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OUTLIVING GENERATIONS

机译:超越时代

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This essay aims to contextualize the debate of urban spaces experiencing cultural, social, political and economic changes in the East African region. With different population groups utilizing these spaces they become contested sites in the continued production of cultural knowledge, regional mutuality, and representation. In order to substantiate this argument, urban centres as nodal points for global networks promoting cosmopolitan lifestyles are seen to attract a growing number of youth musicians. In the fluid urban atmosphere, these youth musicians purposely beam their compositions beyond local geographies to avoid being muted or muffled since musical identity creates for them a subculture and creative space within which they thrive. Central to this drive given the historical musical past is the Kiswahili language. Contemporary modified Kiswahili sung music from Dar-es Salaam or Bongo Flava, distinctly articulates ensembles of class and power, while being embraced across all ethnic, religious, gender, socio-economic, age and political divides in the East African region. It is argued that shifting, any musical brand within the region, demands selected acclaimed musicians acquiring broadened felicity in music. Consequently, differences exist, in these translocational movements that reflect individual artists' styles, but which find space and meaning in borrowing and modification. By focussing on the emergence of youth musicians as agent involved in the construction of glocalized spaces the discussion situates the collective ability of youth as artists in taking advantage of opportunities in urban settings and appropriating spaces by the creation of a transversal urban cultural identity. The overriding quest for self-identity through labels and language by youth artists provides continual analysis into their metaphorically, African 'brewed' music as a partial solution in the deconstruction of obsessive-ness with Western domination and idols in music thus mapping out a future for regional musical artists.
机译:本文旨在将东非地区经历文化,社会,政治和经济变化的城市空间的辩论与背景联系起来。随着不同的人口群体利用这些空间,它们成为文化知识,区域互助性和代表性的持续产生中有争议的场所。为了证实这一论点,人们认为城市中心是促进国际化生活方式的全球网络的节点,吸引了越来越多的青年音乐家。在动荡的城市氛围中,这些青年音乐家有意将自己的作品传播到当地以外的地方,以免被忽略或沉闷,因为音乐身份为他们创造了一种亚文化和创造性的空间,使他们得以蓬勃发展。考虑到历史悠久的音乐历史,这种推动力的核心是斯瓦希里语。来自达累斯萨拉姆或邦戈·弗拉瓦(Bongo Flava)的当代改良的斯瓦希里语演唱音乐清晰地表达了阶级和权力的合奏,同时被东非地区的所有种族,宗教,性别,社会经济,年龄和政治鸿沟所接受。有人认为,该地区内的任何音乐品牌的转移,都要求精选的知名音乐家获得广泛的音乐享乐。因此,在这些易位运动中存在着差异,这些位移反映了个别艺术家的风格,但在借用和修改中找到了空间和意义。通过关注青年音乐家的出现,他们参与了全球化空间的建设,讨论将青年作为艺术家的集体能力定位于利用城市环境中的机会并通过创造横向城市文化身份来占用空间。青年艺术家通过标签和语言对自我认同的压倒性追求,为他们的隐喻,非洲“酿造”音乐提供了持续的分析,作为对西方统治者和音乐偶像的沉迷性解构的部分解决方案,从而为音乐的未来指明了未来区域音乐艺术家。

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