The Social Production of Art

Wolff, Janet

doi:10.1007/978-1-349-16517-9_3

Cited by 36 publications

(43 citation statements)

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“…να ισχυριστεί κανείς ότι υπάρχει μια και μοναδική εκδοχή κοινωνιολογίας του πολιτισμού -που σε κάθε περίπτωση προηγείται ιστορικά της πολιτισμικής κοινωνιολογίας -ή ένα ενιαίο μοντέλο πολιτισμικών σπουδών (Wolff, 1981).…”

Section: πολιτισμική στροφή και πολιτισμική κοινωνιολογίαunclassified

Πολιτισμική Ανάλυση Και Κοινωνιολογία Του Πολιτισμού Στην Ελλάδα, 1980-2014: Eπισκόπηση Βιβλιογραφίας Και Σχεδίασμα Κοινωνιολογικής Ερμηνείας

Δεμερτζής¹,

Σουλιώτης²,

Μαρκατάς³

2017

Grsr

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Το κείμενο παρουσιάζει μια προκαταρκτική επισκόπηση της πολιτισμικής ανάλυσης και της πολιτισμικής κοινωνιολογίας στην Ελλάδα κατά τις τελευταίες τρεις δεκαετίες. Η επισκόπηση βασίζεται σε μια βάση δεδομένων, η οποία περιλαμβάνει δημοσιεύματα σε αυτά τα πεδία και ορισμένα βασικά βιογραφικά στοιχεία των συγγραφέων τους. Υποστηρίζουμε ότι η «πολιτισμική στροφή» τροφοδότησε στη χώρα μας μια αρκετά πλούσια αν και ταυτόχρονα κατακερματισμένη συζήτηση στην οποία δύσκολα μπορεί κανείς να διακρίνει «σχολές σκέψης». Οι Έλληνες μελετητές επικεντρώθηκαν στη μελέτη των αναπαραστάσεων σημαντικών φαινομένων (μεταξύ άλλων της εθνικής ταυτότητας, της μετανάστευσης και του αστικού χώρου) στα ΜΜΕ και τη μαζική/λαϊκή κουλτούρα. Αντίθετα, ενδιαφέρθηκαν πολύ λιγότερο για παραδοσιακά θέματα της πολιτισμικής κοινωνιολογίας και της κοινωνιολογίας του πολιτισμού όπως η πολιτιστική παραγωγή και κατανάλωση και η πολιτιστική πολιτική. Ως αποτέλεσμα των περιορισμένων χρηματοδοτικών ευκαιριών, η έρευνα υπήρξε κυρίως ατομική, μικρής κλίμακας και βασίστηκε σε ποιοτικές μεθόδους.

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Section: πολιτισμική στροφή και πολιτισμική κοινωνιολογίαunclassified

Πολιτισμική Ανάλυση Και Κοινωνιολογία Του Πολιτισμού Στην Ελλάδα, 1980-2014: Eπισκόπηση Βιβλιογραφίας Και Σχεδίασμα Κοινωνιολογικής Ερμηνείας

Δεμερτζής¹,

Σουλιώτης²,

Μαρκατάς³

2017

Grsr

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“…This creativity is what makes the artists can maintain its existence in the midst of society or not (see : Wolff, 1989. Mr. Casudin as the Buroq performer in Ketanggungan District is one of the artists Buroq who shows the existence until today.…”

Section: Unnes Journalsmentioning

confidence: 99%

Brebes Buroq: The Art Expression of Coastal Javanese Moslem Society

Triyanto

Rokhmat²,

Mujiyono³

et al. 2016

komunitas

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The art of Buraq is a procession of puppet which has beautiful female face with winged-horse body and dance to the music of Genjring and tambourine. This traditional art is one of the dominant arts that becomes one cultural identity of the people in Brebes District, located in the west of the northern coast of Java island, Central Java Province. This study aims to study the aesthetic form, function and symbolic values of Buroq, as well as the system of relationship patterns among actors, Buroq puppets, and the audience. The result of the research shows that the rise of Buroq art stems from the Isra'-Mi'raj ' trip of Prophet Muhammad by using the vehicle named Buroq. It is narrated that Buraq is like a winged-horse with a beautiful woman face who can move with lightning speed as a vehicle in the Isra'-Mi'raj journey of the Prophet Muhammad. This story is the primary source of inspiration for local artists to express aesthetic-symbolic in accordance with the imagination they possess in the form of acculturation that combines elements of Javanese, Chinese, and Islamic cultural symbols. As Islamicbased traditional arts of community, Buroq with all the uniqueness of its physical form not only has functions and values in the grandeur of Islam which awakens and strengthens the cultural awareness among residents to act and behave in accordance with the teaching of Islam in coastal Javanese Islamic culture but also has the functionality and entertainment value for the multicultural community.

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“…However as we have seen, and numerous scholars have pointed out (such as Frith 1996;Neale 1980;Negus 1999;Acosta 2004), defining new 'genres' (such as danza, danzón, mambo, cha-cha-chá) and ascribing originators to these is hugely problematic. I will not explore the ontology of genre in depth here, but I must point out that markers characterising genres are rarely initiated or brought together by one person/originator (scholars including Wolff 1981;Becker 1982;Hennion 1982, have discussed the social production of art and music). By emphasising new generic names and originators, a 'monumental' history of danzón is created which moves from originator to originator, from named genre to named genre, and neither transformations and diversities within genres, nor the collective nature of creative production are commemorated.…”

Section: Historical Standards?mentioning

confidence: 99%

“…The authority of numerous older Cuban texts was largely undisputed by these experts: I refer to texts written mostly in or before the 1980s, such as those of the novelist and musicologist. Alejo Carpentier (1946), Fernando Ortiz (19501981), Osvaldo Castillo Faílde (1964, María Antonia Fernández (1974), Natalio Galán (1983), Argeliers León (1984), Raúl Martínez Rodríguez (undated), Helio Orovio (1981), Ezequiel Rodríguez Domínguez (1967) and Odilio Urfé (1976;1979). In relation to 'Afro-Cuban' music, several scholars (Argyriadis 2006;Moore 2006) have argued that the work and influence of Fernando Ortiz (1881Ortiz ( -1969 subsequently inspired a rather standardised body of 'Afro-Cuban' musical and choreographic practice and academic work.…”

Section: Introductionmentioning

confidence: 99%

The ‘routes’ and ‘roots’ ofdanzón: a critique of the history of a genre

Malcomson¹

2011

Pop. Mus.

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In this article, I examine the history of a genre that spans several continents and several centuries. I bring together material from Mexico, Cuba, France and the UK to create anew, expand upon and critique the ‘standard’ histories of danzón narrated by Mexico's danzón experts (and others). In these ‘standard’ histories, origins and nationality are key to the constitution of genres which are racialised and moralised for political ends. Danzón, its antecedents and successors are treated as generic equivalents despite being quite different. From the danzón on, these genres are positioned as being the products of individual, male originators (and their nations). ‘Africa’ is treated as a conceptual nation, and ‘Africanness’ as something extra which racialises hegemonic European music-dance forms. Political leanings and strategies determine whether these music-dance forms are interpreted, adopted or co-opted as being ‘black’ or ‘white’.

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The Social Production of Art

Cited by 36 publications

References 0 publications

Πολιτισμική Ανάλυση Και Κοινωνιολογία Του Πολιτισμού Στην Ελλάδα, 1980-2014: Eπισκόπηση Βιβλιογραφίας Και Σχεδίασμα Κοινωνιολογικής Ερμηνείας

Πολιτισμική Ανάλυση Και Κοινωνιολογία Του Πολιτισμού Στην Ελλάδα, 1980-2014: Eπισκόπηση Βιβλιογραφίας Και Σχεδίασμα Κοινωνιολογικής Ερμηνείας

Brebes Buroq: The Art Expression of Coastal Javanese Moslem Society

The ‘routes’ and ‘roots’ ofdanzón: a critique of the history of a genre

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