{"title":"丑陋的受众","authors":"Nadia Chana","doi":"10.5406/21567417.67.3.07","DOIUrl":null,"url":null,"abstract":"Abstract This essay takes up a collaboration between Inuk singer Tanya Tagaq and Greenlandic mask dancer Laakkuluk Williamson Bathory to theorize a form of dominant public I call an “ugly public.” Ugly publics rely on the difference between audiences (the people in the room) and publics (which are not quite people and rely on a series of texts) to come into being. Ugly publics result when a dominant public is pinned down and made to feel feelings associated with minoritarian positionings. Crucially, in ugly publics, these feelings do not result from empathizing with minoritarian subjects but rather from confronting their own dominance.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"70 1","pages":"0"},"PeriodicalIF":0.6000,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Ugly Publics\",\"authors\":\"Nadia Chana\",\"doi\":\"10.5406/21567417.67.3.07\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract This essay takes up a collaboration between Inuk singer Tanya Tagaq and Greenlandic mask dancer Laakkuluk Williamson Bathory to theorize a form of dominant public I call an “ugly public.” Ugly publics rely on the difference between audiences (the people in the room) and publics (which are not quite people and rely on a series of texts) to come into being. Ugly publics result when a dominant public is pinned down and made to feel feelings associated with minoritarian positionings. Crucially, in ugly publics, these feelings do not result from empathizing with minoritarian subjects but rather from confronting their own dominance.\",\"PeriodicalId\":51751,\"journal\":{\"name\":\"ETHNOMUSICOLOGY\",\"volume\":\"70 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.6000,\"publicationDate\":\"2023-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"ETHNOMUSICOLOGY\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5406/21567417.67.3.07\",\"RegionNum\":1,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"ETHNOMUSICOLOGY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/21567417.67.3.07","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Abstract This essay takes up a collaboration between Inuk singer Tanya Tagaq and Greenlandic mask dancer Laakkuluk Williamson Bathory to theorize a form of dominant public I call an “ugly public.” Ugly publics rely on the difference between audiences (the people in the room) and publics (which are not quite people and rely on a series of texts) to come into being. Ugly publics result when a dominant public is pinned down and made to feel feelings associated with minoritarian positionings. Crucially, in ugly publics, these feelings do not result from empathizing with minoritarian subjects but rather from confronting their own dominance.
期刊介绍：
As the official journal of the Society for Ethnomusicology, Ethnomusicology is the premier publication in the field. Its scholarly articles represent current theoretical perspectives and research in ethnomusicology and related fields, while playing a central role in expanding the discipline in the United States and abroad. Aimed at a diverse audience of musicologists, anthropologists, folklorists, cultural studies scholars, musicians, and others, this inclusive journal also features book, recording, film, video, and multimedia reviews. Peer-reviewed by the Society’s international membership, Ethnomusicology has been published three times a year since the 1950s.
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