Burger King and Innovation Essay Example | Topics and Well Written Essays - 12000 words

Burger King and Innovation - Essay Example In order for a company to survive and succeed in the current economic climate, which is itself having difficulties, companies have to develop in such a way to be one step ahead of their competition. Since the global recession, there is a need for change and members of organizations are urged to change their own mindsets. For this to happen, organizations have to emphasize on 1) communicating more with their customers. Companies have to find out what their customers want and need, especially in the midst of a changing environment where needs and priorities may be different from how they used to be in previous years, and 2) striving for improvement and innovation. During the global economic crisis, it is not sufficient that companies remain to be on the same level as their competitors. In order to survive the competition, creating new business practices in both customer care and creating product value is what is needed in order to innovate. However, innovation doe not occur by simply e ncouraging organization members to be creative. Moreover, the concept of innovation is one that needs to be planned, encouraged and managed. It is a process that is gradual and continual (Desmond, 2009).  According to Christiansen (2000), innovation is the process that involves the management of ideas, the provision of funding and implementation. In the food services industry, it is common to expect that most companies do not have research and development laboratories. Innovations mostly include innovations in equipment design and layout.

Behavioral Influences Essay Example for Free

Behavioral Influences Essay Expectancy theory is related to the motivation of the employees which is dependent upon the employees’ behavior and incentives given by the management. If the management is able to motivate its employees they will put in more effort while working, which means efficiency higher returns for the company. The three components of the expectancy theory are expectancy, valence and instrumentality (Vroom, 1964). All of these three variables are required if an employee needs to be motivated positively. The expectancy component is the belief that increase in efforts will accounts for better performance and vice versa. This means that a person is motivated if there is a positive relationship between efforts and performance given that he has proper training, resources and direction to perform the job. Expectancy is also affected by the confidence the employee has about on his capabilities. Valence component in the expectancy theory refers to the value people place on the expected outcome or rewards of their efforts. If a person is motivated mainly by money, he might not value free insurance given by the company. Valence is the intensity of the desire of a worker for extrinsic and intrinsic rewards such as promotion, fringe benefits, bonuses, overtime and satisfaction (Droar, 2003). Instrumentality, the third component of expectancy theory is the confidence on the higher authorities that if the performance is well, the desired or promised reward will be received (Vroom, 1964). Instrumentality will be affected by the trust in people who make decisions of the outcomes and degree of biasness of the process of getting an outcome. Therefore the theory tells us that the relationship between the effort and performance is positive, which means that increase in effort will enhance performance (Vroom, 1964). According to the theory the relationship between performance and rewards is also positive, which implies that better performance will result in more rewards. In the given scenario, Supervisor A’s employees are facing difficulty in coping up with the new production process. The main reason for this is that the employees are not being compensated for their work. Those who achieve their goals are not given enough compensation therefore they feel unmotivated. When employees are not motivated, they do not put in enough effort to achieve their goals and hence their performance is not fine. The employees who have mastered the production process are not worried about accomplishing their goals because they know that even with added effort if they attain their goals, the compensation they will get is not worth the effort. Other employees, who have not mastered it, are not putting in enough effort because they think they are not capable of doing so. Therefore there is a dire need for motivation of the employees who are under Supervisor A. The supervisor should find out what resources, training or management of employees is needed to motivate the employees; this is the expectancy component of the expectancy theory. The supervisor should also find out what do the employees value, their bonuses and salaries should be increased according to their performance; this is the valence part of the expectancy theory. Supervisor also has to make sure that the perception of the employees about their supervisor’s promises is correct, they should be compensated as promised; this is the instrumentality component. In the scenario, the employees’ salaries are not being increased as promised by the supervisor; their bonuses after withholding tax are very small. Thus if the supervisor is able to fill the gaps in all of these three components, he will be able to motivate the employees to increase effort and hence performance and the goals will be achieved. Task 2 The leadership style of Leader B is transactional, Leader C is transformational and Executive has a â€Å"Level 5† leadership style. Transactional leadership focuses on setting specific goals for each team member and encourage them to meet the agreed upon goals (Bryant, 2003). In the scenario it is given that Leader B establishes clear goals by clarifying role and task requirements and continually guiding subordinates in the direction of these goals, and therefore it is a characteristic of transactional leadership. In transactional leadership, the team members are awarded when they are able to achieve their goals on time and punished when agreed upon goals are not achieved or are not achieved on time (Iain, 2007). In the scenario given, Leader B considers the team member to be personally at fault if the delegated task is not completed and issues punishments for failures. Transactional leadership recognizes accomplishments of individual subordinates and they are rewarded for achieving the objectives agreed upon (Iain, 2007). In the scenario given, Leader B believes in a clear chain of commands and in rewarding good performance and recognizing employee accomplishments. Leader B also rewards subordinates for their successes. Leader B’s transactional leadership style has been justified now by including the examples from the given text. Transformational leadership depends more on personal relationship with subordinates and is supported by trust rather than committing to contracts (Jung Avolio, 1999). In the scenario it is given that Leader C tried to remember his team members’ birthdays and makes an effort to work with them as their coach instead of their manager. Transformational leadership also tries to satisfy its followers’ self-interest and encourages the followers to replace these interests with the interests of the team. In the scenario, Leader C encourages the group to surpass their own self-interest for the betterment of the organization. This type of leadership also focuses on organizational change through stress on new values and different vision of the future which transcends the status quo (Gellis, 2001). Leader C in the scenario also believes that the group can have great success when they are passionate and enthusiastic about a vision. Transformational leaders motivate its followers to achieve their goals through nurturing their individual skills and capabilities (Barbuto, 2005). Leader C in the scenario sets high hopes for subordinates, instills individualism of employees for the benefit of organization and takes a rational problem-solving approach. The Level 5 leadership is described as being hesitant and unruly, shy and fearless and modest with a stern commitment to high standards (Jon Jenkins and Gerrit Visser, 2001). This type of leadership takes struggling organizations from being fine to great and produces other fine leaders within the organizations for future. The Level 5 leadership takes responsibility for the failures and accredits other leaders for accomplishments (Jon Jenkins and Gerrit Visser, 2001). This leadership also establishes unique ideas, long-term vision and values for the organization. In the scenario, Executive A is clearly a level 5 leader as he shies away from attention and accredits others for achievements. He accepts responsibility for failures and poor results; and feels delighted to produce strong leadership within the organization. Therefore it is apparent that Executive A is a Level 5 leader as he took the struggling organization into hands and reshaped the stock prices and company profits into eye-catching ones and he also shares his long-term vision, ideas and values with other leaders of the company. When the Executive A retires and if Leader B is appointed as the CEO, then most of the employees in the organization will start working for their own interest as they will be held responsible for their failures and accomplishments and will be compensated accordingly. Supervision of the employees will become an integral part of managers’ routine as they may use organization’s resources for their personal interests. Transactional leadership is successful in stable organizations because it helps to improve control over employees and reinforces constructive administrative actions through rewards and punishments. Therefore Leader B may find his style appropriate in the organization. Transformational leadership maintains employees’ performance through loyalty to organization, trust in the leader and changes in values and standards of the organization. Leader C has this style of leadership, and if appointed the CEO, the employees will surely have higher motivation and self-confidence; they will get chances and supervision to improve their skills and capabilities. Through self-realization of employees and personal relationships with them, Leader C will be able to make them feel an integral part of the organization and increase their performance beyond expectations. Task 3 Individuals often take one of the bases of power in an organization in which they are employed. There are five bases of power which act as a source of organization; they will be discussed one by one. The first one is Position in Hierarchy (Woldring, 2001), that is the rank of the individual in an organization. The higher the individual’s place in the organizational rank structure, the greater the power he will have. In the given scenario, Employee 1 is using position in hierarchy as the source of his power. He has worked in the marketing department for 12 years and he frequently comes to the office on weekends or stays late to make sure smooth running of tasks. The second base of power is Referent Power (Woldring, 2001); this is the personal relation of an individual with others who are higher in the organizational hierarchy. It only exists if the individual can actually reference the authenticity of relationship so that it can act as a basis of power. Employee 2 has this power as he negotiated with his manager to work four days a week and is the only person who is allowed to have a shorter work week. Third type of power is Reward Power (Raven, 1959); individuals who have a greater degree of control over resources of organization, have greater power. Individuals even lower in the organizational hierarchy can have greater controller over resources of the organization (Woldring, 2001). This power is based on the ability to give valuable reward to others who perform well (Raven, 1959). In the scenario given, Employee 1 has this power as he is controlling the resources of his department to get the large bonus at the year end, and he will spend this bonus on his vacations. The fourth base of power is Demonstrated Expertise (Woldring, 2001); an individual who has an exceptional capability or special knowledge that no other has in the organization. Only having expertise is not sufficient, others should know about the importance of this person’s expertise and its value. Employee 2 has this power as he is the only company employee who can prepare financial statements. The fifth and final source of power is Personality Power or Coercive Power (Woldring, 2001); the perceived personality of the individual is the power here. If the person has strong interpersonal skills, charming and attractive personality, then he will be able to influence others to conform to his ideas or demands (Raven, 1959). This is the case with Employee 3, who has been in the organization for just a year, but because of his personality power, he was able to change entire department’s beliefs. Relationship between Bases of Power and Dependency: The Bases of Power use the concept of Dependency. An employee can only use its base of power on another employee if the other one is dependent on him. As Emerson (1962, p. 32) argues that â€Å"power resides implicitly in the other‘s dependency† and that â€Å"the power of A over B is equal to, and based upon, the dependence of B upon A†. Therefore if a person B is dependent of another person A, only then the power of A exists. The level of power of person A depends upon the degree of dependence of person B on person A and the alternatives available to person B. If there is no dependence then power over another person does not exists. The accounting manager in the given scenario is the person who is dependent upon Employee 2 because of the Expertise power of Employee 2. Employee 2 is the only person in the organization who can prepare the financial statements and so the manager is dependent upon him to prepare it. Employee 1 is dependent upon marketing manager for the award he wants, that is why he stays late in the office to make sure of the completion and accuracy of the work and he often come to office on weekends. Employee 3 was selected as the leader of the team working on new project; all others related to the project are dependent upon him because of his Coercive power. Task 4 The first problem with the company’s current evaluation form is that the rating scales in the form mostly focus on relationships with other employees and on the personality; it is more of a personality test rather than performance and skills evaluation. Instead of evaluating the neatness of the workplace, relationships with peers, attitude with others and friendliness, the questions should be more specific to the performance and quality of work. Performance factors such as knowledge, skills, abilities, quality and timeliness of work, efforts of the employee, works habits, supervisory factors, cooperation, adaptability and effectiveness of communication should be evaluated. The second concern in the evaluation form is that the rating scales are not specific and measurable. The scale being used is to rate an attribute is not numeric or scalar, high, low-medium, medium are being used to score against the attribute. A better approach of scoring will be to use a scale with numeric scale, the highest described as â€Å"Superior† and lowest as â€Å"Unsatisfactory†. Another option of â€Å"Not Applicable† should also be present with all attributes. The use of measurable scale will ease the work for evaluator and he will be able to rate the employee’s attributes more accurately. The third concern in the evaluation form is that the performance factors are not specific. When the manager had to give rating on the engineer’s attitudes, he had to take in to account the engineer’s attitudes towards his job and tasks that he is assigned to do and also his attitudes towards co-workers and manager. The factors should be more specific so that the evaluator can give the ratings to specific attribute and every attribute is taken into account. In the scenario, the manager gave engineer a low rating in the attitude factor although his attitude towards work was very serious and he completed his tasks in a very well manner. He got a low rating because of his poor attitude towards the peers and manager. The 360-degree approach to employee evaluation involves supervisor, peers, and subordinates into the evaluation of an individual. This approach has its own pros and cons. Many people participate in evaluating a person so it gives complete view of the performance of the person. The performance view is captured from the supervisor, peers and the subordinates, they respond as they see the person’s performance. It reduces the bias of the supervisor or the manager towards an employee. It the supervisor does not likes the attitude of appearance of the employee, and then he might rate the employee with a lower score. If the employee’s attitude with the supervisor is not favorable but the peers and subordinates like the attitude of the employee, then this can be captured in the evaluation process. Many people participate in the evaluation process, so the score becomes more reliable and more accurate. The supervisor may not have a personal relation with the employee and may not know him too well to rate his personality and attitude towards work. It is also possible that the employee have had some kind of incident with the supervisor in the past and since then the attitude towards the employee had become unfavorable. Then the supervisor would obviously rate him low in the performance factors. Most of the times in an organization, peers and co-workers know the employee better than the supervisor; so when the peers will evaluate the employee, they will be able to give the ratings more accurately and their ratings will be more reliable than any others. The attitude of a person towards his sub-ordinates is also very important, this attitude can be recorded when sub-ordinates will take part in the evaluation process of the employee. And then after the evaluation, the employee can leverage his strengths according to others’ perception of his performance and personality. So, 360-degree approach to performance evaluation helps in evaluating the employee from many views and in recording reliable and more accurate information then the traditional forms of evaluations and is not only helpful to the management to make important decisions but also is useful to the person being evaluated . There are some disadvantages too of including the supervisor, peers and subordinates in the evaluation process. One of the main disadvantages is that all the peers and subordinates may not like the personality of the employee being evaluated and may rate him very low based on his attitude and personality. The main purpose of evaluating an employee is to evaluate the performance and skills and attitude towards the work and tasks assigned to him. The co-workers and subordinates may have issues with employee being evaluated because of personality clash, and although his work is up to the mark and performance is well, but still the peers, supervisor and subordinates might give him low score on performance. There are a handful of employee performance evaluation methods; three of them are top-down, peer-to-peer and 360-degree. Top-down is the most commonly used in the organizations today. It involves the direct manager of the employee in the evaluation process and is only useful if the manager knows his employee well enough. Peer-to-peer entails the employees of the same levels to review each other. Nobody knows the capabilities and performance of an employee better than his peer or co-worker. While it can be effective method, it can also be very unsuccessful at times. If there is jealousy among the co-workers or if there is competition then it is obvious that they will not rate each others in a reliable manner. When there are multiple managers or multiple peers of an employee then these methods prove successful. The third method is 360-degree evaluation which takes into account the reviews of peers, subordinates and the managers or supervisors. In some organizations even suppliers and customers are involved in the evaluation process. While the advantage of multiple points of views is clear, it poses some threats also. Sometimes the subordinates may not give the true feedback of their managers because of the fear that manager will get to know about it. The following are the errors and biases that commonly affect the accuracy of performance evaluation. The first one is that the employees may favor the evaluation questions of their manager as they will fear that the manager will find out and so their review will not be true. The second is that the peers might not be mature enough or experienced enough to evaluate each other and they may form a cartel and rate each other well. The third example is that the manager does not the performance of his employee whom he is to evaluate because of no interaction with him, and he might just do the evaluation providing inaccurate information. In the given scenario, the evaluation form should be made more reliable and bias free and should be more oriented towards the performance of the employee rather than the friendliness and the attitude towards the co-workers. The scale used should be numeric with the highest being the best and lowest being the most poor. Customers, subordinates, and co-workers should also be included in the evaluation process to make it fairer. References Online Journal Iain, Ph. D. Hay. (2007 ). Transactional and Transformational Leaderships Compared. Leadership of Stability and leadership of vola tility, Volume 4, Issue 4. Retrieved 04 16, 2009, from Academic Leadership database. Website Organization/Website/Author name. (Year, Month Day). Title. Retrieved Month Day, Year, from www. url. com Value Based Management. net/Victor Vroom. (2009, 03 23). Motivation and Management Vroom’s Expectancy Theory. Retrieved 04 14, 2009, from http://www. valuebasedmanagement. net/methods_vroom_expectancy_theory. html Arrod. co. uk/Dave Droar. (2006, 12 31). Expectancy theory of motivation. Retrieved 04 14, 2009, from http://www. arrod. co. uk/archive/concept_vroom. php Imaginal Training/Jon Jenkins and Gerrit Visser. (2001). Level 5 Leadership. Retrieved 04 14, 2009, from http://www. imaginal. nl/articleLevel5Leadership. htm Workplace Competence International Limited/Roelf Woldring. (2001). Power in Organizations: A way of Thinking About What You’ve Got, and How to Use It. Retrieved 04 16, 2009, from http://www. wciltd. com/pdfquark/powerorgv2. pdf

Looking At The Storys Behind Indian Art Cultural Studies Essay

Looking At The Storys Behind Indian Art Cultural Studies Essay I intend to do research on the Indian folk art forms, their styles, different symbols and forms as well as the context and cultural backgrounds. I will focus on MDAHUBANI PAINTINGS, a folk art originated from North India. This research will help me understand the characteristics of these art forms, which will inspire my animation story and visual style. The story of Indian art is also the story of one of the oldest and most resilient cultures on earth. Throughout its history, Indian art has combined local tradition with outside influences, and has evolved along with a civilization, which has been remarkably innovative in all areas. As in every culture, art has been a mirror of Indias fascinating history from the beginning, reflecting religious beliefs, political events, and social customs. Especially in folk arts we find a compelling and beautiful record of centuries of Indian culture. Introduction to Indian Folk Arts The somewhat lesser-known traditions of Indian painting are the so-called folk paintings dating back to a period that may be referred to as timeless. These are living traditions, intrinsically linked with the regional historic-cultural settings from which they arise. It has an age-old heritage that can be traced back to the beginning of civilization on this subcontinent [1]. It began with cave paintings, with the natural dyes so strong that they can still be seen today on the walls of the caves after centuries. The folk and tribal painting come from the remote rural and tribal regions. Sometimes the artists of these rustic works are not even educated. They lack the basic means to attend schools, and as they are gifted with such beautiful mean of expression by nature. The various painting forms coming from these regions began not just as a painting but also as a religious and social ritual performed daily. It began with painting the walls and floor of mud houses. They hide the belief that this purified the ambience and pleased the deities. Various religious and symbols were therefore seen within the painting. The term folk paintings here encompasses pictures made in Indian villages by both men and women, for ornamentation of their abodes, portrayals of their gods and for their various rituals; and, by local professional painters or artisans for use of the local people. All these paintings were produced in a variety of styles and themes. History, sociology and geography infused the painting of each region with local flavor. Their style and quality depended on the materials available in the place in which they were executed, these very factors that helps to identify the region. Folk art may be defined as the art created among groups that exist within the framework of existing society, but, for geographical and cultural reasons, are largely separated from the sophisticated and cultural reasons, and the developments of their time. As a result, they produce distinctive styles and objects for local needs and tastes. In folk tradition, art is nourishment to the daily life of the people. Whether he is a TAMILNADU (an Indian state) [2] potter who creates a massive terracotta AIYANAR (example in Appendix. Pic.1) or a MADHYA PRADESH (an Indian state) [2] tribal who creates PITHORA painting (example in Appendix. Pic.2), at the moment of creation, the poverty-stricken, illiterate folk, becomes a master-crafts-man who can create marvelous plastic and visual forms with a creative genius handed over to him by generations. Topography and geography too have control over the medium of art. In the case of UTTAR PRADESH (an Indian state) [2], we can find folk paintings on the walls of the houses. Whereas in ASSAM (an Indian state) [2], one cannot find wall paintings because most of the walls of the house are built with cane or bamboo. The folk and tribal traditions, consider all materials available in day-to-day life are worthy of serving as a medium of expression. In this regard, artist-writer, HAKU SHAH writ es, When a tribal touches a blade of grass, gourd or bead, fiber, twig, grain, pin, plastic button, conch shell, feather, leaf of flower, he sees through it, smells it, hears it, and therein starts the ritual of being with it [3]. Each part of the country with its own trees and plants, birds and animals, hills and dales has inspired Indian folk artists to have multiple metaphors, series of symbols and innumerable images to build a rich treasure-house of art. The following are the common stylistic characters in folk-art: Preference for simple outline and choice of typically representational lines; A simplification of colors and volumes so that shading is eliminated; Stylization of motifs to create decorative elements; and Repetition of lines, of entire figures, of dots for intensive or rhythmical purposes. Following is the list of some of the main folk arts from different parts of India Madhubani Painting Folk art of Madhubani from the Mithila region [2] of north India. There are different styles developed by different castes of the region. (Examples in Appendix Pic.16a 16h) Thanka Painting Combining the magnificent beauty with spiritual vision, Tankha is painting solely dedicated to Buddha and his teachings. These represent how the Buddhists see the universe. It is generally in eight layers with the upper most layers or part depicting a deity. The rest seven are the various elements of the universe like, fire, earth, space, water and air. Colorful and geometrical, these are many a time seen as the basis of temple architecture. These paintings are done with dedication, concentration, and passion and also with the deep religious feeling of doing something directly related with the supreme power. (Example in Appendix Pic.3a, 3b) Patachitra Painting Indian art Patachitra is a pre-Islamic form of religious art. It comes from the eastern Indian state Orissa [2]. Hindu gods and goddesses and other mythological scenes are painted on a leather-like surface made of several layers of old cotton glued together. (Example in Appendix Pic.4a, 4b) Kalamkari Painting Kalamkari Literally meaning pen-work, it is the religious painting on cloth with blocks and wax resist, from the temple town of KALAHASTHI in southeast ANDHRA PRADESH [2]. (Example in Appendix Pic.5a, 5b) Warli Painting Warli is a tribal community from MAHARASHTRA, India [2]. They have made a significant contribution to the heritage of Indian tribal art. Done by both men and women, these art works show their dedication to the nature and the superpower. (Example in Appendix Pic.6a, 6b) Gond Painting Tribal painting, Gond is a freehand expression of the Gond tribes of MADHYA PRADESH, India [2]. Painted freehand, these two dimensional paintings reflect their perception of life. The third dimension, the depth is always lacking in these paintings reflecting the simplicity of the artist. Sometimes these paintings also tell how colorful their imagination can be. They put colors to the blandest creations of the nature at times. (Example in Appendix Pic.7a, 7b) Batik Painting Batik, wax resist painting from WEST BENGAL, India [2]. Meaning wax-painting in Javanese, it originated in Indonesia and later revived in WEST BENGAL, India. The creativity of the talented dyers has given it a fresh new definition. The principle of batik is a simple one, wax or a similarly resistant substance such as rice paste is used to create patterns or motifs on cloth before it is dyed or colored in some way. When the wax is finally ready to be removed, the untouched cloth beneath it stands out as the original color of the cloth. (Example in Appendix Pic.8a, 8b) Miniature Painting Folk art miniature paintings inspired by the graceful romantic life style of the Mughals [4]. These paintings show one moment at a time and in minute details. The love scenes, the court scenes, various solitary women, animals, flowers all were closely observed and reproduced simultaneously. (Example in Appendix Pic.9a, 9b) Santhal Art The Santhal tribe, one of the famous tribes belonging to the Bihar state of India [2], has a typical style of painting, known as Santhal paintings. The bodies of the various forms that they paint are seldom or perhaps never in one shade, they are always striped, dotted or filled with any other geometrical pattern. They are done on a handmade paper with poster colors. The topics are selected from the natural surroundings or just from the happenings of their day-to-day lives. (Example in Appendix Pic.10a, 10b) Phad Art RAJASHTAN, an Indian state [2], the land of colors is known for Phad painting, which is done on cloth. This type of painting is mainly found in the BHILWARA district. The main theme of these paintings is the depiction of local deities and their stories, and legends of erstwhile local rulers. Phad is a type of scroll painting. These paintings are created while using bright and subtle colors. (Example in Appendix Pic.11a, 11b) Yantra Tantra art or yantra is used as an instrument or medium of focus on a deity while meditating. It is used while performing religious ceremonies. It is a graphical representation of geometrical or abstract images such as triangles, squares, pentagons, hexagons or circles. (Example in Appendix Pic.12a, 12b) Chittara Chittara, meaning picture is an expression of the village artists of KARNATAKA India [2]. Chittara is done on handmade paper. This paper is coated with mud first and then the desired color of the background is given to it by various colors extracted from the natural objects. The color red is procured by grinding a special red stone, the color black is procured by grinding burnt rice and soaking it in water for few days, mud and rice paste gives white. (Example in Appendix Pic.13a, 13b) Introduction to MADHUBANI Paintings Painting is generally done by folk artists or classical artists in three ways: wall-painting (BHITTI-CITRA), canvas-painting (PATA-CHITRA) and floor-painting (ARIPANA). Of these the wall-painting and the floor-painting are very popular in MITHILA region [2]. The Wall-painting or mural paintings, popularly known as MITHILA painting or MADHUBANI painting. MADHUBANI, literally meaning from the forest of honey is the name of the village from where comes the MADHUBANI paintings. Situated in the interior of northern India, this art is the expression of creativity in the day-to-day life of the local people. Done mainly by the females of the family, this art is regarded as a part of daily ritual. Initially all vegetable dyes were used for the paintings but today they have access to the variety of poster colors to cater to their needs and to enable them for more experiments with colors. The estimated date cant be traced back to the actual era that brought MADHUBANI art in to existence. It is however centuries old art that is associated with the normal lives of the villagers. In that region it is believed that every morning the worshipped deity comes invisibly to the household to bless the members of the family and also to bring more prosperity. So this art started as a welcome painting for deities. It started from the entrance floor and the exterior of the house. Passed from mothers to their daughters, the art of MADHUBANI has constantly been improving in its quality. As this tradition was initialized with a purpose of decorating the exterior of the house, the walls and the floor always served as the canvas. Floor-painting (ARIPANA) The art of ARIPANA or floor-painting has been handed down from generation to generation. There is not a single house in MITHILA in which ceremonies are held without ARIPANA. The women of MITHILA specialize in drawing circular patterns of designs with a white liquid paste made of ground rice mixed with water. Sometimes vermilion is also applied, besides white, red, green, yellow and black colors. In various ARIPANA designs, they have the images of gods and goddess painted on different shapes and forms with multiple colors, reflecting the artists originality and imagination. ARIPANA is an indigenous word, which means the art of drawing embankment or wall. The word is derived from ALIMPANA or ALEPANA (of Sanskrit origin) and though grammatically correct, it falsifies the real origin of the word [5]. (Example of ARIPANA art in Appendix. Pic.14a, 14b) The land and people North of the river Ganges, in the state of BIHAR [2] lies a land called MITHILA, shaded by old mango groves and watered by melt water rivers of NEPAL [2] (Indian neighbor country) and the Himalayas. MITHILA has played a noteworthy part in the political and cultural life of ancient India. It is a land full of the beauty of landscape in sharp contrast to the ugliness of poverty in which its people, most of whom are talented painters, live, who accept their fate, good or bad, and paint for painting sake. It is said that altogether MITHILA was the home where the enlightened and the learned might always find a generous patron, peace and safety, where courts were devoted to learning and culture and where poets and philosophers lived in honor and affluence. Even though women in the villages around MADHUBANI have been practicing their folk art for centuries, the world at large has come to know about these women and to consider them to be artists only in the last forty years. Even now, most of their work remains anonymous. The women, most of them illiterate, are reluctant to consider themselves individual producers of works of art and only a few of them mark the paintings with their own name. Among the first modern outsiders to document the tradition of MADHUBANI painting were William and Mildred Archer. Mr. Archer was a British civil servant assigned to the district during the colonial era (till 1947). The Archers obtained some drawings on paper that the women painters were using as aids to memory. Works that the Archers collected went to the India Records Office in London (now part of the British Library) where a small number of specialists could study them as creative instances of Indias folk art [6]. The women painters in MADHUBANI lived in a closed society and were unwilling to paint openly. Eventually due to a drought (1966-68) in the surrounding areas of MITHILA that resulted in severe economic crisis women began to commercialize their art. The All India Handicrafts Board [7] encouraged the women artists to produce their paintings on handmade paper for commercial sale. The government of India, the state government of Bihar and the regional craft guilds has all come in together to initiate the productions and marketing for these women painters. This sudden change in the form of art and its presentation has enabled the world to discover a new form of art with an enviable linkage to the lives of women [8]. The Style of painting This style of painting belongs to North Bihar. In keeping with the tradition under which it began, the style is replete with symbols of fertility like the lotus plant, the bamboo grove, birds, fish, etc. in union. The art shifted to drawing paper in the 1960s, and this brought with it a new freedom and creativity. Paper is movable and economically feasible too. Figures from nature mythology are adapted to suit this style. The themes designs widely painted are the worship of Hindu deities such as KRISHNA, RAMA, SIVA, DURGA, LAKSHMI, SARASWATI, Sun and Moon, TULSI (basil) plant, court scenes, wedding scenes, social happenings around them, etc. Floral, animal and bird motifs, geometrical designs are used to fill up all the gaps. There is hardly any empty space in this style. The skill is handed down the generations, and hence the traditional designs and patterns are widely maintained. One of the main features of MITHILA paintings is simplicity. All that is required for the artist is a suitable surface, ordinary paints, and local brushes. Preliminary sketching is hardly required in MITHILA paintings because the outlines are developed in a single sweep of the brush. Tools Used No sophisticated tools are needed in MADHUBANI paintings. Artists are still unacquainted with the modern brush. The traditional brush is made from a bamboo-twig by wrapping the twig up with a piece of cloth or by having its end frayed in such a way that the fiber looks like a bundle of hair. Color Scheme The artists prepare the colors. Black is obtained by mixing soot with cow dung; yellow from turmeric or pollen or lime and the milk of banyan leaves; blue from indigo; red from the KUSUM flower juice or red sandalwood; green from the leaves of the wood apple tree; white from rice powder; orange from PALASHA flowers. The raw materials were mixed with goats milk and juice from bean plants. Today green, blue, red and orange have been added to these colors. The colors are applied flat with no shading. There is normally a double line drawn for the outlines, with the gap between the lines filled by cross or straight tiny lines. In the linear painting, no colors are applied. Only the outlines are drawn. Some villages only produce black ink drawings. Other villages use pink, yellow, blue, red and parrot green, each paint mixed with the traditional goats milk. Impact of Hindu religion and mythology in Indian folk arts Hinduism Religion has been a definitive influence on Indian Art. Hindu Paintings featuring Hindu gods, Hindu goddesses, and the various Hindu pantheons are one of the most prominent symbols of Indian and Hindu Art. Hindu god/goddess in branding In India, manufacturers try to affect the psyche of consumer, by branding an item with the names and images of Hindu deities. They bring the premium image of a God and His virtues and associate them to their product, thus exploiting the mass recognition of well-established imagery of the God to boost product branding. The beauty of this strategy lies in the fact that the companies using Gods images do not have to be concerned about any kind of intellectual property issues like copyright, thus enjoying an immense credibility just by virtue of having connected their name to a venerated name. This kind of branding shows the popularity of god/goddess images in India and the corporate/legal freedom of their use. Manufacturers use images and names of Hindu Gods on product labels and promotion materials to attract buyers attention. Even in America some of the phone card companies like MCI, which target Indian consumers, print Gods images on its international phone cards and sometimes even t he phone card itself is named after a God. In India the largest group of advertisers are the food marketers, followed by marketers of drugs and cosmetics, soaps, automobiles, tobacco, appliances, and oil products. All of these companies somehow associate their products virtues with the virtues of a God and try to sell it to the consumer, who can very well relate to the image presented. For instance, Indian jewelers use image and name of Goddess LAXMI, who is considered the ruler of all material wealth extensively. One of the most famous names among jewelry shops in India is: Maha Laxmi Jewelers. (Examples of some Ads and products in Appendix. Pic.17a 17j) Forms and symbols in MADHUBANI Paintings The motifs of the designs include conventionalized flora and fauna, circles in series, spiral or curvilinear devices, series of short lines, foot-points of fragmentary (imaginative) pictures illustrating legends and stories, giving glimpses of environmental and natural life. While the religious paintings include various gods and goddess, the secular and decorative paintings contain various symbols of prosperity and fertility such as elephant, horse, fish, lion, parrot, turtle, bamboo, lotus, flower, PURAINA leaves, PANA, creepers, SWASTIKA etc. Besides, we also come across in these paintings aspects of agricultural animal life, which plays an important role in the rural economy of MITHILA. The animal, in fact, is a duplicate representation of energy and character of God. Thus, the subject matter generally falls into two groups: (1) A series of heavenly forms. (2) A series of strictly selected vegetables and animal forms. For different occasions, they have different forms and symbols attached to these paintings. Wedding Paintings At weddings, the following objects the sun and moon, a bamboo-tree, a circle of lotuses, parrots, turtle and fish come into prominence. These paintings draw their themes mostly from the PURANAS and epics. The most prominent image looming largest on the walls are the bamboo-tree and the ring of lotus, the KAMALAVANA or PURAINA. The focus is on fertility, and the marvelously intricate diagrams of the KAMALAVANA, the PURAINA and the forest of bamboos are, as pointed out by Archer, MANDALAS and diagrams of the generative organs. The lotus circle is not only a lotus but also the symbol of the brides sex, while the bamboo-tree is a bamboo, it also represents the phallus. (Although sometimes it is said that the women artists iconize the husbands patrilineage as a stand of bamboo.) In other words, lotus is a female and bamboo is a male. According to Archer, the latent symbolism reaches its height in the many paintings in which the bamboo-tree is depicted not as aloof and apart but as driven through the center of a clinging circle [9]. There are also minor symbols of parrots, turtles, fish, sun and the moon. In Indian context, the parrots symbolize the lovebirds and they feature constantly as images of the bride and bridegroom in folk songs and poetry. Turtles also have a significant place because they associate water with all its beneficent power with marriage, their strange shape being diagrammatic of the lovers union and their head and tail emerging from the shell looks like the exact counterparts of the bamboo plunging in the lotus. Then, there are fishes which are emblems of fertility and, finally we have sun and moon who are inserted because of their life-giving qualities. (Example of marriage art known as KOHBAR in Appendix. Pic.16a 16h) About the MADHUBANI painting Artists: Baua Devi Baua Devi is one of the most respected artists in the MITHILA community, and certainly the most successful. She lives in JITWARPUR, the village where she was born. Her work has been exhibited widely throughout India as well as the Center Georges Pompidou in Paris and at the MITHILA Museum in Tokamachi, Japan [10]. Also, at the MATRIX show at UC Berkeley Art Museum, 1997 [11] included two mural-scale paintings by Baua Devi, one depicting the life of KRISHNA, the other, a festival around a pond in a Mithila village. The scope of MADHUBANI paintings, its popularity in India and in other parts of the world MADHUBANI Painting has lately received much attention and popularity. There are quite a few websites devoted to MADHUBANI painting. I simply would like to add that the credit for bringing recent and massive popularity to this art form goes, in large measure, to the Lalit Narayan Mishra. In his capacity as the Minister for Railways in Mrs. Indira Gandhis cabinet, reproductions of these paintings adorned the coaches of many fast and super-fast trains. [12] Copies of the paintings became a hot-selling item for both native and foreign travelers. The reproductions could be found in plenty, for instance, among the hawkers in the bustling street side market along the JANPATH in New Delhi, India a must for the foreign tourist! Credit is due also to Mr. Bhaskar Kulkarni, erstwhile member of the Indian Handicrafts Federation. He was the first to organize an exhibition of this school of paintings at New Delhi in 1967 [13]. This brought instant international recognition. Folk art is having a tr easure house of symbolic language to contribute as a gift to Modern art. Folk in a sense carries the connotation of anonymity, collective wisdom, spontaneity and simplicity. With the development of Anthropology a new awareness has come into understanding the primitive and folk traditions. Anthropology has proved that regionalism in art is not against internationalism. [14] Conclusion MADHUBANI paintings are popular because of their tribal motifs and use of bright earthy colors. I would like to explore how these unique features of folk art could be successfully translated into the form of Animation. Based on my research I have these findings about MADHUBANI PAINTINGS characteristics: -The figures are recognizable by a face in profile while the rest of the body faces the front. -The face has one very large eye and a bumpy sort of nose coming out of the forehead. -The figure outlines are drawn as a double line with diagonal hatching between them. -The borders are highly decorated either geometrically or with ornate floral patterns. -Clothing also is highly decorated with geometrical, floral or even animal patterns. -The drawings of animals are easily recognized for what they are, but again tend to be very stylized. -The forms and symbols in these paintings have their own significance and different forms and symbols are used on different occasions. -There could be different interpretations of symbols and its uses. -These paintings have a limited number of colors and each color has its own meaning. Artists prepare the colors applied. -The artist uses traditional brushes (made from a bamboo-twig) for drawing. With time medium has changed. Originally these paintings were done on walls in villages. Later, the artists successfully transferred their techniques of wall painting to the medium of paper. Now most of the artists use watercolors and handmade papers. At the same time they maintain the characteristics and style of paintings although the medium has changed. In order to create a new source of non-agricultural income, different organizations encourages the artists to produce their traditional paintings on handmade paper for commercial sale. This way now it also widely spread. Even in the more recent work on paper, the themes are normally the Hindu Gods and Goddesses and stories from Hindu mythology. They exhibit their paintings throughout India as well as different parts of the world. Now with the advent of digital tools like Macromedia Flash, which can produce the similar kind of drawings using different combinations of pencil and brush strokes. Use of digital tools also makes these dr awings faster and more effectively as these paintings has lots of repetitive patterns. So we can say, transferring the techniques of wall painting to the medium of paper gained these paintings more popularity and recognition. Same way I strongly feel that when these styles and characteristics of MADHUBANI paintings will be transformed into digital medium, such as animation, it will take the paintings to the next level, where these folk art styles will be used by more and more digital artists from India and all over the world. End Notes [1] Based on the art history timeline the art produced on the Indian subcontinent from about the 3rd millennium BC . However based on the recent findings, An archaeological site off Indias western coast may be up to 9,000 years old. The revelation comes about 18 months after acoustic images from the sea-bed suggested the presence of built-up structures resembling the ancient Harappan civilization, which dates back around 4,000 years. . [2] States from India. Map of India Appendix Pic.15 [3] Thakur, Upendra, MADHUBANI Painting. New Delhi: Abhinav Publications, 1982. [4] Roy, The Bratas of Bengal, The RANGOLI or ARIPANA, KOLAM or MURGGY, as it is known in Bombay (now Mumbai), TAMILNADU and ANDHRA, is a pleasing decoration of the ground. [5] The Mughals ruled in India from 1526 to 1857. The Mughal period can be called a classical age in northern India. In this cultural development, the Indian traditions were amalgamated with the Turko-Iranian culture, brought to the country by the Mughals. [6] Gene R. Thursby, University of Florida . [7] Ministry of Textiles (Govt of India) [8] Madhubani Painting Workshop Brochure. . [9] Archer, W.G., MADHUBANI Paintings. Mumbai, 1998. [10] The Mithila Museum in Tokamachi, Japan. . [The Mithila Museum is housed in a converted schoolhouse in Tokamachi, Niigata Prefecture, situated in Japans snow country. Here approximately 850 Mithila paintings, more than 300 paintings that the Mithila artists created in Japan, Warli paintings by an aboriginal group in India, and Indian teracotta statues and figurines, are exhibited on a permanent basis.] [11] Baua Devi and the Art of Mithila. . MATRIX: August 15 through October 26, 1997 at the UC Berkeley Art Museum. [This is the first United States exhibition of paintings on paper by the Indian artist Baua Devi. The exhibition also includes a selection of works by other artists from the Mithila region of northeastern India. Baua Devis paintings explore an array of personal and mythological themes. An image, which she has come to adopt as her own is the nag kanya, or snake maiden, a creature with the torso and head of a beautiful woman and the lower body of a snake. The nag kanya resembles the snake goddess Manasa, whose attributes echo those of the key Hindu god Shiva. The nag kanya also derives from the real snakes that occupy the watery region where Baua Devi lives.] [12] Railways in North Bihar. . [13] Mr. Bhaskar Kulkarni. . [14] The Art of Folk Tradition. . References Thakur, Upendra, MADHUBANI Painting. New Delhi: Abhinav Publications, n.d. Thakur, Upendra, History of MITHILA. New Delhi: Abhinav Publications, n.d. Jain, Jyotindra, Ganga Devi: Tradition and Expression in Mithila Painting. Ahmedabad, India: Mapin Publishing Pvt Ltd., 1997. [A fine book on a leading artist who practiced what is sometimes called the Kayastha style of MADHUBANI painting.] Vequaud, Yves, The Women Painters of Mithila. London: Thames and Hudson, 1977. [A book that contributed to and then reflected the worldwide popularity of MADHUBANI painting.] Osaki, Norio, MADHUBANI Paintings. Kyoto Shoin, 1998. Shearer, Alistair. The Hindu Vision: Forms of the Formless. Thames Hudson, 1993. Aldred, Gavin. Indian Firework Art. Trafalgar Square, 2000 Prakash, K. Authentic Folk Designs from India. New Delhi: Dover Pubns, 1995. Dawson, Barry. Street Graphics India. Thames Hudson, 2001. Archer, W.G., MADHUBANI Paintings. Mumbai, 1998. Anand, Mulk Raj, MADHUBANI Painting. New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India, 1984. Online exhibit of MADHUBANI Paintings. . About an Artist.. The MAITHILI BRAHMANS: An Online Ethnography.. Marketing God: About religious content on Indian television.

Packaging Technology in Fitzhugh’s The Organ Grinders :: Environment Environmental Pollution Preservation

Packaging Technology in Fitzhugh’s The Organ Grinders Once upon a time, people had to go to a public market and buy fresh food everyday. If the food wasn’t used that day or the next, it would spoil and would be wasted. Today, with the help of packaging, food can be stored for weeks, months and sometimes even years before it has to be used. Because of packaging, food is cleaner and can be kept longer, many things can be purchased more conveniently, and life as a whole is easier. Like nearly everything else ever invented, packaging and disposable goods are not without their negative aspects as well. Americans throw out more than 180 million tons of garbage each year (Fitzhugh 93). On the website for the company Tetra Pak, which is a packaging company that deals mostly in liquid food products, they list four major benefits to packaging: protection, preservation, communication, and convenience (Tetra Pak). The first two reasons are obvious. Packaging provides a sealed safe place for food, away from water, air, and other things that could potentially damage it or cause it to be ruined. The product is also preserved by the packaging. The package can keep the food or item usable for a much longer time then if it did not have the packaging around it. Once of the best examples of this is with canned goods. Canning food allows it to be kept for an incredibly long time, whereas fresh goods must be used up quickly, before they expire. TetraPak.com lists communication as their third benefit of packaging. Packages can contain a lot of information about the product itself. For food items, they list the ingredients on the package, along with other information, like th e amount that the package contains, and possible warnings. Packages can also draw the consumer to the good and increase the merchant’s sales. Lastly, packages offer convenience. It is no longer necessary to go to the market every day to buy fresh produce. Customers can now buy their food and store it in its packages for quite a long time. The website also states that packages help keep messy foods and things off of our hands and simply makes things easier for the consumer (Tetra Pak). With all of these benefits, it is no wonder why nearly every product comes in a package of some kind.

The Process

How to make steak, mashed potatoes and green beans Growing up I was a very independent child. I always wanted to learn to do things for myself. When I was about seven or eight, I learned how to make steak. It instantly became my favorite food. Along the years IVe gotten better at making steak and many other foods. One of my favorite dishes to make is green beans, mashed potatoes and of course steak. It is simple to make and requires little preparation.It is very important to have all the ingredients before you start to prep and cook our meal. You will need: two pans, four potatoes, steak, one can of green beans, one pot, a potato peeler, can opener, pepper, garlic, seasoned meat tenderizer, onion and garlic powder, vegetable oil, butter, milk, salt, chives, and a standing mixer with a rotating bowl. Once you have all of that you can start to peel the potatoes. After you have done this, you can fill the pot up with water and bring it to a boil.You can now add the potatoes and let it c ook for about twenty minutes until they are cooked horoughly. You can tell if they are finished if you can stick a fork easily through them. You then drain the water from the pot and put the potatoes in the standing mixer. The standing mixer makes it easier to whip the potatoes and they come out with no lumps. After you have whipped the potatoes, you can put them into a smaller pot and turn on the stove. Now you add a cup of milk, sprinkle some pepper and salt into the pot, and add 3 to 4 table spoons of butter.You also add some chives for lavor and mix all the contents all together. Lastly you reduce the heat and cover your finished product. Now you can move on to the steak. First you cut the steak into pieces and place it into a bowl to be cleaned. You run it under hot water to get rid of any bacteria. After draining the dirty water, you start to season the steak. The seasonings you will use are pepper, meat tenderizer, garlic, and onion and garlic powder. After seasoning the meat you can dice the garlic and place it in a pan with vegetable oil.Once the garlic as browned a bit, you can place the steak in the pan with half a cup of water. The water will keep the meat soft and tender. The steak will be brown all the way through when it is finished. Finally, you can start with the green beans. First you open the can and drain the water. Then you dice the garlic like you did for the steak. In a small pan you add three teaspoons of vegetable oil and add the diced garlic. Next you add the green beans and turn on the stove burner to a low heat.Add some pepper, salt and garlic owder and mix it all together so that the seasonings can be evenly distributed. Once the green beans are hot, you are finished. You now have a delicious meal that is ready to eat. Cooking has become something that I enjoy doing. I love learning different ways to make the same foods and trying new foods and recipes. I love when I cook for my friends and family and they boast about how good the food was. It makes me feel good and want to keep cooking to get even better. I love cooking as much as I love to eat. Process Essay By ktcr

Darwin and Marx essays

Darwin and Marx essays After the French Revolution, the second half of the nineteenth century was dominated by science and industrialization. New ideas began to form in the progressively secular culture. Realism, positivism, Darwinism, Marxism, and liberalism all reacted against romantic, religious, and metaphysical interpretations of nature and society and focused on the empirical world (Perry, pg. 585). Darwinism and Marxism were the main points discussed during this time. Darwinism, named after Charles Darwin (1809-1882), was one of the most important advances in our scientific view of the world. Darwin did for biology what Newton had done for physics: he made it an objective science based on general principles (Perry, pg. 592). He formulated most of his ideas during a five-year expedition to the South Pacific. His theories on evolution were taken from similarities he observed between extinct and living species. His evolutionary ideas were placed into two of his books, the Origin of Species and the Descent of Man. Darwins theory convinced many on how there is a large diversity between different species in a short time period. Another one of his key ideas was adopted from the Malthusian idea that reproduction by a species is quicker than the food that particular species consumes. Finally, all of his ideas formed one main concept, explained in four simple words: survival of the fittest. Like most other radical thinkers before him, Darwins theor ies were contrary to Christian beliefs. One theologian declared, If the Darwinian theory is true, Genesis is a lie, the whole framework of the book of life falls to pieces, and the revelation of God as man, as we Christians know it, is a delusion and a snare. (Perry, pg. 593). Darwinism changed peoples way of looking at religion as a form of reason and transformed it into the faith that it is today. Marxism, named after Karl Marx (181...