Relevant bibliographies by topics / International performing arts studies

Academic literature on the topic 'International performing arts studies'

Author: Grafiati
Published: 18 August 2021
Last updated: 17 February 2022

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "International performing arts studies":

1

Green, Lelia. "Research Outputs in the Creative and Performing Arts: ‘Australianising’ an International Debate." Media International Australia 118, no. 1 (February 2006): 5–15. http://dx.doi.org/10.1177/1329878x0611800103.

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This paper positions current Australian discussions about practice-led research within international, national, historical and policy contexts and relates them to the developing pedagogical debate around performing and creative arts doctorates. Arguing that the creative industries offer benefits across the economy, it suggests that recognition for the research methodology specific to practice-led disciplines and the creative industries is overdue. The discussions in this paper, and in this theme issue of MIA, are all the more critical as a result of their articulation with the imminent introduction of the Research Quality Framework (RQF), which will allow nuanced, rigorous and internationally benchmarked evaluation of the quality and impact of research outputs. The RQF and the proposed research assessment panel for ‘creative arts, design and built environment’ herald the way for wider acceptance of practice-led outputs in the Australian research environment.
2

Natarajan, Radhika. "Performing Multiculturalism: The Commonwealth Arts Festival of 1965." Journal of British Studies 53, no. 3 (July 2014): 705–33. http://dx.doi.org/10.1017/jbr.2014.104.

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AbstractThe Commonwealth Arts Festival of 1965 was an important moment of postimperial reengagement. Over three weeks, Britain hosted visual artists, musicians, dancers, poets, and writers representing national cultures, who together presented a diverse Commonwealth assembled in terms of egalitarian multiculturalism. This article examines the investments of individual nations in participating in this festival to argue for the transnational production of multiculturalism at the end of empire. As a postimperial phenomenon, Commonwealth multiculturalism depended on the legibility of distinct national cultures assembled through an equitable framework. Governments sponsored representative cultural forms in response to domestic political circumstances and international economic needs, and against the imperial aesthetic hierarchies of the past. Examining the diverse interests assembled through the festival is essential to understanding the legacies of imperial power for more seemingly democratic frameworks of difference.
3

Arnold, Catherine. "Ellen Welch, A Theater of Diplomacy: International Relations and the Performing Arts in Early Modern France." European History Quarterly 48, no. 2 (April 2018): 398–400. http://dx.doi.org/10.1177/0265691418765637ao.

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Moosavi, Marjan. "Performing and Conforming: Iran’s Fadjr International Theatre Festival." TDR/The Drama Review 60, no. 1 (March 2016): 79–92. http://dx.doi.org/10.1162/dram_a_00525.

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Iran’s Fadjr International Theatre Festival (FITF) is the largest and oldest theatre festival in the Middle East, yet remains among the least studied. Conversations with FITF’s officials and the festival’s international guests reveal the politics and complexities of Iran’s efforts to maintain control of artistic expression while promoting the country’s global autonomy.
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Giersdorf, Jens Richard. "Dance Studies in the International Academy: Genealogy of a Disciplinary Formation." Dance Research Journal 41, no. 1 (2009): 23–44. http://dx.doi.org/10.1017/s0149767700000516.

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For the past thirteen years, I have been traveling to the United States from my home country of Germany, first as a graduate student in California and later as a professor living in New York. Every time I pass through immigration, I am asked a series of questions regarding my final destination and my occupation. The latter always leads to some confusion, because when I am asked what I do, my accent seems to turn “dance history” into “dentistry.” Forced by phonetics to use the term “dance studies,” when confronted by the blank face of the customs officer, I inevitably embark on an explanation of what “dance studies” might be. Just in the moment when I finally see some comprehension of my profession lighting up the officer's face, the question is asked: “And we pay you to do this?”I constantly find myself in the position of having to explain my work. Usually I avoid a long-winded, defensive justification by comparing dance studies to one of its neighboring disciplines: “It is like art history, just writing about dance instead of paintings.” That usually does the trick, but it leaves a foul taste in my mouth. I know that dance studies isn't like art history and I certainly don't want it to be.
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Werner, Sarah. "Performing Shakespeare: Voice Training and the Feminist Actor." New Theatre Quarterly 12, no. 47 (August 1996): 249–58. http://dx.doi.org/10.1017/s0266464x00010241.

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Although voice work presents itself as a neutral set of tools that can help actors in performing a text, an analysis of the cultural biases behind voice training reveals that both the underlying ideology and the methods of reading and acting it produces limit the possibilities for feminist performances of Shakespeare. By naturalizing the language and rhythms of the text, by focusing attention on the characters' need for the words as opposed to the dramatist's, voice training denies actors ways of questioning the politics of the playscripts. Sarah Werner has just received her PhD in English from the University of Pennsylvania for her dissertation entitled ‘Acting Shakespeare's Women: Toward a Feminist Methodology’. She has presented papers at a number of conferences, including the Shakespeare Association of America and the International Conference on Medieval Studies, and is currently a lecturer at the University of Pennsylvania.
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Kershaw, Baz. "Innovative Spirit at the Heart of Theatre Studies." New Theatre Quarterly 21, no. 3 (July 18, 2005): 203–4. http://dx.doi.org/10.1017/s0266464x05210102.

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Clive Barker made an exceptional contribution to British theatre studies and its international standing. No one else of his generation travelled the extraordinary distance from a conventional stage-management course to become a world leader in actor training workshops, as well as an editor and scholar of distinction. He was a pioneer in bridging the uneasy divide between the professional theatre and its serious study in British universities.
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Lyons, Lauri. "FLAG INTERNATIONAL." Photographies 2, no. 1 (March 2009): 73–78. http://dx.doi.org/10.1080/17540760802697011.

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Lobato, Ramon, and Mark David Ryan. "Rethinking genre studies through distribution analysis: issues in international horror movie circuits." New Review of Film and Television Studies 9, no. 2 (June 2011): 188–203. http://dx.doi.org/10.1080/17400309.2011.556944.

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Malik, Amna. "11th International Istanbul Biennial." Third Text 24, no. 4 (July 2010): 495–98. http://dx.doi.org/10.1080/09528822.2010.491385.

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You might also be interested in the extended bibliographies on the topic 'International performing arts studies' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "International performing arts studies":

1

Xiao, Yan. "Exploring the Intricacies of International Performing Arts Exchange: Case Studies of Arts Programs between U.S. and China." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1575479293045226.

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Caldognetto, Samuele Francesco. "STRANGESPACES : Studies and structure for an itinerant transcultural performing art festival." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-993.

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The purpose of this study is to explain the process of designing the architecture of StrangeSpaces, an itinerant festival for transcultural performing arts groups or artists which starts from the original idea and terminates with the description of a possible structure. The process of designing StrangeSpaces is based on an investigation on the transcultural performing art’s field and on conversations with experts, which together transformed the original general idea of a festival, into the specific architecture of the StrangeSpaces festival. The investigation resulted in a personal definition of ”transcultural performing arts”, that subsequently led to the identifications of three elements of transculturalism which define the festival’s goals as ”encounter with the other” in multiples and different yet equal levels. Another result of this investigation is the contextualization of StrangeSpaces in the contemporary international cultural politics. In fact, the transcultural encounter and exchange can be viewed as a possible response to the increasing need of sustainable international performing art in local, national and European cultural communities. The conversations with experts in the field of international performing arts complemented the investigation, contributing to the ideological principles of StrangeSpaces, such as anti-racism and anti-colonialism, as well as to a model of democratic and sustainable design, in which multilingualism and cosmopolitan aspects of the society are essential cues. The result of the study is a design of the architecture of three versions of StrangeSpaces, an itinerant transcultural performing arts festival that is born to be a space, a free place where people play, exchange roles, art, experience starting from their own culture, but reaching and reflecting into the other, mirroring a society of sustainable diversity.
3

Hansson, Ylva. "A doll’s world : Nora ur olika kulturella perspektiv." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-968.

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This master’s thesis discusses who Nora Helmer could be today in different parts of the world. With an idea for an modern adaptation of A doll house (with three Noras from different cultural perspectives) as a starting point the purpose is to research the following questions: Who Nora could be today, how Nora could be portrayed through different cultural perspectives, what similarities and differences there are, if anything in the play has to be changed to relate to a contemporary context and what the essence of Nora is. These questions are being explored through in-depth interviews with five different female actors in different continents: North America, Asia, Oceania, Africa and Europe. The actors thoughts are presented through different themes: Who Nora is, motherhood and marriage, Nora’s favourite color, the ideal woman and who Nora could be in their context today. The last part discusses the different versions of Nora, how a classical play can open up for conversations about current gender equality issues and how this material can be used in the continued work towards a stage production.
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Bragge, Brent Reuben. "Economic impact studies and methodological bias : the case of the National Arts Festival in South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002702.

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Over the course of the last three decades, it has become popular practice to evaluate tourism events like cultural festivals in financial terms, through the use of economic impact studies. This can be attributed at least in part to the notable growth in the number of festivals being held globally and, as such, a higher level of competition between festivals for the limited funding which is available. Economic impact studies, and the resultant findings, have thus become powerful tools for the lobbying of sponsorship, and it has become increasingly important that the impact calculations be as accurate as possible, so as to effectively allocate both government and private resources to projects which will be of the greatest benefit to the host region. The allocation of funding is especially vital in an area like the Eastern Cape Province of South Africa, which is faced with many financial difficulties. The allocation of public funds to an event like the National Arts Festival, which is hosted in a relatively wealthy part of the province, might be weighed against initiatives which directly benefit the poorer parts of the region. Although it is acknowledged that the benefits which are felt by the host community of a cultural event go beyond that of the financial, it is often on this basis that festivals are most easily compared. The primary goal of the thesis was to analyse the various forms of methodological bias which can exist in the economic impact analyses (EIA) associated with cultural events. Theoretical considerations were discussed, specifically regarding economic impact as a method of measuring value. Various forms of bias (including data collection, the calculation of visitor numbers, multipliers, defining the area of interest, inclusion of visitor spending, and accounting for benefits only, not costs) are put into a real-life context, through the investigation of economic impact studies conducted on three selected South African festivals (the Volksblad, the Klein Karoo Nasionale Kunstfees, and the National Arts Festival), and one international festival (the Edinburgh Festival). An in-depth comparison of two separate studies conducted at the National Arts Festival (NAF) in 2004 (by Antrobus and Snowball) and 2005 (by Saayman et al.) was made, focussing on the manner in which the economic impact was calculated. Having considered the common forms of bias, and assessing several possible reasons for the difference of approximately twenty million Rand in the advertised economic impacts, it was concluded that, most likely, the miscalculation of visitor numbers was the cause. This was confirmed when the Antrobus and Saayman methods were applied to the 2006 NAF data, and noting that the economic impact figures arrived at were strikingly similar. As such, it is advisable that extreme caution be taken when calculating visitor numbers, as they can significantly influence the outcome of an economic impact study. It is recommended that each study should also have transparent checks in place, regarding the key calculation figures, to ensure that less scrupulous researchers are not as easily able to succumb to the pressure event sponsors might impose to produce inflated impact values.
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Hooi, Mavis. "Oriental Fantasy : A postcolonial discourse analysis of Western belly dancers’ imaginations of Egypt and dance festivals in Egypt." Thesis, Linköpings universitet, Avdelningen för historie-, turism- och medievetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125565.

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Belly dance is popularly practised in the West, and every year, thousands of enthusiasts and professionals from around the world travel to attend belly dance festivals in Egypt, which is considered the cultural centre of the dance. This bachelor’s thesis examines the discourses produced by Western or ʽwhiteʼ belly dancers from Sweden and Finland, on the topics of tourism in Egypt and belly dance festivals in Egypt. The texts are analysed using James Paul Gee's discourse analytical framework, combined with postcolonial theory, complemented with an intersectional approach. From the postcolonial and feminist perspectives, belly dance discourse in the West and tourism discourse are problematic, as they perpetuate Orientalist tropes and unequal global power structures, which build on colonial discourse. It is hoped that by identifying and questioning these aspects of discourse that are problematic in terms of equity, this study will make a small contribution towards mitigating its adverse effects, and towards social change.

ORCID for Mavis Hooi : 0000-0002-0049-1095

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Strain-Bell, Sheila L. "Organizational conflict : in a performing arts organization." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/77674.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 161-165.
by Sheila L. Strain-Bell.
M.C.P.
7

La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.

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Connell, Xiao Yan. "Chinese government policy and international exchange in performing arts 1949 - 2005." Thesis, University of Salford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490208.

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More than fifty years have past since the found of the People's Republic of China in 1949; after which Chinese society experienced many changes owing to the adjustments of government policies. The aim of this thesis is to determine how Chinese government policies have affected the international exchange of performing arts from 1949 to 2005. The assessment was conducted over three historical periods: the planned-economy (1949-76), the transitional period (1977-96), and the marketed economy period (1997-2005), in order to measure the impact of the changing governmental policies.
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Lee, Ming-yen. "An Analysis of the Three Modern Chinese Orchestras in the Context of Cultural Interaction Across Greater China." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397886249.

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Le, Thi Kieu Huong. "Performing Arts Management in a Climate of Adjustment: Case Studies from Vietnam and Australia." School of Policy and Practice, Faculty of Education and Social Work, University of Sydney, 2005. http://hdl.handle.net/2123/1115.

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Doctor of Philosophy(PhD)
This thesis investigates performing arts administration and management in the current economic and social environment in Vietnam and Australia within a context of globalisation. A comparative study of two major arts organisations in both Vietnam and Australia was carried out to investigate the following: why and how performing arts organisations are adapting to the changing environment; how arts leaders are adapting to changes; and whether arts managers need specific arts management training. The suitability of pertinent training packages and tertiary arts management courses from an Australian perspective are examined to determine whether these could be adapted for arts administration training in Vietnam. A qualitative case study approach was employed, using judgemental sampling. Two case studies were in Vietnam (the Vietnam National Symphony Orchestra and the Hanoi Youth Theatre), and two in Australia (the Sydney Symphony Orchestra and the Melbourne Theatre Company). Some arts administrators involved with managing these performing arts organisations were interviewed in-depth, and relevant documents, regulations and policies in the arts field were also analysed to lay a foundation for comprehending the operation and management of performing arts organisations in both countries, at a time of change. Findings indicate that globalisation and particularly economic changes are major pressures that are pushing arts organisations to adapt. Furthermore, in the context of the knowledge economy, credentials have become increasingly important for arts leaders to obtain their positions, while in order to be successful in their positions, practical experience, innovation and an entrepreneurial mindset proved to be even more essential. It is suggested that some pertinent arts management training courses in Australia could, if adapted, contribute to enhancing arts management and the entertainment industry in Vietnam, as well as providing mutual benefit to both Vietnam and Australia.
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Books on the topic "International performing arts studies":

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Aronson-Lehavi, Sharon, Atay Citron, and David Zerbib. Performance studies in motion: International perspectives and practices in the twenty-first century. London: Bloomsbury, 2014.

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Nikolaev, Alexander G. Ethical issues in international communication. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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ProQuest Information and Learning Company. International index to the performing arts: IIPA. [Ann Arbor]: ProQuest Information and Learning Co., 2001.

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Associates, Lorna Bartley. Working in performing arts. Sheffield: Connexions, 2001.

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Bhayani, Harivallabh Chunilal. Indological studies: Literary and performing arts, Prakrit and Apabhraṃśa studies. Ahmedabad: Parshva Publication, 1998.

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Bhayani, Harivallabh Chunilal. Indological studies: Literary and performing arts, Prakrit, and Apabhraṁśa studies. Ahmedabad: Parshva Prakashan, 1993.

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Forsyth, Michael. Auditoria: Designing for the performing arts. New York: Van Nostrand Reinhold, 1987.

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Forsyth, Michael. Auditoria: Designing for the performing arts. London: Mitchell, 1987.

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National Endowment for the Arts. International Office. World arts: The guide to international arts exchange. [Washington, D.C]: The Endowment, 1994.

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Michael, Forsyth. Auditoria: Designing for the performing arts. London: Mitchell, 1987.

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Book chapters on the topic "International performing arts studies":

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Larsen, Håkon. "A Cultural Approach to Studies of Arts and Media Organizations." In Performing Legitimacy, 1–31. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-31047-3_1.

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Roks, Robert A. "Performing “gang-ness”." In Routledge International Handbook of Critical Gang Studies, 328–39. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429462443-27.

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Morris, Gareth, Mark Browne, Kirsti Murahidy, and Mike Jacka. "Christchurch Town Hall Complex: Post-Earthquake Ground Improvement, Structural Repair, and Seismic Retrofit." In Case Studies on Conservation and Seismic Strengthening/Retrofitting of Existing Structures, 145–72. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/cs002.145.

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<p>The Christchurch Town Hall (CTH) complex contains six reinforced concrete buildings constructed circa 1970 in Christchurch, New Zealand (NZ). The complex is used for performing arts and entertainment, with an Auditorium that is internationally recognized for its acoustics. It is listed as a Grade-1 heritage building due to its cultural and historical significance. Unfortunately, the CTH foundation system was not originally designed to accommodate liquefaction-induced differential settlement and lateral spreading effects, as highlighted by the 2010–2011 Canterbury earthquake sequence. Although the most extreme ground motions exceeded the NZS 1170.5 code-defined 1/2500 year earthquake loads, the CTH structures performed remarkably well for a design that pre-dated modern seismic codes. Most of the observed structural damage was a result of the differential ground deformations, rather than in response to inertial forces. The post-earthquake observations and signs of distress are presented herein. The primary focus of this paper is to describe two major features of the seismic retrofit project (initiated in 2013) which were required to upgrade the CTH complex to meet 100% of current NZS 1170.5 seismic loadings. Firstly, the upgrade required extensive ground improvement and a new reinforce concrete mat slab to mitigate the impacts future ground deformations. Soil stabilization was provided by a cellular arrangement of jet-grout columns, a relatively new technique to NZ at the time. The new mat slab (typically 600-900 mm) was constructed over the stabilized soils. Secondly, upgrading the superstructure had many constraints that were overcome via a performance-based design approach, using non-linear time-history analysis. Recognizing the heritage significance, the superstructure “resurrection” as a modern building was hidden within the original skin minimized disruption of heritage fabric. Retrofit solutions were targeted, which also minimized the overall works. The 2015–2019 construction phase is briefly discussed within, including jet-grout procedures and sequencing considerations.</p>
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Henze, Raphaela. "Case Studies and Experience Reports." In Introduction to International Arts Management, 143–83. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-19274-7_3.

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Woodward, Ian, and Zlatko Skrbiš. "Performing cosmopolitanism. The context and object framing of cosmopolitan openness." In Routledge International Handbook of Cosmopolitanism Studies, 129–39. Second Edition. | New York : Routledge, 2018. | Series: Routledge international handbooks | Previous edition: 2012.: Routledge, 2018. http://dx.doi.org/10.4324/9781351028905-12.

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Suryani, Ina, Salleh Abd Rashid, Kamaruddin Hussin, Aizan Yaacob, and Noor Hashima. "Rhetorical Comparison of the Promotional Strategies Used in Performing Arts and Visual Arts Research Articles." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 319–27. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_32.

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Rosenbaum, Jill Leslie. "Hope and healing through arts behind bars." In The Routledge International Handbook of Violence Studies, 422–33. 1 Edition. | New York : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315270265-40.

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Huang, Xiaoyi, Yongzhong Yang, and Lin Zhong. "Performance Evaluation of China’s Performing Arts Groups from the Perspective of Totality and Subdivision." In Proceedings of the Eighth International Conference on Management Science and Engineering Management, 1075–84. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-55122-2_93.

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Anwar, Rusmadiah, Oskar Hasdinor Hassan, and Shahriman Zainal Abidin. "Theoretical Framework for Ceramic Design Studies Facing Advanced Mathematical Educational Research." In Proceedings of the International Symposium on Research of Arts, Design and Humanities (ISRADH 2014), 333–42. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-530-3_33.

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Jakubowski, Maciej. "Poland: Polish Education Reforms and Evidence from International Assessments." In Improving a Country’s Education, 137–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-59031-4_7.

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AbstractOver the last two decades, the Polish education system has been reformed several times, with the comprehensive structural reform in 1999, curriculum and evaluation reform in 2007, and early education reform introduced gradually until 2014. Student outcomes, as documented by PISA, but also other international assessments, largely improved over the last 20 years. Poland moved from below the OECD average to a group of top-performing countries in Europe. This chapter describes the reforms and research on their effects. It also discusses how it was possible to find political support for the reversal of changes that seemed to be highly successful. It provides three lessons from the Polish experience. First, the evidence should be widely disseminated among all stakeholders to sustain reforms. Second, the sole reliance on international studies is not sufficient. Additional investment into secondary analyses and national studies is necessary to develop evidence for better-informed political discussions. Third, some positive changes are more difficult to reverse. In Poland, increased school autonomy, but also external examinations, broader access to preschool and higher education, are among the changes that the new government could not alter.

Conference papers on the topic "International performing arts studies":

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Vasilieva, Ekaterina, Olga Kolpetskaya, and Irina Shkredova. "Performing Interpretation as a Phenomenon of History and Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.106.

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Tsuchida, Sadakatsu. "On the Creative Power of Music (Performing Secrets and the State of “Godly Sorrow” of Sergei Rachmaninoff)." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.053.

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Szedmák, Borbála. "Business Model Innovation and the First Steps of Digitalization in the Case of Symphony Orchestras." In New Horizons in Business and Management Studies. Conference Proceedings. Corvinus University of Budapest, 2021. http://dx.doi.org/10.14267/978-963-503-867-1_15.

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The study highlights the importance of orchestras being able to respond to the changing needs of consumers and adapt to changes in the world. Such a change is, for example, the current coronavirus epidemic, which poses especially great difficulties for organizations of the cultural sector that deal with performing arts, as concerts and performances – providing the basis of their operation – have become impossible. In order to gain “immunity” to the virus, business model innovation and exploiting opportunities offered by digitalization are essential. Furthermore, similar cases can occur at any time for which orchestras have to be prepared. As a result, orchestras (and in a broader sense all kinds of organizations) need to fundamentally rethink their business models. After conducting secondary research and interviews with 10 symphony orchestra managers and 10 symphony orchestra musicians, I have identified some novel aspirations, attempts and projects selected from international and Hungarian symphonic orchestral life to provide excellent examples of how the business model can be redefined and how the expectations of the 21st-century audience can be met. These examples show that there are orchestras which have understood that responding to the changing demands of consumers and utilizing the opportunities given by technology is essential, although it is still a question of how many more “coronavirus waves” are needed to make it clear for all orchestras that fundamental changes are necessary to preserve a market-leading position or become a market leader.
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Pirjo, Suvilehto. "“Puppetry and Opera Are Striking.” Students’ Experiences of Collaboration and Curiosity in Puppetry Opera as a Case Study." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.794.

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This paper will focus on the possibilities of puppetry and opera in early childhood education studies (ECE), and among children in day care in a class of twenty 4−5-year-olds. The research centres around 200 university students in the middle of a project on opera and puppetry in their ECE programme. Opera is about strong emotions (see Trevarthen 2012, 263), and puppetry is a vehicle to make feelings visible (Lintunen, 2009, Majaron 2012, 11, Scheel, 2012). Puppetry and opera can be used in collaboration, and they are combined in this ECE programme as a part of the university studies in drama and literary arts. A method called Pritney has been created to realize the project. The theoretical background consists of puppetry and literary arts. The paper will present some findings from cases in which puppetry and opera have been used experimentally with ECE students, and subsequently with kindergarten children. There is a need for collaborative encounters during the processes of puppetry and opera. Based on the observations and remarks of university students doing their puppetry and opera project, this paper considers the value of conveying puppetry and opera to a child audience as a stimulation for curiosity and emotions. All this reflection is followed by the examples of practice in ECE studies. Performing opera with puppets is beneficial. In summary, the artistic experiments created by puppetry and opera are valuable in transferring cultural heritage and creating aesthetic and pedagogical moments. There is also a short consideration of a project called “Rinnalla−Hand in Hand” (2018−2020) funded by Finnish ministry of education, in which the Pritney method is further developed (see also Suvilehto 2019).
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VLASCEANU, Remus Bogdan. "THE EXPRESSIVITY OF NON-VERBAL LANGUAGE. PRACTICAL STUDIES." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.055.

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Drapella-Hermansdorfer, Alina. "THE PATCHWORK BASED METHOD OF GREEN INFRASTRUCTURE DESIGN. TWO CASE STUDIES FROM WROCLAW, POLAND." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.132.

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Morozova, Anna Valentinovna. "THE STAGES IN THE DEVELOPMENT OF ART STUDIES IN RUSSIA AND THE HISTORY OF SPANISH ART." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.010.

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Masunah, Juju, Trianti Nugraheni, and Yudi Sukamayadi. "Building Performing Arts Community through Bandung Isola Performing Arts Festival (BIPAF) in Indonesia." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.39.

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Rakkolainen, Ismo, Tanju Erdem, Çiǧdem Erdem, Mehmet Özkan, and Markku Laitinen. "Interactive "immaterial" screen for performing arts." In the 14th annual ACM international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1180639.1180692.

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Huang, Zhichao, Xutao Li, Yunming Ye, and Michael K. Ng. "MR-GCN: Multi-Relational Graph Convolutional Networks based on Generalized Tensor Product." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/175.

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Graph Convolutional Networks (GCNs) have been extensively studied in recent years. Most of existing GCN approaches are designed for the homogenous graphs with a single type of relation. However, heterogeneous graphs of multiple types of relations are also ubiquitous and there is a lack of methodologies to tackle such graphs. Some previous studies address the issue by performing conventional GCN on each single relation and then blending their results. However, as the convolutional kernels neglect the correlations across relations, the strategy is sub-optimal. In this paper, we propose the Multi-Relational Graph Convolutional Network (MR-GCN) framework by developing a novel convolution operator on multi-relational graphs. In particular, our multi-dimension convolution operator extends the graph spectral analysis into the eigen-decomposition of a Laplacian tensor. And the eigen-decomposition is formulated with a generalized tensor product, which can correspond to any unitary transform instead of limited merely to Fourier transform. We conduct comprehensive experiments on four real-world multi-relational graphs to solve the semi-supervised node classification task, and the results show the superiority of MR-GCN against the state-of-the-art competitors.

Reports on the topic "International performing arts studies":

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DeJaeghere, Joan, Bich-Hang Duong, and Vu Dao. Teaching Practices That Support and Promote Learning: Qualitative Evidence from High and Low Performing Classes in Vietnam. Research on Improving Systems of Education (RISE), January 2021. http://dx.doi.org/10.35489/bsg-rise-ri_2021/024.

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This Insight Note contributes to the growing body of knowledge on teaching practices that foster student learning and achievement by analysing in-depth qualitative data from classroom observations and teacher interviews. Much of the research on teachers and teaching in development literature focuses on observable and quantified factors, including qualifications and training. But simply being qualified (with a university degree in education or subject areas), or trained in certain ways (e.g., coaching versus in-service) explains very little of the variation in learning outcomes (Kane and Staiger, 2008; Wößmann, 2003; Das and Bau, 2020). Teaching is a complex set of practices that draw on teachers’ beliefs about learning, their prior experiences, their content and pedagogical knowledge and repertoire, and their commitment and personality. Recent research in the educational development literature has turned to examining teaching practices, including content knowledge, pedagogical practices, and teacher-student interactions, primarily through quantitative data from knowledge tests and classroom observations of practices (see Bruns, De Gregorio and Taut, 2016; Filmer, Molina and Wane, 2020; Glewwe et al, in progress). Other studies, such as TIMSS, the OECD and a few World Bank studies have used classroom videos to further explain high inference factors of teachers’ (Gallimore and Hiebert, 2000; Tomáš and Seidel, 2013). In this Note, we ask the question: What are the teaching practices that support and foster high levels of learning? Vietnam is a useful case to examine because student learning outcomes based on international tests are high, and most students pass the basic learning levels (Dang, Glewwe, Lee and Vu, 2020). But considerable variation exists between learning outcomes, particularly at the secondary level, where high achieving students will continue to upper-secondary and lower achieving students will drop out at Grade 9 (Dang and Glewwe, 2018). So what differentiates teaching for those who achieve these high learning outcomes and those who don’t? Some characteristics of teachers, such as qualifications and professional commitment, do not vary greatly because most Vietnamese teachers meet the national standards in terms of qualifications (have a college degree) and have a high level of professionalism (Glewwe et al., in progress). Other factors that influence teaching, such as using lesson plans and teaching the national curriculum, are also highly regulated. Therefore, to explain how teaching might affect student learning outcomes, it is important to examine more closely teachers’ practices in the classroom.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.

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