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Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study, it is aimed to determine the awareness level of the elements registered in the name of Turkey in the list created within the scope of the Convention for the Safeguarding of the Intangible Cultural Heritage, in terms of "recognition" and "experience", and to present suggestions for the safeguarding, sustainability and transmission of cultural heritage to next generations based on the awareness level. In this respect, the online survey developed based on the literature was applied to the citizens of Republic of Turkey aged over 20 between January 24 - March 28, 2021. The survey questions only consist of the elements in the Representative List. A total of 1550 people from seven regions of Turkey responded to the survey. Descriptive statistics and Importance-Performance Analysis were used to analyze the data. As a priority, in the list created within the scope of the Convention for the Safeguarding of the Intangible Cultural Heritage, the public awareness and experience levels of nineteen intangible cultural heritage elements registered in the name of Turkey have been determined and the awareness level of each intangible cultural heritage elements has been identified. As a result of the analysis of the data, the intangible cultural heritage elements are located in the Familiarity- Experience matrix. According to the findings obtained as a result of the positioning, 5 intangible cultural heritage elements with a high level of awareness were identified: "Turkish Coffee and Tradition", "Karagöz", "Nevruz", "Flatbread Making and Sharing Tradition: Lavash, Katırma, Jupka, Yufka" and "Spring Festival Hıdırellez". The "familiarity" and "experience" levels of these elements are high and it is important to carry out studies for their safeguarding and sustainability. It has been determined that five intangible cultural heritage elements with high "familiarity" levels and low "experience" levels have a partial awareness level. These elements are; "Kırkpınar Oil Wrestling Festival", "Marbling: Turkish Paper Decoration Art", "Dede Korkut-Korkut Ata Heritage: Culture, Legends and Music", "Mevlevi Sema Ceremonies" and "The Tradition of Minstrelsy". It is important to concentrate on these elements and make an effort to develop them. It has been determined that the remaining 9 intangible cultural heritage elements have very low levels of both "familiarity" and "experience". It is necessary to take serious measures to ensure that these elements are not forgotten and disappeared by the society. These elements with very low awareness in the society are as follows; "Mesir Macunu Festival", "Miniature Art", "Traditional Conversation Meetings (Yaren, Barana, Sira Nights etc.)", "Traditional Tile Art", "Traditional Turkish Archery", "Meddah Tradition", "Alevi-Bektashi Ritual Semah", "Traditional Ceremonial Keskek" and "Traditional Intelligence and Strategy Game: Togyzqumalaq, Toguz Korgool, Mangala/Göçürme". Based on these findings, in order to increase the awareness level of intangible cultural heritage elements and to keep them alive, it is thought that it is necessary to use the media effectively, to raise awareness of the society from childhood, and the state to encourage and support activities in this direction. [ABSTRACT FROM AUTHOR]

The term intangible cultural heritage has begun to be used with the convention for the safeguarding of the intangible cultural heritage of UNESCO and has been conceptualized. Intangible Cultural Heritage is defined; as practices, representation, expressions, skills which are defined by communities as part of their cultural heritages, and tools and cultural environments related to them. The fact that intangible cultural heritage is preserved to the extent it is transmitted requires evaluating the agenda related to education. Starting from this point, the main purpose of this study is to investigate elements of intangible cultural heritage included in Turkish language course books of grades 6 and 8. This study which tries to determine whether Turkish language course books fulfil the duty that they take is a qualitative research, and it has been evaluated through document review method. According to the findings; Intangible cultural heritage elements included in the UNESCO list and in the national inventory of the Ministry of Culture and Tourism and included in both class books: Minstrel Tradition and the Semah Ceremony; only grade 6 element is Karagöz; Grade 8 items only; Kırkpınar Oil Wrestling Festival, Traditional Tile Mastery, Alevi- Bektashi Ritual Semah, Marbling: Turkish Paper Decoration Art, Dede Qorqud Heritage: Epic Culture, Folk Tales and Music, Nawruz. In reference to the findings, it is likely to express that it is necessary to enrich Turkish language course books with texts involving more expressions related to intangible cultural values. [ABSTRACT FROM AUTHOR]

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Origami is a form of storytelling based on folding pieces of paper. Three-dimensional geometry, continuity and order are the main artistic features of origami. This study was conducted to touch on the interactions of origami with other visual art disciplines and to examine the visual effects of origami art on textiles. In contemporary textile art; The artistic products that emerged with technology, freedom of thought, search for originality and interdisciplinary interaction brought dynamism Interdisciplinary studies are of great importance for designers to have a vision and to make a visual impact. Textile field has the capacity to create various tectonic and atectonic arrangements. Textile artists and designers have interacted with cultures all over the world and have created products by blending their expressions with technical and aesthetic visuals in textiles. It is observed that the visual effects of origami art are also striking in textile designs. This research was carried out with literature review, observation, interviews with relevant people and qualitative research technique. The designs made by the students of Çukurova University, Faculty of Fine Arts, Department of Textile and Fashion Design, were examined. In this study, textile surface applications have been made under the influence of origami technique. [ABSTRACT FROM AUTHOR]

The aim of this study is to introduce Theory of Semiotic Mediation, which is a theory regarding mathematics teaching, in Turkey and provide an example for its practice. After describing the main characteristics and concepts of the theory, semiotic potential of a sheet of paper, which was chosen as an artifact of Theory of Semiotic Mediation, was analyzed in paper folding activities in order to discuss the practice of the theory and also the signs were analyzed that occurred in the building and conceptual constructing of quadrilaterals with only one symmetry axe (isosceles trapezoid and rhombus). The study was a case study which was carried out with 35 students who were studying in 10th grade. The students were divided into groups of four and five. Only one groups’ activity was reported in this paper. The analysis of the semiotic potential of paper folding showed that it was an artifact that helps students to reconstruct concepts such symmetry and equality by means of coincide and crease and to think deeply on the characteristics of quadrilaterals like rectangle, square, trapezoid and etc. which students have already known. The paper has properties that can be used as an artifact of the Semiotic Mediation Theory. In order to be used the mentioned theory in classes, it was founded that teachers’ guidance role was quite essential. [ABSTRACT FROM AUTHOR]

Copyright of Gazi University Journal of Gazi Educational Faculty (GUJGEF) is the property of Gazi University Journal of Gazi Educational Faculty (GUJGEF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Traditionally used major techniques for creating pattern with dye on fabric surfaces are printing application using metal and wood, stencil techniques, and resist dying, which is also known as tie-dying, stich and wax resist techniques. In addition to those techniques, recently use of mabling on fabric surfaces, also referred to as paper ornamental art, has become widespread. Tokat, Kastamonu, Ankara, Bartın and Mardin were important hubs where block printing was applied intensively. In Malatya and particularly Adıyaman, aprons which were worked on with wax resist or batik-dying namely "Bervanik" and those made with tie-dying had been used in Bursa Keles for women dressing. Today, changing life conditions and life style, and comsumer preferences have led to subtantial changes in this field as in all branches of traditional art. Furthermore, mass production has taken the place of the artisanal works. However, traditional printing techniques have been used for original designs by the artists. In this presentation, new designs that are made using traditional printing techniques used alone or with other ones will be highlighted.t. [ABSTRACT FROM AUTHOR]