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| 1 |
ID:
084986
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| Publication |
2008.
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| Summary/Abstract |
This paper discusses how cultural and artistic work constitutes a powerful means for mediating the collective memory of state borders. The empirical case study concerns the commercialisation of a borderland culture in the form of a 'Smuggling Opera' in a cross-border project on the Finnish-Swedish border region where border crossing has been unrestricted for decades. This theatrical performance constructs a particular local narrative which contests the authorised representation of borders in the discourse of the nation-state. The narrative analysis method is applied to this popularised border narrative and its interpretation among local participants, leading to the conclusion that the understanding of state borders differs between authorised border narratives and the stories of borderland people for whom it represents part of the everyday surroundings, although both serve to fix the meaning and moral justification of the border or argument for its rejection. The narratives of people living in the 'borderless' Finnish-Swedish border region show the continuing significance of the border in people's lives as both a barrier and a place of contact.
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| 2 |
ID:
190946
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| Summary/Abstract |
Scholars have explored the impact of technological developments on the livelihoods of musicians before digitalisation and in the contemporary age of music streaming platforms. However, a striking gap exists with respect to the Indian music industries which have been conspicuously ignored by scholarship on cultural work. This article contributes towards addressing this gap. First, we show how platformisation is challenging the longstanding domination of Indian music by film soundtracks which relegated non-film musicians to precarious careers with unsustainable work. We show that platformisation has ushered in a new wave of non-film music that is posing unprecedented challenges to the cultural hegemony of film music. Second, we show how platformisation has also accelerated demands for copyright reform, which may benefit some musicians. However, third, we show that platformisation may well reinforce the domination of powerful local record companies, with potentially negative impacts on musicians. Fourthly, we suggest that platformisation may be disadvantaging musicians who work in languages besides the dominant ones of Hindi and English. Our concluding section suggests that platformisation brings both challenges and potential benefits for some musicians and draws out the implications for future research on the platformisation of cultural work.
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| 3 |
ID:
092969
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| Publication |
2009.
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| Summary/Abstract |
Increasing attention is being paid to how workers in the creative industries negotiate transitions from amateur to professional status and seek opportunities for work and spaces for expression that suit artistic desires. The settings have usually been large cities with populations that can support diverse and specialised audiences and subcultural scenes. In this paper, we discuss research where we participated in a music scene, and talked to dance music disc jockeys and venue owners in a small, regional university city - Dunedin. In Dunedin opportunities for musical work are comparatively plentiful but are constrained in a number of ways. Disc jockeys negotiate audience demands, distances from key musical centres and associated infrastructure, and the shifting venues available for performance. We emphasise the importance of an ethnographic perspective to the study of musical work that remains attuned to the manner in which urban spaces are created, transformed, challenged and remade in the musical nightlife economy.
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