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The independent electronic music scene/circuit in São Paulo—techno, house, and their subgenres—migrated from clubs to street parties or locations in central areas of the city in the 2010s. This scene/circuit has a strong political bias, focusing on the uses of urban spaces, LGBTQIA+ rights, corporeality, and aestheticization. Ethnographic study of the activities of four collectives highlights their ways of occupying and claiming the right to the city and the diversity and temporal dynamics of the circuit. A cena/circuito e música eletrônica independente em São Paulo (tecno, house e suas vertentes), migrou dos clubes para as festas em ruas ou locações em áreas centrais da cidade na década de 2010. Esta cena possui forte viés político ressaltando os usos dos espaços urbanos, os direitos LGBTQIA+, as corporalidades e estetizações. Evidencia-se a centralidade da música e sua dimensão comunicacional e política: dança, corpo e identidades aliadas à construção de modos de estar juntos e ocupar a cidade. A metodologia centra-se na etnografia de quatro coletivos e suas festas em suas formas colaborativas/autogestionárias e maneiras de ocupar e reivindicar o direito à cidade e a diversidade e dinâmica temporal do circuito.

Introduction -- A short history of thinking globally -- Competing approaches -- Global history as a distinct approach -- Global history and forms of integration -- Space in global history -- Time in global history -- Positionality and centred approaches -- World-making and the concepts of global history -- Global history for whom? : the policies of global history

The following article describes the April 9, 2022 roundtable "Issues of the History and Theory of Intermedial Studies". The event was held on the National Research University Higher School of Economics' St. Petersburg campus under the auspices of the research group "Transmedial Literature Studies". Participants discussed the history and theory of intermediality in three sessions before delving into traditional (opera, cinema, etc.) and modern (video games, rock music, etc.) media and their multimodal nature. Speakers, panelists, and audience members attempted to determine how literature influences the other media and how fruitful it is to use philological methods to analyze other arts. It was revealed during the discussion that "old" and "new" media strive for syncretism not only within the object, but also at the genre, plurimedial, and cognitive levels. Several approaches to intermedial theory were presented, all of which are primarily interdisciplinary.

This dissertation examines how local neighborhood tango music movements--reacting to "for-export" tango and the neoliberal cultural trends of Argentina in the 1990s--have reclaimed and reterritorialized tango as a form of local musical social life and as an approach to musical activism in Buenos Aires over the past 15 years. To most non-Argentines, tango is thought of as a passionate and sensual form of dance. However, tango as a musical culture also has a rich history in the city of Buenos Aires, and not one that is always associated with dancing. Scholars in the late 1990s studied the processes through which tango was deterritorialized, exoticized and transformed into a transnational "for-export" dance phenomenon. More recent works have discussed the ways that, following the 2001 Argentine economic crisis, the government used "for-export" tango as an economic and cultural resource to promote tourism. Moving away from government agendas, my research explores how, parallel to these other phenomena, musicians have been revitalizing tango music as a form of everyday socialization and everyday urban activism in the contemporary neighborhoods of Buenos Aires. Through a musical ethnography of the Almagro neighborhood, home to the city's most thriving not "for-export" tango music scene, I explore how the advent of informal and participatory live musics scenes in small bars in the late `90s allowed for the production of local spaces for musical transmission, urban intimacy, community building, and musical activism for a new generation of tango musicians. Beyond contributing to literature on tango as a contemporary musical form of urban culture in neoliberalizing Buenos Aires, I examine how feelings of locality in contemporary tango scenes are often produced at the complex intersection of sentimentality and post-neoliberal forms of urban activism. In particular, I examine I analyze the neighborhood location of these scenes not only as a physical space where alternative tango cultures developed, but also as a powerful symbolic imaginary where new musical and social practices continue to be constructed on top of powerful historic social imaginaries of the neighborhood. Because globalized pop music genres like tango are so entrenched in powerful visual and sonic stereotypes, I utilize filmmaking throughout my dissertation as a sensorial mode through which to construct new visual and sensory ways of knowing tango culture. Inspired by theories of observational cinema, visual anthropology, and sensory ethnography, I propose sensory filmmaking as a rich methodological approach to studying the complex social dynamics and sensory aesthetics so integral to the production of meaningful local tango cultures today.

This study centers on the process of transcontextualization of indigenous vocal music among Alangan Mangyan within the context of mining exploration. The ethnography sketches the indigenous vocal music of the Alangan Mangyan and the influences of etic or popular music. This paper examines the dialectic relationship between emic or indigenous vocal music and etic or popular music. Primarily, the paper argues that mining exploration in the ancestral domains of the Alangan Mangyans is a significant force in the process of transcontextualization of indigenous vocal music.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- 1 Migration History: Some Patterns Revisited -- 2 Moving Europeans in the Globalizing World: Contemporary Migrations in a Historical-Comparative Perspective (1955–1994 v. 1870–1914) -- 3 Africa and Global Patterns of Migration -- 4 The Global Migration Crisis -- 5 Diasporas, the Nation-State, and Globalisation -- 6 Migrant Workers, Markets, and the Law -- 7 Of Migration, Great Cities, and Markets: Global Systems of Development -- 8 Uncertain Globalization: Refugee Movements in the Second Half of the Twentieth Century -- 9 Travel, Migration, and Images of Social Life -- 10 Global Movements, Global Walls: Responses to Migration, 1885–1925 -- About the Book and Editor

"Covering 5,000 years of global history, How Food Made History traces the changing patterns of food production and consumption that have molded economic and social life and contributed fundamentally to the development of government and complex societies. Charts the changing technologies that have increased crop yields, enabled the industrial processing and preservation of food, and made transportation possible over great distances Considers social attitudes towards food, religious prohibitions, health and nutrition, and the politics of distribution Offers a fresh understanding of world history through the discussion of food"--

Children with disabilities are at greater risk of social exclusion. In part, this results from the negative perceptions of disability held by their peers. An innovative, school-based project used creative music-making sessions facilitated by young disabled musicians to nurture more positive attitudes among children aged 9 years in four schools, with two classes from each. In all, around 200 pupils were involved in weekly sessions totalling 16 h. Their attitudes to disability were assessed before and after participating in the project, along with the reactions of parents and teachers. Pupils were significantly more disposed to interacting with children with disabilities and to persons with disabilities more generally as well as to having a teacher with a disability. Parents and teachers confirmed the pupils' enthusiasm for the project and the impact it had on them. A core driver for change appeared to be sharing enjoyable musical activities with competent musicians who had disabilities. Further research should explore the potential of mentoring by disabled persons in other arts activities and sports to provide further validation of this approach.