Sound, Space, and the City: Civic Performance in Downtown Los Angeles (The City in the Twenty-First Century)
Sound, Space, and the City: Civic Performance in Downtown Los Angeles (The City in the Twenty-First Century)
On summer nights on downtown Los Angeles’s Bunker Hill, Grand Performances presents free public concerts for the people of the city. A hip hop orchestra, a mariachi musician, an Afropop singer, and a Chinese modern dance company are just a few examples of the eclectic range of artists employed to reflect the diversity of LA itself. At these concerts, shared experiences of listening and dancing to the music become sites for the recognition of some of the general aspirations for the performances, for Los Angeles, and for contemporary public life.
In Sound, Space, and the City, Marina Peterson explores the processes—from urban renewal to the performance of ethnicity and the experiences of audiences—through which civic space is c
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Lessons that can be learned about the values, advantages & pitfalls of urban projects for space dedicated to public performances,
Anthropologist Marina Peterson presents Sound, Space, and the City: Civic Performance in Downtown Los Angeles, a study of how urban public performances transform and revitalize civic space. From hip-hop to orchestra to mariachi music, Afropop, and Chinese modern dance, these diverse expressions and celebrations affect their audience in a diversity of ways, both immediate and long term. Sound, Space, and the City draws upon archival records of urban planning and policy, the author’s own extensive experience with public performances, the vocalized concerns of modern urban residents and scholars, and more. The result is a collection of the lessons that can be learned about the values, advantages, and pitfalls of urban projects for space dedicated to public performances, particularly invaluable in today’s modern era when more and more cities are embracing the arts as a means to revitalize their core territory. “Representation, recognition, and participation, tenets of democracy, structure public concerts as civic performances. At civic performances these terms are at once performative and political, organizing cultural identity and civic membership.”
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