The Creative Life of Law: Improvisation, Between Tradition and Suspicion

Originally applying solely to chefs, waiters, dishwashers and the like, New York City (NYC) regulations governing cabaret employees were altered in 1943 to include musicians and entertainers, who until the late 1960’s would be required to hold a NYC Cabaret Employee’s Identification Card. The introduction of these notorious “police cards” occurred roughly contemporaneously to the emergence in after-hours night clubs in Harlem of a new and supposedly “wild”, improvisatory brand of jazz: bebop. This article adds to the many rather practical theories on why these cards were introduced a more abstract discussion coined in terms of the relationship between suspicion and tradition and focusing on differing essences of law and improvisatory jazz. While law breathes tradition and is suspicious of improvisation and unpredictability, the converse is true of jazz. Allusion to tradition in jazz improvisation is often viewed as a betrayal of its creative and spontaneous nature. And yet it is only through its departure from the stable transmission of past meaning that improvisation gains meaning. Law, in contrast, while appearing to be entirely composed of tradition, to transmit some sort of determinate and fixed meaning, is constantly betraying itself. As no two legal actions can be exactly the same, judges must improvise on tradition and past precedent every time they are asked to decide a case. Law can thus neither dispense with nor be completely determined by tradition. The legal decision instead lies on the border between what it “is” and what it otherwise could be and every judicial act is, in some sense, a species of improvisation. This article uses the cabaret cards to explore this uncertain terrain between law and improvisation, between tradition and suspicion.

Spanish Golden Age Poetry in Motion: The Dynamics of Creation and Conversation.

The fourteen essays of this volume engage in distinct ways with the matter of motion in early modern Spanish poetics, without limiting the dialectic of stasis and movement to any single sphere or manifestation. Interrogation of the interdependence of tradition and innovation, poetry, power and politics, shifting signifiers, the intersection of topography and deviant temporalities, the movement between the secular and the sacred, tensions between centres and peripheries, issues of manuscript circulation and reception, poetic calls and echoes across continents and centuries, and between creative writing and reading subjects, all demonstrate that Helgerson's central notion of conspicuous movement is relevant beyond early sixteenth-century secular poetics, By opening it up we approximate a better understanding of poetry's flexible spatio-temporal co-ordinates in a period of extraordinary historical circumstances and conterminous radical cultural transformation

'Ascendency's ... last big jamboree':Big house society in Northern Ireland 1921-69

Thie examines the continuing role that the landed class enjoyed in Northern Ireland in contrast to the experience of their fellow landlords in the rest of Ireland following Partition. It argues that the senses of tradition and continuity which the unionist population in particular attributed to the old landed elite gave them an important role in bolstering the newly created state of Northern Ireland. In turn this allowed them to continue acting as a social elite long after the economic and political foundations of their ascendancy had been removed.

Between Sound and Sight: Framing the Exotic in Roysten Abel's The Manganiyar Seduction

Roysten Abel’s The Manganiyar Seduction is perhaps the most popular performance of Indian folk music on the global festival market today. This performance of Rajasthani folk music is an apt exemplification of an auto-exoticism framed as cultural commodity. Its mise en scéne of musicians framed, literally, by illuminated red square boxes ‘theatricalises’ Rajasthan’s folk culture of orality and renders such a tradition the quality of strangeness that borders on theatre and music, contemporary and traditional. The ‘dazzling’ union of the Manganiyar’s music and scenography of Amsterdam’s red light district engendered an exotic seduction that garnered raving reviews on its global tour. This paper then examines the production’s performative interstices: the in betweenness of sound and sight where aural tradition is ‘spectacularised’, and the shifting convergences of tradition and cultural consumption. It further interrogates the role of reception in the construction of such ‘exotic’ spectacles.

Human rights and traditional values

A series of ‘traditional values’ resolutions, passed by the UN Human Rights Council in 2009, 2011, and 2012, were the result of a highly controversial initiative spearheaded by Russia. Do these ‘traditional values’ underpin human rights? If not, why are religious traditions or, indeed, any traditional values worth preserving at all? Why are they valuable from the point of view of adherents to that tradition? Should the larger society take into account the fact that a practice is based on tradition in deciding whether or not to override it in the name of human rights? Put more technically, in what does the normativity of tradition lie, for adherents and non-adherents of that tradition? These are the questions that this essay explores, in the context of the recent debates over the scope and meaning of human rights stimulated by the Human Rights Council Resolutions. Much of the support for the Resolutions comes from what can broadly be called the global South. In several books, particularly Human Rights, Southern Voices, and General Jurisprudence: Understanding Law from a Global Perspective William Twining has explored the question of how to reconcile human rights norms and belief systems embedded in the global South (including ‘traditional values’), and in doing so has drawn particular attention to intellectuals from that part of the world, in particular Francis Deng, Yash Ghai, Abdullahi An-Na’im, and Upendra Baxi. I suggest that those concerned to recognize the legitimate concerns that significant sections of the global South have about the human rights project, concerns reflected in the ‘traditional values’ Resolutions would do well to pay more attention to the ‘Southern voices’ on whom Twining rightly focuses attention.

The Liedertheater of Wenzel and Mensching: Subversive Use of the Agitprop and Clowning Tradition in the GDR

The East German poet-clowns Hans-Eckardt Wenzel and Steffen Mensching rose to prominence during the GDR's (German Democratic Republic; Deutsche Demokratische Republik, DDR) Peaceful Revolution of autumn 1989 with their cabaret production Letztes aus der Da Da eR. A film adaptation of the production was made by Jörg Foth in 1990, which was finally released on DVD with English subtitles in the United Kingdom and North America in 2009 (Latest from the Da-Da-R). In light of this long-overdue interest in Wenzel & Mensching, this article will attempt to put the work of the duo in historical and aesthetic context. Their use of character, masks, music, and philosophy combined to create the distinctly grotesque world that constituted their Liedertheater performances.