This chapter explores the ways in which recent trends in nightlife entertainment have designated a shift from the established participatory mode of engagement (audience dancing on stage next to the performer) towards a spectator-mentality (audience consuming alcohol from their designated seats). Based on extended ethnographic research within the professional music circuit, and specifically my one-year-long employment as a keyboardist in the band of Greek pop-star Sakis Rouvas, I will examine practices of ‘stage-policing’ as a strategic conceptual tool that transforms the performer from a facilitator of kéfi (as summarised by the old motto óla ta morá stin písta) into an idolised and unreachable ‘celebrity’.
|Title of host publication||Made in Greece: Studies in Popular Music|
|Place of Publication||London; New York|
|Publisher||Routledge, Taylor & Francis Group|
|Publication status||Published - 18 Jul 2018|
|Name||Routledge Studies in Popular Music|
- Popular culture
ASJC Scopus subject areas
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- School of History, Anthropology, Philosophy and Politics - Senior Lecturer
- Anthropology and Ethnomusicology