DOCSLIB.ORG

An Actor-Network Theory Account of Hip-Hop in Youth Work. a Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Actor-Network Theory Account of Hip-Hop in Youth Work. a Thesis Engaging youth on their own terms? An actor-network theory account of hip-hop in youth work. A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy in Human Services by Elizabeth Wilson University of Canterbury 2014 1 2 Table of Contents Table of Contents ............................................................................................................................................. 3 Table of Figures ................................................................................................................................................ 7 Acknowledgments ........................................................................................................................................... 9 Abstract ............................................................................................................................................................ 11 Glossary ............................................................................................................................................................ 13 Chapter One: Introduction ........................................................................................................................ 18 Hip-Hop Encounters ............................................................................................................................... 19 Reflexivity and the inception of the project. ............................................................................. 24 Youth Work as a Site of Hip-Hop Practice ...................................................................................... 25 Scarcity of literature. ......................................................................................................................... 25 Setting the Scene: Youth Work in Christchurch ........................................................................... 26 A study of the contexts and forms of youth work. ................................................................. 28 Hip-Hop Controversies .......................................................................................................................... 29 Hip-hop culture. ................................................................................................................................... 29 Violence and misogyny controversies. ....................................................................................... 30 Problematizing ethnicity. ................................................................................................................. 31 Gang life and antisocial activities. ................................................................................................ 32 Local controversies. ........................................................................................................................... 33 Hip-Hop as a Medium for Engaging with Youth .......................................................................... 34 Overcoming Controversy ...................................................................................................................... 35 Introduction to ANT ................................................................................................................................ 38 Tracing socio-material assemblages. .......................................................................................... 39 Hip-hop and Youth Work Realities as Mutable and Multiple. ................................................ 44 Description as Explanation .................................................................................................................. 48 Thesis Outline ........................................................................................................................................... 49 Chapter Two: Methodology ...................................................................................................................... 53 Introduction ............................................................................................................................................... 53 Following the Action ............................................................................................................................... 54 Entering the networks. ..................................................................................................................... 54 Embracing multiplicity and blurry boundaries. ...................................................................... 56 Following the actors. ......................................................................................................................... 61 3 Following dilemmas. .......................................................................................................................... 62 Participant observation. ................................................................................................................... 65 Generating data. .................................................................................................................................. 68 Becoming a Part of the Networks ...................................................................................................... 71 Translating the Field into Words ....................................................................................................... 77 Sorting and reconfiguring the information. .............................................................................. 78 Deciding which stories to tell. ........................................................................................................ 79 Conclusion ....................................................................................................................................................... 81 Chapter Three: Following and Mapping Youth Interests .............................................................. 83 Introduction ............................................................................................................................................... 83 Translating Youth Interests ................................................................................................................. 84 Utilising the Appeal of Hip-hop .......................................................................................................... 86 Introducing hip-hop to engage with Maori and Pacific youth. .......................................... 87 Working with hip-hop’s multiplicity. .......................................................................................... 90 Keeping up with Youth Culture ........................................................................................................ 106 Learning more about a version of hip-hop culture. ............................................................. 107 Keeping up with changes in hip-hop culture. ........................................................................ 109 Conclusion ................................................................................................................................................ 113 Chapter Four: Enrolling Youth in Hip-hop Activities ................................................................... 116 Introduction ............................................................................................................................................. 116 Enrolment as Socio-Material ............................................................................................................. 117 Assembling and Mobilising a Hip-Hop Identity ......................................................................... 120 Establishing a hip-hop reputation. ............................................................................................. 122 Mobilising hip-hop clothing. ......................................................................................................... 126 Assembling Spaces ................................................................................................................................ 133 “Making it work”: B-boys/b-girls enlistment of youth work spaces. ............................ 134 Assembling an accessible youth space. .................................................................................... 144 Circulating Information ....................................................................................................................... 148 Spreading the word. ......................................................................................................................... 150 Assembling a brand. ......................................................................................................................... 161 Conclusion ................................................................................................................................................ 167 Chapter Five: Handling Hip-Hop Bads ............................................................................................... 171 Introduction ............................................................................................................................................. 171 4 Exploring Goods and Bads with an ANT Sensibility ................................................................. 173 Hip-hop Goods and Bads ..................................................................................................................... 177 Hip-hop bads. .....................................................................................................................................
Load more

Recommended publications
  • 'What Ever Happened to Breakdancing?'
    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.
    [Show full text]
  • The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
    The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice.
    [Show full text]
  • Brochure Zap Ado Films Et Musiques
    A la médiathèque Hélène Oudoux, tu peux : Le Zapping des Ados - emprunter des livres, revues, CD et DVD ; - consulter des documents sur place ; - venir travailler seul ou en groupe ; - te rendre à l’espace multimédia pour surfer sur Internet ; Vendredi 22 février 2013 - participer à des animations tout au long de l’année. _______________________________________________ Médiathèque Hélène Oudoux Danse et films musicaux Allée Albert Thomas 01.60.11.04.21 Mardi : 15h – 18h Mercredi : 10h – 18h Vendredi : 15h – 20h Samedi : 10h -18h _______________________________________________ Consultez le portail des médiathèques de Massy ! Rendez-vous sur le site de la ville http://www.ville-massy.fr La consultation des documents est libre et gratuite. Pour emprunter les documents (pendant 4 semaines), il faut être inscrit. La carte de lecteur permet d’emprunter dans les deux médiathèques. Pour les moins de 14 ans : gratuit De 14 ans à 18 ans : 3,29 € si l’on veut emprunter des CD, DVD et autres documents multimédia. Pour s’inscrire il faut : 1 justificatif de domicile de moins de 3 mois 1 pièce d’identité 1 autorisation parentale pour les moins de 18 ans Médiathèque Hélène Oudoux NOTES De la danse a n’en plus finir ! NOTES Voici une sélection de quelques fictions et documentaires sur la danse que tu peux retrouver à la médiathèque Hélène Oudoux. • La danse Bollywood • Le Hip Hop Om Shanti Om Réalisateur : Farah Khan Turn it loose : l’ultime battle Acteurs : Shilpa Shetty, Amitabh Bachchan, Salman Kahn Réalisateur : Alastair Siddons Année de production : 2008 Acteurs : Ronnie Abaldonado, Hong10, Lilou, Durée : 2h50 RoxRite, Taisuke Année de production : 2010 Durée : 1h37 Synopsis Synopsis « Dans les années 70, Om Prakash Makhija (Shah Rukh Khan) est un "junior artist", c’est à dire un figurant.
    [Show full text]
  • Bay Guardian | August 26 - September 1, 2009 ■
    I Newsom screwed the city to promote his campaign for governor^ How hackers outwitted SF’s smart parking meters Pi2 fHB _ _ \i, . EDITORIALS 5 NEWS + CULTURE 8 PICKS 14 MUSIC 22 STAGE 40 FOOD + DRINK 45 LETTERS 5 GREEN CITY 13 FALL ARTS PREVIEW 16 VISUAL ART 38 LIT 44 FILM 48 1 I ‘ VOflj On wireless INTRODUCING THE BLACKBERRY TOUR BLACKBERRY RUNS BETTER ON AMERICA'S LARGEST, MOST RELIABLE 3G NETWORK. More reliable 3G coverage at home and on the go More dependable downloads on hundreds of apps More access to email and full HTML Web around the globe New from Verizon Wireless BlackBerryTour • Brilliant hi-res screen $ " • Ultra fast processor 199 $299.99 2-yr. price - $100 mail-in rebate • Global voice and data capabilities debit card. Requires new 2-yr. activation on a voice plan with email feature, or email plan. • Best camera on a full keyboard BlackBerry—3.2 megapixels DOUBLE YOUR BLACKBERRY: BlackBerry Storm™ Now just BUY ANY, GET ONE FREE! $99.99 Free phone 2-yr. price must be of equal or lesser value. All 2-yr. prices: Storm: $199.99 - $100 mail-in rebate debit card. Curve: $149.99 - $100 mail-in rebate debit card. Pearl Flip: $179.99 - $100 mail-in rebate debit card. Add'l phone $100 - $100 mail-in rebate debit card. All smartphones require new 2-yr. activation on a voice plan with email feature, or email plan. While supplies last. SWITCH TO AMERICA S LARGEST, MOST RELIABLE 3G NETWORK. Call 1.800.2JOIN.IN Click verizonwireless.com Visit any Communications Store to shop or find a store near you Activation fee/line: $35 ($25 for secondary Family SharePlan’ lines w/ 2-yr.
    [Show full text]
  • Breaking Bboy Lego Water Flow Warsaw Challenge 2009 Kleju Hip-Hop Dance Hip-Hop International Świadomość Polssky Funk Styles Batman Muzyka, Styl, Życie
    numer 2 lipiec 2009 BREAKING BBOY LEGO WATER FLOW WARSAW CHALLENGE 2009 KLEJU HIP-HOP DANCE HIP-HOP INTERNATIONAL ŚWIADOMOŚĆ POLSSKY FUNK STYLES BATMAN MUZYKA, STYL, ŻYCIE INSIDE Pierwszy numer Flava Dance FLAVA CREW Magazine odniósł niebywały 7 Breaking sukces. Nawet nasze logo Flava Dance Magazine 8 Bboy Lego - Water Flow wisi na Pałacu Kultury i Nauki! Darmowe pismo dla tancerzy Dla nas to naprawdę zaje.. 12 Warsaw Chalenge ‘09 i ludzi związanych z tańcem. sta motywacja! A to wszystko dzięki Wam! 16 Freestyle Session Europe REDAKTOR Szymon Szylak 18 bboy kleju Wasze rady pozwalają na nie- Bboy Simon ustanny rozwój naszej kultury 22 Flava Summer Jam i oczywiście pisma, dlate- SEKRETARZ go wielkie propsy dla ludzi 22 Sami Swoi Vol Bartek Biernacki 3 żyjących tańcem i czynnie Bboy Bartaz angażujących się w kulturę. 24 Hip-Hop Dance BREAKING Wpadki w pierwszym wyda- Bartaz, Rafuls, Cet, Roody niu pokazały nam właściwy 24 alias:polsSky/kbc kierunek rozwoju. Uczymy FUNK STYLES sie na błędach. Co za tym 26 HipHop International Pitzo idzie, macie świeże materiały O.C.B w Hip-Hop Dance z całego świata, pozbawione 28 HIP-HOP DANCE ankieta - świadomość błędów i nieciekawych wpa- 29 Ryfa, Ewulin dek. Materiały, dzięki którym poszerzy się nasza wspólna KONTAKTY MIĘDZYNARODOWE świadomość. 31 Funk Styles Enzo, Zyskill Wiecie co zmotywowało 32 funk - muzyka, styl , życie KOREKTA pismo do działania? To, Ryfa że wszyscy jesteśmy „podob- 34 batman ni”, a w naszych żyłach krąży OPRAWA GRAFICZNA prawdziwy Hip-Hop i najpraw- Szymon Szylak dziwszy bit. FOTOGRAFIA Nic nie odda tego jak tworzy Paweł Grzybek się historia.
    [Show full text]
  • Sooloos Collections: Advanced Guide
    Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus ..............................................................................................................................................................
    [Show full text]
  • The Edge of Ladyspace: Ladi6 and the Political Limits of Self-Branding
    MEDIANZ ! VOL 15, NO 1 ! 2015 DOI: 10.11157/medianz-vol15iss1id6 - ARTICLE - The Edge of Ladyspace: Ladi6 and the Political Limits of Self-Branding Annalise Friend Abstract Musicians connected through online and offline networks make use of a personal brand to represent themselves and their work. This self-branding must be recognisable, repetitive, and ‘fresh’ if it is to cut through the deluge of contemporary media content. The brands of politically engaged performers—referred to as ‘conscious’ performers—often revolve around political critique, ‘oneness’, and personal and spiritual uplift. These notions are often placed in opposition to the apparent commodification of performers through practices of personal branding. The circulation and consumption of personal brands may not necessarily however, preclude the impact of apparent political critique. This article will explore how the Samoan Aotearoa-New Zealander vocalist Ladi6 plays with the role of ‘lady’ in her brand as a politically engaged strategy. Ladi6 draws on genre resources from conscious hip-hop, soul, reggae, and electronic music. Her assertion of female presence, or creation of a ‘ladyspace’, is both ambiguous and reflexive. While the production of her personal brand—found in videos, lyrics, photos, online presence, merchandise, and live performances—operates according to the logics of global capitalism; the consumption of this brand can provide an alternative ‘conscious’ mode of engagement with the Ladi6 musical commodity. Introduction This article presents Ladi6 (Karoline Tamati) as a case study of a performer who uses the role of being a ‘conscious’ artist as her personal brand. This type of branding implies that her lyrical and musical content is politically critical.
    [Show full text]
  • Hip Hop Terms
    1 Topic Page Number General Hip Hop Definitions ………………………………………………. 3 Definitions Related to Specific Dance Styles: ♦ Breaking ………………………………………………………………………. 4 ♦ House ………………………………………………………..………………… 6 ♦ Popping / Locking …………………………………………….….……… 7 2 GENERAL • Battle A competition in which dancers, usually in an open circle surrounded by their competitors, dance their routines, whether improvised (freestyle) or planned. Participants vary in numbers, ranging from one on one to battles of opposing breaking crews, or teams. Winners are determined by outside judges, often with prize money. • • Cypher Open forum, mock exhibitions. Similar to battles, but less emphasis on competition. • Freestyle Improvised Old School routine. • Hip Hop A lifestyle that is comprised of 4 elements: Breaking, MCing, DJing, and Graffiti. Footwear and clothing are part of the hip hop style. Much of it is influenced by the original breaking crews in the 1980’s from the Bronx. Sneakers are usually flat soled and may range from Nike, Adidas, Puma, or Converse. Generally caps are worn for spins, often with padding to protect the head. To optimize the fast footwork and floor moves, the baggy pants favored by hip hop rappers are not seen. o Breaking Breakdancing. o MCing Rapping. MC uses rhyming verses, pre‐written or freestyled, to introduce and praise the DJ or excite the crowd. o DJing Art of the disk jockey. o Graffiti Name for images or lettering scratched, scrawled, painted usually on buildings, trains etc. • Hip Hop dance There are two main categories of hip hop dance: Old School and New School. • New School hip hop dance Newer forms of hip hop music or dance (house, krumping, voguing, street jazz) that emerged in the 1990s • Old School hip hop dance Original forms of hip hop music or dance (breaking, popping, and locking) that evolved in the 1970s and 80s.
    [Show full text]
  • Bandcamp Album Er Online
    Joao Selva"> Continue Bandcamp album er online Andrew Jervis\u003C/a>. Illustration of \u003Ca href=\" \">Joao Selva\u003C/a> by \u003Ca href=\" \" target=\"_blank\">Hsiao-Ron Cheng\u003C/a>.","desc":"Brazilian musicians Joao Selva and Jadsa drop essential new LPs, plus Ebo Taylor, Overmono, and Tune-Yards.","tracks": [{"require_email":false,"track_id":2788001224,"artist":"Mankoora","price":2.0,"merch_ids":[2240248993],"album_id":2996127543,"band_id":2742223037,"lo_querystr":"? action_sig=73af7fa62bcb69b92acbf954aaad4c90&action_url=https%3A%2F%2Fbandcamp.com%2F&band_id=2742223037&item_id=2996127543&item_type=a","track_art_id":3066101069,"package_image_ids":[24179604,24179605],"currency":"EUR","track_url":" ,"is_purchasable":true,"url":" ,"album_url":" ,"location_text":"Germany","album_title":"Sonór Tropicàl","timecode":0,"title":"Sonór Tropicàl","label":null,"url_hints":{"slug":"son-r-tropic-l","subdomain":"renegadesofjazz","custom_domain":null,"custom_domain_verified":null,"item_type":"a"},"is_preorder":true,"bio_image_id":20683300,"is_set_price":false},{"require_email":false,"track_id":913184838,"artist":"Ebo Taylor","price":4.98999977111816,"merch_ids":[313302636],"album_id":3359136891,"band_id":2952203268,"lo_querystr":"?action_sig=b1134a28d8aacce3159cbb8609193c05&action_url=https%3A%2F%2Fbandcamp.com%2F&band_id=2952203268&item_id=3359136891&item_type=a","track_art_id":2585325512,"package_image_ids": [10952339,10952340,10952345,10952347],"currency":"GBP","track_url":" ,"is_purchasable":true,"url":" ,"album_url":" ,"location_text":"Ghana","album_title":"Conflict","timecode":318,"title":"You
    [Show full text]
  • Sociophonetics of Popular Music: Insights from Corpus Analysis and Speech Perception Experiments
    Sociophonetics of Popular Music: Insights from Corpus Analysis and Speech Perception Experiments Andy M. Gibson This dissertation is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Linguistics Department of Linguistics University of Canterbury New Zealand September 2019 To my Dad, who taught me the joy of climbing hills on blustery days. Abstract This thesis examines the flexibility and context-sensitivity of speech perception by look- ing at a domain not often explored in the study of language cognition — popular music. Three empirical studies are presented. The first examines the current state of sociolinguis- tic variation in commercial popular music, while the second and third explore everyday listeners’ perception of language in musical and non-musical contexts. The foundational assumption of the thesis is that the use of ‘American English’ in song is automatic for New Zealand singers, and constitutes a responsive style that is both accurate and consistent. The use of New Zealand English in song, by contrast, is stylised, involving an initiative act of identity and requiring effort and awareness. This will be discussed in Chapter 1,where I also introduce the term Standard Popular Music Singing Style (SPMSS) to refer to the US English-derived phonetic style dominant in popular song. The first empirical study will be presented in Chapter 2. Using a systematically selected corpus of commercial pop and hip hop from NZ and the USA, analysis of non-prevocalic and linking /r/, and the vowels of the bath, lot and goat lexical sets confirm that SPMSS is highly normative in NZ music.
    [Show full text]
  • A Street Dance Toolkit
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 12-8-2020 FROM CONCRETE TO THE CLASSROOM: A STREET DANCE TOOLKIT Tarayjah Hoey-Gordon [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Hoey-Gordon, Tarayjah, "FROM CONCRETE TO THE CLASSROOM: A STREET DANCE TOOLKIT" (2020). Master's Theses. 182. https://digscholarship.unco.edu/theses/182 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2020 TARAYJAH HOEY-GORDON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School FROM CONCRETE TO THE CLASSROOM: A STREET DANCE TOOLKIT A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree Of Masters of Arts Tarayjah Hoey-Gordon College of Performing and Visual Arts School of Theatre Arts and Dance Dance Education December 2020 This Thesis by: Tarayjah Hoey-Gordon Entitled: From Concrete to the Classroom: A Street Dance Toolkit ​ has been approved as meeting the requirements for the Degree of Master of Arts in College of Performing and Visual Arts in School of Theatre Arts and Dance, Program of Dance Education Accepted by the Thesis Committee: _______________________________________________________ Christy O’Connell-Black, M.A., Chair, Advisor ___________________________________________ Sandra L. Minton, Ph.D., Committee Member Accepted by the Graduate School: __________________________________________________________ Jeri-Anne Lyons, Ph.D.
    [Show full text]
  • Tiktok and Short-Form Screendance Before and After Covid
    TikTok and Short-Form Screendance Before and After Covid Moderator: Alexandra Harlig, University of Maryland, College Park Crystal Abidin, Curtin University Trevor Boffone, University of Houston Kelly Bowker, University of California, Riverside Colette Eloi, University of California, Riverside Pamela Krayenbuhl, University of Washington Tacoma Chuyun Oh, San Diego State University This roundtable was presented on 12 March 2021 as part of the symposium connected to this special issue, This Is Where We Dance Now: Covid-19 and the New and Next in Dance Onscreen. It has been edited for clarity and length. The video of the full roundtable conversation and Q+A is viewable at: https://doi.org/10.18061/ijsd.v12i0.8348 Photo by Elena Benthaus, used with permission. Design by Regina Harlig. The International Journal of Screendance 12 (2021). https://doi.org/10.18061/ijsd.v12i0.8348 © 2021 Harlig, Abidin, Boffone, Bowker, Eloi, Krayenbuhl, & Oh. This article is published under a Creative Commons Attribution 4.0 International License https://creativecommons.org/licenses/by/4.0/ HARLIG, ABIDIN, BOFFONE, BOWKER, ELOI, KRAYENBUHL, OH: TIKTOK AND SHORT-FORM SCREENDANCE 191 Keywords: Covid-19, TikTok, Dubsmash, dance challenges, popular screendance, appropriation, platform specificity, congregational global body, #Jerusalema, Zoomers, #Blacklivesmatter, influencer, Dance Central, face dance, algorithm, viral, privilege, entrapment Alexandra Harlig: I’m very excited to be moderating tonight as we discuss dance on TikTok and other short form video platforms as they have developed over the last year in particular. Our presenters will each give short remarks and then I’ll pose some questions and we'll have some time for questions from the audience at the end.
    [Show full text]