Semantic codes constitute the world (or parts of it), not in a mechanistic “cause-and-effect” sense but through another type of linkage. This article explores some of the semantic code, the “semantic DNA,” of mainstream neoclassical economic development policy thinking and writing and looks at what that mode of thinking incorporates into its discourse as “social.” The various forms of the “social” in economics discourse add up, from a sociologist’s viewpoint, to disappointingly little: they mainly consist of a miscellaneous set of noneconomic aspects that mainstream economic thinking can use to blame for the policy-performance gap between what such thinking promises and what it often actually delivers.
Seventeen Sightings of the “Social” in Economic Development Policy Writing
Marino De Luca
Several parties throughout the world are democratizing their internal processes. The most notable tools for achieving this aim are the primary elections through which electoral candidates and party leaders are selected. This article seek to analyze these “selections” by using survey data relating to primary elections held in October 2011 by the French Socialist Party. In particular, we make use of survey data to describe extensively some social and political characteristics of the voters and to connect them with the electoral performances of the candidates.
School Field Trips and the Representation of Difficult Histories in English Museums
Drawing on the fields of education, memory, and cultural studies, this article argues that as important cultural memory products, government-sponsored museum education initiatives require the same attention that history textbooks receive. It investigates the performance of recent shifts in historical consciousness in the context of museum field trip sessions developed in England in tandem with the 2007 bicentenary of the abolition of the slave trade. Analysis of fieldwork data is presented in order to illustrate some of the complexities inherent in the way difficult histories are represented and taught to young people in the twenty-first century, particularly in relation to citizenship education.
Judeo-Spanish Songs Meet the Twenty-First Century
Judith R. Cohen
The Judeo-Spanish song tradition has experienced many changes in recent years as it enters the 'world music' scene. Change, however, can be seen as a constant feature of the many aspects of Judeo-Spanish song and performance practice. Here, various genres are examined, together with some of the changes they have undergone in repertoire, style and context, and a selection of reactions to changes on the part of Sephardi Jews interviewed over several years. To a large extent, the repertoire has moved from the home to public representation, and is performed more by professional artists with no Sephardi background than by people from Sephardi communities, raising questions of appropriation and representation.
An Experiment in the Use of the Guest Interview, Focus Group Interviews and Learning Journals in the Teaching and Learning of the Anthropology of Modern Dance
Jonathan Skinner and Kirk Simpson
This article assesses the experimental teaching and learning of an anthropology module on 'modern dance'. It reviews the teaching and learning of the modern dances (lecture, observation, embodied practice, guest interview), paying attention to the triangulation of investigation methods (learning journal, examination, self-esteem survey, focus group interview). Our findings suggest that—in keeping with contemporary participatory educational approaches—students prefer guest interviews and 'performances of understanding' for teaching and learning, and that focus groups and learning journals were the preferred research methods for illuminating the students' teaching and learning experience.
Ethnographic Researcher to Policy Consultant
This article examines the concept of 'band development' taking place within the parading band culture in contemporary Northern Irish society. The parading tradition in Northern Ireland today is associated with two main characteristics; first, the public image of contemporary parading traditions is mainly negative due to its association with parading disputes that particularly developed in the 1990s. Second, that aggressively Protestant Blood and Thunder flute bands have become a dominant feature of these public performances. It is these ensembles that are defining people's notions of what parading bands represent. This article will discuss how ethnographic research with these bands allowed engagement on a policy level to take place, leading to 'band development'.
This introduction maps the prospectus of the issue, introducing the concept of applied Shakespeare in terms of its roots in the applied, socially engaged and participatory performance practices that have developed in a wide variety of educational, theatrical and community settings in recent years. Operating in the nexus between this work and a body of canonical plays that serve as a resource to address the needs of diverse user constituencies, applied Shakespeare is represented in this issue by a series of case studies, which the introduction summarises.
The Creation of a Dance Company in Health Care through the Journey of Brain Trauma
This article is about my very personal pursuit of drawing down meaning and subsequently evaluating the impact of my professional contemporary dance practice within a specific trauma recovery health-care environment. By tracing a series of short dance journeys, through a hospital ward, artist retreat, hospital dance studio, and local theatre, the intimate story of my role as a PhD researcher, choreographer, and dance facilitator within a neuro-behavioral rehabilitation unit located within a psychiatric site in Belfast unfolds. Lying within the creases of these journeys are the developments of a practice performance-based methodology that coaxes a group of seven men with enduring brain injury who are residents in the neuro-behavioral rehabilitation unit and three staff who care for them to participate together in a four-week Laban-based dance training programme and performance. One of the intentions of the program is to develop a dance company for a PhD study. The article reflects on the embodied experiences of my dance practice and their impact on the generation of appropriate dance-based methodology, analysis frameworks that were subsequently used to investigate this participatory model of arts engagement within health care. The article is back-dropped against my fifteen-year dance residency in health care and the current surge in provision of arts in health-care programs.
Now that this issue focusing on Yiddish is completed it seems obvious, at least in retrospect, that this was a relevant and important topic for a journal devoted to themes affecting Jewish life in Europe. This was not so self-evident when the idea began to emerge. An early impetus was the offering of an article some years ago by Haike Beruriah Wiegand, included here, on the writings of Isaac Bashevis Singer. At the time it seemed too specialised and lacking in a context, so it was held in reserve. Another impetus was hearing a lecture on the unexpected topic of ‘Yiddish Tango in Argentina’ by Lloica Czackis, included in this issue, accompanied by her own excellent performances of the songs. That in turn triggered many memories of performances of Yiddish songs in Germany by excellent singers and musicians as diverse as Daniel Kempin, Shura Lipovsky, Roswitha Dasch and Katharina Muetter, the former two Jewish, the latter not, all of whom have undertaken serious research into Yiddish culture and music, and brought commitment and learning, as well as great artistry, to their work. Suddenly the obviousness of the subject became apparent.
To my knowledge, this is the first essay collection in any language to be devoted to Arab appropriations of Shakespeare. Studies of international Shakespeare appropriation have mushroomed over the past fifteen to twenty years. Excitement began to build in the 1990s, as several lines of academic inquiry converged. Translation theorists found in Shakespeare’s plays a convenient (because widely known and prestigious) test case. Scholars in performance studies, having noted how sharply local context could influence a play’s staging and interpretation, saw a need to account for ‘intercultural’ performances of Shakespeare in various languages and locales. Marxist scholars became interested in the fetishisation of Shakespeare as a British cultural icon which, in turn, was used to confer cultural legitimacy on the project of capitalist empire-building. Scholars of postcolonial drama and literature explored how the periphery responded. The ‘new Europe’ provided another compelling set of examples. All this scholarship has developed quickly and with a great sense of urgency. Shakespeareans in many countries have contributed. By now there is a rich bibliography on Shakespeare appropriation in India, China, Japan, South Africa, Israel and many countries in Latin America and Eastern and Western Europe.