Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Contexto Internacional |
Texto Completo: | http://old.scielo.br/scielo.php?script=sci_arttext&pid=S0102-85292016000200523 |
Resumo: | Abstract Abstract: By focusing on the musical styles known as bossa nova and afrobeat, I ask: Given that globalisation/capitalism promotes exchange, borrowing, and imitation, can we make sense of ‘authenticity’? Can we speak of an authentically Brazilian or Nigerian music? If today ‘authenticity’ makes little sense, why is talk about ‘authenticity’ so pervasive? If we expose ‘authenticity’ as reification, do we still need this term? What, then, may ‘authenticity’ mean? How can we restrict powerful musical cultures without limiting localities to replicating the past? How can cultures take up each others’ vitality without losing their particularity? Can we imagine a world stage inviting all music? I explore the astonishing but mostly uncharted flows between and within musical traditions. At the same time, I seek to ground those flows in locales. Moving somewhat against the grain of contemporary social theory, I retrieve the need for ‘reification’ and ‘authenticity’. If we value a diverse world, we may wish to balance capitalism’s dominant flows with the desire to situate music-making in specific locales. |
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Gigging on the World Stage: Bossa Nova and Afrobeat after De-reificationBossa NovaAfrobeatReificationAuthenticityDe-ReificationAbstract Abstract: By focusing on the musical styles known as bossa nova and afrobeat, I ask: Given that globalisation/capitalism promotes exchange, borrowing, and imitation, can we make sense of ‘authenticity’? Can we speak of an authentically Brazilian or Nigerian music? If today ‘authenticity’ makes little sense, why is talk about ‘authenticity’ so pervasive? If we expose ‘authenticity’ as reification, do we still need this term? What, then, may ‘authenticity’ mean? How can we restrict powerful musical cultures without limiting localities to replicating the past? How can cultures take up each others’ vitality without losing their particularity? Can we imagine a world stage inviting all music? I explore the astonishing but mostly uncharted flows between and within musical traditions. At the same time, I seek to ground those flows in locales. Moving somewhat against the grain of contemporary social theory, I retrieve the need for ‘reification’ and ‘authenticity’. If we value a diverse world, we may wish to balance capitalism’s dominant flows with the desire to situate music-making in specific locales.Pontifícia Universidade Católica do Rio de Janeiro, Instituto de Relações Internacionais2016-08-01info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontext/htmlhttp://old.scielo.br/scielo.php?script=sci_arttext&pid=S0102-85292016000200523Contexto Internacional v.38 n.2 2016reponame:Contexto Internacionalinstname:Pontifícia Universidade Católica do Rio de Janeiro (PUC-RIO)instacron:PUC_RIO10.1590/S0102-8529.2016380200001info:eu-repo/semantics/openAccessInayatullah,Naeemeng2016-08-26T00:00:00Zoai:scielo:S0102-85292016000200523Revistahttp://contextointernacional.iri.puc-rio.br/cgi/cgilua.exe/sys/start.htm?tpl=homePUBhttps://old.scielo.br/oai/scielo-oai.phpcintjournal@puc-rio.br||contextointernacional@puc-rio.br1982-02400102-8529opendoar:2016-08-26T00:00Contexto Internacional - Pontifícia Universidade Católica do Rio de Janeiro (PUC-RIO)false |
dc.title.none.fl_str_mv |
Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification |
title |
Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification |
spellingShingle |
Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification Inayatullah,Naeem Bossa Nova Afrobeat Reification Authenticity De-Reification |
title_short |
Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification |
title_full |
Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification |
title_fullStr |
Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification |
title_full_unstemmed |
Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification |
title_sort |
Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification |
author |
Inayatullah,Naeem |
author_facet |
Inayatullah,Naeem |
author_role |
author |
dc.contributor.author.fl_str_mv |
Inayatullah,Naeem |
dc.subject.por.fl_str_mv |
Bossa Nova Afrobeat Reification Authenticity De-Reification |
topic |
Bossa Nova Afrobeat Reification Authenticity De-Reification |
description |
Abstract Abstract: By focusing on the musical styles known as bossa nova and afrobeat, I ask: Given that globalisation/capitalism promotes exchange, borrowing, and imitation, can we make sense of ‘authenticity’? Can we speak of an authentically Brazilian or Nigerian music? If today ‘authenticity’ makes little sense, why is talk about ‘authenticity’ so pervasive? If we expose ‘authenticity’ as reification, do we still need this term? What, then, may ‘authenticity’ mean? How can we restrict powerful musical cultures without limiting localities to replicating the past? How can cultures take up each others’ vitality without losing their particularity? Can we imagine a world stage inviting all music? I explore the astonishing but mostly uncharted flows between and within musical traditions. At the same time, I seek to ground those flows in locales. Moving somewhat against the grain of contemporary social theory, I retrieve the need for ‘reification’ and ‘authenticity’. If we value a diverse world, we may wish to balance capitalism’s dominant flows with the desire to situate music-making in specific locales. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-08-01 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://old.scielo.br/scielo.php?script=sci_arttext&pid=S0102-85292016000200523 |
url |
http://old.scielo.br/scielo.php?script=sci_arttext&pid=S0102-85292016000200523 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
10.1590/S0102-8529.2016380200001 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
text/html |
dc.publisher.none.fl_str_mv |
Pontifícia Universidade Católica do Rio de Janeiro, Instituto de Relações Internacionais |
publisher.none.fl_str_mv |
Pontifícia Universidade Católica do Rio de Janeiro, Instituto de Relações Internacionais |
dc.source.none.fl_str_mv |
Contexto Internacional v.38 n.2 2016 reponame:Contexto Internacional instname:Pontifícia Universidade Católica do Rio de Janeiro (PUC-RIO) instacron:PUC_RIO |
instname_str |
Pontifícia Universidade Católica do Rio de Janeiro (PUC-RIO) |
instacron_str |
PUC_RIO |
institution |
PUC_RIO |
reponame_str |
Contexto Internacional |
collection |
Contexto Internacional |
repository.name.fl_str_mv |
Contexto Internacional - Pontifícia Universidade Católica do Rio de Janeiro (PUC-RIO) |
repository.mail.fl_str_mv |
cintjournal@puc-rio.br||contextointernacional@puc-rio.br |
_version_ |
1752127872331415552 |