Art Appreciation

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Soulmaking and Art Appropriation

11 Soulmaking and Art

Appropriation

We as human have souls which include the faculties of our thoughts, emotions, and will. As a human who
has a deep desire to express our innate self, we find satisfaction producing a masterpiece that reflects our self.
Songwriters, for example, look for inspiration in writing a song. Some of them draw inspiration from their
experiences, belief, or anything that sparks the mind and the emotion.
This module will introduce you to the concept of soulmaking and the different kinds of soulmaking activities.
This will also highlight concerns in the appropriation of art.

At the end of this module, you should be able to:

1. discuss the concept of soul making;
2. characterize and define narratives, appropriation, borrowing and ownership of the artists or any agency in the
art world; and
3. develop students’ artistic ability in any form they would like to appropriate an art.

SOUL MAKING

Soul creation is an alternate way to learn and explore the extent and the actual meaning of what we do in
our daily lives. It intends to enhance the artist and creativity in us. It is actively exploring and using creativity and
imagination. It is a type of craft that turns short memories into pictures, and signs connect to people who
understand cultural identity and embody sensitivity and tranquility. Imagination plays a significant role in art
creation as an inspiration. It may be both an inherent or acquired talent or a mixture. There are various forms of
soul creation, such as crafting images, crafting tales, crafting instruments, crafting gestures, and crafting
strategies.

1. Crafting Poem
A. Seizing Inspiration. Look for an idea that will spark and inspire you to write a poem.
B. Fleshing it out. Expand the idea.
C. Structure and form. Think of the idea that will suit your idea like structured, free verse, fragmented
verse, couplet, sonnet, etc.

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D. Content. Start to put everything in place in the poem. You may now begin the actual writing of the
poem.
E. Voice and Imagery. Pay attention to the poetic devices that you will use in the poem.
F. Word Choice. Choose the appropriate words that will help convey the meaning you want to
communicate with the reader.
G. Concept and Clarity. Make it sure that words and devices used are working together to communicate
the idea you want to share with the readers.
H. Line Length. Consider the line length of your poem with respect to the form that you choose.
I. Rhythm and Sound. Examine the tensions, delays, tone replay, progression and action throughout
the poem. How does our choice of words lead to the rhythm and sounds that best express the poem's
tone, mood, and tenor? Support the poem by alliteration? Rhymes slanting? Close to rhymes? Rhymes
exactly? Assumption?
J. Read it aloud. The presentation of a poem shows its flaws and powers in a manner that no visual
analysis can do.

2. Crafting Stories
A. Show Do Not Tell. You began the cycle of making them look after until they are in your personal shoes-
and that ensures that the story is much less likely to be abandoned at an early stage.
B. Shock and Surprise. Start with something you were not waiting for your readers. Marketers are doing
a lot of this-trying to shock it – but when you write a short story or a novel, that is just as important.
Make it shocking and unexpected, and where you need it, you will have your reader right.
C. Relatability. Writing is compelling, real and grudgeful, and it pulls no punches. If you want to keep your
readers on the hook, they must be able to relate to the story.
D. Raise the Stakes. What could be the worst thing your character could do right now? Even if that is not
true, you must increase the investment of your readers in your story. Now you cannot stop; you play
with their emotions. (You can but make this too 'standard' and your readers slip right out of the hook
once more.)
E. Mining the Depths. You have got the characters to come to life. These are the little information that
add life to the character. Anchor them in incidents in real life that feel like you are providing evidence
at the trial in adequate detail. Names, positions, thoughts, feelings, emotions – build information, before
you feel like you testify.
F. Make It Memorable. Powerful writing gives the reader a positive memory-which reminds them of you.
Your intention is to make your reader remember you, no matter whether you are a novelist or a social
media marketer.

3. Crafting Instruments = The transformation of any discovered or used material into a musical instrument
allows you to discover harmony and balance to produce a beautiful and magical tone.

4. Crafting Movements
A. Select the right music. Choose music to which you want to dance and relax while you watch it again
and again! Choose an album with a strong rhythm.
B. Start creating the dance step. Just as you plan out writing a story with the first words you write; you
would do the same with a dance routine. Choose the way you will be standing when the music begins.
The intro of the song usually sets the tone for the rest of the song.

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C. Plan the chorus part. Your best option is every time the chorus is playing should follow the same
series of moves. Pick the best movements, the most dramatic. Repeating is an integral element of
every choreographic work. Yes, the public understands consistency, creating a sense of ease and
warmth with a public and performers.
D. Plan the ending. Prepare the big finale. Maybe, you would like to take a firm stand on the new
comments. Keep the finish spot for a couple of seconds.
E. Practice more. When the dance is performed, the moves will be memorized. Then, the dance is more
intuitive by repetitive practice. You may notice your pattern is also changing while dancing. The more
you do, the better the work will be.
F. Be ready for the performance. When you are confident and believe like you have choreographed a
full dance, it is time to show it. Or make your own mini recital at home for family and friends; you can
even dress in a mask or a lobby.

SEVEN (7) DA VINCIAN PRINCIPLES

1. Curiosita. An insatiable curiosity about life and a constant desire for continuing knowledge.
2. Dimonstraziones. A dedication to creativity, patience, and a desire to learn from failures of the past.
It is more the scientific approach used in everyday life.
3. Sensaziones. Continuous sensory enhancement as a way of enlivening memory. They ought to be
mindful of what is happening around them to be creative. Effective communication is one of the key
business subjects. We listen passively all too frequently in industry and ignore critical knowledge that
might motivate a new idea.
4. Sfumato. The word is simply translated into smoke. We are able to embrace uncertainty, confusion,
and vulnerability. As the old saying goes, uncertainty and transition are the only two inevitable things
in life.
5. Arte/ Scienza. Developing a balance between creativity and reality. Creativity without rationality, after
all, is a daydream, and reality is dull without creativity. The contrast between art and science, as well
as whole-brain thought, are other words for this.
6. Corporalita. The aim is to keep the body safe and the mind balanced. Have you ever seen a completely
sick artistic person? While here and there are several examples, they are very rare. One of Da Vinci's
core ideas is that our bodies stay fit and fit to keep our minds fit. Fit minds give efficient and effective
ideas.
7. Connesione. This is a clear realization that all events and phenomena are related. When we talked
early, it is not just a matter of coming up with something brand different, often finding the similarities in
how to use old material in new ways.

NARRATIVES, APPROPRIATION, BORROWING AND OWNERSHIP

 Narrative = Narrative means the choice of events to be linked and to relate – so, instead of a story itself, it is
a depiction or particular manifestation of the story. The easiest way to remind people of the distinction between
a story and a narrative is to change events' sequence. You have a new version of the same past with a
different case sequence. The narrative translates the story into facts, or better, understanding for the receiver
(the viewer or the reader). Every story incident is a unit of information provided by the viewer. A story is
paradoxical since it tries to express the facts by covering it.

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 Appropriation = Appropriations in art and art history refer to artists' work utilizing prior artifacts or pictures of
painting with no initial transformation. Art of appropriation poses questions of authenticity, originality, and
authorship, and it belongs to the long-standing Modernist art tradition, which questions art itself. In the 1985
book, The Avant-Garde originalité and Other Modernist Myths, the American writer Rosalind Krauss assisted
artists in the adaptation of the 1934 article by the German philosopher Walter Benjamin, The Practice of Art
in the Age of Mechanical Reproduction. Since the 1980s, artists have used the appropriation extensively.

 Borrowing = Artists have also copied other artists' works to learn about the methods and processes of art.
This tradition has been widely practiced in art schools in recent years. In fact, while this type of work has
usually only ever been considered a learning activity, other artists have taken pictures or forms from their
work, which they can appreciate by reproducing and using.

 Ownership = Many artists' copying of art was a vexing problem in modern years; nevertheless, such a form
of copying was popular in art history. We may choose to name certain relations in an inspiration: Homer
influenced Virgil, the Virgil influenced Dante, the Homer replied James Joyce or the Valàsquez reaction art,
but with a certain appropriation. There are simple forgery and legitimized examples of where an artist (Virgil
and company) is stealing from the other (and problem cases, which are actually better solved by copyright
rather than by the aesthetics book). The other things are generally best settled by tradition as well, although
they include the concept of ownership, as though someone who owns the art would want to exploit it
commercially.

 Copyright = All work of art, including but not limited to, photos, drawings, sketches, maps, diagrams,
caricatures (static not moving animations), logos, engravings, sketches, designs, and architectural models,
can be liable to copyright. Copyright extends to any work of creative quality. Works of decorative art, including
sculpture, stones, pottery, woodwork, and jewelry, also receive security protection.

 Copyright Ownership = Physical possession varied greatly from ownership of copyright. Copyright is
generally the artist or author's property but may vary based on conditions such as occupations or licensing
agreements. You can get rights if you purchase original artwork, or you have a deal. When a fee is charged
for a painting, portrait, or graving, the person commissioning the work shall have the copyright until a deal is
made.

FIVE (5) ACTS OF CULTURAL APPROPRIATION

Cultural Appropriation = According to the critics of the custom, cultural appropriation is distinct from
acculturation, assimilation, or even cultural fusion because it is a form of colonization. When members of a majority
society borrow cultural features from a community of marginalized communities, such elements are incorporated
without their own background – and sometimes against express wishes.

1. Object Appropriation. Physical artworks will be the first kind of item we will be dealing with. It will refer to the
appropriation of those items as appropriations for objects. Object appropriation occurs when the ownership of
a physical piece of art (such as a statue or a drawing) is passed from members of a particular group to people
of the other.

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2. Content Appropriation. The second type of item that could be appropriated is intangible. It might be a
musical composition, a story, or a poem. Content appropriation is going to be the mark for this kind of
possession. When this kind of appropriation occurs, the artist has made significant re-use of an idea first
expressed in an artist's work from another culture. A musician who sings songs from another culture has
engaged in the appropriation of content.

3. Style Appropriation. Something less than an entire expression of an artistic idea can be appropriated. Often
artists do not only replicate works from another culture but also take something from that culture. In common
with works of another culture, artists produce works with stylistic elements. An appropriate musician may be
said to have been involved as music that is not part of African American culture but composed original jazz
and blues works. Anything similar may affect the culturally traditional Australians who paint in the style of the
native peoples. This form of operation is a subcategory that can be considered style appropriation.

4. Motif Appropriation. It is possible to identify another type of content appropriation. This method of
appropriation is similar to style appropriation, but only simple motifs are appropriated. Such appropriation can
be referred to as motif appropriation. It happens when artists, without the production of pieces, are inspired
by the art of a society other than theirs. For example, in the Demoiselles d'Avignon (1907), Picasso has
appropriated ideas from African carving, but his paintings are not African. Similarly, Henri Matisse's The Green
Stripe (1905) is a Fauvian painting, but it consciously incorporates specific African art motifs.

5. Subject Appropriation. A final appropriation which differs from the other types can be identified. In various
discussions on cultural appropriation, questions have been raised about externals portraying individuals or
entities from another society in their artworks. The Cultural council, the arts support body of the Canadian
federal government, acknowledges the portrayal of cultures other than the individual, in fiction or non-fiction,
as a means of appropriation. No creative item of cultural identity is appropriated if this appropriation occurs.
Instead, artists are dealing with a topic, namely another culture or its members. This is called subject
appropriation as it appropriates a topic. The subject appropriation has sometimes been called 'voice
appropriation,' especially where outsiders represented the first person's lives.