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Journal articles on the topic 'Women and Arts Festival'
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1
Martinelli, Lucas. "Women's Time: The Mar del Plata International Film Festival." Film Quarterly 73, no. 3 (2020): 89–92. http://dx.doi.org/10.1525/fq.2020.73.3.89.
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Lucas Martinelli reports from the 34th edition of Argentina's Mar del Plata International Film Festival, the only FIAPF-accredited film festival in Latin America. Noting that this year's festival marked the sophomore effort of Cecilia Barrionuevo, the first female director in the festival's history, Martinelli focuses attention on the notable uptick in discussion space and festival slots awarded to women in the industry. The festival's second Forum of Cinema and Gender Perspective brought female speakers from fields across the industry—actresses, directors, researchers, and journalists. In his discussion of films directed by women, Martinelli notes an interest in challenging the historical archive to create a new feminist historiography.
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SANKARAN, CHITRA. "Gendered Spaces in the Taipucam Festival, Singapore." Theatre Research International 28, no. 3 (2003): 245–58. http://dx.doi.org/10.1017/s0307883303001111.
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The Hindu festival of Taipucam celebrated in honour of the male god Murugan is one of the public festivals that Hindus in Singapore celebrate with a great deal of aplomb and ceremony. It takes on the hue of a carnival and is a major tourist attraction. At the centre of the festival is the male kavadi bearer. Beside him walks the docile woman carrying her pot of milk. In the Taipucam festival procession, there is clearly apparent an empowered male versus a subsidiary female space, which appears determinate and confined, marking a tentative emergence of a subversive ‘feminist’ space that attempts to grasp at a measure of empowerment for women.
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Loreck, Janice, Sian Mitchell, Whitney Monaghan, and Kirsten Stevens. "Looking Back, Moving Forward." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (2020): 159–69. http://dx.doi.org/10.1215/02705346-8359640.
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The Melbourne Women in Film Festival (MWFF) is a four-day event in Melbourne, Australia, that supports and celebrates the work of Australian women filmmakers. Launched in 2017, the festival emerged from our desire as screen academics to increase the visibility of both professional and amateur women filmmakers and their work. Despite a strong history of grassroots and state-supported women’s creative cultures in Australia, women have remained marginal within the domestic screen industry. Women filmmakers are also underrepresented within the global festival circuit. This article traces the curatorial practices underpinning MWFF since its inception. We describe our approach to running a locally based, women-centered film festival; how we define “women” and “women’s filmmaking”; and how our programing choices support our festival ethos. We also contextualize our event as one that both continues and is in dialogue with women’s screen culture in Australia, particularly the one-off Women’s International Film Festival held in 1975. Locating our festival in this historical context, we argue that retrospective screenings play a particularly vital role at MWFF in achieving our festival aims. We recount our inaugural festival in 2017 and explain the significance of retrospectives in building a legacy for women filmmakers and making their achievements visible to the next generation.
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O’Malley, Hayley. "The 1976 Sojourner Truth Festival of the Arts." Feminist Media Histories 8, no. 3 (2022): 127–54. http://dx.doi.org/10.1525/fmh.2022.8.3.127.
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In 1976, a remarkable group of Black feminist artists organized the first ever Black women’s film festival, the Sojourner Truth Festival of the Arts, at the Women’s Interart Center in New York. Screening films by at least sixteen Black women directors, the festival was simultaneously a celebration of the emerging world of Black women’s filmmaking and a radical call for the kinds of socio-political and institutional changes necessary for a Black women’s film culture to thrive. This essay uses archival materials and personal interviews to reconstruct the festival, arguing that although it has long been overlooked, it represents a foundational moment for Black feminist film culture and epitomizes the cross-arts networks of influence that shaped Black feminist artmaking in the period. At the same time, engaging with a fragmentary archive, the essay reflects on the forms of speculation needed to reconstruct the events, lived experiences, and long-term legacies of the festival.
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Rich, B. Ruby. "Geoblocking Fall 2020." Film Quarterly 74, no. 3 (2021): 76–82. http://dx.doi.org/10.1525/fq.2021.74.3.76.
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FQ editor-in-chief B. Ruby Rich presents her take on festival-going in the time of COVID. While noting the challenges posed by geoblocking and navigating festival schedules across multiple time zones, along with the absence of the excitement and comradeship that provide live festivals with their momentum, she observes that virtual festivals—liberated from geography—offer advantages in terms of access. Surveying the offerings at the Toronto Film Festival, New York Film Festival, and DOK Leipzig, Rich highlights feature films and documentaries that offered a welcome escape from her COVID-demarcated existence, from critical favorites such as Nomadland (dir. Chloe Zhao, 2020 ) and Steve McQueen’s “Small Axe” anthology series, to discoveries such as Hong Sang-soo’s Domangchin yeoja (The Woman Who Ran, 2020) and En route pour le milliard (Downstream to Kinshasa, 2020), by the young Congolese documentarian Dieudo Hamadi.
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Hluscu, Andreea, and Tita Kyrtsakas. "“I’m So Happy I’m Here Tonight”." Canadian Theatre Review 187 (July 1, 2021): 61–65. http://dx.doi.org/10.3138/ctr.187.020.
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How valuable is youth artistry in Toronto theatrical productions? How important is including diverse and under-represented youths at cornerstone theatre festivals like SummerWorks? What are the barriers to youth theatre? In our article, we explore these questions by examining the AMY (Artists Mentoring Youth) Project, which seeks to provide accessible performing arts training and creation programs to women and non-binary youth from equity-seeking communities. In addition to examining the relationship the mentors of the program have with the participants, we look at how vital youth representation is at SummerWorks. The AMY Project works to break down barriers that are often felt by youths in performing arts, and, as a result, young people produce socially engaging work that is well received and necessary to the festival and the Toronto theatre community.
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Ellerson. "African Women on the Film Festival Landscape." Black Camera 12, no. 1 (2020): 60. http://dx.doi.org/10.2979/blackcamera.12.1.05.
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Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 1 (2017): 73–79. http://dx.doi.org/10.1525/fq.2017.71.1.73.
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By happy coincidence, Mexico in 2016 yielded two expert and moving documentaries on women, sex, and aging: María José Cuevas's Bellas de noche (Beauties of the Night) and Maya Goded's Plaza de la Soledad (Solitude Square). Both are first-time features by female directors. And both are attempts to reclaim previously neglected subjects: showgirls of the 1970s and sex workers in their seventies, respectively. Moreover, lengthy production processes in which the filmmakers cohabitated with their subjects have resulted in films that are clearly love letters to their protagonists. Widely shown at festivals and beyond, Bellas de noche won best documentary at Morelia, Mexico's key festival for the genre, and was picked up by Netflix in the United States and other territories. Plaza de la Soledad, meanwhile, earned plaudits at Sundance and a theatrical release in its home country in May 2017, a rare opportunity for a documentary. Complex and contradictory, these twin films celebrate women whose lives may be limited by circumstances cruelly beyond their control but who are vital, still, in their quest for friendship and freedom.
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Devasundaram, Ashvin Immanuel. "Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films." BioScope: South Asian Screen Studies 11, no. 1 (2020): 27–43. http://dx.doi.org/10.1177/0974927620935236.
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Since its inception at the Bath Film Festival 2014, the ‘F-Rating’ has been adopted as a yardstick to foster equitable representation of women in film. The rise of a new sub-genre of Hindi ‘Indie’ cinema (Devasundaram, 2016, 2018) has been augmented by an array of bona fide Female-rated independent films. These films fulfil the triune criteria for F-Rating, featuring women both behind and in front of the camera – as directors, actors and scriptwriters. I argue that these distinct female voices in new independent Hindi cinema have engendered discursive filmic spaces of resistance – alternative articulations that transgress India’s patriarchal national master narrative. Indian cinema thus far has been presided over by Bollywood’s hegemonic bastion of male-dominated discourses. The mainstream industry continues to propagate gender-based wage disparity and hypersexualised representations of the female body via the serialised song and dance spectacle of the ‘item number’. The increasing presence of F-Rated Hindi films on the international film festival circuit and through wider releases, gestures towards these films’ melding of the global and local. Drawing on my curation work with the UK Asian Film Festival (UKAFF) and discursive analyses of seminal F-Rated films, this essay highlights the pivotal role played by F-Rated Hindi Indie films in opening up transdiscursive dimensions and creating national and global conversations around issues of gender inequities in India.
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Warner, Deborah. "Exploring Space at Play: the Making of the Theatrical Event." New Theatre Quarterly 12, no. 47 (1996): 229–36. http://dx.doi.org/10.1017/s0266464x00010228.
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Deborah Warner is one of the most exciting of the generation of directors who emerged during the 'eighties – incidentally claiming for women a natural entrance into a profession previously dominated by men. In 1980 she formed the Kick Theatre Company, with whom over the following, formative years of her career she directed The Good Person of Szechwan, The Tempest, Measure for Measure, King Lear, Coriolanus, and Woyzeck. In 1988, following a production for the RSC of Titus Andronicus in the previous year, she became one of the company's resident directors, staging King John and Electra before moving in 1990 as an associate director to the National, where her first two productions were of The Good Person with Fiona Shaw and King Lear with Brian Cox. During the 'nineties, she has extended both the nature and the range of her work, directing Shaw in Hedda Gabler in Dublin, Coriolanus in German at the Salzburg Festival, Don Giovanni at Glyndbourne – and, in 1994–95, the season she discusses below, a revival of Beckett's Footfalls at the Garrick, controversially banned by the Beckett Estate, a dramatization of Eliot's seminal inter-war poem The Waste Land, premiered in Brussels, Richard II at the Cottesloe, with a woman, Fiona Shaw, in the title-role, and a project for the London International Festival of Theatre site-specific to the old railway hotel at St. Pancras. In September 1995 she discussed her recent and future work with Geraldine Cousin, who teaches Theatre Studies in the University of Warwick, where she has just completed a study of contemporary plays by women entitled Women in Dramatic Place and Time.
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Bassnett, Susan. "Women Experiment with Theatre: Magdalena 86." New Theatre Quarterly 3, no. 11 (1987): 224–34. http://dx.doi.org/10.1017/s0266464x00015207.
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In the autumn of last year, two events took place which marked in very different ways the recognition that feminist thinking has affected theatre more profoundly than through the necessary logistics of job and role redistribution. In August, the first-ever festival of women in experimental theatre, known as Magdalena 86, took place in Cardiff. Then, in the following month, the International School of Theatre Anthropology devoted its congress in Holstebro, Denmark, to the subject of ‘The Female Role’ – a title we borrow for this short feature, in which Susan Bassnett. who teaches in the Graduate School of Comparative Literature at the University of Warwick, and has been a regular contributor both to NTQ and its predecessor, analyzes and evaluates these occasions in successive reports. The core paper presented at Holstebro by ISTA director Eugenio Barba, which discusses the balance between the qualities of ‘animus’ and ‘anima’ necessary to the actor's energy, ‘completes’ a feature which, in the questions it raises for further discussion, remains necessarily inconclusive.
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Apter, Andrew. "Discourse and its disclosures: Yoruba women and the sanctity of abuse." Africa 68, no. 1 (1998): 68–97. http://dx.doi.org/10.2307/1161148.
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If ritual songs of obscenity and abuse have become a familiar topic in Africanist ethnography since Evans-Pritchard's first discussion of their ‘canalising’ functions in 1929, few studies have paid sufficient attention to the socio-political and discursive contexts of the song texts themselves. The present article moves in that direction by relocating abusive songs of the Oroyeye festival in an Ekiti Yoruba town within the local forms of history and knowledge that motivate their interpretation and performative power. After reviewing the cult's historical interventions in local political affairs, the article examines the repressed historical memory of a displaced ruling dynasty and its associated line of civil chiefs as invoked by the song texts in two festival contexts. In the first—the Àjàkadì wrestling match—which occurs at night, male age mates from different ‘sides’ of the town fight to stand their ground and topple their opponents while young women praise the winners and abuse the losers with sexual obscenities. In the second festival context, during the day, the elder ‘grandmothers’ of Oroyeye target malefactors and scoundrels by highlighting their misdeeds against a discursive background of homage and praise. In this fashion the female custodians of a displaced ruling line bring repressed sexual and political sub-texts to bear on male power competition, lineage fission, and antisocial behaviour. More generally, they mobilise the fertility and witchcraft of all Yoruba women to disclose hidden crimes and speak out with impunity.
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Versnel, H. S. "The Festival for Bona Dea and the Thesmophoria." Greece and Rome 39, no. 1 (1992): 31–55. http://dx.doi.org/10.1017/s0017383500023974.
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Long before his obsessional wish was finally fulfilled in 146 B.C, the elder Cato had yet other concerns than Carthaginem delendam esse. In his manual for the farmer, De agricultura 143, he gives ample prescriptions concerning the way the wife of the bailiff (the vilica) of an estate should behave:‘She must visit the neighbouring and other women very seldom, and not have them either in the house or in her part of it. She must not go out to meals or be a gad-about. She must not engage in religious worship herself or get others to engage in it for her without the orders of the master or the mistress; let her remember that the master attends to the devotions for the whole household.’ (translation: W. D. Hooper & H. B. Ash. Loeb)
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Hvala, Tea. "As little as possible for as little as possible." Maska 30, no. 175 (2015): 58–71. http://dx.doi.org/10.1386/maska.30.175-176.58_5.
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On the occasion of the 20th anniversary of the contemporary art festival City of Women, which was dedicated to survival tactics, I discuss the conditions under which it came about and the conditions under which artists or self-employed individuals in the field of culture must work in this time of cuts to public funding of the arts in Slovenia. In the context of selected performances from this year’s City of Women programme, I ask how it is possible to create antagonistic art within the capitalist means of production without the artist and producer burning themselves out in the process and, with the insights of Silvia Federici, how it is possible to separate oneself from the market and from the country without reducing oneself to poverty.
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Bray, Anne. "The Community Is Watching, and Replying: Art in Public Places and Spaces." Leonardo 35, no. 1 (2002): 15–21. http://dx.doi.org/10.1162/002409402753689263.
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The author describes her public-art projects and installa-tions, in which she has em-ployed various combinations of video, photography, audio, sculpture and performance, often in collaboration with artist Molly Cleator. The pieces spectacularize unresolved conflicts between the artists regarding what is personally truthful as compared to what society dictates, especially concerning the “three deviants”: women, art and nature. The artists question who defines these related realities and how. The author has also offered hundreds of artists a forum called L.A. Freewaves, a media arts organization and festival working in traditional and nontraditional venues throughout Los Angeles, in an effort to disseminate community-empowering public art widely.
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Currans. "Transgender Women Belong Here: Contested Feminist Visions at the Michigan Womyn's Music Festival." Feminist Studies 46, no. 2 (2020): 459. http://dx.doi.org/10.15767/feministstudies.46.2.0459.
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Dwi Hartono, Indri, and Riza Firmansyah. "PARTISIPASI MASYARAKAT DALAM PENYELENGGARAAN FESTIVAL PALANG PINTU SEBAGAI ATRAKSI WISATA BUDAYA DI KAWASAN KEMANG JAKARTA SELATAN." Journal of Tourism Destination and Attraction 5, no. 2 (2017): 48–61. http://dx.doi.org/10.35814/tourism.v5i2.779.
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Palang Pintu Festival is an annual program organized by Forkabi (Betawi Children's Communication Forum) DPRT Bangka Kemang and Betawi Cultural Center namely Padepokan Manggar Kelape featuring Betawi culture and performing arts and community participation. The purpose of the festival is to preserve and introduce Betawi culture in Kemang area. This study discusses the elements of cultural tourism and the form of community participation in the Palang Pintu Festival. Data collection methods used were observations, surveys using questionnaires, interviews, and documentation then analyzed and presented in quanititative manner and supported by qualitative data, where the results will be presented in the percentage number. Technique of data analysis used in this research is with validity test, reliability test and also use rank spearman analysis method. The result of this research shows that the characteristic of society is seen from the age type dominated by the age of 15-25 years as much as 39 % and the sexes, both men and women are the same size because this research uses roscoe theory in determining the number of respondents, if the sample is divided into 2 then Per sub sample to 30 respondents respectively. The level of community participation in the Palang Pintu Festival is at a moderate level, this is because the community participating in the Kemang area is more interested if the activities are rewarded. For a community characteristic relationship with participation does not have a strong relationship or it can be said has nothing to do in participation with the characteristics of society in any category. Because of all the people who participated in the Palang Pintu Festival plays an important role in preserving and introducing Betawi Culture to the wider community.
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Foster, Susan Leigh. "WATCHING WOMAN AND WATER." Theatre Survey 51, no. 1 (2010): 121–25. http://dx.doi.org/10.1017/s0040557410000256.
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I am being haunted by a dance I saw more than a year ago. Ever since it was performed as part of the Actions of Transfer: Women's Performance in the Americas conference at UCLA in November 2008, I have been reviewing it in my mind every few weeks. I am unsettled by its seeming simplicity and by the integrity and power that this simplicity conveys. Therefore I am writing not about a work I have just seen, but rather one I have been rewatching for several months. The dance, titled Woman and Water, was created and performed by Alutiiq artist Tanya Lukin Linklater. It premiered on 22 May at Visualeyez 2006, Canada's seventh annual festival of performance art, produced by Latitude 53 Contemporary Visual Culture; the festival's theme was “Domesticity,” and it was curated by founder Todd Janes in Edmonton, Alberta. When she was invited to UCLA, Lukin Linklater inquired about the availability of water near the conference where the piece might be performed, and, upon seeing the site, determined to stage the work in the plaza in front of Royce Hall, which is adjacent to a large fountain. This is what I remember watching:
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Schäfer, Sandra. "Whose Gaze? Stories Told between Kabul, Herat and Berlin." BioScope: South Asian Screen Studies 11, no. 1 (2020): 61–77. http://dx.doi.org/10.1177/0974927620935255.
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This visual essay focuses on contemporary women’s cinema in Afghanistan, which started in 2001, when, for the first time, women made films in Afghanistan. They narrate stories from their perspectives, and choose different filmic means, characters and genres to tell their stories. With a selection of film stills and photographs, this visual essay introduces the work of these women filmmakers. The images are accompanied by text that describes the contents and the making of their films. Text includes quotations from filmmakers reflecting on their practice. The directors whose work I present are, among others, Roya Sadat, Saba Sahar, Diana Saqeb and Aiqela Rezaie. As some of the filmmakers also work as actresses, I draw an arc into the changeful history of Afghan cinema and the role women played as actresses in these films. The essay highlights the period between 2002 and 2009, when I worked in Kabul making my film Passing the Rainbow and co-organising the film festival SPLICE IN on Gender and Society.
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Rich, B. Ruby. "Perfect Vision: Sundance 2020." Film Quarterly 73, no. 4 (2020): 68–74. http://dx.doi.org/10.1525/fq.2020.73.4.68.
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FQ's B. Ruby Rich files her annual report from Sundance, where the most powerful new dramatic films were by and about women. She singles out Kitty Green's The Assistant (2019) and Eliza Hittman's Never Rarely Sometimes Always for their meticulous attention to the hardly matter-of-fact rituals of life for two very different young women, as well as for a style that might be tagged “microrealism.” She also discusses Janicza Bravo's Zola and Pablo Larraín's Ema (2019), two very different enactments of female sexuality with varying degrees of agency. Praising the festival as the mothership of documentary, Rich recounts new favorites including Iryna Tsilyk's The Earth Is Blue as an Orange, Ramona S. Diaz's A Thousand Cuts, David France's Welcome to Chechnya, Hubert Sauper's Epicentro, Anabel Rodríguez Ríos's Once upon a Time in Venezuela, Kareem Tabsch and Cristina Costantini's Mucho Mucho Amor, Maite Alberdi Soto's The Mole Agent, Garrett Bradley's sobering Time, and Shalini Kantayya's chilling Coded Bias.
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Rapi, Nina. "Hide and Seek: the Search for a Lesbian Theatre Aesthetic." New Theatre Quarterly 9, no. 34 (1993): 147–58. http://dx.doi.org/10.1017/s0266464x00007739.
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Is there a specific lesbian theatre aesthetic? If so, is butch and femme at the heart of it? Or androgyny? Or the freedom-confinement dynamic? Or, on another level, distancing role from ‘essential being’, and ‘woman’ and ‘man’ as social constructs from male and female as biological entities? By focusing on a number of lesbian texts, including her own work, Nina Rapi explores both the theory and practice of an emerging aesthetic that reveals the ‘performance of being’, seeking to ‘shift the axis of categorization’, and so to create a new and exciting theatre language. Nina Rapi is a playwright and translator whose theatre work includes Ithaka (Riverside Studios, June 1989; Link Theatre, staged readings, April 1992; published in Seven Plays by Women, 1991), Critical Moments, a trilogy of shorts (Soho Poly Theatre, June 1990), Johnny Is Dead (First One Person Play Festival, Etcetera Theatre, March 1991), Dreamhouse (Oval House and Chat's Palace, April-May 1991), Dance of Guns (touring production, including King's Head and Jackson's Lane Theatres, April-May 1992), and Dangerous Oasis (Finborough, March 1993).
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Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 4 (2017): 77–82. http://dx.doi.org/10.1525/fq.2017.70.4.77.
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FQ Columnist Bilal Qureshi reflects on Deepa Mehta's film Earth at an important moment in Indian and global history. Writing from New Delhi, he had the opportunity to speak to Mehta in person about her life and work, and that discussion is woven into this column. Since making Earth almost twenty years ago, Deepa Mehta has seen her stature grow to include film festival premieres, an Oscar nomination, and a platform as one of the rare women auteurs on the international stage. She has lived in Canada since the 1970s, but her most celebrated films are not about immigrant displacement or hyphenated identity. Rather, she has always told Indian stories. From the groundbreaking story of a lesbian relationship between two housewives in suffocating arranged marriages (Fire, 1996) to the forced exile of widows in orthodox Hindu scripture (Water, 2005), she has confronted uncomfortable social realities in Indian society. Although she has been labeled an anti-national and had sets burned and cinemas attacked by the religious right for insulting traditional values, she has taken the challenges in stride and continued making films.
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Orel, Barbara. "Artistic Work as Symbolic Capital." European Review 28, no. 4 (2020): 565–72. http://dx.doi.org/10.1017/s1062798720000113.
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Female artists and performers are at the top of the scale of precarious work relations in post-Fordist society. Their work is undervalued and seldom paid. This article deals with the issues arising from the controversial relations between the cultural, social and economic value of their work. How to re-valorize artistic work performed by women? In providing the answer to this central question, the value of artworks will be defined in terms of Bourdieu’s concept of symbolic capital and in the context of Marx’s theory of commodity fetishism. The article argues that a contemporary alternative can be sought in the new chain of value accumulation, in which the surplus-value of the artwork is created by shifting its symbolic value into a direct relationship to the material resources. This point will be illustrated with the art projects presented at City of Women, an international festival of contemporary arts based in Ljubljana, Slovenia.
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Mitchell, Roanna, and Pablo Pakula. "Imagining O encountering India: Recounting an embodied experience." Studies in South Asian Film & Media 4, no. 2 (2012): 179–88. http://dx.doi.org/10.1386/safm.4.2.179_1.
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In February 2012, Richard Schechner’s performance-installation Imagining O travelled from its original place of creation in Canterbury (UK) to the International Theatre Festival of Kerala in Thrissur (India). Imagining O is an immersive and participatory experience that brings together voices of Shakespeare’s women and Pauline Reage’s classic French erotic novel The Story of O. This performance report explores the encounter of a primarily European company with the bodies/gazes of an Indian audience, and their role as spectators in shaping the living organism of the performance. Taking a dialogic structure, it exists in the space between two authors’ voices and experiences — Roanna Mitchell as movement director, Dr Pablo Pakula as performer – mirroring the production’s decentred nature and its refusal of an objective standpoint.
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KLÖCK, ANJA I. "Dining with the Perpetrators. Eva Diamantstein's Performative Exploration of the Role of Women in National Socialism." Theatre Research International 29, no. 1 (2004): 66–77. http://dx.doi.org/10.1017/s0307883303001263.
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Eva Diamantstein's play and production of Nachtmahl (Supper) premiered during the Spielart Theatre Festival in Munich, Germany, in November 2001, and subsequently toured to Frankfurt am Main, Hamburg and Vienna in 2002. Both a research project and a theatrical enterprise, Nachtmahl is based on the biographies of four women who actively participated in various Nazi projects. Seated at a long table and having a four-course dinner together with the female characters, the spectators gradually discover their histories while the theatre becomes a dynamic space of coexistences, in which the continuities between past and present acquire a material and experiential quality. By situating Nachtmahl within the historiographical strategies crystallizing around women and National Socialism, the author discusses the production's use of social rituals, strategies of domination and intimidation and mechanisms of collective communication. The production explores how culturally conditioned strategies of exoneration function as devices for separating oneself from a seemingly distanced past.
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Oommen, Susan. "Inventing Narratives, Arousing Audiences: the Plays of Mahesh Dattani." New Theatre Quarterly 17, no. 4 (2001): 347–56. http://dx.doi.org/10.1017/s0266464x00014986.
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In this article Susan Oommen looks at the plays of the popular Indian dramatist Mahesh Dattani as conversations between the writer and his audience on models of reality, and interprets their performance as moments in subjectivization. In initiating an audience into redefining identity, she argues that Dattani provides the parameters within which problematizations may be reviewed and better understood. He also seeks to queer the debate on Indian middle-class morality, thereby challenging its privileged status and underscoring the interconnection between repression and invisibility. The question for the audience is whether Dattani's plays can cue them into experiences of resistance and encourage them to reinvent narratives that may then function as personal histories. One of the plays on which this article focuses, Dance Like a Man, was seen during this year's Edinburgh Festival as part of the Celebration of Indian Contemporary Performing Arts. Susan Oommen works in the English Department in Stella Maris College, India, where she has been on the faculty since 1975. She spent the past academic year at the Institute for Research on Women at Rutgers University.
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Benson-Allott, Caetlin. "On Platforms." Film Quarterly 71, no. 2 (2017): 65–71. http://dx.doi.org/10.1525/fq.2017.71.2.65.
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Women-led serials have been getting a lot of attention lately for bringing “the female gaze” to the small screen. Jill Soloway—the television auteur behind Transparent (Amazon, 2014–) and the recent adaptation of Kraus's novel, I Love Dick (Amazon, 2017–)—even taught a class on “The Female Gaze” at the Toronto International Film Festival in 2016, defining it as “an intersectional gaze” and “a SOCIOPOLITICAL justice-demanding way of art making.” But the female gaze is actually a very vexed concept. Since it was first invoked via exclusion in Laura Mulvey's foundational “Visual Pleasure and Narrative Cinema” in 1975, it has been haphazardly defined more often by what it is not than by what it is. Three current series—I Love Dick, GLOW, and Insecure—all explore how women empower themselves through experiences of abjection: states of vexation and alienation that disrupt their expectations of or participation in social life. All three shows demand respect for their characters by figuring defeat, failure, and desperation as stages women must pass through to challenge patriarchal cultures. While all three shows feature diverse casts and strong female leads, I Love Dick and GLOW introduce characters of color only in supporting roles that contest but never destabilize the white protagonists' racial solipsism. This strategic but facile gesture reveals how far these shows have to go to confront the entangled injustices of social inequality. To incorporate the experiences and insights of women of color meaningfully, their creators would have to abandon the narrative commitments and familiar pleasures of white feminist television, which still needs to decenter whiteness both narratively and figuratively. Insecure's trenchant comedy thus provides a model for future feminist television. Its self-critical but antiracist humor challenges white feminism's and television's historic neglect of black women.
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Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.
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Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.
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Silk, M. S. "Heracles and Greek Tragedy." Greece and Rome 32, no. 1 (1985): 1–22. http://dx.doi.org/10.1017/s0017383500030096.
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Heracles was the greatest and the strangest of all the Greek heroes. A long list of superhuman acts of strength and courage stood to his name, and above all else the famous twelve labours, which began with the killing of the Nemean lion and.ended in the capture of the monstrous watchdog Cerberus in Hades. He was a great slayer of monsters, also a great civilizer, founding cities, warm springs, and (as Pindar was fond of reminding his audiences) the Olympic festival. He suffered prodigiously, and he maintained prodigious appetites, for food, drink, and women. He may have had friends, but none close (as, say, Patroclus and Achilles were close), but he did have one implacable and jealous enemy, the goddess Hera. He had two marriages: the first set of wife and children he killed in a fit of madness; the second brought about his own death. He was the son of a mortal woman, Alcmena, and the god Zeus, with Amphitryon as a second, mortal, father; and after his death (by most accounts) he became a god himself and lived on Olympus.
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Kimengsi, Jude, Mukong Kechia, Balgah Azibo, Jürgen Pretzsch, and Jude Kwei. "Households’ Assets Dynamics and Ecotourism Choices in the Western Highlands of Cameroon." Sustainability 11, no. 7 (2019): 1844. http://dx.doi.org/10.3390/su11071844.
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Ecotourism is increasingly accepted as a suitable alternative for sustaining rural livelihoods. In spite of this trend, quantitative assessments of relationships between household assets and ecotourism choices, and the policy implications thereof, currently account for only a negligible number of studies in sub-Saharan Africa. This paper contributes to this evidence gap by analyzing the extent to which households’ assets drive ecotourism choices on a representative sample of 200 households in Cameroon. The Principal Component Analysis (PCA) and the Human Development Index (HDI) were used to construct indices for ecotourism choices. The ordinary least square and logit models were also employed to estimate the effect of various household assets on ecotourism choices. A high preference was observed for the production and sale of arts and crafts items and the promotion of cultural heritage sites as key ecotourism choices. More women are found to participate in conservation education, as opposed to culture-related activities such as arts and crafts. Access to education and training were inversely related to cultural festival promotion. The results suggest the need to: (i) stem the overdependence on conservation sites for wood supply to the arts and crafts sector, (ii) enforce endogenous cultural institutional regulations, including those that increase female participation in guiding future ecotourism choices. This paper contributes to ecotourism development and conservation theory, with regards to unbundling household level predictors of ecotourism choices, and has implications on the design of policies to implement environmentally less-demanding ecotourism activities.
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AIJMER, GÖRAN. "Cold Food, Fire and Ancestral Production: Mid-spring Celebrations in Central China." Journal of the Royal Asiatic Society 20, no. 3 (2010): 319–44. http://dx.doi.org/10.1017/s1356186310000064.
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AbstractThis article seeks to explain the traditional celebration of Cold Food and some other springtime customs in the mid-Yangzi basin in central China. In these rituals the ancestors and their influence in the production of new rice were highlighted while, at the same time, social reproduction through women was temporarily suspended. Female generative energy was not allowed to compete with the creative force of the ancestors in the fields. Cold Food is seen as a trope on seasonal agricultural tasks. The myth of moral constancy, which accompanied the festival, was on another deeper level an iconic exploration of the preparation of the agricultural fields. Death was seen to propel life, ancestral energy being transferred to the living through rice.
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Walkling, Saffron Vickers. "Ophelia’s terror: Anatomising the figure of the female suicide bomber in The Al-Hamlet Summit." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 161–72. http://dx.doi.org/10.1177/0184767819836437.
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2002: three months, three Palestinian women, three bombs. That same year, Sulayman Al-Bassam premiered The Al-Hamlet Summit, his political appropriation of Hamlet, Mahmoud Darwish’s Palestinian poetry, and Heiner Müller’s Hamletmachine, at the Edinburgh Fringe Festival. Mapping the politics of anger and despair onto Shakespeare’s play, he suggests that terrorism from Palestine to the United States is rooted in colonialism and Western military interventions in the Middle East. Hamlet is a jihadist, Horatio becomes a British Arms Dealer and Ophelia, a suicide bomber. This article explores the politics of representation in the body of Ophelia, who is anatomised as she detonates herself under the palace orange trees.
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Griffin, Farah Jasmine. "Following Geri's Lead." Daedalus 148, no. 2 (2019): 13–22. http://dx.doi.org/10.1162/daed_a_01739.
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Drawn from a keynote delivered for Timeless Portraits and Dreams: A Festival in Honor of Geri Allen (Harvard University, February 16–17, 2018), this personal essay shares observations about Allen's intellectual and artistic leadership in diverse roles including bandleader, teacher, curator, and artistic visionary. In addition to discussions of Allen's music and recordings, this essay also focuses on her collaboration with the author and actor/director S. Epatha Merkerson, which resulted in two musical theater projects, Great Jazz Women of the Apollo (2013) and A Conversation with Mary Lou (2014).
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Mukherjee, Madhuja. "Speaking with Suhasini Mulay: A short story about a long strife." Studies in South Asian Film & Media 11, no. 2 (2020): 225–43. http://dx.doi.org/10.1386/safm_00030_7.
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This article is connected to my project concerning the Indian film industry, questions of work and women’s labour; and, this interview-based article grows from my ongoing audio-visual documentary work tentatively titled The Shadow and The Arc Light. It enables me to reflect upon my previous book project, and takes shape in the light of contemporary feminist historiography. Suhasini Mulay began her career as an actor with Bhuvan Shome (Mrinal Sen 1969), and thereafter, shifted to filmmaking and obtained technical training from McGill University, Montreal. Upon her homecoming she initially worked with the International Film Festival of India, and later assisted Satyajit Ray (for Jana Aranya [1975]) and Mrinal Sen (for Mrigayaa [1976]). While Mulay has made documentaries, and also acted in Bhavni Bhavai (Ketan Mehta 1980), she eventually resumed full-time acting in 1999. As narrated by her, she endured hierarchical, gendered and precarious work conditions, which inform us about the arduous production milieu. Through such conversations, I propose gender as a lens for studying film history, and underscore filmmaking as labour; as well, analyse the nature of filmic work. I aspire to demonstrate how women involved in various capacities, negotiate networks of media forms and capital, and persist perilously.
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Dalzoto Bueno, Cristiane, Livia Keiko Nagao de Medeiros, and Maria Cristina Mendes. "WOMEN ART REVOLUTION (!WAR): o filme de Hershman Leeson sobre a presença feminina nas Artes Visuais." TUIUTI: CIÊNCIA E CULTURA 6, no. 59 (2019): 45–64. http://dx.doi.org/10.35168/2176-896x.utp.tuiuti.2019.vol6.n59.pp45-64.
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O objeto de investigação do artigo é o filme !Women Art Revolution (!WAR), dirigido por Lynn Hershman Leeson e lançado em 2010, no 35º Festival Internacional de Cinema de Toronto, no Canadá. O documentário, cuja duração é de 83 minutos, contém relatos de mais de 40 artistas mulheres, responsáveis por introduziros movimentos feministas no campo das Artes Visuais, ao longo das décadas de 1960 a 1980. O objetivo da pesquisa é identificar estratégias adotadas para a inserção das mulheres em mostras de arte e produções artísticas, identificando os movimentos que nortearam tais transformações socioculturais. A metodologiautilizada no artigo parte da análise fílmica se direciona para a seleção de trechos que enfatizam a atuação de grupos de mulheres, e culmina com a reiteração de dados em livros, artigos e sites. A investigação se justifica por possibilitar um aprofundamento acerca da problemática da presença feminina no âmbito das artesvisuais, potencializando discussões que destaquem as lacunas na história da arte e a parca presença de obras de mulheres em coleções de arte. Além de depoimentos das artistas, são destacadas reflexões de Griselda Pollock, Luana Saturnino Tvardovskas e Talita Trizoli.
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Bunda, Tracey, Robyn Heckenberg, Kim Snepvangers, Louise Gwenneth Phillips, Alexandra Lasczik, and Alison L. Black. "Storymaking Belonging." Art/Research International: A Transdisciplinary Journal 4, no. 1 (2019): 153–79. http://dx.doi.org/10.18432/ari29429.
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Sometimes data invites more of us. To be physically held and touched, through hands creating and crafting with matter, cultivating a closer connection to the fibres, threads, textures and sinews of data. Through touching and shaping the materiality of data, other beings, places and times are aroused. Here, we share the story of data that invited more of us and how this has spurred the creation of an exhibition titled Stories of Belonging with Indigenous and non-Indigenous artist/scholars for an arts festival in Queensland, Australia. This work by the collective, SISTAS Holding Space, deeply interrogates our ontological positionality as researchers, in particular what this means in the Australian context – a colonised nation populated through waves of migration. The scars of colonization, migration and shame are held and heard through Black and White Australian women creating and interrogating belonging alongside each other – listening and holding space for each other. We air the pains of ontological destruction, silencing, disconnection and emptiness. Through experimental making research methodology, we argue the primacy of storying and making, and for provoking resonant and entangled understandings of belonging and displacement.
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Heather Sparling. "1951 Edinburgh People’s Festival Ceilidh, and: Gaelic Songs of Scotland: Women at Work in the Western Isles (review)." Journal of American Folklore 122, no. 1 (2008): 83–85. http://dx.doi.org/10.1353/jaf.0.0066.
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Ryberg, Ingrid. "Promoting the Image of Gender Equality in Swedish Film as the 2020 Deadline Expires." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (2020): 142–53. http://dx.doi.org/10.1215/02705346-8631607.
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This article provides a critical discussion of the world-famous, much-celebrated gender equality work in the Swedish film industry. Since the Swedish Film Institute launched a program for gender equality in 2013, redesigned in 2016 as the action plan 50/50 by 2020, Sweden has been held up as a model country and the Film Institute’s CEO Anna Serner has held several widely publicized seminars in Cannes and elsewhere. This article aims to contextualize the Swedish case, as influential curators, jury chairs, and festival directors around the globe have signed the 50/50 by 2020 campaign with no evidence of its primary goal of dividing production support evenly between men and women by 2020 being within reach. I show that the notion of Sweden as an egalitarian haven obscures remaining injustices, norms, and, not least, the equality program’s lack of intersectional analysis. Unraveling “the myth of gender equality” in Swedish film, this essay shows how this myth operates in the context of Swedish foreign policy and self-promotion in the neoliberal present. As much as the current mobilization for change is worth applauding, I argue that it is crucial to critically examine actual measures and push for redistributive results beyond symbolic commitment, individual recognition, and positive publicity.
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Cutler, Anna. "Abstract Body Language: Documenting Women's Bodies in Theatre." New Theatre Quarterly 14, no. 54 (1998): 111–18. http://dx.doi.org/10.1017/s0266464x00011921.
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In this article, the first of a sequence on the ways in which women's bodies are recorded in performance documentation, Anna Cutler offers a new conception and systematic definition of three performance documentations – the ‘Proper’, the ‘Processual’ and the ‘Residual’. She argues against traditional and literary forms of documentation (the ‘Proper’) as a means by which women and women's bodies have been and continue to be excluded from performance records, and proceeds to discuss two theoretical types of body in performance: the ‘Inscribed’ (which represents an ideologically shaped, constructed, and censored body) and the ‘Potential’ (which represents the creative and ongoing moments of change made by the body in performance). She proposes the ‘Potential Body’ as a model for performance documentation, since, though difficult to translate into written forms, it offers a more effective communication of both the body and of live performance. Given the continuing prevalence of the written word as the primary mode of performance documentation, the author makes a case for écriture féminine to be appropriated as a writerly tool to document women's bodies and particularly the ‘Potential Body’ in performance. She concludes with a discussion of the theory and practice of Hélène Cixous' writing in relation to women's performance methodologies. The debate is taken up by Susan Melrose in the article following this. Anna Cutler is currently producing events for the Belfast Festival, while completing her doctoral research in the Department of Literary and Media Studies at the University of North London.
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T.R, Hebzibah Beulah Suganthi. "Folklore Elements in Vallikannan Novels." International Research Journal of Tamil 4, S-16 (2022): 104–13. http://dx.doi.org/10.34256/irjt224s1614.
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Folk literature is created by the common people and preserved by them. Vallikannan is a renowned writer, journalist and author of all kinds of literature, his novels Iruttu Raja, Ninaivu charam and Oruveetin Kathi describe the life of Saiva Velalar in Nellai district in a rustic form. Among these games children's games are swinging, playing Tayakkatam, playing by singing and dancing, playing pandi, and playing Kannambuchi. Other common games are folk songs, titling, calling women by their village names, proverbs, folk performances related to religion, celebrating festivals, paying tribute to the village temple during festivals, performing arts, naming, marriage, processions, performing arts programs at weddings. They use figure of speech in their speech. The folk songs, proverbs and local idioms used by the Nellai district people reveals the author's general knowledge and approach to the people. It can be seen that the folk elements found in lullabies, folk tales, songs, stories, fables, myths, proverbs etc are mixed with the character and sentiment of the Tamil people. The article is about the folklore elements found in Vallikannan novels.
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Papageorgiou, Irini. "THE PRACTICE OF BIRD HUNTING IN THE AEGEAN OF THE SECOND MILLENNIUM BC: AN INVESTIGATION." Annual of the British School at Athens 109 (November 2014): 111–28. http://dx.doi.org/10.1017/s0068245414000173.
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Among the hunting scenes that the Aegean iconography of the second millennium bc offers us, representations related to bird hunting seem to be absent. Newer information has emerged, however, from the restoration of the frescoes from Xeste 3 in the Late Cycladic I / Late Minoan IA settlement of Akrotiri on Thera. On the first floor of Xeste 3, a community sanctuary whose function has been connected with initiation rites, the Great Goddess of Nature (the Potnia) was depicted appearing among young crocus gatherers, possibly during a religious festival related to the regeneration of nature. Two pairs of mature women with sumptuous dress and elaborate jewellery, carrying lilies, wild roses and crocuses as offerings to the Goddess, were rendered on the walls of a corridor that led into the room where the seated Potnia is located. Among the women in the corridor is one holding a sheaf of white lilies and bearing a net pattern with small blue birds on her upper arms. The net has been viewed as a bodice with embroidered miniature swallows. However, specific details of the net pattern indicate the depiction of a real net with captured small, possibly migratory, birds, to be offered to the Potnia. The subject of trapping birds with a net perhaps refers to a ritual act that would have taken place during an autumn or spring festival, given that the trapping of migratory birds takes place during these two transitional seasons. The particular importance and symbolic value of the subject, which enriches the Aegean sacred iconography, is also suggested by the representation of a net with a captured bird on a Late Minoan IB sealing from Agia Triada, which comes from the bezel of a signet ring, apparently made of gold, as well as the rendering of what is possibly a net on the back of a Late Minoan IIIA2 clay male figurine holding a bird, found on the bench in the Shrine of the Double Axes in Knossos.
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Mantoan, Lindsey. "The utopic vision of OSF’s Oklahoma!: Recuperative casting practices and queering early American history1." Studies in Musical Theatre 15, no. 1 (2021): 41–56. http://dx.doi.org/10.1386/smt_00054_1.
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In the spring of 2018, the Oregon Shakespeare Festival (OSF) realized artistic director Bill Rauch’s decades-long dream: to produce a queer, interracial Oklahoma!. The production participates in a new practice of recasting history through musical theatre, and does so through an innovative approach to representation and character. OSF’s production reimagined Curly as a queer Black woman; the matriarch of the town, Aunt Eller, as a trans woman; and the secondary romantic couple, Will Parker and Ado Annie (here Ado Andy), as an interracial, gay male partnership. This alteration of the characters’ identities takes a bold new step in the trajectory of theatrical casting practices, challenging the entrenched white supremacy and patriarchy of the theatre industry. In this article, I situate OSF’s method of casting Oklahoma!, which I call ‘recuperative casting’, in the landscape of broader discourse related to casting and musicals that represent US history; I argue that this casting strategy seeks to remedy the whitewashing typical of productions of canonical musicals.
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Davies, Malcolm. "Theocritus' Adoniazusae." Greece and Rome 42, no. 2 (1995): 152–58. http://dx.doi.org/10.1017/s0017383500025596.
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Theocritus' poem on the women celebrating the festival of Adonis (Idyll 15) has received surprisingly little attention over the years, especially when compared with other Theocritean Idylls of like length. Matthew Arnold's notorious rhapsody (‘a page torn fresh out of the book of human life. What freedom! What animation! What gaiety! What naturalness! … When such is Greek poetry of the decadence, what must be Greek poetry of the prime?’) has perhaps done more harm than good, by focusing attention too exclusively on the first hundred lines or so of the poem (and indeed Arnold himself was of the opinion that the hymn to Adonis at vv. 100ff. contains ‘of religious emotion, in our acceptation of the words, and of the comfort springing from religious emotion, not a particle’). And yet the poem is second only to Euripides' Bacchae as a document revealing the ways in which religion in the ancient Greek world could offer women an escape (however temporary) from the drab banalities of their everyday existence. And the central contrast between the eternal and idealized glamour of the world of myth and the time-bound existence of Praxinoa and Gorgo (a contrast which is crucial for the above-mentioned role of religion) is absolutely characteristic of one essential aspect of Hellenistic poetry, an aspect that looks back to the world of Euripides and forward to that of Roman poets like Catullus or Propertius. In this paper I shall examine both these features of the Idyll. Also, inspired by those scholars who have illuminated facets of the Dionysiac religion by adducing comparable (if secular) twentieth-century material, I shall try to achieve something similar for Theocritus' poem by drawing on comparative material from late twentieth-century Japan relating to a phenomenon that allows Japanese housewives temporary escape from a tedious and restricted way of life.
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Segura-Mariño, Adriana Graciela, and Andrés García-Umaña. "El arte digital y su relación con la violencia de género." Revista de Humanidades, no. 38 (November 20, 2019): 65. http://dx.doi.org/10.5944/rdh.38.2019.22170.
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Resumen: Los medios digitales permiten una comunicación más directa que los tradicionales. Los activistas pueden optimizar su labor al encontrar nuevas formas de difundir mensajes, construidos en formatos audiovisuales con un componente estratégico para contrarrestar problemas sociales, como la violencia de género. Con esta investigación se pretende determinar si el arte digital es una herramienta persuasiva contra este problema en el entorno online. Esto se resolvió a través de dos etapas: la primera consta de una revisión bibliográfica; la segunda consiste en el análisis de contenidos sobre el desarrollo de las acciones online de artivistas que luchan contra la violencia de género, y sobre los proyectos influyentes (según ONU Mujeres y el Festival Iberoamericano de la Publicidad – FIAP) que se han realizado en distintos contextos geográficos, identificando su difusión en plataformas de comunicación, los formatos, contenidos, audiencia y engagement. Se detectó que no se aprovecha estratégicamente la comunicación 2.0; los pocos artivistas que tienen presencia en Internet se limitan a convocar a acciones offline; si bien los proyectos influyentes rompen estereotipos y promueven la participación de la audiencia, no se dirigen a los adolescentes, que son quienes más utilizan Internet. El trabajo multidisciplinario es clave para diseñar soportes altamente visuales y persuasivos.Abstract: Digital media allow a more direct communication than traditional media. Activists can optimize their work finding new ways to spread messages, which are built in audiovisual formats with a strategic component to counteract social problems, such as gender violence. The objective of this research is to determine if digital art is a persuasive tool against this problem in the online environment. This was resolved through two stages: the first one consists of a bibliographic review; the second one consists of a content analysis on the development of online actions by artivists who work against violence of gender, and on the influential projects (according to UN Women and the Ibero-American Advertising Festival - FIAP) that have been carried out in different geographical contexts, identifying their diffusion in communication platforms, the formats, contents, audience and engagement. It was detected that 2.0 communication is not used strategically; the few artivists with presence on the Internet only call for offline actions; Although influential projects break stereotypes and promote audience participation, they do not target adolescents, the ones who most use the Internet. Multidisciplinary work is key to designing highly visual and persuasive supports.
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Spark, Ceridwen, and Tait Brimacombe. "‘Not a trend. It’s a tradition’: Remaking Pacific identity and culture at London Pacific Fashion Week 2019." Critical Studies in Fashion & Beauty 12, no. 1 (2021): 111–30. http://dx.doi.org/10.1386/csfb_00023_1.
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In recent years, the recognition of creative industries such as art, design, media and fashion has thrust these sectors into the spotlight as valuable tools for economic development and integration into global markets. By establishing themselves as creative hotspots, developing countries grow small- and medium-sized enterprises (SMEs) and promote creative entrepreneurs who are involved in transforming culture. While an emphasis on incorporating ‘culture’ into design might also be seen as stultifying or essentializing culture, stakeholders working in the region consistently emphasize the significance of incorporating local cultures into their creations. In this article, we draw on interviews with Pacific designers and fashion festival organizers to demonstrate the range of ways in which ‘culture’ is woven into the story of Pacific fashion. In doing so, we highlight the ways in which participants are ‘remaking’ cultural identity and expression by ‘spinning it into something new’, keeping cultural connections alive and personal for those involved in these industries, while also allowing makers to situate their brand or product in the global market. Furthermore, we suggest that involvement in the world of fashion on a global scale represents an opportunity for participants to explore more inclusive and diverse versions of Pacific identity than those sanctioned or imagined outside the world of fashion.
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KONSON, GRIGORIY R., and IRINA A. KONSON. "HANDEL’S OPERAS IN THE CONTEXT OF CONTEMPORARY DIRECTING: ON THE IMPLEMENTATION OF FILM COMPOSITION PRINCIPLES IN OPERA PERFORMANCES." ART AND SCIENCE OF TELEVISION 16, no. 2 (2020): 101–25. http://dx.doi.org/10.30628/1994-9529-2020-16.2-101-125.
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The article was inspired by the authors’ reviews of modern productions of Handel’s Baroque operas in 2019, presented in the three German cities: Halle, Bad Lauchstädt and Bernburg. Halle, where Georg Friedrich Handel (1685–1759) was born, is also a venue of the annual International Handel Festival, dedicated to the works of the great Saxon and his contemporaries. The concept of the festival in 2019, Sensitive, heroic, sublime: Handel’s women, was devoted to studying the female images embodied in his operas. In considering the scientific and artistic concept, the authors concluded that the directors’ understanding of these operas has expanded through the integration into musical drama of the compositional principles of film editing and the expressive means of modern, primarily screen arts. To study this phenomenon, we turned to the scientific tools developed in Russia by the two Soviet researchers who have become seminal in their field. One of them was the psychologist Lev Vygotsky, who, exploring the spiritual world of the protagonists in fine literature, revealed their psychological contradictions, expressed in the conflict of the narrative and the plot. Another The other, Sergei Eisenstein, was well-versed in Vygotsky’s manuscript of his study, Psychology of Art, and, influenced by some of these ideas, created his own “psychology of art”, which is set out in his works of various years. The core of this concept was “the transition from the Expressive Movement to the image of the art work… as a process of interaction of layers of consciousness” [1, p. 188], which allowed for multiple entries into the artistic image (one of the authors has applied this method of analysis in a work devoted to the integration of the principles of painting and cinema: [2, pp. 63–86]). Some features of the cinematograph also support such entries, and the first among equals here is the principle of intellectual editing developed by Eisenstein. In his montage theory, other types of editing—linear, parallel, associative—have been generalized and developed into a large-scale system for exploring the psychology of heroes in art. The essence of these processes, identified in the article, made it possible for the authors to discern the phenomenon of building the meaning in the Halle directors’ interpretations of Handel’s operas, which arises from the merger of the two seemingly irreconcilable and conflicting layers of consciousness: Baroque and eclectic modern, which emerged at the turn of the last century.
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Blackman, Margaret B. "Anaktuvuk Pass goes to town." Études/Inuit/Studies 32, no. 1 (2009): 107–15. http://dx.doi.org/10.7202/029822ar.
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Abstract The Nunamiut of Anaktuvuk Pass, Alaska have been going to town, one way or another, even before they relinquished their nomadic life in 1949-1950 to become settled in a village 100 miles from the nearest road and 250 miles from Fairbanks. Some years before they ever set foot in town, a few had credit accounts at the city’s Northern Commercial Company. In the mid-1950s a few village men were recruited as human subjects for cold adaptation experiments carried out at Ladd AFB outside of Fairbanks. This was their first plane ride and their first taste of city life. Medical emergencies—a flu epidemic, TB, and other illnesses that demanded medical treatment were the other ticket to Fairbanks in the 1950s, and then one typically had to wait to be flown out until the monthly mail plane came in. But by the 1960s the Native health care system saw to it that Anaktuvuk women came to town to deliver their babies in the hospital. Today Fairbanks is not only the doctor’s office but also the shopping mall and supermarket for outlying villages like Anaktuvuk Pass. It is many other things as well to the Nunamiut—site of the annual World Eskimo-Indian Olympics, the University of Alaska’s annual Festival of Native Arts, and the summer Tanana Valley Fair. It is Second Avenue with its string of dingy bars. This paper looks at more than 50 years of going to town, the significance of “town” in villagers’ lives, and the varied associations Fairbanks holds for the Nunamiut.
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Cowan, T. L. "Edgy + Hysteria: Not Like Sisters, or How Montreal’s Edgy Women and Toronto’s Hysteria Festivals Got It On Across Space and Time." Theatre Research in Canada 40, no. 1_2 (2019): 118–34. http://dx.doi.org/10.3138/tric.40.1_2.118.
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Jindra, Michael. "Christianity and the Proliferation of Ancestors: Changes in Hierarchy and Mortuary Ritual in the Cameroon Grassfields." Africa 75, no. 3 (2005): 356–77. http://dx.doi.org/10.3366/afr.2005.75.3.356.
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AbstractDuring the twentieth century, the ‘death celebration’ became arguably the most important cultural event throughout much of the Western Grassfields of Cameroon. The growth of this ritual festival occurred in the context of major political, economic and religious changes in the Grassfields. This article will focus on how religious changes, particularly the growth of Christianity, contributed to the rise of this event and how it has prompted significant changes in notions and practices concerning the pollution of death, personhood, burial rites and the ancestors. In the traditional hierarchical structure of Grassfields society, only certain titled individuals and chiefs were believed to live on after death and become ancestors. This was reflected in burial rituals. Individuals who became ancestors were buried in family compounds while ‘unimportant’ people were frequently disposed of in the ‘bush’, streams or hurriedly given unmarked burials. Christianity, because of its stress on individual personhood and its message of an afterlife for everyone, became an attractive alternative to established beliefs and practices, especially for young adults, women and those without titles, who were the most disenfranchised in the traditional system. With Christianity, burial rites became standardized and were extended to virtually everyone. Christianity also caused declines in notions of death ‘pollution’ and in beliefs about ‘bad deaths’. Because of continued beliefs in the power of ancestors, the egalitarian notions of personhood stimulated by Christianity have ironically created a ‘proliferation’ of ancestors for whom delayed mortuary rites such as ‘death celebrations’ are owed.
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Clements, Barbara Evans. "Celebrating Women: Gender, Festival Culture, and Bolshevik Ideology, 1910-1939. By Choi Chatterjee. Pitt Series in Russian and East European Studies. Pittsburgh: University of Pittsburgh Press, 2002. x, 223 pp. Notes. Bibliography. Index. Illustrations. Photographs. $34.95, hard bound." Slavic Review 62, no. 2 (2003): 393–94. http://dx.doi.org/10.2307/3185612.
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