Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

A Sociology of Culture, Taste and ValueThe Local on the Global Stage

A Sociology of Culture, Taste and Value: The Local on the Global Stage [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.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A Sociology of Culture, Taste and ValueThe Local on the Global Stage

Loading next page...
 
/lp/springer-journals/a-sociology-of-culture-taste-and-value-the-local-on-the-global-stage-js6d3cMmra

References (0)

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Palgrave Macmillan UK
Copyright
© Palgrave Macmillan, a division of Macmillan Publishers Limited 2013
ISBN
978-1-349-47790-6
Pages
159 –176
DOI
10.1057/9781137377081_8
Publisher site
See Chapter on Publisher Site

Abstract

[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

There are no references for this article.