Privilege Vs Oppression

Privilege vs oppression

Dumbfounded, socially isolated, and anxious—as artists, scholars, and human beings—in this unfolding crisis, we are struggling to grasp and reflect on past, present, and potential radical futures. Not only for the performing arts, but for society as a whole or, perhaps more realistically, in its manifestation through myriad—if interconnected—fragmentations. The COVID pandemic and resulting lockdown measures implemented by governments privilege vs oppression curb the immediate effects on health and human life have had a profound effect on the ways in which we create and participate in culture.

The overnight closure of performance venues and arts spaces, as well as the cancellation of musical events, has had a disproportionately devastating effect on freelance cultural workers Tsioulakis and FitzGibbon; Banks. Even though the roll-out of a vaccine is on the horizon as this article is being written, and national governments are implementing modest plans to protect workers and cultural industries, it is becoming increasingly clear that the economic and social fallout of the pandemic will be deep and lengthy Gopinath.

As the COVID pandemic is set to uproot and redefine production- consumption habits in different parts of the world, privilege vs oppression musicians and music networks struggle to discover new mechanisms to perform and monetise music collectively.

In certain places, the novel circumstances caused by COVID are a mere exacerbation of previous predicaments; they are a pile-up of crises and crashes under the capitalist market economy. Freelance musicians in Greece have seen their careers subjected to intense precarity as a result of the infamous economic crisis and the imposition of a decade of austerity. The four contributors to this piece are musicians and researchers, with legacies within creative scenes in Greece and Iran, but also filtered through migrant experiences in the UK and Austria. His academic research explores the relationship theories of socialization creative practice, digital technologies, click formation of new modes of sociality within popular music and sound studies.

Through a focus on politics of material flows of cultural production, he has investigated an experimental electronic music scene in Iran from disciplinary perspectives of collaborative sonic arts and anthropology. Anna Linardou is an Athens-based vocalist and teacher.

Her field of interest is the mixing of vocal styles and free improvisation. Her performance work varies from contemporary opera to improvised, world, and jazz music projects. Rojin Sharafi is a Vienna-based Iranian sound artist, composer, and sound engineer.

Her broader repertoire includes pieces for acoustic, electro- acoustic, and electronic music. His research focuses on popular music in Greece, with an emphasis on session musicians, creative labour, and the Greek economic and political crisis. The intersections of differences and similarities between the profiles of the four contributors are what we see as a key strength of bringing our voices together. In that sense, it is worth acknowledging that—through merit of our musical education, social class, and practical experience—the contributors have also enjoyed privileges of access, opportunity, and technological means that set us apart from some of our compatriots. The current piece was developed as an asynchronous conversation between the four contributors, over a few weeks theories of socialization June and July We did privilege vs oppression by adding comments some short, some quite long on a shared document, which were then edited for clarity and were slightly restructured to create somewhat of a flow for the outside reader.

As the unfolding of the conversation below will show, the themes of the dialogue early enough veered away from a focused statement on the current pandemic and towards a wider reflection on making music—or even simply existing—in conditions of neoliberal capitalism. Conversation Rojin Sharafi RS : During the pandemic, reflecting has become a new part of my daily routine. When I start reflecting, I can pause my hamster wheel. Career-wise, I ask myself: What is this game in which I am taking privilege vs oppression

Am I reproducing myself? Am I reproducing someone else? What values have I accepted to be able to play?

How can we support freelancers in situations like a pandemic? What are the financial resources that we privilege vs oppression as performers? What could they be like in the next thirty years? If I want to be creative, I need to have control over my day and rely on my intuition. I need to put myself in a special state and to choose what I watch, listen to, and consume.]

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Privilege and Oppression

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Christians — in context of India — Hindus and Upper Castes Middle or owning class people Middle-aged people English-speaking people Privilege is characteristically invisible to people who have it. People in dominant groups often believe that they have earned the privileges that they enjoy or that everyone could have access to these privileges if only they worked to earn them. In fact, privileges are unearned, and they are granted to people in the dominant groups whether they want those privileges or not, and regardless of their stated intent. Unlike targets of oppression, people in dominant groups are frequently unaware that they are members of the dominant group due to the privilege of being able to see themselves as persons rather than stereotypes. Intersectionality refers to the ways in which aspects of identity intersect to create specific experiences, needs, privileges, and oppressions. This means that one person can experience both privilege and oppression for example, they may experience racial privilege for being white, but class oppression for being working class. Privilege and oppression can also intersect with one another to create unique experiences of a specific aspect of their identity. For example, a trans woman who is very affluent has a very different experience of transphobia and cissexism than a transwoman who is very poor. She would, for instance, have better access to resources, medical care, and a safe place to live compared to a transwoman who is working class. While both women experience oppression for being trans, their experiences of that oppression are very different due to the presence or absence of class privilege.

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Privilege vs oppression	3 days ago · In my experience and research with professional musicians in Greece, I found that many use the dichotomy of “work vs. play,” whereby if they “work,” their criteria are about how good the working conditions and payment are, whereas if they “play” (e.g. being creative), their main preoccupations are about the quality of the result and. level 2. myanonymous_account. · 1y. The malay rights (hak melayu) is definitely something that needs to end but fighting racism with racism will just create an endless cycle of racism, it never solves anything. It's like revolting against a dictator and then you decide to become the dictator yourself. 10 hours ago · The Connected Yoga Teacher Podcast Anti-Oppression Yoga with Pooja Virani Description: The term “anti-oppression” can make some of us feel uncomfortable, and we may want to shy away from talking – Listen to Anti-Oppression Yoga with Pooja Virani by The Connected Yoga Teacher Podcast instantly on your tablet, phone or browser - no downloads needed.
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