Theory and Ethnography of Affective Participation at DIY Shows in U.S.

Verbuč, David

doi:10.1525/jpms.2018.000017

Cited by 7 publications

(5 citation statements)

References 31 publications

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“…Finally, American DIY participants reject privatized economic relations present in the dominant American music venues (e.g. renting a space or selling of tickets and beverages for profit) and instead promote reciprocal and collectively established social relations and exchanges within DIY spaces (Verbuč, in pressb).…”

Section: Resultsmentioning

confidence: 99%

“…Furthermore, DIY participants subvert the dominant, capitalist economic exchange system by rejecting the notion of individualized private profit and embracing communally (publicly) oriented reciprocal economic relations. For example, most of the organizational transactions within the DIY community are not based on profit, but on borrowing of equipment, and reciprocal exchange of “favors.” This approach includes reciprocal exchange of venues: music performers playing in other people’s places and later returning the favors by organizing shows in their own places (Verbuč, 2015, Verbuč in pressa). In addition, DIY participants oppose the capitalist notion of “exchange” value by embracing the “use value” approach.…”

Section: American Diy Counterpublicsmentioning

confidence: 99%

“…“Silent Barn,” 2013). There are many debates within the American DIY communities about proper approaches to enabling safe(r) spaces, social effects of these policies, and related issues (Cupcake, 2015; Krajewski, 2016; Reid, 2015; “Silent Barn,” 2013), but I deal with this topic more extensively elsewhere (Verbuč, in pressb).…”

Section: American Diy Counterpublicsmentioning

confidence: 99%

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Notions of intimate publicness and the American do-it-yourself music spaces

Verbuč

2017

Communication and the Public

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I examine in this article how American “do-it-yourself” communities are established socio-spatially both as oppositional and subversive social spaces and scenes and as emerging alternative and autonomous worlds that challenge and transcend the effects and implications of the normative private–public distinction in the United States. I specifically analyze how these do-it-yourself spheres are organized around particular spatial discourses and spatial practices, policies, and interactions enacted at do-it-yourself shows that promote social intimacy, collective solidarity, diversity, and equality. Furthermore, I focus on the tensions and contradictions that exist within American do-it-yourself spaces and scenes in regard to utopian and “real” worlds, inclusive and exclusive social practices, and homogeneous and heterogeneous communities, as manifested through the tensions between private and public nature of American do-it-yourself spaces and scenes. Based on my long-term ethnographic fieldwork research in various US locations, and particularly on the American West Coast, I argue that this tension is, on one hand, both politically necessary and socially beneficial since it enables the creation of counterpublic spaces and with that also “new intimacies” and “new worlds” (Warner, 2002). On the other hand, however, it is also limiting and controversial for the political and social aspirations of American do-it-yourself communities. In the article, I delve into the history and theory of public and private spaces, as related to Western do-it-yourself music practice, and then continue with the analysis of my ethnographic data, where I pay particular attention to the publicness of the house, the body, and the scene, as related to American do-it-yourself communities. In this regard, I specifically examine program and space policies, as well as dance and bodily practices, at American do-it-yourself shows and further look at some of the social and political public engagements of American do-it-yourself participants.

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Section: Resultsmentioning

confidence: 99%

Section: American Diy Counterpublicsmentioning

confidence: 99%

Section: American Diy Counterpublicsmentioning

confidence: 99%

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Notions of intimate publicness and the American do-it-yourself music spaces

Verbuč

2017

Communication and the Public

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“…Moreover, external zine communities are not only created through the distribution, but also through a reception process, that is, through contacts that zine creators initiate with their readers. The latter are not only passive consumers, but active co-creators of zine scenes (Verbuč 2018). Zines make them into participants, as they send letters to zine editors (which are then often also published in zines), or start their own zines in response (Chidgey 2014, 104, 105;Duncombe 1997, 123-36;Eggplant 2012, 35).…”

Section: Zine Receptionmentioning

confidence: 99%

Social Life of Zines and Other DIY Micro-Media Constituting American DIY Communities and Scenes

Verbuč

2024

Journal of Contemporary Ethnography

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The primary function of zines is often considered to be creative and expressive, and the function of other types of DIY (“do-it-yourself”) micro-media as utilitarian (e.g., flyers as promotion), but all of these media also perform important social roles. DIY micro-media (e.g., zines, flyers, Internet pages, graffiti, wall signs, and “thank you” notes) are in this way embroiled in social lives of their makers and help them constitute themselves culturally and socially. DIY micro-media in this way also acquire their own social lives. Inspired by my ethnographic observations of the social lives of DIY micro-media within particular American DIY houses and music scenes, I examine in this article not only the content of DIY zines and micro-media (i.e., to study them as texts), but primarily the social role of zines and other DIY micro-media in the material, social, and affective constitution of DIY and music communities and scenes (i.e., to study them as social agents). Therefore, I show how these micro-media operate as material and media objects that are simultaneously shaped by and shaping human and social relations. By combining zine and micro-media studies with anthropology and material culture studies, I offer in this article a nuanced micro perspective, both ethnographic and emic, of the social processes implicated in the social and economic mutual constitution between media objects and music/art communities and scenes.

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“…Traditional Chinese musical compositions are described by diversity, with changes in form, dialect, and the cultural traditions of each region (HARRIS, 2017). For example, tertians and fifths prevail in songs originating in China's southern part, while northern compositions rely mostly on quartal harmony (VERBUČ, 2018).…”

Section: Introductionmentioning

confidence: 99%

Features of Singing in Chinese Pop and Traditional Music: the Influence of the Music Genre on Vocal Music

Hu¹

2022

Hodie

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Musical compositions require genre-specific sophisticated performance techniques. This paper focuses primarily on the features of Chinese pop and traditional music, based on the music genre’s influence on the vocal music. To achieve this goal, the analysis methods and the Shapiro-Wilk test were used. The study involved 218 music major students from the Beijing International Art School, Shanghai Normal University, and Guangzhou College of Music. The audience and respondents gave less preference to pop music (47% and 39%) compared to the traditional music (53% and 61%). The Shapiro-Wilk test revealed that, when it comes to pop music, the strongest preference was attributed to music geographical spread (0.867), and in the case of traditional music the strongest preference was for higher education (0.927). The paper established the specific features of different genres of music. The most common elements pertaining to pop music include: the option to apply a variety of music elements and singing techniques; rhythm stability; a simple form of vocal performance; extreme sound techniques; preserving the emotionality of the singing; a combination of Western and Chinese elements. Traditional music is characterized by a harmony of music elements and voice timbres, maintenance of the high-pitched voice, natural sound, throat singing, performance quality, preservation of Chinese traditional music elements. Traditional music instruction was the best thing for improving intonation (0.815), maintenance of sound quality (0.806), and development of vocal range (0.718). Pop music is known for a combination of various music elements (0.901), conveyance of the performance style (0.312). The paper’s practical implications boil down to determining the characteristic features of pop and traditional music, as well as elements describing vocal music. Further studies might involve a comparative analysis between Chinese pop music, traditional music, and Western pop and traditional music.

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Theory and Ethnography of Affective Participation at DIY Shows in U.S.

Cited by 7 publications

References 31 publications

Notions of intimate publicness and the American do-it-yourself music spaces

Notions of intimate publicness and the American do-it-yourself music spaces

Social Life of Zines and Other DIY Micro-Media Constituting American DIY Communities and Scenes

Features of Singing in Chinese Pop and Traditional Music: the Influence of the Music Genre on Vocal Music

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