Between Beats

2021 ◽  
Author(s):  
Christi Jay Wells
Keyword(s):  
Close Contact ◽  
Popular Entertainment ◽  
Jazz Studies ◽  
Black Vernacular ◽  
Art Form ◽  
Jazz Music ◽  
Elite Status ◽  
History Of ◽  
Vernacular Dance ◽  
The Aesthetic

Between Beats: The Jazz Tradition and Black Vernacular Dance explores the complex intersections between jazz music and popular dance over the last hundred-plus years. It aims to show how popular entertainment and cultures of social dancing were crucial to jazz music’s formation and development, but it also investigates the processes through which jazz music came to earn a reputation as a “legitimate” art form better suited for still, seated listening. Through the concept of “choreographies of listening,” the book explores amateur and professional jazz dancers’ relationships with jazz music and musicians as jazz’s soundscapes and choreoscapes were forged through close contact and mutual creative exchange. The book’s later chapters also critically unpack the aesthetic and political negotiations through which jazz music supposedly distanced itself from dancing bodies. As musicians and critics sought to secure institutional space for jazz within America’s body-averse academic and high-art cultures, an intentional severance from the dancing body proved crucial to jazz’s re-positioning as a form of autonomous, elite art. Fusing little-discussed material from diverse historical and contemporary sources with the author’s own years of experience as a social jazz dancer, this book seeks to advance participatory dance and embodied practice as central topics of analysis in jazz studies. As it explores the fascinating history of jazz as popular dance music, this book also exposes how American anxieties about bodies and a broad cultural privileging of the cerebral over the corporeal have shaped efforts to “elevate” expressive forms such as jazz to elite status.

Introduction

Popular Music ◽  
2006 ◽  
Vol 25 (1) ◽  
pp. 1-2 ◽  
Author(s):  
Motti Regev
Keyword(s):  
Art Form ◽  
Long Line ◽  
Extraordinary Experiences ◽  
History Of ◽  
The Aesthetic

How does one tell the history of an art form? Looking at classic examples like Gombrich's The Story of Art (London, Phaidon Press, 1950) or Read's A Concise History of Modern Painting (London, Thames and Hudson, 1959), it seems that, at their core, such projects conventionally consist of annotated lists: extended commentaries on a long line of works and artists, in other words a canon. These works are typically presented as peaks of the aesthetic power of the art form in question, as ultimate manifestations of aesthetic perfection, complexity of form and depth of expression which humans are capable of reaching through this art form. Such presentations hide an implicit promise that, with proper knowledge, encounters with these works will result in extraordinary experiences.

Pulp Catholicism: Catholics in American Popular Film

2019 ◽  
pp. 193-216
Author(s):  
Anthony Burke Smith
Keyword(s):  
Twentieth Century ◽  
Mass Culture ◽  
Film Production ◽  
Popular Film ◽  
Production Code ◽  
Art Form ◽  
Jazz Music ◽  
History Of ◽  
Original Production ◽  
The Church

This chapter assays some of the roles that Catholics played in the art form/industry that shared with jazz music a distinction as the most influential American cultural product of the twentieth century. It uncovers a rich, nearly lost history of apostolic film production—launched prior to 1920—under the auspices of the Catholic Art Association. Catholic tastemakers' relatively sophisticated embrace of visual mass culture stood in marked contrast to the later heavy-handed censorship motive that was often ascribed to the church. The film industry's original production code was written in 1930 by the prominent film-friendly Jesuit and theatrical impresario Daniel Lord; in later incarnations a harsher code was enforced with gusto by a small group of highly influential laymen.

scholarly journals Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse

2016 ◽  
Vol 10 (4) ◽  
pp. 915
Author(s):  
Stefan Žarić
Keyword(s):  
Cultural Production ◽  
Aesthetic Value ◽  
Culture Studies ◽  
Fashion Studies ◽  
Art Form ◽  
History Of ◽  
National Museums ◽  
The Aesthetic ◽  
The One ◽  
Fashion Exhibitions

Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.

scholarly journals The Balkan tradition in contemporary jazz. Anatoly Vapirov

2019 ◽  
Vol 20 (1) ◽  
pp. 256-264
Author(s):  
Alex Vasiliu
Keyword(s):  
North America ◽  
Classical Music ◽  
Musical Culture ◽  
The Public ◽  
The Balkans ◽  
Jazz Music ◽  
History Of ◽  
Academic Genres ◽  
The Aesthetic ◽  
Classical Mode

Abstract The folkloric character of the beginnings of jazz has been established by all researchers of American classical music. The African-Americans brought as slaves onto the territory of North America, the European émigrés tied to their own folkloric repertoire, the songs in the musical revues on Broadway turned national successes – can be considered the first three waves to have fundamentally influenced the history of jazz music. Preserving the classical and modern manner of improvisation and arrangement has not been a solution for authentic jazz musicians, permanently preoccupied with renewing their mode of expression. As it happened in the academic genres, the effect of experiments was mostly to draw the public away, as its capacity of understanding and empathizing with the new musical “products” (especially those in the “free” stylistic area) were discouraging. The areas which also had something original to say in the field of jazz remained the traditional, archaic cultures in Eastern Europe, Asia, the Orient. Compared to folkloric works from very distant areas, the musical culture of the Balkans bears the advantage of diversity, the ease of reception of melodies, rhythms and instrumental sonority. One of the most important architects of ethno-jazz is Anatoly Vapirov. A classically-trained musician, an author of concerts, stage music and soundtracks, a consummate connoisseur of the classical mode of improvisation as a saxophone and clarinet player, Anatoly Vapirov has dedicated decades of his life to researching the archaic musical culture of the Balkans, which he translated into the dual academic-jazz language, in the hypostases of predetermined scored works and of improvised works – either as a soloist, in combos or big bands. This study focuses on highlighting the language techniques, emphasizing the aesthetic-artistic qualities of the music signed Anatoly Vapirov.

“A Fine Art in Danger”

Between Beats ◽  
2021 ◽  
pp. 150-204
Author(s):  
Christi Jay Wells
Keyword(s):  
Fine Art ◽  
Cultural Appropriation ◽  
Art Patronage ◽  
Black Vernacular ◽  
Lindy Hop ◽  
Jazz Music ◽  
Jazz History ◽  
Concert Halls ◽  
Katherine Dunham ◽  
Vernacular Dance

During the 1950s and 1960s, jazz music became solidly entrenched in America’s institutions of high art patronage as the music’s most prestigious venues shifted from popular clubs and ballrooms to concert halls and upscale summer festivals, most notably the Newport Jazz Festival. While for most professional jazz dancers, this period marked a time when the work “dried up,” there were several lindy hop and rhythm tap dancers who managed to access these spaces through their relationships with jazz historian Marshall Stearns. Stearns was a key player in the adoption of jazz history as an academic subject and an advocate for the serious study of Black vernacular dance. This chapter asks why Stearns’s efforts to “legitimize” and institutionalize jazz dance largely failed, given that his similar advocacy for jazz music clearly succeeded. It argues that Stearns’s folkloric conceptualization of “vernacular jazz dance” fell short of the successful “consensus narrative” he built for jazz music in that concertized adaptations of Black vernacular dance practices by choreographers such as Katherine Dunham and Alvin Ailey were not legible to Stearns as contiguous extensions of the traditional folk and popular dance forms he problematically fetishized as dying folk art in need of preservation. The discursive barrier Stearns built between the worlds of vernacular and concert dance, while intended to safeguard from cultural appropriation so-called authentic or vernacular jazz dance forms, ultimately reinforced primitivist narratives that discursively foreclosed many possibilities for dance as a vital creative partner in jazz music’s present or future.

Migration and Modernities

2019 ◽  
Keyword(s):  
Native Americans ◽  
Literary History ◽  
Historical Study ◽  
Racial Categories ◽  
Geographic Boundaries ◽  
The Us ◽  
Technological Developments ◽  
History Of ◽  
The Aesthetic ◽  
Eighteenth And Nineteenth Centuries

Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.

What's the Message of Architecture?

2014 ◽  
pp. 126-136
Author(s):  
Аndrey G. Velikanov
Keyword(s):  
Separate Entity ◽  
Aesthetic Value ◽  
Current State ◽  
Entire Complex ◽  
History Of ◽  
The Aesthetic

Considers the aspects of architecture as a language able to express the current state and to prophetically indicate the upcoming changes. The aesthetic value of a construction cannot be perceived just as a separate entity, but it can be cognized in the context and not only a visual one, in space. It is necessary to see the entire complex of the accompanying phenomena, all the flow of the unfolding metaphors and values. In the model in view the figure of the author-creator must be reconsidered as no longer conforming to today's reality. The development of the Stalinist Empire style, as well as its transformations, is considered as one of the specific phenomena in the history of well-known constructions

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

History of Dorsum Conservative Techniques in Rhinoplasty: The Evolution of a Revived Technique

2021 ◽  
Author(s):  
Diego Arancibia Tagle ◽  
Jose Carlos Neves ◽  
Alwyn D'Souza
Keyword(s):  
Lateral Cartilage ◽  
Classic Problem ◽  
Alternative Option ◽  
History Of ◽  
Upper Lateral Cartilage ◽  
The Aesthetic

AbstractThe correction and management of the nasal hump has been a classic problem in rhinoplasty since the beginning of the aesthetic purpose of this surgery. For many years, the resective technique described by Joseph has been the battle horse to solve this problem but it has several drawbacks if not done properly. In the late 19th and early 20th centuries, a new dorsal conservative technique was born and for several years was an alternative option to treat the same problem without damaging the keystone area while preserving the dorsal connection between the upper lateral cartilage and the septum. The aim of this article is to review the history and evolution of this technique, which has been reborn after several years, and how it has evolved since then.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

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