StrassenKunstFest – Street Arts Festival

Author(s):  
Gordana Crnko
Keyword(s):  
CORAK ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Edi Eskak

Arts Festival Negari Ngayogyakarta Hadiningrat 2012 undertaken in order to commemorate the first century of Hamengku Buwono IX as well as 2,5 century of Ngayogyakarta Hadiningrat, featuring the character or the privilege of Yogyakarta through works of art by artists with no exit from the corridors of copyrighted artistic distinctiveness. The works on display most of the particular character, specific and have their own specialty. Privileges of Yogyakarta with its dynamic, multicultural, and tolerant of the works reflected on display in the various mediums of expression and creation. A wide assortment of works of art displayed expression of both the traditional, conventional and non conventional, such as: painting, graphics, sculpture, video, film, animation, installation, performance art, digital prints, puppets, mixed media and others. Not to mention that the exhibition has a variety of craft works of art, such as the art which haselements of craftmanship. The uncommon art that relies on creativity ideas and handskills in this exhibition appear surprisingly with exceptional works that have creative potential prospective. These young artists, among other craft; Karyadi, Fitriasih Pudyo Atmaningrum, I Gde Suryawan, and I Gusti Ngurah Edi Basudewa.Keywords: potential, arts crafts, specialty, and Negari Ngayogyakarta Hadiningrat


1989 ◽  
Vol 41 (4) ◽  
pp. 540
Author(s):  
Barbara Rothman Vojta ◽  
Jeff Stetson
Keyword(s):  

2014 ◽  
Vol 53 (3) ◽  
pp. 705-733 ◽  
Author(s):  
Radhika Natarajan

AbstractThe Commonwealth Arts Festival of 1965 was an important moment of postimperial reengagement. Over three weeks, Britain hosted visual artists, musicians, dancers, poets, and writers representing national cultures, who together presented a diverse Commonwealth assembled in terms of egalitarian multiculturalism. This article examines the investments of individual nations in participating in this festival to argue for the transnational production of multiculturalism at the end of empire. As a postimperial phenomenon, Commonwealth multiculturalism depended on the legibility of distinct national cultures assembled through an equitable framework. Governments sponsored representative cultural forms in response to domestic political circumstances and international economic needs, and against the imperial aesthetic hierarchies of the past. Examining the diverse interests assembled through the festival is essential to understanding the legacies of imperial power for more seemingly democratic frameworks of difference.


2021 ◽  
Vol 30 (1) ◽  
pp. 122-133
Author(s):  
Mario Relich

A personal review of the 2020 Edinburgh International Festivals, much reduced and mostly online due to Covid-19.


2021 ◽  
Vol 21 ◽  
pp. 229-244
Author(s):  
Won-Soub Pyo ◽  
◽  
Mi-Kyong Yu

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