Search Results (6)

The effectiveness of the economic policies implemented by a country/region directly affects its economic growth potential. Cultural Heritage Festivals are a sector of the creative economy that, by promoting culture, may have a significant impact on national/regional sustainable economic development. This study assesses the implementation of the Contingent Valuation Method (CVM) and the estimation of the Willingness To Pay (WTP) demand curve, using data collected for the Kalamata Dance Festival as a case study, in order to evaluate creative economy investments. The results obtained indicate that the CVM is an appropriate method for evaluating festivals and suggest that females, spectators with high incomes and high educational levels, and visitors to Kalamata (non-residents) show an increased Willingness To Pay. These findings can be useful to cultural heritage festival organizers in developing appropriate policy strategies: targeting the social groups with the greatest Willingness To Pay; adjusting the pricing mechanism accordingly; modifying annual memberships/donations/sponsorships, indirect resources, and tax revenues and grants; and optimizing investments and allocating resources. Furthermore, the findings of this study will be particularly useful for Greece in designing relevant cultural sustainable development policies for exploiting the potential of the Cultural Heritage Festival, in synergy with the tourism sector, which already contributes a major share to the country’s GDP. Full article

In June 2002, seven Roman Catholic women were ordained to the priesthood by two bishops on a boat floating on the Danube River in the presence of hundreds of spectators. Their ordinations broke with two millennia of Catholic tradition prohibiting women priests and started a global movement. Post-ordination, the women priests were excommunicated by the Vatican, yet they still identify as Catholic priests. We explored the central tension of being insiders/outsiders by examining womenpriests’ claims to authority. The thematic analysis of interviews with over one hundred womenpriests and bishops led us to note an emerging theme in their language regarding claims to authority. In this analysis, we asked: how do womenpriests claim authority in ways that differentiate them from Roman Catholic Church authority as well as in ways that clearly position them within the tradition? We found four main strategies by which they make these claims: reclaiming the history and tradition of the early church; claiming the role of the magisterium; embodying authority; and community-based sources of power and authority. We concluded that the womenpriests are engaged in a delicate choreography of the dance of dissent, positioning themselves as the change some people may want to see in Catholicism while remaining true to Catholic roots and rituals. Full article

Anthony Leigh (d. 1692) built his career as a Restoration comedic actor by playing a combination of queer, lascivious, old, and/or disabled men to audiences’ great delight. In this essay, I key in on two plays that frame Leigh’s career: Thomas Durfey’s The Fond Husband (1677) and Thomas Southerne’s Sir Anthony Love (1690). In The Fond Husband, a younger Leigh plays a “superannuated,” almost blind and almost deaf Old Fumble who, in the first act, kisses a man because he cannot navigate the heterosexual erotic economy of the play (as over-determined by able-bodiedness). Over a decade later, in Sir Anthony Love, Leigh plays an aging, queer Abbé who is so earnestly erotically invested in Love’s masculinity (unaware that Love is a woman in drag) that he attempts to seduce Love with dancing. I bring the beginning and end of Leigh’s stage life together to argue that Leigh’s body, performing queerly, asks audiences to confront the limits of pleasure in sustaining fantasies of the abled, autonomous heterosexual self. Using these two Restoration comedies that bookend Leigh’s career, I trace pleasures and queer structures of feeling experienced in the Restoration playhouse. While Durfey and Southerne’s plays-as-texts seek to discipline unruly, disabled queer bodies by making Fumble and the Abbé the punchline, Leigh’s performances open up alternative opportunities for queer pleasure. Pleasure becomes queer in its ability to undo orderings and fantasies based on autonomy (that nasty little myth). In his Apology, Colley Cibber reveals the ways that Leigh’s queerly performing body engages the bodies of audience members. In reflecting on the reading versus spectating experience, Cibber remarks, “The easy Reader might, perhaps, have been pleas’d with the Author without discomposing a Feature; but the Spectator must have heartily held his sides, or the Actor would have heartily made them ache for it” (89). Spectatorship is not a passive role, but rather a carnal interplay with the actor, and this interplay has immediate, bodily implications. Audiences laugh. They ache. They touch. Whereas the reader of a play in private can maintain composure, audiences in the theatre are contrarily discomposed, non-autonomous, and holding onto their sides. Leigh’s ability as a comedian energizes the text and produces pleasure on an immediate, corporeal level for audiences. And that pleasure is generated through stage business built on touching, feeling, and seducing male-presenting characters. Spectatorship may, in fact, be a queer experience as Leigh’s queerly performing body exposes the limits of autonomy. Full article

This article explores the often normative and idealist notion of the public sphere at its possible breaking point by analysing the online reactions to two tabloid articles about a 2016 performance of Dancing with Strangers: From Calais to England by Instant Dissidence. It first looks at how a comment platform could be perceived as a subaltern public sphere and as a substitute for a live audience in order to reconsider the notion of the counterpublic. For this, it examines the dialectical tension between politics and aesthetics within a subaltern online public sphere not immune to all kinds of extremism. This leads to an attempt to consider online hostile lay critics as a potentially legitimate public to address the dilemma faced by contemporary artists when engaging with society in an all-inclusive manner. Finally, this article offers a different reading of Instant Dissidence’s performance and of the possible reasons for the commentators’ rage and alienation and proposes syncopolitics as a way out of both online polarisation echo chambers and the public engagement conundrum. Full article

The co-presence of bodies in intersubjective situations can give rise to processes of kinesthetic empathy and physiological synchronization, especially in the context of dance: the body and attention of the spectators are oriented towards the dancers. In this study, we investigate the processes of “body-mind” resonance between a choreography and its spectators, and more specifically the lasting impact of this resonance post-performance. We then explore the relation between the observed effects and subjective measures of attention. The study focuses on the work of the French choreographer Myriam Gourfink, who develops a unique movement, based on the slower breathing of dancers: the breathing generates an extremely slow movement without rhythmic ruptures. Phenomenological studies of her work report changes in temporal perception and changes in bodily attentional states. We made use of two cognitive tasks in order to quantify this change in temporal perception: Spontaneous Motor Tempo (SMT) and Apparent Motion effect (AM) before and after a 40-min live performance. Subjective reports were collected at the end of the performance. Physiological data were recorded before and after the performance. We performed a control experiment with a choreography of a distinctly different quality of movement. Post-Gourfink performance, we observed a significant deceleration of SMT and a decrease in its variability, while AM was reported with longer temporal intervals. Neither of these effects was observed in the control condition. Furthermore, an increase in perception of AM was correlated with a slower breathing rate after the performance. Correlations with subjective reports suggest a link between changes in cognitive and physiological dynamics and the degree of absorption of the spectators in the performance. In addition, these changes were related to specific reported attentional dispositions that we interpret as a form of attentional resonance. The ensemble of the results suggests an expansion of the “specious present” that is related to the slowing of physiological rhythms, and an attentional resonance between spectators and the choreography. The intricate relation we observed between inter-personal resonance and temporal cognition, foregrounds the notion of shared present as a neurophenomenological construct. Full article

Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of “togetherness” associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a ‘rhythm battle’ dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts. Full article