The end of the world as we know it: Popular music's cultural mobility

Abstract

Popular music has moved to the centre of economic life, suggesting a shift in the political economy of advanced societies. The transition has been marked by a concomitant shift in the centrality of popular music in social life, assisted by new technologies. More importantly, the changes have been brought about by the reorganization of record company ownership and activity since the 1980s. This paper suggests that cultural studies could apply aspects of the research and analysis methods developed in institutional economics, to a study of the relationship between cultural and economic formations. Institutional economics, especially as proposed by Thorstein Veblen, provides a pragmatic critique for cultural industries in an era of globalization and rising corporate power. In this paper I have used institutional economics to illustrate how the shift in the organization of popular music has taken place within the corporate economy. The use of popular music as a feature of the corporate economy has involved the expansion of all forms of entertainment into the information economy. This convergence of activities and interests located in and around popular music is described by the term ‘cultural mobility’.     

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.     

Growing up is hard to do: Rock and roll performers as cultural heroes

This paper describes the changing nature of the rock and roll artist as a cultural symbol. The first rock stars (e.g., Elvis) were heroes for the young but decidedly antiheroic to adult society. Transitional ones (e.g., Beatles, Bob Dylan) contributed to the commercial viability of rock and more sharply defined their antiheroism in the 1960's. Contemporary artists are drawn from a wider variety of backgrounds (e.g., Tina Turner, Michael Jackson, Bruce Springsteen) and their cultural significance extends beyond their musical talents. The Live Aid, USA for Africa, and Farm Aid efforts illustrate the latter point. The contemporary heroic status of rock stars is due to two factors: 1) Over the years rock and roll has gradually become pop music; and 2) The antiheroic protests that rock was originally identified with have become more acceptable, even institutionalized. Rock stars are a kind of “new” hero. Their link to the mass media ensures visibility and discloses their antiheroism as well. In a complex process of social typing (also involving media and various audiences), they may reinforce cultural dreams and values, suggest deviant modes of expression, or aid in the development of new cultural forms.     

Decolonial Hip Hop: Indigenous Hip Hop and the disruption of settler colonialism

ABSTRACT

Contemporary Detroit has gone through many changes – or so it appears. From streets lined with vehicles made by Chrysler, Ford, and General Motors and driven by the nearly 2 million people who called the city home in 1950 to certain parts of the city looking like ghost towns; from a population that dwindled to 670,000 to the revival of downtown. Yet, what has been remarkably consistent is the invisibility of the Motor City’s Indigenous population. Indeed, Indigenous erasure, combined with rhetoric and policies that continue to marginalize and subjugate African Americans in Detroit, create a place rooted in multiple colonialisms. This essay examines how Detroit’s Indigenous Hip Hop artists resist settler colonialism through art, creativity, and culture as well as the practices of Detroit 2.0, a rhetoric and policy used by Detroit elites to reimagine it as a place of opportunity. By making visible the connections between blackness and indigeneity, as well as by linking the struggle of colonized peoples in Detroit to those in Palestine, Indigenous artists are not only asserting their humanity and challenging the longstanding idea of their erasure, but also constructing pathways for artists and activists to disrupt the effects of multiple colonialisms that continue to marginalize people of colour in urban areas. Detroit’s Indigenous Hip Hop artists make socially conscious music and also participate as activists in the city of Detroit. They serve as a window onto contemporary Indigenous identity, represent an exemplar of the urban Indigenous experience, and combine activism with art in a variety of ways.     

Colliding Identities in Arctic Canadian Sports and Games

Abstract

Using field data collected in northern Canadian communities between 1991 and 1995, this paper explores recent attempts by Canadian aboriginal peoples to determine and re-discover, on their own terms, what is meant by the expressions “traditional life” and “traditional culture.” Faced with the infiltration into the north of rationalized and commercial “southern” sports and the values they imply, aboriginal Canadians have attempted to consolidate their cultural integrity through the staging of games-festivals. An examination of these games-festivals demonstrates a number of tensions or colliding identities not only between “outside” and aboriginal communities but also within aboriginal communities over the place and meaning of traditional forms of sport, games and other contests.     

The dialectics of politics and aesthetics in the Chinese Korean dance drama,the spirit of Changbai Mountain

This article explores the relationships between the political aspirations and aesthetic endeavours expressed in the Chinese Korean dance drama, The Spirit of Changbai Mountain, and how they relate to the political, cultural and ethnic identity of this migrant community. The nationality policies and socialist ideology of cultural production in China give shape to this dance drama, which depicts a collective history of the Korean minority as full members of the Chinese multi-ethnic socialist state. While political conformity is explicitly stated in the accompanying Chinese prose, more subtle, poetic expressions of different emotions are articulated through the non-verbal medium of dance and music whose meanings are drawn from the shared experiences specific to this ethnic community. Additionally, the aesthetic differentiation made by the Chinese Korean artists between their dance and those of their homelands illustrates how Korean tradition is identified and interpreted in this diaspora to define their cultural hybridity. It is suggested that the performance of The Spirit of Changbai Mountain is simultaneously a political and aesthetic event in which a variety of aspirations and identities are expressed in dialectics. These dynamics can also be understood in terms of a discursive field of power which underpins the production and consumption of minority/diaspora performance in general.     

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.     

“We Live and Breathe Through Culture”: Conceptualising Cultural Connection for Indigenous Australian Children in Out-of-home Care

Indigenous Australian children are overrepresented in the out-of-home care (OOHC) system, with numbers and rates on an upward trajectory. There is now serious concern that this overrepresentation is creating a second Stolen Generations in Australia, noted within policy campaigns such as Family Matters—Kids Safe in Culture, not in Care, and Grandmothers Against Removals. While placement in OOHC is designed to protect children’s long-term safety and wellbeing, it threatens cultural connection, which is fundamental to Indigenous identity and wellbeing. Some government policies that aim to foster cultural connection have not been effective, while others, such as the 2014 permanency legislation in Victoria, arguably threaten cultural connection. This article highlights the vital importance of cultural connection for Indigenous child development, arguing that for Indigenous children, family connection strengthens cultural connection. We argue that family needs to be recognised as a critical component of cultural connection that is equally as important as placement stability in OOHC. Consequently, statutory and community organisations responsible for Indigenous children in OOHC must focus on facilitating and strengthening family relationships, not only to foster cultural connection, but also to explore reunification possibilities.

IMPLICATIONS

• Cultural connection is fundamental to Indigenous identity and wellbeing, but requires family connection if it is to be fostered and strengthened.

• When Indigenous children live in out-of-home care, social workers in child and family welfare need to ensure that children are connected to culture.

     

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.     

Invisible republics and secret histories: A politics of music

Abstract

How does music ‐ or any cultural artefact ‐ assume significance for those who encounter it? Why does one sound or image come to matter, while others are overlooked or forgotten? The answer is not to be found in the sounds alone, but in the context and conditions in which they are heard. This article explores this argument by considering the case of The Anthology of American Folk Music, a set of recordings from the 1920s and 1930s, which has exercised an extraordinary power over popular music since its release in 1952. Using the arguments expounded by Robert Cantwell and Greil Marcus, and pointing to the uses of music in establishing national identities and mobilising social movements, the article argues for an understanding of music's significance that links social experience, aesthetic pleasure and political values.     

‘Singing acts’ from the deep North: critical perspectives on northern exotics,contemporary ethnic music and language preservation in Sámi communities

This paper discusses the relationship of northernness and performances of contemporary ethnic popular music, within the context of critical geography and postcolonial theory. The focus is on the Sámi ethnic minorities of northern Finland. The North of Finland, ‘nature-Finland’, is understood here as an imaginative region which over the course of several centuries has been constituted through various forms of stereotyping, mystifying, exoticising and othering of Sámi minorities in accordance with the nationalist endeavours of Southern Finland. While these stereotypes and preconceptions of northernness have delimited northern cultural activity, contemporary ethnic music is conceived here as a strategic tool with which stereotypes of northernness can be contested and the work of the preservation of ethnic heritage put into action. The focus is on the works of Inari Sámi-singing rap musician Amoc, Skolt Sámi-singing heavy rock girl Tiina Sanila and the North Sámi-singing hard rock band SomBy. Their music is approached as ‘singing acts’ that work as tools for the preservation of ethnic culture and minority languages and for the deconstruction of stereotypes directed at northernness. The paper claims that contemporary contexts and genres within which singing in Sámi languages takes place may inspire the audience to ponder and reconsider their own ways of perceiving Sáminess and northernness.     

African music: negotiating a space in contemporary society

This paper explores the notion of African music as a way forward to negotiate a ‘space’ in contemporary society. The word ‘space’ is used as a metaphor to explore and experiment with the dynamics of culture and hybridity. The authors view themselves as ‘agents of change’ and knowledgeable professionals in the teaching of African music, one based in South Africa (Johannesburg) and the other in Australia (Melbourne). They reflect on examples from their own teaching and learning experiences as they argue that the translation of ‘traditional’ African music can only be brought about by means of cultural dialogue, within cultures and between cultures. This paper also addresses the issues of cultural authenticity as a redefined and renegotiated space when teaching and learning African music. The authors also consider the difficulties of addressing ‘difference’ and ‘otherness’ when teaching African music, with South Africa and Australia both previously seen as outposts of the British Empire. They contend that such differences can prove to be productive and rewarding through subtle mediation and accommodation when crossing cultural borders.     

Claiming Queer Territory in the Study of Subcultures and Popular Music

For both the heterosexual and queer subject, subcultural participation and stylistic modes of cultural production and consumption, including popular music, are critical mechanisms aiding in the construction and expression of identity. Yet, in spite of abundant empirical examples of queer music cultures, subcultural studies scholars have paid minimal attention to queer sexualities and their concomitant stylistic modalities. In this article, I claim the importance of queer subterranean music cultures by synthesising significant literatures from various fields of inquiry including cultural sociology, popular musicology and queer studies. To begin, I will briefly clarify to whom and about what queer (theory) speaks. I then go on to offer an overview of subcultural and popular music research paying particular attention to the subaltern queer subject and surveying queer criticism within each field. Accordingly, I discuss various sites of popular music production and subcultural style such as punk and hip‐hop, to show how non‐heterosexual subjects carve space for resistant queer sexualities and merge queer sensibilities with pre‐existing cultural forms. This article consolidates interdisciplinary approaches that will benefit scholars invested in the study of queer subcultures and popular music.     

Boundaries Exercise Power: Comparing Culture in the Keweenaw and Nickel Belt

Abstract

Examination of the Keweenaw peninsula, Michigan, and the Sudbury Basin, Ontario, offers an opportunity to assess the impact of the Canadian-American border. Both sites hosted various cultural activities shaped by ethnic heterogeneity, corporate influence, cultural elements challenging corporate influence, and isolation from major centres. Popular culture, in both cases, included standard spiritual and political institutions, music, dance, writing, and a growing sentiment of being ‘northern’. Examining these two northern, resource-industrial hinterlands reveals parallel roles as outliers of established culture and inflectors as outliers. This case study also examines linkages between two nations sharing a long boundary.     

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.     

'Ancient + Future = Now': Goa Gil and Transnational Neo-Tribalism in Global Rave Culture

Abstract

This article posits the case study of rave music DJ Goa Gil as a dynamic example of the transnational, deterritorializing flows that inform the community formation and signifying practices of contemporary rave culture. Intended as a commentary on the changing nature of subcultural formation and practice, Goa Gil's story reveals a complex pattern of transnational and transcultural networks and exchanges. From 1960s American hippy to global rave music DJ, guru, and nomad, Goa Gil is one of the subculture's progenitors of neo-tribalism, a discursive and symbolic trope that allows ravers to imagine, and give name to, their transnational communities of affect that cross national and cultural borders. Set within a social context of advanced information technologies and rapidly changing modes of communication, neo-tribalism, as a critical concept, can be easily applied to any number of communities of affect across the globe, paving the way for a re-evaluation of (sub)cultural inter-connectedness in the early twenty-first century.     

Eating heritage: caste,colonialism, and the contestation of adivasi creativity

ABSTRACT

This paper uses a multiple colonialisms approach to study cultural production in India and argue that coloniality is not a casteless structure of violence. In discursive and planning rhetoric, ‘creativity is in India’s DNA.’ This discourse incites the poor to harness and develop their tangible and intangible cultural heritage in order to feed themselves. Foregrounding anti-caste, Dalit scholarship in conversation with extant formulations of decolonial aesthetics focuses urgent attention on the fact that caste domination and violence structure inter-state political systems of development planning and post/colonial state discourses of heritage that claim to feed the caste-oppressed poor with their own creativity. This article attends to the political histories and critiques of Indigenous Chhara performance artists because their expressive cultures foreground anti-caste struggles against simultaneous state erasure and capture of Indigenous creativity. Against planning’s compensatory solution of eating heritage, anti-caste scholarship and the creative politics of Budhan Theatre refute the apparent castelessness of what counts as creativity and heritage, demonstrating that optimistic global creative economy discourses actually rely upon caste and colonial histories to entrench caste-based definitions of heritage within international and national development regimes. Budhan Theatre’s decolonizing cultural production avoids the mistakes of postcolonial scholarship and its erasure of caste histories. They prompt a multiple colonialisms approach which refuses labels of postcolonial or settler colonial states to privilege instead attention to the actually existing contemporary ways in which caste violence structures inter-state systems of violence, policies, and discourses.     

Modern Traditionalism: Consanguineous Marriage in Qatar

Consanguineous marriage, or matrimony between biological relatives, is commonplace and on the rise in Qatar, an ethnically heterogeneous Middle Eastern country. Previous studies have demonstrated that modernization often reduces traditional forms of marriage, such as arranged and consanguineous matrimony. Qatar's rapid modernization, however, has coincided with increased rates of endogamy. In this article, the authors examine the social processes that shape normative consanguineous marriage formation and progression in Qatar. On the basis of in‐depth interviews (n = 35) with men and women engaged or married to a cousin, they detail the categorical schemas that lead to consanguineous matrimony: reservation, joking, filtering, engagement, and courtship. In describing these social exchanges, the authors illustrate 2 key features embedded within them: (a) their distinct tempo and (b) how participants frame their experiences using discourses of romantic love. Reflecting larger cultural practices and attitudes in Qatar, the authors found an amalgam of contemporary and conventional that they label modern traditionalism.