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In Canada today, Francophone minority communities (FMCs) outside Québec exist in every province and territory and cross all sectors of Canadian Francophonie (French-Canadians, Francophone immigrants, Francophone Métis as well as Francophile anglophones). Besides their linguistic immersion in primary, secondary, and postsecondary educational institutions, these Francophones living outside Quebec counter linguistic assimilation and affirm their place in Canada's bilingual and multicultural society through their cultural productions (music, theatre, dance, cuisine, literature). In this study, we take up the case of L'Association, La Girandole d’Edmonton, a cultural association dedicated to the teaching and promotion of French-Canadian dance in Edmonton (Alberta) to examine the multiple challenges such organizations face despite the crucial role they play in ensuring the vitality of linguistic minority communities in Canada.

This chapter focuses on the COVID-19 pandemic’s impact on the recognition through discourses of essentiality, of low-status workers and more specifically of care aides as an occupational group that performs society’s ‘dirty work’. The pandemic appears as a privileged moment to challenge the normative hegemony of how work is valued within society. However, public recognition through political discourse is a necessary but insufficient element in producing social change. Based on the theory of performativity, this chapter empirically probes conditions and mechanisms that enable a transition from discourse of essentiality to substantive recognition of the work performed by care aides in healthcare organizations. The authors rely on three main sources of data: scientific-scholarly works, documents from government, various associations and unions, and popular media reports published between February 2020 and 1 July 2022. While discourse of essentiality at the highest level of politics is associated with rapid policy response to value the work of care aides, it is embedded in a system structure and culture that restrains the establishment of substantive policy that recognizes the nature, complexity, and societal importance of care aide work. The chapter contributes to the literature on performativity by demonstrating the importance of the institutionalization of competing logics in contemporary health and social care systems and how it limits the effectiveness of discourse in promulgating new values and norms and engineering social change.

While referring to the inability of South Africa (SA) to absorb the large number of new musicians produced by SA universities each year and how South African music practitioners find limited employment opportunities for themselves in SA's cultural sector, a panel member at a musicology symposium in 2011 stated that “we are creating exiles.” The panel member made the statement during dialogue on the state of national higher education level music curricula, whether they were transformed to mirror the needs of the country or not, and what this meant for a contemporary music performance career in SA. Exile is the point of departure of this chapter, where conditions of public and institutional policy during and after apartheid are framed as encouraging the expanded borders of SA musicians. The emphasis is on how exile is a desired economic result especially among Black musicians who have a scarcity-prone SA music marketplace. This chapter also engages with multilevel policy-led interventions of inclusion and diversity that attempt to grow the SA Black music market.

Web3’s raison d’être is decentralization. Quite problematically, however, few industry analysts can articulate what “decentralization” really entails; whether it differs at all from the notion of “distribution,” and how either construct can be measured with observable data to enable a meaningful analysis of the industry’s core promise. Instead, Web3 is akin to a decentralization theater in which archetypical characters, who resonate with the likes of Hamlet and Godot, enact decentralization based on fictitious narratives. After critically reassessing these narratives about decentralization, this paper offers a fresh perspective to evaluate, less theatrically and hopefully more rigorously, future claims about “being decentralized.” I argue that the crucial issue lurking behind the decentralization narrative is the dispersion of authority within blockchain platforms, which consists of two fundamental dimensions, namely the dispersion of information and of decision-making. The value proposition of Web3 will not be taken seriously until the industry can provide reliable indicators of authority dispersion and demonstrate that the latter affects strategic outcomes for blockchain platforms, including innovation, growth, and value creation.

Established in 1906, the Melbourne Symphony Orchestra (MSO) is a cornerstone of Victoria, Australia. Through the shared language of music, it creates meaningful experiences for its audiences, delivered to the highest possible standard. Considered one of Australia's preeminent cultural ambassadors, the MSO performs in Australia and internationally while attracting guest artists from around the world. Annually the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international and regional tours, recordings, and education programs. In 2021, the MSO launched its digital platform MSO.LIVE engaging with an audience in 58 countries. The pandemic brought many challenges to the Orchestra but also some extraordinary opportunities. Pre-pandemic the MSO board, management, staff, and musicians worked to transform the Orchestra. The many lockdowns created the perfect occasion to redefine the vision. It became an opportunity to transform. Equity and diversity, in a world of classic music where traditionally white men dominate, were identified as the way forward. MSO aspires to lead the way for equality across its Board, staff, and musicians, and throughout its artistic programming. The MSO was the first professional Australian orchestra to join the Keychange movement in early 2020. The MSO is committed to promoting a culture that celebrates and supports the diversity of its people and community. Diversity in its people, its music, and its audience is a specific goal and a plan has been developed to achieve by 2024.

In this paper, the authors study artistic improvising from a routine dynamics perspective, with a specific interest in how the performance of improvising is strategically enacted. While this dynamic is difficult to empirically study in the case of live improvisation on stage, as we know it from jazz, the specific situation of the recording studio allows the authors to investigate the research puzzle in great detail. First, the authors show how the performance of one specific routine, which the authors identify as the looping routine, makes systematic improvising possible. The authors describe how looping enables improvising through mobilizing the digital equipment in the recording studio. The authors further discuss how the performance of the looping routine allows for individual musical performances in improvising, as well as their emergence into and assembling of a coherent song and record. During the looping routine, the authors find not only artistic improvising but also strategic enactment. Therefore, the authors show how performing the looping routine in the studio enables the strategic enactment of the emerging musical patterns by the musicians and the producer. Thereby, the artistic ideas and performances of the musicians and producers involved are competitively valued and strategically positioned in view of industry-specific contexts.

One of the longest running protests in recent American history was a Sing-Along in the Wisconsin State Capitol Building. This daily informal gathering to sing protest songs began in 2011, then prompted a sudden wave of arrests beginning in 2013. Instead of dwindling, the protest grew in response as participants celebrated resistance, treating arrest as a local in-group status symbol. This chapter uses extended participant observation, a methodological approach rarely found in the social movement literature on repression, to study the attempted repression of this Solidarity Sing-Along. To a remarkable extent, arrests and court prosecutions were ineptly executed. This ineptitude had consequences for the protest's development. This repression was also generally mild. Examining mild repression, less often studied than severe forms, helps elaborate the range of repression's potential consequences. By showing mild repression in ethnographic detail, this chapter reveals an underappreciated messiness on the part of both repressors and repressed. The movement evolved in a messy way in response to messy repression, an evolution that is not well captured with dichotomous categories of increase versus decrease or failure versus success.

This chapter explores the nature of military law and IHL during the cold war period. It explores what treaties were completed, Additional Protocols I and II of the 1949 Geneva Conventions, the ad hoc international tribunals of the 1990s and 2000s, and examines the ICJ’s ruling of the legality of nuclear weapons.