Farley, C.J. (2001, Fall). From Kingston to Cape Town, from New Delhi to New York, musicians are rocking old traditions. Time (Special Issue).

OVERVIEW

Jazz music, and ultimately rock and roll, came out of interaction between Anglo-Saxon Americans and African Americans in the U.S. Building railroads across the U.S. in the 19th century, Irish and blacks came together around campfires at night. The Irish would break out their fiddles and the African Americans contributed their rich songs and body rhythms. Both musical traditions were enriched. The development of musical records and radio further inspired musicians in different parts of the country in their development of rhythm and blues, then jazz and rock and roll.

Similarly, globalization, radio, TV’s music videos, and cassettes have produced a world-wide cross-fertilization of musical traditions and genres as well as independent industries selling cassettes out of the back of cars or in market stalls.

The result of musical globalization is described this way by Farley:

…a fresh sound in global music is being born…around the world, old traditions are being revived, remolded and returned to prominence by a new generation and new technology…It’s the beating heart of a new world. (pp. 5-6)

 

On the street outside club Asylum (Kingston, Jamaica), raga (a rap-influenced form of reggae) booms out of parked cars…In Tijuana, Mexico, young DJs are crossing traditional norteño (a polka-like music) with not-at-all-traditional techno to create a fresh genre, Nortec. In Bogotá, Columbia, the rock duo Aterciopelados is mixing old-time accordion-driven vallenato with clubland drum-‘n’-bass beats. In Rio de Janeiro, Brazil, the chanteuse Marisa Monte is smoothly blending samba and art-pop. (p. 5)

Beatles’ George Harrison (who died of cancer in December 2001) is considered a world music pioneer. Studying under Indian Ravi Shankar, Harrison introduced the sitar into rock and roll. Many of his songs exude Eastern, often religious, influence (e.g. “My Sweet Lord” and “Chant and Be Happy”). More than that, he organized the first global, benefit Concert for Bangladesh in 1971. Musical influences also went the other way. Nigerian Fela Kuti was impressed by American Black Panthers and Western music in the 1960s. The result was a radical Afro-beat music in that decade. In the early 1970s, Bob Marley and his Wailers were stranded in England. The result was a deal with Island Records. Reggae spirituality and rock rebelliousness came together, and their music took off.

World music has affected American and European artists especially since the 1980s.

In the 80s Paul Simon, David Byrne and Peter Gabriel blended (especially African) world beats. More recently, Sting scored a hit with Alergian rai star Cheb Mami, Lauryn Hill covered Bob Marley on ‘MTV Unplugged,’ and Britney Spears has made a habit of working with Swedish songwriter Max Martin. Madonna, on her latest tour, drew from…many cultures for sonic and sartorial inspiration… (p. 7)

In turn, young musicians around the world are discovering the beauty of their traditional music, allowing Western influences to change it, copying Western music, and developing new mixed styles of their own. The influence of hip-hop is huge. Unique forms of rap music can be heard outside Paris, in Cape Town, Tokyo, Taiwan and almost anywhere.

While musical styles are becoming a bit more universal, there is a new freedom to mix—not only styles—but language.

Now tongues are coming untied. Wyclef Jean’s plantinum hip-hop CDs, ‘The Carnival’ and ‘The Eclectic’, mixed English and Haitian Creole. Christina Aguilera, who launched her career singing English-language teen pop, recorded a CD entirely in Spanish last year. Increasingly world-beaters are collaborating and connecting with one another…Many of today’s global musicians move back and forth from their native tongues to English, on the same album, on the same song. There’s a sense that geography doesn’t have to equal destiny. The Tokyo-based rock trio the Brilliant Green’s latest CD is almost entirely in Japanese. It was recorded in Tokyo. The CD’s title? ‘Los Angeles.’ (pp. 6-7)

Discussions of globalization have come up with a new word, “globality” (as a combination of global and locality). This term may also describe the music scene around the world: influenced but not controlled, inspired to innovation but keeping in touch with its own roots and culture. Most would agree that the interactions of cultures and artists will enrich both music and culture.

QUESTIONS FOR REFLECTION AND DISCUSSION

• Do you agree that the effects of globalization can be seen in world music?
• If so, what do you consider its positive and negative results?
• Does a better understanding of world music add to your listening pleasure?
• Does this brief article use good examples in your opinion? Who would you add?
• What do you think of the idea or explanation behind the term, “globality”?
• Do you think that world musicians may be able to break some of the dominance of Western, and especially the U.S.?
• How do you see the balance of art and business in the music field?

IMPLICATIONS

• The appreciation of music is universal; music tastes are not.
• Mass media can begin to change tastes as well as to spread traditional styles and creative innovation.
• Certainly big business has exploited musicians. But it has not stamped out the creative spirit and contributions of folk and pop artists the world over.
• Music is huge in pop culture and youth culture. Young people need to sense both a local and a global identity.

Dean Borgman cCYS