Arts choreographical arts as means of integration of student to European space

The article considers the issue of the integration of student youth into the European space. The purpose of the article. The choreographic art is actualized at the present stage of cultural creation. Assimilation of art and its integration into the European space is an important guarantee of the development and interaction of human civilization. The research methodology is based on the synthesis of general scientific methods and cultural-historical approaches. Therefore, the study, assimilation, protection from distortion, multiplication, and transmission to the next generation, therefore, the integration of the main achievements of art is an honorable and responsible matter. Interacting with modern requirements and needs of society, the art of dance affects social relations, economic system, political, ethnic, and national relations. Art makes adjustments to the spiritual composition of society, serves as a prerequisite for the stabilization of all aspects of social life, and thus provides the appropriate balance of historical and cultural formation. The scientific novelty of the research is in an attempt to trace the actualization of choreographic art at the present stage of cultural formation is substantiated. Choreographic art is analyzed as a means of integration into Eurospace. The growing interest of young people in the art of dance gives rise to a natural desire to maximize the reserves of plastic body language, demonstrating the interest of their own artistic worldview and acquired competencies in the educational space. Conclusions. Interacting with the contemporary demands and needs of society, the art of dance influences social relations, economic order, political, ethnic, and national relations. It is emphasized that choreographic art is a socially significant value and is a feeling-filled aesthetic reproduction of knowledge, skills, and competencies. Key words: choreography, art, integration, student youth, Eurospace.

Peripheral Visions: Design in ephemeral New Zealand print c1880 – 1914

<p>My thesis is an investigation of design in print in New Zealand circa 1880 – 1914, the period in which it is generally accepted graphic design began in the industrial Western nations. The medium of design studied is New Zealand’s most significant printed product, popular everyday ephemera, which is contextualized within local and international print production, technology, and debates concerning design. The research aim is to contribute to new approaches in the proto-discipline of graphic design history, specifically the current debates concerning purpose, scope and methods, by writing a local study that has relevance here and internationally. In this way it joins the growing number of local and national design studies of countries customarily defined as politically, culturally and geographically peripheral. It further explores alternative approaches by using formal analysis as a tool for the interpretation of visual codes and their rhetoric in print to enable the appraisal of local significances and international relationships. The study follows a model of graphic design as visual communication encompassing purpose, production, and reception, to argue the historic significations, activities, and values of local graphic design are of critical import for their role in social and cultural formation at both national and international levels. It argues against traditional binary models of centre to margin design transmission to assert alternative theories of networks, and of the hybridity of forms (particularly in colonial societies). Theories that, like this study, seek to apprehend complexity and more appropriately explain research findings that indicate the spread of design in print is an active circulation of signifying forms in a process of influence, adaptation and exchange. The argument engages five theoretical debates that are further concerned with contemporary issues of history and its methods as they impinge on graphic design history. They are the current issues of historiography and calls for interdisciplinarity; the status and importance of ephemeral print; relationships of graphic design to modernity; concepts of the peripheral and networks; the use of semiotics in interpreting the visual rhetoric of typography and image. This investigation, allowing for problems with the survival and attribution of material, is formed by three case studies that encompass a range of processes, media and products. The first considers typography and letterpress through the linked printing and writings of compositor/printer Robert Coupland Harding; the second charts the career of lithographic designer and illustrator Robert Hawcridge and his use of visual syntax, rhetoric and iconography. The third considers the composite local illustrated magazine the New Zealand Graphic and the role of design in editorial and advertising matter. New knowledge is diverse, establishing crucial facts about design here, its forms, and the importance it was accorded in supposedly slight material. Widespread and unexpected influences and networks of exchange are traced, and the considerable but neglected role of graphic design in social and cultural formation and the early articulations of a national identity are appraised. While of significance for the development of graphic design history, the findings also have relevance for the wider investigations of new history, including transnational, cosmopolitan, technological, and material histories.</p>

Peripheral Visions: Design in ephemeral New Zealand print c1880 – 1914

<p>My thesis is an investigation of design in print in New Zealand circa 1880 – 1914, the period in which it is generally accepted graphic design began in the industrial Western nations. The medium of design studied is New Zealand’s most significant printed product, popular everyday ephemera, which is contextualized within local and international print production, technology, and debates concerning design. The research aim is to contribute to new approaches in the proto-discipline of graphic design history, specifically the current debates concerning purpose, scope and methods, by writing a local study that has relevance here and internationally. In this way it joins the growing number of local and national design studies of countries customarily defined as politically, culturally and geographically peripheral. It further explores alternative approaches by using formal analysis as a tool for the interpretation of visual codes and their rhetoric in print to enable the appraisal of local significances and international relationships. The study follows a model of graphic design as visual communication encompassing purpose, production, and reception, to argue the historic significations, activities, and values of local graphic design are of critical import for their role in social and cultural formation at both national and international levels. It argues against traditional binary models of centre to margin design transmission to assert alternative theories of networks, and of the hybridity of forms (particularly in colonial societies). Theories that, like this study, seek to apprehend complexity and more appropriately explain research findings that indicate the spread of design in print is an active circulation of signifying forms in a process of influence, adaptation and exchange. The argument engages five theoretical debates that are further concerned with contemporary issues of history and its methods as they impinge on graphic design history. They are the current issues of historiography and calls for interdisciplinarity; the status and importance of ephemeral print; relationships of graphic design to modernity; concepts of the peripheral and networks; the use of semiotics in interpreting the visual rhetoric of typography and image. This investigation, allowing for problems with the survival and attribution of material, is formed by three case studies that encompass a range of processes, media and products. The first considers typography and letterpress through the linked printing and writings of compositor/printer Robert Coupland Harding; the second charts the career of lithographic designer and illustrator Robert Hawcridge and his use of visual syntax, rhetoric and iconography. The third considers the composite local illustrated magazine the New Zealand Graphic and the role of design in editorial and advertising matter. New knowledge is diverse, establishing crucial facts about design here, its forms, and the importance it was accorded in supposedly slight material. Widespread and unexpected influences and networks of exchange are traced, and the considerable but neglected role of graphic design in social and cultural formation and the early articulations of a national identity are appraised. While of significance for the development of graphic design history, the findings also have relevance for the wider investigations of new history, including transnational, cosmopolitan, technological, and material histories.</p>

Exploratory Study of Cultural Impact on Management Practices and Organizational Behaviour in Christian-based Universities on Java Island

Universities, especially in the United States, have developed from an organization that aims to educate someone with a higher knowledge and spiritual awareness of God which is at the same time related to the interests and goodness of society (Murphy, 2005) into an organization that considers profit as a measure of success (Bridgman, 2007). Therefore, the application of a business management system to manage a university to produce high performance is important and this is known as a university enterprise or entrepreneurial university (Sandgren, 2012). Culture is central to management because it influences various things in the organization such as leadership, organizational management, adaptability, performance, and others that will influence in the long run (Paksoy, Genc, and Kilic, 2015). In the context of a Christian-based university in Indonesia, the understanding of cultural meanings and the process of cultural formation is an interesting topic to study. Even though it has a fundamental similarity, namely Cristianity, it appears that there are different management practices and behaviours in 'A' rank accreditation Christian university on Java island. The process of cultural formation in Christian universities and its elaboration in management practices and patterns of organizational behaviour are things that are rarely studied. The purpose of this study is to explain the process of organizational culture forming in Christian-based universities on Java island. The description of this process is expected to inspire how to build an organizational culture in a university. Keywords: Culture, Organizational Culture, Organizational Behaviour, Universities, Christianity

How to Reconcile the Past and the Present

In Western culture, or in what today is called global civilization despite its diverse traits and contradictory evaluations, the relationship with the past has always been both profound and contradictory and in some cases even conflicting. Actualization of the past has occurred in different periods of time and for a large variety of reasons simultaneously assuming cognitive, contemplative, evocative, emulative, normative forms. In this continuous and multi-faceted process, ideological and political motivations led to the revival and legacy of the past seen, from time to time, as an analogical model, a foundation of identity, a source of ethical and aesthetic inspiration, or a tool for cultural formation and social pedagogy. In this sense, the past has become an absolute cultural value and – ideally – has constituted a powerful paradigm for the conception of new models and new metaphors for the construction of material and immaterial forms of the present.

CULTURAL MODEL OF SCHOOLCHILDREN’S AESTHETIC EDUCATION BY MEANS OF BALL CHOREOGRAPHY

The article suggests that due to the structural characteristics of the cultural model of schoolchildren’s aesthetic education by means of ball choreography, the main components were identified as cultural positions of ball choreography, means of ball choreography, and criteria of aesthetic education of schoolchildren in ball choreography. There are given the structural components of the cultural model of aesthetic education of schoolchildren by means of ball choreography, that are functioning within two regulatory bases – the functioning of informal choreographic education and the importance of subjects of the artistic and aesthetic cycle in the invariant part of secondary schools’ curricula. The first component is the cultural creation of personality, which will be considered as a process in the context of ball choreography. Active involvement of students in ball choreography is one of the ways of their personal emotional development and aesthetic growth. Communication with the art of choreography, music, physical development, expansion of aesthetic horizons, the formation of a culture of relationships (personal and public) become a basis for the cultural formation of the high school student within the process of ball choreography. The second component of the cultural positions of ball choreography is the cultural formation of the dancer. Education of the ball choreographer involves the creation of an appropriate creative artistic environment in which the teenager will constantly feel the need for personal, creative, and aesthetic self-realization. The third component of the cultural positions of ball choreography is the cultural formation of the artist-choreographer. Defining this position, we realize that high school students of ball choreography at a certain stage of their aesthetic development create a desire to turn this hobby into a profession. In the context of this idea, it is advisable to organize specialized art (choreographic) education within general secondary education. Despite the fact that underage dancers do not yet have a professional choreographic education, they can fully meet the set standards for a ball choreographer. The next block of our cultural model, which we define is means of ball choreography. Analyzing the functionality of the means of choreographic art, we focused on the following components: music, choreographic text, choreographic drawing, stage choreography, and choreographic drama.