scholarly journals QUANDO A CIDADE NOS ENSINA.

2019 ◽  
Vol 1 (2) ◽  
pp. 34-49
Author(s):  
Carminda mendes André

O artigo apresenta um programa de ensino tendo a criação de intervenções urbanas como prática arte educativa na formação de licenciados e de bacharéis em teatro. Embasa sua pedagogia nas noções de estratégia e tática de Michel De Certeau. Por meio de relatos de experiencia, apresenta um fazer que já é um saber. Palavras-chaves: intervenção urbana, tática, arte-educação, cidade.   Abstract. The article presents a teaching program having the creation of urban interventions as a practical art education in the training of graduates and bachelors in theater. The text embodies its pedagogy in the notions of strategy and tactics of Michel De Certeau. By means of reports of experience, it presents a doing that is already a knowing. Keywords: urban intervention, tactics, art-education, city.  

Author(s):  
Tetiana Blahova

Development dynamics of choreographic amateur as a phenomenon of creative activity in the structure of non-formal art education is investigated in the article. The main stages of becoming a choreographic amateur in Ukraine in the context of socio-political and cultural-artistic determinants are characterized. It has been found that during the XX century choreographic activity as a component of non-formal art education had passed a difficult and contradictory path from the experiments of dance studios and the search for “Soviet dance” to the creation of groups, ensembles, creative associations, and later the appearance of amateur dancers of various genres of choreographic performances. Choreographic performance was actively implemented in the permanent and temporary forms of organization that brought together different social groups. The study analyzes the content of choreographic training in the activities of dance groups in different cultural and educational locations at different stages of historical development. The actual perspective of the development of theoretical studies in the field of choreographic education is the understanding of pedagogical resources of amateur choreography, the analysis of its strategies, meaningful content in various forms of organization. 


Author(s):  
Georgii Filipchuk

It was found that culture and art school in Ukrainian should be the highest component of a comprehensive education that ensures the full development of the individual. Arts education should be the means which will promote the development of human resources, cultural capital. Analyzed the European experience of art education, which proves that much attention to the creation of cultural and educational common space (elementary school plus libraries plus Museum) and the development of educational functions of museums, cultural centers, libraries, music institutions. It uses all available resources for formal and informal art education. It is proved that cultural and artistic component is necessary for full education from an early age. The author argues that cultural and educational policy of the state should be treated in accordance with the global trends of global development, the national philosophy and tradition, civil society needs, interests and motivations of man. Every era, historical period, every people have their own specific ethical, aesthetic standards in the assessment of needs and levels of education, culture and art. The abovementioned gives rise not only to state: the harsh competitiveness of global world; the presence of outstanding universal values of humanity for sustainable development; the need for the creation and struggles for self own "I", but also the duty to form primarily ethical responsibility in relation to the individual, family, homeland, native land, culture, language, faith and traditions. Because it is such quality characteristics must belong to a citizen of the world, because the illusion is great hope to establish civilized globalism, leaving a "melting pot" of nation-making people.


Africa ◽  
2015 ◽  
Vol 85 (4) ◽  
pp. 697-721
Author(s):  
Ute Röschenthaler

ABSTRACTMost literature on cloth focuses on its capacity as a medium of identity construction in relation to politics, economy, ethnicity, age and gender. As such, the equalizing properties of uniforms are often contrasted with the creation of individual styles of dress. This article discusses a further dimension in the complexity of the meanings of clothing: it explores the history, uses and local meanings of fabrics on which photographs of public personalities are printed in Bamako. In Bamako in the 2000s, entrepreneurs from different sectors of society, such as politics, religion, media, art, education and commerce, rediscovered this type of cloth as a business opportunity. They have produced decorated fancy textiles for events where large, heterogeneous groups of people participate most often, and where they multiply the image printed on their clothing. Some of these personalities distribute the cloth as promotional gifts, while others make their fans and followers purchase fabrics as evidence of their admiration. The uniforms decorated with photographs reflect a tendency towards asymmetrical relationships between the owners of the dresses and the personality depicted on them. Some of these relationships even encourage individual styles that transgress the uniform character of the dresses.


2021 ◽  
Vol 1 (192) ◽  
pp. 203-209
Author(s):  
Marina Sofilkanych ◽  

The retrospective analysis of emergence of out-of-school art education of the region is made in the article, organization and role of extracurricular education in Ukraine, its organizers and researchers in this field. The emergence and development of art school of Transcarpathia in the twentieth century led to the formation of new generations of artists and the creation of art education. Out-of-school educational establishments of artistic and aesthetic direction were created for young children of the first school age, the first of which was a studio of fine arts under the direction of Zoltan Bakonii. Following the example of this studio in Transcarpathia in the second half of the twentieth century. opened children's art schools with the department of fine arts in the cities of Mukachevo, Uzhhorod, Khust, Vynohradiv, v.Chynadiyevo, etc., where teachers were mostly graduates of Transcarpathian art educational establishments. The development of art education in Transcarpathia and the extracurricular education of the region was studied by Nebesnyk I. I., Voloshchuk A .V, Mochan T. M, Rosul T. I. In the system of art education in Transcarpathia, founded by Adalbert Erdeli and Joseph Boksai, such well-known teachers as V. Skakandii, I. Masniuk, N. Ponomarenko, M. Syrohman, L. Prymych, V. Manailo, E. Roman, T. Bartosh, H. Homoki, V. Dorosh, A. StasIuk and others studied and worked there. Important role in the development of regional extracurricular education of artistic and aesthetic orientation belongs to such well-known pedagogues-educators as V. Burch and V. Tsibere. They played a major role in the creation of Mukachevo Children's ArtSchool named after M. Munkachi. This school of arts, after Z. Bakonii's studio, is one of the first art schools in the field where fine arts is taught. Later the art departments were based on children's music schools. The fine arts department at Uzhhorod Children's School of Arts started its activity in 1984. Most of the teachers came to Zoltan Bakonii's schools: V. Vovchok, O. Sidoruk, G. Kramarenko, E. Roman (head of the department of fine art) and others. Over 200 students study at the fine arts department of named school. During the 1990s, Transcarpathian extracurricular institutions were stagnant and even have undergone a numerical reduction. Since the beginning of 2000, as a result of the successful management of local administrations and their successful policies, their activities have been normalized and coordinated with the work of leading educational establishments of the art education of the region, in particular the College of Arts named after A. Erdeli and the Transcarpathian Academy of Arts. The joint actions and events, workshops for the students of art schools of the region, as well as training courses and seminars for teachers are held. Therefore, in the system of continuous art education (school, college, academy), extra-curricular institutions play an important role. At the School of Arts children learn the basics of fine literacy, academic drawing, painting, composition and get acquainted with examples of the world's best art at the Art history lessons. It is at the School of Arts that the artistic and aesthetic tastes and sensations of beauty are formed, the aesthetic education of young people, its professional orientation, and the formation of artistic environment of the region. In the field of art education, this three-stages system is important, because it solves its sectoral tasks and is a very important link and system of continuous art education in Transcarpathia.


Author(s):  
Галина Александровна Шарко

В июне 2019 года в Екатеринбурге и Свердловской области состоялся Первый Уральский культурный форум. Девиз форума Культура стратегия нации отражает консолидацию творческих центров Уральского федерального округа, создание единого социокультурного пространства округа, определение перспектив развития социально-культурной сферы и художественного образования в регионах. In June 2019 the First Ural Cultural Forum was held in Yekaterinburg and the Sverdlovsk Region. The motto of the forum Culture the strategy of the nation reflects the consolidation of the creative centers of the Urals Federal District, the creation of a single sociocultural space of the district, the definition of prospects for the development of sociocultural sphere and art education in the regions.


1985 ◽  
Vol 19 (3) ◽  
pp. 326
Author(s):  
David Backer ◽  
Myron Krueger ◽  
Peter Richards ◽  
Sonia Sheridan ◽  
David Ucko ◽  
...  

ZARCH ◽  
2017 ◽  
pp. 184
Author(s):  
Covadonga Lorenzo Cueva

El presente artículo trata de ilustrar el concepto de ciudad entendido como espacio de significación implícito en las primeras propuestas teóricas urbanas de Juan Navarro Baldeweg al comienzo de su trayectoria, poniendo de manifiesto la relevancia de un nuevo modo intervención sobre la ciudad, alejada de metodologías de carácter formalista o funcionalista, que darían lugar a intervenciones menos legibles, pero que trataban de transcender al medio físico y dotar a un entorno urbano de cierta identidad y significación. En estas propuestas plantearía, en primer lugar, la incorporación al medio urbano de un sistema de símbolos o imágenes lo suficientemente variado como para representar en tiempo real procesos que podían tener lugar en el ámbito social. En segundo lugar, la generación de una estructura que permitía la participación voluntaria de los miembros de la comunidad en la conformación del espacio urbano. En tercer lugar, el desarrollo de sistemas artificiales autónomos que incorporaban procesos de retroalimentación, haciendo visibles a través de medios tecnológicos las relaciones entre la realidad física con la que se operaba y los símbolos que la dotaban de significación. Y por último, la superación de concepciones preestablecidas en las metodologías de intervención urbana a través de la apertura a una nueva semántica variada, dinámica y de carácter efímero.PALABRAS CLAVE: Navarro Baldeweg, ciudad, urbanismo, medio ambiente, comunicación e información.The present article tries to illustrate the concept of the city understood as a significant environment implicit in Juan Navarro Baldeweg’s first theoretical urban proposals developed during the first years of his professional career. It reveals the importance of a new way to intervene on the city far away from formal or functional methodologies that uses less legible interventions to go beyond the physical reality providing the urban environment of certain identity and significance. In all these proposals, first of all, he proposes adding the urban environment a system of symbols or images sufficiently varied to represent real time processes that could take place in the society. Secondly, the creation of a structure that allows the voluntary participation of the members of the community in the conformation of the urban space. Thirdly, the development of autonomous artificial systems that incorporates feedback, making visible through technology the relationships between the physical reality and the symbols that provides it with significance. And finally, the overcoming of pre-established conceptions in methodologies of urban intervention through the opening of a new, dynamic and ephemeral semantic.KEYWORDS: Navarro Baldeweg, city, urbanism, environment, communication and information


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