A key reason for the need for a national management plan for Australian cave art is that the fifty-four known sites occur on the traditional lands of several different language groups; and they are found on private land, public land and land dedicated to the production of pine trees, but under different management systems and in different states. This complex mosaic of management structures is not conducive to the uniform preservation of cave art. A few sites are already subject to existing management practices, but most are not. Since all face the same preservation issues, they need to be subjected to uniform effective protection and conservation regimes. The key variables for this to be achieved are listed and elucidated, and it is noted that not one of the sites is suitable for tourism. Human visitation of the caves is considered the greatest threat to the conservation of rock art found in them. However, it is recommended to consider the establishment of cave art facsimiles, which have proved extraordinarily successful in France and Spain. The management plan proposed here recommends the creation of an entity responsible for the perpetual preservation of all Australian cave art sites.
艺术类中等职业教育是现代职业教育体系的重要组成部分.内蒙古地区的艺术类中等职业教育是培养高水平艺术人才、传承发展优秀传统文化的基地,肩负着促进文化认同、推动民族团结的重要使命;多年来培养了大批优秀专业人才,为内蒙古地区文化事业的发展作出了重要贡献;与此同时,在长期发展过程中也逐步累积沉淀了不少问题,办学面临瓶颈甚至困境.当下,只有加强顶层设计,明确办学定位,注重内涵发展,纵向延伸、横向拓展、德艺并举、特色立校,内蒙古地区的艺术类中等职业教育才能跟上自治区艺术教育、职业教育高质量发展的步伐,才能充分发挥其在全面建设社会主义现代化国家、加快建设教育强国、文化强国历史进程中的重要作用.
岭南舞蹈作为区域文化的典型代表,对我国民族舞蹈和民族文化的发展具有重要意义,因此,关注岭南舞蹈的学术理论研究和舞蹈艺术实践也日益增多.本文将岭南舞蹈作为梳理、分析、归纳、综述的对象,汇总、梳理相关的文献文本,对岭南舞蹈的概念界定和文化溯源等问题进行简述;结合已有的艺术实践成果,对岭南区域的舞蹈创作、舞蹈教学、研讨平台的发展现状进行综述.文章旨在通过厘清岭南舞蹈的历史传统、分析岭南舞蹈的当代实践,为岭南舞蹈的未来走向,提供科学经验和可行思路.
河湟地区,指位于黄河、湟水流域间之三角地带,今青海省东部,从古至今均是华夏版图上中西陆路交通的中心与枢纽,与周边地区皆有交通路线相连,其北达河西走廊、东接中原、西连西域、南下蜀藏,是古代东西方使者、商旅、僧侣往来的必经之地,在中西方政治、经济和文化的交流中担有重任.本文将多民族服饰文化交流置于河湟地区的历史进程中和地域性整体文化的语境中予以考量,以具体的服饰事项的移动与族群迁徙的路线作为多点的线索追踪,阐释服饰文化现象如何借助文化互动而最终完成了河湟地区文化空间中的共时性建构的,以探求不同质文化在区域空间互相交流与融合、创新和发展的规律.
历史学、艺术学等方法相融合的研究认为,福建福州长乐区"塔骨"的整体身型构造保留着扮傩表演的基本特征.从形象打造上注重雕刻面具(头筒)在游神仪式中的象征符号,在身架上贴合了表演艺阵的动作范式,从而在动静结合中引发民众的崇拜幻想,进而移情于祈愿的神祇,发挥类似于古傩"保障境内平安"的仪式功能.当前,游神仪式淡化了宗教的神圣感,仪式表达的意象通过艺术符号得以全方位构建,其中凝结的非遗元素成为了乡民返祖、追溯传统的承袭基因,"大神尪"手工制作技艺也适应了从个性化到程序化的转变,在规范中推广了民俗,富有可转化可创新的艺术表演因子.
