The Balinese are surrounded by art throughout their lives as art is omnipresent in Bali. They make art out of the most basic necessities in their daily lives. However, artistic knowledge is not commissioned only to a special intellectual class, but is open to everyone at all levels. Painting, sculpture, carving and music have traditionally been the province of men, while women channeled their creative energy into creating lavish offerings to the gods.
In every festival, you can see spectacular pyramids of flowers, fruit, and cakes up to two meters high, constructed with such love and adoration that it could only be meant for a higher being. Although a religiously regarded practice, Balinese art does not serve religion solely. Bemos, jackets, menus, motorcycles, hotel doorways and other objects are decorated with sacred symbols. They do not view this use as sacrilegious. It is incredible to see so many people in such a small area pour so much energy into creating beautiful things.
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Lesson Objectives:
1 To review the meaning of “tunn, munn and dhunn.”
2 To understand how important Mata Tripta and Bibi Nanaki were to young Nanak’s life.
3 To hear the story of Guru Nanak’s marriage and why it was unusual.
4 To learn how wrong it is to tell lies or say mean things about others.
Teachers, ask the students to say the Sikh greeting with you; then fold hands and do simran with the students.
Going around the room, ask each student to tell the class what “tunn” ,”munn” and “dhunn” mean in their own life. Ask if anyone has learned the meaning of Naam Juppna, Kirt Karni, and Wund Chhukna? Read more…
Early themes characterizing the arguments for publicly funded government support have shifted away from an emphasis on national and cultural identity, anti-Americanism, and anti-commercialization, to the recognition that the private and public sectors of the arts and cultural industries are interrelated and, as a result, the state still has a role to play in facilitating the success of these industries. The extent of that role is still being debated by contemporary writers.
The History of Public Funding for Arts and Culture in Canada
Early proponents of publicly funded government support for Canadian cultural institutions and programs called for state intervention in the arts and cultural sectors based on three broad arguments: the need to establish and maintain a national identity; defend Canadian culture from “cultural imperialism,” especially in the form of Americanization; and preserve and develop the country’s artistic and cultural heritage while avoiding its wholesale commercialization. Read more…
