中国文化演出业国际化机遇、挑战与战略选择

后危机时代的中国文化演出业国际化面临重要的发展机遇,具体表现在产业结构调整、经济发展方式转变、演出市场扩大、政策扶持加强、走出去战略深化等推动中国文化演出业的国际化步伐。然而在此过程中,我们也需要迎接来自观念、创新、经营、机制等诸多方面的挑战。只有把握机遇,面对挑战,在战略制定、市场定位、项目创新、营销推广等层面进行大胆实践,我国才能推动文化演出业国际化的跨越式发展。     

中国传统文化的艺术之光——剪纸艺术

剪纸是源于我国普通劳动人民闲暇创作的艺术文化。其紧扣日常生活,体现人民大众的追求向往,折射普通大众的精神需求。不以具象为限制,追求夸张的形似手法,彰显艺人内心所想,是中国传统文化瑰宝之一。     

古希腊建筑装饰艺术在现代人居环境中的应用

古希腊艺术代表着人类童年时期的优秀成果,其永久魅力与其未成熟的社会条件密切相关。为了更好地揭示、诠释、汲取古希腊艺术的真谛,创造更美的现代人的生活乐园,文章从装饰题材,多元性材料技术、艺术风格三个方面,探究了古希腊建筑装饰艺术及其在现代人居环境中的应用。     

我院武术课开展太极功夫扇教学的可行性分析

本文根据我院实际情况,结合学校专业特色,女生人数较多,女性身体的特殊性。太极功夫扇进入我院武术课堂教学在传承中华武术文化,迎合女大学生的学习需求,促进武术课教学质量,实现武术课教学目标等方面进行分析,阐明太极功夫扇进入我院武术课堂教学的可行性和必要性。     

当代大众文化批判与发展中国书法艺术

当代大众文化有力支配人们精神世界,呈现感官享乐和低俗化倾向,其消极影响不可忽视。因而需要发展精英文化。中国书法艺术是民族精英艺术,发展书法艺术,提升民族精神质量,是现代书法艺术的历史使命和发展方向。     

Writing on the Wall: Street Art in Graffiti‐free Singapore

The legalization of graffiti in many cities has impacted urban landscapes and the way artists and the public view graffiti, street art and the city as well. This article considers the genesis, process and consequences of legal walls programmes firstly by introducing and differentiating the key terms ‘graffiti’, ‘street art’ and ‘legal walls’, then by examining an empirical case, that of Singapore. Renowned as a graffiti‐averse and litter‐free city, Singapore's recent about‐turn in legalizing illicit art forms illustrates changing government perspectives on creativity and legality in the country. Why the government has effected this change, how artists and members of the public have responded to it and the resultant art forms are critically explored. The conclusion reflects on four key lessons from Singapore for cities in general.     

艺术类实验的特征及其实验室建设定位

艺术类实验有别于理工科实验:实验要求不求量化,实验过程不求统一,实验评价不求标准,因此就要求学校在实验室建设中做到以下几点,整合共享实验室,注重实验教学方法,优化实验教学内容,注重实践基地建设,重视个性发展,变封闭型为开放型。只有明确了实验的特征与实验室建设的定位,才能培养出个性鲜明的艺术人才。     

Creative Mediations of the City: Contemporary Public Art as Compass of Metro Manila's Urban Conditions

In this article, public art is proposed as creative agency mobilized to form urban imaginaries. These alternate visions are largely facilitated by artists and art collectives using urban communities as performative grounds. These projects promote a view of art as an effective channel for ‘recentering’ — the identification of a multitude of centers that endlessly fracture and shift, very much resembling the nature of cities themselves. An alternate vision of the city through cartography informed by contrast, temporality and ephemerality is proposed alongside dominant representations of the city. Works by artists Alma Quinto, Mark Salvatus and Wire Tuazon are representative examples of such strategies. Diverse in tactics and platforms, defined by site‐specific mediations, the projects facilitated by these artists reveal the uneven conditions that beset Metro Manila and its outlying areas. Quinto's altered Urban Plan/Duyan is the result of her engagement with women in an informal settler community in San Andres Bukid, Manila, while Salvatus's web‐based Neo‐Urban Planner is an astute observation of the obsessive yet futile ordering of people and space by the state. Tuazon's Amphibian installation is a commentary on the encroachment of multinational interests in local communities. These interventions are foils to state‐ and private‐led urban development schemes. Their strength lies in their direct engagement with the sphere of public dialogue and self‐determination. These artistic practices and strategies are shaped by community interaction, revealing that meanings residing in urban forms are relentlessly negotiated by the numerous actors that inhabit the city.     

艺术类高校质量监控体系存在的问题及对策研究

本文从艺术类高校质量监控的传统形式出发,分析了当前艺术类高校教学质量监控体系存在的问题,并根据艺术类学校的特点,针对艺术类院校教学监控体系中存在的问题提出了对策。