Local Art Research Articles

The Uniqueness Of Kayie Dance Art In Village Laban Nagari Salido District IV Jurai Painan South Pesisir Based On Space, Time, And Energy Aspects

The traditional art of Kayie Dance in Laban Nagari Salido Village, IV Jurai Painan District, the South Pesisir is an identity for the life of the community itself, because this art reflects the activities of the South Coast community who work as fishermen. As a source of livelihood and fishing activities in the southern coastal area, the community believes in the value of life that comes from catching fish in the sea or river. Moving away from the values ​​of life, local artists have created art that is characteristic of the southern coastal area, especially in the village of Laban Nagari Salido, District IV Jurai Painan. The uniqueness of this art is that it combines beautiful and rhythmic movements, and each movement has its own beautiful value. The Kayie dance has its own uniqueness which is created by the dance atmosphere expressed through the dance movements. Kayie's dance has 11 main movements in the dance, starting with the initial sambah movement to the closing sambah movement. There are many aspects of beauty contained in every element of the Kayie Dance art. The function of the Kayie Dance is as a means of entertainment and learning for all levels of society, this is an attraction for the community to preserve the Kayie dance on the South Pesisir.

Between War Images and Ecstatic Prayers

Abstract The work of Breslau artist Heinrich Tischler (1892–1938), although well-known and investigated by researchers of local art milieu, mainly through exhibitions, has not yet received a deeper interpretation from the point of view of the complex and rich iconographic repertoire that has its roots in both Jewish and non-Jewish mystical thought, and in terms of the artist’s connections with the Jewish Expressionist community from Germany and Eastern Europe. Tischler, as a Jewish Expressionist whose work touched on messianic and apocalyptic themes, drew inspiration from the Kabbalah and included references to Christian iconography, as well as an element of the grotesque. This article focuses primarily on Tischler’s painting and graphic works, analyzing their Jewish idiom of messianic and apocalyptic motifs.

Value of art and culture institutions: a case study of Jyväskylä, Finland

This paper presents a case study about perceptions of residents about the value of publicly funded art and culture institutions (museums, city theatre, and symphony orchestra) in the Finnish city of Jyväskylä. In this study, the kinds of value that residents attribute to these local art and culture institutions and what kind of economic value the visitors’ expenditure to these institutions illustrates are explored. The analysis in this study is based on a survey conducted in 2019 that included the visitors and non-visitors to these institutions as participants. The results illustrate several values of art and culture institutions, which also point to multiple policy domains related to art, economy, social, and wellbeing effects. According to previous studies on cultural policy, it is important to be aware of the various value dimensions of future cultural policy. Though there are conflicting aims regarding cultural values, varied value dimensions complement each other in future-oriented policies.

Artworks as Protest after Rana Plaza Collapse: Frames, Emotions, and Injustices in the Workers’ Rights Movement in Bangladesh

This article details the framing of emotions and workplace injustices through creative avenues and the politics of communication by activist artists from all over the world that worked in the aftermath of the Rana Plaza collapse in 2013 at Savar near Dhaka in Bangladesh. Analyzing poems, photographs, and dramatic performances, used during the protests against Rana Plaza owners, factory owners and the government, I argue that such creative works not only frame the injustices against workers but also the reflexive, affective and moral emotions to motivate audiences in resisting such injustices. After the collapse of Rana Plaza, activists framed their protests trying to express their own anguish and incite different kinds of emotions among their audience that will in turn make them active in protest. Although it is impossible to measure the impact of these creative works of art as protest, these art works are from local and international artists and were presented to transnational audiences, which sheds light on the diffusion of the protest around the world. Journal of the Asiatic Society of Bangladesh (Hum.), Vol. 68(2), 2023, pp. 153-174

Preserving Zibo Cultural Heritage Exploring the Symbolism, Visual Identity, and Conservation Efforts of the Fish Motif Pattern Design

As the intangible cultural heritage of Shandong Province, Zibo fish plate is deeply rooted in the rich soil of Chinese traditional culture with rich folk culture connotation and symbolic significance. For thousands of years, the local folk culture and art condensed and expressed in the fish motif pattern decoration of Zibo fish plate, making Zibo fish plate unique in aesthetic performance of a mellow and rough charm. As an artistic work with national characteristics and the spirit of the times gradually formed in the evolution of society and history, this paper will start with the development process and characteristics of Zibo fish plate, in-depth analysis of the symbolic meaning and expression of Zibo fish motif pattern. In view of the current difficulties facing the inheritance of fish mother patterns in Zibo, the corresponding solutions are put forward. Relevant research has deeply revealed the relationship between the Zibo fish motif pattern and Chinese traditional culture and has solid theoretical and historical research value.

SUSTAINABLE TOURISM SOUVENIRS: FOSTERING CULTURAL HERITAGE PRESERVATION THROUGH LOCAL HANDICRAFT PRODUCT

The study aims to investigate the relationship between cultural tourism and traditional handicraft experiences on local handicrafts products namely souvenirs. It explores the significance of souvenir products through sustainable tourism practices and preserving cultural heritage. A qualitative approach is used to analyse the tourism souvenir in the market and proposes a new recommendation to meet the demands. Literature review, interviews, and case studies are employed to explore a strategy for enhancing the commercial value of tourism souvenirs. Interviews with master craftsmen, practitioners, and consumers provided insights the resource development, product innovation, production organisation, and market positioning. It also obtained a good understanding of customer experiences related to local handicraft products for effective marketing strategies based on customer experiences. The finding indicates that the sustainability of tourism souvenirs plays a crucial role in cultural heritage preservation, supporting the local economy, and enhancing overall tourism experiences for tourists as well as promoting traditional handicrafts, safeguarding indigenous knowledge, and facilitating cultural exchange between tourists and local artisans.

The Influence of Marketing Strategy and Port Performance on Enhancing The Competitiveness of Maritime Economy at The Patimban International Port (PIP)

This research presents successful community empowerment programs focusing on sustainable tourism development and waste management in Prabumulih, Indonesia. The Desa Wisata Burai Program, initiated in 2016 by Pertamina EP (PEP) Prabumulih, aimed to enhance the tourist experience by providing recreational facilities, such as saung, galleries, and kiosks, while supporting local artisans. Alongside this, the SARAH (Sampah Jadi Berkah) Program, started in 2020, focused on integrated waste management, transforming waste materials into compost and innovative upcycled products. Collaborations with local institutions resulted in the creation of herbal soaps and probiotic beverages. Both initiatives demonstrated positive social, economic, and environmental outcomes, including increased income generation, environmental preservation, and strengthened community bonds. The programs' successes underscore the importance of community-based approaches in sustainable development, providing replicable models for similar regions. The Desa Wisata Burai and SARAH Programs exemplify how targeted interventions can foster community empowerment, environmental conservation, and socio-economic growth, highlighting the significance of collaboration between various stakeholders to achieve long-term sustainable development goals.

Iconostasis sculpture of the XVIII century churches of the Slobodsky district of the Vyatka province from the collection of the Slobodsky Museum and Exhibition Center

The subject of the study is the peculiarities of carving of the iconostasis wooden sculpture of the XVIII century, made by the masters of Veliky Ustyug, as well as local artisans under their influence. The purpose of the work is to attribute and introduce into scientific circulation - iconostasis wooden sculpture, four figures of angels from the collection of the Slobodsky Museum and Exhibition Center. The paper makes an assumption about the source of receipt and origin of the sculpture, as well as a comparative analysis with Velikoustyuzhsky and Perm iconostasis carvings and wooden plastics. The wooden iconostasis sculpture, while preserving the traditions of Russian Orthodox art, absorbs the features of European art, while at the same time it corresponds to folk art and reflects the features of the Baroque style in local variants. The methodology of the work is based on the principle of stylistic and technological analysis in art history, as well as the principle of historicism in the study of wooden plastics in the context of the development of art in the Russian North. The scientific novelty of the research lies in the fact that four monuments of wooden plastics of the XVIII century from the collection of the Slobodsky Museum are introduced into scientific circulation, their detailed description and stylistic analysis are made. Two paired figures of angels were in the iconostasis and held a frame with a Crucifix, were made by Ustyug craftsmen in the first half of the XVIII century. Two other figures of angels in prayer were made by local craftsmen at the end of the XVIII century, under the influence of Ustyug masters. Further study of the collection of church art of the Slobodsky Museum will allow make reconstructions of the interiors of temples for the museum exposition.

Exploring Eco-tourism Treasure of North-eastern States of India: A Sustainability Perspective

The North-eastern states of India are blessed with beautiful natural landscapes, flora and fauna, folk music, mountains, mysterious clouds, cuisines, and tribal culture, making it unique for eco-tourism. The region has enormous scope for the growth of eco-tourism, with many wildlife sanctuaries and national parks, local arts and crafts, and fairs and festivals that can attract more tourists from home and abroad. This beautiful region abounds with adventurous activities like jungle safari, trekking, pilgrimage tours, mountaineering, tea garden tours, and ornithological tours are also available. However, transportation, accessibility, security threats, tourist facilities, hygienic food, accommodation, tourist information systems, system of permission, and brand image are the basic challenges before its tourism sector. Through a descriptive analysis, this paper discusses the opportunity and scope of sustainable eco-tourism in the North-Eastern states of India.

Exploring Eco-tourism Treasure of North-eastern States of India: A Sustainability Perspective

The North-eastern states of India are blessed with beautiful natural landscapes, flora and fauna, folk music, mountains, mysterious clouds, cuisines, and tribal culture, making it unique for eco-tourism. The region has enormous scope for the growth of eco-tourism, with many wildlife sanctuaries and national parks, local arts and crafts, and fairs and festivals that can attract more tourists from home and abroad. This beautiful region abounds with adventurous activities like jungle safari, trekking, pilgrimage tours, mountaineering, tea garden tours, and ornithological tours are also available. However, transportation, accessibility, security threats, tourist facilities, hygienic food, accommodation, tourist information systems, system of permission, and brand image are the basic challenges before its tourism sector. Through a descriptive analysis, this paper discusses the opportunity and scope of sustainable eco-tourism in the North-Eastern states of India.

Abstract B134: The art of science: Painting a new image of genomic research in the indigenous communities of the Southwest

Abstract Introduction: The Patient Engagement-Cancer Genome Sequencing Research Center (PE-CGS; NCI U2C CA252973) based at the University of New Mexico Comprehensive Cancer Center (UNMCCC) with partners at Mayo Clinic Comprehensive Cancer Center, the Translational Genomics Research Institute, and the Black Hills for American Indian Health Research Center are developing culturally appropriate strategies and methods to address the underrepresentation of American Indians (AIs) in genomic research. Our efforts are directed towards the implementation of tailored cancer prevention, diagnosis, and treatment strategies that reduce cancer health disparities in Tribal communities. Methods: The PE-CGS Center has three units, each tasked with specific research components to engage AI participants in participatory, clinically-meaningful genomic research: 1) the Participant Engagement Unit; 2) the Genomics Characterization Unit; and 3) the Engagement Optimization Unit (EOU). The Center also has a Tribal Advisory Committee, composed of Tribal Governors, Presidents, and tribal health advocates and experts, who provide direction on all research matters. The PE-CGS EOU uses iterative rapid-cycle research techniques to optimize engagement and shares these strategies with other units for timely implementation. To date, the EOU has developed and implemented three key efforts. First, to aid in recruiting participants for the study, the EOU tailored a series (6) of participant-facing informational materials that include artwork from a local AI artist who combined her traditional and scientific knowledge to prepare complementary imagery. Second, the EOU is currently implementing a series of semi-structured discussions to document participant perceptions on criteria including engagement, communication, and education. Lastly, the EOU implemented a survey among UNMCCC providers on their return of results processes. Results: EOU discussions are ongoing and have provided important perspectives on participant satisfaction and areas for improvement. Participants have commended study staff on their efforts to make enrollment straightforward. Participants report discussing the study with family prior to enrolling, highlighting the importance of continuing to engage with the entire community on the goals of the study. The provider return of results survey is complete (n=42/62, response rate=68%); one key finding was that providers who return somatic test results rarely provide participants with a hard copy of the results or utilize complementary materials that might enhance their explanation of the test findings. Conclusion: The EOU serves an innovative function through its rapid-cycle methods to optimize participant engagement. Although participants are generally pleased with their study participation, there are numerous opportunities for improvement. The informational materials represent a novel contribution to the field of genomic research. Efforts will continue to implement optimized processes for effective engagement of AI communities in genomic research and cancer care delivery. Citation Format: Shoshana Adler Jaffe, Kendal Jacobson, Joseph Rodman, Cindy Blair, Debra MacKenzie, Mallery Quetawki, Tamar Ginossar, V. Shane Pankratz, Andrew Sussman, Ursa Brown-Glabermen, Jeffrey Trent, Cheryl Willman, Shiraz I. Mishra. The art of science: Painting a new image of genomic research in the indigenous communities of the Southwest [abstract]. In: Proceedings of the 16th AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; 2023 Sep 29-Oct 2;Orlando, FL. Philadelphia (PA): AACR; Cancer Epidemiol Biomarkers Prev 2023;32(12 Suppl):Abstract nr B134.

‘Downtown mosaics’ in revitalisation district in Szczecin (Poland). Reflections on the project

One of the most degraded areas of Szczecin is the city center with its three housing estates: Centrum, Śródmieście Zachud and Turzyn. The City Hall has been running a revitalisation program for this area since 2017. OSWAJANIE SZTUKI Association, which has been running the ŚRODEK Śródmiejski Punkt Sąsiedzki since 2018, located in the area covered by revitalisation, is implementing the artistic and social project ‘Downtown mosaics.’ The aim of the project is to create art objects in a degenerated semi-public space and to improve the attractiveness of places that the inhabitants of the area consider unattractive and/or dangerous. Mosaics are created in cooperation with local artists, urban activists and city residents in the courtyards of tenement quarters, outside the main walking trails. Designers present proposals for three mosaics, but the final choice is made by the residents of the nearest residential buildings or the direct owner of the facility. So far, five mosaics have been created on various topics – from ‘Cosmos’ behind the former Kosmos cinema to ‘Reading room’ on the garage wall of the owner of an informal antique shop. In addition to actively joining the mosaic, the residents can provide the material for the mosaic – e.g. tiles left over from home renovation. The mosaics became an attraction not only for the closest residents, but also met with a very positive reception from all Szczecin residents who began to visit the dark corners of the city center. The article presents the process of creating neighbourly mosaics in the spirit of participatory art.

PKM PEMBERDAYAAN MASYARAKAT DALAM PENYUSUNAN RENCANA PENGEMBANGAN ARTEFAK BUDAYA SEBAGAI WISATA DESA DI DESA SIANGAN, KECAMATAN GIANYAR, KABUPATEN GIANYAR

The Traditional Siangan Adult Village can be found 31 kilometers northeast of Denpasar City. As a spiritual tourist village, this village has cultural potential to develop. Seven ancient sites, natural beauty, local art, and cultural traditions can all be used as a tourist attraction in the Siangan Adult Village. The indigenous village community has not fully appreciated the potential of cultural heritage to be used as a starting point for spiritual tourism. To support the tourist growth of Siangan Village, it is necessary to empower the public to inventory the heritage of cultural artifacts and its use as a tourist attraction. The Foundation Sentir Bali as a partner in the Community Partnership Programme (PKM) is expected to be able to cope with the following problems: (1) the entire cultural heritage that exists in the Adult Siangan Village has not been inventorized, (2) the historical background of the cultural patrimony existing in the Village Siangan, and (3) it has not yet been used as a spiritual tourist base. By carrying out the inventory of cultural reserves in Siangan Village and managing the cultural reserve as a tourist attraction, PKM is a form of empowerment of the community in the use of cultural reservoirs. Planning as a spiritual pathway. Archaeological documentation techniques and public archeological approaches are used in the implementation of cultural reserve management models. Partners together with the community will recognize the importance of the cultural reserve as the foundation of spiritual tourism, which implies the well-being of the community, as a result of this strategy.

Spinning Circle at the Mill

Spinning Circle at the Mill

Examining the Artistic Style of Local Female Artists' Selected Works

This study explores diverse artistic styles in Malaysian female artists' works, stemming from varied approaches and mediums. It aims to dissect how these styles evolved, influenced by local and international art histories. Artworks scrutinise their distinct styles, unravelling the interplay between ideas, content, and context whereas literature clarifies the style of the visual artworks that are embedded in their artworks. Discussion according to their theme and how the technique, medium and, of course, will share a new direction and contribution of style portrayed in every artwork. The artworks' content and context, showcasing the artists' innovative contributions to the artistic landscape.

The Development and Significance of Art Collectives in Malaysian Contemporary Art

Spanning over 90 years, the trajectory of art development in Malaysia encompasses the engagement of both early pioneers and emerging artists. Beginning in 2000, the emergence of art collectives has wielded substantial influence on the nation's contemporary art scene, establishing a platform for sharing ideas, goals, and collaborative ventures among artists. With a focus on challenging artistic norms, addressing societal concerns, and contributing to Malaysia's cultural mosaic, these collectives hold a clear purpose. The triumph of an art collective hinges on vital components like fostering community, mutual respect, a shared vision, and an effective organisational framework. The core objective of this study is to meticulously chronicle the establishment timeline of art collectives from 2000 to 2020, illuminating their membership and successful undertakings. Employing a methodology that combines various publication sources and insightful interviews, the research has identified more than 40 art collectives engaging in collaborative art pursuits. This collective endeavour seamlessly enriches the local contemporary art panorama, leaving an indelible mark on the industry's advancement.

Social Effects of Coronavirus COVID-19 Pandemic on Local Artisan Livelihood in Iringa District, Tanzania

Social Effects of Coronavirus COVID-19 Pandemic on Local Artisan Livelihood in Iringa District, Tanzania

Pancoh Bercerita: Storynomics dalam Pengemasan Promosi Paket Wisata Seni dan Budaya

The COVID-19 epidemic has impeded tourism activities worldwide. Pancoh Ecotourism Village is an instance of a tourist destination that was compelled to cease its operations amid the pandemic. Nevertheless, that does not imply that nothing can be accomplished. Amidst the pandemic, it is imperative to create tourism offerings that are more inventive in order to adapt to the new normal period. The Pancoh Ecotourism Village offers an innovative tourism package that combines art and culture based on the concept of storynomics. This study employs the Participatory Action Research (PAR) method to engage village communities as active participants, rather than just sources of information. The aim is to involve them in the process of gathering, organizing, and presenting narratives about the local arts and culture that define the Ecotourism Villages of Pancoh. This study discovered that the PAR technique is beneficial for students who are examining the extent of community involvement in developing a work plan, namely in this case, the creation of tour packages based on storynomics. However, PAR encounters challenges such as extended research duration, varying levels of informant motivation, and the researcher's requirement for considerable adaptability in terms of time and ability to engage with informants.

My Voice from Perth


 In this paper, I will examine my art projects, A long letter to home (2015-20) and Indian ocean ceremony (2020-present), to extend my discussion on the idea of non-verbal communication. I also discuss the influence of cultural institutions on the recognition of the local artists in Perth and consider possible ways of sharing my voice with the communities. 
 A long letter to home (2015-20): In 1999, I left my homeland Iran and immigrated to Australia. When I came to Australia, I never considered myself a migrant; I saw myself as someone who wanted to exchange and share cultural ideas and become an artist. Shortly after I started studying art in Australian institutions and realised that I am a migrant searching for a home, I understood that I could make something unique, meaningful and negotiable artworks, rather than works that only deal with or speak of my emotions. A long letter to home is a project that I developed during my study and visual research on the idea of home. It is a collaborative project between myself and a group of people living in Iran who responded to my two questions about home and homeland. 
 
 
 Indian ocean ceremony (2020-present): While I was completing my PhD in Fine Art, I arrived at the understanding that I am still a migrant who is continuously searching for a home and exploring the idea of home in public and private places. I have also found myself who needs three key elements to sustain creativity and an artistic career: compassion, dignity and obligation. Indian ocean ceremony reflects a symbolic relationship between the idea of home, these fundamental elements, and the Indian Ocean water. 

Local Artisans’ Knowledge of Flood Resilient Construction and Adaptation of Residential Buildings in Flood-Prone Informal Settlements in Dar es Salaam, Tanzania

Flood-prone informal settlements are among the most complex and challenging construction sites that require adequate knowledge to enhance flood resilience and adaptation. While such settlements present construction challenges that need the attention of professionals, anecdotal observations and experiences in developing countries and Tanzania, in particular, indicate a vast preference to engage and prioritise local artisans in such areas under the pretext of the high cost of affording professionals. This article seeks to understand how knowledgeable artisans are about constructing residential buildings in flood-prone informal settlements in Dar es Salaam. To understand this phenomenon, various flood-resilient and adaptive measures that local artisans know and use in constructing buildings in flood-prone areas were analysed. The article adopted a case study design where qualitative data were collected using key informant interviews and focus-group discussions and analysed thematically. Results showed that local artisans constructing houses in the flood-prone areas of Msasani Bonde la Mpunga have knowledge about various flood-resilient and adaptation measures, including engineering-related skills (structural) and tacit categories. These measures include; raising/elevating ground floor levels, using reinforced foundations and aprons around the foundation plinth and using waterproof building materials such as waterproof cement. However, using stilts/columns was not often applied because it was conceived as a complex and costly flood construction measure. The article concludes that most local artisans in the Msasani Bonde la Mpunga settlement had good and relevant knowledge to enhance flood resilience and adaptation of buildings. However, they require the technical proficiency of professionals. The article calls for regular training and inseminations of flood-resilient construction techniques for local artisans. This will enable the blending of the engineering and local knowledge/expertise fundamental for enhancing sustainable urban planning and resilient building construction in flood-prone informal settlements. Local artisans’ training should be synchronised with sensitization to enlighten communities about the significance of utilising skilled and trained local artisans.