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Trance As Artefact: De-Othering Transformative States with Reference to Examples from Contemporary Dance in Canada
Trance as Artefact: De-Othering transformative states with reference to examples from contemporary dance in Canada Submitted in fulfilment of the requirements of the Degree of Doctor of Philosophy Department of Dance Studies, University of Surrey August 1st, 2007 Bridget E. Cauthery © by Bridget E. Cauthery (2007) ABSTRACT Reflecting on his fieldwork among the Malagasy speakers of Mayotte in the Indian Ocean, Canadian anthropologist Michael Lambek questions why the West has a “blind spot” when it comes to the human activity of trance. Immersed in his subject’s trance practices, he questions why such a fundamental aspect of the Malagasy culture, and many other cultures he has studied around the world, is absent from his own. This research addresses the West’s preoccupation with trance in ethnographic research and simultaneous disinclination to attribute or situate trance within its own indigenous dance practices. From a Western perspective, the practice and application of research suggests a paradigm that locates trance according to an imperialist West/non-West agenda. If the accumulated knowledge and data about trance is a by-product of the colonialist project, then trance may be perceived as an attribute or characteristic of the Other. As a means of investigating this imbalance, I propose that trance could be reconceived as an attribute or characteristic of the Self, as exemplified by dancers engaged in Western dance practices within traditional anthropology’s “own backyard.” In doing so, I examine the degree to which trance can be a meaningful construct within the cultural analysis of contemporary dance creation and performance. Through case studies with four dancer/choreographers active in Canada, Margie Gillis, Zab Maboungou, Brian Webb and Vincent Sekwati Mantsoe, this research explores the cultural parameters and framing of transformative states in contemporary dance. -
The Psytrance Party
THE PSYTRANCE PARTY C. DE LEDESMA M.Phil. 2011 THE PSYTRANCE PARTY CHARLES DE LEDESMA A thesis submitted in partial fulfilment of the requirements of the School of Humanities and Social Sciences, University of East London for the degree of Master of Philosophy August 2011 Abstract In my study, I explore a specific kind of Electronic Dance Music (EDM) event - the psytrance party to highlight the importance of social connectivity and the generation of a modern form of communitas (Turner, 1969, 1982). Since the early 90s psytrance, and a related earlier style, Goa trance, have been understood as hedonist music cultures where participants seek to get into a trance-like state through all night dancing and psychedelic drugs consumption. Authors (Cole and Hannan, 1997; D’Andrea, 2007; Partridge, 2004; St John 2010a and 2010b; Saldanha, 2007) conflate this electronic dance music with spirituality and indigene rituals. In addition, they locate psytrance in a neo-psychedelic countercultural continuum with roots stretching back to the 1960s. Others locate the trance party events, driven by fast, hypnotic, beat-driven, largely instrumental music, as post sub cultural and neo-tribal, representing symbolic resistance to capitalism and neo liberalism. My study is in partial agreement with these readings when applied to genre history, but questions their validity for contemporary practice. The data I collected at and around the 2008 Offworld festival demonstrates that participants found the psytrance experience enjoyable and enriching, despite an apparent lack of overt euphoria, spectacular transgression, or sustained hedonism. I suggest that my work adds to an existing body of literature on psytrance in its exploration of a dance music event as a liminal space, redolent with communitas, but one too which foregrounds mundane features, such as socialising and pleasure. -
Seattle's Seafaring Siren: a Cultural Approach to the Branding Of
Running Head: SEATTLE’S SEAFARING SIREN 1 Seattle’s Seafaring Siren: A Cultural Approach to the Branding of Starbucks Briana L. Kauffman Master of Arts in Media Communications March 24, 2013 SEATTLE’S SEAFARING SIREN 2 Thesis Committee Starbucks Starbucks Angela Widgeon, Ph.D, Chair Date Starbucks Starbucks Stuart Schwartz, Ph.D, Date Starbucks Starbucks Todd Smith, M.F.A, Date SEATTLE’S SEAFARING SIREN 3 Copyright © 2013 Briana L. Kauffman All Rights Reserved SEATTLE’S SEAFARING SIREN 4 Abstract Many corporate brands tend to be built on a strong foundation of culture, but very minimal research seems to indicate a thorough analysis of the role of an organizational’s culture in its entirety pertaining to large corporations. This study analyzed various facets of Starbucks Coffee Company through use of the cultural approach to organizations theory in order to determine if the founding principles of Starbucks are evident in their organizational culture. Howard Schultz’ book “Onward” was analyzed and documented as the key textual artifact in which these principles originated. Along with these principles, Starbucks’ Website, Facebook, Twitter and YouTube page were analyzed to determine how Starbucks’ culture was portrayed on these sites. The rhetorical analysis of Schultz’ book “Onward” conveyed that Starbucks’ culture is broken up into a professional portion and a personal portion, each overlapping one another in its principles. After sifting through various tweets, posts and videos, this study found that Starbucks has created a perfect balance of culture, which is fundamentally driven by their values and initiatives in coffee, ethics, relationships and storytelling. This study ultimately found that Starbucks’ organizational culture is not only carrying out their initiatives that they principally set out to perform, but they are also doing so across all platforms while engaging others to do the same. -
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On behalf of the working people of Erie, IUPAT District Council 57 endorses: JOE BIDEN JOSH SHAPIRO KRISTY GNIBUS For President For Attorney General For Congress THESE CANDIDATES SHARE WORKING PEOPLE’S VALUES: FOR WORKERS’ FOR AFFORDABLE FOR FUNDING RIGHTS HEALTHCARE PUBLIC EDUCATION President Trump has • BROKEN HIS PROMISE ON INFRASTRUCTURE • PLANNED TO DEFUND HEALTHCARE • TAKEN THE CONSTITUTIONAL RIGHT OF COLLECTIVE BARGAINING AWAY FROM WORKERS • GIVEN TAX BREAKS TO LARGE CORPORATIONS DURING A PANDEMIC, WHILE OUR MOM AND POP SHOPS CONTINUE TO SUFFER Your livelihood for the next 4 years is on the line. Vote for candidates who will choose helping your family over fattening their wallets. WE CAN BE THE CHANGE Paid for by the IUPAT Political Action Together Political Committee, Hanover, MD CONTENTS From the Editors The only local voice for news, arts, and culture. OCTOBER 21, 2020 On keeping our heads on On behalf of the working people of Erie, Editors-in-Chief y most accounts, Erie-born magician Brian Graham & Adam Welsh Harry Kellar had an exceptionally good Managing Editor IUPAT District Council 57 endorses: Nick Warren What We’re Voting For – 5 Bhead on his shoulders. Throughout his standard-setting career, he demonstrated sav- Copy Editor Erie County and the soul of America Matt Swanseger vy, dignity, and class, while never forgetting where he came from. But despite his fami- Contributing Editors Still Making an Impression – 6 Ben Speggen ly-friendly reputation, he wasn’t above a lit- Jim Wertz Dafmark Dance Theater celebrates 30 years in tle shock value. For instance, detaching that Contributors Erie distinguished dome of his in front of a paying Liz Allen crowd of men, women, and children of all ages. -
Copy of EPQ: Formal Essay
How Queer Identities Have Progressed Within the Music Industry History of queer identity within the music industry The recent trend towards more visibility in the music industry is enigmatic of a larger trend as the pride movement gained momentum. The Stonewall Riots of 1969 marked a turning point in queer identity, demanding rights and protection against police brutality - paticularly towards gay men and trans women of colour. The Stonewall Riots launched queer identity into the public mainstream, and for the first time queer idenity was not only legalised in the UK but also visible. This started in the rock scene of the 1970s, a genre characterised by it’s defiance of the mainstream. Naturally in such a unbashidely indivalidsitic environment like rock, queer idenity flourished, although still when it reached mainstream it had to be censored behind metaphors and slights of hand. The most famous example of rock’s queer sexuality was Queen, fronted by queer icon Freddie Mercury, although the full extent of his queer idenitity within his music is often debated. One popular interpretation of Bohemian Rhapsody, Queen’s three part rock ballad, is that it’s a song about a gay or queer man coming out, being rejected, and then coming into his own – not proud in spite of their sexuality, but because of it. As comedian Guy Branum wrote in his memoir My Life As a Goddess, later posted to pitchfork in 2018, “Bohemian Rhapsody is a breakup song for your mum,”1 in an article when he links his own fraught coming out with his parents to the murder depicted in the song. -
Pass the Flow: the Subcultural Practice of Liquid Dance
PASS THE FLOW: THE SUBCULTURAL PRACTICE OF LIQUID DANCE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY IN DANCE by David F. Heller December 2018 Examining Committee Members: Dr. Sherril Dodds, Advisory Chair, Boyer College of Music and Dance Dr. Kariamu Welsh, Boyer College of Music and Dance Dr. Nancy Morris, Media and Communications Dr. Larisa Kingston Mann, External Examiner, Media and Communications © Copyright 2018 by David Francis Heller All Rights Reserved ii ABSTRACT This dissertation explores how the subcultural practice of liquid dance emerged from US rave culture and continues to sustain itself and evolve in today’s era of social media and EDM festival culture. I draw upon the concept of flow as a lens to trace the historical, aesthetic, digital, social and subcultural trajectory of liquid dance. I analyze how this subculture continues to evolve through individual practice, as well as how dance is shared through online and live dance exchange. My dissertation consists of seven chapters that provide both academic and practitioner perspectives of liquid dance. My research methods combine a multidisciplinary approach to implementing semi-structured interviews, participant observation, and digital archival research. My fieldwork consists of interviewing fourteen liquid practitioners, as well as conducting ethnographic research at an EDM festival where liquid dancers annually attend and participate. The purpose of this project is twofold. One, to contribute new knowledge to the field of dance studies on the specific dance genre of liquid, which up until now has not been documented in this field. -
Mangino 1 “To Congo, to Colombo, Can't Stereotype My Thing Yo:” M.I.A.'S Politics of Difference a Senior Honors Thesis P
Mangino 1 “To Congo, To Colombo, can’t stereotype my thing yo:” M.I.A.’s Politics of Difference A Senior Honors Thesis Presented in partial fulfillment of the with research distinction in Comparative Studies in the undergraduate colleges at The Ohio State University By Gabriella Marie Mangino The Ohio State University 2008 Project Advisor: Barry Shank, Comparative Studies Mangino 2 Introduction Nearly four years ago, I sat in my dorm room struggling with homework while the television provided some background noise. Tuned to MTV’s college sibling station, “MTV-U” I dismissed most of the uninteresting indie-rock. Then a new song came on, starting with a simple rhythm, a single drum tap, soon followed by a female vocal. Rapping in unrefined couplets, the voice was gritty with a slight British twang. The song intensified with a dance-y electronic loop. It was not like anything I had recently heard, what was this music? The screen offered equally interesting visuals; a woman of South-East Asian descent roaming the jungle and dancing. The song was “Sunshowers,” and the artist, Mathangi (Maya) Arulpragasam, better known as M.I.A. Since then I have been following the journey of M.I.A. as she occupies a unique space in popular music. I soon discovered she was an art school grad, and the war- inspired graphics in the following video for “Galang” were in fact created by her. I soon started to notice the stories of her revolutionary father along with numerous rumors about her love life and radical opinions. Her sound perplexed music journalists—it’s not quite hip hop, not quite electronic—and after recognizing her Sri Lankan heritage, it most frequently got thrown under the vast umbrella of the “world music” category. -
The Final Cut Plotting World Domination from Altoona
DECEMBER 30, 2000 VOLUME 15 #3 The Final Cut Plotting world domination from Altoona Otherwise, CD/Tape/Culture analysis and commentary with D’Scribe, D’Drummer, Da Boy, D’Ump, Da Common Man, D’ Big Man, Al, D’Pebble, Da Beer God and other assorted riff raff... D'RATING SYSTEM: 9.1-10.0 Excellent - BUY OR DIE! 4.1-5.0 Incompetent - badly flawed 8.1-9.0 Very good - worth checking out 3.1-4.0 Bad - mostly worthless 7.1-8.0 Good but nothing special 2.1-3.0 Terrible - worthless 6.1-7.0 Competent but flawed 1.1-2.0 Horrible - beyond worthless 5.1-6.0 Barely competent 0.1-1.0 Bottom of the cesspool abomination! PROVING THAT RUMORS OF THIS ‘ZINE’S DEMISE ARE GREATLY EXAGGERATED, here FINALLY is a new edition of the Cut. I won’t waste a whole lot of time and space analyzing why we haven’t put out a new issue in so long. I’ll just say that I’ve been one EXTREMELY busy person this past year, and wasn’t able to sink the time into the Cut that I wanted to. In fact, I’m just NOW starting to get caught up writing about all the stuff that happened last summer – concerts, vacations, album reviews, etc. And I still have more to do! So next issue, our “end of year recap” issue, will also feature some reviews from last summer, and other takes and B-S I need to get out of my system. -
The Free Press Vol 45 Issue 14, 02-03-2014
University of Southern Maine USM Digital Commons Free Press, The, 1971- Student Newspapers 2-3-2014 The Free Press Vol 45 Issue 14, 02-03-2014 Kirsten Sylvain University of Southern Maine Follow this and additional works at: https://digitalcommons.usm.maine.edu/free_press Recommended Citation Sylvain, Kirsten, "The Free Press Vol 45 Issue 14, 02-03-2014" (2014). Free Press, The, 1971-. 108. https://digitalcommons.usm.maine.edu/free_press/108 This Book is brought to you for free and open access by the Student Newspapers at USM Digital Commons. It has been accepted for inclusion in Free Press, The, 1971- by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. News Arts & Culture Perspectivesredmy dribut Sports Community Art for Nuclear Quick responsibility A new bibliophiles as a call to fl ash divest 3 7 11 14 16 New furniture Vol. 45, Issue No. 14 the free press Feb. 3, 2014 University of Southern Maine Student Newspaper usmfreepress.org Tar sands oil debate hits Portland campus received international recognition companies plan to expand the min- based on his photographs of threat- ing in Alberta, and this number will ened environments and the impacts increase to fi ve to six million barrels of industry, Eriel Deranger, activ- a day. On the subject of the impact ist and member of the Athabasca tar sands will have on North Amer- Chipewyan First Nation and Dylan ica’s fresh water, Lenz said, “Clean Voorhees, Clean Energy Project Di- water will always be worth more rector of the NRCM. -
Q1 2020 Q1 2020 Lewis Lewis Capaldi Mabel Dav E Celeste Billie Eilish
Q1 2020 Q1 2020 CONGRATULATIONS ON YOUR BRIT YOUR ON CONGRATULATIONS FROM EVERYONE AT UNIVERSAL MUSIC UNIVERSAL AT EVERYONE FROM s SUCCESS LEWIS LEWIS CAPALDI MABEL DAV E CELESTE BILLIE EILISH 11 WELCOME EDITOR’S LETTER In this issue... The popular modern maxim to ‘speak my truth’ Tim Ingham long it will take, or how much ownership they tacitly yet proudly argues there is always more are giving up. Then, they compete for attention 10 YouTube Music than one retelling of any event – bending every and resources that are already spread thin. It’s a Dan Chalmers & Lyor Cohen occurrence into a fiction-splashed narrative fight for creative and financial freedom.” onto which our own subjective viewpoint can, This attack on traditional label advances is the and should, be impressed. It adds to a collective latest broadside to be thrown on a voluminous 22 Kyn Entertainment erosion of the idea of the gospel – whether pile. Elsewhere, rapper Mase recently castigated Sonny Takhar religious, journalistic or anecdotal – furthering Puff Daddy on Instagram regarding a historical a rabid culture of self-trust. It is malleable, and publishing deal between the pair. Mase said that therefore open to manipulation, ego and error. Puff “purposely starved your artist”, adding: “For 28 The BRIT Awards It is the definition of Trump’s America. example, u still got my publishing from 24 years How did we end up in this situation, where ago in which u gave me $20k.” one person’s reality – no matter how warped by What is lost in both Rabkin Lewis and Mase’s self-serving myopia – has become more valued salvos here is a rounded view – the rapidly- 38 Nick Burgess & Mark Mitchell Parlophone than art, and more trusted than evidence? vanishing gift of being taught all sides of the I mean, it can’t all be down to TikTok. -
Musical Identities, Roles, Participation, and Inclusion at Dartington International Summer School
Taking part and playing parts: Musical identities, roles, participation, and inclusion at Dartington International Summer School Hermione Ruck Keene Institute of Education, University College London Submitted in fulfilment of the degree of Doctor of Philosophy I, Hermione Katharine Mary Ruck Keene, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Acknowledgements First and foremost, I would like to thank everyone who participated in my research; the time, support and interest I have received from Dartington staff and participants at every stage of this project have been invaluable, and I hope to have done you all justice in my writing. I would particularly like to thank Andrew Ward for taking the time to read my thesis prior to submission. Equally importantly, I would like to thank my supervisor, Lucy Green. I am so lucky to have been one of the many doctoral students to have benefitted from her immeasurable wisdom, support and guidance, and am profoundly grateful for the opportunity to learn from her how to be the kind of academic that is needed in this troubled world. I would like also to thank my writing partners; Jon, Nicola, and Alex – thank you for your kindness, interest and willingness to collaborate in studying. Lorna and Hector – thank you for providing a beautiful space in which to work. My colleagues and students at the University of Exeter have been an invaluable source of support and endlessly patient in giving me time to complete this thesis; I would particularly like to thank my colleagues in the Primary PGCE team, Kerry Chappell for her understanding and tolerance, Lindsay Hetherington for helping me through the final weeks of writing, and Nigel Skinner for his gentle encouragement. -
Chris Gray Mechanics of Me
chris gray mechanics of me a mind massage book published by chris gray/mind massage [email protected] chrisgraydeep.com chicago il, usa first printing, january 2006 second edition, june 2008 third edition, september 2008 copyright © chris gray 2005, 2006, 2007, 2008 printed in the united states of america design - chris gray technical advisor - don harder, jr. photography credits: robert barrett, scott braithwaite, chris gray, demetrius gray, don harder, jr., paul mac, malcolm moore, essex reed, josh taaffe, michael urban while not limiting the rights under copyright reserved, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, by any means (electronic, mechani- cal, photocopying, recording, or otherwise), without the prior written permission of the copyright owner/publisher of this book. table of contents it’s all downhill once you start 8 and the keeper is jack 11 tracy’s mixtapes 15 blueprint of an emerging studio musician 20 a visitor’s gift 26 overcoming racism in the name of house 29 i was there to learn, but house stole my heart! 31 we hunted for that jazzy, east coast house 42 taking time for the little people 46 small town’s david, major record label’s goliath 48 a greyhound bus, $20, used military bag 52 deep south + south side + west loop=mixes! 58 the disjointed nations of chicago 65 summer of ‘93 and b96 amnesia 69 a nu era of chicago house takes form 73 the importance of lil john coleman… 76 hector lopez, mummy bar and liberation 84 sangki yuh: freetown, subwoofer records… 88 billboard dance music summit ‘96 93 winter music conference ‘97 101 dr.