Music, Popular Culture, Identities.
YOUNG, Richard (Ed.)
Amsterdam/New York, NY, 2002, 360 pp.
Critical Studies 19
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.
Contents: Richard YOUNG: Introduction. William ANSELMI: From cantautori to posse: Sociopolitical Discourse, Engagement and Antagonism in the Italian Music Scene from the 60s to the 90s. Daniel F. CHAMBERLAIN: El corrido: Identity, Narrative, and Central Frontiers. John Charles CHASTEEN: A National Rhythm: Social Dance and Elite Identity in Nineteenth-Century Havana. Catherine DEN TANDT: Globalization and Identity: The Discourse of Popular Music in the Caribbean. Murray FORMAN: “Keeping it Real”?: African Youth Identities, and Hip Hop. Keith KAHN-HARRIS: “I hate this fucking country”: Dealing with the Global and the Local in the Israeli Extreme Metal Scene. Henry KLUMPENHOUWER: The Idiocy of Rural Life: Boerenrock, the Rural Debate and the Uses of Identity. Adam KRIMS: Rap, Race, the “Local,” and Urban Geography in Amsterdam. George LANG: Cannibalizing Bossa Nova. Claire LEVY: Who is the “Other” in the Balkans? Local Ethnic Music as a Different Source of Identities in Bulgaria. Lisa MCNEE: Back from Babylon: Popular Musical Cultures of the Diaspora, Youth Culture and Identity in Francophone West Africa. Hamid NAFICY: Identity Politics and Iranian Exile Music Videos. Parvati NAIR: Vocal In-roads: Flamenco, Orality and Postmodernity in Las 3000 Viviendas, Viejo Patio (Culcimer and EMI, 1999) Viviana RANGIL: Selena: Two Complementary Cinematographic Interpretations. Michael Frank TITLESTAD: “The artist gathers the bones”: The Shamanic Poetics of Jazz Discourse. Stella VILJOEN: En Route to the Rainbow Nation: South African Voices of Resistance. Contributors. Index.
William Anselmi is Associate Professor of Italian in the Department of
Modern Languages and Cultural Studies at the University of Alberta.
He has published several interviews with Italian cantautori in ViceVersa, a
transcultural magazine. Recently, with Kosta Gouliamos he has published
Elusive Margins: Consuming Media, Ethnicity, and Culture for Guernica
Editions (Toronto, ????).
Daniel F. Chamberlain is Associate Professor and Head of the Department
of Spanish and Italian at Queen’s University (Kingston, Ontario) where he
teaches literary theory as well as Hispanic language, literature, and culture.
His early research focused on the reading experience in terms of percep-tion
theory and phenomenological hermeneutics. Later work explored the
temporal dimension of perception as revealed through the oral and writ-ten
narrative traditions of Africa, the Caribbean, and Latin America.
Recently he has concentrated on the role that the Mexican oral narrative
tradition has played in the conguration of identities at the regional and
national level as well as in a global context.
John Chasteen is Associate Professor of History at the University of North
Carolina at Chapel Hill. His contributions to the social history of Latin
American popular dance include “The Prehistory of Samba: Carnival
Dancing in Rio de Janeiro, ????–???????” ( Journal of Latin American Studies ??,
????); “Black Kings, Blackface Carnival, and the Nineteenth-Century
Origins of the Tango” (Latin American Popular Culture: An Introduction, ed.
William H. Beezley and Linda Curcio-Nagy, Wilmington, Delaware, ????);
and an edited translation of Hermano Vianna’s The Mystery of Samba
(Chapel Hill, ????).
Catherine Den Tandt is Associate Professor of Hispanic Studies in the
Department of Modern Languages and Literatures at the University of
Montreal. Her research focuses on contemporary Caribbean culture,
especially the Hispanic Caribbean. Her current project explores how
Caribbean culture and Caribbean cultural critics have responded to the
pressures of globalization. She has written on Puerto Rican and Québécois
cultural politics and women’s writing, race and identity in Puerto Rico, and
Caribbean popular music.
Murray Forman is Professor of Media and Cultural Studies at Northeastern
University in Boston. While conducting research for his essay on Somali
youth in North America in ????–???????, he was a Research Fellow at the
W.E.B. Du Bois Institute for Afro-American Research, Harvard University.
A member of the editorial collective for the Journal of Popular Music Studies,
he has published articles on youth culture, race and ethnicity, and rap music
in several journals, including Women’s Studies, Popular Music, and Journal of
Popular Music Studies. His book, The ‘Hood Comes First: Race, Space, and Place
in Rap and Hip Hop, will be published (???) by Wesleyan University Press.
Keith Kahn-Harris (né Harris) completed his thesis, entitled “Transgression
and Mundanity: The Global Extreme Metal Music Scene” at Goldsmiths
College, London, in ????. He has published on Extreme Metal music in a
number of places including the academic journal Popular Music and the
Metal Magazine Terrorizer. He has also published on matters of Jewish
interest and edited the book New Voices in Jewish Thought: Volume Two
(London, ????). From ????to ????he was Treasurer of the International
Association for the Study of Popular Music. From ????to ????he will be
a Fellow at the Mandel School for Jewish Educational Leadership in
Jerusalem. He may be contacted at firstname.lastname@example.org
Henry Klumpenhouwer is Associate Professor of Music at the University
of Alberta. His work, which has appeared in Music Theory Spectrum, Journal
of Music Theory, Tijdschrift voor Muziektheorie, Integral, and elsewhere, deals
with the analysis of atonal music and with Critical Theory.
Adam Krims is Associate Professor of Music and Director of the Institute
for Popular Music at the University of Alberta. He is author of Rap Music
and the Poetics of Identity (Cambridge University Press, ????) and editor of
Music/Ideology: Resisting the Aesthetic (Gordon and Breach, ????), as well as
author of numerous articles and essays on cultural theory, Marxism,
music, and urban geography.
George Lang is Professor of Modern Languages and Cultural Studies at
the University of Alberta. He is author of Entwisted Tongues: Comparative
Creoles Literatures (Rodopi, ????) and has published on topics as diverse
as the Brazilian Lïngua Geral, the Islamic foundations of Maghrebian liter-ary
polemic, representation of female secret societies in West Africa,
postmodernism in its Caribbean context, Chinese Pidgin English, the
Canadian fur trade, and the contact languages of the Pacic Northwest.
Claire Levy is a musicologist and Associate Professor at the Institute of
Art Studies in the Bulgarian Academy of Sciences. In the ????–???????aca-demic
year she worked as a Fulbright research fellow in the Department
of African-American Studies at the Indiana University. One of few
Bulgarian scholars devoted to the serious study of popular music, she has
published extensively (in Bulgarian and English) on a variety of issues of
pop, rock, jazz, and world music in both academic and popular publica-tions.
She is currently also a member of the Executive Committee of the
International Association for the Study of Popular Music (IASPM).
Lisa McNee is Assistant Professor of French and Francophone Studies at
Queen’s University (Kingston, Ontario). In her book Sel????sh Gifts: Senegalese
Women’s Autobiographical Discourses (Albany: State University of New York
Press, ????) she compares Wolof praise poetry and autobiographical texts
in French in an attempt to describe an African aesthetic of the autobio-graphical
act. She has published articles on oral performance, the fran-cophone
African novel, and francophone autobiography in Mots Pluriels,
Research in African Literatures, and other journals.
Hamid Na????cy, Professor of Film and Media Studies and Chair of the
Department of Art and Art History at Rice University, Houston, has
published extensively on the theory of exile and displacement; exilic and
diasporic cultures, ?lms, and media; and Iranian, Middle Eastern, and
Third World cinemas. His latest books are Home, Exile, Homeland: Film,
Media, and the Politics of Place (???????) and An Accented Cinema: Exilic and
Diasporic Filmmaking (???), and he has another book forthcoming, Cinema
and National Identity: A Social History of Iranian Cinema (University of
Parvati Nair is Lecturer in Hispanic Studies at Queen Mary College,
University of London and Assistant Fellow of the Institute of Romance
Studies, University of London. Her current research focuses on cultural
representations of community identities in contemporary Spain. She has
published extensively on music, ?lm and photography, exploring issues
and theories of ethnicity and migration.
Viviana Rangil is Assistant Professor of Spanish at Skidmore College,
Saratoga Springs, New York. Her research interests include Latina/o
literature and ?lm and among recent publications are “Changing the Face
of Argentinean Cinema: The Vibrant Voices of Four Women” (Afterimage:
The Journal of Media Arts and Cultural Criticism), “Pro-Claiming a Space: The
Poetry of Sandra Cisneros and Judith Ortiz Cofer” (Multicultural Review),
and “Cooking with Words: The Kitchen as a Subversive Space,” (Culinary
Fictions: Practical Recipes for Latin American Feminist Criticism).
Michael Titlestad teaches in the Department of English at the University
of South Africa (Pretoria). His current research concerns the representa-tion
of music, particularly jazz, as a model for social conduct and as a site
of cultural recovery. He publishes in both the ?elds of jazz studies and
postcolonial literary theory.
Stella Viljoen lectures on History of Art, Visual Communication and
Popular Culture in the Department of Visual Arts of the University of
Pretoria, South Africa, where she is completing her Masters degree. Her
interests lie in the application of modernist philosophy to postmodern
forms of popular culture, specically within the context of South Africa.
Richard Young is Professor of Spanish and Latin American Studies at the
University of Alberta. Current research focuses mainly on Argentina, in
particular on tango and on representations of urban life in Buenos Aires in
contemporary ?ction. He is author of Octaedro en cuatro tiempos: texto y
tiempo en un libro de Cortázar (Ottawa, ????) and editor of Latin American
Postmodernisms (Rodopi, ????). He has edited Revista Canadiense de Estudios
Hispánicos since ????.