‘It started on queen street’: New Zealand popular music, cultural identity and the question of landscape

Continuum ◽  
1996 ◽  
Vol 10 (1) ◽  
pp. 152-167 ◽  
Author(s):  
Tara Brabazon
Popular Music ◽  
1994 ◽  
Vol 13 (3) ◽  
pp. 261-278 ◽  
Author(s):  
Roy Shuker ◽  
Michael Pickering

The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.


Popular Music ◽  
2008 ◽  
Vol 27 (2) ◽  
pp. 271-287 ◽  
Author(s):  
Roy Shuker

AbstractThe New Zealand popular music industry has recently undergone impressive growth, and is poised to make a significant international impact. Two aspects of this newly privileged position are examined. First, broadly sketching twenty years of developments, I argue that Government willingness to get behind the local industry, especially the role of the post-2000 Labour Government, is a crucial determinant of the present success story. Secondly, I consider the debated relationship between local music and New Zealand cultural identity, with particular reference to two prominent musical styles: Kiwi ‘garage’ rock, and Polynesian-dominated local rap, reggae and hip-hop-inflected music. I argue that the local must not be overly valorised, and that it is necessary to distinguish between ‘local music’ as a cultural signifier and locally made music, with both worthy of support.


Author(s):  
Oli Wilson

This chapter explores how the New Zealand popular music artist Tiki Taane subverts dominant representational practices concerning New Zealand cultural identity by juxtaposing musical ensembles, one a ‘colonial’ orchestra, the other a distinctively Māori (indigenous New Zealand) kapa haka performance group, in his With Strings Attached: Alive & Orchestrated album and television documentary, released in 2014. Through this collaboration, Tiki reframes the colonial experience as an amalgam of reappropriated cultural signifiers that enraptures those that identify with colonization and colonizing experiences, and in doing so, expresses a form of authorial agency. The context of Tiki’s subversive approach is contextualized by examining postcolonial representational practices surrounding Māori culture and orchestral hybrids in the western art music tradition, and through a discussion about the ways the performance practice called kapa haka is represented through existing scholarly studies of Māori music.


Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson

AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.


2004 ◽  
pp. 271-284 ◽  
Author(s):  
Misa Djurkovic

The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements (such as asymmetric rhythmic patterns and melismatic singing) and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research.


2019 ◽  
Vol 23 (3) ◽  
pp. 352-367
Author(s):  
Mark Stewart

This article argues that the live tweeting of reality television allows the creation of an imagined community, bounded by national borders. In an era of audience fragmentation and time-shifting of television engagement, live reality television encourages audiences to watch at time of broadcast; this is amplified by the move of some audience members to live-tweet the broadcast, communicating amongst themselves within a dispersed backchannel. A crucial result of the digital conversation is to reinstate the importance of the nation as a space for the reading and reception of culture. The article utilizes a discursive analysis of the concurrent Twitter conversation around the second season of The X Factor NZ in New Zealand in order to highlight the ongoing role that is played by the nation as a cultural formation in such discussions, as well as the ways that it makes understandings of national cultural identity visible.


2016 ◽  
Vol 22 (1) ◽  
Author(s):  
Tania Lewis

In the late 1980s and early 1990s, Stuart Hall’s writing began to take a biographical turn. For readers such as myself, then a mature undergraduate pursuing an American Studies degree in New Zealand, this was somewhat of a revelation. The surprise was not so much Hall’s shift from the somewhat dry prose of structural Marxism to the rather more vital style of a postcolonially inflected poststructuralism, but the fact of Hall’s Caribbean background when I, along with no doubt many other geographically distant readers, had assumed him to be exworking class, British and white. Some seven years later, while wrestling with a PhD on the history of cultural studies at the University of Melbourne, I found myself writing an essay for Arena using the question of Hall’s diasporic identity to explore ‘the relations between knowledge production and cultural identity/location.


Multilingua ◽  
2017 ◽  
Vol 36 (5) ◽  
Author(s):  
Tania M. Ka’ai

AbstractInspired by Joshua Fishman’s lifetime dedication to the revitalisation of minority languages, especially Yiddish, this paper presents my personal story of the loss of the Māori language in my family in New Zealand/Aotearoa and our attempts to reverse this decline over several generations. The paper includes a description of several policy reforms and events in Aotearoa/New Zealand’s history and the impact of colonisation on the Māori language, which, as seen in other colonised peoples around the world, has contributed to the decline of this indigenous language. The paper also presents the mobilisation of Māori families and communities, including my own family, to establish their own strategies and initiatives to arrest further language decline and to reverse language loss in Māori families in Aotearoa/New Zealand. This article, combining story and history, should be read as a historiography of the Māori language, based on the author’s acknowledgement that other indigenous minority communities, globally, and their languages also have experienced the effects of colonisation and language loss. This article, much like a helix model, weaves together a narrative and history of Māori language loss, pain, resilience, and hope and seeks to establish that no language, because it contains the DNA of our cultural identity, should be allowed to die. A table of key landmarks of the history of the Māori language also is included.


Sign in / Sign up

Export Citation Format

Share Document