Category Archives: Uncategorized

My project focuses on the songs of Siberian punk musician Yanka Dyagileva. Dyagileva navigated the gendered traditions of male bard culture and female poetic solemnity to produce music that spoke to the condition of womanhood in the Soviet Union. Dyagileva worked alongside a number … Continue reading →

Hi all, here is some of the music I’m working with for my final paper on the semiotics of the intersection of whiteness and women in CE’s live performance at Berserktown III this past summer. As this project is largely … Continue reading →

Reading Garcia’s article, I couldn’t help but think about why it is techno that is at the heart of Berlin’s ‘alternative’ tourist circuit. What is it about Berlin that accommodates techno, and why is it techno that has developed such … Continue reading →

I would like to explore the tactics of communication employed by the SOAS Arabic Band, particularly in comparison to the early Pussy Riot videos we watched for last week’s class. Both Pussy Riot and the SOAS Arabic Band disseminate political … Continue reading →

After watching the Pussy Riot music videos, I found myself intrigued by the differing visual tactics they utilized for their political message(s). In the Gessen reading, we saw how visibility was of key concern to the members of Pussy Riot. … Continue reading →

In the chapters from Words Will Break Cement: The Passion of Pussy Riot that we have read for class on Wednesday, Masha Gessen descriptively outlines the genesis of Pussy Riot, and their practices, group dynamic, and concerns leading up to the ultimate incarceration. I’m … Continue reading →

Vasiliki’s post on the reading is really interesting and more or less covers what I wanted to say, albeit in a more eloquent manner. To contribute further, I’d like to consider how the Bulgarian State Television Female Vocal Choir fits into … Continue reading →

In Buchanan’s chapter “Transits” from Performing Democracy: Bulgarian Music and Musicians in Transition, she describes the attempts by the transitional BSP government to create an illusion of national and ethnic homogeneity by co-opting the 1878 Liberation of Bulgaria from the Ottoman … Continue reading →

In the chapter we read from Donna A. Buchanan’s book Performing Democracy: Bulgarian Music and Musicians in Transition, Buchanan shows how “the [Bulgarian, BSP] government legitimized its new perspectives by nestling them in a slippery quilt of peasant tradition and socialist … Continue reading →

Listening to the track “I Know What I Know,” I was struck by the positioning of the Zulu and English vocals. This was the first track on the album that credited collaborating South African artists; in fact, the song itself … Continue reading →