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Artykuły w czasopismach na temat „Cultural performances”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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Kagumba, Andrew Kalyowa. "The Batwa Trail: developing agency and cultural self-determination in Uganda through Indigenous tourism and cultural performance." AlterNative: An International Journal of Indigenous Peoples 17, no. 4 (2021): 514–23. http://dx.doi.org/10.1177/11771801211058503.

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This article examines how Batwa—the Indigenous peoples of Southwestern Uganda—negotiate agency and cultural self-determination through touristic cultural performances held during the Batwa Trail, an Indigenous tourist attraction in Mgahinga Forest, Southwestern Uganda. I take a theoretical model that approaches Indigenous tourism and touristic cultural performances as a site of social interaction where identity and representation are negotiated. The touristic performances are crucial in articulating Batwa performance culture and as a forum where counter-narratives against the stereotypes and m

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Tahana, Ngaroma, and Martin Oppermann. "Maori Cultural Performances and Tourism." Tourism Recreation Research 23, no. 1 (1998): 23–30. http://dx.doi.org/10.1080/02508281.1998.11014816.

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Furkatovich, Akromov Hasan. "Socio-cultural Features of Uzbek People's Games and Performances." International Journal of Psychosocial Rehabilitation 24, no. 4 (2020): 5920–33. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020399.

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Picard, Michel. ""Cultural Tourism" in Bali: Cultural Performances as Tourist Attraction." Indonesia 49 (April 1990): 37. http://dx.doi.org/10.2307/3351053.

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Diamond, Elin, and Penny Farfan. "Performance and Cultural Politics." Canadian Theatre Review 90 (March 1997): 89–90. http://dx.doi.org/10.3138/ctr.90.013.

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In Performance and Cultural Politics, editor Elin Diamond has brought together thirteen essay s that articulate the relationship between cultural studies and performance. As Diamond notes in her introduction, though “performance” and “performativity” have emerged as keywords of postmodernism, performance has generally been neglected within the field of cultural studies. The contributors to Diamond’s volume forward the project of redressing this omission. Treating such diverse topics as the trial of Oscar Wilde, lesbian sado-masochism, the excavation of the Rose Theatre, Holocaust museums in th

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Phipps, Peter. "Performances of Power: Indigenous Cultural Festivals as Globally Engaged Cultural Strategy." Alternatives: Global, Local, Political 35, no. 3 (2010): 217–40. http://dx.doi.org/10.1177/030437541003500303.

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Laermans, Rudi. "Cultural Unconsciousness in Meg Stuart's Allegorical Performances." Performance Research 2, no. 3 (1997): 97–102. http://dx.doi.org/10.1080/13528165.1997.10871576.

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Vilela, Anne Araujo. "Performances socioculturais e as telenovelas." Proa: Revista de Antropologia e Arte 8, no. 1 (2018): 72–85. http://dx.doi.org/10.20396/proa.v8i1.17314.

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Este trabalho apresenta por meio de revisão bibliográfica, avaliações críticas sistematizadas dos constituintes que fazem a telenovela brasileira uma performance cultural, por meio de elementos associados, principalmente, ao seu contexto social, histórico e cultural. A performance acontece como ação, interação e inter-relação. Portanto, tendo em vista que as performances culturais não são apenas linguagem formal, pois tudo pode ser convertido em códigos e em outros tipos de comunicação, analisa-se aqui a telenovela sob este prisma.

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Casey, Maryrose. "Aboriginal performance as war by other means in the nineteenth century." International Journal of Critical Indigenous Studies 8, no. 2 (2015): 2–15. http://dx.doi.org/10.5204/ijcis.v8i2.123.

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Commercial performances for entertainment are usually assumed to be lightweight, cultural activities that serve little or no serious purpose. Perhaps because of this typical perspective, prior to the mid-twentieth century, Indigenous Australian performances drawing on their cultural practices for entertainment are often styled as either the result of oppressive exploitation by colonisers or cultural tourism. However, an examination of Indigenous Australian initiated and controlled performances, for entertainment in the nineteenth century, reveals a more complicated picture. In Australia, acros

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Cho, Seog yeon. "A Basic Study on the Reproduction (再現) of Performing Arts of 'Munheeyeon' (聞喜宴) as a Local Cultural Content". Society of Pansori 58 (31 жовтня 2024): 139–78. http://dx.doi.org/10.18102/jp.2024.10.58.139.

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This study presents foundational research on utilizing 'Munheeyeon' performance culture as cultural content. It explains the significance of 'Munheeyeon' and analyzes the performance forms before and after the rise of pansori, proposing desirable directions for leveraging its original form. The key points are as follows: Definition and Historical Background of 'Munheeyeon': 'Munheeyeon' (聞喜宴) refers to a celebratory performance hosted by parents for a successful candidate in the Goryeo Dynasty's civil service examination. This event, lasting approximately 1000 years during the examination syst

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Chatzipapatheodoridis, Constantine. "Beyoncé’s Slay Trick: The Performance of Black Camp and its Intersectional Politics." Open Cultural Studies 1, no. 1 (2017): 406–16. http://dx.doi.org/10.1515/culture-2017-0038.

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Abstract This article pays attention to African-American artist Beyonce Knowles and her performance of black camp. Beyonce’s stage persona and performances invite multiple ideological readings as to what pertains to her interpretation of gender, sexuality, and race. While cultural theory around the icon of Beyonce has focused on her feminist and racial politics as well as her politicization of the black female body, a queer reading applied from the perspective of camp performance will concentrate on the artist’s queer appeal and, most importantly, on her exposition of black camp, an intersecti

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Cabañes, Jason Vincent A. "A commentary on the special issue Performance and Citizenship: Challenging populist political performances through citizenship as performance?" International Journal of Cultural Studies 22, no. 5 (2019): 706–15. http://dx.doi.org/10.1177/1367877919849953.

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This piece teases out the links between this special issue’s key themes regarding performance and citizenship and the distinct realities of transitional democracies. To contribute to generating insights into other countries currently in the grip of populist political regimes, it looks at the case of the Philippines. In this context, it matters to think about the diversity of productions that can enable performances of citizenship. This is because contemporary media and communication research in the country has understandably but narrowly prioritised the toxicity of online political discourse b

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Sunday, Adesina B., and Ibukun Filani. "Playing with culture: Nigerian stand-up comedians joking with cultural beliefs and representations." HUMOR 32, no. 1 (2019): 97–124. http://dx.doi.org/10.1515/humor-2017-0085.

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Abstract In interactions, the culture of the participants influences their contributions and interpretations. Stand-up comedians articulate contemporary culture by making mutually manifest cultural beliefs and representations within the performance space, and teach the audience how to use them. This paper investigated how Nigerian stand-up comedians employ cultural assumptions and representations in their performances. Using relevance theory for analysis and seven routines from seven Nigerian stand-up comedians as the data, this study explored how Nigerian stand-up comedians bring shared cultu

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Sharma, Shyam. "Hanuman Dance: A cultural identity of Newar in Baglung." Pragnya Sarathi प्रज्ञा-सारथि 22, no. 1 (2024): 14–22. http://dx.doi.org/10.3126/ps.v22i1.64834.

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The performative dimension of a cultural dance encompasses various elements such as body movements, gestures, facial expressions, costumes, music, and storytelling, all of which come together to convey meaning, emotion, and cultural identity. It’s not just about the physical movements but also about the expression of values, beliefs, and traditions within a community and society. This research analyses the performative dimension of Hanuman dance as a cultural performance among Newar community of Baglung. This dance, in Baglung, has been promoted, preserved and performed by Newar people. They h

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S. Omoera, Osakue, and Ruth Etuwe Epochi-Olise. "MEDIATIZATION OF NDOKWA MASQUERADE PERFORMANCES: THE AESTHETIC DYNAMICS OF AN AFRICAN INDIGENOUS CARNIVAL." Journal of Cultural and Creative Industries 3, no. 1 (2022): 1–22. http://dx.doi.org/10.21134/jcci.v3i1.1763.

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This article examines the mediatization of the aesthetic dynamics or dimensions in the masquerade performances of the Ndokwa people in Delta State, Nigeria. Masquerade performances and carnivals are spectacular indigenous theatrical activities or forms that involve the impersonation of fictive characters by costumed performers in Nigeria and across Africa. These art forms share similar elements that make them culturally significant in terms of creativity and social commentary. The Ndokwa masquerade performances during festive celebrations have been on for over two decades but have virtually no

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Priyanto, Priyanto, and Budiman Mahmud Musthofa. "SENI PERTUNJUKAN WAYANG GOLEK SEBAGAI DAYA TARIK PARIWISATA BUDAYA DI SAUNG ANGKLUNG UDJO." Jurnal Vokasi Indonesia 8, no. 1 (2020): 49. https://doi.org/10.7454/jvi.v8i1.1142.

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Wayang golek performance art combines elements of drama, sound, literature, music, movement and fine arts. It can be said that the art of wayang golek performance is a "noble" art and must be preserved. It is very interesting to observe the wayang golek performance art at Saung Angklung Udjo (SAU) which packs the show so that it can become one of the attractions of cultural tourism. This study aims to determine how the packaging of the wayang golek performance art in SAU so that it can attract and attract cultural tourism. Through qualitative research methods, it was found that the puppet show

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Amali, Abdulmalik Adakole. "Application of Technical Aesthetics of Costume, Make-up, Props and Performance Space in Idoma Traditional Performance Theatre." International Journal of Current Research in the Humanities 26, no. 1 (2023): 465–77. http://dx.doi.org/10.4314/ijcrh.v26i1.28.

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Traditional performances in Africa are cherished and honoured with divinity despite the advent of modernity. These performances are taken with the seriousness of life and death because they embody the people’s culture, beliefs, life and life after death. Consequently, these performances are often accompanied by music, dance, songs, masquerades and so on to actualise and merge their corporal and spiritual cosmos. Therefore, the technicality of costume, make-up, props, performance space and so on are harnessed and utilised to establish the performance and to bring out the message, meaning and ae

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Limbu, Ramesh Kumar. "Socio-Cultural Reflection in the Yakthung Limbu Mundhum Performance." शोधसुधा Shodh Sudha 1, no. 1 (2023): 159–75. http://dx.doi.org/10.3126/ss.v1i1.59741.

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Yakthung Limbu have, from time immemorial, a tradition of narrating or reciting Mundhums and performing rituals and ceremonies in their own distinctive ways. The Mundhum is an ancient religious scripture and folk literature of the Limbu. This article attempts to examine how Mundhum performances hold widespread social and cultural significance in Limbu community. Utilizing the perspective of performance culture as theoretical approach, the article illustrates how the narratives and ritual performances of the Mundhum set the ideas to meet wider cultural and religious necessities of the Limbu com

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Rudolph, Michael. "Authenticating Performances." Archiv orientální 83, no. 2 (2015): 343–74. http://dx.doi.org/10.47979/aror.j.83.2.343-374.

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Adherents of performance theory emphasise the constitutive and transformative potentia of rituals with respect to patterns of social organization and authority. For them, rituals “not only mean something, but also do something, particularly the way they construct and inscribe power relationships” (Bell 1997). This contribution focuses on the role of ritual in postcolonial identity constitution and the performative authentication of political power and social authority in Taiwan. Since the middle of the 1990s, traditionalist performances have been on the rise on the island. Generously subsidise

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Gamboa, Eddie. "Abject Performances: Aesthetic Strategies in Latino Cultural Production." Women & Performance: a journal of feminist theory 28, no. 3 (2018): 280–83. http://dx.doi.org/10.1080/0740770x.2018.1524622.

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Díaz-Sánchez, Micaela. "Abject performances: Aesthetic strategies in Latino cultural production." Latino Studies 18, no. 1 (2020): 137–39. http://dx.doi.org/10.1057/s41276-019-00230-x.

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Casey, Maryrose. "Disturbing Performances of Race and Nation." International Journal of Critical Indigenous Studies 2, no. 2 (2009): 25–35. http://dx.doi.org/10.5204/ijcis.v2i2.28.

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This essay is an exploration of the multiple cultural performances and performative Indigenous and non-Indigenous presences competing within events and erased by dominant narratives. The performance and performativity of race, class and culture for both black and white Australians in embodied performances and in accounts as a performative source of ideological meaning-making are critical factors within cross-cultural communications. The focus of this paper is on the dynamic between the Indigenous and non-Indigenous performances and presences within the enactment and documentation of two events

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Zuhri, Anis Fuadah, and Badrus Sholeh. "Indonesian Cultural Diplomacy: The Role of Indonesian Schools in Saudi Arabia." International Journal of Basic Educational Research 1, no. 1 (2024): 29–36. http://dx.doi.org/10.14421/ijber.2024.11-04.

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This study delves into the intricate dynamics of cultural diplomacy and nationalism as orchestrated by Indonesian Schools in Riyadh, Saudi Arabia, emphasizing the strategic role of performance arts in fostering international relations and national identity. The research aims to elucidate the involvement of students and teachers from the Indonesian School of Riyadh in cultural performances, delineating its significance in the broader context of Indonesia's diplomatic outreach in Saudi Arabia. Adopting a qualitative methodology, the investigation centered on interviews with twenty teachers who p

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Muzaffar, Rozina, and Putri Rozita Tahir. "CVI Evidence of Assessing Cross-Cultural Leadership Adjustment in High-Performance Work Culture Mediated By Cultural Intelligence." International Journal of Business and Management 6, no. 6 (2022): 20–25. http://dx.doi.org/10.26666/rmp.ijbm.2022.6.3.

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Leadership is a constant work in progress. Cultural leaders are attuned to the needs of polarities existing within the circumstances. To rise above these polarities and to engage in global market, managing diversity is akin to the execution of cross-cultural talents permeating all levels in an organization. Therefore, cross-cultural leadership in a globalized era is deemed as an emerging style contributing to organizational performances. For that matter, it stands in need to validate and design a tool to assess cross-cultural leadership adjustment in high-performance work culture that is media

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Metee, Punvaratorn Manop Wisuttipat Saran Nakrob Rujee Srisombat. "The Social Dynamic And The Cultural Existence Of Terng Ly Tow." Multicultural Education 7, no. 12 (2021): 46. https://doi.org/10.5281/zenodo.5762432.

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<em>Terng Ly Tow is a form of performing arts from the Karen ethnic group. Based on the fieldwork informed by ethnographic research methods and ethnomusicology research methods at Kong Mong Ta village in Laiwo sub-district, Sangklaburi district, Kanchanaburi province, members of the community had been practising the performance for several generations. The meaning of the Terng Ly is dance and the meaning of Tow is a group. There are four types of Terng Ly Tow: Terng Ly Tow Mula, Terng Ly Tow Mongyow, Terng Ly Tow Kache, and Terng Ly Tow Salaploeiw. The performances strictly followed traditiona

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Vuksanović, Divna, and Dragan Ćalović. "Digital Performances." In medias res 13, no. 24 (2024): 3967–79. http://dx.doi.org/10.46640/imr.13.24.2.

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Starting from Austin’s theory of speech acts and the difference that is established at the meta-linguistic level between two types of utterance: performative and constative, the authors, from the point of view of media philosophy, claim that in the digital universe, where linguistic and every other expression is transposed by the media, every interaction, being a media creation and therefore without foundations in reality, is performative. Recognizing digitization, i.e. the actions and procedures that confirm it through interaction, as economically based and therefore the entire digital space

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Peregrino, Miriane. "Rua como Palco de Cultura Viva." PragMATIZES - Revista Latino-Americana de Estudos em Cultura 14, no. 26 (2024): 203–11. http://dx.doi.org/10.22409/pragmatizes.v14i26.59704.

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Entrevista com o gestor cultural, dramaturgo e pesquisador, Alexandre Santini, realizada, de forma remota, no âmbito do projeto “Performances em falares potugueses”. O presente texto apresenta a relação do entrevistado com o teatro de rua, discutindo o conceito de cultura viva e o contexto da produção cultural durante a pandemia de 2020

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Rayner, Francesca. "Dehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (2017): 27–41. http://dx.doi.org/10.1515/mstap-2017-0003.

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This article addresses the key role of performance space in mediating between cultural locations. It discusses two Portuguese performances of Shakespeare where audiences were invited to become part of the performance and the ways in which this dehierarchization of the performance space framed a cross-cultural encounter between a globalized text and a localized performance context. In Teatro Oficina’s 2012 King Lear, both audience and performers sat around a large table in a production which reflected upon questions of individual and collective responsibility in Shakespearean tragedy and in the

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Kartika, Novianti Eka, and Dasrun Hidayat. "West Java Regional Cultural Management UPTD in Designing Virtual Art Performances During the COVID-19 Pandemic." Kanal: Jurnal Ilmu Komunikasi 9, no. 3 (2021): 108–12. http://dx.doi.org/10.21070/kanal.v9i3.1570.

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Virtual art performances are a form of program during the pandemic by the West Java Regional Cultural Management UPTD in the use of social media on YouTube. The purpose of this study was to determine the design of the virtual art performance program starting from the initial analysis stage, the production stage to the post-production by the executor of the West Java Regional Cultural Management UPTD. This research uses qualitative research with ethnographic study of public relations. This study aims to examine the behavior of public relations (PR) communication carried out by virtual art perfo

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Verdecchia, Guillermo. "Tango’s Cross-Cultural Dance." Canadian Theatre Review 139 (July 2009): 17–24. http://dx.doi.org/10.3138/ctr.139.002.

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I caught two neo-tango concerts in Toronto in the summer of 2008: Otros Aires at the Lula Lounge, “Canada’s Premier Live Venue for Latin Music,” in Little Brazil, and Bajofondo at the Mod Club in Little Italy. These concerts and the “world music” radio shows that alerted me to them, together with the existence of Little Italy, Little Brazil and the Lula Lounge, are obvious signifiers of the intercultural reality of Toronto. This, it bears repeating, is not an uncomplicated reality. The diversity of cultural practice in the city is embedded in a matrix of political, economic and material realit

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Adelakun, Abimbola A. "The Ghosts of Performance Past: Theatre, Gender, Religion and Cultural Memory." Religion and Gender 7, no. 2 (2017): 147–63. http://dx.doi.org/10.18352/rg.10162.

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This article studies the phenomenon of ghosting in religious performance through an examination of a famous Yoruba actress, Iyabo Ogunsola (Iya Efunsetan). Ogunsola once played the role of a 19th century historical character, Efunsetan Aniwura, on stage at a remarkable period of Yoruba history thus embedding her life and career trajectory with that of the culture. Iya Efunsetan has currently transited to an Aladura church leader and a gospel performer. Building on works by theatre/performance scholars who have studied how previously staged performances haunt the re-enactment of performances in

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Condemayta Soto, Paola, Joke Bauwens, and Kevin Smets. "Cultural Identity Performances on Social Media: A Study of Bolivian Students." Journalism and Media 4, no. 1 (2023): 304–21. http://dx.doi.org/10.3390/journalmedia4010021.

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In this study, both performance and polymedia serve as important conceptual lenses to examine how university students in the Global South handle the social media landscape in enacting cultural identity. Based on 17 focus groups with 105 students from Bolivian universities, we argue that in performing their multiplex identities, this group of Bolivian young people navigate social media as polymedia environments, taking advantage of its possibilities and testing its constraints. The research generated three key findings: (1) students mainly reported examples of cosmopolitan and national identity

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Pahrulroji, Andri, and Zakarias Sukarya Soeteja. "A Case Study on Behavior of Performing Art Appreciators in Public Space: Indonesian Puppet (Wayang) Performance Arts and Video Mapping." Journal of Industrial Product Design Research and Studies 1, no. 2 (2023): 65–78. http://dx.doi.org/10.17509/jipdrs.v1i2.53657.

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The presence of video mapping performances in Indonesia influences the behavior of appreciators in public spaces through acculturation. The propagation of Islamic teachings through wayang (puppet) shows had a fascinating impact on the history of public performances in Indonesia. Cultural acculturation can affect the behavior of public space appreciators or vice versa. This situation depends on the adaptability of appreciators with an Indonesian cultural background to changes in the format of public space performances. This change pertains to performance art incorporating innovative technology,

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Novita, Elmi. "Family narratives in Tor-tor performances as a medium for building collective memory and ethnic identity of Mandailing, Indonesia." LITE 21, no. 1 (2025): 125–38. https://doi.org/10.33633/lite.v21i1.11274.

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This research explains the family narrative in tor-tor performances as a medium of building collective memory, identity and communicating Mandailing cultural values. Research methods through narrative examination, observation of tor-tor performances, and narrative interviews. The results showed that family narratives and performance forms support each other in building collective memory, identity and communicating Mandailing cultural values. Family narratives have sequential structures and themes about the journey of family life. Meanwhile, the tor-tor form of performance supports the presence

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Christiansen, Bryan. "Cultural Indoctrination in Global Hypercompetition." International Journal of Productivity Management and Assessment Technologies 4, no. 1 (2016): 39–51. http://dx.doi.org/10.4018/ijpmat.2016010104.

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This article examines the potential influence of cultural indoctrination (CI) on international management and corporate performance today in an era of global hypercompetition. The specific organizational function targeted in this work is international human resource management (IHRM). As organizations are confronted with the need to engage with stakeholders from a variety of different cultural backgrounds, the need to understand the ways in which cultural imperatives play into individual and collective performances becomes increasingly important. Based on an encompassing literature review, thi

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Roberts, William. "Public Performances." Folklore 132, no. 4 (2021): 460–62. http://dx.doi.org/10.1080/0015587x.2021.1985238.

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Georgakopoulou, Alexandra. "Conversational Stories as Performances." Narrative Inquiry 8, no. 2 (1998): 319–50. http://dx.doi.org/10.1075/ni.8.2.05geo.

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This study is intended as a step towards the full uncovery of the textual and contextual, cross-cultural and particularistic aspects of the contested notion of oral performances. The data comprise conversational storytelling performances from Greece. To capture the interplay between conventional resources and contextual contingencies involved in any performance, the study employs the three dimensions of narrativity, teller-tale-telling (Blum-Kulka, 1997), as the loci of performances. With respect to the tale, Greek stories range from mini-performances to full-fledged or sustained performances.

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Subbiah, Dr M. "Theatrical Convergence: Exploring the Interconnected Threads of Vsevolod Meyerhold's Acting Theory and Traditional Indian Ritual Performances." International Journal of Multidisciplinary Research and Growth Evaluation 6, no. 1 (2025): 1583–96. https://doi.org/10.54660/.ijmrge.2025.6.1.1583-1596.

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This research investigates the nuanced intersection of Meyerhold Acting Theory, developed by Vsevolod Mayer-Hold, with traditional ritual performances in India. The exploration unfolds the intricate interplay between biomechanics, symbolism, and emotional engagement within the context of Indian cultural expressions. Meyerhold's theory, emphasizing the fusion of physicality and emotion in acting, serves as a lens through which we examine the rich tapestry of traditional Indian performances. The study delves into the principles of biomechanics within Mayer-Hold's theory, highlighting its signifi

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Jian, Zhang, Arsenio Nicolas, and Khomkrich Karin. "Examining Cultural Production and the Development of Zhuang Cultural Performances in Guangxi Province, China." International Journal of Critical Cultural Studies 20, no. 1 (2022): 13–25. http://dx.doi.org/10.18848/2327-0055/cgp/v20i01/13-25.

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Forsyth, Miranda, and Kalissa Alexeyeff. "Regulating Cultural Performances in Oceania: the Complicated Relationship between Law, Creativity and Cultural Property." Journal de la société des océanistes, no. 142-143 (December 31, 2016): 117–30. http://dx.doi.org/10.4000/jso.7489.

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Pal, Bidisha, and Mojibur Rahman. "Acculturation, cultural resistance, or cultural rigging: A study of folk performances in popular films." South Asian Popular Culture 18, no. 3 (2020): 261–69. http://dx.doi.org/10.1080/14746689.2020.1816256.

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Jaeni, Jaeni. "Arts Communication Model: The Development of Performing Arts through Empowering Cultural Art-Based Tourism." Harmonia: Journal of Arts Research and Education 23, no. 2 (2023): 318–32. http://dx.doi.org/10.15294/harmonia.v23i2.41463.

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Indonesia has many traditional’s arts. However, not all Indonesian people treat them to protect sacred objects since art is considered as a finished cultural product. Considering that the performing arts have not been well communicated for providing and empowering the community’s benefits except for home entertainment and stage performances, this research aims to create a model of performing arts communication through empowering cultural art-based tourism. The research method used is a qualitative approach and creative artwork using the RD method by analyzing various performing arts in West Ja

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Arko-Mensah, Augusta. "Ethnomus Performative Analytical Tool: A Conceptual Thought in Performance Analysis of School Music in Ghanaian Cultural Context." British Journal of Education, Learning and Development Psychology 7, no. 2 (2024): 18–29. http://dx.doi.org/10.52589/bjeldp-bbwzdsky.

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One of the areas of school music that have drawn attention to researchers is how music performances can be analysed by way of assessment to obtain objectivity in awarding specific grades to students involved in the performance. This paper highlights Ethnomus assessment tool, a culturally contextualised analytical tool for analysing and assessing school musical performances objectively. Additionally, it sheds light on prevalent notions of discussing music using Western musical discourse theories. Simultaneously, it establishes specific analytical frameworks that are adapted to the cultural cont

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이미연. "Exploring the Possibility of Taekwondo Performances as Cultural Marketing." TAEKWONDO JOURNAL OF KUKKIWON 7, no. 3 (2016): 83–107. http://dx.doi.org/10.24881/tjk.2016.7.3.83.

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Bedoya, Ricardo. "Dos “performances” de Magaly Solier: construyendo una imagen cultural." Contratexto, no. 26 (2016): 71–84. http://dx.doi.org/10.26439/contratexto2016.n026.770.

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Bay-Cheng, Sarah. "Performing the Matrix: Mediating Cultural Performances (review)." Theatre Journal 61, no. 2 (2009): 335–36. http://dx.doi.org/10.1353/tj.0.0183.

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Bianchini, Natka. "Drawing on Beckett: Portraits, Performances, and Cultural Contexts (review)." Theatre Journal 58, no. 1 (2006): 157–58. http://dx.doi.org/10.1353/tj.2006.0060.

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Choudhury, Mita, Marianne Novy, Dennis Kennedy, and Brian Gibbons. "Cross-Cultural Performances: Differences in Women's Revisions of Shakespeare." TDR (1988-) 40, no. 2 (1996): 141. http://dx.doi.org/10.2307/1146536.

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C. Chinyowa, Kennedy. "Play as an Aesthetic Discourse in African Cultural Performances." Contemporary Theatre Review 25, no. 4 (2015): 534–44. http://dx.doi.org/10.1080/10486801.2015.1078320.

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Jafari, Jafar. "The celebration of society perspective on contemporary cultural performances." Annals of Tourism Research 13, no. 4 (1986): 671–72. http://dx.doi.org/10.1016/0160-7383(86)90014-9.

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