scholarly journals Geographical Distribution of the Traditional Dance Culture in Mezőség

2021 ◽  
Vol 3 (1) ◽  
pp. 163-182
Author(s):  
Sándor Varga
Keyword(s):  
Material Culture ◽  
Concentric Circle ◽  
Music Culture ◽  
Folk Culture ◽  
Dance Culture ◽  
Central Plain ◽  
North East ◽  
Peripheral Areas ◽  
The 1960S ◽  
Definition Of

Abstract The exact definition of the Mezőség/Câmpia Transilvaniei/Transylvanian Plain, hereafter Plain, as a region with an independent folk culture having a coherent internal structure is still a subject of debate among ethnographers. Some of them regard certain small regions (Borsa/Borșa Valley, Kis and Nagy Szamos/Someșul Mic și Someșul Mare etc.) as belonging to the Mezőség/Plain, while others do not. I distinguish a central group of the villages in the Mezőség/Plain region (Belső-Mezőség or Central Plain: e.g. Visa/Vișea, Magyarpalatka/Pălatca, Katona/Cătina, Pusztakamarás/Cămăraşu) from the rest of the territory, similarly to György Martin, István Pávai and László Barabás, relying on material culture and folklore research, as well as my own investigations. When advancing outward from this core area, the concentric circle of so-called peripheral areas follow (the West, North, East and South Plain/Mezőség), reaching the boundaries on the edges of the region: Nagy Szamos/Someșul Mare Valley, Lápos/Lăpuș Valley, Sajó/Șieu Valley, Maros/Mureş Valley, Marosszéki1 Mezőség/Mureș Seat Plain, Erdőalja/Sub Pădure area, Borsa/Borșa Valley, and Kis Szamos/Someșul Mic Valley. A further, smaller group of villages can be distinguished in the area of Belső-Mezőség/Central Plain by their dance and music culture; for the regular weekend dance events of these villages, organised by local youths in the 1960s, Roma musicians of Magyarpalatka/Pălatca would play the music. I assign the name Palatka dance district to this area in my paper.

Ways and Voices in the Psychoanalysis of Links According to Enrique Pichon-Rivière

2016 ◽  
Vol 6 (2) ◽  
Author(s):  
Rosa Jaitin
Keyword(s):  
Couple Therapy ◽  
Clinical Observation ◽  
Clinical Work ◽  
The Core ◽  
The Social ◽  
The 1960S ◽  
Definition Of ◽  
Relationship Of ◽  
The Voice ◽  
Different Levels

This article covers several stages of the work of Pichon-Rivière. In the 1950s he introduced the hypothesis of "the link as a four way relationship" (of reciprocal love and hate) between the baby and the mother. Clinical work with psychosis and psychosomatic disorders prompted him to examine how mental illness arises; its areas of expression, the degree of symbolisation, and the different fields of clinical observation. From the 1960s onwards, his experience with groups and families led him to explore a second path leading to "the voices of the link"—the voice of the internal family sub-group, and the place of the social and cultural voice where the link develops. This brought him to the definition of the link as a "bi-corporal and tri-personal structure". The author brings together the different levels of the analysis of the link, using as a clinical example the process of a psychoanalytic couple therapy with second generation descendants of a genocide within the limits of the transferential and countertransferential field. Body language (the core of the transgenerational link) and the couple's absences and presence during sessions create a rhythm that gives rise to an illusion, ultimately transforming the intersubjective link between the partners in the couple and with the analyst.

Ciguapas in New York: Transcultural Ethnicity and Transracialization in Dominican American Performance

2012 ◽  
Vol 46 (1) ◽  
pp. 139-153 ◽  
Author(s):  
EMILIA MARÍA DURÁN-ALMARZA
Keyword(s):  
New York ◽  
Dominican Republic ◽  
Identity Formation ◽  
The Usa ◽  
And Migration ◽  
The 1960S ◽  
Definition Of ◽  
Dominican Women ◽  
The Impact ◽  
Dominican American

The Dominican American community in New York is perhaps one of the best examples of how processes of transculturation are affecting traditional definitions of ethnic identification. Given the intense economic, social and cultural transnational exchanges between the island and the USA from the 1960s, Dominicanyorks have been challenging the illusion of homogeneity in the definition of Americanness for decades, creating transnational social networks that transcend traditional national and ethnographic boundaries. The theatrical works of Josefina Báez, a Dominican American performer living in New York, and Sherezada (Chiqui) Vicioso, a Dominican poet and playwright who lived and worked in the US metropolis for decades before moving back to the Dominican Republic, lyrically explore issues of diaspora, identity and migration and the impact these phenomena might have in the lives of migrant Dominican women. Presenting diasporic experiences from two differing but interconnected locales – New York and the Dominican Republic – these plays offer two complementary views on the ways in which ethnicity, race, social class, age and geopolitical location interact in the formation of transcultural identities, thus contributing to develop a hemispheric approach to the study of identity formation in the Americas.

LEGACY OF XIAO YOUMEI: PATHS TO EUROPEAN MUSIC

2020 ◽  
Vol 1 (2) ◽  
pp. 124-132
Author(s):  
Zhang Kewu ◽  
Keyword(s):  
Music Education ◽  
Educational Institutions ◽  
Asian Countries ◽  
Music Culture ◽  
Xxth Century ◽  
Cross Cultural Communication ◽  
Chinese Music ◽  
History Of ◽  
Definition Of ◽  
Scientific Platform

The relevance of this topic is linked to the need to understand the way in which Asian countries develop theoretical musicology in active cross-cultural communication. This work examines Xiao Youmei (1884–1940), one of the most outstanding representatives of Chinese music culture in the first half of the XXth century. His contribution to Chinese music education and science include the organization of the Shanghai Conservatory of Music (1927), the upgrading of national musicology and the development of the first textbooks on music theory and history for training specialists. Of particular importance is Xiao Youmei's educational activities, related to the study of European music and the definition of the main directions in its research. The article mainly discusses the methods used by the Chinese musicologist in introducing European music to the students of the first music educational institutions in China. Theoretical and historical problems of European music are taught in Xiao Youmei’s textbooks: "Essays on the History of Western Music" (1920–1923), "General Musicology" (1928), "Harmony" (1932). They were distinguished by the following features: an overview principle of the presentation of the material, an expansion of the range of languages used by the term authors, several musical examples and a lack of scientific resources, which is explained by the stage of origin of the music educational system and scientific platform in China in the first decades of the XXth century. One of the main features of the content expressed in Xiao Youmei's textbooks is the correlation between various parameters of Chinese and European music. The paper provides examples illustrating the method of using the notions of one thinking system to explain the other (in the field of harmony, instrumental science). It is explained by the transitional stage in the formation of Chinese musicology — from the old system of notation to the new one.

The Folk Fight Back: Protesting the Cancellation of Don Messer’s Jubilee in 1969

2021 ◽  
Author(s):  
Greg Marquis
Keyword(s):  
Popular Culture ◽  
New Brunswick ◽  
Mass Culture ◽  
Generation Gap ◽  
Folk Culture ◽  
Television History ◽  
Canadian Nationalism ◽  
The 1960S

This article examines part of the reaction to the 1969 cancellation of Canadian Broadcasting Corporation’s (cbc) television’s Don Messer’s Jubilee, one of the most popular Canadian-produced programs of the era. In addition to an exploration of television history and popular culture, it is also a look at the neglected topic of “square” Canada in the 1960s. Messer began fiddling at dances in rural New Brunswick in the 1920s and moved to radio and recording prior to becoming an unlikely national television star by 1961. After exploring possible classifications of the show’s music, the article explores themes in protest letters and petitions sent to the cbc. These included Canadian nationalism in opposition to American mass culture, Canadian folk culture, cbc elitism, Maritime regionalism, nostalgia, and the related themes of the generation gap and permissive society. The article concludes that fans viewed Messer as a custodian of Canadian folk culture that was being erased by the national broadcaster at a time of heightened nationalism.

scholarly journals Beethoven Returns to Bonn: Origins, Belonging and Misuse in Mauricio Kagel’s Ludwig van (1969)

2021 ◽  
Vol 107 ◽  
pp. 29-61
Author(s):  
Elaine Fitz Gibbon
Keyword(s):  
West Germany ◽  
Music Culture ◽  
Adobe Acrobat ◽  
German Government ◽  
Avant Garde ◽  
Cultural Legacy ◽  
East German ◽  
German Jewish ◽  
The 1960S ◽  
One Year

In 1969 West Germany, the country was abuzz with anticipation of the approaching Beethoven bicentennial. That year the composer and experimental filmmaker Mauricio Raúl Kagel, born in Argentina to Russian- and German-Jewish parents in 1931 and living in Cologne since 1957, was commissioned by the State to commemorate the momentous occasion. What resulted was a film that surely no West German official had anticipated. Entitled Ludwig van: A Report and strongly inflected by Kagel’s absurdist aesthetic, Kagel’s film critiques the fetish object that Beethoven’s music and person had become in twentieth-century West Germany, touching upon, amongst many topics, East German claims of Beethoven’s “misuse” by the West German government, as well as the rise in the 1960s of the theory that Beethoven was Black. While Ludwig van has been recognized for its sendup of bourgeois music culture, it has yet to be analyzed from the perspective of diasporic experience. Simultaneously a love letter to and deconstruction of Beethoven’s cultural legacy, Ludwig van asks its audience to consider the complex diasporic experiences of avant-garde artists in the wake of WWII. Drawing on work by Brigid Cohen, I argue for the centrality of the theme of migration and displacement in Ludwig van. And in reading two central scenes from the film, I consider, in dialogue with Scott Burnham, what light the fifty-one-year-old film’s critique of the fetishization of origins and genealogy might shed on the celebration of Beethoven’s 250th birthday in 2020, and such acts of memorization more generally. [Please note: This article contains embedded video files. These files cannot be played on all PDF readers. Current Musicology recommends Foxit PDF Reader, Adobe Acrobat, or any other PDF reader capable of reading "enriched" media.]

scholarly journals Slaves’ dress between representation and materiality

2017 ◽  
Vol 15 (2) ◽  
pp. 221
Author(s):  
Isabela Cristina Suguimatsu
Keyword(s):  
Eighteenth Century ◽  
Material Culture ◽  
Social Life ◽  
Historical Research ◽  
Culture Studies ◽  
Social Barriers ◽  
Descriptive Approach ◽  
The 1960S ◽  
The Ideal

Since the 1960s the focus of historical research about dress and clothing turned from a purely descriptive approach to a semiotic one: researches have started aiming at the representations and tried to understand the symbols behind the objects. Resting on the so called material culture studies, the objective of this article is to conceive dress no more subordinate to the dimension of the ideal meanings, but rather as materiality actively used in the process of signifying and making of social life. In the article I try to understand the role of dressing for “being a slave” in eighteenth-century Brazil: a society that valued ideals expressed in European fashion, but imposed social barriers for accessing them – for the slaves wear the materiality linked to such ideals. O vestuário dos escravos entre representação e materialidade Desde a década de 1960, os estudos sobre a indumentária e o vestuário passaram de uma abordagem puramente descritiva para outra baseada na semiótica: buscou-se atingir as representações e entender os símbolos por trás dos objetos. Com base nos chamados estudos da cultura material, o objetivo desse artigo é pensar o vestuário não mais subordinado à dimensão dos significados ideais, mas como materialidade ativamente usada no processo de significação e conformação da vida social. Para tanto, busca-se entender o papel do vestuário na constituição do “ser escravo” no Brasil oitocentista: em uma sociedade que valorizava ideais expressos na moda europeia, mas que criava barreiras para o acesso irrestrito a esses ideais e para o uso, pelos escravos, da materialidade a eles associada.

Terry Gilliam

2021 ◽  
Keyword(s):  
Los Angeles ◽  
Don Quixote ◽  
Set Design ◽  
No Production ◽  
Brothers Grimm ◽  
Terry Gilliam ◽  
The Face ◽  
The 1960S ◽  
Definition Of ◽  
Monty Python

With a directorial career spanning over forty years, Terry Gilliam (b. 1940) remains rooted in the sensibilities of his early work in animation. Born in Minnesota and raised in the Los Angeles area, Gilliam, sometimes classified as a British filmmaker, has lived in England since the 1960s, renouncing his US citizenship in 2006. As the resident animator of Monty Python’s Flying Circus (1969–1974), Gilliam created surreal and absurd vignettes from cutout images that complemented the live sketches. After partnering with fellow Python Terry Jones in directing Monty Python and the Holy Grail (1975), Gilliam struck off on his own with Jabberwocky (1977). Many films followed in which one or more members of Monty Python appeared as actors under his direction. Though Gilliam’s works ostensibly cover diverse subjects—bureaucracy, virus outbreaks, and the gonzo journalist Hunter S. Thompson, to name only a few—all engage with questions of the power and problems of the imagination in the face of an often-grim or oppressive reality. The overall look of a Gilliam film is unmistakable as well, with off-kilter shots meant to disorient the viewer and crowded mises-en-scène. His use of wide-angle lenses is so extensive that the 14-millimeter lens has been nicknamed “the Gilliam.” Deeply involved not only in camerawork but in many other aspects of production such as costuming, set design, and scriptwriting, Gilliam would seem to fit the definition of an auteur. However, in numerous interviews, Gilliam resists that label, stressing his collaborative approach and openness to suggestions. Indeed, the process of making and distributing his films has sometimes garnered as much, if not more, attention than the films themselves. Brazil (1985), The Adventures of Baron Munchausen (1988), The Brothers Grimm (2005), and The Imaginarium of Doctor Parnassus (2014) all faced disruptions and setbacks of various kinds. No production was bedeviled so long and in so many ways as The Man Who Killed Don Quixote (2018), taking nearly thirty years to reach the screen. Frequently identifying with the main characters of his films in progress, Gilliam perhaps most resembles Don Quixote in his unstinting commitment to his vision, whether commercially successful or not, whether brilliant or baffling to critics or audiences.

In Australia, it’s ‘Aboriginal’ with a Capital ‘A’: Aboriginality, Politics and Identity

2019 ◽  
pp. 225-256
Author(s):  
Barbara Glowczewski
Keyword(s):  
Land Rights ◽  
Living Conditions ◽  
Colonial History ◽  
Cultural Backgrounds ◽  
Politics Of Identity ◽  
Indigenous Australian ◽  
The 1960S ◽  
Definition Of ◽  
Aboriginal Groups ◽  
Modes Of Existence

The politics of identity discussed here are still at the heart of current Indigenous Australian struggles for recognition. In the 1960s, for ethical and political reasons, the term Aboriginal became an ethnonym written with a capital ‘A’ to designate the descendants of the first inhabitants of Australia, some 500 groups speaking different languages. Aboriginal groups have not only different language names and cultural backgrounds, but different histories — massacres, forced sedentarisation in reserves, separation from their parents of children of mixed descent, discrimination, criminalisation — all of which broke the transmission of some peoples’ heritage. Yet many claim their ‘Aboriginality’ which gathers all under an Aboriginal flag (since 1972), even if not everyone agrees on the definition of a common identity. Some priviledge an identity of continuity, based on language, localised spirit-children and ritual links with the land, pre-contact modes of existence; others put forward an identity of resistance, rewriting colonial history, valorising a national Aboriginal identity that encompasses all mixed descendants, struggling for land-rights, against bad living conditions, exclusion and exploitation. First published in 1997.

Introduction: almost nothing

2017 ◽  
Author(s):  
Anna Dezeuze
Keyword(s):  
Contemporary Art ◽  
Human Condition ◽  
Work Of Art ◽  
Art Object ◽  
New Perspective ◽  
The 1960S ◽  
Definition Of ◽  
The Human Condition

This introduction introduces the term ‘precariousness’ by contrasting it with the ‘ephemeral’. Precarious practices that explore the ‘almost nothing’ are situated in the context of studies of ‘nothingness’ and empty exhibitions in contemporary art. Such debates focus on the ‘dematerialisation’ of the art object since the 1960s, which will be addressed from a new perspective following Lawrence Alloway’s 1969 definition of ‘an expanding and disappearing’ work of art. Re-readings of the materiality of contemporary art since the 1960s are related to continental debates concerning ‘precarity’ in the 1990s, and traced back to Hannah Arendt’s 1958 remarks on The Human Condition. Two different philosophical books — Vladimir Jankélévitch’s 1957 Le Je-ne-sais-quoi et le presque rien, and Simon Critchley’s 1997 Very little, almost nothing — point to some of the questions and methods raised by the study of precarious practices.

Mobility in Prehistory and Early Historic Times

2019 ◽  
pp. 103-121
Author(s):  
D. W. Harding
Keyword(s):  
Roman Empire ◽  
Material Culture ◽  
Western Europe ◽  
Culture Contact ◽  
Migration And Invasion ◽  
Long Distance ◽  
Dna Analyses ◽  
Documentary History ◽  
The 1960S ◽  
North Western

For most of the twentieth century migration and invasion were the default explanation of material culture change in archaeology. This model was largely derived from the record of documentary history, which not only recorded the Gaulish diaspora of later prehistory but the migrations that resulted in the breakup of the Roman Empire. The equation of archaeological distributions—the formula ‘pots = people’—was a model adopted and promoted by Gordon Childe, and remained fundamental to archaeological interpretation into the 1960s. Thereafter diffusionism was discredited among British prehistorians, though less so among European archaeologists and classical or historical archaeologists. Even the Beaker phenomenon became a ‘cult package’ rather than the product of settlers, and it is only as a result of more recent isotopic and DNA analyses that the scale of settlement from the continent introducing Beakers has begun to be demonstrated. Other factors in culture contact including long-distance trade have long been evident, for example, from the distribution of finds of Baltic amber from Northern and North-Western Europe to the Mediterranean, or the distribution of continental pottery and glass via the western seaways in the post-Roman period.

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