1,371 research outputs found

    California's Arts and Cultural Ecology

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    Californians create, organize, and nurture one of the world's richest arts and cultural ecologies. Across diverse landscapes, they preserve traditions and unveil cutting-edge new artwork. As artists, cultural leaders, community-builders, and arts lovers, they build organizations that nurse creativity from conception through production, presentation, and participation.California's arts and cultural ecology encompasses complex ties among people, organizations, and places. An ecological approach underscores the prominence and contributions of these arts ecology components and how they can be strengthened, especially in times of economic austerity.California's arts and cultural nonprofits play an initiating and pivotal role in this ecology. They are important shapers of the state's internationally renowned cultural industries. They preserve, commission, and present a cornucopia of music, performance, heritage, and visual arts to people in all of the state's regions, across age groups and ethnicities at all levels of income and wealth.Our study documents the budget size, disciplinary focus, and intrinsic and economic impacts of nearly 11,000 California arts and cultural nonprofits, mapping them onto cities and regions. We use new data from the California Cultural Data Project, The National Center for Charitable Statistics, the American Community Survey, the Survey of Public Participation in the Arts, and Impact Analysis for Planning. To explore causal connections, we correlate elements of this mosaic with community characteristics. We detail how people work for the sector, volunteer, and make financial contributions. We show the overall impact of people and organizations on California's economy in terms of jobs, income, output, and state and local tax revenue. With interview data, we offer qualitative insights into governance, interorganizational relationships, and special challenges for small nonprofits. California's nonprofit arts and cultural organizationsCalifornia hosts more nonprofit arts and cultural organizations than do most of the world's nations. Their ranks include multipurpose cultural centers, science and visual arts museums, symphony orchestras and folk ensembles, artist service organizations, ethnic arts groups, literary societies, dance companies, professional associations, and many more. Some have no formal budgets, do little fundraising, and operate chiefly on energetic contributions of volunteers. Others manage sizable budgets with extensive staff, run large productions and venues, and rely less on volunteers.California's nearly 11,000 arts and cultural nonprofits operate across the state's regions. Smaller organizations vastly outnumber large ones, with 85% of organizational budgets falling under 250,000and48250,000 and 48% under 25,000. Yet California's nonprofits have a much larger footprint than formal budgets convey, because at all budget sizes, they engage the services of substantial numbers of volunteers and receive in-kind contributions of time and materials uncommon in public and for-profit sectors.Reflecting California's ethnic diversity and its immigrant character, 22% of California's arts and cultural nonprofits focus on ethnic, folk arts, and multidisciplinary work. Another fifth focus on humanities, legacy, and other museums. Visual arts organizations, including art museums, comprise 5% of California nonprofits, but 10% of those with budgets over $10 million

    Elizabeth, The Dance

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    Imagine a world in which classical ballet, modern dance icon Martha Graham, and questions of cultural appropriation collide with clowns, basketball players, and hula dance, and you may begin to grasp the creative force, intelligence, and wit of choreographer Ann Carlson. In “Elizabeth, the dance,” she pays homage to “the visionaries and teachers” of modern dance history. With movement both formal and physically awkward, deliciously surprising and joyfully restrained, Carlson has created an astonishing tribute to modern dance and to the joy of being human.https://digitalcommons.montclair.edu/peak-performances-2018-2019/1009/thumbnail.jp

    Genre Intersections and Transmediality in Mark Požlep’s Project Stranger than Paradise

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    The paper adopts a transmedial and multidisciplinary perspective to present and analyze the project Stranger than Paradise by Slovenian artist Mark PoĹľlep, which ran from 2014 to 2016, covering the initial concept, its execution, and the subsequent presentations in various media: exhibitions and performances. The documentary material presented at the exhibition as a documentation of the original event is compared with the later performance of the same name with different collaborators working on the production. The paper focuses on the issue of hybrid genres in contemporary performance practices and examines how the performance of this play contributes to the modes and strategies of documentary theater, i.e., performance, while demonstrating that it can be placed in the context of post-documentary theater as it represents the so-called transition from directorial to authorial work

    Look Who\u27s Coming to Dinner

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    Stefanie Batten Bland creates performance at the intersection of dance-theater and installation, questioning contemporary and historical cultural symbolism and the complexities of human relationships. Inspired by the 1967 Stanley Kramer film starring Sydney Poitier, Katherine Hepburn, and Spencer Tracy, Look Who’s Coming to Dinner pays tribute to those who paved the way toward acceptance in love and life. Set around a transformative dinner setting, seven dance-theatre artists excavate interlaced universal traumas through imagery and ritual as they seek a seat at the table.https://digitalcommons.montclair.edu/peak-performances-2021-2022/1002/thumbnail.jp

    Gabe Halak Batak; Batak Toba Ethnic Bodiedness Traditions as a Reference for Actor Training

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    Gabe Halak Batak is a term that was born from research on the bodiedness traditions of the Batak Toba people which means "Being a Batak Person". This research was conducted to take advantage of the bodiedness traditions of the Batak Toba Ethnic Community, one of which is Tortor. The author's interest in the tortor is because there are basic techniques in the tortor which are named metaphorically and through this naming can be an 'entrance' for actors in the process of exploring their physiology. In this study, the authors implemented it for actors from the Aka Bodi Theatre group in Medan who came from three different ethnicities. This study uses ethnographic and autoethnographic approaches in collecting data and interrogating the process of physiological exploration applied to acting training at the Aka Bodi Theatre. The results obtained are that each actor who participates in the training process experiences a variety of sensitivities related to the Batak Toba ethnic culture and has visual references regarding the creation of actions in the training

    Quest for Selfhood: Women Artists in the South Asian Visual Arts

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    There has been a recent increase in country-focused publications on women artists in Southeast Asia that highlight the newfound interest in feminist-inspired discourses and histories of women artists. India, Pakistan, and Bangladesh have shared a common history and culture for millennia. The socio-economic cultural patterns in these three countries are very similar, particularly when it comes to the status of women. Notwithstanding the difference in religions followed and practiced in these countries, the women here more-or-less experience similar challenges in their advancement. These three countries have traditionally suffered from poverty, illiteracy, health and infrastructure issues, and are bracketed as third world countries on the basis of data pertaining to aforementioned criteria for determining development. My paper aims to identify and understand the challenges of women artists in these countries and examine how these artists explore and express their identities through paintings, installation art, and performances. My study will also highlight different perspectives on the marginalization of women artists, suggesting lines of inquiry that might be profitable in the future

    Malang Mask Puppet Presentation Structure Arrangement of the Story Rabine Panji as Cultural Tourism Commodity in Malang Regency East Java

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    This research aimed to describe the model of structure arrangement of Malang Mask Puppet traditional art performance as the tourism commodity. The research method used was single case study with holistic single-case study approach toward the event program done by the traditional art performance group in Malang. It is done as an effort to maintain the existence of tradition art through tourism art performance arrangement. The result was the performance structure of the story (lakon) of Rabine Panji in Malang mask puppet performance. Malang mask puppet has been performed in shorter duration so that it became more interesting for the purpose of tourism.How to Cite: Pratamawati, E. W. S. D. (2016). Malang Mask Puppet Presentation Structure Arrangement of the Story Rabine Panji as Cultural Tourism Commodity in Malang Regency East Java. Harmonia: Journal of Arts Research And Education, 16(1), 66-74. doi:http://dx.doi.org/10.15294/harmonia.v16i1.456

    A Study of Stambeli in Digital Media

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    This research paper explores stambeli, a traditional spiritual music in Tunisia, by understanding its musical and spiritual components then identifying ways it is presented in digital media. Stambeli is shaped by pre-Islamic West African animist beliefs, spiritual healing and trances. The genre arrived in Tunisia when sub-Saharan Africans arrived in the north through slavery, migration or trade from present-day countries like Mauritania, Mali and Chad. Today, it is a geographic and cultural intersection of sub-Saharan, North and West African influences

    Revealing Originality of Song Works: an Analysis to the Copyright Law

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    The topic of this paper is to describe the defining criteria of originality of song works. The aspect of originality is important to make such work be protected by Copyright Law. In this research, the criteria to define originality are based on certain doctrines and/or theories of originality that may vary case by case. The use of such doctrines and/or theories are necessary, since the stipulations regarding originality in the Indonesian Copyright Act has not been considered suffice. With regard to the song works, the criteria of originality may be different from other works. Therefore, a comprehensive research on the characteristics of song as a work is also important. This research is a qualitative research with prescriptive design. The research depicts the use of certain doctrines and/or theories as supplementary provisions to the Copyright Law in defining the originality of songs, which have specific characteristics resulted from their author's creations and intellectuals
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