“Intelligently organized resistance”: Shakespeare in the Diasporic Politics of John E. Bruce

2019 ◽  
pp. 85-94
Author(s):  
Kim F. Hall
Keyword(s):  
Historical Context ◽  
Collaborative Approach ◽  
Inaugural Address ◽  
Racial Uplift ◽  
Black Authors ◽  
White Nationalism ◽  
And Performance ◽  
Organized Resistance

In 1916 the black journalist and organizer John Edward Bruce outlined an approach for the study of Shakespeare aimed at racial uplift. This chapter situates Bruce’s inaugural address to “The Friends of Shakespeare,” a black organization for the study and performance of Shakespeare, in the wider U.S. context of migration, the rise of white nationalism, and pan-Africanist thought. An autodidact, Bruce advocated for a collaborative approach to studying Shakespeare’s works in their historical context and alongside works by black authors. Comparing Bruce’s collectivist and historicist strategies for using Shakespeare as a vehicle for racial uplift, with radical pedagogies described more recently by Joyce E. King and others, Hall argues that the study of Shakespeare, then as now, can equip students for “intelligently organized resistance.”

scholarly journals Adventures in Music Translation: Italian Songs and Arias (aka “The Yellow Book”) and Me

2017 ◽  
Vol 9 (1) ◽  
pp. 63
Author(s):  
Lynn Penrod
Keyword(s):  
Art Song ◽  
Translation Studies ◽  
Collaborative Approach ◽  
The Future ◽  
Working Together ◽  
Italian Songs ◽  
And Performance ◽  
Critical Interest

This article is a general exploration of translation issues involved in the translation and performance of the art song, arguing that although critical interest in recent years has been growing, the problems involved in these hybrid translation projects involving both text and music present a number of conundrums: primacy of text or music, focus on performability, and age-old arguments about fidelity and/or foreignization vs domestication. Using information from theatre translation and input from singers themselves, the author argues that this particular area of translation studies will work best in the future with a collaborative approach that includes translators, musicologists, and performers working together in order to produce the most “singable” text as possible for the art song in performance.

Introduction

2019 ◽  
pp. 1-5
Author(s):  
Nancy Lee Chalfa Ruyter
Keyword(s):  
Historical Context ◽  
Short Discussion ◽  
Ted Shawn ◽  
And Performance ◽  
Loie Fuller

As a historical context for La Meri’s work, this is a short discussion of Western cultural borrowings and fusions from the Renaissance to the 20th century. After considering the early developments, this chapter mentions Maud Allan and Loie Fuller—two early 20th century dance artists who presented themes from non-Western cultures in their performances—and the later creations of Ruth St. Denis and Ted Shawn, who also drew on international sources for their creative choreographies. It then briefly discusses how La Meri’s work gradually came to include the study and performance of authentic dances from various world cultures.

Sonny Bravo, Típica 73, and the New York Sound

2020 ◽  
pp. 82-150
Author(s):  
Benjamin Lapidus
Keyword(s):  
New York ◽  
Puerto Rico ◽  
Puerto Rican ◽  
Historical Context ◽  
The United States ◽  
Mexican Descent ◽  
Direct Result ◽  
Depth Study ◽  
And Performance ◽  
New Yorkers

This chapter focuses on an in-depth study of Elio Osácar a.k.a. Sonny Bravo, whose career as an arranger and performer began in the 1950s. It examines the rise, fall, and return of Típica 73, a pan-ethnic salsa group representative of the period 1973–80 that featured musicians from Panama, Dominican Republic, Cuba, Puerto Rico, and New Yorkers of Cuban, Puerto Rican, and Mexican descent. The chapter recounts the story of a group who covered contemporary Cuban songs and pushed the boundaries of tradition through their instrumentation and performance. It introduces some key band members such as Sonny Bravo and Johnny Rodríguez who represented important New York–based familial and musical lineages. Their success was a direct result of musical innovation and negotiation. The band came to an abrupt end after a career-defining trip to Cuba, where they recorded with Cuban counterparts. Upon their return to the United States, they were branded as communist sympathizers. Ultimately, the chapter presents musical transcriptions of Bravo's arrangements and solos and places his music and his family, via his own father's musical career, within the historical context of early-twentieth-century Cuban migration to Tampa, Miami, and New York.

scholarly journals An Engineering Review of the Farm Tractor’s Evolution to a Dominant Design

2018 ◽  
Author(s):  
Guillermo F. Díaz Lankenau ◽  
Amos G. Winter
Keyword(s):  
Weight Distribution ◽  
Historical Context ◽  
Design Evolution ◽  
Farm Tractor ◽  
External Pressures ◽  
Dominant Design ◽  
And Performance ◽  
Frame Construction ◽  
Conventional Farm

This article explains the origin and performance merits of the conventional farm tractor design, which has endured largely unchanged since the 1940’s. The article covers two main themes: first the historical context and external pressures that directed the farm tractor’s design evolution; and then an analysis on why the tractor’s proportions and force applications points are conducive to good performance. The conventional tractor’s weight distribution, wheel proportions, farming implement attachment, and frame construction are discussed.

Theatre and Performance at a Time of Shifting Disciplines

2001 ◽  
Vol 26 (2) ◽  
pp. 137-144 ◽  
Author(s):  
Marvin Carlson
Keyword(s):  
Cultural Studies ◽  
Performance Studies ◽  
Academic Discipline ◽  
Historical Context ◽  
Academic Culture ◽  
American Universities ◽  
American Theatre ◽  
Disciplinary Boundaries ◽  
Traditional Organization ◽  
And Performance

The boundaries of theatre as an academic discipline have never been particularly clear, and its relationship to other disciplines has been the focus of constant struggle and negotiation. This essay traces that negotiation, focusing upon its process in American universities. Competing with literature departments for the study of dramatic texts, American theatre departments drew their own new disciplinary model, based primarily on German Theaterwissenschaft, with emphasis upon the staging history and historical context of dramatic texts. More recently such emerging fields as performance studies and cultural studies have sought to transcend such traditional disciplinary boundaries. Despite some resistance from existing academic and publishing structures, the trend towards the breaking down of these traditional boundaries seems clear. Our academic culture seems headed towards a considerably more fluid organization of its materials of study than the traditional organization into fairly discrete disciplines could offer.

Western Music on Commodore Perry’s “Black Ships” in Japan, 1853–1854

2019 ◽  
pp. 153660061987791
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Historical Context ◽  
The United States ◽  
Primary Sources ◽  
Western Music ◽  
Music Curriculum ◽  
American Military ◽  
Secondary Sources ◽  
School Music ◽  
And Performance ◽  
Performed Music

Commodore Perry and his “Black Ships” opened Japanese harbors for foreign shipping in 1853 and 1854. Music was important for this Japan Expedition that obtained a treaty between the United States and Japan. Bands and singers performed music for parades, impressive ceremonies, religious services, and entertainment for the sailors and foreign audiences. This article examines the styles of Western music, instrumentation, and performance venues of Perry’s musicians as they traveled to harbors in China, Okinawa, and Japan. Since the large bands from Perry’s ships were impressive with their fancy uniforms, swords, and loud music, the Japanese associated band music with American military power. The performances on Perry’s ships were some of the first performances of Western music in Japan, before the Westernization of the Japanese school music curriculum in the 1880s. Primary sources for this research include contemporary narrative accounts, printed programs, nineteenth-century prints, and songbooks. Secondary sources include websites, articles, and books to put the material in a historical context.

When too many are not enough: Human resource slack and performance at the Dutch East India Company (1700–1795)

2017 ◽  
Vol 70 (11) ◽  
pp. 1293-1315 ◽  
Author(s):  
Stoyan V Sgourev ◽  
Wim van Lent
Keyword(s):  
Human Resource ◽  
Historical Context ◽  
Operational Reliability ◽  
East India Company ◽  
Dutch East India Company ◽  
Trade Off ◽  
Sequence Of Events ◽  
Performance Effects ◽  
Resource Slack ◽  
And Performance

Slack is an elusive concept in organizational research, with studies documenting a variety of relationships between slack and firm performance. We advocate treating slack not as a resource, but as a practice – a sequence of events and responses over time. A longitudinal analysis of the Dutch East India Company (1700–1795) highlights the use of slack as a response to a resource constraint (the shortage of skilled labor). After documenting the negative performance effects of skill shortage, we identify a trade-off in the use of human resource slack (number of sailors above what is operationally required), in which slack enhanced operational reliability, but reduced efficiency. Derived from a historical context, this trade-off has contemporary relevance and is helpful in reconciling contradictory evidence on slack.

scholarly journals 3D RECONSTRUCTION WITH A COLLABORATIVE APPROACH BASED ON SMARTPHONES AND A CLOUD-BASED SERVER

2017 ◽  
Vol XLII-2/W8 ◽  
pp. 187-194 ◽  
Author(s):  
E. Nocerino ◽  
F. Poiesi ◽  
A. Locher ◽  
Y. T. Tefera ◽  
F. Remondino ◽  
...  
Keyword(s):  
3D Reconstruction ◽  
Image Matching ◽  
Point Cloud ◽  
Point Clouds ◽  
Bundle Adjustment ◽  
Collaborative Approach ◽  
Matching Algorithm ◽  
Dense Image ◽  
Video Feed ◽  
And Performance

The paper presents a collaborative image-based 3D reconstruction pipeline to perform image acquisition with a smartphone and geometric 3D reconstruction on a server during concurrent or disjoint acquisition sessions. Images are selected from the video feed of the smartphone’s camera based on their quality and novelty. The smartphone’s app provides on-the-fly reconstruction feedback to users co-involved in the acquisitions. The server is composed of an incremental SfM algorithm that processes the received images by seamlessly merging them into a single sparse point cloud using bundle adjustment. Dense image matching algorithm can be lunched to derive denser point clouds. The reconstruction details, experiments and performance evaluation are presented and discussed.

scholarly journals VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine

2021 ◽  
Vol 30 (2) ◽  
pp. 63-67
Author(s):  
Andrii Furdychko ◽  
Olesya Ilyenko
Keyword(s):  
Social Life ◽  
Historical Context ◽  
Sound Recording ◽  
Musical Culture ◽  
Song Repertoire ◽  
Ensemble Performance ◽  
Functional Features ◽  
New Vision ◽  
And Performance ◽  
Instrumental Ensembles

The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.

The German Shakespeare

2020 ◽  
pp. 9-17
Keyword(s):  
Significant Role ◽  
Cultural Context ◽  
East Germany ◽  
Historical Context ◽  
Daily Practice ◽  
Theatrical Production ◽  
The Past ◽  
Political Events ◽  
And Performance ◽  
Second World

Over The past four hundred years, Shakespeare has played a significant role within a European framework, particularly, where a series of political events and ideologies were being shaped. The birth of the nation during the late 18th and 19th centuries, the first and second world wars, the process of European unification during the 1990s, are a case in point. This part challenges the idea of an all-encompassing universal Shakespeare by demonstrating that Shakespeare and his plays transmitted across different histories, languages, and traditions meant something significantly different in these geographical contexts. Rejecting the existence of a universally absolute and singular Shakespearean meaning, I attempt to demonstrate that Shakespeare is always what he is imagined to be in a cultural and historical context. The various local and national appropriations and the universality of the cultural icon, “Shakespeare”, clash in the daily practice of interpreting, performing, and teaching his plays. This paper discusses Shakespeare’s appropriation and performance in East Germany. It focuses on the theatrical production and its cultural context in this country.

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