Popular Art Research Articles

Movies That Change Lives. Evaluating the Social Impact of Motion Pictures and the Practice of Evidence in Filmmaking

Cinema is one of the most popular art forms among people of all ages. Just like music, theater, architecture, literature or painting, cinema certainly has an impact on people. At the same time, it has the capability to not just draw attention to social problems, but also to change people’s attitudes and behaviors — thus changing the world as a whole. This article provides an overview of various approaches to researching social impact of motion pictures and raises a number of important issues related to the current state of the impact assessment industry in motion pictures.

Pelestarian Kesenian Debus Banten di Padepokan Maung Pande

Debus is one of the popular arts in Banten society. During the Banten kingdom, in the past Debus art became well-known. Initially, Debus became a medium for spreading Islam in Banten. During the colonial period, debus used against colonial troop. Debus perpetrators who are aware of their immunity to sharp weapons and bullets form a force to confront the colonial army. After independence, Debus developed into an art that is often staged in various events at the regional and national levels. However, recently its popularity has waned. Debus art is not much staged and known in the community. This circumstance has prompted Banten hermitages to promote and preserve Debus arts. This article aims to describe the activities of the hermitage in maintaining the existence of debus as well as activities to preserve the Banten debus art by Padepokan Maung Pande. The data collection method was carried out using qualitative research methods by focusing on data collection on member of the Maung Pande hermitage. The results of the study show that the conservation efforts carried out by the Maung Pande hermitage are carried out by collaborating with schools in Banten province.

Hans Abbing: The economies of serious and popular art: how they diverged and reunited

Hans Abbing: The economies of serious and popular art: how they diverged and reunited

Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo by Gabriella Nugent

Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo by Gabriella Nugent

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera

Toward a pulp criminology: The Vee Brown and Needle Mike series

AbstractThe detective/crime pulp series Vee Brown (Carroll John Daly) and Needle Mike (William E. Barrett) incorporate elements of contemporaneous criminological theory into their narratives as explanatory devices for social deviance. Initially, they align themselves along the dominant etiological divide of the 1920s and 1930s: intrinsic tendencies versus environmental factors, respectively. Over the course of individual stories and series arcs, internal contradictions arise in the representations of these positions, which are resolved, to some degree, in the contemporaneous anomie theory of Robert Merton. The protagonists' idiosyncratic engagement with the popular arts—Tin Pan Alley music and tattooing—becomes the metaphoric vehicle to reframe the individual/milieu conflict in terms of institutional inscriptions of individuals more constructivist than purely functionalist in nature.

Uncovering the Impact of Local and Global Interests in Artists on Stock Prices of K-Pop Entertainment Companies: A SHAP-XGBoost Analysis

Stock price prediction is a significant area of research in finance that has been ongoing for a long time. Several mathematical models have been utilized in this field to predict stock prices. However, recently, machine learning techniques have demonstrated remarkable performance in stock price prediction. Moreover, XAI (explainable artificial intelligence) methodologies have been developed, which are models capable of interpreting the results of machine learning algorithms. This study utilizes machine learning to predict stock prices and uses XAI methodologies to investigate the factors that influence this prediction. Specifically, we investigated the relationship between the public’s interest in artists affiliated with four K-Pop entertainment companies (HYBE, SM, JYP, and YG). We used the Naver Keyword Trend and Google Trend index data for the companies and their representative artists to measure local and global interest. Furthermore, we employed the SHAP-XGBoost model to show how the local and global interest in each artist affects the companies’ stock prices. SHAP (SHapley Additive exPlanations) and XGBoost are models that show excellent results as XAI and machine learning methodologies, respectively. We found that SM, JYP, and YG are highly correlated, whereas HYBE is a major player in the industry. YG is influenced by variables from other companies, likely owing to HYBE being a major shareholder in YG’s subsidiary music distribution company. The influence of popular artists from each company was significant in predicting the companies’ stock prices. Additionally, the foreign ownership ratio of a company’s stocks affected the importance of Google Trend and Naver Trend indexes. For example, JYP and SM had relatively high foreign ownership ratios and were influenced more by Google Trend indexes, whereas HYBE and YG were influenced more by Naver Trend indexes. Finally, the trend indexes of artists in SM and HYBE had a positive correlation with stock prices, whereas those of YG and JYP had a negative correlation. This may be due to steady promotions and album releases from SM and HYBE artists, while YG and JYP suffered from negative publicity related to their artists and executives. Overall, this study suggests that public interest in K-Pop artists can have a significant impact on the financial performance of entertainment companies. Moreover, our approach offers valuable insights into the dynamics of the stock market, which makes it a promising technique for understanding and predicting the behavior of entertainment stocks.

Pursuance of academic music studies by popular Zimbabwe musicians

Some popular musicians in Zimbabwe have taken up professional development seriously and enrolled in academic music studies, yet no research has been done to explore this recent phenomenon. Whenever the subject of Zimbabwean music is discussed, the focus tends to centre on popular artists, their lifestyles, achievements and scandals. The emerging trend in which Zimbabwean artists are enrolling for academic programs has received little scholarly interrogation. This is the scenario despite the fact that education is the backbone for the development of the music industry, which is part of the United Nations` Sustainable Development Goals. The main aim of this article is to consider how music studies impact and broaden the scope of the artists and contribute to the betterment of the Zimbabwe music industry. In this qualitative study, we purposively sampled and interviewed 7 popular Zimbabwean musicians who embarked on academic music studies. Data were collected through key informant interviews to solicit their views on the value that music education adds to their professional careers in terms of transforming their performances, compositions and application of music theory to analyses musical issues, as well as observations and document analysis. The study was guided and informed by the theory of stereotype and Dweck`s theory of mind-set. The findings steer an interesting discussion in which the musicians indicate how their capabilities and conduct of business are polished by their interaction with academia. We argue that the acquisition of professional academic qualifications by popular musicians adds value to their acts and encourage untrained musicians to seriously consider trudging the academic route for the development of the Zimbabwe music industry to realise its full potential.

Examining Utagawa Kuniyoshis Yose-e: The Playfulness and the Grotesque in the Floating World

Utagawa Kuniyoshi is a highly regarded Japanese woodblock print-making master; most of his works are welcomed by the mass, for they address most aspects of civilians' everyday life in Late Edo Japan. However, some of his works seem set on uncommon themes with distorted expressions that make them less pleasing than simple popular art. This work aims at deciphering Kuniyoshis unconventional yose-e woodblock printings by contextualizing his works under the tradition of creating playful and grotesque ukiyo-e during the late Tokugawa period. By using theories of Edo aesthetics in these unattractive, sometimes disturbing images, this essay attempts to locate the cultural position of this relatively obscure branch of Late Edo ukiyo-e designing.

A Line Made by Walking – Tim Robinson’s cartographic practice as an emergence from Land Art

This essay traces the connections between the Land Art practice of Timothy Drever in London from the 1960s and his deep mapping practice as Tim Robinson from the 1980s. By connecting these practices this essay posits that his deep mapping practice is an emergence from the Land Art movement which was a popular art movement in both the US and Britain in the 1960s and 1970s. Making this connection is important as it goes further than dissecting Tim Robinson’s use of space as a medium throughout his work as an artist and a cartographer. It shows that his preoccupations with space originated in a specific art world zeitgeist. Not only are his use of the maps and writings of the maps therefore a logical conclusion and evolution away from the questions posed by Land Art movements, but his work can also be used as a way to problematise and question the presumptions made by an art world which fetishized the use of rurality without a genuine connection with it. His early use of deep mapping can therefore trace its lineage to Land Art but was able to evolve past this empty appropriation of rural aesthetics.

Pelatihan Al-Banjari untuk Meningkatkan Semangat Kegiatan Rutinan Pembacaan Al-Barzanji Santri Pondok Pesantren Ar-Roudotussibyan Desa Cihanjawar

Al-Banjari music has become a highly popular art form among students at Pondok Kampung Gunung Bakti in Cihanjawar Village, Bojong District, Purwakarta Regency, especially at the Ar-Roudotussibyan Islamic Boarding School. Al-Banjari is often used as an accompaniment in activities such as reading al-barzanji, circumcision, wedding, or the birthday of Prophet Muhammad. However, the lack of understanding and skills in innovating rhythms and melodies make al-Banjari less effective and rarely used as an accompaniment. This problem is caused by the lack of special training accompanied by those who master the art of al-Banjari. The objective of this community service is to improve the understanding and creativity of students in using al-Banjari musical instrument and to increase their enthusiasm in routine activities such as reading al-barzanji at the Ar-Roudotussibyan Islamic Boarding School. The method used in this community service is special training and mentoring in playing the al-Banjari musical instrument. The training is conducted using appropriate teaching techniques to improve the understanding and skills of the students in playing the musical instrument. The al-Banjari training carried out in the community service activities at the Ar-Roudotussibyan Islamic Boarding School in 2023 succeeded in improving the understanding and skills of the students in using and playing the al-Banjari. In addition, the enthusiasm of the students in routine activities such as reading al-barzanji also increased after the training.

Introduction: African youth, popular arts, and cultural politics in everyday life

Introduction: African youth, popular arts, and cultural politics in everyday life

Arthur Bispo do Rosário

Arthur Bispo do Rosário is one of the best-known and most studied Brazilian artists. His work has been discussed and exhibited as art of the unconscious, popular art, modern and contemporary art and, more recently, as Afro-Brazilian art. In this article I will challenge these labels and the idea that Bispo had a psychotic health condition, namely schizophrenia. I discuss how Bispo, whose alleged mental illness was first acknowledged, then silenced or seen as a riddle, was constructed as a Western artist. In due course I dismiss the history of art labels and argue that he developed his work as a messianic spiritual practice and the result of trances. Finally, I suggest that in order to do Bispo and his work justice it is necessary to decolonise the Western history of art. Only if we take into consideration other cosmo-perceptions can we call him an artist and see his work as art.

Village Songs and the Building of Community Culture: A Talk

Village Songs and the Building of Community Culture: A Talk

교방해체기 기생 예술의 정체성 연구

The purpose of this study is to shed light on the status and artistic identity of gisaengs in the process of dismantling modern Gyobang. Gyobang was established before King Gwangjong of the Goryeo Dynasty and existed until 1910, passing through the Joseon Dynasty. Rather than analyzing the meaning of the dismantling of Gyobang, which has lasted for more than a thousand years, it is being studied by focusing only on the personal activities of modern gisaengs.
 Gyobang is an organization planned by the state, and modern parasitic organizations were operated in the private or private sector. The dissolution of Gyobang means the loss of the national music institution and the disappearance of the official status. After the dissolution of Gyobang, popular art due to commercial capital became a trend. Nevertheless, modern gisaeng accumulated artistic capabilities through various activities. Therefore, we would like to study the status of gisaengs and the identity of artistic activities that have changed since the dissolution of Gyobang.

“Human or machine?” performing androids, “Elektro‐Homos,” and the “Phroso” and “Moto Phoso” manias on the popular stage around 1900

Abstract“Human or Puppet?” A once popular, now forgotten performance routine explored this question on the popular stage. Concentrating on rare historical materials, this paper uncovers how “Human or Puppet?” performances looked like and how they built on and added to the early twentieth‐century cultural discourse, and trope, of the human machine. Extending the notion of “popular modernity” this paper provides a better sense of the stories, cultural work, and aesthetic achievements emerging from the interplay of popular arts and (imaginaries of) technology, and clarifies how the braiding of (an idea of) machinery and clowning contributed to creating new comic forms.

The agentive power of play in theatre for young people: a Zimbabwean case study

Popular arts are not only accessible to most people, but their stylistic features are also a crucial scholarly site of attention. Liz Gunner [1990. “Introduction: Forms of Popular Culture and the Struggle for Space.” Journal of Southern African Studies 16 (2): 199–206] regards African popular art as an empowering agency that can give people a new sense of control over their own lives. Through processes of improvisation, enactment and dialogue, such popular arts create spaces for participants to not only express themselves, but also to exercise power and authority over forces of oppression and repression. In African storytelling the trickster narrative is one of the aesthetic categories and is indeed the trope from which popular theatre in Africa has derived most of its inspiration. Using the illustrative paradigm of a popular theatre performance entitled, Vana Vana (Children are children), this article seeks to demonstrate how symbolic inversion was used to address topical issues associated with child abuse in Zimbabwe. The performance focuses on the violation of children’s rights through child labour, domestic violence, sexual abuse, child soldiers and ‘street children.’ The article examines these forms of child abuse to see how Vana Vana operates as a performative discourse that deploys trickster narrative to critique actual violations of children’s rights. The article also examines the agentive power of the young theatre facilitators and performers who were at the centre of devising the popular theatre performance through symbolic inversion. What the paper demonstrates, then, is a classic example of the performative power of popular youth theatre and its agency to critique and hold accountable a dominant culture that endangers the lives and futures of young people.

Quality improvement path and countermeasures of visual arts for future metaverse: Based on G1-entropy value method

As the most popular art category in the contemporary art field, visual art is no longer limited to traditional art categories such as painting, sculpture and photography, but develops into more diverse forms of expression with the continuous iteration of science and technology. As the most cutting-edge and popular concept in the world today, the research, development and application of science and technology have attracted close attention from all walks of life, including management, economy, transportation, education and teaching. However, there is no in-depth and clear research between the concept of metaverse and the concept of metaverse in the art field, especially in the visual art field. We believe that visual art creation under the background of the metaverse will be an important direction of art development in the future, and will also greatly promote the improvement of the visual presentation quality of the metaverse. Therefore, we focus our research in this study on the issue of visual art quality assessment and propose a theory and method for assessing the quality of visual art in a future-oriented metaverse. This method is based on the G1 entropy method in fuzzy mathematics. In our research, we have built a visual art field architecture based on the metaverse. Considering the difference between the traditional visual art evaluation index system and the index system after the introduction of the concept of the future metaverse, we have built a brand-new visual art quality evaluation index system facing the future metaverse. This indicator is composed of four first-class indicators and twelve second-class indicators. We combine the subjective and objective weighting G1 entropy method as the method basis for the quantitative calculation results of the indicator weight. On the basis of quantitative analysis, we propose three-point countermeasures for improving the visual art quality of the future metaverse. Our research makes up for the gap in the theory of visual art quality evaluation after the introduction of the concept of the future metaverse, innovates the analysis of new concepts and the improvement of old methods, builds a new scene of organic combination of new technology and traditional visual art, and provides a new idea for the improvement of visual art quality in the future at home and abroad, It can also provide experience and theoretical support for the academic topic of similar art quality evaluation research at home and abroad.

The Buried Appraisals of Popular Art

This article explores some ways in which even positive publicity may entail the censorship of the persons and things being publicised. It focuses on the case of the nationally celebrated Indian artist Mario Miranda, some of whose productions reflected his attachment to his home-state, Goa. Since the 2000s, a fraction of his oeuvre has been used as a means of branding and individuating the region for a tourist clientele. I discuss the disjuncture between a limited repertoire of displayed images and a much larger archive of the artist’s work. As Miranda’s illustrations are made ever more widely available in the form of souvenirs and ‘public art’, the images themselves are bowdlerised and their political content evacuated. This repertoire of Miranda’s work, created in the likeness of the tourism industry against which he fulminated, has the retroactive effect of authoring the author and circumscribing the extent to which he is known.

Urban Taxi Slogans: The People's Arts

Urban Taxi Slogans: The People's Arts