From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, ...hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.
From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, ...hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.
Popular Music in the Post-Digital Age explores the relationship between macro environmental factors, such as politics, economics, culture and technology, captured by terms such as ‘post-digital’ and ...‘post-internet’. It also discusses the creation, monetisation and consumption of music and what changes in the music industry can tell us about wider shifts in economy and culture. This collection of 13 case studies covers issues such as curation algorithms, blockchain, careers of mainstream and independent musicians, festivals and clubs—to inform greater understanding and better navigation of the popular music landscape within a global context.
Is there such a thing today as music that's meaningfully new? In our contemporary era of remixing and retro styles, cynics and romantics alike cry 'It's all been done before' while record labels and ...media outlets proclaim that everything is new. Coded into our daily conversations about popular music, newness as an artistic and cultural value is too often taken for granted. This book instigates a fresh debate about newness in American pop, rock'n'roll, rap, folk, and R&B made since the turn of the millennium. Utilising an interdisciplinary approach that combines music criticism, philosophy, and the literary essay, Robert Loss follows the stories of a diverse cast of musicians who seek the new by wrestling with the past, navigating the market, and speaking politically.
Listening to love WOOLNER, CHRISTINA J.
American ethnologist,
05/2022, Letnik:
49, Številka:
2
Journal Article
Recenzirano
ABSTRACT
Both music and love are conspicuously absent from the public soundscapes of Hargeysa, Somaliland. But behind closed doors, people listen to love songs. In doing so, these lonely love ...sufferers and love hopefuls make sense of various challenges. Using accounts from a cross section of Somalilanders, I show that these solitary listening practices open into uniquely intimate and transformative opportunities for
dareen‐wadaag
(feeling sharing). These opportunities critically depend both on listeners’ attention and intention,
and
on the culturally elaborated affective affordances of love songs’ “voice”—a voice that is conceived as “love incarnate” and that models intimacy. In short, listeners do not just listen to love songs; they
listen to love
. Their listening practices call for anthropological models that more fully account for the relationship between culturally situated ears and voices, as well as for the complex interrelation of sound, affect, and subjectivity.
listening
,
aurality
,
love and intimacy
,
voice
,
iconicity
,
sound and affect
,
music
,
Somaliland
Drawing on the Gramscian concept of hegemony, this article examines Hezbollah's muqawama project within the Lebanese political arena. It provides a novel interpretation of Hezbollah's political ...development from force operating through a 'blitzkrieg' strategy to hegemonic politics. It examines the role that the muqawama concept has played in shaping the organization's changes in its latest phase, as well as its relationship with other political forces at the national and regional level. It concludes by developing a cultural analysis of Hezbollah's video-clips and songs, showing how these embody the new nature of the muqawama project, and its various dimensions.
Giving a precise definition of what an institution is raises epistemological dilemmas concerning its supposed universal applicability and the coexistence of different institutional regimes (e.g. ...state and customary). Scholars who have dabbled with this question often identify rules, behaviours, values, or social roles as the essence of institutions. In fact, these constitutive features do not necessarily occupy a leading position in all societies. In this article, I argue that, among East African pastoral populations such as the Samburu of northern Kenya, institutions of age class systems are the product of the changing identities of the person's maturation process. These institutionalized life cycles regulate the distribution of powers, rights, and duties within the community. Moreover, if institutions can be different ‘things’, similarly, the objects through which they materialize can vary profoundly from one social system to another. In the case of the Samburu, customary age institutions can be perceived, performed, and manipulated in the form of songs, dances, and ornaments that represent their tangible, aural, visible, and actionable substance. Just as age manifests itself through the body, institutions founded on age take shape through sonic and kinetic bodily expressions.
Abstrait
Quelle est la forme des institutions ? Matérialiser les cycles de la vie dans une société à classes d’âge en Afrique de l'Est
Résumé
Donner une définition précise de ce qu'est une institution soulève des interrogations épistémologiques concernant son applicabilité universelle supposée et la coexistence de différents régimes institutionnels (par exemple, étatiques et coutumiers). Les spécialistes qui se sont penchés sur cette question identifient souvent les règles, les comportements, les valeurs ou les rôles sociaux comme l'essence des institutions. En réalité, ces caractéristiques constitutives n'occupent pas nécessairement une position dominante dans toutes les sociétés. Dans cet article, je montre comment, parmi les populations pastorales d'Afrique de l'Est telles que les Samburu du Kenya, les institutions des systèmes à classes d'âge sont le produit des identités changeantes du processus de maturation de la personne. Ces cycles de la vie institutionnalisés régissent la répartition des pouvoirs, des droits et des devoirs au sein de la communauté. En outre, si les institutions peuvent être des “choses” différentes, les objets par lesquels elles se matérialisent peuvent également varier profondément d'un système social à l'autre. Dans le cas des Samburu, les institutions coutumières d'âge peuvent être perçues, performées et manipulées sous la forme de chants, de danses et d'ornements qui représentent leur substance tangible, acoustique, visible et actionnable. Tout comme l'âge se manifeste à travers le corps, des institutions fondées sur l'âge prennent forme à travers des expressions corporelles, sonores et kinésiques.
The topic of this article is the reproduction of tradition among the Bandanese, an Eastern Indonesian people. I analyze the style and rhetoric of songs that tell about ancestral sea voyages. The ...question I address is what happens to the value of the songs as tradition when they turn from oral performances into circulating texts. I explore several contexts of performance and transmission and argue that the songs can be embedded in lived realities in different ways. By writing the songs down, the Bandanese reorganize their tradition into new genres of text and performance. Their metadiscourse of tradition affirms that these genres represent the exemplary, complete language of the ancestors. Although singers and writers affirm the artistic, textual, and cultural completeness of their arts, they are reluctant to pass on their knowledge in an already integrated form.
Muslim communities of Malabar, popularly known as Mappilas have long been considered notorious for their violence and ignorance, a reputation they gained through several centuries of resistance that ...they put up against the Portuguese and British colonial regimes. Negative stereotypes about them were also extended to their literature that was evaluated as unimportant. While the colonial regime reprimanded Mappila traditions for their blind adoration, expressed in devotional poetry and songs composed in Arabic-Malayalam (Malayalam written in Arabic script), popularly known as mappilapatt, they also accused this literature of inciting 'fanatical feelings.' This colonial suspicion reaffirmed Mappilas as agents of fanaticism who derived their religion chiefly from devotional songs and stories about Muslim heroes. Their 'dangerous sympathy' for 'vulgar ballads' was perceived as a rejection of liberal values, and of rational thought. The recitation of their poetry at religious or domestic gatherings was denounced as detrimental, and as evidence of how Muslims disturbed the peace. Such colonial assumptions are reflected in postcolonial scholarship (Dale 1975) that neglected, dismissed, and even scorned Arabic-Malayalam print culture. Arabic-Malayalam print culture burgeoned during the colonial period, and was perceived as an instigator of intense emotions like martyrdom that triggered outbreaks and suicidal mentalities (Fawcett 1901). Postcolonial scholarship, thus, largely accepted the colonial antipathy to Mappila literary tradition that marginalized Arabic-Malayalam, Mappila songs. This in turn denied the idiom and literature from gaining state patronage, and branded it as a ‘vulgar’ dialect that was at best limited to oral literature, folklore, and fairy tales.
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