Marginalized Communities are Underrepresented as Creative Contributors

We investigate the socially inferred gender and racial/ethnic identities of influential creative artists in four domains. Women make up 51% of the U.S. population but are underrepresented in contemporary art (28%), fashion (45%), box office film (27%), and popular music (17%). Marginalized racial/ethnic groups make up 39% of the U.S. population yet comprise approximately half that figure in contemporary art (22%), fashion (22%), and film (19%). Black musical artists have higher representation (48%), though higher representation does not equate with equity and inclusion. As for intersectional identity, white men are overrepresented in all four domains by factors ranging from 1.4 to 2 as compared to the U.S. population, and most other gender-racial/ethnic groups are further minoritized. Our study is the first comprehensive, comparative, empirical look at intersectional identity across creative fields. The exclusion of marginalized individuals, including those who are women, American Indian / Alaska Native, Asian, Black, Latinx, and Native Hawaiian / Pacific Islander, is severe. The lack of self-expressed demographic data is a challenge, as is the erasure of certain identity groups from the American Community Survey, including agender, gender noncomforming, nonbinary, and transgender individuals. These are challenges that, if addressed, would enhance our collective understanding of diversity in creative fields. Efforts taken by executives, influencers, and other power brokers to make creative fields more diverse, equitable, and inclusive would amplify the many well-documented benefits of art to individuals and to society.

"Thank you, your English is very good also": Asian Panethnicity and its Performance in Australia and Aotearoa New Zealand

<p>Existing studies suggest that Asian panethnicity is the political mobilisation of diverse groups of people under a new name, to oppose racism and discrimination. Asian panethnicity is shaped by social forces, including those that exclude. As such, it is inherently political. However, it is limiting to think of it only as a kind of intentional, collective action bent towards achieving a predetermined group goal. This thesis expands this understanding of panethnicity, by considering how “Asiannness” is experienced on an intersubjective level and asks what “Asian” means to and for the Asian individual. Lingering Orientalism perpetuates a sense of Asian people as not quite belonging in the West. Though by now cliché, this narrative of non-belonging continues to determine ideas of Asianness and set the parameters of appropriate Asian behaviour. But, this non-belonging is also the site in and from which Asian actors make their own meanings and seek their own kind of situated belonging. This thesis takes an autoethnographic and ethnographic approach to field sites in Australia and Aotearoa New Zealand to observe some of the ways Asian identity is formed. It is inevitable that transnational processes contribute to this identity work, but these global processes are also subsumed by localised structures and contexts. Drawing from participant observation with social and community groups, and interviews with creative artists, writers, administrators, community workers and activists addressing the question of what it means to be Asian, I argue that Asian panethnicity is constituted by “doing”. It is made up of different acts, repeated over time, and in different settings. As a product of relationships between externally imposed, in group enforced, and self-made conceptions of “Asianness”, Asian panethnicity is both performative and performed. This thesis presents scenarios in which these performances and presentations of the Asian self take place. In considering some of the possible contexts and conventions that give rise to the performative act/s of being Asian, I argue that being Asian is a creative, collaborative, ongoing endeavour. It is a means by which to accomplish belonging in the world.</p>

"Thank you, your English is very good also": Asian Panethnicity and its Performance in Australia and Aotearoa New Zealand

<p>Existing studies suggest that Asian panethnicity is the political mobilisation of diverse groups of people under a new name, to oppose racism and discrimination. Asian panethnicity is shaped by social forces, including those that exclude. As such, it is inherently political. However, it is limiting to think of it only as a kind of intentional, collective action bent towards achieving a predetermined group goal. This thesis expands this understanding of panethnicity, by considering how “Asiannness” is experienced on an intersubjective level and asks what “Asian” means to and for the Asian individual. Lingering Orientalism perpetuates a sense of Asian people as not quite belonging in the West. Though by now cliché, this narrative of non-belonging continues to determine ideas of Asianness and set the parameters of appropriate Asian behaviour. But, this non-belonging is also the site in and from which Asian actors make their own meanings and seek their own kind of situated belonging. This thesis takes an autoethnographic and ethnographic approach to field sites in Australia and Aotearoa New Zealand to observe some of the ways Asian identity is formed. It is inevitable that transnational processes contribute to this identity work, but these global processes are also subsumed by localised structures and contexts. Drawing from participant observation with social and community groups, and interviews with creative artists, writers, administrators, community workers and activists addressing the question of what it means to be Asian, I argue that Asian panethnicity is constituted by “doing”. It is made up of different acts, repeated over time, and in different settings. As a product of relationships between externally imposed, in group enforced, and self-made conceptions of “Asianness”, Asian panethnicity is both performative and performed. This thesis presents scenarios in which these performances and presentations of the Asian self take place. In considering some of the possible contexts and conventions that give rise to the performative act/s of being Asian, I argue that being Asian is a creative, collaborative, ongoing endeavour. It is a means by which to accomplish belonging in the world.</p>

Egyptian Facebook satire: a post-Spring carnivalesque

The Arab Spring offered Egyptians a brief opportunity for political freedom of expression; it also offered many creative youths a chance to experiment with their newfound digital talents. However, this was soon followed by a state crackdown on public forms of dissent; subsequently, creative expression had to find other platforms and modalities to continue its practices of playful dissent. Through Mikhail Bakhtin’s (1984) theory of Carnivalesque, this paper examines how Egyptian youths managed to create alternate spaces, other than the highly scrutinised political square, to challenge officialdom and generate their own folk culture through laughter and creative digital arts. This research is based on interviews conducted with administrators and fans of Facebook pages that offer satirical content in the form of memes and remix videos. Fans of these pages mostly belong to the 1980s and 1990s generations, but they also include younger adults whose formative years were those of the Arab Spring. This study argues that, like Bakhtin’s carnival, laughter and everyday comedy was a means by which creative artists could continue to express their opinions and indirect dissent amid intensifying state surveillance. These spaces, therefore, constituted third spaces away from polarised politics, where fans could playfully discuss the comedy away from the heat of events. They were spaces where youths could exercise control over the objects of laughter and challenge established institutions. Like the carnival, youths exercised Carnival practices of both reversal and renewal to craft a new folk culture of their own that did not have to abide by the rules of patronising politics.

Quality Management and Leadership in Education

Increasingly, the notion of manager is confronted with that of leader. The literature written on this subject is considerable (John P. Kotter and Abraham Zaleznik being only two of the sound names that can be mentioned in this endeavor). Zaleznik proposed that managers were results driven and leaders were creative artists. Kotter proposed that leaders navigated change and managers navigated complexity. John P. Kotter says that today's managers need to know how to lead, be managers and leaders. The differences are: 1. Management is more formal and scientific than leadership. Management is an explicit set of tools and techniques, based on reason and testing, that can be used in a variety of situations; 2. Leadership involves having a vision of where the organization should go; 3. Leadership demands cooperation, teamwork. Researcher Warren Bennis said, “Managers are people who do things right, and leaders are people who do right things.” Organizations need both. So what does leader mean, what does manager mean? Why are these concepts being put so often face to face? A management specialist, P. Drucker (1954) draws a first distinction: management means doing the right thing, and leadership means doing the right thing. Such an opinion is continued by S. R. Covey (1990): "management is efficient in ascending on the scale of success, and management determines whether the ladder is placed on the right wall". In other words, the manager manages, organizes, the leader has a vision. Such a direction of analysis is illustratively supported by the metaphor of the road through the jungle: in organizing and conducting this expedition - often similar to the activity of organizations to achieve the proposed objectives - the manager prepares the tools, distributes them to the participants, writes and debates procedural manuals, in time what the driver looks for the direction, the path, has a certain sense for finding the best way. Thus, while the manager generates orders, organization, the leader creates and causes change, draws directions not only objectives, sets directions not only agendas, seeks new resources does not rationally allocate only existing ones. Assuring quality management inevitably brings multiple changes of substance and size in terms of philosophy and management practice at the level of the Romanian school. The concept of quality management necessarily includes the notion of leadership. The multiple researches carried out over time on quality management in education have consistently nominated among the factors that generate and feed this efficiency, the idea of leadership. Thus, the quality of leader of the manager is considered fundamental for ensuring quality management in the school, and the school is considered effective.

Reading Between the Institutions, Reading Between the Genres, Reading Between the Lines: Jeffrey Brooks’ The Firebird and the Fox

Jeffrey Brooks’ new book, The Firebird and the Fox, draws on an unsurpassed knowledge of Russian literature and culture of all levels, from the folk and popular to the canonical and avant-garde. It divides the “age of genius” (1855–1953) into three periods: the emancipation of the arts (1850–1889), politics and the arts (1890–1916), the Bolshevik Revolution and the arts (1917–1950), each with its own configurations of popular and high culture and construction of creative artists, media, and readers. But three core themes overarch the periods and the exceptionally broad range of phenomena the book discusses: freedom and order, boundaries, art and reality. Throughout Brooks analyzes crossovers and intersections between cultural institutions, between genres and media, and – especially for the Soviet period – between the lines. His categories are at times sociological, historical, and literary. The book implies a theory of cultural production that gives unusual weight to the agency of creative artists. In conclusion readings of three works Brooks does not analyze (Dostoevsky’s Demons, Bely’s Petersburg, and Eisenstein’s Alexander Nevsky) illustrate the productivity of Brooks’ broad and humane approach to Russian artistic culture.

Kreativitas serta Tradisi dan Inovasi dalam Pendidikan Arsitektur

Title: Creativity with Tradition and Innovation in Architectural Education Our undergraduate architecture education is generally oriented towards professional education and not academic education. This professional education originated from the tradition of workshops and skills, in addition to being heavily influenced by the world of art and culture. Therefore, many are characterized by the existence of trial and error caused because the problem is wicked rather than tame. Professional education with a touch of art that is wild will really need a very close interaction between the master and apprentice. Because of this system, the transfer of skills and knowledge will move effectively. The quality of the design can basically be improved by studying precedents (architectural works that already exist and are considered successful) and a further understanding of the principles underlying the architectural work (principles, ideas about aspects that make architectural works successful). Regarding the implications of use and image for the architectural work). Like other creative artists, architects use some strategies that they are accustomed to from time to time. They learn through experience, absorbing lessons from each design case so that later works will be influenced by previous works. Redrawing and imitating the master's work consciously is an important step here. After observing and imitating, it is hoped that the beginner can consciously discover the principles that underlie the work of the expert. In the end, it is hoped that the beginner will someday be able to work with a strategy that is more in line with his abilities and wishes. Now, our challenge is how these things can be done well, while the interaction of lecturers and students, apprentices and apprentices, is limited due to the pandemic.

Saving Lives: Mapping the Power of LGBTIQ+ First Nations Creative Artists

In 2020, I was funded by the Australian Research Council to undertake research that examines the ways in which queer Indigenous creative practitioners create impact and influence. With a program titled “Saving Lives: Mapping the Influence of LGBTIQ+ First Nations Creative Artists,” the mapping is currently underway to explore how creativity has been used to demonstrate our reality and potential as queer First Nations’ Peoples. The title of this commentary explicitly reframes this from influence, to one of insistent resistance. It explores beyond how we persuade, to understand why the resistance in the work of First Nations’ queer creatives lays the groundwork for a future where the complexity of our identities are centred, and where young, queer Indigenous people can realise their own imaginings.

How Reliable Are Nineteenth-Century Reviews of Concerts and Operas?: Félicien David's Le Désert and His Grand Opéra Herculanum

The vast quantity of French-language music journalism and reportage in the nineteenth century can tempt us into citing one or another review that reflects our own view of the topic or work. We sometimes state or imply that a review stands for the attitudes and opinions of most musicians and music lovers of the day. The idiosyncratic career of Félicien David was reported with great interest and vivacity by dozens of critics. Selected reviews reveal patterns that apply not just to David's works, but to nineteenth-century music generally. These patterns include: 1) the greater reliability of reviews by critics who were musically trained (e.g., Berlioz, Reyer, Gounod and Saint-Saëns), despite the possibility of bias; 2) critics sometimes conferring with each other before they wrote their review, or echoing each other's written opinions; 3) a willingness on the part of some critics to carry out a near-vendetta against a composer or work, whether for personal reasons (e.g., conflict of interest) or because of a deep-seated intolerance for any aesthetic and musical approaches that were at variance with the critic's own; 4) the sense of a positive mission, in writings by critics who were themselves prominent creative artists (see point 1); and 5) the power of a review to help determine the success or failure of a work, composer, or performer. A recently published letter by Berlioz (translated here for the first time) reveals how conscious this remarkable composer-critic was of his own biases and aesthetic commitments, and how willingly he allowed them to shape his reaction to a new work by a younger, lesser-known composer. The responses of Berlioz and others to two works of David, Le Désert and Herculanum, provide the primary material for discussion. These responses include an insightful and previously undiscussed review (of Herculanum) by Ernest Reyer.

«Altyn art» magazine – a means to explore the culture, arts, and music education of Kazakhstan

The article presents the conceptual basis of the ALTYN ART magazine, ways of the magazine development and implementation. Finally, it is proposed to consider the concept of further development of the publication to give information, possibly, useful for other publications of a similar thematic area. Art magazines are an effective way to conduct a dialogue between creative artists, i.e. painters, musicians, designers, etc. The author aims to improve the theoretical and practical understanding of the key elements and factors that contribute to the arrangement of the social and cultural creative environment in Kazakhstan and the development of its print media. The data collection and analysis was based on the experience of creation and publication of own cultural and informational periodical, the search for new ways to develop and promote the achievements of culture, art and professional music education. The materials of the journal give a clear idea of modern culture of Kazakhstan. The focus on articles written by experts of the field of Kazakhstan’s art may get interest students in further research in this area.