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Journal articles on the topic 'Performing Arts Studies'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Lubet, Alex. "Disability Studies and Performing Arts Medicine." Medical Problems of Performing Artists 17, no. 2 (June 1, 2002): 59–62. http://dx.doi.org/10.21091/mppa.2002.2009.

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My introduction to the emerging field of disability studies (DS) was not by accident, but by injury. A professor of music composition and theory who uses piano and computer keyboards extensively, performs on acoustic guitar, electric bass, and mandolin, and handwrites a great deal, I have coped with pain and functional limitations from spinal and upper limb injuries for years. In 1999, on disability leave, recovering from neurosurgery for cervical disk herniation, I read a call for papers on disability and the performing arts. Intrigued, I immersed myself in DS literature, and began to partici

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2

Dunlop, Rachel, Dominic Moody, Adrienne Muir, and Catherine Shaw. "The performing arts." Cultural Trends 7, no. 26 (January 1995): 1–25. http://dx.doi.org/10.1080/09548969509365003.

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3

Colley, Binta M. "Teaching Social Studies Through the Performing Arts." Educational Forum 76, no. 1 (January 2012): 4–12. http://dx.doi.org/10.1080/00131725.2011.627986.

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4

Conant, David A., and Thomas J. McGraw. "Case studies of two performing arts halls." Journal of the Acoustical Society of America 108, no. 5 (November 2000): 2648. http://dx.doi.org/10.1121/1.4743872.

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5

Draper, Jack A. "Performing Brazil: Essays on Culture, Identity, and the Performing Arts." Hispanic American Historical Review 96, no. 1 (January 28, 2016): 190–92. http://dx.doi.org/10.1215/00182168-3424240.

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6

Dhani, Kurnia Rahmad. "EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 83–91. http://dx.doi.org/10.24821/tnl.v18i2.5886.

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Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audience

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7

Waterhouse, David, and Masato Matsui. "Japanese Performing Arts: An Annotated Bibliography." Ethnomusicology 29, no. 3 (1985): 512. http://dx.doi.org/10.2307/851806.

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8

Norman, Moss Edward, and John Bryans. "Performing the Norm: Men in the Performing Arts and the Materialization of White, Heteronormative Masculinity." Journal of Men’s Studies 28, no. 3 (February 28, 2020): 281–300. http://dx.doi.org/10.1177/1060826520907923.

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There is a relatively robust body of scholarship examining popular cultural representations of masculinity, yet there is comparatively little research on the men who take up and perform these representations. Based on interviews with 12 men in the performing arts, including dance, theater, film, and television, we examine the everyday lived experiences of men in the arts, with a specific focus on the complex and dynamic processes by which normative masculine performances are materialized. Using Judith Butler’s theory of performativity, we argue that performances of normative masculinity in the

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9

Manchester, Ralph A. "Epistemology and the Performing Arts." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 41–42. http://dx.doi.org/10.21091/mppa.2007.2010.

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Epistemology is the branch of philosophy that studies the nature of knowledge, its presuppositions and foundations, and its extent and validity. It is as relevant to performing arts medicine as it is to any other area of human inquiry, and the article by Wu in this issue is a new brick in the foundation of what we know about risk factors for musculoskeletal injuries in musicians. In this editorial I will attempt to put Dr. Wu's systematic review of the literature on this subject in context. Readers should be aware that I was a coauthor of one of the articles reviewed by Wu and the author of ot

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10

Levi S. Gibbs. "Faces of Tradition in Chinese Performing Arts." Journal of Folklore Research 55, no. 1 (2018): 1. http://dx.doi.org/10.2979/jfolkrese.55.1.01.

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11

Pantawee, Jiraphorn, Peera Phanlukthao, and Suchat Sukna. "Communication through Cross-Cultural Performing Arts." International Journal of Critical Cultural Studies 19, no. 1 (2021): 41–61. http://dx.doi.org/10.18848/2327-0055/cgp/v19i01/41-61.

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12

Manchester, Ralph A. "Energy Expenditure in the Performing Arts." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 183–84. http://dx.doi.org/10.21091/mppa.2011.4029.

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Two papers in this issue of MPPA examine energy expenditure while playing a wind instrument and dancing. Measurement of the amount of energy required to play an instrument, dance, or sing has been done in the past, but these two papers advance our understanding of how performing artists carry out their professional activities. Since most of us don’t think about our daily lives in terms of METs or kilojoules, I will first review some basic information about human energy intake and expenditure before examining how energy expenditure studies can expand our knowledge base.

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13

Helbo, André. "Semiotics and performing arts: contemporary issues." Social Semiotics 26, no. 4 (June 17, 2016): 341–50. http://dx.doi.org/10.1080/10350330.2016.1189727.

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14

Natarajan, Radhika. "Performing Multiculturalism: The Commonwealth Arts Festival of 1965." Journal of British Studies 53, no. 3 (July 2014): 705–33. http://dx.doi.org/10.1017/jbr.2014.104.

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AbstractThe Commonwealth Arts Festival of 1965 was an important moment of postimperial reengagement. Over three weeks, Britain hosted visual artists, musicians, dancers, poets, and writers representing national cultures, who together presented a diverse Commonwealth assembled in terms of egalitarian multiculturalism. This article examines the investments of individual nations in participating in this festival to argue for the transnational production of multiculturalism at the end of empire. As a postimperial phenomenon, Commonwealth multiculturalism depended on the legibility of distinct nati

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15

Bektaş, Özlem. "PERFORMING ARTS PRACTICES IN SOCIAL STUDIES TEACHER EDUCATION: PARTICIPATORY AC." International Journal of Education Technology and Scientific Researches 4, no. 9 (January 1, 2019): 113–48. http://dx.doi.org/10.35826/ijetsar.24.

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16

Chitiga, Miriam. "Performing Arts for Effective Civic Engagement." International Journal of Civic Engagement and Social Change 1, no. 3 (July 2014): 59–74. http://dx.doi.org/10.4018/ijcesc.2014070105.

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There is a dearth of civic knowledge, skills, dispositions, and interest among pre-and post-secondary students and the general public. Many people are not equipped with the necessary knowledge of American political history, democratic institutions, processes, and civic life needed to allow them to become active, effective, responsible, and empowered citizens and leaders of the future. The traditional mode of incorporating civics in the lecture format in social studies and political science curricula is ineffective. The Performing Arts for Effective Civic Engagement (PAECE) program is a cross-d

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17

Manchester, Ralph A. "Biomedical Ethics in Performing Arts Medicine Research." Medical Problems of Performing Artists 22, no. 3 (September 1, 2007): 87–88. http://dx.doi.org/10.21091/mppa.2007.3020.

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As the field of performing arts medicine continues to advance, it is essential that we maintain the trust that has been built over the last quarter century with the dancers, musicians, and other performing artists we serve. Trust is a precious commodity that is built over time, largely between individual health care professionals and the patients for whom they care. However, other things we do (or don't do) can have a major influence on the trust and confidence that others place in us. One of these is research and the way we conduct research, especially when it involves human subjects. The pub

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18

Weintraub, Andrew N., Gamelan Galura, Otong Rasta, Martin Clayton, Robert Philip, and Simon Cook. "Wayang Golek: Performing Arts of Sunda (West Java)." Ethnomusicology 44, no. 3 (2000): 547. http://dx.doi.org/10.2307/852506.

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19

KONECNY, MARK. "INTRODUCTION: PERFORMING ARTS AND THE AVANT-GARDE." Experiment 10, no. 1 (2004): v—4. http://dx.doi.org/10.1163/2211730x04x00019.

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20

van Nieuwkerk, Karin. "‘Repentant’ artists in Egypt: debating gender, performing arts and religion." Contemporary Islam 2, no. 3 (November 19, 2008): 191–210. http://dx.doi.org/10.1007/s11562-008-0061-z.

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21

Authors, Multiple. "Writing Arts." ti< 9, no. 1 (March 26, 2020): 29–36. http://dx.doi.org/10.26522/ti.v9i1.2450.

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22

Rogers, Amanda. "Advancing the geographies of the performing arts." Progress in Human Geography 42, no. 4 (February 9, 2017): 549–68. http://dx.doi.org/10.1177/0309132517692056.

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Performance has become an analytical lens for examining a range of geographical phenomena. However, research specifically on the geographies of the performing arts has not kept pace with this broader field. Here, I argue for a deeper engagement with the theories and practices of the performing arts, particularly as research on creativity and the geohumanities gathers momentum. The article focuses on three areas where literatures from theatre and performance studies can expand our understanding of what ‘the geographies of the performing arts’ might be: intercultural aesthetics, migrant mobiliti

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23

Traub, Stefan, and Martin Missong. "On the public provision of the performing arts." Regional Science and Urban Economics 35, no. 6 (November 2005): 862–82. http://dx.doi.org/10.1016/j.regsciurbeco.2005.03.003.

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24

Kolhede, Eric John, and J. Tomas Gomez-Arias. "Segmentation of infrequent performing arts consumers." Arts and the Market 6, no. 1 (May 3, 2016): 88–110. http://dx.doi.org/10.1108/aam-04-2014-0015.

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Purpose – The purpose of this paper is to examine market segments within the broader category of occasional patrons of the performing arts. While similarities between these segments exist, important distinctions are also apparent. Design/methodology/approach – The authors surveyed 347 performing arts patrons using a structured questionnaire. Their responses along 28 proposed motivational variables were subjected to factor analysis to reduce their dimensionality and collinearity. Cluster analysis was then applied to respondents’ factor scores to group subjects into homogenous segments for subse

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25

Law, Jane Marie, and Barbara E. Thornbury. "The Folk Performing Arts: Traditional Culture in Contemporary Japan." Monumenta Nipponica 53, no. 4 (1998): 582. http://dx.doi.org/10.2307/2385758.

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26

Edmund Lingan. "Performing Dark Arts: A Cultural History of Conjuring (review)." Magic, Ritual, and Witchcraft 3, no. 2 (2008): 218–20. http://dx.doi.org/10.1353/mrw.0.0117.

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27

Brown, Patricia, and Mary Ann Shaening. "Impacting Awareness of Child Abuse through a Performing Arts Project." Journal of Beliefs & Values 19, no. 2 (October 1998): 237–41. http://dx.doi.org/10.1080/1361767980190208.

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28

Jackson, Shannon. "Rhetoric in Ruins: Performing literature and performance studies." Performance Research 14, no. 1 (March 2009): 6–16. http://dx.doi.org/10.1080/13528160903113148.

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29

Owens, Douglas T. "Hearing Loss: A Primer for the Performing Arts." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 147–54. http://dx.doi.org/10.21091/mppa.2008.4031.

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Noise-induced hearing loss (NIHL) is a major health problem that affects an estimated 16.1% of American adults, but for musicians, the onset of noise-induced, or any type of hearing loss, can be a career-changing event. The potential for dangerous sound pressure levels in musical environments has been documented in numerous studies, with exposures in both short and long durations shown to be harmful. Yet, in theory, NIHL is completely preventable. This review discusses basic information concerning the hearing mechanism and NIHL, audiometry, standards, protective strategies, and terminology. It

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30

Katz, Stanley N. "W. McNeil Lowry,The performing arts and American society." International Journal of Cultural Policy 16, no. 1 (February 2010): 39–40. http://dx.doi.org/10.1080/10286630902971660.

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31

Kim, Seongseop (Sam), Jin Young Chung, Jim Petrick, and Jong Wong Park. "Determination of preferred performing arts tourism products using conjoint analysis." Journal of Vacation Marketing 24, no. 1 (December 15, 2016): 44–61. http://dx.doi.org/10.1177/1356766716679484.

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The performing arts are an integral part of the economies of many communities and often highlight the cultures of places visited. Because of this, studies on performing arts have been actively conducted in the arts management and marketing fields. Yet, little research has examined the benefits of the performing arts from a tourism perspective. Thus, the current study employed conjoint analysis in an attempt to identify the most preferred performing arts tourism products as perceived by Japanese tourists. Results revealed the most important determinant attributes Japanese tourists consider in p

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32

Martínez López, Carolina. "Una experiencia encarnada de investigación escénica en estudios teatrales universitarios." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 116. http://dx.doi.org/10.7203/eari.10.14309.

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Resumen. Este artículo presenta una propuesta pedagógica y de investigación en estudios teatrales universitarios basada en el análisis teórico y en la experiencia física, intelectual y emocional de procesos creativos escénicos. A lo largo del mismo, veremos cómo la dificultad de los estudios teatrales para integrarse en el terreno científico y en la academia puede utilizarse para construir nuevas vías docentes y creativas, atendiendo a la especificidad del teatro, vivo y efímero por naturaleza. Transitaremos para ello el camino de la Investigación Basada en las Artes, la A/r/tografía (rama de

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33

Patterson, Nile DeGray. "Who Goes to Shows? Race-ethnicity and the Visual and Performing Arts." Cultural Sociology 14, no. 1 (January 31, 2020): 22–41. http://dx.doi.org/10.1177/1749975519885467.

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Using data from the 2012 Survey of Public Participation in the Arts, I investigate whether education’s influence on the likelihood of visual and performing arts attendance in the USA varies by race-ethnicity. The results reveal that education increases the odds of attendance for both Whites and non-Whites, but it has a stronger impact upon the former than the latter. Unlike Whites, education’s effect on attending visual and performing arts activities for non-Whites is insignificant for high school diploma recipients when compared to their counterparts with some college education. These finding

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34

Gilbert, Clara. "Inventing the Performing Arts : Modernity and Tradition in Colonial Indonesia." Archipel, no. 94 (December 6, 2017): 246–49. http://dx.doi.org/10.4000/archipel.473.

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35

Sutton, R. Anderson. "Performing arts and cultural politics in South Sulawesi." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 151, no. 4 (1995): 672–99. http://dx.doi.org/10.1163/22134379-90003034.

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36

Rumens, Nick, and John Broomfield. "Gay men in the performing arts: Performing sexualities within ‘gay-friendly’ work contexts." Organization 21, no. 3 (April 28, 2014): 365–82. http://dx.doi.org/10.1177/1350508413519766.

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Building on emerging research on ‘gay-friendly’ organizations, this article examines if and how work contexts understood and experienced as ‘gay-friendly’ can be characterized as exhibiting a serious breakdown in heteronormativity. Taking the performing arts as a research setting, one that is often stereotyped as ‘gay-friendly’, and drawing on in-depth interview data with 20 gay male performers in the UK, this article examines how everyday activities and encounters involving drama school educators, casters and peers are shaped by heteronormative standards of gay male sexuality. Adopting a quee

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37

Alagha, Joseph. "Hizbullah’s Post-Islamist Trends in the Performing Arts." Religions 11, no. 12 (December 2, 2020): 645. http://dx.doi.org/10.3390/rel11120645.

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This article outlines Hizbullah’s shift to post-Islamism and its various cultural activities in Lebanese society that underpin this shift. The Party’s involvement in these activities is integrated in current research on post-Islamism and its various social, political, and cultural manifestations. In its Islamist stage, Hizbullah anathematized the Lebanese political system and state institutions. In its post-Islamist phase, Hizbullah became pragmatic by embarking on a policy of opening-up (infitah) in politics along with cultural and social practices. This article studies Hizbullah’s popular cu

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38

Averbuch, Irit, and Barbara E. Thornbury. "The Folk Performing Arts: Traditional Culture in Contemporary Japan." Asian Folklore Studies 58, no. 1 (1999): 252. http://dx.doi.org/10.2307/1178903.

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39

Ali, Farah. "Racial and ethnic diversity in the performing arts workforce." Cultural Trends 29, no. 3 (May 26, 2020): 252–54. http://dx.doi.org/10.1080/09548963.2020.1799334.

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40

Shin, Victor K. W., Ling Tung Tsang, and Tommy H. L. Tse. "Bridging structural and micro-level factors in cultural labor studies." Social Transformations in Chinese Societies 16, no. 1 (April 11, 2020): 15–37. http://dx.doi.org/10.1108/stics-03-2019-0007.

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Purpose This study aims to examine how the organizational structure of arts groups and their administrative personnel’s socio-demographic attributes affect the working conditions of and create tensions for their staff. Recent discussion about the cultural industries and labor has pursued two strands – macro-level research expounds on the organization of cultural industries and labor market; and micro-level studies focus on the work and employment of cultural practitioners. Very few of them, however, articulate the relationships between the two levels. This study contributes to the literature w

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41

Fan, Ken Yiu Kwan, Patrick Lo, Kevin K. W. Ho, Stuart So, Dickson K. W. Chiu, and Eddie H. T. Ko. "Exploring the mobile learning needs amongst performing arts students." Information Discovery and Delivery 48, no. 2 (April 29, 2020): 103–12. http://dx.doi.org/10.1108/idd-12-2019-0085.

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Purpose This paper aims to study the information needs and online information-seeking behaviors on mobile platforms of performing arts students at a college level. Design/methodology/approach Survey instruments were used to collect data from performing arts students at the Hong Kong Academy of Performing Arts (HKAPA), a metropolitan’s major performing arts tertiary institution. Data collected were analyzed through descriptive statistics and other statistical methods, and the music-related students were compared with the production-related students. Findings The result reveals that performing a

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42

Corner, John. "Performing the Real." Television & New Media 3, no. 3 (August 2002): 255–69. http://dx.doi.org/10.1177/152747640200300302.

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43

Tincknell, Estella, and Deborah Chambers. "Performing the Crisis." Journal of Popular Film and Television 29, no. 4 (January 2002): 146–55. http://dx.doi.org/10.1080/01956050209601020.

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44

Braziel, Jana Evans, and Kathleen LeBesco. "Introduction: Performing excess." Women & Performance: a journal of feminist theory 15, no. 2 (January 2005): 9–14. http://dx.doi.org/10.1080/07407700508571502.

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45

Mock, Roberta, and Ruth Way. "Pedagogies of Theatre (Arts) and Performance (Studies)." Studies in Theatre and Performance 25, no. 3 (September 2005): 201–13. http://dx.doi.org/10.1386/stap.25.3.201/1.

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46

Green, Lelia. "Research Outputs in the Creative and Performing Arts: ‘Australianising’ an International Debate." Media International Australia 118, no. 1 (February 2006): 5–15. http://dx.doi.org/10.1177/1329878x0611800103.

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This paper positions current Australian discussions about practice-led research within international, national, historical and policy contexts and relates them to the developing pedagogical debate around performing and creative arts doctorates. Arguing that the creative industries offer benefits across the economy, it suggests that recognition for the research methodology specific to practice-led disciplines and the creative industries is overdue. The discussions in this paper, and in this theme issue of MIA, are all the more critical as a result of their articulation with the imminent introdu

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47

Gibson, Lisanne. "The Arts as Industry." Media International Australia 90, no. 1 (February 1999): 107–22. http://dx.doi.org/10.1177/1329878x9909000112.

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There is a discursive split in Australian arts policy between subvention of the arts justified in terms of ‘humanistic’ objectives and subvention of the arts justified in terms of ‘economic’ objectives. It is possible to locate the emergence of this particular split to the 1976 Industries Assistance Commission Report, Assistance to the Performing Arts. Over the last two decades, these policy objectives have been constructed as in competition. This paper traces the history of the construction of the ‘arts as industry’ in Australian arts policy. In conclusion, it queries the more recent terms in

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48

Conant, David. "Case studies of variable acoustic design: A repertory theater and performing arts chapel." Journal of the Acoustical Society of America 124, no. 4 (October 2008): 2430. http://dx.doi.org/10.1121/1.4782494.

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49

Young, Elma. "THESES AND DISSERTATIONS ON THE PERFORMING ARTS SOUTH AFRICAN STUDIES COMPLETED IN 1986." South African Theatre Journal 1, no. 2 (January 1987): 103–4. http://dx.doi.org/10.1080/10137548.1987.9687607.

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50

Roux, Yolande. "THESES AND DISSERTATIONS ON THE PERFORMING ARTS: SOUTH AFRICAN STUDIES COMPLETED IN 1987." South African Theatre Journal 2, no. 2 (January 1988): 110. http://dx.doi.org/10.1080/10137548.1988.9687622.

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