Pictures for the People: Knight's "Penny Magazine", an Early Venture into Popular Art Education

1987 ◽  
Vol 28 (3) ◽  
pp. 133
Author(s):  
Patricia J. Anderson
Keyword(s):  
Art Education ◽  
Popular Art ◽  
The People

scholarly journals IMPLEMENTATION OF NATIONAL-REGIONAL COMPONENT IN THE EDUCATIONAL PROCESS IN THE REPUBLIC OF UZBEKISTAN

2021 ◽  
Vol 02 (08) ◽  
pp. 117-121
Author(s):  
Nodir Takhirovich Suyarov ◽  
◽  
Elmirza Temirovich Erkaev ◽  
Keyword(s):  
Detailed Analysis ◽  
Art Education ◽  
Educational Process ◽  
Education Students ◽  
Educational Activities ◽  
The People ◽  
Creative Experience ◽  
Regional Component ◽  
The Republic

This article discusses the possibility of national-regional component in art education students, provides a detailed analysis and the use of creative experience in the heritage of their ancestors of educational and educational activities of students, taking into account the features of cultural and historical traditions of the people.

A Manuscript Waiting for its Reader: “A Word About Alma Mater” by Leonid Chernov

2021 ◽  
Vol 2021 (02) ◽  
pp. 290-305
Author(s):  
V. Galchenko ◽  
◽  
V. Nemtsova ◽  
Keyword(s):  
Art Education ◽  
Original Text ◽  
Alma Mater ◽  
Main Text ◽  
Photo Album ◽  
Graphic Artist ◽  
The People ◽  
Literary Heritage ◽  
Art Community

The goal of the article is to draw attention of the art community to the little‑known memoirs of Leonid Chernov (1915–1990), a famous Ukrainian graphic artist, professor of Kharkiv Art and Industrial Institute. These memoirs are called A Word about Alma Mater and exist as a 120‑page self‑published book. They provide an opportunity for modern readers to learn firsthand how art education was organized in Kharkiv Art College and Kharkiv Art Institute in the 1930s–1950s. The original text is kept in the artist’s family and exists only as a single typewritten copy. In recent decades, about a dozen scholars have had the opportunity to get acquainted with the literary heritage of L. Chernov. Only some theses from this unique text have been quoted in individual academic papers. Chernov’s memoirs are valuable both in terms of literary merit and in terms of truthful testimony about the aspirations and feelings of the author himself and the people close to him, about real historical facts and personalities with whom his fate and the fate of his home university were closely related. L. Chernov wanted to publish his memoirs in the form of an illustrated photo album, back in the 1980s. However, something then thwarted his intentions. At this stage, with the permission of the artist’s family, one of the fragments of such valuable material – the author’s theses to the memoirs and the first section of the main text is published. Unique photo documents from the artist’s albums are published together with the text.

The Revival of Popular Art in Poland

Africa ◽  
1943 ◽  
Vol 14 (4) ◽  
pp. 200-208
Author(s):  
Antoni Plutynski
Keyword(s):  
European Countries ◽  
Popular Art ◽  
The People

As a rule the effort to revive the vanishing art of the people in European countries has met with failure. Popular artistic handicraft is the result of the native material needs of the folk, as well as of their spiritual need for expression in the production of beautiful things. When the life of a tribe which has achieved through the centuries a harmonious equilibrium and unity becomes violently disturbed by outside influences, the chances of preserving the original manual arts are diminished or indeed lost.

scholarly journals KUASA PENDIDIKAN ERA GLOBAL PADA SENI TRADISI GENGGONG DI DESA BATUAN, STUDI KASUS SENI PERTUNJUKAN GENGGONG

WIDYANATYA ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 60-68
Author(s):  
I Nyoman Winyana ◽  
I Made Sugiarta ◽  
I Putu Gede Padma Sumardiana
Keyword(s):  
Data Analysis ◽  
Qualitative Methods ◽  
Art Education ◽  
Performance Art ◽  
Depth Data ◽  
The People ◽  
Direct Data ◽  
The Village ◽  
A Performance

ABSTRAK             Salah satu penyebab keberadaan kesenian Genggong menjadi tidak populer dalam kehidupan masyarakat masa Global adalah peran pendidikan yang diduga tidak berpihak pada seni Genggong seperti di Desa Batuan. Seni pertunjukan Genggong Batuan di era tahun 1973 sempat menjadi karya seni pertunjukan yang mengundang perhatian khususnya pada pertunjukan seni hiburan. Kekhasan dan keunikan bentuk karya ternyata tidak cukup mampu mempertahankan populeritasnya di panggung hiburan.             Kajian tulisan ini berangkat dari metode kualitatif yang dirancang guna memperoleh jawaban secara lebih mendalam. Analisis data dilakukan dengan memperhatikan keabsahan data langsung di lapangan selain dokumentasi tersimpan. Teori yang dipakai membedah persoalan kuasa adalah diambil dari teori kuasa yang menekankan pada ranah kuasa dan juga habitus yang terjadi di masyarakat.             Hasil akhir kajian ini adalah temuan yang berhubungan dengan proses pendidikan seni tradisional Genggong nyatanya tidak terkait dengan aktivitas kegiatan yang hiburan. Keterlantaran yang diakibatnya oleh perubahan gaya hidup dan struktur yang kurang berpihak pada seni Genggong Desa Batuan. ABSTRACT One of the causes of the existence of Genggong art became unpopular in the lives of the people of the Global period was the role of education which was allegedly not in favor of Genggong art such as in the Village of Batuan. The performance of Genggong Batuan in the 1973 era had become a performance art work that drew attention especially to entertainment art performances. The peculiarity and uniqueness of the form of work turned out to be not enough to maintain its popularity on the entertainment stage. The study of this paper departs from qualitative methods designed to obtain answers in more depth. Data analysis is done by paying attention to the validity of direct data in the field besides the stored documentation. The theory used to dissect the issue of power is taken from the theory of power which emphasizes the realm of power and also habitus that occurs in society. The final result of this study is that findings related to the process of traditional Genggong art education are in fact not related to entertainment activities. The negligence that was caused by changes in lifestyle and structure was not in favor of Genggong Desa Batuan art.

scholarly journals Latin American Popular Art in a Museum: How Things Become Art

2019 ◽  
pp. 63-89
Author(s):  
Olaya Sanfuentes
Keyword(s):  
World War Ii ◽  
Latin American ◽  
Social Life ◽  
Fine Arts ◽  
Art Museum ◽  
World War ◽  
Daily Lives ◽  
Popular Art ◽  
The People ◽  
Latin American Culture

In 1943 when Universidad de Chile celebrated its centennial all Latin American nations were invited to participate in the commemorative events. One of the most interesting was the Exhibition of American Popular Art at the Museo Nacional de Bellas Artes(National Museum of Fine Arts) which brought together the objects from participating countries. The Universidad de Chile´s invitation asked countries to send functional objects that were part of the people´s daily lives. The exhibition was very successful, critically acclaimed, and highly attended. But above all, it planted the seed for what was to become the Museo de Artes Populares Americanas(American Popular Art Museum) functioning to this day.In this essay I would like to highlight a series of contexts, actors and institutions behind the phenomena: specific incarnations of Pan Americanism during the Second World War; the Latin American perspective in general and in particular, the Chilean perspective of the university´s role in society; the new value of Latin American arts since the 20thcentury. These contexts and events are useful to shed light on the “social life” of the objects that were part of the exhibition and they also help us to understand a dynamic definition of art which emerged from the recognition of craft in use as worthy of exhibition in a National Fine Arts Museum and then to remain at the permanent collection of a popular art museum.The radical importance of this essay is that it constitutes an example of a thing which represents not just art but also other values. In a midst of the World War II, Latin American Popular Art represented peace. The objects of the exhibition were seen as incarnations of Latin American cultural identity and historiography has gone on to view Latin American culture as a specific contribution to peace effort.

Soviet Theater Audiences

Slavic Review ◽  
1975 ◽  
Vol 34 (4) ◽  
pp. 716-730 ◽  
Author(s):  
Mikhail Deza ◽  
Mervyn Matthews
Keyword(s):  
Central Committee ◽  
Popular Art ◽  
The People ◽  
Official Statement ◽  
National Theater ◽  
Soviet Theater ◽  
Theater Audiences ◽  
The Masses

Soviet authorities have always maintained that their national theater is a truly popular form of art, enjoyed by broad masses of the people. This view has been expressed or implied in every official statement on the medium for many years. “Soviet theatrical art,” according to a 1958 Central Committee statement, “has become a truly popular art, close and comprehensible to the broad masses of the toilers…. Our theater, by carrying the most progressive ideas of socialism, peace, and democracy to the masses, has rightly earned widespread recognition, and become an important factor in the development of all progressive art… “

scholarly journals Dance Ranup Lampuan: Exploration Genius Aceh Movement and Expression Female Body Beauty Values in Culture Peumulia Jamee

2018 ◽  
Vol 5 (5) ◽  
pp. 146
Author(s):  
Chaerol Riezal ◽  
Hermanu Joebagio ◽  
Susanto Susanto
Keyword(s):  
Cultural Values ◽  
Female Body ◽  
Body Movements ◽  
Cultural Events ◽  
Popular Art ◽  
Cultural Life ◽  
The People ◽  
Support Pillar ◽  
Important Position ◽  
Woman's Body

Dance Ranup Lampuan is a very popular art of dance in Aceh. This dance exists in every welcoming guests, ceremonies, cultural events, and arrive at a formal event Aceh administration. This article answered about the genius of the woman's body movements in Aceh and expression of beauty in cultural values Peumulia Jamee dance Ranup Lampuan. With a soft and agile movement, dance Ranup Lampuan tells about women in Aceh who are preparing the betel for entertaining guests. Starting from picking and wiping betel, put lime and gambier, wrapping up the betel organize into place named puan or ceurana. After betel has been prepared, the dancers in dance Ranup Lampuan betel deliver to the invited guests. The purpose of it all is to welcome and praise guests or in the Acehnese language is referred to as Peumulia Jamee. The story is played in the Acehnese dance, in the lift pass culture Jamee Peumulia that is the tradition Acehnese people who like to eat and glorify guests with betel. Every movements in dance Ranup Lampuan has its own philosophical meaning. Acehnese woman's body that is synonymous with weak and soft, as well as in demand to cling to their cultural values. In this case, the woman Aceh has an important position as a support pillar dance Ranup Lampuan and culture Peumulia Jamee Aceh. Dance Ranup Lampuan represetasi women is a manifestation of Aceh and cultural values Peumulia Jamee, as a form of expression of ideas, ideas, understanding and confidence in social and cultural life of the people of Aceh, as a reflection of religious and cultural values in tridisi welcoming guests. Through dance Ranup Lampuan this, the women of Aceh were able to show the genius of his movement and to express beauty in cultural values Peumulia Jamee Aceh.

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