Authenticity In Fusion Music

Indigenous peoples of Brazil have come to faith in Christ in large numbers in recent decades. As Christianity takes root in each culture, it may incorporate expressive forms of music and art, which can range from those identical to earlier cultural forms to those which are fully imported. But what happens when musicians and artists of a local indigenous community fuse elements from a variety of genres and create their own music? Are they just imitations of external forms? Or are they authentic creations from elements that have now become their own sounds, too? Christian musicians among the Xerente (pronounced Sheh-´ren-teh) have created their own fusion genre(s) to express their faith, communicate the gospel, and edify their churches. Their music includes elements from their cultural tradition as well as from (secular) genres of the northeastern region of Brazil. Is it, then, authentically Xerente? As we discuss in this book, independent of tangible markers or its long history, the authenticity of an art form can be demonstrated through a number of connections with the community and signposted by its meaning and function among the people, as well as the competence and agency of the people in their artistic choices.

Indigenous peoples of Brazil have come to faith in Christ in large numbers in recent decades. As Christianity takes root in each culture, it may incorporate expressive forms of music and art, which can range from those identical to earlier cultural forms to those which are fully imported. But what happens when musicians and artists of a local indigenous community fuse elements from a variety of genres and create their own music? Are they just imitations of external forms? Or are they authentic creations from elements that have now become their own sounds, too? Christian musicians among the Xerente (pronounced Sheh- ́ren-teh) have created their own fusion genre(s) to express their faith, communicate the gospel, and edify their churches. Their music includes elements from their cultural tradition as well as from (secular) genres of the northeastern region of Brazil. Is it, then, authentically Xerente? As we discuss in this book, independent of tangible markers or its long history, the authenticity of an art form can be demonstrated through a number of connections with the community and signposted by its meaning and function among the people, as well as the competence and agency of the people in their artistic choices.

Contrived. Disingenuous. Phony. Inauthentic. Do your customers use any of these words to describe what you sell—or how you sell it? If so, welcome to the club. Inundated by fakes and sophisticated counterfeits, people increasingly see the world in terms of real or fake. They would rather buy something real from someone genuine rather than something fake from some phony. When deciding to buy, consumers judge an offering's (and a company's) authenticity as much as—if not more than—price, quality, and availability. In Authenticity, James H. Gilmore and B. Joseph Pine II argue that to trounce rivals companies must grasp, manage, and excel at rendering authenticity. Through examples from a wide array of industries as well as government, nonprofit, education, and religious sectors, the authors show how to manage customers' perception of authenticity by: recognizing how businesses "fake it;" appealing to the five different genres of authenticity; charting how to be "true to self" and what you say you are; and crafting and implementing business strategies for rendering authenticity. The first to explore what authenticity really means for businesses and how companies can approach it both thoughtfully and thoroughly, this book is a must-read for any organization seeking to fulfill consumers' intensifying demand for the real deal.

What can Sociology add to our understanding of art? This volume brings together a range of respected scholars in the field who demonstrate the many ways in which sociology can add to our understanding of artistic issues. Covering all the major schools of thought, and dealing with many different art forms, the book offers the reader a comprehensive and accessible guide to an often complex area. It will be an invaluable resource for students seeking to understand sociology's contributions to the study of artistic and aesthetic issues.

This book analyzes the different conceptions of authenticity that are behind conflicts over who and what should be recognized as authentically Jewish. Although the concept of authenticity has been around for several centuries, it became a central focus for Jews since existentialist Jean-Paul Sartre raised the question in the 1940s. Building on the work of Sartre, later Jewish thinkers, philosophers, anthropologists, and cultural theorists, the book offers a model of Jewish authenticity that seeks to balance history and tradition, creative freedom and innovation, and the importance of recognition among different groups within an increasingly multicultural Jewish community. Author Stuart Z. Charmé explores how debates over authenticity and struggles for recognition are a key to understanding a wide range of controversies between Orthodox and liberal Jews, Zionist and diaspora Jews, white Jews and Jews of color, as well as the status of intermarried and messianic Jews, and the impact of Jewish genetics. In addition, it discusses how and when various cultural practices and traditions such as klezmer music, Israeli folk dance, Jewish yoga and meditation, and others are recognized as authentically Jewish, or not.

How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raï. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb

Creating Global Music in Turkey mainly analyzes how the local and global interact in the very place that is defined as the "local" by the global cultural system. It examines the different music traditions in Turkey as they are incorporated into the world music markets.

This volume explores the nature, philosophies and genres of indigenous African popular music, focusing on how indigenous African popular music artistes are seen as prophets and philosophers, and how indigenous African popular music depicts the world. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which only be unraveled by knowledge of the myriad cultural backgrounds from which its genres originate. Indigenous African popular musicians have become repositories of indigenous cultural traditions and cosmologies.With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores the work of these pioneering artists and their protégés who are resiliently sustaining, recreating and popularising indigenous popular music in their respective African communities, and at the same time propagating the communal views about African philosophies and the temporal and spiritual worlds in which they exist. ​