Traditional Art Forms Research Articles

Actualization of traditional art practices in contemporary art of Mordovia (in the context of creating choreographic suites)

Introduction. Among the processes that are clearly traced in the modern artistic practices of Mordovia, there is one that draws particular attention – the desire to comprehend folk art in a new way, to actualize the traditional layers of culture within the framework of neo-traditional forms of contemporary art. A folk dance is an example of one of the directions of modern choreography. The purpose of the article is to review the experience of creating choreographic suites in modern dance in Mordovia, based on traditional folklore. This allows studying the techniques of citing traditional forms of folk art in contemporary art and the ways of their actualization. Materials and Methods. As the main material for studying, this study analyzed the performances of choreographers of Mordovia, working with such modern dance as choreographic suites «Girl-birch» and «Eight Mordovian songs». It was possible to formulate answers to the research tasks as a result of the application of a systematic analysis of sources on this topic, as well as carrying out a comparative analysis of the compositional structures of these choreographic suites, the specific features of the construction of their choreographic texts and work with musical material. Results and Discussion. The actualization of traditional artistic practices in contemporary art is an experiment and constant search for new ways of expression. Within the framework of one of the neo-traditionalist trends in contemporary art, folk dance, one can observe the way how traditional values are rethought and considered as relevant now, thereby the past becomes part of the modern way of life. In this context, the analysis of the search for a new way of expression within the framework of the suite form is of particular interest. As a result of the analysis of the compositional forms of modern choreographic performances in Mordovia, it revealed two trends in the development of the form of a choreographic suite: a movement along the path of creating a production with non-classical content on the basis of the classical suite structure and an appeal to traditional compositional forms of folk art and filling them with relevant content. Conclusion. The neo-traditional trend in art is based on the idea that tradition is not only the past of the people, it also exists here and now, our actual present. With the advent of the folk direction in modern choreography, the search for such an actual true tradition has become a unique feature of modern dance in Mordovia. Within the framework of this article, some ways of the development of folk direction were noted, associated with experiments in relation to the form of a choreographic suite and the main trends in the search for the development of the dance form were outlined.

Oryantalizm Ekseninde Sanat, Siyaset ve Din ilişkisi

Türk sanat tarihi incelendiğinde özellikle geleneksel sanatlar olarak adlandırılan sanatların Oryantalizm etkisinde kaldığı anlaşılmaktadır. “İslam Sanatı” kavramı ve İslam’da resim yasağı söylemleri, İslam Coğrafyası olarak kabul edilen topraklardaki sanatçı ve sanat eserlerinin yok sayılması üzerine temellendirilmiştir. Literatür taramalarında geleneksel sanatlar olarak yapılan tanımlamalar, sanatın yenilikçi, yaratıcı ve sürekli gelişim gösteren özelliğini ortadan kaldırmak üzere temellendirilip yazılı kaynaklara yerleştirilmiştir. Batılılarca “İslamic Art” yani İslami sanat, İslam etkili sanat olarak yazılan ama “İslam sanatı” olarak yerleştirilmiş kavram ekseninde tezhip, minyatür, ebru ve hat gibi sanatlar kutsanırken, bu sanatları icra eden sanatçılar bu tanımlama üzerinden özel statüye kavuşup nemalanmış ve bu tanımlamaya itiraz etmemişlerdir. Oryantalistler “Geleneksel sanat”, “İslam sanatı” kavramını folklorik bir öğe olarak kabul edip tanımlamaktadır. Bu tanımlamaların etkisi bu sanatların gelişim çizgisini sosyal ve siyasi olarak negatife dönüştürmüştür. Hem Kur’an’a hem de sanatın ruhuna aykırı olarak kullanılan "İslam Sanatı" kavramı "dinin emrettiği bir sanat" varmış gibi ortaya konulmaktadır. Bu durum sanat ve genel sanat kuramları için çelişkili ve düşündürücü sonuçlar doğurmaktadır. Hıristiyanlığın özellikle ikinci yüzyılında başlayan ve özellikle 8. ve 9. Yüzyılında zirve yapan resim yasağına dair tartışmalar yapılmıştır. Müslüman toplulukları için de buna benzer tartışmalar söz konusudur. "Dinde resim veya suret yasağı vardır" ile başlayan cümlelerin İslam kitabı olan Kuran'a dayanmadığı bilinmekte iken; bu yasağın israiliyat olarak kabul edilen ve Yahudilikten İslam’a, Yahudilikten Hıristiyanlığa geçenlerin Yahudilikten kalma inanışlarını kültür olarak bu dinlere taşıdığı bilinmemektedir. Bu çalışmada Oryantalizmin sanat terimleri üzerinden İslam coğrafyası üzerine etkisi incelenerek Sanatta dine dayandırılan kavram problemleri olarak “İslam Sanatı” (din sanatı) kavramı dini boyutu, sanat boyutu, siyasi boyutu olmak üzere üç başlık altında incelenecektir.

Pelestarian Tari Andun pada Masyarakat Bengkulu Selatan

Preservation of Andun Dance in South Bengkulu. Andun dance is one of the dances of South Bengkulu’s people, which is currently less popular. This dance is a form of cultural and traditional art in South Bengkulu that still exists and has Islam and traditional nuance. In a marriage ceremony, for example, this dance is performed for seven days and seven nights. For those with a modern view, the Andun dance is a series of long and tiring processions and should be abandoned or modified. However, because it has become a custom and tradition, most people still carry out this long procession until now, even though it requires a lot of time and money. Andun dance is now less attractive because there are so many foreign cultures that enter South Bengkulu people, especially its young people. Andun dance is also getting worse because the places to express this dance are decreasing in number. For example, South Bengkulu people’s traditional marriage rituals are usually held for seven days and seven nights. Still, at present, the practices held are not carried out that long. Andun dance, which is currently experiencing ups and downs, has not been able to regrow the community’s interest and youth. This research focuses on how the efforts to preserve the Andun Dance in the people of South Bengkulu. One of the efforts made by the government is to carry out the Andun dance festival. In several leading schools, Andun dance is taught as extracurricular activities. The efforts made by the community regarding the preservation of the Andun dance are deliberating so that the Andun dance can be performed by the middle to lower class communities. Besides, artists also carry out preservation efforts by providing guidance or training for Andun dance to their students.Keywords: preservation; Andun dance; South Bengkulu

Membangkitkan Kembali Tari “Melemang” yang Tenggelam Masa

Reviving the Drowning Period of Melemang Dance. Melemang dance is a traditional art form. In ancient times, this dance was functioned for ceremonies in the kingdom and as a means of legalizing and celebrating the king’s existence. The performance may only be done within the palace. This dance has not been performed for a long time due to the lack of guidance from the supporting community. This research uses descriptive and analytical methods to present data objectively based on facts or phenomena as they are. Furthermore, the facts and phenomena are analyzed according to the context of the discussion. Therefore, the research objective, namely the revitalization of the Melemang dance, can be achieved.Keywords: melemang dance; drowning period; revitalization

A Case Study of Kara Weaves Based on Secondary Data

This case study focuses on famous social enterprise Kara Weaves, which is working in the state of Kerala. Kara weaves is a WBA and fair trade certified social enterprise that creating hand-woven textiles product in Kerala. The social women entrepreneur Indu Menon and her three co – partners started Kara Weaves in 2007, it’s working with local weaving cooperative societies in south India especially in Kerala to design contemporary home textiles and resort wears. Kara weaves is all about handmade product with vary ancient fabric in Kerala. Might be Kara would be the first attempt of Kerala to bridge the gap between traditional weaving art form and contemporary life style.

Artistic Reflection on Artificial Intelligence Digital Painting

Material media is the premise and foundation of artistic creation. It can not only determine the classification of works of art, judge the different aesthetic styles of works of art, but also have a profound impact on the thinking and techniques of creators. With the development of computer technology and the rise of artificial intelligence, AI technology is widely used in various fields, including painting. However, the mechanical nature of AI painting’s own expressive techniques limits its diversified selection of painting materials and the setting of brush parameters, and its works of art are unable to achieve the vivid and humanized expressive style of traditional painting. As a product of science and technology, with the continuous development of science and technology and the passage of time, the artistic content of works will increase. Digital technology should be regarded as a tool and means for artistic creation. Only the perfect combination of digital technology and traditional painting forms can be conducive to the innovative development of art and the sustainable development of science and technology and humanities. Based on this, this article analyzes how to dialectically look at the integration of AI technology and traditional painting art forms.

LEGAL PROTECTION OF TRADITIONAL DANCE ACCORDING TO INTERNATIONAL LAW

Indonesia is a country that consists of various ethnics that have a diverse culture with the types and forms of art. One form of traditional art is a traditional dance that requires maintenance, preservation, and protection to be enjoyed by the next generation. Traditional dance is one of the cultural products that are also prone to become victims such as claims occur in Reog Dance and Pendet Dance by neighbouring countries. This research aims to determine the legal protection of traditional dance in International Law and the implementation of the legal protection of traditional dance in Indonesia.

The Application of SPSS in Statistical Analysis Project—A Study of the Inheritance of Chinese Traditional Shadow Play in Schools

Chinese traditional shadow play has been selected into the List of Intangible Cultural Heritage in 2011. Yet, reflecting abundant national cultural values, such traditional art form is degenerating and fading out from people’s sight. As the earliest statistical analysis software, Statistical Package for the Social Science (SPSS) is comprehensive in analyzing and managing statistical data. This study explores the application of SPSS in minimizing the workload of researchers while raising the validity of data in supporting the analysis of the survey data which reflected the inheritance and development of Chinese traditional shadow play in schools.

The Influence Factors of Computer Fusion Media Technology on Painting Art

Contemporary art is the subversion of traditional art forms by artists influenced by the philosophical thoughts of Kant, Hegel, Schopenhauer and Nietzsche. And Freud’s psychology. The vulnerability of contemporary art is reflected in the following aspects: with the continuous progress of modern science and technology, digital technology in the developed computer media era has promoted artists influenced by advanced technology and digital technology to create artistic works in the media era, which has changed the traditional creation mode and gradually adopted a more open attitude. Contemporary art is gradually transforming into other forms of “painting” : graffiti, integrated material art, installation art, performance art, conceptual art, image art, computer multimedia art, etc.

Indigenous and Traditional Visual Artistic Practices: Implications for Art Therapy Clinical Practice and Research.

In this paper, we present a review of research on the role of traditional and indigenous forms of visual artistic practice in promoting physical health and psychosocial well-being, particularly as it relates to the discipline of art therapy. Using extant literature we present an overview of how art making has historically had a therapeutic role in human lives and how it can inform the modern interpretation and profession of art therapy. Thereafter, we provide a critical review of specific studies that reference traditional and indigenous art forms in art therapy in order to invite discussion, dialogue, and awareness of the role of the arts in human development and the therapeutic role of the arts. Gaps in research areas for further study are proposed. Implications for clinical practice including expanding the scope of traditional forms of creative self-expression and promoting an informed and respectful understanding of the role of these artforms in the profession of art therapy worldwide, are also discussed.

Eclecticism in Chinese Modern Calligraphy, Analysis on Foo Yong Kong’s Painting

Foo Yong Kong is a unique artist, in his artistic practice, he mixes the art of calligraphy with the abstract art of expressionism. Chinese calligraphy is a form of Chinese traditional art. Abstract expressionism is one of the idioms of modern art. In modern art discourse, calligraphy is not categorized as fine art. As part of the identity of the Chinese nation for centuries, the existence of Chinese calligraphy art has been experiencing various developments. One phenomenal development is about how calligraphy redefine itself within modern art discourse which has led to a renewal of Chinese modern calligraphy. This study aims to analyze Foo Yong Kong's paintings in the perspective of Chinese modern calligraphy discourse with a focus on aesthetic tendencies in his works. The results show the tendency of eclecticism in Foo Yong Kong's artwork that combines aesthetic elements in calligraphy such as black brush stroke resulting from the effects of using special brushes ( mao bi ) and solid ink ( mo ), ink stone ( yantai ) and paper ( xian zhi ), with the practice of action painting using acrylic paint with contrasting colours. Keywords: Chinese Calligraphy, Abstract Expressionism, Eclecticism, Foo Yong Kong, Modern Chinese Calligraphy DOI : 10.7176/ADS/81-05 Publication date :April 30 th 2020

Advancements in Soft-Tissue Prosthetics Part A: The Art of Imitating Life.

Physical disfigurement due to congenital defects, trauma, or cancer causes considerable distress and physical impairment for millions of people worldwide; impacting their economic, psychological and social wellbeing. Since 3000 B.C., prosthetic devices have been used to address these issues by restoring both aesthetics and utility to those with disfigurement. Internationally, academic and industry researchers are constantly developing new materials and manufacturing techniques to provide higher quality and lower cost prostheses to those people who need them. New advanced technologies including 3D imaging, modeling, and printing are revolutionizing the way prostheses are now made. These new approaches are disrupting the traditional and manual art form of prosthetic production which are laborious and costly and are being replaced by more precise and quantitative processes which enable the rapid, low cost production of patient-specific prostheses. In this two part review, we provide a comprehensive report of past, present and emerging soft-tissue prosthetic materials and manufacturing techniques. In this review, part A, we examine, historically, the ideal properts of a polymeric material when applied in soft-tissue prosthetics. We also detail new research approaches to target specific tissues which commonly require aesthetic restoration (e.g. ear, nose and eyes) and discuss both traditional and advanced fabrication methods, from hand-crafted impression based approaches to advanced manufactured prosthetics. We discuss the chemistry and related details of most significant synthetic polymers used in soft-tissue prosthetics in Part B. As advanced manufacturing transitions from research into practice, the five millennia history of prosthetics enters a new age of economic, personalized, advanced soft tissue prosthetics and with this comes significantly improved quality of life for the people affected by tissue loss.

Diaspora, religion, and identity: the case of Theyyam in the Indian diaspora

ABSTRACT Globalization associated with development in information and communication technologies ushered diasporas to play an important role in marketing the homeland culture globally. Among the many traditional Indian art forms that are getting visible transnationally today is the Theyyam. Theyyam is a traditional ritual art form of worship observed in the Kannur and Kasargod districts of Northern Kerala state in India. It is the folk God for North Malabaris which is accompanied by dance and other rituals. There are approximately four hundred varieties of Theyyams and several of them are performed in the diasporas. This article argues that when the Theyyam is performed transnationally, the true essence of the ritual art form changed compared to its performance in the original settings and thereby opens up for commodification. Ethnographic data for this study derives from in-depth interviews with Theyyam artists, informal conversations with Theyyam devotees and villagers besides observation of Theyyam performances.

Talk (post)normal: conceptualisations of the future in Laurie Anderson’s work

To call Laurie Anderson a multimedia artist – as she herself has done on more than one occasion – is to state something so obvious as to be nearly meaningless. Indeed, it is as redundant as to say that her work has persistently concerned the future. Offering universalizing depictions of American postmodernity through the new technologies that were the theme of many of her projects, Anderson has, nevertheless, persistently stressed her attachment to a very traditional art form, that of storytelling. Paradoxically, however, this ancient form implies an interest in the future just as intense as and perhaps in fact even more fundamental than her cutting-edge interactive installations and multimedia performances. Voicing her concern about whether there is indeed any future before humanity, Anderson presented herself in a recent interview as an artist in danger of being radically deprived of her medium, which for a storyteller is, by definition, the future. My paper is a look at the various facets of futures conceptualized by Laurie Anderson over the forty years of her artistic activity, stretching from political fear and anger, through philosophical reflection, to personal considerations of our individual temporality.

Analysis on the landsense creation of Chinese classical poetry and mountains-and-waters painting based on landsenses ecology

ABSTRACTInspired by Chinese traditional art forms and architectural thoughts, landscape ecology or landsenseology emphasizes the integration of human physical senses, psychological perceptions and sustainable development concept into the regional ecol-environmental research and planning-construction-management, which is an inheritance and development to ancient Chinese simple ecological ideas and sustainable development consciousness. The multiscale of spatiotemporal combination is one of the principles of landsense creation, which means that people’s senses and perceptions at different times and different places can be integrated into a single landsense for a landsense creation. The bidirection of vision manifestation and the vein-compliance of orientation are the other two main principles of landsense creation. As traditional Chinese art creations, poetry, calligraphy and painting possess the same origin, poetry, calligraphy and painting reproduce their creators’ perceptions of ecosystems and also present their creators’ visions for a better living environment, which reflects people’s simple ecological ideas and sustainable development consciousness at that time. Zhihuan Wang is a famous poet in the Chinese Tang Dynasty. The poem, On the Stork Tower, is one of his representative works. This poem is widely loved by people and has been widely spread in China. Based on the theory and methodology of landsenses ecology or landsenseology, this paper analyzes the creation method, lofty artistic conception and good vision of the poem, which provides an effective approach or methodology for art appreciation. The analysis framework formed with this approach is of enlightening significance for the theoretical researches and practices of eco-environmental art creation, eco-environment construction and sustainable development.

中国传统艺术-曲艺

The purpose of this article is to provide a comprehensive cultural and art history analysis of such a form of performing arts as Quyi, which has deep historical roots in China. Quyi art is endowed not only with a unique aesthetic function, but also has cultural significance and plays an important role in the history of China. Based on the study of historical sources, the article analyzes the traditions of vocal performance of Quyi, taking into account the cultural characteristics of certain regions of China and dialect differences, vocal variations, types of performing techniques, styles, schools, etc. Key objects of the review are the individual vocal schools and the typology of Quyi. In connection with changes in cultural trends and anatomical justifications of sound production, the author proposes an updated classification of schools and styles of traditional Chinese art, which represents an innovative approach to the theory of studying the debated form of vocal performance art. Currently, in the background of the rapidly developing society, the accumulation of knowledge, the improvement of the cultural level of the population as a whole and the development of vocal traditions don't look optimistic. Most young people in China are not familiar with this form of traditional art and identify Quyi with singing, dancing, and other forms of musical creativity. In connection with the above, the study and the systematization of information about Quyi are relevant for modern musicology.

A Synthesis Overview of the Contemporary Art Forms and Performance Practices in the Philippines

This research article describes and presents an overview of the contemporary art forms and performance practices from the various regions in the Philippines. Visiting contemporary art exhibitions and talking about living artists is an important aspect of appraising the culture of the Philippine arts with awareness and appreciation. This study used a descriptive method to gather information about existing conditions in which the library method and literature review were utilized in gathering and synthesizing the articles and scientific papers related to contemporary Philippine art. The data were analyzed through synthesis information known as explanatory synthesis through the use of eight criteria in analyzing the reviews such as painting and other visual arts, architecture, sculpture and installation, literature, music, dance, cinema, and theater and performance. Conclusion of the results and discussions, contemporary Philippine art encompasses a wide range of art forms and constantly redefines and dismantles traditional categories of arts. Philippine traditional art has always been an integral part of daily life, as well as the dominant and alternative art forms. Its importance endures not only in its aesthetic representation but also in its functionality and its significance to the society that created it. As the dominant, alternative, and traditional art forms may be used in everyday private circumstances, it is encountered more closely and possesses many senses concurrently.

The Communication Dilemma of Guqin Art Within the Context of New Media

It is difficult to avoid the impact that digital technology has had on the media. Maintaining the original form of traditional art and music within the changing media environment is vital for Chinese traditional art and music communication, especially there is a lack of Chinese traditional art and music inheritors at the same time. This paper takes the Guqin instrument as an example, adopting the space perspective of cultural geography to study its contemporary communication. The article applies media ecology theories to illustrate how modern media techniques change the Guqin stem, dispel the tradition of this art, and bring the new development opportunity to Guqin. The paper also references the point made by György Márkus about modernity and tries to explore the cultural reason for the existence of traditional art in modern times. Finally, the author points out that the key to communicating traditional art is to understand multiple dimensions of modernity and find the communication logic and cultural background behind these media phenomena. It is essential to clarify Guqin art changes during the modern period and, based on these, to adopt different communication and inheritance strategy and techniques. That’s how to inherit better and develop this old but precious art treasure.

Рух історично поінформованого виконавства в контексті культури ХХ–ХХI століття

The hermeneutical method is the basis for performing interpretation, because the author's musical text is the initial condition for its implementation. Over the last century, new musical forms and performing practices have emerged, where there is a synthesis of the heritage of many stylistic eras. Modern trends in performance art can be divided into three global independent areas – actualization, authenticity and avant- garde. The orientation in modern performance is directed both at the historical authenticity of the performance and at the questions of the subjective potency of musical creativity. There is an affirmation of a new paradigm, which consists in increasing the role of the intellectual principle, in striving to study a musical work in the context of the epoch that created it, in clearing the traditions of performance from later layers. Due to the growing interest of musicians in Renaissance and Baroque music, the number of soloists and groups performing Western European works written before the middle of the XVIII century is increasing. Over the course of the century, there has been a change in the status of authentic performance from individual to universal and social, because it not only organizes the experience of the community of musicians, but also forms the consciousness of a whole generation of culture. Due to the fact that a person is aware of the loss of the integrity, traditional art forms undergo transformations and destruction, which caused the need to appeal to the Baroque culture. The reception of the Baroque culture promotes the restoration of cultural identity, warns against multicultural fragmentation, and creates conditions for establishing links between cultural eras. The Baroque aesthetic is becoming one of the defining markers of popular culture. Attempts to adequately reproduce musical impressions of past eras among performers and interest in them among the public is a significant characteristic of modern society. A comprehensive study of authentism as a direction allows us to understand the context and functions of music for the cultural types of that time.

Sustainable Concepts of Traditional Sanskrit Theatre:the Harippad Subrahmanya Swami Temple, Alleppy.

Traditionally built structures have withstood the onslaught of time and weather conditions for thousands of years due to their dexterity in construction and design. Their unique structures and designs have opened up a new genre of architectural discipline. Over the years, globalization and man’s quest for innovative designs and materials have revolutionized the conceptual and architectural practices, which have resulted in the gradual degradation and destruction. The paradigm shift has resulted in losing not only the traditional architectural heritage but also the sustainable practices associated with it. Therefore, it is time we developed new approaches with regard to the design and construction of Koothambalams. Such a step will indeed open up new grounds for technical innovations and critical appraisal of traditional practices and designs. There is a lot more technical knowhow involved in these structures than meets the eye. The paper is an attempt to explore the traditional architectural practices and sustainable concepts of the Koothambalam of Sree Subramanya temple theatre, Harippad, Alleppy. The Koothambalam not only depicts the tangible realization of age old architectural secrets, but also serves as a meeting place for the community to socialize and experience ancient performing artforms. Within the premise of the temple, there are numerous ancient structures of which Koothambalam is meant for performing cultural and traditional artforms. The proposed research involves an appraisal and listing of the best architectural practices used in the construction of the Koothambalam. Special attention is also given to verify the energy efficient parameters and their contributions to sustainability as laid down by GRIHA. The study will be instrumental in formulating new concepts for sustainable conservation and green concepts for reviving and maintain traditional construction methods which could eventually give rise to new cultural studio space for the contemporary society