scholarly journals Music, Identity, and Community

2021 ◽  
pp. 45-63

This chapter discusses the role of music in the imagination of self, community, and nation. It includes topics such as Tibetan pop music, ‘anti-extremism’ campaigns in Xinjiang, Cantopop in Hong Kong, and contemporary revivals of ‘red songs’. Chapter contents: 3.0 Introduction (by Paul Kendall) 3.1 Performing Devotion: Revitalised ‘Red Songs,’ Choral Flash Mobs, and National Identity (by Sheng Zou) 3.2 Rethinking Hong Kong Identity through Cantopop: The 1980s as an Example (by Yiu-Wai Chu) 3.3 Tibetan Popular Music: Politics and Complexities (by Anna Morcom) 3.4 Music in the Disciplinary Regimes of Xinjiang’s ‘Anti-Extremism’ Campaign (by Rachel Harris)

Anthropos ◽  
2019 ◽  
Vol 114 (1) ◽  
pp. 195-208 ◽  
Author(s):  
Man Guo ◽  
Carsten Herrmann-Pillath

Thirty years ago, the eminent sinologist James Watson published a paper in Anthropos on ‘common pot’ dining in the New Territories of Hong Kong, a banquet ritual that differs fundamentally from established social norms in Chinese society. We explore the recent career of the ‘common pot’ in neighbouring Shenzhen, where it has become an important symbol manifesting the strength and public role of local lineages in the rapidly growing mega-city. We present two cases, the Wen lineage and the Huang lineage. In case of the Wen, we show how the practice relates to their role as landholding groups, organized in a ‘Shareholding Cooperative Companies’ that is owned collectively by the lineage. In the Huang case, identity politics looms large in the context of globalization. In large-scale ‘big common pot festivals’ of the global Huang surname association, traditional conceptions of kinship merge with modernist conceptions of national identity.


Popular Music ◽  
2004 ◽  
Vol 23 (3) ◽  
pp. 291-310 ◽  
Author(s):  
JONATHON GRASSE

Popular music plays important roles in two related films portraying Brazilian slum life. Based on a 1953 play by Vinícius de Morais, Marcel Camus's 1959 film Orfeu Negro, and a 1999 feature by Brazilian director Carlos Diegues titled Orfeu, augment traditional samba styles with bossa nova and rap, respectively. Interpreting musical style as allegorical texts within fictive landscapes, this paper examines conflation and conflict among musical meanings, Brazilian social histories, and discursive identities marking the twentieth century. Broad aspects of Brazilian political and socio-cultural development are implicated, such as authoritarianism, the politics and sociology of race, technological advances, mass media, and modes of modernisation. Here, bossa nova and rap engage society through reflexive and generative interpretations within a narrative designed to illustrate connections between processes of innovative, trans-national cultural production, myths of national identity, social change, and the powerful role of popular music in film.


2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Eirik Askerøi

Whilst the creative handling of recording technology has played a major role in the development of popular music, there has been little research into the role of production in music promoted explicitly for a child audience. The term “tween” is most often applied to describe children just before they become teens, referring to children aged 9–12 years. In more recent years, however, the tween category has come to comprise children as young as 4 and up to 15 years of age. Based on the premise that there is a growing tendency for children to be “youthified” at a far younger age than occurred previously, I am keen to investigate the extent to which music plays a part in this process. Through close readings of three songs from different eras in the history of children’s music, I will explore the role of sonic markers as narrative strategies in children’s music. The overall aim is to discuss the extent to which the relationships between lyrical content, vocal performance, and production aesthetics may play a role in the youthification of child performers and audiences. 


Popular Music ◽  
2020 ◽  
Vol 39 (2) ◽  
pp. 270-293
Author(s):  
Pekka Gronow ◽  
Jānis Daugavietis

AbstractIn the Soviet Union, song competitions had an important role in presenting new artists and songs. The Mikrofona aptauja contest of Latvian radio (1968–1994) was the main forum for new Latvian pop music. It had a reputation for expressing nationalist feelings within the limits of Soviet censorship. In 1988, with the rise of new political movements in the Soviet Union, the competition became a venue for the Latvian independence movement. The winning song of 1988 was a demand for ‘freedom to the fatherland’. The competition also played a part in the rehabilitation of pre-war popular music which had been forbidden in Soviet Latvia. The paper discusses the role of journalists, politicians and songwriters in this process. After the privatisation of the economy, the song competition was taken over by private entrepreneurs, as public interest in political songs waned.


2011 ◽  
Vol 17 (3) ◽  
Author(s):  
Robin Attas

Studies of phrase rhythm in popular music often leave the definition of “phrase” implicit, and those scholars who do define the term often emphasize the role of breath, ignoring the many other musical features that help create a phrase. By defining a pop music phrase as a musical unit with goal-directed motion towards a clear conclusion, clear analysis of phrase rhythm and song structure becomes possible. Analyses of three songs by contemporary singer-songwriter Sarah McLachlan demonstrate typical ways of creating phrases in popular music, and explore some common modifications to phrase rhythm and song structure that can be applied to the work of numerous other musicians.


In recent years, Japan’s cuisine, or washoku, has been eclipsing that of France as the world’s most desirable food. UNESCO recognized washoku as an intangible cultural treasure in 2013, and Tokyo boasts more Michelin-starred restaurants than Paris and New York combined. Together with anime, pop music, fashion, and cute goods, cuisine is part of the “Cool Japan” brand that promotes the country as a new kind of cultural superpower. This book offers insights into many different aspects of Japanese culinary history and practice, from the evolution and characteristics of particular foodstuffs, to their representation in literature and film, to the role of foods in individual, regional, and national identity. It features contributions by both noted Japan specialists and experts in food history. The book poses the question, “What is washoku?” What culinary values are imposed or implied by this term? Which elements of Japanese cuisine are most visible in the global gourmet landscape and why? Chapters from a variety of disciplinary perspectives interrogate how foodways have come to represent aspects of a “unique” Japanese identity and are infused with official and unofficial ideologies. They reveal how Japanese culinary values and choices, past and present, reflect beliefs about gender, class, and race; how they are represented in mass media; and how they are interpreted by state and nonstate actors, at home and abroad. Chapters examine the thoughts, actions, and motives of those who produce, consume, promote, and represent Japanese foods.


2019 ◽  
Vol 54 ◽  
pp. 209-218
Author(s):  
Lev E. Shaposhnikov

The paper analyses the evolution of Yu. Samarin’s ideas from rationalism to “holistic knowledge”. Special attention is paid to the philosopher’s conceptualization of the key role of religion for a nation. The author also examines the scholar’s position concerning the promotion of patriotism as an important impetus for social development. Emphasis is made on analyzing the interaction of universal and national aspects in the educational process, as well as on the value of national identity in the field of humanities. The article also presents Yu. Samarin’s critical evaluation of the government educational policy and his suggestions on increasing its effectiveness. The author notes the relevance of Yu. Samarin’s views for the contemporary philosophical and educational context.


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