The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain (...) why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research. Rad se bavi ideoloskim i politickim sukobima oko popularne muzike u Srbiji kao odlicnom primeru jednog konfuznog i lose postavljenog traganja za identitetom. Zapravo, sukob o kome je rec, sve vreme se vodi oko toga da li su takozvani orijentalni elementi legitiman deo srpske muzike ili ne. Autor se fokusira na tri perioda dvadesetog veka kada su se potezali potpuno isti argumenti, a narocitu paznju posvecuje aktuelnim sukobima i izlaze zasto su sve tri prisutne pozicije na sceni ideoloski zasnovane. Posebna paznja posvecena je uticaju trzista na razvoj i modernizaciju popularne muzike. Clanak se zavrsava preporukama za jedno bolje postavljeno razumevanje sopstvenog kulturnog identiteta. (shrink)

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and its (...) specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 185-193 [Access article in PDF] Response to Marja Heimonen, "Music Education and Law:Regulation as an Instrument" Raimo Siltala University Of Helsinki, Finland From a legal point of view, Marja Heimonen's dissertation and the extract published in this issue of PMER, "Music Education and Law: Regulation as an Instrument," presents a most important question: Should music education be regulated by law, and if (...) so, by what kind of legal instruments—by strict legal rules, by softer legal standards, by self-regulation, or by leaving the matter to the laissez-faire and "invisible hand" of the market, where economic efficiency takes over from legal regulation? Heimonen's dissertation is to my knowledge the very first of its own kind, combining elements from music education and the law and, indeed, legal philosophy in an imaginative and highly original manner. Her scholarly position between music education and law is a courageous one because she might invite critical comments equally from the two branches of science involved: the music educational and the legal philosophical one. Yet, she has a gained a profound understanding of the specific needs of music education and of the restrictions of law and legal regulation, and the two-sided approach is really one of the true strengths, and not weaknesses, of the scholarly work. Her approach strives mainly at a broad hermeneutical comprehension of the issue in the humanistic [End Page 185] tradition, but there are other elements involved, as well, related to the analytical or instrumental tradition.There is a large legal comparative part in the treatise, covering approximately one third of the whole thesis, with material drawn from Sweden, England, Germany, and Finland and the system of music education in each. The three legal systems have been chosen with good discretion: one with a common law background (England), one belonging to the Roman-Germanic tradition (Germany), and one from the Scandinavian legal tradition (Sweden), and the Finnish system of music education is then compared to all of them. The Swedish model is based on equal opportunity given to all the applicants with no entrance examinations held and as many willing children accepted to the music schools as is possible. The British system, or rather a "non-system," of music education is privately owned and market-based, with only a few regulations issued by the government and with an emphasis on the visiting peripatetic teachers, voluntary Saturday music schools, and the special schools founded for the musically talented. The German system, like the one in Finland, is based on formal entrance examinations and degrees passed, where both a professional career in music performance and artistic self-expression may be pursued as the primary goal of music education."The Swedes have Abba and Roxette, we the Finns have Kaija Saariaho and Ralf Gothoni"—along with Esa-Pekka Salonen and other world-class conductors, one might add—as Heimonen notes in the text, but why is that so? Does the difference in the outcome, in the sense of a breakthrough either in popular music groups or individual performers in classical music, lie in the system of music education and the legislative ideology at the back of it? Heimonen refuses to give a simple and straightforward answer to that question, declining to place the various systems of music legislation in an order of preference. Instead, she adopts a broadly humanistic and hermeneutical perspective to the issue, where the merits and the disadvantages of each legal system are taken on an individual basis. The Shakespearean question that is so boldly put forth by her, "viz. to regulate or not to regulate," is answered only with reference to a widely humanistic understanding of the complex issue of music education where the intrinsic values of artistic self-expression and the instrumental values of training future professionals in music performance, composing, and conducting, are contrasted with other, but where no winners or losers are identified by her.There would seem to be a connection between a certain legal system and its model of... (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

The development of local ethnic music culture is affected by the impact of foreign music culture, the establishment of the teaching system of music culture knowledge, understanding of history, culture, social background to mobilise the sensory mechanism, based on the popular elements of ethnic music innovation, as well as enrichment of the regional ethnic music and cultural activities, and active promotion of the protection of the local ethnic music culture of the five factors. The five factors relationship value are (...) 0.440, 0.517, 0.541, 0.498 are all greater than 0, and there is a significant relationship between the factors. The path coefficients of the refinement factors on the protection of local ethnic music culture are all greater than 0, and p=0.000. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scott Joplin and the Quest for IdentityEarl Stewart and Jane DuranIn his innovative work I Wanna Be Me: Rock Music and the Politics of Identity, Ted Gracyk does much to dismantle notions of cultural authenticity and theft as they are currently articulated by some critics. Explaining that such concepts are less monolithic than some have claimed, Gracyk writes:While popular musicians often "pick up" the music of other cultures, (...) such practices are culturally, politically, and morally complex. In discussing such issues, I hope to show that they are even more complex than is typically thought. Here, I borrow an insight from Michelle Moody-Adams, who argues that prevailing positions in social and cultural anthropology assume that cultures are internally integrated wholes and that each culture is fundamentally a set of self-contained and discrete practices and beliefs. The same assumptions infest discussions of appropriation in cultural studies, folk-lore studies, and ethnomusicology. But these assumptions are highly questionable.1Gracyk's overall point is that what has frequently been simplified as "theft" or "inauthentic" is not susceptible to such easy formulation; indeed, Gracyk contends there is scarcely such a thing as a pure musical tradition.Gracyk's sophisticated argument is one, however, that itself admits of gradations and emendations. While it is no doubt accurate that there is very little that might count as artistically or culturally pure (hence, very little that can justifiably be claimed to have been stolen), some work is much more evocative of a cultural point of view than other efforts, and some work is much more centrally located within a given culture and its traditions than other musical work. In this article we shall make the twofold argument that much of the work of Scott Joplin is located in a tradition that is manifestly African derived, and that the composition of such work had, as one of its motivators, the desire to make a cultural statement. Thus, more so than some of Gracyk's exemplars, Joplin's work is strongly culturally attached, and its attachment needs to be duly noted.IThe origins of Joplin's work speak to the concerns of the nineteenth century and of the period immediately subsequent to emancipation. Most of [End Page 94] the black leadership of the time was united in its belief that a nationalist art would serve in the reconstruction of the image of African Americans. During the latter part of the nineteenth century many of these leaders saw the spiritual as the ideal folkloric basis for a serious black artistic expression. In music this notion was given strong support as a result of a concurrent interest on the part of European composers in African American music—an interest fed by the aesthetic of romanticism, which encouraged artistic investment in the strange, unusual, primitive, and exotic.Most classically trained African American composers attempted to comply with the vision of these black leaders by constructing a more or less European-style music tinctured with African American folk elements. The result would be a set of works that to this day has failed to be adopted by the African American community at large.Scott Joplin tried a different approach. He sought to create an African American musical expression that would be predicated upon an African American vernacular style—ragtime. Joplin essentialized his music in many ways. First, by choosing ragtime as a stylistic paradigm he assured the preservation of black rhythm. Second, to promote continuity and coherence he often employed rhythmic relationships between contrasting sections. Third, he frequently employed African American folk idioms like pentatonicism and call-and-response (antiphony) as interregnal devices in the structure of his melodies. Fourth, to assure an intrastructural linkage with the African American vernacular music of his day, he frequently used phrase structures that were consistent with those employed in folk music, particularly the black spiritual, for example, aaab. In his opera, Treemonisha, he based his libretto largely on black dialect, thus linking it with black literary tradition. These are but a few of the devices Joplin employed to assure a strong cultural essentialism to his music. As a result, Joplin has been acknowledged as one of the great icons of... (shrink)

The object of study in the article is the Russian culture of the post-Soviet period. The subject of the study is the well-known rock band "Gaza Strip", which is considered as a cultural phenomenon that has influenced Russian culture as a whole. This band was created by the author-performer Yuri Klinskikh (creative pseudonym – Khoy) in the late 1980s in Voronezh. The band soon became super-popular, with virtually no media promotion. The band ceased to exist in 2000 due to (...) the death of its leader. But as shown in the article, Khoy's work has not been forgotten, it has largely grown into Russian popular culture and is still in great demand. The author makes an attempt to understand the reasons for this. The research is based on the study of numerous newspaper notes about the band, interviews with Yuri Khoy, books about the "Gaza Strip", lyrics of the band, as well as on the author's own memoirs. The novelty of the research lies in the fact that for the first time the creativity of the "Gaza Strip" band was subjected to philosophical reflection. An attempt has been made to understand the reasons for the popularity of this band and the demand for its work a quarter of a century after the death of its leader. Several reasons have been identified that determined the success of the band. The music of the Gaza Strip has found a completely new niche in the Russian music market. Due to its expression, it meets the psycho-emotional needs of adolescents. The use of obscene vocabulary contributed to the scandalous fame. At the same time, the swearing in most cases serves as an organic means of reflecting the social environment in which the lyrical hero of Hoy's songs is located. Apparently, the main ingredient of the band's success is the widest range of topics covered in the songs, as well as the presentation of material understandable to a wide audience, including through humor. At the same time, despite the obscenities in the vocabulary and artistic images, the humanistic pathos is obvious in the songs of the band. The combination of the primordial folk linguistic and cultural elements, the bearer of which was Yuri Klinskikh, with fashionable musical trends gave rise to a curious phenomenon that exists in three dimensions at once – counterculture, grassroots, folk culture and "big", nationwide mass culture. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or (...) calculated marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls. (shrink)

TWEEN POP examines the creation of the "tween" in the early 2000s as a gendered and raced consumer audience. The tween, aged nine to twelve, and usually thought of as a white girl, occupies a temporality between childhood and adolescence: she has aged out of children's products but is too young to fully engage in marketing directed at teenagers. But, as Tyler Bickford argues, this seemingly narrow market grew to broadly include four to fifteen year olds, with producers and marketers (...) pulling upwards and downwards by creating material that would attract younger viewers and teenagers, thereby creating a demographic that expanded, rather than limited, the traditional reach of child and teenage markets. According to Bickford, the key to this expansion was pop music, as it provided an intensity of experience that mirrored childhood in its investments in emotional authenticity, cultural value, and relational intimacies. In other words, pop music needed to be both intimate and public--a tension that Bickford argues defined the tween's positionality as well--and tween pop did so by pairing the mainstream pop of adulthood with images and lyrics suitable for younger audiences. Throughout the book, Bickford reveals how childhood's status as a private domestic position outside of politics was not a hindrance to the cultivation of children as a mass audience but rather was the very foundation of that project. By creating an intimate public of tween pop, the tween music industry was able to position tweens as still within the private domestic sphere of family life, but connected in a broader public of other tween-pop-listening tweens. Chapter 1 looks at Kidz Bop music videos to argue that the tween music industry framed childhood domesticity as complementary to participation in a public culture. Chapter 2 focuses on Disney Channel's popular music programs' efforts to engage older children, particularly older girls, in their marketing tactics. Chapter 3 analyzes the Disney Channel show Hannah Montana and its foregrounding of tensions between girlhood, public culture, and family. Chapter 4 attends to how whiteness served as central to the tween construction of innocence and childhood. Bickford concludes the book by periodizing the tween moment as the decade from 2001 to 2011, and then outlines the developments in popular culture for children since that time. This book will be of interest to students and scholars of ethnomusicology, feminism and gender studies, and cultural studies. (shrink)

China's traditional religious music is deeply rooted in the folk life and labor. Studying the influence of Confucian music aesthetics on ancient religious music and the establishment of modern music aesthetics has an important influence and the significance of learning from it. Studying the music aesthetics of Confucianism in the pre-Qin period can scientifically inherit and carry forward the traditional ritual and music civilization, combine the essence of China's traditional religious music aesthetics with reality, and explore the music theory that (...) meets the needs of today and can promote the healthy development of society. As the most popular and in-depth art form, music plays an inestimable role in the growth of contemporary college students. Firstly, this paper expounds the relationship between Confucian music aesthetics and China's ancient traditional religious music art and puts forward that we should draw nutrition from China's ancient and profound culture to improve the artistic quality of contemporary college students. Then, from the angle of ethics, it explains the deep connotation of Pre-Qin Confucian musical aesthetics, and tries to sort out its ideological system logically, hoping to expand the research of Pre-Qin Confucian musical aesthetics. (shrink)

Identity is a concept that evolves over the course of life. Identity develops over time and can evolve, sometimes drastically; depending on what directions we take in our life. In the age of globalization, a human being is more aware than old times regarding his community, social and national affairs. A person who identifies himself as part of a particular political party, of a particular faith, and who sees himself as upper-middle class, might discover that in later age, he's a (...) very different person. Perhaps he's no longer interested in politics, he's changed his religion, and he's living on less money than when he was in his younghood. Any variation is possible during a person's life span. -/- Religious Identity: A person's religious identity is the name of the religion that they identify themselves with. In this society people want to know, "What religion are you?" Generally they expect a one-word answer with the name of a religion that expresses their religious identity. A person might say they are a Buddhist - or a Christian - or a Jew - or a Muslim - or a Hindu. These are examples of religious identities. Recent developments in the field of social sciences in general and sociology in particular suggest a gradual tendency towards revival of interest on the issue of religion and identity. It is plausible that religion and identity may be positively correlated. The link between religion and identity can be contextualized through the exploration of the self. -/- Identity Politics: Identity politics is a political style that focuses on the issues relevant to various groups defined by a wide variety of shared characteristics, including, but not limited to, race, social class, religion, sex, gender, ethnicity, ideology, nationality, sexual orientation, gender expression, culture, currency, shared history, medical conditions, profession, and other of the many ways in which people differ from each other, and into which they may be classified or classify themselves. This concept played an important role in shaping social and national sphere. -/- Social Justice: Social justice denotes the equal treatment of all citizens without any social distinction based on caste, colour, race, religion, sex and so on. It means absence of privileges being extended to any particular section of the society, and improvement in the conditions of backward classes (SCs, STs, and OBCs) and women. Social Justice is the foundation stone of Indian Constitution. Indian Constitution makers were well known to the use and minimality of various principles of justice. Social justice found useful for everyone in its kind and flexible form. -/- Although social justice is not defined anywhere in the constitution but it is an ideal element of feeling which is a goal of constitution. Feeling of social justice is a form of relative concept that is changeable by the time, circumstances, culture and ambitions of the people. Social inequalities of India expect solution equally. Under Indian Constitution the use of social justice is accepted in wider sense, which includes social and economical justice both. -/- The major objective of this paper is to critical analyze all the above mentioned conceptions and see their relation with reference to a national character building as the present scenario of India showed a identity crisis between individual’s religious identity and secular objectives of the constitutions. The negative effect of the identity politics ruin ideal nation’s character and negatively affects the concept of social justice too. For a better nation we should a balanced state of affairs where every citizen has a space to develop him/her self and a motivation to contribute in development of India. -/- Note : This is submitted for a Three-Day Philosophy Teachers' Meet of North-Western Zone sponsored by ICPR, New Delhi to be organized by the Department of Guru Nanak Studies, Guru Nanak Dev University, Amritsar on 29th to 31st Dec. 2015 with the theme "The Crisis of Multiple Identities in Contemporary World" . (shrink)

In order to maintain the traditional characteristics of Yong Opera music and promote its innovative development, based on the historical background of Yong Opera music, its artistic characteristics and its position in music culture, the main tunes of Yong Opera music, such as melody, rhythm, and tonality, are analyzed in order to reveal its unique artistic charm. Combine the application of digital media in the inheritance and innovation of Yong opera music, according to the categories of new media, the way (...) of intersection and the influence on the dissemination of Yong opera music. Field research on the level of inheritance and innovation of Yong opera music reveals that 55% lack of young audience and 45% lack of innovative elements are the main dilemmas facing the inheritance of Yong opera music. In addition, the single way of inheritance is also a problem that cannot be ignored. When exploring innovative ways, digital recording and dissemination has a high support rate of 70%, and fusion with modern music elements, cross-border cooperation and innovative network promotion strategies are also highly recognized. Therefore, this paper proposes to strengthen digital recording and protection, digital publishing and dissemination, innovative network promotion strategies and marketing methods, implement the development strategy of Yongju opera music, and integrate the artistic characteristics of Yongju opera music into the network promotion strategy, so as to attract more young audiences and promote its sustainable development, and to ensure that the unique charms of Yongju opera music can be inherited for a long time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education in an Age of Virtuality and Post-Truth by Paul WoodfordPanagiotis A. KanellopoulosPaul Woodford, Music Education in an Age of Virtuality and Post-Truth (New York, Routledge, 2018)This book is provocative. And challenging. It is written with passion, aiming to induce controversy. And with good reason. For we live in times when populism professes an illusionary sense of community, invoking a seemingly 'anti-systemic' but highly hypocritical, racist, and (...) sexist discourse;1 in times where "bullshitting"2 has advanced to the highest governmental levels in many countries; in times where "authoritarian neoliberal statism"3 becomes the new status quo, inducing a scandalous increase of economic inequalities, forcing large populations to live precarious lives; in times where privatization of educational services in the context of market-oriented practices impose restrictive and ultimately unjust politics of accountability and performativity;4 in times where instrumentalization of educational ends has taken the lead, assisted by a systematic co-option and misappropriation of notions such as excellence and creativity;5 in times, finally, where spaces that allow for "the sharing (out) of the incalculable,"6 forging unknown potentialities in education, life, and thought, are being destroyed. In such times, Paul Woodford has stepped in, reclaiming his right to speak uncompromisingly.Hannah Arendt has written that "[w]hen men [sic] are deprived of the public space--which is constituted by acting together and then fills of its own accord [End Page 108] with the events and stories that develop into history--they retreat into their freedom of thought."7 Woodford refuses to retreat. He writes as a public intellectual of the highest order, committed to upset and not please those in power. A great service that his latest book performs is that it speaks daringly, stirring a debate that helps us all to do away with fear. For as Bertrand Russell has aptly said quite a long time ago, "[I]f thought is to become the possession of many, not the privilege of the few, we must have done with fear. It is fear that holds men [sic] back."8Resisting the "melancholy of inner exile,"9 but not immune to possible accusations of left melancholy, understood as "a refusal to come to terms with the particular character of the present,"10 the author wrote a book that provokes music educators to actively think beyond their sealed and safe world of convictions that is based on ideology-free conceptions of music teaching. Estelle Jorgensen has long ago brought to our attention the urgency of this task: "in an era in which the mindset and political reality have changed dramatically, … there is an urgent need to revisit the political character of music education and the ways in which it needs to address the cultural issues of our day."11Along this pathway, Woodford's book encourages music educators to live and teach as public intellectuals, forging "a democratic purpose for music education"12 that acts against the "anachronistic and formalist conception of music that reduces music education to supply-side economics as children are conceived as either future professional musicians or consumers and not as citizens to be prepared in schools to participate intelligently in the political life of society."13 Woodford articulates a vision of music education "as preparation for adulthood and democratic and global citizenship."14 He strongly advocates an approach that balances performance and creativity-based experiences with a socio-historical study of the social, ideological, and cultural workings of different musics in a wide variety of contexts. He encourages music educators to teach "how music's structural properties and qualities contribute to the shaping of people's perceptions and understandings of themselves and their world,"15 "asking the who, what, when, where, how, to, with, or for whom, and, most importantly of all, why of music."16 He envisions a music classroom that exercises social criticism "directly and self-consciously"17 both through "learning how to make music"18 and through thinking about music. He sees this approach as a tool for raising students' consciousness. Woodford's ultimate vision of music education is one that casts it as a means for cultivating "a justice-oriented" approach... (shrink)

How does music ‐ or any cultural artefact ‐ assume significance for those who encounter it? Why does one sound or image come to matter, while others are overlooked or forgotten? The answer is not to be found in the sounds alone, but in the context and conditions in which they are heard. This article explores this argument by considering the case of The Anthology of American Folk Music, a set of recordings from the 1920s and 1930s, which has exercised (...) an extraordinary power over popular music since its release in 1952. Using the arguments expounded by Robert Cantwell and Greil Marcus, and pointing to the uses of music in establishing national identities and mobilising social movements, the article argues for an understanding of music's significance that links social experience, aesthetic pleasure and political values. (shrink)

Farmers’ markets have enjoyed a resurgence in the past two decades in Canada, the United States, and the United Kingdom. This increase in popularity is attributed to a host of environmental, social, and economic factors, often related to the alleged benefits of local food, alternative farming, and producer–consumer interactions. Steeped in tradition, there are also widely held assumptions related to the type of food and food vendors that belong at a farmers’ market in addition to the type of experience that (...) should take place. There remains a need to explore and analyze these fundamental aspects of the farmers’ market and to consider how they influence their formation and function. This paper argues that discourses of authenticity are central to the identity of the farmers’ market, and that they are constructed differently “from above” by those seeking to regulate farmers’ markets in particular jurisdictions and “from below” by managers, producers, and consumers at individual markets. A literature-based discussion is complemented and grounded by consideration of institutional statements regarding authenticity and of key results from a survey of managers, food vendors, and customers at 15 farmers’ markets in Ontario, Canada. It is demonstrated that while the general discourse about authenticity at the farmers’ market is built around strict, almost ideological assumptions about the presence of “local food” and those who produce it, community-level responses reflect considerable diversity in the interpretation and composition of the farmers’ market. It is suggested that a binary view of authenticity, where some farmers’ markets are cast as “real” and others presumably not, is highly problematic as it tends to ignore a large and important middle ground with multiple identities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Who Needs Classical Music? Cultural Choice and Musical Value by Julian JohnsonWilliam M. PerrineJulian Johnson, Who Needs Classical Music? Cultural Choice and Musical Value. Oxford University Press, 2002.In Who Needs Classical Music? Cultural Choice and Musical Value, British musicologist and composer Julian Johnson defends the value of classical music in a commercialized culture fixated on the immediate gratification of popular music. At 130 pages divided into six (...) chapters, Johnson’s book is a reasonably accessible and engaging presentation of his topic. This short book contains relevant and sometimes controversial insights of interest to professional music educators. In this review I will provide a brief summary of the author’s primary arguments accompanied by critical commentary.Johnson argues that commercial forces in our society limit serious reflective discourse on music. The marketplace treats music as a commodity which derives its value from relative commercial success. In this context, classical music is relegated to one possible cultural choice among many legitimate options and is in danger of losing its distinctive features as an art form that transcends commercial concerns. Preference for particular musical products becomes an identity marker for an individual’s place within society, and criticism of a particular style of music is perceived as a personal attack. The process of turning classical music into a commodity has been aided by critics who have condemned the Western [End Page 96] canon as elitist, patriarchal, and arrogant. These critics have instead advocated a democratization of culture, placing greater emphasis on the validity of popular art forms and active participation in music-making rather than the more passive contemplation. Johnson describes this as a “pseudo-democratic” attack which encourages downward social mobility. When combined with the omnipresence of commercial culture, this approach undermines individual musical value by assuming the equal validity of all aesthetic judgments. Democracy is damaged when, refusing to discriminate between cultural products, society fails to recognize human individuality and excellence.Johnson is at his strongest when he argues for the importance of classical music fulfilling its function as art. The author argues that different types of music fulfill different functions. In contemporary society music is valued and chosen for how it is used. Music is described as “good” when it functions to provide background music for activities or when it successfully complements or enhances the listeners’ moods. Focusing solely on social use or reception, however, tends to neglect objective differences in the formal structure of music. This is the point at which Johnson begins to distinguish between classical and popular music. Popular music is composed to ensure a uniformity of affect, and deliberately avoids formal or harmonic complexity. As an aspect of popular culture, it is tied to contemporary fashion trends and rapidly becomes obsolete. Like other types of fashion, music becomes a means for expressing a current position within a larger social and cultural space. It is the music of youth; its commercial saturation of the culture blurs the boundaries between youth and adulthood. Johnson claims that the process of commercialization leads to a bland standardization. Classical music can also function as a type of popular music when it submits itself to market processes, but in doing so the music loses its distinctive features.In his discussion on popular music, Johnson presents what might be his most controversial claim: that popular music serves a pornographic function. He defines pornography as “the process by which the humane is reduced to the status of things” (p. 59) and argues that popular music takes pleasure in debasing humanity by reducing individuals to material commodities and denying the spiritual. This contention echoes Allan Bloom’s concern in The Closing of the American Mind that rock music desensitizes and debases youth by destroying imagination and deadening their capacity for passion and wonder. The strength of this language undermines Johnson’s contention in his introduction to the paperback edition that he is not trying to set up a binary opposition between art and popular music in which the classical is “better.” Moreover, if pornography is a form of dehumanization and is a legitimate concern in music, it is important to point out that such a charge is not exclusive to... (shrink)

Music is a cultural Ideological State Apparatus. In such a lens, this paper proceeds in the manner of Althusser’s argument, and the critique applies to popular music in the Philippines vis-à-vis Gramsci’s cultural hegemony. With such a framework, this paper looks into the albums of Musikang Bayan from 2001 to 2019 and employs qualitative content analysis. In doing so, the themes are dealt with vis-à-vis the Philippine socio-politico-economic condition. The country’s socio-cultural atmosphere in the mainstream music industry is “not (...) so” critical since social institutions are part of the relations of class domination. Only if music is oriented with the people’s struggle will it become scientific and carry forward emancipatory politics transforming society. Musikang Bayan encapsulates the militant-materialist-progressive-nationalist music against the ‘fetish-character’ of today’s neoliberal capitalist ideology; hence, it articulates the collective consciousness through music. (shrink)

Backpacker travel has become an imperative trend in modern tourism. Previous research, however, has not discussed in-depth the intentions and motivations of accommodation selection, in particular, the religious organization e.g. church, mosque, synagogue, and temple affiliated pilgrim hostel. To fill the gap of previous studies, this study provides a new research direction involving the pilgrim hostel playing an essential role as more than mere pilgrim accommodation; pilgrim hostels in Taiwan have surprisingly included a certain percentage of backpacker tourists. A survey (...) addressed the primary identity and service content perceptions of lodgers. Two historical temple-affiliated pilgrim hostels generated 287 valid responses; 112 backpackers, composing 39 % of the sample units, participated in person. Study findings indicated many significant differences between pilgrims and backpackers regarding self-recognised identity on journeys and perceptions of pilgrim hostel service content (for example, religious identification, reason for lodging, total travel expense, number of nights stayed, customer satisfaction, and service value). Implications of these findings provide suggestions and practical applications for the tourism stakeholder and for future research. (shrink)

The folk tale or Popular tale, as a popular prose art, is transmitted orally from one generation to another. Therefore, the folk tale has occupied a prominent place among other literary genres, due to its characteristics and features that have made it present to various nations and peoples. It expresses the hopes and dreams of those peoples who have taken It is a way to have fun...and get rid of the harsh reality. These folk tales included different images (...) of that life, as they represented the image of the negative man, and the traits of betrayal and weakness that characterized him. The folk tale is one of the means that preserve cultural heritage and consolidate cultural identity. It is one of the most important forms of expression. It is a summary of the experiences of generations, formulated in an interesting narrative form, full of lessons and noble values. It is a creation of the imagination in which the wisdom of society is revealed. It is a reflective mirror of the society in which it grew, so that the story is considered Folklore is one of the genres of popular literature that is beloved by adults and children, due to the elements it contains that attract, excite, and enrich the imagination, in addition to the positive values it contains. It is the ancient, common art of spontaneous speech, passed down from generation to generation, linked to customs and traditions. The story is the backbone of popular heritage, and it is what we metaphorically call popular literature. Among the studies of the folktale in which the researcher invested the importance of the folktale is a study by M. Furqan Abdel Kadhim Katyou Hammadi, tagged with (the popular story in the book of Qalat Ajibiya, Tihami Myths, Structure and Function). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pax Americana and the World of Music EducationEstelle R. Jorgensen (bio)It may seem ironic to speak of a Pax Americana at a time when the United States is prosecuting a war and its aftermath.1 Still, imperialism, or the desire to keep the peace on one's own terms, has led other nations into war when their will and power was frustrated and thwarted. My purpose in this essay is to (...) raise four important and interrelated questions: What are the political tasks that hopeful music teachers, administrators, and those interested in their work need to undertake to pursue an ethically universalistic, democratic, and humane education? What are some guiding principleswhereby music educators and policy-makers can navigate this territory? What are the conditions that would facilitate educational dialogue of the sort that is needed? How should music to be taught in order to achieve the intellectual objectives necessary in dialogical education? I view these questions from the limited musical perspective of the Western classical tradition — a misnomer since it is now an international tradition practiced around the world by people of many different languages, ethnicities, and cultures — and in the context of my position that this tradition merits transformation.2 This is a particularly interesting example since its roots originally are European, Eastern, and African, and it potentially subverts the predominant American popular musical culture of our time.Michael Hardt and Antonio Negri write of a global empire in the making and the seeds of its decline and fall, the multitudes that arise against it and the challenges they encounter in making their voices heard in the political arena.3 The forces of globalization, interwoven as they are with those of capitalism and the ideologies that foster it, are so pervasive that it is difficult for nation states to resist. The powers of nation-states decline while pervasive internationalism lies like an "epidermis" over the many nation-states, religions, languages, and ways of life that characterize societies on planet earth.4 The United States might champion capitalism and its own [End Page 1] breed of democratic ideology, yet globalization engulfs it such that it becomes the creature of its own making. Its values and culture might lie at the heart of the cultural, economic, and political agents of globalization — the multinational corporations with their corresponding distribution networks, interlocking international corporate directorships, licensing agreements, technological inventions, and powerful political and religious liaisons — yet even the United States becomes the child of forces it has exported throughout the world and that it is now unable to control. A culture of fear and violence pervades the country.5 Outsourcing, off-shore export of production capacity, the power of the profit motive, and management decisions made far from the particular places they impact leave many Americans without jobs and security, and a sense of powerlessness to change their circumstances — a phenomenon that also appears in other countries. Eventually, as Hardt and Negri posit in Marxian vein, the people impacted by these developments both here and abroad begin to organize themselves and rise against the oppression they may at first sense if not fully understand; in the beginning they may march peacefully but as their anger and frustration grow, they may eventually revolt. One need not buy into their particular reading of history to notice that, at least over the long term of decades or centuries, there seem to be limits on the human willingness to tolerate oppression; when their patience is eventually exhausted, people resist, subvert, escape, or overthrow their oppressors.One of the particular challenges of our time is the "polyvocality" of contemporary societies. Globalism may constitute the epidermis overlying these "multiplicities and pluralities" but underneath are the hosts of differing tribes, religions, languages, colors, and identities. Ways need to be found for people to dwell together in peace and debate and reconcile their differences without resorting to violence.6 In such a world, even in societies that espouse democratic ideals and principles, moral conflicts cannot be avoided, and differences between and among individuals and groups are often deeply rooted, persistent, and pervasive. This necessitates forging mechanisms that enable deliberation about how to solve the conflicts that necessarily arise.7 Seyla... (shrink)

In the article the mutual influence of folk theatre, Austrian Singspiel and Viennese opera in the genres of comic opera, operetta and drama performances involving music, singing and dancing is studied. The powerful influence of Italian and French opera schools, as well as the Italian Commedia Dell'arte led to the flourishing of music and theatre art in Austria: opera buffa (A. Salieri, Ch. W. Glück, J. Haydn, W. A. Mozart), fairy-tale comedies of F. Raimund and satirical dramas of Nestroy. Their (...) game-like nature finds its expression in musical turns, satirical songs and duets. Viennese dance operetta has absorbed the traditions of Viennese popular comedy and comic opera. Recitative, vocal music and folk dances were the key elements of operettas (J. Strauss junior, F. von Suppe, K. Millöcker, K. Zeller, F. Lehar). The music and the game in Austria are the results of theatralization of life: the life turns into something like art. Austrian culture, which is addressed directly to the human being and short of complex philosophical musings and speculative schemes, has genetically built-in playful, musical and theatrical basis, as well as German. Strongly-pronounced playful and musical source as an important national component of the culture, its code, determine its highly fictitious character (staginess) and integrity (both genre and intermediately), thereby maintain its special status in the European culture. (shrink)

A brand is a complex construction. In addition to its tangible and intangible dimensions, it implies an intrinsic relational dimension associated to any brand building process. The relational dimension is even more visible in the case of the political brand. The political brand brings with it a symbolic construction in which the experience of a diffuse form of sacredness is central, by the presence of the inadequate report specific to the manifestations related to the sacred representations. On the one hand, (...) we are experiencing a meeting that creates the context of identity, and on the other hand a cohabitation that highlights the role of alterity. The brand imposes itself as a symbolic construction based on this game of identity and alterity in a global communication market. Communication advisers must pay attention to this symbolic dimension. It is the expressive form in which interpersonal relationships manifest themselves as assuming the values and meanings that individuals place under the idea of having a better life. The orientation towards the development of political brands understood as personal brands corresponds to a phase of professionalization of politics and political communication in electoral campaigns, but also in the stages between campaigns. At the same time, political brands grow in importance in times of crisis, both because they offer exemplary models and because they synthesize the mythological elements of the imaginary of abundance, trust and authentic dialogue. (shrink)

On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and materials, and personal and social identity. The collection presents a range of different methodologies (...) and theoretical positions, which results in an eclecticism that aptly demonstrates the breadth of contemporary popular music research. The chapters are divided into three major sections that address: wider theoretical and analytical issues, familiar repertoire or concepts from a new perspective, and the meanings to arise from music’s connections with other media forms. (shrink)

In recent times it has seemed to many people as if the unifying impact of mass forms of popular culture has been overshadowed by the postmodernism of cultural pluralism, identity politics, niche marketing and lifestyle diversity. Using insights from psychoanalysis, this new book suggests that powerful forces may still be at work extending and deepening their hold on popular experience through the unifying forms of modern culture. The practices and aesthetic codes of popular culture provide ways of (...) confronting and managing the basic psychic tensions and anxieties of modern life, appealing globally across the deep divides of class, gender and ethnicity. In a series of extended illustrations, Barry Richards explores the emotional underpinnings of the rise of football as the 'people's game', the appeal of the motor car and other consumer goods, the strategies of advertising, the cultural predominance of pop music, and popular images of the countryside. While each phenomenon has a range of meanings of its own, the illustrations reveal the common positive side of these cultural forms, which serve as vehicles for psychological integration. At the core of this book is the idea that the pleasures of popular culture are at their strongest and best when they confirm our sense of belonging in the social order. Despite the constraint and disappointment inevitably involved in this, the reconciliation with authority which it brings is vital for the containment of the anxieties with which we all struggle. Disciplines of Delight reveals how psychoanalytic thinking can add to social understanding and is an original contribution to current debates on the nature of contemporary society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 575 Geneviève Pagé Gender at the Crossing: Ideological Travelings of US and French Thought in Montreal Feminism This article recounts a story about Montreal feminism using the narrative thread of its conceptual language. It is a story of language as a political choice that guides our actions, but also language as a political issue, a barrier, a tool (...) that structures our thinking and that reflects and reproduces relations of power in knowledge production and dissemination. Gender is the central character in this story—its role representing the way US, French, and Quebec theoretical traditions are deeply in dialogue with each other; yet this dialogue is arbitrary and filled with long silences. In reviewing the dialogue, this article identifies a few elements that play a significant role in favoring or impeding the traveling of ideas and concepts, focusing, in the case of Quebec, on how part of the feminist movement, comprised of radical or “revolutionary” feminists, engages with and constructs theory. The article begins by briefly tracing the evolving meanings of gender in the United States from the 1920s to the twenty-first century. Then, turning to France, a second section identifies elements limiting the traveling of US understandings of gender in French feminist theory, especially the predominance of specific traditions of thought, namely existentialism and Marxism, leading to different ways of thinking about oppression, patriarchy, sexism, and the idea of womanhood. In a third section, I shift the focus to Quebec, particularly Francophone Montreal, to survey its feminist thought, political traditions, and 576 Geneviève Pagé translation. Its history, its people, and its geographic location put it at the convergence of US and French influences, but with a distinct added local imperative: the struggle for national liberation. The specific ways in which Quebec nationalism has foregrounded power and politics around language has had a major impact on how Quebec feminists have negotiated relations with their southern feminist neighbors. In this sense, Quebec feminism presents an excellent case study of language operating as an axis of power. Furthermore, in the context of globalization and resistances to globalizing processes, Montreal provides a perfect example by which to highlight both transnational influences and local specificities. Montreal, as a classic example of Mary Louise Pratt’s cultural and linguistic “contact zone”—the space where communities of practices interact—is a city in which one can clearly identify “the intellectual and linguistic points of contact between cultures, and make visible the political pressure that activates them.”1 I treat translations that occur in this context as the process of connecting and communicating between communities. As queer theorist Juana María Rodríguez has noted in another context, “the process of translation involves more than merely translating languages; it involves translating cultures, values, and institutions of power.”2 Similarly, translation here involves an exchange between symbolic and semiotic structures of both the original and the new communities. Zooming out of Montreal, I then address the politics of translation on a more global scale, pointing out the particular ways the production and dissemination of knowledge is especially beholden to market relations. All these reflections help us understand the traveling of ideas, concepts, and ideologies across linguistic barriers. I conclude that it is in the interest of feminists to pay particular attention to what knowledge is produced from different standpoints and in different languages and what it can teach us. 1. Mary Louise Pratt, “Arts of the Contact Zone,” Profession (1991): 34; Sherry Simon, Gender in Translation: Cultural Identity and the Politics of Transmission (New York: Routledge, 1996), 36. 2. Juana María Rodríguez, Queer Latinidad: Identity Practices, Discursive Spaces (New York: NYU Press, 2003), 19. Geneviève Pagé  577 Gender in the United States It is among US feminists that the conceptualization of the gender/sex dichotomy first developed. However, gender—the word—ironically comes to English from the French genre and shares with that word its derivation from the Latin genus, meaning “kind,” “sort,” or “type.” The derivation is most visible in the borrowing in English of the French genre, for example, in literary forms such as fiction or poetry. Similarly, both the English... (shrink)

In Zimbabwe, popular music, particularly the Zimdancehall music genre, has become a cultural site where Shona moral values clash with explicit sexual lyrical content despite a censorship regime in the country. This article examines the nature and cultural consequences of the moral decadence that emerges in popular Zimdancehall song lyrics by several musicians. The article illustrates how vulgar language popularises Zimdancehall songs in unheralded ways that foster identities laced with cultural ambivalences that may portray the artists as both (...) famous and depraved. This qualitative study does textual and content analysis of 11 purposively sampled songs with sex terms to elucidate the cultural inconsistencies in Zimdancehall song narratives. Analysis is informed by the Neuro-Psycho-Social theory, which recognises how socio-cultural restrictions are challenged by an emerging ghetto culture like new wine in old bottles. Alternative unsanctioned new popular music genres can be used to permeate the sociocultural system. (shrink)

ABSTRACTThis article explores how neoliberal and populist elements were initially fused in US political talk to legitimize the expansion of corporate power and socioeconomic inequality that has occurred over recent decades. Applying neo-Gramscian critical semiotic analysis to speeches, news texts and legislative statements about the 1981 Reagan economic plan, I illustrate how a distinctive neoliberal-populist discourse articulates signs of ‘the American people’ with signs of market individualism, and further connects these signs to the neoliberal political project’s policy moves to roll (...) back state protections and deliver large tax cuts. Neoliberal populism is a paradigmatic instance of what Stuart Hall has termed the ‘trans-coding’ of distinct semantic elements to form a new hegemonic discourse. Through neoliberal-populist signifying processes, people who are deemed unable or unwilling to inhabit market-centric subjectivities, or to promote policies defined as ‘free market,’ are ideologically drawn outside the perimeters of social esteem and political legitimacy. These processes have created obstacles to imagining a unified, politically effective opposition to the neoliberal project in the United States. Moreover, by ideologically constructing ‘the American people’ as anti-statists in the realm of economic and social welfare policy, neoliberal-populist discourse makes it difficult to articulate democratic values and practices with the state as a mechanism through which greater economic equality and substantive democracy could be realized. My analysis illuminates the immediate historical roots of a public discourse with deep anchors in popular common sense which continues to pervade official US policy talk. The cultural resonance and political influence of neoliberal-populist discourse help to explain the persistence of the neoliberal project in the USA. (shrink)

Cowboy Bebop, a popular anime series set in the year 2071 onboard the spaceship Bebop, chronicles the bohemian adventures of a group of bounty hunters. This paper presents how the imaginary characters and their voices are conventionalized to fit hegemonic norms. The social semiotic of desire depicted in Cowboy Bebop caters to a general heterosexual market in which hero and babe characters represent the anime archetypes of heterosexual normativity. Scripted speech used in the anime functions as a role language (...) which indexes common ideological attributes associated with a character’s demeanor. This study focuses on how ideas, including heterosexual normativity and culture-specific practices, are reproduced in media texts in order to negotiate the intertextual distances that link the characters and audience. (shrink)

This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, and (...) Phra Parakhonthap (Narot). Much of modern and contemporary music has long been disengaged from ritual and its traditional forms of transmission. Especially since the nineteenth century with the growth of popularity of music printing, it has been subject to copyright law. With these restrictions in transmission, the more fluid routes of transmission have become broken and the ritualistic and religious identifications have been transferred to the cult of performers, to legal codification, to the control of corporations, and the construction of new mythologies through marketing. This essay will use Walter Benjamin’s reflections on the loss of “aura” in the reproduced work of art to try to understand the consequences of this transition in the function of music. And it will consider the situation in Thailand where traditional music and mythology stands side by side with marketed music, and traditional performance stands side by side with commercial performance. It will demonstrate that these conflicts cannot be resolved. But it is precisely in the appreciation and preservation of these conflicts, that traditional culture can itself be recognized and preserved. (shrink)

ABSTRACT The research purpose is to investigate the influence of Confucianism, Taoism and Buddhism on Chinese folklore vocals and their elements in modern music. The research methodology is based on descriptive, comparative, interpretative and statistical analysis (Spearman’s rank correlation coefficient). The analysis of the folk vocals of each thematic group among 110 folk songs of the Shi Jing supports the argument that Confucianism, Taoism and Buddhism had the greatest influence on the vocals. During the analysis, it was determined that folk (...) songs about love (0.942) and songs themed around nature (0.917) exhibit the most pronounced influence on their potential utilisation in the performance of popular compositions. The findings indicated that 75% of the folk vocal compositions with nature-related themes demonstrated discernible influences from Buddhism. The research findings have enabled the identification of exemplary renditions of the folkloric composition ‘Czo-yui’ from the ‘Book of Changes’, adeptly adapted to contemporary motifs, which were achieved at a notably high level within respondent groups #1 (7.2), #4 (7.4) and #5 (7.1). These commendable outcomes are attributed to the preservation of harmonious tonality, precise intonation and artistic expression during the performance process. (shrink)

The folklore studies scholar, such as Dorson (1976, Folklore and fakelore: Essays toward the discipline of folk studies, Harvard: Harvard University Press), was emphatic about the distinction between folklore and ‘fake lore’, one being authentic and the other as invented by the popular industry; however, he paradoxically maintained interest in the contemporariness of folklore. This was a paradox since the contemporariness of folklore is largely, and usually, due to intersections of folk with popular and political. Nevertheless, the emphasis (...) on contemporariness was a harbinger of discussion on the potential dynamics of folklore, and everything buried therein, including value orientation. This essay is guided by the observations emerging from folklore studies, socio-cultural anthropology and performance studies in order to get into a specific case of Bihu, a folk performance inclusive of songs, dance, attires and instruments inter alia in Assam, in the northeast of India. The curious case of Bihu in flux divulges dynamics of value orientation and intersections of identity politics, in the wake of the contemporariness of folklore. (shrink)

This article aims to explore the complex issue of the emotive effect of Christian songs. It is based mainly on a literature survey, using sources both from Christian hymnology and musicology. It also uses illustrative examples from three informal surveys in congregations on the reasons particular songs are favourites. The point is made that exploring this issue scientifically is very complex as there are so many variables in people’s appreciation of songs. Some of these elements are discussed, such as the (...) effect of the external setting in which people experience a song, factors important in the appreciation of a text, such as poetic quality and knowledge of the author’s background. Other factors are the emotive quality and level of difficulty of a tune and in what time this style was popular. Then there are the internal factors, such as the link of a song with group identity and special memories. Some of the survey results corroborate the pointers in the literature for what makes certain songs particularly emotionally appealing. Some of these were a preference for musical styles popular in one’s youth, the importance of relationships with significant others for forming favourites and the important element of memory in the emotional impact of songs. Concluding pointers for worship include motivating for different styles of music in worship and carefully finding those songs in each new musical genre, which have the potential for sustaining today’s youth into the future.Contribution: This article makes a contribution in what is a complex and often emotionally charged issue in congregations: Worship styles and musical preferences. It argues for the importance of using different musical styles and bringing the generations together. (shrink)

Between the two World Wars, in Belgrade and Serbia, seven musical journals were published:?Musical Gazette?,?Music?,?Herald of the Musical Society Stankovic?,?Sound?,?Journal of The South Slav Choral Union?,?Slavic Music? and?Music Review?. The influence of marxism can be observed in?Musical Herald?,?Sound? and?Slavic Music?. A Marxist influence is obvious through indications of determinism. Namely, some writers observed elements of musical art and its history as consequences of sociopolitical and economic processes. Still, journals published articles of domestic and foreign authors who interpreted the relation between (...) music, society and economy in a much more moderate and subtle manner. Editors and associates of these journals also had proscriptive ambitions - they recommended and even determined regulations for composers about what kind of music to write according to social goals and needs. According to tendencies in Marxism, there was a follow up of musical work in the Soviet Union. Editors tried not to be one-sided. There were writings about the USSR by left orientated associates as much as emigrants from that country, and articles of Soviet authors were translated. Also, there were critical tones about musical development in the first country of socialism. Serbian musical periodicals recognized the enormous threat from fascism. Also, there were articles about influence of Nazi ideology and dictatorship on musical prospects in Germany. Since Germany annexed Sudetenland in 1938,?Musical Herald? expressed support to musicians and people of that friendly country by devoting the October and November 1938 issue to Czechoslovak music, along with an appropriate introduction by the editor, Stana Djuric-Klajn. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court (...) as a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis (...) of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today. (shrink)

The present essay, of theoretical bibliographical nature, debates some fundamentals of the methodology employed in the analysis of Brazilian urban songs. The approach to the scarce debate involving an investigative method for folk songs relies on the chapter 14 of George Lukács’ Aesthetics. In particular, considering the aims of this essay, the item dedicated to music. Authors who investigate the particular scope of Brazilian urban folk song were consulted to approximate the specific elements of that music. The findings suggest that (...) the study of songs should refrain from dismissing the general categories of the aesthetics, however, their features demand certain cares, which also require a particular methodology to be applied to the contradictions inherent to Brazilian urban folk songs. (shrink)

Accounts of the nation and national identity have tended to focus upon the transmission by cultural elites of authoritative culture, invented traditions and folk customs. Following Billig, I suggest that the national is increasingly located in the everyday and in the realm of popular culture; far more so than in ‘high’ and ‘official’ forms of culture. To exemplify this, I discuss national automobilities, specifically exploring the role of iconic models, mundane motorscapes and the everyday, habitual performances of driving. With (...) a particular focus upon British and Indian car cultures, I further suggest that the ‘national’ is not a singular or monolithic entity but is constituted out of a vast matrix of interrelated elements, three of which are the models, geographies and performances identified above. As the national proliferates and expands, becoming globalized, it generates multiple forms of national identity, although consistencies and points of focus remain. Accordingly, as in other cultural fields, I argue that while global manifestations of automobility proliferate, this has not necessarily diminished the salience of the national in the relationship between driving cars and identity. The national thus remains a powerful constituent of identity precisely because of its often unreflexive grounding in everyday spaces and practices. (shrink)

This essay explores cultural and psychological dynamics in indigenous Amazonian narratives about a powerful trickster figure named Made-from-Bone. Particular attention is given to the ways in which speaking verbs, quoted speeches, and dialogical interactions are used as psychological tools for understanding and explaining others'inner thoughts and emotions. Comparative analysis of two narratives set in the distant mythical past demonstrates how intentionality is a semiotic ideology that emerges through dialogical interaction. These narrative practices are deeply rooted in shamanic healing practices, (...) especially the use of musical and other symbolic sound elements as a privileged sense modality for expressing and experiencing psychological processes of making dreams, emotions, and inner thoughts into objects of conscious thought and discourse. (shrink)

Resumen: El presente trabajo explora el estatuto del arte en la filosofía de Spinoza, en el marco de la inversión copernicana que da origen a la estética y del barroco holandés. Si bien el pensamiento spinozista se inscribe en la conversión antropológica, en donde lo bello resulta ser un efecto en el sujeto y no una cualidad de los objetos, su comprensión del arte es inasimilable a la “estética” como ámbito diferenciado y autónomo que se consolida en el siglo XVIII, (...) y más bien concibe el arte integrado a la vida y a la experiencia común -a la vez que, en cuanto praxis de origen corporal al alcance de cualquiera, presenta puntos de contacto con las vanguardias históricas del siglo XX-. Spinoza, según se propone en este texto, concibe la producción de “obras de arte” menos como un hecho estético que como una actividad corporal éticamente orientada a la vida buena.: The present work explores the status of art in the philosophy of Spinoza, within the framework of the Copernican revolution that gives rise to aesthetics and the Dutch Baroque. Although the Spinozist thought is inscribed in the anthropological conversion by virtue of which beauty turns out to be an effect on the subject and not a property of objects, its understanding of art is unassimilable to "aesthetics" as a differentiated and autonomous area that it was consolidated in the eighteenth century, and rather conceived art integrated to life and common experience -at the same time, as praxis of bodily origin within the reach of anyone, presents points of contact with the historical avant-gardes of the twentieth century-. Spinoza conceives the production of "artworks" less as an aesthetic fact than as a body activity ethically oriented to the good life. (shrink)

The Song Dynasty represents a period of profound cultural and artistic flourishing in Chinese history, where court and folk music coexisted to create a richly diverse musical tradition. Beyond its artistic significance, Song music also carried deep spiritual, philosophical, and ritualistic meanings, reflecting Confucian ideals, Daoist cosmology, and Buddhist influences. By examining _Goryeo History – Music_, this study explores the overseas transmission and reception of Song Dynasty music in Goryeo, shedding light on the religious and philosophical dimensions embedded within its (...) melodies and lyrical structures. The records of _Goryeo History – Music_ preserve remnants of Song Dynasty _gewang_ music, including repertoires, lyric forms, and melodic styles that have since been lost in China. Through an analysis of Tang music structures, _song-breaking_ musical forms, and Goryeo instrumental adaptations, this research reveals how Goryeo absorbed and transformed Song music, integrating it with local traditions to form an eclectic musical style. More than a mere cultural exchange, this transmission also facilitated the spread of religious themes, as Song music often carried Buddhist chants, Daoist ritualistic elements, and Confucian moral teachings. The study further investigates the transmission pathways—including diplomatic envoy exchanges, migration of Song musicians to Goryeo, and the exchange of musical manuscripts—which not only enhanced Goryeo’s musical performance techniques but also contributed to the deepening of philosophical and spiritual ties between the two regions. By situating this historical transmission within the broader discourse of religious philosophy and sacred music, this study underscores the role of Song music as a vessel for spiritual and ethical thought. It argues that the transcultural flow of musical traditions between Song China and Goryeo was not merely a transfer of artistic expression but also a movement of metaphysical ideas, reinforcing the connection between music, morality, and religious experience. Future research should further explore the role of music in shaping spiritual identities and cross-cultural religious exchanges, offering deeper insights into the philosophical dimensions of musical heritage in East Asia. (shrink)

Indigenous spiritualities among Africans, both in Africa and in the diaspora, are flourishing. In Lagos, Nigeria, for example, shrines compete with churches and mosques in adherents and positions. Beyond Africa, the rise of African spiritualities has become conspicuous. Reasons range from Afrocentrism to anti-religious tendencies to the popular religions, from racial animosity to politico-economic ideologies, yet insufficient attention is being paid to this new Afro-spiritualities. Can this renaissance in African spirituality bring forth or support a renaissance in Africa? Africa (...) arguably domesticates the future of humanity. From ecological perspectives to the productivity of offspring, from economic potentials to viable youths for the future, Africa must become progressively discursive in the global platform. A good way to indulge in this would be to understand the spirit of Africa, in the traditional spiritualities that constructed orientations and worldviews of the people. Understanding and addressing African spiritualities constitute an important key in understanding the African identity. (shrink)

This study explores the religious dimensions of Thai Buddhism through the interplay between ritual and art, and its impact on Thai identity. It investigates how art underpins Thai Buddhist rituals by examining the nature and role of prominent ritual and religious practices. The research focuses on temple art and artistic elements such as murals, statues, and other features that transform ritual spaces into sacred zones during significant festivals like Visakha Bucha and Makha Bucha. Additionally, it includes an analysis of sand (...) mandalas, which symbolize temporality and engage participants in their creation and observation. The study also addresses the ethnoreligious aspects of Thai folk music (Luk Thung) and dance-drama (Khon), highlighting their roles in reinforcing Buddhist institutions and societal cohesion. By examining case studies such as Loy Krathong and the Phuket Vegetarian Festival, the study demonstrates how religious and cultural performances shape Thai identity. Ultimately, the research asserts that Thai Buddhist art functions as both a symbol of religious principles and an active medium for religious representation and performance, thereby affirming and enacting Thai national and sacred identity. (shrink)

The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about the (...) leading masters of Ukrainian jazz who managed to do this - Leonid Goldshtein and Igor Zhuromskyi, for whom the processing of folklore materials - household and African) with a predominance of appeals to the traditional folkloric Ukrainian musical stratum is characteristic. The aim. To reveal the image of jazz in Ukrainian pop music and its significance in the subculture. The tasks of the research are the analysis of the constituent subcultures in the modern representation of the art of Ukraine and their significance for the world artistic treasury. Research methodology. The methodology of the author’s research is based on the paradigmatic method, which allows determining the priority of artistic paradigms, the ratio of traditionally established and non-traditional vision of Ukrainian jazz culture. Reconstruction was also used - to reproduce the main milestones of the development of art of the 20th century within the scope of the research. Also, the methodology is based on a transdisciplinary approach, thanks to which we can study jazz not only in an art-historical aspect, but as a structure of European life of the given period. Research results: The results are as follows - it is 1) a feature of rock music style, such as heavy metal, punk rock, rock and roll, instrumental composition, the use of distinctive fans and unique sounding productions and vocals Intonation technology. 2) Saxophone melodies are built according to the Hutsul system with a characteristic degree of saxophone. 3) Official use of colomous rhythm in the voice. 4) Application of antique blues harmonic sequence. 5) Use of bluesy principles of questions and answers when alternating statements and instrumental episodes. 6) For vocal improvisation. Conclusion.So, we analyzed the interaction of Ukrainian modern pop and real folklore and jazz. Jazz, rock and pop styles were found, which are ideal for interpenetration with various Ukrainian subcultures, jazz-rock, free jazz, alternative music, rock and roll, blues-rock, trip-hop, pop ballad, disco music. The characteristics of the processing of folklore materials (domestic and African) are, first of all, an appeal to the traditional folklore layer, the method of performance (expressed by a real saxophone), the use of folk instruments or their tones. Depending on the genre that created jazz, rock and pop groups, the composition can be divided into folk songs and original compositions based on folklore. Popular music quotes folk and jazz material from pop music. (shrink)

Transition to the market economy in post-socialist Ukraine, followed by the destruction of the ‘working mother’ gender contract, has led to the emergence of new forms of women’s identities. But the formation of new identities in the transformational period appeared to be mediated by free market ideology, linked to the development of consumer capitalism and dissemination of western consumer standards and lifestyles. The seeming diversity of the new identities promised by the ‘free market’ turned out to be reduced to (...) two models: housewife and businesswoman. Imported along with western mass culture, they can easily be inscribed onto the Ukrainian cultural context. At the same time, the everyday practice of economic survival through informal business and the difficulties of adaptation to the market economy have a profound impact on women’s identity formation. (shrink)

Human skin, photography, and consumer culture combine to produce striking images designed to promote visions of the good life. Branding and marketing imagery mobilize skin to resonate and communicate with consumers, which influences the meaning-making possibilities of skin more broadly. Representations of skin in consumer culture, including marketing communications, are anything but ‘blank’ backgrounds or ‘neutral’ meaning spaces. We analyse how skin ‘appears’ to work, and how its appearance in consumer culture imagery reveals ideological and pedagogical aspects of skin. Building (...) upon psychodynamic and interdisciplinary understandings of skin, we discuss dimensions of the body that feed marketing communications and branding. We highlight representational fetishization and the epidermal schema as conceptual tools to interrogate the commodification of skin and as constitutive elements in processes of skin commodification. We provide theoretical insights to address the ways in which skin is implicated in new and emerging concerns of digital representational practices. (shrink)

Though Indian courts at present are riddled with issues concerning music on the copyright front, significance of another aspect of music based on its essence is largely lost and unexplored. Though courts refer to popular songs in judgments, they are few and far in between. The understanding is that law today is neither poetic nor musical. Music, however, expresses mankind’s faith, hope and aspiration. The use of popular music by Indian courts to write creatively, though not necessarily improve (...) the judgment is restricted and largely unexplored. This paper proposes to explore the dimensions of labour movement through music and the role of law in the making of India as a nation. The association of political dissent through music and the determination of the nation state to procure a stake in the management of the popular music that is sought to belong to itself will be the key theme for understanding the songs that make a nation. Beginning from the struggle for India’s independence to modern day labour movements using music for critique and promoting the vernacular culture are the essence of the paper. Historically, the role of music is central for workers in any labour movement worldwide and is now explored in the Indian context, beginning from the early years of struggle in the nineteenth century to the year of independence in 1947. Recent movements including the protests against profiteering and displacement of persons will also form part of the discussions in this paper. The roles of music and the law have periodically been addressed in the scholarly legal arena but the topic has seldom been explored in-depth from a labour perspective, as paper ventures to do. (shrink)

Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements. Using the distinction between the sensuous and the passionate as framework for his discussion, Singer explores not only the treatment of love in these operas but also the (...) emotional and intellectual orientation of these two great composers. Singer contrasts the cool sensuality of the Don in Mozart's Don Giovanni with Leonora's passionate love for her husband in Beethoven's Fidelio and compares the erotic playfulness of some of Mozart's letters with Beethoven's fervent letter to "the immortal beloved." Don Giovanni, The Marriage of Figaro, Così Fan Tutte, and The Magic Flute all express the conflict between the sensuous and the passionate, but it is only in The Magic Flute, says Singer, that this conflict is resolved. Beethoven, an admirer of The Magic Flute, emulated both its music and its ideology, and produced in Fidelio the greatest of all operas about married love. Written while Singer was also at work on the three-volume The Nature of Love, Mozart and Beethoven can be read as a companion volume to this masterful trilogy and as a forerunner to his later work on philosophy in film. (shrink)