Conflation and conflict in Brazilian popular music: forty years between ‘filming’ bossa nova in Orfeu Negro and rap in Orfeu

Popular Music ◽  
2004 ◽  
Vol 23 (3) ◽  
pp. 291-310 ◽  
Author(s):  
JONATHON GRASSE
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
Mass Media ◽  
Popular Music ◽  
Cultural Production ◽  
Cultural Development ◽  
Musical Style ◽  
Technological Advances ◽  
Bossa Nova

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.

Counter-hegemony in today's Belarus: dissident symbols and the mythological figure of Miron Vitebskii

2016 ◽  
Vol 44 (5) ◽  
pp. 713-730
Author(s):  
Anastasiya Astapova
Keyword(s):  
National Identity ◽  
Mass Media ◽  
Political Development ◽  
Political Discourse ◽  
Nation State ◽  
Civil State ◽  
Multiple Functions

Tackling the role of state symbols in negotiating national identity and political development, this research focuses on Belarus where the alternative white-red-white flag became instrumental in protests against the dominant political discourse. Since 1995, oppositional mass media have been reporting about cases of this tricolor being erected in hard-to-reach and/or politically sensitive places. These actions were mainly attributed to some “Miron,” whose identity remained concealed and served as a simulacrum of a national superhero in non-conformist discourse. The image of Miron immediately acquired multiple functions: condemning the Soviet colonial past, struggling for the European future, and creating a nation-state rather than the Russian-speaking civil-state of Belarus. Yet, first and foremost, Miron became a means for contesting the authority of the president who has been in power since 1994. Concentrating on the methods employed for the construction of the counter-hegemonic fakelore project of Miron and its aims, this article explores the vernacular response to its creation.

The Flapper and the Joven Moderna

2020 ◽  
pp. 33-52
Author(s):  
Cecilia Tossounian
Keyword(s):  
Popular Culture ◽  
National Identity ◽  
Mass Media ◽  
Upper Class ◽  
Female Role ◽  
Consumer Capitalism ◽  
The Public ◽  
Media Construction ◽  
Traditional Female Role

Chapter 2 studies how the flapper, the archetypical modern girl, was construed by popular culture in the 1920s and 1930s. Mass media was engaged in a debate about the defining traits of the American flapper and her Argentine counterpart. While the flapper inhabited a distant land, the joven moderna combined popular fashions and mannerisms both foreign and domestic. Portrayed as an upper-class character, she went beyond the traditional female role of the devoted daughter. An oversimplified media construction, the Argentine flapper alerted the public of the dangerous effects of international consumer capitalism and Americanization on gender and national identity.

Nordic Modernity and the Structure of the Musical Landscape

2017 ◽  
Author(s):  
Fabian Holt
Keyword(s):  
Mass Media ◽  
Popular Music ◽  
Cultural Geography ◽  
Structural Changes ◽  
Sociological Theory ◽  
Music Industry ◽  
Pop Music ◽  
Musical Style ◽  
Global Modernity

This chapter outlines macro structural changes in the Nordic music landscape, drawing from sociological theory of modernity. The chapter identifies popular music in wider tensions in Nordic modernity, particularly in relation to shifting hegemonic cultures to uncover the underlying dynamics of tensions between shifting mainstream formations and their alternatives. Following this logic, musical style and taste involve positionings in relation to issues of capitalism, nationalism, and mass media. The chapter analyzes changes in the region’s music landscape within the region’s evolving modernity, particularly in the transition from a national to a more global modernity. This is illustrated by the declining status of Stockholm’s Anglo pop music industry as the region’s center into a more decentralized and networked transnational cultural geography.

Processes of institutionalisation and ‘symbolic struggles’ in the ‘independent music’ field in Italy

Modern Italy ◽  
2009 ◽  
Vol 14 (3) ◽  
pp. 295-310 ◽  
Author(s):  
Paolo Magaudda
Keyword(s):  
Mass Media ◽  
Popular Music ◽  
Cultural Production ◽  
Rock Music ◽  
National Level ◽  
Music Industry ◽  
Industrial Sector ◽  
Independent Music ◽  
Field Of Cultural Production ◽  
National Music

Over the last fifteen years, independent rock music has become a wider field of cultural production and consumption in Italy. Indeed, while during the 1970s and 1990s the production of independent music was connected predominantly to political movements, alternative subcultures and the antagonistic attitude of the ‘centri sociali’, in the present decade, independent popular music has moved towards the centre of the national music industry and the mass media of the musical mainstream. This article describes the phases of this process of institutionalisation, showing how the politically based culture of independent music is today at the centre of a symbolic struggle occurring between the values of authenticity, rooted in political youth cultures, and the strategic and pragmatic tendency towards integration into the mainstream of the national music industry. This analysis is carried out applying the Bourdieian concepts of ‘field of cultural production’ and ‘cultural capital’, together with their evolutions into the notion of ‘subcultural capital’. This theoretical framework is applied in order to show both the process of institutionalisation this cultural field is undergoing, and the symbolic struggle taking place between the original values of the political and cultural autonomy of music and the commoditisation of musical objects in the mainstream mass media and national industrial sector. Finally, it is shown how new agents who represent the independent popular music industry at the national level need to deal with claims for authenticity raised by the alternative and extreme wings of the independent music scene.

Nation-Making and National Conflict under Communism

2013 ◽  
Author(s):  
Adrienne L. Edgar
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Karl Marx ◽  
Cultural Development ◽  
Self Determination ◽  
Soviet Regime ◽  
The Soviet Union ◽  
National Question ◽  
National Sentiment

Karl Marx was no friend of nationalism, yet the states that came into being in his name in the twentieth century were forced to reach an accommodation with it. The Soviet Union was a vast multi-ethnic empire that included more than a hundred different national and ethnic groups. The article shows how Marxists, notably the Austro-Marxists and Lenin, developed a theory of the ‘national question’, which in Lenin’s case linked support for national self-determination to anti-imperialism. The article examines the key facets of Bolshevik policy towards the non-Russian peoples of the Soviet Union, notably the strategy of ‘nativization’, and it discusses the recent historiography that tends to see the Soviet regime more as a ‘maker of nations’ than oppressor of them (although it was also that). It compares the efforts of the Soviet, Chinese, and Yugoslav governments to negotiate tensions between national equality, territorial autonomy, cultural development, and increasing national sentiment and, fundamentally, rising national sentiment with the imperative of centralization. It looks at the role of nationalism in the break-up of the Soviet Union.

Campursari Karya Manthous: Kreativitas Industri Musik Jawa dalam Ruang Budaya Massa

Panggung ◽  
2012 ◽  
Vol 22 (4) ◽  
Author(s):  
Wadiyo Wadiyo ◽  
Timbul Haryono ◽  
R.M. Soedarsono R.M. Soedarsono ◽  
Victor Ganap
Keyword(s):  
Mass Media ◽  
Popular Music ◽  
Current Distribution ◽  
Mass Culture ◽  
Tone Frequency ◽  
The Public ◽  
The Mass Media ◽  
Short Time ◽  
Three Components

ABSTRACTManthous’s Campursari is a blend of Javanese gamelan pentatonic music with popular music in Indonesia which is based on Western diatonic music. The tones of gamelan and the frequencies of the tune are all transformed into diatonic tone frequency. However, the harmonization which is used is pentatonic harmony of Javanese gamelan. Manthous’s Campursari has succesfully become one of the major music industries since it is supported by three components, namely the organizers of the music productions, the current distribution of music productions, and the needs of the community. The role of mass media is also very helpful toward the existence of this work. News about Manthous’s and his Campursari spread out widely to the public through the mass media. In a relatively short time of its emergence, Manthous’s Campursari has become a mass cultural Javanese music.Keywords: Campursari, mass culture, music industryABSTRAKCampursari karya Manthous adalah sebuah campuran dari musik pentatonik gamelan Jawa dengan musik populer di Indonesia yang mengacu padaMusik diatonis Barat. Nada gamelan dan frekuensi lagu semuanya ditransformasikan menjadi nada frekuensi diatonis. Namun, harmonisasi yang digunakan adalah harmoni pentatonis gamelan Jawa. Campursari karya Manthous telah berhasil menjadi salah satu industri musik besar karena didukung oleh tiga komponen, yaitu penyelenggara produksi musik, distribusi produksi musik, dan kebutuhan masyarakat. Peran media massa juga sangat membantu terhadap keberadaan karya ini. Berita tentang Manthous dan Campursarinya menyebar secara luas di masyarakat melalui media massa. Dalam waktu kemunculannya yang relatif singkat, Campursari karya Manthous telah menjadi musik Jawa dalam ruang budaya massa.Kata kunci: Campursari, budaya massa, industri musik

Defining Italianness: Poetry, Music and the Construction of National Identity in Nineteenth- and Twentieth-Century Accounts of the Medieval Italian Lyric Tradition

2017 ◽  
Vol 142 (2) ◽  
pp. 257-276
Author(s):  
Lauren Jennings
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
Italian Literature ◽  
Literary Identity ◽  
Medieval Italian Literature ◽  
Lyric Tradition ◽  
Giosuè Carducci

ABSTRACTThis article explores the role of music in nineteenth- and twentieth-century accounts of medieval Italian literature and its relation to the construction of Italian national identity both during and long after the Risorgimento. Tracing music's role in the writings of Giosuè Carducci, Vincenzo De Bartholomaeis and Aurelio Roncaglia, it argues that music somewhat paradoxically became entangled with Italy's literary identity even as scholars worked to extricate the peninsula's most renowned poetry from its grasp. In the realm of ‘popular’ poetry, Italianness depends on the presence of music, which serves as a marker of that poetry's popular origins. In contrast, music's absence from the realm of ‘high-art’ poetry was essential to the construction of an Italian tradition independent of and superior to its French and Provençal predecessors.

scholarly journals Music, Identity, and Community

2021 ◽  
pp. 45-63
Keyword(s):  
Hong Kong ◽  
National Identity ◽  
Popular Music ◽  
Pop Music

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)

Sport and National Identity

2017 ◽  
Author(s):  
Dilwyn Porter
Keyword(s):  
National Identity ◽  
Mass Media ◽  
Everyday Life ◽  
Cultural Practice ◽  
National Identities ◽  
Imagined Communities ◽  
Nation States ◽  
The Mass Media ◽  
The Relationship

This chapter explores the role of sport in the construction of national identity. It focuses initially on sport as a cultural practice possessing the demonstrable capacity to generate events and experiences through which imagined communities are made real. The governments of nation-states or other political agencies might intervene directly in this process, using sport as a form of propaganda to achieve this effect. More often, however, the relationship between sport and national identity is reproduced in everyday life, flagged daily by the mass media as an expression of banal nationalism. Particular attention is given to the role of sports that are indigenous to particular nations and also to sports engaged in competitively between nations. These have contributed in different ways to the making of national identities.

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