This article is based on ethnographic fieldwork done with a group of 14 to 16 year-old girls in a medium sized Swedish town. The study aimed to investigate the relationship between everyday music use and gender, ethnicity and sexuality. The question posed here is: "What negotiations take place when the girls discuss their favorite music and artists?" Research in response to this question shows that the identity work of negotiating how to be a teenage girl often relates to popular culture. The sample focuses on girls from Swedish, Bosnian, Turkish and Syrian backgrounds. In this article I report on the local ideas about gender and ethnicity claimed by the girls to influence their discussion of music, dress and behavior, as well as the desires that I argue structure such discussion. This research supports contemporary findings that mainstream popular music has cultural and social significance in young girls' lives.
Girls Negotiating Gender through Popular Music
The forms taken up by French comics in the Offenstadt brothers' wartime weeklies echo other representations of the Great War produced behind the front lines, including the music hall, popular imagery and illustrated newspapers. The Offenstadt brothers' picture stories, which staged comic operas starring soldiers and conformed to French propaganda instructions, were a hit with soldiers and civilians (including children), aside from some offended Catholic critics. This essay contextualises their success, focusing on the reception of the comics, particularly those by Louis Forton.
How Schlager (ZDF 1969–1984) Beat Disco (ZDF 1971–1982)
At first sight, two of the most popular music shows in German television history could not be more different: The Deutsche Hitparade , moderated by the staid bespectacled former car salesman Dieter Thomas Heck (alias of Carl Dietrich Heckscher
Marie Cartier, Tad Shull and John Ireland
Marie Cartier La Dactylographie et l’expéditionnaire: Histoire des employés de bureau (1890-1930) by Dephine Gardey
Tad Shull Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde by Bernard Gendron
John Ireland La Naissance du phénomène Sartre: Raisons d’un success 1938-1945 by Ingrid Galster
Victoria Rios-Castano, Stefan Handler and Helena Wulff
Cattell, M. and M. Schweitzer (2007) (eds), Women in Anthropology: Autobiographical Narratives and Social History (Oxford: Berg), 256 pp., Pb: £17.99, ISBN-13: 978-1-5987-4083-7.
Marranci, G. (2008), The Anthropology of Islam (Oxford: Berg), 224 pp., Pb.: £17.99, ISBN-13: 978-1-8452-0285-9.
Raykoff, I. and R. Tobin (2007) (eds), A Song for Europe: Popular Music and Politics in the Eurovision Song Contest (Aldershot: Ashgate), xxi+190 pp., Pb: £17.19, ISBN-13: 978-0-7546-5879-5.
Sakha ethnic music business, upward mobility and friendship
The Sakha have had their own popular music since the 1970s. During the Soviet era, music culture was controlled by the state. Starting in the 1990s, new pop-music institutions and venues emerged and new entrepreneurs entered the music business as club owners, managers, producers, DJs, etc. In this article, I examine multiple social relations in the music business. Music has become a possibility for village youth to leave their villages and gain fame as artists. The Sakha music world contains various networks where criminal structures, artists, businessmen and media are interlinked. Through this linkage, music is used to gain a community's support for semi-legal business activities. At the same time, both the artists and producers present themselves to the public as the custodians of Sakha 'national' culture. The article discusses ways in which the artists' popularity is connected to their position in the music business, and how ethnic symbols are used to gain success.
For centuries poetry was the most important arts genre in Central Asia. In order to be recognised as a member of the educated classes, it was obligatory to learn hundreds of poems. Even the Soviet regime (1922-1991) exploited the Uzbek people's love of poetry for its own political ends - the propagation of communist ideology. However, linked to the processes of globalisation, interest in poetry has diminished considerably in Uzbekistan over the past several years. People have become less attracted to the romance of poetry than to actual business, benefits and material values. To modern Uzbek society, poems come only in the form of lyrics for popular music. Globalisation has made poetry a minor genre among the Uzbek arts. To be a poet had been a respected profession for centuries. Now it has lost its prestige, as former poets turn to other occupations.
Knowledge, Agency and European Ethnology
Drawing examples from ethnic and popular music as well as from folk art, the paper explores the multivalence of expressive forms as local and European, even global aesthetic resources, whose territorial or ethno-national connection is - due to the power of aesthetic affect - but one among many possibilities of identification. It is argued first that the resource dimension of cultural expression has been furthered by the documentation and classification techniques of ethnological and folkloristic knowledge production, which in turn also facilitated circulation in multiple context. Second, the paper encourages that scholarship expand from recognising a political identification and instrumentalisation of aesthetic resources to understanding the economic appropriation of the production and consumption of such resources.
Popular Music in Postwar Germany at the Crossroads of the National and Transnational
Kirkland A. Fulk
in Germany. Indeed, since the end of World War II, popular music practices in Germany have been alternatively decried as drivers of Americanization and hailed as catalysts of technological development that prompt new ways of producing and consuming
The Body Politics of Popfeminist Musical Performances in the Twenty-first Century
in a geopolitical reality. Re-Presencing: Gender and Drag Performance as a form of re-presencing means that the focus is not primarily on “the sociological, institutional, and policy contexts in which popular music is made” but on “finding ways of