Transcultural Sound Practices: British Asian Dance Music as Cultural Transformation

Description

Listening to the sound practices of bands and musicians such as the Asian Dub Foundation or M.I.A., and spanning three decades of South Asian dance music production in the UK, Transcultural Sound Practices zooms in on the concrete sonic techniques and narrative strategies in South Asian dance music and investigates sound as part of a wider assemblage of cultural technologies, politics and practices. Carla J. Maier investigates how sounds from Hindi film music tunes or bhangra tracks have been sampled, cut, looped and manipulated, thus challenging and complicating the cultural politics of sonic production. Rather than conceiving of music as a representation of fixed cultures, this book engages in a study of music that disrupts the ways in which ethnicity has been written into sound and investigates how transcultural sound practices generate new ways of thinking about culture. Cover Contents Preface Acknowledgements Introduction Part One Towards a Cultural Analysis of Sound Practices 1 Renegotiating Culture in the Age of British Asian Dance Music 2 The Concept of Transcultural Sound Practices Part Two Listening to British Asian Dance Music 3 Re-Fusing and Reclaiming UK Bhangra: Apache Indian, No Reservations (1992) 4 Demystifying Asianness: Asian Dub Foundation, Community Music (2000) 5 Sonic Fictions, Global Noise: M.I.A., Arular (2005) and Kala (2007) 6 Performativity, Technology and the Body: Nathan ‘Flutebox’ Lee, Flutebox (2011) 7 The Sonic Politics of Place: Dusk + Blackdown’s Margins Music (2008) Part Three Thinking Sound as Cultural Transformation 8 Conclusion – Transcultural Sound Practices in British Asian Dance Music 9 Outlook – On Transcultural Sound Practices beyond Music Notes References Index