scholarly journals The spectacle of the queer “Other”: Māori gay(zing) at the 41st Sydney Gay and Lesbian Mardi Gras 2019

Te Kaharoa ◽  
2019 ◽  
Vol 12 (1) ◽  
Author(s):  
Byron Rangiwai
Keyword(s):  
Gay And Lesbian ◽  
Dance Music ◽  
Mardi Gras ◽  
Friday Morning ◽  
The World ◽  
Oxford Street ◽  
Eating Breakfast ◽  
Biographical Film

This article will explore some of my observations of the 41st Sydney Gay and Lesbian Mardi Gras 2019. I travelled to Sydney on Thursday 28 February. Rather appropriately, I selected the 2018 biographical film, Bohemian Rhapsody, as inflight entertainment, all the while contemplating what sequin-encrusted experiences I might encounter during my stay in Sydney. I had booked accommodation at the Pullman Sydney Hyde Park Hotel months in advance. Like every other surface in and around Oxford Street, the hotel had been queered-up with rainbows and a life-sized bejewelled unicorn in the foyer. While eating breakfast on Friday morning, the shimmering disco balls and background dance music seemed to be inviting me to shimmy my way to the egg station. Staff and guests alike, including entire families, were buzzing about the upcoming climax to a month-long festival of all things gay featuring over 190 floats, 12,500 participants, and thousands upon thousands of spectators from Australia and around the world (Sydney Gay and Lesbian Mardi Gras Limited, 2019a).

A GRASP ON THE NATURE OF LUNDAYEH THROUGH THEIR TRADITIONAL DANCE CULTURE

2015 ◽  
Vol 3 (2) ◽  
pp. 1-22
Author(s):  
LEE SUAN CHONG
Keyword(s):  
Ethnic Groups ◽  
West Coast ◽  
Dance Music ◽  
Human Knowledge ◽  
The West ◽  
Dance Culture ◽  
The Core ◽  
The World ◽  
Religious Aspects ◽  
Life Philosophies

AbstrakPenduduk Lundayeh terdapat di Tenom, Sipitang dan Long Pa Sia, di sepanjang pantai barat Sabah, Malaysia. Bentuk dan sistem tarian Lundayeh telah melalui perubahan dan variasi sejak kewujudan mereka di Borneo. Artikel ini mengkaji dalam pelbagai aspek, termasuk muzik, pakaian, pergerakan, fungsi dancerita-cerita daripada tarian tradisional yang diamalkan dalam masyarakat Lundayeh hari ini di Kemabong, Sabah. Tarian tradisional Lundayeh yang masih diamalkan berdasar terutamanya kepada aspek budaya, sosial dan agama hidup Lundayeh. Kajian ini membawa kepada penemuan corak pemikiran, falsafahhidup dan perspektif dunia Lundayeh yang dipengaruhi oleh agama dan budaya purba mereka. Tarian tradisional Lundayeh berfungsi sebagai satu saluran untuk memahami sifat orang Lundayeh sebagai salah satu kumpulan etnik kecil di dunia. Pemahaman tentang sifat orang Lundayeh akan terus menyumbang ke arah perkongsian dan penemuan dalam dimensi ilmu kemanusiaan yang baru.   AbstractLundayeh populations are found in the areas of Tenom, Sipitang and Long Pa Sia, along the west coast of Sabah, Malaysia. Lundayeh dance forms and systems have gone through changes and variations since their existence in Borneo. This paper looks into a variety of aspects, including music, costumes, movements, functions and stories of the traditional dances practiced in today’s Lundayeh communities in Kemabong, Sabah. The surviving traditional dances found to have stemmed from the core of Lundayeh cultural, social and religious aspects of life. The study leads to the discovery of the thinking patterns, life philosophies and world perspectives of Lundayeh that are strongly influenced by their religion and ancient culture. Dance music ultimately serves as a tool to understand the nature of Lundayeh people as one of the minor ethnic groups in the world. The understanding of the nature of Lundayeh would further contribute toward sharing and discovering another dimension of human knowledge and wisdom.

scholarly journals ASUH ASAH BABAKEH: ARYA TARI SEBAGAI UNGKAPAN KERINDUAN CUCU KEPADA ATUK

JOGED ◽  
2020 ◽  
Vol 16 (2) ◽  
pp. 159-175
Author(s):  
Ayang Sophia
Keyword(s):  
Early Education ◽  
Dance Music ◽  
Symbolic Expression ◽  
Aesthetic Appearance ◽  
The World ◽  
Contemporary Work ◽  
Deep Impression ◽  
Oil Lamp

Asuh Asah Babakeh merupakan karya yang terinspirasi dari pengalaman empiris tentang kasih sayang seorang Atuk terhadap cucu. Atuk (bahasa Minang: kakek) merupakan salah satu orang yang berperan penting dalam pendidikan awal mengenali kehidupan penata tari. Beliau yang mengajar ilmu pengetahuan, agama, beragam cara hidup di dunia melalui nyanyian, cerita dan contoh peristiwa. Atuk telah wafat meninggalkan kesan yang mendalam sampai saat ini. Karya tari ini merupakan persembahan ucapan terima kasih untuk Almarhum dari lubuk hati yang terdalam. Asuh Asah Babakeh merupakan koreografi kelompok dengan garap kontemporer yang berakar dari tradisi Minangkabau. Garap gerak berpijak pada tari Babuai yang bernafaskan budaya Minangkabau. Demikian juga musik tarinya yang dikomposisi khusus untuk koreografi ini diharapkan dapat membangun nuansa budaya Minangkabau serta imajinasi tema untuk menguatkan dramatisasi pada setiap bagian koreografinya. Tema pada karya ini adalah ungkapan rasa rindu pada kasih sayang antara cucu dengan Atuk. Menggunakan tipe tari dramatik serta cara ungkap simbolis. Struktur Koreografi dibagi menjadi empat adegan. Menggunakan properti tari lampu togok (lampu minyak yang sudah dimodifikasi), serta properti panggung untuk menambah estetika penampilan serta menguatkan ekpresi tarinya. Karya ini ditarikan oleh 9 orang penari dan dipentaskan di panggung proscenium stage. ABSTRACT Asuh Asah Babakeh is a creation inspired by the empirical experience of a choreographer about the closeness and affection of a Atuk for grandchildren. Atuk (Minang language: grandfather) is one that plays an important role in early education in recognizing the lives of dance stylists. He teaches science, religion, various ways of living in the world through songs, stories and examples of events. Atuk has died leaving a deep impression until this day. This dance an offering of thanks to the deceased from the bottom of my heart. Asuh Asah Babakeh is a group choreography with contemporary work rooted in the Minangkabau tradition. Work on movements resting on the Babuai dance that breathes Minangkabau culture. Likewise, the dance music composed specifically for this choreography is expected to build the nuances of Minangkabau culture as well as the theme's imagination and strengthen the dramatization of each part of the dance. The theme in this work is an expression of longing for affection between grandchildren and Atuk. Using the type of dramatic dance and symbolic expression. The structure of Choreography is divided into four scenes. Using the togok lamp dance property (modified oil lamp), as well as the stage property to add aesthetic appearance and strengthen the dance expression. This work was danced by nine dancers and performed on the proscenium stage

Feminist, Sexual, and Queer Citizenship

2017 ◽  
pp. 152-177 ◽  
Author(s):  
Leti Volpp
Keyword(s):  
Public Domain ◽  
Gay And Lesbian ◽  
The Public ◽  
The World ◽  
Queer Citizenship

The line dividing citizens and those excluded from its promise was long shaped by the public/private dichotomy, consigning women to the private, while reserving citizenship’s sphere of the public domain for men. Feminist theorists, in criticizing this dichotomy, have examined the relationships between citizenship, dependency, and reproduction. While those considered sexually deviant have suffered exclusions from citizenship, gay and lesbian subjects in some sites currently enjoy a role as model citizens. This shift has accompanied a transition in the role of the citizen from producer of work to consumer: the privatized, self-governing, and sexually free individual is today’s prototypical citizen. This new sexual citizen is contrasted with illiberal others, who are cast outside as unfit candidates for citizenship. Queer citizenship does not provide a more encompassing vision; citizenship is not available to be queered, given how it inevitably splits the world into those who belong and those left outside.

Oxford Street, Accra: Rethinking the Roots of Cosmopolitanism from an Africanist Historian's Perspective

PMLA ◽  
2016 ◽  
Vol 131 (2) ◽  
pp. 505-514 ◽  
Author(s):  
Carina Ray
Keyword(s):  
Small Group ◽  
African Diaspora ◽  
Focal Point ◽  
Biennial Conference ◽  
The World ◽  
Oxford Street

I first encountered ato quayson's transcendent account of accra and its enigmatic oxford street in 2009, a full five years before it was published as a book. In August of that year the Association for the Study of the Worldwide African Diaspora (ASWAD) held its fifth biennial conference in the Ghanaian capital. This was ASWAD's first conference on the continent, and it drew an impressive array of scholars from all over the world to a country that has long been a focal point of the diaspora's engagement with its African past and present. Because of its location, the conference attracted an especially large contingent of scholars who work on Ghana, among them quite a few historians, including me. Just when it seemed that the atmosphere of intellectual exchange could not get any headier, Quayson invited a small group of us to join him on a bespoke tour of Accra that heralded the arrival of Oxford Street in 2014.

The World Downside Up: Mardi Gras at Carville

1998 ◽  
Vol 111 (439) ◽  
pp. 23 ◽  
Author(s):  
Marcia Gaudet
Keyword(s):  
Mardi Gras ◽  
The World
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