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Irlandzkość i busking – artystyczne habitusy Glena Hansarda

100%
Kumala A. E.
Przestrzenie Teorii
|
2019
|
issue 31
157-172
EN
The article analyses how crucial the Irish origin and long-term busking experience were in shaping the artistic habitus of Glen Hansard. Using Pierre Bourdieu’s terminology and Benedict Anderson’s characteristic of “imagined communities”, the author presents the variety of ways in which Hansard’s “habitus of the Irish busker” reveals itself. Seen from the perspective of the sociology of art, the artist’s statements, lyrics, music videos, projects and social initiatives reflect the point of view of a niche artist, strongly dissociating himself from the “entertainment” sector. They also show how grounded Hansard’s position in the artistic field was before his unexpected 2007 Oscar win for Best Original Song.
2
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Flašinetáři: od "lidí světem jdoucích“ k buskingu

87%
Hanáková M.
Národopisný věstník
|
2017
|
vol. 34_(76)
|
issue 2
86-107
EN
The study focuses on the phenomenon of barrel-organ playing in the context of Bohemian and Moravian streets and countryside from the beginning of its occurrence in our lands to date. The foreword describes the organologic nature of the instrument and its production. The major part of the work is a summary of available sources about a barrel-organ player: his role in the life of people, whether during their daily encounters with an "itinerant" person, or his activity in the realm of customary tradition. The role of barrel-organ players has changed, in comparison to modern-day barrel-organ players - buskers as well as members of a barrel-organ playing club who returned to the streets after 1989. Both lines of barrel-organ players are themes of particular chapters (Barrel-Organ and Busking; A Club of Friends of Mechanical Music and Barrel-Organs). The study ́s goal is to outline a unifying line between the historical and the contemporary practice in barrel-organ playing, as well as it explains when these trends diverge.
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