scholarly journals Dak’Art Off. Between Local Art Forms and Global Art Canon Discourses.

Anthrovision ◽  
2019 ◽  
Author(s):  
Thomas Fillitz
Keyword(s):  
Art Forms ◽  
Art Canon ◽  
Global Art

The Place of Traditional Artists in the Preservation of Nigerian Art

2018 ◽  
pp. 75-88
Author(s):  
Victoria N Osuagwu
Keyword(s):  
Belief Systems ◽  
Sacred Grove ◽  
Art World ◽  
Human Beings ◽  
Open Spaces ◽  
Economic Resource ◽  
The People ◽  
Traditional Artists ◽  
Global Art ◽  
Source Of Information

Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.

La Traviata Affair

2018 ◽  
Author(s):  
Hilde Roos
Keyword(s):  
South Africa ◽  
Racial Boundaries ◽  
Cultural Organization ◽  
Colored People ◽  
Art Forms ◽  
Group A ◽  
La Traviata ◽  
Apartheid Regime ◽  
Opera Production ◽  
The Way

Opera, race, and politics during apartheid South Africa form the foundation of this historiographic work on the Eoan Group, a so-called colored cultural organization that performed opera in the Cape. The La Traviata Affair: Opera in the Time of Apartheid charts Eoan’s opera activities from its inception in 1933 until the cessation of its work by 1980. By accepting funding from the apartheid government and adhering to apartheid conditions, the group, in time, became politically compromised, resulting in the rejection of the group by their own community and the cessation of opera production. However, their unquestioned acceptance of and commitment to the art of opera lead to the most extraordinary of performance trajectories. During apartheid, the Eoan Group provided a space for colored people to perform Western classical art forms in an environment that potentially transgressed racial boundaries and challenged perceptions of racial exclusivity in the genre of opera. This highly significant endeavor and the way it was thwarted at the hands of the apartheid regime is the story that unfolds in this book.

Klangteppiche. Transmediale Verhältnisse zwischen Weberei und Musik

2015 ◽  
Vol 6 (1) ◽  
pp. 133-158
Author(s):  
Birgit Schneider
Keyword(s):  
Multiple Relationships ◽  
Greek Mythology ◽  
Creative Potential ◽  
Art Forms ◽  
The Relationship

Ausgehend von der griechischen Mythologie werden die vielfältigen Beziehungen zwischen Singen und Weben, dem Flechttanz und den strukturellen Ähnlichkeiten von Notationsformen und Steuerungsprinzipien in Musik und Weberei ausgelotet. Es zeigt sich, dass das Verhältnis der Zeitkunst Musik und der Raumkunst Weberei weit über das hinausweist, was sich im bloß metaphorischen Sprechen von >Klanggeweben< abzeichnet. Die Beziehung zwischen Kunstformen und Medien bringt vielmehr mythischspirituelle Ebenen zum Ausdruck. Die Umwandlung von Geweben in Musik respektive Musik in Weberei wiederum macht das kreative Potential der Transposition fruchtbar. </br></br>Based on Greek mythology, the multiple relationships between singing and weaving, »Flechttanz« (»weaving dance«) and the structural similarities of forms of notation and principles of control in music and weaving are explored. It is found that the relationship between music (as a temporal art) and weaving (as a spatial art) goes far beyond that which the metaphor of »sound tissues« points at. Rather, the relationship between art forms and media expresses mythical and spiritual levels. The transformation of tissues in music or, respectively, music in tissues, makes the creative potential of transposition productive.

Capturing the Art of Public Service: The Government’s Perspective

Public Voices ◽  
2017 ◽  
Vol 14 (2) ◽  
pp. 55
Author(s):  
Tony Carrizales
Keyword(s):  
United States ◽  
Content Analysis ◽  
Popular Culture ◽  
Public Service ◽  
Public Art ◽  
The United States ◽  
Virtual Museum ◽  
Film And Television ◽  
Government Institutions ◽  
Art Forms

Public Service, in popular culture, can be viewed through many artistic lenses. Although there has been a consistent negative portrayal of government through art forms such as film and television, this research looks to review how government institutions in the United States have used art to provide a positive portrayal of public service. Eight forms of public service art are outlined through a content analysis of the holdings at the Virtual Museum of Public Service. The findings show that government and public entities have historically and continually engaged in promoting public service through art. Many of these public art examples are accessible year round, without limitations, such as buildings, statues, and public structures.

Artistic Creation and Ethical Criticism

2020 ◽  
Author(s):  
Ted Nannicelli
Keyword(s):  
Ethical Criticism ◽  
New Production ◽  
Artistic Creation ◽  
Art Forms ◽  
Oriented Approach ◽  
Made In

Artistic Creation and Ethical Criticism advances a new, production-oriented approach to the ethical criticism of art. Its overarching arguments are these: (1) Judgments of an artwork’s ethical value are often made in terms of how it was created, and, furthermore, this is in part because some art forms more readily lend themselves to this form of ethical appraisal. (2) Among the ways in which art is ethically criticized, this production-oriented approach more often leads to practical consequences (censure, dismissal, prosecution, shifts in policy, legislation) because its claim to objectivity is less contested than that of other sorts of ethical criticism. (3) Together, (1) and (2) constitute an approach to the ethical criticism of art that is not only tacit in many art appreciative practices, but which is rationally warranted and defensible. In short, there are many cases in which one should ethically critique artworks in terms of how they are created because this approach encompasses cases that other approaches cannot and results in plausible judgments about the works’ ethical merits and flaws.

Introduction

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Art World ◽  
Dance History ◽  
The Core ◽  
Political Conditions ◽  
Global Art ◽  
Scholarly Attention

The introduction presents the core historiographical problem that Making BalletAmerican aims to correct: the idea that George Balanchine’s neoclassical choreography represents the first successful manifestation of an “American” ballet. While this idea is pervasive in dance history, little scholarly attention has been paid to its construction. The introduction brings to light an alternative, more complex historical context for American neoclassical ballet than has been previously considered. It places Lincoln Kirstein’s 1933 trip to Paris, famous for bringing Balanchine to the United States, within a transnational and interdisciplinary backdrop of modernism, during a time when the global art world was shifting significantly in response to the international rise of fascism. This context reverberates throughout to the book’s examination of American ballet as a form that was embedded in and responsive to a changing set of social, cultural, and political conditions over the period covered, 1933–1963.

Early Theories of the Sound Film

2018 ◽  
Author(s):  
James Buhler
Keyword(s):  
Silent Film ◽  
Sergei Eisenstein ◽  
Sound Film ◽  
Art Forms ◽  
Transition To Sound ◽  
Definition Of

Chapter 2 examines several major theories that emerged during the transition to sound film, when even the definition of the sound film was contested. The theories of sound film that arose during the transitional decade from 1926 to 1935 focused on the closely related forms of recorded theater and silent film and worked to articulate how sound film differed from them. They also gave considerable attention to asynchronous sound in part because it was a figure specific to sound film (or in any event more difficult to produce in other art forms) and in part because asynchronous sound had affinities with montage. The chapter focuses on five important theorists who wrote prolifically during the transition years: Sergei Eisenstein, Vsevolod Pudovkin, Béla Balázs, Rudolf Arnheim, and Harry Potamkin.

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