Summary: Local Cultures, Global Forces

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  • Global music

    This is a preview. There are 7 more flashcards available for chapter 19/09/2019
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  • What was wrong with the Rorogwela song: What was the problem with the sampling according to the author of the article?

    Money. There was money made out of it. Deep forest got the money, they didn't pay a portion to the female lead singer. Nobody took the time to do research and find the women and share the profit with her or the community. And that is the most problematic about the music industry. They misrepresent people and also sort of steal from people.
  • Why is Western copyright law incompatible with oral tradition?

    It is communal. So it doesn't belong to anyone. They can take without asking. Oral tradition copyright doesn't reply, so you can copyright it. It is totally up to you if you want to share the profits with the original singer.
  • What transpired around the usage?

    Autor is trying to make this point: artist image that these resources are there and are freely flowing. If they don't question themselves about the resources, we face a new sort of imperialism. There is a global flow of melodies and songs, but what is the direction. Who's traveling, who is using. THat is a question of power. Globalisation is not only about flow, but also about direction and power.
  • What does the Rorogwela example tells us about world music?

    There is an inequality build in the making of world music. In the 1990s this is what it looked like. It was build on this huge inequality between the source and the user. Between those who make money out of it and those who couldn't.
  • What are the four traits of musical globalization?

    • «Musical identities and styles are more transient, more in states of constant fission and fusion than ever before.»
    • «Contemporary technology makes all musical worlds actually or potentially transportable and hearable in all others.»
    • It looks like the music industry has achieved «unending market expansion».
    • «Musical globalization is experienced and narrated as equally celebratory and contentious.»
  • Globalisation as a discourse

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  • How does sparke defines a discourse?

    A set of terms and arguments about the nature of reality that are tied together in a narrative that systematically shapes the reality of purports to describe. 
    • A story that claims to represent reality but in effect constructs that reality, delimits how that reality can be understood and what actions should be taken
  • What are the three assumptions about globalization?

    • Globalization is new 
    • Globalization is inevitable
    • Globalization is a leveler
  • Shorter history of globalization

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  • What is the Western discourse on (shorter history of) globalization? Name four characteristics.

    1. Increasingly since the 1990s, capital has been deterritorialized (no longer contained within the nation-state). 
    2. An approach such as Friedman's would celebrate this process. The celebration of outsourcing and offshoring as new forms of collobaration. 
    3. A critical approach would argue: Capital's global reorganization has put nation-states and their regulatory devices into a crisis: exposed labor to unfettered exploitation. 
    4. So according to Western narrative: first there was the sovereign, territorial nation-state, and then there was globalization
  • How does globalization look from the non-West?

    •Looking at the areaaround the Indian Ocean, onefinds a longhistory of connectiongoing as far back as to the twelfthcenturythankstolong-distancetradeoversea.
    •Historicalstudies of food «reject a version of historythatpriviledges the lastquarter of the twentiethcentury as a watershed in the grandnarrative of globalization».
    •Ratherstresses a continuousflow of foods
  • What do we achieve by juxtaposing the two stories of Shemsigul and Shengul?

    Without Shengul’s, Shemsigul’s story would have remained as the story of premodern practice and sensibility, something to be transcended and looked back at with understanding and pity for the archaic other inhabiting a foreign country. Without Shemsigul, Shengul’s story could not be layered in quite the same way.  Interrupts a linear history of Circassian migrations and identity. Produces a past that reveals both the continuities and the new promises contained in processes and discourses of globalization»
    • Perhaps with the possibility to transform the present?
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