scholarly journals Expressive Flamenco ©: An Emerging Expressive Arts-Based Practice

2021 ◽  
Author(s):  
Laura Sánchez García ◽  
Angelica Pinna-Perez
Keyword(s):  
Expressive Arts ◽  
The Self ◽  
Dance Movement ◽  
Main Hypothesis ◽  
Authentic Self ◽  
Practical Applications ◽  
Emotional Process ◽  
Therapeutic Benefits ◽  
The Arts ◽  
Art Form

AbstractExpressive Flamenco© theory and praxis is presented by Sánchez through this art-based personal reflection paper, which explores the applications of flamenco for its inherent psycho-somatic therapeutic capacities. She asserts the applied practice of flamenco (in its broadest definition), when combined with other expressive arts practices, can have therapeutic benefits; including (but not limited to) psycho-social, spiritual, and aesthetic connection to the individual's unconscious. During these experiences of arts based emotional expression, one can transcend the self into divine connection with their authentic self, what the author understands as the “duende”. By allowing one’s authentic truth to be expressed through Expressive Flamenco©, a spirit of evocation, born from within the self, appears when the self-connects with and is in creative conversation with its unconscious. The main hypothesis asserts the emergence of the “duende” facilitates an epistemological process of self-knowledge and an emotional process of catharsis, suggesting that when this art form is utilized as ‘Expressive Flamenco’ it helps facilitate holistic healing. This paper aims to stretch flamenco into new applied therapeutic practice territories, specifically in the arts therapies. Practical applications of Expressive Flamenco in the expressive therapies, including expressive arts therapy and dance/movement therapy, is presented along with the preliminary results of a virtual telehealth group facilitated during Covid-19. Professor Pinna-Perez′s critical reflections on Expressive Flamenco© and its importance to the field is presented in response to this emerging expressive arts practice.

Nurturing the Self Through Dance/Movement Therapy

2007 ◽  
Author(s):  
Miyuki Kaji ◽  
Tadashi Miyagi ◽  
Amy Wapner
Keyword(s):  
Movement Therapy ◽  
The Self ◽  
Dance Movement Therapy ◽  
Dance Movement

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

How Art Works

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Statistical Analysis ◽  
Data Collection ◽  
Social Science ◽  
Modern Art ◽  
Hard Work ◽  
Objective Truth ◽  
The Arts ◽  
Art Form ◽  
Art Works ◽  
Truth Value

This book is an examination of what psychologists have discovered about how art works—what it does to us, how we experience art, how we react to it emotionally, how we judge it, and what we learn from it. The questions investigate include the following: What makes us call something art? Do we experience “real” emotions from the arts? Do aesthetic judgments have any objective truth value? Does learning to play music raise a child’s IQ? Is modern art something my kid could do? Is achieving greatness in an art form just a matter of hard work? Philosophers have grappled with these questions for centuries, and laypeople have often puzzled about them too and offered their own views. But now psychologists have begun to explore these questions empirically, and have made many fascinating discoveries using the methods of social science (interviews, experimentation, data collection, statistical analysis).

scholarly journals FORMS OF SYNTHESIS OF ARTS OF CHINESE ARCHITECTURE

2021 ◽  
Vol 4 (164) ◽  
pp. 58-64
Author(s):  
Wu Changzhi
Keyword(s):  
Chinese Culture ◽  
Role Model ◽  
Cultural Development ◽  
Chinese Art ◽  
Exterior Space ◽  
Chinese Architecture ◽  
The Arts ◽  
Art Form ◽  
Full Analysis ◽  
The Impact

The article examines the synthesis of arts on the example of Chinese architecture. General historical questions of the development of Chinese culture and various arts during historical evolution are raising. Philosophical and religious positions of culture are distinguishing, which are identifying with the development of art. The question arises of the lack of a full analysis of ancient Chinese art for all types of artistic creativity that were developing during cultural development and formation: architecture, painting, calligraphy, music, sculpture, dance, and so on. A number of scholars who have developed methods of approaches to the systematization and study of the synthesis of the arts of ancient Chinese culture throughout its development are presenting. A number of techniques in painting and calligraphy that have a direct impact on the formation of the Chinese architectural environment are analyzing. These methodical conclusions can be useful in planning the activities of various organizational departments of architectural education and science. Problem statement: it became necessary to analyze and describe the methods and principles of organizing forms of art synthesis in Chinese architecture. Objective of the article: analyze the impact of forms of art synthesis in Chinese architecture. There is describing that the most important art form in China is painting. It is thanks to its compositional, color and harmonic laws that the general cultural world of ancient China is building. Color relationships, combinations with nature - all this through painting builds the canonical laws of architecture, music, dance, calligraphy, etc., taking into account national authenticity. It becomes the central core of the synthesis of Chinese art, generating its various forms for individual regions. In architecture, the action of forms of synthesis of Chinese arts is embodying through the organization of plasticity of the building, interior and exterior space, the ratio of small and large forms, and the location of accents. Experienced predecessors should be a role model for modern architects and artists. The combination of long-standing traditions of "synthesis of arts" with modern production technologies, as well as creative ideas of architects and artists of the XXI century can give new vectors of development of Chinese architecture and art science.

scholarly journals Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽  
2017 ◽  
Vol 10 (2) ◽  
pp. 517-532
Author(s):  
Agus Yulianti
Keyword(s):  
Surrounding Area ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Art Form ◽  
The People ◽  
City District ◽  
Evil Spirits ◽  
Musical Accompaniment ◽  
Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan.  Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

scholarly journals Ceramics as the conveyance of art

2017 ◽  
Vol 6 (4) ◽  
pp. 133-139
Author(s):  
Olcay Boratav
Keyword(s):  
Time Perspective ◽  
Background Knowledge ◽  
Original Structure ◽  
The Arts ◽  
Art Form ◽  
Wide Range ◽  
Different Shapes ◽  
Different Cultures ◽  
Greek Pottery ◽  
Shed Light

AbstractThe concept of art has varied according to space and time perspective in each and every period and it has emerged in different forms in every culture. Artists or designers produce a wide range of forms with different materials representing the period and culture while creating their ceramics. Ceramics symbolizes a thousand-year-old endeavor as well as being considered as one of the arts. It has shed light on the history in different shapes and cultures in addition to undertaking the task of conveyance of art with original structure and formal style in the works of art. Ceramics makes identity differences thanks to background knowledge, form and decorative techniques and originality. Art is not for society’s sake; it aims to relieve the tension, to satisfy pleasure, to enable people to see and hear, to use and to evaluate. Different cultures have generated new styles in their ceramics by integrating creativity into their own traditions and techniques as well as interacting with Mayan vases and pots, Greek pottery, Anatolian ceramics and tiles. Some of these impacts have been so profound in ceramics that they have been passed on from generation to generation.This paper seeks to address to the following questions: How was ceramics used in different cultures and periods with composition features such as form, decoration, motif and figure; and how has it undertaken the task of conveyance of art by investigating what features they have. Keywords: ceramics, art, conveyance of art, form, figure.

When Theatre was for All: the Cork Report, after Ten Years

1996 ◽  
Vol 12 (48) ◽  
pp. 367-383 ◽  
Author(s):  
Ian Brown ◽  
Rob Brannen
Keyword(s):  
Great Britain ◽  
Public Funding ◽  
Senior Lecturer ◽  
Healthy Development ◽  
The Arts ◽  
Art Form ◽  
Long Term Impact ◽  
And Function ◽  
Theatre Management

By the mid 'eighties, the Thatcher government's public funding restrictions had taken a firm hold, leading to a now familiar position of crisis theatre management. In 1985, under pressure from the profession, the Arts Council of Great Britain commissioned an independent enquiry, the first for sixteen years, to evaluate the needs of the publicly funded theatre and to determine funding priorities. Although the resulting Cork Enquiry was seen by many at the time as a cost-cutting exercise, eight months intensive research and evidence-taking led to a carefully constructed case for a funding increase against an estimated shortfall of up to £13.4 million – and also produced a broad vision of the nature of theatre in England. It is now ten years since the Cork Enquiry delivered its report, with the aim of ensuring the healthy development of an art form placed under severe financial constraint. Here lan Brown and Rob Brannen, Secretary and Assistant Secretary to the Enquiry, provide insight into the Enquiry's setting-up, its process, and formulation of recommendations. In the light of recent consultation exercises, they examine the nature and function of such reports alongside the long-term impact of the Cork Enquiry. lan Brown was Drama Director of the Arts Council of Great Britain from 1986 to 1994, and is now Professor and Head of the Drama Department at Queen Margaret College, Edinburgh. Rob Brannen is a Senior Lecturer in Drama at De Montfort University, Bedford.

scholarly journals The potential for ambulation by severely handicapped cerebral palsy patients

1996 ◽  
Vol 20 (2) ◽  
pp. 122-128 ◽  
Author(s):  
J. Stallard ◽  
R. E. Major ◽  
S. E. Farmer
Keyword(s):  
Cerebral Palsy ◽  
Upper Limb ◽  
Lower Limb ◽  
Knee Flexion ◽  
Prototype System ◽  
Practical Application ◽  
Practical Applications ◽  
Therapeutic Benefits ◽  
Wide Range ◽  
Severely Handicapped

Whereas walking for paraplegic patients is now a routine clinical option, ambulation for heavily handicapped cerebral palsy patients is less well established. There are good reasons for supposing that therapeutic benefits similar to that achieved with paraplegic patients are possible for this group. However, the biomechanical problems which must be overcome are different and in many ways more difficult to address. The most important factors are identified as appropriate truncal support, control of abduction/adduction, rotation and flexion range at the hip, and of knee flexion. A means of applying these controls is described as being a combination of a walking frame and orthosis. The special walking frame provides adjustable support at thoracic, abdominal and sacral levels and incorporates castor steering and upper limb support. Controls on lower limb movements are applied through a special orthosis which has a readily available variation of specification to accommodate the wide range of conditions met in cerebral palsy. Practical application of a prototype system has shown that it can enable patients to walk unaided. However, in most cases it was used indoors only. Evaluation of the experience in applying the system has enabled the fundamental principles to permit more practical applications to be defined.

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