Search results

The Noise Upstairs (NU) is a monthly freely improvised (‘free improv’) music night with a home above a café bar in a mixed/student suburb of Manchester. This chapter uses the perspective of critical improvisation studies to reflect on aspects of a performance ethnography carried out by the authors, both of whom are performers and one of whom (Hunter) curates the NU night for the NU collective. Free improv is a post-1960s set of meta-musical practices related to but contesting both ‘jazz’, ‘free jazz’, ‘new music’ and ‘experimental’ music. In it, real-time co-creation and negotiation of social-and-musical relationships are paramount. Consequently, the question of whether a politics of sorts is enacted in the dialogic and multilateral socialities generated in free improv is a substantive one. In addressing it, the authors deploy some concepts from the ‘affective turn’ in social theory to review how the general milieu and out-of-the-hat ensemble-formation approach adopted at NU in fact enables a ‘minor’ micro-political practice of participating differently to be established there. Arising from that discussion, and in line with a key theme of the wider PARTISPACE study, the authors then discuss whether that politics might meaningfully (and usefully) be articulated in terms of ‘democracy’.

This paper investigates the meaning of sound in social life through participant observation of Experimental Improv and Noise (EIN) collectives in Virginia, United States. Employing a blend of interactionism and musical sociology, this paper is attentive to the sonic practices of EIN, examining how participants construct shared meanings about abstract, or even antimusical, sounds. The ability to construct shared meanings with nonpractitioners shapes the art world of EIN and has relevance for the resources available to EIN. In this way, I show how sonic practices are involved in the formation of the collaborative networks that undergird art worlds. I argue that the creation of shared meanings in interaction can generate new organizational forms as musicians build their own scenes and audiences in the digital age.

This chapter discusses youth political participation through the study of a band of young Kurdish musicians performing ethnic music in the streets of Eskişehir, a university town in Turkey. These street musicians play local music from the various ethnic groups in Turkey (in Turkish, Kurdish, Armenian, Arabic and Persian); in other words, folk music, but with a musical reinterpretation and a symbolic political meaning. Based on ethnographic fieldwork, this study argues that these young musicians performing in the streets are struggling for a place in the public space, as young, Kurdish and musicians. Regarding the political aspect of their participation, their most apparent claim is to freely express oppressed ethnic identities in the public space, starting from their own. The Kurdish identity has been stigmatised for so long that any act publicly revealing a Kurdish identity may be perceived, in public, as political, if not criminal. However, in this particular case, performing ethnic music – not only any songs in Kurdish but a particular genre of music associated with a set of political values and ideas such as multiculturalism – is an artistic choice but a political one too. Besides, their performance place, the streets, as unstructured and informal settings, and how these young musicians choose to deal with the challenges of playing in the streets, also shape their style of participation. With their performance in the streets, they open space for themselves in the city, physically and discursively. In order to make sense of their participation, this study focuses on these young street musicians’ ‘tactics’ for being present in the streets, but also on historical and theoretical elements to understand the politicisation of ethnic music and the political aspects of the streets.

In this chapter, the authors aim to recontextualise the local picture of youth participation in Manchester in a wider European perspective. First, because the research framework was a comparative European research project and, second, because the relevance also of local research depends on the degree to which it provides general insight into a phenomenon. The authors share with the editors and the other authors of this book the aim of questioning dominant understandings that limit youth participation to institutionalised forms and to young people’s involvement in existing practices and processes predefined by others, in most cases adult professionals like educators, youth workers and policy-makers. Based on the identification and discussion of three aspects related to the recognition of young people’s practice as participation in formal, non-formal and informal settings, the current authors want to use their views from the outside to shed light on the tensions and ambivalences of youth participation that do not become obsolete by applying a wider notion of participation.

This chapter briefly discusses the postmodern critique of developmental psychology and then presents a Vygotskian-influenced alternative understanding of development as a non-linear, relational, improvised activity engaged in by groupings of people. This reconstruction of development was the basis of a professional development project in which early childhood teachers participated in a 6-week improv workshop. The goal of the project was to reconnect the teachers with their ability to improvise or to participate in process-oriented, meaning-making activity. The project was based on the hypothesis that developing teachers’ ability to improvise would give them an alternative to relating to children as being on, or off, a developmental trajectory.

This chapter is about quantum storytelling and improvisation and how to use quantum storytelling as an improv theater for social change. Quantum storytelling, in its fore-caring, is about producing an ethics of care where none exists. In the quantum storytelling theater for change, we envision a stage with human and non-human actors (animals, plants, quantum wave/particles) and ways to collapse waves of quantum potentiality into new possibilities for human survival, for posthumanist survival.

We will assert that this happens through improvisation: something called “quantum storytelling with improv.” Our example for this chapter is a theater company we created in Las Cruces, NM, called “Veterans Theater” in which improv is the performance approach. Boje teaches in the belly of the beast (the Business College) at New Mexico State University, a course called “Leadership Is Theater in Society” that uses improv. It is not only about improv but it is also based on Theater of the Oppressed (Boal, 1979, 2002) and Improvisation for the Theater (Spolin, 1983); it also draws from Pedagogy of the Oppressed (Freire, 1970) and Rules for Radicals (Alinsky, 1971), both of which call on improv as a process for social change. Improv is a vital leadership skill in complex polycultural systems, which is the future of business. Leadership theory is dead. Get over it! Or, resurrect it with improv!

The chapter is focused on the production of the first Brazilian University Festival of Improvisation Theatre and the problems faced by the production team (teachers and students from two public higher education institutions in Rio de Janeiro). The institutional and political boycott faced by the team will be described and analysed, in a socio-political context of democratic rupture, with the event assuming a character of art for change and resistance.