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23 pages, 4572 KiB

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The Adoption of Eastern Models in Jewelry from Al-Andalus During the Tenth and Eleventh Centuries: Propaganda and Images of Power

by Alicia Carrillo-Calderero

Arts 2025, 14(3), 48; https://doi.org/10.3390/arts14030048 - 28 Apr 2025

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Abstract

The production and creation of jewelry in al-Andalus must be understood as a phenomenon having to do with images signifying power; not only that of rulers, but also of families boasting high socio-economic status. This study aims to highlight the adoption of Middle Eastern models in the design of some pieces, as can be appreciated in the examples studied, dated between the end of the 10th century and the beginning of the 11th. To undertake this study, it was necessary to consult written sources that reveal the use of jewelry as images of power, and its importance in the society of al-Andalus. Rulers used jewels as symbols of personal authority, but also as gifts for other leaders and prominent members of their families and members of the social elite. It was necessary to formally study all the treasures preserved and dated between the end of the tenth century and the beginning of the eleventh, which made it possible to establish formal parallels with pieces of Eastern jewelry, from Fatimid Egypt and Iraq, dating from the same time. These artistic parallels manifest the adoption of Eastern models in al-Andalus jewelry, through the commercial relationships maintained with the East, especially as of the ninth century. Full article

(This article belongs to the Special Issue History of Medieval Art)

23 pages, 1899 KiB

Open AccessArticle

Māori Identity and Reflexive Ethnography in Research on HORI’s Art

by Elżbieta Perzycka-Borowska

Arts 2025, 14(3), 47; https://doi.org/10.3390/arts14030047 - 24 Apr 2025

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Abstract

This article presents a multidimensional analysis of the work of the Māori artist Hori from postcolonial, cultural, and autoethnographic perspectives. Drawing on the researcher’s experience as a visitor in Ōtaki, Aotearoa/New Zealand, an environment deeply rooted in Māori heritage, the text demonstrates how Hori’s art becomes a field of negotiation over identity, visual decolonization, and dialogue with global currents of socially engaged art. Particular attention is given to Matariki, the Māori New Year, as a context for cultural renewal, community strengthening, and the emphasis on values such as whakapapa (genealogy) and whenua (land). Through the author’s autoethnographic reflexivity, interpretation emerges as a relational process that takes into account local meanings, universal experiences of resistance, as well as the ethical and epistemological challenges involved in researching Indigenous cultures. In effect, Hori’s work appears as a transnational visual language in which aesthetics intertwines with politics and local epistemologies engage with global discourses on power, memory, and identity. Full article

(This article belongs to the Section Visual Arts)

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19 pages, 1536 KiB

Open AccessArticle

Ar(c)tivism and Policing: Unveiling the Theatrics of Justice and Resistance in Nigeria’s S

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-Sókè Movement

by Friday Gabriel and Taiwo Afolabi

Arts 2025, 14(3), 46; https://doi.org/10.3390/arts14030046 - 23 Apr 2025

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Abstract

The S

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-Sókè movement, sparked by Nigeria’s 2020 #EndSARS protests, represents a pivotal stand against systemic injustice, with its Yoruba rallying cry “S

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-sókè” (“Speak Up” or “Speak Louder”) capturing the collective demand [...] Read more.

The S

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-Sókè movement, sparked by Nigeria’s 2020 #EndSARS protests, represents a pivotal stand against systemic injustice, with its Yoruba rallying cry “S

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-sókè” (“Speak Up” or “Speak Louder”) capturing the collective demand to end police brutality, notably, by the Special Anti-Robbery Squad (SARS). This study employs Digital Artivism as its theoretical lens to investigate the fusion of art and activism within the movement, analyzing how creative and performative expressions amplified its message and mobilized diverse populations. Applying Feldman’s Model of Art Criticism, it dissects the theatrical elements of selected protest artworks, revealing their role in inciting resistance and fostering solidarity in the pursuit of justice. By situating S

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-Sókè within global discourses on art and social justice, this research underscores its significance as a model of artivism’s power to challenge oppressive systems and inspire collective action. The critique of these artworks illustrates their lasting influence on Nigeria’s socio-political landscape and their resonance with worldwide struggles against systemic violence and inequality. Highlighting the transformative potential of theatrical activism, this study advances understanding of how digital artivism can unite voices, elevate causes, and drive societal change. Full article

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18 pages, 509 KiB

Open AccessArticle

Applied Musicology and the Responsibility for Shaping the Cultural Scene in Serbia: On the Experience of Working for the Serbian Ministry of Culture

by Ivana Medić

Arts 2025, 14(3), 45; https://doi.org/10.3390/arts14030045 - 22 Apr 2025

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Abstract

This article presents the first discussion of a musicologist’s work as a member of the commission appointed by the Serbian Ministry of Culture to select cultural projects in the field of contemporary music creation and performance for annual funding. The analysis draws from the disciplines of applied musicology and autoethnography. My appointment at the Serbian Ministry of Culture lasted five years, from 2018 to 2022, during which I observed first-hand the inner workings of the Serbian cultural scene and associated policies; more importantly, I utilized my musicological expertise to influence the very same cultural scene. The article also presents the legislative and practical challenges of working in a country that allocates less than 1% of its annual budget for culture. Full article

(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)

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Arts, Volume 14, Issue 3 (June 2025) – 4 articles

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