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Ethnicity and popular music in British cultural studies
Sean Campbell

Subculture, Hebdige endeavoured to theorise a variety of youth subcultural styles as a set of ‘differential responses to the black immigrant presence in [post-war] Britain’ (1979: 29), but I am primarily concerned Norquay_08_Ch7 127 22/3/02, 10:01 am 128 Cultural negotiations here with his discussion of punk. In a particular sub-section entitled ‘Bleached roots: punks and white ethnicity’, issues of race and ethnicity are clearly foregrounded. Hebdige suggests, for example, that ‘the punk aesthetic can be read … as a white “translation” of black “ethnicity”’ (64

in Across the margins
Open Access (free)
Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

Open Access (free)
Putting the countryside back to work
David Calder

Transverse, a street theatre production centre and arts venue, as part of an ongoing effort to refashion Corbigny as a rural cultural hub. La Transverse offers residencies to visiting theatre companies and performing artists throughout the year and serves as the permanent base of operations for Metalovoice. Founded in 1995 after splitting from drumming group Tambours du Bronx (Drums of the Bronx), Metalovoice creates multimedia performances inspired 60 Working memories by labour history, punk music, agitprop, working-class literature and cultural practices, and troupe

in Street theatre and the production of postindustrial space
Steve Sohmer

mice-eyed empower writers More than a few years ago when I was in my salad days and bent on ‘seeing the world’, a Czech friend took me to a dingy club in Prague where a mob of dirty young people had assembled to listen to a dirty young band who played a brand of music we remember as ‘garage rock’ or ‘garage punk’ but that sounded like anarchy with a

in Reading Shakespeare’s mind
Open Access (free)
Street and theatre at the end of Fordism
David Calder

relocation, inextricably linked to changes in work and labour. Bivouac begins with the appearance of eighteen performers wearing light grey suits and caked in heavy blue pigment. The make-up has dried to a bright cerulean on the performers’ exposed skin but remains a wet, dark cobalt in their hair. The gloppy substance glues their coiffures into sticky mohawks and other punk formations. Most of the performers have paired their suit jackets with short trousers that extend just past the knee; their lower legs are smeared with the same shocking blue. They wear heavy duty work

in Street theatre and the production of postindustrial space
Open Access (free)
Bill Prosser

belts, chokers and spiky hair – energetic punk matelot twins. They are smiling, as are arguably nearly half their peers. A further six or seven look nervous, uncertain or quizzical, while one is desperately glum and a couple downright annoyed. A single volte-face head Nothings in particular 95 reflects the equivocal nature of the group as a whole, summing them up in a Siamese physiognomy of comedy and tragedy: one face smiles breezily, but remains bracketed irrevocably with its partner, stiffly down-in-the-mouth. Only a fifth or so of mouths are shown open, and an

in Beckett and nothing
Theatre of Debate
Simon Parry

ethos defined by her career as a punk singer.13 She is confrontational in her dealings with the medical establishment and although she has a mastectomy, she is resistant to further testing and treatment. In fact she does not want to know any more about her condition. ‘Never Google, never worry’, she says (Bown 2012, 10). Her daughter Stella seems very different. Faced with her mother’s condition she ploughs through internet forums and social media searching for information about breast cancer. She is keen for her mother to have a MammaPrint – a genomic test that can

in Science in performance
Open Access (free)
Working memory
David Calder

‘post’ in postindustrial suggests a period after something else. But other ‘posts’ (postmodern, post-­traumatic, postpartum, post-punk) remind us that, even if we are situated chronologically after something, we are not necessarily over it. Working memory The production of postindustrial space is one historically specific iteration of a process I call working memory. If memory refers to a connection forged between past and present, then working memory suggests, most obviously, a connection between past and present forms of work. How might workers in a so

in Street theatre and the production of postindustrial space
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Railways on Film and Punk to Black Britain, Chinese Britain on Film and LGBT Britain. More than thirty films can be found in the free collection LGBT Britain, but the label is also used within the VOD and S-​ VOD sections. Arguing that national archives could learn from queer minor archives, I will draw comparisons to the archival practice of the Lesbian Home Movie Project (LHMP) in Maine (Brunow, forthcoming) as well as to the international archive for female and trans visual artists, Bildwechsel in Hamburg (Brunow, 2015). The term ‘minor archives’, drawing on the

in The power of vulnerability
On last animals and future bison
Joshua Schuster

accord it would seem, to relocate to ‘Soul City’), as if these were the real ecotopian values. There are apparently no problems with any biological hazards such as invasive species, extinctions, pathogens or large-scale, confined animal industries, since ecology has been preset for steady-as-she-goes. Despite the celebration of the unwashed, waste-free hippy lifestyle as the greatest good, Ecotopia turns out to be way too clean, managed, heteronormative, pain-free and quiet (no electric guitars, please, and God help us from our unwashed rivals, the punks) to have to

in Literature and sustainability