{"id":234,"date":"2015-10-06T22:08:19","date_gmt":"2015-10-06T22:08:19","guid":{"rendered":"http:\/\/www.jeanfisher.com\/?p=234"},"modified":"2016-02-20T18:04:14","modified_gmt":"2016-02-20T18:04:14","slug":"troubadour","status":"publish","type":"post","link":"https:\/\/www.jeanfisher.com\/troubadour\/","title":{"rendered":"Troubadour"},"content":{"rendered":"<div class=\"oversal-shuffle-before-to\">\n<h2 class=\"oversal-shuffle-text\">Troubadour introduction<\/h2>\n<\/div>\n<p>I have been drawn to various \u2018figures\u2019 from narrative sources as a means of contextualising artistic practices in a slightly \u2018colourful\u2019 way. I have consistently drawn on the implications of the coyote trickster figure, albeit reconfigured as the Hermetic. According to Michel Serres, the troubadour is also a figure that, like trickster (or the \u2018parasite\u2019), compels a swerve or interruption in the conventional pathways of understanding to provoke new meanings. I thought about the troubadour in relation to writing about the work of Sonia Boyce (in the essay \u2018For you only you: the return of the troubadour\u2019 for the performed work <em>For you only you<\/em>). But it took on greater resonance when I was invited to engage with the work of Palestinian artists (see \u2018Voices in the Singular Plural\u2019 and the essay on Emily Jacir\u2019s work \u2018Emily Jacir: Visual Poems and Silent Songs\u2019). Having done some background research I was concerned to emphasise, against the howls of \u2018clash of civilisations\u2019, that Levantine-Arabic and European culture has had a long history of intercultural exchange that can be traced at least to Bronze Age Canaanite traders. Culture is transmitted with trade. The troubadour is interesting as, not only are we speaking of both male and female practitioners, as reported for al-Andalus and southern France, but they travelled from court to court transmitting and commenting on the news of the day. The point is that we can speculate that the troubadour drew her and his musical form from both Levantine-Arabic and European traditions.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Troubadour introduction I have been drawn to various \u2018figures\u2019 from narrative sources as a means of contextualising artistic practices in a slightly \u2018colourful\u2019 way. I have consistently drawn on the implications of the coyote trickster figure, albeit reconfigured as the Hermetic. According to Michel Serres, the troubadour is also a figure that, like trickster (or [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":1634,"comment_status":"closed","ping_status":"closed","sticky":true,"template":"","format":"standard","meta":{"_mi_skip_tracking":false},"categories":[11],"tags":[],"yst_prominent_words":[],"_links":{"self":[{"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/posts\/234"}],"collection":[{"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/comments?post=234"}],"version-history":[{"count":0,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/posts\/234\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/media\/1634"}],"wp:attachment":[{"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/media?parent=234"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/categories?post=234"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/tags?post=234"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.jeanfisher.com\/wp-json\/wp\/v2\/yst_prominent_words?post=234"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}