creative experience
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2022 ◽  
Vol 15 (1) ◽  
pp. 40-57
Adam Krzymowski

The presented manuscript deals with three Baltic states (Estonia, Latvia, and Lithuania) that are part of the Three Seas Initiative in the context of cooperation with the United Arab Emirates. The research’s goal is analysis the larger dimension of Three Seas Initiative and its creative role and importance in the international arena, including the Middle East. In this sense, this paper asks a research question of whether the relations between Estonia, Latvia, Lithuania, and the United Arab Emirates have the potential for deeper and broader creative dynamics of their cooperation. The presented article is the first research work of this type. Thus, it fills a gap in the literature and analyses concerning relations between the Baltic states and the United Arab Emirates. This work is primarily base on empirical research conducted for ten years. In addition, the author used his own creative experience, including as an Ambassador to the United Arab Emirates (2011–2015) or Senior advisor at Expo 2020 (2016–2018), responsible for strategies and creative development of relations the United Arab Emirates with all the Three Seas Initiative countries, including Baltic states. As a result of the research, the author argues that Estonia, Latvia, and Lithuania, as a part of the Three Seas Initiative, should make this concept more creative in its external dimension, with the United Arab Emirates. Expo 2020 (1 October, 2021–31 March, 2022) provides an opportunity for creative diplomacy. This event is an occasion to demonstrate joint projects, also in global aspects.

Lesya Mykulanynets

The purpose of the article is to reveal the communicative potential of the master's biography, to prove its influence on the cultural dialogue between humanity and the achievements of the artist. The research methodology is to apply a number of approaches: analytical – to comprehend the literature on the topic of the article; interdisciplinary - for a comprehensive study of factual material and in obtaining new knowledge; systemic using a whole range of methods (biographical, semiotic, culturological, hermeneutic, historical, theoretical generalization) – comprehending the stated quest, etc. Scientific novelty – for the first time in the national humanities, biography is explained as the way of civilizational contact between the creator and the public, the translator of the most important meanings of the era. Conclusions. The publication states that the artist's biography is an important component of the communicative space of nowadays. It embodies the anthropological dimensions of history, the worldview of the day through the coverage of the hero's life, his significant achievements. The author of the chronicles builds the life strategy of the master in such a way that he becomes clear to the recipients of any period. An analysis of the chronicle reveals the richness of symbolic forms of cultural contact associated with works of art, epoch-making features and social circumstances, and so on. In unity, they affect the perception of the artist's image. This process is carried out by the public as a result of decoding spiritual information in accordance with existing norms, traditions of a particular time, awareness of the existential and creative experience of the character. Biography as a means of communication demonstrates freedom from ideological, social limitations, as it allows communication of individuals of different eras, removes territorial, speech, social, and others barriers. Due to their ability to embody the universal concepts of civilization, the chronicles express not only the story of the artist, but also allow the modern recipient to express himself. Thus the listener (viewer) through the biography is in contact with the master, his time, humanity. Keywords: biography, cultural communication, artist, audience.

2021 ◽  
pp. 28-47
Nataliia Nikoriak ◽  
Aliona Matiychak

The genre heredity concept is articulated on the analysis example of I. Drach’s screen version of the biographical film story “I’m coming to you” (1970), dedicated to the 100th anniversary of Lesya Ukrainka. The film is marked by innovative approach of I. Drach as a scriptwriter to the image of the poetess. Contrary to the tradition of documentary film to interpret her biography in a certain matrix key (as a fighter and revolutionary), Drach tried to identify Lesya Ukrainka primarily as a private individual, as the woman who knew how to sacrifice herself for the sake of love. Without aiming to show in detail the entire biography of the poetess, the author of the film story chose only a small fragment of her life – four years 1897–1901. In terms of biopic genre heredity, the article observes how this biographical film presents possible ways of processing and contamination of available documentary material (letters, memoirs, reminiscences of contemporaries) and integral creation by Lesya Ukrainka (her poetry, translations, renditions). Hence, the biopic on the basis of multi-genre text material appears as a kind of intertextual plexus. At the same time, the film pays much attention to the feelings, thoughts, creative impulses and state of mind of the heroine. By analogy with the poetics of literary writing, the form of the poetess’ inner monologue was chosen in accordance with the portrait film genre. It is clear that through the prism of Lesya’s life and creative experience the personal attitude of the poet I. Drach emerges towards understanding and reproducing the figure of creative personality in art: the author’ vision logically leads to those biographical episodes that in the existential sense appear the most significant.

2021 ◽  
Vol 7 (1) ◽  
Jorge Poveda Yánez ◽  
María José Bejarano Salazar ◽  
Naiara Müssnich Rotta Gomes de Assunção ◽  
Subhashini Goda Venkataramani

Stemming from one creative experience that emerged in London during the lockdown period of early 2020, called the “Emergency Festival”, this article is a result of observations based on practice, centred around the festival that a group of multicultural, interdisciplinary movement-based researchers and dancers created, curated, and participated in. It explores the possibility of making a radical alterity out of a hitherto previously established ideas of territory, time, and community, using performative writing as practice-based analysis scheme. Employing the concept of “communitas” by Victor Turner (1969) to approach the phenomenon of dance through distance, the article examines the importance of the emergence of collaboration as a way forward, epistemologically looking at dance as a method of creating and sustaining communities that are longing for a sense of home in times of change. The writing is divided into three parts, focussing on the aspects of space, time, and community, all the while embedded in the nature of movement and its effect on the practitioners, and onlookers, concluding with contemplation on the place of dance in varied mediums and the way forward to study it in a period of global disruption.

2021 ◽  
Vol XIX (3) ◽  
pp. 491-508
Svetlana A. Bezklubaya

The modern universal significance of the all-human creative experience updates the scientific interest in phenomena of culture which concentrate and disseminate the theories, ideas and beliefs that claim universal significance and cause epochal changes over vast territories. Religion, as a way of spiritual and practical mastery of the world by man, is that part of culture that constantly changes its forms, throws off some and clothes itself in others, fixing itself in cultural systems and actively influencing the processes of their self-organization and selfregulation. Therefore, the object of this study is religious syncretism as a way of transforming components of different order of being into a powerful culturecreative potential. The purpose of the work is to study religious syncretism as a complex multilevel process of mutual influence of various types of religions, sacred ideological images and cultural archetypes (ethical, aesthetic, artistic). The parameters of openness, and the mixing and blurring of boundaries make it possible to consider religious syncretism as a creative factor of culture, giving it the necessary integrity and actual meaning. Analysis of traditional forms of reflection and regulation of socio-cultural processes (myth, ritual, religion, art) reveals syncretism as a way of filling the sacred and religious with a powerful cultural-creative force. The author reveals the entropic essence of religious syncretism and its creative role in overcoming fragmentation, simplification and monism by culture (especially in the interpretation of the concepts of life and death, being and nothing, beautiful and ugly, space and time, virtue, soul, faith). The methodological basis of the research was formed by a transdisciplinary approach establishing a systemic life stance interaction of structurally functional and historical analysis with cultural and philosophical reflection. The theoretical conclusions contained in the work open up new opportunities for further study of the influence of religions on the creativity of cultural systems. The study of the culture-creative potential of religious syncretism clearly demonstrates the unity of the primary causes of being and thus allows one to practically reduce the degree of modern interfaith tension.

G. Т. Akparova

Since the formation of the chamber and instrumental music in Kazakhstan, the traditional instrumental genrekui – has become the vector of creative search, the basis for the synthesis of national and western musical thinking. The purpose of this article is to reveal the features of the traditional genre within the framework of academic music and to present a new genre – chamber kui.The expression of kui in the works is functionally represented in a variety of ways. The embodiment of the semantics of kui in its figurative meaning is given in the title of the work. When using the folk instrumental genre in professional writing, the authors give a functional association to it presented in the work in the form of a fragment (melody or accompaniment). The next point in the gradation of kui features in the chamber and instrumental works of composers of Kazakhstan is the dominance of its features: motor skills, variant-variational development of form, texture, throughout the work or part of it.The formation of a new genre – chamber kui was the result of creative searches for the synthesis of Kazakh folk instrumental creativity-kui, the connection of the laws of its formation and shaping with the achievements of European creative experience. In form, these pieces are kui (alternation of three register zones characteristic of the traditional genre), in harmony, quart-quint consonances are used, recreating the overtone density of the dombra timbre in the sound of the European instrument.

2021 ◽  
pp. 016344372110455
Susan Milner ◽  
Abigail Gregory

This article uses Acker’s concept of inequality regimes to analyze qualitative research findings on work-life balance and gender equality for women in British television production. Female survey respondents, focus group participants, and interviewees spoke of their subjective experience of gendered work practices which disadvantage women as women. These findings build on existing research showing gender disadvantage in the industry, leading to loss of human capital and a narrowing of the range of creative experience. They also show that growing numbers of women are seeking alternative modes of production, at a time of increased awareness of inequality. Such alternatives suggest that change is possible, although it is strongly constrained by organizational logics and subject to continued resistance, in line with Acker’s framework of analysis. Visibility of inequalities is the key to supporting change.

Л. Гао

Движение «Образованная молодежь» (Чжи Цин) — беспрецедентное социальное явление в истории, просуществовавшее более десяти лет, — охватывало более половины семей в городах Китая и полностью изменило судьбу целого поколения. В провинции Хэйлунцзян находилась большая группа Чжи Цин. Сюда, а именно в Тункинский край провинции, приезжало очень много молодежи из Пекина, Тяньцзиня, Шанхая, Чжэцзяна и других мест. Таким образом, по статистике в 1960–1970-х годах в Хэйлунцзяне насчитывалось 1936900 членов Чжи Цин. Здесь было немало тех, кто просто любил заниматься искусством, а много лет спустя стал известным в стране живописцем, и благодаря им живописная история Хэйлунцзяна 1960–1970-х стала яркой страницей в мировом искусстве. Этот период истории противоречив, и возможности для художественного творчества тоже были ограничены, тем не менее в картинах художников Чжи Цин соединилась искренняя творческая страсть с восприятием исторических процессов и личным мировоззрением. Молодые художники этого периода выразили свое понимание трудностей человеческой жизни, воспевали трудолюбие, позволяющее преодолевать трудности, в картинах отражена своеобразная красота холодного края и реализм жизненных ситуаций. Однако самое главное, что объединяет все работы художников движения Чжи Цин, это любовь и трудолюбие в стойком служении искусству. Этот незабываемый творческий опыт имеет для современного искусства безусловную ценность как с исторической и художественной точек зрения, так и в аспекте коллекционной работы. По прошествии многих лет автор исследования возвращается к этому периоду искусства Китая, чтобы изучить основные характерные черты творчества художников Чжи Цин, работавших в провинции Хэйлунцзян, определить историческую ситуацию, повлиявшую на их произведения, и провести предварительный анализ, благодаря которому станет возможным глубже и полнее увидеть это уникальное явление в истории современного искусства. The Educated Youth Movement (Zhi Qing), an unprecedented social phenomenon in history that has existed for more than ten years, reached more than half of families in Chinese cities and completely changed the fate of an entire generation. There was a large group of Zhi Qing members in Heilongjiang Province. A lot of young people came there from Beijing, Tianjin, Shanghai, Zhejiang and other places. Thus, according to statistics, in the 1960s and 1970s, there were 1,936,900 Zhi Qing members in Heilongjiang. There were many who simply loved to do art, and many years later became a famous painter in the country, and thanks to them the picturesque history of Heilongjiang of the 1960s – 1970s became a bright page in world art. This period of history is controversial, and the possibilities for artistic creation were also limited, nevertheless, in the paintings of the Zhi Qing artists, a sincere creative passion was combined with the perception of historical processes and a personal worldview. Young artists of this period expressed their understanding of the difficulties of human life, praised industriousness that allows one to overcome difficulties, the pictures reflect the peculiar beauty of the cold edge and the realism of life situations. However, the most important thing that unites all the works of the artists of the Zhi Qing movement is love and hard work in persistent service to art. This unforgettable creative experience is of unconditional value for contemporary art, both from a historical and artistic point of view, as well as in the aspect of collecting work. Over the years, the author of the study returns to this period of Chinese art in order to study the main characteristics of the work of Zhi Qing artists who worked in Heilongjiang province, to determine the historical situation that influenced their works, and to conduct a preliminary analysis, thanks to which it will be possible to see deeper and more fully this unique phenomenon in the history of modern art.

2021 ◽  
Vol 82 (5) ◽  
pp. 91-98
M. N. Priemysheva

This paper devoted to V. I. Dal’s 220th birthday anniversary presents a short review of his creative, professional activity in the context of compiling "The Explanatory Dictionary of the Living Great Russian Language". Being exemplified by a brief scientific discussion which dates back to the end of the XIXth century, the role of this Dictionary in the history of the academic explanatory lexicography development is highlighted in greater detail. The aim of the study was to generalise the well-known facts about V. I. Dal and his Dictionary as well as to refer to lesser-known sources. V. I. Dal contributed significantly to each of the spheres in which he was creatively or professionally involved: he was a naval officer, a doctor, a writer, and a civil servant of the Ministry of Internal Affairs. All Dal’s professional and creative experience as well as his in-depth knowledge of folklife had an impact on the structure, form, and content of the Dictionary: they made it the yardstick and exemplar of Russian lexicography. This thesis is expounded in the course of studying I. Kh. Pachmann’s critical "Memorandum" (1899) concerning the commencement of the work on the "Shakhmatov’s revision" of the academic "Dictionary of the Russian Language". Additionally, this "Memorandum" provides certain evaluation of Dal’s edition from the perspective of its educational potential that could be exploited in school education. Despite the drawbacks revealed by his contemporaries, V. I. Dal’s dictionary inadvertently became the yardstick and exemplar in the discussion of the moot issues arising during the initiation of the new academic project. It is this dictionary that influenced the further development of explanatory academic lexicography.

2021 ◽  
Vol 02 (08) ◽  
pp. 117-121
Nodir Takhirovich Suyarov ◽  
Elmirza Temirovich Erkaev ◽  

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.

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