These practices are understood as the different activities performed in the professional course by an independent artist regardless of the disciplinary area where he/she comes from or where he/she has developed an independent artistic expression within a specific ethnic group. These daily activities, in
the end, become the source from which the primary income is derived. Such professional practice can be individually, collectively, or collaboratively performed that simultaneously opens up the way to a creative process generating an artistic experience that is materialized in a piece of work, research, knowledge, and/or reflection inspired by ancestral traditional or contemporary cultural practices.
Consequently, ancestral and conventional forms of artistic expression can be used as techniques and sources of knowledge and inspiration. However, the artist can also resort to new artistic terms that may enrich his/her creative process.
A work of art, among other artistic pieces, can range from musical compositions, theater shows, dance
performances, sculptures, drawings, paintings, graphic works (regardless of the technique and
materials), illustrations, photography exhibitions, video creations, art installations, performances,
multimedia art, sound art, remixed works, net art, etc.
These practices are understood as the different activities performed in the professional course by an independent artist regardless of the disciplinary area where he/she comes from or where he/she has developed an independent artistic expression within a specific ethnic group. These daily activities, in the end, become the source from which the primary income is derived. Such professional practice can be individually, collectively, or collaboratively performed that simultaneously opens up the way to a creative process generating an artistic experience that is materialized in a piece of work, research, knowledge, and/or reflection inspired by ancestral traditional or contemporary cultural practices.
Consequently, ancestral and conventional forms of artistic expression can be used as techniques and sources of knowledge and inspiration. However, the artist can also resort to new artistic terms that may enrich his/her creative process.
A work of art, among other artistic pieces, can range from musical compositions, theater shows, dance performances, sculptures, drawings, paintings, graphic works (regardless of the technique and materials), illustrations, photography exhibitions, video creations, art installations, performances, multimedia art, sound art, remixed works, net art, etc.
Artistic practices may be individually or collectively based on some ancestral and traditional cultural manifestations but will never be at the same level or substitute the original expressions.
These activities are presented to an audience. That’s why they may occur at workshops, seminars, etc.
The art piece’s selection and the artistic circuit where such a piece will be presented are usually carried out in a curatorial process.
They are usually performed in non-conventional spaces and on special stages such as art circuits (e.g., installations, exhibitions, assemblages). Various actors, different from artists, are involved as artistic and technical producers.
They may serve as inspiration based on a desirable situation or a situation that demands change.
Among the attendees, there might be representatives of ethnic communities and other people interested in getting to know and enjoying such practice.
These practice’s principal agent is an artist who creates and presents his/her works (individual dimension).
The challenging role of art. Art challenges the work itself, including its own art. It is self-critical.
It also challenges canons, hierarchies, models, representations, stereotypes, and even cultures.
An artistic practice will not be perceived as dissonant thanks to the careful articulation process it goes through.
These practices overcome simple techniques since they result from customary norms that do not apply to
artistic traditions. Instead, they are respondents to possible individual initiatives and inspiration, where the
creative product contains both creation and innovation.
The role of preservation as a cultural practice. This practice is not common with self-cultural expressions,
given their ancestral tradition.
Cultural practices are meant to safeguard cultural manifestations through their exercise, which, in turn, ensures the recovery, strengthening, etc., of a collective identity.
There is no selection or adaptation process in executing the cultural practice in the location where it is held.
Cultural practices are passed on from generation to generation. These practices are transferred (not created) to other members of a given community.
Its main agents are culture-holders of the collective cultural manifestations (e.g., knowledgeable community members such as grandparents, elders, artisans, etc.). They recreate their ethnic group identity cultural practices while ensuring their transference through different mechanisms, spaces, and traditionally defined strategies.
Since cultural practices have to do with identity practices, their practitioners pass these practices on and
recreate them among their communities.
Cultural practices are spontaneous and do not require any production, nor does the space for the celebration of the practice becomes a show because there is no audience but only members and holders of the same culture.
These practices are usually held in conventional places, well-known through cultural contact. These kinds of
practices do not welcome non-conventional locations, and they are mostly held without an audience or
spectators.
The challenging role of art. Art challenges the work itself, including its own art. It is self-critical.
