Habitus and the Resistance of Culture

Kathleen Coessens, Stefan Östersjo

Onderzoeksoutput: Chapterpeer review


Musical performance demands the re-enactment of previously imprinted and embodied expert practices. These embodied schemata structure perception, thought, action, and communication and can be adapted and re-coordinated in specific situations. They function as frames of how to behave and, act in, and interfere with the outer world. Aristotle, Marcel Mauss, and Pierre Bourdieu named these practices the habitus: a general, mainly tacitly and socially acquired whole of embodied patterns for action and behaviour --how to sleep, how to eat, how to play, how to be a man or a woman.
After an elaboration of the notion and dynamics of an artistic logic of practice and its relation to society and the body, we will analyse specific examples of how the habitus of individual artists both shapes and is transformed by the interaction between performers and materials, performers and their bodies, and performers and the musical cultures from which they originate.
The observations of our own artistic practices in two projects --Inside/Outside and IDIOMS-- offer practice-based studies of these theoretical assumptions. Both projects confront materials and culture and require the participating artists to negotiate meaning and relevant practice in specifically designed experimental scenarios.
We will argue that a space of intercultural musical experimentation emerges that tends to challenge the habitus, bringing out the resistance of materials, the body, and culture. In the process of musical experimentation, we suggest that the denial of habit (Lachenmann 2004), or a specific kind of "compositional" critique (O?stersjo? 2013), is an essential component.
Originele taal-2English
TitelArtistic Experimentation in Music
SubtitelAn Anthology
RedacteurenDarla Crispin, Bob Gilmore
Plaats van productieLeuven
UitgeverijLeuven University Press
Aantal pagina's16
ISBN van geprinte versie978-94-6270-013-0
StatusPublished - 1 okt 2014

Bibliografische nota

Darla Crispin and Bob Gilmore


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