Hidden Creators, Silent Authors

2016 ◽  
Vol 2016 ◽  
pp. 379-385
Author(s):  
Paola Secchin Braga
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Point Of View ◽  
Main Issue ◽  
Contemporary Dance ◽  
Creative Work ◽  
Paris Opera ◽  
The People ◽  
Brazilian Version ◽  
The Creation

To be interpreter and at the same time creator seems to be the rule in contemporary dance. It is expected of the dancer to contribute to the making of the piece in which he will appear. Similarly, the choreographer's assistant (also referred as rehearsal assistant) has an active role in the process of creating a dance piece. This paper proposes an analysis of a creative process in which the question of authorship emerges—in our point of view—as the main issue. The onomastic pieces of French choreographer Jérôme Bel will serve as the basis of our analysis, and especially the piece called Isabel Torres, in which the interpreter and the choreographer's assistant had a much more important role in the creation than the choreographer himself. Premiered in 2005, Isabel Torres was supposed to be a Brazilian version of Véronique Doisneau (created in 2004, for the Paris Opera). The creative work made by the dancer and the rehearsal assistant made of it more than a mere version: Isabel Torres is an autonomous piece—so autonomous that Bel offered it to both dancer and assistant, to present it wherever they wished. Who signs Isabel Torres? In which terms is it presented in programs? Do dancer and assistant consider themselves as authors? How does the choreographer deal with it? The absence of the choreographer, the people involved in it, and the kind of work developed in the creative process makes us question the notion of authorship in contemporary dance pieces.

scholarly journals Personal exploration: Serendipity and intentionality as altering positions in a creative process

2016 ◽  
Vol 9 (1) ◽  
Author(s):  
Maarit Mäkelä
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Research Process ◽  
Creative Work ◽  
Diverse Range ◽  
Creative Mind ◽  
Creative Practice ◽  
Ceramic Art

Artists and designers have recently begun to take an active role in contextualising the creative process in relation to their practice. Thus, understanding how the creative mind proceeds has been supplemented with knowledge obtained inside the creative process. In this way, the spheres of knowledge, material thinking and experience that are fostered through creative work have become entangled and embedded as elemental parts of the research process. This article is based on documentation and reflection of the author’s creative practice in contemporary ceramic art at the beginning of 2015. The article discusses how the creative process proceeds by alternating between two positions: serendipity and intentionality. By describing the different phases of the process, it reveals the interplay between the diverse range of activities and how these gradually construct the creative process

scholarly journals KOMPETENSI ABSOLUT DAN RELATIF PERADILAN TATA USAHA NEGARA MENURUT UNDANG-UNDANG NOMOR 5 TAHUN 1986 Jo. UNDANG-UNDANG NOMOR 9 TAHUN 2004.

Solusi ◽  
2018 ◽  
Vol 16 (3) ◽  
pp. 344-352 ◽  
Author(s):  
Budi Aspani
Keyword(s):  
Behavior Management ◽  
Active Role ◽  
The State ◽  
Point Of View ◽  
Descriptive Data ◽  
Existing Problems ◽  
The People ◽  
Constitutional State ◽  
State Administration ◽  
The Government

ABSTRACT Indonesia is constitutionally constitutional state and requires the government through its apparatus in the field of State Administration to play a positive active role in all aspects of people's lives to achieve the prosperity of their people. Within this framework, it is not uncommon for a dispute to be caused by actions from the government in the form of irregularities, thus violating the human rights of its citizens. Strictly speaking, these deviations constitute government actions that are detrimental to those affected by the decision, in this case the people. The foregoing raises problems namely; whether any decision of the State Administration or Agency that causes harm to a person or legal entity can be submitted and sued as a dispute to the State Administrative Court and administrative efforts in which the decision can be sued again through the State Administrative Court. In this study the authors use the method of normative law research (normative law research) and by using primary, secondary and tertiary legal materials. Normative legal research examines laws that are conceptualized as the norms or principles that apply in society, and become a reference for each person's behavior. Management and analysis of data is done in a qualitative way that is analyzing library data to produce descriptive data. After conducting discussions on the existing problems, it can be concluded, Each decision of the State Administration Agency or officials that causes harm to civil legal persons or entities can be submitted and sued as a dispute to the State Administrative Court. Its relative competency is related to the place of residence or jurisdiction of the court itself, as well as the parties to the dispute. Whereas the absolute competence can be seen from the point of view of the basis of disputes, which is due to the issuance of written provisions by the State Administrative Court or Agency. Administrative efforts in resolving state administrative disputes are known as administrative channels or efforts, whether in the form of administrative appeals or objections. In accordance with the basis of our country's philosophy of Pancasila, then the state administrative disputes should be resolved as far as possible through administrative efforts, which are more deliberative in reaching consensus. But if all available administrative efforts have been used, it turns out that the disputing parties remain unsatisfied, then the matter is raised and sued through the State Administrative Court.

Food, Drink and Identity

2013 ◽  
Author(s):  
Peter Lugosi
Keyword(s):  
Point Of View ◽  
Personality Characteristics ◽  
Beliefs And Practices ◽  
Cultural Contexts ◽  
The People ◽  
Social Settings ◽  
The Social ◽  
The Creation ◽  
Food And Drink ◽  
The Relationship

Identity refers to who we think (or feel) we are, but also to who others think we are. Identities are closely tied to our values, attitudes, beliefs, preferences, behaviours and personality characteristics that distinguish us from others around us. However, none of us are unique in our values, beliefs or our characteristics, and our identities often reflect those of others. Our identities are inevitably shaped by the people we interact with, the environments in which we live, and the cultures that we encounter. Therefore, to best understand how identities emerge, it is important to consider the social and cultural contexts in which people live. Eating and drinking are universal to all cultures; but, the beliefs and practices surrounding food and drink reflect the particular characteristics of cultures alongside the identities of the people who are part of those cultures. Food, drink and identity interact in multiple ways. This chapter considers these interactions in commercial hospitality and social settings. It examines the relationship between food, drink and identity from the consumption perspective, i.e. how foods and drinks influence and communicate identities in social and domestic settings; and how identities and the desire to articulate our sense of selves shape when, how and what foods and drinks we consume. The chapter also incorporates the production point of view, particularly within commercial contexts. It discusses how notions of identities are exploited through marketing and in the creation of commercial hospitality experiences. It also considers the ways staff’s identities are involved in creating food and drink related experiences.

Machiavellian Democracy, John P. McCormick, Cambridge: Cambridge University Press, 2011

2012 ◽  
Vol 20 (2) ◽  
pp. 232-246 ◽  
Author(s):  
Filippo Del Lucchese
Keyword(s):  
Point Of View ◽  
Ancient Rome ◽  
Cambridge University ◽  
The People ◽  
New Form ◽  
The Creation ◽  
The Rich ◽  
Sphere Of Influence ◽  
Popular Power ◽  
Cambridge School

AbstractMcCormick’s book engages with the theoretical and political positions discussed by the Italian philosopher Niccolò Machiavelli about five centuries ago, and, in particular, the creation of the tribunes of the plebs. In ancient Rome, plebeian power had been institutionalised through the creation of tribunes. According to McCormick, a similar institution would offer a legitimate forum for expression to the people in modern democracies. In fact, following Machiavelli’s suggestions, this would contribute to the implementation of a new form of democracy, more respectful of the people and more eager to defend values such as freedom and independence from the influence of the powerful and the rich. In this review, Filippo Del Lucchese comments on McCormick’s book from a Marxist point of view. One of the strongest points of the book is the discussion of the opposition between democracy and republicanism. Over the last decades, the latter has in fact been absorbed into the sphere of influence of the Cambridge School, and neutralised, or at least defused its most interesting and radical aspects. McCormick’s attempt to repoliticise the Machiavellian discourse is indeed praiseworthy, yet, by mainly focusing on the ‘institutionalisation’ of popular power, McCormick fails to discern the most radical elements of Machiavelli’s thought. From this angle, the review discusses McCormick’s use of the category of ‘class’ and offers a different perspective on the revolutionary dimension.

Non-Finitoin Contemporary Dance Making

2016 ◽  
Vol 2016 ◽  
pp. 266-271
Author(s):  
Ariadne Mikou
Keyword(s):  
Visual Culture ◽  
Creative Process ◽  
Digital Age ◽  
Contemporary Dance ◽  
The Creation ◽  
Economic Depression ◽  
The Impact

The affiliation of dance with the academy, which requires a written account and documentation of the process; the impact of the “digital age”; and the visual culture that facilitates the creation of online blogs and promotes projects such as William Forsythe's “choreographic objects” [Synchronous Objects(2009);Motion Bank(2010–2013)]; but also the economic depression, which restricts dance artists from arriving at their final products, might be some of the possible reasons that explain the shift towards the artistic status ofnon-finito, approached here as a creative process that also manifests through dance scores. However, what is clear so far is that since dance became less and less narrative, the sharing of process inside or outside academia started to increase rapidly, and the value of dance as product is being challenged.

scholarly journals The Sunday Project: por uma prática reflexiva e colaborativa [Suzane Weber da Silva]

REPERTÓRIO ◽  
2010 ◽  
pp. 42
Author(s):  
Teatro & Dança Repertório
Keyword(s):  
Active Role ◽  
Contemporary Dance ◽  
Artistic Practice ◽  
Structured Interviews ◽  
Ethnographic Approach ◽  
The Creation ◽  
The Spectator

<div>O presente artigo apresenta uma parte da análise da criação <em>The Sunday Project</em>, de Pamela Newell. Seu objetivo é demonstrar e discutir aspectos da prática artística e corporal deste estudo de caso, de modo a compreender como certos bailarinos-criadores se distinguem das práticas dominantes em dança contemporânea. Para tanto, realizou-se um estudode inspiração etnográfica, tendo como coleta de informações observações, notas de campos, registros em vídeo e entrevistas semi-estruturadas. Este artigo apresenta uma pequena parte deste estudo de caso, de modo a exemplificar aspectos da prática artística que privilegiam um corpo dançante menos hierarquizado que os das práticas dominantes. Em <em>The Sunday Project</em>, os aspectos de colaboração, de performance e de improvisação são parte fundamental desta criação e favorecem um papel mais ativo ao espectador.</div><div><br /></div><div>This article presents part of the analysis of the creation <em>The Sunday Project</em> of Pamela Newell. Its objective is to demonstrate and discuss aspects of the artistic and corporeal practice of the study of case of Pamela Newell, in order to understand how certain dancer-creators stand out of the dominant practices in contemporary dance. This study was inspired by an ethnographic approach, collecting information based on observations, fields notes, registrations in video and semi-structured interviews. This article presents a small part of this case study, as a way of exemplifying aspects of the artistic practice that privileges a dancing body less influenced by a hierarchy than the ones of the dominant practices. In <em>The Sunday Project</em>, the aspects of cooperation, performance and improvisation are the fundamental parts of this creation and they favor a more active role of the spectator. <br /></div>

scholarly journals Rangsang Awal sebagai Motivasi dalam Pembelajaran Koreografi di Jurusan Pendidikan Sendratasik

2012 ◽  
Vol 10 (2) ◽  
Author(s):  
Desfiarni Desfiarni
Keyword(s):  
Creative Process ◽  
Visual Stimulation ◽  
Creative Work ◽  
Sufficient Time ◽  
Work Process ◽  
Power Train ◽  
Creative Power ◽  
Key Word ◽  
The Creation ◽  
Stimulation Of

The creation of works of choreography requires a creative work process and time of development, ranging from initial stimulation until the dance composition. The stimulation of dance begins with stimulation of ideas, visual stimulation, stimulation of audio, kinesthetic stimulation, ad touch stimulation. The creation of dance associated with the creative process requires sufficient time. Choreographers are not just stringing-chain motion, but to develop ideas, creative power train in expressing movement, abstracting ideas at this stage of cultivation, improving the knowledge of understanding, and providing a variety in the creative process. Exploration activities undertaken are not yielding a form of dance, but rather motivating and stimulating the creation of a new movement through stages of composition that would be a form of dance. The appearance of creative ideas requires natural objects as the inspirations for choreographers Key word: Keyword: First stimulus, choreography, dance, choreographer, motivation.

“Dior and I”: understanding the combination of creativity and economy in fashion industry

2017 ◽  
Vol 12 (3) ◽  
pp. 274-284
Author(s):  
Margot Leclair
Keyword(s):  
Creative Process ◽  
Design Methodology ◽  
Creative Industries ◽  
Creative Work ◽  
Fashion Industry ◽  
Content Type ◽  
Haute Couture ◽  
The Creation ◽  
Artistic Director

Purpose Fashion documentaries are many. Although their behind-the-scene access presents some undeniable interest, the author suggests that while revealing information about the creative process, the economic priorities are understated. Design/methodology/approach The author reviews Frederic Tcheng’s Dior and I documentary, which brings the viewer inside the storied world of the Christian Dior fashion house with a look at the creation of Raf Simons’ first haute couture collection as its new artistic director. Findings The author analyses the documentary with the literature on tensions between creativity and economy to bring some light into the observed frictions. Digging deeper, the literature is also used to reveal several issues that are overlooked in the documentary, small glimpse of the organization. Originality/value The paper voices what is easily silenced around creative work in the fashion industry, as well as and more globally in creative industries.

scholarly journals THE CREATION OF A CINEMA WORLD AS A FICTIONAL PROCESS (ON THE MATERIAL OF FILMS OF UKRAINIAN “POETIC CINEMA”)

2019 ◽  
pp. 288-297
Author(s):  
S. I. Khorob
Keyword(s):  
Creative Process ◽  
Motion Pictures ◽  
Creative Work ◽  
The Creation

The article considers some aspects of a creative process over the film. On the example of motion pictures of the representatives of the Ukrainian “poetic cinema”, as well as of the creative work of their producers the attempt is made to single out peculiarities of psychology of creative work, its phases and stages. It is proved that such movies as “Tini zabutykh predkiv”, “Propala hramota”, “Vechir na Ivana Kupala”, “Kaminnyi khrest”, “Vavylon XX” and their creators substantially renewed the aesthetics of the cinematographic art of Ukraine.

scholarly journals Clothing Design and Ornament Function in the Constructivist Fashion of the 1920s-1930s

2020 ◽  
Vol 16 (2) ◽  
pp. 56-69
Author(s):  
Galina Ignatenko
Keyword(s):  
20Th Century ◽  
Mass Production ◽  
Human Life ◽  
Point Of View ◽  
Early 20Th Century ◽  
Creative Work ◽  
Clothing Design ◽  
The World ◽  
The Creation ◽  
Cultural Code

The development of clothing of the 1920s-1930s and its role in the formation of new productivist art are considered in the article. At the beginning of the 20th century, the world underwent not only enormous changes but also the loss of self-identification, both on a personal level and on a social level. The Russian Avant-Garde of the early 20th century became the prototype of not only new art but also claimed to have created a unified system of values. Artists turned their attention to clothing as a new widespread form of language. At the same time, finding a functional application to their creativity was the task. Reconstructing the role of clothing in human life was part of the "life building" concept of the early 20th century. The implementation of this idea was seen in the creation of a universal formula not only for creative work but also for life. The utopian idea of the unification of clothing formed the basis for the creation of anti-class functional working clothes. The project of creating universal clothing for mass production is a vivid example of the practical embodiment of the new productivist art. The search for a new form of dress, as a new cultural code, seemed an extremely attractive idea both from an ideological and artistic point of view. The new concept of universal clothing for work and sports transmitted the idea of creating a person of a new world - the builder of a new life. At the same time, denying fashion as a gender-oriented art form, constructivists tried to use concise forms, avoiding decoration and deliberate embellishment. The creation of innovative clothing for mass production also brings up the subject of the appearance of a new canon of the image of a woman, which changed not only the idea of an aesthetic ideal but also its role in society. At the same time, laboratories, which in their work synthesized the trends and challenges of the new time already existing in the world of Western fashion, were working. An attempt to unite Western fashion trends, national traditions, and mass production can be traced both in the practices of constructivist artists and in the works of artists who collaborated with Atelier of Fashion. New interpretations of folk traditions, as part of the search for self-identity, influenced the inclusion of a number of ornamental techniques in the artistic practices of the early 20th century. On the example of the creative work of V. Stepanova, L. Popova, and N. Lamanova’s design, different approaches to the formation of new dress are compared. The article analyzes how the transformation of the approach to clothing design becomes an indicator of sociocultural, political, and ideological changes.

Sign in / Sign up

Export Citation Format

Share Document