Ritual, Performance, Media

Hughes-Freeland, Felicia

doi:10.4324/9780203449943

Cited by 22 publications

(9 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…This tension between performance and performativity is not one that has preoccupied anthropologists. In anthropology, tensions between structure and agency within ritual have generally and increasingly been elided to suggest that ritual is not primarily about either / or but can usefully accommodate both perspectives, indeed is about both perspectives (Hughes Freeland 1998). Certainly the view of ritual as a performance of a (static) cultural text can no longer be sustained; the addition of aesthetic analyses since Turner, but perhaps particularly sustained by Handleman (1977), the increasing analysis of the memorialising act of ritual and the performance of self within ritual form, have all greatly enhanced the scope of ritual studies and in particular their engagement with theatrical analogy.…”

Section: Masquerade Performance and Theatrical Analogymentioning

confidence: 97%

On staging performance: the masquerade festival of Ìklé Èkìtì^*

Rea

2007

Journal of African Cultural Studies

View full text Add to dashboard Cite

Section: Masquerade Performance and Theatrical Analogymentioning

confidence: 97%

On staging performance: the masquerade festival of Ìklé Èkìtì^*

Rea

2007

Journal of African Cultural Studies

View full text Add to dashboard Cite

“…Recent anthropological interest, building on the work of Victor Turner (1987), means that there is a growing volume of ethnographic material and conceptual reflection (Schieffelin, 1976(Schieffelin, , 1998Napier, 1992;Hughes-Freeland, 1998). Indeed, the analysis of performance is a major perspective that draws together the interactionist tradition, the anthropological tradition and cultural studies (compare Butler, 1989, Denzin, 2002a, b, 2003.…”

Section: Work and Cultural Mediationmentioning

confidence: 99%

Performance, culture and the sociology of education

Atkinson

2004

International Studies in Sociology of Education

View full text Add to dashboard Cite

The article takes as its starting point my recent ethnography of the Welsh National Opera Company, and the forthcoming monograph Everyday Arias: making opera work. In the course of that work I revisited the theme of performance: the ethnography of performance and the performance of ethnography. I discuss briefly the everyday work of the opera producer and director in the rehearsal studio and in the theatre. I suggest that despite the pervasive nature of 'performance' in contemporary sociology and anthropology, we have remarkably few studies of performances themselves. Performances by directors and performers are complex interactions, in which cultural forms, vocabularies of motive, emotional and cognitive frames of interpretation are explored by the participants. The director displays many parallels with the pedagogue. Both are preoccupied with eliciting and evaluating the performances of others. More generally, we ought to expand the sociology of education to take greater account of a wide range of cultural settings. Sociologists of education could learn much about instruction and learning by paying more attention to masterclasses in music and the visual arts, the work of cultural entrepreneurs such as impresarios, artistic education such as choir schools and conservatoires, and similar environments. Furthermore, the sociology of education could and should benefit from a more thorough engagement with contemporary sociologies of art and culture. While the sociology of culture has become central to many aspects of current sociological research and theorising, the sociology of education seems oddly peripheral to mainstream cultural analysis. It is surely not necessary to identify the sociology of education in narrowly institutional terms and to restrict the research gaze primarily to institutions and settings that are narrowly and commonsensically 'educational' in nature.

show abstract

“…Nevertheless, the prominent use of ritual as a category of analysis and interpretation shows no sign of abating in ethnomusicological and anthropological writing. Perhaps most useful for this issue is the use of ritual in two recent volumes that consider the commonalities between ritual, performance and media (Hughes-Freeland 1998;HughesFreeland and Crain 1998). In these edited volumes, ritual is employed as "an odd-job word or a semi-descriptive term" (Hughes-Freeland 1998:1), which is a sub-category of "social practices which are situated and performed" (HughesFreeland and Crain 1998:2).…”

Section: Introduction: Ritual Music and Communism Approaches To Ritualmentioning

confidence: 98%

“…For discussions of the problems of performance analogies seeBell (1992) andHughes-Freeland (1998). BRITISH JOURNAL OF ETHNOMUSICOLOGY VOL.…”

mentioning

confidence: 99%

Introduction: Ritual music and Communism

Harris¹,

Norton²

2002

British Journal of Ethnomusicology

View full text Add to dashboard Cite

Ritual, Performance, Media

Cited by 22 publications

References 0 publications

On staging performance: the masquerade festival of Ìklé Èkìtì^*

On staging performance: the masquerade festival of Ìklé Èkìtì^*

Performance, culture and the sociology of education

Introduction: Ritual music and Communism

Contact Info

Product

Resources

About

Ritual, Performance, Media

Cited by 22 publications

References 0 publications

On staging performance: the masquerade festival of Ìklé Èkìtì*

On staging performance: the masquerade festival of Ìklé Èkìtì*

Performance, culture and the sociology of education

Introduction: Ritual music and Communism

Contact Info

Product

Resources

About

On staging performance: the masquerade festival of Ìklé Èkìtì^*

On staging performance: the masquerade festival of Ìklé Èkìtì^*