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Download Dance of Life: Popular Music and Politics in Southeast Asia by Craig Lockard PDF

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By Craig Lockard

No matter what its present position and importance in Anglo-American society, renowned song has been and continues to be an important social and cultural strength in lots of components of the realm. this article explores the connections among renowned tune genres and politics in Southeast Asia, with specific emphasis on Indonesia, the Philippines, Thailand, Malaysia and Singapore. over the last few many years, the nations of Southeast Asia have reverberated to the tune of superstars like Indonesia's Rhoma Irama. Articulating the perspectives of powerless voters, they supplied a serious discourse on nationwide and overseas affairs. a few have been even pointed out with mass-based sociopolitical pursuits looking switch.

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The formerly scorned rock musicians became celebrities. By the mid-1980s four well-equipped major recording studios existed; a top vocalist could sell as many as thirty thousand copies. Since “stereo” music outsells and outrecruits mainstream Burmese musics, peasant boys more likely hum rock tunes than folk songs while working in the fields. ” 119 28 POPULAR CULTURE AND MUSIC also no question that many governments attempt to control popular culture, including music. Popular music can be perceived as a challenge to authoritarian governments as well as an unsettling influence in fragmented societies.

Has been rooted in nationalist struggle (as in much black music), in the politics of leisure (as with youth cults or gay disco), or in a combination of the two (as in certain kinds of feminist music). Class consciousness . . 109 For example, the Vietnamese refugees who flocked to the United States beginning in 1975, a population now numbering well over a million, have maintained a lively cultural life including supporting popular musicians and recordings. 110 The majority of Vietnamese immigrants congregate in a few “sunbelt” cities (such as San Jose and Westminster, California).

66 Any attempt to distinguish popular music from other types reveals much variation and disagreement. Indeed, almost any criterion to clearly differentiate “serious” (art and classical), “folk,” and “popular” music breaks down on close inspection for many societies. 68 Several strands of Brazilian popular music intersect with art music and both have been deeply influenced by folk traditions. Some believe “serious” music is not subject to commercial pressures and hence reflects pure creativity and heterogeneity, while pop cannot be creative and is characterized by standardization, manipulation, and the like.

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