Electronic Dance Music Culture (EDMC)

Nesta entrevista, concedida em 16 de setembro de 2021, por mais de duas horas, via Googlemeet, Cornélia Ercket fala da graduação em ciências sociais, na Universidade Federal do Rio Grande do Sul (UFRGS), para iniciar o relato sobre a trajetória intelectual construída ao longo de mais de 30 anos. Voltou às condições em que realizou sua dissertação de mestrado, com foco nos mineiros de carvão, sob a orientação de Rubem Olivem, ainda na UFRGS. Do doutorado na França, relembrou como continuou sua pesquisa sobre os mineiros, o que a levou a La Grand-Combe-cidade do interior onde viveu por quatro anos e onde pôde examinar o "luto" de toda uma comunidade com o desativação de sua principal atividade econômica, com o fechamento da mina de carvão. Como ela lembra, aquele foi um momento especial no despertar do interesse pela correlação entre narrativas, imagens, imaginários e memórias. Quadrangulação tão decisiva para o desenrolar de sua obra, inicialmente seguindo tanto os traços da antropologia simbólica francesa quanto as pesquisas e reflexões de antropólogos brasileiros sobre a questão urbana. Assim, na continuidade da entrevista, Cornelia combina o percurso de sua produção acadêmica com projetos de pesquisa na constituição do Núcleo de Antropologia Visual do PPGAS na UFRGS. Pode, então, explicar contribuições, temas, divisões disciplinares, referenciais teóricos e esquemas metodológicos específicos ao design da antropologia visual no Brasil. A inclusão da reflexão sobre a imagem permite comentar a situação política à luz dos impactos das fake news. A entrevista se completa na forma como Cornelia situa sua experiência religiosa, bem como seu trabalho na Associação Brasileira de Antropologia (ABA), em comissões, diretorias e atualmente como vice-presidenta da ABA, no diagnóstico que propõe sobre o presente e o futuro das ciências sociais do país.

Partiendo de las teorías de la mediación musical, este trabajo explora el interés de aplicar la ontología relacional propuesta por la teoría del actor-red para expandir el estudio de los mundos musicales a la heterogeneidad de mediaciones que los constituyen y hacen posibles. Para ello, se toma como caso la Ruta Destroy, una escena de la música dance desarrollada en los alrededores de la ciudad de València (España) en las décadas de 1980 y 1990. Poniendo el foco en el papel clave que el automóvil privado jugó en la articulación espacial de la Ruta, se describen tres situaciones propias de esta escena en términos de cadenas de asociación entre mediadores humanos y no humanos.

his article examines the interrelated concepts of space, play and performativity in relation to the underground club scene in the UK. Grounded in the discipline of performance studies, this article uses the lens of play to identify how the spatial characteristics of underground dance culture provide a fertile terrain for performative acts of collectivity and expression. Resonating with previous EDMC scholarship that invokes concepts of liminality and the social dimensions of "spontaneous communitas", the physical and psychical dimensions of play will be considered. Applying Turner's work on subjunctivity (1982) and Jill Dolan's concept of "utopian performatives" (2005) in relation to the psytrance scene, the article positions the underground party as a playful arena, a spatial construct that ofers a context for moments of individual and collective transformation that are expressed and experienced performatively.

Der Aufsatz widmet sich der Präsenz des Disco-Genres in der DDR in den 1970er Jahren. Trotz kulturpolitischer Bemühungen, den Einfluss der als bedrohlich erachteten westdeutschen Diskothekenszene zurückzudrängen und die Diskothek als Raum zu kontrollieren, war das Disco-Genre in der DDR in verschiedenen Dimensionen präsent. Angelegt als Mikrostudie dient die Fernsehshow Ein Kessel Buntes als Hauptressource und Untersuchungsfeld, anhand dessen Erscheinungsformen und Rezeptionsvorgänge des Genres in der DDR herausgearbeitet werden. In der Show traten Disco-Künstler*innen aus dem Westen auf, wurden westliche Disco-Tracks vertanzt oder in Übersetzungen gegeben, sowie erklangen Tracks von DDR-Musiker*innen, die die etablierte ‚Disco-Formel‘ adaptierten. Eine Analyse der Auftritte nimmt deren musikalische, textliche und choreographische Dimension in den Blick. Vor dem Hintergrund der Konnotationen des Disco-Genres in den USA und der BRD, den Produktionsbedingungen und der Erschließung der Diskothek als Raum entfaltet sich ein ambivalentes Bild der Ost-West-Beziehung.

English version:
The article examines the presence of the disco genre in the German Democratic Republic (GDR) in the 1970s. Despite cultural policy efforts to limit the impact of the West German disco scene and to control disco as a space, the disco genre was nevertheless present in the GDR in various ways. The television show Ein Kessel Buntes serves as the article’s field of investigation and main resource for examining manifestations and processes of reception. On this show, Western artists performed disco, the 'Fernsehballett' danced to Western tracks or translated versions, and GDR musicians performed their own songs adapted to the established 'disco formula'. The analysis of the performances takes the musical, textual, and choreographic dimensions equally into account. Viewed within the context of disco’s connotations in the USA and West Germany, the conditions of music production, and the development of the disco as a space, Ein Kessel Buntes reveals an ambivalent picture of West-East relations.

Musical form, in its broadest sense, relies on analyzing structures of a musical work and discovering their place in the work’s large-scale construction by identifying salient parameters through which to define their comprising sounds. W. Luke Windsor describes the frequency domain as the crucial parameter by which musical form has traditionally been determined from history through the present day. The obvious applications of frequency are that of defining sounds in terms of pitch and harmonic structures as is the basis of common practice music theory, and is taken to the extreme with the possibilities of electronic music. Windsor points to the two main tendencies of electronic music, of “a) the desire to control frequency at a finer-grained level and with more accuracy, and b) to expand the available spectral palette,” as the defining ways by which electronic composers have decisively expanded the role of frequency beyond traditional conceptions of pitch and potentially puts at the composers’ disposal “the full range of both harmonic and inharmonic complex tones.”

A speculative ethnography of human celebration rituals in the 2080s. The piece alternates between a descriptive essay and preparation instructions/technical information for people attending the celebration rituals. Includes optional soundtrack.

In this article, we investigate the attitudes expressed by members of
the Czech electronic music and hip-hop scenes (musicians and
music producers) regarding copyright and how copyright affects
their work in terms of sampling or remixing third-party recordings.
We present their opinions on what measures would help improve
the situation regarding the complex settlement of rights. Lastly, we
investigate the ethical standards upheld by producers when sampling
or remixing third-party material vis-à-vis the use of copyrighted
music recordings and related rights.

This article analyzes how pop music has dealt with visions and impacts of digiti­zation and cybernation, looking at selected key works from the late 1960s throughout the 1990s. Taking its perspective from the sociology of knowledge, it identifies pop music’s trajectory of imaginations in the context of techno­logical change processes. The article concludes that the artistic treatment of these processes remains largely vague and ambiguous, its habitus for the most part dystopian. In fact, rarely did pop music cover digitization and cybernation at all in the period under scrutiny. This relative lack of coverage due to oversight or denial may be attributed to a stance based on nihilistic avoidance unconsciously incorporated in the historical situation.

This article demonstrates how "counterculture" remains a poorly defined way to talk about rapidly developing milieux, scenes, and networks born out of the religious awakening stimulated by psychedelics in the mid-1960s. It proposes an alternative framework of "psychedelicism" to better understand the nuances and complexity of historical and contemporary psychedelic communities.

Avec des enquêtes menées à distance des grands pôles mondiaux de la production phonographique, ce dossier renouvelle les perspectives sur les studios d’enregistrement dédiés à la musique. L’éventail des nouvelles configurations et interdépendances suscitées par l’informatisation du monde dans un espace diversement globalisé y est passé en revue : studios live historiques à Bamako et Abidjan, studios des beatmakers à Dakar, home studios à Montevideo, studios numériques pro à São Paulo, pocket studios dans la forêt amazonienne, field studios des anthropologues brésilianistes. La pluralité des approches disciplinaires et épistémiques mises en œuvre permet de penser ces studios comme des espaces des possibles dans lesquels s’élaborent des stratégies inédites qui contribuent à redéfinir les paysages sonores des Suds.

This article examines a variety of compositional procedures that give rise to what the author defines as ‘accumulative’ and ‘cumulative’ forms in pop-rock music, formal processes which are directly linked to the rapid advances in recording technology that occurred mainly from the late 1960s to the 1980s. The article includes detailed transcriptions and analyses of pop-rock music across a wide range of styles and genres, from progressive rock to post-punk to techno.

Au cours des années 1990, le « mouvement techno » s'est imposé comme un phénomène culturel d'envergure planétaire. A ce titre, il fut donc naturellement objet d'interrogation, d'études et de commentaires au sein des milieux académiques français. Aujourd'hui pourtant, alors même que le champ paraît balisé, Yann Laville s'interroge quant aux résultats obtenus : le discours n'a guère changé depuis ses balbutiements ; le DJ est toujours présenté comme la voûte d'une formulation identitaire et sociale où n'existe pas d'autres ambitions que le happening des fêtes. Ce cadre éludant une bonne partie des faits constatés par l'auteur, celui-ci propose un exercice original : confronter l'image institutionnelle dont jouit cette figure aux observations glanées sur son propre terrain et à l'histoire du mix (la technique propre aux DJs) telle qu'envisagée par de nombreux auteurs américains. Les conclusions aboutissent à relativiser non pas le DJ en tant que principal vecteur du fameux « boum boum » électronique, du moins à une certaine période, mais en tant qu'horizon unique, indépassable et particulier du « mouvement techno ». En effet, pris dans une perspective à moyen terme, il apparaît comme une figure transversale au champ des musiques « pop » et cela depuis les années 1950. Il paraît donc urgent de repenser la condition post-moderne à l'aune de critères plus vastes et le « mouvement techno » de critères moins étroits.

This article discusses how and why disorientation is used as an aesthetic strategy in breakdown sections of festival-house tracks and performances. Breakdowns in electronic dance music (EDM) have many sound layers removed from the mix. For house music at EDM festivals, this usually includes drums, therefore in many breakdowns it is easy for listeners to lose their metric entrainment. Breakdowns also often introduce a new sound layer, use metrical dissonance, and feature prominent 'effects'. Through analyses and interviews, the article argues that festival-house breakdowns can be disorienting both physically and psychologically, but that this fulfils multiple purposes for performers, such as providing contrast that makes musical climaxes more exciting and allowing an opportunity for dancers to physically rest. Breakdowns also encourage visual interaction between performers and dancers and allow performers to communicate a narrative. The analyses in the article make interpretations about the meaning of tracks as communicated primarily in breakdown sections.

Religious diversity can be studied in terms of institutional, denominational
belonging and in terms of non-institutional, alternative, spiritual, non-religious beliefs and practices. The latter category is the focus of this article. This work is a theoretical summary based on empirical research on three Hungarian festivals and seeks to show how festival experiences can be understood from a religious studies perspective. Qualitative assessment led to the observation that there are three different interpretations of religion among the participants: church, faith and religion. Conversations revealed that, for individuals, these categories are interrelated but ultimately mean three different things. Furthermore, these categories are further differentiated from spirituality or other alternative terms. The focus of researching the festivals is the collective and individual experience. This article argues that the diversity of religion can be captured in the experience and that there is something between religion and non-religion. Religionesque is an umbrella term intended to capture different interpretations and shows that these experiences differ only in
interpretation and intensity, the essential experience being similar for everyone. This suggests that religion can be understood as an experience and that religion is a spectrum rather than a dichotomous category or hierarchical system.

This article argues that the DJ is represented by the electronic music industry as the creative author of his or her music. I examine commercial discourse aimed at the consumer of DJ-mixed music, such as rave flyers and electronic music CDs, as well as discourse aimed at the DJ-consumer, such as trade magazines and gear catalogues. In all of this discourse, the DJ is presented as the culmination of creative musical technology, a musical author-god who carries on a long tradition of patriarchal authorship. In light of these observations, I argue that the DJ's authorship comes not from what he or she does but how those practices get represented in a capitalist system. Further, I argue that the industry instilled the DJ with authorship to fill a vacuum left by the increasing anonymity of dance music producers. The DJ becomes a tool for generating social capital within a music scene, and this social capital is turned into monetary capital via the sale of DJ-related commodities. In the nineties, the DJ became a superstar. The disc jockey has always enjoyed a certain power over the dancers in his [sic] 1 club because of the amount of pleasure he can dispense, but away from the dancefloor he had mostly been a rather anonymous figure. Suddenly his status was magnified a thousand-fold and he was treated like a rock god or a pop idol. DJs could play outside of their home town, even overseas, and draw a crowd, they were interviewed in magazines, clubbers began to know what they looked like. People even started describing their musical tastes not in terms of genres or records but by reference to particular DJs. (Brewster & Broughton, 2000, p. 386)

This chapter focuses on the increased sampling of library music, which has led to certain library tracks gaining a cult status. I trace a particular interest in library music back to the early 1990s, when unofficial networks of musicians – most prominently within hip hop and electronic music – began to find and use library tracks. This partly stemmed from a vogue for soundtracks and easy listening across different musical genres; while some musicians had already become fascinated by obscure library music (which often turned up in second hand record shops), others discovered this mode through being played in clubs or via easy listening compilations. This broad movement – which manifested itself across several countries and scenes – has been dubbed ‘the cocktail generation’ by Adinolfi (2008) and was significant in disseminating awareness of library music.

The library music which became admired and prized within such circles was largely produced in the 1960s and 1970s. I will reflect on some of the factors that led to the appeal of music produced in this era, drawing on research into cultural value to illuminate how such music has moved from worthless and transient, to valued and durable. I consider how certain library tracks became valued and will note some of the manoeuvres which helped to build value into these musical objects. In certain cases, repeated use of samples can lead to the de-anonymization of the composers/musicians who produced certain library tracks, a key process in the value shifts that library music of this era has undergone over the past thirty years. Such de-anonymisation has become more frequent as the appeal of sampling library music has spread from the cultural margins to more mainstream practices.

Arab-Andalusian musical tradition, as a court music of the western caliphates of the Arab medieval world, is thought to have been brought to North Africa by the Muslim populations expelled from Al-Andalus during the Reconquest of the territories by the Christian kings. Reflecting the glorious Arab past of the Iberian Peninsula (711-1492), the Arab-Andalusian musical tradition has been a vehicle for political and cultural management during the colonial and ethnic and post-colonial era since about 1850. The article focuses on the cases of Morocco (social identities), Algeria (interlocal identities) and Tunisia (national identities) based on ethnomusicological and anthropological ethnographic research. The goal at the theoretical level, is to highlight the multiple and often contradictory roles that a musical tradition can play depending on the political choices it is called upon to serve.

Luis Manuel Garcia-Mispireta's Together, Somehow: Music, A ect, and Intimacy on the Dance oor adds an essential contribution to a limited yet gradually expanding body of ethnomusicological scholarship on electronic dance music cultures. rough a multi-sited ethnography of house, techno and minimal dance music scenes in Chicago, Paris and Berlin, the author evaluates the utopian potential of the dance oor, illustrating the a ective dimensions that generate its feelings of social cohesion as well as the ambivalence and exclusions that surround its possibility. In making its arguments, this book draws not only from interviews conducted with partygoers across these scenes, but also auto-ethnographic anecdotes and analytical frameworks from sound and a ect studies. A primary focus of this book centers on how the dance oor enables forms of intimacy between strangers that would otherwise be inappropriate in other spaces, a point illustrated early on with a memorable anecdote in which the author's face was brie y caressed by a stranger while dancing at Panorama Bar in Berlin, "an exchange of surprising warmth between strangers" (3). Garcia-Mispireta builds empirically from a range of anecdotes to make potent claims about these forms of "stranger-sociability" (5), including how conventions of touch in nightlife cultures serve the multiple functions of "communicating sociability, transmitting a ect, and both sensing and navigating a crowded environment" (53). e author incorporates an extensive amount of musical analysis to argue that the a ective qualities of corporeal exchanges on the dance oor meet further intensi cation through the haptic qualities of electronic dance music. Speci cally, the distribution of frequencies in electronic dance music composition results in a type of material impact, described as "sonic spikes [that] strike the body in a very concrete way, eliciting sensations not only in the ear but also in the body 's skin, esh, viscera, and bones" (70). Electronic dance music genres o en utilize sounds that index tactile experience, such as clapping or breathing, a practice which "rel[ies] on the ability of listener-dancers to associate certain sounds with an en eshed sound source" (73). Garcia-Mispireta also provides a close analysis of musical texture to argue that electronic dance music makes use of granular sounds that likewise evoke tactile experience. is combination of vibrational impact, bodily indexicality and granular texture ultimately "invites an engagement with sound that is alive to texture, touch,

EDM is notorious for having copious genres and subgenres. There are many facets of EDM genre distinctions, but this article focuses on one musical aspect: the utilization of “continuous processes” such as crescendos, glissandi and filter sweeps of various lengths (Smith 2021). Some continuous processes signify belonging to certain subgenres. For example, acid house is known for a “squelching” sound, dubstep is known for its “wobble bass” and it is common to hear conversations about which subgenres have the most intense “risers”. In general, continuous processes are used more prominently in subgenres that are more intense, psychedelic and electronic than others. The article’s findings are based on analysis of production guides and fan discourse, as well as the author’s fieldwork and interviews with producers. Three analytical case studies are presented, comparing the use of continuous processes in multiple versions of a work (the original mix and remixes) from different subgenres.

This chapter looks at the terribly ironic cripping capacity of pop and rock as a deafening mode through music-induced hearing loss, the other symptom of which is mature regret. Here a number of rock artists are discussed, in particular from later life, when the occupational hazards of a career in the reckless and excessive industry of loud music are now presented as medical symptoms. Also the hearing loss of fans in relation to music technology (amplification, personal stereos) is discussed.

The dancing actions for entertainment robots are usually designed in advance and saved in a database according to the beats and rhythm of the given music. This research is devoted to developing a real-time algorithm that can detect the primary information of the music needed for the actions of entertainment robots. The computation of the proposed algorithm is very efficient and can satisfy the requirement of real-time processing by a digital signal controller. The digitized music signal is first normalized to make the algorithm robust for miscellaneous music volume. Next, the primary features of the beat for the music are extracted. Based on the extracted features, the algorithm will then identify the occurrence of beats in the music through the use of an optimized classifier. From the accumulated information of the timing for the beats, the algorithm can provide the predicted timing information of the next beat through regression analysis. The type and tempo of the given music can also be derived thereafter. The entertainment robot can thus move or dance according to the information derived by the algorithm. A graphical user interface (GUI) program in LabVIEW is also utilized to observe and verify the analysis results. In this study, the ratio for correct beat detection is greater than 85%. The prediction ratio for the correct timing of beats is over 80%, and it is 100% correct for both music type and music tempo.

Andalucía es una tierra ambivalente. Su posición, fronteriza en tantos sentidos, es fruto de una rica historia de contacto cultural con otros pueblos y regiones del mundo. Esta posición diferencial ha cristalizado en una riqueza cultural que se manifiesta en multitud de expresiones culturales que cuenta con una profunda repercusión nacional e internacional. En los últimos años, empieza a ser un lugar común hablar de que Andalucía está viviendo un resurgir identitario, una nueva ola andalucista, la tercera, que es posible percibir en todas las facetas de la vida cultural, desde el teatro, hasta el arte urbano, pasando por la producción audiovisual, la música o la gastronomía.

Il progetto definisce un paradigma di rigenerazione di siti dismessi in due fasi: un primo programma temporaneo di attività artistiche, culturali e musicali finalizzate alla riattivazione immediata di siti dismessi che funga da volano economico e sociale per la realizzazione di un secondo programma definitivo di riconversione dei fabbricati in spazi destinati alla comunità e servizi al cittadino che rispondano alle specifiche esigenze analizzate in loco e raccolte da un progetto partecipato di analisi, fattibilità e piano di interventi.

"Enjoy the Silence" by Depeche Mode has a distinctive and memorable music structure. Here's a breakdown:

Structure Overview
Intro: The song begins with a simple, haunting piano melody that sets the tone for the rest of the track.

Verse: The verses are characterized by a sparse arrangement, with minimal instrumentation and a focus on the vocals.

Chorus: The chorus is more dynamic, featuring fuller instrumentation and a memorable melody that contrasts with the verses.

Bridge: The bridge section provides a break from the verse-chorus structure, often introducing new musical elements or a change in dynamics.

Outro: The song typically ends with a fade-out or a final instrumental section that brings the track to a close.

Key Elements
Piano: The piano plays a central role throughout the song, providing a melancholic and atmospheric foundation.

Synthesizers: Synthesizers are used to create rich textures and layers, adding depth to the arrangement.

Bass: The bassline is prominent and driving, giving the song a strong rhythmic foundation.

Drums: The drum pattern is steady and provides a solid beat that supports the other elements of the song.

Key and Tempo
Key: The song is in the key of C minor.

Tempo: The tempo is moderate, giving the song a steady and flowing feel.

Harmony and Melody
Harmony: The harmony is built around a series of chords that create a sense of tension and resolution, contributing to the emotional impact of the song.

Melody: The melody is simple yet powerful, with a clear and memorable line that is easy to sing along with.

"Enjoy the Silence" is a great example of Depeche Mode's ability to blend electronic and rock elements to create a timeless and evocative track.

This essay teaches the readers how to do phenomenology by imaginative variation. They are taught how to capture a moment of experience, reflect on it, produce an image, name it, and work with the results. The material for this is the members of The Heartbreakers as placeholders for types. The essay also goes through the video and lyrics of "The Boys of Summer," music by Mike Campbell and lyrics by Don Henley.

Bollywood, as one of the largest cultural industries in India, has long served as a reflection of societal norms and values. This paper examines the role of 1990s Bollywood songs in perpetuating harmful gender stereotypes, aligning with the theme of "cultural representation and women’s agency in a changing socio-political world." It examines how these songs, through their modern reinterpretations in social media reels, continue to influence and constrain women's agency and demean a woman’s existence.
The paper discusses that 90s Bollywood songs, often celebrated for their charm and melodious appeal, subtly normalize male dominance and female submissiveness in relationships over ages. Lyrics glorifying possessive love, objectification, and coercion depict women as passive recipients of male attention, reducing their agency and promoting skewed notions of romance. Through these songs, cultural consumption perpetuated patriarchal ideologies, limiting women's agency in household negotiations and their autonomy in public spheres in the previous ten years. With more employment schemes designed to support women economically in almost all Indian states and leaving a message for women to be economically independent, the story of carrying on the legacy of toxicity is different today.  It is highly promoted in informal employment options that women are opting out like, the average blogging and the new age reel-it-feel-it culture with popular Bollywood songs making a monetary getaway for women across all economic groups. From daily waged women to someone belonging to High Income Group, women are flowing in this toxic culture like dead fishes.
The objective of this paper is to emphasize the need to challenge the pervasive influence of toxic cultural representations. Advocating for socially conscious content, it calls for a shift in popular culture that promotes equitable gender dynamics and empowers women across all socioeconomic strata.

We show how technology and its temporal instantiations act as material-relational mnemonic devices that provide temporal anchors for collective remembering in occupations and form the basis of what we call an 'occupational mnemonic community'. This is important because how the past is remembered shapes politics, the definition of membership and boundaries within occupations. Empirically, we focus on the occupation of DJing, an occupation that has witnessed major technological transformation. Utilizing interviews, archival research, and auto-ethnographic data, we show how DJs' engagement with material mnemonic devices, here, DJing technology, aligns group members' interpretations of the past, and forms the basis of an 'occupational mnemonic community'. In our analysis, we uncover that imagined perceptions regarding how existing group members assess the material choices of newcomers, as well as, the performative behaviours exhibiting these choices, play pivotal roles in sustaining mnemonic communities. We conclude with a discussion on occupational mnemonic processes and their effect on establishing boundaries within occupations. Our findings contribute to a deeper understanding of the sociomaterial aspects of collective memory and its significance in understanding the politics of memory in work communities and organizations.

Analysis of a personal trance experience, similar to a Near Death Experience (NDE) and with a dreamlike content. This analysis is carried out from a humanistic and scientific perspective, and seeks to find the meaning of the elements that compose the experience in order to reach a conclusion about the meaning of the experience, applicable, most probably, to other cases. This article is the English translation of my “Mystical Spheres” (https://www.academia.edu/113598824/ESFERAS_M%C3%8DSTICAS_An%C3%A1lisis_de_una_Experiencia_Personal_Extracorp%C3%B3rea_revisado_y_corregido_)

a képzőművészetben. A nagy pestisjárványok idején (főként a 14. sz. közepén) s az éjfélkor a temetőben táncoló halottak elképzelésének összekapcsolásából alakult ki. A bűnbánati prédikátorok, főként a domonkosok terjesztették, kezdetben latin szöveggel. "ha az embertestet isten tölt el teljesen, a tombolókat jóslásra készteti." "aki a haláltáncot járja, és a halál muzsikáját hallja, az részese a misztériumnak, a tánc jós ereje által kapcsolatba kerül a szellemekkel, akik kinyilvánítják neki a jövőt" Európában az első nagy pestisjárvány Kr. u. 540 körül dúlt, miután egy éghajlatváltozás miatt a pestisbaktériummal fertőzött rágcsálók Kelet-Afrikából északra vándoroltak. A járvány a XIV. században újból kitört Európában, az európai lakosság közel fele pusztult el ez idő alatt. A pestisjárvány hozadékai közé tartozott a flagellánsok (egy önostorozó keresztény szekta) megjelenése. A mozgalom 1347-ben robbant ki és az 1349-ben tetőző pestisjárvány egyik elmaradhatatlan kísérőjelensége volt. A járványokat az emberek Isten büntetésének vélték, amely rossz erkölcseik miatt sújtotta őket, és ezért vezekléssel akarták kiengesztelni Istent. 1 2 3 4 1 Mátyás Graduále 2 Speculum humanae salvationis, France 1470-1480 (Marseille 3 The Body Medieval 4 A templomi udvaron lévő hisztérikus tánc német metszete 17. század.

Since the turn of the new century, a panoply of formerly separate movements, movement fragments, interests, and organizations from all walks of life have converged around a common concern with the future of life on earth. There is no single term that captures this process of convergence.1 Nor do we have a good vocabulary to describe what people have converged on. It is described by its proponents as a concern with the environment, the Anthropocene, sustainability, extinction, and so on. In the pages that follow we refer to this loosely related set of concerns as "the cult(ure) of extinction." The culture of extinction has emerged through the migration of a range of disparate fragments from their respective locations on the margins, as it were, to the center of public debate. As this culture has formed, it has challenged deeply held convictions about what is true, normal, natural, and desirable. This is of course not the first time that taken-for-granted truths that dominate a public sphere have been called into question. We argue, however, that the present moment can be distinguished from earlier moments in important respects. In the past, it has generally been the case that specific groups dominate the public sphere and from that vantage point dictate the terms in which others might We would like to thank Kamran

This paper reports the design and implementation of a proximity sensor based floor that is capable of tracking a dancer's steps, transmitting these to a linked computer for analysis and/or to drive other media. The design rational is outlined in the light of previous dance floors that have been developed to control performance. The aim is to develop the floorspace for recording and representing dance: for use in dance research programmes, choreographic experimentation, performance and musical composition. Keywords: ...

Cafuné is a 10-song lofi hip hop compilation, completely self-organised by Brazilian womens producers, which was released on 8 March this year. This paper will present the producer's perspective on the process of organising the collection and composing their songs. This data comes from qualitative interviews conducted as part of a larger ethnographic study into the expressive form of lofi hip hop. The aesthetic choices of the songs, the chosen visuality and their perceptions of the genre in the lofi hip hop scene will be discussed.
Lofi hip hop is an expressive, primarily sonic form that was born in mid-2015. Its priority performance locus is on Internet. Sonically, it can be summarised as carrying aesthetic heritage from the traditions of Hip-Hop, Lo-Fi and genres born on the Internet, such as vaporwave and seapunk. In the case of Brazilian lo-fi hip hop, it has its own characteristics that differentiate it from the “classic” model, such as greater use of sampling with singing/voice and references to samba and bossa nova.
During the Covid-19 pandemic, the number of listeners and producers grew exponentially around the world. So, has gained greater prominence in the media, as it is interpreted as a sound that relieves anxiety and helps people get through that period. This context has led to the growth and strengthening of the Brazilian lofi hip hop scene. In this sense, this work seeks to give a voice to the women who participate in this scene.

Bollywood, or the Hindi Film industry, embraces a truly enigmatic world of its own. The craze and euphoria surrounding it, not only in India but also in foreign lands, is something worth witnessing. One of the major attractions of Bollywood, which in fact distinguishes it from Hollywood, is its elaborate song-dance sequences which never fail to strike a chord with the audience. Its creation of sublime, emotional or foottapping escapism is simply unmatched anywhere in the world. A fact often overlooked is that, these songs and dances are intricately woven in our social fabric. It is interesting to take note of this and undertake an analysis of the same. In this article, I shall discuss about Bollywood, how the dances and songs are placed within movies, analyse the dance types, its forms in the context of social forces operating within it-'globalization' and 'glocalization' and provide a sociological understanding of it and its changing form. Since it is not possible to discuss the entire array of dance in Bollywood, I have analysed the dances post the globalization era and after the onslaught of MTV in 1980s. I have focused mainly on those dance sequences which have won the Filmfare Awards 1 , between year 1994 to 2013.

D. COTTE et al., Entre appréciation et description, les goûts musicaux à l'épreuve de la « data » Entre appréciation et description les goûts musicaux à l'épreuve de la « data » Between appreciation and description musical tastes challenged by the "data"