Relevant bibliographies by topics / Cultural performances

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Cultural performances'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Cultural performances"

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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 (April 30, 2020): 5920–33. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020399.

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

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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 (December 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 marginalities associated with Batwa culture are constructed. I argue that touristic performances are a strategic form of experiential and embodied practice through which Batwa identity is negotiated and expressed.
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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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Phipps, Peter. "Performances of Power: Indigenous Cultural Festivals as Globally Engaged Cultural Strategy." Alternatives: Global, Local, Political 35, no. 3 (July 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 (January 1997): 97–102. http://dx.doi.org/10.1080/13528165.1997.10871576.

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Rudolph, Michael. "Authenticating Performances." Archiv orientální 83, no. 2 (September 15, 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 subsidised by government bodies which have sought to demonstrate their nativist or multiculturalist orientations, aboriginal elites not only publicly worshipped ancestor gods and enacted animal sacrifices in so called “revitalised” public rituals, but also used these occasions to point to the primordial power of aborigines vis-à-vis their former colonisers, the Han Chinese. In many cases, however, the “revitalised” rituals described here conflicted with the interests of common people in aboriginal society, who wished public ritual to be compatible with their newly adopted Christian traditions. Taking a closer look at the contemporary rituals of the Taroko and Ami, which are characterised by the above mentioned dynamics, I argue that rituals publicly performed by aborigines today amalgamate different levels of meaning. While they articulate and negotiate the identity needs and social exigency of the respective social group or society (Turner 1969), they simultaneously carry those often elite-dominated mechanisms that are described by Hobsbawm and Ranger (1983) in their examinations of the processes of cultural invention for the needs of political and cultural entities, as well as by Paul Brass (1991) in his analyses of elite competition. In other words, while these rituals may in many cases have efficacy with regard to the constitution of society and identity, the traditionalist rituals in particular frequently serve the authentication exigencies of various elites. Finally, I suggest that if one wants to provide the culture of common people with greater opportunities for representation, one should not focus too much on the display of “authentic” old traditions in order to highlight Taiwanese subjectivity, but should also acknowledge those hybridised new traditions which aboriginal society has generated over the course of Taiwan’s more recent history and which may also contain new religious elements.
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Gamboa, Eddie. "Abject Performances: Aesthetic Strategies in Latino Cultural Production." Women & Performance: a journal of feminist theory 28, no. 3 (September 2, 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 (February 4, 2020): 137–39. http://dx.doi.org/10.1057/s41276-019-00230-x.

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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 (May 22, 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 brought about by the rise of populist political performances and political trolling. It also matters in the Philippines to think about the role of those involved in productions about performances of citizenship. This is because of the problems posed by how ‘authenticity’ has been hijacked by populism and has been weaponised against those who seek to critique the current political dispensation.
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Dissertations / Theses on the topic "Cultural performances"

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Marra, Juliana Ribeiro. "Catira: performance e tradição na dança caipira." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/7293.

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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This research aims at proposing a widening of the understanding of catira, a traditional dance of the Brazilian popular culture. The dance territorializes itself in the region of the caipira culture and has its structure founded in the clapping of hands and on step dancing of the dancers under the rhythm of the moda de viola and of the recortado. The viola is therefore the essential instrument for the dance. Catira is a dance but also music and poetry, which find identification with the rural world of the southern center of Brazil. Although the practice is considered contemporary of the country´s colonization – and the catira groups are many – there are few records and studies that go about it. Therefore, initially to introduce the dance, its forms and elements were presented and there has been an attempt to analyze them bearing in mind its insertion in the studies concerning popular culture and folklore in Brazil. Following that the theoretical and methodological approach of the research is outlined. Catira becomes then the focus of an analysis built within interdisciplinary knowledge. Focus in which, a method and categories of analyses of social sciences and also of the arts, are supposed. Cultural performances rise as the interpretative axis of the research, as long as in relationship with other concepts that also establish themselves in the multidisciplinary perspective – i.e. tradition, socialization, memory, body and dance. Bearing in mind these concepts, we reach the analysis of the records gained from the field research of the work. The analytical narrative is built from the interviews, observation and participation, theoretical relationships and audiovisual records, mainly the photographs taken in the fieldwork. Firstly the dance of the catira within the ritual of folia of Companhia de Reis Bandeira Vermelha, in the town of Goiás/GO, is analyzed. After that the focus is turned to the town of Itaguari/GO and its enormous Folia de Reis, where the groups Irmãos Oliveira e Orgulho Caipira are to be found. Finally having the experience lived with the groups as a referential, the analysis is deepened with focus on the identities, the power relationships and the negotiating carried by the groups of catira. The understanding is that the identities sought and lived are related to the places and territories in which this performing heritage of the caipira culture takes place. The endurance is characteristic of these bodies that move harmonized and in pairs since immemorial times, in the conjunctures of nowadays – if permitted indicating a path beforehand – in a future not envisioned.
Essa pesquisa tem como objetivo propor uma ampliação da compreensão sobre a catira, dança tradicional da cultura popular brasileira. A dança se territorializa na região de cultura caipira e tem sua estrutura fundamentada no palmeado e sapateado dos dançadores no ritmo da moda de viola e do recortado. A viola é, pois, o instrumento essencial à dança. Assim, catira é dança, mas também música e poesia que se identificam com o mundo rural do centro-sul do Brasil. Embora a prática seja considerada contemporânea à colonização do país – e os grupos de catira sejam muitos –, são poucos os registros e estudos que versam sobre ela. Neste sentido, inicialmente se apresentou a dança, sua forma e elementos e buscou analisa-la tendo em vista sua inserção nos estudos acerca da cultura popular e do folclore no Brasil. Em seguida, delineia-se a abordagem teórica e metodológica da pesquisa, e a catira passa a ser o foco de uma análise construída na interdisciplinaridade dos saberes, no qual supõe-se métodos e categorias de análise das ciências sociais, mas também das artes. As performances culturais emergem como eixo interpretativo da pesquisa, desde que em relação com outros conceitos que também se estabelecem na perspectiva multidisciplinar – a saber: tradição, socialização, memória, corpo e dança. Tendo em vista esses conceitos, chega-se à análise dos dados obtidos a partir do trabalho de campo realizado na pesquisa. A narração analítica é construída a partir de entrevistas, observação e participação, relações teóricas e registros audiovisuais, sobretudo as fotografias produzidas em campo. Primeiramente, se analisa a dança da catira inserida no ritual da folia da Companhia de Reis da Bandeira Vermelha, na Cidade de Goiás/GO e, posteriormente, o foco se desloca para a cidade de Itaguari/GO e sua imensa Folia de Reis, onde se encontram os grupos Irmãos Oliveira e Orgulho Caipira. Finalmente, tendo ainda como referencial a experiência vivenciada com os grupos, o estudo é aprofundado focando as identidades, as relações de poder e negociações empreendidas pelos grupos de catira. Entende-se que as identidades buscadas e vividas se relacionam com os lugares e territórios nos quais são produzidos esse patrimônio performático da cultura caipira e que a resistência é característica desses corpos que se movimentam, harmonizados e em duplas, desde tempos imemoriais, nas conjunturas da atualidade e – se for permitido indicar um caminho de antemão – em um futuro a perder de vista.
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Summerhayes, Catherine, and catherine summerhayes@anu edu au. "Film as Cultural Performance." The Australian National University. School of Art, 2002. http://thesis.anu.edu.au./public/adt-ANU20090210.095136.

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This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of ‘performance’ in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed ‘across’ cultures and which are concerned particularly with Australian society’s relationship with indigenous Australians. ¶ Section One locates Turner’s concept of ‘cultural performance’ within his wider theory of ‘social drama’ and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of ‘liminality’ is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as ‘for an audience’. I describe this relationship between performances in film and theatre through Kristeva’s interpretation of Bakhtin’s concept of heteroglossia as intertextuality, especially through her distinction of a ‘transformative’ intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory: 1. Brecht’s theory of ‘gest’, 2. ‘direct address to the audience’ in relation to the ‘gaze’ in film and 3. Rebecca Schneider’s conceptualisation of ‘the performance artist’. ¶ Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turner’s concept of ‘cultural performance’, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechner’s performance theory, Michael Taussig’s understanding of ‘mimesis’, Vivian Sobchack’s phenomenology of film, Paul Ricoeur’s theory of text ‘as meaningful action’, Gadamer’s concept of ‘meaningful play’, Bakhtin’s conceptualisation of a ‘dialogic’ text and Catherine Bell’s theory of ‘ritualised behaviour’. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougall’s ‘transcultural cinema’ and Jodi Brook’s conceptualisation of a ‘gestural practice’ in film, which she positions both in terms of Brecht’s theatrical concept of ‘gest’ and Walter Benjamin’s concept of the ‘shock’ of modernity. ¶ The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who ‘film’ and people who ‘are filmed’. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same ‘social drama’: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as ‘fiction’ and the other as ‘non-fiction’ towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film – a signifying practice which has existed just over one hundred years.
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Bernard, Jennifer. "Expressions of identity : tourism and acadian cultural performances /." Access restricted. DAL users only, 2008.

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Costa, Grasielle Aires da. "Ritual em Richard Schechner e Victor Turner: aspectos de um diálogo interdisciplinar." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5704.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields.
Este trabalho visa à análise do diálogo interdisciplinar e liminar estabelecido entre Richard Schechner e Victor Turner através da definição, análise e discussão do conceito de ritual em suas obras. A pesquisa foi desenvolvida através da leitura e fichamento dos principais volumes publicados destes autores, sendo eles Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors e From Ritual to Theater de Turner e de Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual e Performance Studies. Não foram encontrados registros de trabalhos semelhantes. Sendo esse um trabalho inédito e que oferece uma revisão dos escritos destes dois autores. Discutir o ritual por esta perspectiva multifacetada é abrir o leque de novas possibilidades de discussão de um conceito tão importante e que tendo sido já tão discutido necessita de novo fôlego para ganhar novos horizontes. Trata-se de um trabalho considerado liminar, pois sua riqueza metodológica está justamente no fato de a pesquisa localizar-se no "entre" o teatro e a antropologia. Não se prende a nenhuma disciplina e ao mesmo tempo pertence a muitas. Trata-se de um estudo bibliográfico que poderá servir de aporte teórico para os mais variados campos de pesquisa.
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Santos, Lucas Monteiro dos. "Narrativas do rock and roll: sociabilidades, liminaridades e performances." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/9070.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The following research talks about the rock and roll and phenomenons that contextualize with this theme, for example the use of the spaces for the fans e the ways of sociabilities that is possible to find in these spaces that the events happen. Talks about the historical processes of this musical style, fundamental piece for the comprehension, and about the moshpit too, corporal performance of the crowd that is completely associated with the experience to be in a rock and roll event. Field researches happened on Goiania, Goiás, and narratives were done about how these events happen and how the moshpit performance happen. The methodological path used was the cultural performance studies, that are coherent with the theme. It is possible to conclude that the ambience that rise when these events happen are full of liminarities and freedom, and all of this context ethic and aesthetical of rock and roll, moshpit and performance comes with a group of restored behaviors e a incorporated knowledge for the people that integrate the scenario and these ambiances.
A seguinte pesquisa aborda sobre o rock and roll e fenômenos que venham se contextualizar com essa temática, a exemplo do uso dos espaços pelos fãs e das formas de sociabilidades que são encontradas nesses espaços em que os eventos acontecem. Aborda-se sobre os processos históricos deste estilo musical, elemento fundamental para sua compreensão, e também sobre o moshpit, performance corporal da plateia que está completamente associada à experiência de se participar de um evento de rock and roll. Pesquisas de campo ocorreram na cidade de Goiânia, Goiás, e foram executadas narrativas de como acontecem os eventos e de como ocorre a performance do moshpit. O caminho metodológico utilizado foi dos estudos em performances culturais, que são coerentes com a temática abordada. É possível concluir que o ambiente que vem à tona quando esses eventos são executados é repleto de liminaridades e de liberdade, e que todo esse contexto ético e estético de rock and roll, moshpit e performance vem de um conjunto de comportamentos restaurados e de um conhecimento incorporado por parte das pessoas que integram esse cenário e esses ambientes.
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Young, Michael A. "Cultural performances of German national identity| Popular music, body culture, and the 2006 FIFA World Cup." Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535413.

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This thesis explores the intersection of nationalism, popular music, and sport as they collided with German identity politics and discourses of twentieth-century history. I contextualize public performances of German national identity during the 2006 World Cup within the broader historical context of national identity construction through music and sport in the last two hundred. I contextualize Germans' public performance of national pride and hospitality during the World Cup as the latest in a long line of cultural performances of German identity that have shaped and been shaped by historical circumstances and socially conditioned discourses of national identity. Taking a broad historical and conceptual perspective on cultural performance, I argue that cultural performances of German national identity—communicated in music, sport, and visual symbolism in the public landscape (i.e., through the use of posters, ads, popular press, etc)—have been tailored to and contingent on the social and discursive exigencies of particular historical and political junctures of the past two hundred years. Likewise, cultural performances during the 2006 World Cup must be seen as particular to twenty-first-century German society. Analyzing the Germans' public performance of national identity as well as popular songs and their audio-visual texts (i.e., music videos), I argue that some supposedly nationalist performances of German identity gained traction and popular support during the World Cup because of the strong role played by popular music and sport in framing the terms of their performance and interpretation.

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Faria, Marcelo Fecunde de. "Zé Pereira: a performance carnavalesca em Itaberaí-GO." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5464.

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This dissertation deals with the carnival manifestation "Zé Pereira" in Itaberai- GO, analyzing it as a cultural performance adopting some concepts present in studies of cultural performances to understand how is the relationship and involvement that are coming and characteristic of performative action, linking the liminality concepts of Victor Turner, the theory of performance of Richard Schechner, Bakhtin and DaMata Carnival. The focus of the analysis are the events that take place 15-17 days before the national carnival, being a predecessor activity the carnival period, the performance is formed by a group of masked young people wearing horrifying masks, accompanied by a drumming group with several instruments percussion and prepared by a committee of support organization, all these characters are surrounded by an audience that accompanies the demonstration during ALL the days passing through different streets of the city gaining attention from citizens who are in their homes. This work aims to demonstrate that while performance “Zé Pereira” produces historical, social and cultural repercussions on people directly or indirectly involved. This context was accompanied by ethnographic experience and observation of the process of formation and constitution of the current “Zé Pereira” in Itaberaí.
Esta dissertação aborda a manifestação carnavalesca Zé Pereira no município de Itaberaí –GO, analisando-o enquanto performance cultural. Adotando alguns conceitos presentes nos estudos das performances culturais para compreender como se dá as relações e envolvimentos que são oriundos e característicos da ação performativa, interligando os conceitos de liminaridade de Victor Turner, da teoria da performance de Richard Schechner e do Carnaval de Baktin e DaMatta. O foco da analise são os eventos que acontecem de 15 a 17 dias que antecedem o carnaval nacional, sendo uma atividade antecessora ao período carnavalesco, a performance é formada por um grupo de jovens mascarados com máscaras horripilantes, acompanhada de uma batucada formada por vários instrumentos de percussão e preparada por uma comissão de organização de apoio, todos estes personagens estão envoltos de um público que acompanha a manifestação durante os dias de saída em que passa pelas diferenciadas ruas do município ganhando atenção dos moradores que estão em suas casas. Procura-se demonstrar que enquanto performance o Zé Pereira produz ressonâncias históricas, sociais e culturais nas pessoas envolvidas direta ou indiretamente. Este contexto foi acompanhado por meio da vivência etnográfica e observação do processo de formação e constituição do atual Zé Pereira em Itaberaí
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Peck, RaShelle R. "Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397664120.

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Lima, Maria do Socorro Pereira. "Arpilleras: o bordado como performance cultural chilena, em favor do drama social." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8440.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The emphasis of this study relies on the arpillerista women`s movement and their arpilleras, an embroidery technique that served as a tool to speak out against the the military dictatorship of Augusto Pinochet (1915-2016). The movement characterized itself by political resistance, the denouncing and the defense of human rights, inspired by various groups in Chile and in other countries, such as Brazil. The experience of arpilleristas consists in what the British anthropologist Victor Turner would call a “social drama” (TURNER, 2005a, p.182). The goal of this research is to identify the possibilities of artistic practices in the arpilleras as events of cultural performativity in that we can observe the occurrence of a “social drama” according to the authors who have written in this field. The methodology chosen for this study was the cartographic method and the investigation tools we used were: observation, semi-structured interviews with the representatives of the movement of Brazilian arpilleristas (arpilleras do MAB) and of Chilean arpilleristas (Memorarte) as well with as the curator of current expositions in Northern Ireland, Roberta Bacic, and the curator and facilitator of expositions and workshops of arpilleras, Esther Conti; my participation in workshops of production of this technique, as well as photographs taken to register the process. We understand that the importance of this study to the interdisciplinary field of Cultural Performances is valuable because it delves into the social, political and artistic experiences which deals with significant transformations yet to be explored by the academic world at large as well as in our country.
A ênfase deste estudo recai no movimento de mulheres arpilleristas e suas arpilleras, técnica de bordado tradicional que serviu de instrumento de denúncia durante a ditadura militar do general Augusto Pinochet (1915-2006). O movimento se caracterizou pela resistência política, denúncia e defesa dos direitos humanos, inspirando vários grupos no Chile e em outros países como no Brasil. A experiência das arpilleristas se configura no que o antropólogo britânico Victor Turner denomina de “drama social”? (TURNER, 2005a, p.182). O objetivo desta pesquisa foi identificar as possibilidades das práticas artísticas nas arpilleras como eventos liminares de performances culturais, em que se pode observar a ocorrência do “drama social” conforme definem autores do campo. A metodologia transcorreu pelo método cartográfico e os instrumentos de investigação foram: a observação, entrevistas semiestruturadas com representantes de movimentos de arpilleristas brasileiras (arpilleras do MAB) e do Chile (Memorarte), além da curadora de exposições que atua na Irlanda do Norte, Roberta Bacic, e a curadora e facilitadora de exposições e oficinas de arpilleras Esther Conti; minha participação em oficinas de produção da técnica, além de fotografias para registrar o processo. Entendemos que a importância deste estudo para o campo interdisciplinar das Performances Culturais é valiosa por tratar de uma experiência social, política, e artística que envolve transformações significativas, ainda pouco exploradas no meio acadêmico e em nosso país.
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Beer, Lorena Rivero de. "Guillermo Gomez-Pena's performances : cultural politics, aesthetics, representatio n and subjectivity." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496277.

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Books on the topic "Cultural performances"

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Heidrun, Brückner, Schömbucher Elisabeth, and Zarrilli Phillip B. 1947-, eds. The power of performance: Actors, audiences, and observers of cultural performances in India. New Delhi: Manohar Publishers & Distributors, 2007.

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L'inaliénabilité des collections, performances et limites? Paris: L'Harmattan, 2012.

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Richard, Bauman, ed. Folklore, cultural performances, and popular entertainments: A communications-centered handbook. New York: Oxford University Press, 1992.

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Hospitable performances: Dramatic genre and cultural practices in early modern England. West Lafayette, Ind: Purdue University Press, 1992.

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Fieled, Adam. Disturb the Universe: The Collected Essays of Adam Fieled (2nd Ed.). Edited by Jeffrey Side. 2nd ed. London, UK/Conshohocken, Pa: Argotist Online/IA, 2010.

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Fieled, Adam. On the Possibilities of Multi-Media Readings. Edited by Otoliths and Mark Young. Rockhampton, Queensland, Australia: Otoliths, 2010.

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Freeman, Regalado Nancy, Doss-Quinby Eglal 1953-, Krueger Roberta L, and Burns E. Jane 1948-, eds. Cultural performances in medieval France: Essays in honor of Nancy Freeman Regalado. Rochester, N.Y: D. S. Brewer, 2007.

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Miller, Ken B. Highwire Gallery: Calendars: January/April 2005. Edited by Ken B. Miller. Philadelphia, PA: Highwire Gallery, 2005.

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International Symposium on the Conservation and Restoration of Cultural Property (10th 1986 Tokyo, Japan). International Symposium on the Conservation and Restoration of Cultural Property: Masked performances in Asia. Tokyo, Japan: Tokyo National Research Institute of Cultural Properties, 1987.

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Berkeley, Women and Language Conference (3rd 1994 Berkeley Calif ). Cultural performances: Proceedings of the third Berkeley Women and Language Conference, April 8, 9, and 10, 1994. Berkeley, Calif: Berkeley Women and Language Group, University of California, Berkeley, 1994.

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Book chapters on the topic "Cultural performances"

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James, Malcolm. "Cultural Performances." In Urban Multiculture, 75–94. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137473813_4.

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Saurisse, Pierre. "Performance Art in the 1990s and the Generation Gap." In Cultural Inquiry, 161–69. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_17.

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In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in The Biography (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.
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Morrow, Paul. "Relaxed performances and venues." In Cultural Inclusion for Young People with SEND, 130–36. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003122258-12.

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Jacobs, Ronald N. "Rituals, repertoires, and performances in postmodernity." In Routledge Handbook of Cultural Sociology, 302–10. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge international handbooks | Earlier edition published as: Handbook of cultural sociology.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267784-33.

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Clare, David, and Nicola Morris. "The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin." In Cultural Convergence, 75–106. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_4.

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Abstract In Gate Theatre studies, the venue’s original artistic directors, Hilton Edwards and Micheál mac Liammóir, are commonly described as ‘Englishmen’. This chapter breaks new ground by exploring the Irish roots of Edwards and mac Liammóir, and the rumours that mac Liammóir had Spanish and Jewish ancestry. ‘The Boys’ were not the only figures associated with the early Gate to have transnational backgrounds. Coralie Carmichael, the theatre’s biggest female star in its early years, was of mixed Moroccan and Scottish ancestry, and Nancy Beckh, who worked as an actor, costume designer and milliner at the Gate between 1932 and 1956, was a Dubliner of half-German descent. Using critical theories around new interculturalism, the chapter suggests that the mixed backgrounds of these artists helped them to create intercultural performances. It further demonstrates that these performances cannot be simply dismissed as those of people condescendingly engaging in cultural imperialism or shallow cosmopolitanism.
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Tiatco, Sir Anril Pineda, Bryan Levina Viray, and Jem Roque Javier. "The Philippine Performance Archive on Cultural Performances: Archive as Performative Cultural Memory and Pedagogy." In Digital Humanities and New Ways of Teaching, 33–52. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-1277-9_3.

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Čic, Živa Veingerl, Samo Bobek, and Simona Šarotar Žižek. "Difference between Individual Work Performances in Researched Countries." In Cross-Cultural Exposure and Connections, 97–125. Series statement: 21st century business management: Apple Academic Press, 2020. http://dx.doi.org/10.4324/9780429275968-4.

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Čic, Živa Veingerl, Samo Bobek, and Simona Šarotar Žižek. "Difference between Individual Work Performances in Researched Countries." In Cross-Cultural Exposure and Connections, 97–125. Series statement: 21st century business management: Apple Academic Press, 2020. http://dx.doi.org/10.1201/9780429275968-4.

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Mollenhauer, Jeanette. "In the Spotlight: Public Performances of Cultural Dance in Australia." In Cultural Dance in Australia, 77–94. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-5900-4_5.

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Barker, Tanuja, Darma Putra, and Agung Wiranatha. "14. Authenticity and Commodification of Balinese Dance Performances." In Cultural Tourism in a Changing World, edited by Melanie Kay Smith and Mike Robinson, 215–24. Bristol, Blue Ridge Summit: Multilingual Matters, 2006. http://dx.doi.org/10.21832/9781845410452-016.

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Conference papers on the topic "Cultural performances"

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Li, Tianze, Xiaofei Xu, and Zhongjie Wang. "Architecture Design of Fourth-Party Cultural Performances Service Platform." In 2016 9th International Conference on Service Science (ICSS). IEEE, 2016. http://dx.doi.org/10.1109/icss.2016.17.

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Mustafa, Nurulhuda Adabiah, and Nuraisyah Chua Abdullah. "Preserving the Prohibited Cultural Performances in Kelantan, Malaysia: The Way Forward." In International Law Conference 2018. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0010051400240029.

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Крулица, Анна. "Conversation with the past in contemporary choreography." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.18.

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My article examines the problem of the archival turn in scientific works and discourse that affects artistic practice, including the choreographic one. In recent years, we can find several attempts to reconstruct the performances of famous choreographers who worked in the 1920s and 1930s. Modern choreographers have recalled forgotten performances of the former era, but recalling these choreographic works, they want to give them a modern meaning. This attempt is similar to rewriting history. In this context of rewriting history, I want to emphasize the importance of bodily memory and bring the perspective of viewing the body as an archive. In my article, I pose questions about how to find traces of former works? How modern choreographers work with memory and with the body. The concept of the body as an archive and the experience of past generations associated with choreographic practice is at the center of my work. The body can hide the secret of trauma, the unconscious determination of behavior in bodily, physical play. The second problem raised in the article is about the relationship between the present and the past. Why do we need a turn in the past now? I consider Yanka Rudskaya’s biography and her approach to dance as an example. This article shows the role of feminine artistic practices in the space of choreography. Recent reflections concern the problem of transferring modern dance to modernity and its discovery.
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Madden, Marjorie. "Life Histories Performances Show Complex Interactions Between Life Experiences and Larger Cultural Contexts." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1579062.

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Mitrică, Bianca, Irena Mocanu, Ines Grigorescu, and Monica Dumitraşcu. "CULTURAL TOURISM IN ROMANIA – A GENERAL OUTLINE OF THE CONCEPTUAL FRAMEWORK." In GEOLINKS International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/geolinks2020/b2/v2/28.

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At the international and national level there is a strong connection between culture and tourism, tourism representing an important factor of the economic development by capitalizing the tourist potential of the cultural elements. Romania has a rich and valuable heritage potential with tourist attractions included on the map of European cultural routes. The challenge for Romania is the weak promotion of the cultural tourism due to the difficulties in developing a better infrastructure for a high accessibility to cultural attractions. The literature offers a wide range of definitions of cultural tourism which emphasize the complexity of this phenomenon. The Romanian literature lacks a thorough documentation on the cultural tourism as a whole, most of studies being concentrated on general approaches i.e. introduction to cultural tourism, analysis of the cultural tourism trends, sustainable development and perspectives, Romanian heritage, promoting strategies. Some papers are concentrated on specific areas of Romania such as Transylvania, with the medieval cities, fortresses and castles, Bucovina, with the painted monasteries and traditional artefacts, Maramureş, with the rural tourism and cultural heritage, as well as Black Sea Coast and Danube Delta. Other papers are related to cultural attractions like museums, orchestra performances, restaurants, hotels in some developed areas, and to traditional or religious rituals, popular art or folklore events in some less developed areas and how they could promote and revive the Romanian tourism or other areas with a low or medium level of capitalization of cultural attractions. Within this broader context, the paper aims to review and discuss the definitions and concepts of cultural tourism in Romania and identify the main types of cultural tourism practiced and addressed by the literature.
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Ghilas, Ana. "Traditional cultural expressions in theatrical performance: meaning and value." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.02.

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The object of the investigation is the relation between theatrical discourse and traditional cultural expressions. The main objective of the research is to highlight the way traditional art was made use of by directors at different historical stages and the artistic, cognitive, educational meanings and valences of some forms of traditional cultural expressions in the structure of theatrical discourse. Resorting to the comparativehistorical method, through the analyzes of the performances, we demonstrate the polysemanticism of the dramatic action and the variety of artistic functions of the traditional Romanian song, of the nuptial ceremony ”Iertarea miresei” /Forgiveness of the bride”, of the rite of passage “Moşii/Forefathers” in the spectacular universe created by directors in different theaters. These traditional forms promote and affirm identity marks – of the ethnic group and of the creative individuality (playwright, director, set designer, actor), but also the intercultural character of some shows.
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Liu, Yaxuan, and Dingding Xu. "The performances of Financial Models During COVID-19: Evidence from CAPM and Fama-French Five Factors Model." In 2021 3rd International Conference on Economic Management and Cultural Industry (ICEMCI 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211209.291.

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Martini, Massimo, Roberto Pierdicca, Marina Paolanti, Ramona Quattrini, Eva Savina Malinverni, and Emanuele Frontoni. "GENERATIVE NETWORKS FOR POINT CLOUD GENERATION IN CULTURAL HERITAGE DOMAIN." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12101.

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In the Cultural Heritage (CH) domain, the semantic segmentation of 3D point clouds with Deep Learning (DL) techniques allows to recognize historical architectural elements, at a suitable level of detail, and hence expedite the process of modelling historical buildings for the development of BIM models from survey data. However, it is more difficult to collect a balanced dataset of labelled architectural elements for training a network. In fact, the CH objects are unique, and it is challenging for the network to recognize this kind of data. In recent years, Generative Networks have proven to be proper for generating new data. Starting from such premises, in this paper Generative Networks have been used for augmenting a CH dataset. In particular, the performances of three state-of-art Generative Networks such as PointGrow, PointFLow and PointGMM have been compared in terms of Jensen-Shannon Divergence (JSD), the Minimum Matching Distance-Chamfer Distance (MMD-CD) and the Minimum Matching Distance-Earth Mover’s Distance (MMD-EMD). The objects generated have been used for augmenting two classes of ArCH dataset, which are columns and windows. Then a DGCNN-Mod network was trained and tested for the semantic segmentation task, comparing the performance in the case of the ArCH dataset without and with augmentation.
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Hadzantonis, Michael. "The Malaysian Wayang Kulit, the Malay Language, and their Anthropological shifts." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-3.

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This paper seeks to discuss and expose the correlations between a shifting Wayang Kulit puppet performance in Malaysia and the shifting Malay language over the past half century, that is, from the late 1960s until the present time. The Wayang exhibited a patent shift in its poetics, in its use and type of symbolisms, in its social, cultural and spiritual purpose, and in its representation of community. The paper determines ways in which the Malay language experienced change by observing government mandate to 'rehabilitate' the Malay people, and to employ discourses of rehabilitation so to alter the cultural industry in Malaysia, yet to the detriment of language, social cohesion, and cultural performance in Malaysia. For this the data consists of a multi year ethnography of the Wayang both inside and outside of Kuala Lumpur, cases studies of Wayang Kulit dalangs (puppeteers), observing and conducting Wayang Kulit performances, and documenting language diachronic change. Ultimately, the paper finds that owing to language planning and policy in Malaysia, both cultural performance and language, that is, the written, the standardized, and vernacular have seen significant shift over the past half century, and that these shifts have correlated with altered ideologies in Malaysia that align with intentions to commercialize the country and to increase the mercantile efficiency of the Malay and the Malaysian people.
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Azondekon, Christson. "KEY DETERMINANTS EXPLAINING DIFFERENCE IN CROSS-COUNTRY PROJECTS PERFORMANCES AMONG IMPLEMENTATION COUNTRIES IN AFRICAN CONTEXT." In 10th IPMA Research conference: Value co-creation in the project society. International Project Management Association, Serbian Project Management Association, 2022. http://dx.doi.org/10.56889/ulml4475.

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In the last two decades, there is a significant effort of research in international project management primarily focusing on success factors, but those searches are yet to focus on cross-country projects perspective and moreover to perfectly highlight the root cause of the difference appearing in cross-country' project performance across different settings. Using structural equation modeling (SEM), we shed light on the key determinants that explain the difference in cross-country project performance across countries of implementation. Four main categories of critical success factors for international development, that are the matching of the project goal and real needs of the countries (beneficiaries), the context (politic, legal, social-cultural) of implementation, the level of stakeholder engagement in each country, project managers and project teams' competencies and capabilities in Project management in each country, have been hypothesized as explaining the difference of performance in our theoretical model. However, the final model from the structural equation modeling shows that the level of stakeholder engagement in each country explains more the difference in performance observed among countries, even though the influence of the three other categories is not totally null.
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Reports on the topic "Cultural performances"

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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.

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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.
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Moyo, Unoda. Performance Appraisal in Organizational Cultural Context. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1154.

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Arnold, Samuel. The Cultural Trombone: A Contemporary View on National Performance Practices. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.119.

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Coffey, Wayne. Myths and Measures: The Cultural Performance of Portland’s Strip Club Identity. Portland State University Library, January 2000. http://dx.doi.org/10.15760/geogmaster.14.

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Stanley, Louise, and Inke Näthke. School of Life Sciences Culture Strategy 2022-2025. University of Dundee, July 2022. http://dx.doi.org/10.20933/100001258.

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We expect performance at the highest standard for everything we do. This must be supported by an excellent culture where contributions from everyone in our community are valued and recognised: academics with responsibilities in research, learning and teaching, and professional support. For staff and their work to flourish, everyone needs to feel part of a creative, open, equitable, and inclusive environment where we actively help and support each other to succeed and reach our full potential. A positive culture in our school is the foundation for our high­ performance community. It sustains our ambitious goals to train and educate the future generation of scientists and perform world-leading research with a positive impact on the world. We expect everyone in our community to work to the highest standard of integrity, not only in how we conduct our teaching and research, but also how we work together, treat each other and how we interact with other stakeholders. This document outlines our strategy for culture in the School.
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Niederle, Muriel, and Alvin Roth. Market Culture: How Norms Governing Exploding Offers Affect Market Performance. Cambridge, MA: National Bureau of Economic Research, February 2004. http://dx.doi.org/10.3386/w10256.

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Herrera, Cristian. How do strategies to change organizational culture affect healthcare performance? SUPPORT, 2016. http://dx.doi.org/10.30846/1608114.

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‘Organizational culture’ refers to characteristics shared by people who work within the same organization. These characteristics may include beliefs, values, norms of behaviour, routines, and traditions. The management of organizational culture is viewed increasingly as a necessary part of health system reform. It is therefore important for policymakers to be aware how strategies to improve organizational culture affect healthcare performance.
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Hatchell, Glyndon E., and H. David Muse. Nursery Cultural Practices and Morphological Arrtibutes of Longleaf Pine Bare-Root Stock as Indicators of Early Field Performance. Asheville, NC: U.S. Department of Agriculture, Forest Service, Southeastern Forest Experiment Station, 1990. http://dx.doi.org/10.2737/se-rp-277.

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Crone, Ronald. Materials and Fuels Complex Human Performance and Nuclear Safety Culture Pocket Guide. Office of Scientific and Technical Information (OSTI), April 2021. http://dx.doi.org/10.2172/1779704.

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Pfluger, Rainer, and Alexander Rieser, eds. Conservation compatible energy retrofit technologies: Part IV: Documentation and assessment of energy and cost-efficient HVAC-systems and strategies with high conservation compatibility. IEA SHC Task 59, October 2021. http://dx.doi.org/10.18777/ieashc-task59-2021-0007.

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Abstract:
Historic building restoration and renovation requires sensitivity to the cultural heritage, historic value, and sustainability (i.e., building physics, energy efficiency, and comfort) goals of the project. Heat recovery ventilation can contribute to the mentioned goals if ventilation concepts, and airflow distribution is planned and realized in a minimally invasive way. Compared to new buildings, the building physics of historic buildings are more complicated in terms of hygrothermal performance. In particular if internal insulation is applied, the need for dehumidification is needed for robust and risk-free future use, while maintaining the building’s cultural value. As each ventilation system has to be chosen and adapted individually to the specific building, the selection of the appropriate system type is not an easy task.
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