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Challenges for artists in performing and visual arts : a critical appraisal of their impact to South African tourism industryThusi, Nhlanhla Brian January 2005 (has links)
A thesis submitted in fulfillment for the requirements of the degree of Doctor of phisophy in the Faculty of Arts, in the Department of IsiZulu naMagugu at the University of Zululand, South Africa, 2005. / This study will be focusing on visual and performance artists. It is the plight of artists
that they work hard in their artistic disciplines, but do not benefit to the equivalence of
their efforts. There are many reasons for this. Crafters are dependent on a sound
tourists industry. The study will be looking at some of the reasons and concems then
try to provide what could be some answers and solutions. Art is generally thought of as the development of performance skills and or craft
manufacturing within a small minority of youth or community performers, usually
selected on the basis of talent and motivation. The research leading to this study has
been to a large extent, motivated by the need for a more comprehensive and holistic
concept This will lend itselfto a fuller exploitation and will have potential for assisting
larger numbers of artists to achieve a wide range of educational outcomes in art
administration, instrument manufacturing, actual artistic performance and craft
production.
A large number of arts practitioners internationally feel that understanding a country
occurs through its arts and culture. The arts of any country is actually the mirror of
the country. This study will look at the arts of South Africa and the impact it has on
the proudly SouthAfricans and the tourism industry at large.This study will have two primary purposes:
a. to make justification for artists (visual and performance) and, b: to suggest ways in which artists can more prominently and profitably feature in
the tourism industry and their sustainability as artists and proud members of
South African communities. It is important to note that South African artists
exist in highly diverse communities which are influenced by many factors such
as:
• heritage
• cultural fabric
• ethnic identity
• experiences
• different beliefs and convictions
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Representations of blackness in post-1994 black-centred films: an analysis of Conversations on a Sunday afternoon (2005), When we were black (2007) and State violence (2011)Shabangu, Lorraine 28 January 2016 (has links)
A thesis submitted to the Faculty of Humanities, University of the Witwatersrand,
Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in
African Languages.
Wits University, Johannesburg, 2015 / This report interrogates the representation of blackness in post-1994 black-centred films in South Africa. With a particular focus on Khalo Matabane’s films, I analyse Conversations on a Sunday Afternoon (2005), When We Were Black (2007) and State of Violence (2011) across a spectrum of themes. I also interrogate and introduce several critical concepts such as ‘blackness’, ‘the image of blackness’, ‘black identity’, ‘masculinity’, ‘femininity’, ‘the Gaze’ and ‘Otherness’. These concepts are interlinked in ways that bring about an understanding of the concept of black-centred films, which is central to the research report. Amidst the different interpretations of black-centred films, the vantage point from which the concept is used is interested in black-centred films as films that are made by a black filmmaker, whose content addresses issues of blackness and is targeted at a black audience. However, these three factors need not always resonate in a single film in order for it to be considered and analysed as a black-centred film. The lens through which Matabane holds the camera questions his representation of the black image and whether it is from an insider or outsider’s perspective. The view from which Matabane holds the camera is important in establishing whether he has purported to represent historically stereotypical images of blackness, or whether his endeavours in filmmaking are occupied by the relentless pursuit to present new images of blackness.
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Parintins cidade ritual: boi-bumbá, performance e espetacularidadeBiriba, Ricardo Barreto 16 December 2006 (has links)
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Tese Ricardo Barreto Biriba - Parintins cidade Ritual.pdf: 37463798 bytes, checksum: b02b1996a9a02756f1870257f5081d43 (MD5) / Parintins CIDADE RITUAL: BOI-BUMBÁ PERFORMANCE E
ESPETACULARIDADE, concentrado na linha temática Matrizes Culturais na
Cena Contemporânea do Curso de Doutorado do Programa de Pós Graduação
em Artes Cênicas da Escola de Teatro e Escola de Dança da Universidade
Federal da Bahia trata dos processos de transformação ocorridos nos Bois-
Bumbás de Parintins, Amazonas. Estes Grupos incorporaram novas tecnologias
desenvolvidas por artistas locais, como recursos cênicos para as suas
apresentações, que foram intensificadas com a criação do Festival Folclórico no
ano de 1965.
Situado na investigação de questões relativas a estudos etnocenológicos sobre a
linguagem cênica dos Bois-Bumbás Garantido e Caprichoso enquanto fenômenos
da cultura amazônica; discute a transculturação, a performance e o ritual
enquanto processos dialógicos, entre os valores culturais locais, o imaginário
indígena e as novas tecnologias na cena espetacular do Festival Folclórico de
Parintins, e, como este interfere na construção da identidade cultural parintinense;
contribui para estudos das formas cênicas, métodos e processos criativos de
manifestações da cultura brasileira com perfil étnico.
Este trabalho traz também para o âmbito acadêmico das artes, estudos a partir de
análises dos métodos e dos processos criativos e das linguagens que compõem
as cenas dessas manifestações com foco de atenção situado na condição de um
espetáculo-ritual-performático e suas relações que se estabelecem entre o artista,
a obra de arte e o público. / Parintins Ritual City: Boi-bumbá, Perfomance and Spectacularity concentrated on the themattic line culltural matrixes on the
comtemporary scene of the doctorate cource for the Post Graduation Program in
Scenic Arts at the Theater School and Dance School at Bahia Federal University
deals with the processes of transformation occurred on the Bois-Bumbás of
Parintins, Amazon. These groups have incorporated new technologies developed
by local artists, as scenic resources to their presentations, that were intensified
with the creation of the Folk Festival in 1965.
Situated in the investigation of issues related to ethnocenological studies about the
scenic language for Bois-Bumbás Garantido and Caprichoso as Amazonic culture
phenomena. It discusses the transcultural and transformation processes,
performance and ritual, as dialogic processes, among the local cultural values, the
indian imaginary and the new technologies on the spectacular scene of the
Parintins Folk Festival and as it interferes on the Parintinian cultural identity
construction. It contributes to the studies of the scenic forms, methods and
creative processes of manifestations with the ethnical profile of the Brazilian
Culture.
This work also brings to the arts academic extent studies starting from the analysis
of the methods and creative processes and of styles that compose the scenes of
the manifestation focusing on the condition of the performing ritual spectacle and
its relations that are established among the artist, the work of art and the public.
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