It would certainly be difficult discussing American music in only two hours but I think I would begin to explain American music by discussing American history first. One of the remarkable things about America is that its history is largely characterized by immigrant movements. In addition, it has become a country where different religions, cultures and ethnicities have merged. For this reason (as well as globalization), American music is changing and beginning to incorporate more cultural influences. This trend seems to occur readily in pop and hip hop music. For example, producer Timbaland’s success in the music industry is based on his ability to create unique musical sounds; this ability has come from his diverse musical taste which includes listening to artists such as Coldplay or Bjork. Similarly, the song “Toxic” by Britney Spears resonated with many Indian-Americans and other ethnic groups from the Sub-Continent because it incorporated traditional Indian rhythms.
I do not think it would be a particularly beneficial to discuss music by racial group because these different American genres have an appeal that goes beyond cultural lines. Instead, I think it would be far more beneficial to talk about different popular genres such as pop, hip-hop and rock. I think it would be interesting to discuss the roots of each musical movement and see how this has changed with various ethnic diasporas. Below is my outline and many of the artists that I chose are contemporary primarily because these cultural influences on American music have really begun to dominate only until recently. Furthermore, many of these artists are well known outside of America and consequently I think that the audience may become more interested in the lecture material if they are already familiar with the music.
Outline:
I. Introduction: America’s immigrant history
a. Talk about the major immigrant periods in American history
i. Jewish and Eastern European communities
ii. Asian American communities
iii. Middle Eastern and South Asian communities
b. Briefly discuss how immigrants have merged into different musical genres. Examples include:
i. Norah Jones/Jazz: Jones is half Indian and the daughter of Ravi Shankar, a master tabla player
ii. Pop Music: Popular artists include Shakira, Rihanna who all represent different ethnic backgrounds and incorporate this into their music. Shakira, for example, released “La Tortura” a song sung entirely in Spanish that played frequently in the radio. It did incredibly well in the US as well as other English-speaking countries.
iii. Hip-hop: Frequent collaborations between different types of music occur. A common example is Jay-Z’s “Big Pimpin’” which incorporates a melody from Abdel Halim Hafez’s “Big Pimpin”
Now go on to the specific genres:
II. Pop Music
a. Musical samples: La Tortura by Shakira, Forca by Nelly Furtado (Demonstrative of Portuguese folk music influence),
b. Pop music was initially influenced by ragtime and also carried a strong African American influence
c. Around the 1950s and 1960s, pop artists around the world began to become more prominent on the music scene. Examples of famous pop singers include the great Fairuz of Lebanon whose music (despite being entirely in Arabic) began to have a international following
d. By the 1980s, American pop music became very popular and included the likes of Madonna and Michael Jackson
e. Many international pop artists have begun to “cross-over” particularly those from Latin America. This includes artists such as Shakira, Selena etc. In addition, pop music has begun to incorporate other genres of music within it such as R&B as well as hip hop (many pop songs contain some rap verses)
f. Pop music has also changed with the growing Latino population in America – for example, some songs contain many verses in Spanish or have Latino influences such as salsa.
III. Hip-hop
a. Musical samples: Life is a Loom by Outlandish (Danish hip-hop group that often uses social themes in their music – their music has been heavily influenced by Tupac Shakur); Big Pimpin’ by Jay-Z;
b. Began as a movement that helped reduce inner city violence by exchanging physical violence with “rap battles”
c. Used hip-hop as a voice for activism which continues on with Mos Def and Talib Kweli.
d. Though message of activism has been arguably lost in hip-hop, it has been used a popular form for singing for social justice in other parts of the world.
e. Hip-hop appears to appeal to many first-generation immigrants and their children.
i. For example, many rappers of Armenian descent use hip-hop to discuss legacy of the Armenian genocide.
ii. TIMZ, an rapper of Iraqi descent communicates his anti-war message through hip-hop
iii. Jay-Z’s “Big Pimpin’” samples “Khosara” by Abdel Halim Hafez
iv. Reggaeton music has become more prominent by Latino rappers; their music combines both English and Spanish lyrics
f. Talk about the difference between the quality of hip-hop in America and how it has been influenced by immigrants and then discuss the quality of hip-hop around the world and how it has been affected by Americans (especially Tupac) – The difference comes down to how hip-hop music around the world tends to have a more activist flavor or the lyrics are reworked to apply to a specific society (A good example of this occurred in Japan and was reported by the BBC: http://news.bbc.co.uk/1/hi/world/asia-pacific/3324409.stm)
IV. Rock
a. Musical samples: “Aerials” by System of a Down (Beginning of the song demonstrates Middle Eastern influence); any song by Elvis Presley (his songs are demonstrative of the African American influence in rock); New by No Doubt (Has strong Indian influences which was inspired by one of the band members who is Indian)
b. Rock and roll began in the US and combined a variety of genres such as blues, R&B and many elements of African culture.
c. Because rock initially started off as a type of music where various influences could be combined (especially from African American culture), it quickly became popular across America. d. The rock scene is now dominated by more multi-racial groups and has various cultural influences. For example, sitar is used in many rock songs to give the song a more otherworldly sound. More mainstream examples of rock bands include No Doubt – the bass player is of Indian descent and has added more ethnic Indian flavor to some of their songs such as “New.”
Friday, June 1, 2007
Wednesday, May 23, 2007
Post #7 - May 23, 2007
One band that I frequently listen to is Outlandish. Outlandish is composed of three men, all who were raised in Copenhagen, Denmark. However, they are of different ethnic backgrounds. For example, Isam Bachiri is from Morrocco, Waqas Ali is from Pakistan and Lenny Martinez is from Honduras. This diverse band uses ethnic influences (i.e. such as an Arab beat) in their hip-hop songs.
Their music has various characteristic aesthetics. For example, as mentioned earlier, Outlandish often fuses popular Latino, Arab or South Asian beats (or even famous songs) in order to give their music a more wordly twist. For example, Outlandish used a famous French song sung by Cheb Khalid called "Aicha." The song expresses a man's love for a woman named Aicha who is impervious to his charms. Outlandish reworked the rhythm slightly and instead applied the song to a man who discusses how he feels respect for all the women in his life including his mother, sister and friends. Furthermore, Outlandish has a tendency to sing in different languages. The best example of this is a song called "Kom Igen" (Come Again) in which band members and featured guest artists rapped in five different languages. These languages included English, Dannish, Urdu, Spanish and Arabic. Using such diversity in their music has certainly helped broaden their fan base as these different languages and sounds can be gratifying to many different (ethnic) groups of people.
Another aesthetic that is common in Outlandish's music is their discussion of issues that are important to first and second generation immigrants. Because all three band members are the product of families that immigrated to Denmark, Outlandish tends to write songs that resonate with the children of these immigrants. For example, in the song "Guantanamo" each band member raps talks about how they are able to adapt cultural practices in a Western lifestyle; for instance, Waqas discusses how afterschool, he and his friends are more apt to play cricket (a popular Pakistani sport) than more traditional Dannish sports. Furthermore, Outlandish also wrote a song called "Life is a Loom" in which they talk about difficulties that first generation immigrants face. For instance, Waqas talks about an Indian cab driver who had to cut school from an early age because his father had left his family without any money while Isam raps about the experience of an illegal African immigrant trying to cross into Spain while using a forged visa. As one can see, each of these stories in some way apply or resonate with immigrants and their children.
Lastly another aesthetic that is common to Outlandish's music is that their music tends to reflect the sentiments of their core audience. Most of their audience base is composed of Muslims (both Isam and Waqas are practicing Muslims) and for that reason they have released many songs that resonate with the current Muslim community. For example, the song "Just Me" is about role of Muslims in the news and how more moderate Muslims find difficulty in reconciling the messages of fundamentalists with what is the true, peaceful message of their religion. Recently Outlandish's music has become more spiritual; this parallels the soul-searching that many Muslims in the community are currently engaged in. For example, in one song called "Any Given Time" Outlandish band members each discuss their respective relationship with God, the desire to become more spiritual and the difficulty of being a role model to family and friends. The song involves many repetition of the phrase "closer than veins" (which is actually a reference from the Qur'an where God states that He is far closer to a man then the veins in their neck).
All in all, Outlandish portrays itself as an alternative hip-hop band. Most hip-hop (particularly in America) is concerned with the glamor of drugs, women and money; for the general public, these are unfamiliar concepts and for that reason, many people feel a disconnect with hip-hop as it has moved away from its socially conscious roots. Many people feel that Outlandish and similar bands remain true to hip-hop's message by providing songs that resonate with immigrant youth and in the case of Muslims, that also resonate with the struggles of maintaining faith. As mentioned earlier, the ethnic beats that Outlandish utilizes as well as their lyrics helps demonstrate their commitment to discuss relevant social issues for all people.
Their music has various characteristic aesthetics. For example, as mentioned earlier, Outlandish often fuses popular Latino, Arab or South Asian beats (or even famous songs) in order to give their music a more wordly twist. For example, Outlandish used a famous French song sung by Cheb Khalid called "Aicha." The song expresses a man's love for a woman named Aicha who is impervious to his charms. Outlandish reworked the rhythm slightly and instead applied the song to a man who discusses how he feels respect for all the women in his life including his mother, sister and friends. Furthermore, Outlandish has a tendency to sing in different languages. The best example of this is a song called "Kom Igen" (Come Again) in which band members and featured guest artists rapped in five different languages. These languages included English, Dannish, Urdu, Spanish and Arabic. Using such diversity in their music has certainly helped broaden their fan base as these different languages and sounds can be gratifying to many different (ethnic) groups of people.
Another aesthetic that is common in Outlandish's music is their discussion of issues that are important to first and second generation immigrants. Because all three band members are the product of families that immigrated to Denmark, Outlandish tends to write songs that resonate with the children of these immigrants. For example, in the song "Guantanamo" each band member raps talks about how they are able to adapt cultural practices in a Western lifestyle; for instance, Waqas discusses how afterschool, he and his friends are more apt to play cricket (a popular Pakistani sport) than more traditional Dannish sports. Furthermore, Outlandish also wrote a song called "Life is a Loom" in which they talk about difficulties that first generation immigrants face. For instance, Waqas talks about an Indian cab driver who had to cut school from an early age because his father had left his family without any money while Isam raps about the experience of an illegal African immigrant trying to cross into Spain while using a forged visa. As one can see, each of these stories in some way apply or resonate with immigrants and their children.
Lastly another aesthetic that is common to Outlandish's music is that their music tends to reflect the sentiments of their core audience. Most of their audience base is composed of Muslims (both Isam and Waqas are practicing Muslims) and for that reason they have released many songs that resonate with the current Muslim community. For example, the song "Just Me" is about role of Muslims in the news and how more moderate Muslims find difficulty in reconciling the messages of fundamentalists with what is the true, peaceful message of their religion. Recently Outlandish's music has become more spiritual; this parallels the soul-searching that many Muslims in the community are currently engaged in. For example, in one song called "Any Given Time" Outlandish band members each discuss their respective relationship with God, the desire to become more spiritual and the difficulty of being a role model to family and friends. The song involves many repetition of the phrase "closer than veins" (which is actually a reference from the Qur'an where God states that He is far closer to a man then the veins in their neck).
All in all, Outlandish portrays itself as an alternative hip-hop band. Most hip-hop (particularly in America) is concerned with the glamor of drugs, women and money; for the general public, these are unfamiliar concepts and for that reason, many people feel a disconnect with hip-hop as it has moved away from its socially conscious roots. Many people feel that Outlandish and similar bands remain true to hip-hop's message by providing songs that resonate with immigrant youth and in the case of Muslims, that also resonate with the struggles of maintaining faith. As mentioned earlier, the ethnic beats that Outlandish utilizes as well as their lyrics helps demonstrate their commitment to discuss relevant social issues for all people.
Wednesday, May 16, 2007
Post #6 - May 17, 2007
An interesting aspect of Latcho Drom is that all the regions contain common instruments whether it be a chordophone in the shape of a rebaba or some sort of percussion provided by a tabla. As we transitioned from Turkey to Romania, we saw that the rebaba-type instruments that were common to the Middle East and India was replaced by a violin. What I found interesting however, was that the manner in which Romanians played the violin. It was somewhat unusual to say the least. For example, the Romanian man played the violin to accompany a song about a corrupt and tyrannical politician. At times, his playing of the violin was conventional. However, in some parts of his song he used a single "hair" to create a grating sound that fit in well with theme of the song.
Though the film did not discuss Persia, I found it interesting that a very common instrument used in Eastern Europe was similar to the Iranian santur. The "santurs" used in Romania were quite large and produced a variety of pitches, thus giving it a rich and variable flavor. I noticed that the "santur" also doubled as percussion. For example, in one case a musician turned his "santur" upside down and started knocking his hands on the wooden frame in order to ornament the song further.
Though it is evident that the instruments used from region to region are fairly similar, the one aspect of music that remains constant in each culture is an emphasis on oral tradition. In every region, we have seen either children or adults singing (sometimes unaccompanied with music as seen in the touching example of Roma gypsies discussing their experiences at Auschwitz). In each case, songs are sung at special occasions whether it be a religious observance or anniversary of a significant event. Furthermore, we have seen that this oral tradition isn't necessarily restricted to a specific group of individuals but rather, children as well as men and women of all ages may sing (of course this depends on the region).
Lastly, one unique thing I noticed this week was how many of the children in Eastern Europe appeared to observe the music rather than actively take part in it. For example, in India we saw a young boy singing, in the Middle East we observed the youth and even teenagers attempting to play a rebaba and in Turkey, another young boy began to imitate his father on the tabla. In stark contrast, the children of Romania and Slovakia were casual observers and that it was their fathers and other men in the village were responsible for producing music. I thought it would have been interesting if the filmmaker had focused (to a certain extent) on the musical training given to Eastern European children.
Though the film did not discuss Persia, I found it interesting that a very common instrument used in Eastern Europe was similar to the Iranian santur. The "santurs" used in Romania were quite large and produced a variety of pitches, thus giving it a rich and variable flavor. I noticed that the "santur" also doubled as percussion. For example, in one case a musician turned his "santur" upside down and started knocking his hands on the wooden frame in order to ornament the song further.
Though it is evident that the instruments used from region to region are fairly similar, the one aspect of music that remains constant in each culture is an emphasis on oral tradition. In every region, we have seen either children or adults singing (sometimes unaccompanied with music as seen in the touching example of Roma gypsies discussing their experiences at Auschwitz). In each case, songs are sung at special occasions whether it be a religious observance or anniversary of a significant event. Furthermore, we have seen that this oral tradition isn't necessarily restricted to a specific group of individuals but rather, children as well as men and women of all ages may sing (of course this depends on the region).
Lastly, one unique thing I noticed this week was how many of the children in Eastern Europe appeared to observe the music rather than actively take part in it. For example, in India we saw a young boy singing, in the Middle East we observed the youth and even teenagers attempting to play a rebaba and in Turkey, another young boy began to imitate his father on the tabla. In stark contrast, the children of Romania and Slovakia were casual observers and that it was their fathers and other men in the village were responsible for producing music. I thought it would have been interesting if the filmmaker had focused (to a certain extent) on the musical training given to Eastern European children.
Wednesday, May 9, 2007
Post #5 - May 9, 2007
Question: What were the common instruments found in all three scenes? How were they similar and different in each scene? Can you compare them to other instruments we studied from other parts of Asia? The director was trying to demonstrate how the "gypsies" absorbed the various music cultures they encountered into their own music. How did the director depict this? What else about this film interested you?
Though there were several instruments between the three different regions that were similar, the major difference really had to do with the timbre of the sounds; for example, the drums used in India had a distinctly "Indian" sound whereas the tabla used in the Middle East and Turkey had a unique "Arab" quality. Common to all three regions was some form of percussion in the form of a tabla. In India, the tabla was played sitting down and the entire hand was used in the sense that the fingers could be used for purposes of the beat and the palm could be used to dull or blunt the sound. In contrast, the drums used in the Middle East have a richer and sharper sound and are played simply with the fingers. Usually the player is in a sitting position and moves his left hand while the right remains on the edge.
In addition, it was interesting to note that symbols were used to make the music more pronounced and in addition there appeared to be a rababah or a spiked fiddle in each region. The "rababah" used in the Middle East appeared to be smaller and have a more hollow, rounded body in contrast to its Indian counterpart. The rababah was quite similar to the erhu that we studied earlier in China. Also, the use of symbols (cengceng) reminded me of Balinese Gamelan where symbols were used to punctuate the music.
The director depicted the different influences on each culture by subtly transitioning from region to region. For example, immediately after we had seen the Indian spiked fiddle, we were suddenly in the Middle east where the children also began to actively take part in the music and also playing a similar version of the spiked fiddle. In addition the film was focused primarily on children and how they absorb the musical forces in their environment. For example, in India there appeared to be a strong emphasis on singing whereas in Turkey it was more about the virtuosity of the music itself.
What I found interesting about the movie was how virtually the same instruments could be performed and used in a variety of different ways. Each produced a sound that was unique to the region but one could see the influences of other cultures in many of the musical pieces. For example, the women in India used the symbols as a part of song and began "throwing" them to produce sound. However, in the Middle East, they were used to In addition, we also saw that music and dance were inextricably linked. In India, we saw the young girl perform a "whirling dance" while accompanied by percussion; in the Middle East both women and men began dancing in a more informal setting. In each country, we saw that there was an inherent appreciation for live performance (this was particularly apparent in Turkey). Lastly, this appreciation for music carried on to the younger generation in the sense that the movie focused on children performing routine jobs but still applying musical beats and rhythms. For example, the young Turkish boy used his shoe cleaning brush as a tabla while the Arab child make his own rababah out of a coconut. Lastly, we saw the Indian boy practice singing as he and his family journeyed across the desert.
Though there were several instruments between the three different regions that were similar, the major difference really had to do with the timbre of the sounds; for example, the drums used in India had a distinctly "Indian" sound whereas the tabla used in the Middle East and Turkey had a unique "Arab" quality. Common to all three regions was some form of percussion in the form of a tabla. In India, the tabla was played sitting down and the entire hand was used in the sense that the fingers could be used for purposes of the beat and the palm could be used to dull or blunt the sound. In contrast, the drums used in the Middle East have a richer and sharper sound and are played simply with the fingers. Usually the player is in a sitting position and moves his left hand while the right remains on the edge.
In addition, it was interesting to note that symbols were used to make the music more pronounced and in addition there appeared to be a rababah or a spiked fiddle in each region. The "rababah" used in the Middle East appeared to be smaller and have a more hollow, rounded body in contrast to its Indian counterpart. The rababah was quite similar to the erhu that we studied earlier in China. Also, the use of symbols (cengceng) reminded me of Balinese Gamelan where symbols were used to punctuate the music.
The director depicted the different influences on each culture by subtly transitioning from region to region. For example, immediately after we had seen the Indian spiked fiddle, we were suddenly in the Middle east where the children also began to actively take part in the music and also playing a similar version of the spiked fiddle. In addition the film was focused primarily on children and how they absorb the musical forces in their environment. For example, in India there appeared to be a strong emphasis on singing whereas in Turkey it was more about the virtuosity of the music itself.
What I found interesting about the movie was how virtually the same instruments could be performed and used in a variety of different ways. Each produced a sound that was unique to the region but one could see the influences of other cultures in many of the musical pieces. For example, the women in India used the symbols as a part of song and began "throwing" them to produce sound. However, in the Middle East, they were used to In addition, we also saw that music and dance were inextricably linked. In India, we saw the young girl perform a "whirling dance" while accompanied by percussion; in the Middle East both women and men began dancing in a more informal setting. In each country, we saw that there was an inherent appreciation for live performance (this was particularly apparent in Turkey). Lastly, this appreciation for music carried on to the younger generation in the sense that the movie focused on children performing routine jobs but still applying musical beats and rhythms. For example, the young Turkish boy used his shoe cleaning brush as a tabla while the Arab child make his own rababah out of a coconut. Lastly, we saw the Indian boy practice singing as he and his family journeyed across the desert.
Presentation
Jay Z - Big Pimpin'
http://www.youtube.com/watch?v=plUy7Me_fZQ
Zay el Hawa
http://www.youtube.com/watch?v=-ehWPPdJIlo
Sawah (Abdel Halim)
http://www.youtube.com/watch?v=N5Ps5ZlgtmY
Sawah (Ishtar)
Wednesday, May 2, 2007
Post #4 - May 2, 2007
Q: Can you think of any examples in our day and age in which real life influences theater (or film or music or music video) and in turn these representations influence society?
There are several examples in our day and age in which real life can influence the arts (i.e. music, theater etc.) and in turn such representations can influence society.
Perhaps the most modern examples of this idea are music videos. Many of the music videos that dominate MTV aren’t particularly original as they all follow the mantra that “Sex sells.” Such videos include varying degrees of dirty dancing, (in certain cases) misogyny, revealing outfits, etc. But all in all such features holistically present an idealized version of what a woman should be and do. Ironically we even see that female singers play up this image by designing elaborate videos with sensual dance scenes and revealing costumes. But these “sexed up” images clearly did not come out of the blue; instead it is most likely society’s personal fantasies and desires of how women should act that resulted in the manifestation of such images in music videos. Earlier we saw that kabuki gradually changed with the times; audiences wanted to see more passion and class conflicts because these were limited by these in every day life. Restraints such as being unable to marry outside of your own class fed the need to see it played out in kabuki. Likewise with regard to music videos, though our society is free in many aspects, the type of sexuality seen in music videos is usually not seen on a daily basis. But with such images dominating our airwaves, it has in turn led many people, particularly women, to think that they should fulfill such fantasies by either attiring similarly or having bodies as voluptuous or slender as those seen on television. I remember in middle school, most girls my age were dressed in the latest Disney characters; now when I walk past my old middle school to pick up my younger brother, I’m surprised to see such young girls dressed in a manner that far more mature and sensual than is appropriate.
From a more cultural point of view, I’ve also seen how Bollywood movies tend to mirror the desires that South Asians are not allowed to demonstrate in public. In general, public displays of affection such as hugging and kissing are considered taboo in South Asia. Furthermore, marriages are typically arranged; in some cases, brides and grooms actually meet for the first time on their wedding day. In complete contrast, Bollywood movies are focused solely about love. Such movies consistently espouse ideas of finding one’s soul mate and having the right to marry one another regardless of class. Like in kabuki, society is influencing and dictating theater or some other art form. In return, such films have invariably influenced opinions on marriage and love. For example, many Indians are bucking the trend of arranged marriage and instead going to clubs and other social events in the hope of meeting their future spouse. Marriages have increasingly become “love-matches” and Bollywood films have certainly helped in this.
There are several examples in our day and age in which real life can influence the arts (i.e. music, theater etc.) and in turn such representations can influence society.
Perhaps the most modern examples of this idea are music videos. Many of the music videos that dominate MTV aren’t particularly original as they all follow the mantra that “Sex sells.” Such videos include varying degrees of dirty dancing, (in certain cases) misogyny, revealing outfits, etc. But all in all such features holistically present an idealized version of what a woman should be and do. Ironically we even see that female singers play up this image by designing elaborate videos with sensual dance scenes and revealing costumes. But these “sexed up” images clearly did not come out of the blue; instead it is most likely society’s personal fantasies and desires of how women should act that resulted in the manifestation of such images in music videos. Earlier we saw that kabuki gradually changed with the times; audiences wanted to see more passion and class conflicts because these were limited by these in every day life. Restraints such as being unable to marry outside of your own class fed the need to see it played out in kabuki. Likewise with regard to music videos, though our society is free in many aspects, the type of sexuality seen in music videos is usually not seen on a daily basis. But with such images dominating our airwaves, it has in turn led many people, particularly women, to think that they should fulfill such fantasies by either attiring similarly or having bodies as voluptuous or slender as those seen on television. I remember in middle school, most girls my age were dressed in the latest Disney characters; now when I walk past my old middle school to pick up my younger brother, I’m surprised to see such young girls dressed in a manner that far more mature and sensual than is appropriate.
From a more cultural point of view, I’ve also seen how Bollywood movies tend to mirror the desires that South Asians are not allowed to demonstrate in public. In general, public displays of affection such as hugging and kissing are considered taboo in South Asia. Furthermore, marriages are typically arranged; in some cases, brides and grooms actually meet for the first time on their wedding day. In complete contrast, Bollywood movies are focused solely about love. Such movies consistently espouse ideas of finding one’s soul mate and having the right to marry one another regardless of class. Like in kabuki, society is influencing and dictating theater or some other art form. In return, such films have invariably influenced opinions on marriage and love. For example, many Indians are bucking the trend of arranged marriage and instead going to clubs and other social events in the hope of meeting their future spouse. Marriages have increasingly become “love-matches” and Bollywood films have certainly helped in this.
Thursday, April 26, 2007
Rees suggests that the music is not as "ancient" as it is marketed to audiences. The Dongjing repertoire had both secular and ritualistic aspects but after the 1970s, the music played was mainly secular. Many of the musicians that had prior experience were allowed to play again through the boon of local authorities. With this opportunity, groups were able to form and were also able to gain new members. In particular Rees refers to a group called the Dayan Ancient Music Association which was originally a country ensemble that was formed in 1988. The group's recent origins are a complete contrast to its moniker which falsely implies that such music has been carried from generation to generation.
Western scholars have criticized Chinese orchestra as not being authentic in the sense that the costumes are far too bright, the general ambiance is too similar to Western concerts or in some cases the music appears to be pre-recorded. In my opinion, some of these criticisms appear to be fairly caustic. Scholars must realize that they are not the most qualified arbiters of deeming what is authentic or not as they are applying their own standards. Moreover, in an increasingly globalized world we must realize that our music and traditions will evolve and change as a result. This has certainly occurred in this particular brand of Chinese music. Like identity, our sense of what is authentic and what is not is constantly changing with the times.
When dealing with matters of authenticity, we must ask ourselves, is it really necessary to define it according to a particular set of standards? For example, many Bollywood songs contain many roots in tabla and sitar but for many people, such songs are not authentic to Indian culture. However, there are some who would argue that Bollywood is an integral part of Indian culture and hence authentic. Essentially one's view of authenticity is subjective and unique and is consequently a topic full of gray areas.
Western scholars have criticized Chinese orchestra as not being authentic in the sense that the costumes are far too bright, the general ambiance is too similar to Western concerts or in some cases the music appears to be pre-recorded. In my opinion, some of these criticisms appear to be fairly caustic. Scholars must realize that they are not the most qualified arbiters of deeming what is authentic or not as they are applying their own standards. Moreover, in an increasingly globalized world we must realize that our music and traditions will evolve and change as a result. This has certainly occurred in this particular brand of Chinese music. Like identity, our sense of what is authentic and what is not is constantly changing with the times.
When dealing with matters of authenticity, we must ask ourselves, is it really necessary to define it according to a particular set of standards? For example, many Bollywood songs contain many roots in tabla and sitar but for many people, such songs are not authentic to Indian culture. However, there are some who would argue that Bollywood is an integral part of Indian culture and hence authentic. Essentially one's view of authenticity is subjective and unique and is consequently a topic full of gray areas.
Thursday, April 19, 2007
Post #3 - April 19, 2007
The most obvious differences between "Ratna Ayu" and the "Gamelan Bali Nyepi" are with regard to setting and as well as the rhythm and quality of the music.
Firstly with respect to setting, Ratna Ayu was a performance at a university with the intention of educating people about the cultural aspects of Bali. In contrast, the Bali Nyepi is featured in a more rustic setting - a beach in Bali. The latter has a greater sense of authenticity primarily because it takes place in Bali although this effect is somewhat counteracted by the fact that they are on a beach and most likely playing for the tourists' leisure.
The Ratna Ayu features elaborate costumes with an accompanying dance. The costumes are colorful and heavy on detail, which to a certain extent diverts attention away from the gamelan performance itself. Another notable feature is that many of the musicians were not Balinese themselves, thus showcasing a diversity that was lacking the Bali Nyepi. The Bali Nyepi did not feature these elaborate costumes nor did it feature a dance. All the men seated were wearing white clothes with an accompanying headband. Another importance point was that the men appeared to sit in rows of groups as opposed to be in a more open form so the audience could see them (as the Ratna Ayu did).
Moreover, another noticeable quality was the rhythm of the music. The Ratna Ayu music slowed down for dramatic effects which incorporated well with the dance and the initial slow, steady movements. It then followed a more brisk pace. In contrast the Bali Nyepi kept a steady rhythm except in certain places when it picked up the pace. In addition to the rhythm, I felt that the piece played by the Bali Nyepi was "happier" in contrast to the Ratna Ayu which had more of a mystical, moody sentiment that was echoed in the dancing as well.
But all in all the settings clearly affected the quality of these two performances. Ratna Ayu was far more appealing to watch for the bright colors, the elaborate costumes and other visuals. But I also felt that the dancing took attention away from the beautiful music which was probably intended as the piece was long and could thus bore the audience - hence it would be better to have to things simultaneously occurring than simply one. The Bali Nyepi certainly had a more natural and authentic quality but in terms of tourists, may not be as of much interest as the other performance.
Firstly with respect to setting, Ratna Ayu was a performance at a university with the intention of educating people about the cultural aspects of Bali. In contrast, the Bali Nyepi is featured in a more rustic setting - a beach in Bali. The latter has a greater sense of authenticity primarily because it takes place in Bali although this effect is somewhat counteracted by the fact that they are on a beach and most likely playing for the tourists' leisure.
The Ratna Ayu features elaborate costumes with an accompanying dance. The costumes are colorful and heavy on detail, which to a certain extent diverts attention away from the gamelan performance itself. Another notable feature is that many of the musicians were not Balinese themselves, thus showcasing a diversity that was lacking the Bali Nyepi. The Bali Nyepi did not feature these elaborate costumes nor did it feature a dance. All the men seated were wearing white clothes with an accompanying headband. Another importance point was that the men appeared to sit in rows of groups as opposed to be in a more open form so the audience could see them (as the Ratna Ayu did).
Moreover, another noticeable quality was the rhythm of the music. The Ratna Ayu music slowed down for dramatic effects which incorporated well with the dance and the initial slow, steady movements. It then followed a more brisk pace. In contrast the Bali Nyepi kept a steady rhythm except in certain places when it picked up the pace. In addition to the rhythm, I felt that the piece played by the Bali Nyepi was "happier" in contrast to the Ratna Ayu which had more of a mystical, moody sentiment that was echoed in the dancing as well.
But all in all the settings clearly affected the quality of these two performances. Ratna Ayu was far more appealing to watch for the bright colors, the elaborate costumes and other visuals. But I also felt that the dancing took attention away from the beautiful music which was probably intended as the piece was long and could thus bore the audience - hence it would be better to have to things simultaneously occurring than simply one. The Bali Nyepi certainly had a more natural and authentic quality but in terms of tourists, may not be as of much interest as the other performance.
Thursday, April 12, 2007
Post #2 - April 12, 2007
The concept of being an insider and outsider simultaneously is a concept that is quite prevalent in society; specifically we see this dichotomy play out in cultural contexts. One of my favorite books, The Namesake by Jhumpa Lahiri, talks about the dichotomy of young South Asians still familiar with Indian tradition but never truly feeling Indian or even American for that matter.
I sometimes feel this cultural conflict in my own life. I was born and raised in the US and visited Pakistan occasionally with my family. Though I grew up with the language, the food and the customs (such as traditional dress), I was also brought up in a diverse community where I had the opportunity to learn about other cultures. Consequently when I attended high school and college, I was surprised to see so many Pakistanis form their own cliques whereas I was plugged into a group of friends that included Indians, Chinese, Koreans and Latinos.
But at functions such as weddings and culture shows, I always felt like a bit of an outsider; although I could readily ingratiate myself in certain traditions, I very much felt like a fish out of water. I often found myself observing what other Pakistanis were doing and saying, almost as if an observer. Part of this had to do with the fact that I had such a diverse upbringing that I never felt particularly compelled to engage in Pakistani customs growing up. Hence, my knowledge of such customs is fairly general and not as detailed and as practiced as many of my peers.
Although I feel like an outsider when engaging in Pakistani traditions, I can also function as a insider as well. For example, at UCLA I have had many students ask me questions ranging from food to clothes to Pakistani politics and even to Aishwarya Rai. In this sense, people are dependent on my knowledge as an insider. There is an assumption that because I am Pakistani, I have a general if not expansive knowledge of my culture. Thus depending on the situation, I don't necessarily feel either like a cultural insider or outsider; in fact such labels don't particularly matter in such a tremendously diverse city such as Los Angeles where everyone is considered an Angeleno.
Moreover, music in Pakistani culture is considered an integral part of society. For example, many people are particularly fond of Bollywood music whereas the more conservative members of society may prefer nasheeds which are songs that with a religious theme. Though it has a day-to-day significance, music is fundamentally important in weddings.
Generally South Asian weddings are huge affairs composed of several events. The first of these is called a dholki. In this ceremony, female members of both sides of the family gather around the bride and gossip, sing songs and decorate their hands with henna. A great example of this is available at the following site: http://www.youtube.com/watch?v=_ViaM0uDDY0
This video is taken from "Monsoon Wedding." Usually some families (if they are living in India or Pakistan) will hire a singer who will sing the wedding appropriate songs. In this case, the song sung has no instrumentation; all that is present is the singer's voice along with the female guests as well as the rhythmic clapping of the hands. (See translation of the song at the bottom). In this case, we see that the music, particularly the song reflects the process of arranged marriage, of finding an appropriate bride and finally settling on a bride who meets the appropriate criteria (i.e. being light-skinned which is considered beautiful in India). In many ways the song mocks the marriage process by pointing out how choosy men can be in picking the right wife as well as the nonchalance with which one can discard prospective brides. In this case, the music is the central aspect of the event; it is what binds all the women of the house together and garners even more excitement for the impending marriage ceremony. However, it is not the only important aspect to the event. The dholki is also a time to reconnect with old friends, to paint henna on one's hands (a very important ritual), to talk and to dance. If one was to isolate this event and perhaps present it as an show for tourists, the lose almost the sacred qualities of this song. As mentioned earlier the purpose of the song is to bring the women folk together, a sentiment that would be clearly lost upon tourists. Furthermore, there is a certain randomness in a dholki (as seen in the video) with people getting up to dance and others using money to circle around their heads (this guards off the evil eye) is what makes this particular song so intrinsically special, if not memorable.
Translation:
O women of the house
Decorate me with henna
Make these fair hands beautiful with henna
Madhorama asks "Which one shall we marry?"
Madhorma says "The Fat One!"
The Fat One needs a bed too large to sleep on
Let's drop her on the wayside! Right on!
We want another! Right on!
We are fancy gentlemen
Brimming with lust and desire
Life intoxicates us
Do I lie? No way!
Madhorama asks "Which one shall we marry?"
Madhorama says "The Fair One!"
The Fair One has the color of butter
She sleeps alone on the roof as her lover pines for her below
This is the one we shall have
This is the one we like
We will marry her
I sometimes feel this cultural conflict in my own life. I was born and raised in the US and visited Pakistan occasionally with my family. Though I grew up with the language, the food and the customs (such as traditional dress), I was also brought up in a diverse community where I had the opportunity to learn about other cultures. Consequently when I attended high school and college, I was surprised to see so many Pakistanis form their own cliques whereas I was plugged into a group of friends that included Indians, Chinese, Koreans and Latinos.
But at functions such as weddings and culture shows, I always felt like a bit of an outsider; although I could readily ingratiate myself in certain traditions, I very much felt like a fish out of water. I often found myself observing what other Pakistanis were doing and saying, almost as if an observer. Part of this had to do with the fact that I had such a diverse upbringing that I never felt particularly compelled to engage in Pakistani customs growing up. Hence, my knowledge of such customs is fairly general and not as detailed and as practiced as many of my peers.
Although I feel like an outsider when engaging in Pakistani traditions, I can also function as a insider as well. For example, at UCLA I have had many students ask me questions ranging from food to clothes to Pakistani politics and even to Aishwarya Rai. In this sense, people are dependent on my knowledge as an insider. There is an assumption that because I am Pakistani, I have a general if not expansive knowledge of my culture. Thus depending on the situation, I don't necessarily feel either like a cultural insider or outsider; in fact such labels don't particularly matter in such a tremendously diverse city such as Los Angeles where everyone is considered an Angeleno.
Moreover, music in Pakistani culture is considered an integral part of society. For example, many people are particularly fond of Bollywood music whereas the more conservative members of society may prefer nasheeds which are songs that with a religious theme. Though it has a day-to-day significance, music is fundamentally important in weddings.
Generally South Asian weddings are huge affairs composed of several events. The first of these is called a dholki. In this ceremony, female members of both sides of the family gather around the bride and gossip, sing songs and decorate their hands with henna. A great example of this is available at the following site: http://www.youtube.com/watch?v=_ViaM0uDDY0
This video is taken from "Monsoon Wedding." Usually some families (if they are living in India or Pakistan) will hire a singer who will sing the wedding appropriate songs. In this case, the song sung has no instrumentation; all that is present is the singer's voice along with the female guests as well as the rhythmic clapping of the hands. (See translation of the song at the bottom). In this case, we see that the music, particularly the song reflects the process of arranged marriage, of finding an appropriate bride and finally settling on a bride who meets the appropriate criteria (i.e. being light-skinned which is considered beautiful in India). In many ways the song mocks the marriage process by pointing out how choosy men can be in picking the right wife as well as the nonchalance with which one can discard prospective brides. In this case, the music is the central aspect of the event; it is what binds all the women of the house together and garners even more excitement for the impending marriage ceremony. However, it is not the only important aspect to the event. The dholki is also a time to reconnect with old friends, to paint henna on one's hands (a very important ritual), to talk and to dance. If one was to isolate this event and perhaps present it as an show for tourists, the lose almost the sacred qualities of this song. As mentioned earlier the purpose of the song is to bring the women folk together, a sentiment that would be clearly lost upon tourists. Furthermore, there is a certain randomness in a dholki (as seen in the video) with people getting up to dance and others using money to circle around their heads (this guards off the evil eye) is what makes this particular song so intrinsically special, if not memorable.
Translation:
O women of the house
Decorate me with henna
Make these fair hands beautiful with henna
Madhorama asks "Which one shall we marry?"
Madhorma says "The Fat One!"
The Fat One needs a bed too large to sleep on
Let's drop her on the wayside! Right on!
We want another! Right on!
We are fancy gentlemen
Brimming with lust and desire
Life intoxicates us
Do I lie? No way!
Madhorama asks "Which one shall we marry?"
Madhorama says "The Fair One!"
The Fair One has the color of butter
She sleeps alone on the roof as her lover pines for her below
This is the one we shall have
This is the one we like
We will marry her
Monday, April 2, 2007
Post #1 - April 2, 2007
Hi everyone, my name is Maha Sami and I am a third year biochemistry major. When I was younger, I used to play the clarinet. Though I had a very traditional musical background for a few years (I gave up clarinet during middle school), I was also accustomed to the uptempo beats of Bollywood as well as the more subtle sounds of the sitar and tabla. Both of my parents are Pakistani and consequently, I was exposed to South Asian music from a very early age.
Though I haven't participated in any ensembles or culture shows, I am an avid consumer of music. Initially I went through a British rock phase but soon after coming to UCLA, I began to immerse myself in the more traditional South Asian music of my childhood. One of my favorite pieces of Indian music comes from the movies Umrao Jaan and Water respectively. The songs from Umrao Jaan are widely considered to be the epitome of Hindi film music because of their superb use of classical Indian instruments as well as poetic lyrics. Water is a more contemporary film that carries on the same musical tradition of Umrao Jaan.
Soon after immersing myself into Indian music, I also became interested in both Arab and Persian music; moreover, as I was taking Spanish classes I also began to listen to Juanes, Celia Cruz and Silvio Rodriguez. At this point my iPod contains a mixture of music from different regions of the world.
I am interested in taking this class so I can better understand the origins of the different types of music that I listen to on a daily basis. I'm also curious to learn about music other than the types that I have been exposed such as East Asian music.
In the past, I have visited England, Pakistan, Saudi Arabia and Dubai and I have found that more people have become interested in the music of other countries in spite of not being able to fully understand the language. For example, on a recent vacation I recall seeing British tourists purchase tablas in Dubai and in Pakistan, I watched in amazement as my younger cousins began singing Juanes. With increasingly globalization, I am interested in seeing how music of one region can affect the music of another as well as how both can be combined to produce a completely different sound.
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