Betrayal, be it feared or actualized, haunts Helene Cixous's writings in general. The irreversibility of death or of the blood that has been shed is not the last word in Cixous's play.
To read this evocative book is to be thrust into a Fiji that has, for the moment, been snuffed out by military might: a Fiji of political parties, parliamentary politics, elections, manifestoes, ...campaigns, democractic defence of interests, party manoeuvres, and constitutional protection of rights and freedoms. It is a comprehensive and eloquent re-telling of the story of Fiji politics from independence in 1970 to 1999 through the perspective of Fiji’s greatest living statesman, Jai Ram Reddy, by one of the world’s most distinguished scholars of its history and politics.
This article engages with three contemporary dance works, each representing a different Shakespearean encounter. Its starting point is Modernist American choreographer José Limón’s The Moor’s Pavane ...(1949), a seminal (and perhaps now iconic) instance of a choreographer negotiating narrative: Shakespeare’s Othello. It then discusses two contemporary and localised South African dance works that also ‘encounter’ Shakespeare: Dada Masilo’s the bitter end of rosemary (2010), in which a choreographer/dancer negotiates character (Ophelia); and the recent transnational work of Gregory Maqoma and Helge Letonja, OUT OF JOINT (2017), in which the choreographers respond to an idea derived from a ‘poetic’ Shakespeare. Shakespeare is navigated and ‘encountered’ by these selected choreographers in differing contexts as a type of intertextual – and embodied – site of recognition for making meaning. The article explores the intricacies of intertextual dialogue between a literary Shakespeare, choreography and the dancing body. It considers the layered potential for Shakespeare/s to be a site of localised and contemporary embodiment: a trigger or a touch point for contemporary dance-makers that allows ‘Shakespeare’ to be viewed as a dialectic, a space of tensions and revisions. This is framed by the author’s own ‘encounters’ with Shakespeare as a South African.
In one of his best-known poems, 'The Maori Jesus', James K. Baxter recounts the misadventures of the eponymous Christ figure in and around Wellington city. Although he walks on water and is clearly ...possessed of supernatural powers such as the ability to make the sun shine or the ground shake, he is also very much a social outsider and a victim of the forces of order. His twelve disciples are equally marginalised, drawn from the fringes of society and / or specifically represented as likely to be in conflict with organised religion: among them is a cleaner of toilets, joined by an unsuccessful call-girl 'who turned it up for nothing', a 'sad old quean', an alcoholic priest ‘going slowly mad’ and a housewife 'who had forgotten the Pill'.
Purpose
The purpose of this paper is to provide an in-depth consideration of the color line in the US music market, much deeper treatment than that of a superficial social construct.
...Design/methodology/approach
Content analysis was performed using archives from the Performing Arts Division of the New York Public Library.
Findings
A complex intersection of social and capitalist influences is fueled by culture and economics, filtered through the contributions of artists and media. Six major categories: social, media, artist, culture, industry, and economics contribute to its development and propagation. It continues to affect contemporary music markets.
Research limitations/implications
Interpretation of archival data is subject to availability of material and subjectivity of the researcher. Steps were taken to minimize bias. The research implies an opportunity for the US music market to celebrate diversity and social justice.
Practical implications
Focusing on the symbolic use of music, marketers have the opportunity to empower consumers to embrace diversity, reversing the trajectory of the color line.
Social implications
Embracing cultural heritage and celebrating diversity can promote economic gain without detriment to cultural interests.
Originality/value
The present research provides a much deeper consideration of the color line in the American Music Market than previous literature does. The consideration includes a combination of forces, from profit focused to cultural.
This paper explores the possibility that Conlon Nancarrow’s connection to jazz runs more deeply and widely throughout the Studies for Player Piano than is typically recognized through the clear ...stylistic allusions to jazz found in a few of the Studies. I propose that an awareness of this deeper connection—as suggested by Nancarrow’s profound appreciation for early jazz, especially that of Louis Armstrong and Earl Hines—might prompt a new and rewarding mode of listening to the Studies, an improvisational mode. The principle of collective improvisation, important in both early jazz of the 1920s and in “free jazz” of the 1960s, was valued by Nancarrow, and his discussion of it intimates an aesthetic stance that runs through his music.
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