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künstlerischen Praktiken und Repräsentationen der Musikerin fasse ich unter dem Begriff der »Sex Politics«, die, so meine These, die binäre Logik der Ge- schlechterdifferenz herausfordert, weil Geschlecht und Sexualität nicht auf Zweigeschlechtlichkeit und Heterosexualität bezogen werden. Dieser These liegt ein sozialkonstruktivistisches Verständnis von Geschlecht3 zugrunde, und sie baut auf der »Strategie der VerUnEindeutigung« als Teil einer queeren Politik der Repräsentation auf, die Repräsentationen nicht als Abbild einer gegebenen Wirklichkeit versteht, sondern als

Identitätspolitiken können über den Fokus auf neue soziale Bewegungen hin- aus verstanden werden als «any mobilization related to politics, culture, and identity» (Bernstein 2005: 48). Identität ist ein komplexes Konzept, das in unter- schiedlichsten Alltagssphären genutzt wird und wirksam ist.6 Generell sind Ge- schichte und Kulturerbe der Gegenstand konkurrierender Interessen (vgl. Biddle 2012: xxii). Berücksichtigt man die Vielschichtigkeit von Identitätskonzepten und politischen Akteur_innen, so sind Identitätspolitiken stets auch auf staatli- cher und nationaler Ebene zu


. . . . . . . . . . . . . . . . . . . . 209 Alenka Barber-Kersovan How Balkan Rock Went West. Political Implications of an Ethno-Wave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Patricia Adkins Chiti Immigrant Musicians in an Urban Context . . . . . . . . . . . . . . . . . . . . . . . . . 253 Annunziata Dellisanti The Taranta – Dance of the Sacred Spider . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Huib Schippers Attitudes, Approaches, and Actions. Learning and Teaching the Musics of Minorities in Europe

, Nazi ideology, and German metal-industrial music. However, the lack of political logic in Harris' statement should already give us pause - after all , he begins by taking pride in the USA's success in defeating Nazi Germany, only to go on to praise Nazism and Germany in various contexts. But let me be clear that I am not interested in discovering the "cause" of the Columbine massacre; what I am interested in is the cultural history behind Harris' particular relationship to Germany that could result in the consideration of German culture as possibly playing a

and propagated by activists with links to far-right social movements mainly in Eastern Europe in the early 2010s. Hardbass began in Russia and became one of the rare cultural devel- opments that, for various political, demographic, economic, and social reasons, may be seen through the lens of an East-to-West cultural transfer. Given the mass accessibility of audiovisual recording tools such as smart- phones with built-in cameras, recordings of hardbass performances—typically ONDREJ DANIEL 154 3-4-minute videos of masked dancers in public spaces promoting

hegemony by historicizing and thus relativizing Europe’s stature as the standard-bearer of modernity; the other is the empowerment of for- mer colonized regions such as Asia to emerge from being an object of study in the Western academia to become a subject of knowledge production with inter-Asia discourse, e.g., the advocacy of the Asianization of Asian studies. The basic in- tention of both books should be the overcoming of center-periphery politics and epistemology bred by imperialism and colonialism under the auspices of moder- nity. Yet in spite of its

Western countries, East Germans depended less and less on Western cultural diplomacy to access recorded content as the Cold War progressed. As its political authorities continued to denounce Western genres as subversive propa- ganda of cultural imperialists, the GDR’s record industry made a habit of acquir- ing licenses from record companies in the capitalist hemisphere to domestically produce and mass-distribute the works of international star performers. Circulat- ing commercially on disks pressed in East Berlin, Anglo-American rock and pop came to represent a

Disziplinen: Kritik, Transformation und›dissidente Partizipation‹«. Thomas Burkhalter ist ein Musikethnologe, Musikjournalist und Kultur- schaffender aus der Schweiz. Der Gründer und Leiter der Norient Plattform publizierte die Ethnographie Local Music Scenes and Globalization: Transnational Platforms in Beirut (Routledge) und co-editierte u.a. Seis- mographic Sounds: Visions of a New World (Norient Books) und The Arab Avant-Garde: Music, Politics, Modernity (Wesleyan University Press). Burkhalter leitet Forschungsprojekte an der Universität Basel und der

situational understanding of identity. Efforts to demonstrate the flexibility of cultural identifications are rarely linked to examining the dynamics of social practices. What we tried to do in our ERC project was to move be- yond the theoretical, methodological and political impasse of culturalist identity politics on the one hand and structuralist assumptions pertaining to KIRA KOSNICK 202 social segregation or disaffiliation on the other, by focusing on nightlife socialities. What does this mean for ethnic club scenes and the music that matters in these


, Professor of media culture and film studies, and chair of the Department of Media Studies, University of Amsterdam. She has published on film-philosophical ques- tions of audio-visually mediated perception, the ontology of the image, the politics of contemporary screen culture, transnational media, and the idea of the brain as screen in connection to neuroscience. Selected publications: The Matrix of Visual Culture. Work- ing with Deleuze in Film Theory, Stanford University Press, 2003; Shooting the Family. 224 Soundscapes of the Urban Past Transnational Media and