Music, National Identity and the Politics of Location

Biddle, Ian; Knights, Vanessa

doi:10.4324/9781315596914

Cited by 5 publications

(1 citation statement)

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“…The dominant Western vision of Africa as a backward, underdeveloped continent holds little room for the notion that Africa might possess either the capital or the sophisticated urban culture necessary for the development of a popular music in the Western sense of the term ( [10], p. 40).…”

Section: Exoticizationmentioning

confidence: 99%

Music and Alterity Processes

Martı́¹

2014

Humanities

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Abstract:The concept of alterity constitutes an important issue in anthropological research and, therefore, in the study of musical practices, as well. Without it, we could hardly understand other kinds of music situated in different spaces and time from the observer. In order to effectively approach these musical practices, we have to develop strategies to help us reduce as much as possible that which distorts the vision of the other. However, beyond the strictly epistemological and methodological issues, the study of music cannot ignore the ethical question related to the manner in which Western thought has understood and treated the other: through a hierarchical and stereotypical type of thinking based on the condition of otherness. Throughout the article, different alterity procedures are presented and discussed, such as synecdochization, exoticization, undervaluation, overvaluation, misunderstanding and exclusion. Taking these different alterity strategies into account may help us to better understand how the musical other is constructed, used and ultimately instrumentalized.

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Section: Exoticizationmentioning

confidence: 99%

Music and Alterity Processes

Martı́¹

2014

Humanities

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Place, Identity and Local Music Representation in Touristic Backgrounds of Romanian Medium-Sized Towns

Jucu

2021

Representing Place and Territorial Identities in Europe

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The Dynamic Realities of “Traditional” Dance: Les Ballets Africains

Moss¹

2007

CORD

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This paper presents the author's journey to West Africa, which grew out of a desire to trace the roots of “real” jazz dance. Seeking the “authentic,” the author (ironically) sought out the oldest national company of Guinée-Conakry, Les Ballets Africains, which has been performing and creating for fifty-three years years. Mandated to preserve the rich cultural traditions of Guinée, they are the “real thing,” revealed in what the author calls a “dynamic reality”: traditional dance that is at once authentic, significant, contemporary, and fluid.

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Music, National Identity and the Politics of Location

Cited by 5 publications

References 0 publications

Music and Alterity Processes

Music and Alterity Processes

Place, Identity and Local Music Representation in Touristic Backgrounds of Romanian Medium-Sized Towns

The Dynamic Realities of “Traditional” Dance: Les Ballets Africains

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