The live music city

Keyword(s):  
Perfect Beat ◽  
2015 ◽  
Vol 9 (1) ◽  
pp. 5-21 ◽  
Author(s):  
David Panichi
Keyword(s):  

2008 ◽  
Vol 23 (2) ◽  
pp. 77-98
Author(s):  
Adina B. Newberg

Israelis who have until now viewed themselves as "secular" in the rigid Israeli dichotomy between "religious" and "secular" are finding new ways of creating communities of meaning that connect to Jewish sources and yet stay aligned to values of pluralism and humanism.These communities that do not follow the letter of the halakhah are developing in highly "secular" environments such as Tel Aviv and Nahalal and create Shabbat and holiday services combining live music, traditional prayers, and newly created prayers. By doing this, they come nearer to finding a closer echo and a truer mirror to their concerns and spiritual searches while, at the same time, finding spiritual expressions to their deep longing for connection to Judaism. Beyond the services and the communities that are forged, a new identity that bridges aspects of secularism, humanism, and spirituality is being created.The article analyzes the reasons for this relatively new phenomenon in the context of Israeli religious and political life, and the existential crisis that has evolved as a result. The article also describes in detail two such communities as examples of this development.


2021 ◽  
Vol 13 (5) ◽  
pp. 2911
Author(s):  
Jesús Manuel De Sancha-Navarro ◽  
Juan Lara-Rubio ◽  
María Dolores Oliver-Alfonso ◽  
Luis Palma-Martos

University students consume live music; however, almost 40% declare that they have never attended a flamenco show, an intangible heritage of humankind. Numerous studies have shown that cultural capital and socioeconomic profile, among other factors, are variables that influence cultural consumption, and therefore, cultural sustainability. Considering the relationship between several variables, this paper pursues a double objective. On the one hand, identifying the factors that influence attendance at flamenco shows, and on the other, proposing a predictive model that quantifies the likelihood of an individual attending a flamenco show. To this end, we analyse flamenco consumption by means of a survey conducted on 452 university students, using Multilayer Perceptrom (a non-parametric model), a methodology based on an artificial neural network. Our results confirm the importance of cultural capital, as well as personal and external factors, among other. The findings of this research work are of potential interest for management and planning of cultural events, as well as to promote cultural sustainability.


2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Arianna Novaga

The Belgian theatre-dance company Ultima Vez – founded by the director and choreographer Wim Vandekeybus – presented Booty Looting in 2012, at the Venice Biennale Danza. On the stage, a complex and apparently disordered narrative rhapsody, brings into play complementary diegetic coefficients: while a story straddles the real and the imaginary, the dancers become consumed actors, the actors dance and live music fills the empty spaces. But the real beating heart of the show is the photographer, who is entrusted with the delicate task of deciphering the feverish dynamism of the scene to move the public's attention elsewhere, as if to give them a relaxing break from the chaos. The photographic image, taken and reported in real time on the screen at the bottom of the stage, freezes some salient moments of that convulsive movement, almost to break it down anatomically into parts of a 'muybridgian' conception. The photographer, always active during the representation, is an integral part of the story, becoming a performer himself so that his intervention determines the dramaturgical development of the plot. The visual quality of the scene is strongly enhanced by live photographic images, which are often attributable to known visual models. Booty looting literally means stealing what has already been the object of theft, exactly as it happens in the art world, according to the perspective of Vandekeybus. Photography is seen here as an instrument that on the one hand makes it useful to prove the reality of facts, but at the same time declares its ability to lie, to deform memory, to create false memories, to become misleading echoes of experiences actually lived. Between truth and deceit, the photographic image plunders the world and gives us the feeling of being able to know and know it in depth - as Susan Sontag teaches - but it is only a distorted memory that confuses and falsifies the real.


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