Performing Spaces: Street Music and Public Territory

2007 ◽  
Vol 3 (1) ◽  
pp. 97-120 ◽  
Author(s):  
MICHAEL BYWATER

AbstractThe interaction between ‘marginal’ music performance (whether socially or musically marginal, e.g. busking, ambient music, etc.) and ‘liminal’ spaces is at first sight a characteristically twentieth-century phenomenon. However, performance history as revealed not only through historical scholarship but through contemporary anecdotal or fictional writings can contextualize these current uses of music in negotiating public space, while revealing some of our assumptions about performance in general. I argue that much of liminal performance is concerned with the appropriation and retention of spaces in which to perform, and that this is no new thing but was, until relatively recently, the norm. I look at some aspects of performance history in the light of contemporary thinking about liminality, and consider how buskers, particularly in Bath (where I lived for several years) contend for temporary possession of public space as a prerequisite of their performances. I conclude by suggesting that the defining of liminal space might be usefully extended, in thinking about street performance, into the notion of ‘liminal spacetime’.

2021 ◽  
pp. 205030322110153
Author(s):  
Daniel Pérez-Zapico

This article analyses the contested adoption of electric lights by the Spanish Catholic church during the Bourbon Restoration era (1874–1931). Through a careful reading of primary sources, namely Catholic popular magazines, and official documents, it will show how Catholic authorities and practitioners resisted, negotiated and, ultimately, engaged with electricity in religious spaces. The article argues that electric light contributed to wider exchanges in a non-monolithic Spanish Catholicism on the observance of traditional values or the possibilities of the church’s modernization. However, amid a particularly tense moment regarding the secular–clerical relations, the systematic use of electric lights in churches at the turn of the twentieth century—but also in other public ceremonies—contributed to the making of religious sensations aimed at attracting new believers and reasserting the presence of the institution in a disputed public space.


2016 ◽  
Vol 10 (1) ◽  
pp. 19
Author(s):  
Patrícia Silveira de Farias

Resumo: Este artigo apresenta uma discussão sobre as noções de democracia, democracia racial e ordem social, a partir da análise do processo de construção de duas pesquisas efetuadas sobre um mesmo espaço: a orla do Rio de Janeiro, Brasil – em dois momentos distintos: a virada do século XX para o XXI e os anos 10 de século XXI. As noções acima citadas são estudadas a partir dos pontos de vista dos diversos segmentos sociais que frequentam e trabalham no local, inclusive agentes do Estado, no caso do segundo momento, que privilegia a ação de segurança pública intitulada “Choque de Ordem”. Para isso, usou-se metodologia qualitativa, através de entrevistas em profundidade e etnografia, além de levantamento documental de leis, ordenamentos e pesquisa bibliográfica sobre tais temáticas. Como conclusões, salienta-se que as formas de entendimento do que seja democracia e ordem dependem da posição que cada grupo social ocupa na sociedade brasileira mais ampla, e são atravessadas e modeladas por critérios étnico-raciais e de classe. Observa-se também a importância política que o espaço público praia assume para dar visibilidade às disputas de sentido em torno de questões como igualdade, liberdade e hierarquias de classe e de cor na sociedade brasileira.Palavras-chave: praia; ordem social; “Choque de Ordem”; democracia. ***Abstract:  This paper is intended to discuss the notions of democracy, racial democracy and social order, by analyzing the building process of two researches which focused the same place: Rio de Janeiro’s beaches, in Brazil. These two researches took place at distinct historical moments; one, at the last years of XX century, and the other, in the first decade of the XXI century. The notions cited above are studied from the perspectives of the various social segments that frequently go or work there, especially State agents which are part of the public policy named “Choque de Ordem” (a kind of “Order Assault”). In order to do this, these researches are based on qualitative methodology, with interviews and ethnography, and also on documental study of the laws which inflects on this public territory, and bibliographic research on these issues. As a conclusion, the article points out that the way people understand democracy and social order will depend on the position each group has in the broader Brazilian society, and that these ideas are tied to and are modeled by ethnic and class criteria.  Its stresses also the political relevance that this public space, the beach, assumes, in order to give visibility to the dispute around the meaning of equality, freedom and hierarchies of color/race and class in Brazilian society.Key words: beach; social order; “Choque de Ordem”; democracy. ***Resumen:Este paper presenta una discusión de las ideas de democracia, democracia racial y orden social, a partir de la análisis del proceso de construcción de dos pesquisas efectuadas en lo mismo local: las playas de Rio de Janeiro, en Brasil, en dos momentos distintos: fines del siglo XX e mediados del siglo XXI. Las dichas nociones son analizadas a partir del punto de vista de los diversos segmentos sociales que van o trabajan en este local, incluso agentes del Estado, en lo segundo momento, que se detiene en la acción de seguridad publica denominada el “Choque de Ordem”. Para eso, se usó la metodología cualitativa, con base en entrevistas y etnografía, y también en las leyes, ordenamientos e demás estudios sobre tales temáticas. Como conclusiones, enfatizase que las formas de comprenderse el significado de democracia y de orden dependen de la posición que cada grupo social tiene en la sociedad brasileña más amplia, y son travesadas y modeladas por criterios etnicoraciales y de clase social. Observase también la importancia política que éste espacio público, la playa, asume en dar visibilidad a las disputas de sentido sobre asuntos como igualdad, libertad y jerarquías de clase y de color en la sociedad brasileña.Palabras clave: playa; orden social; “Choque de Ordem”; democracia.       


Author(s):  
Ekaterina A. Mylnikova ◽  

One of the most important components that determine the level of professional competence of a modern musician specializing in jazz music performance is mastering the basic laws of the art of improvisation, based on knowledge and understanding of the laws of traditional harmonic structures and stylistic features of jazz music of the 20–60s of the XX century. A qualified performer and teacher must have knowledge of the skills and abilities of this type of musical practice, which are aimed not so much at improving various techniques of playing the instrument, as at the competent use of stylistic elements of the musical language, its means of expression and forms. The typology and systematization of the main types of harmonic schemes of jazz works of the middle of the twentieth century helps the optimal practical and theoretical assimilation of technological principles and various creative methods aimed at further developing the harmonious thinking of the performer. Within the framework of this research, an analysis of the basic structures of the middle parts in jazz music of the 20–60s of the XX century is undertaken. Methods for studying this issue based on the works of David Baker, Jerry Cooker, Mark Levine and Richard Scott are presented.


2020 ◽  
Vol 9 (3) ◽  
pp. 155-170 ◽  
Author(s):  
Elesa Huibregtse

On 25 October 1993, British artist Rachel Whiteread revealed her most ambitious sculptural work to date – House. The solidified space of this Victorian-era, terraced home physically existed for a mere 80 days; yet, during this time it became the subject of an intense media interest and heated public debate which reached the United Kingdom’s Houses of Parliament. While House has been discussed in depth within art historical scholarship for almost 30 years, trends in this academic body of work tend to focus on absence and memory in a highly contested public space, as well as thoughts on loss, death, architecture, the art market, politics and gentrification in London’s East End during the latter part of the twentieth century. What is lacking, however, is an examination of House within the larger context of visual culture and what it may, or may not, mean for contemporary viewers. Analysing the historical context of the work’s location through a Marxist lens, reveals the dehumanization which occurred within the East End’s class constructs throughout the nineteenth century, and its effect on housing policies well into the twentieth century. Reading the sculptural work itself, using the methodologies of semiotics, unveils mythologies regarding what is and is not expendable in our western spaces; particularly, the working class, houses and works of art in post-industrial capitalist societies. The ideologies embedded within these mythologies continue to appear in our mass media images to this day, leaving unanswered questions regarding what is truly valued in our societies. Thus, Whiteread’s unique work is an artistic intervention into an image-saturated environment, asking the viewers and readers of cultural texts to consider at what point in time we will seek to change how we treat that which has been arguably undervalued.


Author(s):  
Hannah Schwadron

This chapter celebrates a performance history in the United States of Jewish female physical comedy that spans nearly a century of gender and humor radicalism. It moves from early twentieth-century performances of the Red Hot Mamas Sophie Tucker, Fanny Brice, and Betty Boop to touring acts, movie dance scenes, and comedy sketches of the late 1960s, 1970s, and 1980s, including spotlights on Barbra Streisand, Gilda Radner, Bette Midler, and Madeline Kahn. Specific performances showcase how these giants of comedy staged critical responses to Jewish race and class assimilation in the context of women’s liberation movements, establishing foundational techniques of today’s Sexy Jewess spectacle.


2020 ◽  
Vol 35 (1) ◽  
pp. 150-158 ◽  
Author(s):  
Jens Eklinder Frick ◽  
Vincent Hocine Jean Fremont ◽  
Lars-Johan Åge ◽  
Aihie Osarenkhoe

Purpose The purpose of this paper is to analyze the benefits and drawbacks that strategically imposed liminality inflicts upon inter-organizational digitalization efforts within the different phases of its utilization. Design/methodology/approach This study empirically examines digitalization in a large multinational manufacturing company, Sandvik Machining Solutions, using data that were collected through interviews and a qualitative research design. Findings This study shows that a liminal space separated from the structures in which one is supposed to inflict changes increases the risk of developing an incompatible system that will be rejected in the incorporation phase. An inter-organizational perspective on liminality thus contributes to our understanding of the benefits and drawbacks that liminal space can pose for the organizations involved. Practical implications The study suggests that, in the separation phase, driving change processes by creating liminal spaces could be a way to loosen up rigid resource structures and circumvent network over-embeddedness. Finding the right amount of freedom, ambiguity and community within the liminal space is, however, essential for the transition of information as well as the incorporation of the imposed changes. Originality/value Introducing an inter-organizational perspective on liminality contributes to our understanding of the stress that liminal space can place on individuals as well as the individual organization.


1995 ◽  
Vol 36 (2) ◽  
pp. 37-61 ◽  
Author(s):  
Deborah Kaplan

The first third of the twentieth century was the most important period in the performance history of Restoration comedies—with the exception of the years 1660–1710, when they were originally written and performed. Sixteen of the plays were presented in early twentieth-century London, six in at least two different productions. Post-Carolean works by William Congreve, George Farquhar, and John Vanbrugh held the stage through the war years, but, beginning in 1920, earlier comedies by John Dryden, William Wycherley, and George Villiers entered the repertoire of performed plays. This represents a limited selection of Restoration playwrights and plays, to be sure, but this relatively small cluster of productions takes on large significance when we situate it in the context of the comedies' entire performance careers.


Author(s):  
Elke Zobl ◽  
Laila Huber

How can we open participatory spaces playfully and critically? Our article raises this question in the context of a research project at the intersection of participatory and interventionist art, critical art education and participatory research. In the project “Making Art – Taking Part!” (www.takingpart.at), which the authors, along with additional team members, conducted with students aged 14–16 in Salzburg, Austria, an artistic intervention in public space was developed based on the ideas, experiences, and desires of the students. In a collaborative process, we explored strategies for self-empowerment, deconstruction of established knowledge and power relations, and appropriation by artistic and art mediation means around the topic of “living together”. In this paper, we argue that by employing such strategies, a liminal space can be opened – in a playful, yet critical way – in which the meaning of participation is collaboratively negotiated.


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