The Narrative Value of Dance Communication: "habitus", musicality and emotion

The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.

Household "ethnoscapes" and rite of passage: meaning and chronicity of the diagnosis in schizophrenia

Based on the results of an ethnographic study with people diagnosed with schizophrenia and their relatives in Barcelona and Tarragona along one year, I problematize the transformation of roles and relationships inside the household from the first burst and the assignation of a diagnosis as rite of passage. I appeal to a cultural interpretation of family, understanding the family group as a specific ethnoscape. I analyze the chronicity meaning, and its consequences in the conformation of the “role of sick person” in the context of parental relationships. I also discuss the paradoxes in terms of autonomy for the affected persons because of the projection of cultural connotation of chronicity.

Historias de mujeres excombatientes en estado de reclusión. Tensiones socio-jurídicas en torno a la Ley de Justicia y Paz

Historias de mujeres ex combatientes en estado de reclusión” tiene como objetivo central reconstruir, visibilizar y analizar las experiencias de vida de cuatro mujeres excombatientes de las guerrillas postuladas a la Ley de Justicia y Paz.

Armeritas en Armero. Un estudio sobre desplazamiento medioambiental en Colombia

Los desastres naturales traen consigo dos problemáticas, que se tomaran como ejes de análisis: El desplazamiento de las poblaciones y el reasentamiento de las mismas. El caso de población armerita que reside en Soacha en donde existe una ruptura en sus códigos sociales y un proceso subsecuente de reconstrucción de los mismos, pero que buscan diferenciarse de la población desplazada a causa del conflicto.

La corrupción en entidades públicas como la policía nacional de Colombia

Describir el fenómeno de la corrupción es una manera de comprender el comportamiento desviado de los integrantes de determinada colectividad y el funcionamiento de su orden social. Por lo que resulta necesario abordar el tema como un fenómeno social, económico, político y también cultural.

“NOSOTROS VEMOS LO QUE OTROS NO VEN” Microhistoria de los recicladores de la Localidad de Suba (2003-2014)

Reconstrucción la de micro historia de los recicladores que viven y trabajan en la localidad de Suba en el periodo 2003-2014.

They Say You are a Danger But You Are Not: Representations and Construction of the Moral Self in Narratives of 'Dangerous Individuals'

This article is based on an analysis of narratives of 26 offenders with mental health problems living in the United Kingdom. It explores the impact of an ascribed dangerous status and the construction of the self as moral and responsible in response to this label with reference to the literature on denial, deviance disavowal and other “techniques of neutralization” and Goffman's presentation of self. Two dominant strands are identified in relation to the construction of moral self-hood: “Not my fault” and “Good at heart” narratives. “Techniques of neutralization” are widely drawn on, particularly denial of responsibility in the “Not my fault” narratives that seek to explain anti-social behavior with reference to external forces such as a hostile environment inhibiting their ability to control their lives. In contrast, “Good at heart” narratives draw on the essentially good and moral nature of the inner-self. Both are used as evidence of sharing and adhering to moral norms in order to present an acceptable and credible self.

Improvising a future in the performing arts : a new strategy to help performance studies students successfully shift between academic culture, professional culture, industry and career?

If there is one thing performance studies graduates should be good at, it is improvising – play and improvisation are central to the contemporary and cultural performance practices we teach and the methods by which we teach them. Objective, offer, acceptance, advancing, reversing, character, status, manipulation, impression management, relationship management – whether we know them from Keith Johnson’s theatre theories or Erving Goffman’s theatre theories, the processes by which we play out a story, scenario or social situation to our own benefit are familiar. We understand that identity, action, interaction and its personal, aesthetic, professional or political outcomes are unpredictable, and that we need to adapt to changeable and uncertain circumstances to achieve our aims. Intriguingly, though, in a Higher Education environment that increasingly emphasises employability, skills in play, improvisation and self-performance are never cited as critical graduate attributes. Is the ability to play, improve and produce spontaneous new self-performances learned in the academy worth articulating into an ability to play, improvise and product spontaneous new self-performances after graduates leave the academy and move into the role of a performing arts professional in industry? A study of the career paths of our performance studies graduates over the past decade suggests that addressing the challenges they face in moving between academic culture, professional culture, industry and career in terms of improvisation and play principles may be very productive. In articles on performing arts careers, graduates are typically advised to find a market for their work, and develop career self-management, management and marketing skills, together with an ability to find, make and maintain relationships and opportunities for themselves. Transitioning to career is cast as a challenging process, requiring these skills, because performing arts careers do not offer the security, status and stability of other careers. Our data confirms this. In our study, though, we found that strategies commonly used to build the resilience, self-reliance and persistence graduates require – talking about portfolio careers, parallel careers, and portable, transferable or translatable skills, for example – can engender panic as easily as they engender confidence. In this paper, I consider what happens when we re-articulate some of the skills scholars and industry stakeholders argue are critical in allowing graduates to shift successfully from academy to industry in terms of skills like improvisation, play and self-performance that are already familiar, meaningful and much-practiced amongst performance studies graduates.

All the worldwide web's a stage : teenage girls' self-presentation and identities formation through status updates

This study investigates grade eight girls’ use of status updates on Facebook in order to create identities online. Using sociologist Erving Goffman’s theory of self-presentation as a framework, Jones and Pittman’s subsequent strategies of self-presentation are used to discover the ways in which teenage girls use status updates in order to create identities online and manage audience impressions. Using a mixed methods design, the results showed that, while existing self-presentation strategies persist, social networking has created new means of self-presentation. This study adds to a growing pool of research regarding teens’ engagement with social networking websites to form identities.

Editorial

Welcome to the third issue of Clothing Cultures. We are honoured to have served as the guest editors for this issue. The authors in this issue explore three intersecting themes in using various methods: identity, cross-cultural encounters and everyday practices related to designing, branding and wearing clothing. These themes are at the core of fashion and dress: as an everyday individual and social project, and as a system in which people and objects (clothing) globally circulate. The performance of identity (Goffman 1979; Butler 1990), social practices and the movement of people and commodities (Appadurai 1986, 1996) create and transfer cultural meanings.