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This multidisciplinary collection examines the connections between
education, migration and translation across school and higher
education sectors, and a broad range of socio-geographical
contexts. Organised around the themes of knowledge, language,
mobility, and practice, it brings together studies from around the
world to offer a timely critique of existing practices that
privilege some ways of knowing and communicating over others. With
attention to issues of internationalisation, forced migration,
minorities and indigenous education, this volume asks how the
dominance of English in education might be challenged, how
educational contexts that privilege bi- and multi-lingualism might
be re-imagined, what we might learn from existing educational
practices that privilege minority or indigenous languages, and how
we might exercise 'linguistic hospitality' in a world marked by
high levels of forced migration and educational mobility. As such,
it will appeal to scholars across the social sciences with
interests in education, migration and intercultural communication.
This book is the first to explore style and spectacle in glam
popular music performance from the 1970s to the present day, and
from an international perspective. Focus is given to a number of
representative artists, bands, and movements, as well as national,
regional, and cultural contexts from around the globe. Approaching
glam music performance and style broadly, and using the
glam/glitter rock genre of the early 1970s as a foundation for case
studies and comparisons, the volume engages with subjects that help
in defining the glam phenomenon in its many manifestations and
contexts. Glam rock, in its original, term-defining inception, had
its birth in the UK in 1970/71, and featured at its forefront acts
such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter
rock" in the US, stateside artists included Alice Cooper, Suzi
Quatro, The New York Dolls, and Kiss. In a global context, glam is
represented in many other cultures, where the influences of early
glam rock can be seen clearly. In this book, glam exists at the
intersections of glam rock and other styles (e.g., punk, metal,
disco, goth). Its performers are characterized by their flamboyant
and theatrical appearance (clothes, costumes, makeup, hairstyles),
they often challenge gender stereotypes and sexuality (androgyny),
and they create spectacle in popular music performance, fandom, and
fashion. The essays in this collection comprise
theoretically-informed contributions that address the diversity of
the world's popular music via artists, bands, and movements, with
special attention given to the ways glam has been influential not
only as a music genre, but also in fashion, design, and other
visual culture.
This multidisciplinary collection examines the connections between
education, migration and translation across school and higher
education sectors, and a broad range of socio-geographical
contexts. Organised around the themes of knowledge, language,
mobility, and practice, it brings together studies from around the
world to offer a timely critique of existing practices that
privilege some ways of knowing and communicating over others. With
attention to issues of internationalisation, forced migration,
minorities and indigenous education, this volume asks how the
dominance of English in education might be challenged, how
educational contexts that privilege bi- and multi-lingualism might
be re-imagined, what we might learn from existing educational
practices that privilege minority or indigenous languages, and how
we might exercise 'linguistic hospitality' in a world marked by
high levels of forced migration and educational mobility. As such,
it will appeal to scholars across the social sciences with
interests in education, migration and intercultural communication.
This volume explores the notion of "affective media" within and
across different arts in Japan, with a primary focus on music,
whether as standalone product or connected to other genres such as
theatre and photography. The volume explores the Japanese reception
of this "affective media", its transformation and subsequent
cultural flow. Moving from a discussion of early encounters with
the West through Jesuits and others, the contributors primarily
consider the role of music in the nineteenth, twentieth, and
twenty-first centuries. With ten original chapters, the volume
covers a wealth of themes, from education, koto music, guitar
making, avant-garde recorder works, musicals and rock photography,
to interviews with contemporary performers in jazz, modern rock and
J-pop. Innovative and fascinating, the book provides rich new
insights and material to all those interested in Japanese musical
culture.
Koza Dabasa explores Okinawa's island culture and its ghosts of war
through the lens of Nenes, a four-woman pop group that draws on the
distinctiveness and exoticism of Okinawan musical tradition. Both a
tropical island paradise and the site of some of the bloodiest
battles of World War II, Okinawa has a unique culture and a
contentious history. Its musical traditions are distinct from other
parts of Japan, varying in instrumentation, poetic forms, and
musical scales. Nenes marks its cultural difference as Okinawan by
emphasizing its own exoticism, expressed through its music,
fashion, imagery, and performance style. Henry Johnson listens to
Koza Dabasa as a representation of Okinawa's relationship with the
Japanese music industry and with the broader themes of
international warfare and local tourism. 33 1/3 Global, a series
related to but independent from 33 1/3, takes the format of the
original series of short, music-based books and brings the focus to
music throughout the world. With initial volumes focusing on
Japanese and Brazilian music, the series will also include volumes
on the popular music of Australia/Oceania, Europe, Africa, the
Middle East, and more.
From entering a high-school music competition to being honoured
with the New Zealand Order of Merit, Bic Runga has an established
place within contemporary popular music. Focusing on her iconic
album, Drive, and including informative case studies of
representative tracks on the album, this book provides not only an
in-depth study of one album, but skillfully navigates Runga's
creative work over three decades to illuminate some of the key
stages of her career. The book offers comprehension of the
performer's rise to stardom, musical style, accolades, and
performance achievements. Blending popular music studies with media
analysis, the book is the first to offer a detailed study of
Runga's creativity, and a close-up study of her debut and
critically acclaimed album.
Koza Dabasa explores Okinawa's island culture and its ghosts of war
through the lens of Nenes, a four-woman pop group that draws on the
distinctiveness and exoticism of Okinawan musical tradition. Both a
tropical island paradise and the site of some of the bloodiest
battles of World War II, Okinawa has a unique culture and a
contentious history. Its musical traditions are distinct from other
parts of Japan, varying in instrumentation, poetic forms, and
musical scales. Nenes marks its cultural difference as Okinawan by
emphasizing its own exoticism, expressed through its music,
fashion, imagery, and performance style. Henry Johnson listens to
Koza Dabasa as a representation of Okinawa's relationship with the
Japanese music industry and with the broader themes of
international warfare and local tourism. 33 1/3 Global, a series
related to but independent from 33 1/3, takes the format of the
original series of short, music-based books and brings the focus to
music throughout the world. With initial volumes focusing on
Japanese and Brazilian music, the series will also include volumes
on the popular music of Australia/Oceania, Europe, Africa, the
Middle East, and more.
This book is the first to explore style and spectacle in glam
popular music performance from the 1970s to the present day, and
from an international perspective. Focus is given to a number of
representative artists, bands, and movements, as well as national,
regional, and cultural contexts from around the globe. Approaching
glam music performance and style broadly, and using the
glam/glitter rock genre of the early 1970s as a foundation for case
studies and comparisons, the volume engages with subjects that help
in defining the glam phenomenon in its many manifestations and
contexts. Glam rock, in its original, term-defining inception, had
its birth in the UK in 1970/71, and featured at its forefront acts
such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter
rock" in the US, stateside artists included Alice Cooper, Suzi
Quatro, The New York Dolls, and Kiss. In a global context, glam is
represented in many other cultures, where the influences of early
glam rock can be seen clearly. In this book, glam exists at the
intersections of glam rock and other styles (e.g., punk, metal,
disco, goth). Its performers are characterized by their flamboyant
and theatrical appearance (clothes, costumes, makeup, hairstyles),
they often challenge gender stereotypes and sexuality (androgyny),
and they create spectacle in popular music performance, fandom, and
fashion. The essays in this collection comprise
theoretically-informed contributions that address the diversity of
the world's popular music via artists, bands, and movements, with
special attention given to the ways glam has been influential not
only as a music genre, but also in fashion, design, and other
visual culture.
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R1,150
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