Basrah Arts Journal

Melodic diversity is an essential pillar in Iraqi country singing because of its highly influential qualities and features in singing performance methods in a manner consistent with the nature and setting of popular heritage in the Iraqi countryside. Hence, the researcher attempts to study melodic diversity in one of the important lyrical phases, which is "Subbi Mood " as a lyrical style discovered by the Iraqi structure with high levels of expressive performance accuracy. The researcher seeks to study this topic by formulating the question as follows: What are the mechanisms of melodic diversity in Subbi Mood? The significance of the research and the need to determine its goal are thus represented as follows: Detecting the mechanisms of melodic diversity in Subbi Mood, the researcher presents the most important terms contained in the subject matter of the study, that is melodic diversity to be determined linguistically, philosophically and terminologically. The researcher then moves to define the terms procedurally in accordance with the research procedures. Chapter Two, entitled “The Theoretical framework” contains two sections, one entitling, “The Concept of Melodic Diversity,” and the other, “The Singing of the Iraqi countryside: A Study in Origin and Evolution,” all the way to topics that involve the literature review and the most key conclusions resulted from the theoretical framework. As for Chapter Three, the researcher addresses the research community and its sample in a way that meets the goal of the research and its requirements, not to mention the use of the research methodology represented by the descriptive analytical approach, leading to the research tool through which the researcher can analyze the research sample. In Chapter Four, the researcher reached the most important findings from the sample analysis, including (1) musical scale: The Subbi mood is built from the melodic scale of Nahawand, which raises the sixth scale degree of the natural Nahawand when ascending and returns it to the standard scale of the Nahawand when descending, (2) melodic range of the seventh is built from the seventh minor scale. The researcher then seeks to interpret the findings under the heading, “Conclusions,” that includes some of the following points: 1) The lyric poem takes Subbi mood as a launch pad to express the the spirit of the country environment. 2) The seventh minor scale gives the singer the ability to perform Subbi mood easily and conveniently. As the end of the Chapter, the researcher comes up with key recommendations, suggestions and most important sources and books cited by the researcher in this study.

The research titled (Cultural Symbols in Graffiti art between Iraq and Italy - A Comparative Study) deals with the diversity of cultural symbols, their metaphors, and methods of expressing them for each people and is divided into four chapters. The first represents the methodological framework and includes the research problem, its importance, purpose, limits, and definition of terms. The second includes the theoretical framework and includes three topics: an intellectual introduction to culture and its relationships, the historical and conceptual root of Graffiti art, and the symbolic representations of culture in Graffiti art. The third chapter included research procedures and analysis of its sample, which included three drawings from each country. The researcher concluded a number of results such as. 1. Cultural symbols In Iraqi Graffiti art are characterized by specific metaphors and are limited to concrete isolation walls. While in Rome Cultural symbols are subject to a wide field of reference and are spread throughout most of the city’s spaces. 2. Most cultural symbols In Iraqi Graffiti art are characterized by iconic shapes and descriptive colors. While in Rome Most of the symbols are written and symbolic forms and conventional colors based on the concept of difference, breaking expectations, and achieving shock. 3. Cultural symbols In Iraqi Graffiti art establish decorative formations that perform a recreational function that do not reveal awareness of the cultural role of the system. While in Rome Cultural symbols establish aesthetic formations that perform a cultural expressive function and are aware of the cultural role of the system. Which were discussed and conclusions drawn.

The research dealt with the ritual artistic presence of the marionette actor, relying on a series of formation principles in scenic construction, in addition to its reliance on the transformation of the actor’s physical and psychological capabilities as a product of the philosophical awareness of the era. The actor acquires them and thus resembles the absent other and gives him a spirit that makes him an active presence, then transforms him into an object. (Marionette) with a mass that is organized and harmonious in its composition and formation. Therefore, the research was founded on four chapters. The first (methodological framework) contained the research problem, which was defined by the following question (What is the ritualistic artistic presence of the marionette actor in the firewood ritual show?), and the goal of the research is (to identify the ritualistic artistic presence of the marionette actor in light of technical harmony). The second (theoretical framework) included two sections, the first dealing with (presence in philosophical opinions), and the second (the ritual artistic presence of the marionette actor in theatrical experiences). The third chapter included the research procedures, and the fourth chapter included the results and conclusions that confirmed the effectiveness of the actor’s ritual presence through technology. A performance revealed by the show\'s actor, in which the process of transformation between self and other went through several stages that formed a tangible and influential ritual reality.

Everynewonset,situationorphenomenon,positiveornegative,thereareobstacles,obstaclesordifficultiesyouface,orperhapsyouneedtostudymorethoroughlyandcomprehensivelyincludingtheuseofwesternmusicalinstrumentsinoureasternIraqimusic.TheexperienceofusingWesterninstrumentsinthemusiccurriculuminIraqhasplayedapositiverolewhileatthesametimenegativelyaffectingourmusicheritageinparticular.MostmusicinstitutesandcollegesinIraqlacktheteachersofArabicauthenticinstrumentssuchasAlAwd,AlNai,AlSinatourandAlJawah.BecauseofthelackofaqualifiedteachingstaffwhogivepracticalandappliedlessonstothesemachinesIhavefoundtheopportunitytostudyquicklythisimportantandusefultopicforusandourstudents,andIamsureIhavecomeupwithsomeindicatorsorconclusions,somenegativeandtheotherpositivebecauseitisanexperience,wearetakingforthefirsttimebutitremainstheleadingandidealexperienceanditissuretoevolveintheyearsahead

This research studies the aesthetics of Timurid and Safavid miniatures in a comparative manner. The first chapter deals with the research problem, its importance, and defining the most important terms used in it. The research problem included the topic of the aesthetics of Timurid and Safavid miniatures in the drawings of both eras through the artistic works produced by Islamic painting schools, where each school has characteristics that distinguished it from the other. The research problem was overcome through the following question: How did the Muslim artist achieve the miniatures aesthetics in manuscripts for both eras? The II chapter, the theoretical framework, includes four sections: the first on the aesthetics of Islamic art, the second on the art of Islamic miniatures, the third on the most important artistic features of painting (the Timurid era), and the fourth of the (Safavid) era. The third chapter included the research procedures, and the fourth chapter included the results and conclusions. The functional treatment of the concept of space designated for Islamic miniatures came according to a fruitful and sincere artistic and functional emotional approach within the relationships of creation that give it a spiritual feeling due to what the elements of construction have of multiple intellectual meanings and connotations, such as transferring the stories and events that were prevalent at that time, to documenting the style of Islamic architecture and the type of clothing worn by Muslims, the moral and social values that appeared through the interpretation of the movements of people in the Islamic miniature, as came in most of the sample models.

Art is a dynamic and renewing aesthetic vision. Since the dawn of creativity, arts have sought to break away from tradition and embrace new forms and elements in response to intellectual and other changes. Theatre, in particular, has experimented with its structure and content due to its inherent flexibility and transformative nature. Social and environmental conditions in the Arab world have driven theatre practitioners towards innovation. Many Arab playwrights responded to the events of 1967 by adopting an experimental approach in theatre. Egyptian playwright Sayyed Hafez is a key figure who emerged in the 1970s, contributing significantly to the renewal of theatrical composition. Realizing that traditional theatre was no longer effective in engaging society, Hafez introduced innovative ideas. Until the early 1970s, Arab and Egyptian theatre was predominantly traditional. However, new efforts to revitalize it began with Hafez's experimental play "The Pride of Triviality in the Land of Meaninglessness," which broke classical norms and offered new perspectives on characters, settings, and heroism. Hafez continued his experimental approach in subsequent plays, such as "It Happened as It Happened but No Event Happened," "Silent Drums in the Blue Valleys," and "They Are as They Are but Not the Vagabonds." These works reflect his desire for rebellion and passion for experimentation in theatrical writing. This study aims to analyze the features of experimentation in Sayyed Hafez's theatrical texts and their impact on the construction of the theatrical text. The significance of the research lies in exploring these experimental tendencies, benefiting specialists in theatrical criticism. The objective is to identify representations of experimentation in Hafez's plays.