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"Musicians Greece."
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Fascination with the tiny: social negotiation through miniatures in Hellenistic Babylonia
The tremendous diversity and variety of miniature objects in Hellenistic Babylonia reflects a social environment of intensive cross-cultural interaction and widespread change. Considering the aspect of miniaturization itself reveals how tiny things participated in this social transformation. Through their appealing and non-threatening materiality, miniatures established an intimate connection with their users that encouraged identity sharing and illusions of power over the outside world. Miniatures of performing bodies, such as musicians and theatrical masks, induced users to experiment with new enactments of Greek cultural identities. Soldiers, deities and other powerful bodies in miniature enabled fantasies of control over the wars and political upheavals endemic to Hellenistic Babylonia. Display-oriented figurines depicting interpersonal relationships encouraged self-identification and shaped new ideals of social behaviour. The miniature objects of Hellenistic Babylonia were more than just witnesses to social change; they were also participants in the processes of negotiating new identity norms for this multicultural society.
Journal Article
Informal music learning, improvisation and teacher education
This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. The argument is made that improvisation, as a particular type of informal music learning process, has an important role to play in fostering the qualities required of teachers to work with informal pedagogies in music education. Furthermore, we would suggest that such musical experiences might gradually lead to the development of a critical perspective on both music education theories and practices. Improvisation might emerge as a moment and a practice of rupture with linearity of progress, working against reification of knowledge and glorification of received information. The findings suggest that improvisation might offer a route for creating an intimate, powerful, evolving dialogue between students' identities as learners, their attitudes towards children and their creative potential, and the interrelationships of the notions of expressive technique and culture, thus becoming ‘an act of transcendence’ (Allsup, 1997, p. 81). We propose that the issue of connecting informal learning and improvisation might be resolved by regarding improvisation as an exemplary case of creating a communicative context where most representations/conceptualisations/struggles to solve problems are left implicit. Such experiences for pupils and teachers alike might further extend the social and personal effectiveness of informal learning as music pedagogy.
Journal Article
A National Perspective and International Threads to Postmodernism at the Fifth Hellenic Week of Contemporary Music
The Fifth Hellenic Week of Contemporary Music (Athens, 1976) has been mainly considered in the context of a major political event: the fall of the military dictatorship in 1974. However, it may also be seen as a landmark for the transition to a postmodern era in Greece. The musical works presented during the Week, as well as their reception by the musical community are indicative of this transition. This paper aims at exploring those two perspectives and places the emphasis on the second, through an analytical comment on Le Tricot Rouge by Giorgos Kouroupos and the critiques in the press.
Journal Article
Jazz in Athens: Frustrated Cosmopolitans in a Music Subculture
This paper presents an ethnographic account of jazz music in Athens. The small scene under scrutiny is mainly populated by professional session instrumentalists of the Greek popular music scene who perform jazz as a side activity for their own pleasure. In the process, they construct a conceptual dichotomy between 'work' and 'play'. Drawing on the author's extended involvement in this scene, and focusing on private interviews with musicians, this article unveils the discourses of cosmopolitanism invoked through local jazz music-making. The ethnographic material presented aims to illustrate how even a small subculture can serve as a terrain for contesting cosmopolitan imaginaries.
Journal Article
Reichsrock
From rap to folk to punk, music has often sought to shape its listeners' political views, uniting them as a global community and inspiring them to take action. Yet the rallying potential of music can also be harnessed for sinister ends. As this groundbreaking new book reveals, white-power music has served as a key recruiting tool for neo-Nazi and racist hate groups worldwide.
Reichsrockshines a light on the international white-power music industry, the fandoms it has spawned, and the virulently racist beliefs it perpetuates. Kirsten Dyck not only investigates how white-power bands and their fans have used the internet to spread their message globally, but also considers how distinctly local white-power scenes have emerged in Western Europe, Eastern Europe, Latin America, the United States, and many other sites. While exploring how white-power bands draw from a common well of nationalist, racist, and neo-Nazi ideologies, the book thus also illuminates how white-power musicians adapt their music to different locations, many of which have their own terms for defining whiteness and racial otherness.
Closely tracking the online presence of white-power musicians and their fans, Dyck analyzes the virtual forums and media they use to articulate their hateful rhetoric. This book also demonstrates how this fandom has sparked spectacular violence in the real world, from bombings to mass shootings.Reichsrockthus sounds an urgent message about a global menace.
eBook
The Nationalization of Ottoman Popular Music in Greece
Pennanen addresses some problems connected with the post-Ottoman reception of Ottoman and Ottoman-influenced popular music in the Balkans, with nationalism and national culture-building as main themes. The emphasis is on the Ottoman-Greek cafe music nowadays usually called smyrneika (\"of or pertaining to Smyrna\") in Greece. He also offers a revised view of Ottoman-Greek popular music from a wider perspective than the standard Greek one. Such a view is needed since in writing on Greek popular music, Ottoman-Greek cafe music has by and large been overlooked as the subject of study in favor of the bouzouki-based Piraeus rebetika.
Journal Article
Pericles in America
This musical portrait of immigrant clarinetist Pericles Halkias and the Epirot-Greek community explores the aspirations and ambivalences of Greek-Americans.Moving between Queens, New York and northern Greece, it presents the traditional music of Epirus, showing how the music unites the Epirot community around the world. The film defines America not as a melting pot, but rather as a place to make a better living. The Epirots who earn their living here have their hearts planted firmly in the mountains of Greece.\"Pericles in America\" will generate thought and discussion in courses dealing with immigration and transnationalism, cultural identity, and musical culture, and in many different courses in cultural anthropology, sociology, and American studies. It was produced by renowned filmmaker and musician John Cohen.
Streaming Video
'Be-longing' in a 'doubly occupied place': The Parakalamos Gypsy musicians
Triggered by continuous references to Parakalamos—a village on the Greek–
Albanian
border area in the north-west of Greece—as 'musicians' or Gypsies' village'—
this paper attempts to unfold a number of layers embedded within the
process of identity formation by exploring the way place and its locatedness (both
physical and symbolic) are implicated in processes of othering. The purpose is to
invite reflections on the interrelations between the constitution of identity of places
and the constitution of 'terrains of be-longing' with specific reference to the Gypsy
case. In this respect it runs contrary to most of the assumptions shared by recent
studies on Gypsies: against their focus on 'nomadism' and/or 'imagined communities'—
a focus that seems to disregard the significance of place in the constitution of
Gypsy identifications—the paper raises the ways in which Gypsies' locatedness and
sense of 'be-longing' might be more apt in understanding how policing their identification
with place can indeed be a crucial part of the Gypsy world.
Journal Article