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Journal articles on the topic 'Maya artists'
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1
Dewi, Putri Aiysiyah Rachma. "Konstruksi Identitas Kedaerahan oleh Media Massa Lokal." Jurnal ASPIKOM 1, no. 2 (January 19, 2011): 149. http://dx.doi.org/10.24329/aspikom.v1i2.14.
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This article focuses on how the local print media view of regional identity artists involved in the video contained sexual scenes. The author raised the case of video sexual scenes involving Ariel, Luna Maya, and Cut Tari. All three are national artist when the video was circulated in the society. The three newspapers under study are the Bali Post, Serambi Indonesia, and Pikiran Rakyat. The results showed that the three newspapers was to discredit the three artists with the construction of such news. The newspaper did not give chance for artists to express their opinions.
2
Solari, Amara, and Linda K. Williams. "Maya Blue and Franciscan Evangelism." Latin American and Latinx Visual Culture 3, no. 4 (October 1, 2021): 49–71. http://dx.doi.org/10.1525/lavc.2021.3.4.49.
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In the first decades of the Franciscan evangelical campaign in Yucatán, Mexico (1540–90), Maya builders and artists directed the construction and pictorial decoration of hundreds of Christian edifices, ranging from small-scale chapels to larger churches and entire monastic complexes, offering a material record of the peninsula’s religious transformation. Strategic color selection and the deployment of Maya blue pigment in particular architectural, iconographic, and liturgical contexts enabled Indigenous catechumens to reconcile post-Tridentine conceptions of divinity with precontact sacred ideologies. By weaving diverse methodologies from the study of visual sources, textual documents, and material characterization techniques, we demonstrate how colonial Maya color theory actively engineered localized Catholicism.
3
Aoyama, Kazuo. "Elite Artists and Craft Producers in Classic Maya Society: Lithic Evidence from Aguateca, Guatemala." Latin American Antiquity 18, no. 1 (March 2007): 3–26. http://dx.doi.org/10.2307/25063083.
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This report examines 10,845 lithic artifacts from the rapidly abandoned city of Aguateca, Guatemala, to elucidate elite artistic and craft production in Classic Maya society. The methods used include high-power microwear analysis. The results suggest that significant numbers of Maya elite, both men and women, engaged in artistic creation and craft production, often working in both attached and independent contexts. The royal family and other elite households produced many artistic and craft items, including wood carvings and hide or leather goods. The scribe inhabiting Structure M8-8 carved stelae for the ruler, and the high-status courtier/scribe living in Structure M8-4 emphasized the production of shell and bone objects and other royal regalia in a courtly setting. Clearly, Aguateca was a center of part-time production of both utilitarian and luxury goods as well as of consumption. Classic Maya elite men and women artists/craft producers possessed multiple social identities and roles, which in turn implies a more flexible and integrated system of Classic Maya elite participating in attached and independent craft production more than is usually proposed.
4
Chen, Fang Yi, Tian En Chen, Wei Wang, and Xiao Jing Ma. "A Method of Pepper Plant Modeling and Animation Set-Up in Autodesk Maya." Applied Mechanics and Materials 462-463 (November 2013): 1110–17. http://dx.doi.org/10.4028/www.scientific.net/amm.462-463.1110.
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Virtual crop models and animation make great significances to agricultural researches. But to recreate the structure and dynamic is often a hard and laborious task. Most existing plant-modeling systems require the user to have specific biological knowledge about plants, but its often the 3D artists who do the work. This paper discusses a method of plant modeling and rigging in Maya, which has already been familiar to 3D artists and has advantages in industrial production pipelines. The method takes pepper plant for example, dividing the problem into organs and the growth patterns, and using Maya modeling and animating system to simulate the topological structure and growth dynamic. It set up the geometry with controls which are easy to use. The result can be conveniently exported to projects. This approach helps prepare the research of variety plant modeling and animation plug-in for Maya.
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Stone, Andrea J. "KEEPING ABREAST OF THE MAYA: A STUDY OF THE FEMALE BODY IN MAYA ART." Ancient Mesoamerica 22, no. 1 (2011): 167–83. http://dx.doi.org/10.1017/s0956536111000137.
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AbstractThis paper discusses the importance of female breasts in gender construction in Maya art and explains artistic conventions and choices in their deployment. The visual analysis focuses on Late Classic pictorial vases and ceramic figurines. Rather than reflecting a natural body, the female breast was filtered through a cultural lens that drove its highly conceptual rendering in Maya art, mirrored in a breast hieroglyph. Through the principle of contrast, including morphology and absence vs. presence of breasts in specific pictorial contexts, Maya artists constructed female personae varying in age, class, supernatural status, and gender ambiguity. In order to flesh out the layered meaning of the breast, the paper turns to ethnographic studies of modern Maya medicine concerning the hot-cold system. It is argued that ethnographic data on women's bodies in medical discourse shed light on how the breast served as an index of age-based female stereotypes.
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Aoyama, Kazuo. "CLASSIC MAYA WARFARE AND WEAPONS: Spear, dart, and arrow points of Aguateca and Copan." Ancient Mesoamerica 16, no. 2 (July 2005): 291–304. http://dx.doi.org/10.1017/s0956536105050248.
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To provide some insights into the nature and role of warfare in the rise, development, and decline of Classic Maya civilization, this article discusses spear, dart, and arrow points used by the Classic Maya elites at the rapidly abandoned fortified city of Aguateca, Guatemala, and their temporal and spatial distribution patterns in and around Copan, Honduras. Both the royal family and elite scribes/artists at Aguateca used spear and dart points for intergroup human conflict as well as for artistic and craft production under enemy threat. An important implication is that the ruler and elite scribes/artists were also warriors. The unusually high concentrations of identifiable weaponry at the Early Classic hilltop center of Cerro de las Mesas as well as the Acropolis and other Late Classic locations in the Copan Valley, along with other lines of evidence, indicate that warfare was critical in the development and downfall of Classic Maya civilization at Copan.
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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.
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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negritude did not have quite the same revolutionary appeal as in Paris, where Josephine Baker was hailed as a Surrealist goddess of “natural” beauty and power. But the electric Haitian voodoo performances of dancer and choreographer Katherine Dunham attracted a diverse community of African-American artists, émigrés, intellectuals, and communist sympathizers in the off-limits clubs, cafés, and private parties in Harlem. In its uncontainable, carnivalesque power, open forms, and sexual energy, Haitian voodoo captured an attraction to the “primitive” that affected American intellectuals and popular culture alike. Before becoming a Hollywood star, Dunham, of mixed West African and Native American roots, traveled to Haiti to study voodoo rituals for an anthropology degree at the University of Chicago. Fusing American dance, European ballet, and voodoo movements, she became a symbol of the black diaspora. In a recent film interview, Dunham recalls how her young assistant (or “girl Friday,” in the parlance of the time) Maya Deren was fascinated by Haitian dance and would use it to steal the show in rehearsals, public performances, and glitzy parties. The daughter of Russian Jewish émigrés and Trotskyite activists, Deren was struck by the power of this syncretic dance, which blended different cultural backgrounds and formed political consciousnesses while always providing entertainment and energizing dinner parties and giving voice to invisible deities. In her experimental filmmaking, Deren infused this magnetic power of dance into cinema.
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Balsach Peig, Maria Josep. "Visions from the Desert. The Metamorphoses of Dorothea Tanning." Barcelona Investigación Arte Creación 7, no. 3 (October 3, 2019): 307. http://dx.doi.org/10.17583/brac.2019.4235.
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This paper offers an overview of the oeuvre of Dorothea Tanning (1910-2012) based on the iconography and hermeneutics of images relating to identity, trauma and violence. Tanning was not only a painter, but also a sculptor, writer, poet and outstanding chess player, who single-handedly pursued her artistic career through the best part of the twentieth century until her death. In addition, reference will be made to artists with links to Surrealism, such as Leonora Carrington, Dora Maar, Maya Deren and Louise Bourgeois, in order to frame the aspects discussed here in a wider context of female artists. Thus, Tanning will serve as a paradigmatic example of a sensitivity tending towards the mysterious, the occult and trauma in general.
9
Mohabir, Nalini. "Kala Pani: Aesthetic Deathscapes and the Flow of Water after Indenture." Asian Diasporic Visual Cultures and the Americas 5, no. 3 (December 5, 2019): 293–314. http://dx.doi.org/10.1163/23523085-00503003.
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This article focuses on the kala pani (dark waters) as a deathscape particular to indentured labourers and their descendants. Following a historical discussion of representations of the kala pani, the author turns to contemporary artists Maya Mackrandilal and Andil Gosine to explore how their artistic engagements are rerouting the flows of the kala pani away from discourses of caste stigma or the finality of (social) death to a reckoning of past and future time for those living in the diasporic space of North America.
10
Zahrawaan, Amy. "Segregasi Metode dan Kegiatan Berkesenian di Era Pandemi Covid-19." Urban: Jurnal Seni Urban 4, no. 1 (April 15, 2020): 19–28. http://dx.doi.org/10.52969/jsu.v4i1.60.
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The emergence of the Covid-19 pandemic in the world has brought major impacts and significant changes to the fabric of human life, and artists are no exception. This paper will analyze some of the symptoms and phenomena of the segregation of art methods and activities carried out by art activists and lovers during the Covid-19 pandemic. The analysis in this article uses a descriptive analytical review method by describing various symptoms and phenomena observed through case studies according to the focus of the problem being studied. The results show that the survival of artists and works of art during the Covid-19 pandemic is very dependent on the development of digital technology in virtual spaces (virtual world). The positive impact of using digital technology through various virtual spaces, digital platforms, and social media through the internet network has opened a wider willing space for artists to exist and keep the art ecosystem alive, growing, and surviving during the Covid-19 pandemic through new media.Munculnya pandemi Covid-19 di dunia telah membawa dampak besar dan perubahan signifikan terhadap tatanan kehidupan manusia, tidak terkecuali bagi para seniman. Tulisan ini akan menganalisis beberapa gejala dan fenomena segresi metode dan kegiatan berkesenian yang dilakukan para pegiat dan pencinta seni di masa pandemi Covid-19. Analisis dalam artikel ini menggunakan metode tinjauan deskriptif analitis dengan menguraikan berbagai gejala dan fenomena yang diamati melalui studi kasus sesuai dengan fokus permasalahan yang diteliti. Hasil penelitian menunjukkan bahwa keberlangsungan hidup seniman dan karya seni di masa pandemi Covid-19 sangat bergantung pada perkembangan teknologi digital di 19 ruang virtual (dunia maya). Dampak positif penggunaan teknologi digital melalui berbagai ruang virtual, platform digital, dan media sosial melalui jaringan internet telah membuka ruang berkenian yang lebih luas bagi para seniman untuk tetap eksis dan menjaga ekosistem seni tetap hidup, berkembang, dan bertahan di masa pandemi Covid-19 melalui media baru. ki-laki, yang berpengaruh pada cara memproyeksikan hasrat kecintaan terhadap ibu mereka.
11
Saha, Anamik. "Locating MIA: ‘Race’, commodification and the politics of production." European Journal of Cultural Studies 15, no. 6 (November 30, 2012): 736–52. http://dx.doi.org/10.1177/1367549412450633.
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MIA (real name: Mathangi ‘Maya’ Arulpragasam) is one of the few British South Asian music artists who have crossed into the mainstream of western pop. The way in which she has attained this while foregrounding an explicit anti-racist and anti-imperialist message in her songs can be seen as a significant musical-political intervention, although the particular contestation of her work that has followed also highlights the challenges that Asian artists continue to face in gaining recognition within western popular culture. However, what is truly significant about MIA’s career is how she has managed to express a disavowed Asian identity without becoming trapped in the marginal space through which Asian culture is excluded. This has been the outcome of particular industry practice that has harnessed successfully the enabling features of commodification. In this way MIA represents an effective cultural politics of difference, the success of which is absolutely contingent upon an equally effective politics of production.
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Filipczak, Dorota. "Framing Madame B: Quotation and Indistinction in Mieke Bal and Michelle Williams Gamaker’s Video Installation." Text Matters, no. 5 (November 17, 2015): 231–44. http://dx.doi.org/10.1515/texmat-2015-0017.
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The article engages with the video installation Madame B by Mieke Bal and Michelle Williams Gamaker. The work was premiered in the city of Łódź in Poland (between 6 Dec. 2013 and 9 Feb. 2014). The author makes use of the exhibition brochure by two artists published by the Museum of Modern Art, and the recording of a seminar held by Bal and Williams Gamaker after launching their work. The article focuses on the innovative audiovisual interpretation of Flaubert’s famous novel. Basing the argument on the concept of framing created by Bal, the author applies it to Bal and Williams Gamaker’s exhibition by relating it to the history and culture of the Polish location where it was first shown. Above all, however, the article discusses the importance of quotation and indistinction in Madame B, where the artists quote from (among others): Louise Bourgeois, Maya Deren, Artemisia Gentileschi, Charlotte Perkins Gilman, William Kentridge and Sol LeWitt.
13
Ilangasingha, I. M. T. "Literary Association in the Subject of Painting the Maya Dream: A Study of Literary Documents and Wall Paintings." Vidyodaya Journal of Humanities and Social Sciences 08, no. 01 (January 5, 2022): 80–92. http://dx.doi.org/10.31357/fhss/vjhss.v08i01.06.
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After Buddha's parinirvana, the Buddha's teachings were written down in Pali. Buddhist literature has emerged from the fusion of the early Buddhist period, contemporary Brahmanism and post- Buddhist sects that later spread. The prominent subjects of Buddhist literature are the character of Buddha, Buddhist history and Jataka stories. After the Mahindagamana, Sri Lankan literary art and Wall painting were formally established with the support of the state. Buddhism was a leading proposition for the classical literature of the Anuradhapura and Polonnaru periods. Artists inspired by that literature used literary documents as motifs for murals. One of the main objectives of the research is to identify the artist's literary association and creative skills in painting the fantasy, which is an elaborate proposition in literary documents. The semantic approach was used as the philosophical communication method in the analysis of facts. In literature, an organized system of signs is built by applying literary features such as letters, words, sentences, various similes, similes. The reader perceives the idea or feeling by systematically constructing the signals obtained by reading. A set of visual images is presented to the viewer by the murals painted using the propositions of those Buddhist literary documents. They compose meanings as colors, lines, shapes as well as symbols and shapes separate from each other. It can be recognized in the observation of the paintings that the painter took the association of literary documents in the subject of painting the Maya dream. It can be concluded that different meanings are perceived by the visual signs used by the painter for the painting.
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Mohan Ghosh, Soumya, and Rajni Singh. "Violated Bodies and the Reclamation of Female Subjectivity in Usha Ganguli’s Ham Mukhtārā and Maya Krishna Rao’s Walk." Archiv orientální 85, no. 2 (September 18, 2017): 219–59. http://dx.doi.org/10.47979/aror.j.85.2.219-259.
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The article sets out to analyze the victimization and objectification of women and the assertion of female subjectivity in the agitprop theatres of Usha Ganguly and Maya Krishna Rao. The article focuses on Ganguly’s Ham Mukhtārā, an adaptation of Mukhtār Māī’s autobiography, In the Name of Honor: A Memoir, which registers protest against a patriarchal society that subjugates women, as well as Rao’s Walk, which challenges the dynamics of power and the societal ostracization of women. The article argues that in the wake of the Nirbhayā case and the ripples created in society by the protests, candlelit marches, and public performances, these recent feminist-propagandist plays are conceived as part of an ongoing pursuit on the part of both artists to resist the phallocentric objectification and reductive categorization of the female body and to reclaim the agency and subjectivity of women.
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Mohan Ghosh, Soumya, and Rajni Singh. "Violated Bodies and the Reclamation of Female Subjectivity in Usha Ganguli’s Ham Mukhtārā and Maya Krishna Rao’s Walk." Archiv orientální 85, no. 2 (September 18, 2017): 219–52. http://dx.doi.org/10.47979/aror.j.85.2.219-252.
Full textAbstract:
The article sets out to analyze the victimization and objectification of women and the assertion of female subjectivity in the agitprop theatres of Usha Ganguly and Maya Krishna Rao. The article focuses on Ganguly’s Ham Mukhtārā, an adaptation of Mukhtār Māī’s autobiography, In the Name of Honor: A Memoir, which registers protest against a patriarchal society that subjugates women, as well as Rao’s Walk, which challenges the dynamics of power and the societal ostracization of women. The article argues that in the wake of the Nirbhayā case and the ripples created in society by the protests, candlelit marches, and public performances, these recent feminist-propagandist plays are conceived as part of an ongoing pursuit on the part of both artists to resist the phallocentric objectification and reductive categorization of the female body and to reclaim the agency and subjectivity of women.
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Young, James E. "The memorial’s arc: Between Berlin’s Denkmal and New York City’s 9/11 Memorial." Memory Studies 9, no. 3 (June 30, 2016): 325–31. http://dx.doi.org/10.1177/1750698016645266.
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Without direct reference to the Holocaust or its contemporary “counter-monuments,” Michael Arad’s design for the National 9/11 Memorial at Ground Zero is nonetheless inflected by an entire post-war generation’s formal preoccupation with loss, absence, and regeneration. This is also a preoccupation they share with post-Holocaust poets, philosophers, artists, and composers: how to articulate a void without filling it in? How to formalize irreparable loss without seeming to repair it? In this article, I imagine an arc of memorial forms over the last 70 years or so and how, in fact, post-World War I and World War II memorials have evolved along a discernible path, all with visual and conceptual echoes of their predecessors. As Maya Lin’s design for the Vietnam Veterans’ Memorial was informed by earlier World War I and even World War II memorial vernaculars, her design also broke the mold that made Holocaust counter-memorials and other negative-form memorials possible.
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King, Joyce E. "2015 AERA Presidential Address Morally Engaged Research/ers Dismantling Epistemological Nihilation in the Age of Impunity." Educational Researcher 46, no. 5 (June 2017): 211–22. http://dx.doi.org/10.3102/0013189x17719291.
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This article presents Joyce E. King’s 2015 AERA presidential address, which artfully combined scholarly discourse with performance elements and diverse voices in several multimedia formats. In discussing morally engaged research/ers dismantling epistemological nihilation, the article advances the argument that the moral stance, solidarity with racial/cultural dignity in education praxis, policy, and research, is needed to combat discursive forms of racism. The lecture opened with African Americans and Native Americans performing culturally affirming traditional ritual practices. An African drum processional and a libation honored revered Black ancestors—scholars, artists, and activist intellectuals—Maya Angelou, Ruby Dee, Amiri Baraka, Vincent Harding, and Asa G. Hilliard, III (Nana Baffour Amankwatia II). An intergenerational Native American delegation offered a traditional welcome prayer, gifting of tobacco, and ceremonial drumming and dance performance. Dr. King began her address by acknowledging that the 2015 AERA annual meeting was taking place in the ancestral lands of the Pottawatomie Nation.
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Storti, Anna M. Moncada. "Racist Intimacies; or, The Femme Alter Ego and Her Retribution." differences 35, no. 1 (May 1, 2024): 97–133. http://dx.doi.org/10.1215/10407391-11101348.
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Cultural depictions of Asian/white miscegenation have long been a source of fascination for scholars within Asian American and sexuality studies. Such a long-standing interest has not only provided key insights into the Orientalist structure of racialized sexuality, but it has also kept our sights set, perhaps too set, on deciphering the Asian woman both in the context of romance and as an object of desire. This essay recasts the narrative of Asian/white sexuality as one of minoritarian retribution, making the argument that insofar as Asian femininity forms the object of racist desires, it can also function as the basis for feminist revenge. The author contemplates racial fetishism through twenty-first-century feminist cultural production, namely the work of mixed-race artists Chanel Matsunami Govreau and Maya Mackrandilal, showing how neoliberal multiculturalism has become further embedded within the infrastructure of everyday encounters, giving rise to something we might call the erotic life of anti-racism.
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Farber, Jules B. "The Process of Writing a Book about Baldwin’s Self-Exile in Saint-Paul de Vence." James Baldwin Review 3, no. 1 (October 4, 2017): 152–59. http://dx.doi.org/10.7227/jbr.3.9.
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Rather than write a classic biography of James Baldwin in the last cycle of his life—from his arrival in 1970 as a black stranger in the all-white medieval village of Saint-Paul, until his death there in 1987—I sought to discover the author through the eyes of people who knew him in this period. With this optic, I sought a wide variety of people who were in some way part of his life there: friends, lovers, barmen, writers, artists, taxi drivers, his doctors and others who retained memories of their encounters with Baldwin on all levels. Besides the many locals, contact was made with a number of Baldwin’s further afield cultural figures including Maya Angelou, Harry Belafonte, Sidney Poitier, Angela Davis, Bill Wyman, and others. There were more than seventy interviews in person in places as distant as Paris, New York or Istanbul and by telephone spread over four years during the preparatory research and writing of the manuscript. Many of the recollections centred on “at home with Jimmy” or dining at his “Welcome Table.”
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Ali, Grace Aneiza. "Artistic Responses to Crossing the Kālā Pānī." Arts 12, no. 1 (February 13, 2023): 30. http://dx.doi.org/10.3390/arts12010030.
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Between 1838 and 1917, a British system of indentured servitude replaced the enslavement of African peoples with Indian labor in the Americas and the Caribbean. Almost a quarter of a million indentured Indian laborers came to British Guiana and would form the foundation of the majority of the Indian population in present-day Guyana. These men and women would spend nearly eight decades toiling on sugar plantations and rice fields before the brutal system of labor was abolished. This curatorial essay explores the work of three key contemporary artists of Guyanese heritage—Maya Mackrandilal, Michael Lam, and Suchitra Mattai—who underscore St. Vincent-born poet Derek Walcott’s seminal words “the sea is history” with an exploration of the sea as a weapon of rupture. Collectively, their artworks return us to a British past to offer a visceral reminder of the perilous kālā pānī crossing [Hindi for “black waters”], marking the sea the place where ancestral histories, trauma, and survival all share space. Grounding us in the present and pointing us to a future, I illustrate how these artworks also function as contemporary tools of remembrance and repair.
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Flores Farfán, José Antonio. "Los soportes multimedia en la revitalización lingüística: una experiencia." Tequio 3, no. 8 (January 2, 2020): 38–47. http://dx.doi.org/10.53331/teq.v3i8.6600.
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In this contribution, we'll briefly review the
synergistic relation between different types of media
(e.g. digital) in contemporary contexts as strategies
to strengthen native languages, a project that the
Acervo Digital de Lenguas Indígenas (ADLI-CIESAS)
has developed for over two decades, promoting
reading and oral expression in native languages via
a multimedia and multimodal approach, resulting in
more effective and affective forms of revitalization,
maintenance and linguistic and cultural development.
Over the years, the project has developed and
continues to develop successful revitalization paths in
an ever-threatening language context, a bastion of this
being the collaborative work with intercultural groups
of researchers, activists, artists and educators, among
others, in diverse regions in Mexico. These include the
Maya region in the Yucatan Peninsula, more recently
the Baja California Peninsula, with Yuman languages,
such as Pai Pai and Kumiay, and even North American
languages -e.g. Fox, Ojibwe-, the Nahuas of different
regions and Mixtecs of Oaxaca and Guerrero, Huave
of Oaxaca, Hñahñu of Hidalgo, and others niches of
opportunity in these and other indigenous enclaves,
together with developing language revalorization
work for mainstream society.
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Lee, Carol Marie. "Hands-On: Curricular Bridging Concepts from Maker Spaces Re-Turning to Hand-Made and Many Hands Making Together." Journal of the Canadian Association for Curriculum Studies 18, no. 1 (July 6, 2020): 31–32. http://dx.doi.org/10.25071/1916-4467.40450.
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Poet, author and activist Maya Angelou once told Oprah Winfrey, "Do the best you can until you know better. Then when you know better, do better" (Winfrey, 2011, 2:08). This is practical advice for anyone, including curriculum developers. Angelou was, of course, speaking of forgiveness, fortitude, perseverance and learning. What is interesting for me as an educator is how Angelou went about teaching Winfrey this lesson. Recognizing the power differential between her and the then young Winfrey, she did not begin their relationship by giving advice. She began it by making Winfrey food—a making gesture signifying Winfrey’s equality with the maker. After their meal, Angelou encouraged further communion by sharing poetry made by Paul Laurence Dunbar. The making of things, physical things as in a meal, and/or artistic things as with poetry, is not featured in most Canadian curriculums. Where it does appear, it is framed as optional or vocational; making is something for those with less cognitive aptitude or for artists with marginal value to community commerce. This orientation in curriculums has perhaps led to the under-valuation of “making” as a strategy for relationship building, for reconciliation and for bridging social power divides. My presentation describes a critical discourse analysis I conducted of this popular Angelou quotation and its historical context. I use it to explore insights related to how divides might be bridged through a curriculum that assigns greater value to “making” (Fairclough et al., 2014; van Dijk, 2001; Wodak, 2011; Wodak & Meyer, 2008; Wodak & Reisigl, 2006).
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Annisa, Fhena. "Ujaran Kebencian terhadap Artis K-Pop dalam Opening Ceremony FIFA World Cup 2022." Jurnal Komunikasi Global 12, no. 1 (June 27, 2023): 71–97. http://dx.doi.org/10.24815/jkg.v12i1.31107.
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Kejuaraan Piala Dunia FIFA 2022 sempat menggemparkan jagat dunia maya usai keterlibatan artis K-pop sebagai salah satu pengisi acara pembukaan. Muncul sebagai bentuk implementasi tema yang diusung, yaitu multicultural, diversity, and peace, Jungkook BTS justru menjadi sasaran ujaran kebencian dari sejumlah penggemar sepak bola asal Indonesia di media sosial, khususnya Instagram dan Twitter. Tujuan penelitian ini yakni untuk mengetahui bentuk-bentuk ujaran kebencian para oknum penggemar sepak bola Indonesia terhadap Jungkook BTS di sejumlah unggahan media sosial. Penelitian dilakukan dengan pendekatan deskriptif kualitatif dengan teknik pengumpulan data berupa dokumentasi komentar jahat di unggahan Instagram @detik.com dan @plesbol_pusat, unggahan di akun Twitter @idextratime, dan kemudian dengan wawancara beberapa penggemar sepak bola. Hasil penelitian menunjukkan bahwa ujaran kebencian terbagi atas beberapa kategori, yakni penghinaan, penistaan, hingga perbuatan tidak menyenangkan. Sementara pada aspek marjinalisasi ujaran kebencian didominiasi pada aspek eufimisme dan disfemisme. The 2022 FIFA World Cup Championship has shocked the virtual world after the involvement of K-pop artists as one of the performers for the opening ceremony. Appearing as a form of implementation of the theme that was carried out, namely multicultural, diversity, and peace, Jungkook BTS actually became the target of hate speech from several football fans from Indonesia on social media, especially Instagram and Twitter. The purpose of this study is to find out the forms of hate speech by Indonesian football fans against Jungkook BTS in several news posts on social media. The research was conducted using a qualitative descriptive approach with data collection techniques in the form of documentation of malicious comments uploaded on Instagram @detik.com and @plesbol_pusat and uploaded on the Twitter account @idextratime followed by interviews with several football fans. The results of the study show that hate speech is divided into several categories, namely insults, insults to unpleasant acts, while in the aspect of marginalization, hate speech is dominated by euphemism and dysphemism aspects.
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Yuwono, Iswahyudi Tejo, Huda Maulana Kurnia, Muhammad Wahyu Tri Nugroho, and Magfireza Akbari. "Strategi Ekonomi Seniman Kethoprak Balekambang di Masa Pandemi Covid-19 melalui Media Baru." Ekonomis: Journal of Economics and Business 7, no. 2 (September 11, 2023): 873. http://dx.doi.org/10.33087/ekonomis.v7i2.1115.
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This paper aims to describe how the Balekambang kethoprak artists maintain their economic status and continue to work in a space that no longer exists. What kind of management strategy will be adopted so that the pot remains upright and the idealism of work is maintained. There must be a specific strategy for various sectors of human activity, especially in physical activity. This research is an empirical qualitative research, with the subjects being artists who are members of the Balekambang kethoprak artist group. Data collection techniques were observation and direct interviews with the subject on the spot. Data mining guides are management theory, as they are implemented to maintain self-life and art life. The results of the study found that the artists displayed a management approach to survive. Supporting oneself and living the arts is pursued by planning, organizing, actuating, and controlling management strategies. In the end, digital technology as a new media continues to be developed as a form of adaptation to society during a pandemic. One of the activities adapted to digital media is an art exhibition.
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Porfírio, Iago. "Brasil é o que mata." Tematicas 30, no. 60 (July 28, 2023): 168–79. http://dx.doi.org/10.20396/tematicas.v30i60.16639.
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Publicado pela coleção Encruzilhada, da editora Cobogó, que procura pautar o antirracismo, os feminismos e o anticolonialismo no bojo de uma teoria crítica, Não vão nos matar agora reúne textos, cartas e artigos da artista e pesquisadora da imagem, da poesia, da teoria crítica e da performance Jota Mombaça. O livro surge em um contexto de intensa mobilização política dos debates em torno da cisgeneridade, do racismo e da branquitude, mas também de levantes antirracistas como forma de criar “barricadas”, para usar o termo da autora, contra o fascismo e a política de extermínio dos corpos dissidentes de gênero e raça que impera nos dias de hoje. Assim, apresento neste texto alguns dos elementos trazidos por Mombaça em seus textos-pistas-para-a-fuga.
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Porfíro, Iago. "Brasil é o que mata." Composição Revista de Ciências Sociais da UFMS 3, no. 27 (January 25, 2023): 50–59. http://dx.doi.org/10.36066/compcs.v3i27.16125.
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Publicado pela coleção Encruzilhada, da editora Cobogó, que procura pautar o antirracismo, os feminismos e o anticolonialismo no bojo de uma teoria crítica, Não vão nos matar agora reúne textos, cartas e artigos da artista e pesquisadora da imagem, da poesia, da teoria crítica e da performance Jota Mombaça. O livro surge em um contexto de intensa mobilização política dos debates em torno da cisgeneridade, do racismo e da branquitude, mas também de levantes antirracistas como forma de criar “barricadas”, para usar o termo da autora, contra o fascismo e a política de extermínio dos corpos dissidentes de gênero e raça que impera nos dias de hoje. Assim, apresento neste texto alguns dos elementos trazidos por Mombaça em seus textos-pistas-para-a-fuga.
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DeBouzek, Jeanette. "Maya Deren: A portrait of the artist as ethnographer." Women & Performance: a journal of feminist theory 5, no. 2 (January 1992): 7–28. http://dx.doi.org/10.1080/07407709208571150.
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Zanuar, Seri Nurul Syuhada, and Khairunnisa Diyana Md Noor. "Social Media's Effectiveness for Malaysia's Independent Artists." Environment-Behaviour Proceedings Journal 7, SI9 (October 9, 2022): 9–14. http://dx.doi.org/10.21834/ebpj.v7isi9.3928.
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Social media has played a crucial role for artists to market and promote their artwork. They have increasingly used Instagram, Facebook, YouTube, and Twitter. This study focuses on three elements which are to investigate which platform of social media that been used the most for the artists to market their products and service, to study impacts of the social media on their marketing strategies, and to find out how the artistes manage their social media and identifying on how the artistes maintain their fan interest towards their works. Keywords: social media, technology, internet, social networks eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3928
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Reents-Budet, Dorie. "Elite Maya Pottery and Artisans as Social Indicators." Archeological Papers of the American Anthropological Association 8, no. 1 (June 28, 2008): 71–89. http://dx.doi.org/10.1525/ap3a.1998.8.1.71.
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Anak Michael, Valerie, Khairul Aidil Azlin Abd Rahman, Shureen Faris Abdul Shukor, and Noor Azizi Mohd Ali. "Artistic Knowledge and Practices of Hybrid Art based on the Analysis of Malaysian Artists’ Artworks." Environment-Behaviour Proceedings Journal 5, SI1 (June 1, 2020): 111–17. http://dx.doi.org/10.21834/ebpj.v5isi1.2305.
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The objective of this paper is to identify the artistic knowledge and practices of hybrid art among Malaysian artist’s artworks. The purpose is to analyze the artistic knowledge through Malaysian artist’s artworks. Ten selected artworks from the multidisciplinary artists had been choose. The researchers applied observation method to select the artworks that have the element of hybrid art and Kawakita Jiro method for the purpose of clustering the attributes for the artistic knowledge and practices of hybrid art. The finding shows that the advancement of technology, and freedom in exploring the material have affected the creation of hybrid artworks production. Keywords: Artists’ practices, Hybrid art practice, integration, cross disciplines. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI1.2305
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Iwan Shahrom Shah, Muhamad Yusri Shah, Muhamad Khairi Shamsudin, Rahman Amin, and Mohd Farif Ab Jalil. "Influence of Intermedia in Development of Malaysian Art Scene." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 63–68. http://dx.doi.org/10.21834/ebpj.v7isi9.3940.
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Media art has evolved over time. Artists are developing intermedia in their art. It begins in 1950s NYC. The idea of Intermedia has since extended globally. Malaysia's media development is influenced by western Intermedia. Malaysian artists are intermedia experts. This research aims to determine why Malaysian artists use Intermedia and to classify its disciplines. This research was place in studio or online, depending on current conditions. Pandemic, artist demand. This research used library, catalogue, and web sources for data. The data will be analyzed to classify the artists' Intermedia use. Intermedia has diversified into numerous disciplines, and it's still growing. Keywords: Intermedia, Malaysian Art, New media eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3940
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Porto Bauchwitz, Sofia. "Sair do mapa, criar o mapa: uma epistemologia errante." Palíndromo 12, no. 26 (January 1, 2020): 051–60. http://dx.doi.org/10.5965/2175234612262020051.
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O artigo é um cruzamento de ideias decorrentes da tese doutoral El Artista Errante y El Discurso como Cartografía en um contexto hispano-brasileño (UCM/CAPES), defendida em 2017. Levanta questões sobre o artista no mundo cartografiável e seu discurso sinuoso e descentralizado, tentando analisar esse último como um movimento rumo ao incerto, um pulo no abismo em direção à pura potência. Desta forma, o artista errante, como defendemos, é uma tipologia que ajuda a praticar, na base de (in)certezas, novas maneiras de pensar e defender a arte em nossos dias. Este criador contemporâneo perambula e se fortalece nos mapas que seu discurso errante (que passa pelo erro) constrói no mundo. O texto passa por conceitos como indecisão, ritmo singular, cartografia, assim como tradução e relatos de auto-alteração.
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Lukácsy, György. "The Style and the Man Himself : Marcell Jankovics’ Lifework in the Postmodern Age." Uránia 1, no. 1 (2021): 44–57. http://dx.doi.org/10.56044/ua.2021.1.3.eng.
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Marcell Jankovics (1941-2021) was a director of animation films, cultural historian, educator, and culture politician, an outstanding figure of Hungarian animation who won the Golden Palm Award for the best short film with his 1977 work Fighters. Towards the end of his life he often voiced the opinion that in spite of his rich life’s work he had no creative drawing style of his own. The ageing artist’s lament poses the question as to how the work of an artist who disdained post-modernism may contain post-modernist features. This is the question that we intend to examine by scrutinising the series of animation films János Vitéz, based on a narrative poem by Sándor Petőfi, the Tragedy of Man, adapted from Imre Madách’s mankind-poem, and Toldi, based on the epic trilogy by János Arany, as well as the book illustrations. Although the works of Marcell Jankovics are described as post-modernist from a iconographic perspective, his films, and his cultural history works, always point towards a single common (mythical, religious, ritual) logos. Thus, the oeuvre of Marcell Jankovics may be regarded as ‘post-modernist’ only in the sense that he is also characterised by a flair for classicising, that is, he also created a particular canon by way of invoking.
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Kravtsov, Sergey R. "Art Collecting by the Galician Jewish Aristocracy: From Majer Jerachmiel von Mises to Artur Lilien-Brzozdowiecki." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 31–50. http://dx.doi.org/10.3828/aj.2020.16.4.
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This article discusses the construction of a Jewish aristocratic identity through art collecting and patronage, in parallel with other “aristocratic” activities and lifestyles. The focus is a particular Galican family ennobled by Franz Joseph I in 1881. The family’s ambitions and achievements are known from a memoir by Artur Lilien-Brzozdowiecki (1890, Lviv-1958, London), who was a great-great-grandson of the community head Rachmiel von Mises (1800-1891), a distant cousin of the artist Moses Ephraim Lilien (1874-1925), and a grandson of the banker Ignacy Lilien, who financed Moses Ephraim’s education. The article considers the self-construction of the family members as art connoisseurs and artists. These included the banker, industrialist, artist, and art collector Maurycy Nierenstein (1840-1917); painter Helene von Mises (1883-1942); architect Marya Lilien (1900-1998); and economist, lawyer, army officer, and collector Artur Lilien-Brzozdowiecki.
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Zakaria, Salehuddin, Rafeah Legino, and Mohammad Kamal Abdul Aziz. "The Concept of National Identity in the Artwork of Female Artists in Malaysia." Environment-Behaviour Proceedings Journal 7, SI8 (October 7, 2022): 81–85. http://dx.doi.org/10.21834/ebpj.v7isi8.3918.
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This study examines the national identity elements of the Fatimah Chik and Khatijah Sanusi artworks, which begins with the examination of relevant material, including examples of national identity-related works and visual data on the results of Malaysian female artists obtained through digital photographs and records. Identifying and recognising national identity in Malaysian female artists' works is categorised by the artwork's profile. The artwork's focus and criteria will be mapped with the inquiry of the National Cultural Congress's study (NCC). Women's attitudes in art production reflect national identity in female artists' artworks that emphasise culture, family, and accuracy. Keywords: Artworks, Female artist, National identity, Malaysia eISSN: 2398-4287 © 2019. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI8.3918
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Collective, Mata Aho, and Tim Corballis. "Mata Aho." Counterfutures 5 (June 1, 2018): 69. http://dx.doi.org/10.26686/cf.v5i0.6396.
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Mata Aho is a contemporary Māori women’s art collective. Its four members, artists Erena Baker (Te Atiawa ki Whakarongotai, Ngāti Toa Rangātira), Sarah Hudson (Ngāti Awa, Ngāi Tūhoe), Bridget Reweti (Ngāti Ranginui, Ngāi Te Rangi), and Terri Te Tau (Rangitāne ki Wairarapa), work together on large, often textile-based, installations linked to mana wāhine—the ‘empowerment and integrity of Māori women’ as they put it in this interview. Tim Corballis asks them about their approach to collective work, and how their artistic collectivity relates to political forms of collectivity.
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Nilsen, Maja. "About the artist." Nordic Journal of Science and Technology Studies 2, no. 1 (December 1, 2016): 89. http://dx.doi.org/10.5324/njsts.v2i1.2141.
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<div>The work of Maja Nilsen is created from memory and imagination, residing somewhere in the tension between autobiographical reference points and poetically immersed dream worlds. She works in a cross/multimedia manner that mostly results in site-specific projects and collages.</div><div> </div>
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Kistanto, Nurdien Harry. "KESENIAN & MATA PENCAHARIAN - Upaya Seniman Tradisional & Populer dalam Pemenuhan Nafkah." Sabda : Jurnal Kajian Kebudayaan 7, no. 1 (February 3, 2017): 43. http://dx.doi.org/10.14710/sabda.v7i1.13236.
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The traditional and popular artists have their fans, who are associated with levels of society and socio-economic conditions of the artists. Most artists appreciate the arts as a forum for the fulfillment of subsistence and some other artists treat art not merely as the main work in making a living, but as self-actualization and calling in life. Democratization, way of life & lifestyle have encouraged and accelerated development of new traditions in the arts; industrialization that took place since the early 1970s emphasized the political, policy and strategy choices of economy, trade and commercial business and service-based industries, which are very influential on the lives of the type, variety and artistic tastes. Deployment mode of art with industry and trade system applies to the popular performing arts, both departing from the tradition of Java and the growing management and modern technology, which supported the creation and innovation. With such developments, the traditional artists tend to be marginalized and subsistence efforts to meet with arts performances tend to be unprofitable, while popular artists through the art of business and trade industries tend to prosper. This research, among others, find authentic evidence from the field to confirm the truth of these allegations carefully, so that building theory and the concept of "the efforts of traditional and popular artists in the fulfillment of living life" is a field-based, not based on theory and concepts of the social and cultural sciences - called grand theory. In addition to utilizing the resources of media such as newspapers, magazines and internet websites, techniques of field observation and interviews, as well as in-depth interviews, which are commonly used in qualitative research, the mainstay of this research data collection.
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Лихацкая, Л. Н. "Holiday as a theme in the works of Maya Koveshnikova." Iskusstvo Evrazii [The Art of Eurasia], no. 2(29) (June 30, 2023): 62–71. http://dx.doi.org/10.46748/arteuras.2023.02.011.
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Статья посвящена отображению темы праздника в творчестве Майи Дмитриевны Ковешниковой. Ранее искусствоведами отмечались звучность, торжественность, нарядность натюрмортов с цветами, написанных этой художницей. Цель представленного в статье исследования — выявить особенности изобразительного языка и образного воплощения темы праздника в произведениях разных жанров — натюрморта, портрета, пейзажа, композиции, в которых работала М.Д. Ковешникова (хотя наибольшее внимание ею уделено натюрморту, в том числе и тематическому). С помощью искусствоведческого анализа определены композиционные и колористические приемы, смысловая наполненность образов. Элементы иконографического и символико-культурологического методов изучения картин позволили выявить образно-символический ряд, вписанный как в контекст русской и советской культуры, так и в континуум мировоззрения художницы. В качестве лейтмотивов в раскрытии темы праздника определены образы и символы русской народной культуры (элементы стеновой росписи, орнаментальной вышивки, образы хлеба, цветов и др.), знаковая работа с цветом (преимущественно красным) и светом. В содержательном плане праздник в творчестве М.Д. Ковешниковой связан с культурным наследием, народной и личной памятью, прославлением труда и силы человеческого духа, окрашен в разные эмоциональные тона. The article is devoted to the representation of the holiday theme in the work of Maya Koveshnikova. Previously, art historians noted the sonority, solemnity, elegance of still lifes with flowers of this artist. The purpose of this study is to identify the features of the visual language and the figurative embodiment of the holiday theme in works of different genres — still life, portrait, landscape, compositions in which M.D. Koveshnikova worked (although she paid the most attention to still life, including thematic). The art criticism analysis allowed the author to determine compositional and colouristic techniques, semantic fullness of images. The elements of iconographic and symbolic-cultural methods of describing paintings helped to identify the figurative-symbolic series integrated both into the context of Russian and Soviet culture and into the continuum of the artist's personal world-view. Images and symbols of Russian folk culture (elements of wall painting, ornamental embroidery, images of bread, flowers, etc.), iconic work with colour (mainly red) and light are identified as leitmotivs in the disclosure of the holiday theme. In terms of content, the holiday in the works of Maya Koveshnikova is associated with cultural heritage, national and personal memory, glorification of labour and the power of the human spirit, painted in different emotional tones.
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Tratnik, Polona. "Maja Smrekar’s Biopolitical Manifesto from a Philosophical Perspective." Monitor ISH 19, no. 2 (December 4, 2017): 65–80. http://dx.doi.org/10.33700/1580-7118.19.2.65-80(2017).
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With her series K-9_topology, Maja Smrekar is challenging anthropocentrism by linking biology and culture, in particular addressing interaction between human and animal species. The artist builds upon the recent scientific findings that it is not only the dog species that has been domesticated; the domestication that took place during evolution is to be considered mutual. Not only has the dog been mastered by the human, but dogs have had an active role in “using” the human species for a more comfortable survival as well. Both species coexist. In the project Ecce Canis Maja Smrekar built upon the sense of smell as an interface used to trigger the emotional connection between the species.
Hybrid Family is another project in the K-9_topology series. In this performance Smrekar nurtured a puppy. By submitting herself to two and a half months of physiological training, she achieved milk production in her breasts. The artist refers to this process as to the process of becoming, of becoming-animal, becoming-woman and becoming m(Other). She is deeply rooted in her own experience at the beginning of the 3rd millennium, when “liberal capitalism finally struck hard into the newborn Slovenian economy”, as she writes in her blog: her parents lost their business, house, cars, forests, meadows and vineyards, and her father committed suicide. She finds her own way of resisting, which is in submitting herself to a “dog-human kinship relationship as a radical intimate action of ‘returning home’”.
In the present paper, the process of becoming mother is analysed in relation to the process of becoming animal. Furthermore, the process of becoming (m)Other is particularly examined with reference to the mother-and-child unity, applying the Umwelt notion and a Hegelian, existentialist feminist and post-structuralist discussion of identity and difference. The process of becoming (m)Other is finally examined as a biopolitical statement or intervention with the investment of the artist’s body. Its purpose is to re-gain the position of power, i.e. to perform an act of resistance to bio-power on and through bodies.
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Fatimah, Nurul, and Ela Hikmah Hayati. "Adaptasi Pekerja Seni Musik Dangdut di Masa Pandemi COVID-19." Jurnal Litbang: Media Informasi Penelitian, Pengembangan dan IPTEK 17, no. 1 (June 30, 2021): 35–46. http://dx.doi.org/10.33658/jl.v17i1.244.
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ENGLISHOne of the government policies on management of COVID-19 pandemic is community activity restriction, includes dangdut music show. The study aims to describe the efforts of dangdut artists adapting to COVID-19 pandemic. It was qualitative research using phenomenology approach. This study was conducted in Pati Regency. Data were obtained through interviews and observation. The interviews were carried out with five instrument players and two singers. Meanwhile, the observations were made on dangdut music shows, which held offline and virtual on social media. The data were analyzed descriptively. This study found that the community activity restriction caused dangdut artists couldn’t conduct music shows and lead to income reduction. Then, those dangdut artists adapted to this situation. First, on Thursday, Juli 8 2020, some artists held a peaceful action and praying together in Pati’s city center. This action aimed the dangdut artists were allowed to perform music shows. Second, the dangdut artists transformed dangdut shows following the new normal rules. Third, conducting virtual dangdut shows through various social media, such as Youtube, Facebook, and Instagram INDONESIASalah satu kebijakan pemerintah dalam penanganan penyebaran COVID-19 adalah pembatasan kegatan masyarakat, termasuk pementasan musik dangdut. Penelitian bertujuan untuk menggambarkan upaya adaptasi yang dilakukan para pekerja seni musik dangdut di tengah pandemi COVID-19. Metode yang digunakan adalah metode kualitatif dengan pendekatan fenomenologi. Penelitian dilakukan di Kabupaten Pati. Pengumpulan data dilakukan dengan wawancara dan observasi. Wawancara dilakukan dengan lima orang pemain alat musik dan dua orang penyanyi. Adapun observasi dilakukan terhadap kegiatan seni musik dangdut yang digelar secara luring maupun daring di me-dia sosial. Data dianalisis secara deskriptif. Penelitian ini menghasilkan temuan bahwa kebijakan pembatasan kegiatan masyarakat menyebabkan pekerja seni musik dangdut tidak dapat mengadakan pertunjukan. Sebagai akibatnya, pendapatan para pekerja seni musik dangdut mengalami penurunan. Para pekerja seni musik dangdut melakukan beberapa upaya agar dapat terus eksis dan bertahan hidup di tengah pandemi. Pertama, melakukan kegiatan aksi damai dan doa bersama di alun-alun Kabupaten Pati pada Kamis, 8 Juli 2020, agar diberikan izin pertunjukan. Kedua, mengadakan pertunjukan musik sesuai aturan kebiasan pola baru. Ketiga, menggelar konser musik virtual melalui berbagai media sosial seperti Youtube, Facebook, dan Instagram.
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Cuéllar Alejandro, Carlos. "Lo fantástico en Maya Deren." Revista Eviterna, no. 13 (March 16, 2023): 104–19. http://dx.doi.org/10.24310/eviternare.vi13.16416.
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El cine fantástico norteamericano de la década de 1930 tuvo dos alternativas en la siguiente situándose, una de ellas, dentro de los parámetros clásicos que encontraron un nuevo camino en la propuesta de Val Lewton para la RKO. La otra vía alternativa, en cambio, nació en el seno del cine de vanguardia estadounidense gracias a la obra de Maya Deren. Cineasta, etnógrafa, bailarina, poetisa y fotógrafa, sus logros y legado han inspirado a numerosos artistas y cineastas en los últimos setenta años. El presente texto explora el cine independiente de Maya Deren, analizando sus cortometrajes Meshes of the Afternoon (1943), At Land (1944) y Ritual in Transfigured Time (1946), para exponer cómo el surrealismo –las películas de Luis Buñuel y Jean Cocteau, principalmente– y el ocultismo –su experiencia como ayudante de William Seabrook y su interés por la magia, la cábala y el vudú– le ayudaron a abrir un nuevo camino en el cine fantástico, de terror y de horror. La sensibilidad de Deren hacia los problemas de la mujer y su amor hacia la danza le hicieron filmar tres películas donde se plantean tres fases distintas del viaje iniciático femenino a un plano superior. Debe señalarse que Meshes of the Afternoon fue realizada en estrecha colaboración con su entonces marido, el cineasta y fotógrafo checo Alexander Hammid.
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Cofré Cubillos, Claudia. "Debates críticos y artísticos (1970-1973). Hacia un arte para el socialismo." Diálogos Revista Electrónica 23, no. 2 (July 1, 2022): 1–31. http://dx.doi.org/10.15517/dre.v23i2.48673.
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Durante la Unidad Popular en Chile se gestó una transformación global de la sociedad, que tenía un componente cultural importante, dado que se planteaba incluir la acción cultural como un medio para la superación del “subdesarrollo” y la dependencia. En este contexto se materializan una serie de exposiciones, intercambios y redes entre artistas latinoamericanos, así como importantes debates sobre la condición del arte y la actitud del artista dentro de la sociedad de la época. Se desarrolla, entonces, una cultura de transición al socialismo, influenciada por las condiciones políticas en las que se creó la UP. El presente texto hará un recorrido panorámico por los distintos temas y debates críticos y artísticos que fueron parte del desarrollo cultural de la UP, y que pretendían ofrecer tanto un diagnóstico como un mapa crítico del quehacer de los artistas en un contexto revolucionario de transición al socialismo. Pretendemos así, contribuir mínimamente al rescate de nuestra historia artística y cultural.
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Tavares Junior, Carlos A. "Kia Ora Brazil: o rádio multicultural por Maya Hasegawa." Revista Alterjor 25, no. 1 (February 17, 2022): 159–70. http://dx.doi.org/10.11606/issn.2176-1507.v25i1p159-170.
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Este artigo aborda a entrevista com a artista e radialista Maya Hasegawa ocorrida em 5 de novembro de 2020 durante a disciplina Diálogos Radiojornalísticos, do Programa de Pós-Graduação em Ciências da Comunicação da Universidade de São Paulo. Com base nas experiências relatadas, este trabalho tem a finalidade de mostrar como a intersecção cultural de uma imigrante brasileira no rádio comunitário da Nova Zelândia estabelece laços multiculturais e cria vínculos como uma ação efetiva para a promoção da diversidade cultural.
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Kapp, Mariana Sbaraini. "Mainstream em Desencanto: Tensões entre a Fase Racional de Tim Maia e a Indústria Cultural." Revista Criação & Crítica, no. 31 (December 30, 2021): 154–73. http://dx.doi.org/10.11606/issn.1984-1124.i31p154-173.
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A imagem e a obra de Tim Maia são marcadas por contradições. A partir disso, esta pesquisa tem como objetivo analisar a relação do cantor com as dinâmicas da indústria cultural brasileira, que estava se consolidando nos anos 1970. Quando Tim estava no auge de sua carreira, conheceu a Cultura Racional e lançou dois discos com essa temática pelo seu selo SEROMA, o que fez com que ele se tornasse um dos primeiros artistas independentes do Brasil. Na época, os discos não chegaram ao grande público, mas, anos mais tarde, essa fase foi redescoberta e ressignificada pela indústria, sendo considerada como um dos melhores momentos da carreira do cantor. Para a realização desse estudo, cotejou-se diferentes narrativas sobre tal fase, relacionando-as a conceitos sobre indústria cultural e música como mercadoria. Como conclusão, foi possível compreender que a imagem de “cult” atribuída atualmente ao artista e à sua obra torna coesas suas contradições. Nesse sentido, a recusa à indústria cultural acaba sendo um valor dentro dessa própria indústria.
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O’Neil, Megan E. "El tacto y la interacción en el arte maya antiguo." Revista Española de Antropología Americana 49 (November 20, 2019): 173–91. http://dx.doi.org/10.5209/reaa.66527.
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Este Dossier sobre iconografía maya enfatiza la importancia de estudiar las imágenes mayas antiguas en relación con tres ejes analíticos: el soporte material, el contexto físico y el contexto histórico. Este ensayo añade un cuarto eje analítico: la experiencia que las personas tenían con las artes plásticas, especialmente con los medios esculpidos. Para seguir este camino, el ensayo investiga la importancia del tacto y la interacción en el arte maya antiguo. La experiencia somática de las imágenes, los objetos y los edificios tuvieron que ser una parte crucial de su significación y valoración estética. A partir de ello, el artículo se enfoca en la experiencia física que las personas –artistas o usuarios– tuvieron con los materiales y las obras. Se centra en dos estudios diferentes: los pequeños implementos de hueso del Entierro 116 de Tikal (Guatemala) y las esculturas monumentales de piedra de Piedras Negras (Guatemala). Las investigaciones tratan de reconstruir los contextos materiales e investigar cómo las imágenes e inscripciones se relacionan tanto con los soportes materiales como con los lugares donde fueron erigidos, usados o depositados. Estos estudios revelan cómo los artistas mayas fomentaron el tacto, el movimiento y otras interacciones, y cómo estas acciones podrían haber funcionado como experiencias rituales.
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Queiroga, Suzana. "O mapa conjunto (ensaio visual)." POIESIS 20, no. 33 (June 7, 2019): 169. http://dx.doi.org/10.22409/poiesis.2033.169-182.
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Queiroga, Suzana. "O mapa conjunto (ensaio visual)." POIESIS 20, no. 33 (June 7, 2019): 169. http://dx.doi.org/10.22409/poiesis.v20i33.29118.
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Cozzolino, Mara, and Jacqueline F. Gribbin. "Making Ink from Fire." IMPACT Printmaking Journal 1, no. 1 (November 8, 2023): 8. http://dx.doi.org/10.54632/22.8.impj2.
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Two artists from opposite sides of the globe tackle the same issue of wildfires. Mara Cozzolino from Italy and Jacqueline Gribbin from Australia started working on projects about dealing and living with wildfires and bushfires in 2021. Without prior knowledge of each other’s projects, they started experimenting with making ink from the charcoal of burnt trees in their living areas. Both full-time printmakers discovered each other’s projects through a mutual friend. They began exchanging ideas about the experiments, their gained knowledge, and expertise in making their ink. By meeting online, they shared their progress, inspiring and influencing each other.
Making ink from fire brings attention to the dramatic climate changes that continue to endanger life on the planet and highlights the importance of respect for a diminishing and affected environment. This project produced a series of black-and-white prints and short films. Mara Cozzolino focused on portraying 20 single trees burnt down in the devastating wildfires in 2017, making ink from the charred bark of the same trees she was portraying. Jacqueline Gribbin explored her local area with First Nations artist Dennis McCarthy (Murrwurruwurr) and collected charcoal for making ink from the bush, slowly depleted by an ever-increasing number of fires. Her prints portray the post-fire landscape.
Both artists use the medium of Mokuhanga, a low-toxic, environmentally friendly printmaking technique that uses wood, water, handmade paper and pigment and is particularly suited to depicting nature, which is the source of their expression and which they are strenuously trying to defend.
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CAZETTA, VALÉRIA. "Tattooing: a rhizomatic map of a research theme." Estudos Avançados 37, no. 107 (January 2023): 335–60. http://dx.doi.org/10.1590/s0103-4014.2023.37107.020en.
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ABSTRACT To understand the dispersed interdisciplinary production on the topic of tattoos, we conducted a survey of the language of 35 articles published in Brazilian interdisciplinary journals from 1990 to 2020. From these articles, we developed four axes of analysis: tattoo as an inscription of the self, a creative and emancipatory power; the “B” side of tattoo; the interface between public health, dermatology and tattoo; and, lastly, the new generation of tattoo artists. We then present some considerations that apprehending tattoo as a discursive practice opens the doors of a labyrinth, whose exits do not exist and do not assure us a more liberated and emancipated contemporary subjectivity.