Researching children’s play and contemporary art

Practice-based Research in Children's Play ◽

10.1332/policypress/9781447330035.003.0006 ◽

2017 ◽

Author(s):

Megan Dickerson

Keyword(s):

Contemporary Art ◽

Performance Studies ◽

Art Museum ◽

Research Methodologies ◽

Children's Museum ◽

Alternative Research ◽

And Performance ◽

Contemporary Artist ◽

Learning Through Play ◽

Conceptual Work

The New Children’s Museum is a museum in which each ‘exhibit’ is a conceptual work of art by a contemporary artist, commissioned by the museum as a springboard for playful experiences. Neither a children’s museum, where the focus is on learning through play, nor a standard contemporary art museum, The New Children’s Museum is a hybrid space that calls for new ways of doing research, requiring tools that can go beyond positivist and ethnographic approaches. This review assembles examples of alternative research methodologies, drawn from diverse practices such as performance studies and performance art, that may contribute to mapping the complexities presented by a children’s museum that also actively engages in the production of contemporary art. It includes some experiments with a/r/tography, and in conclusion offers a method assemblage that might be termed ‘ludo-artographic’.

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Poéticas e Políticas da Relação: Apontamentos a partir da ação de Ailton Krenak na Assembléia Constituinte e seu deslocamento para espaços de arte contemporânea

ILUMINURAS ◽

10.22456/1984-1191.72884 ◽

2017 ◽

Vol 18 (43) ◽

Author(s):

Damiana Bregalda Jaenisch

Keyword(s):

Contemporary Art ◽

Performance Studies ◽

Art Exhibitions ◽

Indigenous Art ◽

Art Performance ◽

And Performance ◽

Made In

O artigo propõe tecer reflexões sobre o deslocamento e circulação de imagens da ação-fala de Ailton Krenak realizada na Assembléia Constituinte de 1987 para exposições de arte contemporânea realizadas em 2015 e 2016. Em diálogo com referenciais do campo da antropologia e da arte entorno dos rituais e estudos da performance, tomo como horizonte o imbricamento entre dramas estéticos e sociais, poética e política, para pensar estes deslocamentos e as tramas de relações, concepções de arte, artista e os modos/mundos de existência que estão em jogo.Palavras-chave: Deslocamentos. Artes indígenas. Arte contemporânea. Performance. Política.Poetics and Politics of Relation: Notes from Ailton Krenak action in the Assembléia Consitutinte and its displacement to contemporary art spacesAbstractThe purpose of this article is to make some reflections about the displacement and the circulation of images of Ailton Krenak action-speech made in the 1987 Assembléia Constituinte to contemporary art exhibitions realized in 2015 and 2016. In dialogue with references from the anthropology and art field about ritual and performance studies, I take as horizon the imbrications between aesthetics and social dramas, poetics and politics, to think about these dislocations and the webs of relations, conceptions of art, artists and the ways/worlds of existence that are bring into play.Key words: Displacement. Indigenous art. Contemporary art. Performance. Politics.

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Researching preaching beyond the (transcribed) text in (South) Africa

STJ | Stellenbosch Theological Journal ◽

10.17570/stj.2020.v6n4.a22 ◽

2021 ◽

Vol 6 (2) ◽

Author(s):

Cas Wepener

Keyword(s):

South Africa ◽

Research Methods ◽

Performance Studies ◽

Textual Studies ◽

Research Methodologies ◽

Liturgical Studies ◽

And Performance

In (South) Africa, preaching should in addition to textual studies of recorded and transcribed sermon texts, also be studied as an enacted performance and thus beyond the transcribed text. This article develops an argument regarding the need for the field of Homiletics in (South) Africa to firstly broaden the object of empirical homiletical research and study preaching as an enacted or performed liturgical ritual and secondly, augment its existing research methodologies accordingly. Such a methodology will take African epistemologies and ontologies more seriously than traditional methodologies that only study transcribed texts and to a large extent ignore the significance of the performance of the sermon. Recent methodological developments in Liturgical Studies can be helpful in this regard and a discussion between the two disciplines are encouraged, as well as insights gained from other fields such as Ritual – and Performance Studies. The article ends with some implications that the broadening of the research object may have for homiletical research methods in Africa.

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Personal cartographies of a Huitoto mythology:

Revista de Antropologia da UFSCar ◽

10.52426/rau.v2i2.27 ◽

2010 ◽

Vol 2 (2) ◽

pp. 67-87

Author(s):

Giuliana Borea

Keyword(s):

Contemporary Art ◽

Art Practice ◽

Art Scene ◽

The Creation ◽

And Performance ◽

Contemporary Artist ◽

First Time

Rember Yahuarcani López was born in Pebas, in the Peruvian Amazonian department of Loreto, in 1985. He belongs to the Aymenu clan of the Huitoto group. In 2003 he came to Lima for the first time. His father, the painter and sculptor Santiago Yahuarcani, was invited to impart workshops as part of the exhibition Serpiente de Agua. Instead, he decided to send his son. This opportunity would change Rember Yahuarcani’s perspective on his life and artwork. This article explores Rember Yahuarcani’s art practice and the creation of his own pictorial vocabulary based on his traditions, his artistic explorations, and his new experiences. The article also analyzes Yahuarcani’s discourse and performance in making himself a contemporary artist, and his receptivity in the Limeño art scene. Yahuarcani’s trajectory will be examined in relation to new art agents’ strategies, networks, and narratives that aim to provide a more established visibility to Amazonian contemporary art in Lima’s art circuits. A new art agenda in which Yahuarcani participates and thus shapes.

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Cultural Labour

10.1093/oso/9780199490813.001.0001 ◽

2019 ◽

Cited By ~ 2

Author(s):

Brahma Prakash

Keyword(s):

Conceptual Framework ◽

Performance Studies ◽

Life Experience ◽

Social Hierarchies ◽

Folk Performance ◽

And Performance ◽

The Relationship

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour, the author studies bhuiyan puja (land worship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author’s own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies.

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Challenges in using moving images at the MAC/VAL, Vitry-sur-Seine

Art Libraries Journal ◽

10.1017/s0307472200015959 ◽

2009 ◽

Vol 34 (3) ◽

pp. 11-15

Author(s):

Céline Latil

Keyword(s):

Contemporary Art ◽

Art Museum ◽

Moving Images ◽

Audiovisual Archives ◽

Contemporary Art Museum

This article describes the documentation centre at the contemporary art museum MAC/VAL in Vitry-sur-Seine in the Val-de-Marne, outside Paris, and in particular its audiovisual collections. It outlines the problems that have to be faced when seeking to make this material – documentaries and artists’ videos, whether purchased or produced in-house, even the museum’s audiovisual archives – available to the centre’s users.

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Cultural History, Ritual and Performance: George L. Mosse in Context

Journal of Contemporary History ◽

10.1177/0022009420940033 ◽

2021 ◽

pp. 002200942094003

Author(s):

Peter Burke

Keyword(s):

Political Culture ◽

Early Modern ◽

Cultural History ◽

Performance Studies ◽

Early Modern Europe ◽

History Of ◽

Nineteenth And Twentieth Centuries ◽

Modern Europe ◽

And Performance ◽

Cultural Turn

George L. Mosse took a ‘cultural turn’ in the latter part of his career, but still early enough to make a pioneering contribution to the study of political culture and in particular what he called political ‘liturgy’, including marches, processions, and practices of commemoration. He adapted to the study of nationalism in the nineteenth and twentieth centuries the approach to the history of ritual developed by historians of medieval and early modern Europe, among them his friend Ernst Kantorowicz. More recently, the concept of ritual, whether religious or secular, has been criticized by some cultural historians on the grounds that it implies a fixed ‘script’ in situations that were actually marked by fluidity and improvisation. In this respect cultural historians have been part of a wider trend that includes sociologists and anthropologists as well as theatre scholars and has been institutionalized as Performance Studies. Some recent studies of contemporary nationalism in Tanzania, Venezuela and elsewhere have adopted this perspective, emphasizing that the same performance may have different meanings for different sections of the audience. It is only to be regretted that Mosse did not live long enough to respond to these studies and that their authors seem unaware of his work.

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