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1
Zinenko, T., and A. Zinenko (Redko). "Volodymyr Shapovalov and Modern Kharkiv Art Ceramics." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 135–46. http://dx.doi.org/10.33625/visnik2021.02.135.
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This article is an attempt to characterize the influence of Volodymyr Shapovalov and the Kharkiv State Academy of Design and Arts on the formation of the features of Kharkiv art ceramics in the late twentieth – early twenty-first century. The present article identifies and analyzes the nature of these features, which are an organic combination of scientific knowledge (philosophical, mathematical, technological) with the theory and practice of art. The thesis is that due to creative and pedagogical activity of Volodymyr Shapovalov, there is the only phenomenon in Ukraine, when the Academy, where the main emphasis is on the easel art and design, manages to organize a group of artists who have chosen ceramics as the main material for their creative pursuits and implementation. In fact, there emerges a school that demonstrates fundamentally different approaches to ceramics from those which are used in traditional pottery and ceramic schools. It is based on the “layering” of the work, the search for harmony in the embodiment of philosophical reflections and technological experiments in ceramics, on narrativity, on the attempt to understand the inner state of things. Attention is drawn to the peculiarities of the author’s method of mastering the theoretical and practical knowledge of ceramics. A certain set of special characteristics of Volodymyr Shapovalov’s creativity is defined and the presence of these features is clearly noticeable in the works of his students: Olexander Miroshnichenko, Olexey Podlipsky, Liza Mamay and Vyacheslav Pasynok. Volodymyr Shapovalov’s artistic language is considered in the context of a direct relationship with nature, close attention to detail, the application of scientific knowledge from various fields for creative and technological experiments in ceramics. Particular attention is paid to the analysis of the place and role of Kharkiv art ceramics in the context of modern ceramology and Ukrainian art process.
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Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.
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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.
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Fraser, Lorinda Christine. "The Barbizon School (1830-1870): Expanding the Landscape of the Modern Art Market." Arbutus Review 8, no. 1 (October 30, 2017): 4–14. http://dx.doi.org/10.18357/tar81201716809.
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During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the globe and continues unchanged to this day. Using Jean-Baptiste-Camille Corot (1796-1875) as a case study, I establish the ways in which the Barbizon School forged new stylistic and economic possibilities for later modern art movements, most prominently Impressionism, outside the purview of the French Academy. I also highlight the ways in which the Barbizon artists and their supporters contributed to the formation of a new art market founded upon an interconnected network of producers, consumers, and distributors.
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Bequette, James W. "Tapping a Postcolonial Community’s Cultural Capital: Empowering Native Artists to Engage More Fully with Traditional Culture and Their Children’s Art Education." Visual Arts Research 35, no. 1 (July 1, 2009): 76–90. http://dx.doi.org/10.2307/20715489.
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Abstract Whitemen’s schools historically ignore or marginalize non-European cultures, and fail to recognize the cultural capital that non-White students and families bring to the school setting. This article examines the change in attitudes of a small group of California Indian artists after an off-Reservation school district recognized their nondominant cultural capital. Empowered for 3 years to infuse local cultural knowledge and traditional arts practices into elementary-, middle-, and high-school curriculum, Native artists became key actors in the district’s Native Arts Program. In looking for remnants of a cultural arts curriculum 2 years after this initiative was denied additional state funding, this interpretive research found little evidence of ongoing curricular change. Unplanned, albeit more lasting, side effects of this collaborative school—Indian community arts program were normative changes having more to do with Native artists’ status, artistic agency, and perception of the role dominant culture schools should play in Native cultural continuance.
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Golan, Romy. "Vitalità del negativo/Negativo della vitalità." October 150 (October 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.
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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.
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Śliwerski, Bogusław. "Pedagogy around graffiti." Studia z Teorii Wychowania XII, no. 4 (37) (December 15, 2021): 51–63. http://dx.doi.org/10.5604/01.3001.0015.6058.
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In this article graffiti is perceived as the art of living with images operated by young artists. The author draws attention to the fact that this art does not only have a negative perception of character, and thus also a social perception (reception). There is explained what the polarization effect of two neighboring generations of graffiti artists in the social space is - open and hidden, in which a presented group of artists tries to manifest their position and presence. Is it worth talking about graffiti in pedagogy in social sciences? The author analyzes it (graffiti) which may not penetrate the structures of life of the young generation, their school, and out-of-school environments, and what does not become the source of rebellion and also a way for establishing a new type of social and educational relationship.
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Pavlova, T. "Avant-garde artists at the Kharkiv Art School: Vasyl Yermilov and Boris Kosarev." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 71–84. http://dx.doi.org/10.33625/visnik2021.02.071.
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The article deals with the formation of avant-garde as an alternative to the academic artistic paradigm in the Kharkiv Art School. The contribution of Kharkiv artists to the world culture is determined primarily by the avant-garde art. Its agents, who steadily carried the baton of modernization of artistic culture, were V. Yermilov and B. Kosarev. During 1915–1916 a group of artists, The Union of Seven, was formed at the Art School; their work reflected the diverse palette of changes that accompanied the formation of Cubo-Futurism in Kharkiv. Fundamental changes took place in the artistic culture of Ukraine in the 1920s. The initiative to transform Kharkiv Art School into an Art Technical School with the rights of an institution of higher education in 1921, is attributed to Yermilov (it actually became an institute in 1927). In the 1920s–1930s his teaching team was joined by such artists as Mykola Burachek, Ivan Padalka, Oleksander Khvostenko-Khvostov, Anatol Petrytsky, and Borys Kosarev. Studios were established: easel painting (Mykhailo Sharonov), monumental (Lev Kramarenko), and theatrical (Oleksander Khvostenko-Khvostov). From 1922 to 1934 Yermilov led the graphics studio (together with Padalka starting in 1925). The key figures in the creation process of artistic avant-garde culture in Kharkiv after the 1930s were V. Yermilov and B. Kosarev, who influenced the formation of the next generation of artists. Yermilov’s work in Kharkiv (including teaching at Art Institute) had an impact on the creative features of O. Shcheglov, V. Platonov, V. Savenkov, and defined the horizon of effective development of design in the region. Among those who continued Yermilov’s design traditions are M. Molochynsky, І. Krivoruchko, V. Lesnyak, O. Bojchuk, V. Danilenko, O. Veklenko. Launched by the latter International Environmental Forum of Eco Poster “The 4th Block” has found quite a resonance in the world. “Yermilov’s Mansard” appeared on Kharkiv cultural space as an artistic centre and an original example of artistic design in the spirit of Bauhaus. Due to B. Kosarev a constellation of talented artists appeared in Kharkiv artistic culture and defined its uniqueness. Among his students in the theatre and decorative department there were such people as a teacher Konstantinov; a theater artist, a Doctor of Architecture, corresponding member of the AAU V. Kravetz; the Main artist of Kharkiv State Academic Ukrainian Drama Theater named after T. Shevchenko T. Medvid; theatre artists M. Kuzheliev, G. Nesterovska, P. Osnachuk, L. Pisarenko, N. Rudenko-Krayevska and others. Among the artists, whose creative work shaped under the influence of B. Kosarev, were Honoured Artist of Ukraine, member and Vice President of AAU V. Sidorenko, and Honored Artist of Ukraine, famous graphic N. Myronenko.
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Nicholls, David. "Getting Rid of the Glue: The Music of the New York School." Journal of American Studies 27, no. 3 (December 1993): 335–53. http://dx.doi.org/10.1017/s0021875800032060.
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The term New York School is usually applied to a number of American visual artists working in and around Manhattan from the early 1940s through to the late 1950s. The group included abstract expressionists, abstract impressionists and action painters; among its leading lights were Willem de Kooning, Mark Rothko, Jackson Pollock, Philip Guston and Franz Kline. The typical features of New York School art were innovative individual expression and a rejection of past tradition. And while this led to the development of a number of independent styles, rather than a single group style, the overall result was a characteristic American avant-garde approach to art which had much influence internationally.
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Dmytriyeva, Olena. "Transformation of Borys Lyatoshynsky›s school ideas in the creative search of Leonid Grabovsky and Valentyn Silvestrov." Contemporary Art, no. 17 (November 30, 2021): 119–30. http://dx.doi.org/10.31500/2309-8813.17.2021.248436.
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The historical and cultural preconditions for the emergence of the group of composers “Kyiv Avant-Garde” in the context of the 1960s have been studied. The projection of the ideas of Borys Lyatoshynsky’s school in the creative search of his students Leonid Grabovsky and Valentyn Silvestrov, iconic figures of the Ukrainian musical culture of the second half of the XX century is considered. The innovative features of Lyatoshynsky’s school in the transformations of the worldviews of both artists, who marked their creative path with high professionalism and individual artistic and aesthetic achievements, are outlined. The aim of the research was the cultural component of Borys Lyatoshynsky’s school in the context of the creative achievements of Leonid Grabovsky and Valentyn Silvestrov. The musical material and scientific publications related to the works of these artists, which form a unique picture of the processes of formation of Lyatoshynsky’s school, are analyzed. The research methodology consists of structural-functional, comparative and system-activity approaches. In the process of complex culturological analysis of the school of the outstanding artist, the projection of its ideas in the musical and creative narratives of Leonid Grabovsky and Valentin Silvestrov was clarified.
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Andrews, B. W. "Seeking Harmony: Teachers' perspectives on learning to teach in and through the arts." Encounters in Theory and History of Education 11 (September 27, 2010): 81–98. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.2411.
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This inquiry examined teachers' perspectives on learning to teach in and through the arts by administering multiple protocols - a focus group, questionnaire and survey - throughout an integrated arts professional development program involving artists. Findings indicate that when artists are involved in professional upgrading, teachers acquire the confidence to express themselves freely, they are willing to teach the arts in their own classrooms, they realize the potential and value of the arts within the school curriculum, and they develop arts-specific teaching expertise. Further, the teachers' sensitivity to their own creativity and openness to experimentation is heightened, and an awareness of the potential of the arts to develop a student's imagination, intuition and personal expressiveness is developed.
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Tamás, Borbála, Andrea Barta, and István Szamosközi. "The effect of art expertise on visual symmetry and asymmetry preference." European Journal of Behavioral Sciences 5, no. 1 (March 20, 2022): 11–17. http://dx.doi.org/10.33422/ejbs.v5i1.592.
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The main differences between artists and non-artists can be discovered in information processing, drawing performance and aesthetical preferences. Aesthetical preference is influenced by stimulus complexity and by the symmetry-asymmetry dimension of the presented stimulus. Although the differences between artists and non-artists are clear regarding aesthetical evaluation, there are evidence supporting the assumption that symmetry is preferred over asymmetry regardless of domain specific knowledge. In the current study we investigated the role of expertise in visual art on aesthetical evaluation of symmetrical and asymmetrical, simple, and complex geometrical forms, using visual stimuli based on Jacobsen and Höfel (2001). Participants from art high- school and university have been gathered (N = 56) and were distributed into three separate groups by their visual art and art history experience (experts, novice, and medium experience). Our main result shows a significant effect of experience in visual art on aesthetical preference, participants in the expert group preferred complex asymmetrical stimuli more compared to participants in art novice group. Asymmetrical simple and complex forms were aesthetically preferred more by expert group than the two other groups. We also found that symmetrical forms are preferred over asymmetrical ones regardless of level of expertise in art, however preference of art experts tends to be more unified over stimulus complexity. Our results are in line with results from previous studies regarding symmetry- asymmetry preference. We can conclude that beside the general preference for symmetrical forms, experience in art alters asymmetry preference and it regulates the preference over simple- complex symmetrical and asymmetrical stimuli.
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McCoy, Garnett. "The Rise and Fall of the American Artists' Congress." Prospects 13 (October 1988): 325–40. http://dx.doi.org/10.1017/s0361233300005329.
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In the fall of 1929, just after the stock market crash but before its effects were widely felt, a group of radical artists and writers in New York established the John Reed Club, named after the already legendary journalist, poet, and revolutionary activist. The founders, some of them members of the Communist Party, some loosely associated with the party's cultural magazine New Masses, were committed but restless young men in search of a focus for their political energies. Soon after the club began, the artist members created an art school, organized exhibitions, and sponsored a lecture series and discussion groups with emphasis on the practice and theory of art and art history from a Marxist point of view. As the Depression deepened, with dire consequences to artists dependent on an art market in a state of collapse, the John Reed Club's approach attracted growing attention.
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McCoy, Garnett. "The Rise and Fall of the American Artists' Congress." Prospects 13 (October 1988): 325–40. http://dx.doi.org/10.1017/s0361233300006773.
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In the fall of 1929, just after the stock market crash but before its effects were widely felt, a group of radical artists and writers in New York established the John Reed Club, named after the already legendary journalist, poet, and revolutionary activist. The founders, some of them members of the Communist Party, some loosely associated with the party's cultural magazine New Masses, were committed but restless young men in search of a focus for their political energies. Soon after the club began, the artist members created an art school, organized exhibitions, and sponsored a lecture series and discussion groups with emphasis on the practice and theory of art and art history from a Marxist point of view. As the Depression deepened, with dire consequences to artists dependent on an art market in a state of collapse, the John Reed Club's approach attracted growing attention.
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Decker, Adam, Veronique Richard, John Cairney, Philip Jefferies, Natalie Houser, Patrice Aubertin, and Dean Kriellaars. "Assessment of Professional Circus Students’ Psychological Characteristics at Four Strategic Timepoints over the Scholastic Year: A Longitudinal Study Using the Stress Process Model." Medical Problems of Performing Artists 37, no. 4 (December 1, 2022): 249–58. http://dx.doi.org/10.21091/mppa.2022.4036.
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OBJECTIVE: The circus professionalization process entails extensive training to mitigate the high-risk demands which increase stress in artists. In high-risk professions, everyday hassles (challenges) contribute greatly to overall stress. To capture the impact of daily challenges on student-artists, the aim of the current study was to describe the magnitude and pattern of daily challenges as well as their relationships with perceived coping, anxiety, fatigue, and psychological distress. METHODS: Ninety-two students at École Nationale de Cirque (ENC), in Montreal, Canada, completed the Circus Daily Challenges Questionnaire (CDCQ) and scales assessing perceived coping, state anxiety, and fatigue at four time points over 1 school year. The Kessler 6 Non-Specific Psychological Distress Scale (K6) was implemented at one time point. RESULTS: Findings revealed significant fluctuations in challenge level and management of challenges throughout the school year, with schedule, technical development, artistic expression, physical preparation, and sleep reported as high during the two examination periods. The lowest challenge-level scores were achieved following the extended breaks in the annual calendar. Daily challenge positively correlated to state anxiety and fatigue, and negatively correlated with perceived coping. The student-artists reported higher prevalence of moderate psychological distress to general populations. CONCLUSION: Befitting the Stress Process Model, a strong interplay between variables was observed, and the life challenges assessment provides a basis for interventions based upon commonalities across the group, as well as individually tailored.
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Kapsalis, Terri. "We Write with Scissors." PMLA/Publications of the Modern Language Association of America 133, no. 1 (January 2018): 146–53. http://dx.doi.org/10.1632/pmla.2018.133.1.146.
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On our frigid first day of class, one week after donald trump's inauguration, my coteacher, christa donner, and I began our course Community Zine Projects at the School of the Art Institute of Chicago with the question, Why zines now? In this era of blogs and Twitter, these tiny-edition handmade paper publications might seem irrelevant. So why take this class? The answers offered by this group of undergraduate and graduate student artists, writers, scholars, and educators were inspiring.
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Boylan, Alexis L. "Neither Tramp Nor Hobo: Images of Unemployment in the Art of the Ashcan School." Prospects 30 (October 2005): 433–50. http://dx.doi.org/10.1017/s0361233300002118.
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This short notice, entitled “When a ‘Hobo’ Works,” which appeared in the New York Times, July 13, 1912, might seem overwrought to contemporary readers in its definitive nature. The need to delineate work and nonwork, however, was quite serious business for Americans in the first decades of the 20th century. During this period, as evidenced in newspaper and journal articles, legislation, and popular culture, there was growing apprehension about the perceived differences and slippage among the ideas of the tramp, the hobo, the vagrant, the unemployed worker, and the worker. Most of this conversation was directed toward defining work and nonwork for men — specifically for white men. Tramping came to be viewed as an affliction of both mind and body, with writers, politicians, and reformers seeking to define the tramp and then theorizing how to put these newly codified bodies to work.Some of the most complex images of joblessness from this period were produced by the Ashcan school of artists, who frequently portrayed jobless men in their paintings and drawings. The Ashcan school, a group of six realist painters who lived and worked in New York City from 1900 to the First World War, established a national reputation as radicals rebelling against what they argued was a conservative artistic community woefully out of touch with modern American life. Ashcan artists depicted what they claimed to be the realities of the city around them — busy streets, shopgirls, ethnic communities, construction workers, and prostitutes, as well as tramps. John Sloan's The Coffee Line, 1905 (Figure 1), is typical of the kinds of images that Ashcan artists produced. The scene is a snowy winter's night in New York with a band of men in line to get a free cup of coffee. Jobless men are the stars here; unwitting leads in Sloan's slice of New York City life. The painting did much to communicate nationally a visual image of the tramp in New York City; it won honorable mention in 1905 at the Carnegie Institute International Exposition and was then exhibited in Chicago; Spartanburg, South Carolina; Dallas; and Seattle.
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Song, Unsok. "Rediscovering the Monk-Sculptor Ch’ŏnsin: The Missing Link between the Ŭngwŏn-In'gyun and Saengnan Schools of the Honam Area in the Late Chosŏn Period." Sungkyun Journal of East Asian Studies 22, no. 2 (November 1, 2022): 207–31. http://dx.doi.org/10.1215/15982661-10040897.
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Abstract Of the monk-sculptor groups active in the Honam area in the southwest part of the Korean Peninsula during the late Chosŏn period, the Saengnan School was the largest, both in terms of the number of artists in the group and of the works they left behind. Studies of the group have largely focused on the sculpting activities of the Buddhist monk Saengnan (fl. late seventeenth to the early eighteenth century; 1663–1709) and his followers, while little is known about the origins of the school due to a lack of records about his formative years as an assistant. The recent discovery of four Buddhist parwŏn prayer texts has revealed that Saengnan spent the early years of his career as a sculptor assisting the monk-sculptors In'gyun and Ch’ŏnsin, who were key members of the Ŭngwŏn-In'gyun School that played a central role in the production of Buddhist sculptures in the early to late seventeenth century in the region. This study shows that the Saengnan School, the most productive group of monk-sculptors from the late seventeenth to the early eighteenth century in the Honam region, was a successor to the Ŭngwŏn-In'gyun School, through a comparative examination of these highly informative prayers and relevant Buddhist sculptures. My examination also reveals that the two schools were linked by Ch’ŏnsin, who studied sculpture under In'gyun, and in turn, taught Saengnan.
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Simpson Steele, Jamie. "El Sistema fundamentals in practice: An examination of one public elementary school partnership in the US." International Journal of Music Education 35, no. 3 (July 25, 2016): 357–68. http://dx.doi.org/10.1177/0255761416659514.
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El Sistema is a Venezuelan program of social change that has inspired a worldwide movement in music education. El Sistema inspires social transformation and musical excellence to occur simultaneously and symbiotically. This study examines: What does El Sistema look like within the context of a public school partnership in the United States? How do the characteristics of this context influence the realization of El Sistema principles? This qualitative case study examines one fledgling music program just two years into its partnership with a public school. The study utilizes ethnographic observations and focus group interviews with the young program participants, their parents, schoolteachers, and music teaching artists. I discuss these multiple perspectives according to the fundamentals of El Sistema: a) social change; b) community; c) access; and d) frequency. Findings indicate El Sistema values are capable of impact, but not without struggle, when allied with a public school partnership.
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Kattner, Elizabeth. "From Totenmal to Trend: Wigman, Holm, and Theatricality in Modern Dance." Dance Research Journal 50, no. 3 (December 2018): 20–37. http://dx.doi.org/10.1017/s0149767718000347.
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This article examines the development of theatricality in modern dance by comparing two dances: Mary Wigman's Totenmal (1930) and Hanya Holm's Trend (1937). By looking at the interplay between group and solo choreography, lighting design and themes, this paper will show how Holm combined the skills she learned codirecting Totenmal at the Dancers’ Congress in Munich to her work with American dance artists at the Bennington School of the Dance to create her first important work. It will examine why Trend was successful as a collaborative project, as well as show how it diverged ideologically from Wigman's work in the 1930s.
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Andreeva, E. Yu. "The New Theatre of the New Artists Group and the Russian Avant-Garde." Art & Culture Studies, no. 3 (August 2022): 86–139. http://dx.doi.org/10.51678/2226-0072-2022-3-86-139.
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The multimedia practice of the Russian Avant-Garde, in which theatrical art is inseparable from literary, visual and musical art, found its continuation half a century later in the work of the New Artists group, founded by Timur Novikov in 1982 in Leningrad. This article is the first study of the so-called New Theatre of the New Artists, which is associated with the following happenings or performances: The Ballet of the Three Inseparables, Anna Karenina, The Idiot, and their predecessor, the literary-noise action The Medical Concert. The article discusses three elements of the avant-garde theatrical tradition that resonate with the New Theatre: Nikolai Evreinov’s comprehensive concept of the “theatre for oneself”, the musical-spatial theatrical experiments of Mikhail Matyushin and his followers, and the absurdist theatre of Daniil Kharms and OBERIU. The second and third, despite being so dissimilar to each other, share the borderline, where zaum (alogism) and absurdism converge. This very convergence creates a dynamic semantic tension that marks the ideas of both D. Kharms and T. Novikov: the tension between an uplifting absurdity, striving for the inexpressible, timeless and universal, and, conversely, a lowering, destructive absurdity. It is obvious that the distinction between the two types of absurdism is a fundamental problem of ontology not only of the Russian Avant-Garde. The New Theatre can be considered as a seismic activity that lasted for about three years at the borderline area of the avant-garde art that worked its way from Symbolism through Expressionism to Dadaism and Surrealism. On this borderline, creativity manifests itself as an impersonal or other-than-personal process that establishes a connection of a person with the rhythms of the world or, on the contrary, illustrates disintegration, deconstruction and the reassembly of society. The New Theatre that established in the Leningrad underground was not an imitation of the avant-garde practices but their rebirth, which proves that this form of creativity is organic for the culture of St. Petersburg.
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Moore, James, and Catherine Tite. "Lancashire’s Pioneering Impressionists: The Manchester School of Painters and its Critics, 1868-1914." Transactions of the Historic Society of Lancashire and Cheshire 171, no. 1 (January 1, 2022): 63–82. http://dx.doi.org/10.3828/transactions.171.7.
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The significance of the Manchester School of Painters has been neglected by both art historians and scholars of this region. This article explores the contribution of these artists to the history of Impressionism in Britain and demonstrates how a young group of Mancunians brought French modernism to Lancashire art exhibitions and galleries some time before it was common in London. They struggled with the local artistic establishment, local critics gave them a mixed reception, and yet they ultimately achieved recognition in the capital, with their paintings hanging in the same galleries as the work of their more celebrated French counterparts Corot, Degas and Boudin. While the Manchester School was short-lived, some of its painters continued to experiment with Impressionist techniques and influenced regional art well into the twentieth century. Their techniques were taken up by Adolphe Valette and the style of their urban subject matter was later replicated in the work of both Valette and L.S. Lowry.
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Rodríguez, Nelesi, and Eugenia Manwelyan. "Of Vessels, Conduits and Instruments: Reflections from the Bodies as Media Working Group." INMATERIAL. Diseño, Arte y Sociedad 2, no. 3 (June 30, 2017): 91–115. http://dx.doi.org/10.46516/inmaterial.v2.31.
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In the fall of 2016, a group of artists and educators met regularly over the course of three months to explore the many ways in which the human body mediates experience and knowledge. In their time working together, the Bodies as Media Working Group (BaM) explored the ways in which the (human) body comes to know, understand, and communicate ancestry, memory, ecology, emotionality, creativity, and even death. This working group was created as part of the School of Apocalypse (SoA), a NYC-based community of learning that examines connections between creative practice and survival.
The BaM working group encapsulated its learning process by designing and producing a resource in the form of a deck of cards containing instructions and prompts meant to be activated as a ritual that aims to “turn on” people’s body awareness and to prepare their bodies to learn. In designing a pedagogical tool for the body, BaM aims to reconstitute the individual and social body contained most commonly in the classroom as open, trusting, and alert. The tool thereby redesigns the space within which learning takes place without making any physical alterations to it, but rather by reconfiguring the group’s relationship to it and within it.
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Takeuchi, Melinda. "“True” Views: Taiga's Shinkeizu and the Evolution of Literati Painting Theory in Japan." Journal of Asian Studies 48, no. 1 (February 1989): 3–26. http://dx.doi.org/10.2307/2057661.
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Few cultures had as rich a vocabulary for pictures of specific places as did eighteenth-century Japan. Why then did yet another word, shinkeizu (literally “true-view pictures”), come into being in the late eighteenth century? The answer is that none of the existing terms satisfactorily articulated the ideological essence of a new kind of painting advocated by a group of artists who sought to incorporate into their work styles and concepts associated with the art of the Chinese literatus. These Japanese masters came to constitute a school known as Nanga (the Japanese interpretation of the Chinese “Southern school” of painting; it was also called bunjinga, “literati painting”). For a picture (zu) of a given scene (kei) to be profound, argued the connoisseurs of Nanga, the artist must experience the vista at first hand and then absorb and transmit its essential reality (shin). It was in the circle of the brilliant literati artist Ike Taiga (1723–76) that the concept ofshinkeizu became the integral element of the new Japanese conception of depictions of actual scenes.
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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Nagaeva, E. I., E. A. Biryukova, N. S. Yarmolyuk, N. P. Mishin, E. E. Seidosmanova, V. V. Derkach, and S. S. Peredkov. "DEVELOPING THE ABILITY TO MAINTAIN BALANCE IN MARTIAL ARTISTS AT THE STAGE OF INITIAL SPORTS TRAINING." Scientific Notes of V.I. Vernadsky Crimean Federal University. Biology. Chemistry 6(72), no. 3 (2021): 138–45. http://dx.doi.org/10.37279/2413-1725-2020-6-3-138-145.
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Modern research has proven the relationship between postural control and performance in healthy individuals who regularly engage in physical or athletic activity. Randomized studies on athletes have shown a positive relationship between performance and posture control. Some authors note that regular balance exercises significantly improve postural balance according to the dose-response ratio. At the same time, the description of the relationship between physical activity and postural balance mainly concerns adult athletes, while experimental work on the system of given posture control in primary school-age children, including athletes, is currently insufficient. In our opinion, a detailed study of the system of control of a given posture in children of primary school age, including sportsmen-wrestlers, allows us to evaluate the development of their coordination abilities and can be used later as a predictive criterion of competitive success of these sportsmen. In this connection, the purpose of this study was to study the system of control of a given position in young martial arts at the stage of initial sports training by means of computer stabilometry. In a study of the main stabilizing characteristics in the Romberg sample with open eyes, the examined children engaged in karate registered the smallest values of statokinesiograms length by 26.07 % (p<0.05), area by 64.82 % (p<0.05), and the index of work on ODC movement – by 29.29 % (p<0.05) compared to the control. The data received by us testifies to the fact that the sportsmen who are engaged in karate have the most economical mechanisms to maintain the given posture in comparison with the sportsmen of other groups, as well as those who are not engaged in sports. Such changes in the system of maintaining a given position are due to the fact that at an early stage of the training process in karate, special attention is paid to the development of coordination abilities, improvement of proprioceptive sensitivity and accuracy of position registration. Children engaged in Thai boxing also had lower stability scores than children in the control group: statokinesiogram length by 21.49 % (p<0.05), area by 30.76 % (p>0.05), and ODC movement score by 33.99 % (p<0.05). Probably, such changes are connected with the development of coordination of tayboxers by imitation exercises: elementary and arbitrary (shadow fighting), which are based on the elements of movement, impact and defense techniques. Young athletes engaged in taekwondo did not have reliable differences in computer stabilometry indices in comparison with the test subjects of the control group, which, probably, may be due to the peculiarities of their sports training, in particular, the priority in the development of their speed-force qualities over the control of static stability at the early stage of the training process.
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Ronnick, Michele. "In Search of Helen Maria Chesnutt (1880-1969), Black Latinist." New England Classical Journal 48, no. 1 (May 14, 2021): 110–21. http://dx.doi.org/10.52284/necj/48.1/article/ronnick.
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Classical scholars have begun to delineate the dynamic pattern of black classicism. This new subfield of the classical tradition involves the analysis of the creative response to classical antiquity by artists as well as the history of the professional training in classics of scholars, teachers and students in high schools, colleges and universities. To the first group belongs Helen Maria Chesnutt (1880-1969). Born in Fayetteville, NC, Chesnutt was the second daughter of acclaimed African American novelist, Charles W. Chesnutt (1858-1932). She earned her B.A. from Smith College in 1902 and her M.A. in Latin from Columbia University in 1925. She was a member of the American Philological Association and the Classical Association of the Middle West and South. Her life was spent teaching Latin at Central High School in Cleveland, OH. This is the first full scale account of her career.
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Bekerman, Zvi. "Identity versus Peace: Identity Wins." Harvard Educational Review 79, no. 1 (March 30, 2009): 74–83. http://dx.doi.org/10.17763/haer.79.1.m30672027u72x633.
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In this essay, Zvi Bekerman reveals the complicated and dynamic negotiation of individual and group identities for communities engaged in peace and reconciliation education. By looking closely at the experiences of students, teachers, and parents at one integrated bilingual Arabic-Hebrew school in Israel, Bekerman finds that while children are often able to reach beyond the boundaries of ethnicity and religion,adults struggle to negotiate their sociohistorical positioning with their goals for peace. Everyday practices—from recognizing the exceptionality of students who participate in religious practices outside of their ethnic background to segregating national ceremonial events—promote static and nationalistic notions of identity that limit the potential of these schools to advance authentic and meaningful change for peace. Bekerman calls on us to teach our students to become artists of design who can help construct new ways of living together.
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Khairulina, A. V. "ON THE METHODS OF O. N. LOSHAKOV IN TEACHING EASEL PAINTING From his experience at the Vladivostok Art School in 1960–1962." Arts education and science 1, no. 3 (2021): 16–21. http://dx.doi.org/10.36871/hon.202103002.
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The article explores the first pedagogical experience of Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor Oleg Nikolaevich Loshakov in Vladivostok. The work provides a brief overview on the history of the formation of professional arts education in the Far East. Positive influence of Oleg Loshakov — graduate of the Moscow State Academic Art Institute named after V. I. Surikov on improving the quality of the educational process at the Vladivostok Art School is noted. He contributed greatly to the development of fine arts in Primorsky Krai as a teacher and representative of the Moscow School of Painting. Further creative activity of O. N. Loshakov who painted landscapes on Shikotan Island together with a group of young artists that were his first graduates is described. The materials of the article expand the range of ideas about the artist's work in the Far East, and reveal new aspects of his landscape paintings of the 1960s. Special consideration is given to the monumental landscape in the master's work. The relevance of the topic is determined by the lack of materials devoted to the period of O. N. Loshakov's formation as a teacher and artist.
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Fürst, Henrik, and Erik Nylander. "The worth of art education: Students’ justifications of a contestable educational choice." Acta Sociologica 63, no. 4 (July 3, 2020): 422–35. http://dx.doi.org/10.1177/0001699320934170.
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How is art education valued in society? In Swedish public discourse the value of educational trajectories is often equated with their usefulness for employability. With competitive winner-takes-all labour markets for artists, art education is largely perceived as a worthless credential and form of education. But what kinds of worth does art education have among students themselves? This article draws on the approach of pragmatic sociology and individual and group interviews with 62 Swedish folk high school participants within the arts, to understand the meanings participants assign to post-compulsory education within the aesthetic realm. The students’ accounts belong to three broad themes, where art education is described as: (a) being a ‘stepping stone’ to becoming an artist, (b) allowing them to have ‘unique’ experiences while being in a particular state of creativity or (c) offering them a chance to regain health and general well-being after a difficult period. These results are discussed in relation to the relative institutional autonomy the folk high school possesses in the Swedish education system, as well as the possibilities of challenging the hegemonic ideas of ‘learning for earning’ that largely reject non-instrumental regimes of self-discovery and artistic creativity.
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Khullar, Sonal. "“We Were Looking for Our Violins”." Archives of Asian Art 68, no. 2 (October 1, 2018): 111–32. http://dx.doi.org/10.1215/00666637-7162219.
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Abstract This essay examines a creative dialogue between painters and poets, among them Nissim Ezekiel, Adil Jussawalla, Bhupen Khakhar, Arun Kolatkar, Arvind Krishna Mehrotra, Gieve Patel, and Sudhir Patwardhan, in Bombay (Mumbai) during a period that encompassed Khakhar's first solo show at the Jehangir Art Gallery in 1965 and the publication of four books of poetry by Clearing House, an independent press established in 1976 by Jussawalla, Kolatkar, Mehrotra, and Patel. Through a close analysis of word and image, it illuminates the distinctive aesthetics and politics of these artists encapsulated by the terms lifting and loafing. The Bombay painters and poets came to lifting—documenting and defamiliarizing—their environment by citing and subverting street signs, advertisements, state propaganda, calendar art, film posters, and newspaper photographs. They took to loafing—a mode of critical observation and analysis, and the pursuit of committed deprofessionalization and translation across spaces—and mobilized the ordinary, yet extraordinary, spaces of the paan (areca nut wrapped in betel leaf) shop and the Irani restaurant as metaphors of artistic sociability and subjectivity. Through lifting and loafing, the Bombay painters and poets offered a critique of nationalist and bourgeois values, as well as the artistic establishment represented by associations and institutions such as the Progressive Artists Group and Jamsetjee Jeejebhoy School of Art. They diverged from their predecessors and peers in an emphasis on everyday life and found objects, and in bringing together the visual and verbal worlds exemplified by the Baroda (Vadodara)-based journal Vrishchik.
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Long, Ashley S., Jatin P. Ambegaonkar, and Patty M. Fahringer. "Injury Reporting Rates and Injury Concealment Patterns Differ Between High-school Cirque Performers and Basketball Players." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 200–205. http://dx.doi.org/10.21091/mppa.2011.4032.
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The performing arts style of cirque has grown in popularity, with high-school participants increasingly practicing this style. Still, little research has examined the injury reporting rates and patterns in this population. Our study aimed to compare injury reporting rates and injury concealment patterns between high-school cirque performers and a peer-group of basketball players. Methods: Fifty participants (30 cirque, 20 basketball) completed a 12-item injury history and concealment instrument with chi-squared analyses and Fisher’s exact tests comparing groups (p = 0.05). Results: While no group differences (p = 0.36) existed in injuries reported, basketball players were more likely (p = 0.01) to miss participation due to injury than cirque performers. No significant difference existed between participants regarding which healthcare provider they reported to first (p = 0.27), but basketball players reported their injuries to the athletic trainer at higher rates (50%) than cirque performers (20%). A nonsignificant trend (p = 0.08) was noted in promptness to report injury, with more cirque performers (13%) concealing their injuries than basketball players (5%). Several reasons were noted for concealment of injury, with the most common being the belief that the injury would “go away” on its own. Knee injuries were most common in basketball players (23.7%) and back and knee injuries (10.5% each) in cirque performers. Conclusions: Despite similar injury rates, cirque participants concealed injuries more than peer-basketball players. Reasons may include losing performance roles, unfamiliarity and low trust with healthcare providers, ignorance about initially minor-looking injuries, and higher pain tolerance thresholds. Education and communication are essential to allow performing artists to seek healthcare support. Research is needed to appropriately understand and meet the needs of this underserved performing artist population.
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Langfeldt, Camila Caldeira, and Marit Ursin. "BETWEEN BULLYING AND OTHER VIOLENCES: EXPLORING THE SCHOOL EXPERIENCES OF IMMIGRANT AND REFUGEE CHILDREN AT ELEMENTARY SCHOOL IN DUQUE DE CAXIAS (RJ)." Revista Inter Ação 46, no. 2 (August 31, 2021): 624–44. http://dx.doi.org/10.5216/ia.v46i2.67833.
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This article explores the main challenges faced by a small group of children from Angola and from the Democratic Republic of Congo in two elementary schools in Duque de Caxias, a municipality part of the Metropolitan Region of Rio de Janeiro. The article draws from a qualitative multi-method study conducted with children and community members. The empirical material shows that most of the Angolan and Congolese participants of this study suffer different types of peer harassment in school, as bullying and peer coercion. Moreover, the participants experience a triple kind of discrimination in school, first because they are black, second because they are outsiders, and third because they have an African background. KEYWORDS: Child Research. Formal Education. Refugee and Immigrant Children. Refugee Education.
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Endoh, Eusebius, and Erwin Wantasen. "EFFORT TO INCREASE CATTLE FARMERS CAPACITY IN APPLICATION OF COMPACT ORGANIC FERTILIZER TECHNOLOGY (CASE STUDY ON FARMER GROUP LEMBAH PAMULI NORTH MINAHASA REGENCY)." International Journal of Research -GRANTHAALAYAH 5, no. 8 (August 31, 2017): 185–90. http://dx.doi.org/10.29121/granthaalayah.v5.i8.2017.2208.
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The aim of the study was to know cattle farmers ability and their characteristics to implement technology of compact organic fertilizer made from cattle manure. The program was conducted in farmers group namely Lembah Pamuli located in Wori sub district regency of North Minahasa. The objects of activity consisted of 15 of cattle farmers whereas the materials included cattle’s manure, ureum, probiotic EM4 and other materials that can supported the processing of organic fertilizer production. The approach to the group was extension and training. The result of this program showed that 66.67% of the participant in extension and training was men and they were 43 years old in averages. Thirty percent of their level of education was elementary school, 40% in secondary school, 22% senior high school and 8% at level of diploma. According to pre and posttest toward members group of Lembah Pamuli in line with their capacity to produce organic fertilizer showed that averages score increase by 47.94% after they followed the extension and training to produce organic fertilizer. The breeder’ knowledge was significantly different (P<0.01) before and after learning of how to produce organic fertilizer from cattle manure.
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Hess, Juliet, Vaughn W. M. Watson, and Matthew R. Deroo. "“Show Some Love”: Youth and Teaching Artists Enacting Literary Presence and Musical Presence in an After-School Literacy-and-Songwriting Class." Teachers College Record: The Voice of Scholarship in Education 121, no. 5 (May 2019): 1–44. http://dx.doi.org/10.1177/016146811912100502.
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Background/Context Youth's multiliteracies and musical practices are increasingly considered as taking place beyond school and including community-based educational contexts. Literacy scholars increasingly seek to understand the social and cultural contexts of literacy practices, underscoring youths’ identities as present and future civic participants. Moreover, Small's concept of musicking reframes academic understandings of music to acknowledge the multiplicity of ways youth are inherently musical. Yet less is known about social and cultural contexts of multiliteracies practices and musicking activities of youth of color in community-based education settings. Moreover, less is understood about how youth demonstrate academic literacies and musicking activities, already present and informed by their lived experiences, and the formal curriculum of community-based educational contexts. This article examines the multiliteracies practices and musicking activities of youth of color during open mic at The Verses Project, a community-based literacy-and-songwriting class, to explore how youth demonstrate what Tatum and Muhammad referred to as “literary presence” and what we extend as youth's literary presence and musical presence. Purpose/Objective/Research Question/Focus of Study This study1 details ways in which youth of color extended their literary and musical presence as active civic participants through engagement in open mic, in the context of a 15-week community-based literacy-and-songwriting class. In examining experiences of youth participants and teaching artists across open mic, we ask: What academic literacy practices and multifaceted musical activities already-present in youth's lived experiences do youth demonstrate during open-mic? And how do youth demonstrate literary presence and musical presence across literacy practices and musical activities? Setting Data for this study were collected at the Community Music School—Detroit (CMS-D) during an after-school literacy-and-songwriting class for youth age 9 to 15. Research Design Data for this 15-week qualitative study, informed by critical ethnography, were collected using videotaped observations, field notes, focus-group interviews, curriculum-planning meetings, multimodal artifacts, and researcher memos. Conclusions/Recommendations This article shows how youth demonstrated uses of open mic, reflecting sharing as an act of bravery; teaching artists across open mic scaffolded youth's development of literary and musical presence; and youth, in words and music, across open mic, enacted already-present academic literacies and musicking activities. We discuss possibilities for using open mic in formal, school-based, English and music classrooms and extend the possibilities of theory, research, and teaching in literacy studies and music education that attend to the lived experiences of youths’ literate and musical lives.
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Ezzeldin, Sahar Mohammed Yousef. "The effect of productive failure in a digital inquiry environment on developing deep understanding and achievement of organic chemistry among secondary school students." Cypriot Journal of Educational Sciences 17, no. 2 (February 28, 2022): 396–409. http://dx.doi.org/10.18844/cjes.v17i2.6822.
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This study measures the effect of productive failure instruction in a digital inquiry environment on developing deep understanding and achievement of organic chemistry among Saudi Arabian secondary school students. The study adopted the experimental design of control and experimental groups with pre- and post-measurements. The sample comprised 66 secondary school students from Wadi Al-Dawasir Governorate, Riyadh, Saudi Arabia, distributed into the experimental group (n = 32) and the control group (n = 34). The data collection utilised the deep understanding test and the achievement test of organic chemistry. The results revealed that there were statistically significant differences at α = 0.05 between the means of the scores of the experimental and control groups in the deep understanding level and the achievement test of organic chemistry in favour of the experimental group. Recommendations and suggestions are also presented in light of the study results.
Keywords: Productive failure, digital inquiry environment, deep understanding of organic chemistry, the achievement of organic chemistry
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Erxonovich, Nurmonov Suvonqul, and Xasanova Xurshida Naimovna. "The effect of individual and group learning forms in the teaching of organic chemistry at school students." ACADEMICIA: An International Multidisciplinary Research Journal 9, no. 3 (2019): 85. http://dx.doi.org/10.5958/2249-7137.2019.00040.5.
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Joost-Gaugier, Christiane L. "Ptolemy and Strabo and Their Conversation with Appelles and Protogenes: Cosmography and Painting in Raphael's School of Athens." Renaissance Quarterly 51, no. 3 (1998): 761–87. http://dx.doi.org/10.2307/2901745.
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AbstractThis paper studies the group of men on the lower right side of Raphael's School of Athens. While the portrayal of Euclid is undisputed, the figures who are attached to him have not yet been firmly identified. In studying these figures as part of the intellectual fabric of the painting as a whole, it becomes clear that each of these figures has a meaningful role that cannot be deduced by mere guessing. The figure with his back to us is quite clearly the great mathematician-cosmographer Ptolemy of Alexandria. Not only because he wears a particular crown, but more importantly because the globe he holds is terrestrial - a symbol of his scientific contribution to the humanist curriculum - can we be certain of his presence. The man who faces him is most likely Strabo, the most famous geographer known throughout medieval times and one who was also appreciated by humanists, especially for his consideration of the sphere and the celestial aspects of the universe in his Geography. Both Ptolemy and Strabo are well placed next to Euclid, for both are concerned with geometry. The two men to the far right are, it is suggested here, two famous painters of Greek antiquity, Apelles (in the guise of Raphael) and Protogenes (in the guise of Timoteo Viti?), whose presence reflects the interests of artists in the early Cinquecento. All these heroes are appropriately placed on Aristotle's side of the painting.
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Girdzijauskienė, Rūta, and Gražina Šmitienė. "INTEGRATION OF ARTS IN STEAM PROJECTS: EXPERIENCE OF PRIMARY SCHOOL TEACHERS." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 17, no. 2 (December 15, 2020): 74–84. http://dx.doi.org/10.48127/gu-nse/20.17.74.
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STEAM education is named as one of the priorities of Lithuanian education, responding to the need to promote a culture of innovation at school and to develop students' creative and critical thinking. The search for opportunities of integration of the subjects of arts and sciences into teaching / learning processes involve researchers and practitioners from various fields (engineering, education, arts, culture, and technological innovation). The numbers of scientific publications on the concept of STEAM education and on the role of arts in it that have been increasing over the last decade testify to the scientific community's attention to the issue, however, they also raise so far unanswered questions about the integration of arts into STEAM theory and practice. Researchers address several problematic areas in STEAM education: insufficient analysis of practical cases, limited preparedness of teachers to implement STEAM projects, and one-sided interpretation of the purpose of arts. Not much is known about how teachers’ value personal experiences in arts integration, how effective the inclusion of arts in the context of STEAM education is, and what the dynamics of STEAM discipline integration is. The aim of this study is to find out why and how primary school teachers integrate arts into STEAM projects, what challenges they face, and how they assess their competencies to ensure arts integration. To achieve the aim of the research, a focus group discussion with teachers working at two Lithuanian primary schools and implementing STEAM projects was chosen as the main data gathering method. The results of the focus group discussion revealed that the teachers preferred an arts-enhanced model of STEAM subject integration mostly through visual arts (drawing, photography, collage, and sculptural elements by gluing). Arts were applied with the aim of diversifying students' academic activities and enriching them with emotional experiences. The research participants saw the following advantages of including arts in STEAM projects: increasing the choice of activities and tools, enhancing students' engagement in learning processes, developing leadership and cooperation skills, maintaining learning motivation, improving critical and creative thinking skills, and linking learning to life. The limitations of teachers' competence to integrate arts into STEAM projects became apparent as well: insufficient knowledge of forms and ways of artistic expression, distrust of their own artistic abilities, and a lack of experience in cooperation with art teachers and artists. Based on the research findings, the directions of further research were formulated, the most relevant ones being an analysis of specific STEAM projects and the modelling of multidimensional STEAM projects. Keywords: STEAM projects, arts integration, primary school teachers
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Skov, Marie Arleth. "The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice." Punk & Post-Punk 9, no. 3 (November 1, 2020): 443–66. http://dx.doi.org/10.1386/punk_00061_1.
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In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.
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Coward, Ian G. "Adolescent Stress: Causes, Consequences, and Communication as an Interventional Model." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 10, no. 1 (March 23, 2018): 25–51. http://dx.doi.org/10.29173/cjfy29341.
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Adolescents are encountering a greater quantity, variety, and intensity of stress than any previous generation. This study analyses data from my own experience, pop culture, and statistics, as well as videos produced by artists and professionals. The purpose was to identify the primary stressors impacting junior high school students’ emotional well-being, examine how these stressors are affecting them socially and academically, and explore what role having someone to talk to might have in helping to reduce their stress levels. The study found that parents, peers, academics, and physical and psychological concerns are the greatest sources of stress for this particular age group. Anxiety, depression, and withdrawal/disengagement are the most common emotional effects, and communicating feelings to a trusted adult can mitigate some of these difficulties. These findings suggest that helping students cope with personal stress requires that it become a priority, teachers be provided with adequate training, and time and space be made available for students to discuss their problems. As a result, an intervention model focusing on brief, solution-focused interactions is proposed.
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zendt, christina. "Marcos Zapata's Last Supper: A Feast of European Religion and Andean Culture." Gastronomica 10, no. 4 (2010): 9–11. http://dx.doi.org/10.1525/gfc.2010.10.4.9.
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In Marcos Zapata's 1753 painting of the Last Supper in Cuzco, Peru, Christian symbolism is filtered through Andean cultural tradition. Zapata was a late member of the Cuzco School of Painting, a group comprised of few European immigrants and handfuls of mestizo and Indian artists. The painters in Cuzco learned mostly from prints of European paintings, and their style tends to blend local culture into the traditional painting of their conquistadors. Imagery was the most successful tool used by the Spaniards in their quest to Christianize the Andean population. By teaching locals to paint Christian subjects, they were able to infuse Christianity into Andean traditions. Zapata's rendering of the Last Supper utilizes this cultural blending while staying true to the Christian symbolism within the subject. Instead of the traditional lamb, Zapata's Last Supper features a platter of cuy, or guinea pig, an Andean delicacy stocked with protein as well as cultural significance. Cuy was traditionally a sacrificial animal at Inca agricultural festivals and in this way it offers poignant parallel to the lamb, as a traditional Christian sacrificial animal.
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Rapoport, Alek. "Tradition and Innovation in the Fine Arts." Canadian-American Slavic Studies 45, no. 2 (2011): 183–206. http://dx.doi.org/10.1163/221023910x535593.
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AbstractSince childhood, AR was attracted by art. His first teacher, E. Sagaidachny, was a former member of the nonconformist groups “Youth Union” and “The Donkey Tail”. Later, in Leningrad, AR enrolled in the V. Serov School of Art. In spite of official Socialist Realism, some teachers (Shablovsky, Gromov, Sudakov) introduced their students to Russian avant-garde. AR educated himself, copying the paintings of Old Masters in the Hermitage Museum. During 1959-1963 AR studied Russian Suprematism and Constructivism in the Leningrad's Institute for eater, Music and Cinema under the supervision of N. Akimov. AR considered himself as a follower of Russian Constructivism with the roots in ancient Mediterranean and Byzantine art. After graduating, AR's life was full of different activities. He preferred teaching at the V. Serov School of Art, but was fired for “ideological conspiracy” as a founder of the new courses – Technical Aesthetics, Yu. Lotman's eory of Semiotics and Russian Constructivism. In the 1970s AR became an active member of a nonconformist artist group TEV (Fellowship of the Experimental Exhibitions) and the co-founder of the ALEF group (Union of Leningrad's Jewish Artists). This activity brought close attention of KGB and he was forced to emigrate in 1976. Living in the USA, AR criticized American contemporary art for its un-spirituality, commercialism and rejection of traditions – a necessary basis of existence of art. He belonged to two traditional cultures, Jewish and Russian, and his art is traditional. His art represents his own thoughts turned into his paintings, with a great appreciation to discoveries of the Old Masters. And the circle is not closed.
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Kos, Marjanca, and Janez Jerman. "GARDENING ACTIVITIES AT SCHOOL AND THEIR IMPACT ON CHILDREN’S KNOWLEDGE AND ATTITUDES TO THE CONSUMPTION OF GARDEN VEGETABLES." Problems of Education in the 21st Century 77, no. 2 (April 28, 2019): 270–91. http://dx.doi.org/10.33225/pec/19.77.270.
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Learning through gardening is known to be an educational strategy in which a garden is used as a teaching tool. Systemic reviews of the impact of school gardening on academic performance and dietary habits foreground the need for additional quantitative studies that would use strong experimental designs. The aim of the present research was to establish the impact of school gardening on children’s knowledge of and attitude to the consumption of garden vegetables. A quasi-experiment was conducted including one control and one experimental group, with each group consisting of 15 children aged 6–7 years. The children’s prior knowledge and attitude toward the consumption of garden vegetables was identified through individual interviews. Participants in the experimental group then carried out their activities in a school garden that was built in co-operation with an organic farm located in close vicinity of the school. Following these activities, interviews were repeated in both groups to establish any newly acquired knowledge of and changes in the children’s attitude to garden vegetables. The results revealed that the children in both groups had poor general knowledge about garden vegetables at the beginning of the experiment. After their work in the garden was concluded, the knowledge of garden vegetables in the experimental group of children improved to a statistically significant degree. The children’s attitude to consuming garden vegetables also became more positive than before they engaged in the gardening activities. The results of this research indicated that school gardening activities improved academic outcomes and the children’s attitude to the consumption of vegetables. Therefore, the research suggests that gardening should be considered a vital part of school education. Keywords: active learning, garden-based learning, organic gardening, outdoor education, school garden.
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Ермакова, Екатерина Станиславовна. "From Folk Tradition to the Modern Studio Jewelry Art of Central Asia." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 63–76. http://dx.doi.org/10.26158/tk.2020.21.2.006.
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В Средней Азии авторское ювелирное искусство возникает в 1970-1980-х гг. Оно пришло на смену народному традиционному. В статье исследуются характерные признаки традиционного и современного авторского (студийного) ювелирного искусства. Среди выделенных свойств самыми важными являются объем информации и свобода выбора. Сегодня сформировались три основных стилистических направления, для каждого из них характерно определенное отношение к традиционным и новым материалам. Первое - традиционная школа, в рамках которой мастера копируют старинные украшения, используя традиционные материалы. Второе - этнический стиль, главная задача которого не копирование старых форм, а создание узнаваемого образа, связанного с национальной культурой. При переходе на классическую технику филиграни, выбирая материалы, ювелиры следуют своим эстетическим представлениям и вкусам потребителя. Третье - современный авторский стиль, основанный на индивидуальном восприятии национальной культуры. В авангардных авторских работах художник свободно обращается с новыми для ювелирного искусства материалами, используя дерево, кожу, войлок, кость, шелк. In Central Asia, modern studio jewelry art came to life in the late 1970s and 1980s. It replaced traditional folk jewelry. It this article the author investigates the characteristic features of both traditional and modern jewelry. She singles out the main difference between a folk craftsman and a modern artist-jeweler as the latter’s greater freedom of creative choice; while the folk craftsman was circumscribed by tradition and limited information, modern jewelers who position themselves as artists strive to create something unique and able to be copyrighted. Today there are three main trends in the art of Central Asian jewelry that demonstrate specific uses of both traditional and new materials. The first one, that may be called “traditional school,” practices the copying of old forms, techniques and materials. Another group of artists work in the “ethnic style,” creating images inspired by traditional culture but not copying old forms or decorative motifs. They use traditional filigree techniques in order to express their artistic imagination as well as satisfy the needs and tastes of their customers. The third, “avant-garde,” group of contemporary jewelers work in an original style based on personal interpretations of local cultural traditions. They explore new materials, such as wood, leather, felt, silk and animal bone that were never used before in local jewelry.
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Webb, James. "Collaborative playbuilding and the act of crystallization." Applied Theatre Research 10, no. 1 (July 1, 2022): 39–53. http://dx.doi.org/10.1386/atr_00061_1.
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Collaborative playbuilding is an emerging arts-based research design that uses playwriting and playbuilding as tools of inquiry for artists and researchers to investigate sociological questions, dealing with such matters as racial and class conflict, youth offenders, school safety, stereotypes of urban teenage girls, women and obesity, and social justice. Researchers use the design to generate and disseminate data; however, the literature reveals a lack of studies that show how the playbuilding process ‐ the actual structuring and crafting of the performance script ‐ can be used as a primary means of data analysis. In this article, I discuss my study, in which I used collaborative playbuilding to investigate why some African Americans leave the Black Church and choose not to return. I argue that although I conducted my research using traditional qualitative methods (i.e. interviews, questionnaires, observations and a focus group), I relied on the playbuilding process to serve as an act of crystallization, which provided me with creative distance to analyse the narrative data in interesting ways, yielding findings not previously seen in the literature and thus supporting the efficacy of the arts-based design.
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Manko, S. "Analysis of the functioning of the domestic vocal variety school in the conditions of musical culture of Ukraine at the present stage." Culture of Ukraine, no. 72 (June 23, 2021): 118–23. http://dx.doi.org/10.31516/2410-5325.072.16.
Full textAbstract:
The aim. The aim of the article is to analyze the current stage of the functioning of the vocal variety school in the musical culture of Ukraine and identify certain trends in its development directions. In order to achieve the marked goal, it is necessary to solve the following tasks: to determine the specifics of the development of a modern Ukrainian vocal variety school, analyzing its real position and known methods for the teachers of a variety vocal and to reveal the directions of which their realization is in modern musical culture of Ukraine.
The methodology. In this publication, methods of comparative analysis and synthesis were used to identify the specifics of teaching a variety vocal by domestic teachers. Also, we used systemic and cultural approaches to the study of variety vocal school in the musical culture of Ukraine.
The results. Having studied the functioning of domestic modern vocal schools, it can be concluded that this phenomenon though is quite relevant in modern musical culture of Ukraine, based mainly on the generally accepted and already known methods of variety vocals. There are single cases when teachers form their own teaching methodology and distribute it as Iryna Tsukanova, demonstrating her own master classes on the Internet. But the main tendency among domestic vocal teachers is that they are based on already well-known vocal techniques, taking from them the basis that it is necessary for each particular performer.
It is worth noting separately such a trend of domestic artists-teachers, as a commercialization of teaching activities, when vocal workshops are carried out for a group of students that study with other teachers. Such events can be called a master class with a star-teacher and they become more popular.
Another trend when well-known artists, such as Natalia Mohylevska and Tetiana Piskarova create their own vocal studio based on vocal techniques that were developed by the heads of studios. Other teachers give their lessons in these studios, and celebrities conduct master class for students of their own institution.
Variety vocal schools that are different by their stylistics, as a jazz or rock schools are more narrowly specialized. This makes teachers rely on the generally recognized world techniques of jazz or rock music, concentrating on the specifics of these directions and working them out with students.
The scientific topicality. The work of the domestic vocal variety school in modern musical culture of Ukraine is investigated. The specifics of the development of modern vocal variety school of Ukraine is revealed. The well-known techniques of the variety vocal teachers are analyzed. The main tendencies that are the basis for Ukrainian teachers in their work with students are determined. One of them is based mainly on the techniques of a variety vocal of famous world teachers, the other one — on their own methods.
The practical significance. Since the vocal variety art in the musical culture of Ukraine occupies a quite important place, this publication may be useful for domestic modern variety singers, vocal teachers and scientists, which will study it in the future.
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Putica, Katarina, and Lidija Ralević. "Unapređivanje hemijske pismenosti učenika osnovnih škola kroz kontekstualni pristup obradi nastavne jedinice Alkani." Inovacije u nastavi 35, no. 1 (2022): 91–100. http://dx.doi.org/10.5937/inovacije2201091p.
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Organic chemistry represents an essential part of everyday life, but previous research indicates that traditional organic chemistry teaching, which focuses on the transmission of academic content, insufficiently promotes the development of pupils' chemical literacy in this field. Since context-based teaching approach has the potential to improve scientific literacy, in order to compare the effectiveness of the aforementioned teaching approaches in terms of developing elementary school pupils' chemical literacy in the field of organic chemistry, a pedagogical experiment with parallel groups was conducted. The experiment was organized within the elaboration of the teaching unit Alkanes and it encompassed 148 eighth-grade elementary school pupils (76 pupils in the experimental and 72 pupils in the control group). Through the elaboration of the content about alkanes, pupils develop chemical literacy in regard to the structure and nomenclature of these compounds, their physical and chemical properties and oil and its derivatives as energy sources, as well as environmental pollutants. Upon the elaboration of the abovementioned teaching unit, the experimental group achieved a significantly higher overall percentage of correct answers on the test that checked the development of pupils' chemical literacy in regard to alkanes on all three levels (knowledge, application and reasoning), which implies that context-based teaching approach could significantly enhance elementary school pupils' chemical literacy, in the field of organic chemistry.
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Putica, Katarina, and Lidija Ralević. "Unapređivanje hemijske pismenosti učenika osnovnih škola kroz kontekstualni pristup obradi nastavne jedinice Alkani." Inovacije u nastavi 35, no. 1 (2022): 91–100. http://dx.doi.org/10.5937/inovacije2201091p.
Full textAbstract:
Organic chemistry represents an essential part of everyday life, but previous research indicates that traditional organic chemistry teaching, which focuses on the transmission of academic content, insufficiently promotes the development of pupils' chemical literacy in this field. Since context-based teaching approach has the potential to improve scientific literacy, in order to compare the effectiveness of the aforementioned teaching approaches in terms of developing elementary school pupils' chemical literacy in the field of organic chemistry, a pedagogical experiment with parallel groups was conducted. The experiment was organized within the elaboration of the teaching unit Alkanes and it encompassed 148 eighth-grade elementary school pupils (76 pupils in the experimental and 72 pupils in the control group). Through the elaboration of the content about alkanes, pupils develop chemical literacy in regard to the structure and nomenclature of these compounds, their physical and chemical properties and oil and its derivatives as energy sources, as well as environmental pollutants. Upon the elaboration of the abovementioned teaching unit, the experimental group achieved a significantly higher overall percentage of correct answers on the test that checked the development of pupils' chemical literacy in regard to alkanes on all three levels (knowledge, application and reasoning), which implies that context-based teaching approach could significantly enhance elementary school pupils' chemical literacy, in the field of organic chemistry.
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Бардалеева, С. Б. "Collection of the Buddhist sculptures of Mongolia of the National Museum of the Republic of Buryatia." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 68–77. http://dx.doi.org/10.46748/arteuras.2021.03.006.
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В статье впервые рассматривается собранная Национальным музеем Республики Бурятия коллекция буддийской скульптуры Монголии, связанной с именем Г. Дзанабадзара (1635–1723), основоположника монгольской школы в буддийском искусстве. В ходе изучения коллекции использовалась визуальная и сравнительная методика, а также знакомство с авторскими работами Мастера в музеях Монголии. В результате были выявлены три группы буддийских скульптур с характерными особенностями этой школы: цельное толстостенное литье, блестящая позолота, комбинированное золочение, особая техника освящения скульптур. Ярким украшением коллекции является авторская работа самого Дзанабадзара — скульптура Будды долголетия Амитаюса. Кроме того, около тридцати скульптур XVIII–XIX вв. представляют его школу. Третья группа скульптур состоит из поздних работ монгольских мастеров в виде реплик и подражаний. О коллекции монгольской скульптуры музея упоминалось в сообщении автора статьи на научной конференции в Монголии, посвященной 370-летию Дзанабадзара. Целью данной статьи является возможность ознакомить читателей с «эталонными» работами Великого Дзанабадзара и его школы, создавших базу для творчества следующих поколений художников. The collection of the Buddhist sculpture of Mongolia, which is related to the founder of the Mongolian school in the Buddhist art G. Zanabazar (1635–1723), is observed for the first time at this article. The process of research of the collection involved visual and comparative methods as well as conversance with the master’s works in museums of Mongolia. As a result, three groups of the Buddhist sculptures with special features of the school were fetched out: one-piece and heavy-walled casting, lucent gilding, special technic of sculpture consecrating. The collection cherry on top is Zanabazar’s own work — a sculpture of Buddha of longevity Amitayus. Furthermore, about thirty sculptures of 18th – 19th centuries represent his school. The third group of the sculptures consists of late works of Mongolian masters by way of replica and imitating. This collection of the Mongolian sculptures of the museum was mentioned by the article author at scientific conference in Mongolia dedicated to the 350th anniversary of Zanabazar’s birth. The article aim is to introduce to the readers the “reference” works of the great Zanabazar and his school, which prepared a basis for creation for the next generation of artists.
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Lam, Alice. "Boundary-crossing careers and the ‘third space of hybridity’: Career actors as knowledge brokers between creative arts and academia." Environment and Planning A: Economy and Space 50, no. 8 (December 11, 2017): 1716–41. http://dx.doi.org/10.1177/0308518x17746406.
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This article examines how boundary-crossing careers influence creative knowledge combination by looking at a group of creative artists whose careers straddle professional arts and academia. Whereas previous research has treated individuals as vehicles for knowledge transmission across intertwined networks, this study emphasizes their active role as knowledge brokers. It examines how work role transitions trigger a dynamic interplay between actors and contexts, and brings about changes in the cognitive frames of individuals and their propensity to connect knowledge across contexts. The study employs Bhabha’s concept of the ‘third space of hybridity’ to denote the agency space where career actors construct hybrid role identities and engage in knowledge brokering. The analysis identifies two categories of hybrid with different boundary-crossing careers and shows how work role transitions influence the topology of the third space where knowledge brokering occurs. The ‘artist-academics’ whose careers span art and academia concurrently experience recurrent micro-role transitions. They are ‘organic’ hybrids operating at the ‘overlapping space’ where knowledge translation and integration occur naturally in everyday work. They are ‘embedded’ knowledge brokers. The ‘artists-in-academia’, who cross over from the art world to academia, experience more permanent macro-role transitions. They are ‘intentional hybrids’ who make conscious efforts to bridge two discrete work domains by creating a separate ‘transitional space’. Their knowledge brokering activities are instrumental in transforming both their own knowledge and that of their work context: they are transformative knowledge brokers. The study advances our understanding of career mobility as a mechanism that facilitates creative knowledge combination by highlighting actor agency and the underlying cognitive-behavioural mechanisms.