IF 0.5

Arts Pub Date : 2026-08-06 DOI: 10.3390/arts15080182

Stanislav Zadnikov

{"title":"Glass Beads from Burial and Household Contexts of the Bilsk Hillfort in the Dnipro Forest-Steppe (Late 7th to 4th Century BC)","authors":"Stanislav Zadnikov","doi":"10.3390/arts15080182","DOIUrl":"https://doi.org/10.3390/arts15080182","url":null,"abstract":"Bilsk hillfort (or gorodishche in Ukrainian) is the largest fortified settlement of the Early Iron Age in Eastern Europe. Long-term excavations made it possible to determine that it was a powerful industrial, political, religious, and trade center of the forest-steppe populations. Thanks to trade relations with the ancient cities of the Northern Black Sea region, wine in amphorae, ceremonial tableware, and glassware came to the settlement. The latter were mainly represented by beads of various shapes and ornaments. In this article, for the first time, 61 unique (or 135, taking similar ones into account) glass beads found during the excavations at the Bilsk hillfort are analyzed. To establish their chronology and the assortment of receipts in the different periods of the settlement’s existence, only beads from burials and various economic complexes with reliable dating were considered. It was established that glass beads reached the Bilsk settlement through Greek-mediated exchange networks from the last quarter of the 7th century BC. Their arrival continued continuously until the end of the 4th century BC, that is, during the entire Scythian period of the fortified settlement’s existence. The beads most likely reached Bilsk through exchange networks linking the settlement with the Greek cities of the Northern Black Sea region. Three overland routes may have been involved: the Olbian, Muravsky and Chersonesan routes. Evidence from Greek ceramics and other Mediterranean or Olbian imports suggests that the Olbian route was probably the dominant channel.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"10 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148698828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Missed Opportunities: Restitution and Relational Ethics 错失的机会：赔偿和关系伦理

IF 0.5

Arts Pub Date : 2026-07-21 DOI: 10.3390/arts15070167

Reilly Clark

{"title":"Missed Opportunities: Restitution and Relational Ethics","authors":"Reilly Clark","doi":"10.3390/arts15070167","DOIUrl":"https://doi.org/10.3390/arts15070167","url":null,"abstract":"The return of African cultural objects represents an opportunity to practice what Felwine Sarr and Bénédicte Savoy call “a new relational ethics.” Oftentimes, repatriation begins and ends with the literal return of physical objects. This does little to address legacies of colonial theft, value extraction, and epistemicide. It can also reinscribe the power of Western interpretive frameworks and reproduce Western patterns of state power by returning objects to Western-style institutions within postcolonial nation-states. This essay considers the return of the Benin bronzes as a case study for these missed opportunities and alternative paths forward. It follows the various and sometimes competing means by which Benin bronzes came “home:” whether to the postcolonial nation of Nigeria, to the Oba of Benin himself, or to the controversial public-private partnership known as the Museum of West African Art (MOWAA). This essay considers how these various means of return, and these various meanings of “home,” can work against one another and can be co-opted as neoliberal and neocolonial forms of control. The essay also explores alternative paths forward through the framework of relational ethics. Sarr and Savoy first applied the phrase to the return of African cultural objects in their 2018 report. This essay expands on Sarr and Savoy’s report and builds from Native American and Indigenous scholars like Margaret Kovach and Linda Tuhiwai Smith, who identify opportunities to remake relations as a means of restitution. This includes remaking relations between indigenous communities, Western institutions, and postcolonial nation-states. It also includes remaking relations between human beings and the more-than-human world, including spirits of the ancestors, outside the systems of Western knowledge and value production.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"157 1","pages":"167"},"PeriodicalIF":0.5,"publicationDate":"2026-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148552779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Fragile Edges: Dance as a Provocation for Human-ness 脆弱的边缘：舞蹈对人性的挑衅

IF 0.5

Arts Pub Date : 2026-07-21 DOI: 10.3390/arts15070166

Adesola Akinleye

{"title":"Fragile Edges: Dance as a Provocation for Human-ness","authors":"Adesola Akinleye","doi":"10.3390/arts15070166","DOIUrl":"https://doi.org/10.3390/arts15070166","url":null,"abstract":"This paper reflects on what dance reveals about the notion of “human-ness” at a time when globalization could be understood as defining humanity in terms of bound, isolated bodies that generate capital, are fixed by borders, and recognized through surveillance. Rather than treating humans as a bounded interior essence of a bodied-self, I suggest it emerges at the edge, where sense of self meets otherness. I suggest dance offers conversation at the periphery of self, where perceived othernesses are met (floor, music, another dancer). In dancing, the self becomes most discernible at points of encounter with texture, rhythm, and trajectory. Human-ness, then, is not form/possession but relational. Drawing on Sylvia Wynter’s critique of the colonial figure of “Man,” within the notion of ‘human’, and Timothy Morton’s concepts of hyperobjects and ecological entanglement, which challenge bounded scales of human perception, I position dance as a practice that unsettles narrow categories of the human. I discuss dance as a method to unearth epistemologies of the edge, articulating humanness as intra-active and ecological, constituted through relation rather than containment. In this framing, the edge of globalization reveals an urgent fragility and the hopeful possibility of other genres of being human: relational, porous, and responding to ecological and historical entanglements. I suggest that dance as a method of moving together discloses an opportunity to reevaluate humanness and consider a definition of ‘to be human’ that is an action and an ever-emerging practice of being in relation.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"68 1","pages":"166"},"PeriodicalIF":0.5,"publicationDate":"2026-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148564992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Rear-View Mirror: Matthew Bourne’s Swan Lake as a Historiographical Uncloseting of Tchaikovsky’s Queer Archive 后视镜：马修·伯恩的天鹅湖作为柴可夫斯基同性恋档案的历史编纂

IF 0.5

Arts Pub Date : 2026-07-21 DOI: 10.3390/arts15070168

Claudian Ciprian Șiman

{"title":"The Rear-View Mirror: Matthew Bourne’s Swan Lake as a Historiographical Uncloseting of Tchaikovsky’s Queer Archive","authors":"Claudian Ciprian Șiman","doi":"10.3390/arts15070168","DOIUrl":"https://doi.org/10.3390/arts15070168","url":null,"abstract":"This article reads Matthew Bourne’s Swan Lake (1995) not merely as a refunctionalisation of the classical ballet, but as a historiographical instrument that excavates the queer tensions latent in the Romantic-era ballet. Its premise is that Tchaikovsky’s score and the original libretto (1877/1895) already contain the fissures of non-normative desire, sublimated by imperial censorship and the aesthetic conventions of the period. The theoretical framework mobilizes Nick Salvato’s concept of uncloseting, Judith Butler’s account of gender performativity, and a Freudian reading of melancholia. This conceptual map is then applied to Bourne’s choreography to show how his production reactivates the repressed archive through male bodies. Three principal axes structure the analysis: the deconstruction of the swan archetype, the Oedipal function of the Queen-Mother as repressive Super-Ego, and the reinterpretation of the Prince’s melancholia as the symptom of a structural impossibility. On the basis of these elements, the article proposes the concept of historiographical uncloseting, defined as a mode in which performance operates as embodied historical research, reactivating affective archives inaccessible through textual sources alone. Bourne’s Swan Lake thus becomes a critical instrument for re-reading the queer dimensions of the archive of Romantic ballet.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"5 1","pages":"168"},"PeriodicalIF":0.5,"publicationDate":"2026-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148565007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Reusing Kurgans in the Western Scythian World 西斯基泰世界的库尔干人再利用

IF 0.5

Arts Pub Date : 2026-07-20 DOI: 10.3390/arts15070165

Joanna Porucznik

{"title":"Reusing Kurgans in the Western Scythian World","authors":"Joanna Porucznik","doi":"10.3390/arts15070165","DOIUrl":"https://doi.org/10.3390/arts15070165","url":null,"abstract":"Kurgans in the Northern Black Sea region have long been treated as monuments “frozen” in their Scythian moment, yet excavation records show repeated re-engagement over much longer timescales. This article argues that kurgan reuse in the Western Scythian world is best understood not as a single behaviour, but as a bundle of practices with different archaeological signatures and social implications. Rather than offering an exhaustive catalogue, the study develops a methodological framework based on selected published case studies. It proposes a three-part typology: (1) intrusive mortuary reuse, that is, later secondary or inserted burials placed within earlier mounds; (2) associative reuse, including landscape appropriation, in which older barrows structured later funerary space through clustering, demarcation, visibility, and spatial reference; and (3) reuse through reopening, including shafts, tunnels, selective removal, and the manipulation of human remains. The article applies this framework to evidence from Scythian, Sarmatian, Greek, and early medieval/medieval contexts, with particular attention to Sarmatian intrusive burials in earlier barrows, the structured reuse of older kurgans in the Molochna basin, reopening and looting in Scythian and Sarmatian mounds, and the cross-cultural case of Koshary in the Olbian chora. The discussion situates these practices within mortuary archaeology, social memory, and the politics of the past, and argues that older kurgans could function not only as burial places, but also as mnemonic anchors, territorial markers, and targets of symbolic aggression.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"2 1","pages":"165"},"PeriodicalIF":0.5,"publicationDate":"2026-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148564993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Semiotic Tekhnē of Poetic Choreography: The Case of Valentin Parnakh 诗歌编舞的符号学特征：以瓦伦丁·帕纳赫为例

IF 0.5

Arts Pub Date : 2026-07-16 DOI: 10.3390/arts15070163

Marina V. Akimova

{"title":"The Semiotic Tekhnē of Poetic Choreography: The Case of Valentin Parnakh","authors":"Marina V. Akimova","doi":"10.3390/arts15070163","DOIUrl":"https://doi.org/10.3390/arts15070163","url":null,"abstract":"Valentin Yakovlevich Parnakh (1891–1951)—poet, dancer, translator, critic, and indefatigable mediator between artistic milieux—developed idiosyncratic avant-garde poetics in which verbal texture, choreographic invention, and graphic inscription form a single communicative ecology. Focusing on Parnakh’s Parisian collection The Acrobat Climbs (Karabkaetsya acrobat) (1922), this article reconstructs how “low” temporal arts (cabaret, music hall, circus, pantomime) and the modernist revaluation of the body reoriented lyric practice away from a representational “image” toward a performative event and a kinetic sign. The argument proceeds from Parnakh’s struggle “to free oneself from the burden of the word” to the compensatory emergence of dance as an international, non-nationalized medium—at once existential (a “cry of the soul”) and formally experimental. Central attention is given to the author’s attempts to fix movement: the enigmatic “hieroglyphs of dances” printed in 1922 and their later clarification through more legible pictographic systems (“stick-figures”) published in the second half of the 1920s. By correlating poems, self-descriptions of choreography, and visual materials, this study reframes Parnakh’s apparent “obscurity” not as gratuitous zaum, but as a deliberately intermedial hermeneutic problem—one that presupposes translation between sign systems (word/line/body) as the very substance of avant-garde meaning.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"349 1","pages":"163"},"PeriodicalIF":0.5,"publicationDate":"2026-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148499106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Looking into the Mirror: Affective Dance Objects in the Performances of Indian Dancer Ram Gopal 照镜子：印度舞蹈家Ram Gopal表演中的情感舞蹈对象

IF 0.5

Arts Pub Date : 2026-07-14 DOI: 10.3390/arts15070162

Ann R. David

{"title":"Looking into the Mirror: Affective Dance Objects in the Performances of Indian Dancer Ram Gopal","authors":"Ann R. David","doi":"10.3390/arts15070162","DOIUrl":"https://doi.org/10.3390/arts15070162","url":null,"abstract":"The article begins with a detailed description of a brief and rare film clip of Indian dancer Ram Gopal applying his black kājal eyeliner in front of the mirror in his dressing room before a performance, giving us an intimate glimpse into a dancer’s essential and careful preparation. Material objects related to dance performance such as make-up, mirrors and costumes are often essential to the presentation of Indian dance, especially in that historical period, but are often overlooked as significant artefacts or objects of dance. In considering this short clip of preparatory make-up, I argue how the materiality of cosmetic stage make-up together with dramatic stage costumes (in particular headdresses) and other material objects assist the process of alteration from dancer into a Hindu deity (Śiva) or mythological character on stage. I examine the process of making up, asking how it might manipulate what comes to be seen on stage and what affect is created through such a process. This article takes an imaginative look at the affective register of selected dance objects and their power to create transformation, drawing on theoretical evidence from philosophy and psychology relating to mirror image and the aesthetics of making up and the use of mirrors in early Indian art.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"51 1","pages":"162"},"PeriodicalIF":0.5,"publicationDate":"2026-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148499194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“A Nursery of Technique,” the Laboratory in the Socio-Cultural Context of the 1920s–1930s: Between Practice and Metaphor “技术的苗圃”，20世纪20 - 30年代社会文化背景下的实验室：在实践与隐喻之间

IF 0.5

Arts Pub Date : 2026-07-08 DOI: 10.3390/arts15070161

Elena Penskaya

{"title":"“A Nursery of Technique,” the Laboratory in the Socio-Cultural Context of the 1920s–1930s: Between Practice and Metaphor","authors":"Elena Penskaya","doi":"10.3390/arts15070161","DOIUrl":"https://doi.org/10.3390/arts15070161","url":null,"abstract":"This article analyzes the laboratory discourse in Soviet society during the first third of the twentieth century through the lens of tékhnē—the ancient fusion of making and knowing—arguing that the laboratory became a key site for redefining artistic practice as a form of knowledge production. Drawing on the institutional critique of the laboratory (Bruno Latour), the author raises the question of the potential for mutual influence between different types of laboratories established in the fields of art, technical sciences, and production. The mechanisms of a laboratory’s influence on society, as identified by Latour, allow for a new interpretation of the phenomenology of the All-Russian Theatre Society and its significant internal divisions. The history of the emergence and defeat of the Laboratory of Mass Psychology at the All-Russian Theatre Society (ARTS) in the 1920s–1930s is reconstructed on the basis of archival materials from RGALI (fund 970). Meeting minutes and documents from 1929 to 1932 reveal the main modes of the anthropology of the “laboratory genre” within the ARTS system (1920s–1980s). These are examined within the general experimental context of the era: the laboratory boom of the 1920s–1930s reshaped the boundaries between the natural sciences and the humanities. The second mode is the human experience of being on the threshold between life and death—a transgressive state. The third mode is the laboratory as a site for new forms of labor and technology. Within the laboratory’s work, psychotechnics acquired particular significance, reaching its culmination in 1931–1932. This period, marked by an intense flurry of events and new laboratory practices of psychological influence, was rightly called a “psychosis of activities” by the participants of the ARTS laboratory themselves.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"167 2 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148429224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Real-Time Detection of Laban Effort Factors in Music Performance Using Machine Learning 利用机器学习实时检测音乐表演中的拉班努力因素

IF 0.5

Arts Pub Date : 2026-07-08 DOI: 10.3390/arts15070157

Robert Ek, Federico Visi, Anchen Froneman

{"title":"Real-Time Detection of Laban Effort Factors in Music Performance Using Machine Learning","authors":"Robert Ek, Federico Visi, Anchen Froneman","doi":"10.3390/arts15070157","DOIUrl":"https://doi.org/10.3390/arts15070157","url":null,"abstract":"This article presents a study that applies Laban’s Effort theory to detect a musician’s expressive intentions during performance. Laban Effort theory was chosen for its capacity to support the observation, description, and interpretation of expressive movement. The aim was to develop interactive musical systems that learn from the embodied expressivity musicians cultivate through practice. The study adopts a multidisciplinary approach, combining Laban Motion Analysis with interactive machine learning. Gesture data, audio, and video were recorded during a performance of Brahms’s Clarinet Sonata Op. 120 No. 2. The video was then analysed by an expert annotator observing Laban Efforts. The annotated video was then reviewed in collaboration with the performer to incorporate Effort Phrasing that reflects changes in intensity within Efforts. The annotations were then used as training data, together with motion data recorded during the performance, to train a regression model. The model was evaluated against expert annotations and through qualitative video analysis. Unlike the very linear notation of a Laban analyst, the model reflects the dynamism of human motion by capturing the almost humanly unobservable nuances in Effort variations. This points to the possibility of using machine learning models to reflect a performer’s expressive intentions in real-time.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"16 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148429222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

From the Rhapsody on the Goddess of the Luo River to the Goddess of the Luo River: The Indirect Translation from Literature into Image 从《洛江女神狂想曲》到《洛江女神》：从文学到意象的间接翻译

IF 0.5

Arts Pub Date : 2026-07-08 DOI: 10.3390/arts15070159

Xuemei Zhong

引用次数: 0

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