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  • Atlas of Performing Culture
    Atlas of Performing Culture

    Through examining more than 120 organizations on a global scale, this work shows how almost every human expression involves performing culture. Atlas of Performing Culture is an illustrated voyage across five continents Asia, Africa, Europe, Oceania, and the Americas involving the study of venues and events related to performance, the dynamic and unrepeatable mode of artistic activity capable of uniting the audience who becomes the protagonist with artists and works of art, architecture, and nature. The volume is organized around five thematic sections related to the physical spaces, venues, and typologies of events.The unique experience of performing art can involve an island museum in Japan, the Rio Carnival, a Brussels theatrical debut, a rave party in the British countryside, and a cultural center housed in a former funeral home in the outskirts of Paris.Alongside theaters, concert halls, and festivals, we also find museums, sculpture parks, and hybrid cultural centers that elude any attempt of cataloging. By breaking down the traditional frontiers between performance art, visual art, and performing arts, this volume takes the reader whether specialist, practitioner, academic, or simply art aficionado on a journey to some of the main cultural sites and performative experiences around the world.Each section offers a specific overview into leading cultural organizations, as well as a selection of similar international institutions.

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  • Performing Environmentalisms : Expressive Culture and Ecological Change
    Performing Environmentalisms : Expressive Culture and Ecological Change

    Performing Environmentalisms examines the existential challenge of the twenty-first century: improving the prospects for maintaining life on our planet.The contributors focus on the strategic use of traditional artistic expression--storytelling and songs, crafted objects, and ceremonies and rituals--performed during the social turmoil provoked by environmental degradation and ecological collapse.Highlighting alternative visions of what it means to be human, the authors place performance at the center of people's responses to the crises.Such expression reinforces the agency of human beings as they work, independently and together, to address ecological dilemmas.The essays add these people's critical perspectives--gained through intimate struggle with life-altering force--to the global dialogue surrounding humanity's response to climate change, threats to biocultural diversity, and environmental catastrophe.Interdisciplinary in approach and wide-ranging in scope, Performing Environmentalisms is an engaging look at the merger of cultural expression and environmental action on the front lines of today's global emergency. Contributors: Aaron S. Allen, Eduardo S. Brondizio, Assefa Tefera Dibaba, Rebecca Dirksen, Mary Hufford, John Holmes McDowell, Mark Pedelty, Jennifer C.Post, Chie Sakakibara, Jeff Todd Titon, Rory Turner, Lois Wilcken

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  • Performing Piety : Musical Culture in Medieval English Nunneries
    Performing Piety : Musical Culture in Medieval English Nunneries

    Addressing questions about the musical life in English nunneries in the later Middle Ages, Yardley pieces together a mosaic of nunnery musical life, where even the smallest convents sang the monastic offices on a daily basis and many of the larger houses celebrated the late medieval liturgy in all of its complexity.

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  • Social Works : Performing Art, Supporting Publics
    Social Works : Performing Art, Supporting Publics

    ‘a game-changer, a must-read for scholars, students and artists alike’ – Tom FinkelpearlAt a time when art world critics and curators heavily debate the social, and when community organizers and civic activists are reconsidering the role of aesthetics in social reform, this book makes explicit some of the contradictions and competing stakes of contemporary experimental art-making. Social Works is an interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art.Shannon Jackson uses a range of case studies and contemporary methodologies to mediate between the fields of visual and performance studies.The result is a brilliant analysis that not only incorporates current political and aesthetic discourses but also provides a practical understanding of social practice.

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  • Is performing arts or art?

    Performing arts can be considered a subset of art. While both involve creativity and expression, performing arts specifically involve live performances such as music, dance, and theater. Art, on the other hand, is a broader term that encompasses various forms of creative expression, including visual arts like painting and sculpture. Both performing arts and art play important roles in society by providing avenues for individuals to express themselves and connect with others.

  • Music art or performing arts?

    Both music and performing arts are forms of artistic expression that have the power to evoke emotions and connect with audiences. While music focuses on sound and rhythm to convey a message, performing arts encompass a wider range of artistic disciplines such as dance, theater, and opera. Ultimately, the choice between music and performing arts depends on personal preferences and interests in either creating or experiencing art in different forms.

  • 'Music art or performing arts?'

    Both music and performing arts are forms of art that have their own unique qualities and characteristics. Music is a form of art that uses sound and rhythm to evoke emotions and tell stories, while performing arts encompass a wide range of art forms such as theater, dance, and opera that involve live performances. Both music and performing arts have the power to inspire, entertain, and connect people on a deep emotional level, making them essential components of human expression and creativity. Ultimately, the choice between music and performing arts depends on individual preferences and interests, as both offer rich and fulfilling artistic experiences.

  • Which subjects belong to music, art, performing arts, or social sciences?

    Subjects that belong to music, art, and performing arts include music theory, art history, dance, theater, and visual arts. Social sciences encompass subjects such as sociology, psychology, anthropology, political science, and economics. These subjects explore human behavior, society, culture, and the arts, and often intersect with each other in various ways.

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  • Performing Ruins
    Performing Ruins

    This book engages with the relationship between ruins, dilapidation, and abandonment and cultural events performed within such spaces.Following the author’s fieldwork in the UK, Bosnia Herzegovina, Poland, Germany, Greece, and Sicily, chapters describe, investigate, and reflect upon live performance events which have taken place in sites of decay and abandonment.The book’s main focus is upon modern economic ruins and ruins of warfare.Each chapter provides several case studies based upon the author’s own site visits and interviews with actors, directors, producers, curators, writers, and other artists.The book contextualises these events within the wider framework of Ruin Studies and provides brief summaries of how we might understand the ruin in terms of time, politics, culture, and atmospheres.The book is particularly preoccupied with artists’ reasons and motivations for placing performance events in ruined spaces and how these work dramaturgically.

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  • Performing Image
    Performing Image

    An examination of how artists have combined performance and moving image for decades, anticipating our changing relation to images in the internet era. In Performing Image, Isobel Harbison examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism.Over this period, artists have used a variety of DIY modes of self-imaging and circulation-from home video to social media-suggesting how and why Western subjects might seek alternative platforms for self-expression and self-representation.In the course of her argument, Harbison offers close analyses of works by such artists as Robert Rauschenberg, Yvonne Rainer, Mark Leckey, Wu Tsang, and Martine Syms. Harbison argues that while we produce images, images also produce us-those that we take and share, those that we see and assimilate through mass media and social media, those that we encounter in museums and galleries.Although all the artists she examines express their relation to images uniquely, they also offer a vantage point on today's productive-consumptive image circuits in which billions of us are caught.This unregulated, all-encompassing image performativity, Harbison writes, puts us to work, for free, in the service of global corporate expansion.Harbison offers a three-part interpretive framework for understanding this new proximity to images as it is negotiated by these artworks, a detailed outline of a set of connected practices-and a declaration of the value of art in an economy of attention and a crisis of representation.

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  • Performing Power
    Performing Power

    When the bronze statue of Edward Colston was thrown into the Bristol harbour, what was it about this spectacle that made it more effective than countless petitions to have the slaver’s icon removed?What animated Trump’s supporters to answer his rhetorical question ‘who’s going to pay for the wall?’ during his 2016 presidential campaign?Why do leaders of social movements, or those seeking public office, bother to appear in front of audiences when they could just as well spell out their positions in writing?The central contention of this book is that the exercise of power, and struggles for power, are inextricably linked to social performance.Political success can often be explained by the presence of engaging drama, just as political failure can be accounted for by its absence.The book explores the role of social performance in the exercise of power and evaluates the main ways in which performances of power have been understood in the social sciences, developing its own unique model for understanding them.Morgan argues persuasively that the social sciences need to take seriously the aesthetic dimensions of power, showing that in power struggles, appearance matters, and appearance is in large part achieved through performance. Clearly written and illustrated with a wide range of contemporary examples, Performing Power will be of great value to students and scholars in political sociology, cultural sociology, and politics.

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  • Performing Climates
    Performing Climates

    Performing Climates features 13 interconnected essays exploring theatre and performance’s relationship with more-than-human elements at a time of climate emergency.This book argues that Western performance – how we conceive of it, as well as how we train and educate people in and about it – needs to reorient its ways of making and thinking about itself to reconsider patterns of breakdown, decay and renewal happening on and off stage in a literal play of cells and particles.Performing Climates examines live performance as a uniquely compostable artform, formed by sonic vibrations and movements of air and matter, more-than-human elements, composition and decomposition.This book will appeal to undergraduate audiences, postgraduate scholars and performance studies colleagues, offering exciting possibilities for reconsidering theatre and performing in an age of crisis.

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  • Is performing squats dangerous?

    Performing squats can be dangerous if not done with proper form and technique. It is important to maintain proper alignment of the body, engage the core, and keep the knees in line with the toes to prevent injury. Additionally, using too much weight or attempting to squat beyond one's physical capabilities can also increase the risk of injury. However, when performed correctly and with appropriate supervision, squats can be a safe and effective exercise for building strength and muscle.

  • Can one pray without performing Ghusl?

    Yes, one can pray without performing Ghusl if they are in a state of minor impurity (Hadath Asghar) such as passing wind, urinating, or defecating. In such cases, performing Wudu (ablution) is sufficient for prayer. However, if one is in a state of major impurity (Hadath Akbar) such as sexual intercourse or ejaculation, then Ghusl is required before performing prayer. It is important to maintain cleanliness and purity before engaging in acts of worship such as prayer.

  • Does performing exercises incorrectly inhibit growth?

    Yes, performing exercises incorrectly can inhibit growth and progress in several ways. First, incorrect form can lead to inefficient muscle activation, meaning that the targeted muscles are not being effectively worked. This can limit muscle growth and strength gains. Additionally, incorrect form can increase the risk of injury, which can set back progress and hinder growth. It's important to prioritize proper form and technique in order to maximize the benefits of exercise and support long-term growth and development.

  • Is prayer valid without performing Ghusl?

    In Islam, performing Ghusl (ritual purification) is not a requirement for prayer unless one is in a state of major ritual impurity (Janabah) due to sexual activity, menstruation, postpartum bleeding, or other reasons. If one is not in a state of major ritual impurity, they can still perform prayers without Ghusl. However, it is recommended to be in a state of cleanliness and perform ablution (Wudu) before praying to maintain spiritual purity and connection with Allah.

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