PERFORMANCE IN FOLK CULTURE

2020 ◽  
Vol 1 (1) ◽  
pp. 143-149
Author(s):  
E. V. Fomchenko ◽  
Keyword(s):  
Folk Art ◽  
Creative Activity ◽  
Folk Culture ◽  
Creative Potential ◽  
Artistic Creativity ◽  
Cultural Traditions ◽  
The Creation

The article deals with such a modern phenomenon of culture and art — as performance. The purpose of this study is to determine the performative features as characteristics of modern artistic creativity and their influence on the development of folk culture. The tendency for turning to ritual, ceremonial types of folk art, whereby the communication is put forward, is considered on the example of the creative activity of the folklore ensemble "Rosstan". The article notes such performative characteristics as the creation of an event and atmosphere, space and communication organization, the interaction of the audience, that provide conditions for perception and response. The author relies on the works of such scientists as: E. Fischer-Lichte, V. Turner, A. Ya. Flier, L. N. Zakharova, L. V. Demina and others. In the process of studying following methods were used: generalization, comparison and also dialectical, historical and logical once. Modern features in folk culture, expressed in the interaction of traditional and innovative folkloristics are revealed on the example of the creative activity of "Rosstan". The revival of folk culture, the realization of its creative potential is possible through the development of cultural traditions and the creation of innovations related to ancient ritual forms of interaction, which should be adapted to the present and be understood by modern generation.

Manifesto for an art libraries society

1983 ◽  
Vol 8 (4) ◽  
pp. 3-13
Author(s):  
Philip Pacey
Keyword(s):  
Popular Culture ◽  
International Association ◽  
Folk Art ◽  
List Type ◽  
Integrated Network ◽  
Cultural Traditions ◽  
The Arts ◽  
The Creation ◽  
Library Collections

Art librarians share a passion for art and a determination to solve the practical problems of art librarianship. They may be brought together initially by the desire to overcome their isolation, but once together they achieve corporate strength. Art librarians have formed associations since 1924, but with gathering momentum since the late 1960s, culminating in the creation of an international association within IFLA. ‘Internationalism’ in the arts should mean a celebration of, and interaction between, distinctive national and regional cultural traditions. Five suggestions are put forward for consideration by any national art libraries association. 1)The inclusion within the association of every type of art librarian and art library.2)An examination of the provision of art documentation in the country as a whole, paying particular attention to documentation of the country’s own art (including design, crafts, folk art and popular culture).3)A consideration of the country’s art library collections and services as a whole, and of their potential as an integrated network.4)Participation in international co-operation and in the activities of the IFLA Section of Art Libraries.5)The development of members’ awareness of the ideals and objectives of art librarianship.(The text of a paper presented to a meeting of ARLIS Norge at Oslo on January 25th 1984).

KEPELBAGAIAN BUDAYA DALAM KONSEP “HARMONI JAWA” DI KAUMAN YOGYAKARTA

2019 ◽  
Vol 7 (1) ◽  
pp. 45-60
Author(s):  
CAMA JULI RIANINGRUM
Keyword(s):  
Cultural Heritage ◽  
Descriptive Analysis ◽  
17Th Century ◽  
Unique Characteristic ◽  
Analysis Method ◽  
Cultural Traditions ◽  
Qualitative Descriptive ◽  
The Creation ◽  
Residential Settlement

Harmoni adalah suatu kondisi yang serasi dari perbedaan dan pluralitas yang kemudian dengan bentukaslinya masing-masing dapat saling menyesuaikan dan menyatu dengan seimbang. Dalam Budaya jawadisebut selaras, yaitu terciptanya kehidupan yang nyaman dan indah dalam keragaman. Salah satu wujudharmoni Jawa secara visual dapat terlihat di sebuah permukiman di Yogyakarta, yang merupakan suatuwilayah permukiman warisan budaya Jawa dari abad ke-17. Digunakan metode analisis deskriptif kualitatifyang bertujuan untuk memaparkan keterkaitan dan jalinan semua aspek pembentuk yang mencerminkanproses adaptasi sehingga terbentuk harmonisasi permukiman. Pada masa kini, permukiman ini memilikikeunikan yang khas yaitu sebuah bentuk permukiman yang merupakan perpaduan yang harmonis daritiga budaya, yaitu budaya Jawa, Islam, dan budaya modern. Kondisi yang terbangun karena masyarakatnyataat pada tradisi budaya Jawa dalam melakukan adaptasi terhadap perubahan dan perkembangan jaman. Harmony is a synchronous integration of differences and pluralities which in their respective original statessucceed in adjusting to each other thereby forming a balanced union. In the context of Javanese culturecalled selaras, namely is the creation of a comfortable and beautiful existence within a diversity. One ofthe visual forms of Javanese harmony can be observed in a residential settlement in Yogyakarta, an areaof Javanese cultural heritage from the 17th century. A qualitative descriptive analysis method was usedaimed to describe the interrelationships and interweaving of all forming aspects reflecting the adaptationprocess which enabled the creation of such harmonious condition in a residential settlement. Today, thissettlement possesses a unique characteristic, that takes the form of a residential settlement where threecultures, namely the Javanese, Islamic, and modern cultures, are blended in harmony. This conditiondeveloped as a result of the community’s adherence to Javanese cultural traditions during their adaptionto changes and developments over the course of time.

Village Festivals and Rites in Croatian Naive Art

2021 ◽  
pp. 134-142
Author(s):  
Софья Антоновна Лагранская
Keyword(s):  
Folk Art ◽  
Rural Life ◽  
Strong Impact ◽  
The South ◽  
Fertile Soil ◽  
South Slavs ◽  
The Creation ◽  
Village Life

Хорватское наивное искусство, зародившееся в небольшом селе Хлебине, неотделимо от обрядности, без которой невозможно представить течение деревенской жизни. Яркие и декоративные работы крестьянских художников крепко спаяны не только с народным искусством, но и с самим сельским бытом, с его ритмично повторяющимися циклами. В картинах хорватских живописцев особое внимание уделяется изображению различных семейных и календарных праздников. Прослеживаются в творчестве хлебинской школы и элементы архаических обрядов, сохранившиеся в культуре южных славян. Традиционные для хорватской деревни ритуалы не могли не оказать влияния на художников, они послужили плодородной почвой для создания яркой подстекольной живописи. Связь наивного и народного искусства по мере углубления в проблематику становится всё более и более явственной. Мышление хорватских наивных художников архетипично в том смысле, что под определенными образами и темами их творчества есть глубокая мифологическая основа: угадывается целый комплекс смыслов, присутствует ощущение первозданности природы и хрупкого слоя крестьянской цивилизации. Обращение к образам и символам земледельческих обрядов и праздников - это не просто дань традиции хлебинской школы, это внутренняя потребность выражения себя в этой вечной для художников, живущих на берегах Дравы, теме бытия крестьянского мира. Croatian naive art developed in the small village of Hlebine is inseparable from the rituals of village life. The bright, ornamental works of peasant artists are firmly tied not only to folk art, but also to rural life and its repetitive cycles. In the paintings of these Croatian artists specific attention is paid to the depiction of family and calendar holidays. Traditional Croatian village life has had a strong impact on the artists has served as fertile soil for the creation of bright colored painting. Elements of archaic rituals that are still preserved in the culture of the South Slavs may be seen in their works. The connection between naive and folk art becomes clearer as we delve deeper into it. The thinking of Croatian naive artists is archetypal in the sense that a deep mythological basis underlies certain images and themes of their work. A complex of meanings may be intuited; there is a sense of primeval nature and the fragile layer of peasant civilization. The appeal to images and symbols of agricultural rites and holidays is not just a tribute to the tradition of the Hlebine school; for artists living on the banks of the Drava it derives from an inner need to express themselves in these eternal themes of the peasant world.

scholarly journals Pop-art and criticism of reception of vacuity (the society) in the works of Andy Warhol

2017 ◽  
Vol 5 (9) ◽  
Author(s):  
Nataša Vilić
Keyword(s):  
Pop Art ◽  
Pure Form ◽  
Artistic Expression ◽  
Andy Warhol ◽  
The West ◽  
Artistic Creativity ◽  
The Creation

With the advent of pop art and artistic creativity of Andy Warhol arechanged the classic works of reception of art and art in general. AndyWarhol in his artistic action is insisting on the immediate actions andthe naked form - those are so-called the works of “pure” form, whichcreate a confusing gap; whose “content” is necessary to construct, thatis, to invent. That in the opinion of Andy Warhol can only audiencesand critics - with that he actually makes room for interpretation of hisartistic work. Andy Warhol was aware of the existing “gaps of entity”.He wants the freedom which he enjoys in his artistic expression to alsoprovide to the recipient, he is trying to leave his artwork fully open forreading and interpretation. In his quest he comes to the intelligiblesymbolic acts spontaneously. When the artist himself once firmly justifieshis image - he imposes the audience and the lasting perceptionof his work. Andy Warhol observes that in the creation of mass industrialsociety is a source of the anxiety of the West. The causes of thiscondition are different: the money, the androgynous future of man,machines which are replacing man and colonizing his consciousnessand thus enslave him. Andy Warhol wonders - whether the contemporaryart can offer the optimism?! His optimism could be seen as hisopposition to European pessimism and decadence.

scholarly journals innovative approach to training students of art pedagogical universities

2021 ◽  
Vol 5 (S2) ◽  
pp. 619-632
Author(s):  
Viktor M. Labunets ◽  
Irіna O. Topchieva ◽  
Anzhelika Bondarenko ◽  
Dmytro Bondarenko ◽  
Liming Wei
Keyword(s):  
Cultural Values ◽  
Distinctive Feature ◽  
Music Teachers ◽  
Innovative Approach ◽  
Creative Potential ◽  
Modern Music ◽  
Artistic Creativity ◽  
Quality Requirements ◽  
Professional Activities ◽  
Stage Of Development

The distinctive feature of modern musical art is the constant search for new expressive means. Innovations infiltrated all aspects of composition, including the writing technique, understanding of the genre, style, form, and instrumental interpretation. These efforts are aimed at a true diverse and multifaceted embodiment of reality, which is constantly changing due to grand social upheavals. “Creative experiment, inquisitive search, and desire for renewal are inevitable and necessary in modern music. Without these experiments, artistic creativity becomes shallow, declines, and is subjected to sclerotic necrosis”. The growing need for a highly spiritual society requires a rapprochement to teaching and educating the younger generation to develop its spiritual and cultural values, personal and artistic orientations. These trends are primarily related to maintaining and increasing the intellectual and creative potential of a person who can express oneself through professional activities. In this case, the modern socio-cultural stage of development of musical-pedagogical education brings attention to new quality requirements to training of the experts that supposes the necessity and urgency of updating a problem of methodological training of music teachers.

scholarly journals Creative Potential is Differentially Expressed in School, at Home, and the Natural Environment

2021 ◽  
Author(s):  
Mark Runco ◽  
Ahmed M. Abdulla Alabbasi ◽  
Selcuk Acar ◽  
ALaa Eldin A. Ayoub
Keyword(s):  
Natural Environment ◽  
Statistical Test ◽  
Differentially Expressed ◽  
Creative Activity ◽  
Creative Potential ◽  
Method Variance ◽  
Creative Products ◽  
The Individual ◽  
Home And School ◽  
At Home

Creative potential is one of the very most important topics for research. It is difficult to study because, unlike creative products, potential is by definition latent. There are several methods. One involves comparing creative activity expressed in various settings. Previous research has, for example, compared creativity expressed in school with that expressed by the same individuals when they are outside of school. There tends to be more creative activity outside of school, suggesting that the individual has creative potential, but it is only allowed to be expressed in certain settings. The present investigation extended this line of research by comparing creative activity in school, at home, and that occurring outside of school and home. Results indicated that the activity scores from the three settings shared less than 52% of their variance. The measures used were highly reliable, so the conclusion was that, as in previous research, various settings do indeed differentially allow the expression of creative potential. Comparisons of means also supported this finding. Interestingly, creative activity at home was significantly more common than creative activity at school and when outside of the home and school. A statistical test of method variance indicated that it was not a notable contribution nor confound. Limitations are discussed at the end of the manuscript.

scholarly journals CREATIVE POTENTIAL OF PERSONALITY: MAIN MECHANISMS OF DEVELOPMENT

2021 ◽  
pp. 39-46
Author(s):  
Hanna Kostromina ◽  
Tetiana Svidlo ◽  
Liliya Shkolyar
Keyword(s):  
New Product ◽  
Creative Activity ◽  
Spiritual Values ◽  
Creative Potential ◽  
Human Essence ◽  
New Ideas ◽  
Social Product ◽  
Mechanisms Of Development ◽  
Definition Of ◽  
Psychological Features

The difficulty of studying the phenomenon is that there is no single definition of creativity. Therefore, this is the reason for the need to substantiate the creativity characteristics and determine the main personal abilities that motivate creativity. Creativity is a means of self-realization of an individual, the characteristic essence of human existence. It is creativity that an individual realizes his inner potential in. The realization of the creative potential of individuals becomes a measure and criterion for assessing the development of the socio-cultural environment. As a means of knowing the world, creativity reveals the great potential of the human spirit, and the realization of the creative potential of a man provides the creation of new things in ideal forms and socio-practical activities. Creative activity is one of the main factors in developing human essence. The process of creative activity, the results of activity, the personality of the creator as well as the environment and conditions in which creativity is carried out can be determined in the structure of creative activity. The ability to be creative is unique to a man because a man creates a new product that did not exist before. Creativity as a complex mental activity of a man is characterized by its psychological features. Creativity begins with setting tasks to be solved within the process of activity, then there is the search for a solution. But creativity becomes full-fledged only when a person turns new ideas into a social product that becomes accessible to understanding and perception by others. Creativity is associated with the structural and functional renewal of activity, its transformation into a more perfect activity which is expressed in the newly created material and spiritual values. The self-realization of a creative personality occurs through the disclosure of the inherent creative potential which is determined by talent, creativity, willingness to carry out various forms of activity and its productivity determination.

scholarly journals PHILOSOPHICAL AND PSYCHOLOGICAL-PEDAGOGICAL BASES OF CREATIVE ACTIVITY OF CHILDREN OF SENIOR PRESCHOOL AGE

2020 ◽  
pp. 231-237
Author(s):  
Iulia KOTELIANETS ◽  
Keyword(s):  
Fairy Tales ◽  
Aesthetic Experience ◽  
Social Activity ◽  
Preschool Education ◽  
Folk Art ◽  
Preschool Age ◽  
Theory And Practice ◽  
Creative Activity ◽  
Complex Integral ◽  
Educational Potential

The article substantiates the relevance of the formation of children's creative activity with the help of folklore in the process of integration of different types of artistic activities in the theory and practice of preschool education. It is noted that the highest form of human’s activity and at the same time his characteristic is creativi-ty, at the same time creative activity is defined as human activity in a particular type of creativity, which acquires essential and specific features of creativity. As a result we can mention that creativity and activity are interrelated, interpenetrating concepts that influence each other. Different approaches of understanding the essence of the concepts "creativity", "activity" are revealed and the main interpretations of these terms in philosophy, psy-chology and pedagogy are reflected. It is determined that in the studying of creativity there are two approaches: creativity as an activity; creativity as a personality trait. Based on the research of philosophers on the prob-lems of education of social activity, artistic creativity, we consider creative activity as a complex, integral quality of personality, which is a dialectical unity of general, peculi-ar to all types of social activity, and especially specific only as a measure of personality’s activity in art, has two interconnected aspects: external and internal. The external side involves the implementation of ac-tions and deeds which have creative nature. Internal involves a conscious, meaningful attitude to the activities performed, the manifestation of volitional qualities associ-ated with achieving the result. Older preschool age is the basis for the formation of creative activity and children's creativity in general, as the developmental perception of the child is the causative agent of the child's activity and creative activity in gen-eral. One of the means that contributes to younger genera-tion personality’s formation, which carries enormous educational potential, is folk art, because it contains wis-dom, the best people’s moral and aesthetic experience. In addition, it contributes to the formation of children’s crea-tivity. Based on the analysis of research, the possibilities of such types of oral folk art as fairy tales, proverbs and sayings, riddles in the formation of creative activity, based on their nature and content.

scholarly journals The Psychology of Creativity: A Discussion Between Creative Potential and Its Realization

2015 ◽  
Vol 2 (1) ◽  
pp. 49-55 ◽  
Author(s):  
Jacek Gralewski
Keyword(s):  
Social Psychology ◽  
Creative Activity ◽  
Creative Potential ◽  
Social Conditioning ◽  
Creativity Research ◽  
The Social ◽  
The Difference ◽  
Further Development ◽  
Different Levels ◽  
Psychology Of Creativity

AbstractThis text is devoted to a discussion of current achievements in the psychology of creativity, as well as to the further development of the field. It is concerned with a criticism of former and current theses in the field of the psychology of creativity discussed by Glăveanu (2014). The arguments presented indicate that, despite Glăveanu’s (2014) proposition, the psychology of creativity is not in crisis. It is pointed out that the difference in views between supporters of the social psychology approach to creativity and psychology researchers oriented towards the study of creative potential on how to conduct creativity research, stems from a concentration on different levels of creativity, and not necessarily from an ineffective theory of creativity. As a consequence of these different perceptions of creativity at its particular levels, determining the prime standard of creative potential is not sufficient to understand the social conditioning of creative activity and the social assessment of creativity, and vice versa.

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