Answer:
Musicals include every person's voice and their voices are incorporated in to one song that is trying to tell some form of a story. It wouldn't be a musical if there were one person right? So the "collaborative" part induces the fact that it is a musical with multiple roles for singing and acting. I hope this will help you, this answer came truly from me. Thank you.
Answer: well all art has a meaning it can be bad to some people in my opinion its pretty bad it clearly has no feeling to it. when i look at the picture i have no feeling most pictures have feelings it makes you feel something but this dosent thats my opinion
Explanation:
Answer:
I think the answer is (B) A personal reflection on how she spent her summer break.
Explanation:
Well the question asks for a first person point of view and that first person point of view would come from Cassie's own personal reflection
hope this helps
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
