Beyoncé’s Response (eh?)
Feeling the Ihi of Spontaneous Haka Performance in Aotearoa/New Zealand
Bibliographic Data
| ID | 14998784 |
|---|---|
| Authors | Nicola Hyland (0000-0003-3015-2112, Nicola Hyland is a Lecturer in the Theatre Program at Victoria University of Wellington, New Zealand. She received a PhD in Theatre at the University of Melbourne, Australia. Her research focuses on contemporary indigenous and diasporic performance, with specific interests in Māori performance methodologies, hybrid, dance, and devised theatre, and representations of gender and youth in postcolonial performance She has also worked as a writer, critic, and collaborative theatre practitioner in both New..., corresponding author) |
| Year | 2015 |
| Volume | 59 |
| Issue | 1 |
| Pages | 67-82 |
| Publication date | 2015-03-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | TDR/The Drama Review (JOURNAL) |
| Journal identifiers | ISSN: 1054-2043 • E-ISSN: 1531-4715 |
| Publisher | MIT Press - Journals (PUBLISHER) |
| DOI | 10.1162/dram_a_00429 |
| OpenAlex | W2015009623 |
| Language | FR |
| Citations received | 6 |
| References cited | 1 |
The effectiveness of any haka performance is measured by the performers’ ability to elicit an emotional and psychic response in the spectator: to incite ihi. The (re)action of US pop star Beyoncé to an impromptu haka sparked vigorous online debate. Stripping back preconceptions regarding tradition, gender, and ethnicity, this spontaneous performance is read as an unbound moment where reciprocal awe and respect invoke a powerful tripartite performative energy, the wana
Aesthetics · Art · Feeling · Impromptu · Performative utterance · Psychic · Gender, Feminism, and Media · Music History and Culture · Psychology · Social Psychology · Theatre and Performance Studies
| Unique citing works | 6 |
|---|---|
| Citations per year | 0,75 |
| Citation span | 2018 - 2025 (8) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 6 |