Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.

Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali

This article aims to discuss the Renteng Dance in Saren Village, Nusa Penida, which is actually the forerunner of the Rejang Renteng Dance performance, which is now widely danced by mothers in the context of the dewa yadnya ceremony in Bali. Supposedly, as the forerunner of ceremonial dance performances, the Balinese people know the Renteng Dance. However, in reality, this is not the case. Balinese people seem to know more about the Rejang Renteng Dance than the Renteng Dance. (1) What is the form of the Renteng Dance in Saren Village? (2) Why is the Renteng Dance the source of the creation of ceremonial dance in Bali? This study uses a qualitative method with research data sources such as Renteng Dance performances, dancers, musicians, traditional elders, community leaders, and journals related to research results. Aesthetic theory and structural-functional theory were used to analyze all the data gathered during the observation, interviews, and literature review. The study results show that: (1) the community in Saren Village presents Renteng Dance in the form of a freelance dance (without a play). It can be seen from the way of presentation, the structure of the show, the make-up of clothes, and the musical accompaniment of the performance; and (2) the existence of Renteng Dance is the source of the creation of ceremonial dance in Bali because it has a unique appearance that is easy to imitate, according to their aesthetic taste and faith. The new findings of this research show that the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the performing arts.

Principles of choreographic education in primary art institutions

The purpose of the article is to determine the basic principles of choreographic education in primary art institutions. Methodology. The methods of analysis and synthesis are used in the work. Based on the analysis of classes with different age groups of children on the basis of the choreographic department of Kaluga Children's Music School of Ivano-Frankivsk region identified the basic principles of choreographic education, which contribute to the improvement and development of children's performance, creative thinking, discipline and aesthetic taste to dance. The method of synthesis allowed us to determine the main criteria for teaching choreography for preschoolers. The scientific novelty of the work is that for the first time the basic principles of education and choreography lessons were comprehensively studied. The paper analyzes the trends in the development of choreographic education in primary art institutions; the concept of "children's choreography" is defined as one of the bases of formation of dancing abilities and "foundation" for further development of children in the direction of choreographic art;. It is investigated that the newest information technologies in the field of choreographic art allow: to strengthen the efficiency of knowledge of children; create a positive impression in choreography lessons; provide high educational diversity; increase success; to improve performing skills; rationally organize educational indicators; increase academic achievement. Conclusions. The author concludes that the use of the latest methods and techniques of teaching choreography will lead to high success, increase performance, which will determine in the future the path of children to further professional choreographic education. Keywords: children's creativity, dance, performing skills, didactic requirements, teaching methods.

Specific study of biblical parables in a pedagogical university

The author of the article focuses on the analysis of specific methods and techniques for identifying the universal and unique cultural meanings of biblical parables in the study of the disciplines of the humanities cycle in a pedagogical university. The purpose of the article is to develop techniques for working with parables for practical classes in the cultural cycle at the Pedagogical University. Research methodology and methods. The work is based on the use of the methodology of the sociocultural and activity-based approach to the psychological development of the individual, as well as systemic and holistic approaches to education. When decoding the meanings of parables as texts of culture, it is proposed to use axiological, semiotic, cognitive and systemic approaches. The systemic culturological approach allows you to create conditions for the development of aesthetic taste, artistic thinking. Research results. As the scientific literature and the practice of teaching culturological disciplines at the Pedagogical University show, working with parables teaches us to personally and emotionally perceive the text of culture, to adequately assess the relationship in the system man-man and man-world, to recode the content from one semiotic system to another. Through the interpretation of the text, the individual creative abilities of students are developed, a steady interest in modern art practices is formed. Interpretation of the categories of culture, embodied in human and natural images of the transcendental, time, space, make it possible to essentially comprehend the texts of culture containing the plots of biblical parables. Conclusion. The consistent identification of the specifics of the study of parables in the context of the spiritual quest of a certain historical period contributes to the emergence of interest and the formation of a respectful attitude towards the cultural heritage, the values of world culture. Cultural practices of working with cultural texts contribute to an adequate understanding of the place of national culture in the world artistic process and its creative enhancement.

On Archibald Alison’s Conception of Aesthetic Experience and Its Selected Sources and Inspirations

The present article is devoted to aesthetic experience as conceived by Archibald Alison. It reconstructs the associationist sources of his views in the form of selected issues from the aesthetics of D. Hume and A. Gerard. In the case of the former, three types of beauty and the general characteristics of experiencing them are recalled. In the case of the latter, a general view of the nature of aesthetic experience is presented, including the role of internal senses, feelings, their accumulation and associative relations. Alison’s conception of autonomous aesthetic experience is laid out based both on the first edition of his works and on subsequent editions, which include quite substantial revisions. Discussed in detail here are the issues of simple emotion and the aesthetic train of ideas, which together constitute an autonomous aesthetic experience. Also, the article provides an explanation of the difference between emotions of pleasure and emotions of taste. Moreover, it outlines the social resonance of aesthetic taste and its manifestations.

Surabaya Arts Center: A Formation of Musical Orchestration Taste in Balai Pemuda (Youth Hall)

This research will explain how taste can be formed and developed from a musical arts community called Pusat Olah Seni Surabaya (POSS), where this community always holds practices in musical arts in the Balai Pemuda area. By using Pierre Bourdieu's aesthetic taste, which is formed through the aspects of habitus, capital, and the realm contained in this phenomenon, the researcher sees that this POSS activity is an attempt to build a taste for music orchestration as a form of resistance from the lower class to upper-class culture.Keywords: Habitus; Capital; Domain; Taste; Subculture

How Neuroimaging Is Transforming Our Understanding of Aesthetic Taste

The concept of aesthetic appreciation is a historical construction with a history that traces back to the beginning of the 18th century. It proposes the idea that humans can experience a specific kind of nonutilitarian pleasure when exposed to a distinct set of aesthetic qualities. This chapter surveys findings from recent neuroimaging studies that have cast doubt on this idea. It explains how studies of neural activity associated with aesthetic appreciation have found “aesthetic” liking to engage similar neural structures as utilitarian liking, suggesting that aesthetic appreciation is rooted in computational principles that are common to hedonic evaluation broadly.

Professional Training of Future Primary School Teachers for the Organization of Exhibition Activities

The article describes the technology of professional training of future primary school teachers for the organization of exhibition expositions of creative works of younger schoolchildren. The conclusion is made about the importance of involving primary school students in exhibition activities. The characteristics of the types of exhibitions, which are most expedient to use in school practice, are given, since in different situations of the educational process they allow solving the problems of the educational plan: to consider the work of other children and get new impressions; show your work and listen to feedback about them; talk about your own idea and talk about the work of other children. The substantiation of the exhibition is given as a condition for the development of a culture of perception, aesthetic taste, the ability to empathize and enjoy the success of classmates in younger schoolchildren, to increase their own self-esteem and the desire for creative search.