a change in approach. Spiritual areas are significant as they are storehouses of cultural inheritance and cater to the spiritual requirements of society at large. The current paper highlights the geo-history of Greater Mumbai and the importance of churches in the construction of the city sky. This paper is an attempt to instill a sense of heritage management and to honor these historical symbols in the minds of young people. It focuses on finding sustainable solutions to the survival of these historical wonders.

Preserving Folk Music in Community Cultural Events as a Method of Preserving Traditional Heritage: A Case Study of the Ta Oi Ethnic Group in Thua Thien-Hue Province, Vietnam

The Ta Oi people in Thua Thien-Hue province continue to preserve and promote numerous unique indigenous music genres. However, these invaluable cultural heritages are at risk of vanishing from their cultural life in the future if there is no comprehensive and scientifically backed protection policy in place. My first-hand fieldwork and surveys have demonstrated that folk music is integral to the Ta Oi people’s way of life, being practiced at every stage of their lives, in significant cultural events within the community, and during religious rituals. Music serves as a distinct language, fostering connections among individuals, between people, and between people and spirits within specific cultural spaces, thereby forming a remarkably distinctive cultural mosaic among the Ta Oi people. Utilizing qualitative research methods, this study focuses on conducting in-depth interviews with skilled local artisans and participating in folk music performances within the Ta Oi community. The findings of the study reveal that significant community events play a crucial role in the practice, preservation, and maintenance of the Ta Oi people’s traditional musical culture. The study asserts that preserving folk music within the cultural life of the community serves as the most effective approach to safeguarding the indigenous folk art of each distinct community. This progression would enable the maintenance of the musical heritage of each ethnic group within contemporary society. Such endeavors necessitate support from the government, researchers, and local authorities.

Processing of Leather and Furs in the Localities from the North of the Republic of Moldova

In this article we set out as a goal to appoint some artisans in the field of manufacturing from leather and fur of various clothing items, accessories, harness pieces. Several localities from the North of the Republic of Moldova were included in our research area: the fairs and exhibitions of recent years that highlighted the products of the work of craftsmen in the field of leather and fur processing. Field research of craftsmen in the field of making clothing and leather goods allows the finding that this craft is well developed in this area. Articles of fur and leather made by local artisans are presented in fairs, exhibitions and bazaars, where popular traditions and true Romanian values are promoted.

Singing the Memories: Songs about the 1965 Anti-communist Violence in Banyuwangi

Abstract: Within post-genocide societies and in the aftermath of mass killings, music functions beyond entertainment. It serves to reconcile, remember, and convey a message of peace or even criticize how authorities deal with the effects of atrocities. Music also functions to remember and preserve memory of violence, particularly in the context where violence is not part of the official narrative and historiography. By taking the case study of Indonesia's anticommunist violence in 1965, this article would like to analyze critically the perspective that perceive music as counter memory. Focusing on Banyuwangi, East Java, the area where intense violence against the communists and leftists took place, we study how locality affected the production of songs with 1965 themes. The historical construction of local identity, violence and stigmatization of local artists, all affected the choices to compose songs related to 1965. We argue that music about violence is not simply a counter narrative against the dominant memory, but a process of negotiation between locality and the national construction of the past.

Disqueras intermedias, categorías de mercado y cultura institucional de las disqueras en Colombia: el caso de Discos Ondina

Through the analysis of the institutional culture of a local record company, the article explores the role of medium-size record companies in the consolidation of market categories around musical genres and styles in mid-20th century Colombia. Starting from the questioning of the pertinence of using the concept of independent label in the Latin American context, specific aspects of Ondina Fonográfica's business are explored, such as technological independence, commercial strategies, the search for local artists, the opening of markets and the establishment of niches, and the organization of the catalog and the target audiences. The exercise highlights important differences with the majors/indies model extensively used to study the record industries in the Anglo-American context, such as unimportant role of talent scouts and a conservative tendency towards the creation of new market niches in small record labels. At the end, new routes are proposed to explore more complex systems than the classic binary model, using less deterministic concepts to study the richness of sound exchanges fostered by the recording industries in Latin America throughout the 20th century.

Where is the market? Assessing the role of dryer performance and marketability of solar-dried products in acceptance of solar dryers amongst smallholder farmers

Agricultural technological development is a crucial strategy for agricultural commercialization and socio-economic transformation in Africa. However, a key challenge to technology use in agriculture remains the limited farmer acceptance of unfamiliar technologies. This paper uses a sample of 245 okra farmers drawn from northern Uganda to assess the drivers of the farmer acceptance of solar drying technology. On the basis of drying performance, farmers perceive the solar dryer to perform better than the open sun-drying method. Structural equation modelling results show that the drying rate and perceived product quality are the main determinants of farmer perceptions on product marketability. Further, product marketability drives acceptance of solar dryers among farmers. We conclude that acceptance of solar dryers is dependent on: i) the drying rate, ii) favorable perceptions towards product quality, and iii) perceived marketability of the solar-dried product. We call for policy action on intensification of efforts that promote solar drying technology, including supporting local artisans to fabricate dryers, to enable increased value addition and consumption of nutritious foods.

Maximum likelihood estimators and Cramér–Rao bounds for the localization of an acoustical source with asynchronous arrays

The performances of source localization using a microphone array can be improved by repeating the experiment with different array placements, assuming that the source position remains constant. In this article, two types of theoretical results on this setting are presented. The Maximum Likelihood Estimator (MLE) is derived, and Cramér–Rao bounds are computed, both for a strict model, where the power of the source is constant, and a relaxed model where the power of the source is allowed to change. Cramér–Rao bounds show that the performances (in terms of mean squared error of the estimation of the position and power of the source) of asynchronous arrays for the estimation of the position are, in some settings, significantly degraded compared to synchronous arrays. A particular example of such a setting is the case of two parallel arrays around the source. In contrast, the performances of power estimation are, in most cases, close to the performances of synchronous arrays. The obtained MLEs are compared to the state of the art in asynchronous array source localization using simulations, showing that the MLE for the strict model outperforms the state of the art. Experimental results illustrate the theoretical and numerical findings.

Creating Visitor-Centered Museum Experiences for Adults With Developmental Disabilities: A Collaborative Story

Museums have a history of being elitist institutions for educated, upper-class, White audiences. However, in recent decades, many museums have worked to overcome this idea by providing visitor-centered approaches to refocus their efforts and concentrate on the needs and interests of all visitors, rather than the objects on display. One population of visitors that is often overlooked by museums is adults with developmental disabilities. This audience serves as the primary participant group for this qualitative case study, along with their parents or caregivers and museum staff members. By using disability studies as a guiding framework, the participants in this study collaborated with the researcher and museum staff members to document their museum experiences through inclusive artmaking, interviews, discussions, and observations. The purpose of this research was to explore how such collaborations might create more inclusive and visitor-centered museum experiences for adults with developmental disabilities within a small regional local art center. The findings were used to make recommendations for future programming and consisted of several themes developed during the coding process. The themes included understanding, accessibility, interactive, collaboration, communication, and evaluation.

ANALISIS KARAKTERISTIK ORGANOLEPTIK IKAN TUNA ASAP YANG DIHASILKAN DENGAN METODE PENGASAPAN TRADISIONAL DI DESA MALALANDA KECAMATAN KULISUSU KABUPATEN BUTON UTARA

Fish smoking is a popular method of fish preservation which extends the shelf life of fish and diversify the range of processed fish products. Smoked tuna is a special dish from Malalanda Village, North Buton Regency that is processed using traditional smoking method using simple equipment. This research was conducted to identify the organoleptic characteristics, referring to the acceptability of a product based on the sensory properties, of smoked tuna produced by local artisans using the traditional smoking method in Malalanda Village, Kulisusu District, North Buton Regency. On-site observation involving randomly-sampled smoked fish artisans was performed. Three tuna fish were obtained from three artisans to undergo organoleptic tests to assess their color, aroma, presentation, and taste. Each sample was assigned a code: Craftsman 1 (T1), Craftsman 2 (T2), and Craftsman 3 (T3). The organoleptic testing involved 37 panelists, consisting of students from the Department of Agricultural Technology at Universitas Sulawesi Tenggara. The ANOVA test revealed that the three types of smoked tuna samples exhibited similar characteristics in terms of color, aroma, presentation, and taste. Specifically, the color characteristics of T1 were rated at 4.27 (liked), T2 at 4.30 (liked), and T3 at 4.30 (liked). The aroma scored T1 = 4.35 (liked), T2 = 4.30 (liked), and T3 = 4.27 (liked), while the presentation showed T1 = 4.30 (liked), T2 = 4.30 (liked), and T3 = 4.27 (liked). Furthermore, the taste was rated T1 = 4.49 (liked), T2 = 4.46 (liked), and T3 = 4.46 (liked). Therefore, no significant differences were found in the organoleptic characteristics of color, aroma, presentation, and taste among the three smoked tuna samples.Keywords:Smoked tuna, organoleptic characteristics, traditional fish smoking process