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"After their scandalous performance of an anti-Putin protest song in Moscow's Cathedral of Christ the Savior and the imprisonment of two of its members, the punk feminist art collective known as Pussy Riot became an international phenomenon. But, what, exactly, is Pussy Riot, and what are they trying to achieve? The award-winning author Eliot Borenstein explores the movement's explosive history and takes you beyond the hype"--

Community organization --- Russia --- Protest movements --- History --- Pussy Riot (Musical group)

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Poetin, Vladimir --- Pussy Riot --- Rechten van de mens ; Rusland --- Sociale bewegingen

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Pussy Riot is niet zomaar een meidengroep, maar een feministisch kunstenaarscollectief en protestgroep. Drie van haar leden – Nadja, Maria en Kat – werden wereldberoemd toen ze op 21 februari 2012 een ‘punkgebed’ hielden in de Christus Verlosserkathedraal in Moskou. Daarmee uitten ze hun ongenoegen over wat ze de verstikkende politieke gelijkvormigheid van Vladimir Poetin noemen.
Journaliste en auteur Masha Gessen onderhield contact met dit drietal, ook toen Nadja en Maria in het strafkamp zaten. Hoe geraakten zij gemotiveerd om aan protestkunst te doen? Feminisme heeft in Rusland nooit echt voet aan de grond gekregen en daar wil Pussy Riot verandering in brengen. Het aanklagen van het gebrek aan democratie en persoonlijke vrijheid hangt daar nauw mee samen. De lezer maakt kennis met Nadja, Maria en Kat, ontdekt het ontstaan van Pussy Riot en maakt van dichtbij het punkgebed en de gerechtelijke gevolgen ervan mee.

Philosophy --- Sociology of minorities --- Sociology of the family. Sociology of sexuality --- Community organization --- Human rights --- Criminology. Victimology --- Mass communications --- Art --- Feminism --- Women's prisons --- Biographical details --- Book --- Censorship --- Action groups --- Discrimination --- Experiences --- Pussy Riot [Moscow] --- Russia

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L'histoire des Pussy Riot, groupe punk rock composé de cinq jeunes femmes russes engagées dans la voie de la contestation politique, face au gouvernement de V. Poutine. L'auteure met en lumière leurs convictions et leurs revendications pour une liberté d'expression totale. Elle analyse le durcissement de leurs actions et décrit leurs méthodes, qui s'appuient sur l'humour et les codes de la rue.

Punk rock music --- Feminism and music --- Subversive activities --- Government, Resistance to --- Punk (Musique) --- Féminisme et musique --- Activités subversives --- Résistance au gouvernement --- Political aspects --- Aspect politique --- Pussy Riot (Musical Group) --- Russia (Federation) --- Russie --- Politics and government --- Politique et gouvernement

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This new collection views Russian music through the Greek triad of "the Good, the True, and the Beautiful" to investigate how the idea of ";nation"; embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, post-Cold War, and now post-9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much of the volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products. Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism; to the musicians of the Russian postrevolutionary diaspora; and to the tension between the compelling artistic quality of works such as Stravinsky's Sacre du Printemps or Prokofieff's Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating Taruskin's authority and ability to bring living history out of the shadows.

Music --- History and criticism. --- Stravinsky, Igor, --- Stravinsky, Igor --- Stravinski, Igor --- Strawinsky, Igor --- Strawinski, Igor --- Criticism and interpretation. --- Stravinskij, Igor' Fëdorovič --- Istrāvīnskī, Īgūr, --- Stravinski, Igor, --- Stravinskiĭ, I. F. --- Stravinskiĭ, Igorʹ Fedorovich, --- Stravinskij, Igor Fiodorovič, --- Strawiński, Igor Fiodorowicz, --- Strawinskij, Igor, --- Strawinsky, I. --- Strawinsky, Igor, --- Strawinsky, Jgor, --- Стравинский, Игорь, --- סטראווינסקי, איגור --- סטראוינסקי, איגור --- 19th century russian music. --- 20th century russian music. --- contemporary russian music. --- international response to russian music. --- music history. --- music of the former soviet union. --- musicology. --- pokifieff. --- postrevolutionary russian music. --- pussy riot. --- russian composers. --- russian cultural products. --- russian music history. --- russian music. --- russian musicology. --- russian national music. --- russias antihumanistic music. --- sacre du printemps. --- stavinsky. --- zdravitsa.