Authenticity and Orientalism: Cultural Appropriations in the Polish Alternative Music Scene in the 1970s and 1980s

2019 ◽  
pp. 75-99
Author(s):  
Xawery Stańczyk
Keyword(s):  
Alternative Music ◽  
Music Scene

Staging Particular Difference: Politics of Space in the Palestinian Alternative Music Scene

2013 ◽  
Vol 6 (3) ◽  
pp. 308-328 ◽  
Author(s):  
Nadeem Karkabi
Keyword(s):  
Popular Music ◽  
Military Occupation ◽  
Social Constraints ◽  
Green Line ◽  
Alternative Music ◽  
Music Scene ◽  
Occupied Territories ◽  
Politics Of Space

In recent years, an alternative popular music scene has emerged among young Palestinians on both sides of the Green Line. Musicians and their audiences produce a politicized counterculture that innovatively fuses local and international musical expressions as a form of protest that aims to challenge external and internal impositions of structural oppression and othering. This scene constitutes the struggle of young Palestinians against civil marginalization in Israel and military occupation in the occupied territories, as well as against social and religious controls within their own communities. Drawing on Foucault’s work on Heterotopia, this article analyzes the cultural and political significance of Palestinian festive spaces by tracing the networks and conditions under which partygoers either fail or must compromise the staging of festive resistance, or conversely, succeed in appropriating places for their purposes despite spatial and social constraints.

scholarly journals Women 's voices in alternative music: Lisa Gerrard and Elizabeth Fraser

New Sound ◽  
2015 ◽  
pp. 76-83
Author(s):  
Julijana Zhabeva-Papazova
Keyword(s):  
English Language ◽  
Mother Tongue ◽  
Alternative Music ◽  
Music Scene ◽  
Stage Performances ◽  
The Relationship

This paper deals with the analysis of Lisa Gerrard's and Elizabeth Fraser's vocal styles that promoted a new way of singing on the alternative music scene. Instead o f the traditional usage of lyrics in the English language as their mother tongue, they use so called 'glossolalia', meaning wordless, or substituting language with a melodic, exploratory rapture by their vocal range alone in a couple o f octaves. The main points of analysis are the relationships between the vocal interpretation and instruments, music form, main melodic themes, rhythm, accomplished with iconography in the relationship between vocal interpretations and stage performances.

My Womanly Story

2016 ◽  
Vol 38 (2) ◽  
pp. 80-88
Author(s):  
Vaginal Davis ◽  
Lewis Church
Keyword(s):  
Los Angeles ◽  
Cultural Politics ◽  
Independent Films ◽  
Central Figure ◽  
Musical Practice ◽  
Unique Position ◽  
Alternative Music ◽  
Music Scene ◽  
Visual Artist ◽  
Politics Of Race

Ms. Vaginal “Crème” Davis has come to occupy a unique position in the parallel and intertwining histories of performance and live art, punk, and queer subcultures. As lead singer of the Afro Sisters, black fag, Pedro, Muriel & Esther (PME), and ¡Cholita! The Female Menudo, she developed a fearsome reputation and cult following on the alternative music scene of the late 1970s, 1980s, and 1990s, emerging as a prime antagonist of the post-punk subgenre Queercore. Alongside this musical practice, she directs and stars in her own independent films and theatrical productions, and was a central figure in the burgeoning fanzine culture of the 1980s, producing both home-printed magazines and the influential video-zine Fertile La Toyah Jackson. Davis also ran and hosted several highly influential performance/club nights in Los Angeles throughout the 1990s and 2000s including Club Sucker, G.I.M.P., and Bricktops. Now living in Berlin, Davis continues to produce work as a performer, visual artist, sculptor, and writer, and as a musician with her most recent bands Tenderloin and Ruth Fisher. Davis produces work that blends a peculiarly Angeleno understanding of celebrity, glamor, and showbiz with the cultural politics of race, sexuality, privilege, and class, all made within a DIY ethos that stretches back to the earliest days of Californian punk. This interview was recorded in a cold Berlin on December 3, 2014, at Davis's home in Schöneberg.

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