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In 2020, the COVID-19 pandemic brought the world to its knees. When we weren't sheltering in place, we were advised to wear masks, wash our hands, and practice social distancing. We watched in horror as medical personnel worked around the clock to care for the sick and dying. Businesses were shuttered, travel stopped, workers were furloughed, and markets dropped. And people continued to die. Amid all this uncertainty, writers and artists from around the world continued to create comics, commenting directly on how individuals, societies, governments, and markets reacted to the worldwide crisis. COVID Chronicles: A Comics Anthology collects more than sixty such short comics from a diverse set of creators, including indie powerhouses, mainstream artists, Ignatz and Eisner Award winners, and media cartoonists. In narrative styles ranging from realistic to fantastic, they tell stories about adjusting to working from home, homeschooling their kids, missing birthdays and weddings, and being afraid just to leave the house. They probe the failures of government leaders and the social safety net. They dig into the racial bias and systemic inequities that this pandemic helped bring to light. We see what it's like to get the virus and live to tell about it, or to stand by helplessly as a loved one passes. At times heartbreaking and at others hopeful and humorous, these comics express the anger, anxiety, fear, and bewilderment we feel in the era of COVID-19. Above all, they highlight the power of art and community to help us make sense of a world in crisis, reminding us that we are truly all in this together. The comics in this collection have been generously donated by their creators. A portion of the proceeds from the sale of this volume are being donated by the publisher to the Book Industry Charitable Foundation (Binc) in support of comics shops, bookstores, and their employees who have been adversely affected by the pandemic.

The COVID-19 pandemic has made us far apart from each other, our family and our friends. However, we get to interact more often with some strangers like cleaners, security guards and traffic coordinators ... We are familiar with their faces but we do not know what their names are. What we do know is that their hard work and dedication play a big part in the operation of the city and the vitalization of the economy. The team decided to know more about these familiar strangers on the street and take photos for them to bring us closer to each other as well as to express our gratitude for their contributions to our city.

Chronicles how the artist developed and resolved his body of work ‘La Notte/The Night’, comprising 12 powder-coated aluminium objects and a related short video. Relates that he first conceived of the work when participating in a video-making project at Handshake6 (the sixth iteration of the emerging jewellery mentorship programme the Handshake Project), which ran from Jan 2020 to Oct 2022 and concluded with a final exhibition at the Northart public gallery, Northcote, Auckland, Aug-Oct 2022. Explains the reason for using black as the colour for the exhibition concept he was assigned to develop. Comments briefly on the influence of the COVID-19 lockdown on his work. Describes the new video he created for the video exhibition ‘SMCK ON REEL’, the first international jewellery exhibition focused on video work, which was part of the ‘Schmuck 2022’ craft exhibition, Munich, Germany. Overviews the themes of the final video he created and describes the 12 physical objects he made for this video, noting that these objects were intended as contemporary jewellery works in their own right and each were ‘an abstraction of the COVID experience’. Provides further information about the exhibitions of these works. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.

How to transcend land grab economies, even by means of art?The reader REALTY moves from the safety of critique to the vulgarity of suggestions.The pandemic's effect on mobility presents a historic opportunity.Rarely has criticism of our extractive artworld logic of one-place-after-another been louder.

This research aims to explore the dynamics of wayang golek art and to highlight its sustainability in the future. Modernity, the acceleration of technological devices and globalization wave in the last two decades, transfers great pressure on traditional arts and culture. Wayang Golek, a performing art originally from West Java, has recently received a fairly strong wave of resistance due to changes in the social culture which is mainly leading to modernity. By using a qualitative approach, data collection techniques were carried out by interviewing two main players as the puppeteers of Wayang Golek. The data analysis uses the theory of Miles and Hubberman, and the theoretical study of Islamic studies. The results of the study show that 1) Wayang Golek has unique characteristics, where the talent needed tends to go through the \"inheritance\" tradition, 2) Wayang Golek can be a bridge for internalizing religious and humanist values for the community through unique stories based on custom, 3) the restriction of Wayang Golek performance due to the Covid-19 pandemic leads the puppeteers to be more creative to survive, such as creating videos and uploading them in YouTube and other social media, and 4) the preservation of this art depends on the serious attention of all parties, from the government, regional officials, and the community.Penelitian ini bertujuan untuk mengeskplorasi dinamika kesenian wayang golek, serta menyoroti keberlangsungan ‘hidup’ seni tradisional wayang golek dimasa yang akan datang. Era modernitas, akselerasi perangkat teknologi dan gelombang arus globalisasi dalam dua dekade terakhir, memberikan tekanan hebat pada wilayah seni dan budaya tradisional. Wayang Golek sebuah seni pertunjukkan yang berasal dari Jawa Barat akhir-akhir ini mengalami gelombang resistensi cukup kuat imbas dari perubahan kultur sosial masyarakat yang bergerak kearah modernitas. Dengan menggunakan pendekatan kualitatif, teknik pengumpulan data dilakukan dengan wawancara terhadap dua pemain utama sebagai “Dalang” Wayang Golek, observasi dan dokumentasi. Adapun analisis data menggunakan teori Miles dan Hubberman, dan kajian teoritis Islamic studies. Hasil penelitian menunjukkan bahwa 1) Seni Wayang Golek memiliki karakteristik unik, dimana bakat yang dibutuhkan cenderung melalui tradisi “warisan”, 2) Wayang Golek dapat menjadi jembatan internalisasi nilai-nilai religius dan humanis bagi masyarakat melalui cerita-cerita unik berbasis adat, 3) dilarangnya pagelaran Wayang Golek akibat pandemi Covid-19 membuat para dalang lebih kreatif untuk bertahan, seperti membuat video dan menunggahnya ke YouTube dan media sosial yang lain, dan 4) Kelestarian kesenian ini bergantung terhadap perhatian serius semua pihak baik dari pemerintah, pejabat daerah, maupun masyarakat.

For performing arts education, Sage on the stage and Learn from the Masters were halted by the COVID-19 pandemic, and so did everything else. All lectures, tutorials and other face-to-face skill-based training sections were cancelled and were replaced by the online model. Such a model was only seen as one of the supplementary components for performing arts education in the past. From January 2020, this online pedagogy was inevitably placed to surmount the challenges caused by the COVID-19 pandemic. The social distancing measures demanded the blended pedagogy into a new online approach, in which the traditional face-to-face teaching to be replaced by synchronous online learning (facilitated by technologies such as Zoom, Cisco Webex, Google Class, Panopto etc.). Meanwhile, to offer opportunities for cognitive participation which allows students to process the learning and be reflective, webinar and innovative performance projects were launched from the concept of ‘flipped classroom and outcome-based education.’ This mixed approach (blended learning, flipped classroom, and outcome-based education) is described as ‘hybrid learning’ in this study.The ‘hybrid learning’ pedagogy is implemented at the Hong Kong Academy for Performing Arts (HKAPA) for all teaching activities in the 2nd semester 2020/2021 to overcome the challenges caused by the COVID-19 pandemic. A questionnaire survey about how it affected the performing arts education, and how the new pedagogy was implemented took place in July 2020. The survey results from both the teachers (76) and students (163) share lessons, insights, and new understandings on teaching and learning online. Hybrid learning has been widely investigated and researched, yet study on hybrid learning in performing arts such as creative art, theatre art and music, remains insufficient. This study fills the research gap.

The COVID-19 pandemic has impacted religion and faith in different ways. Numerous restrictions have been implemented worldwide. Believers are in conflict with authorities' warnings that gatherings must be limited to combat the spread of the virus. Religion has always played a role of the balm for the soul, and the regular religious participation is associated with better emotional health outcomes. In our study, we examined whether the exposure to COVID-19 enhances the faith. The instrument used was a survey verifying the power of spirituality in the face of the coronavirus pandemic.

Jon Williamson talks to Kathy Oxtoby about how his love of photography led to him documenting the covid-19 pandemic