Assignment 3 Cultural Activity Report Due Week 9 And 219133

Assignment 3 Cultural Activity Reportdue Week 9 And Worth 100 Pointsa

As a way of experiencing the Humanities beyond your classroom, computer, and textbook, you are asked to do a certain type of “cultural activity” that fits well with our course and then report on your experience. Your instructor will require you to propose an activity and get instructor approval before you do it and report on it. Every effort should be made to ensure that this is a hands-on experience (not a virtual one), that this activity fits the HUM 112 class well, and that the activity is of sufficient quality for this university course. The two key types of activities are a museum visit or a performance.

This must not be a report on the same activity as done for another class, like HUM 111. For instance, if you visit the same museum as in HUM 111, this HUM 112 report will focus on entirely different works and displays. Visit a museum or gallery exhibition or attend a theater, dance, or musical performance before the end of Week 9. The activity should have content that aligns with our course. Have fun doing this.

Write a two to three page (2-3) word count report describing your experience. Include the event location, date attended, attendees, and your initial reaction upon arrival. Provide specific information and description of at least two pieces or exhibits. Summarize the event and describe your overall reaction. Use at least the class text as a reference, with additional sources optional unless required.

Your report should include connections between what you observed and what you've learned in the course and text. Submit your cultural activity choice to the instructor for approval before Week 5. Seek guidance from your instructor if needed on how or where to propose your activity. You may seek advice based on your location for suitable activities. Visiting a Museum: approach it like a frequent traveler, research current exhibitions, and focus on works from 1600 AD onwards, mainly fine arts. Museums with relevant works are preferable. Identify items that you can connect with course content, and note at least two works that intrigue you or that you would want to save from a hypothetical fire, explaining why.

Attending a Performance: Look for college or professional performances such as symphony orchestras, opera, jazz, dance, theater, etc. High school or lower-level performances do not qualify. Dress appropriately, and bring a pen and program for notes. Turn off cell phones and avoid recording the performance. Take notes on aspects you enjoy or dislike, especially during intermissions or specific segments of the performance.

If unable to attend in person for legitimate reasons, submit a request to the instructor before Week 5 for approval of an online alternative activity. Most activities are accessible and low-cost; consult with your instructor if needed for guidance on finding suitable options.

This assignment must be formatted as follows: typed, double-spaced, Times New Roman font size 12, with 1-inch margins. Include a cover page with the assignment title, your name, instructor's name, course title, and date. Citations and references follow APA style. The cover page and references are not counted in the page length. Check with your professor for any additional instructions.

Paper For Above instruction

The exploration of human culture through direct engagement with artistic and cultural expressions is fundamental to understanding societies across history. The assignment at hand encapsulates this by requiring students to undertake a hands-on cultural activity—either visiting a museum or attending a performance—and produce a detailed report that synthesizes this experience with course learning. This approach fosters active learning and encourages personal reflection on cultural artifacts and events, grounding theoretical knowledge in real-world encounters.

In my case, I chose to visit the Modern Art Museum in Cityville, an institution renowned for its contemporary art collections that span from the early 20th century to the present. I attended the museum on March 15, 2024, along with a friend. Upon arriving, I was immediately struck by the vibrancy of the building and the variety of exhibits displayed. My initial reaction was one of curiosity and anticipation, eager to explore how modern artistic expressions embody cultural, political, and social themes reflective of contemporary society. We started our visit with the temporary exhibition titled “Urban Realities,” which showcased artworks that depict the complexities of city life.

One of the most compelling pieces was a large mixed-media installation by a recent artist, which used recycled materials to comment on environmental sustainability and urban decay. The piece's chaotic yet purposeful arrangement evoked feelings of both concern and hope, resonating with themes discussed in our course regarding socio-economic influences on art. Another notable work was a series of abstract paintings inspired by urban landscapes, which employed bold colors and dynamic brushstrokes to express the vibrancy and chaos of modern cities—paralleling a chapter in our textbook about the influence of urbanization on artistic development since 1600.

Throughout the visit, I reflected on the ways these artworks represent contemporary issues—climate change, social justice, and urban identity—topics we have studied in class. The museum's contextual information helped deepen my understanding, connecting visual styles with historical and cultural movements. For example, the use of recycled materials in the installation echoes the Dada movement's critique of consumer culture and waste, linking past artistic rebellion to present environmental concerns.

Attending a live performance, I chose to see the Cityville Symphony Orchestra perform a program of classical compositions, including works by Beethoven and Tchaikovsky, on March 22, 2024. Dressed in business casual attire, I attended with a small group of friends, prepared to immerse myself in an experience of high cultural refinement. Before the concert, I noted the program's descriptions and attempted to listen attentively to the pieces, especially during the intermission where I reflected on the nuanced sounds and techniques used by the orchestra.

The performance was engaging; I paid close attention to the orchestral balance, the skill of the musicians, and the emotional expressions conveyed through their playing. Noteworthy was the orchestra's rendition of Beethoven’s 5th Symphony, which I found particularly powerful due to its dynamic contrasts and passionate execution. I also enjoyed the Tchaikovsky piece for its rich melodies and lush harmonies, which evoked a range of emotional responses. My observations aligned with course themes about the evolution of music from the 1600s onward and its role in shaping cultural identity.

This experience highlighted the importance of live performance as a cultural practice that reflects societal values, historical contexts, and individual talents. It reinforced my appreciation for the discipline needed to master musical artistry, an aspect emphasized in our course discussions on artistic development. The formal dress code and attentive behavior demonstrated the respect traditionally associated with high culture events, further contextualizing the social norms discussed in class.

In conclusion, both activities—the museum visit and the concert—allowed me to connect with cultural expressions dynamically and personally. They provided insights into how art and performance serve as reflections and critiques of societal realities from the 1600s to today. These experiences enriched my understanding of cultural history, reinforced the themes explored in our textbook, and underscored the ongoing importance of engaging directly with cultural works to appreciate their depth and significance fully.

References

• Burke, P. (2000). History and Social Theory. Polity Press.
• Gombrich, E. H. (1995). The Story of Art. Phaidon Press.
• Hobsbawm, E. (1997). The Age of Revolution: Europe 1789-1848. Weidenfeld & Nicolson.
• Kant, I. (2000). Critique of Judgment. Hackett Publishing.
• Levin, A. (2004). Music and Society in the 20th Century. Oxford University Press.
• Pollock, G. (1999). Differencing the Canon: Feminist Visual Art History. Routledge.
• Witcomb, A. (2015). Reimagining Museum Communication. Routledge.
• Harris, J. (2012). Cultural Participation and Society. Routledge.
• National Gallery of Art. (n.d.). Modern Art Collections. Retrieved from https://www.nga.gov/collections.html
• Cityville Symphony Orchestra. (2024). Program booklet. Cityville.