scholarly journals Culture, Heritage, Art: Navigating Authenticities in Contemporary Hungarian Folk Singing

2018 ◽  
Vol 12 (3) ◽  
pp. 400-417 ◽  
Author(s):  
Zsuzsa Nagy-Sándor ◽  
Pauwke Berkers
Keyword(s):  
Performing Arts ◽  
Symbolic Capital ◽  
Classification Systems ◽  
Folk Culture ◽  
Dominant Form ◽  
Peasant Communities ◽  
Symbolic Economy ◽  
Culture Heritage ◽  
Third Person ◽  
Depth Interviews

In Hungary, the decline of traditional peasant culture and its heritage has prompted urban revivals, leading to the acceptance of traditional Hungarian folk singing as a performing arts genre. Drawing from a series of in-depth interviews, this study shows how contemporary Hungarian folk singers navigate (define, learn, police) different forms of authenticity within the field of folk music. While we find that objectified authenticity – heritagized classification systems – is the dominant form of symbolic capital, the broader symbolic economy of authenticity is complicated by competing definitions of folk singing as, variously, culture, heritage, and art. Third-person authenticity is more highly regarded, but it is more difficult for contemporary urban folk singers to achieve because they were not socialized in peasant communities. Therefore, they use objectified authenticity such as ‘original recordings’ as a proxy for learning about living folk culture. Although objectified authenticity constrains the agency of artistic expression, it affords discriminatory creativity (choosing one’s own repertoire) and rationalized creativity (adapting traditional material to external values and contexts).

Communicative practices in talking about death and dying in the context of Thai cancer care

2014 ◽  
Vol 10 (3) ◽  
pp. 263-271
Author(s):  
Pairote Wilainuch
Keyword(s):  
Conversation Analysis ◽  
District Hospital ◽  
Death And Dying ◽  
Family Members ◽  
Religious Support ◽  
Communicative Practices ◽  
Health Centres ◽  
Third Person ◽  
Thai People ◽  
Depth Interviews

This article explores communicative practices surrounding how nurses, patients and family members engage when talking about death and dying, based on study conducted in a province in northern Thailand. Data were collected from three environments: a district hospital (nine cases), district public health centres (four cases), and in patients’ homes (27 cases). Fourteen nurses, 40 patients and 24 family members gave written consent for participation. Direct observation and in-depth interviews were used for supplementary data collection, and 40 counselling sessions were recorded on video. The raw data were analysed using Conversation Analysis. The study found that Thai counselling is asymmetrical. Nurses initiated the topic of death by referring to the death of a third person – a dead patient – with the use of clues and via list-construction. As most Thai people are oriented to Buddhism, religious support is selected for discussing this sensitive topic, and nurses also use Buddhism and list-construction to help their clients confront uncertain futures. However, Buddhism is not brought into discussion on its own, but combined with other techniques such as the use of euphemisms or concern and care for others.

scholarly journals Drag Performers’ Perspectives on the Mainstreaming of British Drag: Towards a Sociology of Contemporary Drag

Sociology ◽  
2021 ◽  
pp. 003803852110083
Author(s):  
Mark McCormack ◽  
Liam Wignall
Keyword(s):  
Performing Arts ◽  
Social Stigma ◽  
Creative Industries ◽  
Public Data ◽  
Career Opportunity ◽  
Cultural And Creative Industries ◽  
British Culture ◽  
Depth Interviews ◽  
Inductive Analysis

Drag performance has entered mainstream British culture and is gaining unprecedented appreciation and recognition, yet no sociological accounts of this transformation exist. Using an inductive analysis of in-depth interviews with 25 drag performers, alongside netnography of media and other public data, this article develops a sociological understanding of the mainstreaming of drag. There are two clear reasons for the success of drag. First, there is a pull towards drag: it is now seen as a viable career opportunity where performers receive fame rather than social stigma in a more inclusive social zeitgeist, even though the reality is more complex. Second, there is a push away from other creative and performing arts because heteronormative perspectives persist through typecasting and a continued professional stigma associated with drag. In calling for a sociology of drag, future avenues for research on contemporary drag are discussed, alongside the need for the sociology of cultural and creative industries to incorporate sexuality as both a subject and analytic lens.

Motivation trajectory of attending performing arts: the role of knowledge

2018 ◽  
Vol 8 (1) ◽  
pp. 5-18
Author(s):  
Zakia Obaidalahe ◽  
Nadia Steils
Keyword(s):  
Performing Arts ◽  
Design Methodology ◽  
General Knowledge ◽  
Cultural Education ◽  
Specific Knowledge ◽  
Content Type ◽  
Cultural Service ◽  
Level Of Knowledge ◽  
Depth Interviews

Purpose This study concerns the attendance motivations for cultural services based on the audience’s level of knowledge. The purpose of this paper is to define the role played by general knowledge (e.g. cultural education) and specific knowledge (e.g. communication around a cultural product) in the attendance motivation trajectory of a cultural service. Design/methodology/approach The study uses in-depth interviews with 20 visitors to two public theatres, one in Belgium and one in France. Findings The results identify a tripartite motivation in the decision to attend a performance, corresponding to four visitor segments defined according to their level of general and specific knowledge. Originality/value The recommendations arising from the study are that potential audience members be targeted according to their particular profile and that their cultural tastes be developed by raising their level of general knowledge, an element that goes beyond the suggested motivation trajectory.

“White Night”: Gentrification, Racial Exclusion, and Perceptions and Participation in the Arts

2011 ◽  
Vol 10 (3) ◽  
pp. 241-264 ◽  
Author(s):  
Samuel Shaw ◽  
Daniel Monroe Sullivan
Keyword(s):  
Arts Participation ◽  
Black And White ◽  
The Arts ◽  
Racial Exclusion ◽  
Symbolic Economy ◽  
Black Residents ◽  
Long Time ◽  
Depth Interviews

Art festivals are a feature of many urban districts undergoing gentrification; they help to catalyze change by drawing a set of consumers with particular cultural interests. This article examines whether the arts produce racial exclusions by examining long–term Black and White residents’ participation in and perceptions of the monthly Last Thursday Art Walks in Portland's gentrifying Alberta Arts District. We use surveys to measure arts participation and follow–up, in–depth interviews to understand whether long–time residents feel excluded by the arts, and if race is a factor. We find that Black residents participate less in Last Thursdays than White residents, and they often feel uncomfortable or unwelcome. We conclude that the arts–anchored symbolic economy results in racial exclusions that have little to do with differences in arts appreciation, but much to do with perceptions of people associated with the arts, and with residents’ abilities to use the arts to identify with neighborhood changes.

scholarly journals Regenerative-Relational Tritangtu: Sundanese Triadic Transformation Model

Panggung ◽  
2013 ◽  
Vol 23 (2) ◽  
Author(s):  
Wanda Listiani ◽  
Heddy Shri Ahimsa-Putra ◽  
GR LonoLastoroSimatupang ◽  
Yasraf Amir Piliang Amir Piliang
Keyword(s):  
Free Market ◽  
Participant Observation ◽  
Market Competition ◽  
Dynamic Structure ◽  
Global Market ◽  
Transformation Model ◽  
Folk Culture ◽  
The Past ◽  
Object Of Study ◽  
Depth Interviews

ABSTRACT Tritangtu or Trinity mindset is a Sundanese and Minang community cosmology that consists of three entities (three patterns). Tritangtu as the local wisdom is also underlying the creative actors mental structure on making their works either in the form of performance, artifacts philosophy value, or in other cultural products in Indonesian community. This study used ethnographic method with data collection techniques were participant observation in-depth interviews and documentation. The object of study is the creative actors practice at the design field in Bandung.The result of study pointed out the Sundanese Tritangtu transformation from the permanent struc- ture to dynamic structure. The change in the structure is determined by the relation between the de- sign elements forming structure with the global market segmentation. Lending Sundanese identity markers, especially the folk culture or the past traditions is regenerative efforts to harmonize the three patterns in encountering and winning the free-market competition in Indonesia. Keyword:  Tritangtu, Sundanese Triadic Transformation ModelAbstrak Tritangtu atau pola pikir tritunggal merupakan kosmologi masyarakat Sunda dan Minang yang terdiri dari tiga entitas (pola tiga). Tritangtu sebagai kearifan lokal juga melatarbelakangi struktur mental pelaku kreatif dalam membuat karya baik berupa pertunjukan, nilai filosofi artefak mau- pun produk budaya lainnya di masyarakat Indonesia. Penelitian ini menggunakan metode etnografi dengan teknik pengumpulan data observasi partisipasi, wawancara mendalam dan dokumentasi. Obyek penelitian ini adalah praktik pelaku kreatif di bidang desain di Bandung. Hasil penelitian ini menunjukkan adanya transformasi tritangtu Sunda dari struktur yang tetap menjadi struktur dinamis. Perubahan struktur ini ditentukan oleh relasi antar struktur pembentuk unsur desain de- ngan segmentasi pasar global. Peminjaman penanda identitas Sunda khususnya budaya rakyat atau tradisi masa lalu merupakan upaya regeneratif dalam usahanya untuk harmonisasi pola tiga dalam menghadapi dan memenangkan persaingan pasar bebas di Indonesia. Kata kunci : Tritangtu, Model Transformasi Triadic Sunda 

A Struggle for Dignity: The Kalavanteens of Maharashtra

2020 ◽  
Vol 12 (2) ◽  
pp. 196-206
Author(s):  
Sushmita Gonsalves Mondal
Keyword(s):  
Performing Arts ◽  
Folk Art ◽  
Sense Of Agency ◽  
Body Parts ◽  
Art Forms ◽  
Dalit Women ◽  
And Gender ◽  
Depth Interviews ◽  
Systemic Degradation

Thrice alienated, Dalit women face a triple burden of caste, class and gender. The subaltern women belonging to Dalit communities in Kolhapur, Maharashtra is the focus of my paper. I have conducted in-depth interviews of the women I have met; and carefully documented their lives over a period of years. In due course of time, I realized that there are kalavanteen women (artistes of various folk-art forms) who are struggling to leave behind a tainted life and seize the opportunity to live a life of dignity. These are women who are involved in the performing arts, including singing, dancing and acting; Lavani, Tamasha and Jalsas. Such women who performed and entertained were available for sexual pleasures, but rarely married. They were rarely considered honourable women. Now when the image is that of a performing woman, she too will be consumed with greedy/hungry eyes. Her body parts too, are exposed to male glances, she has to attract them, as such, she cannot be expected to be chaste. However, in Kolhapur today, these kalavanteen, women have challenged their Dalitness; contested their being downtrodden; and finally derived a sense of agency from their being Dalit, their being downtrodden. I felt that it is highly significant to trace the manner in which they have attacked the systemic degradation that has eroded their lives for decades and tried to bring a sense of dignity.

From Abramtsevo to Zakopane: Folk Art and National Ideals in Russia and Eastern Europe

2019 ◽  
Vol 46 (4) ◽  
pp. 241-261
Author(s):  
Alison Hilton
Keyword(s):  
Performing Arts ◽  
Folk Art ◽  
Peasant Communities ◽  
Late Imperial ◽  
Imperial Russia ◽  
Folk Traditions ◽  
Economic Support ◽  
National Sentiment ◽  
Eastern European Countries ◽  
Special Respect

Abstract Folk art revivals were incubators for modernist movements in painting, sculpture, architecture, applied arts, and performing arts. The upsurge of national sentiment in late Imperial Russia and official economic support of handicraft industries (known as kustar’) promoted the marketing of wood crafts and textiles made at Abramtsevo, Talashkino, and other centers in western Russia and Ukraine. Parallel developments drew upon both folk traditions and patriotic ideals in the central and eastern European countries that had suffered territorial encroachments by Russia, Prussia, and the Austro-Hungarian Empire. Artists’ groups and art colonies showed special respect for regional landscapes, peasant communities, and local artistic traditions. Their activities reflected nationalist ideologies, as well as practical, economic, and philanthropic concerns. The variety of circumstances and motivations sheds light on the phenomena of art colonies, new valuations of applied art forms, and the enduring importance of education in traditional crafts.

Musculoskeletal Problems in Pianists and Their Influence on Professional Activity

2017 ◽  
Vol 32 (2) ◽  
pp. 118-122 ◽  
Author(s):  
María R Ciurana Moñino ◽  
Jaume Rosset-Llobet ◽  
Luis Cibanal Juan ◽  
María D García Manzanares ◽  
Juan D Ramos-Pichardo
Keyword(s):  
Performing Arts ◽  
International Classification Of Diseases ◽  
Upper Body ◽  
Professional Activity ◽  
Professional Activities ◽  
Musculoskeletal Problems ◽  
Classification Of Diseases ◽  
Icd 10 ◽  
Depth Interviews

BACKGROUND: Professional musical performance requires static postures and repetitive movements that may cause musculoskeletal problems in performers. Elite pianists are especially at risk for these disorders, which may cause discomfort but also affect their work. The objective of this study was to describe the most frequent musculoskeletal problems observed in pianists, and to explore the influence of these disorders on their professional activities from the perspective of the pianists themselves. METHODS: Musculoskeletal problems were defined in accordance with the International Classification of Diseases (ICD-10), and an analysis was conducted of medical records of 183 professional pianists held by a performing arts clinic (Terrassa, Spain). In addition, in-depth interviews were conducted with 20 pianists (6 students, 12 teachers, and 2 performers), followed by content analysis of the transcripts to explore musicians’ perceptions. RESULTS: We identified a total of 20 different problems, which principally involved the upper body (arms and back). Regardless of occupation or age, all respondents reported having musculoskeletal problems and that these impacted on their professional activity. Interviewees also identified a lack of support or advice on how to prevent these problems. CONCLUSION: Musculoskeletal problems, principally those involving the upper body, are very common among pianists and affect their professional activity. It is necessary to include risk prevention information starting in the early stages of musicians’ training programs.

scholarly journals PELESTARIAN KESENIAN MOP-MOP DI KABUPATEN ACEH UTARA

Imaji ◽  
2017 ◽  
Vol 15 (1) ◽  
Author(s):  
Umul Aiman
Keyword(s):  
Performing Arts ◽  
Field Research ◽  
Economic Factor ◽  
Young Generation ◽  
Art Conservation ◽  
The Public ◽  
Age Factor ◽  
The Government ◽  
Performing Art ◽  
Depth Interviews

AbstrakMop-Mop dalam bahasa Aceh yang berarti mengunyah, seni pertunjukan ini dikatakan Mop-Mop karena tingkah laku pemainnya yang lucu ketika berakting dengan mulut monyong kedepan seperti orang mengunyah makanan. Kesenian Mop- Mop diangkat dari keseharian masyarakat dalam berumah tangga, yang terkadang sering terdapat perselisihan antara suami istri. Penelitian ini mengkaji faktor-faktor yang menghambat pelestarian kesenian Mop-Mop dan Upaya-upaya yang dilakukan dalam melestarikan kesenian Mop-Mop. Penelitian ini merupakan penelitian lapangan yang pengambilan datanya melalui obrservasi langsung dan wawancara mendalam dari informan-informan kunci. Hasil Penelitian menyimpulkan bahwa adapun faktor-faktor penghambat dalam melestarikan kesenian Mop-Mop diantaranya yaitu (1) faktor ekonomi (2) faktor usia, (3) faktor jarak, (4) faktor kurangnya undangan untuk mengisi acara-acara hiburan, (5) faktor kurangnya perhatian dari pemerintah, (6) faktor kurangnya apresiasi masyarakat terhadap kesenian Mop-Mop, (7) faktor agama, (8) faktor kurangnya pengetahuan generasi muda terhadap kesenian Mop-Mop. Oleh karena itu, diperlukan beberapa upaya atau langkah nyata dari masyarakat khususnya pemerintah agar kesenian ini bisa tetap lestari di tengah-tengah arus modernisasi dan globalisasi seperti sekarang, diantaranya: (1) pemerintah memberikan perhatian lebih kepada kesenian Mop-Mop, (2) masyarakat khususnya generasi muda mempunyai kesadaran (berpartisipasi) dalam melestarikan kesenian Mop-Mop, (3) sanggar Meurak Jeumpa Aceh beserta pemerintah untuk bisa melengkapi dan memperbanyak buku-buku tentang kesenian Mop-Mop, (4) seniman Mop-Mop senantiasa mengajak anak-anak disekitar lingkungan para seniman untuk berpartisipasi dalam latihan Mop-Mop. Mop-Mop adalah bagian dari kekayaan kesenian di Aceh. Seharusnya memperoleh ruang perhatian untuk direvitalisasi, kesenian Mop-Mop sekarang sudah sangat langka dan perlu perhatian khusus agar kesenian ini tetap diakui keberadaannya. Kata kunci: Pelestarian, kesenian Mop-Mop MOP-MOP ART CONSERVATION IN THE DISTRICT NORTH ACEHAbstractMop-Mop in Aceh language which means chewing, is a funny performing arts as the players perform amusing shapes of mouth like chewing food while acting. It comes from daily marriage life which reflect common domestic argumentation. This study examines the factors that inhibit the preservation of Mop-Mop art and the efforts in preserving it. This study is categorized as field research and the data were gained through direct observation and in-depth interviews with the key informants. The result of this study concludes that the inhibiting factors in preserving Mop-Mop art are: (1) economic factor (2) age factor, (3) distance factor, (4) lack of invitation to perform the Mop-Mop art, (5) lack of attention from the government, (6) less public appreciation of Mop-Mop art, (7) religious factors, (8) factors of youth’s lack of knowledge on Mop-Mop art. Therefore, it takes some concrete efforts or steps from the public, especially the government so that this art can be sustainable in the midst of the current modernization and globalization, such as: (1) the government gives more attention to the art of Mop-Mop, (2) the community Especially the young generation have awareness (participate) in preserving Mop-Mop art, (3) Meurak Jeumpa Aceh studio and government to be able to equip and reproduce books about Mop-Mop art, (4) Mop-Mop artists always invite children Around the environment of artists to participate in Mop-Mop rehearsal. Mop-Mop is a part of the valuable art in Aceh. Since Mop-Mop performing art is very rare, it needs revitalization. Thus, it needs special attention so that this art can exist and recognized.Keywords: preservation, Mop-Mop art

scholarly journals What the World Needs Now is Jazz

2021 ◽  
Vol 14 (2-3) ◽  
Author(s):  
Monika Herzig
Keyword(s):  
Performing Arts ◽  
New Technologies ◽  
Live Performance ◽  
Model Data ◽  
System Calls ◽  
The Arts ◽  
Structural Redesign ◽  
Modes Of Interaction ◽  
Arts Community ◽  
Depth Interviews

The worldwide lockdown caused by the COVID-19 pandemic initiated an economic crisis, especially in the performing arts world. With all events cancelled for many months and limited options to return to live performance in the future, the arts community had to respond quickly. The jazz model, specifically improvisational training, has been discussed frequently in the entrepreneurship literature as an important method for making decisions in uncertain situations. Furthermore, the principle of Effectual Entrepreneurship defined as engaging in a continuous cycle of ideation and experimentation towards creating solutions from available means and techniques, is usually associated with a growth mindset fostered by training in improvisational techniques. Hence, this article documents and discusses the hypothesis that directions and activities pursued by jazz musicians who train their improvisational capacities on a regular basis can provide a glimpse of the evolving new model. Data collected from a survey, published literature, and several in-depth interviews and conclusions point towards a hybrid model of new technologies and modes of interaction combined with the need to preserve human engagement. Furthermore, the fragility of the current performing arts system calls for structural redesign and new focus on local communities.

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