Search

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador 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.)

The article informs about monetary value of art works remains the fundamental driver, perennial stylistic criteria of authenticity related to ethnic labels are evoked and maintained to preserve easily recognizable market indicators. Topics include synchronic and diachronic cultural features of a region, identification of object types has been subject to constraining academic taxonomies; and homogenization and simplistic interpretation of the vast Kongo-speaking complex, a sociocultural entity that stretches from southern Gabon to northern Angola.

Alongside Toonooba (the Fitzroy River) in central Queensland, Australia, a series of flood markers are embedded within the earth, commanding attention to the river that flows on one side and the colonial infrastructure of Rockhampton on the other. Honouring Land Connections is an artwork that asserts Indigenous voices, marks Indigenous spaces, and encourages visitors to engage in conversation with Indigenous culture and art. This paper considers Indigenous art as a form of social action. Firstly, it discusses the value of such art projects, and presents an Indigenous perspective of their meaning, addresses their role in creating and embodying culture and identity, how they express and share culture, along with collaborative approaches, and the importance of learning on and from Country. It concludes with a discussion of the political and cultural meaning created through art, suggesting that it is impossible for a public artwork like Honouring Land Connections to not be political. This article explores how art facilitates an interactive social space through which Aboriginal artists affirm, negotiate and share their identities while challenging preconceptions of place and identities reminding us that Aboriginal presence outlasts the moment of its production and imprints itself on the landscape and people's consciousness. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

Индонезийский текстиль тема неисчерпаемая. Кроме тканей для одежды и предметов быта индонезийцы делают и картины на хлопке и шелке. Батик ткани ручной работы, в которых сплелись узоры тринадцати тысяч островов удивительной страны Индонезии. Уникальная коллекция батиков, начало которой было положено более 10 лет назад, неоднократно демонстрировалась на выставках в КомсомольскенаАмуре, Хабаровске, Владивостоке, Артеме и стала основой постоянно действующего проекта Индонезия любовь моя в галерее современного искусства Метаморфоза в КомсомольскенаАмуре с лекциями и видеобеседами. Этот проект посвящен уникальному этническому искусству жителей индонезийских островов.

A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay deals critically with the notion of the 'global art world', showing that there may instead be numerous self-centred and ethnocentric art worlds, while also critically engaging with inequalities that persist within and across these art worlds and markets. In this respect it also deals with the work of the Iranian artist Aria Vooria, based in Vienna, and his struggle to escape streotypizations across different art worlds.

The article apply Japanese American theologian Fumitaka Matsuoka's holy amphiboly to the struggle of Japanese. It discusses how history of Japanese Americans is ambiguous. It explores instances of silent ambiguity and hope to articulate some of the complicated messages of Japanese Americans who have survived times.

Dhiyan or Dehan is the name of language spoken by Koch-Rajbangshi people of Barak Valley. Dhiyan is mainly spoken in ten villages in the Eastern part of Barak river namely Horinagar, Japirbon, Leburbon, Gororbon, Dewan (Labok) or Dewan Bosti, Narayanpur, Larchingpar, Thaligram, Lakkhichora, and Digli. Ethnically, they are Mongoloids and their language may fall under the Indo-Aryan sub-group of the Indo-European language family, nevertheless no study has been made to prove their classification. The total population of Dhiyan speaking Koch-Rajbangshi in Barak valley is estimated about 5000 in approximate. The present paper is an attempt to describe the phonemic inventory of the language in terms of number of vowels, consonants and diphthongs including their distribution and arrangement in the language. The study will also investigate whether Dhiyan exhibits the phonological features of Indo-Aryan languages or not? [ABSTRACT FROM AUTHOR]

This article analyzes the relationship between the growth of large Australian Aboriginal art fairs and shifts in the fine art market and state policies; audience and art insiders' experiences; and the implications of art fair participation for artists and art centers. In contrast to the traditional gallery model, the art fairs draw buyers and artists together in regional centers, along with families, managers, curators, commentators, administrators, and politicians. Using the assemblages concept, we analyze the emergence of a new engagement that prioritizes social, cultural, and interpersonal aspects of art making and where buyers consume “relational goods” linked to their purchasing context. [ABSTRACT FROM AUTHOR]

The Burke Museum exhibit,Mountain Patterns: The Survival of Nuosu Culture in Chinadisplayed several pieces of ethnic art originally designed by the Nuosu, an indigenous group in Liangshan, China. Through an analysis of the reflective narratives published by the exhibit curators, the artifacts used to represent the Nuosu, and visitor responses to the exhibit, this essay suggests that doing representational work in comparative rhetoric often entails borrowing from the methodologies and practices of social scientists to attend to the ethics of speaking for and about the other. [ABSTRACT FROM AUTHOR]

In the study the researchers tried to cover up the present scenario of ethnicwear market in India and the consumer behaviourism. Thirty-one variables were selected from the study of (Gurunathan & Krishnakumar, 2013) . 10 variables were taken on consumer characteristics, 3 variables on promotional techniques of the brand, 5 on influence of reference group, 5 on product attributes and 8 on store attributes were chosen from the study and Five point Likert Scale for opinion and responses. Exploratory factor analysis was run to understand the consumer buying styles in ethnicwear market and to identify the important indicators behind the purchase decision. Ten components or ten distinct types of customers were extracted through Varimax method and rotated component matrix namely Rational Purchasers, Influenced Shoppers, Quality Gift Purchasers, Promotion Driven Customers, Unplanned Purchasers, Passionate Consumers, Planned Purchasers, Customers looking for Card Facilities, Customers having Brand Knowledge and Brand Aware Customers. Four indicators on the basis of highest factor loading extracted from exploratory factor analysis were chosen for cluster analysis namely parking facilities, brand consciousness, preferences of parents and advertisement. Cluster analysis was done first by hierarchical method to deduce number of clusters which can be formed, and then the data was further processed through Ward Method in K-Means Cluster Method. Four distinct and differentiating segment namely emotional, rational, value driven and traditional modern were concluded with discrete characteristics. [ABSTRACT FROM AUTHOR]

Kayori is someone's or group's statement expressed civilly in a particular time, so that the messages delivered are easily internalized and understood to nod in agreement. This research intends to identify form, function, and meaning contained in kayori traditional art of Taa society. This research employed qualitative method with a cultural approach. The results of this study portray that kayori performance periodically held is an introduction media in increasing public awareness. Kayori, embracing aesthetic values, functions to diffuse moral and aesthetic aspects to the society. Education in kayori tradition follows the regeneration process in to society orientating towards the new roles for young generation to maintain their cultural heritages. Kayori tradition implies valuable meaning of life and provides chance in understanding historical cultural heritages in tackling down recent issues in Taa society. [ABSTRACT FROM AUTHOR]

Lake Khövsgöl in northern Mongolia is known by two names: Khövsgöl and Kosogol. This paper reviews the origins of these names and their extralinguistic context. Although both names are of Turkic origin, they illustrate the evolution of the local ethnic and linguistic situation. [ABSTRACT FROM AUTHOR]

Copyright of Pedagogy Studies / Pedagogika is the property of Vytautas Magnus 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.)

The polity of Hueda is well known for its rapid appearance on the world stage in the mid-seventeenth century and its spectacular collapse in 1727. Given its central role as a point of trade for captives bound for the Americas, the historiography of the Atlantic world records various glosses of ‘Hueda’ as ethnonyms for both the Gbe-speaking captives embarking from the coast, as well as those living within the political bounds of the polity. This paper investigates the diverse collection of ideas, people and traditions contained within Hueda. It argues that addressing the political processes behind the ties binding members of the polity offers a way of moving beyond static portrayals of Hueda as an internally coherent ethnic designation. In support of this fluid and negotiated view of Hueda, as a polity and identity, it addresses the role that religious ceremonies and related small shrines and monuments played in creating connections between people, places and deities. [ABSTRACT FROM PUBLISHER]

An interview with artist Tom GreyEyes in Arizona is presented. He shares his creative practices and his guide in making art. GreyEyes discusses the role of his language, nation, and community in his works and his thoughts about Indigenous aesthetics. He explains the importance of self-representation in Indigenous art and the responsibilities that Indigenous artists carry in their work.

An interview with artist Tania Willard in Canada is presented. She discusses the art exhibition "Beat Nation," which focuses on hip hop as Indigenous culture. Willard explains what makes Indigenous art political and the concept of Indigenous aesthetics. She also reveals the responsibilities that Indigenous artists carry in their work and practices that make them different.