Folklore and/in Music

Winick, Stephen D.

doi:10.1002/9781118379936.ch24

Cited by 12 publications

(2 citation statements)

References 10 publications

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“…Fully immersed as they are in a context of constant transformations, in this performance, music and dance seem to deconstruct the notion of tradition as the opposite of change and as belonging to the past. This perspective on folklore has also been evidenced by some new theoretical approaches that have pointed out to what extent folklore has informed both pop culture and high culture in a constant transit of styles, techniques and performative practices (Winick 2012).…”

Section: The Contemporary As Traditionalmentioning

confidence: 96%

Music-Dance

Veroli¹,

Vinay²

2017

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In this chapter, I will analyse a recent dance-music piece, D'après une histoire vraie (Based on a real story), created in 2013 by the conceptually driven French choreographer Christian Rizzo, who is also responsible for the stage design and the costumes, and two composers/musicians, Didier Ambact and King Q4, who composed the score and perform onstage for the duration of the show (about one hour) along with eight male dancers. 1 This abstract piece is based on a precise choreographic structure framed by minimalistic stage aesthetics. In addition to that, the low-key lighting designed by Caty Olive, the costumes (jeans and grey-blue T-shirts) and the dancers' look (five of them have long hair and half a dozen have beards) all clearly relate to the 1970s. D'après une histoire vraie -now available on Vimeo 2 -was created for the Festival d'Avignon and has received outstanding audience success, considered by critics to be a refined example of Western stage dance and one of Rizzo's masterpieces. This achievement is most probably one of the reasons why Rizzo was appointed director of the Centre Chorégraphique National de Montpellier in 2015. Rizzo, who comes from an Italian-Spanish family of Moroccan origins, started his artistic career as a member of a rock band and designer of a line of clothing and only later studied fine arts in Nice, unexpectedly branching out into dance. 3 While continuing his career as a choreographer, he often creates soundtracks and music for other dance companies.D'après une histoire vraie concerns memory, tradition, authenticity and community. It therefore offers the opportunity to focus on some conceptual and methodological issues that can help in verifying to what extent the artists' limited exposure to folklore, globalisation and postcolonial studies compromise the outcome of a dance piece that ends up reinforcing the obsolete way folk dance and folk music are still perceived by a large portion of the audience. In analysing the creative process and the structure of D'après une histoire vraie, my purpose is to consider the sets of knowledge that have been taken as the starting point of the project and those implied in its reception of the piece. I will also argue that crucial theoretical aspects Remembering folklore, staging contemporary danceConceptual and methodological issues about D'après une histoire vraie (2013) by Christian Rizzo

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Section: The Contemporary As Traditionalmentioning

confidence: 96%

Music-Dance

Veroli¹,

Vinay²

2017

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“…Several adult artists have done renditions of children's music. Nina Simone is one of the adult professionals known for this (Winick, 2012).…”

Section: Children or Adult Songs?mentioning

confidence: 99%

African Children’s Songs: A Legendary Teaching Tool

Holmes¹

2019

JECS

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This paper presents a multicultural perspective of the historical and legendary analysis of African American children’s songs highlighting the important interpersonal familial relationships that have been noted teaching tools for African American children. The data includes multiple songs that have been used for generations to teach children values, history and cultural experiences with life enhancing strength and determination.These diverse experiences are characterized by historical practices that called for African American families to find multimodal means of teaching their children when it was against the law for African Americans to learn to read or to become educated.This research reveals that at various stages in the lives of African American children, parents and extended family members found ways to culturally educate their children. This was done through use of historical and generational African American songs and games. They have been instrumental in providing hope of a better life for those who were oppressed and often denied some of life’s inalienable rights.Teachers at all grade levels including ESL and Special Education could enhance children’s learning through use of multimodal thinking and learning activities.

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“Blood-Thirsty Blues”: The Sonic Politics of American Murder Ballads

Mehring

2020

Crime and Music

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Folklore and/in Music

Cited by 12 publications

References 10 publications

Music-Dance

Music-Dance

African Children’s Songs: A Legendary Teaching Tool

“Blood-Thirsty Blues”: The Sonic Politics of American Murder Ballads

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