Postcolonial Expression in Music
Author : Shraddha RaiVolume 9 No.1 January-June 2020 pp 32-37
Abstract
Post colonialism forms a composite but a critical movement that renewed the perception and understanding of modern history, cultural studies, literature, and political economy. Although it started as an approach to the study of commonwealth literature, it broadened out to include other aspects of north-south relations making an impact on a wide variety of subjects including cultural studies, anthropology, geography, history, and politics. Despite the successful inclusion of the theory in the mentioned fields, the difficulty of mapping it in the field of International Relations (IR) is still evident.As a literary discourse, post colonialism, from the time of its entry to academia has incorporated various themes and issues in bourgeoning its growth. However, this attempt has considerably failed to get deserved attention. While the theory has continued the investigation into the ways in which the subaltern voices are silenced in both the local and global arena, little attention has been placed in the role of music. What this article, therefore, seeks to address is the relevance of music in an enhanced understanding of postcolonial theory. By and large, the zest of the article is to conceptualize music as a serious component of postcolonial theory and to explore a possibility wherein a meaningful linkage can be established between the two.
Keywords
Culture, Identity, International Relations, Music, Post colonialism.
Full Text:
References
- Abrahamsen and Rita, “Post colonialism’ in martin Griffith,” eds, International Relations Theory for the Twenty-First Century: An Introduction. Routledge, New York. 2007.
- Ashcroft, Bill, Gareth Griffiths and Helen Tiffin, “Post-Colonial Studies: The Key Concepts (Second Edition),”Routledge, New York. 2007.
- Boehmer and Elleke , Colonial and Postcolonial Literature, (second edition) Oxford University Press, Oxford, 2005.
- Cook and Nicholas, Music a Very Short Introduction, Oxford University Press, Oxford, 2005.
- Freeland and Gregory, Music and the Rise of Carribean Nationalism: The Jamaican Case. California Lutheran University, 2012.
- Griffith and Martin, “International Relations Theory for the for the Twenty-First Century: An Introduction”, Routledge, New York, 2007.
- Head and Matthew, “Musicology of Safari: Orientalism and the Spectra of Postcolonial Theory”, Music Analysis, Vol.22, No.1-2. 2003.
- Mcleod and John, Beginning Postcolonialism. Manchester University Press, Manchester, 2011.
- Miller, E.Terry, C. Shahriari Andrew, “World Music: A Global Journey,” Routledge, New York.2009.
- Nettleford and Rex, “Dance Jamaica: Cultural Definitions and Artistic Discovery,” Grove Press, New York,1985.
- Romanow and Rebecca, ‘But….Can the Subaltern Sing? Comparative Literature and Culture (Prude), Vol.7, No.2, June 2005.
- Edward Said, ”Culture and Imperialism”, Vintage Books, New York.1997.
- Stroke and Martin, Ethnicity, “ Identity and Music: The Musical Construction of Place,” Berger Publisher, New York.1994.
- Sylvester and Christine, Post colonialism in Baylis and Smith (et.al) “The Globalisation of World Politics,” Oxford University Press, Oxford, 2011.
- Timothy Taylor, “Global Pop World Music, World Market,” Routledge, New York.1997.
- C. Robert Young, Post colonialism,“A Very Short Introduction,” Oxford University Press, Oxford.2003.