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theatre</title> <meta name="description" content="Search results for: folk theatre"> <meta name="keywords" content="folk theatre"> <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 class="d-block d-lg-none navbar-toggler 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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="folk theatre"> <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> 278</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: folk theatre</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">248</span> A Survey and Theory of the Effects of Various Hamlet Videos on Viewers’ Brains</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mark%20Pizzato">Mark Pizzato</a> </p> <p class="card-text"><strong>Abstract:</strong></p> How do ideas, images, and emotions in stage-plays and videos affect us? Do they evoke a greater awareness (or cognitive reappraisal of emotions) through possible shifts between left-cortical, right-cortical, and subcortical networks? To address these questions, this presentation summarizes the research of various neuroscientists, especially Bernard Baars and others involved in Global Workspace Theory, Matthew Lieberman in social neuroscience, Iain McGilchrist on left and right cortical functions, and Jaak Panksepp on the subcortical circuits of primal emotions. Through such research, this presentation offers an ‘inner theatre’ model of the brain, regarding major hubs of neural networks and our animal ancestry. It also considers recent experiments, by Mario Beauregard, on the cognitive reappraisal of sad, erotic, and aversive film clips. Finally, it applies the inner-theatre model and related research to survey results of theatre students who read and then watched the ‘To be or not to be’ speech in 8 different video versions (from stage and screen productions) of William Shakespeare’s Hamlet. Findings show that students become aware of left-cortical, right-cortical, and subcortical brain functions—and shifts between them—through staging and movie-making choices in each of the different videos. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognitive%20reappraisal" title="cognitive reappraisal">cognitive reappraisal</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamlet" title=" Hamlet"> Hamlet</a>, <a href="https://publications.waset.org/abstracts/search?q=neuroscience" title=" neuroscience"> neuroscience</a>, <a href="https://publications.waset.org/abstracts/search?q=Shakespeare" title=" Shakespeare"> Shakespeare</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/81105/a-survey-and-theory-of-the-effects-of-various-hamlet-videos-on-viewers-brains" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81105.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">315</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">247</span> Utilising Reuse and Recycling Strategies for Costume Design in Kuwait Theatre </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Dashti">Ali Dashti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recycling materials within the realms of theatrical costume design and production is important. When a Kuwaiti play finishes its run, costumes are thrown away and new ones are designed when necessary. This practice indicates a lack of awareness of recycling strategies. This is a serious matter; tons of textile materials are being wasted rather than recycled. The current process of producing costumes for Kuwait theatre productions involves the conception and sketching of costumes, the purchase of new fabrics, and the employment of tailors for production. Since tailoring is outsourced, there is a shortage of designers who can make costumes autonomously. The current process does not incorporate any methods for recycling costumes. This combined with high levels of textile waste, results in significant ecological issues that demand immediate attention. However, data collected for this research paper, from a series of semi-structured interviews, have indicated that a lack of recycling facilities and increased textile waste do not present an area of concern within the Kuwaiti theatrical costume industry. This paper will review the findings of this research project and investigate the production processes used by costume designers in Kuwait. It will indicate how their behaviors, coupled with their lack of knowledge with using recycling strategies to create costumes, had increased textile waste and negatively affected Kuwait theatre costume design industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume" title="costume">costume</a>, <a href="https://publications.waset.org/abstracts/search?q=recycle" title=" recycle"> recycle</a>, <a href="https://publications.waset.org/abstracts/search?q=reuse" title=" reuse"> reuse</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/71327/utilising-reuse-and-recycling-strategies-for-costume-design-in-kuwait-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71327.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">246</span> The Folksongs of Jharkhand: An Intangible Cultural Heritage of Tribal India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Walter%20Beck">Walter Beck</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Jharkhand is newly constituted 28th State in the eastern part of India which is known for the oldest settlement of the indigenous people. In the State of Jharkhand in which broadly three language family are found namely, Austric, Dravidian, and Indo-European. Ex-Mundari, kharia, Ho Santali come from the Austric Language family. Kurukh, Malto under Dravidian language family and Nagpuri Khorta etc. under Indo-European language family. There are 32 Indigenous Communities identified as Scheduled Tribe in the State of Jharkhand. Santhal, Munda, Kahria, Ho and Oraons are some of the major Tribe of the Jharkhand state. Jharkhand has a Rich Cultural heritage which includes Folk art, folklore, Folk Dance, Folk Music, Folk Songs for which diversity can been seen from place to place, season to season and all traditional Culture and practices. The languages as well as the songs are vulnerable to dominant culture and hence needed to be protected. The collection and documentation of these songs in their natural setting adds significant contribution to the conservation and propagation of the cultural elements. This paper reflects to bring out the Originality of the Collected Songs from remote areas of the plateau of Sothern Jharkhand as a rich intangible Cultural heritage of the Country. The research was done through participatory observation. In this research project more than 100 songs which were never documented before. <p class="card-text"><strong>Keywords:</strong> <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=India" title=" India"> India</a>, <a href="https://publications.waset.org/abstracts/search?q=indigenous%20people" title=" indigenous people"> indigenous people</a>, <a href="https://publications.waset.org/abstracts/search?q=songs" title=" songs"> songs</a>, <a href="https://publications.waset.org/abstracts/search?q=languages" title=" languages"> languages</a> </p> <a href="https://publications.waset.org/abstracts/67568/the-folksongs-of-jharkhand-an-intangible-cultural-heritage-of-tribal-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67568.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">213</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">245</span> Actor Training in Social Work Education: A Pilot Study of Theatre Workshops to Enhance Clinical Empathy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amanda%20Coleman">Amanda Coleman</a>, <a href="https://publications.waset.org/abstracts/search?q=Estefan%C3%ADa%20Gonzalez"> Estefanía Gonzalez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Empathy is considered an essential skill for engaging with social work clients. Drawing from developments in medical education, researchers will conduct and evaluate a three-part pilot theatre workshop with master level social work students (n ≈ 30) to evaluate the workshop's ability to enhance empathy among participants. Outcomes will be measured using semi-structured post-intervention interviews with a subset of participants (n ≈ 10) as well post-intervention written reflections and pre-and-post intervention quantitative evaluation of empathy using King and Holosko’s 2011 Empathy Scale for Social Workers. The content of the workshop will differ from traditional role plays, which are common in social work education, in that it will draw from role theory and research on creative empathy to emphasize role reversal with clients. Workshops will be held February and March of 2017 with preliminary findings available by April. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education" title="education">education</a>, <a href="https://publications.waset.org/abstracts/search?q=empathy" title=" empathy"> empathy</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20work" title=" social work"> social work</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/62121/actor-training-in-social-work-education-a-pilot-study-of-theatre-workshops-to-enhance-clinical-empathy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62121.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">271</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">244</span> The Crossroad of Identities in Wajdi Mouawad's 'Littoral': A Rhizomatic Approach of Identity Reconstruction through Theatre and Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mai%20Hussein">Mai Hussein</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 'Littoral' is an original voice in Québécois theatre, spanning the cultural gaps that can exist between the playwrights’ native Lebanon, North America, Quebec, and Europe. Littoral is a 'crossroad' of cultures and themes, a 'bridge' connecting cultures and languages. It represents a new form of theatrical writing that combines the verbal, the vocal and the pantomimic, calling upon the stage to question the real, to engage characters in a quest, in a journey of mourning, of reconstructing identity and a collective memory despite ruins and wars. A theatre of witness, a theatre denouncing irrationality of racism and war, a theatre 'performing' the symptoms of the stress disorders of characters passing from resistance and anger to reconciliation and giving voice to the silenced victims, these are some of the pillars that this play has to offer. In this corrida between life and death, the identity seems like a work-in-progress that is shaped in the presence of the Self and the Other. This trajectory will lead to re-open widely the door to questions, interrogations, and reflections to show how this play is at the nexus of contemporary preoccupations of the 21st century: the importance of memory, the search for meaning, the pursuit of the infinite. It also shows how a play can create bridges between languages, cultures, societies, and movements. To what extent does it mediate between the words and the silence, and how does it burn the bridges or the gaps between the textual and the performative while investigating the power of intermediality to confront racism and segregation. It also underlines the centrality of confrontation between cultures, languages, writing and representation techniques to challenge the characters in their quest to restructure their shattered, but yet intertwined identities. The goal of this theatre would then be to invite everyone involved in the process of a journey of self-discovery away from their comfort zone. Everyone will have to explore the liminal space, to read in between the lines of the written text as well as in between the text and the performance to explore the gaps and the tensions that exist between what is said, and what is played, between the 'parole' and the performative body. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=identity" title="identity">identity</a>, <a href="https://publications.waset.org/abstracts/search?q=memory" title=" memory"> memory</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=testimony" title=" testimony"> testimony</a>, <a href="https://publications.waset.org/abstracts/search?q=trauma" title=" trauma"> trauma</a> </p> <a href="https://publications.waset.org/abstracts/112868/the-crossroad-of-identities-in-wajdi-mouawads-littoral-a-rhizomatic-approach-of-identity-reconstruction-through-theatre-and-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112868.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">115</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">243</span> High Culture or Low Culture: The Propagation and Popularization of the Classic of Poetry in Modern China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fang%20Tang">Fang Tang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A major Confucian masterpiece and the earliest-known poetry anthology (composed approximately 1046-771 BCE), The Classic of Poetry, reflects different cultures in ancient China. It is regarded as a Chinese classic and one of the world’s most significant written works, an essential part of our global cultural heritage. This paper explores how the ancient Chinese classic became transformed into part of popular culture, found in folk songs circulated in Fangxian county, a mountainous location in Hubei province in central mainland China. It is the hometown of one of the most well-known authors of The Classic of Poetry, whose name is Yin Jifu. Local villagers process, refine, and recreate these poems into popular folk songs, which have been handed down from generation to generation. The folk songs based on The Classic of Poetry vividly reflect local customs, life styles, and various cultural activities. After thousands of years of singing these traditional songs, the region has become an important area to maintain part of Chinese cultural heritages; here, the original high culture is converted into a popular culture that is absorbed into people’s daily life. Based on a year’s field research and many interviews with local singers, this paper explores the ways in which locals have transformed the contents of The Classic of Poetry. It examines how today these popular folk songs become part of much-treasured culture heritage, illustrating the transformation of traditional high culture into popular culture. The paper argues that the modern adaptations of the traditional poems of The Classic of Poetry combine both oral and written cultural heritage and reflects the interaction between ancient Chinese official literature and folk literature. The paper also explores the reasons why the folk songs of The Classic of Poetry are so popular in the area, including the influences of its author Yin Jifu, the impact of ancient diasporic culture from the political centre to remote rural areas, and the interactions of local cultures (famous as Chu culture) and Chinese mainstream cultural policies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=high%2Flow%20culture" title="high/low culture">high/low culture</a>, <a href="https://publications.waset.org/abstracts/search?q=The%20Classic%20of%20Poetry" title=" The Classic of Poetry"> The Classic of Poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20functions%20of%20media" title=" the functions of media"> the functions of media</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title=" cultural policy"> cultural policy</a> </p> <a href="https://publications.waset.org/abstracts/114450/high-culture-or-low-culture-the-propagation-and-popularization-of-the-classic-of-poetry-in-modern-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114450.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">242</span> The Shared Breath Project: Inhabiting Each Other’s Words and Being</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Beverly%20Redman">Beverly Redman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the Theatre Season of 2020-2021 cancelled due to COVID-19 at Purdue University, Fort Wayne, IN, USA, faculty directors found themselves scrambling to create theatre production opportunities for their students in the Department of Theatre. Redman, Chair of the Department, found her community to be suffering from anxieties brought on by a confluence of issues: the global-scale Covid-19 Pandemic, the United States’ Black Lives Matter protests erupting in cities all across the country and the coming Presidential election, arguably the most important and most contentious in the country’s history. Redman wanted to give her students the opportunity to speak not only on these issues but also to be able to record who they were at this time in their personal lives, as well as in this broad socio-political context. She also wanted to invite them into an experience of feeling empathy, too, at a time when empathy in this world seems to be sorely lacking. Returning to a mode of Devising Theatre she had used with community groups in the past, in which storytelling and re-enactment of participants’ life events combined with oral history documentation practices, Redman planned The Shared Breath Project. The process involved three months of workshops, in which participants alternated between theatre exercises and oral history collection and documentation activities as a way of generating original material for a theatre production. The goal of the first half of the project was for each participant to produce a solo piece in the form of a monologue after many generations of potential material born out of gammes, improvisations, interviews and the like. Along the way, many film and audio clips recorded the process of each person’s written documentation—documentation prepared by the subject him or herself but also by others in the group assigned to listen, watch and record. Then, in the second half of the project—and only once each participant had taken their own contributions from raw improvisatory self-presentations and through the stages of composition and performative polish, participants then exchanged their pieces. The second half of the project involved taking on each other’s words, mannerisms, gestures, melodic and rhythmic speech patterns and inhabiting them through the rehearsal process as their own, thus the title, The Shared Breath Project. Here, in stage two the acting challenges evolved to be those of capturing the other and becoming the other through accurate mimicry that embraces Denis Diderot’s concept of the Paradox of Acting, in that the actor is both seeming and being simultaneous. This paper shares the carefully documented process of making the live-streamed theatre production that resulted from these workshops, writing processes and rehearsals, and forming, The Shared Breath Project, which ultimately took the students’ Realist, life-based pieces and edited them into a single unified theatre production. The paper also utilizes research on the Paradox of Acting, putting a Post-Structuralist spin on Diderot’s theory. Here, the paper suggests the limitations of inhabiting the other by allowing that the other is always already a thing impenetrable but nevertheless worthy of unceasing empathetic, striving and delving in an epoch in which slow, careful attention to our fellows is in short supply. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=otherness" title="otherness">otherness</a>, <a href="https://publications.waset.org/abstracts/search?q=paradox%20of%20acting" title=" paradox of acting"> paradox of acting</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20history%20theatre" title=" oral history theatre"> oral history theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=devised%20theatre" title=" devised theatre"> devised theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20theatre" title=" political theatre"> political theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=community-based%20theatre" title=" community-based theatre"> community-based theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=peoples%E2%80%99%20theatre" title=" peoples’ theatre"> peoples’ theatre</a> </p> <a href="https://publications.waset.org/abstracts/130363/the-shared-breath-project-inhabiting-each-others-words-and-being" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130363.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">184</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">241</span> Greek Tragedy on the American Stage until the First Half of 20ᵗʰ: Identities and Intersections between Greek, Italian and Jewish Community Theatre</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Papazafeiropoulou%20Olga">Papazafeiropoulou Olga</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper focuses on exploring the emergence of Greek tragedy on the American stage until the first half of the 20th century through the intellectual processes and contributions of Greek, Italian and Jewish community theatre. Drawing on a wide range of sources, we trace Greek tragedy on the American stage, exploring the intricate processes of community’s theatre identities. The announcement aims to analyze the distinct yet related efforts of first Americans to intersect with Greek tragedy, searching simultaneously for the identities of immigrants. Ultimately, ancient drama became a vehicle not only for great developments in the American theater. In 1903, the Greek actor Dionysios Taboularis arrived in America, while the immigrant stream from Greece to America brought his artistic heritage, presenting in “Hall House” of Chicago the play Return. In 1906, in New York, an amateur group presented the play The Alosi of Messolonghi, and the next year in Chicago, an attempt was noted with a dramatic romance. In the decade 1907-1917, Nikolaos Matsoukas founded and directed the “Arbe theater”, while Petros Kotopoulis formed a troupe. In 1930, one of the greatest Greek theatrical events was the arrival of Marika’s Kotopoulis. Also, members of Vrysoula’s Pantopoulos formed the “Athenian Operetta”, with a positive influence on Greek American theatre. Italian immigrant community, located in tenement “Little Italies” throughout the city, and soon amateur theatrical clubs evolved. The earliest was the “Circolo Filodrammatico Italo-Americano” in 1880. Fausto Malzone’s artistic direction paved the way for the professional Italian immigrant theatre. Immigrant audiences heard the plays of their homeland, representing a major transition for this ethnic theatre. In 1900, the community had produced the major forces that created the professional theatre. By l905, the Italian American theatre had become firmly rooted in its professional phase. Yiddish Theater was both an import and a home-grown phenomenon. In 1878, The Sorceress was brought to America by Boris Thomashefsky. Between 1890 and 1940, many Yiddish theater companies appeared in America, presenting adaptations of classical plays. Αmerica’s people's first encounter with ancient texts was mostly academic. The tracing of tragedy as a form and concept that follows the evolutionary course of domestic social, aesthetic, and political ferments according to the international trends and currents draws conclusions about the early Greek, Italian, and Jewish immigrant’s theatre in relationship to the American scene until the first half of 20th century. Presumably, community theater acquired identity by intersecting with the spiritual reception of tragedy in America. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=American" title="American">American</a>, <a href="https://publications.waset.org/abstracts/search?q=community" title=" community"> community</a>, <a href="https://publications.waset.org/abstracts/search?q=Greek" title=" Greek"> Greek</a>, <a href="https://publications.waset.org/abstracts/search?q=Italian" title=" Italian"> Italian</a>, <a href="https://publications.waset.org/abstracts/search?q=identities" title=" identities"> identities</a>, <a href="https://publications.waset.org/abstracts/search?q=intersection" title=" intersection"> intersection</a>, <a href="https://publications.waset.org/abstracts/search?q=Jewish" title=" Jewish"> Jewish</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=tragedy" title=" tragedy"> tragedy</a> </p> <a href="https://publications.waset.org/abstracts/176718/greek-tragedy-on-the-american-stage-until-the-first-half-of-20-identities-and-intersections-between-greek-italian-and-jewish-community-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176718.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">73</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">240</span> The Development, Composition, and Implementation of Vocalises as a Method of Technical Training for the Adult Musical Theatre Singer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Casey%20Keenan%20Joiner">Casey Keenan Joiner</a>, <a href="https://publications.waset.org/abstracts/search?q=Shayna%20Tayloe"> Shayna Tayloe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Classical voice training for the novice singer has long relied on the guidance and instruction of vocalise collections, such as those written and compiled by Marchesi, Lütgen, Vaccai, and Lamperti. These vocalise collections purport to encourage healthy vocal habits and instill technical longevity in both aspiring and established singers, though their scope has long been somewhat confined to the classical idiom. For pedagogues and students specializing in other vocal genres, such as musical theatre and CCM (contemporary commercial music,) low-impact and pertinent vocal training aids are in short supply, and much of the suggested literature derives from classical methodology. While the tenants of healthy vocal production remain ubiquitous, specific stylistic needs and technical emphases differ from genre to genre and may require a specified extension of vocal acuity. As musical theatre continues to grow in popularity at both the professional and collegiate levels, the need for specialized training grows as well. Pedagogical literature geared specifically towards musical theatre (MT) singing and vocal production, while relatively uncommon, is readily accessible to the contemporary educator. Practitioners such as Norman Spivey, Mary Saunders Barton, Claudia Friedlander, Wendy Leborgne, and Marci Rosenberg continue to publish relevant research in the field of musical theatre voice pedagogy and have successfully identified many common MT vocal faults, their subsequent diagnoses, and their eventual corrections. Where classical methodology would suggest specific vocalises or training exercises to maintain corrected vocal posture following successful fault diagnosis, musical theatre finds itself without a relevant body of work towards which to transition. By analyzing the existing vocalise literature by means of a specialized set of parameters, including but not limited to melodic variation, rhythmic complexity, vowel utilization, and technical targeting, we have composed a set of vocalises meant specifically to address the training and conditioning of adult musical theatre voices. These vocalises target many pedagogical tenants in the musical theatre genre, including but not limited to thyroarytenoid-dominant production, twang resonance, lateral vowel formation, and “belt-mix.” By implementing these vocalises in the musical theatre voice studio, pedagogues can efficiently communicate proper musical theatre vocal posture and kinesthetic connection to their students, regardless of age or level of experience. The composition of these vocalises serves MT pedagogues on both a technical level as well as a sociological one. MT is a relative newcomer on the collegiate stage and the academization of musical theatre methodologies has been a slow and arduous process. The conflation of classical and MT techniques and training methods has long plagued the world of voice pedagogy and teachers often find themselves in positions of “cross-training,” that is, teaching students of both genres in one combined voice studio. As MT continues to establish itself on academic platforms worldwide, genre-specific literature and focused studies are both rare and invaluable. To ensure that modern students receive exacting and definitive training in their chosen fields, it becomes increasingly necessary for genres such as musical theatre to boast specified literature and a collection of musical theatre-specific vocalises only aids in this effort. This collection of musical theatre vocalises is the first of its kind and provides genre-specific studios with a basis upon which to grow healthy, balanced voices built for the harsh conditions of the modern theatre stage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=voice%20pedagogy" title="voice pedagogy">voice pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=targeted%20methodology" title=" targeted methodology"> targeted methodology</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20theatre" title=" musical theatre"> musical theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=singing" title=" singing"> singing</a> </p> <a href="https://publications.waset.org/abstracts/142243/the-development-composition-and-implementation-of-vocalises-as-a-method-of-technical-training-for-the-adult-musical-theatre-singer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142243.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">156</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">239</span> Using a Character’s Inner Monologue for Song Analysis </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robert%20Roznowski">Robert Roznowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The thought process of the character is never more evident than when singing alone onstage. The composer scores the emotional state and the lyricist voices the inner conflict as the character shares with an audience her or his deepest feelings. It is at these moments that a character may be thought of as voicing her or his inner monologue. Using examples from several musical theatre songs, this presentation will look at a codified approach to analyze a song from a more psychological perspective. Using the clues from the score, traditional character analysis and a psychological-based scoring method an actor may explore more fully inhabit and express the sung and unsung thoughts of the character. The approach yields a richer and more complex approach to acting the song. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acting" title="acting">acting</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20theatre" title=" musical theatre"> musical theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a> </p> <a href="https://publications.waset.org/abstracts/81133/using-a-characters-inner-monologue-for-song-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81133.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">479</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">238</span> The Fashion Fiesta: An Approach for Creating an Environment of Celebration by Uniting Two Art Forms; Fashion and Dance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iqra%20Khan">Iqra Khan</a>, <a href="https://publications.waset.org/abstracts/search?q=Ghousia%20Saeed"> Ghousia Saeed</a>, <a href="https://publications.waset.org/abstracts/search?q=Salman%20Jamil"> Salman Jamil</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fashion is the soul of styles. People of all times want to look trendy, eye catching and unique among all. For this reason, people always adopt different flairs in their outfits including their clothes, shoes, bags and other accessories. However, unfortunately, there is lack of opportunity for accommodating the fashion exposure activities expressed with the folk dances of different regions so as to exhibit the fashion of Pakistan to the world. The paper focuses on the vibrant setting of the whole building according to the social patterns, folk and local trends and existing environment of Lahore. This is done by studying each of the aspect obtained from objectives through research questions evolved from the objectives. The answers to these questions are found through case studies and the existing theories in the world in relevance to the topic. The paper finds out how the geometry of dance works with design principles to create transparent geometry of fashion building. This all creates the fiesta environment taken from the locality of the region from the local and cultural lifestyles of the locals and then assembling it together to create a full festivity experience throughout the building. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion" title="fashion">fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20dance" title=" folk dance"> folk dance</a>, <a href="https://publications.waset.org/abstracts/search?q=geometry" title=" geometry"> geometry</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20trends" title=" local trends"> local trends</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20patterns" title=" social patterns"> social patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=transparent" title=" transparent"> transparent</a> </p> <a href="https://publications.waset.org/abstracts/54108/the-fashion-fiesta-an-approach-for-creating-an-environment-of-celebration-by-uniting-two-art-forms-fashion-and-dance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54108.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">343</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">237</span> Self-Care and Emotional Wellbeing of Nurses Using Playback Theatre and Expressive Arts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Radhika%20Jain">Radhika Jain</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The nursing community in India face unique challenges ranging from lack of adequate career progression, low social status attached to the profession, poor nurse-to-patient ratio leading to heavy workload resulting in stress and burnout, lack of general recognition and the responsibility of often having to deal with the ire of the patients and their families. This study explores how a combination of Playback Theatre and Expressive Arts could be used as a very powerful tool to understand the concerns, and consequently as a self-care tool to bring about the sense of well-being and emotional awareness for the nurses. For the purpose of this study, Playback Theatre was used as an entry tool to understand the thoughts, feelings and concerns. Playback theatre is a unique improvisational form of theatre developed by Jonathan Fox and Jo Salas in 1975, in which audience share their own stories from their lives and the performers play them back through a range of improv techniques such as metaphor, poetry, music and movement. Playback Theatre helped in first warming them up to the idea of sharing and then gave them the confidence of a safe space to collectively go deeper into their emotional experiences. As the next step, structured sessions of Expressive Arts were conducted with the same set of nurses, for them to work on the issues and concerns they have (and which they shared during the Playback performance). These sessions were to enable longer engagements as many of the concerns expressed were related to perceptions and beliefs that have been ingrained over a period of time and hence it needs a longer engagement to be worked on in detail. The Expressive Art sessions helped in this regard. Expressive arts therapy combines psychology and the creative process to promote emotional growth and healing. The study was conducted at two places: one a geriatric centre and the other, a palliative care centre. The study revealed that concerns and challenges would not be identical across the nursing community or across similar types of health care organizations but would be specific to each organization or centre as the circumstances and set-up at each place would be different. At the geriatric centre, stress and burnout emerged as the main concerns while at the palliative care centre, the main concern that came up was around the difficulty the nurses faced in expressing emotions and in communicating their feelings. The objective analysis of the results of the study indicated how longer-term engagements using Expressive Arts as the modality helped the nurses have better awareness of their emotions and helped them develop tools of self-care tools while also tapping into their emotions to express and experience. The process of eliciting the main concerns from the nurses using a Playback Theatre performance and then following that with subsequent sessions of expressive arts helped the nurses in the way nurses approached their job and the reduced level of overwhelm that they felt. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=palliative%20care" title="palliative care">palliative care</a>, <a href="https://publications.waset.org/abstracts/search?q=nurses" title=" nurses"> nurses</a>, <a href="https://publications.waset.org/abstracts/search?q=self-care" title=" self-care"> self-care</a>, <a href="https://publications.waset.org/abstracts/search?q=expressive%20arts" title=" expressive arts"> expressive arts</a>, <a href="https://publications.waset.org/abstracts/search?q=playback%20theatre" title=" playback theatre"> playback theatre</a> </p> <a href="https://publications.waset.org/abstracts/156026/self-care-and-emotional-wellbeing-of-nurses-using-playback-theatre-and-expressive-arts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156026.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">120</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">236</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">235</span> Towards a Re-theatricalized Drama: Yu Shangyuan’s Translation of J. M. Barrie’s The Admirable Crichton</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Li%20Jiawei">Li Jiawei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the mid-1920s, Chinese dramatist Yu Shangyuan rallied a group of intellectuals and launched the National Theatre Movement to champion the incorporation of Chinese operatic resources into modern spoken drama. In 1927, the fluctuating milieu impelled Yu and most of his comrades to leave Beijing, rendering the movement a truncated undertaking. Offering to illuminate the influence or reverberation of the movement, this research examines Yu’s translation of J. M. Barrie’ s The Admirable Crichton, the first play Yu published upon returning to Beijing in 1929. It unveils that Yu still espoused the value of Chinese opera on modern stage, but his perception of drama was more instructive and rooted in theatre’s fundamental traditions, customs, and mechanics. Influenced by Sheldon Cheney’s theatrical idea, Yu aligned Western realistic drama with “psychologic drama” and Chinese opera with “aesthetic drama” and argued for a “re-theatricalized drama” that could “present psychologic drama aesthetically.” With such a perception, Yu chose to translate a psychologic drama and strove to imbue the play with an aesthetic spirit by inserting symbolic stage designs and employing poetic language. The exploration of Yu’s translation of The Admirable Crichton sheds light on the new insights that translation studies might bring to theatre historiography. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu%20Shangyuan" title="Yu Shangyuan">Yu Shangyuan</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20China" title=" modern China"> modern China</a> </p> <a href="https://publications.waset.org/abstracts/160405/towards-a-re-theatricalized-drama-yu-shangyuans-translation-of-j-m-barries-the-admirable-crichton" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160405.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">67</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">234</span> QIP: Introducing a Dedicated Ozurdex Clinic</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vaisnavy%20Govindasamy">Vaisnavy Govindasamy</a>, <a href="https://publications.waset.org/abstracts/search?q=Saba%20Ishrat"> Saba Ishrat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: The Dexamethasone Intravitreal Implant 0.7 mg (OzurdexTM, Allergan®) is a biodegradable corticosteroid implant approved by the FDA for managing diabetic macular edema (DMO), macular edema following branch retinal vein occlusion (BRVO) or central retinal vein occlusion (CRVO), and posterior segment non-infectious uveitis. This implant can release dexamethasone over a six-month period, exhibiting peak effectiveness between 60 and 90 days post-administration. The intravitreal injection should be performed under sterile conditions. At James Cook University Hospital (JCUH), Ozurdex injections are currently administered in the Vitreo-Retinal (VR) theatre. This study aimed to evaluate the feasibility and potential advantages of establishing a dedicated clinic for Ozurdex administration separate from the VR theatre setting. Method: Retrospectively, data of all Ozurdex injections administered between October 2021 to October 2022 was collected from operating theatre registers at JCUH. Data pertaining to the indications for Ozurdex; waiting times from referral date to date of injection; duration of theatre time consumed; and post-injection complications were collected from electronic notes. The resources needed to establish a dedicated Ozurdex clinic were evaluated. Over a six-month period from October 2023 to March 2024, we gathered data on utilization of theatre 28. Results: A total of 135 Ozurdex injections were administered. Among the indications, uveitis represented 47.3% of cases, DMO with 23.6% and RVO with 22.9%. Remaining cases lacked sufficient data. Each Ozurdex injection procedure consumed 15 minutes in the VR theatre list. Complications arose in 5% of injections, totaling 7 cases. These included glaucoma, ocular hypertension, subconjunctival haemorrhage and implant migration. Waiting times averaged 6 weeks from date for referral to procedure date. We also found that, on an average theatre 28 was offered but remained unused for 4 days, totalling eight sessions in a month. Analysis: Establishing a sperate Ozurdex clinic would improve the quality of patient care in following ways: 1.Decrease injection waiting times (currently averaging 6 weeks), leading to better visual outcomes. 2.Free up approximately three hours of theatre time in Vitreo-Retina theatres each month, allowing for 3-4 additional surgeries. Reduce waiting times for critical retinal surgeries and enhance visual outcomes. 3.Provide additional training opportunities for trainees and retina fellows, improving their skills. 4.Optimize the use of empty theatre slots (theatre 28) currently experiencing underutilization of resources. Conclusion: These findings support the implementation of a separate clinic for administering Ozurdex injections at JCUH. It is evident that introducing a dedicated clinic will enhance operational efficiency, optimise resource utilsation, and improve overall quality of care for patients undergoing this treatment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=opthalmology" title="opthalmology">opthalmology</a>, <a href="https://publications.waset.org/abstracts/search?q=ozurdex" title=" ozurdex"> ozurdex</a>, <a href="https://publications.waset.org/abstracts/search?q=efficiency" title=" efficiency"> efficiency</a>, <a href="https://publications.waset.org/abstracts/search?q=complication" title=" complication"> complication</a> </p> <a href="https://publications.waset.org/abstracts/191111/qip-introducing-a-dedicated-ozurdex-clinic" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191111.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">21</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">233</span> Antioxidant Activity of Selected Medicinal Plants Used in Folk Medicine in Libya</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Salmin%20Alshalmani">Salmin Alshalmani</a>, <a href="https://publications.waset.org/abstracts/search?q=Ghazall%20M%20Benhusein"> Ghazall M Benhusein</a>, <a href="https://publications.waset.org/abstracts/search?q=Ebtisam%20Alhadi%20Absomaha"> Ebtisam Alhadi Absomaha</a>, <a href="https://publications.waset.org/abstracts/search?q=Marwa%20I.%20Meshri"> Marwa I. Meshri</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamdoon%20A.%20Mohammed"> Hamdoon A. Mohammed</a>, <a href="https://publications.waset.org/abstracts/search?q=Jamal%20Mezogi"> Jamal Mezogi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Eight wild medicinal plants used by Libyan and growing in Al-Jebel Al-Akhdar, Libya were suspected to estimate the antioxidant activity using 2,2-Diphenyl-1-Picrylhydrazyl stable free radical (DPPH). Incidences of purple colour reduction of the DPPH by testing extracts in addition to quercetin and vitamin C as positive controls reflect its ability to scavenge free radicals. All testing plants extract showed noticeable strength as antioxidant regarding its abilities to scavenge DPPH with an especial regards to Sarcopoterium spinosum. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=antioxidant" title="antioxidant">antioxidant</a>, <a href="https://publications.waset.org/abstracts/search?q=scavenging%20activity" title=" scavenging activity"> scavenging activity</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20medicine" title=" folk medicine"> folk medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=methanol%20extracts" title=" methanol extracts "> methanol extracts </a> </p> <a href="https://publications.waset.org/abstracts/16036/antioxidant-activity-of-selected-medicinal-plants-used-in-folk-medicine-in-libya" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/16036.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">601</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">232</span> The Folk Influences in the Melody of Romanian and Serbian Church Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eudjen%20Cinc">Eudjen Cinc</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Common Byzantine origins of church music of Serbs and Romanians are certainly not the only reason for great similarities between the ways of singing of the two nations, especially in the region of Banat. If it was so, the differences between the interpretation of church music in this part of Orthodox religion and the one specific for other parts where Serbs or Romanians live could not be explained. What is it that connects church signing of two nations in this peaceful part of Europe to such an extent that it could be considered a comprehensive corpus, different from other 'Serbian' or 'Romanian' regions? This is the main issue dealt with in the text according to examples and comparative processing of material. The main aim of the paper is representation of the new and interesting, while its value lies in its potential to encourage the reader or a future researcher to investigate and search further. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20influences" title="folk influences">folk influences</a>, <a href="https://publications.waset.org/abstracts/search?q=melody" title=" melody"> melody</a>, <a href="https://publications.waset.org/abstracts/search?q=melodic%20models" title=" melodic models"> melodic models</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnomusicology" title=" ethnomusicology"> ethnomusicology</a> </p> <a href="https://publications.waset.org/abstracts/4808/the-folk-influences-in-the-melody-of-romanian-and-serbian-church-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4808.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">253</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">231</span> Isan Symphonic Variations for Chorus and Orchestra</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chananart%20Meenanan">Chananart Meenanan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The composition Isan Symphonic Variations for Chorus and Orchestra is a musical composition inspired by Isan Folk music tunes. The composer has created the well crafted melodic variations and cultural sound character of the piece based on the Klon Lum Tang Isan Keaw (Green Isan’s short poems). Meanwhile, the poetic lyric has been motivatedly recreated to bring the abundance of Northeastern Thailand region’s sentiment back to life. Moreover, the sound of xylophone (Ponglang), the instruments of the orchestra and the chorus were blended in order to present Isan folk music’s character via the Western musical idiom. The 3 movement of this composition is divided as following: In Movement I (Allegro), the introduction has been represented the uniqueness in Isan folk music’s liveliness by expressing it through the sound of chorus and orchestra. The composer also added the melodious sound flavor by utilizing the variety of the muting sound style on trumpets and horns. In Movement II (Moderato), the aspect of the heterophonic approach music has been implied to the main idea of the entire movement whereby its formatted transformation worked effectively through chorus and the orchestra. In Movement III (Allegretto) the harmonic chromaticism was modified and applied as the symbolic icon of the entire movement. The transparence of Isan cultural sound was perfectly designed to be the highlight of this spectacular episode. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Isan" title="Isan">Isan</a>, <a href="https://publications.waset.org/abstracts/search?q=symphonic%20variations" title=" symphonic variations"> symphonic variations</a>, <a href="https://publications.waset.org/abstracts/search?q=chorus" title=" chorus"> chorus</a>, <a href="https://publications.waset.org/abstracts/search?q=orchestra" title=" orchestra"> orchestra</a> </p> <a href="https://publications.waset.org/abstracts/13849/isan-symphonic-variations-for-chorus-and-orchestra" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13849.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">244</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">230</span> An Exploratory Study of Chinese Paper-Cut Art in Household Product Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruining%20%20Wu">Ruining Wu</a>, <a href="https://publications.waset.org/abstracts/search?q=Na%20Song"> Na Song</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Paper-cut, as one of the Chinese traditional folk decoration art, has become a unique visual aesthetic characteristics of the Chinese nation in the long-term evolution of cultural symbols. Chinese paper-cut art is the treasure-house for product design in natural resources. This paper first analyzed Chinese folk art of historical origin, cultural background, cultural values, aesthetic value, style features of Chinese paper cut art, then analyzed the design thought and design cases of paper-cut art application in different areas, such as clothing design, logo design and product design areas. Through the research of Chinese paper-cut art culture and design elements, this paper aims to build a household product design concept of Chinese traditional culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=paper-cut%20art" title="paper-cut art">paper-cut art</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=household%20products" title=" household products"> household products</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a> </p> <a href="https://publications.waset.org/abstracts/64971/an-exploratory-study-of-chinese-paper-cut-art-in-household-product-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64971.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">613</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">229</span> Interpreting Possibilities: Teaching Without Borders</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mira%20Kadric">Mira Kadric</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The proposed paper deals with a new developed approach for interpreting teaching, combining traditional didactics with a new element. The fundamental principle of the approach is taken from the theatre pedagogy (Augusto Boal`s Theatre of the Oppressed) and includes the discussion on social power relations. From the point of view of education sociology this implies strengthening students’ individual potential for self-determination on a number of levels, especially in view of the present increase in social responsibility. This knowledge constitutes a starting point and basis for the process of self-determined action. This takes place in the context of a creative didactic policy which identifies didactic goals, provides clear sequences of content, specifies interdisciplinary methods and examines their practical adequacy and ultimately serves not only individual translators and interpreters, but all parties involved. The goal of the presented didactic model is to promote independent work and problem-solving strategies; this helps to develop creative potential and self-confident behaviour. It also conveys realistic knowledge of professional reality and thus also of the real socio-political and professional parameters involved. As well as providing a discussion of fundamental questions relevant to Translation and Interpreting Studies, this also serves to improve this interdisciplinary didactic approach which simulates interpreting reality and illustrates processes and strategies which (can) take place in real life. This idea is illustrated in more detail with methods taken from the Theatre of the Oppressed created by Augusto Boal. This includes examples from (dialogue) interpreting teaching based on documentation from recordings made in a seminar in the summer term 2014. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=augusto%20boal" title="augusto boal">augusto boal</a>, <a href="https://publications.waset.org/abstracts/search?q=didactic%20model" title=" didactic model"> didactic model</a>, <a href="https://publications.waset.org/abstracts/search?q=interpreting%20teaching" title=" interpreting teaching"> interpreting teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20of%20the%20oppressed" title=" theatre of the oppressed "> theatre of the oppressed </a> </p> <a href="https://publications.waset.org/abstracts/30201/interpreting-possibilities-teaching-without-borders" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30201.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">431</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">228</span> Finding a Paraguayan Voice: The Indigenous Language Guarani in Performances of Paraguayan Female Singers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Romy%20Martinez">Romy Martinez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper focuses on the use of the indigenous language Guarani in Paraguayan popular song and on some key interpreters born between the 1930s and 1980s. It analyses two representative musical genres of Paraguay, the Polka Paraguaya and Guarania. The lyrics of these genres follow one of four poetic-linguistic forms: to be entirely in Guarani, entirely in Spanish, bilingual (alternating verses in Guarani and Spanish), or in Jopará; the last being a form where words of both languages may be mixed in a single verse. Through these forms, the lyrics alternate and combine the indigenous voice with the one introduced with colonisation, in turn reflecting how Guarani seems to constantly transit, to and from, between a position of disdain and of value within Paraguayan society. Through analysing recordings of Polkas, Paraguayas, and Guaranias, it identifies three styles of singing adopted by female singers who include these genres in their repertoires, namely Paraguayan classical folk, Paraguayan folk, and Paraguayan pop-folk. This analysis is informed by a pilot study which consisted of online interviews with several Paraguayan artists, revealing significant aspects of their backgrounds and musical influences. In addition, it draws on autoethnographic approaches, building on the experience of the music researcher and singer. From a decolonising perspective, the paper brings together the distinctive voices and sounds expressed in popular songs from a marginalised country, language, and gender. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20singers" title="female singers">female singers</a>, <a href="https://publications.waset.org/abstracts/search?q=Guarani" title=" Guarani"> Guarani</a>, <a href="https://publications.waset.org/abstracts/search?q=Paraguayan%20song" title=" Paraguayan song"> Paraguayan song</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/135162/finding-a-paraguayan-voice-the-indigenous-language-guarani-in-performances-of-paraguayan-female-singers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135162.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">201</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">227</span> The Impacts of Foreign Culture on Yoruba Crime Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alonge%20Isaac%20Olusola">Alonge Isaac Olusola</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper focuses on the evolution and development of Yoruba theatre during the pre-colonial, colonial and post-colonial years and how Yoruba crime films have been influenced by foreign culture. It emphasizes on the transition of theatre from the ground to the stage and from the stage to the screen with emphasis on the contribution of late Chief Hubert Ogunde who is regarded as the doyen of Yoruba and the entire Nigerian theatre. Using the Theory of Post-colonialism, two modern Yoruba crime films are carefully selected from the numerous available ones to highlight and explain the various aspects of Yoruba films that have been greatly influenced by the foreign cultural practices. The questions to be answered here include 'Which attitudes or cultural practices are widely believed to be that of Yoruba?', 'To what extent are they projected in the selected Yoruba crime films?', 'Which attitudes or cultural practices are widely believed to be foreign among the Yoruba people?', 'To what extent are they projected in the selected Yoruba crime films?'. Although, the British colonial masters granted political independence to Nigeria on October 1, 1960, but a seed of multi-culture and counterculture had been sown into the lives of the Yoruba people. Under the literature review, there is an intensive illumination on some scholars’ ideas and views on what constitutes Yoruba culture, the evolution and development of drama, theatre and films in the Yoruba society and the nature of criminals and criminalities in the Yoruba society and the western world in the pre-colonial and post-colonial times. Furthermore, the processes of interaction between man, his values and his thoughts are also highlighted – a situation that procreates criminal or benevolent acts. Consequently, the paper dwells on how colonialism, despite its so-called merits put the gradual process of urbanization and civilization among the originally rustic, cohesive and moralistic Yoruba society on a supersonic speed that culminated in acquisition of attitudes that are alien to the Yoruba culture. Since a drama is nothing but the theatrical replication of what occurs in the real life, the paper then focuses on the submission that Yoruba crime films have experienced a serious foreign influence in form and content as a result of this encounter. In conclusion, the findings of the impact of foreign cultural practices on Yoruba crime films are highlighted and expatiated with a view to recommending a few steps that could be taken to retain the projection of the original Yoruba cultural practices in Yoruba films, especially the ones that have crime as a theme. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=films" title=" films"> films</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=Yoruba" title=" Yoruba"> Yoruba</a> </p> <a href="https://publications.waset.org/abstracts/34174/the-impacts-of-foreign-culture-on-yoruba-crime-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34174.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">303</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">226</span> Rhythmic Sound: Presence and Significance: A Study of the Yue Drum Used in the Han Chinese Shigong Ritual in Guangxi, China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Li-Jun%20Zheng">Li-Jun Zheng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The use of drums as an accompanying instrument is a common phenomenon in traditional Chinese folk rituals and musical culture. Especially, some folk rituals construct ritual-related sounds and give them ritual-specific symbolic and meaningful systems through the combination and use of multiple percussion instruments. The Yue drum(岳鼓), an asymmetrically shaped thin waist drum, is currently used in Han Chinese Shigong（师公）rituals in Guangxi, China, and is an important ritual instrument in Shigong rituals. This paper examines the use of the Yue drum and other percussion instruments in Han Chinese Shigong rituals in Guangxi, China, and shows the current status of combining instrumental accompaniment forms with human voices in Shigong rituals. Through further analysis of the musical and dance forms of Han Chinese Shigong rituals, this paper shows how Han Chinese Shigong ritual performers construct the ritual field through "sound-human-dance" and further explains the relationship between the existing and fictitious performance fields in the rituals. In addition, this paper demonstrates the relationship between Han Chinese Shigong rituals and the religious beliefs they involve, such as Taoism and Buddhism. And it further explores how performers in Han Chinese Shigong rituals use Yue drums for the dual purpose of "entertaining the gods" and "entertaining the people". <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sound%20research" title="sound research">sound research</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20Han%20Chinese%20Shigong%20ritual" title=" the Han Chinese Shigong ritual"> the Han Chinese Shigong ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20thin%20waist%20drum" title=" the thin waist drum"> the thin waist drum</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20beliefs" title=" folk beliefs"> folk beliefs</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20music" title=" ritual music"> ritual music</a> </p> <a href="https://publications.waset.org/abstracts/178218/rhythmic-sound-presence-and-significance-a-study-of-the-yue-drum-used-in-the-han-chinese-shigong-ritual-in-guangxi-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/178218.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">65</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">225</span> A Folk’s Theory of the MomConnect (mHealth) Initiative in South Africa</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eveline%20Muika%20Kabongo">Eveline Muika Kabongo</a>, <a href="https://publications.waset.org/abstracts/search?q=Peter%20Delobelle"> Peter Delobelle</a>, <a href="https://publications.waset.org/abstracts/search?q=Ferdinand%20Mukumbang"> Ferdinand Mukumbang</a>, <a href="https://publications.waset.org/abstracts/search?q=Edward%20Nicol"> Edward Nicol</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Studies have been conducted to establish the effect of the MomConnect program in South Africa, but these studies did not focus on the stakeholders' and implementers' perspectives and the underlying program theory of the MomConnect initiative program. We strived to obtain stakeholders’ perspectives and assumptions on the MomConnect program and develop an initial program theory (IPT) of how the MomConnect initiative was expected to work. Methods: A realist-informed explanatory design used. The interviewer was performed with 10 key informants selected purposively among MomConnect key informants at the a national level of NDoH South Africa. The interview was done via zoom and lasted for 30 to 60 minutes. Introduction and abduction inferencing approaches were applied. The deductive and inductive approaches were performed during the analysis. ICAMO hereustic framework was used to analysed the data in order to get key informants expectations on how the MomConnect will work or not. Results: We developed three folk’s theories illustrating how the key informants’ expected the MomConnect to work. These theories showed that the MomConnect intended to provide users with health information and education that will empower and motivate them with knowledge which will allow the improvement of health services delivery among HCPs and improvement of the uptake of MCH services among pregnant women and mothers and decrease the rate of maternal and child mortality in the country. The lack of an updated mechanism to link women to the outcome was an issue. Another problem enlightened was the introduction of the WhatsApp program instead of SMS messaging, which was free of charge to women. Conclusion: The Folk’s theory developed from this study provided an insight into how the MomConnect was expected to work and what did not work. The folk’s theory will be merged with information from candidate theories on synthesis review and document review to develop our initial program theory of the MomConnect initiative. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mHealth" title="mHealth">mHealth</a>, <a href="https://publications.waset.org/abstracts/search?q=MomConnect%20program" title=" MomConnect program"> MomConnect program</a>, <a href="https://publications.waset.org/abstracts/search?q=realist%20evaluation" title=" realist evaluation"> realist evaluation</a>, <a href="https://publications.waset.org/abstracts/search?q=maternal%20and%20child%20health" title=" maternal and child health"> maternal and child health</a>, <a href="https://publications.waset.org/abstracts/search?q=maternal%20and%20child%20health%20services" title=" maternal and child health services"> maternal and child health services</a>, <a href="https://publications.waset.org/abstracts/search?q=introduction" title=" introduction"> introduction</a>, <a href="https://publications.waset.org/abstracts/search?q=theory-driven" title=" theory-driven"> theory-driven</a> </p> <a href="https://publications.waset.org/abstracts/146328/a-folks-theory-of-the-momconnect-mhealth-initiative-in-south-africa" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146328.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">194</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">224</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">223</span> Mobile Schooling for the Most Vulnerable Children on the Street: An Innovation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Md.%20Shakhawat%20Ullah%20Chowdhury">Md. Shakhawat Ullah Chowdhury</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Mobile school is an innovative methodology in non-formal education to increase access to education for children during conflict through theatre for education for appropriate basic education to children during conflict. The continuous exposure to harsh environments and the nature of the lifestyles of children in conflict make them vulnerable. However, the mobile school initiative takes into consideration the mobile lifestyle of children in conflict. Schools are provided considering the pocket area of the street children with portable chalkboards, tin of books and materials as communities move. Teaching is multi-grade to ensure all children in the community benefit. The established mobile schools, while focused on basic literacy and numeracy skills according to traditions of the communities. The school teachers are selected by the community and trained by a theatre activist. These teachers continue to live and move with the community and provide continuous education for children in conflict. The model proposed a holistic team work to deliver education focused services to the street children’s pocket area where the team is mobile. The team consists of three members –an educator (theatre worker), a psychological counsellor and paramedics. The mobile team is responsible to educate street children and also play dramas which specially produce on the basis of national curriculum and awareness issues for street children. Children enjoy play and learn about life skills and basic literacy and numeracy skills which may be a pillar of humanitarian aid during conflict. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=vulnerable" title="vulnerable">vulnerable</a>, <a href="https://publications.waset.org/abstracts/search?q=children%20in%20conflict" title=" children in conflict"> children in conflict</a>, <a href="https://publications.waset.org/abstracts/search?q=mobile%20schooling" title=" mobile schooling"> mobile schooling</a>, <a href="https://publications.waset.org/abstracts/search?q=child-friendly" title=" child-friendly"> child-friendly</a> </p> <a href="https://publications.waset.org/abstracts/2190/mobile-schooling-for-the-most-vulnerable-children-on-the-street-an-innovation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/2190.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">433</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">222</span> Impact of Story-Telling through Indian Textiles: Mata Ni Pachedi and Pabuji Ki Phad</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lavina%20N.%20Bhaskar">Lavina N. Bhaskar</a>, <a href="https://publications.waset.org/abstracts/search?q=Ashima%20Tiwari"> Ashima Tiwari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the endeavour of connecting culture to stories, textile to narratives and people to material, authors analyse the impact of narratives in two popular Indian textiles namely - Mata Ni Pachedi and Pabuji Ki Phad. These textiles narrate people’s tale or Folk tale. Each textile has a style or format in which the story is told (and it is visual). Mata Ni Pachedi, when translated into the English language literally means behind the mother goddess. Mata Ni Pachedi is an Indian textile from the province of Gujarat which constitutes an entire temple of the goddess, with the idol herself in it. On the other hand, Pabuji ki Phad is scroll painting of folk deities of Rajasthan, narrated by Bhopas (the Priest singers of Rajasthan). These textiles narrate stories of ordinary people with extraordinary courage, of social reform, and people’s belief in the divine. Authors take to task their years of craft-cluster study conducted in the past and use existing literature to map their journey in the preliminary phase of research. And then carried out an ethnographic study by visiting the origins of these textiles in Rajasthan and Gujrat (in India), met artisans and their families who are still practicing these dying art form, in order to understand the format and impact of textile story-telling. This research paper talks about the narrative in Indian textiles; the stories in them, artisans and their life as metaphorical representations of the People in Mata Ni Pachedi and Pabuji Ki Phad. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20derivatives" title="cultural derivatives">cultural derivatives</a>, <a href="https://publications.waset.org/abstracts/search?q=folk-tale" title=" folk-tale"> folk-tale</a>, <a href="https://publications.waset.org/abstracts/search?q=Indo-Narratives" title=" Indo-Narratives"> Indo-Narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=Indology" title=" Indology"> Indology</a> </p> <a href="https://publications.waset.org/abstracts/87856/impact-of-story-telling-through-indian-textiles-mata-ni-pachedi-and-pabuji-ki-phad" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87856.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">408</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">221</span> Educational Impact of Participatory Theatre Based Intervention on Gender Equality Attitudes, Youth in Serbia </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jasna%20Milo%C5%A1evi%C4%87%20%C4%90or%C4%91evi%C4%87">Jasna Milošević Đorđević</a>, <a href="https://publications.waset.org/abstracts/search?q=Jelisaveta%20%20Blagojevi%C4%87"> Jelisaveta Blagojević</a>, <a href="https://publications.waset.org/abstracts/search?q=Jovana%20Timotijevi%C4%87"> Jovana Timotijević</a>, <a href="https://publications.waset.org/abstracts/search?q=Alison%20Mckinley"> Alison Mckinley</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Young people in Serbia, have grown up in turbulent times during the Balkan wars, in a cultural and economic isolation without adequate education on (ethnic, gender, social,..) equality. They often have very strong patriarchal gender stereotypes. The perception of gender in Serbia is still heavily influenced by traditional worldview and young people have little opportunity in traditional educational system to challenge it, receiving no formal sex education. Educational policies have addressed achieving gender equality as one of the goals, supporting all young people to gain better educational opportunities, but there are obvious shortcomings of the official education system in implementation of those goals. Therefore new approaches should be implemented. We evaluate the impact of non traditional approach, such as participatory theatre performance with strong transformative potential, especially in relation to gender issues. Theatre based intervention (TBI) was created to provoke the young people to become aware of their gender constructs. Engaging young people in modern form of education such as transformative gender intervention through participatory theatre could have positive impact on their sex knowledge and understanding gender roles. The transformative process in TBI happens on two levels – the affective and the cognitive. The founding agency of the project and evaluation is IPPF. The most important aim of this survey is evaluation of the transformative TBI, as a new educational approach related to better understanding gender as social construct. To reach this goal, we have measured attitude change in three indicators: a) gender identity/ perception of feminine identity, perception of masculine identity, importance of gender for personal identity, b) gender roles on the labor market, c) Gender equality in partnership & sexual behavior. Our main hypothesis is that participatory theatre-based intervention can have a transformational potential in challenging traditional gender knowledge and attitudes among youth in Serbia. To evaluate the impact of TB intervention, we implement: online baseline and end-line survey with nonparticipants of the TBI on the representative sample in targeted towns (control group). Additionally we conducted testing the experimental group twice: pretest at the beginning of each TBI and post testing of participants after the play. A sample of 500 respondents aged 18-30 years, from 9 towns in Serbia responded to online questionnaire in September 2017, in a baseline research. Pre and post measurement of all tested variables among participants in nine towns would be performed. End-line survey with 500 respondents would be conducted at the end of the project (early year 2018). After the first TBI (60 participants) no impact was detected on measured indicators: perception of desirable characteristics of man F(1,59)= 1.291, p=.260; perception of desirable characteristics of women F(1,55)=1.386, p= .244; gender identity importance F(1,63)= .050, p=.824; sex related behavior F(1,61)=1,145, p=.289; gender equality on labor market F(1,63)=.076, p=.783; gender equality in partnership F(1,61)=.201, p=.656; However, we hope that following intervention would bring more data showing that participatory theatre intervention explaining gender as a social construct could have additional positive impact in traditional educational system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=educational%20impact" title="educational impact">educational impact</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20identity" title=" gender identity"> gender identity</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20role" title=" gender role"> gender role</a>, <a href="https://publications.waset.org/abstracts/search?q=participatory%20theatre%20based%20intervention" title=" participatory theatre based intervention"> participatory theatre based intervention</a> </p> <a href="https://publications.waset.org/abstracts/83143/educational-impact-of-participatory-theatre-based-intervention-on-gender-equality-attitudes-youth-in-serbia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83143.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">182</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">220</span> I Feel Pretty: Using Discretization to Unpack Gender Disparity in Musical Theatre - A Study of Leonard Bernstein’s West Side Story</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Erin%20McKellar">Erin McKellar</a>, <a href="https://publications.waset.org/abstracts/search?q=Narelle%20Yeo"> Narelle Yeo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gender disparity can be found in the representation of the female characters in Leonard Bernstein’s musical West Side Story. As a postmodern composer, Bernstein was open about his social activism, yet did not consider his compositional portrayal of female characters as part of that activism. Using discretization as an analysis tool, this thesis explores the melodic contours of male and female songs in West Side Story to show differences in complexity between male and female characterisation. The analysis explores the intervallic relationship between the vocal line and melodic color in relation to the accompaniment harmony, taking into consideration the use of consonance and dissonance. West Side Story is commonly known for its distinct use of the tritone motif and its inherent dissonance. It is evident when reviewing the findings of this study that there is a distinct disparity between male-led and female-led music. The male-led numbers consistently adhere to a dissonant aesthetic with the tritone motif implemented in all of the extracted songs. By contrast, the female songs remain consonant with simple intervallic movements. By examining the results of this study through the lens of Equality Feminism, this thesis finds that Bernstein has simplified the characterisations of the female leads. The thesis further proposes that without cognisant consideration of the compositional portrayal of women, the musical theatre will continue to reinforce gender stereotypes, as evident through this study of Bernstein’s West Side Story. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20theatre" title="music theatre">music theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20bias" title=" gender bias"> gender bias</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a>, <a href="https://publications.waset.org/abstracts/search?q=Leonard%20Bernstein" title=" Leonard Bernstein"> Leonard Bernstein</a> </p> <a href="https://publications.waset.org/abstracts/144878/i-feel-pretty-using-discretization-to-unpack-gender-disparity-in-musical-theatre-a-study-of-leonard-bernsteins-west-side-story" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144878.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">161</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">219</span> The Strategy of Traditional Religious Culture Tourism: Taking Taiwan Minhsiung Infernal Lord Festival for Example</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ching-Yi%20Wang">Ching-Yi Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this study is to explore strategies for integrate Minhsiung environments and cultural resources for Infernal Lord Festival. Minhsiung Infernal Lord Festival is one of the famous religious event in Chia-Yi County, Taiwan. This religious event and the life of local residents are inseparable. Minhsiung Infernal Lord Festival has a rich cultural ceremonies meaning and sentiment of local concern. This study apply field study, document analysis and interviews to analyze Minhsiung Township’s featured attractions and folklore events. The research results reveal the difficulties and strategies while incorporating culture elements into culture tourism. This study hopes to provide innovative techniques for the purpose of prolonging the feasibility of future development of the tradition folk culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taiwan%20folk%20culture" title="Taiwan folk culture">Taiwan folk culture</a>, <a href="https://publications.waset.org/abstracts/search?q=Minhsiung%20Infernal%20Lord%20Festival" title=" Minhsiung Infernal Lord Festival"> Minhsiung Infernal Lord Festival</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20tourism" title=" religious tourism"> religious tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=folklore" title=" folklore"> folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20tourism" title=" cultural tourism"> cultural tourism</a> </p> <a href="https://publications.waset.org/abstracts/20864/the-strategy-of-traditional-religious-culture-tourism-taking-taiwan-minhsiung-infernal-lord-festival-for-example" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20864.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">340</span> </span> </div> </div> <ul class="pagination"> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=folk%20theatre&page=1" rel="prev">&lsaquo;</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=folk%20theatre&page=1">1</a></li> <li class="page-item active"><span class="page-link">2</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=folk%20theatre&page=3">3</a></li> <li class="page-item"><a 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