Relevance of Informal Arts Education on Formal Visual Arts Education in Southeast Nigeria

The existence of informal arts education centres has raised a lot of controversy in arts education and practice in Nigeria. Often people do not regard the products of these informal arts centres as artists. They regard them as artisans even though most of them are being trained by formal artists and are being imbibed by their artistic traditions. It is, therefore, pertinent to investigate these informal arts centres and assess their existence and their influence on formal arts centres. This study was, therefore, designed to explore the assessment of informal arts education and its influence on formal art education in southeast Nigeria. The research questions were on the: educational relevance of informal arts education on formal art education, the influence of arts education on formal art education and on whether informal and formal art education can co-exist. The questionnaire was used to elicit vital information from the respondents. The findings revealed that the existence of informal arts education is relevant to formal art education, informal arts education influences formal art education and informal arts education can co-exist with formal art education. The paper recommended that the Ministries of Education should encourage and ensure that the formal art schools and informal arts centres co-exist.

Pedagogical Competency of Dance Instructors in The Training of Malay Court Dance Skills Among Upper Secondary Students at Johor National Art School

Dance pedagogy is a complex and dynamic field of competency that involves various skills and self-appearance. Therefore, dance instructors must widen the scope of their competency to strengthen and improve their level. This research aimed to identify the competency of dance instructors teaching the practical subject of Malay Court Dance based on factors including the components of pedagogy, curriculum, assessment, and professionalism. The data was collected from interviews with the instructors and was analyzed through thematic analysis. The findings indicated that the instructors’ competency level development could be mapped into three dimensions, namely orientation, agent, and competency content. It was concluded that art schools in Malaysia need to develop dance instructors’ competency in terms of (1) 21st-century learning needs, (2) vertical and horizontal knowledge sharing, (3) workshop, study tour, and competition, and (4) standardization of technological development relevant for curriculum, across knowledge, practical, and feeling domains.

Przełamywanie barier komunikacyjnych (na przykładzie wieloetnicznej i wielojęzycznej sytuacji społecznej Zaolzia)

Breaking Communication Barriers (on the Example of the Multiethnic and Multilingual Situation of the Society in the Zaolzie Region)The present paper describes the language situation in several parts of Cieszyn Silesia (the Zaolzie region) in the Czech Republic. The research is based on authentic language material from two music (art) schools in Český Těšín and Třinec. The Třinec school has the official status of a bilingual Czech-Polish educational institution. These two establishments share several common features: both students and teachers come from either majority Czech or minority ethnic Polish communities; Polish children study in both institutions, although a larger group of these "foreign" students attends the school in Český Těšín. The authors analyze not only the spoken language itself but also the competence and language awareness of the respondents. They have come to the conclusion that interactions between the users of two (different) languages can be successful regardless of the fact whether each participant uses their own native tongue or that of their interlocutor, although they speak this language only at a basic level. Przełamywanie barier komunikacyjnych (na przykładzie wieloetnicznej i wielojęzycznej sytuacji społecznej Zaolzia)W artykule została opisana sytuacja językowa w czeskiej części Śląska Cieszyńskiego w Republice Czeskiej na podstawie autentycznego materiału językowego pochodzącego z dwóch szkół muzycznych (artystycznych) – jednej z Czeskiego Cieszyna, drugiej – z Trzyńca. Szkoła trzyniecka ma oficjalny status czesko-polskiej szkoły dwujęzycznej. Obie placówki łączy kilka cech wspólnych: zarówno uczniowie, jak i nauczyciele wywodzą się bądź z większościowego środowiska czeskiego, bądź należą do polskiej etnicznej wspólnoty mniejszościowej. W obu placówkach uczą się także dzieci z Polski, choć o wiele więcej takich „zagranicznych” uczniów uczęszcza do szkoły w Czeskim Cieszynie. Autorzy zajmują się nie tylko analizą samego języka mówionego, ale również kompetencją i świadomością językową badanych osób, dochodząc do wniosku, że interakcja między użytkownikami dwu (różnych) języków może przebiegać pomyślnie nawet wtedy, gdy każdy z nich używa własnego języka ojczystego (względnie gwary ojczystej) lub języka partnera komunikacji, chociaż język ten opanował tylko na poziomie podstawowym.

Features of the development of cognitive interest of junior schoolchildren to the history of fine arts

Актуальность статьи обусловлена проблемой развития познавательного интереса младших школьников в процессе творческой деятельности, когда ученик становится не только объектом, но и активным субъектом обучения. Исследование, проведенное в одной из школ Красноярского края, позволило подтвердить, что интерес к теоретическим дисциплинам у обучающихся 9 - 10 лет можно успешно развивать путем совмещения преподавания предметов теоретического цикла с практическими занятиями, т.к. применение скульптурно-пластических форм способствует более полному и глубокому восприятию учебного материала по истории изобразительного искусства. Цель статьи заключается в обосновании эффективности использования программы «Путешествие в прошлое…» на занятиях скульптурой, направленной на повышение интереса к истории изобразительного искусства. Авторами проанализировано современное состояние исследуемой проблемы в школьной практике и дополнительном образовании, выявлен актуальный уровень сформированности познавательного интереса обучающихся детской школы искусств, представлены результаты опытно-экспериментальной работы по решению данной проблемы. Статья предназначена для учителей изобразительного искусства, а также педагогов художественных школ и школ искусств. The relevance of the article is due to the problem of developing the cognitive interest of younger schoolchildren in the process of creative activity when one can see the formation of a student not only as an object but also as an active subject of learning. A study conducted in one of the schools of the Krasnoyarsk Territory confirms the successful development of cognitive interest of students aged 9-10 in the subject of the theoretical cycle by combining with practical lessons because the use of sculptural and plastic forms contributes to a more complete and deep perception of the educational material on the history of fine art. The purpose of the article is to substantiate the effectiveness of using the developed program "Journey into the past ..." in sculpture classes aimed at increasing interest in the history of fine art. The authors analyzed the current state of the problem in school practice and additional education, identified the current level of formation of cognitive interest of younger schoolchildren, presented the results of experimental work to solve this problem. The article is intended for teachers of fine arts, as well as teachers of art schools and art schools.

Content of the concept of “ethnic painting”: articulation of the problem

This article analyzes the concept of “ethnic painting”, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of “ethnic painting” to ambiguity of its content. The most commonly concepts in sphere are “national art”, “ethnocultural manifestations”, “territorial-ethnic nature of painting”, “national peculiarities”, and “national distinctness of art schools”. In Western literature, the concept of “ethnic painting” is attributed to both, folk art and professional art. Parallel is drawn between the concept of “national culture” and “ethnic culture”. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as “ethnic painting”. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of “ethnic”: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).

Monumental painting in stone Catholic churches of Eastern Galicia in the second half of XVIII century. Topography, compositional types and techniques of illusionistic monumental art

The purpose of the article is to analyze compositional types, topography, methods, and techniques used in the formal solution of mural compositions in the Catholic churches of Eastern Galicia in the second half of the XVIII century. The methodology lies in the usage of art historical methods of stylistic analysis and generally scientific methods of analysis, synthesis, induction, deduction. The scientific novelty of the research is in the analysis of methods and techniques used by Galician masters in the second half of XVII century for implementation of mural compositions that were interpreted, adapted to local artistic traditions. The research can be used in the attribution of saved samples of the monumental art. Conclusions. The monumental painting in the Polish-Lithuanian Commonwealth, in particular in Galicia, developed in the context of artistic trends in West and Central European countries. Chronologically, the development of monumental painting in Galicia ranged from the thirties until the late XVIII century. As for the formal characteristics of monumental art, in the territory of the Commonwealth, the most common were three compositional types of polychrome: local variation of Italian «quadro riportato», illusionistic and panoramic. The basis of the first is the method of placing of the image on the vault area, framed with imitated or sculpted frame, the second is based on the quadrature and other methods and techniques of illusionistic monumental art, the third includes a panoramic image on the vault. In Galicia, the third type of vault decoration has not become widespread. Visiting masters were the bearers of these trends. They implemented the polychrome in local cathedrals, using a wide variety of methods and techniques for the formal solutions of mural compositions, typical for European art schools. Later, local artists adopted this experience, creating polychromes with certain interpretations of compositional types.

ART OF MINIATURE IN CENTRAL ASIA AND ITS HISTORICAL DEVELOPMENT

In present research is said about the steps of development of one of the kind of arts such as miniature in Central Asia, its specific aspects Forming of the Central Asian schools of miniature, about the role of the masters of Amir Timur's times and times of his descendantsand their influence on the school of miniatures of such countries as Turkey, Iran, Azerbaydjan in the 16-19 centuries.The article also provides information on students from the famous artists of their time and their works created in their art schools and their own paintings (miniature).Index Terms:Central Asia, fine arts, east, miniature, school, artist, Movaraunnahr, Herat, Samarkand, tradition, painting

Priority areas for public administration in the field of culture and leisure

Culture is one of the most important spheres of human society, reflecting its level of development. Spiritual and material values that constitute the national wealth of a country are produced, accumulated, and preserved there. The spiritual wealth of culture is not subject to the influence of time and the processes of inflation and is a real means of accumulation. Culture enriches people with knowledge, helps them to evolve, and transmits cultural heritage from generation to generation, accumulated over many years. By understanding culture as a particular sphere of human activity, we have the prospect of purposeful management of it. Culture in this context is understood as a result of accumulated, transmitted, and produced cultural practices of people. Such practices are concentrated in museums, exhibition halls, theatres, houses of culture, art schools, libraries, creative workshops, etc.

Cracking Painting

This chapter addresses artist-squatters in the Netherlands, particularly the group of neo-expressionist painters known as De Nieuwe Wilden (The New Wild Ones). Although art schools around the country became important meeting places for artists during the late ’70s and early ’80s, rebellious young artists often dropped out or broke off from the more traditional curricula offered at these institutions in favor of pursuing collective DIY projects, such as starting their own bands and developing their own music/art venues in squatted spaces. Squatter venues like W139, Aorta, and V2_ focused on media art, performances, and anarchic exhibitions. At the time, artists in the Netherlands benefited from generous state subsidies and social benefits.