I see a lot of fusion and exploration going on in middle eastern music/dance and latin american music/dance and it seems, well, better and more fruitful. Maybe the problem is that I was watching TV, where the worst of the lot tends to gravitate.
Joanna
Dwayne Monroe wrote:
>Joanna:
>
>I eat at a neighborhood Indian restaurant as often as
>I can and they have their TV permanently tuned to some
>bollywood-type station. And on that station I see
>something which, I don't know, seems a silly imitation
>of Western pop and dance, and it's heartbreaking when
>I think of how much richer the native traditions are.
>I come from a country that has always been a wannabe,
>at least in the urban centers, and its urban culture
>is pretty vapid too.
>
>========================
>
>
>I do see your point, but consider...
>
>
>Traditions are invaluable but, as living things, have
>a limited space-time shelf life. That is, without
>their original context, venerable forms are museum
>pieces. Lovely? Often. Enriching to the "soul"?
>Sometimes.
>
>The real challenge for various cultures in the
>Anglo-sphere age is to craft their own style of
>modernity. Borrowing from the West is fine; the
>Japanese surely did it and then went their merry way
>into "Samurai Champloo" and "Paranoia Agent"
>territory. But there should be a synthesis of these
>borrowings into a unique vision of the new (because we
>don't want to go all Jerry Mander here and long to
>keep peoples in some idealized version of the past).
>
>A lot of the S. Korean pop I'm uh, subjected to is
>quite vapid. But what's the answer to that emptiness?
> I don't precisely know but I do know using the Akhak
>Kwoebim (15th century Korean book of the people's
>musical arts) as your principal guide would not be a
>21st century solution.
>
>
>
>
>
>.d.
>
>
>---------
>At my Buddhist strip club, there is no pole, no stripper, no techno...only the impermanent arising of mind-formed entities temporarily manifesting.
>
>http://monroelab.net/blog/
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>
>
>