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performing arts</title> <meta name="description" content="Search results for: cultural performing arts"> <meta name="keywords" content="cultural performing arts"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="cultural performing arts"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 5253</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: cultural performing arts</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5253</span> Thatsana Nataya Chatri Dance: A Creative Conservation Process of Cultural Performing Arts for Competition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dusittorn%20Ngamying">Dusittorn Ngamying</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on Thatsana Nataya Chatri Dance: A Creative Conservation Process of Cultural Performing Arts for Competition was aimed at 1) studying the creative conservation process of cultural performing arts; 2) creating conservation process of cultural performing arts of Thatsana Nataya Chatri dance; and 3) utilizing the created performing arts for the competition. The study was conducted using the qualitative research method in the Central region provinces of Thailand through documentary study and data from field observations, interviews and focus group meetings. Data were collected from 50 informants consisting of 10 experts on the subject, 30 practitioners and 10 general information providers. The data collection instruments consisted of participatory and non-participatory forms, structured and non-structured interview schedules and focus group note forms. The data were verified by the triangulation technique and presented using the descriptive analysis. The results of the study reveal that the creative conservation process of cultural performing arts should be initiated by those who have experienced using a prior knowledge in the pursuit of new knowledge. The new knowledge is combined to generate creative work with the conservation process in 9 aspects: acquiring the related knowledge, creating theme and inspiration, designing the music and melody, designing costumes, inventing dance postures, selecting dancers, transferring the dance postures, preparing the stage and performance equipment, planning the performance event. Inventing the conservation process of cultural performing arts Thatsana Nataya Chatri dance consists of 33 dance postures and 14 transformed patterns. The performance requires 6 dancers, 3 males and 3 females. Costume features both male and female classical and modified dancer’s costumes. The duration of the show takes 5 minutes. As for the application for the competition, this creative work has been selected by Dramatic Works Association (Thailand) to represent Thailand at the Lombok International Dance Sports Festival 2015 held at Lombok, Indonesia. The team has been awarded the Second Place in the Traditional Dance category. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creative%20conservation%20process" title="creative conservation process">creative conservation process</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20performing%20arts" title=" cultural performing arts"> cultural performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=Thatsana%20Nataya%20Chatri%20dance" title=" Thatsana Nataya Chatri dance"> Thatsana Nataya Chatri dance</a>, <a href="https://publications.waset.org/abstracts/search?q=competition" title=" competition"> competition</a> </p> <a href="https://publications.waset.org/abstracts/47633/thatsana-nataya-chatri-dance-a-creative-conservation-process-of-cultural-performing-arts-for-competition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47633.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">222</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5252</span> Arts and Cultural Heritage Digitalization in Nigeria: Problems and Prospects</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Okechukwu%20Uzoma%20Nkwocha">Okechukwu Uzoma Nkwocha</a>, <a href="https://publications.waset.org/abstracts/search?q=Edward%20Uche%20Omeire"> Edward Uche Omeire</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Information and communication technologies (ICT) undeniably, have expanded the sphere of arts and creativity. It proves to be an important tool for production, preservation, sharing and utilization of arts and cultural heritage. While art and heritage institutions around the globe are increasingly utilizing ICT for the promotion and sharing of their collections, the story seems different in most part of Africa. In this paper, we will examine the prospects and problems of utilizing ICT in promotion, preservation and sharing of arts and cultural heritage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=arts" title="arts">arts</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=digitalization" title=" digitalization"> digitalization</a>, <a href="https://publications.waset.org/abstracts/search?q=ICT" title=" ICT"> ICT</a> </p> <a href="https://publications.waset.org/abstracts/125268/arts-and-cultural-heritage-digitalization-in-nigeria-problems-and-prospects" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/125268.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">192</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5251</span> Cultural Policies, Globalisation of Arts, and Impact on Cultural Heritage: A Contextual Analysis of France</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nasser%20AlShawaaf">Nasser AlShawaaf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> While previous researchers have attempted to explain art museums commercialisation with reference to cultural policies, they have overlooked the phenomenon of globalisation. This study examines the causes and effects of globalisation of art museums in France. Building on arts literature, we show that the cultural policies of the French government since 1980s of cultural democratisation, cultural decentralisation, and implementing market principles on the cultural sector are leading to arts globalisation. Although globalisation is producing economic benefits and enhancing cultural reach, however, the damages include artistic values and creativity, cultural heritage and representation, and the museum itself. Art museums and host cities could overcome negative consequences through a hybrid collection display and develop local collections gradually. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title="cultural policy">cultural policy</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20decentralisation" title=" cultural decentralisation"> cultural decentralisation</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20globalisation" title=" cultural globalisation"> cultural globalisation</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20museums" title=" art museums"> art museums</a>, <a href="https://publications.waset.org/abstracts/search?q=contextual%20analysis" title=" contextual analysis"> contextual analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=France" title=" France"> France</a> </p> <a href="https://publications.waset.org/abstracts/161783/cultural-policies-globalisation-of-arts-and-impact-on-cultural-heritage-a-contextual-analysis-of-france" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161783.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">104</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5250</span> Factors That Influence Willingness to Pay for Theatre Performances: The Case of Lithuanian National Drama Theatre</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rusne%20Kregzdaite">Rusne Kregzdaite</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The value of the cultural sector stems from the symbolic exploration that differentiates cultural organisations from other product or service organisations. As a result, the cultural sector has a dual impact on the socio-economic system: the economic value (expressed in terms of market relations) created influences the dynamics of the country's financial indicators, while the cultural (non-market) value indirectly contributes to the welfare of the state through changes in societal values, creativity transformations and cultural needs of the country. Measurement of indirect (cultural value) impacts is difficult, but in the case of the cultural sector (especially when it comes to economically inefficient state-funded culture), it helps to reveal the essential characteristics of the sector. The study aims to analyze the value of cultural organisations that are invisible in market processes and to base it on quantified calculations. This was be done by analyzing the usefulness of the consumer, incorporating not only the price paid but also the social and cultural decision-making factors that determine the spectator's choice (time dedicated for a visit, additional costs, content, previous experiences, corporate image). This may reflect the consumer's real choice to consume (all the costs he incurs may be considered the financial equivalent of his experience with the cultural establishment). The research methodology was tested by analyzing the performing arts sector and applying methods to the Lithuanian national drama theatre case. The empirical research consisted of a survey (more than 800 participants) of Lithuanian national drama theatre visitors to different performances. The willingness to pay and travel costs methods were used. Analysis of different performances lets identifies the factor that increases willingness to pay for the performance and affects theatre attendance. The research stresses the importance of cultural value and social perspective of the cultural sector and relates it to the discussions of public funding of culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20economics" title="cultural economics">cultural economics</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=willingness%20to%20pay" title=" willingness to pay"> willingness to pay</a>, <a href="https://publications.waset.org/abstracts/search?q=travel%20cost%20analysis" title=" travel cost analysis"> travel cost analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts%20management" title=" performing arts management"> performing arts management</a> </p> <a href="https://publications.waset.org/abstracts/149553/factors-that-influence-willingness-to-pay-for-theatre-performances-the-case-of-lithuanian-national-drama-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149553.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">89</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5249</span> Administration Model for the College of Film, Television, Multimedia and Performing Arts, Suan Sunandha Rajabhat University</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Somdech%20Rungsrisawat">Somdech Rungsrisawat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objective of this research was to investigate how to develop an appropriate management and administration model for the College of Film, Television, Multimedia and Performing Arts at Suan Sunandha Rajabhat University. A combination of qualitative and quantitative data collection and analysis methods was employed. The data collection was from the 8 experts who were the academic staff and entrepreneurs in films, television, multimedia and performing arts, and from 471 students studying in the communication arts field. The findings of this research paper presented the appropriate management and administration model for the College of Film, Television, Multimedia and Performing Arts, which depended on 3 factors: [i] the marketing management and the supporting facilities such as buildings, equipments and accessibility for students to the college; [ii] the competency of academic staff or lecturers and supporting staff; and [iii] career opportunities after graduation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=educational%20institution%20management" title="educational institution management">educational institution management</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20management" title=" educational management"> educational management</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20resources" title=" learning resources"> learning resources</a>, <a href="https://publications.waset.org/abstracts/search?q=non-formal%20education" title=" non-formal education"> non-formal education</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai%20qualifications%20framework%20for%20higher%20education" title=" Thai qualifications framework for higher education "> Thai qualifications framework for higher education </a> </p> <a href="https://publications.waset.org/abstracts/17829/administration-model-for-the-college-of-film-television-multimedia-and-performing-arts-suan-sunandha-rajabhat-university" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17829.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">330</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5248</span> Holistic Development of Children through Performing Classical Art Forms: A Study in Tamil Nadu, India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meera%20Rajeev%20Kumar">Meera Rajeev Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An overall social, emotional, and cultural development in a child is what a parent expects. There is no point in comparing the generations of 70’s or 80’s with that of the children of today as the trends are changing drastically. Technology has enabled them to become smart as well as over smart in one way or the other. Children today are quite ignorant of today’s values or ethics and are imbibing different cultures around them and ultimately confused on what to follow. The researcher has gained experience in transmitting or imparting the traditional culture through performing arts. It is understood that the children undergo a transformation from what they knew to what the truth is, through learning and experience. Through performing arts, the child develops an emotional, quick learning, abundant creativity, and ultimately self-realisation on what is right and wrong. The child also gains good organising skills, good decision making skills, therefore summing up to a holistic development. The sample study is 50, and a random sampling technique is adopted to differentiate between a normal child and a child learning an art. The study is conducted in Tamil Nadu, in India. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creativity" title="creativity">creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural" title=" cultural"> cultural</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional" title=" emotional"> emotional</a>, <a href="https://publications.waset.org/abstracts/search?q=empower" title=" empower"> empower</a> </p> <a href="https://publications.waset.org/abstracts/74251/holistic-development-of-children-through-performing-classical-art-forms-a-study-in-tamil-nadu-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/74251.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">202</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5247</span> The Pedagogical Functions of Arts and Cultural-Heritage Education with ICTs in Museums – A Case Study of FINNA and Google Art </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pei%20Zhao">Pei Zhao</a>, <a href="https://publications.waset.org/abstracts/search?q=Sara%20Sintonen"> Sara Sintonen</a>, <a href="https://publications.waset.org/abstracts/search?q=Heikki%20Kyn%C3%A4slahti"> Heikki Kynäslahti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Digital museums and arts galleries have become popular in museum education and management. Museum and arts galleries website is one of the most effective and efficient ways. Google, a corporation specializing in Internet-related services and projects, not only puts high-resolution arts images online, but also uses augmented-reality in digital art gallery. The Google Art Project, Google’s production, provides users a platform in appreciating and learning arts. After Google Art Project, more and more countries released their own museum and arts gallery websites, like British Paining in BBC, and FINNA in Finland. Pedagogical function in these websites is one of the most important functions. In this paper, we use Google Art Project and FINNA as the case studies to investigate what kinds of pedagogical functions exist in these websites. Finally, this paper will give the recommendation to digital museums and websites development, especially the pedagogical functions development, in the future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=arts%20education" title="arts education">arts education</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural-heritage%20education" title=" cultural-heritage education"> cultural-heritage education</a>, <a href="https://publications.waset.org/abstracts/search?q=education%20with%20ICTs" title=" education with ICTs"> education with ICTs</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogical%20functions" title=" pedagogical functions"> pedagogical functions</a> </p> <a href="https://publications.waset.org/abstracts/24955/the-pedagogical-functions-of-arts-and-cultural-heritage-education-with-icts-in-museums-a-case-study-of-finna-and-google-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24955.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">548</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5246</span> The Importance of Artificial Intelligence on Arts and Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mariam%20Adel%20Hakim%20Fouad">Mariam Adel Hakim Fouad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This quantitative examine investigates innovative arts teachers' perceptions regarding the implementation of an Inclusive innovative Arts curriculum. The study employs a descriptive method utilizing a 5-point Likert scale questionnaire comprising 15 objects to acquire data from innovative arts educators. The Census, with a disproportionate stratified sampling approach, became utilized to pick out 226 teachers from five academic circuits (Circuit A, B, C, D & E) within Offinso Municipality, Ghana. The findings suggest that most innovative arts instructors maintain a wonderful belief in enforcing an inclusive, innovative arts curriculum. Wonderful perceptions and attitudes amongst teachers are correlated with improved scholar engagement and participation in class sports. This has a look at recommends organizing workshops and in-carrier schooling periods centered on inclusive innovative arts schooling for creative Arts instructors. Moreover, it shows that colleges of education and universities accountable for trainer schooling integrate foundational guides in creative arts and special schooling into their number one schooling teacher training packages. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=arts-in-health" title="arts-in-health">arts-in-health</a>, <a href="https://publications.waset.org/abstracts/search?q=evidence%20based%20medicine" title=" evidence based medicine"> evidence based medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20for%20health" title=" arts for health"> arts for health</a>, <a href="https://publications.waset.org/abstracts/search?q=expressive%20arts%20therapiesarts" title=" expressive arts therapiesarts"> expressive arts therapiesarts</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=digitalization" title=" digitalization"> digitalization</a>, <a href="https://publications.waset.org/abstracts/search?q=ICTarts" title=" ICTarts"> ICTarts</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=font" title=" font"> font</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a> </p> <a href="https://publications.waset.org/abstracts/189742/the-importance-of-artificial-intelligence-on-arts-and-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/189742.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">24</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5245</span> The Arts in Medicine and Health: A Necessity for Evidence-Based Health Systems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alan%20S.%20Weber">Alan S. Weber</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This contribution reviews the current biomedical and qualitative arts research on arts-in-health interventions to improve both individual and population health outcomes. Arts therapies–for example, music therapy with roots in Aristoxenus’s Ἁρμονικὰ στοιχεῖα and the Pythagorean sect–have long been employed in therapeutic contexts. However, the 20th century witnessed the increasing use of the visual and plastic arts (drawing, painting, sculpting), performing arts (drama and dance), and other expressive arts modalities into occupational therapy, well-being medicine, and psychological and psychiatric counselling, diagnosis, and treatment. A significant body of peer-reviewed evidence in the medical and neurological sciences on the role of arts-in-health has developed, and specifically, research on music and art therapy has led to their inclusion within the current biomedical paradigm of evidence-based practice. The arts cannot only aid in public and population health promotion (promoting healthy behaviors and lifestyles, preventing disease onset) but also in addressing psychological issues (regulation of emotion; stress, anxiety, and depression reduction), behavioural issues (basic life skills, coping), and physiological response (immune system function, hormonal regulation, homeostatis). Working as a cross-disciplinary researcher in the arts in an American medical college, the author has developed several successful arts-in-health programs at the national and international level. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=arts-in-health" title="arts-in-health">arts-in-health</a>, <a href="https://publications.waset.org/abstracts/search?q=evidence%20based%20medicine" title=" evidence based medicine"> evidence based medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20for%20health" title=" arts for health"> arts for health</a>, <a href="https://publications.waset.org/abstracts/search?q=expressive%20arts%20therapies" title=" expressive arts therapies"> expressive arts therapies</a> </p> <a href="https://publications.waset.org/abstracts/171242/the-arts-in-medicine-and-health-a-necessity-for-evidence-based-health-systems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171242.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">70</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5244</span> Performing Arts and Performance Art: Interspaces and Flexible Transitions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Helmi%20Vent">Helmi Vent</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This four-year artistic research project has set the goal of exploring the adaptable transitions within the realms between the two genres. This paper will single out one research question from the entire project for its focus, namely on how and under what circumstances such transitions between a reinterpretation and a new creation can take place during the performative process. The film documentation that accompany the project were produced at the Mozarteum University in Salzburg, Austria, as well as on diverse everyday stages at various locations. The model institution that hosted the project is the LIA – Lab Inter Arts, under the direction of Helmi Vent. LIA combines artistic research with performative applications. The project participants are students from various artistic fields of study. The film documentation forms a central platform for the entire project. They function as audiovisual records of performative performative origins and development processes, while serving as the basis for analysis and evaluation, including the self-evaluation of the recorded material and they also serve as illustrative and discussion material in relation to the topic of this paper. Regarding the “interspaces” and variable 'transitions': The performing arts in the western cultures generally orient themselves toward existing original compositions – most often in the interconnected fields of music, dance and theater – with the goal of reinterpreting and rehearsing a pre-existing score, choreographed work, libretto or script and presenting that respective piece to an audience. The essential tool in this reinterpretation process is generally the artistic ‘language’ performers learn over the course of their main studies. Thus, speaking is combined with singing, playing an instrument is combined with dancing, or with pictorial or sculpturally formed works, in addition to many other variations. If the Performing Arts would rid themselves of their designations from time to time and initially follow the emerging, diffusely gliding transitions into the unknown, the artistic language the performer has learned then becomes a creative resource. The illustrative film excerpts depicting the realms between Performing Arts and Performance Art present insights into the ways the project participants embrace unknown and explorative processes, thus allowing the genesis of new performative designs or concepts to be invented between the participants’ acquired cultural and artistic skills and their own creations – according to their own ideas and issues, sometimes with their direct involvement, fragmentary, provisional, left as a rough draft or fully composed. All in all, it is an evolutionary process and its key parameters cannot be distilled down to their essence. Rather, they stem from a subtle inner perception, from deep-seated emotions, imaginations, and non-discursive decisions, which ultimately result in an artistic statement rising to the visible and audible surface. Within these realms between performing arts and performance art and their extremely flexible transitions, exceptional opportunities can be found to grasp and realise art itself as a research process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20as%20research%20method" title="art as research method">art as research method</a>, <a href="https://publications.waset.org/abstracts/search?q=Lab%20Inter%20Arts%20%28%20LIA%20%29" title=" Lab Inter Arts ( LIA )"> Lab Inter Arts ( LIA )</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20art" title=" performance art"> performance art</a> </p> <a href="https://publications.waset.org/abstracts/36808/performing-arts-and-performance-art-interspaces-and-flexible-transitions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36808.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">272</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5243</span> Measuring the Full Impact of Culture: Social Indicators and Canadian Cultural Policy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Steven%20Wright">Steven Wright</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper argues that there is an opportunity for PCH to further expand its relevance within the Canadian policy context by taking advantage of the growing international trend of using social indicators for public policy evaluation. Within the mandate and vision of PCH, there is an incomplete understanding of the value that the arts and culture provide for Canadians, specifically with regard to four social indicators: community development, civic engagement, life satisfaction, and work-life balance. As will be shown, culture and the arts have a unique role to play in such quality of life indicators, and there is an opportunity for PCH to aid in the development of a comprehensive national framework that includes these indicators. This paper lays out approach to understanding how social indicators may be included in the Canadian context by first illustrating recent trends in policy evaluation on a national and international scale. From there, a theoretical analysis of the connection between cultural policy and social indicators is provided. The second half of the paper is dedicated to explaining the shortcomings of Canadian cultural policy evaluation in terms of its tendency to justify expenditures related to arts and cultural activities in purely economic terms, and surveying how other governments worldwide are leading the charge in this regard. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=social%20indicators" title="social indicators">social indicators</a>, <a href="https://publications.waset.org/abstracts/search?q=evaluation" title=" evaluation"> evaluation</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title=" cultural policy"> cultural policy</a>, <a href="https://publications.waset.org/abstracts/search?q=arts" title=" arts"> arts</a> </p> <a href="https://publications.waset.org/abstracts/46113/measuring-the-full-impact-of-culture-social-indicators-and-canadian-cultural-policy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/46113.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">296</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5242</span> Sustainable Development Goal (SDG)-Driven Intercultural Citizenship Education through Dance-Fitness Development: A Classroom Research Project Based on History Research into Japanese Traditional Performing Art (Menburyu)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Stephanie%20Ann%20Houghton">Stephanie Ann Houghton</a> </p> <p class="card-text"><strong>Abstract:</strong></p> SDG-driven intercultural citizenship education through performing arts and history research, combined with dance-fitness development inspired by performing arts, can provide a third space in which performing arts, local history, and contemporary society drive educational and social development, supporting the performing arts in student-generated ways, reflecting their sense, priorities, and goals. Within a string of rugged volcanic peninsulas along the north-western coastline of the Ariake Sea, Kyushu, southern Japan, are found a range of traditional performing arts endangered in Japan’s ageing society, including Menburyu mask dance. From 2017, Menburyu culture and history were explored with Menburyu veterans and students within Houghton’s FURYU Educational Program (FEP) at Saga University. Through collaboration with professional fitness instructor Kazuki Miyata, basic Menburyu movements and concepts were blended into aerobics routines to generate Menburyu-Inspired Dance-Fitness (MIDF). Drawing on history, legends, and myths, three important storylines for understanding Menburyu, captured in students’ bilingual (English/Japanese) exhibition panels, emerged: harvest, demons and gods, and the Battle of Tadenawate 1530. Houghton and Miyata performed the first MIDF routine at the 22nd Traditional Performing Arts Festival at Yutoku Inari Shrine, Kashima, in September 2019. FEP exhibitions, dance-fitness events, and MIDF performance have been reported in the media locally and nationally. In an action research case study, a classroom research project was conducted with four female Japanese students over fifteen three-hour online lessons (April-July 2020). Part 1 of each lesson focused on Menburyu history. This included a guest lecture by Kensuke Ryuzoji. The three Menburyu storylines served as keys for exploring Menburyu history from international standpoints.Part 2 focused on the development of MIDF basic steps and an online MIDF event with outside guests. Through post-lesson reflective diaries and reports/videos documenting their experience, students engaged in heritage management, intercultural dialogue, health/fitness, technology and art generation activities within the FEP, centring on UN Sustainable Development Goals (SDGs) including health and wellness (SDG3), and quality education (SDG4), taking a glocal approach. In this presentation, qualitative analysis of student-generated reflective diary and reports will be presented to reveal educational processes, learning outcomes,and apparent areas of (potential) social impact of this classroom research project. Data will be presented in two main parts: (1) The mutually beneficial relationship between local traditional performing arts research and local history researchwill be addressed. One has the power both inform and illuminate the other given their deep connections. This can drive the development of students’ intercultural history competence related to and through the performing arts. (2) The development of dance-fitness inspired by traditional performing arts provides a third space in which performing arts, local history and contemporary society can be connected through SDG-driven education inside the classroom in ways that can also drive social innovation outside the classroom, potentially supporting the performing arts itself in student-generated ways, reflecting their own sense, priorities and social goals. Links will be drawn with intercultural citizenship, strengths and weaknesses of this teaching approach will be highlighted, and avenues for future research in this exciting new area will be suggested. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20traditions" title="cultural traditions">cultural traditions</a>, <a href="https://publications.waset.org/abstracts/search?q=dance-fitness%20performance%20and%20participation" title=" dance-fitness performance and participation"> dance-fitness performance and participation</a>, <a href="https://publications.waset.org/abstracts/search?q=intercultural%20communication%20approach" title=" intercultural communication approach"> intercultural communication approach</a>, <a href="https://publications.waset.org/abstracts/search?q=mask%20dance%20origins" title=" mask dance origins"> mask dance origins</a> </p> <a href="https://publications.waset.org/abstracts/154430/sustainable-development-goal-sdg-driven-intercultural-citizenship-education-through-dance-fitness-development-a-classroom-research-project-based-on-history-research-into-japanese-traditional-performing-art-menburyu" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154430.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">140</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5241</span> Digital Technologies in Cultural Entrepreneurial Practice in Tech Arts in Morocco: Design or Fine Arts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hiba%20Taim">Hiba Taim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This abstract falls within the scope of entrepreneurship and regulates cultural and creative entrepreneurship. It tackles the topic of "The Ecosystem in Cultural and Creative Entrepreneurship in North Africa". This piece of work deals with the problem of the absence of the ecosystem in cultural and creative enterprises in North Africa, meaning the absence of a clear structure of the ecosystem in the field of cultural and creative entrepreneurship in North Africa. The aim of this research is to create an integrated ecosystem that brings together all those involved in cultural and creative entrepreneurship in North Africa: from training, financial support, continuing, international organizations, government banks, and means of communication. This study is significant not only because it suggests some activities to develop this system but also because it provides all of the information to cultural and creative entrepreneurs in order for them to create project opportunities and activate the entrepreneurship process. It will also enable the creation of opportunities to work among them and formulate common cultural policies to develop the quality of cultural and creative services in North Africa. This research paper uses a qualitative approach to gather information of good quality about the problem being tackled, as well as studying and analyzing different documents and conducting interviews with cultural entrepreneurs, which will help to collect all the information on the state of the ecosystem in North Africa. For the moment, this paperwork is at the stage of collecting preliminary data regarding the problem and developing appropriate schedules for all the phases of the research in order to be productive and deliver this study in the coming months. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20innovation" title="cultural innovation">cultural innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20innovation" title=" design innovation"> design innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20thinking" title=" design thinking"> design thinking</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20entrepreneurship" title=" cultural entrepreneurship"> cultural entrepreneurship</a> </p> <a href="https://publications.waset.org/abstracts/146301/digital-technologies-in-cultural-entrepreneurial-practice-in-tech-arts-in-morocco-design-or-fine-arts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146301.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">147</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5240</span> An East-West Trans-Cultural Study: Zen Enlightenment in Asian and John Cage's Visual Arts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu-Shun%20Elisa%20Pong">Yu-Shun Elisa Pong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> American composer John Cage (1912-1992) is an influential figure in musical, visual and performing arts after World War II and has also been claimed as a forerunner of the western avant-garde in the artistic field. However, the crucial factors contributed to his highly acclaimed achievements include the Zen enlightenment, which he mainly got from Japanese Zen master D. T. Suzuki (1870-1966). As a kind of reflection and afterthought of the Zen inspiration, John Cage created various forms of arts in which visual arts have recently attracted more and more attention and discussion, especially from the perspectives of Zen. John Cage had started to create visual art works since he was 66 years old and the activity had lasted until his death. The quality and quantity of the works are worthy of in-depth study— the 667 pieces of print, 114 pieces of water color, and about 150 pieces of sketch. Cage’s stylistic changes during the 14 years of creation are quite obvious, and the Zen elements in the later works seem to be omnipresent. Based on comparative artistic study, a historical and conceptual view of Zen art that was formed initially in the traditional Chinese and Japanese visual arts will be discussed. Then, Chinese and Japanese representative Zen works will be mentioned, and the technique aspect, as well as stylistic analysis, will be revealed. Finally, a comprehensive comparison of the original Oriental Zen works with John Cage’s works and focus on the influence, and art transformation will be addressed. The master pieces from Zen tradition by Chinese artists like Liang Kai (d. 1210) and Ma Yuan (1160-1225) from Southern Sung Dynasty, the Japanese artists like Sesshū (1420-1506), Miyamoto Musashi (1584-1645) and some others would be discussed. In the current study, these art works from different periods of historical development in Zen will serve as the basis of analogy, interpretation, and criticism to Cage's visual art works. Through the perspectives of the Zen authenticity from Asia, we see how John Cage appropriated the eastern culture to his innovation, which changed the art world forever. And it is believed that through a transition from inter-, cross-, toward trans-cultural inspiration, John Cage set up a unique pathway of art innovations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=John%20Cage" title="John Cage">John Cage</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20Zen%20art" title=" Chinese Zen art"> Chinese Zen art</a>, <a href="https://publications.waset.org/abstracts/search?q=Japanese%20Zen%20art" title=" Japanese Zen art"> Japanese Zen art</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20art" title=" visual art"> visual art</a> </p> <a href="https://publications.waset.org/abstracts/78742/an-east-west-trans-cultural-study-zen-enlightenment-in-asian-and-john-cages-visual-arts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/78742.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">524</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5239</span> Strategies for the Development of Cultural Intelligence in the Foreign Language Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azucena%20Yearby">Azucena Yearby</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study examined if cultural intelligence can be developed through the study of a foreign language. Specifically, the study sought to determine if strategies such as the Arts/History, Vocabulary and Real or Simulated Experiences have an effect on the development of cultural intelligence in the foreign language classroom. Students enrolled in Spanish 1114 or level 1 Spanish courses at the University of Central Oklahoma (UCO) completed Linn Van Dyne’s 20-item questionnaire that measures Cultural Intelligence (CQ). Results from the study indicated a slight cultural intelligence increase in those students who received an intervention. Therefore, the study recommended that foreign language educators implement the considered strategies in the classroom in order to increase their students’ cultural intelligence. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20competency" title="cultural competency">cultural competency</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20intelligence" title=" cultural intelligence"> cultural intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=foreign%20language" title=" foreign language"> foreign language</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a> </p> <a href="https://publications.waset.org/abstracts/70995/strategies-for-the-development-of-cultural-intelligence-in-the-foreign-language-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70995.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">466</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5238</span> Usurping the Potency of African Cultural Heritage via Western Civilization: A Major Bane on the Development of Nigerian Educational System</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=U.%20Obaje%20Gabriel">U. Obaje Gabriel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The overwhelming and intimidating presence of western civilization over our traditional edifice is rather sad and distressful. A careful observation of our prevailing situation would reveal to anyone what mess westernization has done to our cultural values and norms. Corruption, frivolity and moral decadence which are major hallmarks of this foreign ideology are seriously ravaging our society in general and our educational system in particular. The current trends in our schools are those of cultism, nudity in dressing, exam malpractices, corruption and general moral decadence. Against the background of these unwholesome practices in our schools, this paper intends to show the need for us to go back to our roots and harmonize the veritable aspects of our rich cultural heritage with those equally good aspects of western civilization. We believe that when this is done effectively, a very potent indigenous system of education will surely emerge, thereby solving the teething problem of fallen standard in our educational system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=heritage" title="heritage">heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20development" title=" educational development"> educational development</a>, <a href="https://publications.waset.org/abstracts/search?q=western%20civilization" title=" western civilization"> western civilization</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts%20studies" title=" performing arts studies"> performing arts studies</a> </p> <a href="https://publications.waset.org/abstracts/9703/usurping-the-potency-of-african-cultural-heritage-via-western-civilization-a-major-bane-on-the-development-of-nigerian-educational-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9703.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">318</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5237</span> Exploring Visual Arts through the Blue Humanities: The Case Study of Jason deCaires Taylor's Underwater Sculptures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammed%20Muharram">Mohammed Muharram</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Blue Humanities aims to deepen our understanding of the oceans through the integration of arts and sciences, emphasizing their cultural, historical, and ecological significance. This study explores the role of visual arts within this interdisciplinary framework, focusing on the underwater sculptures of Jason deCaires Taylor as a case study. The research employs a multidisciplinary approach, combining art history, environmental science, and cultural studies to explore the significance of Taylor's underwater installations. Methodologies include analysis of the artistic elements and themes in Taylor's work, assessment of the ecological impact of the sculptures on marine environments, and examination of the cultural narratives they evoke. Key findings highlight how Taylor's sculptures serve as artificial reefs, promoting marine biodiversity while simultaneously raising awareness about ocean conservation. The artworks act as powerful symbols, merging environmental activism with artistic expression and transforming underwater spaces into immersive art galleries that challenge traditional notions of viewing art. By bridging the gap between visual arts and environmental science, this study demonstrates how Taylor's sculptures contribute to the Blue Humanities by fostering a deeper, more holistic appreciation of the marine world. The research advocates for the continued integration of artistic perspectives into marine conservation efforts, emphasizing the role of visual arts in shaping public perceptions and promoting ecological sustainability. In conclusion, this study underscores the transformative potential of visual arts within the Blue Humanities, exemplified by Jason deCaires Taylor's underwater sculptures, which inspire both aesthetic appreciation and environmental consciousness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=blue%20humanities" title="blue humanities">blue humanities</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20art" title=" visual art"> visual art</a>, <a href="https://publications.waset.org/abstracts/search?q=underwater%20sculptures" title=" underwater sculptures"> underwater sculptures</a>, <a href="https://publications.waset.org/abstracts/search?q=Jason%20deCaires%20Taylor" title=" Jason deCaires Taylor"> Jason deCaires Taylor</a> </p> <a href="https://publications.waset.org/abstracts/188792/exploring-visual-arts-through-the-blue-humanities-the-case-study-of-jason-decaires-taylors-underwater-sculptures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/188792.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">28</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5236</span> Nations in Labour: Incorporating National Narratives in Sociological Models of Cultural Labour</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anna%20Lytvynova">Anna Lytvynova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This essay presents labour as a performatively national phenomenon from a cultural perspective. Considering Engels’ proposition of labour as the epicentre of development of social structures and communities, it theorizes the formation and sustainment of group identities through labour identities. Taking labour in the cultural sector as the starting point case study, the essay further enunciates such labour and labour identity as a form of engaged citizenship. In doing so, this piece hopes to arrive at a potential contemporary understanding of labour as having a central and dynamic role in cultural organization and citizenship. A parallel goal is to de-link sociological models of cultural labor from narratives of art and culture as something that stands separate from the 'real world' and the economy and exists in precarity. Combining discourse from cultural sociology, performance studies, and economics and grounding it in historical archive, the essay makes a primarily discursive theoretical contribution. Taking North American theatre organizations as the exemplifying starting point, this project positions cultural workers not solely as workers in a professional industry but as active citizen-subjects who are deeply involved in their society’s democratic processes. The resulting discourse can be used to shape more effective labour policies, as well as help art and cultural organizations find more effective organizational structures to engage the arts in the economic, political, and social spheres. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=arts%20labour" title="arts labour">arts labour</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20sociology" title=" cultural sociology"> cultural sociology</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a>, <a href="https://publications.waset.org/abstracts/search?q=performativity" title=" performativity"> performativity</a> </p> <a href="https://publications.waset.org/abstracts/131272/nations-in-labour-incorporating-national-narratives-in-sociological-models-of-cultural-labour" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131272.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">127</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5235</span> Teachers’ Perception of the Implementation of Inclusive Creative Arts Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=William%20Kwabena%20Nantwi">William Kwabena Nantwi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This quantitative study investigates Creative Arts teachers' perceptions regarding the implementation of an Inclusive Creative Arts curriculum. The research employs a descriptive approach utilizing a 5-point Likert scale questionnaire comprising 15 items to gather data from Creative Arts educators. The Census with a disproportionate stratified sampling method was utilized to select 226 teachers from five educational circuits (Circuit A, B, C, D & E) within Offinso Municipality, Ghana. The findings indicate that most Creative Arts teachers hold a positive perception towards implementing an inclusive Creative Arts curriculum. Positive perceptions and attitudes among teachers are correlated with increased student engagement and participation in class activities. This study recommends organizing workshops and in-service training sessions focused on inclusive Creative Arts education for Creative Arts teachers. Additionally, it suggests that Colleges of Education and Universities responsible for teacher training integrate foundational courses in Creative Arts and Special Education into their primary education teacher preparation programs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=perception" title="perception">perception</a>, <a href="https://publications.waset.org/abstracts/search?q=attitude" title=" attitude"> attitude</a>, <a href="https://publications.waset.org/abstracts/search?q=inclusive%20education" title=" inclusive education"> inclusive education</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20art" title=" creative art"> creative art</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20arts%20teachers" title=" creative arts teachers"> creative arts teachers</a>, <a href="https://publications.waset.org/abstracts/search?q=Ghana" title=" Ghana"> Ghana</a> </p> <a href="https://publications.waset.org/abstracts/188741/teachers-perception-of-the-implementation-of-inclusive-creative-arts-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/188741.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">31</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5234</span> Marketing Management and Cultural Learning Center: The Case Study of Arts and Cultural Office, Suansunandha Rajabhat University</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pirada%20Techaratpong">Pirada Techaratpong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This qualitative research has 2 objectives: to study marketing management of the cultural learning center in Suansunandha Rajabhat University and to suggest guidelines to improve its marketing management. This research is based on a case study of the Arts and Culture Office in Suansunandha Rajabhat University, Bangkok. This research found the Art and Culture Office has no formal marketing management. However, the marketing management is partly covered in the overall business plan, strategic plan, and action plan. The process can be divided into 5 stages. The marketing concept has long been introduced to its policy but not apparently put into action due to inflexible system. Some gaps are found in the process. The research suggests the Art and Culture Office implement the concept of marketing orientation, meeting the needs and wants of its target customers and adapt to the changing situation. Minor guidelines for improvement are provided. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20learning%20center" title="cultural learning center">cultural learning center</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing" title=" marketing"> marketing</a>, <a href="https://publications.waset.org/abstracts/search?q=management" title=" management"> management</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a> </p> <a href="https://publications.waset.org/abstracts/8426/marketing-management-and-cultural-learning-center-the-case-study-of-arts-and-cultural-office-suansunandha-rajabhat-university" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/8426.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">386</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5233</span> Theatre, Tea-Time and Harpsichords: Women’s Entertainment and Sensibility in Eighteenth-Century England </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ayako%20Otomo">Ayako Otomo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper will examines the rise of a feminine orientation regarding arts and culture associated with the notion of Sensibility during the early part of the English long eighteenth century. As is widely known, the prosperous modernisation that occurred in this period was a significant factor in the nation taking a leading role in the emergent Enlightenment via the social, political and scientific advancement of Britain. As a result, this prompted the relaxing of the strictures of class and gender hierarchies in line with the new consumerism and cosmopolitanism of the nation. Accordingly, there was a significant increase of female involvement in artistic and cultural consumption. This can be understood in terms of the notion of Sensibility, associating it further with the fields of physiology, psychology and aesthetics, indebted in their turn to British Empiricism. This paper first traces the background of how women were recognisably involved in artistic and cultural circulation within an historical perspective that is articulated by the notion of Sensibility. Then, the discussion turns to the confluence of the issues of female association, creativity and the feminisation of the aesthetic of the arts and culture employing an interdisciplinary perspective. Arts and culture can also classified by public and private social spheres and gender according to Jürgen Habermas. The relationship between women and the theatre became a public issue. Music-making such as playing the harpsichord, reading, and conversation within the ritualistic teatime space dominated many of the artistic and cultural activities within the domestic private sphere. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=theatre" title="theatre">theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=arts" title=" arts"> arts</a>, <a href="https://publications.waset.org/abstracts/search?q=sensibility" title=" sensibility"> sensibility</a>, <a href="https://publications.waset.org/abstracts/search?q=18th%20century%20England" title=" 18th century England "> 18th century England </a> </p> <a href="https://publications.waset.org/abstracts/22582/theatre-tea-time-and-harpsichords-womens-entertainment-and-sensibility-in-eighteenth-century-england" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22582.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">363</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5232</span> Values That Should Be Taken into Account in the Arts: The Tension between Economic Influences and Cultural Values</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Mehdi%20Mazaheri">Mohammad Mehdi Mazaheri</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Motiee%20Lahromi"> Mohammad Motiee Lahromi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recently the two matters of how to evaluate art and what the influencing economic effects on cultural values are have attracted many researchers to investigate them. Therefore, in the present article the researcher made an attempt to answer the above questions. However, the fundamental distinction between this article and the other ones is in comparing the economic value (shown by monetary phrases) with cultural values (that reflects the aesthetic values and the importance of the artist). This article shows a different and trivial distinction that has a very clearly pivotal significance in the process of cultural policy making. The economic activities would be influenced when there are cultural values. The increase of commercial activities is measured by impact assessment. In other words, the value of culture is reflected in the satisfaction of the users of cultural activities. This kind of value is measured by “willingness to pay” researches. The researcher believes that these two values are dominant in the cultural policy but they include many aspects and are presented by different kinds of communities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=economic%20influence" title="economic influence">economic influence</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20values" title=" cultural values"> cultural values</a>, <a href="https://publications.waset.org/abstracts/search?q=monetary%20phrases" title=" monetary phrases"> monetary phrases</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20values" title=" aesthetic values"> aesthetic values</a> </p> <a href="https://publications.waset.org/abstracts/12116/values-that-should-be-taken-into-account-in-the-arts-the-tension-between-economic-influences-and-cultural-values" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12116.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">483</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5231</span> The Concept of Female Beauty in Contemporary (2000-2020) Fine Arts and Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maria%20Ukolova">Maria Ukolova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Social and cultural processes over the past decades have largely affected the understanding of conventional female beauty all over the world. Fine arts and design tendencies could not remain unchanged and show a dynamic interplay with female rights, gender equality, and other social processes. As of now, the area lacks comprehensive academic research on the tendencies of understanding female beauty in contemporary art. This article makes an attempt to outline and analyse the main tendencies of contemporary works of art that turn to the image of a woman, including photography, digital art, and various forms of design. The research bases itself on paintings, performing arts, photography, digital art, and various forms of design, mainly on the principle of the most broadly resonated in society, as an empirical basis, and on existing researches in the sphere. The results of the research show a general trend that the concept of female beauty in art is either challenged as such or its understanding has shifted to individuality, diversity, and the state of mental health. However, some categories of art, such as digital art in the gaming industry, remain resistant to change and retain the appearance-based understanding of beauty. Specific tendencies are, firstly, aestheticization of all types of appearances; secondly, a ubiquitous interest in mental health issues and understanding the state of mental health as a part of beauty; thirdly, a certain infantilization of the image of the woman is observed as compared to previous decades. The significance of the findings of the research is to contribute to a scientific understanding of the concept of beauty in contemporary art and to give ground for prospective further related research in sociology, phycology, etc. The findings might be perceived not only by academics but also by artists and practitioners in the spheres of art and society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fine%20arts" title="fine arts">fine arts</a>, <a href="https://publications.waset.org/abstracts/search?q=history%20of%20art" title=" history of art"> history of art</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art" title=" contemporary art"> contemporary art</a>, <a href="https://publications.waset.org/abstracts/search?q=concept%20of%20beauty" title=" concept of beauty"> concept of beauty</a> </p> <a href="https://publications.waset.org/abstracts/162627/the-concept-of-female-beauty-in-contemporary-2000-2020-fine-arts-and-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162627.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">86</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5230</span> Sustainability of Performing Venues Considering Urban Connectivity and Facility Utilization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wei-Hwa%20Chiang">Wei-Hwa Chiang</a>, <a href="https://publications.waset.org/abstracts/search?q=Wei-Ting%20Hsu"> Wei-Ting Hsu</a>, <a href="https://publications.waset.org/abstracts/search?q=Yuan-Chi%20Liu"> Yuan-Chi Liu</a>, <a href="https://publications.waset.org/abstracts/search?q=Cheng-Che%20Tsai"> Cheng-Che Tsai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A sustainable built environment aims for minimizing both regional and global environmental impact while maintaining a healthy living for individuals. Sustainability of performing venues has rarely been discussed when compared with residential, office, and other popular building types. Life-cycle carbon emission due to the high standard requirements in acoustics, stage engineering, HVAC, and building structure need to be carefully examined. This can be complicated by social-economic and cultural concerns in addition to technical excellence. This paper reported case-based study and statistics of performing venues regarding urban connectivity and spatial layouts in enhancing facility usage and promoting cultural vitality. Interviews conducted for a major venue at Taipei indicated high linkage with surrounding leisure activity and the need for quality pedestrian and additional spaces open to the general public. Statistics of venues with various size and function suggested the possibility and strategies limit the size and height of reception and foyer spaces, and to maximize their use when there are no performances. Design strategies are identified to increase visual contact or facility sharing between the artists and the audience or the general public in reducing facility size and promoting potential involvement in cultural activities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sustainability" title="sustainability">sustainability</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20venue" title=" performing venue"> performing venue</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=operation" title=" operation"> operation</a> </p> <a href="https://publications.waset.org/abstracts/97305/sustainability-of-performing-venues-considering-urban-connectivity-and-facility-utilization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97305.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">122</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5229</span> Aesthetics of Colours, Symbols, and Spectacles in the 2021 National Festival of Arts and Culture, Ekiti State, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bade-Afuye%20Toyin%20Beatrice">Bade-Afuye Toyin Beatrice</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nigeria, as a multi-cultural nation, boasts of many festivals, many of which are found in the six geo-political zones of the country. One of the major festivals that bring together the Nigerian citizens as one entity is the National Festival of Arts and Culture (NAFEST), organized by the National Council for Arts and Culture (NCAC). The festival is celebrated yearly in ways that are unique to Nigerians and culture enthusiasts locally and abroad. The festival has equally boosted the Nigerian economy through tourism promotion and culture preservation. This study shall adopt the cultural identity theory. The theory will be used to examine the festival as a platform that showcases culture, which represents the totality of the ways and lives of the Nigerian people. To achieve this, the researcher shall gather data as a participant-observer during the festival, which featured elements such as costume, make-up, dance, drama, children's theatre, fashion parade, local cuisines, local games, music, props, acrobatic displays, trade fair among others. These elements are the cultural aesthetics of the festival, thereby creating spectacles and colours in unique styles by each of the 36 states of the federation and the FCT Abuja. The study particularly examines the 2021 edition of NAFEST hosted by the Ekiti State Government. The study reveals that the festival is a unique multi-ethnic event that brings together Nigerians and their kinsmen in the diaspora. NAFEST has equally provided a good opportunity to showcase the rich cultural heritage of the Ekiti people and the economic values of their products and materials. The paper, therefore, concludes that the National Festival of Arts and Culture has over the years promoted national unity and social integration among Nigerians. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colours" title="colours">colours</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=spectacle" title=" spectacle"> spectacle</a>, <a href="https://publications.waset.org/abstracts/search?q=NAFEST" title=" NAFEST"> NAFEST</a> </p> <a href="https://publications.waset.org/abstracts/149361/aesthetics-of-colours-symbols-and-spectacles-in-the-2021-national-festival-of-arts-and-culture-ekiti-state-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149361.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">106</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5228</span> Investigating the Effect of Handicrafts Recreation on the Interior Design of Traditional Arts Gallery</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amir%20Masoud%20Dabagh">Amir Masoud Dabagh</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahsa%20Khaleghi"> Mahsa Khaleghi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world has entered a new phase of cultural, social, economic, and so on in the last two centuries. Apart from its positive benefits and achievements to the world, it has also incurred many costs, most of which can be mentioned as destroying or at least diminishing the role of the costumes, traditions and authentic culture of the past communities. Understanding what lasts in traditional arts is vital and worthy of study because receiving it and embracing art and forms of art using that last the artistic creation removes the age-old color and smell of its face, making it immortal and persistent in all ages. This paper attempts to present traditional art concepts and solutions for interior design with the approach of handicrafts recreation as a symbol and manifestation of national identity and proof of ancient civilizations, which is at the center of tourists' attention today. The research method is a descriptive-analytical one that first explores the theoretical foundations of research, which are the concepts of recreation and traditional arts, and analyzes the process of recreation that conceals the recollection of past experiences as well as the dynamics and creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=recreation" title="recreation">recreation</a>, <a href="https://publications.waset.org/abstracts/search?q=handicrafts" title=" handicrafts"> handicrafts</a>, <a href="https://publications.waset.org/abstracts/search?q=interior%20design" title=" interior design"> interior design</a>, <a href="https://publications.waset.org/abstracts/search?q=concept" title=" concept"> concept</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20arts" title=" traditional arts"> traditional arts</a> </p> <a href="https://publications.waset.org/abstracts/164442/investigating-the-effect-of-handicrafts-recreation-on-the-interior-design-of-traditional-arts-gallery" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164442.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">111</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5227</span> Martial Arts and Combative Program of the Philippine Military Academy Cadet Corps Armed Forces of the Philippines: An Assessment</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jayson%20Vicente">Jayson Vicente</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The young men and women of Philippine Military Academy Cadet Corps Armed Forces of the Philippines (PMA CCAFP) are bred to be front liners and last line of defense during war and times of peace; as such, they must be equipped with the most practical and most effective combat-ready Martial Arts and Combative skills to effectively fulfill their duty, as well as to protect and safeguard themselves to continue serving the people and their country. This study shall assess the current Martial Arts and Combative Program of the PMA CCAFP using descriptive methodology by interviews and floating questionnaires. The current Martial Arts and Combative Program of the PMA CCAFP with all of the subjects involved are more sports inclined rather than combat-equipped. Picking the best from each subject used in the program, this study seeks to recommend improvements or create a better Martial Arts and Combative Program that will satisfy the objective of producing Martial Arts combatant graduates. A good Martial Arts and Combative Program for PMA is essential to prepare them for what lies ahead, which is unforgiving and no rules to pacify threat. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=combative" title="combative">combative</a>, <a href="https://publications.waset.org/abstracts/search?q=martial%20arts" title=" martial arts"> martial arts</a>, <a href="https://publications.waset.org/abstracts/search?q=military" title=" military"> military</a>, <a href="https://publications.waset.org/abstracts/search?q=program" title=" program"> program</a> </p> <a href="https://publications.waset.org/abstracts/133751/martial-arts-and-combative-program-of-the-philippine-military-academy-cadet-corps-armed-forces-of-the-philippines-an-assessment" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133751.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">150</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5226</span> The Analogy of Visual Arts and Visual Literacy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lindelwa%20Pepu">Lindelwa Pepu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Visual Arts and Visual Literacy are defined with distinction from one another. Visual Arts are known for art forms such as drawing, painting, and photography, just to name a few. At the same time, Visual Literacy is known for learning through images. The Visual Literacy phenomenon may be attributed to the use of images was first established for creating memories and enjoyment. As time evolved, images became the center and essential means of making contact between people. Gradually, images became a means for interpreting and understanding words through visuals, that being Visual Arts. The purpose of this study is to present the analogy of the two terms Visual Arts and Visual Literacy, which are defined and compared through early practicing visual artists as well as relevant researchers to reveal how they interrelate with one another. This is a qualitative study that uses an interpretive approach as it seeks to understand and explain the interest of the study. The results reveal correspondence of the analogy between the two terms through various writers of early and recent years. This study recommends the significance of the two terms and the role they play in relation to other fields of study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title="visual arts">visual arts</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20literacy" title=" visual literacy"> visual literacy</a>, <a href="https://publications.waset.org/abstracts/search?q=pictures" title=" pictures"> pictures</a>, <a href="https://publications.waset.org/abstracts/search?q=images" title=" images"> images</a> </p> <a href="https://publications.waset.org/abstracts/165940/the-analogy-of-visual-arts-and-visual-literacy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165940.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">166</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5225</span> The Traditional Roles and Place of Indigenous Musical Practices in Contemporary African Society</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Benjamin%20Obeghare%20%20Izu">Benjamin Obeghare Izu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Africa, indigenous musical practices are the focal point in which most cultural practices revolve, and they are the conduit mainly used in transmitting Indigenous knowledge and values. They serve as a means of documenting, preserving, transmitting indigenous knowledge, and re-enacting their historical, social, and cultural affinity. Indigenous musical practices also serve as a repository for indigenous knowledge and artistic traditions. However, these indigenous musical practices and the resulting cultural ideals are confronted with substantial challenges in the twenty-first century from contemporary cultural influence. Additionally, indigenous musical practices' educational and cultural purposes have been impacted by the broad monetisation of the arts in contemporary society. They are seen as objects of entertainment. Some young people are today unaware of their cultural roots and are losing their cultural identity due to these influences and challenges. In order to help policymakers raise awareness of and encourage the use of indigenous knowledge and musical practices among African youth and scholars, this study is in response to the need to explore the components and functions of the indigenous knowledge system, values, and musical tradition in Africa. The study employed qualitative research methods, utilising interviews, participant observation, and conducting related literature as data collection methods. It examines the indigenous musical practices in the Oba of Benin Royal Igue festival among the Benin people in Edo state, Nigeria, and the Ovwuwve festival observed by the Abraka people in Delta state, Nigeria. The extent to which the indigenous musical practices convey and protect indigenous knowledge and cultural values are reflected in the musical practices of the cultural festivals. The study looks at how indigenous musical arts are related to one another and how that affects how indigenous knowledge is transmitted and preserved. It makes recommendations for how to increase the use of indigenous knowledge and values and their fusion with contemporary culture. The study contributes significantly to ethnomusicology by showing how African traditional music traditions support other facets of culture and how indigenous knowledge might be helpful in contemporary society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=African%20musical%20practices" title="African musical practices">African musical practices</a>, <a href="https://publications.waset.org/abstracts/search?q=African%20music%20and%20dance" title=" African music and dance"> African music and dance</a>, <a href="https://publications.waset.org/abstracts/search?q=African%20society" title=" African society"> African society</a>, <a href="https://publications.waset.org/abstracts/search?q=indigenous%20musical%20practices" title=" indigenous musical practices"> indigenous musical practices</a> </p> <a href="https://publications.waset.org/abstracts/154700/the-traditional-roles-and-place-of-indigenous-musical-practices-in-contemporary-african-society" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154700.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">116</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5224</span> Cultural Statistics in Governance: A Comparative Analysis between the UK and Finland</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sandra%20Toledo">Sandra Toledo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There is an increasing tendency in governments for a more evidence-based policy-making and a stricter auditing of public spheres. Especially when budgets are tight, and taxpayers demand a bigger scrutiny over the use of the available resources, statistics and numbers appeared as an effective tool to produce data that supports investments done, as well as evaluating public policy performance. This pressure has not exempted the cultural and art fields. Finland like the rest of Nordic countries has kept its principles from the welfare state, whilst UK seems to be going towards the opposite direction, relaying more and more in private sectors and foundations, as the state folds back. The boom of the creative industries along with a managerial trend introduced by Tatcher in the UK brought, as a result, a commodification of arts within a market logic, where sponsorship and commercial viability were the keynotes. Finland on its part, in spite of following a more protectionist approach of arts, seems to be heading in a similar direction. Additionally, there is an international growing interest in the application of cultural participation studies and the comparability between countries in their results. Nonetheless, the standardization in the application of cultural surveys has not happened yet. Not only there are differences in the application of these type of surveys in terms of time and frequency, but also regarding those conducting them. Therefore, one hypothesis considered in this research is that behind the differences between countries in the application of cultural surveys, production and utilization of cultural statistics is the cultural policy model adopted by the government. In other words, the main goal of this research is to answer the following: What are the differences and similarities between Finland and the UK regarding the role cultural surveys have in cultural policy making? Along with other secondary questions such as: How does the cultural policy model followed by each country influence the role of cultural surveys in cultural policy making? and what are the differences at the local level? In order to answer these questions, strategic cultural policy documents and interviews with key informants will be used and analyzed as source data, using content analysis methods. Cultural statistics per se will not be compared, but instead their use as instruments of governing, and its relation to the cultural policy model. Aspects such as execution of cultural surveys, funding, periodicity, and use of statistics in formal reports and publications, will be studied in the written documents while in the interviews other elements such as perceptions from those involved in collecting cultural statistics or policy making, distribution of tasks and hierarchies among cultural and statistical institutions, and a general view will be the target. A limitation identified beforehand and that it is expected to encounter throughout the process is the language barrier in the case of Finland when it comes to official documents, which will be tackled by interviewing the authors of such papers and choosing key extract of them for translation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Finland" title="Finland">Finland</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20statistics" title=" cultural statistics"> cultural statistics</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20surveys" title=" cultural surveys"> cultural surveys</a>, <a href="https://publications.waset.org/abstracts/search?q=United%20Kingdom" title=" United Kingdom"> United Kingdom</a> </p> <a href="https://publications.waset.org/abstracts/84673/cultural-statistics-in-governance-a-comparative-analysis-between-the-uk-and-finland" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84673.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">235</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cultural%20performing%20arts&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cultural%20performing%20arts&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cultural%20performing%20arts&page=4">4</a></li> <li class="page-item"><a class="page-link" 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