Onaji jikan, onaji kukan. Same time, same place. These are the words I wrote down in an interview this summer—ironically a Zoom interview that took place both at 9 am in Oxford and 5 pm in Osaka. Needless to say, this was not the fieldwork I planned when I began my PhD in 2018, although in some ways it feels fitting for a thesis on digital technologies and the ‘live’. Yet today I remain, like many of my peers, so far behind, so ‘late’, that catching up seems almost impossible. In this article, I reflect on the importance of shared time and place, not only in Japanese ‘live culture’, but also in my experience of the pandemic as a postgraduate student.
{"title":"Seeking the live: Experiencing the COVID-19 pandemic as a postgraduate music student","authors":"Alice Rose","doi":"10.1558/prbt.19268","DOIUrl":"https://doi.org/10.1558/prbt.19268","url":null,"abstract":"Onaji jikan, onaji kukan. Same time, same place. These are the words I wrote down in an interview this summer—ironically a Zoom interview that took place both at 9 am in Oxford and 5 pm in Osaka. Needless to say, this was not the fieldwork I planned when I began my PhD in 2018, although in some ways it feels fitting for a thesis on digital technologies and the ‘live’. Yet today I remain, like many of my peers, so far behind, so ‘late’, that catching up seems almost impossible. In this article, I reflect on the importance of shared time and place, not only in Japanese ‘live culture’, but also in my experience of the pandemic as a postgraduate student.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46604499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This discussion is between Dr Kirsten Zemke, from the University of Auckland and her MA student-poet, dancer and climate activist, Luka Leleiga Lim-Cowley. Luka’s musical performance experiences in, and insights from, Pasifika climate activist and Pacific Indigenous sovereignty events led them to further explore the perspectives of Pasifika queer and/or disabled activists. Luka argues that disabled and gendersexuality-divergent folks should be at the foreground of these movements, as they are the most threatening to white supremacy—the ultimate culprit in Indigenous displacement and climate change. Luka’s poem, ‘Water (remix ii)’, is presented in full; the discussion flows through topics such as gender, religion, Indigeneity, and the continuums of time and space.
{"title":"Interview: Pasifika climate activist music in New Zealand, queered and disabled","authors":"K. Zemke, Luka Leleiga Lim-Cowley","doi":"10.1558/prbt.43081","DOIUrl":"https://doi.org/10.1558/prbt.43081","url":null,"abstract":"This discussion is between Dr Kirsten Zemke, from the University of Auckland and her MA student-poet, dancer and climate activist, Luka Leleiga Lim-Cowley. Luka’s musical performance experiences in, and insights from, Pasifika climate activist and Pacific Indigenous sovereignty events led them to further explore the perspectives of Pasifika queer and/or disabled activists. Luka argues that disabled and gendersexuality-divergent folks should be at the foreground of these movements, as they are the most threatening to white supremacy—the ultimate culprit in Indigenous displacement and climate change. Luka’s poem, ‘Water (remix ii)’, is presented in full; the discussion flows through topics such as gender, religion, Indigeneity, and the continuums of time and space.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41672598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Seleka art and kava collective is found in the heart of the Kingdom of Tonga’s urban centre and capital. Seleka is a transformed nickname which is a play on the word kasele, meaning toilet or outhouse, an external othering and internal acceptance of divergence within Tongan society. Seleka is a site where urban Tongans paint and drink kava together while listening to rebellious music, incorporating some of the aesthetics and politics of these musical genres into their group. They have a broader musical playlist than most kava clubs in Tonga, which includes punk, rock and metal. This article explores the character of Seleka as a radical critique to Western introduced social constructs such as puritan respectability, which have become part of Tonga’s modern cultural norms. Seleka performs and generates mana (potency/prestige) through noa (profanity/neutralization) by desecrating the ‘sacred’ and recreating a new alternative. This act of rebellion is presented as a contemporary manifestation of an ancient Tongan practice where the ‘profane’ was used to identify and bring balance to the most tapu (‘sacred’/protected).
{"title":"Seleka’s profane potency: Kava artists and rebellious music in Tonga","authors":"Arcia Tecun, Taniela Petelo","doi":"10.1558/prbt.40000","DOIUrl":"https://doi.org/10.1558/prbt.40000","url":null,"abstract":"The Seleka art and kava collective is found in the heart of the Kingdom of Tonga’s urban centre and capital. Seleka is a transformed nickname which is a play on the word kasele, meaning toilet or outhouse, an external othering and internal acceptance of divergence within Tongan society. Seleka is a site where urban Tongans paint and drink kava together while listening to rebellious music, incorporating some of the aesthetics and politics of these musical genres into their group. They have a broader musical playlist than most kava clubs in Tonga, which includes punk, rock and metal. This article explores the character of Seleka as a radical critique to Western introduced social constructs such as puritan respectability, which have become part of Tonga’s modern cultural norms. Seleka performs and generates mana (potency/prestige) through noa (profanity/neutralization) by desecrating the ‘sacred’ and recreating a new alternative. This act of rebellion is presented as a contemporary manifestation of an ancient Tongan practice where the ‘profane’ was used to identify and bring balance to the most tapu (‘sacred’/protected).","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42078308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
O. Sutopo, Gregorius Ragil Wibawanto, Agustinus Aryo Lukisworo
This article examines the practice of resistance among young DIY musicians in Yogyakarta, Indonesia in the context of the post-reform era. DIY young musicians negotiate how to provide for their everyday economic needs while also upholding their music genre’s spirit of resistance against market commodification. Lately, commodification not only comes from the music industry but also from the state through neoliberal-oriented creative economy policies. Music falls into the category of a creative sector and is seen as a product to boost economic growth. Based on our empirical data, young musicians resist this through DIY practices in their music scene. We show the struggle of young musicians to sustain their musical values of authenticity (otentisitas) and autonomy (kemandirian). Instead of viewing resistance as homogenous, we observed three modes of resistance: the rookie, the in-between, and the afficionado, based on their level of commitment to being a DIY careerist. Our research offers a real-world example of theories around popular music and youth studies based on the experiences of young Indonesian musicians.
{"title":"Resist or perish! Understanding the mode of resistance among young DIY Indonesian musicians","authors":"O. Sutopo, Gregorius Ragil Wibawanto, Agustinus Aryo Lukisworo","doi":"10.1558/prbt.40851","DOIUrl":"https://doi.org/10.1558/prbt.40851","url":null,"abstract":"This article examines the practice of resistance among young DIY musicians in Yogyakarta, Indonesia in the context of the post-reform era. DIY young musicians negotiate how to provide for their everyday economic needs while also upholding their music genre’s spirit of resistance against market commodification. Lately, commodification not only comes from the music industry but also from the state through neoliberal-oriented creative economy policies. Music falls into the category of a creative sector and is seen as a product to boost economic growth. Based on our empirical data, young musicians resist this through DIY practices in their music scene. We show the struggle of young musicians to sustain their musical values of authenticity (otentisitas) and autonomy (kemandirian). Instead of viewing resistance as homogenous, we observed three modes of resistance: the rookie, the in-between, and the afficionado, based on their level of commitment to being a DIY careerist. Our research offers a real-world example of theories around popular music and youth studies based on the experiences of young Indonesian musicians.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44719052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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