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2010 KCAS09 the permeability of borders

this presentation is part of the Core Curriculum Area Studies of Leiden University

Jeroen Groenewegen

on 20 April 2010

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Transcript of 2010 KCAS09 the permeability of borders

Comparison, Translation, and Adaption:
The Permeability of Borders http://www.in.com/videos/watchvideo-o-saya-slumdog-2445613.html M.I.A 1975 London
Sri Lanka
Tamil Nadu (India)
1986 London
Central Saint Martins College of
Art and Design
2003 single Galang
2005 album Arular
2006 visa problemen USA, dus naar
India, Trinidad, Liberia,
Jamaica, Australie en UK
2007 album Kala
New York
2009 Time 100 "world's most
influential people"
2010 (nieuw album) Mathangi "Maya" Arulpragasam Arul Pragasam
Tamil Tigers Liberation Tigers of Tamil Eelam 1976
1983 Black July (400-3'000)
1987-1990 Indian Peace Keeping Force
2001 Wapenstilstand
2005 Verkiezingen
2008-2009 Sri Lankan Army Northern offensive
enkele duizenden tot enkele tienduizenden slachtoffers Digampathaha truck bombing
october 2006 92-103 slachtoffers "We were partners in crime when we were kids, soul mates," M.I.A. says. "At ten, I left. He stayed and joined the Tigers. He died the same week I graduated with a fine-arts degree. At that time, for me, everything was London, London, London. You know, Stella McCartney, fashion. Then you get a phone call, that your cousin died for a cause. How do you communicate that to anyone in London, dying for a cause? It was just amazing to me that someone my age, who had the same start I did, who was better in school than I was -- I would always copy off his papers -- he ended up dead. And I didn't." (Mark Binielli, "M.I.A. Guerrilla Goddess" in Rolling Stone, December 2005) like PLO, I don't surrend0 M.I.A promoot Terrorisme Geweld
Ikhy Edgar Arular Bronfman
Kala Adaptatie 2007 "Jimmy"
cover van 1982 "Jimmy Jimmy Jimmy Aaja" door Parvati Khan in Hindi uit de Bollywoodfilm Disco Dancer, geschreven door Bappi Lahiri
weer een cover van 1980 "T'es OK!" van het Franse disco-duo "Ottawan" wereldwijd publiek
Doorlaatbaarheid van grenzen
cosmopolitiek http://www.metacafe.com/watch/bg-139529/spike_spends_saturday_with_m_i_a_part_4_of_6/ Authenticiteit 13'-14' ('40-1'30)
no one's really come from the first generation 3rd world. rap is american. like this kid knows 50cents but 50cents doesn't know this kid. culturally it's important to bridge that gap. maar kan MIA die kloof wel overbruggen? hetzelfde geldt voor de film
slumdog millionaire A.R. Rahman (zingt samen met MIA in Slumdog Millionaire)
filmmuziek-componist van Tamil afkomst.
bijvoorbeeld van de film Lagaan (2001) wereldmuziek eind jaren 1960
Afrika, Azie en Latijns Amerika
toegang tot Westerse markt

Paul Simon - Graceland (1986)
David Byrne - Rei Momo (1989)
Peter Gabriel - WOMAD (1980) & Real World (1989)
Ry Cooder & Buena Vista Social Club (1997) WOMAD stands for World of Music, Arts and Dance and gives its name to the internationally established WOMAD Festival, which brings together artists from all over the globe. The central aim of the WOMAD festival is to celebrate the world's many forms of music, arts and dance. Ulirch Beck:
Cosmopolitanisme &
Wereldburgerschap Nationalisme Take national anthems, for example, sung on national holidays. No matter how banal the words and mediocre the tunes, there is in this singing an experience of simultaneity. At precisely such moments, people wholy unknown to each other utter the same verses to the same melody. The image: unisonance. Singing the Marseillasise, Waltzing Matilda, and Indonesia Raya provide occasions for unisonality. [...] How selfless this unisonance feels! If we are aware that others are singing these songs precisely when and as we are, we have no idea who they may be, or even where, out of earshot, they are singing. Nothing connects us all but imagined sound. (Anderson, Imagined Communities, p. 145) it turns out that the fundamental substrate or condition of possiblity of individual nations, a ground that should serve as a fundamental principle of comparison and that should inform all theorizing about nationalism, is a form of entropy. This entropy is not easily arrestable as an empirical thing or presences because "it" is nothing other than the spectralizing processes of capital, forces of upheaval and change that destabilize what is at rest and break down what is organically whole. (Pheng Cheah, p. 5-6) For Anderson, the "causal" or "formative" power that the novel possesses in relation to the nation largely rests on its structure of address, its ability to interpellate the reader as a national and to create a symbolic mapping of external social space. (Pheng Cheah, p. 8) universele "taal", benadrukken gedeeldheid
ruimte voor verschil en andersheid (relativisme) muziek verbroedert geluidstourisme
"reproduction of primitiveness"
derde wereldmuziek Difang Duana & Malan Chorus Enigma - Return to Innocence 1994 machtsongelijkheid (Westerse platenmaatschappijen)
Westerse artiesten helpen "subalterne" stemmen
vertaling & adaptatie aan Westerse vertoog / popmuziek Wereldmuziek is HET toonbeeld van cosmopolitanisme
Zo moet het! Wereldmuziek is fout. Het zou gecensureerd moeten worden Aftreksel why is it such a good
thing to transcend
(Chow, p. 296-7) Consider, for instance the study of what is called the novel. [...] When one looks closely at what is meant by the novel, one usually finds English (and sometimes French) materials. Once outside the arena of Western Europe, the term is almost always invoked wit a national or ethnic qualifier, as is evident in the studies of the modern Japanese novel, the American novel, the Russian novel, the Argentinian novel, and so on. (Chow, p. 295) europe and its others the stigma of derivation that accompanies any kind of progress made by third-world nations (Chow, p. 299) The apparently monolingual, monocultural, or mononational investigations of India, Nigeria, Spanish America, modern Greece, or Japan should be understood as full-fledged comparative projects, their precarious and enigmatic enunciations bearing testimony to an interlingual, intercultural, and international historicity that exposes the positivistic limits of the (Western) human sciences. (Chow, p. 302) Musicologie Etnomusicologie is de reisleider van de wereldmuziek op een speurtocht naar Exotische en primitieve geluiden The West & the Rest
Musicologie bestudeert Westerse kunstmuziek
"The Rest" is afgeleid en gekopieerd
vergelijkende musicologie
etnomusicologie (dankzij Jaap Kunst)
culturele musicologie?
net als regiostudies staat culturele musicologie op een kruispunt van disciplines niet elke samenleving maakt muziek
The only sounds on the Taliban-dominated radio that Western ears would recognize as musical were those of ritual chanting (something quite distinct from ‘music’, both conceptually and linguistically, in Islamic thought as in many of the world’s cultures) (Richard Taruskin, NY times 2001). http://www.nytimes.com/2001/12/09/arts/music-music-s-dangers-and-the-case-for-control.html?pagewanted=1 Muziek is geen universele taal 4 interessant doen
5 psychische mechanisme om onbekende te duiden / te
communiceren / angst voor het onbekende
5 entertainment / boekverkoop / legitimatie van de verre
7 bevestigen van de superioriteit van het Westen / het heeft
meer te maken met de doelgroep dan met de bron
(2 bonuspunten voor het gebruik van humor)
waarom doen ze
dat eigenlijk? ik inkapselen controle over de ander geen controle. Teveel, Exces
probleem van interpretatie en vertaling:


all I wanna do is take your money de circels & structuur beperken (vangnet, hokjes)
maar het maakt ook contact & ontmoeting mogelijk
niet vervangen (inclusiveness, bezit) maar toegang bieden

MIA speelt hierop in:
rebellie tegen categorieen dmv overdaad (pastiche, geweld)
is MIA wereldmuziek, popmuziek en/of protestmuziek? http://www.vbs.tv/watch/spike-spends-saturday-with/m-i-a excess & access

Bhangra (1980s)
Fun Da Mental (1991) - "the Asian Public Enemy"
Asian Dub Foundation (1993)
Dog Tribe (1994)
Brixton riots (1994) http://www.putumayo.com
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