Perfect Beat <p><em>Perfect Beat</em> first appeared in July 1992 and has been published by Equinox since 2009. <br />The journal's name derived from Afrika Bambaata and the Soul Sonic Force's 12-inch, 1983 single <em>Looking for the Perfect Beat</em>. As befits a journal originating in Australia, the journal remains focused on the popular music of the 'Pacific rim' and includes historical and contemporary studies with contributions invited from popular music studies, musicology, cultural studies and ethnomusicological perspectives. <a href="">Read more about this journal.</a></p> Equinox Publishing Ltd. en-US Perfect Beat 1038-2909 <p>© Equinox Publishing Ltd.</p> <p>For information regarding our Open Access policy, <a title="Open access policy." href="Full%20details of our conditions related to copyright can be found by clicking here.">click here</a>.</p> K-pop beyond the lockdown <p>In the year of a global pandemic that brought activity to a halt for musicians around the globe, the K-pop industry proved to be an illuminating case study in how to remain vibrant despite being distanced. As a music that thrives on the Internet with its highly visual nature, K-pop has been well positioned to maintain lively audiences through diverse and innovative content amidst the lockdown environment. Indeed, high-profile group BTS flourished in the time of COVID-19, garnering the Guinness record for most viewers of a music concert live stream. At the heart of this success is an engagement with fans that continues to drive BTS’s, and K-pop’s, rise to mainstream visibility, revealing a participatory nature that remains its strength. This essay reflects on K-pop fandom at the intersection of social media activity intensified in the COVID-19 era, focusing on the case of BTS and the group’s success in building community online.</p> Hae Joo Kim Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 96–102 96–102 10.1558/prbt.19303 The role of communication technologies between choreographer and composer during Aotearoa/New Zealand’s COVID-19 response <p>This article demonstrates how rapidly creatives can amend their creative processes to account for imposed limitations, particularly in the context of COVID-19. It documents a gradual shift in the way that in-person collaboration is valued. The use of communication technologies between composer and choreographer are compared through examples of the authors’ own work both before and during the COVID-19 pandemic. This allows for observations to be made as to how interpersonal, domestic and international creative processes may develop in the future global ‘new normal’. Aotearoa/New Zealand’s current quasi-post-pandemic status allows for predictions to be made about what this collaborative relationship may look like for the rest of the world post-COVID.</p> Jesse Austin-Stewart Jason Wright Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 103–110 103–110 10.1558/prbt.19343 Jealous corona <p>In March 2020, a music video produced in collaboration with the Vietnamese Ministry of Health, ‘Jealous Corona’ (Ghen Cô Vy), otherwise known as the ‘Handwashing Song’, was picked up by international media outlets including John Oliver, ABC, The Guardian and NME. The video has since received over 72 million views on YouTube, and TikTok users have posted over 33,000 personalized video responses (as of 10 February 2021). With his fieldwork plans cancelled due to restrictions on international travel, Lonán Ó Briain discusses his experience of becoming immersed into Vietnamese social media and following the TikTok phenomenon associated with ‘Jealous Corona’ online. He describes the premise behind the original production, analyses the music, lyrics and video, and then considers how young people actively engaged with the music video, became invested in its public health message and encouraged the government to rethink how musical propaganda works in contemporary Vietnam.</p> Lonán Ó Briain Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 111–117 111–117 10.1558/prbt.19342 The embodiment of ‘Chinese strength’ <p>This article examines how Chinese songs have incorporated collectivism-oriented cultural values since the outbreak of COVID-19. Such songs are composed to express emotions and cultural values during the global crisis. They are also cultural symbols, sharing not only music but also cultural spirit. This article takes lyrics in Chinese songs, published from February to April 2020, as symbolic texts to analyse the cultural values behind music composing and expression. We identify keywords in song lyrics such as Yi Qing [epidemic], Kang Yi [anti-epidemic] and Xin Guan [COVID-19] via a representative music platform (NetEase Cloud Music) in China. The results show that these lyrics emphasize different levels of collectivism, including eulogizing the nation, advocating unity, and praising national heroes.</p> Wenyu Zhong Mengyu Luo Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 118–122 118–122 10.1558/prbt.19331 Hearing the inaudible <p>This article considers multiple ways in which, one year into the COVID-19 pandemic, the Hong Kong experimental music scene has been impacted by the global health crisis and the social restrictions it has imposed on its actors. Using insights from three active local experimental music musicians and event organizers, it argues that three main tendencies are currently at play in the scene: adaptation, internationalization and extinction. It concludes that while the COVID-19 pandemic has allowed some actors the possibility to break down the relative isolation characteristic of the Hong Kong experimental music landscape, it appears to largely compound pre-existing structural issues within the scene.</p> François Mouillot Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 123–134 123–134 10.1558/prbt.19421 Precarious scenes <p>This article examines how the 2019 Anti-Extradition Law Amendment Bill protests in Hong Kong, and the subsequent COVID-19 pandemic, has affected the indie music scene on a local level. It also explores the many ways that artists, bands and venue owners have sustained music activities and reflects on the impact that the pandemic has had on the author’s own research as a postgraduate student. The author discusses the changes that he has had to make following gig cancellations. The article concludes by considering how the pandemic has foregrounded performances of precarity in the scene’s activities, long before any pandemic or even protest movement occurred.</p> Jonathan Chan Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 135–143 135–143 10.1558/prbt.19335 ‘It was hard before and it’s even harder now’ <p style="margin: 0cm; margin-bottom: .0001pt; line-height: 200%;">This article offers reflections on the impact of COVID-19 on the arts and entertainment industries in Australia, with a specific focus on the music industry. The pandemic has placed added financial and psychological strain on the industry’s workers and performing artists, many of whom were already struggling emotionally with financial instability and job insecurity prior to the pandemic. The federal government’s inadequate financial support for arts workers, and its failure to protect Australia’s cultural and economic assets of live music and entertainment during the pandemic, are discussed. There is a need for a COVID-19 recovery plan that addresses the impacts of the pandemic and pre-existing issues of financial instability as well as the federal government’s undervaluing and underfunding of arts industries in Australia. The article is written from the perspective of the authors’ personal experiences as creative practitioners and researchers in the creative industries, and is based on media articles and research reports published prior to and during the pandemic (2018–2021). </p> Kat Nelligan Pariece Nelligan Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 144–158 144–158 10.1558/prbt.19345 The Jazz Social <p>The Jazz Social was an online virtual jazz club which started during the first shutdowns for COVID in Australia from April to July 2020, now archived as ten videos on The Jazz Social YouTube channel. It was designed as an opportunity for musicians to perform and make up lost income when gigs disappeared overnight. The venture was arguably successful for a virtual jazz club: it employed 47 musicians, paying on average $116AUD for each performance; and each gig reached an average of 340 people, a considerably larger audience than a typical face-to-face jazz performance would attract. The Jazz Social gigs also brought together geographically diverse musicians and provided a platform for them to share music and discuss their experiences. With an understanding that Australia is entering a ‘new COVID normal environment’ which may have ongoing implications for face-to-face performance practice, this article reflects on what The Jazz Social has revealed about the nature of jazz performance, collaboration, community, virtuality, and the limitations and affordances of new technologies in producing knowledge through improvisation.</p> Leigh Carriage Toby Wren Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 159–164 159–164 10.1558/prbt.19344 The social media strategies of punk and metal bands on Instagram during the COVID-19 closures of live music venues in Melbourne <p>The COVID-19 pandemic caused the closures of live music venues in Melbourne, Australia between March and November 2020. During this period, punk band Clowns and metal band Ocean Grove used the social media platform Instagram to engage their audiences and maintain their standing within their scene despite not being able to engage in regular activities such as live performance. This article analyses the strategies used by the bands, including fan engagement and dialogue, nostalgia for pre-pandemic times, and promotion and fundraising. When used in combination, these categories enabled the bands to solicit conversation from their fans, foster unity by reminiscing about previous successes, and promote merchandise and support organizations which mitigated the loss of income across the industry.</p> Al Marsden Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 165–172 165–172 10.1558/prbt.19369 Creative collaboration in the cloud <p>This article details online education design at an Australian university undergraduate music program. The author reviews the rapid development of online learning activities relating to music performance in response to the COVID-19 pandemic enforced lockdown. The lockdown imposed serious challenges for music educators, the overarching one being how to engage students via a screen rather than in a rehearsal room. As the unit designer/assessor, the author utilized specific cloud-based audio software networking tools that are accessible to students (Audiomovers, Splice Studio) to devise learning activities that encouraged creative interactive learning. The author details the advantages and disadvantages of each learning activity. As a substitute for face-to-face interaction, online learning has substantial limitations in relation to music education. Student engagement with accessible online audio tools can enhance skills and knowledge development and interactive learning, thus maximizing student satisfaction and collaborative learning outcomes.</p> Barry Hill Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 173–181 173–181 10.1558/prbt.19304 Pandemic pedagogy and facilitating connection <p>The shift to online teaching during the global pandemic has been extremely challenging for educators and students alike. In this article, the author shares some of her own experiences with designing an asynchronous Musics of Asia course for undergraduates at the UCLA Herb Alpert School of Music. Although she has taught Musics of Asia many times before in person, teaching the same course asynchronously is an entirely new course preparation. One of the challenges of an asynchronous format is the facilitation of student connection. Some of the pedagogical strategies with trying to create meaningful interactions with students are discussed. Rather than assigning a traditional final term paper, the author chose to design a Final Oral History Project. Students were paired into groups and had to set up and conduct an oral history interview with one of the guest lecturers for the course. The guest lecturers—all highly esteemed musicians with long professional careers in music performance—were born in the following countries: China, India, Mongolia, South Korea, Thailand, and Vietnam. The results of the final project, and some of the strategies for cultivating connections in online, asynchronous teaching, are discussed.</p> Katherine In-Young Lee Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 182–188 182–188 10.1558/prbt.19396 Editorial introduction Shelley Brunt Oli Wilson Copyright (c) 2021 Equinox Publishing Ltd. 2021-12-21 2021-12-21 21 2 91–95 91–95 10.1558/prbt.21557