Art Of People Research Articles

Music and longevity

musicians (37.7 years, n = 37), singersongwriters (49.6 years, n = 67), and guitarists (54.4 years, n = 9). Women score significantly higher than men in the relative number of longlivers, with 43.75% of harpists liv� ing to the age of 90 and beyond, which also applies to 29.17% of conductors and 19.50% of violinists. Mean� while, no one has achieved this age in the sample of female rock musicians and guitarists. In the male sample, the 90�year age was achieved by 7.3% of violinists, 6.62% of conductors, and 6.54% of cellists. There were no nonagenarians among the male rock musicians. A correlation was established between a musician's longevity and public recognition. For example, male composers awarded with the honorable title People's Artist of Russia (USSR or RSFSR) turned out to live longer by 8.7 years and their female peers lived 18.1 years longer compared to their nonhonored colleagues. Among conductors, the difference was 2.4 years for men and 9.9 years for women; male opera singers lived 5.3 years more and female opera singers lived 6.6 years more than nonhonored vocalists. People's Artists among male pop singers lived 8 years longer than nonhonored colleagues, and the same difference among female pop singers was more than 20 years (20.1 years).

My Outsider Art.

My Outsider Art.

A people's art history of the United States: 250 years of activist art and artists working in social justice movements

A people's art history of the United States: 250 years of activist art and artists working in social justice movements

The Effectiveness of Hard Martial Arts in People over Forty: An Attempted Systematic Review

The objective was to assess the effect of hard martial arts on the physical fitness components such as balance, flexibility, gait, strength, cardiorespiratory function and several mental functions in people over forty. A computerized literature search was carried out. Studies were selected when they had an experimental design, the age of the study population was >40, one of the interventions was a hard martial art, and when at least balance and cardiorespiratory functions were used as an outcome measure. We included four studies, with, in total, 112 participants, aged between 51 and 93 years. The intervention consisted of Taekwondo or Karate. Total training duration varied from 17 to 234 h. All four studies reported beneficial effects, such as improvement in balance, in reaction tests, and in duration of single leg stance. We conclude that because of serious methodological shortcomings in all four studies, currently there is suggestive, but insufficient evidence, that hard martial arts practice improves physical fitness functions in healthy people over 40. However, considering the importance of such effects, and the low costs of the intervention, the potential of beneficial health effects of age-adapted, hard martial arts training, in people over 40, warrants further study.

A Companion to Rock Art Edited by JoMcDonald and PeterVethWiley Blackwell, 2012 ISBN 978‐1‐4443–3424‐1. Pp. xxxiv+680. €133.30.

A Companion to Rock Art Edited by Jo McDonald and Peter Veth Wiley Blackwell, 2012 ISBN 978-1-4443-3424-1. Pp. xxxiv+680. 133.30 [pounds sterling]. This international volume on rock art provides a complete, comprehensive and up-to-date overview of most of the main research theories and methods used, and the research questions addressed, in current archaeological debates on rock art, be they global or regional. It was conceived by the editors as a tool teaching the next generation of rock art researchers in a 13-week semester cycle. But this volume is more than a collection of educational materials. It gathers research papers addressing some key topics in rock-art studies, and thus becomes essential reading for anyone interested and/or conducting rock-art research today. The 37 contributions by 57 international scholars from five continents are structured into 11 meaningful sections, with two to four papers per section. While the chapters in each section are intended to address a specific issue, well defined by the section headings (I. Explanatory frameworks; II. Inscribed landscapes; III. Rock art at the regional level; IV. Engendered approaches; V. Form, style and aesthetics; VI. Contextual rock art; VII. The mediating role of rock art; VIII. Rock art, identity and indigeneity; IX. Rock art management and interpretation, X. Dating rock art, XI. Rock art in the digital age), some key questions are explored recursively across the volume. This shows their significance for achieving a more complete understanding of rock art, as a tool for exploring past and present human behaviour and cultural practices. Questions of time (relative or chronometric), place, past and present as well as individual and group identities, function and/or meaning are explored through the systematic deconstruction and analysis of the motifs, themes and panels, their patterns of variation, the context and/or the landscapes, from a variety of international perspectives and backgrounds. Case studies from Australia and the Pacific, Northern and Southern America, Siberia, Europe, Africa and India, and a wide range of periods, from the European Upper Palaeolithic to current Australian rock art, fully illustrate these questions. All these studies remind us once more that rock art is not only about the decoration of passive surfaces with beautiful images, as emphasised by Blinkhorn et al. in chapter 11. Rock art is an alternative source of information about human behaviour and practices, and can be used to explore continuities and discontinuities, human interaction, past territoriality, group mobility, symbolic behaviour and so forth. The large number of chapters prevents us from briefly summarising each of them, but some key issues for current debates are worth mentioning. Of special interest for interpretative approaches is Lewis-Williams' reflective contribution (chapter 2) on the misinterpretation and misuse of his concept of to universally interpret rock art. As he states, shamanism is only one of the many potential interpretations of rock art, and thus it cannot be systematically used to interpret past arts. While past interpretative trends used to emphasise a unique function for Pleistocene art (for a brief summary of past interpretative schools, see Moro and Gonzalez, chapter 15), current studies recognise the multiple functions of past and present imagery and the variety of social contexts (religious, social and political) in which art operates. Take as an example the multiple functions of Western Desert People's rock art, summarised by McDonald and Veth (chapter 6: 96), which includes marking place and individual's affiliation, storytelling or instructive purposes, initiation ceremonies, visual representation of an ancestral being or event, and so forth. It is fully accepted throughout the volume that only through a thoughtful analysis and understanding of the context of rock art (the walls, the surrounding archaeological site, the geographical context, the acoustic or other sensorial properties, etc. …

Two Degrees of Separation: Xhanfise Keko and the Albanian Children's Film

Many children's stories begin with the words upon a time. So does Kusturica in Bila jednom jedna zemlja/Underground (YU, DE, FR, BG, CZ, HU, 1995). And so will I. Once upon a time, there was a country where vigilance in service of the State was an expected duty. Eyes were open, and mouths informed. This country was Comrade Enver Hoxha's Albania, and we knew very little about it. We knew even less about its cinema. And once upon a time, there was a woman in Hoxha's Albania who directed children's films. Her name was Xhanfise Keko,1 and she was indisputably Albania's most highly regarded woman director. Best known outside of Albania for her film Beni ecen vete/Beni Walks On His Own (AL, 1975), Keko was an essential member of the artists who built the New Albania Kinostudio (Kinostudio Shqiperia e Re) in the 1950s.2 Together with Beni, which has been deemed a masterwork of the Albanian cinema, Keko is mostly associated with a series of child spy films made between 1977 and 1980. On a surface level, these works, which include Tomka dhe shoket e tij/Tomka and His Friends (AL, 1977), Pas gjurmeve/On the Tracks (AL, 1978), and Partizani i vogel Velo/Velo, the Little Partisan (AL, 1980), underscore the firm relationship between cinema, and ideology, and foreground-in particular, the dogmatic demands of the children's film in a country whose cinematic mechanism was tightly controlled.But to deem Xhanfise Keko's children's films works of pure propaganda would be to misread them on both diegetic and formal levels. Although superficially closed texts, they are imbued with surprising innovations that encourage the viewer to see beyond the overt dogma of the post-Cultural- Revolution period. All the while extolling the Communist cause, Keko's protagonists are larger than life, individualistic, and occasionally uncanny. Her work at once supports and challenges the systems of both State and Kinostudio. On a deeper level, it reconfigures concepts of family and nation in a manner that can well be deemed subversive.Celebrated NeglectDespite Keko's importance, her work has remained relatively unexamined both at home and abroad. This is largely due to the marginalization by Albanian critics of two voices, those of the woman director and of the children's film. The former absence betrays the inherently patriarchal underpinnings of the de jure egalitarian society, while the latter, in conformance with many international contexts, reveals how the genre has been needlessly discredited. These two voices conflate in the work of Keko, undisputedly Albania's prime proponent of films for and about youth. Awarded the prestigious title People's Artist, Keko, wife of director Endri Keko and mother of the late novelist Teodor Keko, has garnished little scholarly attention within Albania. With the exception of the critical analyses of Natasha Lako, herself a screenwriter, novelist, poet, and former director of the Albanian Central Film Archives, virtually all criticism thus far has been written by men, and these have paid little notice to Keko's films.3 It is noteworthy that such critics as Abdurrahim Myftiu4 and Abax Hoxha5 devote more attention to women in other capacities in film than to Keko. To date, there have been no lengthy scholarly discussions of Keko's work. Even cursory examinations of Albanian film clearly mention her importance, but say very little. The 1977 The Albanian Film, a treatise published by Kinostudio which presents discussions of the entity's ideological stance and brief discussions of important films, is no exception.6 Nothing is present to suggest Keko's uniqueness. Likewise, although Hoxha's 1986 book-length encyclopedia of individual films affords the same degree of attention to Keko that it does to all other Albanian directors,7 his 2002 history of Albanian film virtually neglects her. It simply lists Keko as one of Albania's most important directors.8 From a more critical perspective, Myftiu's study of Albanian cinema mentions only that Keko's Beni Walks on His Own shared first place in the First Festival of Albanian Film in Tirana in 1976. …

Pengertian Seni sebagai Pengantar Kuliah Sejarah Seni Rupa

Until these days, for most people art is something that is abstract, hard to understand, and beyond their capability to understand. Every people asked about art will have their own opinion or definition about art, and these definitions are various to each other. For the student who is in the middle of class or course especialy the one that is related to art, the unpleasent impact of not knowing what is the meaning of art will be experienced in every class, especially in the History of Western Art, History of Indonesian Art or History of Graphic Design. Students who don’t understand the meaning of art will have difficult time to absorb what exactly the purpose of art is, why human made art, which item is art and which item is not art. This writing tries to explain the definition of art from several diffrent angles of view. The goal of the writing is to make the students who are in the middle of learning anything relating to art, first have an understanding about what art is. For the lecturer, this writing will give them something to make their work easy on lecturing about anything relating to art because the student has already understood about what art is.

Person being in love of Book». Book Exhibition from the Collection of Sokolsky

On the event dedicated to the 50th anniversary of the death of artiste, people's artist of the RSFSR, writer, bibliographer and historian of the book - N. Smirnov-Sokolsky. The exhibition was held in the Research Department of Rare Books (Book Museum) of the Russian State Library.

Enacting change: Disability and the arts in Northern Ireland

ABSTRACT Disability Arts (arts created by people with disabilities as a political act), which grew out of the Disability Rights movement in the United States and in England in the 1970s–1980s, is not widely practised or recognized in Northern Ireland. Most arts practice in the region involving people with disabilities is based on an Arts and Disability approach (arts for people with disabilities by non-disabled people). This approach tends to attract criticism from the Disability Arts movement, as it relies on non-disabled facilitators and practitioners, who may not challenge the ownership and power dynamics of the dominant over the marginal group. This suggests that there is need for cultural and attitudinal change. However, history has repeatedly shown that it is neither appropriate nor acceptable to ‘cut and paste’ the British model into the Northern Irish context. Furthermore, the social model of disability embedded in UK legislation has recently been challenged by certain voices from within disability studies. The latter half of this article focuses on the initial stages of a participatory action research study with the theatre company Kids in Control, Belfast, in August 2011. The first in a series of three workshop cycles, this practice research had a focus on developing working relationships with young adults with learning disabilities, and observing the way in which they work individually and as a group using drama. Subsequent research will be used to investigate the development of an independent professional theatre company to be led by the young people themselves, given that this is their preferred outcome. Throughout the research process, some of the following questions will be investigated: Given that contextually appropriate transformative cultural and attitudinal change needs to take place in Northern Ireland with regard to disability, how exactly should this happen? What should these changes look like, and what should be the result? How can models of good practice be developed and disseminated?

Measurable Progress? Teaching Artsworkers to Assess and Articulate the Impact of Their Work

The National Cultural Policy Discussion Paper—drafted to assist the Australian Government in developing the first national Cultural Policy since Creative Nation nearly two decades ago—envisages a future in which arts, cultural and creative activities directly support the development of an inclusive, innovative and productive Australia. "The policy," it says, "will be based on an understanding that a creative nation produces a more inclusive society and a more expressive and confident citizenry by encouraging our ability to express, describe and share our diverse experiences—with each other and with the world" (Australian Government 3). Even a cursory reading of this Discussion Paper makes it clear that the question of impact—in aesthetic, cultural and economic terms—is central to the Government's agenda in developing a new Cultural Policy. Hand-in-hand with the notion of impact comes the process of measurement of progress. The Discussion Paper notes that progress "must be measurable, and the Government will invest in ways to assess the impact that the National Cultural Policy has on society and the economy" (11). If progress must be measurable, this raises questions about what arts, cultural and creative workers do, whether it is worth it, and whether they could be doing it better. In effect, the Discussion Paper pushes artsworkers ever closer to a climate in which they have to be skilled not just at making work, but at making the impact of this work clear to stakeholders. The Government in its plans for Australia's cultural future, is clearly most supportive of artsworkers who can do this, and the scholars, educators and employers who can best train the artsworkers of the future to do this.

Morrison, Simon. The People's Artist: Prokofiev's Soviet Years Morrison, Simon Sergey Prokofiev and his World (review)

Morrison, Simon. The People's Artist: Prokofiev's Soviet Years Morrison, Simon Sergey Prokofiev and his World (review)

The Armenian Magical Scroll and Outsider Art

AbstractUnordained clergy make Armenian prayer scrolls, which go back to the amulets against the Child-stealing Witch. They are analogous to the MSS of Ethiopian Christians, made often by charismatic and socially marginal figures. This art found a niche in East Christian society; but none was provided for the appropriately named "outsider" art and the art of the insane in the West, which often expresses religious visions and sentiments that the artistic and mental health establishments—rather than an ecclesiastical order this time!—have forced to the margin of society or beyond it. Despite the early efforts of Frederic Macler, though Armenian magical and talismanic texts have been edited and published there has been little study of the art as such of the manuscripts that contain them. Perhaps because of their greater flamboyance and their situation partially in an African context, it is the analogous material of the Ethiopian Christian tradition that has received art historical attention. And modern avowedly religious art of almost any kind in the West became so generally marginalised in criticism that much of it, including the art of people labelled insane, has come to be studied, if at all, under the rubric of art brut or outsider art. Since the makers of folk-religious-magical art in Armenia (the tirac'u) and in Ethiopia (the debtera) are sometimes marginal figures like outsider artists, I have attempted in this essay to initiate an approach to Armenian magical and talismanic art that employs the comparative method and takes advantage of the insights of studies of outsider art, the art of the psychologically abnormal, and the art of self-taught religious visionaries.

The People's Artist: Prokofiev's Soviet Years. By Simon Morrison. Oxford: Oxford University Press, 2009. ix, 491 pp. Appendixes. Notes. Bibliography. Glossary. Index. Photographs. $29.95, hard bound.

The People's Artist: Prokofiev's Soviet Years. By Simon Morrison. Oxford: Oxford University Press, 2009. ix, 491 pp. Appendixes. Notes. Bibliography. Glossary. Index. Photographs. $29.95, hard bound. - Volume 69 Issue 1

Prokofiev and his World. Ed. by Simon Morrison. * The People's Artist. Prokofiev's Soviet Years. By Simon Morrison.

Prokofiev and his World. Ed. by Simon Morrison. * The People's Artist. Prokofiev's Soviet Years. By Simon Morrison.

Aubrey Williams

Leon Wainwright is Senior Lecturer in the History of Art and Design at Manchester Metropolitan University, Visiting Scholar at the Yale Centre for British Art and on the editorial board of the jour...

Legal Developments: Careers in the Arts for People with Disabilities

This policy paper was commissioned by the National Endowment for the Arts and the Kennedy Center. It explores developments in the Americans with Disabilities Act and social security programs that have shaped the education and employment prospects of artists with disabilities in the last ten years. Success in the arts depends on reaching certain benchmarks of excellence and talent, and often people with disabilities are overlooked and under-appreciated for this kind of selective employment. Moving from barriers in higher education to those in employment achievement, the article fills an unmet need in understanding obstacles to coveted, 'elite' jobs by framing those barriers through the example of the arts.

Yanagi Muneyoshi and Yamamoto Kanae: Their Arts and Identities

Yanagi Muneyoshi's ”Folk Crafts” and Yamamoto Kanae's ”Farmers' Art” are not often compared, because of some differences in times, places, and characters of these two movements. However, Yanagi actually took up Yamamoto's ”Farmers' Art” in a few occasions. There is more than six years' difference between Yamamoto's ”Purport of starting the Farmers' Art Japan” and Yanagi's ”Purport of founding the Japan Folk Crafts Museum.” But, if we compare the former with Yanagi's ”About founding the Korean People's Art Museum,” there is only one year difference, published in November 1919 and January 1921 respectively. Two art specialists living In Tokyo, Yamamoto and Yanagi, started each ”reconstruction through art” project one after another in mountainous Nagano prefecture and far-off Seoul. Yanagi was critical against the Farmers' Art Institute and its Western-style building. Though severely criticized by Yanagi, Yamamoto still keeps significant positions in the history of art movements in modern Japan. First of all, he was the founder of creative prints. Secondly, he was one of the founding members of the art and literature magazine, Hosun which predated the Shirakaba, for which Yanagi acted as an editor and contributed numbers of articles. In adition to the Children's Free Painting and the Farmers' Art movements, he was also a major member of an alliance formed for the purpose of founding the museum, not for the past, but for the present and the future. Yamamoto identified himself with ”art” rather than ”craft.” It was perhaps because he was unlike John Ruskin or William Morris born without a silver spoon that he insisted on ”art.” Unlike Yanagi, it was probably because of the same that he preferred Europe to Asia. It was his limitation. However, we should not forget that Yamamoto was one of the most important movers toward real creative art in pre-war Japan, from its education to exhibition.

The people's artist: Prokofiev's Soviet years

Introduction Chapter 1: 1935-1938 Chapter 2: 1938-39 Chapter 3: The Pushkin Centennial Scores Chapter 4: 1940-43 Chapter 5: The Eisenstein Films and Tonya Chapter 6: 1944-47 Chapter 7: 1948 Chapter 8: 194953

Paul Robeson's Ballad for Americans: Race and the Cultural Politics of “People's Music”

This essay takes Paul Robeson's 1939 performances of Earl Robinson and John Latouche's popular cantata Ballad for Americans as a focal point to explore how Robeson's persona and sound as folksinger—a “people's artist”—and his political identity and struggles as a radical black intellectual interacted and collided with the cultural-racial politics of “people's music” and with Popular Front discourses on the folk. From its legendary CBS radio premiere in November 1939 throughout the war years, Robeson's voice critically mediated—and most powerfully articulated—not only the work's narrative of nation but also the diverse formal and stylistic sonic frames through which this narrative was sounded. The ideological conflict in Ballad for Americans between accommodation and protest, national affirmation and critique, the realities of racial and ethnic divides and the promise of national inclusiveness indexed troubling contradictions of race and nation. Yet the internationalist contexts of Robeson's work as a singer-activist during this period, in particular the performative black internationalism embodied in his concert programs, suggest other perspectives and interpretive frameworks for rehearing Ballad for Americans.

TOURISM AND THE HINGGI DESIGN OF EAST SUMBA: A STUDY ON THE AESTHETICAL MORPHOLOGY OF COLORS AND MOTIFS OF TRADITIONAL CLOTHS

In Indonesia, the tourism business, international tourism in particular, had been proceeding since the beginning of the 20th century and was increasingly confirming its existence during the period of the 1970-ies up to the 1990-ies due to the government planned development policy at that time. The development had impacted considerably on various sectors related to the country's culture, especially on the local people's traditional art in tourists receiving areas. Particular tourist destination areas have experienced certain changes in the orientation of production, from meeting the needs of internal cultures to serving the demands of external tourism established markets. This paper discusses the development of motifs of a specific traditional cloth produced by the East Sumba people in the years 1900 "“ 2000. During the span of the respective 100 years, the visual appearance of the cloth, hinggi, had undergone changes due to external influences coming along with tourism. It transformed from its idealistic or traditional characteristics to having certain commercial attributes as shown by the morphology of its design or motifs. Besides, the cloth functions had also changed from a traditional object of textile to become a souvenir for use as an interior decoration element.