{"content":[{"text":"THE CYPRUS REVIEW (VOL. 27:1 SPRING 2015)","bbox":{"left":0.119722,"top":0.091235,"width":0.378019,"height":0.018433000000000005}},{"text":"known as ‘to kourema’ – ‘the haircut’ – which took place in March 2013. What interests \n me is how music presents a critique by relating and reflecting on the situation from which \n it emerges. \n Generally speaking this method of contextualising songs invests effort in \n understanding possible meaning(s) as a process of unpacking, deconstructing and \n reflecting on how songs acquire a life form of their own within particular contexts, and \n how these songs in turn become a form of alternative critique to the contexts from which \n they came. Authors who have adopted similar approaches include Goldman’s ‘The Book \n of Exodus: The Making and Meaning of Bob Marley and the Wailers’ Album of the \n Century’ and Maconie’s ‘The People’s Songs: The Story of Modern Britain in 50 Records’. \n In terms of ethnography and data, these texts provide a great deal of insight in relation to \n a wide range of detail on circumstances of creation and interpretation. I have found them \n to be valuable in the teaching of courses on popular music studies with regard to how \n songs are and can be interpreted by different audiences, and how important context is to \n the development of particular artists and the music they make. In addition, I would like, \n by way of introduction to stress the value of auto-ethnography in the processes and \n practices of making and sharing music which I am bound to do as part of the \n process/subject matter of this paper. Occupying this kind of position within musical \n culture as a creative person and critiquing author has at times been problematic – \n particularly given the canonical requirements of academics being peer reviewed. However, \n this position of subjectivity also has a key advantage of living through and in creative \n musical processes and being witness to significant cultural manifestations which can \n sometimes be lacking in critical works on popular music in specific and media studies in \n general. As Attfield states on the value of auto-ethnographic contributions on Punk music \n they are ‘potentially more useful to readers interested in understanding the music, the \n specific circumstances of its creation and how it has inspired and endured’.1 That being the \n case, all songs have an experiential quality; we hear them, view video clips that feature \n them, and relate to music in all kinds of different settings and environments. As a person \n involved with the creation and sharing of music, as an artist and DJ, I sense that some data \n comes from within these experiences and this reflects something ingrained in me from \n Cultural Studies and Sociology. It is that ‘capacity to hear’ and to ‘listen more’ which is so \n important in the process of conducting ethnographic research. Les Back applies this \n capability meticulously in understanding everyday culture:","bbox":{"left":0.119722,"top":0.122911,"width":0.760732,"height":0.6416}},{"text":"1","bbox":{"left":0.119722,"top":0.83953,"width":0.009077000000000002,"height":0.016588999999999965}},{"text":"S. Attfield (2011) ‘Punk Rock and the Value of Auto-ethnographic Writing about Music’, Journal of \n Multidisciplinary International Studies, Vol. 8, No. 1, p. 2.","bbox":{"left":0.15678,"top":0.839173,"width":0.7235289999999999,"height":0.03428000000000009}},{"text":"234","bbox":{"left":0.482441,"top":0.917519,"width":0.03327199999999997,"height":0.02027599999999996}}],"images_bbox":[],"images_bbox_not_text_overlap":[]}