Episode 7 - Music is My Nation
In this episode, Alev and Anuja cover a broad range of topics ranging from whether Backstreet Boys has ever been cool, to Bollywood music in the UK, and to the politics of Kurdish music in Turkey. SDU MMA student Maria Seitjen Reiss joins them with insights into flamenco as local heritage as well as tourist spectacle in Andalusia. Guest researcher Alex Skandalis from Lancaster University sheds light on the intersections of taste, place as well as gender in the fields of Indie and Classical music consumption.Reading list and notes:Alex’s research on music, taste, and place:Skandalis, A., Banister, E. and Byrom, J., 2018. The spatial aspects of musical taste: Conceptualizing consumers’ place-dependent identity investments. Marketing Theory, 18(2), pp.249-265.Skandalis, A., Banister, E. and Byrom, J., 2020. Musical taste and the creation of place-dependent capital: Manchester and the indie music field. Sociology, 54(1), pp.124-141.Skandalis, A., Banister, E., & Byrom, J. (2016). Marketplace orchestration of taste: insights from the Bridgewater Hall. Journal of Marketing Management, 32(9-10), 926-943.Alev’s research on Kurdish music:Kuruoğlu, A. P., & Ger, G. (2015). An emotional economy of mundane objects. Consumption Markets & Culture, 18(3), 209-238.Kuruoğlu, A., & Hamelink, W. (2017). “Sounds of resistance. Performing the Political in the Kurdish Music Scene” in The Politics of Culture in Turkey, Greece & Cyprus: Performing the Left Since the Sixties; p. 103-121. RoutledgePodcast: “The Kurdish Music Industry: History and Politics.” Ottoman History Podcast, Episode #116, hosted by Chris Gratien. https://www.ottomanhistorypodcast.com/2013/08/the-kurdish-music-industry-history-and.htmlInspiration from (and for) Maria’s research on Flamenco:Aoyama, Y. (2007). The role of consumption and globalization in a cultural industry: The case of flamenco. Geoforum, 38(1), 103-113.Aoyama, Y. (2009). Artists, tourists, and the state: Cultural tourism and the flamenco industry in Andalusia, Spain. International Journal of Urban and Regional Research, 33(1), 80-104.Machin-Autenrieth, M. (2015, February). Flamenco¿ algo nuestro?(something of ours?): Music, regionalism and political geography in Andalusia, Spain. In Ethnomusicology Forum (Vol. 24, No. 1, pp. 4-27). Routledge.Malefyt, T. D. (1998). " Inside" and" Outside" Spanish Flamenco: Gender Constructions in Andalusian Concepts of Flamenco Tradition. Anthropological Quarterly, 63-73.Papapavlou, M. (2003). The city as a stage: Flamenco in Andalusian culture. Journal of the Society for the Anthropology of Europe, 3(2), 14-24.Washabaugh, W. (1995). Ironies in the History of Flamenco. Theory, Culture & Society, 12(1), 133-155.Washabaugh, W. (2021). Flamenco: passion, politics and popular culture. Taylor & Francis.Imagined Communities, Traditions - General Inspiration:Anderson, B. (2006). Imagined communities: Reflections on the origin and spread of nationalism. Verso books.Herzfeld, M. (2005). Cultural intimacy: Social poetics in the nation-state. Psychology Press.Hobsbawm, E., & Ranger, T. (Eds.). (2012). The invention of tradition. Cambridge University Press.Music, Belonging(s), and Representations:Baily, J., & Collyer, M. (2006). Introduction: Music and migration. Journal of Ethnic and Migration Studies, 32(2), 167-182.Baker, C. (2016). Sounds of the borderland: Popular music, war and nationalism in Croatia since 1991. Routledge.Feld, Steven. 1990. Sound and Sentiment: Birds, Weeping, Poetics and Song in the Kaluli Expression. Philadelphia: University of Pennsylvania...