/ 1968
CUBAN BLINK OF THE CULTURES OF THE RHYTMS
/in Reviews /by Kcs21blAA / 1968
FREUD’S EXCURSION TO SOCIAL PSYCHOLOGY
/in Critiques /by Kcs21blAA / 1968
SOCIO-CULTURAL ASPECTS OF DANCE
/in Studies /by Kcs21blAAThe paper entitled Socio-Cultural Features of the Dance: Sociological Research of the Youth, is the result of the empirical research in the form of poll conducted among the young population. Crucial objective was to scrutinize opinions and attitudes of youth regarding their dancing preferences and habits, as well as their understanding of many features and dimensions of dance. The latter is contextualized as an activity and content of leisure, with predominantly positive influence on youth; its crucial function being entertainment, amusement, and recreation. The study depicts the pluralism of dance and its multidimensional contents. That is to say that the dance as a sociological and culturological phenomenon is conceived as a communication channel, sport activity, form of dance and entertainment, primal and ancient art, social motive of socializing, and a specific form of healing.
/ 1968
FROM CUBA ON FILM TO CHE-GUEVARA FROM OUTER SPACE IN 3-D
/in Cultures of Rhythms and Spectacle /by Kcs21blAAThis text briefly summerises the Cuban relationship to the film art and the way it is represented in Hollywood films. Researching political appearance of Cuba on film from 1897 when film crews started to work there until today, including mentioning local Cuban film masterpieces such as “I Am Cuba” and Cuba’s prominent presentation in famous American blockbusters like “Godfather Part II” and 007 films. From Cuban most popular cartoon hero (also a revolutionary) to Oliver Stone’s screenplay for “Scareface” and his interview with Fidel Castro are individual examples of many interesting fascettes of well traced propagandic ways to be seen of film use from both confronted sides of the cold war curtain concerning this hot island. Western uderstanding of Cuba as untaming exotic island out of our time is compared here with the western admiration of Japanese culture in the similar way because of it’s great diversity from the American culture and often historical-political dissagreeaments with the USA. For the coda the imaginary 3-d world of a far, far away planet Pandora from the newest James Cameron blockbuster film “Avatar” is used here to stress the profound meaning of a lone island in the (space) sea that raises it’s head and it’s arms against repressive corporative system. Looking how much guerilla troops that defeat the USA marines have similarity to Che-Guevara and his commerads we can only conclude that po(p)litical obsession with Cuba and it’s imaginary echoes is far away from Hollywood and nowdays even more highly raised on meta physical level of 3-d science fiction.
/ 1968
NENAD RACKOVIĆ’S CLUBBING TRANSFORMANCE
/in Cultures of Rhythms and Spectacle /by Kcs21blAAThe presentation of a common project of the artist Nenad Racković and art historian Olivera Erić, depicts the Belgrade clubbing scene. Racković’s clubbing transformance is a critique of clubbing, but also a set of ideas for its different understanding. Attributing equal importance to video and DJ-ing, a new view of clubbing makes enjoyment in the game of situation creating possible.
/ 1968
“LIVE!” ROCK PERFORMANCE AND HOW TO UNDERSTAND IT
/in Cultures of Rhythms and Spectacle /by Kcs21blAAThe article is focused on rock concerts and music events of popular music in general. It was inspired by the need to express thoughts and doubts arising from author’s personal experiences and reading of the available literature. It takes into consideration all the most important aspects of the topic: today’s importance and the role of rock concerts, issue of authenticity in rock performance, problems of audience-performer communication, similarities to the events in theater before and after the emergence of rock music…
/ 1968
CONTEMPORARY ASPECTS OF OPERA STAGING AND THE RISE OF OPERA DIRECTOR
/in Cultures of Rhythms and Spectacle /by Kcs21blAAWith the emergence of the first operas more than four hundred years ago, and their first stagings, has emerged the problem of finding the most adequate staging solutions deriving both from the opera works themselves, and from the style and taste of the epoch, ever since the baroque largely influenced by the audience too. The 20th century introduced significant, even revolutionary changes into opera staging: the interventions of directors ranged from cutting, adaptation, time transposition, to social actualization and innovative visual dimension of opera performances. So, the improvement of opera direction has, on the one hand, instigated the rise of opera stars and performances appealing to the audience, while on the other has been a search for a new, more modern expression, sometimes getting close to the theatre of absurd, static performances or even opera without libretto. More than ever the 20th century opera became accessible to everybody everywhere in the form of live performance as well as a live broadcast of opera spectacles or their filming, that significantly enlarged the number of opera admirers around the world. Two basic claims follow from the mentioned:
a) That since a certain exhaustion, evident since 1960s, overwhelms opera authors, opera classics have been adapted to the new audiences;
b) That the opera directors have been more and more inclined to a syncretic expression using all available means on the stage (among others: film, video, PC) thus becoming complete authors of a musical-stage spectacle far away from classic opera expression.
/ 1968
CARNEVAL CHARACTER OF THE YUGOSLAV NEW WAVE: CASES OF “GREETINGS FROM ZAGREB“ AND “GREETINGS FROM BELGRADE” FESTIVALS
/in Cultures of Rhythms and Spectacle /by Kcs21blAAThe text analyses those events and features that indicate a specific carnevalesque character of the Yugoslav New Wave scene. Methodologically, the work relies on the Bakhtin’s interpretation of carneval literature, holidays and grotesque, and his systematization of its most important characteristics. Bakhtin’s statements were practically applied to some of the phenomena which introduced New Wave, and especially festivals, “Greetings from Zagreb” and “Greetings from Belgrade”. These festivals were promotion of both – some of the basic characteristics of the New Wave movement, as well as of the arts that will be positioned at the top of the movement (rock music and photography), as the most influential arts.
These specific characteristics of carneval art were presented with “Greetings”. The first is the actual reality, in which only current news, tendencies and thoughts of contemporary and popular culture are something worth artistic attention. Second is the fact that the New Wave art rely on its own, althought begginer’s experience, improvisation and free fantasy, and not on historical legacy. The third feature is the use of speaking dialects and jargon (newspaper’s clips, news from the daily press, parody of the serious genres, parodic life and art citations).
New Wave with its strong presence of music and games, becomes close to the visual performances and especially theatrical-presentational forms that belong to urban, street culture. New Wave, though temporary, becomes, like a carneval, form of life itself.
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