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This article explores the use of art as a form of communication and meaning-making in participatory action research (PAR). The authors, researchers and educators, contemplate this concept through a pedagogical lens, and consider the role that visual and performing arts can play in social action. Based on the work of a youth-adult participatory action research collective, the authors reflect on the pedagogical process used to analyze research findings, take actions, and affect local change. Created to investigate opportunity to learn issues, the youth members of the collective created spoken word poetry, post-cards, film shorts, and speak-outs to engage multiple audiences in their research findings. By engaging art as an element of PAR, actions can travel visually, viscerally, and verbally with the potential to influence individuals, communities, and policies.

The advances of scientific techniques such as magnetic resonance imaging and functional magnetic resonance imaging have led to an enormous increase in understanding of the physical, neurological and cognitive developments in infancy. Alongside this, radical new forms of theatre, dance and music have emerged, aimed at this same age group. Many artists now work alongside child psychologists, educators and other infant specialists to design performing arts productions suited to the needs and abilities of the infant audience. This article provides a summary of the development of the five main senses in early infancy in relation to theatre-based productions for babies aged 0-18 months. An exploration into this cross-disciplinary research practice not only demonstrates how performing arts have adapted for the baby audience, but also how they can provide a platform for further research into child development.

This chapter describes an after-school visual and performing arts program serving middle and high school youth operated in partnership between a community-based organization and two schools in Brooklyn, New York. Data collected on the program provides evidence of participants' identity exploration and development of positive relationships and social competencies. [This article originally appeared as NSSE Yearbook Vol 113, No. 1.]

Using a grounded theory study of two prominent performing arts organizations during the COVID-19 pandemic, we develop theory about how organizations respond to adversity over time. Building on research on resilience, resourcefulness, and crisis management, we induce a process model that unpacks the mechanisms and dynamics that enable organizations to act resiliently. We find that organizations approach adversity using two types of resourcefulness. Promotive resourcefulness focuses on opportunities from adversity, which leads to acting resiliently. We show how promotive resourcefulness becomes sustained over time by endogenously producing resources—crisis agency, trust, and hopefulness—which expands an organization's identity and leads to resilient acts. In contrast, preventative resourcefulness focuses on minimizing worst-case outcomes, which leads to a lost organizational identity and relatively weak adversity adjustment. We find that preventative resourcefulness becomes part of cycles that erode trust, limit crisis agency, and generate hopelessness. Additionally, we explain how financial, emotional, and operational updating can shift preventative to promotive resourcefulness, allowing organizations to act resiliently later in a crisis. Our findings unpack critical mechanisms and processes that explain whether and how organizations act resiliently over time. [ABSTRACT FROM AUTHOR]

In the article, the author discusses how public libraries can promote a vibrant local music community by citing their efforts at the New Orleans Public Library to support artists through their Crescent City Sounds streaming service. Also cited are how libraries can provide more credibility and recognition of artists to the listening public and the comment of Justin Powers of Marina Orchestra on the role of libraries in promoting the music industry.

Copyright of Academy of Management Learning & Education is the property of Academy of Management 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.)

Despite extensive studies on academic achievement, the unique challenges and resilience of students from singleparent households remain underexplored. Through purposive sampling, this phenomenological research explored the lived experiences of nine (9) senior high school students from a well-known performing arts school in Quezon City who grew up in a single-parent household. A researcher-made interview protocol with ten (10) open-ended questions that was validated by renowned experts was administered to gather responses and sufficient, vital information from the participants. With the utilization of Interpretative Phenomenological Analysis, three (3) superordinate themes were generated: (1) challenges encountered which delves to the emotional, supportive and financial encounters of the participants; (2) experiences of growing up in a single parent household which pertains to the new responsibilities alongside with the bullying and social challenges faced by the participants; and, (3) emotional well-being which covers the participants' emotional struggles, negative outlook on personal future and their hopes for future family life. [ABSTRACT FROM AUTHOR]

Purpose: This retrospective phenomenological case study examines the experiences of 18 politicians who participated in a political campaign using performing arts and artists in a regional heads and legislators in Indonesia. Also, the role of Gandrung art as a performing art is becoming a political communication tool for political actors in Indonesia. Design/methodology/approach: This study employs a retrospective phenomenological case. The informants recruited were 18 politicians who have local, regional and national political levels. The participants were interviewed about their experiences of campaigning using traditional performing arts as a form of political communication. Data collection techniques used in this study include interviews and photo documentation during the campaign process to triangulate findings. Findings: Based on a case study analysis and through thematic analysis, this research reveals three emerging themes which indicate that performing arts function as political communication tools in three significant ways: (1) as a form of artistic expression for conveying political messages through movement and the use of dancer costumes; (2) as a medium for showcasing cultural identity and representation as a form of concern for the local culture of voters; and (3) as a means to garner mass appeal and propagate political propaganda. Research limitations/implications: The study has two limitations. First, the study only interviewed a small number of participants. Thus, generalization for wider contexts of politicians is not possible. Second, the study focuses on examining the voice of politicians and analyzing it using thematic analysis. Originality/value: There is a scarcity of research that specifically focuses on uncovering the perspectives of politicians who employ performing arts as a political communication tool. This study contributes to the understanding that art performance is inherently non-neutral, highlighting how performing arts can actively engage in political communication by conveying messages, shaping cultural identity and influencing public opinion in the context of Indonesia. [ABSTRACT FROM AUTHOR]

\nStarting with his band the Velvet Underground, Lou Reed wrote songs imbued with nonmoral depictions of people’s emotional experiences with drug use, sex work, marriage, poverty, friendships, and other aspects of life and survival in New York City. This paper presents an interpretation of Reed’s words and music from the twin perspective of geography and psychology. Drawing on materials in the Lou Reed Archive at the New York Public Library for the Performing Arts, the author conducted a comprehensive analysis of song recordings released over three distinct periods of Reed’s music career. Each song was considered within the framework of a psychoevolutionary theory of human emotions and situated in New York’s diverse spaces and places. Reed’s grounded lyrics convey a deep empathy for people’s triumphs, setbacks, and conflicts as they search for love and act on a desire for transcendence and freedom. The paper recommends further research into songwriters who use their biography to tell geographic stories.Read the transcriptWatch the video on Vimeo© 2024 American Association of Geographers. Published by Taylor & Francis Group, LLC. [ABSTRACT FROM AUTHOR]

The diversity of the South African higher educational student population requires innovative pedagogical strategies that facilitate transformative and collaborative embodied learning. This article demonstrates how the choreographic process emerges from the context of multiculturalism through a pragmatic learning approach called meshwork choreography. Meshwork suggests an interwoven relation that emphasises the ever-evolving nature of relationships within an environment. Choreography as meshwork is where the choreographer does not impose preconceived ideas on the dancers but rather facilitates a collaborative and exploratory process. The research employed a conceptual framework of phenomenography, embodied and collaborative learning to frame the discussion towards a model of how choreography functions as meshwork. Composition and design processes in and of themselves embrace transformative learning through collaborative, embodied, and relational practices and are bolstered when they converge within the creation of choreographic work. This article reflects on students’ experiences in the Performing Arts Dance Stream at Tshwane University of Technology in conceptualising choreography as meshwork. Phenomenography was adopted as the research methodology, where data was analysed within phenomenographic categories. The article offers a South African perspective, informed by Ubuntu, of a meshwork model for the benefits of applying transformative learning through choreography within a higher education dance context. [ABSTRACT FROM AUTHOR]

The article contributes to the studies of digital spaces and women's action by analysing the case of Amleta, a collective founded during Covid-19 pandemic by a group of Italian theatre actresses. Using a digital ethnographic approach that combines data coming from Amleta's Instagram account and in-depth interviews with content creators, this study considers how actresses employ digital spaces to challenge violence and discrimination in the workplace. By looking at actresses' digital action, the study sheds light on the reinterpretation of #metoo narratives and on the construction of non-conventional digital spaces in the struggle for an equal environment in the cultural and creative industries. Given the centrality of informational activism and communicative labour for Amleta's activities, we argue that knowledge dissemination becomes a political tool, both challenging the status quo and allowing women to move their experiences from an individualised understanding towards a level of collective awareness. The research accounts for how feminist practices can promote social change beyond branded uses of social media platforms. [ABSTRACT FROM AUTHOR]

The arts have enriched human experiences across time and culture. Beyond their intrinsic value, a growing body of evidence suggests that engaging with the arts has numerous benefits for health and well-being. Increasingly, research on older adults suggests that arts-based interventions and engagement with arts-based leisure activities enhance states of well-being (e.g. life satisfaction, positive emotions, belonging) and reduce states of ill-being (e.g. depression, anxiety, loneliness) In this paper, we focus on the potential for the arts to contribute to women thriving in their 80s and 90s. In particular, we aim to bring awareness to the ways in which the arts can play a vital role in cultivating positive states of social well-being (e.g. social connections, social networks, social support, and belonging) and mitigating negative states of social ill-being (e.g. loneliness, social isolation). We first lay the groundwork for the relationship between the arts and health and discuss social well-being as an important facet of overall well-being. We then review research findings from four artistic domains (music, visual art, art and craft, and performing arts) and their associations with social well-being in older adulthood. Finally, we discuss potential applications of art-based interventions to support the social well-being of women in later life. [ABSTRACT FROM AUTHOR]

Our multifaceted society calls for engineers that are not only experts in their domain, but possess the flexibility to understand adjacent disciplines. The inclusion of the performing arts in engineering curricula has shown potential for cultivating creativity and equipping STEM students with problem-solving abilities. However, the literature offers limited examples of such integration in engineering courses. We present a unique learning experience involving engineering students from the Royal Institute of Technology (KTH) and circus students from Bachelor's programme in Circus at Stockholm School of the Arts (SKH). Grounded in the concepts of docendo discimus, presentational dimension of circus and reflective thinking, our study aimed to: (1) explore engineering students' acceptance of an unconventional collaboration with circus peers; and (2) assess the pedagogical value of this collaboration for the engineering students. We highlight challenges and potentialities of this collaboration, to inform educators interested in creative teaching approaches. [ABSTRACT FROM AUTHOR]

This article discusses the findings of a new qualitative study conducted in 28 European countries, examining barriers to cultural participation as perceived by representatives of organisations of people with disabilities. The study explores barriers operating in all art-forms as well as in cultural heritage, and it encompasses participation of people with a broad range of disability types both as audiences and as creators of culture. The article evidences that a range of interlinked barriers are commonly perceived by people with disabilities in five areas – lack of effective laws and policies; inadequate services and/or funding; negative attitudes; lack of accessibility; and lack of involvement of persons with disabilities in cultural organisations. The article argues for more systematic approaches to enforcement of laws and policies, for greater knowledge about disability to be embedded within cultural organisations and policymaking, and for employment of people with disabilities at all levels within cultural sectors. Points of interest: This article presents research on participation by people with disabilities in cultural life (such as theatre, cinema, libraries, etc.) from 28 European countries. This research sought the views of people representing organisations of people with disabilities, of Deaf people and of organisations working on arts and disability. It found that several barriers to participation (as audiences and artists) exist in all countries considered and across all disability types. It identifies and categorises barriers operating in five areas – lack of effective laws and policies; inadequate services and/or funding; negative attitudes; lack of accessibility; and lack of involvement of persons with disabilities in cultural organisations. The research highlights the need for existing laws to be fully applied and enforced, and for good practice, where it exists, to be made more widely known. It also shows that cultural organisations and policy-makers need to acquire greater knowledge about disability. [ABSTRACT FROM AUTHOR]

The field of performing arts presents an often unpredictable area for career development. Yet many people are drawn to this field as their chosen career trajectory. This study examines the life-career experiences that shape performing artists' trajectories within the framework of career construction theory. Using a qualitative multiple case study design, data was generated by Career Interest Profiles (CIP), career construction interviews (CCI), life-design counseling, and publicly available information. Thematic analysis uncovered two primary themes: the unique journey of performing artists in constructing their careers and the trajectory of career development, which highlights the factors influencing perceived success or failure and the essential 'survival skill set. The research offers theoretical insights and practical understanding of protean careers in demanding industries. [ABSTRACT FROM AUTHOR]

Stemming from the combined philosophies of social work and professional artistic practice, this paper recounts five years of working with populations of fifth graders to craft their own original plays. Application of group development theory in our evolving theatrical process emphasizes several lessons, including utilizing a population's observed need(s) to derive socioemotional purpose; the ownership a group discovers when creating its own material; and the importance of centering what two communities have to offer each other in mutual aid. The 509 classroom at PS3 is a case study for the immense socioemotional impact artistic practice can have when student need is not neglected in favor of academic skill acquisition. [ABSTRACT FROM AUTHOR]

This paper offers guidance for remote communication with young children based on an interpretive study of participants engaged in an online Theatre for Early Years (TEY) event, Up and Down. Drawing on practices used for in-person performance, the theatre-makers engaged interactively with children aged 1 and 2 and their accompanying adults through a conference video call. Interpretive Phenomenological Analysis was used as an approach to generate themes from observation, and interviews with the parents. Three master themes were generated: Missing Live Performance, Unfiltered Response and Human Connection. The discussion was informed by relational pedagogies and the concept of cultural value. Those engaging with young children through video call software are encouraged to look for ways to create embodied, sensory, and 'magical' experiences; collaborate with the adults present; and take a strengths-based approach to the medium. [ABSTRACT FROM AUTHOR]

Copyright of Ciencia y Educación (2707-3378) is the property of Duanys Miguel Pena Lopez 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.)

This article explores a collaboration between the dance company Rosas and musician Anthony Braxton, focusing on their use of Braxton's Ghost Trance Music system and the Rosas Toolbox. The collaboration aimed to combine their practices and create a unified performance. The dancers discuss the challenges they faced and the importance of trust and improvisation in their work. The collaboration resulted in an ongoing and evolving piece that challenged traditional boundaries in dance and music. [Extracted from the article]

This article investigates how critical pedagogy might broaden its purview and cultivate a more symbiotic relationship between formal education and life-long learning through a 'counter-critical pedagogy'. By reconsidering central tenets of Paulo Freire's Pedagogy of the Oppressed through the lens of Bernard E. Harcourt's provocation for a 'counter-critical theory', the article proposes how pedagogy could more effectively respond to circumstances – both personal and global – that are ever-changing and urgently require our intervention. In addition to critiquing the writings of Freire and Harcourt, the article draws on Indigenous epistemologies and the field of artistic research to emphasize the importance of complex and interdependent modes of knowing and holistic approaches to creating community. Key concepts in critical theory and critical pedagogy are repositioned in more active and processual terms that promote a dynamic approach to learning, one that is fully contextualized and situated, embraces greater complexity and intersectional approaches and requires a holistic and ongoing process of reflection and critique. [ABSTRACT FROM AUTHOR]

This article provides an alternative perspective on "new music" in Indonesia, challenging the dominant Euro-American viewpoint. It explores various aspects of contemporary music in Indonesia, including new music activities in different regions, the role of women composers, and the development of new instruments. The authors aim to present a comprehensive overview of the current issues and developments in Indonesian contemporary music, highlighting the contributions of underrepresented groups and recentering ignored modernities. The article uses historical study, autoethnography, and musical analysis to provide readers with an empirical insight into the subject. [Extracted from the article]

Background: Public health restrictions during the Coronavirus-2019 (COVID-19) pandemic in Canada have substantially reduced the work and income of performing and creative artists. We aimed to understand how factors at the public policy, community, organizational, interpersonal and individual levels affected Canadian performing and creative artists' health and livelihood during the pandemic. Methods: We interviewed 14 creative and performing artists from an academic hospital-based healthcare center in Toronto, Canada. In addition, we conducted secondary data analysis on an existing set of 17 transcribed interviews from a quality improvement study that included relevant information to answer the present study's research question. We applied an interpretive descriptive approach to our qualitative inquiry and used the social-ecological model (SEM) as our analytic framework. Results: We identified factors at all levels of the SEM that tended to synergistically affect the health and livelihood of artists during the COVID-19 pandemic. Public health restrictions and government financial assistance programs have downstream effects on other levels. During the pandemic, many artists sensed an overwhelming loss of community, financial instability, and limited access to healthcare; which in turn affected their health. For those who accessed financial assistance programs, the stability of income afforded time for rest without the stress of food insecurity or housing instability. Conclusions: Use of the SEM as an analytic framework reflects the multidirectional intricacy and dynamic interplay among factors operating within and across all five levels, bringing to light potential areas of improvement at various levels to strengthen resilience and reduce risk factors associated with artists' health and healthcare access. Findings also accentuated the fragility of precarious work that inundates the performing arts industry, which emphasizes the need for interventions and policies to address this issue. Such interventions might include financial support programs for artists, access to affordable healthcare services, and efforts to strengthen social support networks within the arts community. [ABSTRACT FROM AUTHOR]

One of the founders of the new drama, August Strindberg's dramaturgy cannot be attributed to any specific direction. An experimenter by nature, he was constantly looking for new themes, structures, and forms of drama. In his theoretical works, he argued the need to create a new drama and performing arts, which should combine the best traditions of the classics with innovation. Strindberg sensed the beginning of the crisis in society - along with the technical progress and the development of life, a person confronts not the society (as in Ibsen's plays), but another person, the closest to him, in whom he sees a competitor and tries to establish himself by fighting with him. Gender issues exist in more than one of Strindberg's works, including Miss Julie (Fröken Julie). For several years, Levan Tsuladze has been exploring the problem of violence in society with his performances, in which violence against women and the issues of women's rights occupy an important place. For this problem Tsuladze's staging: The Kreutzer Sonata (according to Lev Tolstoy), Crime and Punishment (according to Fyodor Dostoevsky), The Marriage of Figaro (Pierre-Augustin Caron de Beaumarchais) - in the Marjanishvili Theatre, Othello (Shakespeare), and Miss Julie - in the Theatre Factory 42. Strindberg characterizes Miss Julie as a half-woman, a weak creature, a spreader of evil, who is not destined to have a long life. In the end, the playwright created the face of a strong person. And Christine, the cook, is described as a woman with slave psychology. Miss Julie, staged according to the interpretation of Levan Tsuladze, is a drama brought to the point of tragedy. The director, transforming the text of the play into a stage text, changed the images of Julie and Christine by shifting the accents. They are neither weak nor "nature's mistakes" nor "monsters". They, with their different origins, erudition, and methods, fight for their rights and their future. It is true, that Julie kills herself, but this suicide is not equal to defeat but to victory. Because Julie is the forerunner of those women who, shortly after her suicide, received the right to participate in elections. [ABSTRACT FROM AUTHOR]

While ‘trauma' has become a buzzword encompassing any distressing event, its definition as an unassimilated psychological wound, unresolved and recurrent, also means that it cannot ever be completely known. Trauma therapy seeks to reintegrate experiences, breaking the cycle of perpetual suffering through fragmentary recollection. Drama and performance art offer a platform for this reintegration, potentially facilitating healing. However, the fine line between therapeutic confrontation and re-traumatization necessitates careful navigation, avoiding triggering negative emotions. Crucially, not all traumatic events lead to PTSD; resilience and communal support can mitigate the effects of distressing experiences, as seen in instances of shared acceptance and forgiveness. Theatre's role in addressing trauma lies in its ability to bear witness, creating spaces for communal acknowledgment and shared grieving. While contemporary performances often revel in discomfort, embracing unresolved narratives, they prompt reflection on the limitations of representation. Art's transformative potential lies not in explicit curative intent but in its expression of unresolved complexities of human experience. Through patience, acceptance, and a refusal to impose meaning, creative arts can serve as a site for healing, fostering empathy and connection amidst the fragmentary experience of what Freud called ‘traumatic neurosis,’ what has since come to be called Post Traumatic Stress Disorder. [ABSTRACT FROM AUTHOR]

The author reflects on their lifelong fascination with theatre and the search for divine encounters, detailing their experiences from childhood to adulthood in both the performing arts and diverse spiritual practices. Topics include their formative experiences with influential artists and productions, the convergence of theatre and spirituality in their critical writing, and the transformative power of criticism in revealing the sacred within performance.

This scoping review aims to describe the range of research studies using arts-based data collection methods with immigrant and racialized older adults. A secondary aim is to identify challenges and strengths of using these approaches with this population. This review uses Arksey and O'Malley's five-stage scoping review framework with a final number of 16 references included for the study. Enhanced social connectedness, increased transparency and quality of findings, and self-empowerment were key strengths of using arts-based approaches for data collection. Challenges identified included resource limitations, cultural and language barriers, and barriers to meaningful engagement. Only a small number of studies have utilized arts-based methods with immigrant and racialized older adults. Arts-based approaches require unique methodological adaptations with this population but have the potential to increase engagement in research activities, authenticity of research findings and empowerment of older adults. [ABSTRACT FROM AUTHOR]

Objective To evaluate prevalence of performance-related pain among musicians and compare pain characteristics, associated disability and approach to pain management, between music students and professional musicians. Methods A multicenter cross-sectional study was performed in a multi-stage stratified cluster random sample of 585 musicians, stratified by music students (294, among which 234 were at pre-university level and 60 at university level) and professional musicians (291). The main outcome was performance-related pain, measured by Performance-related Pain among Musicians Questionnaire (PPAM). Secondary outcomes were: pain management approach, physical activity levels, fatigue, distress, and health-related quality of life. Results The lifetime prevalence of performance-related pain was 55.0% (n  = 322), being significantly higher among professionals (57.5% vs 42.5%, P  < .001). Pain intensity scores were significantly higher in professional musicians (P  < .05), but pain interference in performance was higher among music students, who also reported significantly higher levels of fatigue (P  = .008) and distress (P  < .001), and lower quality of life (P  < .001). Regardless of the high levels of pain intensity and interference, fatigue, anxiety and depression, and low levels of quality of life, 33% musicians who developed pain had never looked for healthcare (this proportion is significantly higher for music students, 57%, P  < .001). Conclusions We present the first multicenter study on performance-related pain among musicians with different backgrounds, using a validated tool, and distinguishing music students from professional musicians. Performance-related pain is a highly prevalent and disabling condition among musicians, however, its proper evaluation and management are still often underappreciated, contributing to significant impairments and reduced quality of life. [ABSTRACT FROM AUTHOR]

This document is a compilation of recently published books in the field of music. It includes a variety of topics such as cultural histories of musicals, composition techniques in game music, biographies of musicians, and studies on different genres and styles of music. The books cover a range of perspectives and cultures, including African American women in 1950s music, Palestinian music in exile, and the impact of masks in pop music. These books provide valuable resources for library patrons conducting research on specific musical topics. [Extracted from the article]

Marching band is both a sport and a performance art. Organized athletics like American football, soccer, and cheerleading all have established epidemiologic trends of injury, including stigmata from head trauma. Despite the potential for mild to severe injury, there is a paucity of data on marching band-related morbidity. We examined the National Electronic Injury Surveillance System from 2012 to 2021 to describe demographic information and injury patterns. There were an estimated 20 335 marching band injuries (95% confidence interval: 12 892-27 777). The majority of injuries occurred in females (70%), and those aged 14 to 18 years (85%). Fifty percent of all injuries occurred in the lower extremity, and soft tissue injuries were the most frequently observed diagnosis (49%). Mild traumatic brain injury accounted for 6% of all injuries. Of marching band injury, 98% did not require escalation of care. Based on these findings, we suggest targeted public health intervention by sports medicine teams. [ABSTRACT FROM AUTHOR]

In any post-conflict society, the work of creating an effective framework for truth and reconciliation is fraught with challenges that those in power will often seek to manage and manipulate. In this article we explore the critical role of the arts within the discourse of political reconciliation in contemporary Northern Ireland. Taking contemporary theatre and screen culture as our case-studies, we assess the extent to which these modes of cultural production create alternative spaces for dialogue and reconciliation in a dysfunctional post-conflict democracy, where the responsibility of political institutions and elites is failing to adequately address the rights of victims and survivors. [ABSTRACT FROM AUTHOR]

Over the centuries, changes in technology and education have transformed people's attitudes towards the arts, making them more accessible. Bohemianism and modern art in the 18th century challenged the elitist perception of the arts, democratizing access. Digital tools and online resources have further opened doors to creating and experiencing visual and performing arts. However, despite this accessibility, society is increasingly moving away from the arts due to a focus on technology, capitalism, individualism, materialism, and instant gratification, leading to rising mental health issues. Engaging in the arts, which connect us to the physical world through our senses, can counteract these issues by promoting self-fulfilled artistic experiences. The 20th and 21st centuries have brought new ideologies to the arts, emphasizing discovery and inquiry. Yet, these values can sometimes be overshadowed by past knowledge. Striking a balance between traditional prestige and modern experimentation is crucial. Making art experiences accessible to all, fosters sensitivity, interpretation, critical thinking, feeling, and expression--essential qualities in the current generation. For instance, Michael D. Higgins has highlighted the role of creativity in fostering an engaged and innovative society. In one of his addresses, he mentioned "the Arts have clear economic potential but, even more important, they are vital indicators of the spirit of the times as well as being enablers of positive change" (Higgins, 2012). The art of our time reflects our current self-perception and creative language, shaping our cultural identity. Individual creative expression today can define tomorrow's national cultural identity. The arts continue to evolve as a mirror of our society's values and beliefs. All this will be explored through two artistic projects, one focusing on music composition and performance, while the other focusing on visual art. Both projects have a strong element of community practice, which give the opportunity for further investigation into hands-on workshops. [ABSTRACT FROM AUTHOR]

The article explores strategies for revitalizing teaching practices, emphasizing the importance of breaking out of stagnant routines. Topics discussed include leveraging technology in pedagogy, embracing a focus on mindfulness and single-tasking, and utilizing positive reframing to overcome perfectionism.

The article offers strategies for teachers to make the most of the back-to-school season by refreshing their teaching materials and practices to avoid burnout. Topics include updating repertoire and textbooks, leveraging auxiliary resources, and prioritizing personal well-being to enhance teaching effectiveness.

Background Established norms for fitness and performance measures are lacking in circus arts. These would assist healthcare professionals and coaches to screen for readiness to participate in training or performance, determine post-injury return to performance, and develop targeted conditioning programs. Purpose The purpose of this research was to establish norms for trunk and extremity physical exam and performance measures in circus artists by professional status, assigned sex at birth (ASAB), and age. Study Design Descriptive laboratory study Methods Circus artists (n=201; ages 13-69y; 172 females ASAB, 29 males ASAB) from 10 cities across the United States underwent a baseline physical examination including shoulder, hip and trunk measures of passive (PROM) and active (AROM) range of motion, measures of flexibility (shoulder and hip), strength (manual muscle tests, grip strength), cardiovascular fitness (3 minute-step test), balance (single limb and handstand), and performance, (pull-ups, and the closed kinetic chain upper extremity stability test [CKCUEST]). ANOVAs were used to determine between group differences by age and T-tests to discern differences by ASAB or professional status. Results Differences existed by professional status for shoulder external rotation PROM, hip PROM, hip flexibility, shoulder and abdominal strength, and cardiovascular fitness. Sex differences were seen in active scapular upward rotation, hip and shoulder PROM and flexibility, hip and grip strength, and for functional performance measures (pull-ups, CKCUEST). Differences by age were limited to active scapular upward rotation, shoulder PROM, flexibility and strength, cardiovascular fitness, and balance. Overall, professionals outperformed pre-professionals for lower abdominal strength, pull-ups, handstand balance, cardiovascular fitness, hamstring, and straddle flexibility. Generally, males ASAB demonstrated greater shoulder flexibility and upper body functional strength while females ASAB had greater hip and lumbar flexibility and hip strength. No measures showed consistent declines with increasing age, though some showed differences between adolescents and adults. Conclusion These normative values for physical characteristics and functional performance in pre-professional and professional circus artists may be used to guide screening for readiness to participate in advanced training or performance, return to performance after injury, and the development of targeted strength and conditioning programs. Level of Evidence 3 [ABSTRACT FROM AUTHOR]

This text detects a current context collapse within the independent scene of dance and choreography. It looks at the political potential of artist-driven spaces and asks if and how they could provide a forum for debate and collective articulation. With the platform and space höjden studios in Stockholm as the main example, the text connects it to other practical initiatives such as PAF (Performing Arts Forum), ICC (Imaginative Choreographic Center and PIM (Para Institutional Models). The text briefly touches on theories of the commons and aesthetic autonomy in order to raise a concern about the collective attention to art works and artistic practices, and propose a direction where the production of discourse within common spaces centres it. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies 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.)

Much of the extant research regarding lyric analysis centers on lyrics as the primary therapeutic musical element, to the detriment of all other non-lyrical elements. Non-lyrical musical elements, such as musical style, may drastically affect how listeners interpret lyric text within lyric analysis tasks. The purpose of this qualitative heuristic inquiry was to investigate the effects of musical style (instrumentation, vocal timbre, and texture) on lyric interpretation among undergraduate students aged 18–36 via focus groups and individual interviews. Participants listened to and discussed the lyrics and non-lyrical elements of 3 stylistically distinct recordings of one song ("Everybody Hurts"). Focus groups and interviews were transcribed, then coded and analyzed via initial coding and focused coding protocols (Saldaña, 2021). One primary theme emerged from the data: lyric text carried the basic message of the song, though non-lyrical elements influenced the perceived intention and connotation of that message. Three code categories emerged under the primary theme: (1) musical elements around the text gave context and nuance; (2) cohesion of musical elements determined the emotional impact of a given recording; (3) descriptions of musical style occurred in conjunction with multisensory comparisons. These findings provide evidence of a symbiotic relationship between lyrics and non-lyrical musical elements within song recordings, which both support clinical decision-making when choosing repertoire for lyric analysis and provide a foundation for further research into the role of non-lyrical musical elements in lyric analysis. [ABSTRACT FROM AUTHOR]

The success of the operation and flow of a ballet class has many factors that can positively impact students both technically and artistically. One of the most important of these factors is the accompaniment. Contrary to popular belief, the harmony and collaboration between the ballet teacher and the ballet accompanist in a ballet class is both difficult and extremely important. This harmony in the ballet class lays the groundwork for the technical quality of the class, musical integrity, and a smooth flow. It is essential to establish a classroom environment where the elements of this communication during the class are well defined, any missing or incorrect information is mutually corrected, and the teacher and accompanist discover ways to communicate effectively. The quality of the ballet accompaniment should be such that it assists the lesson, containing musical features suitable for the movements, and it should be possible for the music to become a more effective tool in the class through the coordinated and collaborative work of the ballet teacher and ballet accompanist. This article aims to examine the obstacles in the harmony between the ballet teacher and the ballet accompanist, strategies to improve this harmony, and the musical technical elements. The views of some artists were consulted regarding the harmony between the ballet teacher and the ballet accompanist, and in light of this information, musical technical elements, forms of articulation, beginnings and endings of movements, determination of tonality and appropriate rhythms, use of staccato and legato terms in the class, accents, and use of dynamics were grouped under specific headings. Additionally, very few existing sources sufficiently emphasize the importance of the musical skill required to accompany technical ballet classes and the skills that a ballet accompanist should possess. At this point, it is necessary for the teacher to establish proper dialogue with the accompanist and guide them correctly, and for the accompanist to benefit from this feedback in light of their own knowledge. Since many studies do not address the cooperation between the accompanist and the teacher, this research topic has been emphasized as a small introductory guide for both ballet teachers and accompanists. [ABSTRACT FROM AUTHOR]

Directors can utilize different ways of developing ideas through overlapping arts and ideas in order to improve performance methods. Ideas are developed based on the play (or the narrative), the puppet, and the atmosphere. According to ideation-based atmosphere, this research explores the ways of developing ideas grounded on surrealistic paintings by Rene Magritte. The question is whether it would possible to create puppet theatre through the atmosphere of paintings. This paper explains the characteristics of the surrealism movement and surrealistic paintings as well as five elements containing dreaminess, fiction, fantasy, exaggeration and satire; and the semantic characteristics of puppet theatre such as fantasy, symbolism, enlargement and lessening or simplification. Subsequently a typology of three developing the ideation-based methods for puppet theatre will be examined. After introducing the characteristics of Magritte's paintings and declaring their overlap with the characteristics of puppet theatre, three works of Magritte are idealized according to the mentioned properties. Developing ideas in accordance with the atmosphere in addition to its interdisciplinary nature, will present more interpretative options for making puppet theatre. Paintings of Rene Magritte with its surrealistic atmospheres and the surrealistic compositions could help the process of puppet theatre creation. Puppet theatre artists need a text, a puppet or an atmosphere and Rene Magritte's works help from this perspective. For example, places have an important role is creating and showing the narrative. Rene Magritte created special places through his painting. The works chosen for this research are Golconda (1953), Personal Values (1952) and Portrait of Stephy Langui (1961). The Golconda portrays many men with black overcoats and hats. They are hanging in front of classic buildings. These men are the same. Some of the art historians have argued that this painting reveals Rene Magritte' mind about bourgeoisie, feminism, or capitalism. The Personal Values shows an odd bedroom which contains oversized objects such as a very big comb, a very big glass, and a very big soap. These objects are close to a little bed and a normal closet. The walls of this bedroom show some white clouds on the blue sky. The Portrait of Stephy Langui shows two little men by a calm sea and a very big and beautiful and young woman's head who is looking at the two. There is a giant stone in the corner of this painting. This is an unconventional portrait. This research reveals that this artistic technique will be possible through the art of painting art, especially the surrealistic. There are similarities between the characteristics of surrealistic paintings and puppet theatre. The companionship of reality and imagination is a characteristic that the art of painting and the art of puppet theater both have in common. So puppet theatre artists can use surrealistic paintings for developing ideas and puppet theatre creation. [ABSTRACT FROM AUTHOR]

Machinery of Government restructures—transformations that create or abolish departments or move functions between agencies—often result in the misalignment of cultures and subcultures that impact business operations and customer service levels. An understanding of how subcultures are impacted during restructures is vital as they can reveal diffused microcultural boundaries that reflect highly problematic cultural tensions. This study provides rare ethnographic insights into how Machinery of Government restructures destabilise the delivery of optimal customer service by disrupting Business as Usual operations. Based on 74 interviews and ethnographic methods, the integrationist 'DNA' culture, subcultures, and emerging microcultures within Service NSW, a public sector agency in New South Wales (Australia), were examined during and after its merger with the Department of Customer Service. Microcultures were shown to function in a way that preserved Business as Usual activities and responsibilities to secure task independence, highlighting the importance of developing a conceptual framework for the detection and resolution of cultural resistance. Scholars and practitioners may adopt the framework used in this study to determine how, when, and where cultural resistance is likely to emerge. Points for practitioners: This study critically analyses the 'DNA' culture of a service delivery agency in New South Wales during and after its merger with the Department of Customer Service.Service NSW's 'DNA' integrationist culture, the broader subculture of its 'Support Office', and various microcultures were detected.Microcultures were shown to preserve Business as Usual activities and secure task independence as reflected in backstage sites of enactment. The degree of intra‐ and interpersonal tensions experienced by Service NSW employees was opaque to senior leaders responsible for the restructure.Leaders and practitioners responsible for mergers should fully understand the changing nature of employee language and behaviour. It is advisable they act on the assumption that employees are experiencing tensions resulting from the organisation's disturbed social reality.Scholars and practitioners may adopt the conceptual framework and this case study's methodological approach to analyse a public service agency's various cultures, before, during, and after Machinery of Government (MoG) mergers or restructures, to pre‐empt, identify, and reduce cultural tensions, and should consider the feasibility of appointing a Workplace Change Committee.Workplace Change Committee Members act like first responders across impacted departments and divisions within subcultures. Workplace Change Committee Members manage emerging issues, specifically cultural disparities to ensure both the intra‐ and interpersonal safety of employees impacted by MoG mergers. [ABSTRACT FROM AUTHOR]

A part of the identity and culture of the people of Iran has been preserved in the framework of native and local games. In Iran land, many local and diverse sports are performed in various ceremonies. Among these games that have gained a national aspect in Iranian culture is the game of polo, which has been passed down from one generation to the next and continues to exist. Polo has a high place in Iranian culture. Our understanding of the polo game relies more on historical texts, literature, and artifacts. But the gap that can be seen in this field is the examination of the phenomena and evidence of polo games from the perspective of intangible cultural heritage. Therefore, the purpose of the present article is to know the place, importance, and explanation of the polo match as one of the components of identity in the culture of Iranian people with a descriptive-analytical method. In order to achieve this goal, the game of polo has been considered in various fields of oral traditions, social customs, and performing arts. First, the toponyms that are connected with polo have been checked. Then, the evidence of playing polo among native and local games has been discussed. And it tried to identify the signs of polo and to express its similarities and differences among different regions. The result of the research showed that the polo game was customary not only among the nobles and elders but also among the ordinary people of Iran. [ABSTRACT FROM AUTHOR]

This paper attempts to uncover aspects of artistic performances where the lines between real life and artistic representations are quite blurred. To achieve this purpose, we will investigate the interdependencies of the artistic power of Lalish theatre, a performance troupe emerging from an oppressed Kurdish context, coupled with the human and socio-political dimensions of Lalish performances. By adopting a qualitative descriptive analysis of key features of the performances, the research delves into the methods employed in Lalish performances to challenge and destabilize conventional dramatic norms, hence the emergence of a compelling form of tacit social resistance. Premised on Foucault's concept of heterotopia, the study investigates the ways Lalish performances employ space and artists' bodies and voices to implant viewers within innovative realms, those that expose, upset and criticize societal norms all at once. The inquiry is focused on the concept of enacted utopias, through which Lalish theatre disrupts overriding hierarchies and foresees alternative realities. Through diverse cultural connotations premised on the deconstruction of conventional narratives, Lalish performances speak a unique theatrical language, one that enhances human understanding and social awareness and supports ethics of equity and human dignity. The research examines how Lalish theatre transports audiences into freer spaces where they are allowed not only to interpret performances, but also to contribute to constructing them. It is through such non-chronological presentations aiming at creating a potential broader vision of a more equitable reality that the troupe exhibits aspects of resistance to the objectifying and constraining practices endorsed by conventional dance. By investigating the interplay harmonizing body, voices and spaces, this study reveals how Lalish holistic and innovative performances might serve as a powerful artistic tool for creating new realities where human empowerment equity and dignity could prevail. [ABSTRACT FROM AUTHOR]

In my experience as an in-house archivist for the National Theatre (NT) of Great Britain, I have discovered that what the NT Archive staff have historically considered 'representative' of a performance in their collecting is not enough to satisfy all the research needs of its audiences. This article looks to theatre and performance studies with its discussions of historical fragments and archival science through an active archivist model to develop a new approach to archiving performance and creating a more representative archive of performance at the NT. Many principles of archival science are challenged by the practicalities and nuances of being based in a live, working theatre but drawing on the 'questioning paradigm' (Ridener in From polders to postmodernism: a concise history of archival theory, Library Juice Press, California, p 101, 2009), this article will consider what shift can occur within archival science to allow archivists more flexibility in their collecting and cataloguing practices to create a new model of archiving, which will create a more representative archive of performance. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyze the potential contribution of broadcasting live performing arts in movie theaters to the democratization of high culture. To accomplish this, we analyze the profile of attendees to these events to explore whether this new form of cultural consumption can attract individuals who do not normally attend live performances, thereby renewing high-brow audiences. Using data from the Spanish Survey of Cultural Habits and Practices in Spain (2018–2019), we find that individuals who frequently attend movies are more likely to attend live opera broadcasts in movie theaters, even those who do not consume live opera or even do not listen to opera at all. This is a positive insight suggesting that this initiative may be successful to engage new audiences to high culture. [ABSTRACT FROM AUTHOR]