Sandra Chatterjee and Cynthia Ling Lee
- Published in print:
- 2017
- Published Online:
- April 2017
- ISBN:
- 9780199377329
- eISBN:
- 9780199377350
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199377329.003.0003
- Subject:
- Music, Dance
This essay recounts and analyzes the Post Natyam Collective’s process of creating the contemporary abhinaya work, “rapture/rupture.” Working in a feedback loop between theory and practice, it ...
More
This essay recounts and analyzes the Post Natyam Collective’s process of creating the contemporary abhinaya work, “rapture/rupture.” Working in a feedback loop between theory and practice, it researched ways to denaturalize Indian classical kathak’s script of idealized femininity to facilitate fluid, diverse possibilities for performing gender and cultural belonging in South Asian aesthetic contexts. “Rapture/rupture” produces a dancing subject whose ethnic mismatch, hybrid movement vocabulary, gender nonconformity, and same-sex love across cultural difference exceed the boundaries of a kathak discourse that calls for purist notions of culture, race, nation, religion, and femininity. In theoretically analyzing how gender, cultural belonging, and desire are conceptualized through abhinaya, postmodern dance, US identity politics, and poststructuralist critiques of identity, it argues that embracing lack—being “not enough”—is a mode of exceeding dominant boundaries that enables a multilayered, intersectional dance-making practice that queers gender, queers cultural belonging, and embodies queer female desire.Less
This essay recounts and analyzes the Post Natyam Collective’s process of creating the contemporary abhinaya work, “rapture/rupture.” Working in a feedback loop between theory and practice, it researched ways to denaturalize Indian classical kathak’s script of idealized femininity to facilitate fluid, diverse possibilities for performing gender and cultural belonging in South Asian aesthetic contexts. “Rapture/rupture” produces a dancing subject whose ethnic mismatch, hybrid movement vocabulary, gender nonconformity, and same-sex love across cultural difference exceed the boundaries of a kathak discourse that calls for purist notions of culture, race, nation, religion, and femininity. In theoretically analyzing how gender, cultural belonging, and desire are conceptualized through abhinaya, postmodern dance, US identity politics, and poststructuralist critiques of identity, it argues that embracing lack—being “not enough”—is a mode of exceeding dominant boundaries that enables a multilayered, intersectional dance-making practice that queers gender, queers cultural belonging, and embodies queer female desire.
Jo Smith and Joost Debruin
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816681037
- eISBN:
- 9781452948621
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816681037.003.0012
- Subject:
- Society and Culture, Media Studies
This chapter examines the noncommercial/commercial dichotomy that is supposedly inherent to developmental Indigenous media by focusing on two New Zealand television programs: The Summit and Waka Reo. ...
More
This chapter examines the noncommercial/commercial dichotomy that is supposedly inherent to developmental Indigenous media by focusing on two New Zealand television programs: The Summit and Waka Reo. More specifically, it considers how the two programs draw upon global reality television formats such as Survivor of the United States to articulate discourses of indigeneity and cultural belonging in New Zealand. It argues that claims to indigeneity remain a contested terrain, due to the usurpation of iwi (tribes) Māori settlement by processes of British colonization. It also contends that the contrasting style and themes of The Summit and Waka Reo reveal the intranational tensions of a nation where claims to belonging and indigeneity remain a controversial issue.Less
This chapter examines the noncommercial/commercial dichotomy that is supposedly inherent to developmental Indigenous media by focusing on two New Zealand television programs: The Summit and Waka Reo. More specifically, it considers how the two programs draw upon global reality television formats such as Survivor of the United States to articulate discourses of indigeneity and cultural belonging in New Zealand. It argues that claims to indigeneity remain a contested terrain, due to the usurpation of iwi (tribes) Māori settlement by processes of British colonization. It also contends that the contrasting style and themes of The Summit and Waka Reo reveal the intranational tensions of a nation where claims to belonging and indigeneity remain a controversial issue.
Elisa Tamarkin
- Published in print:
- 2008
- Published Online:
- February 2013
- ISBN:
- 9780226789446
- eISBN:
- 9780226789439
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226789439.001.0001
- Subject:
- Literature, American, 19th Century Literature
This book charts the phenomenon of the love of Britain that emerged after the Revolution and remains in the character of U.S. society and class, the style of academic life, and the idea of American ...
More
This book charts the phenomenon of the love of Britain that emerged after the Revolution and remains in the character of U.S. society and class, the style of academic life, and the idea of American intellectualism. But as the author shows, this Anglophilia was more than just an elite nostalgia; it was popular devotion that made reverence for British tradition instrumental to the psychological innovations of democracy. Anglophilia spoke to fantasies of cultural belonging, polite sociability, and, finally, deference itself as an affective practice within egalitarian politics. The author traces the wide-ranging effects of Anglophilia on American literature, art, and intellectual life in the early nineteenth century, as well as its influence in arguments against slavery, in the politics of Union, and in the dialectics of liberty and loyalty before the Civil War. By working beyond narratives of British influence, the author highlights a more intricate culture of American response, one that included Whig elites, college students, radical democrats, urban immigrants, and African Americans. Ultimately, the book argues that the love of Britain was not simply a fetish or form of shame—a release from the burdens of American culture—but an anachronistic structure of attachment in which U.S. identity was lived in other languages of national expression.Less
This book charts the phenomenon of the love of Britain that emerged after the Revolution and remains in the character of U.S. society and class, the style of academic life, and the idea of American intellectualism. But as the author shows, this Anglophilia was more than just an elite nostalgia; it was popular devotion that made reverence for British tradition instrumental to the psychological innovations of democracy. Anglophilia spoke to fantasies of cultural belonging, polite sociability, and, finally, deference itself as an affective practice within egalitarian politics. The author traces the wide-ranging effects of Anglophilia on American literature, art, and intellectual life in the early nineteenth century, as well as its influence in arguments against slavery, in the politics of Union, and in the dialectics of liberty and loyalty before the Civil War. By working beyond narratives of British influence, the author highlights a more intricate culture of American response, one that included Whig elites, college students, radical democrats, urban immigrants, and African Americans. Ultimately, the book argues that the love of Britain was not simply a fetish or form of shame—a release from the burdens of American culture—but an anachronistic structure of attachment in which U.S. identity was lived in other languages of national expression.
Antonio T. Tiongson
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816679386
- eISBN:
- 9781452948416
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679386.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter provides an account of Raquel Z. Rivera concerning the differential racialization history and trajectory of the four elements that make up hip-hop: MCing, writing, breaking, and DJing. ...
More
This chapter provides an account of Raquel Z. Rivera concerning the differential racialization history and trajectory of the four elements that make up hip-hop: MCing, writing, breaking, and DJing. It examines the construction of each constituent element of hip-hop as a particular kind of racialized space with implications for claim of cultural belonging and entitlement. According to Rivera, MCing and DJing is an extension of African American oral practices and traditions. Both elements are ethnic-racially identified with African Americans and closed to perceived outsiders by virtue of their reliance on dexterity in the English language. Similarly, breaking and graffiti writing emergence is rooted in the historical and structural conditions as well, with breaking coming from the Puerto Rican youth and writing out of the confines of New York City. In addition, the chapter examines the documentary Scratch which explores the culture of DJing.Less
This chapter provides an account of Raquel Z. Rivera concerning the differential racialization history and trajectory of the four elements that make up hip-hop: MCing, writing, breaking, and DJing. It examines the construction of each constituent element of hip-hop as a particular kind of racialized space with implications for claim of cultural belonging and entitlement. According to Rivera, MCing and DJing is an extension of African American oral practices and traditions. Both elements are ethnic-racially identified with African Americans and closed to perceived outsiders by virtue of their reliance on dexterity in the English language. Similarly, breaking and graffiti writing emergence is rooted in the historical and structural conditions as well, with breaking coming from the Puerto Rican youth and writing out of the confines of New York City. In addition, the chapter examines the documentary Scratch which explores the culture of DJing.
Michael Jackson
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780226491820
- eISBN:
- 9780226492018
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226492018.003.0002
- Subject:
- Anthropology, Anthropology, Theory and Practice
In Aotearoa-New Zealand, this haka is often taught in high schools, its message pitched at adolescent boys on the threshold of manhood. It both challenges a young man to address his difficulties with ...
More
In Aotearoa-New Zealand, this haka is often taught in high schools, its message pitched at adolescent boys on the threshold of manhood. It both challenges a young man to address his difficulties with courage, and find within himself the resources to persevere and triumph. The haka is also commonly used at coming of age parties and graduation ceremonies, and may be performed at funerals (tangi) as a way of paying respect to someone who helped a youngster through hard times. Indeed, it can be argued that learning and performing haka is fundamental to a Māori person’s sense of self, cultural belonging, and wellbeing, both spiritual and physical, in early childhood as well as later life.Less
In Aotearoa-New Zealand, this haka is often taught in high schools, its message pitched at adolescent boys on the threshold of manhood. It both challenges a young man to address his difficulties with courage, and find within himself the resources to persevere and triumph. The haka is also commonly used at coming of age parties and graduation ceremonies, and may be performed at funerals (tangi) as a way of paying respect to someone who helped a youngster through hard times. Indeed, it can be argued that learning and performing haka is fundamental to a Māori person’s sense of self, cultural belonging, and wellbeing, both spiritual and physical, in early childhood as well as later life.
Harmony Bench
- Published in print:
- 2016
- Published Online:
- March 2016
- ISBN:
- 9780190201661
- eISBN:
- 9780190201692
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190201661.003.0008
- Subject:
- Music, Dance
This chapter explores the ways entertainment media work in conjunction with technology and the rhetoric of war to affectively shape experiences of corporality, temporality, and cultural belonging. ...
More
This chapter explores the ways entertainment media work in conjunction with technology and the rhetoric of war to affectively shape experiences of corporality, temporality, and cultural belonging. Dance on television and dance video games are specifically explored for the ways they produce affective temporalities aligned with the physical and participatory vocabularies of the so-called war on terror: threat, precarity, responsibility, anticipation, and security among them. As viewers and gamers engage with these forms of entertainment, they incorporate domesticated and commodified versions of wartime’s temporal registers, imbricating themselves in the collective rhythms of post-9/11 socialities.Less
This chapter explores the ways entertainment media work in conjunction with technology and the rhetoric of war to affectively shape experiences of corporality, temporality, and cultural belonging. Dance on television and dance video games are specifically explored for the ways they produce affective temporalities aligned with the physical and participatory vocabularies of the so-called war on terror: threat, precarity, responsibility, anticipation, and security among them. As viewers and gamers engage with these forms of entertainment, they incorporate domesticated and commodified versions of wartime’s temporal registers, imbricating themselves in the collective rhythms of post-9/11 socialities.
