Democracy, Education, and the Performing Arts

2021 ◽  
Author(s):  
Kanako W. Ide
Keyword(s):  
Performing Arts ◽  
Democratic Values ◽  
Traditional Values ◽  
Selective Assembly ◽  
Educational Values ◽  
Aesthetic Experiences ◽  
Democracy Education ◽  
Philosophical Framework ◽  
The Aesthetic ◽  
Critical Production

Numerous discussions can be had around the theme of education, democracy, and the performing arts. In addition to requiring an engagement of multidisciplinary understandings, these terms are difficult to define. To create an integrated discussion of education, democracy, and the performing arts, selective assembly is inevitable, but a procedure to shape it has to be carefully engaged. By using the philosophy of education discussion on the value of democracy, however, these themes can begin to be framed in relation to one another. We apply a philosophical framework that applies both traditional values, as well as the value of difference, as methods of maintaining democratic society. By looking at these themes through three moral values of democracy—the value of tradition, the value of difference, and the value of renewal through the accommodation of both—three further classifications can be drawn, dividing the dance-oriented performing arts into categories of Classical Production, Critical Production, and Innovative Production. Each of these performing arts production categories can be taken as a reflection of one of the democratic values: Classical Production represents the value of tradition, Critical Production represents the value of diversity, and Innovative Production represents the value of renewal through accommodation. By applying to these categories the examples of specific performing arts productions, artists’ training and education, and associated performance interpretations, we can consider the ways in which the aesthetic experiences of each type of performing arts production educate spectators as well as artists about democratic values at the level of physical sensations, mental processes, and emotions. Through an articulation of the distinctive aesthetic characters of each type of performing arts production in their specific contexts, their differences can function as an educational discussion, supporting the exploration of different aspects of democratic educational values, rather than in elevating the values of one form of performing arts over another. All aesthetic experiences provided by these types of performing arts function as distinctive educational moments of democracy, for artists and spectators alike, through the medium of physical movement and sensation.

Nilai Edukatif Tradisi Peringatan Hari Kematian di Kenagarian Manggopoh, Sumatra Barat

2020 ◽  
Vol 4 (1) ◽  
pp. 30
Author(s):  
Irsyadul Ubad ◽  
Silfia Hanani ◽  
Iswantir M.
Keyword(s):  
Data Collection ◽  
Qualitative Analysis ◽  
Traditional Values ◽  
Educational Values ◽  
Analysis Techniques ◽  
The Third ◽  
Death Data

<p><em>The Nagari Manggopoh community has a tradition of commemorating the day of one's death which takes place on the third, seventh, fourteenth, fortieth, hundredth, and thousandth days, but the community does not yet understand the educational values. The focus of the research is educative values </em><em></em><em>in the tradition of commemorating the day of death, and their implications for strengthening Minangkabau traditional values. The object of this research is the Islamic community in Nagari Manggopoh that carries out a tradition of commemorating one's death by analyzing the educational values </em><em></em><em>contained in it. The population in this study is the community who carry out the tradition of the commemoration of death. Data collection techniques are observation and interviews, then analyzed using qualitative analysis techniques, with inductive, deductive, and descriptive methods. </em><em>The results of this research showed that there were some educative values contained in the tradition, namely sociological, cultural and cultural educational values, historical, and leadership.</em><em></em></p>

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals Problems of theatrical productions of dramatic works by Lesya Ukrainka on the modern Ukrainian stage

2021 ◽  
Author(s):  
Larysa Khorolets
Keyword(s):  
Research Methodology ◽  
Performing Arts ◽  
Methodological Approach ◽  
Specific Weight ◽  
Dramatic Works ◽  
Artistic Value ◽  
The World ◽  
Multimedia Technologies ◽  
Stage Development ◽  
The Aesthetic

The purpose of the article is diagnostics of Lesya Ukrainka’s dramatic works realization prospects in conditions of performing arts visualization as a consistent trend of the national stage development. The study involves analyzing the adequacy of modern means of expressiveness to the peculiarities of the poetess’ dramaturgy. The research methodology is determined by observational, analytical as well as historical, and logical analysis of the realization prospects of Lesya Ukrainka’s dramatic poems on the Ukrainian stage in the context of the exceptional specific weight of a word for understanding the poetic and philosophical content of the poetess’ works. The indicated methodological approach allows analyzing the reasons why some performances already realized are of enormous artistic value (notably, by “Stone Master” (“Kaminny Hospodar”) as well as outlining the prospects of some contemporary theatrical models in this sense. The novelty of the research lies in expanding the conceptions about the relevance of correlation of cardinally “re-equipped” arsenal of the XX1century scenic space multimedia technologies and the system of means of expressiveness of Lesya Ukrainka’s dramas in the context of conveying the content of these works to the audience, as well as in raising the issue of a more careful approach of modern direction to the ways of conveying and revealing the word of the creator relative to the dramatic works of Lesya Ukrainka as an exceptional phenomenon in the world dramaturgy. Conclusion. Lesya Ukrainka’s dramaturgy is in tune with the present time and corresponds to the aesthetic and civil tasks facing our art today. The Ukrainian theater is in urgent need of this dramaturgy. The poetess’s dramaturgy requires a modern but specific philosophic and poetic theater. To make it sound appropriate, it is necessary to be inspired by the Ukrainian art showing piety towards Lesya’s word and having a desire not just to act but to act namely Lesya Ukrainka, and to find the truth about life in her writing. For her plays it is very important to avoid pomposity which is typical of stage directors fascinated by visualization: there should not be any divertissements, any ball scenes except for those which are required by the unraveling of the plot.

scholarly journals The Biological Basis of Mathematical Beauty

2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Cultural Backgrounds ◽  
Mathematical Culture ◽  
Extensive Experience ◽  
Aesthetic Experiences ◽  
Biological Basis ◽  
Mathematical Beauty ◽  
The Aesthetic ◽  
Biological Category

AbstractThrough our past studies of the neurobiology of beauty, we have come to divide aesthetic experiences into two broad categories: biological and artifactual. The aesthetic experience of biological beauty is dictated by inherited brain concepts, which are resistant to change even in spite of extensive experience. The experience of artifactual beauty on the other hand is determined by post-natally acquired concepts, which are modifiable throughout life by exposure to different experiences (Zeki, 2009). Hence, in terms of aesthetic rating, biological beauty (in which we include the experience of beautiful faces or human bodies) is characterized by less variability between individuals belonging to different ethnic origins and cultural backgrounds or the same individual at different times. Artifactual beauty (in which we include the aesthetic experience of human artifacts such as buildings and cars) is characterized by greater variability between individuals belonging to different ethnic and cultural groupings and by the same individual at different times. In this paper, we present results to show that the experience of mathematical beauty (Zeki et al 2014), even though it constitutes an extreme example of beauty that is dependent upon (mathematical) culture and learning, belongs to the biological category and obeys one of its characteristics, namely a lesser variability in terms of the aesthetic ratings given to mathematical formulae experienced as beautiful.

ANALISIS NILAI PENDIDIKAN DALAM NOVEL CAHAYA DI ATAS CAHAYA KARYA OKI SETIANA DEWI

2020 ◽  
Vol 2 (1) ◽  
pp. 45-52
Author(s):  
Rohana Rohana
Keyword(s):  
Moral Education ◽  
Religious Education ◽  
Qualitative Method ◽  
Social Aspects ◽  
Positive Thinking ◽  
The Novel ◽  
Educational Values ◽  
Real Work ◽  
The Aesthetic ◽  
Value Of Education

The problems raised in this study are related to the analysis of educational values ​​in the novel Cahaya di Atas Cahaya by Oki Setiana Dewi. The educational aspects studied include aesthetic (beauty), moral, religious and social aspects. The purpose of this research is to describe the value of education in the novel Cahaya di Atas Cahaya by Oki Setiana Dewi and to find out the dominant value and its relevance in the reader's life. This research uses descriptive qualitative method. The results of data analysis that have been carried out on the novel Cahaya di Atas Cahaya by Oki Setiana Dewi which is studied from its educational values, both aesthetics (beauty), moral, religious and social, strongly indicate the existence of educational values ​​that are beneficial to readers and connoisseurs of literature in particular. novelist. The value of education in the aesthetic education aspect tells about the beauties of real work as reality based on God's truth. The value of education, especially moral education, such as being devoted to parents, positive thinking in all things faced, not being arrogant and selfish, and always being able to care for others and not being arrogant towards something you have and being able to control yourself in any situation. Educational values ​​in the aspect of social education include always thinking positively towards others, needing each other, knowing hostility, having courtesy, always forgiving others mistakes, and being able to understand differences in beliefs. The value of religious education is such as the attitude of always being patient in dealing with endless problems, having good morals and ethics.

Introduction

2021 ◽  
pp. 1-15
Author(s):  
Elaine T. James
Keyword(s):  
Semantic Content ◽  
Intellectual Work ◽  
Aesthetic Experiences ◽  
Susan Sontag ◽  
The Aesthetic

The introduction orients readers to the aesthetic dimensions of biblical poems and argues that poems as verbal arts are not reducible to rhetoric or a single “message” but rather operate with an excess of meaning that both involves and transcends semantic content. It suggests that biblical poems can be fruitfully examined by considering what kinds of aesthetic experiences they offer. It draws on the work of Alva Noë and Susan Sontag to offer an embodied description of the intellectual work that poems can accomplish as art. The introduction also provides a succinct overview of its chapters.

The Aesthetic Triad

2021 ◽  
pp. 27-30
Author(s):  
Oshin Vartanian ◽  
Anjan Chatterjee
Keyword(s):  
Rapid Growth ◽  
Large Scale ◽  
Aesthetic Experience ◽  
Emergent Property ◽  
Aesthetic Experiences ◽  
Large Scale Systems ◽  
Sensory Motor ◽  
The Aesthetic ◽  
Meaning System ◽  
The Brain

Following the rapid growth of neuroaesthetics, there was a need to systematize and organize the findings into a coherent and testable framework. With the “aesthetic triad,” the authors presented a model according to which aesthetic experience was viewed as the emergent property of the interaction of three large-scale systems in the brain: sensory-motor, emotion-valuation, and knowledge-meaning. Features that distinguished this model from others was that it was meant to apply to all aesthetic episodes (e.g., art, faces, architecture, etc.) and it acknowledged explicitly that a large variety of aesthetic experiences can emerge as a function of the specific ways in which these systems interact in the course of their emergence. To probe the model, the contribution of the knowledge-meaning system is likely of greatest interest, at least in part because that system encapsulates a large breadth of factors ranging from the personal to the cultural.

scholarly journals The appropriation cycle: novice and expert consumers

2018 ◽  
Vol 52 (9/10) ◽  
pp. 1886-1908 ◽  
Author(s):  
Georgia Stavraki ◽  
Emmanuella Plakoyiannaki ◽  
Jackie Clarke
Keyword(s):  
Cultural Capital ◽  
Performing Arts ◽  
Aesthetic Experience ◽  
Current Knowledge ◽  
Single Case ◽  
Multiple Sources ◽  
Content Type ◽  
Aesthetic Experiences

Purpose Recognizing the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research aims to generate a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience. Design/methodology/approach This research uses a single case study design of Miró’s blockbuster exhibition, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observations and archival records. Findings An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and personal versus communal interpretations – amongst other features – in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital. Research limitations/implications The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences. Practical implications The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences. Originality/value This research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

An Aesthetic Theory of Vandalism

1978 ◽  
Vol 24 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Vernon L. Allen ◽  
David B. Greenberger
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Psychological Processes ◽  
Previous Theory ◽  
Discriminative Stimuli ◽  
Aesthetic Experiences ◽  
Destructive Behavior ◽  
Initial Appearance ◽  
The Aesthetic ◽  
Practical Implications

An aesthetic theory of vandalism is proposed. The theory posits that the variables accounting for the enjoyment associated with socially acceptable aesthetic experiences are similarly responsible for the pleasure associated with acts of destruction. Previous theory and research in aesthetics have identified many important factors, such as complexity, expectation, novelty, intensity, and patterning, which are responsible for the pleasure that accompanies an aesthetic experience. These same psychological processes are involved in the destruction of an object. Furthermore, aesthetic variables implicated in an object's initial appearance and in its appearance after being vandalized may serve as eliciting or discriminative stimuli for destructive behavior. Several studies provide support for hypotheses derived from the aesthetic theory of vandalism. In conclusion, we examine the theory's practical implications for reducing vandalism in the schools.

scholarly journals Representation and Equality: Basic Education Democracy in Minangkabau

AL-TA LIM ◽  
2016 ◽  
Vol 23 (1) ◽  
pp. 1-9
Author(s):  
Warnis Warnis
Keyword(s):  
Decision Making ◽  
Social Life ◽  
Democratic Education ◽  
Basic Education ◽  
Religious Leaders ◽  
Traditional Values ◽  
Democracy Education ◽  
The People ◽  
Western Democracy ◽  
Data Source

Social life of a village in Minangkabau is built on a tradition of democracy and mutual agreement. This study aims to explain and elaborate on the values contained in the legend and tradition as the basis of democratic education in Minangkabau. Furthermore, it also describes the potential and contribution of the custom that support the understanding of democracy and democratization process that includes: Representativeness, Sakato consensus (Sakato, an institution that accommodates the aspirations of the people), decision-making, basic freedoms and individual engagement in decision-making, and the equality of voting rights in the deliberations. This study used a qualitative approach, comprehensive interviews and documentation as data collection. The data source is the prince, traditional leaders, Nagari custom, traditional Alam Minangkabau, Bundo Kanduang, religious leaders and society. Data analyzed refers to the analysis of qualitative data presented by Alwasilah (2002). The results showed that the global concept of democracy can be united with the democracy education system brought by traditional communities. That is, people's understanding of democracy education not only refers to the idea of West democracy. However, the custom values of society can be used as the basis democratic education for Minangkabau society of the present and future. The result also shows that the Minangkabau community has first implemented democracy based on traditional values long before Western democracy applied in Indonesia, especially in Minangkabau.

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