World Music and the Black Atlantic
Producing and Consuming African-Cuban Musics on World Music Stages
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Product details:
- Publisher OUP USA
- Date of Publication 22 July 2020
- ISBN 9780190083946
- Binding Hardback
- No. of pages264 pages
- Size 160x243x25 mm
- Weight 508 g
- Language English
- Illustrations 30 figures; 1 table 6
Categories
Short description:
Examining the experiences of musicians, industry personnel, and audiences, World Music and the Black Atlantic offers a nuanced view of a global industry informed and marked by diverse transnational perspectives and histories of transatlantic exchange.
MoreLong description:
In the mid-20th century, African musicians took up Cuban music as their own and claimed it as a marker of black Atlantic connections and of cosmopolitanism untethered from European colonial relations. Today, Cuban/African bands popular in Africa in the 1960s and '70s have moved into the world music scene in Europe and North America, and world music producers and musicians have created new West African-Latin American collaborations expressly for this market niche. World Music and the Black Atlantic follows two of these bands, Orchestra Baobab and AfroCubism, and the industry and audiences that surround them-from musicians' homes in West Africa, to performances in Europe and North America, to record label offices in London. World Music and the Black Atlantic examines the intensely transnational experiences of musicians, industry personnel, and audiences as they collaboratively produce, circulate, and consume music in a specific post-colonial era of globalization.
Musicians, industry personnel, and audiences work with and push against one another as they engage in personal collaborations imbued with histories of global travel and trade. They move between and combine Cuban and Malian melodies, Norwegian and Senegalese markets, and histories of slavery and independence as they work together to create international commodities. Understanding the unstable and dynamic ways these peoples, musics, markets, and histories intersect elucidates how world music actors assert their places within, and produce knowledge about, global markets, colonial histories, and the black Atlantic. World Music and the Black Atlantic offers a nuanced view of a global industry that is informed and deeply marked by diverse transnational perspectives and histories of transatlantic exchange.
Whitmore has crafted a compelling ethnographic account of how industry, musicians, and audiences encounter each other in systems of the contested "world music" genre... Recommended. Lower-division undergraduates through faculty; general readers.
Table of Contents:
Acknowledgements
Introduction
Part I Industry
Chapter 1 Setting the Scene: The World Music Industry
Chapter 2 The Art of Representing the Other
Part II Musicians
Chapter 3 Cuban Music is African Music: Musicians and their Music
Chapter 4 Musicians and the Industry
Part III Audiences
Chapter 5 Frames
Chapter 6 Experiencing Pleasure
Postlude
Moving forward and looking back: Where are We? Where are We Going?
Bibliography
