Joyride

The main purpose of this article is to examine the ways in which popular music in Guangzhou is implicated in the performance of places and identities, and how it is located in Guangzhou. Drawing on the qualitative methods of participant observation and interviews, this research analyses the popular music and musical performances in Guangzhou through three spatial dimensions: the place of Guangzhou, the performance venues and the human bodies. The findings of this research suggest that popular music in Guangzhou sets up the emotional communications and engenders different spaces for the participants to negotiate their embodied identities; popular music and musical performances make the connections between three spatial scales—the place of Guangzhou, the performance venues, and the human body—through its capacity of social mediation and the musical performances articulate the power relations between local residents, the local and national authorities, and the global. This research can be read as a contribution towards the wider literatures on musical performance and the exploration of doing/making place and place-based identity through popular music.

The role of place in cultivating artistic practice, communities and audiences is well established and the economic, social and cultural benefits that flow from this are becoming better understood. By contrast, the factors impacting and influencing access to these places is poorly theorised. This paper identifies and examines these factors as they apply to live music in Australia, through a qualitative survey of live music patrons and venues. We compare the themes identified from our data with existing theories of access in the arts, with a particular focus on the ways in which place-based music scenes may encourage or exclude participation. We address the question of how access affects participation within these scenes, as well as how access might be improved.

This bibliometric analysis investigates the role of visual and performing arts in branding, focusing on the strategic use of artistic elements such as design, imagery, music, theater, and dance to enhance brand identity, consumer engagement, and value communication. Data for the study were sourced from the Scopus database, covering 149 documents published between 1995 and 2023. Using Biblioshiny and VOSviewer, the analysis provides insights into annual scientific production trends, identifying a steady increase in research output, particularly in recent years. The study highlights the most relevant authors and sources, with contributions from multidisciplinary journals and a balanced distribution of authorship. A Three-Field Plot reveals the interconnected relationships between authors, publication sources, and their countries, demonstrating strong Western representation and emerging global participation. Trend topics such as "branding," "performing arts," and "visual arts" are identified as central themes driving research, while the thematic map categorizes keywords into Motor, Basic, Niche, and Emerging Themes, offering a structured overview of the field. Bibliographic coupling of documents uncovers clusters of influential works and shared references, showcasing the foundational literature and methodological alignments. Additionally, the co-occurrence of keywords highlights six thematic clusters, bridging cultural, artistic, and commercial domains in branding. The findings underscore the interdisciplinary nature of the field and its evolving priorities, emphasizing the potential for cross-cultural and creative innovations. Practical implications suggest that integrating visual and performing arts in branding strategies can foster emotional connections and cultural relevance. Future research should explore underdeveloped themes and expand international collaboration to enrich the discourse further.

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

Jane Davidson (2002, p. 146) states that ‘the use of the body is vital in generating the technical and expressive qualities of a musical interpretation’. Although technique and expression within music performance are separate elements, ‘they interact with, and depend upon, one another’ (Sloboda, 2000, p. 398) and, therefore, require equal consideration. Although it is possible for a musician to perform with exceptional technical prowess but little expression (Sloboda, 2000), it is important that the significance of the expressive qualities of the performer is acknowledged because whilst ‘sound is the greatest result of performance’ (Munoz, 2007, p. 56), music is not exclusively an auditory event, principally because ‘sound is essentially movement’ (Munoz, 2007, p. 56). It is vital to understand the importance of the delivery of expressive gesture just as much as the accomplishment of secure and proficient instrumental technique. This chapter centres on findings from an ethnographic study into the use of expressive gesture and non-verbal communication in the ensemble rehearsal and performance practices of undergraduate popular music performance students. A discursive approach to performance and teaching practice is interwoven with relevant theoretical perspectives from the field of music education and beyond, and identifies relationships between gesture and the musical performance, and how the areas of leadership, trust and confidence can influence the expressive delivery of a performer. The chapter culminates in an explanation of how findings from this project provide the content for specifically designed classes and workshops which focus on the teaching of expressive performance to popular music performance undergraduates at the University of West London. These classes place the art of performance alongside the equally crucial skill of secure technique and proficient instrumental handling and allow performers to develop their own unique style of artistic expression – creating well-rounded, empathetic, and employable musicians who have a visceral understanding of their art form.

Reviewed by: Satire and Protest in Putin's Russia ed. by Aleksei Semenenko Seth Graham Semenenko, Aleksei (ed.). Satire and Protest in Putin's Russia. Palgrave Macmillan, Cham, 2021. xxxix + 197 pp. Illustrations. Notes. References. Index. £109.99; £87.50 (e-book). As its title indicates, this timely and original collection of essays by five authors examines satire as a form of cultural protest in twenty-first-century Russia. The contributions analyse a broad range of satirical texts across media, including stand-up comedy, Internet memes, TV sketch shows and journalistic 'agitainment', the competitive comedy genre known as KVN, rap music, poetry (the 'Citizen Poet' project), queer and camp aesthetics in Russian music and visual culture, street protests and humorous banners ('Monstrations'), and performance and visual art. As Semenenko (editor and author of five of the collection's ten chapters) writes in his Introduction, the book approaches its subject with critical awareness of the two broad, traditional, and purportedly contradictory explanations of political humour's main purpose: 'resistance' (i.e., to effect actual political change) and 'relief' (i.e., to provide a harmless 'safety valve' for otherwise dangerous political hostility). One of the book's strengths is its nuanced scepticism towards this supposed mutual exclusivity. The editor characterizes satirical expression in Russia as 'a process of […] reciprocal confrontation and, in some cases, assimilation and fusion of the mainstream with the opposing tendencies' (p. xix). This proves to be a productive approach, and one that allows the authors to transcend obsolete binaries ('official vs. [End Page 169] unofficial' or 'conformist vs. dissident') that have often characterized the study of cultural production in illiberal and authoritarian societies. Nevertheless, the structure of the book does reflect the dual concepts of 'relief' and 'resistance' acknowledged by Semenenko in the Introduction. Part One is titled 'Satire on a Leash' and Part Two, 'Satire as Protest'. The former includes four chapters — all written by Semenenko — on genres, media and venues that have proven susceptible to partial or complete co-optation and/or censorship by the (Soviet and post-Soviet Russian) state and those supporting the state: stand-up; memes; television satire; and KVN (televised sketch-comedy-team competitions). Semenenko's contextualization of the important recent genre of stand-up (stendap) in the long tradition of Soviet estrada — which also frequented the boundary between the permissible and its opposite — is particularly sharp and relevant. Part Two 'presents five studies of satirical protest that fully or partially managed to escape repression'. The five authors examine the use of satire in music, poetry, street protests, music, and visual and performance art. The chapter entitled 'Transgressing the Mainstream: Camp, Queer and Populism in Russian Visual Culture' by Maria Engström, particularly stands out for its original contribution to the literature not only on satire, but on the state and influence of queer culture in contemporary Russia. Daniil Leiderman's discussion of 'Monstration' — the use of absurd and humorous posters and banners in street protests — convincingly connects the practice to the tradition of Soviet conceptualism, which, he argues, was similarly provocative in its aims. In his Introduction, Semenenko usefully situates the topic of satire in the country's political history, not only pre- and post-Bolotnaia Putinist Russia, but also in the larger context of Soviet culture and its lasting influence. He also acknowledges the methodological difficulties in evaluating the effectiveness of satirical protest, admitting the near impossibility of measuring satire's 'impact on the public' and identifying 'evidence of its influence on public discourse'. In addition, the Introduction places satire alongside other 'modal' or behavioural forms of protest in late- and post-Soviet Russia such as stiob, tricksterism and cynicism, and describes how the state began to exploit these phenomena after the protests of 2011–13 to its own benefit. In addition to its considerable contribution to scholarship on contemporary Russian culture, Semenenko's comparative historical discussion makes it a valuable addition to studies of the place of humour and satire in Soviet culture by such authors as Annie Gerin, Evgeny Dobrenko and Natalia Jonsson-Skradol, and Jonathan Waterlow. This volume also fills a gap in the scholarship on Putin-era culture and cultural politics, which has tended to...

[EN] Summary in English This doctoral thesis seeks to explain, describe, and understand the phenomenon of authorial Mexican photography from 1994 to 2014 through the concept of expanded image. I describe expanded image as a key to new discursive, conceptual, and supportive possibilities that articulate post-modern practices and as a strategy of visual arts production in which the traditional forms are modern. Photography in Mexico since the 1990's was primarily influenced by Performance and Installation Art, but lost its qualities related to documental photography and was far from being an iconic register of social reality. Since the 90's, photographers started to use other art disciplines to widen their limits and production fields, and by such means photography began to redefine itself as expanded image. The display fields of photography have changed radically and bit-by-bit this change becomes familiar. For the analysis of images I use the visual art critique methods of Professor Carlos Blas Galindo of the National Research, Documentation, and Information Center of Plastic Arts (CENIDIAP) of the National Institute of Fine Arts (INBA). The method consists of describing and analyzing three principal elements: 1. Esthetics: Expressive Force, 2. Thematics: Motive or principal matter, Thematic Treatment, the author's Posture towards the work, the author's Opinion towards the time period, Psychological implications and communicative Efficacy and 3. Artistics: Maturity of individual style, Originality, Technical repertoire and manner of application, Materials and procedures, Justification, Quality of production, Solutions of composition, chromatics, and Relationship of the work with the artistic context. Research consists of three thematic axes: Body, Time, and Space. In the first chapter Body/Performance in Mexican photography, I mainly approach the existing link between Performance Art and Photography as a metaphor of construction of meaning, thinly linked with feminist stances, and where, evidently, the discourse of gender is a characteristic. As in the chapter on space, I intend to analyze photography not only as a register, but also as the final support of a performative process. In the second chapter I approach the last thematic axis: Time/Memory, linked to the staging, nostalgia, footprint, and inquiry of archives as an appropriation of memory. In this chapter I analyze authors who link photography with practices such as Installation or object art. In the conclusions I can, with certainty, make an analysis of photographers from 1994 to 2014, and will be capable of linking Mexican photography with expanded image from a theoretical and historical reflection. In the third chapter of my thesis Space/Installation in Mexican photography, I approach the artistic practices linked to space as a significant part of the work, specifically with disciplinary crossings with the installation and the intervention of the landscape, in which photography is no longer used as a medium for obtaining a visual register of…

THE SILK ROUTE AND ITS REFLECTION ON KNOWLEDGE – SYNCRETISM AND IMAGES IN PAINTING AND ARCHITECTONIC FORMS IN MIDDLE-INNER ASIA A PARADIGM BEYOND SPACE AND TIME 13th – 15th CENTURIES AD

The aim of this study was to investigate performer nonverbal behaviour in popular music performance in order to understand the use and functions of gestures, postures, and facial expression. To this end, the study begins by reviewing relevant psychological and sociological research including Ekman and Friesen and Argyle's categorisations of nonverbal behaviour. Drawing on these specific categories, functions of nonverbal behaviours in popular music performance are proposed. These include: to maintain performer self-control; to provide musical, narrative, emotional and personal information; to regulate and manipulate relationships between performer, co-performer and audience. The investigative work focuses on a case study of The Corrs and is carried out by observing two commercially available film recordings of the band in live performance. The songs demonstrate that within this band, three of the four members take turns singing solos. In the first performance, What can I do? is sung by Andrea (principle vocal), and in the second performance, No frontiers is sung by Sharon and Caroline. Focusing on the soloists, all their nonverbal behaviours are classified in terms of types ( e.g., emblem, illustrator, regulator, adaptor, affect display) and frequency of behaviour. The results demonstrate that Ekman and Friesen and Argyle's categorisations provide a complete description of the nonverbal behaviours found in the performances. Moreover, the analysis reveals differences between individuals and the two songs. With these findings, the paper concludes that nonverbal behaviours in this type of performance are crucial to the development, production and perception of the musical performance. Though preliminary, the study indicates a need for much more detailed research of this topic if performers, educators and researchers are to understand and exploit the nonverbal aspects of a musical communication fully.

Professional musicians manipulate sound properties such as pitch, timing, amplitude, and timbre in order to add expression to their performances. However, there is little quantitative information about how and in which contexts this manipulation occurs. In this chapter, we describe an approach to quantitatively model and analyze expression in popular music monophonic performances, as well as identifying interpreters from their playing styles. The approach consists of (1) applying sound analysis techniques based on spectral models to real audio performances for extracting both inter-note and intra-note expressive features, and (2) based on these features, training computational models characterizing different aspects of expressive performance using machine learning techniques. The obtained models are applied to the analysis and synthesis of expressive performances as well as to automatic performer identification. We present results, which indicate that the features extracted contain sufficient information, and the explored machine learning methods are capable of learning patterns that characterize expressive music performance.

This essay analyzes the performance of experimental music in Between Music’s Aquasonic Project using a qualitative approach. We investigate the creative combination of music and underwater performance art by analyzing various sources such as literature and audio-visual information found on platforms like YouTube. The essay explores the distinctive difficulties and artistic opportunities that arise from performing music underwater, focusing specifically on Between Music’s Aquasonic Project. The project explores the ways in which it challenges the conventional norms of music performance by combining avant-garde music, visual arts, and scientific investigation. The study reveals the complex and diverse aspects of the Aquasonic Project, emphasizing its dependence on specialized instruments, the acoustic characteristics of water, and the physical interactions between the performers and their underwater surroundings. The essay offers a detailed analysis of the experimental music performance landscape in the Aquasonic Project by combining insights from study literature and analysis video on YouTube. It highlights need to work together across several disciplines, using advanced technology and exploring new artistic ideas to expand the limits of musical expression. Moreover, the study proposes possible areas for future investigation and artistic development in the field of underwater music performance, highlighting its capacity to evoke wonder, stimulate contemplation, and alter traditional concepts of musical engagement.

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Fragments on New Media Arts and Science

PurposeThis paper seeks to explore the design of popular music performance space, focusing particularly on recent developments that are changing the form and operation of permanent venues and travelling stages. Its objective is to analyse the typology of existing venues but also to chart the emergence of new and distinct building forms in response to changing artist, promoter and audience demands.Design/methodology/approachThe paper investigates the factors that determine the architecture of live performance space, based on the research project's detailed examination of specific examples that range from small music clubs to large and complex stadium‐sized buildings. The paper introduces the research themes that have shaped the author's book Live Architecture: Popular Music Venues, Stages and Arenas, which will be published in 2011.FindingsThe paper proposes a new categorisation of buildings as; adopted, adapted and dedicated music performance environments, and explores the significance of mobile facilities as architecture in their own right, but also as a modifier of place and space. It identifies factors that are changing the scale and operation of performance venues and articulates the implications for new venues.Originality/valueThis paper presents a continuing research project that is examining for the first time popular music performance building design as a distinct architectural genre. It proposes for the first time a building typology in order to increase our understanding of how the most successful spaces have been created, and how future ones might safeguard live music's power and immediacy for its audiences.

Deconstructing the Regional Theater with "Performance Art" Shakespeare Keith Appier In many cases, staging classics means making the old play new, and many theater-goers seem happy enough to see Shakespeare's dramas transposed to different times and places, cast non-traditionally, or staged with irreverent details or nudity. Many theater-goers understand and even appreciate these anachronisms as ways to give relevance to the archaic roles and circumstances. For reviewer David Richards, successful Shakespeare OffBroadway and in the regional theaters only depends on one thing: "You've got to believe the actors" ("At the Public" 5). Richards suggests that if the actors can perform the play with art and conviction, the updates will do their work and the old drama will still catch fire. What, however, would the reviewers' and audiences' response be if a performance artist directed Shakespeare in the regional theater using a nonrealistic performance idiom to challenge the tastes and expectations prescribed for that institutional space? In late 1991, "performance art" Shakespeare appeared in a major regional theater and, to a large degree, the performers were not working for believability. The British director Neil Bartlett staged Twelfth Night at Chicago's Goodman Theatre in a manner he described as "performance art" (Smith 8). In performing tasks and trying on new roles, the performers produced striking visual and aural effects, with which Bartlett composed a series of surprising and disturbing moments. The production that resulted, judged by the standards for realistic acting, could only have failed. In fact, Bartlett's performance art Twelfth Night intended to deconstruct the realistic acting of institutional Shakespeare within its own institutional space. Bartlett's mise en scène foregrounded the codes of professional Shakespearean performance operating in that space—codes which relate to realistic acting—by violating them, thus suggesting the correlation of realistic acting with cultural and social prescriptions. Elements of Performance Art Xerxes Mehta warns against confusing performance artists, or "performers ," with "actors." "Actors," who engage in realistic representation, 35 The Goodman Theatre's 1992 production of Twelfth Night with (from the left) Lynn Baber as Fabian, Suzanne Petri as Malvolio, Jeanette Schwaba as Sir Andrew Aguecheek, and Lola Pashalinski as Sir Toby Belch. Directed by Neil Bartlett. Photo: Eric Y. Exit. Deconstructing the Regional Theater 37 "impersonate others, exist in stage time, and respond to their characters' inner psychological promptings" (Mehta 189). Performance artists and other practitioners and theorists greatly distrust realistic representation because the imitation of reality that actors create, though a reductive and interested authorial construction, elicits acceptance and emotional commitment from the spectators . Actors, in creating characters, pretend to be real people, but their performances are relatively simple psychologically. As characters, their conflicts, successes, and failures produce a simplified image of life and a facile ethical model. However, persuaded of the truth of the actor's imitation, audience members share an empathetic mass emotion, something performance artists disclaim as "the fascism of the center" (Mehta 190). Their objections resemble Brecht's; however, Brechtian performance stayed closer to realistic conventions than performance art presentations do. The performance pieces, which may range "from highly personal solo monologues to comedy routines, to large multimedia collaborations between artists from different disciplines" (Champagne 183), generally are not unitary. Partly because performance art derives as much from the visual arts as from avant-garde theater, the performer creates a sequence of visual and aural effects with her body, movement, and words that contribute to "an abstract or associative collage structure" instead of to a dramatic action. To broaden selfexpression , the performer, without seeking to represent a character, will adopt a "persona" to explore different genders and sexualities, different ethnicities and social positions. Sometimes, with equal "naive vitality and directness" (Champagne 177-78), performers do tasks, like dancing and singing, for which they are untrained. Often, to compose a larger image, the performer will mix media and make herself both a performer and a formal object of the composition .1 Sometimes a director will use "the performer as a painter uses motifs on a canvas"; the director may ask the performer to go beyond ordinary selfpresentation , to wear a mask, to perform like a puppet, and even to perform with a puppet...