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Asian Kool or Punjabi Kool? Bhangra's global invasion

机译:亚洲酷还是旁遮普酷?班格拉的全球入侵

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The common understanding of Bhangra as a hybrid British music makes one overlook the fact that it is derived from a Punjabi harvest dance of the same name. Echoing ethnomusicologists' interest in the discovery of the musics of ‘others’, the British media hailed it as ‘Asian Kool’ and ‘the voice of the Asian youth’ marking the British Asian presence on the British pop cultural scene. British culture studies examined Bhangra developments in Britain and their centrality to the formation of Asian youth cultures and hybrid British Asian identities. In these studies, Bhangra's reinvention as ‘Asian Kool’ was attributed to its hybridization with Afro-Caribbean sounds. But Bhangra's appropriation in the black cultural politics of Britain has marginalized interventions it has made on the Indian subcontinent. The exclusive focus on the Bhangra explosion in Britain has eclipsed Bhangra revivals on the subcontinent, and the emphasis on its British antecedents has concealed its origins and continuity with the Punjabi harvest dance. While Bhangra's acquisition of ‘Black Kool' through its mixing with black sounds of reggae, rap and hiphop has been cited as the primary reason for its revival and increasing popularity among youth in Britain, a study of the transformation of the stereotyped representation of the Punjabi in the Indian imagination through the arrival of ‘Punjabi Kool’ is yet to be done. Through examining two acts of individual creativity - of Gurdas Mann in the 1980s and of Daler Mehndi a decade later - that led to the reinvention on the Indian subcontinent, this essay argues that Bhangra had turned ‘Kool’ in India independent of its ‘blackening’ in Britain through ‘Bhangrapop's’ appropriation of the josh spirit of the Punjabi harvest dance.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/10304312.2011.606363
机译:人们对Bhangra作为英国混合音乐的普遍理解使人们忽略了这一事实,它源于同名的旁遮普丰收舞蹈。为了回应民族音乐学家对“其他”音乐的发现的兴趣,英国媒体称赞它为“亚洲库尔”和“亚洲青年的声音”,标志着英国亚洲人在音乐中的存在。英国流行文化现场。英国文化研究考察了班格拉在英国的发展及其在亚洲青年文化和混合的英国亚洲身份形成中的重要性。在这些研究中,Bhangra被重塑为“ Asian Kool”,是因为它与非洲加勒比海地区的声音杂交。但是,班格拉(Bhangra)在英国的黑人文化政治中的占有,使它对印度次大陆的干预被边缘化。对英国Bhangra爆炸的独家关注使该次大陆的Bhangra复兴黯然失色,对英国前辈的重视掩盖了旁遮普丰收舞蹈的起源和延续性。虽然Bhangra通过将雷鬼,说唱和嘻哈音乐与黑色声音混合在一起而获得了“ Black Kool”,这被认为是其复兴并在英国青年中日益普及的主要原因,但该研究是对Bangra刻板印象的转变的研究。通过“旁遮普语库尔”的到来,印度想像中的旁遮普语尚待完成。通过研究两种个人创造力行为-1980年代的Gurdas Mann和十年后的Daler Mehndi-导致了印度次大陆的重塑,这篇文章认为Bhangra在印度已独立于印度而变成了“ Kool”。在英国,通过“ Bhangrapop”对旁遮普丰收舞蹈的乔什精神的挪用来“变黑”。查看全文下载全文相关的var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,service_compact:“ citeulike ,netvibes,twitter,technorati,可口,linkedin,facebook,stumbleupon,digg,google,更多”,发布:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/10304312.2011.606363

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