Music, Popular Culture, Identities

Description

Music, Popular Culture, Identities is a collection of sixteen essays that will appeal to a wide range of readers with interests in popular culture and music, cultural studies, and ethnomusicology. Organized around the central theme of music as an expression of local, ethnic, social and other identities, the essays touch upon popular traditions and contemporary forms from several different regions of the world: political engagement in Italian popular music; flamenco in Spain; the challenge of traditional music in Bulgaria; boerenrock and rap in Holland; Israeli extreme heavy metal; jazz and pop in South Africa, and musical hybridity and politics in Côte d'Ivoire. The collection includes essays about Latin America: on the Mexican corrido, the Caribbean, popular dance music in Cuba, and bossanova from Brazil. Communities of a cultural diaspora in North America are discussed in essays on Somali immigrant and refugee youth and Iranians in exile in the US. Grounded in cultural theory and a specialized knowledge of a particular popular musical practice, each author has written a critical study on the mix of music and identity in a particular social practice and context. Introduction Works Cited From cantautori to posse: SociopoliticalDiscourse, Engagement and Antagonism in theItalian Music Scene from the 60s to the 90s Framing a Discursive Device… …By Introducing Pasts… …While Noticing Permeable Boundaries Foregrounding cant autori – in the 70s... “ Riflusso,” Resistances, Unoccupied Roads Antagonistic Practices – Dialectical Singing Works Cited El corrido: Identity, Narrative, andCentral Frontiers Works Cited A National Rhythm: Social Dance and EliteIdentity in Nineteenth-Century Havana Works Cited Globalization and Identity: The Discourseof Popular Music in the Caribbean The “Materiality of Everyday Life” Popular Music and its Discourse Works Cited “Keeping it real”?: African YouthIdentities and Hip Hop The Reality Issue and Black Youth Identities Somali Youth in Context Transcultural Encounters and Sutured Subjects Belonging versus Fitting In: Somali Youth and Peer Cultures Performing American Blackness Cultural Consumption, Mass Media, and Identity Transformation Conclusion Works Cited “I hate this fucking country”: Dealingwith the Global and the Local in theIsraeli Extreme Metal Scene The Israeli Extreme Metal Scene The Discursive Production of Marginal Identities Use of Strategies Conclusion Works Cited The Idiocy of Rural Life: Boerenrock, the RuralDebate and the Uses of Identity The Rural Debate in the Netherlands The Economic Roots of Rural Idiocy Boerenrock Normaal Conclusions Appendix Works Cited Rap, Race, the “Local,” andUrban Geography in Amsterdam Dutch Rap: Some Background Discourses of Dutch Urban Geography Works Cited Cannibalizing Bossa Nova Works Cited Who is the “Other” in the Balkans?Local Ethnic Music as a Different Sourceof Identities in Bulgaria Old New Sounds: Continuity and Change Inclusion and Exclusion Works Cited Back From Babylon: Popular Musical Culturesof the Diaspora, Youth Culture andIdentity in Francophone West Africa Works Cited Identity Politics and Iranian ExileMusic Videos Music Videos: the Televisual Context Music Videos: the Musical Context Classification and Analysis of Music Videos Conclusion Works Cited Vocal In-roads: Flamenco, Orality andPostmodernity in Las 3000Viviendas:Viejo Patio (Dulcimer and EMI, 1999) Works Cited Selena: Two ComplementaryCinematographic Interpretations Works Cited “The artist gathers the bones”:The Shamanic Poetics of Jazz Discourse Works Cited En Route to the Rainbow Nation:South African Voices of Resistance Apar theid Alive – Ubuntu versus the Individual The “White Zulu” – Icon of a Zeitgeist Mango Groove and Mardi Gras Capturing the Cross-over Culture Resistance Music without Resistance In Conclusion Works Cited Contributors