1,721,188 research outputs found
Steel ’n’ Skin
No full textPeter Blackman, founder of Steel ’n’ Skin, says "The music which is created in Steel ’n’ Skin could only have evolved in England where you have people coming from Africa, living in communities with people who are coming from the West Indies, merging together with people with English experience – which is a particular experience – and living together and working together. This will produce the kind of sound which evolving through Steel ’n’ Skin." Steel ’n’ Skin rehearsing Reggae Return Once Again. Music continues over group driving in van. Blackman’s VO says that, in February 1979, they were invited to Liverpool by Merseyside Arts Associations to run workshops and to perform in schools, youth clubs and community centres. Performance with participation by audience. Blackman talks about becoming aware of the lack of information on black culture while doing teacher training, and embarrassing a largely West Indian school art class by showing them, and asking them to draw, images of Africa. Blackman continues VO over Steel ’n’ Skin members working with children, saying that he used African drumming to try to counter this embarrassment. Drumming class, with girls dancing. Blackman talking about the development of this idea. His VO over girls dancing in costume, saying that he wanted the children to understand that "African ritual dance was the product of a very strong religious system, that everybody is part of an ancestor structure…", etc. Steel ’n’ Skin members dancing. Blackman explains that their workshops with teachers and play-leaders enable them to carry on afterwards with the young people they work with. Members of Steel ’n’ Skin showing how drums are strung. People cooking. Encouraging dance class to keep the rhythm going; showing them how to dance flat-footed.
Derelict and near-derelict houses. Blackman’s VO says that racists "find their most active recruits" in the inner cities, among people who have little hope of employment, and that groups like Steel ’n’ Skin can do important work in such areas. Performance and workshop. Blackman VO says that "the black English experience is one of full-time confrontation…" in a climate of ignorance. When Steel ’n’ Skin make direct contact with young whites, they confront this ignorance. Children drumming. Blackman’s VO says that, in England, unlike in Africa and the West Indies, artists are not taken seriously if they work at community level, with community artists receiving "less than 2% of the Arts Council of England’s annual budget". He explains that he was asked to leave teacher training college because taking drums into schools "wasn’t considered part of [his] course". He adds that, in 1978, three members of Steel ’n’ Skin were held for three weeks in Harmondsworth Detention Centre for very minor visa irregularities. Tuning a steel pan (drum). Formby Hall, where children can escape inner city pressure for short periods. Young people learning how to tie-dye, print and sew material. Blackman says that white children look on such activities as "an afternoon of fun" while black children take it all "much more seriously". Children learning steel drum tune. Hair braiding.
Dance class and performance. Fire-eater. Encourages member of audience to help him and then walks and sits on broken glass.
Blocks of flats, street scenes. Blackman’s VO points out that eight generation of black Liverpudlians have been unable to integrate fully despite submerging their original culture and traditions. Steel ’n’ Skin cannot be accused of being divisive by trying to reinvigorate these traditions. He says that only mutual respect will prevent the "the less established race" becoming alienated. Steel ’n’ Skin performance. The members are introduced: Emmanuel Tagoe. Ghana; Majaha Mohammed, Trinidad; Gideon Rodgers, St. Kitts; Emmanuel Yao, Ghana; George Dzikunu Ghana; Peter Blackman, England; Sarah Quaye, Ghana; Mercy Ahadzi, Ghana; Vivian Renner, Ghana; Fimber Bravo, Trinidad; Idris Ibrahim, Nigeria; Daniel Laryea, Ghana. Credits
Steel ’n’ Skin - ACE089.2
No full textPeter Blackman, founder of Steel ’n’ Skin, says "The music which is created in Steel ’n’ Skin could only have evolved in England where you have people coming from Africa, living in communities with people who are coming from the West Indies, merging together with people with English experience – which is a particular experience – and living together and working together. This will produce the kind of sound which evolving through Steel ’n’ Skin." Steel ’n’ Skin rehearsing Reggae Return Once Again. Music continues over group driving in van. Blackman’s VO says that, in February 1979, they were invited to Liverpool by Merseyside Arts Associations to run workshops and to perform in schools, youth clubs and community centres. Performance with participation by audience. Blackman talks about becoming aware of the lack of information on black culture while doing teacher training, and embarrassing a largely West Indian school art class by showing them, and asking them to draw, images of Africa
Steel ’n’ Skin - ACE089.3
No full textBlackman continues VO over Steel ’n’ Skin members working with children, saying that he used African drumming to try to counter this embarrassment. Drumming class, with girls dancing. Blackman talking about the development of this idea. His VO over girls dancing in costume, saying that he wanted the children to understand that "African ritual dance was the product of a very strong religious system, that everybody is part of an ancestor structure…", etc. Steel ’n’ Skin members dancing. Blackman explains that their workshops with teachers and play-leaders enable them to carry on afterwards with the young people they work with. Members of Steel ’n’ Skin showing how drums are strung. People cooking. Encouraging dance class to keep the rhythm going; showing them how to dance flat-footed
Steel ’n’ Skin - ACE089.6
No full textBlocks of flats, street scenes. Blackman’s VO points out that eight generation of black Liverpudlians have been unable to integrate fully despite submerging their original culture and traditions. Steel ’n’ Skin cannot be accused of being divisive by trying to reinvigorate these traditions. He says that only mutual respect will prevent the "the less established race" becoming alienated. Steel ’n’ Skin performance. The members are introduced: Emmanuel Tagoe. Ghana; Majaha Mohammed, Trinidad; Gideon Rodgers, St. Kitts; Emmanuel Yao, Ghana; George Dzikunu Ghana; Peter Blackman, England; Sarah Quaye, Ghana; Mercy Ahadzi, Ghana; Vivian Renner, Ghana; Fimber Bravo, Trinidad; Idris Ibrahim, Nigeria; Daniel Laryea, Ghana. Credits
Steel ’n’ Skin - ACE089.4
No full textDerelict and near-derelict houses. Blackman’s VO says that racists "find their most active recruits" in the inner cities, among people who have little hope of employment, and that groups like Steel ’n’ Skin can do important work in such areas. Performance and workshop. Blackman VO says that "the black English experience is one of full-time confrontation…" in a climate of ignorance. When Steel ’n’ Skin make direct contact with young whites, they confront this ignorance. Children drumming. Blackman’s VO says that, in England, unlike in Africa and the West Indies, artists are not taken seriously if they work at community level, with community artists receiving "less than 2% of the Arts Council of England’s annual budget". He explains that he was asked to leave teacher training college because taking drums into schools "wasn’t considered part of [his] course". He adds that, in 1978, three members of Steel ’n’ Skin were held for three weeks in Harmondsworth Detention Centre for very minor visa irregularities. Tuning a steel pan (drum). Formby Hall, where children can escape inner city pressure for short periods. Young people learning how to tie-dye, print and sew material. Blackman says that white children look on such activities as "an afternoon of fun" while black children take it all "much more seriously". Children learning steel drum tune. Hair braiding
Steel ’n’ Skin - ACE089.5
No full textDance class and performance. Fire-eater. Encourages member of audience to help him and then walks and sits on broken glass
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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