scholarly journals THE ARTS AND HISTORICAL REMAINS IN THE CAVE TEMPLES IN IPOH, MALAYSIA

2021 ◽  
Vol 4 (15) ◽  
pp. 14-32
Author(s):  
Ai Boay Tan
Keyword(s):  
World War Ii ◽  
World War ◽  
Limestone Cave ◽  
The Arts ◽  
Literary Arts ◽  
Historical Remains

The purpose of this paper is to demonstrate the arts and historical remains in the cave temples of Ipoh, Perak, Malaysia. Ipoh is well known for its numerous limestone cave temples. Based on the fieldwork survey from 2016 to 2020, Ipoh has 50 cave temples. Before the survey, the number of cave temples in Ipoh was unknown. These cave temples can be divided into three types based on their physical appearances. The paper discusses the arts and historical remains kept in selected cave temples that were established before World War II. The arts discussed in this paper can be divided into visual and literary arts, such as mural, drawing, statue and poetry. The majority of the historical remains taken are archival and epigraphical materials. The epigraphical materials are carved in bronze bells, wooden tablets, brass censers, stone inscriptions, and other materials. This paper aims to highlight the diversity of the arts and historical remains in Nusantara.

Lincoln Kirstein’s Social Modernism and the Cultural Front

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
World War Ii ◽  
Popular Front ◽  
World War ◽  
Social Relevance ◽  
The Arts ◽  
Biographical Approach ◽  
New Ideas ◽  
The Cold War ◽  
Political Economic

This chapter takes a biographical approach to Lincoln Kirstein’s creation of a modernist theory of ballet to situate its development in the 1930s cultural wing of the Popular Front and explore its evolution through and after World War II. Fueled by the cultural front’s belief in the role of the arts in social revolution, Kirstein seized the opportunity to decouple ballet from existing biases about its elitism and triviality, and formulate new ideas about its social relevance in the Depression period. After exploring the development of Kirstein’s social modernism in the cultural front, chapter 2 then turns to the challenges posed to the 1930s belief that art could be productively combined with politics through two major turning points in Kirstein’s life. These are his experiences in World War II, and the erosion of his own artistic role in the ballet company after the formation of the New York City Ballet and the ascendance of George Balanchine’s dance-for-dance-sake aesthetic in the late 1940s. The chapter illustrates Kirstein’s attempts to negotiate the social modernist aesthetic he crafted under the wing of the cultural front within the volatile political, economic, and artistic circumstances of World War II, anticommunism, and the Cold War.

William Watson 1917–2007

2009 ◽  
Author(s):  
Rosemary Scott
Keyword(s):  
World War Ii ◽  
British Museum ◽  
African Studies ◽  
Chinese Art ◽  
World War ◽  
University Of Cambridge ◽  
Fellow Student ◽  
The Arts ◽  
The University

William Watson (1917–2007), a Fellow of the British Academy, was a scholar whose contribution to the field of Asian art and archaeology was both multifaceted and far-reaching. He earned a scholarship to Gonville and Caius College at the University of Cambridge to read Modern and Medieval Languages (1936–1939), and it was at Cambridge that he met a fellow-student Katherine Armfield, whom he married in 1940. After World War II, Watson took up his first post in the arts in 1947, joining the staff of the British and Medieval Department of the British Museum. In 1966, he left the British Museum and moved to the Percival David Foundation of Chinese Art to become its Director and take up the professorship of Chinese Art and Archaeology at the School of Oriental and African Studies, University of London. Watson travelled widely and often, and he became fascinated with the arts and language of Japan.

My Grandfather's Spoon

Public Voices ◽  
2017 ◽  
Vol 1 (1) ◽  
pp. 31
Author(s):  
Russell Ayres
Keyword(s):  
World War Ii ◽  
Short Story ◽  
World War ◽  
Generational Change ◽  
Administrative Services ◽  
The Arts ◽  
Public Servant ◽  
Father And Son ◽  
Australian Department

This short story is about a public servant with the Australian Department of the Arts and Administrative Services, Ayres writes of generational change in the professional and persona} lives of a father and son working in the Service. They hold the last of their 1raditional chess games on the father's final day of his career. The prize for the winner is a family "heirloom" --a spoon stolen by the father's father from a U.S. Navy warship during World War II.

‘African philosophy’ The History of an Expression

2019 ◽  
pp. 291-302
Author(s):  
Souleymane Bachir Diagne
Keyword(s):  
Human Rights ◽  
World War Ii ◽  
African Philosophy ◽  
World War ◽  
Democratic Transitions ◽  
Post World War Ii ◽  
Current Trends ◽  
The Arts ◽  
The Future ◽  
History Of

Souleymane Bachir Diagne’s text is on the history of what has been called ‘African philosophy,’ a phrase with origins in the early post-World War II period. Diagne begins by tracing the complex history and legacy of the book Bantu Philosophy (1949), which was written by the philosopher and theologian Placide Tempels, a Franciscan missionary and Belgian citizen. Diagne argues that that text represented an important break with the way in which Africa had been ignored and set aside in philosophical circles (a practice that Diagne traces to Hegel). From there, he outlines how currents in African philosophy first imitated, and then later broke with, Tempels’s model. He concludes with observations on current trends in African philosophy, which above all focus on democratic transitions, human rights, the future of the arts, citizenship, and languages in use on the continent today.

Post World War II—America Rising

Artful Noise ◽  
2020 ◽  
pp. 64-81
Author(s):  
Thomas Siwe
Keyword(s):  
World War Ii ◽  
Chamber Music ◽  
The United States ◽  
Full Time ◽  
World War ◽  
New Faculty ◽  
New Graduates ◽  
Andre Jolivet ◽  
The Arts ◽  
French Composers

Following World War II, thousands of returning servicemen and women enrolled in American colleges and universities with the financial assistance of the GI Bill. Colleges acted in response to the needs of these older students by offering career-oriented courses and by hiring new faculty to teach them. Music departments began hiring full-time percussion teachers and graduating classes of educated and skilled percussionists. Contemporary composers found these new graduates willing to play their works and responded by dramatically increasing the number of works written for percussion, both solo and ensemble. In the United States, Michael Colgrass, Alan Hovhaness, Henry Brant, and William Kraft created a variety of works ranging from chamber music to solos and even a symphony for percussion. As Europe and Asia recovered from the war, the arts there began a process of rebirth. In the late 1950s and 1960s, French composers André Jolivet, Marius Constant, and Maurice Ohana added a number of percussion works for the concert hall as well as for the dance. The years following World War II and the decades that immediately followed saw a resurgence of musical creativity and the schooled percussionist became sought after as both performer and teacher.

Nicolas Schöffer’s SCAM: An Aesthetic Perturbation in the Urban Field

Leonardo ◽  
2019 ◽  
Vol 52 (1) ◽  
pp. 60-61
Author(s):  
Susan Holden
Keyword(s):  
World War Ii ◽  
European Society ◽  
Space Time ◽  
Urban Life ◽  
World War ◽  
Post World War Ii ◽  
The Arts ◽  
The Aesthetic ◽  
Art And Architecture

In 1973 cybernetic artist Nicolas Schöffer drove his SCAM through the streets of Paris, passing by the Arc de Triomphe and the Eiffel Tower, creating a curious urban spectacle and highlighting the confrontation between different concepts of urban monumentality that had been at stake in post-World War II European society. Part sculpture, part automobile, the SCAM utilized the cybernetic technique of feedback and Schöffer’s application of it in the aesthetic concept of perturbation, in which light, sound and movement effects were orchestrated to interrupt the increasingly rapid cycles of perceptual saturation that Schöffer associated with modern urban life. The following analysis considers Schöffer’s SCAM in relation to the development of the “space-time” concept in the arts and how the technology of cybernetics suggested a new kind of temporality that complicated the role of art and architecture in defining the urban realm. It also considers the appearance of the SCAM idea in Schöffer’s entry to the Plateau Beaubourg architectural competition and its significance as a counterpoint to the “new monumentality” of the completed Centre Pompidou.

scholarly journals Generational cycles and changes in time and space

2019 ◽  
Vol 92 (3) ◽  
pp. 253-273 ◽  
Author(s):  
Mariusz Kowalski
Keyword(s):  
World War Ii ◽  
World War I ◽  
French Revolution ◽  
The Political ◽  
Business Climate ◽  
World War ◽  
The Arts ◽  
The World ◽  
Generation Cycle ◽  
Quantitative Indicators

The cyclical character of definite processes observed under both Polish and American conditions in fact emerges as of a universal nature, finding its analogies throughout the world, though first and foremost within the European cultural circle. It is also possible to speak of its far reaching synchronicity, encompassing change on both local and global scales. This is witnessed by successive culminations of cycles with the French Revolution and Napoleonic Wars, the revolutionary surges of the 1830s and 1840s, the events of the 1860s and 1870s, the turbulences and wars of the early 20th century (notably World War I), then World War II, the great transformations of the 1980s, and the recently observed increase in political tension in various parts of the world (e.g. the Middle East, Ukraine, etc.). In the economic sphere the symptoms are shifts in the business climate, which can even be calculated by reference to quantitative indicators. Then, in the sphere of culture, it is possible to denote successive periods in literature and the arts. In the political sphere in turn, events that shape the state or territorial order are to be observed readily. The present article thus seeks to propose the existence of a universal and synchronous 30-40 years long generation cycle, which manifests itself in real symptoms in the world of politics, and for instance in the cyclicity seen to characterise intensity of change on the political map of Europe.

The Early Years

Arthur Szyk ◽  
2004 ◽  
pp. 5-27
Author(s):  
Joseph P. Ansell
Keyword(s):  
World War Ii ◽  
World History ◽  
Early Career ◽  
Early Years ◽  
Breaking Point ◽  
The Political ◽  
Creative Work ◽  
World War ◽  
The Arts ◽  
History Of

This chapter traces the early years of Arthur Szyk's life, from his birth to the early nineteenth century, before World War II began. He was born in Łódź, an industrial city in the Russian-dominated portion of Poland, in 1894. At the time Poland was not an intact, independent nation; it had been partitioned among Russia, Prussia, and Austria more than a century earlier. It was within this backdrop that the young Szyk began cultivating an interest in art. He also began to develop a passionate interest in history, both world history and the history of his people. More importantly, even at this very early age, Szyk saw the power of art within the political arena. The chapter tracks his early career in the arts during the early 1900s, and how he began to apply politics to his creative work as tensions between Poland and Russia reached their breaking point.

Dartington Hall (1925--)

2018 ◽  
Author(s):  
Larraine Nicholas
Keyword(s):  
World War Ii ◽  
World War ◽  
Important Principle ◽  
International Style ◽  
The Arts ◽  
Modernist Architecture ◽  
Training Courses ◽  
Newly Married ◽  
A Site ◽  
Community Access

Dartington Hall (near Totnes, Devon, England) is a country estate centered on a medieval courtyard and Great Hall. In 1925, the newly married Dorothy and Leonard Elmhirst bought and renovated the crumbling buildings with Dorothy’s family fortune. Plans for the Elmhirsts’ ideal community were based upon early twentieth-century progressive notions of education, technology, agriculture, and social justice. Community access to the arts, including music, dance, and theater, was an important principle from the beginning. The years up to World War II marked the high point of artistic modernism at Dartington. Commissioned houses, including High Cross House, were built in the international style of modernist architecture. There were studios for painters (Mark Tobey, Cecil Collins, Hein Heckroth), pottery (Bernard Leach), theater (Michael Chekhov), and dance (Kurt Jooss, Sigurd Leeder). The estate was a haven for refugee artists from Europe including Chekhov, Heckroth, Jooss, Sigurd Leeder, and Rudolf Laban. After the war, Dartington became both a regional arts venue and a site for developments in education. With the conviction that potential teachers should also be practising artists, Dartington College of Arts provided teacher training courses in arts subjects, later setting up degree courses. Dartington College of Arts was incorporated into University College Falmouth in 2010.

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