Contesting culture: a case study of commodification in Cuban music

After more than three decades of isolation from the West and a paralyzing economic crisis in the early 1990s, Cuba is increasingly globally active in both cultural and economic realms. In this paper I use Bourdieu’s (The fields of cultural production, 1993) fields of cultural production as a general frame through with to inspect the commercialization of Cuban music. Through a case study with Juan de Marcos Gonzalez, the creator of the Buena Vista Social Club, I explore the dialectical relationship of music as an expression of cultural and a cultural asset, and at the same time a commodity for the international market. I show that de Marcos uses his position between the international music industry and the local music scene in order to preserve cultural authenticity and survive economically. In doing so he challenges the all-to-typical place of the artist in the contested space of cultural production between the West and the Third World.

音乐欣赏之我见

音乐欣赏是人们对音乐本身产生认识、发生共鸣获得审美愉悦的过程,在音乐欣赏中,人们必须学会倾听音乐、体验音乐情感,掌握一定的音乐基础知识,懂椁音乐欣赏技巧,才能培养音乐审美能力并提升音乐艺术的审美情趣。     

Local music policies within a global music industry: cultural quarters in Manchester and Sheffield

This paper will explore the relationship between the local and the global in the music industry through the lens of place-based cultural policies.The first part of the paper will outline current debates around the complex interaction of the local and the global in culture in general and the popular music industry in particular. Alongside the continuous expansion of globalisation has been a reassertion of ‘place', of ‘locality'. Whilst this has been investigated to some extent at the level of local music scenes it has never been fully addressed in terms of music industry policy as part of an economic development strategy. Yet it is here that the particular values of ‘place' are asserted in the face of some ‘global' music industry with a view to developing (or at least retaining some of the benefits of) a local music industry.Whilst situating itself within these debates about the relationship of local and global musical production and consumption, the paper explores the different strategies of two northern English cities and their attempts to promote culture, and music, within each cities ‘cultural quarter': Sheffield's Cultural Industries Quarter and Manchester's Northern Quarter. The paper analyses the role and appropriateness of local authority policy intervention, the importance of ‘soft' networks within local music scenes and the different ways in which authorities in each example have tried to overcome dichotomies of art and industry, cultural and economy.     

音乐欣赏之我见

音乐欣赏是人们对音乐本身产生认识、发生共鸣获得审美愉悦的过程,在音乐欣赏中,人们必须学会倾听音乐、体验音乐情感,掌握一定的音乐基础知识,懂得音乐欣赏技巧,才能培养音乐审美能力并提升音乐艺术的审美情趣。     

The emergence of a post-industrial music economy? Music and ICT synergies in Stockholm, Sweden

Research into the music industry has for a long time been almost exclusively dominated by a focus on the production of albums and songs. In recent years, however, cities such as Stockholm have seen the growth of a profitable and varied music services industry producing everything from remixes to music marketing strategies. Standing at the forefront of this growth industry are a large number of firms attempting to combine in innovative ways music and ICT. This can take a variety of forms, for instance: selling and distributing music over the internet; web design and computerised advertising services tailored to music products; software design focused on multimedia products and virtual instruments; high-tech post-production and mixing services; and virtual centres and communities of music industry actors. The article will examine these activities within the city in attempt to measure the direction and cohesiveness of the emerging sector. The article concludes by arguing that these type of new industrial synergies tell us much about the way industrial innovations are formed in an interindustry and inter-cluster environment, and the future competitiveness and shape of the music industry. In particular, the article argues that evidence from Stockholm points to the emergence of a post-industrial musical economy.     

Time-stilled space-slowed: how boredom matters

This paper aims to fold the increased attention to issues of materiality in social and cultural geography into the more recent attunement to questions of affect. The vehicle for this aim is a discussion of the complex ways in which boredom, and bodies bored, compose time–space. Somewhat surprisingly, and in stark contrast to its experiential ubiquity, boredom has rarely been discussed within the social sciences. The paper therefore performs a geography of how boredom matters by way of a series of examples of the taking place of boredom drawn from research on music and everyday life. Rather than discuss boredom through the critical concepts that underpin the thesis of disenchantment, such as alienation or anomie, I argue that boredom takes place as a suspension of a body's capacities to affect and be affected forged through an incapacity in habit. Through this discussion I argue that the ‘new materialisms' that increasingly populate social and cultural geography struggle to discern the affectivity of profane social-life and, importantly, cannot conceive of the risk of depletion that boredom, via its connection to meaninglessness and indifference, exemplifies. However, attuning to the movement-from that always accompanies boredom discloses the immanent presence of intensities that on-go even as boredom stills and slows time–space. Based on the ambiguity of boredom that results, the conclusion draws on the ‘not-yet' materialism of Ernst Bloch [The Principle of Hope (vols. 1–3) (N. Plaice, S. Plaice, P. Knight, Trans.), Blackwell, Oxford, 1986] to disclose an image of process-matter that draws on Bennett's [The Enchantment of Modern Life. Attachments, Crossings and Ethics, Princeton University Press, Princeton and Oxford, 2001] concept of an ‘enchanted materialism' but retains a sense of process as incorporating both plentitude and depletion. The basis to this form of affective materialism is the event of hope.     

Fragile empowerment: The dynamic cultural economy of British drum and bass music

This paper discusses the dynamic cultural economy of British drum and bass (D&B) music, which emerged out of Britain’s rave culture in the early 1990s. We suggest that D&B offers insight into more general issues regarding the relation between alternative cultural economies and capitalism. We examine relations between D&B and the mainstream capitalist economy and argue that D&B calls attention to the possibility for alternatives to conventional capitalist relations to survive and possibly thrive without pursuing separation from capitalism. We also theorize D&B as a vehicle towards empowerment regarding the industry segment vis-à-vis the mainstream music industry and also regarding D&B’s practitioners, many of whom can be understood as marginalized discursively and/or materially. However, D&B empowerment is fragile, due in part to technological changes that threaten practices that have helped cultivate innovativeness as well as communal relations. The empowerment of alternative practices is fragile not only for D&B as an industry segment, but also from the vantage point of internal power relations – notably with respect to differences along axes of gender and generation/age. Our conclusions indicate the broader significance of the paper for critical social theory and propose how new research might build on our dynamic view of D&B’s cultural economy.     

Commodification and the selling of ethnic music to tourists

The commodification of culture has received much attention in social and cultural geography. Based on empirical research in Lijiang, a World Heritage site in China, this paper contributes to an understanding of commodification through a focus on selling ethnic music to tourists. Drawing upon a theoretical framework of tourism commodification and the cultural politics of music, I argue that the commodification of music is embedded in a temporal process in which culture, economy, and politics synthesize to shape place making and identity building. This paper presents three major findings: (1) commodification sustains discourses of identity building and cultural revival that in turn serve to justify the pursuit of profit; (2) commodification is variegated over time and across space; and (3) commodification provides the conditions for local musicians to increase their capacity to produce local narratives of music. By demonstrating the commodification of ethnic music and the cultural politics of musical space in Lijiang, this paper calls for an interconnection of economy, culture, and politics in understanding the materiality of music.     

'You Gotta Love This City': The Whitlams and inner Sydney

This analysis of music in cultural geography, in the context of the inner Sydney-based band, The Whitlams, traces the creative links between sounds, 'scenes' and places. Based in Newtown, The Whitlams are associated with political values, evident in the band's name, and social values tied to and opposed to urban changes, such as gentrification, where community is threatened. The band's lyrics emanate from their experiences, challenging commercialisation of city life at different scales and reflecting the anomie of city living, but defending its virtues, whilst also fostering place stereotypes. The audience was similarly inner-city based until the band's recent commercial success, which has challenged The Whitlams' identity and radicalism, and resulted in mainstream appropriation. Though The Whitlams continue to reaffirm their local identity, and local audiences have remained, the popularity and commodification of their music has challenged concepts of shared meaning, the link between bands and their fans, and the connection between music and its place of origin. The Whitlams' music nevertheless remains a means of evoking and sharing a sense of place.