Dancing in Brave Spaces

2019 ◽  
pp. 223-238
Author(s):  
Micah E. Salkind
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
Ethnographic Research ◽  
Social Dance ◽  
Dance Studies ◽  
Safe Spaces ◽  
Extant Literature ◽  
Ethnographic Fieldwork ◽  
Popular Music Studies

The seventh and final chapter of Do You Remember House? uses auto-ethnographic research to bring together the theoretical interventions developed in the previous six chapters. Building on work in dance studies and popular music studies, this chapter employs the notion of dancing in brave spaces, rather than what have often been referred to in the extant literature on queer social dance as safe spaces. It suggests that Chicago house culture inculcates a way of living bravely with socio-sonic difference, in part by fostering experiences of inter-subjective intimacy and vulnerability. The theoretical insights articulated in this chapter are grounded in ethnographic fieldwork conducted in the spring of 2014 at Chances Dances and Queen! as well as during Boogie McClarin’s house dance classes at The Old Town School of Folk Music.

Ethnography and popular music studies

Popular Music ◽  
1993 ◽  
Vol 12 (2) ◽  
pp. 123-138 ◽  
Author(s):  
Sara Cohen
Keyword(s):  
Popular Music ◽  
Social Practice ◽  
Cultural Theory ◽  
Ethnographic Research ◽  
Popular Music Studies

Simon Frith (1982) once bemoaned the fact that students would rather sit in the library and study popular music (mainly punk) in terms of the appropriate cultural theory, than conduct ethnographic research which would treat popular music as social practice and process. Ten years later the literature on popular music is still lacking in ethnography.

Decolonizing Cultural Probes in Ethnographic Research: Perspective of African Scholars

2021 ◽  
pp. 002193472110210
Author(s):  
Akpovire Oduaran ◽  
Okechukwu S. Chukwudeh
Keyword(s):  
Data Collection ◽  
Political Development ◽  
Data Gathering ◽  
Ethnographic Research ◽  
Research Perspective ◽  
Extant Literature ◽  
The People ◽  
The Gift ◽  
Conceptual Paper

The epistemological positioning that frequently validates the application of cultural probes in eliciting detailed exploration of phenomenon has not been sufficiently interrogated. Yet the epistemological assumptions behind the value of cultural probes continue to be drummed up and foisted on Africa’s emerging ethnographic researchers who actually need to be a bit more critical in its adoption and application. This conceptual paper explores the extant literature on data collection based essentially on cultural probes as espoused in habitus. It is proposed that profound amounts of decolonization of the spirit, content, and process of data gathering is urgent and critical at this stage. Until this is done objectively, African ethnographic researchers should “look at the gift horse in the mouth” before they can properly configure what is right or wrong for the people of Africa who should be in the hot pursuit of the ownership, production and utilization of relevant and sacrosanct knowledge aimed at rapid socio-economic and political development of the continent.

Pop and the Nation-State: towards a theorisation

Popular Music ◽  
1999 ◽  
Vol 18 (2) ◽  
pp. 193-207 ◽  
Author(s):  
Martin Cloonan
Keyword(s):  
Popular Music ◽  
State Level ◽  
The Other ◽  
Nation State ◽  
Popular Music Studies ◽  
Music Scene ◽  
The One

Recent years have seen two noticeable trends in Popular Music Studies. These have been on the one hand a series of works which have tried to document the ‘local’ music scene and, on the other, accounts of processes of globalisation. While not uninterested in the intermediate Nation-State level, both trends have tended to regard it as an area of increasingly less importance. To state the matter more boldly, both trends have underplayed the continually important role of the Nation-State.

scholarly journals Gender messages in contemporary popular Malay songs

2013 ◽  
Vol 2 (1) ◽  
Author(s):  
Collin Jerome
Keyword(s):  
Gender Roles ◽  
Romantic Relationships ◽  
Popular Music ◽  
Gender Stereotypes ◽  
Text Analysis ◽  
Women's Roles ◽  
Socially Constructed ◽  
Popular Songs ◽  
Popular Music Studies ◽  
Content Analyses

Gender has been an important area of research in the field of popular music studies. Numerous scholars have found that contemporary popular music functions as a locus of diverse constructions and expressions of gender. While most studies focus on content analyses of popular music, there is still a need for more research on audience’s perception of popular music’s messages. This study examined adult Malay listeners’ perceptions of gender messages in contemporary Malay songs. A total of 16 contemporary Malay songs were analysed using Fairclough’s (1992) method of text analysis. The content of the songs that conveyed messages about gender were the basis for analysis. The results showed that the messages revolve mainly around socially constructed gender roles and expectations in romantic relationships. Gender stereotypes are also used in the songs to reinforce men’s and women’s roles in romantic relationships. The results also showed that, while listeners acknowledge the songs’ messages about gender, their own perceptions of gender and what it means to be a gendered being in today’s world are neither represented nor discussed fully in the songs analysed. It is hoped the findings from this, particularly the mismatch between projected and perceived notions of gender, contribute to the field of popular Malay music studies in particular, and popular music studies in general where gender messages in popular songs and their influence on listeners’ perceptions of their own gender is concerned.

Sign in / Sign up

Export Citation Format

Share Document