New PDF release: Cultural Globalization and Music: African Artists in

By Nadia Kiwan

ISBN-10: 0230221297

ISBN-13: 9780230221291

This publication is ready South-North, North-South kinfolk among Africa and Europe, featuring the non-public narratives of musicians in several destinations throughout Africa and Europe, and people of the folk who represent their networks in the wider creative, cultural, and civil society milieus of globalizing societies.

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Extra resources for Cultural Globalization and Music: African Artists in Transnational Networks

Sample text

Fassio, a young musician who left Fort Dauphin after having married an Italian woman, and whom we met while they were living in London for several years, describes this as follows: But when I sing, I think that I sing in the traditional sense. It is traditional in the sense that the song that really inhabits your bloodstream, that is what traditional means to me, that it’s original to you. It is something original because that’s where you show your soul and sometimes it is also something someone has done before … So if you are Antandroy, you sing banaiky, if you are Antanosy, you sing mangaliba … Salegy comes from the north, the centre has hira gasy and tsapiky, that’s Tulear, that’s the tradition in Tulear, that’s the way it is.

The extract below gives some insights into the complexity of the relation between leaving and returning. First they explain how for them the move to Tana, and the joining up as a group there, was at the heart of their success, something they repeat time and again throughout the interview. But success in Tana, even if based on the social capital of belonging to the same coastal region, does not easily accrue the same value at the place left behind. 17 Tsiliva: And when I got my baccalaureate I went to Tana ...

One typical example is the ambivalence with which incoming artists – be they visitors or returnees from the capital city – or those who depart from the village for the capital are perceived. Musicians are acutely aware of the opportunities but also of the threats of translocal or transnational connections. These find expression in the hope that incoming artists may bring with them opportunities to have their music heard outside the village or even to enable their own move to the capital city and beyond.

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Cultural Globalization and Music: African Artists in Transnational Networks by Nadia Kiwan


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