Praise and Protest: Music and Contesting Patriotisms in Postcolonial Kenya

Abstract

This paper explores the partisan nature of music and musicians in Kenya from the colonial era to the present, and investigates how music served many differing sectarian interests during this period. It reveals how the ambivalent space within which musicians work influences and shapes their music, paying particular attention to political context. It shows how officialdom in postcolonial Kenya has endeavored to construct, and then saturate public space with, its own version of patriotism. The paper also reveals the ways in which such patriotism is contested. However, the fact that, in the economic and political context of contemporary Kenya, some musicians defend their right to economic gain in response to accusations of sycophancy, suggests that popular music does not always function as a site of subversion.     

The sampling continuum: musical aesthetics and ethics in the age of digital production

This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity. Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how sampling has been legally differentiated from other types of musical copying. Secondly we show that, despite this, comparable ethical codes exist within and across musical methods wherein sampling is part of the spectrum of activities. Thirdly, we discuss the ubiquity of digital technology within popular music production and the resultant closer relationship between sampling and other musical techniques moving onto, fourthly, how the sampling aesthetic has become integrated into musical practice in a manner insufficiently accounted for by its legal and industrial contexts. This ‘post-sampling’ reality places sampling and other musical techniques along a spectrum, in practical and ethical terms, and musicians would be better served by sampling being treated as part of the overall musical palette, allowing both scholars and the law to concentrate on ideologies of practice across the tools that musicians use rather than between different specific techniques.     

Reluctant entrepreneurs: musicians and entrepreneurship in the ‘new’ music industry

Changing labour conditions in the creative industries – with celebrations of autonomy and entrepreneurialism intertwined with increasing job insecurity, portfolio careers and short‐term, project‐based contracts – are often interpreted as heralding changes to employment relations more broadly. The position of musicians’ labour in relation to these changes is unclear, however, given that these kinds of conditions have defined musicians’ working practices over much longer periods of time (though they may have intensified due to well‐documented changes to the music industry brought about by digitization and disintermediation). Musicians may thus be something of a barometer of current trends, as implied in the way that the musically derived label ‘gig economy’ is being used to describe the spread of precarious working conditions to broader sections of the population. This article, drawing on original qualitative research that investigated the working practices of musicians, explores one specific aspect of these conditions: whether musicians are self‐consciously entrepreneurial towards their work and audience. We found that, while the musicians in our study are routinely involved in activities that could be construed as entrepreneurial, generally they were reluctant to label themselves as entrepreneurs. In part this reflected understandings of entrepreneurialism as driven by profit‐seeking but it also reflected awareness that being a popular musician has always involved business and commercial dimensions. Drawing on theoretical conceptions of entrepreneurship developed by Joseph Schumpeter we highlight how the figure of the entrepreneur and the artist/musician share much in common and reflect various aspects of romantic individualism. Despite this, there are also some notable differences and we conclude that framing musicians’ labour as entrepreneurial misrepresents their activities through an overemphasis on the economic dimensions of their work at the expense of the cultural.     

Musicians' social representations of health and illness: a qualitative case study about focal dystonia

Musicians are artists who use the entire body when playing their instruments. Since over-practicing may lead to physical problems, musicians might encounter focal dystonia, a hand's motor disorder. The cause seems to be the brain's confusion between afferent and efferent information transfer provoking a disharmony with the instrument. Although focal dystonia may have serious consequences for a musician's career, it is unclear how musicians perceive this trouble. This case study describes two musicians with focal dystonia. Qualitative research was used to study their social representations of health and illness. The results show the central role of the hand during music playing, the passion for music and the understanding for focal dystonia as "brain panic". Therapists should account for those specific features inherent to this population in order to better help them in their quest for art through music. Giving a voice to musicians may improve their quality of care.     

Richard Davis 1943-1981

This article examines some of the key issues discussed and debated in the literature on ‘world music’ in anthropology and ethnomusicology. In particular, it focuses on the kinds of aesthetic and musical decisions made by non-Western musicians as they produce music for a global market; as both producers and consumers of global music, musicians labelled by the term ‘world music’ must consider both local and global audiences when they take the stage or enter the recording studio. The article then relates these issues to the other articles in this issue of TAPJA, which explore a variety of local responses to the world music phenomenon.     

Sea breeze: Globalisation and cook islands popular music

This paper examines the dynamics of Cook Islands popular music, most commonly referred to as ‘island music’. Among Cook Islands communities at home and abroad, island music is performed at informal gatherings, at nightclubs and bars. It is also a central component of large functions such as weddings and island fundraising events. String bands—who perform island music—undertake performance tours through New Zealand, the Cook Islands and French Polynesia. These bands also record audiotapes and CDs of their music, which are extremely popular among Cook Islander communities across the region. Despite island music's centrality in many social contexts it is also the subject of much critical debate. It is viewed by some both as a ‘bastardisation’ of ‘traditional’ expressive forms and as an indicator of ‘global’ corruption; local music is seen as ‘swamped’ by Western popular music. I argue that these debates are symptomatic of anxiety about globalisation and related notions of authenticity, cultural ownership and loss. They are also ultimately concerned with negotiating locality and identity across the Cook Islands diaspora.     

THE FREE-LANCE MUSICIAN AS A TYPE OF NON-PERSON: AN EXTENSION OF THE CONCEPT OF NON-PERSONHOOD

Free-lance musicians are professionally trained artists who lack permanent membership in any musical organization. Although trained to be creative artists, most frequently free-lancers play supporting music for operas, ballets and solo performers on stage, or provide background music for dinners or receptions. As a consequence, their technical skills are devalued by audiences; they often play music below their skill level; spontaneity in interpretation is extremely limited or impossible; they are anonymous to the audience and their playing generally receives an impersonal response; performances serve a functional rather than an aesthetic purpose; and players are interchangeable between groups. As a result of treatment as non-persons, free-lancers hold a sense of low prestige for themselves, and the occupation in many ways serves as a negative reference group for its members. Wide implications regarding non-personhood are drawn for an increasingly mechanized society. Contrary to Goffman's examples, non-personhood is not tied to occupations of limited skill, but rather, can occur in any occupational group under conditions in which individual interpretation, decision making, and power are nullified.     

Ideology in Action: Symbolic Localization of Kurdistan Workers' Party in Turkey

Revolutionary ideologies such as Marxism and Islamism often aim to transform dominant local structures, leading their proponents to find themselves torn between global ideologies and local politics. A critical question arises: What does happen when a revolutionary movement's ideology drastically contradicts with the movement's local pragmatic purposes? Analyzing Kurdistan Workers' Party (PKK) in Turkey, this article explores the complex process of ideological transformation under the forces of local competition. Drawing on Mikhail Bakhtin's dialogic approach, I introduce the concept of symbolic localization to understand how revolutionary ideologies evolve through pragmatic concerns. Symbolic localization refers to a discursive process of collective reputation work in which social movement activists blend local cultural repertoires and their “we” identity in order to build recognition, legitimacy, and prestige in the eyes of local population. Three major mechanisms of the symbolic localization process are identified: moral authority building, public symbolism, and memory work. Symbolic localization suggests analyzing movement ideology as a discursive process and illuminates how political activists are shaped by relational local engagements.     

Contemporary South African Jazz and the Politics of Place

Abstract

Drawing on popular music scholarship on music and place, as well as interviews with jazz musicians, scholars, and journalists active on the jazz scenes in Durban and Johannesburg, this article considers how locales are perceived to uniquely influence music-making. Extending Bakhtin's notion of “utterance” to music, it argues that the musical character of recent South African jazz subtly registers demographic, political, economic, and environmental specificities peculiar to contemporary Durban and Johannesburg. It is argued that contemporary South African jazz, as it is experienced by its performers and listeners, may be profitably conceptualised as speaker and addressee of locale.     

'SALSA NO TIENE FRONTERA': ORQUESTA DE LA LUZ AND THE GLOBALIZATION OF POPULAR MUSIC

This article discusses key dynamics in the globalization of popular music, more specifically the interplay between technology, social and commercial structure, and meaningful sound forms. It analyses Orquesta de la Luz, an all-Japanese salsa band, as an example of the transgression of ethnic, geographical, linguistic and national boundaries of Latin American music. The band demonstrated the intertwined nature of the global and the local, in addition to the historical formation of modern Japanese culture. Their worldwide fame derived from their musicianship, their synchronicity with the world music boom, and finally the diffusion of digital technology in popular music production and consumption. This article argues that economic and technological conditions are as much constitutive of the band's unique practices as are aesthetic ones. It then goes on to question the dichotomies, ‘universalism vs. particularism’ and ‘creativity vs. copy’. This discussion builds towards an examination of the relationship between purist aesthetics (hyperrealism) and the Japanese concept/method of learning; it also explores the notion of cultural authenticity that located the activities of the band. Paradoxically, Orquesta de la Luz demonstrated that Japanization does not necessarily imply synthesis with vernacular elements for purist musicians. Theoretically, this ‘becoming Other’ reveals a parallel capacity for self-exoticization and self-orientalization with respect to Japanese identities. Orquesta de la Luz's musical search for the roots of otherness is closely tied with the feeling among many Japanese youth for the loss of Japan's ‘genuine’ cultural identity. Another focus of this study, then, is to shed light on the relevance of exoticism in the band's foreign reception and to assess their Latino image in the Japanese context.     

Gender and Performance Capital among Local Musicians

This article extends Bourdieu’s field theory to explain how learning spaces in the Toronto folk and metal scenes create gendered access to a field-specific form of cultural capital: performance capital, or the instrumental and interpersonal skills required to perform music. Folk musicians develop performance capital in open-access spaces, such as workshops and open stages at local folk clubs, while metal musicians learn in private spaces such as garages, basements, and rented rehearsal rooms. Folk’s learning spaces are open to all aspiring musicians, while access to heavy metal’s learning spaces relies on social networks from which women are often excluded. These different processes of capital development can lead to greater or lesser opportunities for women to become cultural producers: In Toronto, women make up approximately five percent of heavy metal musicians, but almost half of practicing folk musicians.     

Negotiating and enacting musical innovation and continuity: How some torres strait islander songwriters incorporate traditional dance chants within contemporary songs

Many Indigenous peoples worldwide engage with popular music and popular music forms, often striving to find a balance between traditional and contemporary influences.

This article uses ethnographic data from Australian Torres Strait Islander songwriters to explore the processes and rationales they use when incorporating traditional dance chants within contemporary songs.

The research demonstrates some of their processes of innovation and continuation while they negotiate crucial cultural and community politics that inform not only music and dance but also other forms of contemporary Indigenous artistic expression.

The songwriters perceive themselves as creators but creators who must also work within the cultural, social and aesthetic dictates of their communities.     

All the way from … authenticity and distance in world music production

World music and the narratives it produces are at the very centre of a formerly transnational production and consumption process. However, the shortened distance between the sites of production and consumption of this good, brought on by migration and greater participation, has created a dilemma for the UK-based artists who perform it: how to maintain authenticity without the added value of ‘distance’. Therefore, the aim of this article is to examine the ways in which musicians and other participants attempt to overcome this problem and in doing so (re)-construct particular aspects of their identity. Rather than being just another critique on authenticity, this article uses distance as an organizing concept in understanding the challenges facing world music production in the UK.     

La division sexuelle du travail chez les musiciens français

Data from a survey of French musicians conducted for the Ministry of Culture are used to analyze the processes producing inequality between men and women in music. Two models of a sexual division of labor coexist along with a differentiation depending on the style (learned vs. popular music). These two models closely link together working conditions, careers and the organization of home life for male and female musicians; and they underlie the construction of musicians', identities. In the world of popular music, bodily stereotypes of femininity (youth, seduction) and masculinity (the aestheticization of deviance, the bohemian life) dominate. In the world of learned music, a hierarchical model of masculine authority prevails with the figure of the conductor at the summit.     

The cultural representation of the farming landscape: masculinity, power and nature

This paper explores ideas of masculinity and femininity as articulated in the representation of the rural landscape among farm families in a community of Southern France. It is shown that the local discourses of the farming landscape emphasise the embodied inherited relationship between the farmer and the land. In these discourses, the good farmer is one who has an innate understanding of nature. This sympathetic feel for the land is associated with traditional peasant farming. In contrast, the alienated and exploitative attitude of the bad farmer towards nature is associated with modern agriculture. It is argued that this rhetoric of landscape and identity reproduces patriarchal ideologies which exclude and marginalise women from farming. The real farmer can only be a man because only men are seen as having this natural connection with the land. Women in contrast are defined by their lack of connection to farming and the land. Through an analysis of discourse, it is shown how an imagery of earth and blood constitutes a cultural idiom which legitimates men's mastery over nature and women.     

Barbie Zelizer,Ed., Visual Culture and the Holocaust/Matthew Baigell and Milly Heyd,Eds., Complex Identities: Jewish Consciousness and Modern Art

Mass media and the culture it carries have been identified as a key site of conflict in the so-called culture wars, pitting evangelical Christians against mainstream American society. Paradoxically, Evangelicals historically have appropriated the spectrum of forms of popular culture in America and secular commercial practices for evangelizing vehicles and, at the same time, contributed an evangelical voice to that culture. The author argues that Evangelicals' use of media has moved into a new level of sophistication enabling effective entry into the national discourse, partly through dramatic growth of contemporary Christian music. Given this phenomenon, the author examines issues of identity and social forces driving the subculture; he also explores potential influences or effects on the broader secular culture. Using a range of cultural theory, the author argues that the movement toward religious messages in the form of popular music enables the subculture of evangelical Christians to resist against a dominant secular society by taking possession of a cultural form and redefining it as their own, empowering them to effect an influential voice in the cultural discourse of American society.     

Fashion,the passage,the body

Studies on transnational cultures have shown that local, national identities are not necessarily subordinated to, or erased by, the globalizing forces of the economy. Rather, the local mediates transnational cultures as well as it is transformed by the crossing of cultural boundaries. Likewise, emerging interdisciplinary and cultural studies approaches to Latin(o) popular music examine the ways in which musical production, circulation and reception create cultural spaces that challenge hegemonic notions of national identity and discrete cultural boundaries. This article examines the figure of the Queen of Salsa, Celia Cruz, and the tensions among the multiple, transnational subjectivities that are constituted through her musical repertoire, her performances on stage, the aesthetics of her body, and her public statements in interviews. Having spanned more than sixty years of performances and recordings, Celia Cruz's diverse repertoire and musical selections have served as a performative locus for the negotiations of her Cubanness (her exile and national identity) and a hemispheric, Latin American identity that also includes the United States. Likewise, her construction of blackness as an Afro-Cuban woman transforms and is transformed by her collaborations with African-American musicians and singers, from jazz to hip-hop. Celia Cruz has also crossed racial and cultural boundaries by collaborating with Anglo musicians and by tropicalizing rock music. Her staged persona and her body aesthetics also reveal the fluidity with which the Queen of Latin music assumes diverse racial, national and historical identities while she simultaneously asserts her Cubanness through the use of Spanish on stage. Celia Cruz serves as a complex and intriguing icon of the relational nature of nationalism and transnationalism.     

Sing a Song of Drug Use-Abuse: Four Decades of Drug Lyrics in Popular Music–From the Sixties through the Nineties

Songs dealing with illegal drugs have long dotted popular music. It was not until the aftermath of the sixties youth counterculture, however, that drug lyrics became a recurring musical motif. In the decades since, the lyrical treatment of drugs has undergone change. Heroin and cocaine have largely, though not exclusively, been treated antagonistically, with the animosity toward cocaine becoming more pronounced after crack cocaine was introduced in the mid-1980s. Marijuana, on the other hand, has generally been perceived as innocuous, if not positively assessed, and this treatment has crossed the decades into the nineties. In more recent years, however, the positive assessment of marijuana has undergone change, with younger musicians more likely to decry the harm that drugs do than older musicians do. This prosocial aspect of contemporary popular music has been largely ignored.