Patricia Herrera. Nuyorican Feminist Performance: From the Café to Hip Hop Theater

Modern Drama ◽  
2021 ◽  
Vol 64 (3) ◽  
pp. 378-380
Author(s):  
Karen Jaime
Keyword(s):  
Hip Hop ◽  
Women Performers ◽  
Performance Theory ◽  
Feminist Performance ◽  
And Performance ◽  
Feminist Performance Theory ◽  
Performance Challenges ◽  
Critical Intervention

Patricia Herrera fills a void in scholarship on the Nuyorican Poets Café. Her focus on women performers ( performeras) and their writing and performance challenges these artists’ marginalization and erasure, while the Nuyorican feminist aesthetic she proposes, as situated within intersectional feminism, underscores the work’s critical intervention in feminist performance theory.

Introduction

2018 ◽  
pp. 1-40
Author(s):  
Jessica Nydia Pabón-Colón
Keyword(s):  
Gender Difference ◽  
Digital Media ◽  
Hip Hop ◽  
Language Barriers ◽  
Structural Level ◽  
Feminist Performance ◽  
Current State ◽  
Time Zones ◽  
And Performance

This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a structural level. Briefly surveying the current state of Graffiti Studies, the introduction argues that without accounting for the dynamics of gender difference within graffiti subculture, graffiti grrlz (and the ways they develop strategies of resistance in order to thrive) remain invisible. The introduction then breaks into four sections: Writing Grrlz describes the interdisciplinary ethnographic method and major interventions to the fields of Graffiti Studies and Hip Hop Studies; Digital Ups introduces the importance of digital media as a mode for grrlz to connect across geographical borders, language barriers, and time zones; Hip Hop Graffiti Diaspora frames the book’s utilization of diaspora and performance to account for the multiracial, multiethnic reality of transnational graffiti subculture; and Performing Feminism “Like a Grrl” explains how and why these strategies are framed as feminist performance.

Bill Dixon's Voice (Letter)

2015 ◽  
Vol 9 (2) ◽  
pp. 204-231
Author(s):  
ERIC PORTER
Keyword(s):  
Experimental Music ◽  
Artistic Production ◽  
Improvised Music ◽  
Wage Employment ◽  
Nuanced Understanding ◽  
And Performance ◽  
The 1960S ◽  
Critical Intervention ◽  
The City ◽  
The Voice

AbstractIn November 1966 composer and improviser Bill Dixon recorded a seventeen-minute-long “voice letter” to jazz writer Frank Kofsky. This letter may be analyzed as a critical intervention by Dixon, an attempt to change the context of interpretation around improvised music. But the voice letter may also be heard and analyzed as a kind of performance. As Dixon speaks, one can hear the rumbling and roar of the city as well as the staccato sounds of car and truck horns unfolding in dynamic counterpoint to his words. In this essay, I put the voice letter into dialogue with Dixon's personal history, his writings and interview statements, and some of his contemporaneous musical and multi-generic projects, especially his collaboration with dancer and choreographer Judith Dunn. I show how the letter maps Dixon's and Dunn's positions within a geography of intellectual circles, experimental artistic communities, and low-wage employment networks. By extension, I examine how the voice letter, as critical intervention and performance, points us to a nuanced understanding of black experimental music of the 1960s as a socially inflected, self-conscious and, ultimately, serious engagement with various modes of artistic production and thought, carried out under conditions of both precarity and inspiration.

‘Where all my bad girls at?’

2021 ◽  
Vol 15 (1) ◽  
Author(s):  
Joyhanna Yoo Garza
Keyword(s):  
African American ◽  
Hip Hop ◽  
American English ◽  
African American English ◽  
Gender And Race ◽  
Linguistic Resources ◽  
Performance Challenges

This article examines the polyvalence of racial(ised) representations in K-pop performances. The analysis of K-pop star CL’s (2013) song and video ‘Nappeun gijibae’ (‘The bad girl’) demonstrates how the artist projects an assertive femininity by embodying and localising the Bad Bitch: a sexually agentive figure of womanhood from US hip hop. CL’s use of African American English and conventionalised hip hop tropes helps resignify gijibae, a pejorative Korean term for women. By shifting between decontextualised styles invoking a different time and place, CL is able to build a kind of chronotopic capital that transforms fragmented styles into an empowered cosmopolitan femininity. However, although CL’s performance challenges Korean gendered norms in its use of local linguistic resources, her selective appropriations of US Black and Chicanx cultural signifiers reproduce narrow images of racialised femininities and reify a hierarchy of valuation along lines of gender and race.

“You're Only Ever A Block From The ‘Hood”

2021 ◽  
Vol 33 (4) ◽  
pp. 152-170
Author(s):  
Alex Blue V
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Participant Observation ◽  
Automobile Plant ◽  
Original Intent ◽  
Spatial Reorientation ◽  
Field Notes ◽  
And Performance ◽  
Forms Of Violence ◽  
The City

This article explores the use of sound, lyrics, and performance as tools for spatial reorientation and reimagining, identity formation and affirmation, and counternarrative or counterarchive in a rapidly gentrifying contemporary Detroit, Michigan. Two discrete, yet discursively linked case studies are presented—performances by the same artist in two different spaces—that exhibit various modes of “flipping,” slang that can refer to multiple transformative practices in contemporary Detroit. These practices include the use of overdetermined spaces, or spaces that have been declared abandoned or vacant, for something other than their original intent—i.e. using a decommissioned automobile plant as a music video set; sampling, which can be understood as using sonic components from previously recorded songs in the creation of new hip-hop beats; buying homes in a state of disrepair, fixing and reselling them at large profits; and inverting meaning itself, via slang or coded language. Additionally Black techniques of sounding and performance are illuminated, with a focus on echo as a mode of co-creation. These various practices are all responses to the growing wave of gentrification that gains momentum in the city daily. The analysis draws primarily from ethnographic research conducted from 2016 to 2018, culling data from participant observation, recorded interviews, informal conversations, field notes, lyrical and video analysis, and the analysis of mediated accounts, both print and online. As the analysis shows, the strategies utilized by artists in Detroit ensure that no matter how much the spaces in Detroit continue to change, and no matter how much an attempt is made to provide racially curated space through various forms of violence, you’re only ever a block from the ‘hood.

scholarly journals Sounds familiar(?): Expertise with specific musical genres modulates timing perception and micro-level synchronization to auditory stimuli

2021 ◽  
Author(s):  
Anne Danielsen ◽  
Kristian Nymoen ◽  
Martin Torvik Langerød ◽  
Eirik Jacobsen ◽  
Mats Johansson ◽  
...  
Keyword(s):  
Skill Acquisition ◽  
Hip Hop ◽  
Musical Training ◽  
Timing Perception ◽  
Nature And Nurture ◽  
Micro Level ◽  
And Performance ◽  
Musical Genres ◽  
Perceptual Systems

AbstractMusical expertise improves the precision of timing perception and performance – but is this expertise generic, or is it tied to the specific style(s) and genre(s) of one’s musical training? We asked expert musicians from three musical genres (folk, jazz, and EDM/hip-hop) to align click tracks and tap in synchrony with genre-specific and genre-neutral sound stimuli to determine the perceptual center (“P-center”) and variability (“beat bin”) for each group of experts. We had three stimulus categories – Organic, Electronic, and Neutral sounds – each of which had a 2 × 2 design of the acoustic factors Attack (fast/slow) and Duration (short/long). We found significant effects of Genre expertise, and a significant interaction for both P-center and P-center variability: folk and jazz musicians synchronize to sounds typical of folk and jazz in a different manner than the EDM/hip-hop producers. The results show that expertise in a specific musical genre affects our low-level perceptions of sounds as well as their affordance(s) for joint action/synchronization. The study provides new insights into the effects of active long-term musical enculturation and skill acquisition on basic sensorimotor synchronization and timing perception, shedding light on the important question of how nature and nurture intersect in the development of our perceptual systems.

scholarly journals Pertunjukan Teater Karo Hip Hop Kontemporer KAI

2013 ◽  
Vol 13 (2) ◽  
Author(s):  
Silvia Anggreni Purba
Keyword(s):  
Hip Hop ◽  
Cultural Tradition ◽  
Training Process ◽  
Cultural Traditions ◽  
Cultural Elements ◽  
Language And Culture ◽  
Aesthetic Form ◽  
Hybrid Culture ◽  
And Performance ◽  
Different Cultures

Pertunjukan ini berawal dari sebuah ide untuk mengkolaborasikan tradisi Karo dengan budaya populer. Dengan cara seperti ini pertunjukan bisa dinikmati tanpa batasan bahasa dan budaya. Proses menggabungkan dua budaya yang berbeda merupakan bentuk budaya hibrida dan terjadi akibat proses globalisasi. Melalui proses pengendapan pengamatan dan kesan yang kuat, pertunjukan ini dibawa ke dalam bentuk Hip Hop. Pertunjukan ini merupakan bagian dari sebuah tragedi modern dengan karakter destruktif, mengeksplorasi emosi dan menyampaikannya kepada penonton. Eksplorasi budaya Karo dan tari Hip Hop sebagai bahasa simbol mampu memperkuat kata-kata. Gerak tidak diungkapkan dengan kata lisan tetapi disajikan melalui gerak tari Hip Hop. Penafsiran legenda dan teks ke dalam gerak, melalui proses pelatihan di laboratorium sebagai proses pencarian dan eksperimentasi diwujudkan dengan mempertimbangkan unsur-unsur dasar dari Hip Hop, unsur budaya Karo dan tontonan. Karo Hip Hop diharapkan menjadi bentuk estetika teater modern yang diinginkan tanpa kehilangan tradisi.Kata kunci: Tari Karo kontemporer, Hip-hop, budaya hibridaABSTRACTPertunjukan Teater Karo Hip Hop Kontemporer KAI. The performance of Karo Theater collaborated with Hip Hop stems from a simple idea to collaborate Karo cultural traditions with popular culture. The performances can be enjoyed without having limitation on the language and culture. The process of combining two different cultures is a form of hybrid culture, and it may occur due to the globalization process. Through the process of deposition of the observations and strong impression, this performance is then brought into the form of Hip Hop as a preferred form which is energetic, personal and global. This performance is part of a modern tragedy with its destructive character which has explored the emotion and has presented it to the audiences. The exploration of Karo cultural tradition and Hip Hop dance as a language of symbols is able to reinforce words. The movement is not revealed by the verbal phrase but is presented through the movement of Hip Hop dance. The interpretation of the legend and texts into movement is carried out through the training process at the laboratory as a searching process and experiment, and afterward can be realized by considering the basic elements of Hip Hop, Karo cultural elements and performance. Karo Hip Hop Theatre is expected to become a preferred aesthetic form of a modern theater without losing its tradition form.Keyword: a contemporary Karo theater, Hip Hop, hybrid culture.

Law, Presence to Absence

2021 ◽  
pp. 72-88
Author(s):  
Kate Leader
Keyword(s):  
Fair Trial ◽  
Criminal Trial ◽  
Performance Theory ◽  
Criminal Trials ◽  
England And Wales ◽  
Technological Advances ◽  
New Challenges ◽  
Being There ◽  
And Performance ◽  
The Right

The live presence of a defendant at trial is a long-standing feature of adversarial criminal trial. So much of what constitutes the adversarial method of adjudication is dependent on qualities that arise from this presence: confrontation and demeanor assessment, among other factors, play important roles in how truth is constructed. As such, performative matters—how a defendant enacts and inhabits her role, how she is positioned or silenced-- have long been of concern to legal scholars. These performative concerns are also centrally implicated in defendant rights, such as the right to a fair trial. But today we face new challenges that call into question fundamental beliefs around trials, defendant presence, and fairness. First, technological advances have led to defendants appearing remotely in hearings from the prison in which they are held. Second, the trial itself is arguably vanishing in most adversarial jurisdictions. Third, the use of trials in absentia means that criminal trials may take place in a defendant’s absence; in England and Wales for less serious offenses this can be done without inquiring why a defendant isn’t there. This chapter therefore seeks to understand the performative implications of these challenges by shifting the conversation from presence to absence. What difference does it make if a defendant is no longer there? Does being there facilitate greater fairness, despite the obvious issues of constraint and silencing? Drawing on sociolegal, political, and performance theory the chapter considers the implications of absence in the criminal trial, asking what happens when the defendant disappears.

Malay Women Singers of Colonial Malaya

2017 ◽  
Author(s):  
Tan Sooi Beng
Keyword(s):  
Popular Music ◽  
Women Performers ◽  
New Music ◽  
British Colonialism ◽  
Performing Artists ◽  
Political Transformations ◽  
New Type ◽  
And Performance ◽  
And Gender ◽  
Experiences Of Women

Popular Malay music developed in Malaya in tandem with socio-political transformations which took place as a result of British colonialism. It was at this time that a new type of local commodified urban popular music known as lagu Melayu (Malay song) emerged to entertain the multiethnic urban audiences from different social and class backgrounds. This new music was shaped by the convergence of the new social conditions, technology such as print, gramophone, radio, film, microphones, cultural forms, and performance sites that emerged. By examining the song styles and texts of 78 rpm recordings of Lagu Melayu, oral interviews with performers, and published texts of the colonial period, this chapter illustrates how the new popular music accorded women performing artists voice and agency to negotiate dominant discourses regarding modern colonial subjectivity and gender. Women singers promoted a type of vernacular modernity that was not defined solely in European terms butwas characterized by continuity, difference, and hybridity. The musical recordings and stories of their lives reveal the complex polyvocal and sometimes contradictory experiences of women performers in colonial Malaya.

Practice Theory in Folklore and Folklife Studies

2019 ◽  
pp. 3-36
Author(s):  
Simon J. Bronner
Keyword(s):  
Social Sciences ◽  
Practice Theory ◽  
Performance Theory ◽  
And Performance

This chapter identifies a difference between European and American approaches to folklore around ideas of practice and performance, respectively. It evaluatesthe different forms of practice and performance theory in social sciences and proposes that an Aristotlean concept of praxis is most appropriate for folklore and folklife studies.

Delicate gestures of participation

2018 ◽  
pp. 115-135
Author(s):  
Sruti Bala
Keyword(s):  
Common Sense ◽  
Shopping Mall ◽  
Performance Theory ◽  
Urban Site ◽  
Audience Participation ◽  
Visual Artists ◽  
Social Unit ◽  
High Rise ◽  
And Performance ◽  
The One

Chapter V examines an installation-based project titled Nomad City Passage (2005-2009) by the German scenographic and visual artists Rebekka Reich and Oliver Gather, in which visitors are invited to spend a night in a tent in an unconventional urban site, such as the top floor of a high-rise building or inside a shopping mall. The analysis focuses on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork’s foregrounding of sleep as a mode of participation. The delicacy of this is evidenced in the ambivalence of sleep in a scenically prepared setting, oscillating between being an intense, active, dynamic experience on the one side, and a non-performance, an absence of activity on the other. The chapter suggests that audience participation in the artwork and in the artwork’s participation in urban spaces differ in significant ways from sociological and political concepts of participation. Where social theory conceives of civic participation in terms of being a part of a social unit, the aesthetics of Nomad City Passage emphasizes participation in a counterintuitive way: it becomes possible to participate precisely because of not being a part of some shared community ideal.

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