By Nadia Kiwan
This ebook is set South-North, North-South family members among Africa and Europe, proposing the non-public narratives of musicians in several destinations throughout Africa and Europe, and people of the folks who represent their networks in the wider creative, cultural, and civil society milieus of globalizing societies.
Read or Download Cultural Globalization and Music: African Artists in Transnational Networks PDF
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Extra resources for Cultural Globalization and Music: African Artists in Transnational Networks
Such networks have spatial, human and institutional properties. As far as spaces are concerned, social networks for ‘les côtiers’, the migrants from the coastal districts who have moved to Antananarivo, criss-cross four districts of the city. Together these districts have the collective name of 67 hectares, ‘67 Ha’, named as such because of the actual size total in square kilometres. Incoming migrants from the coastal regions turn to it or are directed to it. 2). Ricky Olombelo, in conversation with Ulrike and Dama, describes this as follows: Ricky: That is really very well known in Mada ...
We have already mentioned the role that Senge played for Mamiso in a previous extract. In the next chapters we will pursue this theme in much more depth to analyse the enormous significance which particular key individuals in the capital city have for the trajectory of artists – by virtue of being well-connected artists themselves, or by heading important cultural institutions or other key roles in the music industry. By giving access to infrastructures such as offering free time in recording studios, issuing invitations to shared performances, or even just by lending out instruments they often make the difference between success or failure for newcomers.
The new rwais, they can’t sing in these modes, they manage to create their work … to interpret, to borrow from others, the modes, to sing like that, I’m distracted, you know. I can hear the music [music in café where interview being carried out] ... it doesn’t matter, it doesn’t matter ... so what’s disappearing ... as I said a moment ago, there’s a call, from UNESCO, the 15th October 2002, or 2001, I think, which says that it’s necessary to preserve the musics from the Mediterranean, and among those musics, there is the music of the rwais, which is old, we’re conscious that the rwais are no longer like they were in the years at the start of the century, in 1900 or in 1880 like that, the generation of Hajj Belaïd and Aboubakr Anchad, people aren’t able to keep this heritage, we say that we mustn’t keep it as it is, but that we should put creation and creativity into it ...