The Composer/performer tradition, restoring an old tradition
(2014)
author(s): Joao Carlos Ferreira de Miranda Santos
published in: Research Catalogue
This research focuses on bringing bak the the viewpoint of the composer back into a performer's work
Two Ways of Seeing: Looking to Recognise or Looking to Unkowing
(2014)
author(s): Christopher Hollins
published in: Research Catalogue
A short essay outlining the founding principle of modern art as a search for an inherent way of sensing that once allowed us to look at objects and events without learned understanding.
Folk Music and Classical Western Music
(2014)
author(s): Aktas Fatih Erdogan
published in: Research Catalogue
What is the relation between Folk Music and Classical Western Music? How does classical composers get feedback from folk music? How do they use that feedback in their composition?
Autenticitet
(2014)
author(s): Héctor García-Jorquera
published in: Research Catalogue
Kanske är autenticitet som ett verktyg för att skapa situationer där människor kan mötas. Detta i motsats till det utbredda sociala paradigmet kring den relationella köp-säljmodellen. På grund av att köp-säljmodellen står som ett självklart paradigm så möts vi inte längre som människor. Då menar jag att kommersialismen hat tagit över en stor del av de mänskliga relationerna. Är det så att själva meningen med att existera nästan har raderats? Detta är ett klart resultat av kolonialismen, men inte bara i relation till nord-sydkonflikten utan även att kolonialismen som diskurs och praktik finns som en del av grunden i alla våra patriarkala referenser sen mer än 3000 år tillbaka (läs antika Grekland, Rom, Persian, Indien). Med detta vill jag säga att också den vanligaste praktiken i barbarernas tider just var att radera alla referenser till andra sätt att förstå våra relationer. De har bränt och förstört spåren till ”den andre”.
Autenticitet i Det Offentliga Rummet
(2014)
author(s): Héctor García-Jorquera
published in: Research Catalogue
The name of my master thesis project is Authenticity and The Public Space, the paradox between them. I need to create a new contextualization for my aesthetic practice, and to incorporate critical views, questioning both the format and the scenic heritage of the West.
The role of spirituality in art education
(2014)
author(s): Syed Gowhar Andrabi
published in: Research Catalogue
Spirituality reigns supreme in art. Known as the driving force of art, spirituality is art's expressive vehicle as well as a special voice. Human history of arts has never been devoid of spiritual content; artists studied the relationship between art and the spirit for decades. However, during the nineteenth century, technological advancements temporarily eclipsed this relation. Thanks to the radical changes in the progress of arts, spirituality in art resurfaced again (Efland 1990). With the material advances falling short of human expectations in understanding the reality of self, 'arts began once again to be proclaimed as important sources of spiritual insight necessary for the welfare of society' (Efland 1990, p. 51). In view of this, many questions started to gain momentum in academic circles. Such as, when and how does spirituality manifest in art? Is spirituality in art and art education purely a religious concern? Is there a spiritual impetus that fosters creativity? While trying to explain these questions, researchers confronted a few more enquiries of equal importance. For example, what is the connection between spiritual and art education and why has this branch of art (spiritual in art education) received less attention in academic literature and art rooms (London 2007)?
This study aims to shed some light on these questions and following on the findings, analyse (a) the role of spirituality in art and art education; and (b) how an artist-teacher can deal with the issues of spirituality in art making and classroom practices? For clarity, the essay initially focuses on spirituality, its position among children and art education. Next follows an investigation of the role of artist-teacher in nurturing the spirituality of children through art, including a brief account of my art practice. Finally, conclusions are drawn about my understanding of spirituality and the learning experiences of my students in the light of the aforementioned questions.