Choreography, controversy and child sex abuse: Theoretical reflections on a cultural criminological analysis of dance in a pop music video

This article was inspired by the controversy over claims of ‘pedophilia!!!!’ undertones and the ‘triggering’ of memories of childhood sexual abuse in some viewers by the dance performance featured in the music video for Sia’s ‘Elastic Heart’ (2015). The case is presented for acknowledging the hidden and/or overlooked presence of dance in social scientific theory and cultural studies and how these can enhance and advance cultural criminological research. Examples of how these insights have been used within other disciplinary frameworks to analyse and address child sex crime and sexual trauma are provided, and the argument is made that popular cultural texts such as dance in pop music videos should be regarded as significant in analysing and tracing public perceptions and epistemologies of crimes such as child sex abuse

Mobilizing the Vietnamese Body: Dance Theory, Critical Refugee Studies, and the Aftermaths of War in Andrew X. Pham’s Catfish and Mandala

Mobilizing the Vietnamese Body: Dance Theory, Critical Refugee Studies, and the Aftermaths of War in Andrew X. Pham’s Catfish and Mandala Through analysis of Andrew X. Pham’s Catfish and Mandala: A Two-Wheeled Voyage through the Landscape and Memory of Vietnam, this collaboration between a literary scholar and dance scholar joins methodologies from their respective fields to explore the politicized dimensions of the Vietnamese body-in-motion. Published in 1999, Pham\u27s memoir documents his journey, as a Vietnamese refugee living in the U.S., as he travels throughout Vietnam on a bicycle. We argue that through the literal and theoretical mobilization of his body, Catfish and Mandala constitutes a choreographic text that animates the Vietnamese body as making meaning within and beyond post-Vietnam war geopolitical formations. As such the text productively critiques the dyad of resistance and accommodation that have long structured and haunted critical inquiries into power

Key Components of Musical Discourse Analysis

Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of ‘semiosis’, ‘social agents’, ‘social relations’, ‘social context’, and ‘text’. These components of musical discourse analysis, in their various aspects and combinations, should help thoroughly examine the context of contemporary musical art, and determine linguistic features specific to different genres of musical discourse

Analyzing equivalalences in discourse: are discourse theory and membership categorization analysis comptatible

Facing a crucial leap from political philosophy to empirical analysis, the approach to discourse analysis that arose in the aftermath of Laclau and Mouffe (1985), and that is currently known as the Essex school of discourse theory (DT), has in recent years repeatedly been accused of suffering from a methodological deficit. This paper examines to what extent membership categorization analysis (MCA), a branch of ethnomethodology that investigates lay actors' situated descriptions-in-context as practical activity, can play a part in rendering poststructuralist DT notions such as articulation and equivalence analytically tangible in empirically observable discourse. Based on a review of Laclau and Mouffe's foundational text as well as on Glynos and Howarth's recent exposition of the framework (2007), it is argued that MCA empirically substantiates many poststructuralist claims about the indeterminacy of signification. However, MCA consistently falters - and willingly so - at the point where DT would articulate emerging equivalences between identity categories as part of a second-order explanatory concept, such as Glynos and Howarth’s notion of political logic. Nevertheless, MCA also contains the kernel of an "endogenous" notion of the political that comes fairly close to DT’s all-pervasive understanding of the concept. To support these arguments, a variety of empirical sources are mobilized, ranging from the transcript of a political talk show, a newspaper report regarding a discrimination case in a dance class, to data drawn from earlier research on the way that minority members are treated by the Belgian criminal justice system

People, Land, Arts, Culture and Engagement: Taking Stock of the Place Initiative

This report serves as a point of entry into creative placemaking as defined and supported by the Tucson Pima Arts Council's PLACE Initiative. To assess how and to what degree the PLACE projects were helping to transform communities, TPAC was asked by the Kresge Foundation to undertake a comprehensive evaluation. This involved discussion with stakeholders about support mechanisms, professional development, investment, and impact of the PLACE Initiative in Tucson, Arizona, and the Southwest regionally and the gathering of qualitative and quantitative data to develop indicators and method for evaluating the social impact of the arts in TPAC's grantmaking. The report documents one year of observations and research by the PLACE research team, outside researchers and reviewers, local and regional working groups, TPAC staff, and TPAC constituency. It considers data from the first four years of PLACE Initiative funding, including learning exchanges, focus groups, individual interviews, grantmaking, and all reporting. It is also informed by evaluation and assessment that occurred in the development of the PLACE Initiative, in particular, Maribel Alvarez's Two-Way Mirror: Ethnography as a Way to Assess Civic Impact of Arts-Based Engagement in Tucson, Arizona (2009), and Mark Stern and Susan Seifert's Documenting Civic Engagement: A Plan for the Tucson Pima Arts Council (2009). Both of these publications were supported by Animating Democracy, a program of Americans for the Arts, that promotes arts and culture as potent contributors to community, civic, and social change. Both publications describe how TPAC approaches evaluation strategies associated with social impact of the arts in Tucson and Pima County. This report outlines the local context and historical antecedents of the PLACE Initiative in the region with an emphasis on the concept of "belonging" as a primary characteristic of PLACE projects and policy. It describes PLACE projects as well as the role of TPAC in creating and facilitating the Initiative. Based on the collective understanding of the research team, impacts of the PLACE Initiative are organized into three main realms -- institutions, artists, and communities. These realms are further addressed in case studies from select grantees, whose narratives offer rich, detailed perspectives about PLACE projects in context, with all their successes, rewards, and challenges for artists, communities, and institutions. Lastly, the report offers preliminary research findings on PLACE by TPAC in collaboration with Dr. James Roebuck, codirector of the University of Arizona's ERAD (Evaluation Research and Development) Program

ALife for Real and Virtual Audio-Video Performances

MAG (an Italian acronym which stands for Musical Genetic Algorithms) is an electronic art piece in which a multifaceted software attempts to “translate” musical expression into a corresponding static or animated graphical expressions. The mechanism at the base of such “translation” consists in a quite complex and articulated algorithm that, in short, is based on artificial learning. Indeed, MAG implements different learning techniques to allow artificial agents to learn about music flow by developing an adaptive behaviour. In our specific case, such a technique consists of a population of neural networks – one dimensional artificial agents that populate their two dimensional artificial world, and which are served by a simple input output control system – that can use both genetic and reinforcement learning algorithms to evolve appropriate behavioural answers to an impressively large shapes of inputs, through both a fitness formula based genetic pressure, and, eventually, a user-machine based feedbacks. More closely, in the first version of MAG algorithm the agents’ control system is a perceptron; the world of the agents is a two dimensional grid that changes its dimensions accordingly to the host-screen; the most important input artificial agents get (i.e. not necessarily the only one) is the musical wave that any given musical file produces, run-time; the output is the behavioural answer that agents produce by moving, and thereby drawing on to a computer screen, therefore graphical. The combination of artificial evolution and the flows of a repeated song or different musical tunes make it possible for the software to obtain a special relationship between sound waves and the aesthetics of consequent graphical results. Further, we started to explore the concept of run-time creation of both music and graphical expression. Recently, we developed a software by which it is possible to allow any user to create new song versions of popular music with the MusicTiles app simply by connecting musical building blocks. This creation of musical expression can happen as a performance (i.e. run-time). When connecting the MusicTiles app to the MAG software, we provide the connection and the possibility to melt both musical expression and graphical expression in parallel and at run-time, and therefore creating an audio-video performance that is always unique