Music (as) Labour: Professional Musicianship, Affective Labour and Gender in Socialist Yugoslavia

Music, Phones and Bank Loans

“…Music scholars working with the concept of affective labor make a connection between the 'feelingfulness' of music in all its social dimensions and the actions carried out to produce such feeling. This is often in relation to profit-making or money exchange, but not always (Hofman 2015;Tochka 2017), and various 3 theoretical approaches have been used. Marié Abe's (2018) work is one of the 4 most influenced by the Hardt and Negri vein, in its characterization of Japanese chindon-ya performers as affective laborers.…”

“…While attention to the emotional and cultural facets of employment nuance our understanding of labor processes in important ways, post-operaismo's vision of a new form of capitalism based on shared symbols and feelings has been critiqued for many years along a number of lines. Critics have alleged poor empirical Indeed, Hofman (2015) shows that commodified musical labor, particularly for women, undermined analysis and theorization of the actual terrain of contemporary capitalism (Camfield 2007), noting that the post-Fordist, immaterial labor framework accounts for but a tiny percentage of capitalist organization, particularly in the global south but also within the capitalist core. Others have noted a misunderstanding of the development and role of new technologies within capitalism's long history (Srnicek 2016;Wilkie 2011).…”

Making it up: Adaptive approaches to bringing freelance cultural work to a cultural ecologies discourse

“…In this way, little differs between performing artists (our focus) and wider society in the pre-existing inequalities, the uneven impacts of COVID-19 and government inattention in recovery planning. However, pre-COVID-19 research shows us that cultural work demonstrated deeper levels of inequality than other types of work (Brook et al, 2019; Hofman, 2015; Morcom, 2013; Saha, 2018; Tarassi, 2018), and radical change is needed to avoid the reinforcement of such injustice (see also Comunian and England, 2020).…”

“…Of course, issues of ‘care’ have always been central to the labour of performing artists. Performers offer ‘affective labour’ (Hardt, 1999; Hesmondhalgh and Baker, 2011: 159–186) by inducing emotions and affect among their audiences and they engage in ‘emotional labour’ (Hochschild, 1983; Hofman, 2015) by manipulating and externalising their own emotional states, on and off stage. Simultaneously, they curate their bodies and appearance as forms of ‘aesthetic labour’ (Witz et al, 2003) and they forge and cultivate networks and friendships in what Shannon Garland (2019) calls ‘phatic labour’ (cf.…”

The emergence of the “jazz neighbourhood” of Kerameikos in recession Athens

“…It serves coffee, alcoholics and mezes [tapas] and in its traditional form it is a maledominated space(Cowan, 1990, p. 74). For the very similar concept of kafana as a particular space of socializing in the Balkans and the untranslatability of the term seeHofman (2010Hofman ( , 2015. This particular kafeneio is named after the main character of the book "Red Dyed Hair" by Kostas Mourselas, whose name was Louis.12 One of the clubs established in the area in 2016 was Lohan, named after Lindsay Lohan the American actresssinger.…”