Aloha in Drag

2018 ◽  
pp. 81-112
Author(s):  
Stephanie Nohelani Teves
Keyword(s):  
Sense Of Place ◽  
Kanaka Maoli ◽  
Drag Queen ◽  
And Performance ◽  
Cultural Belonging ◽  
A Performance ◽  
Performance Strategies

“Aloha in Drag” investigates how Hawaiianness and aloha can be performed and felt in spaces where Hawaiianness is not obviously being performed or “confessed.” Looking at the performance strategies of Cocoa Chandelier, a well-known Hawaiian drag queen and performance artist working in Honolulu. Chandelier’s performances speak to a frequently marginalized Kānaka Maoli LGBT and local/settler LGBT population in Hawaiʻi, cultivating a shared sense of place and cultural belonging. These spaces allow the performance of aloha in drag, a performance of Hawaiianness that is unidentifiable to non-Hawaiian audiences, but can be deployed as a strategy to resist the ongoing subjection and hyper-commodification of Hawaiian indigeneity.

Lower-Limb Speed and Foot Preference in Children

1995 ◽  
Vol 81 (3_suppl) ◽  
pp. 1115-1118 ◽  
Author(s):  
Misaki Iteya ◽  
Carl Gabbard ◽  
Morihiko Okada
Keyword(s):  
Lower Limb ◽  
Environmental Influences ◽  
Statistical Evidence ◽  
Performance Characteristics ◽  
Gross Motor ◽  
Foot Tapping ◽  
And Performance ◽  
The Right ◽  
A Performance

Foot preference and performance characteristics of gross-motor lower-limb speed of tapping were examined in 606 4- to 6-yr.-olds. Analysis indicated no effect for gender; however, speed of foot tapping increased significantly across the three ages, suggesting an association with selected developmental (neuromuscular) processes. Contrary to earlier reports on handedness, there was no statistical evidence that mixed- or left-footers were at a performance disadvantage compared to right-footers. All groups performed best with the right foot, limb differentiation (right versus left) being significant for the right- and mixed-footed groups. Speculation about maturational and environmental influences is given.

scholarly journals A PERFORMANCE DRAG QUEEN E SUAS REVERBERAÇÕES

Linha Mestra ◽  
2021 ◽  
pp. 278-282
Author(s):  
Matheus Flauzino Oliari ◽  
Jesio Zamboni
Keyword(s):  
Drag Queen ◽  
A Performance

A PERFORMANCE DRAG QUEEN E SUAS REVERBERAÇÕES

scholarly journals Minding the Gap – of Indifference: Approaching ‘Performance Philosophy’ with Salomo Friedlaender (1871-1946)

2015 ◽  
Vol 1 (1) ◽  
pp. 65 ◽  
Author(s):  
Alice Lagaay
Keyword(s):  
Performance Practice ◽  
Gestalt Therapy ◽  
Short Text ◽  
Magnum Opus ◽  
And Performance ◽  
Salomo Friedlaender ◽  
A Performance

The concept of "Creative Indifference" put forward by Salomo Friedlaender in his 1918 magnum opus, Schöpferische Indifferenz, provides much food for thought from a Performance Philosophy perspective. Friedlaender's work, which has been largely overlooked by academic philosophers until now, was in fact hugely influential in expressionist Dada circles at the time of its publication. It also contributed to shaping Gestalt Therapy theories and practice, thereby relating to a number of bodywork movements that continue to inform performance practice and Performance Philosophy alike. In this short text, Alice Lagaay begins to explore the manner in which Friedlaender/Mynona can be seen as a Performance Philosopher “avant la lettre”, and how the notion of "Creative Indifference” might be fruitful in the ongoing "Mind-the-Gap”- debate relating to the relation between “Performance" and "Philosophy".

scholarly journals The Jeremiah Project: Interaction, Reaction, and Performance

2004 ◽  
Vol 48 (4) ◽  
pp. 47-57 ◽  
Author(s):  
Susan Broadhurst
Keyword(s):  
Artificial Intelligence ◽  
3D Animation ◽  
And Performance ◽  
A Performance

Part artificial intelligence, part 3D animation, Jeremiah interacts emotionally with spectators and other performers in a performance of the interface between humans and technology

scholarly journals Adhiyajña: Towards a Performance Grammar of the Vedas

Religions ◽  
2019 ◽  
Vol 10 (6) ◽  
pp. 394 ◽  
Author(s):  
Smith
Keyword(s):  
South Asia ◽  
Religious Literature ◽  
Recent Scholarship ◽  
Performance Context ◽  
And Performance ◽  
The Relationship ◽  
Self Reference ◽  
A Performance

Recent scholarship has challenged the anachronistic projection of the modern category of the poem onto premodern texts. This article attempts to theorize how one might construct an alternative to modern conceptualizations of “the poem” that more closely appropriates the conceptualization of textuality in the Rigveda, an anthology of 1028 sūktas “well-spoken (texts)” that represents the oldest religious literature in South Asia. In order to understand what these texts are and what they were expected to do, this article examines the techniques by which the Rigveda refers to itself, to its performer, to its audience, and to the occasion of its performance. In so doing, this article theorizes a “performance grammar” comprising three axes of textual self-reference (spatial, temporal, and personal); these axes of reference constitute a scene of performance populated by rhetorically constructed speakers and listeners. This performance narrative, called here the adhiyajña level, frames the mythological narratives of the text. By examining the relationship between mythological narrative and performance narrative, we can better understand the purpose of performing a text and thus what kind of an entity Rigvedic “texts” really are. While this article proposes a rubric specifically for the Rigvedic context, its principles can be adapted to other premodern texts in order to better understand the performance context they presuppose.

scholarly journals Losing my Religion: Bodily Confessions of an Organism Trying to Make a Body without Organs

2019 ◽  
Vol 10 (2-3) ◽  
pp. 191-207
Author(s):  
Susan Naomi Nordstrom
Keyword(s):  
Journal Articles ◽  
Body Without Organs ◽  
And Performance ◽  
A Performance

This article is a script of a performance at the 2018 PhEmaterialism conference in London, UK. In this script, I offer a series of bodily confessions, experimental tales of making a Body without Organs (Deleuze & Guattari, 1987) on the neoliberal academic stratum.  Each tale moves between the stratifying forces of the neoliberal academy that seek to organize my organism and experimentations that seek to produce different and more freeing organizations for my organs.  Each tale talks back to the priests of the neoliberal academy by telling what happens to an organism, my organism-my body, as I try to make a Body without Organs. To situate the script, I provide a lengthy appendix that details narrative reflexivity (Spry, 2011) decisions about the script and performance.  Like any performance piece, the piece is to be viewed, heard, and experienced, rather than read.  Performance pieces are not and should not be read as typical journal articles. They are their own genre of writing that eschews traditional notions of writing.  With this in mind, this appendix provides narrative reflexivity about the performance (Spry, 2011) for readers who may need it.

scholarly journals Much Louder Than I Am: A Musical Collaborative Autoethnography

2020 ◽  
pp. 194084472097875
Author(s):  
David Carless ◽  
Kitrina Douglas
Keyword(s):  
Qualitative Inquiry ◽  
International Congress ◽  
Unique Event ◽  
Collaborative Performance ◽  
And Performance ◽  
A Performance

One challenge of performative research is that a performance is a one-time unique event. It cannot be preserved or returned to in its own form. Here, we offer a more durable artifact to preserve some aspects of the collaborative performance autoethnography we performed at the International Congress of Qualitative Inquiry (ICQI) in 2018. We write to communicate not only what we performed during the session but also our sentiments concerning singing and playing music as autoethnography. Because so often in our work we use songs, songwriting, music, and performance; we propose rhythm, melody, and harmony as alternative acts of autoethnographic collaboration. In this way of doing autoethnography, it may be that no words are spoken. But the burden of work is shared. This is the kind of collaboration we seek … in the here and now.

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