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Bibliographie

Author:  
All :: A, B, C, D, E, F, G, H, J, K, L, M, N, O, P, R, S, T, U, V, W, Y, Z, Ö 
All :: Dauncey, ... , Desai, Dhurandhar, Diethrich, ... , Duret 
References
Dauncey, Hugh and Hare, Geoff
French youth talk radio: the free market and free speech
Media Culture Society, 21(1):93-108
1999

Abstract:

French talk radio emerged in the mid-1990s as a form of programming which challenged accepted practices of French radio, especially when catering for youthful audiences who were attracted to cult radio programmes whose star presenters vied with each other to increase audience ratings. French youth talk radio has come into conflict with regulators over good taste and quality in programming, creating a wider debate over issues of censorship, culture and political correctness. This article analyses French youth talk radio through a number of scandals involving the radio stations Skyrock and Fun Radio, whose programmes elicited sanctions from the French regulatory body the Conseil supérieur de l'audiovisuel.

Davis, Mike
Planet of Slums
Verso, London and New York
2007

Keywords: Urbanization, slums, global inequalities

Abstract:

In this book Davis looks at the growing poor urban communities of the South such as those in Capetown, Casablanca or Mexico City. He stresses that the urban population will soon outnumber the rural, as more people will be living in the cities than in the countries and predicts slums reaching numbers of over 200.000 worldwide. These slums are characterized by gangs, child labor and prostitution as well as a complete lack of access to clean water or education. On the whole this urbanization is disconnected from industrialization and economic growth. Davis argues that slums as well as their increasing numbers and sizes represent an instable urban world, highly marked by global inequalities. The author speaks of a mass production of slums due to the neo liberal restructuring of third world economies, involving institutions such as the World Bank, IMF but also the dominance of the middle class. While slums reach population figures of up to 4 million, as in the case of Mexico City, Davis states that they are ignored with regard to health justice and other social issues within world politics. Moreover the author elaborates that debates and practices with regard to the so called war on terror, revolving around drugs and crime epistemologically disable a discussion about the massive economic exclusion steadily growing numbers of people living in slums are experiencing.

Dawson, Ashley
"Bollywood Flashback"‘: Hindi film music and the negotiation of identity among British-Asian youths
South Asian Popular Culture, 3(2):161-176
2005

Abstract:

The songs that punctuate Hindi films and give them much of their remarkable international appeal are particularly significant sites in the cinema’s attempt to deal with challenges to traditional structures of authority. Focusing on spectacular moments of nonnarrative – and often explicitly erotic – pleasure, such songs proffer utopian scenarios within which the tensions raised by the narratives of kinship in crisis that dominate Hindi film are emolliated. It is the moments of melodic fantasy embedded in Hindi film, the song and dance routines which offer these condensed images of reconciliation, that predominantly working class youths in Britain appropriate in order to express the conflicting hopes and fears that characterize their own cosmopolitan identities. In this article, I discuss two of the most important instances of remix culture in Britain over the last decade in order to offer a retrospective take on the uses of Hindi-language film by second-generation Asian youths.

Deangelis, Angelica Maria
Moi Aussi, Je Suis Musulman: Rai, Islam, and Masculinity in Maghrebi Transnational Identity
Alif: Journal of Comparative Poetics, (23)
2003

Abstract:

This article focuses on North African Rai music as a fertile and explosive site of gendered and transnational Maghrebi identity, exploring two separate yet related paths. The first is the "Rai versus Islam" binary, which the article demonstrates to be a falsely constructed combat zone that serves to further the political interests of the FIS (Islamic Salvation Front), the FLN (National Liberation Front), and the financial interests of the Western music industry. The second focus is on the role of gender in Rai, and the increasing masculinization of the genre. The article's goal is to reveal the complex intersections of Rai, Islam, and masculinity in the construction of transnational Maghrebi identity.

Dhurandhar, Sunita
Return to Bhangra: from dance clubs to gym clubs: Young South Asian women reclaim a dance never meant for them’
Colorlines Magazine,
2206

Keywords: Bhangra, South Asian women, Second generation immigrants, US, Subculture, Dancing, Dance competitions

Abstract:

Sunita Dhurandhar looks at the position of young south Asian women in the US engaging in the male dominant dance of Bhangra. Dhurandhar explores the meaning of traditional bhangra in the Punjab and writes about the dance transcending beyond the fields of north India and into the UK and the US. The ‘bhangra remix’ scene really took off in the UK in the 70’s and 80’s, and migrated to the US in the 90’s, popularized by figures such as the influential DJ Rekha in New York City. The visibility and emergence of second generation South Asians in the US have now turned Bhangra into an important subculture, which is according to Dhurandhar a source of ethnic pride, community and the sheer pleasure of an infectious and accessible dance. Bhangra has moved well beyond the club scene and has been embraced in teaching programmes for children, colleges and universities, even going as far as South Asian women producing bhangra fitness videos. Dhurandhar delves further into the gender issues that South Asian women confront when dancing bhangra. The writer argues that women find bhangra more empowering than the traditional female dance of that region, giddha. There is a certain attraction toward the traditional ‘male’ movements in bhangra, which are more energetic and focused than the relaxed moves of giddha, and it has become a dance that women have turned to in dance competitions in the US. Dhurandhar suggests that these competitions encourage a sense of ‘cultural nostalgia’, whereby immigrants and their children are consumed by traditionalism and the desire to be as authentic as their counterparts in South Asia. Dhurandhar fears that this “immigrant nostalgia” overlooks changes in South Asia, and also ignores how culture can migrate back and forth between the subcontinents.

Diethrich, Gregory
Desi Music Vibes: The Perfomance of Indian Youth Culture in Chicago
Asian Music, 31(1):35-61
1999

Keywords: Chicago, Desi, Desi music, DJ’s, Indian diaspora, Bhangra music, Hindi music, House music

Abstract:

Gregory Diethrich’s article explores what ‘desi’ and ‘desi music’ means to young Indian-American Chicago residents. He aims to analyze how the genre ‘desi’ music is used to construct, mediate and maintain the group of diasporic South Asian youth. ‘Desi’ music, according to Diethrich, encompasses numerous fluid forms, shaped by local contexts and tastes. He argues that not only does this music unify the diasporic identity of Indian-Americans, but it also unifies local and regional identities. ‘The new border Indian diaspora’, as Diethrich writes, is the generation of Indians that are able to mediate between the ‘homeland’ and the ‘hostland’, through music and films. Their high socio-economic status and access to different Indian media allows easy passage back to the homeland. However, Diethrich states that Indian-Americans do not have the dream of ‘going back home’, instead they construct a new definition of the return myth, partaking in ‘homeland’ culture when they want to. With the lack of local Indian musicians in Chicago, musical talent was able to grow without much fear of criticism. The new generation of DJ’s did not need musical knowledge, the one prerequisite was to satisfy the audiences through performance. Diethrich refers to Geldard’s previous work on Indian music in Chicago and argues against the idea that Indian music would die out. Cities such as London, Toronto and New York are much fonder of Bhangra music than Hindi music, however, Chicago is an exception. It is not home to a big Punjabi community but to a big Hindu community. Furthermore, the renowned Chicagoan ‘house’ beat is mixed with Hindi music, rather than the usual hip hop or reggae beats. These Hindi-house music remixes, as Diethrich writes, produce Indo-Chicago locality, and for many Indian-Chicagoans is representative of their ‘hybrid identities’. Diethrich looks at how ‘desi’ parties serve the Indian ‘community’. Firstly, these parties are sites for meeting other Indians and mapping social networks. Secondly, they bring together South Asians from heterogeneous backgrounds. He implies that these parties become arenas for the integration of dispersed parts of the Indian ‘community’, enabling a broader understanding of its scope and transformations.

Donald, Stephanie , Kofman, Eleonore and Kevin, Catherine
Branding cities. Cosmopolitanism, parochialism, and social change
Routledge, New York
2009

Keywords: Urban geography, City and town life, Cosmopolitanism, Social change


Hall, Stuart and Du Gay, Paul
Questions of Cultural Identity
Sage, London
1996

Abstract:

Why and how do contemporary questions of culture so readily become highly charged questions of identity? The question of cultural identity lies at the heart of current debates in cultural studies and social theory. At issue is whether those identities which defined the social and cultural world of modern societies for so long - distinctive identities of gender, sexuality, ethnicity, race, class and nationality - are in decline, giving rise to new forms of identification and fragmenting the modern individual as a unified subject. How does this 'crisis of identity' relate to the wider process of changes which are problematizing modern societies and undermining the frameworks through which people relate to institutions, each other and themselves? Questions of Cultural Identity offers a wide-ranging exploration of these issues, Stuart Hall outlines the reasons why the question of identity is so compelling, and yet so problematic. Individual contributors interrogate different dimensions of the crisis of identity providing both theoretical and substantive insights into its contemporary manifestations. Rather than privileging any one approach to the problem of identity, the book opens up a number of significant questions and offers insights into different approaches to understanding identity. In doing so it both illuminates and advances debates about identity and its futures.

Dudrah, Rajinder
Drum'n'dhol 1: British bhangra music and diasporic South Asian identity formation
European Journal of Cultural Studies, 5(3):363-383
2002

Keywords: Birmingham, British Asians, popular music, urban identities

Abstract:

British bhangra is a genre of British popular music fusing Punjabi lyrics and the beats of the Indian drum, the dhol, with black music genres and British pop sounds, producing an urban anthem and commentary about the lives of its British South Asian audiences. This article draws on qualitative research and interviews undertaken in Birmingham in the UK. It outlines how diasporic South Asian identities are made sense of through a conception of the way in which British bhangra music encapsulates an urban black British experience, how conservative lyrics of caste and gender in the music are negotiated by its listeners, and how some of the intergenerational formulations of British South Asian identities are performed at celebratory social gatherings.

Desai, Jigna , Dudrah, Rajinder and Rai, Amit
Bollywood Audiences: Editorial
South Asian Popular Culture, 3(2):79-82
2005

Keywords: Bollywood audience, Hindu-Urdu film culture, cinema, globalization

Abstract:

This editorial introduces essays that deal with the question of what constitutes Bollywood audiences. They focus on the changing analyses of Bollywood audiences with regard to processes for example characterized as social, bodily, technological, economic, historical transnational psychic or sexual. Analyses presented in the essays assume dynamic and changing multiplicities of reception, production, exhibition and circulating of Hindu-Urdu popular film culture. Furthermore the essays concentrate on various social contestations central to Bollywood film culture and show that its global transnationalizing contexts should be understood as local negotiations of historically shifting relations of image production and consumption. The essays argue that Bollywood audiences constitute their own relationship to aspects such as changing narratives or shifting aesthetics in codes and values through psychic as well as social contestations. They state that active audiences continuously renegotiate the terms of their pleasure. Another point of importance made is that meaning is secondary. Contrary to dominant scholarship on Bollywood the negotiations of Bollywood audiences centralize articulations of imagistic and oral regimes with social practices rather than securing meaning. Further the globalization of film finance and production and the liberalization of Indian economy that are characterized by their flexibility lead to the proliferation of technologies of segmentation. The essays show that the strategies for this have shifted from the classis classes vs. masses breakdown to an emergence of audiences and sub-audiences that are not distinguished by one predictor but by multiple intersecting factors. Finally the essays criticize that film studies scholarship mainly focuses on films themselves as units of analyses and hardly considers aspects such as modernity nationalism or politics. As the essays shift from what Bollywood means to what it does, they enable the study of film to consider its relationship to larger social and historical settings. Moreover their shift entails to highlight the changing functionalities of film culture in relation to broader dynamics of nationalism.

Durand, Alain-Philippe
Black, blanc, beur: Rap music and hip-hop culture in the francophone world
Scarecrow, Lanham, Md.
2005

Keywords: France, Hip-Hop, Rap, Music, French history and criticism, Quebec history and criticism

Abstract:

This edited book aims to trace the emergence and development of rap and hip-hop culture in France and in the Francophone world. It gathers ten articles dealing with different aspects of this urban culture in an interdisciplinary perspective. While post-modernist social sciences have allegedly tended to envision society through the lens of identification, this work aims to shift the perspective to rap as a meaningful form of symbolic appropriation of the urban space. Moreover, although scholars have worked on American hip-hop since the 1990s, little attention has been brought to French and Francophone rap so far. It is claimed that France is the second largest scene of hip-hop music production after the United States. Moreover, the artistic linkages between the two countries have been intense for the last century, concerning in the first place jazz music and dance. Since the 1980s, American rap artists have moved to France and have fostered this now flourishing cultural industry. French hip-hop music must be linked to the public housing projects (cités) in that it is an expression of life in these neighbourhoods: through a cultural analysis of rap, it is possible to trace new human geographies of cities in which the hip-hop cultural industry is intimately linked to the urban political economy. Therefore, the editor points out, space and music are mutually enabling. He suggests that the “economic” and the “cultural” should not be split. Analysing hip-hop can be an innovative way of exploring the contours of the city, it is argued. In one of the chapters, Prévos’ contribution aims to trace the history of French rap from the early beginnings. Jacono attempts to investigate forms of identification through a cultural analysis of Marseilles’ rappers. In the third chapter, Pecqueux pays closer attention to stage performances of Marseilles’ artists. Silverstein focuses on the political issues and consequences of the Supreme NTM case of 1995. The fifth and sixth chapters focus on the French public reception of rap music. Milon and Bazin explore other forms of hip-hop art, respectively graffiti and dance. In the two final essays, Auzennau and Roger present their fieldwork in two representative Francophone contexts: Gabon and Quebec.

Duret, Pascal
Anthropologie de la fraternité dans les cités
of Le Sociologue
Presses universitaires de France, Paris
1996

Keywords: Urban anthropology. Brotherliness.

Abstract:

In this book, Duret explores the figure of the « oldest brother » (le grand frère) within the social environment of disadvantaged urban outskirts of Paris. The “oldest brother” is not exclusively considered with regard to the biological family but also according to the wider society. He is not only part of a family, his authority as “the oldest” extends to all the social interactions he has within the banlieue. The oldest brother can have a migrant background but Duret does not highlights this aspect in the cultural formation of the grand frère. The oldest brother has multiple roles according to different spheres of social lives within the neighbourhood, ranging from the family to state institutions. His major skills are relational strategies and the potential of negotiation by virtue of his symbolic power. The latter is not given by age yet by a sort of socially recognized maturity and participation in neighbourhood affairs. He principally acts as mediator between the family and the state, although he also holds a function in negotiating social relations within the peer group and between the latter and strangers. To this extent, the oldest brother is at the core of relations of solidarity within the neighbourhood. However, his affiliations do not necessarily involve a self-effacing subjectivity and altruism. On the contrary, Duret points out that the oldest brother struggles to affirm his personality in respect to the “other” encountered in his daily life, the school teacher, the father, or the younger brother. The sociologist gives a detailed ethnographic account of these young people’s social interactions in multiple social settings. Firstly, the oldest brother functions as a mediator between the parents and the younger brothers and also with sisters, over whom social control is generally stronger. Secondly, they play out their skills in tackling peer groups’ issues like the use of public spaces and the relations with, for instance, criminal practices. Thirdly, they mediate between the school and the families by helping the more disadvantaged parents to follow their children’s schooling trajectories. Fourthly, they contribute as mediators between youth and other branches of states institutions and municipal structures such as sports clubs. Duret identifies the “oldest brother” as the substitute for an increasingly retreating welfare state. For him, the lack of the state in the peripheries contributes to the formation of such mediating young figures that maintain bonds of social solidarity in very difficult socio-economic conditions.