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.

Transfer of Property in Enemy Occupied Territory

1945 ◽  
Vol 39 (2) ◽  
pp. 216-230 ◽  
Author(s):  
Jacob Robinson
Keyword(s):  
International Law ◽  
Hague Convention ◽  
Military Occupation ◽  
The Political ◽  
Main Body ◽  
Total War ◽  
Occupied Territory ◽  
Aerial Warfare ◽  
Occupied Territories ◽  
The Hague

International law was no more prepared for the dynamics of the present war than was the Maginot school of military strategy. International lawyers had given little serious thought to the legal problems which total war would bring. Consequently, while international arrangements were concluded on special questions (e.g. on aerial warfare), the main body of the 1907 Hague Convention, including the section dealing with military occupation,remained unchanged. Military occupation was still conceived of as a temporary phenomenon with limited objectives. But totalitarian warfare as waged by the Axis powers has had unlimited objectives, aimed at nothing less than the complete political and economic subjugation of the occupied territory. In practice the enemy has recognized no restraints of either law or custom save the threat of immediate retaliation. Far from “respecting, unless absolutely prevented, the laws in force in the country,” as the Hague regulations require, the Axis has systematically destroyed the political and legal order in the occupied territories. It has substituted quislings in the place of duly constituted local authorities, and has employed them for economic as well as political ends.

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.

“Peculiar ‘Til I D.I.E.”

Flaming? ◽  
2020 ◽  
pp. 115-148
Author(s):  
Alisha Lola Jones
Keyword(s):  
Popular Music ◽  
Black Male ◽  
Washington Dc ◽  
Music Scene ◽  
Same Gender ◽  
Male Homosociality ◽  
Shed Light

Focusing on Washington, DC’s gospel go-go music scene in the early 2000s, chapter 4 highlights the role of an understudied popular music in performances of socioculturally preferred black male homosociality. This chapter examines men’s performances against the stereotype of the softer, woman-like, flamboyant male vocalist through research on a percussion-heavy music from Washington, DC called gospel go-go. In essence, the go-go music band is a symbolic composite of perspectives associated with the unmarked male-dominant categories of the musicians’ pit and absentee men, who are talking back, providing musical contestation of the duplicitous preacher and choir director stereotypes. Chapter 4 aims to shed light on the musical and performative properties of male homomusicoenrapture and homosonoenrapture, the same-gender musical and sonic textures and visual dynamics that stimulate intense enjoyment while enveloping and propelling gospel go-go participants.

scholarly journals Between trust and violence: medical encounters under Japanese military occupation during the War in China (1937–1945)

2020 ◽  
Vol 64 (4) ◽  
pp. 494-515
Author(s):  
Reut Harari
Keyword(s):  
Medical Care ◽  
Local Population ◽  
War Crimes ◽  
Military Occupation ◽  
Japanese Military ◽  
Occupied Territories ◽  
The Military

AbstractDuring the War in China (1937–1945), the Japanese military combined warfare with the maintenance of a military occupation. To sustain its tentative grasp over the occupied territories, the Japanese military vied to cultivate trust among the local population. This was a challenging task in the midst of a violent war which as many historical works described was accompanied by brutal war crimes. A less explored aspect of the occupation was medical care. This article unfolds this history by analysing medical encounters between Japanese military medics and military affiliated agents, and members of the local population in the rural Chinese countryside. Testimonies reveal that these encounters – some spontaneous and others deliberate – were small moments of humanity and benevolence within a violent environment. Concomitantly, they demonstrate the overarching tension in this unequal encounter and the use of medicine as a pacifying tool that also served as means to build and maintain the occupation through the transference of medical trust towards the military at large. Thus, this article presents a different aspect of the role of trust and distrust in medical care, as well as expanding the analysis of medicine as a ‘tool of empire’ to the context of military occupation.

Adopting imports: new images and alliances in Brazilian popular music of the 1990s

Popular Music ◽  
1999 ◽  
Vol 18 (3) ◽  
pp. 309-329 ◽  
Author(s):  
Cristina Magaldi
Keyword(s):  
Popular Music ◽  
Urban Youth ◽  
State Of The Art ◽  
Electronic Apparatus ◽  
Music Scene ◽  
Bossa Nova ◽  
The 1960S ◽  
Political Scene ◽  
Musical Styles

Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.

Kiwi rock: popular music and cultural identity in New Zealand

Popular Music ◽  
1994 ◽  
Vol 13 (3) ◽  
pp. 261-278 ◽  
Author(s):  
Roy Shuker ◽  
Michael Pickering
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Popular Music ◽  
Commercial Success ◽  
Music Scene ◽  
History Of ◽  
Comprehensive History

The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.

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