In the context of the economic crisis in Greece, cultural practice serves as an important local l... more In the context of the economic crisis in Greece, cultural practice serves as an important local level coping mechanism. Participants in the popular Rebetiki Istoria rebetadiko in Athens have adapted their nightly musicking into a crisis management culture. As the working-class audiences enjoy relevant rebetiko songs of the early twentieth century, they work through their anxieties about the current economic situation. The theoretical framework for this discussion is catharsis that describes emotional release achieved through music or art. Proposing a cultural approach to catharsis research, the article offers a clear tripartite theoretical model for the examination of catharsis in diverse musicking contexts.
Significant ethnomusicological research examines the use of traditional song to embody, perform a... more Significant ethnomusicological research examines the use of traditional song to embody, perform and promote nationalist sentiment in the contemporary globalizing world. Traditional song as a mechanism for national critique has received less scholarly attention. This is a particularly prominent phenomenon within the contemporary European Union, where the utopian ideal of an increasingly borderless and multicultural region conflicts with conventional structures and ideologies of national belonging. This article examines the popular Rebetiki Istoria club in Athens, Greece, as carnivalesque resistance to state-sanctioned Europeanization projects. Engaging the four categories of a 'carnivalistic sense of the world', as outlined by Mikhail Bakhtin, this study examines this rebetiko culture as structurally coherent resistance to crypto-colonialist attitudes towards Greece. Emphasizing the role of heteroglossic dialogue in shaping carnivalesque music culture, the article examines how voice and singing in the music culture of this particular club level social hierarchies, and challenge dominant ideologies of national identity. Primary consideration is given to vocal style in the framing of rebetika as carnivalesque, suggesting that a particular politics of voice within the club frames rebetika as strategic commentary on narratives of self and other. In this study, the voice is understood as phonosonic
In the context of the economic crisis in Greece, cultural practice serves as an important local l... more In the context of the economic crisis in Greece, cultural practice serves as an important local level coping mechanism. Participants in the popular Rebetiki Istoria rebetadiko in Athens have adapted their nightly musicking into a crisis management culture. As the working-class audiences enjoy relevant rebetiko songs of the early twentieth century, they work through their anxieties about the current economic situation. The theoretical framework for this discussion is catharsis that describes emotional release achieved through music or art. Proposing a cultural approach to catharsis research, the article offers a clear tripartite theoretical model for the examination of catharsis in diverse musicking contexts.
Significant ethnomusicological research examines the use of traditional song to embody, perform a... more Significant ethnomusicological research examines the use of traditional song to embody, perform and promote nationalist sentiment in the contemporary globalizing world. Traditional song as a mechanism for national critique has received less scholarly attention. This is a particularly prominent phenomenon within the contemporary European Union, where the utopian ideal of an increasingly borderless and multicultural region conflicts with conventional structures and ideologies of national belonging. This article examines the popular Rebetiki Istoria club in Athens, Greece, as carnivalesque resistance to state-sanctioned Europeanization projects. Engaging the four categories of a 'carnivalistic sense of the world', as outlined by Mikhail Bakhtin, this study examines this rebetiko culture as structurally coherent resistance to crypto-colonialist attitudes towards Greece. Emphasizing the role of heteroglossic dialogue in shaping carnivalesque music culture, the article examines how voice and singing in the music culture of this particular club level social hierarchies, and challenge dominant ideologies of national identity. Primary consideration is given to vocal style in the framing of rebetika as carnivalesque, suggesting that a particular politics of voice within the club frames rebetika as strategic commentary on narratives of self and other. In this study, the voice is understood as phonosonic
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Papers by Yona Stamatis