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Literatura científica selecionada sobre o tema "Kima (Musical group)"

Autor: Grafiati

Publicado: 26 de julho de 2024

Última modificação: 31 de julho de 2025

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Artigos de revistas sobre o assunto "Kima (Musical group)"

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Lancashire, Terence. "From Spirit Possession to Ritual Theatre—A Potential Scenario for the Development of Japanese Kagura." Yearbook for Traditional Music 36 (2004): 90–108. http://dx.doi.org/10.1017/s0740155800020476.

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The Japanese goddess Arne no Uzume no Mikoto bound up her sleeves with a chord of heavenly pi-kage vine, tied around her head a head-band of the heavenly masaki vine, bound together bundles of sasa leaves to hold in her hands, and overturning a bucket before the heavenly rock-cave door, stamped resoundingly upon it. Then she became divinely possessed, exposed her breasts, and pushed her skirt-band down to her genitals. (Philippi 1968:84)This description of the possession dance of the goddess Ame no Uzume no Mikoto in the eighth century Kojiki (Record of Ancient Matters) A.D. 712, to entice the

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Livros sobre o assunto "Kima (Musical group)"

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Abreu, Vicente Martín. La Kima: El rock en La Palma. Los 80 Pasan Factura, 2019.

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Ó Briain, Lonán. Hybridity and the Other in Modern National Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0003.

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The process of inventing a national musical tradition for newly independent Vietnam demanded the inclusion of appropriate features from the minority cultures. Scholars compiled studies of these groups and ascribed musical instruments and styles to particular people. Composers and performers were then encouraged, via the awards and honors that were bestowed upon them by the Communist Party, to incorporate these features into their musical palettes. Lương Kim Vĩnh, a state-employed musician from the Viet majority, successfully modified the Hmong reed pipe for use in modern national music, and he

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Rabitsch, Stefan, Michael Fuchs, and Stefan L. Brandt, eds. Fantastic Cities. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496836625.001.0001.

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The American city, much like America itself, has always been a fantastic construct. More often than not, American cities are cities of illusion, as their representations tend to focus on images which connote order, power, and progress. These ideas gloss over the systemic realities of homelessness, unemployment, and social injustice characteristic of America’s urban centers. Fantastic Cities explores representations of American cities in science fiction, fantasy, and horror across a variety of media. These genres render the illusory character of American urban spaces explicit, as they realize t

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Women of Motown: An Oral History. DeVault-Graves Agency, 2017.

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Capítulos de livros sobre o assunto "Kima (Musical group)"

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Beng, Tan Sooi. "“Kita Anak Malaysia” (“We Are the Children of Malaysia”)." In The Oxford Handbook of Music in China and the Chinese Diaspora. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190661960.013.30.

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Abstract This chapter looks at how the Malaysian Chinese have created multiple identities through their musical cultures from the early twentieth century to the turn of the new millennium. These identities are often informed by contestations and challenges and can be understood in the contexts of the socio-political and historical conditions that led to their creation. Factors such as class, education, state policies, and cultural contact with other ethnic groups also influence the making of identities and musical works. This chapter emphasizes that Chinese musicians in Malaysia have continual

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Howard, Keith. "Songs for New Leaders." In Songs for "Great Leaders". Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0010.

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This chapter first turns the spotlight on how fascist and socialist states approach popular music, both in respect to control and censorship and in attempts to create authorized pop repertories, arguing for a redefinition of “popular.” It then introduces the two North Korean pop bands established in the mid-1980s, Pochonbo and Wangjaesan. Two vignettes explore how pop songs functioned as a “state telegraph” during the 1994–1997 transition period to Kim Jong Il that began with Kim Il Sung’s death, and during 2009–2011 as the third leader, Kim Jong Un, was eased into power, following the death o

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Hu, Richard. "“White” Korean Music." In Advances in Media, Entertainment, and the Arts. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-7998-5817-1.ch005.

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With the rise of K-Pop globally, demonstrated through popular groups like BTS, NCT, or AESPA, K-Pop's influence has also expanded into the West and leads to the question: Can—and should—white people be K-pop idols? This chapter seeks to answer this question by exploring the example of EXP-Edition, an all-white K-Pop group created by then-NYU MA student Bora Kim, who wrote a Master's thesis defending the creation and attempting to legitimize the group. This chapter critiques EXP and Kim's thesis through racial rhetorical criticism, examining how Korean and other Asian performers are both racial

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