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[Informed by Roland Robertson’s work on glocaiization, which he refers to as ‘the intensified interpenetration of the local and Lhe global, the universal and the particular’ (Giulianotti and Robertson, 2007, p. 168), this chapter examines the inventive strategies deployed by light-footed and relatively powerless culture creators as they project their visions of the ‘local’ onto a global stage and display their talent in forms of embodied cultural capital which audiences, it seems, are willing to read as unique. These creators inventively borrow and consciously adapt ‘global’ cultural forms in order to voice their own concerns; or, more ambitiously, they steal, in the mode of Picasso, in order to make something entirely their own. This applies to ‘local’ producers adopting ‘global’ television formats or music genres as much as it applies to archetypal garret-ensconced artists daubing paint on their canvases. However, the latter part of the chapter focuses on musicians and artists who consciously and semi-consciously project their cultural habitus, in their work and in their person. They are, therefore, complex carriers of signs projected for audiences willing to recognize them as embodying the apotheosis of particular styles or genres. So, for example, the nonagenarian Cuban musician Com pay Segundo, who rose to fame in the 1990s, shrewdly and swiit-footedly (especially for a man of his age!) projected himself as the embodiment of Cuban music history and in his recordings and concert performances, he re-imagined and re-invented Cuban sones, danzones and walzes from bygone years for audiences that found a source of inspiration in the element of the ‘local’ that he projected onto the global stage.]
Published: Nov 10, 2015
Keywords: Cultural Capital; Cultural Form; Cultural Object; Music Industry; Global Stage
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