Cultural Globalization and Music: African Artists in by Nadia Kiwan

By Nadia Kiwan

This e-book is ready South-North, North-South family members among Africa and Europe, proposing the non-public narratives of musicians in numerous destinations throughout Africa and Europe, and people of the folks who represent their networks in the wider inventive, cultural, and civil society milieus of globalizing societies.

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Cultural Globalization and Music: African Artists in Transnational Networks

This booklet is set South-North, North-South relatives among Africa and Europe, featuring the non-public narratives of musicians in several destinations throughout Africa and Europe, and people of the folk who represent their networks in the wider inventive, cultural, and civil society milieus of globalizing societies.

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It transcends ordinary time and gives meaning to the different festive events: sports, concerts, ‘dust’ dances [bals poussières] and ceremonies. As a musical practice, it is inseparable from dance and singing. As a shared language, it’s a reflection of the violence and the misery. (Mallet 2009: 126, Meinhof’s translation) [3] Similar points could be made for other distinctive sounds and rhythms of Madagascar: for salegy in the north, mangaliba from the region of Fort Dauphin or beko of the deep south.

Shabka, which brings together five friends from Fez, is a rap group which draws on various influences including US gangsta rap, reggae and ragga, but the lyrics of their tracks are in Moroccan Arabic (darija). ) Shabka first got together in 2000 and, like many fledgling groups, faced challenges in terms of access to rehearsal space and recording space. 20 The group members are all students and therefore part-time artists, yet they have managed to release three singles over the past six years, although there is as yet no second album, despite being announced for 2009 on the group’s MySpace site.

A key theme which emerges from the Moroccan fieldwork (which encompassed Casablanca, Rabat, Meknes, Fez, Marrakesh and Agadir) was the notion that being a musician in a provincial Moroccan town poses real challenges in terms of access to rehearsal space, training, the media, recording studios and so on. This difficulty was mentioned time and time again by musicians we met from Fez and Meknes, and this despite the fact that these towns are both historically established with their own wellknown cultural identity and infrastructure.

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