'A music of grief': classical music and the First World War
In: International affairs, Volume 90, Issue 2, p. 379-395
ISSN: 1468-2346
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In: International affairs, Volume 90, Issue 2, p. 379-395
ISSN: 1468-2346
In: International affairs, Volume 90, Issue 2, p. 379-395
ISSN: 0020-5850
In: KlangKulturStudien Bd. 8
In: African identities, Volume 1, Issue 2, p. 187-196
ISSN: 1472-5851
In: European journal of intercultural studies, Volume 10, Issue 3, p. 323-327
In: Cultural studies, Volume 5, Issue 3, p. 332-346
ISSN: 1466-4348
In: The Oxford literary review: OLR ; critical analyses of literary, philosophical political and psychoanalytic theory, Volume 2, Issue 2, p. 30-31
ISSN: 1757-1634
In: A Current Bibliography on African Affairs, Volume 5, Issue 1, p. 55-56
ISSN: 2376-6662
In: Cambridge studies in christian doctrine 4
Shortlisted for the 2021 Prime Minister's Literary Award for Australian History. Representing Australian Aboriginal Music and Dance 1930-1970 offers a rethinking of recent Australian music history. Amanda Harris presents accounts of Aboriginal music and dance by Aboriginal performers on public stages. Harris also historicizes the practices of non-Indigenous art music composers evoking Aboriginal music in their works, placing this in the context of emerging cultural institutions and policy frameworks. Centralizing auditory worlds and audio-visual evidence, Harris shows the direct relationship between the limits on Aboriginal people's mobility and non-Indigenous representations of Aboriginal culture. This book seeks to listen to Aboriginal accounts of disruption and continuation of Aboriginal cultural practices and features contributions from Aboriginal scholars Shannon Foster, Tiriki Onus and Nardi Simpson as personal interpretations of their family and community histories. Contextualizing recent music and dance practices in broader histories of policy, settler colonial structures, and postcolonizing efforts, the book offers a new lens on the development of Australian musical cultures.
Due to the lack of social systems supporting the cultural productions of migrant societies in Turkey, the venues and opportunities to which migrant musicians have access for the maintenance of their musical practices are limited. Under the given circumstances, especially in the first years after their arrival, street musicianship emerged as a new musical practice for Syrian musicians in Istanbul, and Beyoğlu District, the city's cultural and political center, has become the venue for street musicians' performances. Despite undergoing a rapid neoliberal transformation, Beyoğlu district, with Taksim Square and Istiklal Avenue, is a venue of interaction among locals, tourists, and various migrant groups from diverse social classes and identities. As such, it still possesses the potential to be the public sphere which can operate as the space of "a democratic ideal." For migrant musicians, the street music practices, which fill the very heart of city with their voices and sounds, are means of claiming their existence in the city as potential actors of this public sphere. However, conducting the interaction with the other public space actors and the state officials through street music is not an easy task for Syrian musicians, and it requires the use of tactics from them. In this article, I summarize the given circumstances of Syrian street music performances and discuss the Beyoğlu district in the frame of being—or not being—a public space. I propose street music practice as political action, a "social non-movement", as Asef Bayat calls it, and situate migrant musicians as political actors who are possible allies of other subaltern groups in Turkey.
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In: Culture and social practice
In: Oxford historical monographs
In: Feminism & psychology: an international journal, Volume 26, Issue 3, p. 391-393
ISSN: 1461-7161
In: Labour / Le Travail, Volume 42, p. 327