CCV - Translating Socioculture

Why is CCV - City Call Vienna interesting for translating socioculture? 

With cultural translation, I mean furthering and supporting the understanding of socioculturally specific habitus, whensoever habitus is explained as patterns of perception, action and interpretation. This specific habitus is learned from birth on and only changeable and alterable partially, because specific sociocultural habitus is per se not acquired as lexical knowledge, but learned behaviour of gestures, words, movements, facial expressions, thoughts or social networking practice and so forth. In CCV - City Call Vienna, the proponents are the Igbo speaking human beings living in migration. ... 

Read more: https://www.kickstarter.com/projects/sybil/city-call-vienna-ccv/posts/1675300

CCV - City Call Vienna: The Journey

CCV - City Call Vienna: The Journey https://youtu.be/bt0zpM90Nko via @YouTube. You are invited to see more on http://kck.st/2aiDkJV

CCV - City Call Vienna: http://kck.st/2aiDkJV

blackaustria

blackaustria announces its program on blackaustria.at: Black people in Austria still have lots of problems. Discrimination - see also: ENAR Fact Sheet on multiple, compound and intersectional discrimination (*.pdf, 119,62 KB) - is still a part of day-by-day life in Austria. blackaustria therefore started a so-called communication campaign to explain and train reductions of prejudices. Biased opinions, ignorance and partiality derive from little knowledge, stereotypes need enlightenment. Individuals may support community work by writing articles in their blogs, papers or reports. This is why I will implement this banner on Anthropologic Diary, I feel deeply moved by having been invited for a project presentation. I would like to direct you to these studies published, they are in German and relate to the impact of the communication campaign on a. elders, b. people without High School Diploma in Vienna and c. the Black Community.

This party has Leiberltausch as its motto, T - Shirts will be presented this evening in September.

This project won with the Sozialmarie 2007 in the category new and innovative social projects!

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© Sybille Amber U, A. L. J., Anthropo Logic. This work is licensed under the Creative Commons Attribution-No Derivative Works 3.0 License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nd/3.0/ or send a letter to Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA.

 

Jazz: BHBJ

I edited and cut this video, then published it on YouTube: http://www.youtube.com/watch?v=KOdMfU3S0Zc . Thanks to the Austrian ORF I could copy an old VHS to DVD in best quality, possible - on my machine. This is the Barrelhouse Jazzband located in Vienna in the 1960s of the 20th century: Heinz Feix (b), Peter Hoffmann (p), Otti Kitzler (t), Horsti Bichler (dr), Alfons Wuerzl (cl) and Norbert Vas (tb) are the musicians. They perform three pieces of Jazz, which were very popular in the 1920s: 1 is called Where Am I?, the second is the Flat Foot Floogie, the third on the Shimmy Sha Wabble.

Vienna - Barrelhouse Jazzband
This kind of Jazz focuses on entertainment, it was played in the cafés and bars, but also on the streets in the Deep South. The Barrelhouse Jazzband Vienna was honored for best classical Jazzband in the sixties, as were some of the musicians: Horsti Bichler, the drummer, and my daddy, Otti Kitzler playing trumpet and English horn. The BHBJ refers to the Chicago Style and Dixieland. They published several CDs, recently, and earlier a single and the famous Pferdeplatte.

Here I found something about the Flat Foot Floogie at Ethnopoetics including the lyrics. Jerome Rothenberg writes about lyrics:

"While the initial focus of ethnopoetics was on orality and performance, the discourse turned as well to the visible aspects of language — writing & inscription — both as a persistent contemporary concern & as an often unacknowledged kingpin of a revitalized & expanded ethnopoetics. In an age of cybernetic breakthroughs, the experimental tradition of modernist poetry & art has expanded our sense of language in all its forms, the written along with the oral. In doing this, it should also have sensitized us to the existence of a range of visual/verbal traditions and practices, not only in literate cultures but in those also that we have named "non"- or "pre"-literate — extending the meaning of literacy beyond a system of (phonetic) letters to the fact of writing itself." (Rothenberg: http://www.ubu.com/ethno/visuals.html).

Popularizing the Shimmy in America tells its story. The shimmy was a new kind of dancing dating back to 1910, and "One of the most talked-about dances of the time was `the shimmy`."(Bryant, Rebecca 2002 at JStor: American Music).

The best way to learn about Jazz is to listen to the music: Listen to the sounds and try to get the lyrics. There are lots of internet sites about Jazz. Here are related links:

All About Jazz: http://www.allaboutjazz.com/

Big Band Database: http://nfo.net/

Jazzology: http://www.jazzology.com/jazzology_records.php

Chicago Jazz Archive: http://www.lib.uchicago.edu/e/su/cja/

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© Sybille Amber U, A. L. J., Anthropo Logic. This work is licensed under the Creative Commons Attribution-No Derivative Works 3.0 License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nd/3.0/ or send a letter to Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA.

Artist 4 Africa

Ethnomusicology

What an incident! Joe Zawinul´s Syndicate is out and about again. I have collected some Jazz vids, old and new, like Weather Report´s music, and a short history about how Jazz evolved in America out of slavery, poverty, dispair, sickness, depression, and diaspora:



In Professor Kubik´s book Africa and the Blues the student learns:

"Historically oriented research on the blues embraces several disparate areas of inquiry:
1. The study of musical, literary, and social factors leading in the late nineteenth century to the grdual development of a new, distinct genre of accompanied solo song in rural areas of the South - a genre that would later be labeled `blues`.
2. The study of the remote history of this previously unnamed genre´s musicostructural and literary characteristics with regard to their origins in African and other cultures.
3. The study of the developments and changes that took place in the blues after the first publication of sheet music versions in 1912 and commercial gramophone records beginning in 1920.
4. The study of influences exerted by the blues and its contemporary rural and urban derivatives upon other types of American music and upon other musical cultures of the world from the 1920s to the present." (Kubik 1999: 3)

Kubik, Gerhard (1999) Africa and the Blues. U. S. A.: University Press of Mississippi

© Sybille Amber: Intellectual Property 2005/2006/2007

© Sybille Amber U, A. L. J., Anthropo Logic. This work is licensed under the Creative Commons Attribution-No Derivative Works 3.0 License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nd/3.0/ or send a letter to Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA.