Glocal riddim: cultural production and territorial identity in Caribbean music videos

2017 ◽  
Vol 17 (1) ◽  
pp. 91-111
Author(s):  
Murali Balaji ◽  
Thomas Sigler
Keyword(s):  
Cultural Production ◽  
Contemporary Music ◽  
Regional Identity ◽  
Intimate Relationship ◽  
Music Videos ◽  
Pop Music ◽  
Web Based ◽  
Territorial Identity ◽  
The Past ◽  
Musical Genres

Over the past two decades, several musical genres have transcended their Caribbean origins to achieve global recognition and success. Among these are soca, dancehall and reggaeton, all forms that had been inextricably tied to native cultural expressions, but have become increasingly popular as global commodities, particularly as web-based streaming platforms (e.g. YouTube) enhance their global audiovisual mobility. Numerous artists within these genres have become internationally recognized superstars, and many of the most recent tracks reflect an increasing co-mingling with American ‘pop’ music, as record companies seek to invigorate mainstream sounds with these ‘exotic’, yet widely popular artists. This article explores representations of scalar territorial identity as articulated in music videos from within these genres so as to evaluate how identity intersects with profit-driven models applicable to the contemporary music industry. By evaluating imagery from a regionally representative sample of music videos, they identify the intimate relationship between identity, scale and cultural production. Ultimately, we interrogate how place-based identity is commodified in these representations and whether certain images are constructed more for transnational consumption than an articulation of a coherent local national, or regional identity.

urban consumer culture

2005 ◽  
Vol 183 ◽  
pp. 692-709 ◽  
Author(s):  
deborah davis
Keyword(s):  
Consumer Culture ◽  
Music Videos ◽  
Standard Of Living ◽  
Pop Music ◽  
City Life ◽  
The Past ◽  
Multiple Levels ◽  
New Consumer ◽  
Material Standard Of Living ◽  
Material Standard

over the past decade, urban residents have experienced a consumer revolution at multiple levels. in terms of material standard of living, sustained economic growth has dramatically increased spending on discretionary consumer purchases and urbanites have enthusiastically consumed globally branded foodstuffs, pop-music videos and fashion. at the same time, however, income distribution has become increasingly unequal. some scholars therefore emphasize the negative exclusionary and exploitative parameters of the new consumer culture seeing nothing more than a ruse of capitalism or marker of all that is negative about post-socialist city life. building on nearly a decade of fieldwork in shanghai, this article disputes such a linear interpretation of subordination and exclusion in favour of a more polyvalent and stratified reading that emphasizes individual narratives unfolding against memories of an impoverished personal past, and a consumer culture that simultaneously incorporates contradictory experiences of emancipation and disempowerment.

Music, Borders and Nationhood in Algeria

Algeria ◽  
2017 ◽  
Author(s):  
Tony Langlois
Keyword(s):  
Music Industry ◽  
Regional Identity ◽  
Local Form ◽  
Pop Music ◽  
The Core ◽  
Musical Practices ◽  
Western Algeria ◽  
Eastern Morocco ◽  
Musical Genres

This chapter looks at the role of musical genres in the borderland between Oran in Western Algeria and Oujda in Eastern Morocco – in many ways a single cultural and economic zone that is distinct from the core of each of their respective nations. Once this had been the boundary of the Ottoman Empire, but at other times a refuge for political dissidents from either side in their many anti-colonial struggles. Today the cities are economically linked by smuggling and culturally by language, common tradition and strong musical connections – the raï pop music industry is strong on both sides of the border, but as important is the local form of ‘classical’ Andalous music tarab el gharnati and Berber ‘folk’ genres. Music itself marks boundaries of taste, heritage and allegiance, and these often have a tangential relationship to those demarcated by nationalist discourses. The chapter considers the ways in which musical practices preserve a sense of regional identity and allegiance despite the formal closure of the border in 1994. It looks at the economic and cultural consequences of this relationship and at the efforts of the Algerian government to maintain formal boundaries and address the broader context of cross-border cultural flow, not only with Morocco, but, increasingly, the wider mediated world.

Video in the machine: the incorporation of music video into the recording industry

Popular Music ◽  
1997 ◽  
Vol 16 (3) ◽  
pp. 293-309 ◽  
Author(s):  
Jack Banks
Keyword(s):  
Music Videos ◽  
Visual Images ◽  
Music Video ◽  
Pop Music ◽  
Recording Industry ◽  
Record Industry ◽  
The Past ◽  
Television Shows ◽  
The Uk ◽  
Important Form

Music video has become an increasingly integral component of the music recording business over the past three decades. Major US record companies with international divisions have made music clips since the 1970s to promote their acts in the UK and continental Europe where television shows were a more important form of promotion for recording artists. However, record labels did not make a full commitment to music clips until after the premiere of MTV in August 1981 as a 24-hour US cable programme service presenting an endless stream of music videos. As MTV's popularity blossomed in the early 1980s, music video revitalised a troubled record industry suffering a prolonged recession by prompting renewed consumer interest in pop music and successfully developing several new recording acts like Madonna, Cyndi Lauper and Boy George with provocative visual images.

scholarly journals THE TERRITORIAL IDENTY OF LATGALE IN THE CROSSROADS OF GLOBALIZATION AND GLOCALIZATION

Via Latgalica ◽  
2013 ◽  
pp. 83
Author(s):  
Inese Runce
Keyword(s):  
Political Development ◽  
Political Process ◽  
National Development ◽  
Regional Identity ◽  
Political Debate ◽  
Territorial Identity ◽  
Political Processes ◽  
The Past ◽  
Regional Authorities ◽  
The Impact

The aim of this paper is to analyze the processes of formation of Latgale’s territorial identity during the age of globalization in the last 20 years. Research was carried out using the latest data of qualitative research of the Institute of Philosophy and Sociology of University of Latvia (the thematic research of Latvian Science Council’s project "Political development of the nation's self-confi dence after restoration of Latvian independence: Trends and Factors," head of project: Inese Runce, 2009-2012) and the latest theoretical insights of territorial identity construction processes under the impact of globalization and glocalization. On the basis of analysis of the socio-political processes and the experience of other countries, it must be emphasised that the placemaking is an important political process, not only at national but also at sub-regional level. Regional authorities should be able to offer a specifi c political vision, not only to the national power authorities, but also to the main bearers of regional identity - the people in regions. As it is shown by the recent studies, during the past 20 years in Latvia, the regional identity manifests itself only in Latgale where it is alive and vibrant, and the care and preservation and making of identity comes directly from the very bearers of this identity. Regional authorities, in collaboration with local NGOs, experts on culture, etc. must also contribute to the internal integration of the region, where each municipality and each form of local identity has its own recognized place and function, creating diverse forms of sustainable regional communities and regional identities. Regional identity is not exclusive and is able to unite different religious, ethnic, linguistic groups in a single whole entity. Over the past twenty years the process of formation of Latgale regional identity can be divided into three stages: 1. 90s of 20th century – the stage of denial of regional identity. In this decade the preservation and construction of Latgale regional identity is carried out only by few individuals or interest groups: writers, researchers, artists, local intellectuals who are mainly based in the circles of local intellectuals at Rezekne University College, as well as indirectly Latgale Research Institute of Daugavpils University; 2. The fi rst decade of 2000s - a gradual increase of awareness of regional identity. During the period this has been a gradual growth of awareness of regional identity and its development process. "Latgale radio”, Latgalian music groups are being launched, also the extensive scientific and political debate on the status of Latgale language started, socio-linguistic research projects initiated and a new non-governmental organizations established, the first portals in Latgalian as well the new initiative of regional municipalities are being launched; 3. 2010 to 2013 - analyzing the last three years of political and intellectual life trends, it can be argued that a qualitatively new stage in the recognition of regional identity and its construction process has been created: current political debate before and after the elections of 11th Saeima and the language referendum, discussions on the role of Latgalian as regional language, the National Development plan (NDP), development of the structural budget plans. However, it is clear that those spring sprouts must be protected, due to the fact that the strong centralizing tendencies in the Latvian political culture still exist.

Reading the charts – making sense with the hit parade

Popular Music ◽  
1991 ◽  
Vol 10 (2) ◽  
pp. 205-217 ◽  
Author(s):  
Martin Parker
Keyword(s):  
Popular Music ◽  
Cultural Production ◽  
Popular Literature ◽  
Pop Music ◽  
Radio Stations ◽  
Record Industry ◽  
The Past ◽  
Making Sense ◽  
History Of ◽  
Top 40

One of the formations which helps to shape the meaning of modern pop music is the charts. In theory, the charts define the most popular of popular musics, the goal, the pinnacle of success. Both professionals and audience dedicate large amounts of time and money to producing and consuming this series of comparative market histories produced at rapid and regular intervals. Technology is bent to the service of the research in order that the figures be produced more quickly and with the appearance of accuracy. But why should we be interested in the Top 40 itself rather than its music? Writers on pop have provided us with some detailed descriptions of the charts (Frith 1978; Harker 1980; Wallis and Malm 1984; Street 1986), but few have noted that this level of consumer obsession with sales figures is almost unique to the record industry. Consumers of other commodities do not usually consult a specialist book or magazine in order to discover the past sales history of their favourite brand, nor do they listen to particular radio stations in order to ascertain the best selling product of the week. Why then should the sales results of EMI, Polygram, WEA and others be of interest to their consumers when the same data about multi-national corporations in other market sectors are primarily of interest to market insiders and analysts? An important caveat needs to be added in that popular music is now not the only type of cultural production that foregrounds sales figures. More recently popular literature (the ‘Bestsellers List’), video and films have all begun to use this format but in none of these cases is the chart as central as it is with pop music.

Conclusion

2018 ◽  
Author(s):  
Jim Sykes
Keyword(s):  
Middle Class ◽  
Music Videos ◽  
Sri Lankan ◽  
The Past ◽  
Post War

In the conclusion to The Musical Gift, Jim Sykes discusses Sri Lankan versions of viral music videos over the past decade, particularly Pharrell Williams’ video “Happy.” Sykes notes that several people filming themselves dancing to Williams’ song were stopped by the police, who could not comprehend why people were singing and dancing in public outside of the bounds of an official concert. The Sri Lankan “Happy” videos have also been criticized as depicting upper- and middle-class Sri Lankans and thus obscuring the fact that happiness has not been achieved for many Sri Lankans, including those who suffered greatly from the war. Returning to the concept of “the musical gift,” Sykes argues the promotion of public song and dance from and between various communities has a role to play in forging post-war reconciliation and building a “happiness” that emerges from Sri Lankan aesthetics.

THINKING THROUGH INTERTEXTUALITY IN KOREAN POP MUSIC VIDEOS

2020 ◽  
Vol 108 (1) ◽  
pp. 48-63
Author(s):  
CedarBough T. Saeji
Keyword(s):  
Music Videos ◽  
Pop Music

scholarly journals Knowledge and perceptions of cardiopulmonary resuscitation amongst New Zealand podiatrists: a web-based survey

2021 ◽  
Vol 14 (1) ◽  
Author(s):  
Angela Brenton-Rule ◽  
Daniel Harvey ◽  
Kevin Moran ◽  
Daniel O’Brien ◽  
Jonathon Webber
Keyword(s):  
New Zealand ◽  
Cardiopulmonary Resuscitation ◽  
Life Support ◽  
Survival Rates ◽  
Sudden Cardiac Arrest ◽  
Cross Sectional Study ◽  
Trial Registration ◽  
Cross Sectional ◽  
Web Based ◽  
The Past

Abstract Background Podiatrists in New Zealand have a duty of care to assist patients in an emergency, and current cardiopulmonary resuscitation (CPR) certification is a requirement for registration. However, it is unknown how competent and confident podiatrists are in administering CPR and how they would respond in an emergency. Having a health professional who has a competent knowledge of CPR and skills in basic life support, can improve survival rates from sudden cardiac arrest. Therefore, the aim of this study was to survey New Zealand podiatrists to determine their CPR knowledge and qualifications; beliefs about the application of CPR; and perceptions of their competency in CPR. Methods This cross-sectional study used a web-based survey. Participants were New Zealand registered podiatrists with a current annual practising certificate. The 31-item survey included questions to elicit demographic information, CPR practice and attitudes, and CPR knowledge. Responses were collected between March and August 2020. Results 171 podiatrists responded to the survey. 16 % of the podiatrists (n = 28) had performed CPR in an emergency, with a 50 % success rate. Participants were predominantly female (n = 127, 74 %) and working in private practice (n = 140,82 %). Nearly half of respondents were younger than 40 years (n = 75,44 %) and had less than 10 years of clinical experience (n = 73, 43 %). Nearly all (n = 169,97 %) participants had received formal CPR training in the past two years, with 60 % (n = 105) receiving training in the past 12 months. Most respondents (n = 167,98 %) self-estimated their CPR ability as being effective, very effective, or extremely effective. Participants’ knowledge of CPR was variable, with the percentage of correct answers for CPR protocol statements ranging between 20 and 90 %. Conclusions This study provides the first insight into New Zealand podiatrists’ CPR knowledge and perceptions. Podiatrists were found to have high levels of CPR confidence but demonstrated gaps in CPR knowledge. Currently, New Zealand registered podiatrists require biennial CPR re-certification. However, resuscitation authorities in New Zealand and overseas recommend an annual update of CPR skills. Based on this study’s findings, and in line with Australia and the United Kingdom, the authors recommend a change from biennial to annual CPR re-certification for podiatrists in New Zealand. Trial registration The study was registered with the Australian New Zealand Clinical Trials Registry (ACTRN12620001144909).

Commercialising the sound of the people: Pleng Luktoong and the Thai pop music industry

Popular Music ◽  
1990 ◽  
Vol 9 (1) ◽  
pp. 61-77 ◽  
Author(s):  
Ubonrat Siriyuvasak
Keyword(s):  
Young People ◽  
Middle Class ◽  
Music Industry ◽  
Country Music ◽  
Copyright Law ◽  
Pop Music ◽  
The Past ◽  
Previous Generation ◽  
Indigenous Music ◽  
The People

Since Thailand's Copyright Act became law in 1979 an indigenous music industry has emerged. In the past, the small recording business was concentrated on two aspects: the sale of imported records and the manufacture of popular, mainly Lukkroong music, and classical records. However, the organisation of the Association of Music Traders – an immediate reaction to the enforcement of the Copyright law – coupled with the advent of cassette technology, has transformed the faltering gramophone trade. Today, middle-class youngsters appreciate Thai popular music in contrast to the previous generation who grew up with western pop and rock. Young people in the countryside have begun to acquire a taste for the same music as well as enjoy a wider range of Pleng Luktoong, the country music with which they identify. How did this change which has resulted in the creation of a new pleasure industry come about? And what are some of the consequences of this transformation.

Herramientas digitales para recolección, procesamiento y presentación de datos de campo como instrumento para afrontar la contingencia COVID-19

2021 ◽  
Vol 5 ◽  
pp. 96-104
Author(s):  
Didier Haid Alvarado Acosta
Keyword(s):  
Learning Curve ◽  
Training Programs ◽  
Communication Technologies ◽  
Field Work ◽  
Web Based ◽  
Face To Face ◽  
The Past ◽  
Online Platforms ◽  
Virtual Libraries ◽  
Different Types

In March of 2020, the COVID-19 outbreak forced people to lock themselves inside their homes and begin the process of transitioning from face-to-face activities at work, schools and universities to a 100 % virtual method. Even when Communication Technologies (ICT) and online platforms have seen growth over the past two decades, including various virtual libraries developed by database publishers or web-based training programs that appear to shorten the learning curve (Lee, Hong y Nian, 2002), many people were unprepared for this transition and all of them are now dedicated to entering the new reality. In this order of ideas, the activities that have traditionally required the assistance of the staff have had to adapt with the use of new tools, which meet daily needs. A clear example is the field work collection tasks. In this group, there are different types such as surveys, photographs, reviews or on-site inspections. The current work presents the use of tools for collecting, validating, analysing and presenting data remotely and in real time. All of them based on the ArcGIS Online platform.

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