Suspension: Repeating repetition!

Maska ◽  
2018 ◽  
Vol 33 (191) ◽  
pp. 28-35
Author(s):  
Bara Kolenc
Keyword(s):  
Labour Market ◽  
Performing Arts ◽  
Political Power ◽  
Modern Conception ◽  
Thematic Section ◽  
The Social ◽  
Social Discourses ◽  
Contemporary Performance ◽  
And Performance ◽  
Truth Production

This introduction to the thematic section about repetition deals with the question of why we need to rethink the relation between repetition and performing arts. We claim that it is precisely with repetition that contemporary performing arts circle their field and are inscribed in social discourses, capital mechanisms of the labour market and the mechanisms of truth production and knowledge deployment. By considering two traditional presuppositions about the connection between theatre and repetition, we unfold their problematic nature and show why it is necessary to – again – talk about repetition and performance. Continuing with the critique of the paradigm of authenticity and the idea of artistic positivism or vitalism, we show that today the connection between performance and repetition needs to be considered through a modern conception of repetition, articulated already by Kierkegaard, through which we need to grasp not only that repetition is inscribed in contemporary performance, but also that it is precisely with repetition that performing practices are inscribed in the social and thereby generate their political power.

Supervision in Performance Settings (Dance, Music, Acting)

2019 ◽  
Author(s):  
Gene M. Moyle
Keyword(s):  
Service Delivery ◽  
Performing Arts ◽  
Organizational Context ◽  
Dance Music ◽  
Performance Psychology ◽  
Training Models ◽  
Roles And Responsibilities ◽  
The Social ◽  
And Performance ◽  
Sport And Exercise

Literature regarding supervision and related supervisory and training models applied within the field of sport, exercise, and performance psychology (SEPP) has grown exponentially as the field continues to define and redefine itself. A range of supervision models from mainstream psychology has been explored and applied within SEPP settings, with research indicating that regardless of the preferred model of supervision, a key component of effective supervision is the supervisor’s knowledge and skills related to the area of service delivery. Whilst the supervision of psychologists-in-training within performing arts settings presents similar challenges faced by those working in sport and exercise settings, the social, cultural, and artistic considerations embedded within these performance contexts necessitates a nuanced approach. The provision of supervision for psychologists within performing arts (e.g., dance, music, acting) requires scaffolded learning opportunities that assist the practitioner to gain an in-depth understanding of the context, including how to best tailor, translate, and communicate psychological concepts and skills to their clients that will address their unique challenges and meet their distinctive needs. Furthermore, clarity regarding the roles and responsibilities of the supervisee within the organizational context of an artistic setting is vital to ensuring that effective and ethical service delivery can be provided.

Emerging patterns of artistic organizations in Portugal: A three case studies analysis

2020 ◽  
pp. 84-107
Author(s):  
Vera Borges ◽  
Luísa Veloso
Keyword(s):  
Labour Market ◽  
Economic Crisis ◽  
Performing Arts ◽  
Work Organization ◽  
The Arts ◽  
Emerging Patterns ◽  
New Models ◽  
Organizational Patterns ◽  
New Forms Of Work ◽  
Anal Yses

In the wake of the 2008 global financial and economic crisis, new forms of work organization emerged in Europe. Following this trend, Portugal has undergone a reconfiguration of its artistic organizations. In the performing arts, some organiza-tions seem to have crystalized and others are reinventing their artistic mission. They follow a plurality of organizational patterns and resilient profiles framed by cyclical, structural and occupational changes. Artistic organizations have had to adopt new models of work and seek new opportunities to try out alternatives in order to deal, namely, with the constraints of the labour market. The article anal-yses some of the restructuring processes taking place in three Portuguese artistic organizations, focusing on their contexts, individual trajectories and collective missions for adapting to contemporary challenges of work in the arts. We conclude that organizations are a key domain for understanding the changes taking place.

Inequalities in access to cross-border resources? An analysis based on spatio-temporal behaviours in the cross-border area of Greater Geneva

2021 ◽  
pp. 096977642110267
Author(s):  
Alexis Gumy ◽  
Guillaume Drevon ◽  
Vincent Kaufmann
Keyword(s):  
Labour Market ◽  
Border Area ◽  
Cross Border ◽  
The Social ◽  
Neighbouring Country ◽  
Logistic Regressions ◽  
The Cross ◽  
Spatio Temporal

With an activity-based approach, this article offers a new reading of cross-border integration by exploring the social and spatial conditions that predispose specific populations of Greater Geneva to cross its borders. Five different daily cross-border patterns were identified showing that travelling to the neighbouring country is still uncommon among the least qualified populations and women, and that this trend now extends beyond the mere cross-border labour market. Logistic regressions show that Greater Geneva is witnessing a functionalisation of its cross-border integration, revealing mechanisms where the increase of particular mobility may foster segregation and inequalities. This article argues for an approach where cross-border integration is not an objective but rather is a consequence of obligations and constraints that individuals face in their daily behaviours.

Being a golf trainer in China: The life of an artist?

2021 ◽  
pp. 174795412199801
Author(s):  
Boucher Aurélien ◽  
Li Yuqing ◽  
Shao Xueyun
Keyword(s):  
Social Structure ◽  
Labour Market ◽  
Survey Analysis ◽  
Professional Certification ◽  
Quantitative Survey ◽  
The Social ◽  
Winner Takes All

This article investigates the earnings of Chinese golf trainers. Through a combination of ethnographic observations, interviews and a quantitative survey analysis, it depicts the social structure of the economy of golf training in China, showing that golf trainers’ playing abilities and fame, rather than any certificate of competence (e.g. diploma or professional certification), determine their earnings. At the same time, we underline many common characteristics between the artists’ labour market and the golf trainers’ labour market, such as the importance of fame and a winner-takes-all logic.

scholarly journals H. G. WELLS, GEOLOGY, AND THE RUINS OF TIME

2017 ◽  
Vol 45 (4) ◽  
pp. 839-855
Author(s):  
David Shackleton
Keyword(s):  
Physical Science ◽  
Evolutionary Biology ◽  
Narrative Structure ◽  
Time Machine ◽  
The Social ◽  
Social Discourses ◽  
Classical Thermodynamics

H. G. Wells's The Time Machine (1895) has hitherto been read in two principal scientific contexts: those of evolutionary biology and thermodynamic physics. Numerous critics have situated the romance in the context of evolutionary biology and contemporary discourses of degeneration (McLean 11–40; Greenslade 32–41). Others have discussed it in the context of thermodynamic physics. For instance, Bruce Clarke has read The Time Machine as “a virtual allegory of classical thermodynamics,” and shows that its combination of physical and social entropy reflects a wider transfer within the period of concepts and metaphors from physical science to social discourses of degeneration (121–26). Neatly linking these scientific contexts with issues of form, Michael Sayeau has argued that the social and physical entropy that are themes of the romance are reflected in its narrative structure, which manifests a type of narrative entropy, and thereby raises the spectre of the end of fiction (109–46).

Tusslers, Beatdowns, and Brothers: A Sociohistorical Overview of Video Game Arcades and theStreet FighterCommunity

2017 ◽  
Vol 14 (7-8) ◽  
pp. 742-762
Author(s):  
Michael Ryan Skolnik ◽  
Steven Conway
Keyword(s):  
Video Games ◽  
Identity Formation ◽  
Video Game ◽  
Economic Conditions ◽  
Moral Panics ◽  
The Social ◽  
History Of ◽  
And Performance ◽  
Historical Movement

Alongside their material dimensions, video game arcades were simultaneously metaphysical spaces where participants negotiated social and cultural convention, thus contributing to identity formation and performance within game culture. While physical arcade spaces have receded in number, the metaphysical elements of the arcades persist. We examine the historical conditions around the establishment of so-called arcade culture, taking into account the history of public entertainment spaces, such as pool halls, coin-operated entertainment technologies, video games, and the demographic and economic conditions during the arcade’s peak popularity, which are historically connected to the advent of bachelor subculture. Drawing on these complementary histories, we examine the social and historical movement of arcades and arcade culture, focusing upon the Street Fighter series and the fighting game community (FGC). Through this case study, we argue that moral panics concerning arcades, processes of cultural norm selection, technological shifts, and the demographic peculiarities of arcade culture all contributed to its current decline and discuss how they affect the contemporary FGC.

Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking

1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner
Keyword(s):  
New York ◽  
New York City ◽  
Performing Arts ◽  
West African ◽  
Turn Of The Century ◽  
The Body ◽  
Race And Gender ◽  
The Social ◽  
Anna Julia Cooper ◽  
And Gender

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.

A Conversation on Directing Opera

2021 ◽  
Vol 37 (3) ◽  
pp. 246-255
Author(s):  
Katie Mitchell ◽  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Musical Score ◽  
Senior Lecturer ◽  
Contemporary World ◽  
Art Form ◽  
Don Giovanni ◽  
National Opera ◽  
Dramatic Text ◽  
Theatre Studies ◽  
And Performance

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

scholarly journals Non-discursive Knowledge and the Construction of Identity Potters, Potting and Performance at the Bronze Age Tell of Százhalombatta, Hungary

2009 ◽  
Vol 19 (2) ◽  
pp. 203-220 ◽  
Author(s):  
Sandy Budden ◽  
Joanna Sofaer
Keyword(s):  
Material Culture ◽  
Bronze Age ◽  
Social Categories ◽  
Social Sphere ◽  
Construction Of Identity ◽  
Differential Acquisition ◽  
The Social ◽  
And Performance ◽  
The Bronze Age

This article explores the relationship between the making of things and the making of people at the Bronze Age tell at Százhalombatta, Hungary. Focusing on potters and potting, we explore how the performance of non-discursive knowledge was critical to the construction of social categories. Potters literally came into being as potters through repeated bodily enactment of potting skills. Potters also gained their identity in the social sphere through the connection between their potting performance and their audience. We trace degrees of skill in the ceramic record to reveal the material articulation of non-discursive knowledge and consider the ramifications of the differential acquisition of non-discursive knowledge for the expression of different kinds of potter's identities. The creation of potters as a social category was essential to the ongoing creation of specific forms of material culture. We examine the implications of altered potters' performances and the role of non-discursive knowledge in the construction of social models of the Bronze Age.

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