 I am Dj Bizzy Bruce. I'm a Hip-Hop Dj artist I am better known as Bruce on the radio waves. The one that the famous industry rappers talk about in their songs. And by the way my name Dj Bizzy Bruce and my songs have all been copywritten since 1994. I am one of the reasons that Hip-Hop is still alive from the effort that I've put into the albums I've made throughout the 25 years I've been doing Hip-Hop. Basic equipment I use are the SL 1200 MK2 Quartz and the SL 1800 MK2 Quartz which are the best tables ever made and still are to this day. I noticed that the SL 1800's are easier to perform in rugged conditions because of the position design of the pitch control which allows you to reach for pitch control without interupting record play. I specialize in Master Mixing making turntables talk in 16 bars.. Technics are what I prefer. Blending, beat juggling, scratching,cutting, back cueing, breakdowns, and transforming cutmaster. Totally independent studio mass distributing label. I'm able to produce albums without rappers even though I have in the past, I found it easier not to rely on rappers who want to do things on their own time while using up my time and my pro recording equipment and then pulling no shows when they're needed. My turntables are very dependable and always on time and NEVER let me down!! Thats why I decided to specialize in Dj Master Mixing, and also added humor and comedy to Hip-Hop instead of vulgar language, My goal is to make Hip-Hop positive again. I am versatile though my style is almost obsolete which makes me a unique Dj. I've collected turntables over the last 20 years from Technics SL 5100 quartz, Technics SL 1500, which was the first professional direct turntable ever made by Technics. To the Layfayette 6000 direct drive which will never be found again cause the company went out of buisness. Which was before Technics SL 1500 direct drive I believe Technic bought the patent from Lafayette. Also I own Kenwood KD 2070. Since I have so many professional turntables I decided to only to use Technics. My goal was to create turntable sound into CD quality sound but I found out later on even without the sound enhancement equipment I have there's nothing like a thump of a turntable scratch. And let's keep it real to all Dj's heres a fact a CD Turntable can never out perform a real turntable. And anybody who thinks that a CD turntable is more professional is wrong!!!! I've used them in the past and they dont perform as fast as a needle to the record ect. My proof is the any CD turntable takes about 3 to 4 seconds for the next track to play which can slow down any Dj in any battle competition with a real set of Technics turntables. Dj's that use CD turntables to scratch are not keepin it real but thats my opinion! Also fruity loops are not the proper tools to perform a pro midi program beat machine sampler octives setup though, fruity loops can be used if you prefer but sound effects are limited campared to professional pro midi setup minus a computer meaning real beat making is done without fruity loops thats only my opinion though not to offend you. Take it from me I am Bruce the lonley loner. I've been at this for 25 years and if you need advice just ask dont take this message the wrong way cause i'm only giving you respect for what you do. Preset patterns and sounds out of a computer or a beat machine can be played out within time so its important to switch up all your beats so they don't sound similar To improve your beats with the programs that your using my advice is to cut down 8 bar loops into a 4 bar loops and to switch up once in a while within one shot samples and make your samples talk or use speaking sound effects and also octives. I can't tell you all my secrets but I can offer advice to make your music sound more professional. we only get better as we go along my producer P.A.C Tracks has a midi setup that I helped him design which is unimaginable. I understand about your programs inside your computer because I have plenty myself but they could never compare to my producers pro midi setup Keep up the good work and don't let anybody hold you down.... Any vocalist's that would like to rhyme over my work is welcome as long as your serious about it and represent my name get at me for advice or services to setup any pro direct drive turntables or install pro audio equipment for $25 a piece leave a message an my page or E-mail me directly at dj_bizzy_bruce@yahoo.com ~~ Dj Bizzy Bruce~~ 

Yes Cosmic with a "K" (Kozmik and a "z") for reverent reasons of true synchronicity with Great Spirit. 

 Divinely Dedicated to whats deemed as (what I feel and know to be) new high frequency, cosmic consciously attuned forms of sonic sound alchemy Meta Music. Masterful and Magnificent! The letter "K" is deliberately used in the word Kosmic as a metaphysical concept, metaphorical perception, and esoteric deciphering. Where as I'd prefer to also use the word: "Kozmik" and "Muzik"... Yet I'm keeping the display name simplified for easier searches.

Most songs/compositions will very well be newly created tracks/songs and recordings by artistically happening, up n coming, inspirational musical authors. Any of you who are the authors, I share, dedicate, and make a special thanks to both the authors and all of their helpers. Like an aetheric, astral-soulfully-loving Kosmic conscious shout out from my grateful-heart to your masterfully-genuis-filled-musically intelligent-heart.,.

Any of you following that's interested in sharing similar authors, compositions, tracks, songs, and including videos please do on my YouTube account or via thru contacting me here upon Sound Cloud.  The more we can spread the word and ever-loving message about these new conscious cocreated music compilations and intentionally attuned songs, the more notority these authors shall receive. To include the possibility of hearing more these cosmic conscious, intentional songs over the radio. Satellite Radio, media player radio, tablet/smart phone radio doesn't count as much as the car/automobile drivine mass media radios.  

Lets lovingly and transformatively change the aetheric aire-waves to into a brighter, better, and more beautifully brilliant, Brave New World.  :-)

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STONE AND LEWIS - Based in the Midlands of England Matt Stone and Col Lewis write and perform their own style of Country Folk Rock music. With Matt Stone on guitar/vocals and Col Lewis on bass/vocals they have created a unique sound that is distinctively Stone and Lewis.

Both are seasoned musicians who have spent time on the road playing covers for the mass market from intimate indoor venues to outdoor festivals. Both have written songs in their own right and have come together to write the new Stone and Lewis chapter.

There are exciting things to come for 2011 onwards. New demo tracks will be posted here on a regular basis showcasing the "raw" material as it's been recorded. Both Matt and Col prefer the tracks to be a reflection of what is more of the live performance sound rather than multi - layered tracks. This will enable listeners to hear our DEMO versions of songs before they are fully complete studio versions and it will add what we think will be an interesting dynamic from a listeners perspective - listen an original demo track and eventually compare it to the final recording. 

We'd like you all to embark on this journey with us.....................and enjoy the ride!!!



Trio “MW”: Larisa Segida, Igor Korniov, and Kristina Shatova, Winnipeg, Canada. 

Music Style: Electro-Sympho-Psychedelic (Term “psychedelic” is interpreted according to its etymological Greek roots: to make-develop-create psyche-soul-spirit-mind); the Trio’s style has been compared with such artists as Diamanda Galas, P.J. Harvey, Bjork, King Crimson, even Sade (funny! though we are glad to hear that).  

Two opinions:
Angela and Jason Gaune, professional photographers www.gaunestudiosphotography.com
"Here are some photos we took for the fab musical ensemble, MoscoWinnipeg, at their recent show at the Graffiti Art Gallery. As you can see, the venue (and sculptures) made a formidable backdrop to the beautiful music. I hate to compare these artists to others, especially since I am not even close to a music journalist of any sort AND they definitely have a unique sound.... but I think it's safe to say that if you like unique artists with unique instrumentation and poetry (such as pj harvey and bjork) you'll be sorry to miss out on these local artists. They've got some very creative instrumentation going on, several of which were hand-made, as well as an accompanying dancer for a few of the songs."

Greg Hanec, a film director (the best Canadian feature movie, Berlin International Festival, 1986), and multi-instrumentalist:
"It's good to see there are still WILD LIONS in the banal world of music! Excellent!"
Contact: Larisa Segida
500 Stradbrook Ave, unit 208, Winnipeg, MB, R3L 0K1; Ph: (204) 334-9655
E-mail: segida@mts.net

Website: http://www.moscowinnipeg.com contains the trio’s videos, concerts, photos, audio, and lyrics. The best presentation of the trio’s style can be received from the website and the videos, not the CD, as a lot of work has been added to the recording within the entire year after. 

Project:
“I-Migrations: Psychedelic Story” is a multi-media performance including music, poetry, choreography, and video presented by trio “MW: MoscoWinnipeg” established in November 2011 though artists have been cooperating together since 1997:
Igor Kornilov: Chapman stick, guitar, Erhu (2-string ancient Chinese violin), and percussion
Larisa Segida: vocal, voices, keyboard, and percussion
Kristina Shatova: choreography, dance, and voices.

Larisa Segida, a singer and composer, recorded and released 5 albums: 
"I-Migrations: Psychedelic Story" is her latest album, recorded in Winnipeg, Canada, 2011; part of Library and Archives Canada audio collection.
Swedish and Hungarian by decent, Larisa was born in Russia and made Canada her second motherland. For her impressive 3 1/2 octave vocal, she was called "James Brown in skirt" by mass-media. She believes in Love, Life, Light, Learning, Languages, and an eternally moving L, which is 'waive' from Greek. 

Kristina Shatova studied choreography and dance in Russia since her early childhood and after moving to Canada in the Winnipeg Contemporary Dance School. Her inimitable choreography and dancing is a treasure for “I-Migrations: Psychedelic Story”. 

Igor Kornilov, a non-conventional Chapman stick player and guitarist. He also experiments with such ethnic string instruments as Erhu, an ancient Chinese 2-string violin. Living in Russia, Igor participated in a few musical projects as a guitar player and toured across the Soviet Union from West to East and North to South and in some European countries. Since 1983, Igor has also been building guitars, basses and many-string exotic instruments. The company "KornilGuitars" has developed its own unique technologies, custom workshop tools and especial wood processing that made many professional guitarists around the world prefer Kornil Guitars™ instruments to factory-made ones. Kornil Guitars™ instruments have been displayed in international musical instruments exhibitions and received high appraisals and recognition of both musicians and critique. He made Canada his home, and in 2007 was awarded Winnipeg Arts Council's and Manitoba Arts Council's Grants for his art (www.kornil.com)


“I-Migrations: Psychedelic Story” resurrects the etymological meaning of the concept ‘psychedelia’ that originates from Greek ‘psyche’ and ‘delos’: to make/do/create psyche/mind/soul. The music and lyrics are pulsing, moving, philosophical, and doubtlessly psychedelic as they create psyche-spirit-soul-mind of the self and the other. It is a beautiful, melodic, innovative and powerful story of migrations of a/the/some human ‘I’s. Inner and outer. Implicit and explicit. Horizontal and vertical. Temporal and spacial. It is a story of search of Love, Life, and Light. A story of travail travelling in the silent and peaceful aloneness in which ‘I’ does not suffer from its loneliness but reads, watches, and comprehends itself in the content harmony with itself. “One day...One life...One story…”, the chorus line from the last song “One Story”, is the philosophy of “I-Migrations” story. It makes you think, feel, sense, taste, smell, and breathe in/out in a way that brings you closer to yourself. It leads you in the mysterious labyrinth to yourself. It highlights some paths and roads invisible before. You listen to this music once and want to listen to it on and on. It changes together with you and the universe. One Day... One Life... One Story... 

more info on www.moscowinnipeg.com 

In the music box of this DJ you can always find the most freshest and interesting music, as well as already well known and loved classics of the genre are carefully selected and compiled into an unforgettable and exciting mixes, the character and mood present an unique and stylish sound, not mass consumption, but rather for refined listeners who prefer the refined aesthetics of the DEEP & TECH ...

MAYU. 19 years old.
♥ Aspiring musician [Visual Kei genre]

-- I'm not that good in singing, but I can sing. I consider myself as a "ryouseirui" (literally translates to "both vocal species", and is a Japanese term to describe people who are able to sing both genders. An English equivalent of this word would be "trap singer"), since I can sing in a deep, masculine voice and also in a softer, feminine voice. However, I prefer using my masculine voice, which is my actual voice; even though I'm a girl.

--- I can play the violin, but I only consider myself as a beginner.

--- I'm also trying to learn how to play the piano and the guitar.

--- My idol is YOHIO.

♥ Cosplayer
♥ Lolita fashion enthusiast
♥ Victorian and Rococo clothing enthusiast
♥ Aspiring poet and writer
♥ Aspiring artist / mangaka
♥ AB Mass Communication Student
♥ Otaku
♥ Bookworm
♥ Gamer

♥Other accounts:

FACEBOOK: https://www.facebook.com/mayu.macherie

WORLDCOSPLAY: http://worldcosplay.net/member/mayuchan/

DEVIANTART: http://petite-macherie.deviantart.com/

TWITTER: http://www.twitter.com/mayu_macherie

That's all for now. Thank you! :)

"7even Icon", class '73, he began to love music already as a child, until they become an integral part of his life.

Finished school he continued his studies orienting it right on studying piano and violin, although his greatest passion, that of the electric guitar and bass, will soon become a reality. Fonda together with 6 other musicians a group Heavy Metal that will be called just "The 7even Icon".

But it does not end here, from Metal subside after a few years to get interested in Trance and Progressive Music of the 90s, in particular, one evening in a disco in Romagna, a famous DJ of those years will drive pass the Mystic Force - Psychic Harmony (for him still one of the most beautiful songs ever), from there begins the journey then led him to do what he loves most still: "the Dj"

In 2002, following a series of courses to hone the techniques of mixing and the use of tools used by Dj.

In 2003 ends successfully the course "Sound Engineering and Recording"

In 2009 he realized the dream of setting up his own recording studio, where he still makes his songs.

Musical genres they prefer are: Techno, Minimal, Electro.

It 's always looking to vary his Dj-Set including sound and bases are always different and innovative, so as to "DO NOT LOOK LIKE" to the mass that surrounds us today.

Some of the rooms in which he played: Tenax, Yab, Goa, Bahia, Rivasud, Kinki, Villa Serena, Fables, Made in Bo, Backstage, Plastic Palace, Factory Club, The Factory, 45 RPM, Nice.

Support By Label's:

Salty Tech Records (Bosnia & Herzegovina)

Beenoise Rec (Italy)

http://soundcloud.com/somnoroase-pasarele


Performance art

In art, performance art is a performance presented to an audience, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: time, space, the performer's body, or presence in a medium, and a relationship between performer and audience. Performance art can happen anywhere, in any venue or setting and for any length of time. The actions of an individual or a group at a particular place and in a particular time constitute the work.



Yves Klein and Dino Buzzati engaged in the ritual transfer of immateriality, January 26, 1962
Performance art is an essentially contested concept: any single definition of it implies the recognition of rival uses. As concepts like "democracy" or "art", it implies productive disagreement with itself.[1]

The meaning of the term in the narrower sense is related to postmodernist traditions in Western culture. From about the mid-1960s into the 1970s, often derived from concepts of visual art, with respect to Antonin Artaud, Dada, the Situationists, Fluxus, Installation art, and Conceptual Art, performance art tended to be defined as an antithesis to theatre, challenging orthodox artforms and cultural norms. The ideal had been an ephemeral and authentic experience for performer and audience in an event that could not be repeated, captured or purchased.[2] The in this time widely discussed difference, how concepts of visual arts and concepts of performing arts are utilized, can determine the meanings of a performance art presentation (compare Performance: A Critical Introduction by Marvin Carlson, P. 103,2-105,1).

Performance art is a term usually reserved to refer to a conceptual art which conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes. It largely refers to a performance which is presented to an audience, but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand.

Some kinds of performance art nevertheless can be close to performing arts. Such performance may utilize a script or create a fictitious dramatic setting, but still constitute performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real-world dynamics; rather, it would intentionally seek to satirize or to transcend the usual real-world dynamics which are used in conventional theatrical plays.

Performance artists often challenge the audience to think in new and unconventional ways, break conventions of traditional arts, and break down conventional ideas about "what art is". As long as the performer does not become a player who repeats a role, performance art can include satirical elements (compare Blue Man Group); utilize robots and machines as performers, as in pieces of the Survival Research Laboratories; or borrow elements of any performing arts such as dance, music, and circus.

Some artists, e.g. the Viennese Actionists and neo-Dadaists, prefer to use the terms "live art", "action art", "actions", "intervention" (see art intervention) or "manoeuvre" to describe their performing activities. As genres of performance art appear body art, fluxus-performance, happening, action poetry, and intermedia.


Performance art activity is not confined to European or American art traditions; notable practitioners can be found in Asia and Latin America. Performance artists and theorists point to different traditions and histories, ranging from tribal to sporting and ritual or religious events. In an episode of In our time broadcast on Thu, 20 Oct 2005, 21:30 on BBC Radio 4, Angie Hobbs, Lecturer in Philosophy, University of Warwick; Miriam Griffin, Fellow of Somerville College, Oxford; and John Moles, Professor of Latin, University of Newcastle discussed with Melvin Bragg the idea that Antisthenes and Diogenes in ancient Greece practiced a form of performance art and that they acquired the epithet of cynic which means "dog" due to Diogenes behaving repeatedly like a dog in his performances.

There are also accounts of Renaissance artists such as itinerant poets putting on public performances that could be said to be ancestors of performance art.[citation needed]



Conceptual work by Yves Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960, photo by Harry Shunk. Le Saut dans le Vide (Leap into the Void)
Western cultural theorists often trace performance art activity back to the beginning of the 20th century, to the Russian constructivists, Futurists and Dada. Dada provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. Russian Futurist artists could be identified as precursors of performance, such as David Burliuk, who painted his face for his actions (1910–20) and Alexander Rodchenko and his wife Varvara Stepanova.

According to the art critic Harold Rosenberg in the 1940s and 1950s Action Painting gave artists the freedom to perform - the canvas as "an arena in which to act", thereby rendering the paintings as traces of the artist's performance in his/her studio. Abstract expressionism and Action painting preceded the Fluxus movement, Happenings and the emergence of Performance Art.

Performance art was anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s, especially in such works as Atsuko Tanaka's "Electric Dress" (1956) [1].

Yves Klein had been a precursor of performance art with the conceptual pieces of Zone de Sensibilité Picturale Immatérielle (Zones of Immaterial Pictorial Sensibility) 1959–62, and works like the photomontage, Saut dans le vide (Leap into the Void). In the late 1960s Earth artists as diverse as Robert Smithson, Dennis Oppenheim, Michael Heizer and Carl Andre created environmental pieces that predict the performance art of the 1970s. Works of conceptual artists in the early 1980s, like Sol LeWitt, who converted mural-style drawing into an act of performance by others, were influenced by Yves Klein and the Earth artists as well.


In the 1960s a variety of new works, concepts and the increasing number of artists led to new kinds of performance art.

Prototypic for the artform later explicitly labeled "performance art", were works of artists like Yoko Ono with her Wall piece for orchestra (1962); Carolee Schneemann with pieces like Meat Joy (1964); Joseph Beuys with How to Explain Pictures to a Dead Hare (1965); Yayoi Kusama, with actions such as a naked flag-burning on the Brooklyn Bridge (1968) and Allan Kaprow in his many Happenings.

Kaprow had coined the term Happening describing a new artform, at the beginning of the 1960s. A Happening allows the artist to experiment with body motion, recorded sounds, written and spoken texts, and even smells. One of Kaprow's earliest was "Happenings in the New York Scene," written in 1961 as the form was developing.[3] Notably in the Happenings of Allan Kaprow, the audience members become performers. While the audiences in Happenings had been welcomed as the performers, it is only sometimes and often unwittingly that they become an active part in a Performance. Other artists who created Happenings besides Kaprow include Jim Dine, Claes Oldenburg, Robert Whitman, and Wolf Vostell: Theater is in the Street (Paris in 1958).

Hermann Nitsch in 1962 presented his "Theatre of Orgies and Mysteries" (Orgien- und Mysterien Theater), a precursor to performance art, close to the performing arts.

Andy Warhol during the early 1960s beginning to create films and video, in the mid-60s sponsored the Velvet Underground and staged events and performances in New York, like the Exploding Plastic Inevitable (1966) that featured live Rock music, exploding lights, and film.

Indirectly influential for art-world performance, particularly in the United States, were new forms of theatre, embodied by the San Francisco Mime Troupe and the Living Theatre and showcased in Off-Off Broadway theaters in SoHO and at La MaMa in New York City. The Living Theatre chiefly toured in Europe between 1963 and 1968, and in the U.S. in 1968. A work of this period, Paradise Now was notorious for its audience participation and a scene in which actors recited a list of social taboos that included nudity, while disrobing.

The work of performance artists after 1968 often showed influences of the cultural and political events of that year. Barbara T. Smith with Ritual Meal (1969) was at the forefront of the feminist body-, and performance art of the 1970s; among others including: Carolee Schneemann, and Joan Jonas. Schneemann and Jonas along with Yoko Ono, Joseph Beuys, Vito Acconci, and Chris Burden pioneered the relationship between Body art and performance art.




Chris Burden during the performance of his 1974 piece Trans-fixed where he was nailed to the back of a Volkswagen
Artists whose work already before tended to be a performance art, as well as new artists, at the beginning of the 1970s began to present performance art in a stricter form.

New artists with radical performances were Chris Burden, with the 1971 performance piece Shoot, in which he was shot in his left arm by an assistant from a distance of about five meters, and Vito Acconci in the same year with Seedbed.

The book Expanded Cinema, by Gene Youngblood, marked a shift in the use of media by performance artists. The first book considering video art as an art form, mentions Jud Yalkut as a pioneering video artist. Since 1965 he had collaborated in dozens of intermedia performances throughout the United States, also with Nam June Paik, who beginning of the 1960s already had been a fluxus performer on the way to become a media artist. As to the art of Paik, Youngblood refers to works of Carolee Schneemann and Robert Whitman from the 1960s, which had been pioneering for performance art, becoming an independent artform at the beginning of the 1970s.[4]

The British-based pair Gilbert and George, already in 1970, had documented actions of themselves on video, and created their "living sculpture" performance, being painted in gold and singing "Underneath The Arches" for extended periods. Joan Jonas began to include video in her experimental performances in 1972.

In 1973 Laurie Anderson performed Duets on Ice, on the streets of New York City. Marina Abramović, in the performance "Rhythm 10", conceptually included the violation of her body.[5]

Since 1973 the Feminist Studio Workshop at the Woman's Building in Los Angeles had a formative impact on the wave of performances with feminist background.

Carolee Schneemann work in 1963, Eye Body, already had been a prototype of performance art. Schneemann in 1975 drew on with innovative solo performances, like Interior Scroll, showing the female body as an artistic medium.

Performance art, because of its relative transience, by the 1970s, had a fairly robust presence in the avant-garde of East Bloc countries, especially Yugoslavia and Poland.


Until the 1980s, performance art had been demystifying virtuosity. Now it began to embrace technical brilliance.[6] In reference to Presence and Resistance[7] by Philip Auslander, a performance art critic, Sally Banes writes “… by the end of the 1980s, performance art had become so widely known that it no longer needed to be defined; mass culture, especially television, had come to supply both structure and subject matter for much performance art; and several performance artists, including Laurie Anderson, Spalding Gray, Eric Bogosian, Willem Dafoe, and Ann Magnuson, had indeed become crossover artists in mainstream entertainment.”[8]

Despite the fact that many performances are held within the circle of a small art-world group, RoseLee Goldberg notes, in Performance Art: From Futurism to the Present that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise.”[9]

Among the performance art most discussed in the art-world of this decade were a performance by Linda Montano and Tehching Hsieh between July 1983 and July 1984, Art/Life: One Year Performance (Rope Piece), and Karen Finlay’s I'm an Ass Man 1987.

Until the decline of the European eastern block during the late 1980s, performance art by most communist governments had actively been rejected. With the exception of Poland and Yugoslavia, performance art was more or less banned in countries where any independent public event was feared. In the GDR, Czechoslovakia, Hungary and Latvia it happened in apartments, at seemingly spontaneous gatherings in artist studios, in church-controlled settings, or covered as another activity, like a photo-shooting. Isolated of the western conceptual context, in different settings it could be like a playful protest or like a bitter comment, using subversive metaphors to express dissent with the political situation.[10]

Hedwig Gorski before 1982 came up up with the term performance poetry, to distinguish her text-based vocal performances from performance art, especially the work of performance artists, such as Laurie Anderson, who worked with music at that time. Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists, who arose from the visual art genres of painting and sculpture.


While the Soviet bloc disintegrated, formerly repressed activities of performance artists like György Galántai in Hungary, or the Collective Action Group in Russia, became better known. Young artists from all over the former Eastern bloc, including Russia, turned to performance. Performance art at about the same time appeared in Cuba, the Caribbean and China. Chinese performance artists like Zhang Huan had been performing underground since the late 1980s. Beginning of the 1990s chinese performance art already was acclaimed in the international artscene.[11]

"In these contexts performance art became a critical new voice with a social force similar to that found in Western Europe, the United States and South America in the 1960s and early 1970s. It should be emphasized that the eruption of performance art in the 1990s in Eastern Europe, China, South Africa, Cuba, and elsewhere should never be considered either secondary to or imitative of the West."[12]

In the western world in the 1990s, even sophisticated performance art became part of the cultural mainstream: performance art as a complete artform gained admittance into art museums and became a museal topic.[13]


In the second half of the decade, computer-aided forms of performance art began to take place.[14]

From March 14 to May 31, 2010, the Museum of Modern Art held a major retrospective and performance recreation of Marina Abramović's work, the biggest exhibition of performance art in MoMA's history.[15] During the run of the exhibition, Abramović performed "The Artist is Present," a 736-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her.[16] A support group for the "sitters," "Sitting with Marina," was established on Facebook.[17] The performance attracted celebrities such as Björk and James Franco and received coverage on the internet including an essay by NYC-author Tao Lin.[18]


Liberty Ace is following