Re-placing Performance: A case study of the Yukon music scene in the Canadian north

Diamond, Beverley

doi:10.1080/07256860120069611

Cited by 3 publications

(1 citation statement)

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“…Over the last eighty years, country music has come to play an immensely important private and public role in Australian indigenous lifeworlds, as music scholars and journalists have noted (such as Breen 1989; Dunbar‐Hall & Gibson 2004; Walker 2000). It is also a known phenomenon among Indigenous peoples in other settler societies (see for example, Diamond 2001; Samuels 2004). Despite its ever‐presence in day‐to‐day Australian Indigenous settings, country music, and indeed popular music more generally, has rarely attracted anthropologists’ attention as a socially and culturally generative practice.…”

Section: Introductionmentioning

confidence: 99%

The intercultural crafting of real Aboriginal country and manhood in Central Australia

Ottosson

2012

Australian J of Anthropology

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This article explores country music as an important means for Aboriginal men in Central Australia to articulate contemporary forms of manhood and indigeneity. These desert men perceive their own music scene as a last stronghold for real country music. The article demonstrates how such notions of real involve the ongoing intercultural mediation of global and local male aesthetic styles and manhood ideals. In making and performing their country music, desert men continue to draw on enduring ancestral regimes for male demeanour that resonate with global country music imagery and practice, as well as with prominent non-Indigenous models of manhood in the regional settler history.

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Section: Introductionmentioning

confidence: 99%

The intercultural crafting of real Aboriginal country and manhood in Central Australia

Ottosson

2012

Australian J of Anthropology

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The Dawson City Music Festival and a Small-Town Scene at the Periphery of the Music Industries

Fauteux

2021

Geographically Isolated and Peripheral Music Scenes

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Pathways And Pilgrimages: The In-Between Spaces in the Patria Cycle1

Galloway¹

2008

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In R. Murray Schafer’s Patria cycle (1966–), movement, both choreographed and improvisational—to the performance, between spaces within the performance, and within the fabrication of the performance—allows the audience to actively participate. These in-between spaces of movement are as much performance space as is the final site of the production, extending the performance beyond the confines of the theatre. Drawing on examples from The Princess of the Stars, The Enchanted Forest, and The Greatest Show, this article examines two states of in-betweenness: first, the pilgrimage to the performance, and second, the pathways that link performance experiences.Dans le cycle Patria (1966–) de R. Murray Schafer, le mouvement de la performance, aussi bien celui mis en scène qu’improvisé — qu’il soit au coeur de la performance, entre des espaces au sein de la performance ou dans le montage de celle-ci — permet à l’auditoire de participer. Ces interstices de mouvement font tout autant partie de l’espace de la performance que le site final de production, élargissant ainsi l’espace au-delà de celui du théâtre de la production. À partir d’exemples tirés de The Princess of the Stars, The Enchanted Forest et The Greatest Show, cet article étudie deux états de cet inter/valle/stice : tout d’abord le pèlerinage vers la performance, puis les chemins reliant les expériences de la performance

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Re-placing Performance: A case study of the Yukon music scene in the Canadian north

Cited by 3 publications

References 1 publication

The intercultural crafting of real Aboriginal country and manhood in Central Australia

The intercultural crafting of real Aboriginal country and manhood in Central Australia

The Dawson City Music Festival and a Small-Town Scene at the Periphery of the Music Industries

Pathways And Pilgrimages: The In-Between Spaces in the Patria Cycle1

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