In what ways might it be said that contemporary genres of indigenous music and dance are a result of globalisation? What issues does this raise for indigenous performers?
Lara Catherine Thompson
T16438019
In what ways might it be said that contemporary genres of indigenous music and dance are a result of globalisation? What issues does this raise for indigenous performers?
“You have made your home
In the streets of life
You’ll take whatever…will come…
Then put on your shoes of blue
And you immediately dance
Dance of life…
So follow this song.
Malaysian rock group, Kembara 1984.
The question above queries if the western influence, of centrically – oriented high art, has drastically affected the authenticity of indigenous music and the performers sense of identity. Sarah Rubidge, questions authenticity, what does it count for, “artistic value, historical value or both”?
From personally experiencing a “drum circle”, I can understand that the music is a great way of expressing yourself. Indigenous performers present their identity within their music. They value the right to play, sing or dance.
In the new era of globalisation by digestion, the music industry is at the fore. Global corporations have emerged to create and exploit global music markets.
It could be said that globalisation is affecting everyone’s lives taking away individuality. Richard Letts is a member of the Music Council of Australia. Music itself most definitely predates the music industry; however the industry is very powerful. Letts believes that even though technological changes are now flooding the industry impact upon corporate structures and profits and how we get access to music, the human need for musical nourishment will survive and somehow be satisfied. An example of a contemporary musical genre used to appeal to an international audience is Paul Simon’s Graceland. Kwela was a black urban genre in the 1950s and 1960s. Originally played by urban youths as “improvisational street music”. The music itself was played on pennywhistles and guitars, (it is even suggested by David Coplan that the pennywhistle built the foundations of South African jazz). The pennywhistle features predominantly in Graceland bringing with it a complex of meanings configured around early South African jazz. This genre of music being one of the most prominent expressive forms in black townships during one of the most repressive decades. The pennywhistle can be found on the track “You Can Call Me Al”. However the pennywhistle may not be as “authentic” as one might think, it has been “cleaned up”. Apart from the whistle actually sounding different and less “windy”, it is played by a white South African, when it was originated by black street youths. This is just one example of how a meaningful sound has been changed by a western industry to suit what they perceive as sounding good. Graceland could be said as holding a collage of different sounds. All with different meanings, as well as Paul Simon’s individual style. Although some of the meaning and the original authenticity has been taken out of the music, “Graceland has altered South Africans to the richness and currency of black South African expression”. Opening up oppertunities on the local market for blacks, since most of the music industry within South Africa is dominated by whites.
