circle called a roda ( Lewis 1992 ). Other capoeira players typically help the audience form the circle, and advanced practitioners are the ones in charge of playing the live music that accompanies the performance. Depending on styles, different
The Cosmopolitics of an Apparently Non-religious Practice
Sergio González Varela
The Large-Scale Rituals of the Repkong Tantrists in Tibet
In discussions on processes of ritual assessment and modification, the rituals examined are most often of a ‘performance-centered’ nature. 1 I am drawing here on Atkinson’s (1989: 14–15) useful distinction between ‘liturgy-centered’ and
Thinking inside the boxes
for qualitative rating of authentic or complex student work’. There are two general rubric assessment approaches: holistic and analytical. Holistic rubrics are used to engender an overall judgement on the quality of performance, whereas an analytical
A Masculinities Perspective on the Enduring Warrior Ethos of Rio de Janeiro's Police
Celina Myrann Sørbøe
both in the police culture and in the favela. I thus situate the warrior ethos as a masculine performance shaped by gendered role expectations in the organizational, occupational, and street-working environment of the police. With this emphasis on the
Jeffrey Alexander, Bernhard Giesen and Jason Mast (eds.), Social Performance: Symbolic Action, Cultural Pragmatics and Ritual, Cambridge: Cambridge University Press, 2006, 374 pp.
Ron Eyerman and Lisa McCormick (eds.), Myth, Meaning, and Performance: Toward a New Cultural Sociology of the Arts, Boulder: Paradigm Publishers, 2006, 166 pp.
Social, Environmental and Economic Dimensions
Scholars are researching how to assess a country's sustainable development performance. However, not many proposals differentiate the performance via the three dimensions of sustainable development: social, economic and environmental. This article proposes to assess a country's sustainable development performance in general as well as in each of the dimensions. It pursues three objectives: (1) identifying sustainably developed countries; (2) assessing the best performers in terms of sustainable development; and (3) understanding the relations between the dimensions. Results show a globally bad sustainable development performance, with no sustainably developed countries. They also show that the economic dimension is not the best performing dimension at a global level and that very high levels of gross national income (GNI) per capita usually imply a bad environmental performance.
Creative Practices/Resistant Acts
Nesreen Hussein and Iain MacKenzie
participatory performance, and roundtable discussions. One of the common threads that brought the contributions together, and that initiated the conceptualization of the event, was a shared understanding of revolutions as inherently “creative acts.” Those acts
learning outcomes and development of students, and the performance and reputation of the institution ( Trowler 2010: 2 ). The panel comprised five current and former students from Sociology at Newcastle University who were invited to deliver short
Giovanni A. Travaglino and Benjamin Abrams
Damascus, and Caroline Rooney’s reading of a performance project, Laila Soliman’s No Time for Art in Egypt. On the one hand, Adwan draws on theoretical repertoires in the field of theatre studies to analyze protests that only last a few minutes because
Benjamin Abrams and Giovanni A. Travaglino
in instances of collective action and political behavior. Matthew Hayes opens this issue with his article “Never Mind the Ballots: The Edible Ballot Society and the Performance of Citizenship.” In the article, Hayes examines an unusual instance of