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Journal articles on the topic 'Cultural performances'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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1

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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4

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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6

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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7

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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Casey, Maryrose. "Aboriginal performance as war by other means in the nineteenth century." International Journal of Critical Indigenous Studies 8, no. 2 (June 1, 2015): 2–15. http://dx.doi.org/10.5204/ijcis.v8i2.123.

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Commercial performances for entertainment are usually assumed to be lightweight, cultural activities that serve little or no serious purpose. Perhaps because of this typical perspective, prior to the mid-twentieth century, Indigenous Australian performances drawing on their cultural practices for entertainment are often styled as either the result of oppressive exploitation by colonisers or cultural tourism. However, an examination of Indigenous Australian initiated and controlled performances, for entertainment in the nineteenth century, reveals a more complicated picture. In Australia, across the nineteenth century and well into the twentieth, Aboriginal people and the colonisers actively fought for physical, psychological and emotional sovereignty of the land through thousands of performances for entertainment purposes. This might be expected given that Australian Aboriginal cultures are probably the most performance-based in the world—in the sense that explicit, choreographed performances were used for a vast range of social and cultural purposes from education, through to spiritual practices, arranging marriage alliances, to judicial and diplomatic functions. What might be less expected, considering the dominant power position, are the multiple ways in which the white audiences attempted to intrude, interrupt and inhabit these performances. The Aboriginal performers displayed their strength, vitality, high status and continued survival literally in the face of the colonisers and charged them a fee to observe. In response, white audiences both desired these performances and acted in ways to prevent them, often taking over the performance space and bringing events to a quick finish, while complaining that the show did not go on. The battle continued in white performances of Aboriginal practices and the ways in which Aboriginal performance was documented. In the twenty-first century, Aboriginal sportsmen who display their pride in their Aboriginality and opposition to racism continue to negotiate the same fight for space.

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Casey, Maryrose. "Disturbing Performances of Race and Nation." International Journal of Critical Indigenous Studies 2, no. 2 (June 1, 2009): 25–35. http://dx.doi.org/10.5204/ijcis.v2i2.28.

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This essay is an exploration of the multiple cultural performances and performative Indigenous and non-Indigenous presences competing within events and erased by dominant narratives. The performance and performativity of race, class and culture for both black and white Australians in embodied performances and in accounts as a performative source of ideological meaning-making are critical factors within cross-cultural communications. The focus of this paper is on the dynamic between the Indigenous and non-Indigenous performances and presences within the enactment and documentation of two events separated by 100 years, a nineteenth century anecdote and a twentieth century „historical‟ event.

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Roberts, William. "Public Performances." Folklore 132, no. 4 (October 2, 2021): 460–62. http://dx.doi.org/10.1080/0015587x.2021.1985238.

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Chatzipapatheodoridis, Constantine. "Beyoncé’s Slay Trick: The Performance of Black Camp and its Intersectional Politics." Open Cultural Studies 1, no. 1 (December 20, 2017): 406–16. http://dx.doi.org/10.1515/culture-2017-0038.

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Abstract This article pays attention to African-American artist Beyonce Knowles and her performance of black camp. Beyonce’s stage persona and performances invite multiple ideological readings as to what pertains to her interpretation of gender, sexuality, and race. While cultural theory around the icon of Beyonce has focused on her feminist and racial politics as well as her politicization of the black female body, a queer reading applied from the perspective of camp performance will concentrate on the artist’s queer appeal and, most importantly, on her exposition of black camp, an intersection of feminist, racial and queer poetics. By examining video and live performances, the scope of this article is to underline those queer nuances inherent in Beyonce’s dramatisation of black femininity and the cultural pool she draws from for its effective staging. More specifically, since Beyonce plays with tropes and themes that are common in camp culture, her performance relies on a meta-camping effect that interacts with African-American queer culture. This article, thus, traces black queer traditions and discourses in the artist’s praxis of black camp.

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Sunday, Adesina B., and Ibukun Filani. "Playing with culture: Nigerian stand-up comedians joking with cultural beliefs and representations." HUMOR 32, no. 1 (February 25, 2019): 97–124. http://dx.doi.org/10.1515/humor-2017-0085.

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Abstract In interactions, the culture of the participants influences their contributions and interpretations. Stand-up comedians articulate contemporary culture by making mutually manifest cultural beliefs and representations within the performance space, and teach the audience how to use them. This paper investigated how Nigerian stand-up comedians employ cultural assumptions and representations in their performances. Using relevance theory for analysis and seven routines from seven Nigerian stand-up comedians as the data, this study explored how Nigerian stand-up comedians bring shared cultural knowledge into their performances. Nigerian stand-up comedians joke with culture by manipulating shared cultural representations, distorting collective knowledge, manipulating stereotypes and projecting personal beliefs. By joking with cultural beliefs and representations within the performance space, Nigerian stand-up comedians mediate and negotiate what “contemporary culture” should be.

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S. Omoera, Osakue, and Ruth Etuwe Epochi-Olise. "MEDIATIZATION OF NDOKWA MASQUERADE PERFORMANCES: THE AESTHETIC DYNAMICS OF AN AFRICAN INDIGENOUS CARNIVAL." Journal of Cultural and Creative Industries 3, no. 1 (December 22, 2022): 1–22. http://dx.doi.org/10.21134/jcci.v3i1.1763.

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This article examines the mediatization of the aesthetic dynamics or dimensions in the masquerade performances of the Ndokwa people in Delta State, Nigeria. Masquerade performances and carnivals are spectacular indigenous theatrical activities or forms that involve the impersonation of fictive characters by costumed performers in Nigeria and across Africa. These art forms share similar elements that make them culturally significant in terms of creativity and social commentary. The Ndokwa masquerade performances during festive celebrations have been on for over two decades but have virtually not been given the deserved publicity to project them as fine tourist events. Deploying Etop Akwang’s “Medialization” model, this study uses historical-analytic, key informant interview (KII) and direct observation to consider the uniqueness of the Ndokwa masquerade performance. It holds that the masquerade performance is a valuable cultural product that combines the characteristics of carnivals and celebrations of fluid cultural exchange that appear to have led to hybridized cultural performances amongst the people. It highlights some of the aesthetic dimensions of the Ndokwa masquerades and how they could be made more culturally viable and economically appealing through the use of new media outlets. This article, therefore, advocates for the use of social media as a trendy form of mediatization or media production to give visibility to Ndokwa masquerade performances in the global cultural space.

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Georgakopoulou, Alexandra. "Conversational Stories as Performances." Narrative Inquiry 8, no. 2 (January 1, 1998): 319–50. http://dx.doi.org/10.1075/ni.8.2.05geo.

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This study is intended as a step towards the full uncovery of the textual and contextual, cross-cultural and particularistic aspects of the contested notion of oral performances. The data comprise conversational storytelling performances from Greece. To capture the interplay between conventional resources and contextual contingencies involved in any performance, the study employs the three dimensions of narrativity, teller-tale-telling (Blum-Kulka, 1997), as the loci of performances. With respect to the tale, Greek stories range from mini-performances to full-fledged or sustained performances. The choice of one or the other is interrelated to a story's episodic structuring, topic, and purposes of telling. A constellation of devices (keys) form the hallmarks of Greek performances; these are classified as poetic or theatrical. With regard to the stories' telling, it is argued that the teller-audience interactional norms are geared towards granting strong floor-holding rights and upholding full-fledged, single-teller performances which call attention to the teller's skill and autonomy. Finally, the locus of teller is proposed as the main site for the emergent properties of performance events. It is also argued that the relationship between these properties and the teller can be best explored with reference to the concept of positioning (Bamberg, 1997). This allows us to shed light on how performance devices, in their individualized and local uses, act as indexes of personal and sociocultural identities. The study's findings point to avenues for future research and suggest analytical ways of pursuing it. Specifically, the classification of performance keys as poetic or theatrical could be useful for the exploration of cross-cultural aspects of performance styles. In addition, the "Greek" performance devices reinforce the assumption that there is a certain set of devices typical of verbal art cross-culturally; this needs to be further documented. Overall, the study aims at demonstrating the validity and necessity of exploring the pragmatic work which performance keys accomplish in interactional contexts. {Narrative performance, Emergence, Teller-tale-telling, Positioning)

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Kartika, Novianti Eka, and Dasrun Hidayat. "West Java Regional Cultural Management UPTD in Designing Virtual Art Performances During the COVID-19 Pandemic." Kanal: Jurnal Ilmu Komunikasi 9, no. 3 (September 9, 2021): 108–12. http://dx.doi.org/10.21070/kanal.v9i3.1570.

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Virtual art performances are a form of program during the pandemic by the West Java Regional Cultural Management UPTD in the use of social media on YouTube. The purpose of this study was to determine the design of the virtual art performance program starting from the initial analysis stage, the production stage to the post-production by the executor of the West Java Regional Cultural Management UPTD. This research uses qualitative research with ethnographic study of public relations. This study aims to examine the behavior of public relations (PR) communication carried out by virtual art performers in collaboration with artists to carry out virtual art performances. The results of this study indicate that there are stages of the virtual art performance program, starting from the stage of situation analysis, determining the goals and objectives of the program. The stages during production are holding virtual art performances and post-production such as editing and uploading to YouTube media. Therefore, this study uses the relevant model, namely The IPPAR (Insight, Strategic Program, Program Implementation, Action and Reputation) mode in the process of virtual art performances.

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Adelakun, Abimbola A. "The Ghosts of Performance Past: Theatre, Gender, Religion and Cultural Memory." Religion and Gender 7, no. 2 (February 19, 2017): 147–63. http://dx.doi.org/10.18352/rg.10162.

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This article studies the phenomenon of ghosting in religious performance through an examination of a famous Yoruba actress, Iyabo Ogunsola (Iya Efunsetan). Ogunsola once played the role of a 19th century historical character, Efunsetan Aniwura, on stage at a remarkable period of Yoruba history thus embedding her life and career trajectory with that of the culture. Iya Efunsetan has currently transited to an Aladura church leader and a gospel performer. Building on works by theatre/performance scholars who have studied how previously staged performances haunt the re-enactment of performances in another place, time, and context, I examine the religious aspect of the phenomenon of ghosting as it relates to Ase, Yoruba concept of metaphysical force. While Iya Efunsetan cannot shake off the ghosts of her theatrical past, I note that she mobilizes the Ase of her embodied theatrical history fame to authenticate herself as a religious leader.

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20

Christiansen, Bryan. "Cultural Indoctrination in Global Hypercompetition." International Journal of Productivity Management and Assessment Technologies 4, no. 1 (January 2016): 39–51. http://dx.doi.org/10.4018/ijpmat.2016010104.

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This article examines the potential influence of cultural indoctrination (CI) on international management and corporate performance today in an era of global hypercompetition. The specific organizational function targeted in this work is international human resource management (IHRM). As organizations are confronted with the need to engage with stakeholders from a variety of different cultural backgrounds, the need to understand the ways in which cultural imperatives play into individual and collective performances becomes increasingly important. Based on an encompassing literature review, this article examines the following seven factors which should be included in CI: Child Development, Cultural Institutionalization, Cultural Intelligence, Social Learning Theory, Religion, Social Capital, and Values Orientation Theory (VOT). It is from these factors that a conceptual framework is developed for potential future application in IHRM theory and practice.

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Rayner, Francesca. "Dehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 27–41. http://dx.doi.org/10.1515/mstap-2017-0003.

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This article addresses the key role of performance space in mediating between cultural locations. It discusses two Portuguese performances of Shakespeare where audiences were invited to become part of the performance and the ways in which this dehierarchization of the performance space framed a cross-cultural encounter between a globalized text and a localized performance context. In Teatro Oficina’s 2012 King Lear, both audience and performers sat around a large table in a production which reflected upon questions of individual and collective responsibility in Shakespearean tragedy and in the wider political sphere. In the middle of this performance space hung a large cube onto which the translated text was projected, setting up a spatial tension between text and performance that also foregrounded the translocation of the Shakespearean text to a Portuguese performance context. In Tiago Rodrigues’ 2013 By Heart, ten members of the audience were invited onstage to learn Shakespeare’s Sonnet 30 “by heart and not by brain.”1 In doing so, Rodrigues emphasized the cultural embeddedness of Shakespearean texts in a wider European cultural context and operated a subtle shift from texts to performance as a privileged repository for the cultural memory of Shakespeare. The article explores how these spatial shifts signaled the possibility of enabling cross-cultural identifications with Shakespeare through performance.

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Jian, Zhang, Arsenio Nicolas, and Khomkrich Karin. "Examining Cultural Production and the Development of Zhuang Cultural Performances in Guangxi Province, China." International Journal of Critical Cultural Studies 20, no. 1 (2022): 13–25. http://dx.doi.org/10.18848/2327-0055/cgp/v20i01/13-25.

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Forsyth, Miranda, and Kalissa Alexeyeff. "Regulating Cultural Performances in Oceania: the Complicated Relationship between Law, Creativity and Cultural Property." Journal de la société des océanistes, no. 142-143 (December 31, 2016): 117–30. http://dx.doi.org/10.4000/jso.7489.

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Pal, Bidisha, and Mojibur Rahman. "Acculturation, cultural resistance, or cultural rigging: A study of folk performances in popular films." South Asian Popular Culture 18, no. 3 (September 1, 2020): 261–69. http://dx.doi.org/10.1080/14746689.2020.1816256.

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이미연. "Exploring the Possibility of Taekwondo Performances as Cultural Marketing." TAEKWONDO JOURNAL OF KUKKIWON 7, no. 3 (September 2016): 83–107. http://dx.doi.org/10.24881/tjk.2016.7.3.83.

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Bedoya, Ricardo. "Dos “performances” de Magaly Solier: construyendo una imagen cultural." Contratexto, no. 26 (2016): 71–84. http://dx.doi.org/10.26439/contratexto2016.n026.770.

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Bay-Cheng, Sarah. "Performing the Matrix: Mediating Cultural Performances (review)." Theatre Journal 61, no. 2 (2009): 335–36. http://dx.doi.org/10.1353/tj.0.0183.

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Bianchini, Natka. "Drawing on Beckett: Portraits, Performances, and Cultural Contexts (review)." Theatre Journal 58, no. 1 (2006): 157–58. http://dx.doi.org/10.1353/tj.2006.0060.

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Choudhury, Mita, Marianne Novy, Dennis Kennedy, and Brian Gibbons. "Cross-Cultural Performances: Differences in Women's Revisions of Shakespeare." TDR (1988-) 40, no. 2 (1996): 141. http://dx.doi.org/10.2307/1146536.

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C. Chinyowa, Kennedy. "Play as an Aesthetic Discourse in African Cultural Performances." Contemporary Theatre Review 25, no. 4 (October 2, 2015): 534–44. http://dx.doi.org/10.1080/10486801.2015.1078320.

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Jafari, Jafar. "The celebration of society perspective on contemporary cultural performances." Annals of Tourism Research 13, no. 4 (January 1986): 671–72. http://dx.doi.org/10.1016/0160-7383(86)90014-9.

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Bendrups, Dan. "War in Rapanui Music: A History of Cultural Representation." Yearbook for Traditional Music 38 (2006): 19–33. http://dx.doi.org/10.1017/s0740155800011644.

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This article examines historical associations between music and war on the Polynesian island of Rapanui (Easter Island; figure 1). Throughout Polynesia, bellicose themes appear in the lyrics of songs commemorating legendary battles and warriors, as well as in depictions of combat in staged and un-staged performances appealing to tourist and indigenous audiences alike. On Rapanui, spears, clubs and other artefacts of war embellish performances by contemporary music and dance ensembles, together with dance moves that imitate martial activity. One recently successful ensemble has even taken the name Matato'a (an ancient term meaning ‘warrior’ or ‘guardian') as a means of symbolizing their cultural guardianship. While these performances are aimed at the tourist market, they are not devoid of local significance. Indeed, the recent push to generate a diverse repertoire of Rapanui music for cultural performances has arguably assisted in the revitalization and preservation of precontact songs, chants, and dances that would otherwise be consigned only to the memories of Rapanui elders and the dusty pages of obscure ethnographic works.

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Dangaura, Mohan. "Bhada Tharu Homestay: Building National Integrity through Cultural Performance." Molung Educational Frontier 11 (June 18, 2021): 78–100. http://dx.doi.org/10.3126/mef.v11i0.37848.

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This article studies the challenges of modernity in Tharu people’s way of life and how successfully they have sustained to maintain aesthetics of ethnicity coping together with modernity. The scholarly discussion of the impact of ritual performances of Tharu people to identify themselves in the national and international domain through the socio-cultural aspect of homestays provides us insight into how Tharus have become successful in preserving the memory of identity through cultural heritage. This study confines its approach within the Bhada village of Kailali district. It examines the progressive changes institutionalized after the homestay programmes in socio-cultural development of Tharu people’s cultural performances facing urbanization. Homestay programmes in the Tharu village of Kailali district have accelerated their financial advancement chiefly by their exceptionally distinct social-cultural legacies of rituals and performances. With the assistance of various exploration reports, it essentially analyzes the part of social execution like dance melodies among Tharu people to bear the progressions for economic exercises and vocation. With the assistance of Devkota and Bhattarai’s notion of homestays and rural development, the paper legitimizes the imminent practical development in the indigenous community by analyzing the issues from culture to modernity.

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Fletcher, Loraine, and Marianne Novy. "Cross-Cultural Performances: Differences in Women's Re-Visions of Shakespeare." Modern Language Review 90, no. 2 (April 1995): 410. http://dx.doi.org/10.2307/3734560.

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Stevens, Camilla. "Leticia Alvarado. Abject Performances: Aesthetic Strategies in Latino Cultural Production." Modern Drama 62, no. 3 (July 2019): 361–63. http://dx.doi.org/10.3138/md.62.3.br1.

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Zola, Lia. "Creating, Reinventing, and Assessing Cultural Performances in The Sakha Republic." World Futures 65, no. 8 (October 30, 2009): 613–19. http://dx.doi.org/10.1080/02604020903300642.

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Cunningham, Clark. "The interaction of cultural performances, tourism, and ethnicity: An introduction." Journal of Musicological Research 17, no. 2 (1998): 81–85. http://dx.doi.org/10.1080/01411899808574741.

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de Deckker, Paul, and Catherine Coquery-Vidrovitch. "Afrique noire, Performances et ruptures." African Studies Review 29, no. 3 (September 1986): 154. http://dx.doi.org/10.2307/524094.

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Nielsen, T. Rune. "Effects of Illiteracy on the European Cross-Cultural Neuropsychological Test Battery (CNTB)." Archives of Clinical Neuropsychology 34, no. 5 (October 1, 2018): 713–20. http://dx.doi.org/10.1093/arclin/acy076.

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Abstract Objectives Test performances of illiterate and literate immigrants were compared to investigate the effects of illiteracy on the European Cross-cultural Neuropsychological Test Battery (CNTB), and associations between test performance and participant characteristics were examined. Method Participants were 20 illiterate and 21 literate middle-aged and older Turkish immigrants (50–85 years) matched by age and gender that completed the CNTB as well as a number of demographic and medical questionnaires. Results No significant group differences or correlations between education, acculturation or health characteristics and test performances were found on 10 of 16 measures. Illiteracy status and participant characteristics affected measures of mental processing speed, executive function, and visuoconstruction. Conclusions The preliminary findings suggest that several of the measures in the CNTB may be valid for assessment of cognitive functioning in people who are illiterate when applied using available normative data. However, these findings need to be replicated in larger samples.

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Pauketat, Timothy R., and Thomas E. Emerson. "Star Performances and Cosmic Clutter." Cambridge Archaeological Journal 18, no. 1 (February 2008): 78–85. http://dx.doi.org/10.1017/s0959774308000085.

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Are there long-term processes invisible over short spans? And if so, how might they relate to the loci of long-term social change, those performative or practical moments wherein agents enact, embody, or otherwise engage traditions, landscapes, or structures? Here, we are particularly concerned with the experience of starry skies as these were historically reckoned through cluttered object fields and cosmic events. These are key to understanding the emergent properties of ethnoastronomies and cultural landscapes that, in certain moments, may be described as leading to historical conjunctures.

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THOMAS, ROSALIND. "Performance and written literature in Classical Greece: envisaging performance from written literature and comparative contexts." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 348–57. http://dx.doi.org/10.1017/s0041977x03000247.

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This paper examines the nature of performance literature in Ancient Greece, comparing it with other modern and medieval examples. It concentrates on archaic Greek ‘song culture’, and especially choral praise poetry. It discusses the social and cultural significance of the original performances and, drawing on comparative examples, investigates the ‘gap’ between performance and text, possible cultural explanations and interpretations of ‘difficult’ performed literature—particularly competitive and religious—which stand out in comparison to performance literatures elsewhere.

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Fiori Arantes, Pedro, Isabel Barboza, André Okuma, and Alexandre Vilas Boas. "Assombro, transgressão e falsificação na estética de combate bolsonarista." Revista ECO-Pós 24, no. 2 (November 30, 2021): 90–123. http://dx.doi.org/10.29146/ecopos.v24i2.27710.

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Neste artigo analisamos diferentes tipologias do que denominamos "estética de combate" da "guerrilha cultural" na extrema-direita, artilharia de comunicação microbiana e viralizada que operou em 2018 com eficiência ideológica e eleitoral. O conjunto de imagens, objetos e performances que problematizamos, do kit gay e mamadeira de piroca ao Rambonaro e Capitão B, passando pelas performances de rua de celebração da prisão de Lula e do assassinato de Marielle, é fruto de uma máquina de subjetivação reacionária asssombrosa. Estamos diante de um regime discursivo e visual que constrói fábulas de adesão e regressão; reitera paranóias, conspirações e recalques; e dissemina ódio, misoginia, homofobia e racismo. Seja pelo heroísmo falsificado, objetos escatológicos ou performances sádicas, esse conjunto estético-político revela um desejo de retorno a uma ordem repressora e moralista capaz de exterminar o inimigo interno, os corpos insurgentes e desconformes, que ameaçam a pátria e a família. Palavras-chave: guerrilha cultural; estética de combate; fábulas regressivas; performance; falsificação. In this article, we analyze different typologies of what we call "combat aesthetics" of the "cultural guerrilla" on the far right, microbial and viral communication artillery that operated in 2018 with ideological and electoral efficiency. The set of images, objects and performances that we discuss, from the "kit gay" and "mamadeira de piroca" to "Rambonaro" and "Captain B", to street performances celebrating the arrest of former President Lula and the brutal murder of Rio de Janeiro’s city councilor Marielle Franco, is the result of an astounding reactionary subjectivation machine. We are facing a discursive and visual regime that builds fables of adhesion and regression; reiterates paranoia, conspiracies and repressions; and spreads hatred, misogyny, homophobia and racism. Whether through counterfeit heroism, eschatological objects or sadistic performances, this aesthetic-political set reveals a desire to return to a repressive and moralistic order which serves to be capable of exterminating the internal enemy, the insurgent and nonconforming bodies that threaten the homeland and the family. Keywords: cultural guerrilla; combat aesthetics; regressive fables; performance; falsification. En este artículo analizamos diferentes tipologías de lo que llamamos "estética de combate" de la "guerrilla cultural" de ultraderecha, artillería de comunicación microbiana y viralizada que operó en 2018 con eficacia ideológica y electoral. El conjunto de imágenes, objetos y performances que problematizamos, desde el kit gay y la botella de pito hasta Rambonaro y el Capitán B, pasando por performances callejeras celebrando la detención de Lula y el brutal asesinato de Marielle, es el resultado de una asombrosa máquina reaccionaria de subjetivación. Estamos ante un régimen discursivo y visual que construye fábulas de adhesión y regresión; reitera paranoia, conspiraciones y represiones; y propaga el odio, la misoginia, la homofobia y el racismo. Ya sea a través del heroísmo falsificado, los objetos escatológicos o las actuaciones sádicas, este conjunto estético-político revela el deseo de volver a un orden represivo y moralista capaz de exterminar al enemigo interno, los cuerpos insurgentes e inconformes que amenazan la patria y la familia. Palabras clave: guerrilla cultural; estética de combate; fábulas regresivas; performance; falsificación.

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Thompson, Kirrilly. "CLASSY PERFORMANCES: THE PERFORMANCE OF CLASS IN THE ANDALUSIAN BULLFIGHT FROM HORSEBACK (REJONEO)." Journal of Spanish Cultural Studies 13, no. 2 (June 2012): 167–88. http://dx.doi.org/10.1080/14636204.2012.745322.

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Konan, Paul N’Dri, Armand Chatard, Leila Selimbegović, and Gabriel Mugny. "Cultural Diversity in the Classroom and its Effects on Academic Performance." Social Psychology 41, no. 4 (January 2010): 230–37. http://dx.doi.org/10.1027/1864-9335/a000031.

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Drawing on data from the Organization for Economic Cooperation and Development’s Program for International Student Assessment (OECD/PISA), we examined the relationship between the percentage of immigrant students and the reading and mathematics performances of native and immigrant students across nations. In line with research on cultural diversity, results indicated performance benefits as the percentage of immigrant students increased across nations. Interestingly, these effects remained significant for both native and immigrant students, once several other predictors of test performance at the national, school, and individual levels were controlled for. These findings challenge the assumption that the increasing presence of immigrant students in educational institutions represents a threat to native students’ academic performance. Potential mechanisms are proposed and discussed, offering new avenues for research.

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Rybczak, Emil, and Emil Rybczak. "Hamlet, Performance and Chaotic Cultural Networks." Exchanges: The Interdisciplinary Research Journal 3, no. 1 (October 7, 2015): 41–64. http://dx.doi.org/10.31273/eirj.v3i1.125.

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Since the 1960s, chaos theory has become an important but controversial tool used by scientists and mathematicians to describe physical or theoretical systems or networks. It explains how the simple can generate the complex. Its central tenets can also provide an alternative language and means of literary interpretation. This article will explore how the principles of chaos theory can be used to close read and systematise various aspects of the language and performance of Shakespeare. The argument is built upon an analysis of Hamlet, in an effort to understand the play and its reproduction as the evolution of interconnected complex networks. Various aspects of the text will be discussed, including its language, structural and character patterning, and its reproduction through performance and cinematic adaptation. Each of these topics, and the characters, devices or ideas they discuss, constitute nodes of the complex network of Hamlet as both text and idea.Responding to the cultural analysis of other scholars, this article uses Hamlet as an ideal example of how the appropriation of scientific language can defamiliarise a particular literary or dramatic artefact. This allows fresh interpretation and understanding of its location within the broader networks of theatre and culture. I suggest the possibilities of close reading literary works through the lens of chaos and suggest how they might be applied and developed in conjunction with other texts, media or performances.

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Robinson, Thomas. "The singer and the song: core components in Jimmy Webb's ‘Didn't We’." Popular Music 33, no. 2 (April 8, 2014): 315–36. http://dx.doi.org/10.1017/s0261143014000282.

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AbstractIn the study of popular music, much attention is given to the cover version, a performance of a song filled with reference to and even commentary upon previous performances. Analysis of cover versions tends to reveal a lot about the performers and performances but very little about the work being performed. Because different versions of a song may vary widely, it is often difficult to determine what precisely is ‘the work’ in the first place, especially in the absence of a score. Using an original analytical apparatus, the pitch-prevalence contour, and using Jimmy Webb's ‘Didn't We’ as a case study, this essay attempts to quantify the ‘core components’ of a song, the parts of a song that are retained in most if not all of its versions. It is through the analysis of various performances, seeking similarities, that one is able to see the essence of the song revealed. What is more, isolating these components simultaneously brings the differences in the performances into greater relief. The methodology thus separates the singer and the song.

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Aria Widjaja, Muhammad Yusuf, Mukhamad Yasid, and Abdurrahman Misno. "Pengaruh Budaya Organisasi dan Gaya Kepemimpinan Transformasional-Transaksional terhadap Kinerja Karyawan melalui Komitmen Organisasi dan Kepuasan Kerja pada Yayasan Nurul Hayat." BISMA (Bisnis dan Manajemen) 11, no. 1 (October 31, 2018): 77. http://dx.doi.org/10.26740/bisma.v11n1.p77-103.

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Cultural organisation as a system formed by the company management, has the same characteristics than other organisations. It is due to the leader has authority to change the old paradigm to a new transformation. The purposes are employees have a high commitment in organisation, satisfaction at work, and also to improve the performance of the given contribution. The purpose is to examine the Influence of Cultural Organisation and a leader style which is Transformational-Transactional sign to Employee Performance, High Commitment in Organisation, and also the satisfaction at work.. This study applies Structural Equation Modeling (SEM) with 5% alpha significance. Data is obtained from 116 employees “Nurul Hayat” Foundation with proportional sampling technique by using questionnaires, interviews and documentation. At P-Value (> 0,05) and T-Value (> 1,96) indicate that, Culture Organisation has positive and significant influence on employee performance, organisation commitment and job satisfaction. The leadership style has positive and significant influences on job satisfaction and organisation commitment. The leadership style has positive and insignificant effects on employee performances. Organisation commitment has positive and insignificant effects on employee performances. Job satisfaction has positive and significant effects on employee performances.

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Hurley, Alec S., and Annette R. Hofmann. "Between Pints and Performances." Journal of Sport History 48, no. 2 (July 1, 2021): 186–200. http://dx.doi.org/10.5406/21558450.48.2.08.

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Abstract German immigrants to the United States in the late 1840s faced isolation and a cultural vacuum. Pockets of community could be found in the traditional German turnvereins (gymnastic clubs or societies) that offered the new German immigrants a warm but culturally insulated haven. The work of George Brosius, one of the leading gymnastic instructors in the American turner movement and director of the Turner's Normal School in Milwaukee, rarely discussed in previous research, contributed to the elevation of the German American Turner societies from a bastion of German culture to a prominent part of American physical culture. This will be shown through his contribution as a gymnastics instructor and later director of the American Turner Union's Normal School in Milwaukee and his work as a coach. We aim to solidify the American-born George Brosius's place among the pantheon of nineteenth-century figures of physical culture.

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Sampatakakis, George. "Rebranding the nation: Performances of 1821." Journal of Greek Media & Culture 8, no. 1 (April 1, 2022): 117–23. http://dx.doi.org/10.1386/jgmc_00053_7.

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This visual essay discusses some of the performances celebrating the bicentenary of the Greek War of Independence. Ranging from historical reenactments to deconstructive appropriations and ironic adaptations, the performative renderings of 1821 challenged the tangibility of the past and the nation’s cultural expectations, creating an intriguing landscape of conflicted interests.

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GONZÁLEZ, ANITA. "Megaship Economies and Transnational Maritime Performance." Theatre Research International 39, no. 3 (September 16, 2014): 182–97. http://dx.doi.org/10.1017/s0307883314000467.

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Maritime performance inherently links to economies of commerce. Its history and practices reorient theatre within broad frames of transnationalism. Maritime performances – theatre, music and dance activities on ships, along shipping routes or within port environments – immerse participants in interactive cultural play. This article uses the lens of the cruise industry as a microcosmic study of identity formation through maritime performance praxis. Performances at sea enable roleplaying of passengers and crewmembers, activating all sectors of the ship. Collectively sea acts pass time, provide a forum for recognition of talent, and allow for cultural exchanges across social boundaries. The maritime subject considers the port as a temporary layover point before the next long journey. For maritime performers, notions of voyage and destination invert. Knowledge travels in circles when performers ride ocean currents and old histories resurface within contemporary practices. Megaships support performance economies where the voyage dominates even as economies of power persist.

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