In my article, I analyse the relationship between famous French songs and migration in the French film musical Toi, moi, les autres (Audrey Estrougo 2011), which mixes the codes of the fairy tale romcom with a story about undocumented migrants in contemporary Paris. I underscore that the use of these songs – very few of the musical arrangements are sung by figures of sans-papiers – is pernicious. They serve to highlight and to cement the love story of the two protagonists much more than to develop a real political discourse. I argue that the filmmaker has exploited the memorial – and sentimental – dimension of the French songs for the benefit of the romantic story but has failed to offer a critical discourse on the situation of the undocumented migrants, which had been one of the intentions of the film.
在我的文章中，我分析了法国电影音乐剧Toi, moi, les autres (Audrey Estrougo, 2011)中著名的法国歌曲与移民之间的关系，它将童话浪漫喜剧的代码与当代巴黎无证移民的故事混合在一起。我要强调的是，使用这些歌曲是有害的——很少有音乐编曲是由没有纸的人演唱的。他们的作用是突出和巩固两个主角的爱情故事，而不是发展一个真正的政治话语。我认为，电影制作人利用了法国歌曲的纪念和情感维度，为浪漫故事提供了好处，但未能对无证移民的处境提供批判性的论述，这是电影的意图之一。
{"title":"Toi, moi… et les autres ? Musique populaire et migration dans le film musical Toi, moi, les autres d’Audrey Estrougo (2011)","authors":"Renaud Lagabrielle","doi":"10.15203/ATEM_2018.08","DOIUrl":"https://doi.org/10.15203/ATEM_2018.08","url":null,"abstract":"In my article, I analyse the relationship between famous French songs and migration in the French film musical Toi, moi, les autres (Audrey Estrougo 2011), which mixes the codes of the fairy tale romcom with a story about undocumented migrants in contemporary Paris. I underscore that the use of these songs – very few of the musical arrangements are sung by figures of sans-papiers – is pernicious. They serve to highlight and to cement the love story of the two protagonists much more than to develop a real political discourse. I argue that the filmmaker has exploited the memorial – and sentimental – dimension of the French songs for the benefit of the romantic story but has failed to offer a critical discourse on the situation of the undocumented migrants, which had been one of the intentions of the film.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127518345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How can the rich panorama of French songs which scholars tend to identify as ‘songs of migration’ be characterized? The chanson politique, the chanson engagee, and the chanson de la migration – all three of them make statements about society but the latter is specific in its themes: It focuses on the individual and/or the collective experience of forced displacement and migration, which have been the lot of thousands and thousands of people in the past three decades. In the first part of this article, the history of French immigration is outlined in order to contextualise the 60 songs chosen for analysis. After briefly highlighting the complexity and plurimediality of the artistic form of the chanson, the second part concentrates on the themes addressed and on the narrative perspective; it ends with Louis Calvet who stated as early as 1976 that a chanson can be political for three reasons: the author’s intentionality, the topics dealt with, and the way in which the contemporary society ‘lives’ the respective songs.
{"title":"« C’est pas par plaisir qu’ils voyagent ! » Chanson et migration – contextualisation, thématique et point de vue narratif","authors":"Ursula Mathis-Moser","doi":"10.15203/ATEM_2018.02","DOIUrl":"https://doi.org/10.15203/ATEM_2018.02","url":null,"abstract":"How can the rich panorama of French songs which scholars tend to identify as ‘songs of migration’ be characterized? The chanson politique, the chanson engagee, and the chanson de la migration – all three of them make statements about society but the latter is specific in its themes: It focuses on the individual and/or the collective experience of forced displacement and migration, which have been the lot of thousands and thousands of people in the past three decades. In the first part of this article, the history of French immigration is outlined in order to contextualise the 60 songs chosen for analysis. After briefly highlighting the complexity and plurimediality of the artistic form of the chanson, the second part concentrates on the themes addressed and on the narrative perspective; it ends with Louis Calvet who stated as early as 1976 that a chanson can be political for three reasons: the author’s intentionality, the topics dealt with, and the way in which the contemporary society ‘lives’ the respective songs.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121762649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The singer-songwriter Lhasa de Sela (1972-2010) launched her career and produced her three records in Montreal where she arrived in 1991. Not only did she change the face of migrant song in Quebec, but she also enjoyed international success, embarking on long world tours and selling more than a million records. This analysis will focus on the songs from her second album, The Living Road, and will show that Lhasa de Sela transcended linguistic and artistic frontiers by crossing the geographical border when she made Montreal her home and creative hub.
{"title":"Lhasa de Sela et la traversée des espaces","authors":"Robert Proulx","doi":"10.15203/ATEM_2018.10","DOIUrl":"https://doi.org/10.15203/ATEM_2018.10","url":null,"abstract":"The singer-songwriter Lhasa de Sela (1972-2010) launched her career and produced her three records in Montreal where she arrived in 1991. Not only did she change the face of migrant song in Quebec, but she also enjoyed international success, embarking on long world tours and selling more than a million records. This analysis will focus on the songs from her second album, The Living Road, and will show that Lhasa de Sela transcended linguistic and artistic frontiers by crossing the geographical border when she made Montreal her home and creative hub.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116164574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the landing of thousands of Albanese people on the Apulian coast in 1991 to the daily arrival of refugees on the Calabrian and Sicilian coasts since 2000, immigration by sea and the lifestories of the countless victims of this situation have become part of the ‘public awareness’ in Italy. To narrate the tragedies we are witnessing day by day, different communicational strategies have been adopted, depending on the respective media and on the political objectives pursued by individual ‘speakers’. The attention writers, film directors, and artists have payed to the recent migration movements towards Italy has gradually given a more profoundly human dimension to the phenomenon and has brought the public closer to the individual tragedy. Italian popular music in particular has actively contributed to establishing an artistic counter-discourse, which will be discussed in the present article. Examples of different musical genres will be analysed, covering the time frame in question, whereas the methodology pursued will be that of Imagology and that of Cultural Studies.
{"title":"Da Brindisi a Lampedusa: le migrazioni via mare nella cassa di risonanza della popular music italiana","authors":"N. Moll","doi":"10.15203/ATEM_2018.04","DOIUrl":"https://doi.org/10.15203/ATEM_2018.04","url":null,"abstract":"From the landing of thousands of Albanese people on the Apulian coast in 1991 to the daily arrival of refugees on the Calabrian and Sicilian coasts since 2000, immigration by sea and the lifestories of the countless victims of this situation have become part of the ‘public awareness’ in Italy. To narrate the tragedies we are witnessing day by day, different communicational strategies have been adopted, depending on the respective media and on the political objectives pursued by individual ‘speakers’. The attention writers, film directors, and artists have payed to the recent migration movements towards Italy has gradually given a more profoundly human dimension to the phenomenon and has brought the public closer to the individual tragedy. Italian popular music in particular has actively contributed to establishing an artistic counter-discourse, which will be discussed in the present article. Examples of different musical genres will be analysed, covering the time frame in question, whereas the methodology pursued will be that of Imagology and that of Cultural Studies.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125691631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For many decades, Spain has been a country of emigration. Its transformation to a country of immigration (e.g. from Latin America and Africa) is a quite recent phenomenon, which only started in the 1970s due to the economic upturn of the country. From 1991 onwards (signing of the Schengen Agreement) the ‘illegal’ immigration across the Strait of Gibraltar has increasingly been perceived as a problem. Spanish popular music is a fine seismograph of social changes, such as the increase of immigration. The first musical productions reflecting on (‘illegal’) immigration date from the early 1990s, such as Barricada’s “Oveja negra”, El Chojin’s “Ponte en mi piel” and “Si, Buana”, or Nach’s “Tierra prometida”. Based on a corpus of 50 songs of different musical styles (rock, rap, world music), this article aims at investigating the key thematic lines in songs about ‘illegal’ immigration: the subalternity of the migratory subject; the fraught relations between the migrant subject (‘I’) and the Spanish ‘you’, relations characterized by prejudice, racism, and exclusion; finally, the perspective of a ‘we’ in a transcultural Spanish society.
几十年来，西班牙一直是一个移民国家。它向移民国家(例如来自拉丁美洲和非洲的移民)的转变是一个相当近期的现象，由于该国的经济好转，直到20世纪70年代才开始。从1991年(签署申根协定)开始，直布罗陀海峡的“非法”移民日益被视为一个问题。西班牙流行音乐是反映诸如移民增加等社会变化的精确地震仪。第一批反映(“非法”)移民的音乐作品可以追溯到20世纪90年代初，比如Barricada的“Oveja negra”，El Chojin的“Ponte en mi piel”和“Si, Buana”，或者Nach的“Tierra prometida”。本文以50首不同音乐风格(摇滚、说唱、世界音乐)的歌曲为基础，旨在探讨“非法”移民歌曲中的关键主题线:移民主体的次等性;移民主体(“我”)和西班牙语“你”之间令人担忧的关系，这种关系以偏见、种族主义和排斥为特征;最后，跨文化西班牙社会中“我们”的视角。
{"title":"Negociaciones (trans)culturales en el Mediterráneo. Inmigración y ‘clandestinidad’ en la música popular española contemporánea","authors":"Birgit Mertz-Baumgartner","doi":"10.15203/ATEM_2018.03","DOIUrl":"https://doi.org/10.15203/ATEM_2018.03","url":null,"abstract":"For many decades, Spain has been a country of emigration. Its transformation to a country of immigration (e.g. from Latin America and Africa) is a quite recent phenomenon, which only started in the 1970s due to the economic upturn of the country. From 1991 onwards (signing of the Schengen Agreement) the ‘illegal’ immigration across the Strait of Gibraltar has increasingly been perceived as a problem. Spanish popular music is a fine seismograph of social changes, such as the increase of immigration. The first musical productions reflecting on (‘illegal’) immigration date from the early 1990s, such as Barricada’s “Oveja negra”, El Chojin’s “Ponte en mi piel” and “Si, Buana”, or Nach’s “Tierra prometida”. Based on a corpus of 50 songs of different musical styles (rock, rap, world music), this article aims at investigating the key thematic lines in songs about ‘illegal’ immigration: the subalternity of the migratory subject; the fraught relations between the migrant subject (‘I’) and the Spanish ‘you’, relations characterized by prejudice, racism, and exclusion; finally, the perspective of a ‘we’ in a transcultural Spanish society.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131718944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Not surprisingly, migration is currently perceived as an important topic in the South of Italy, a region which, due to its geographical position, has been confronted with the arrival of thousands of refugees from Africa and the Middle East, but which, due to its own long history of emigration, is also able to empathize with their plight. The popular music of Southern Italy reflects this situation in a striking way, accentuating in many cases the affinities and feelings of brotherhood with those who arrive in Italy looking for help or asylum. By analyzing a song which can be seen as paradigmatic for this attitude, “Chiui sta porta” by Sicilian singer-songwriter and artist Salvatore Tartamella, fundamental strategies will be identified (both textual and musical) that also occur in other songs by southern Italian singer-songwriters or groups, such as Enzo Avitabile, Eugenio Bennato or Almamegretta. As will be demonstrated, most of the aesthetic strategies to be discussed (such as the recourse to one’s own tradition of popular music, often combined with African or Middle Eastern sounds, the use of dialect, or the mythification of migrants’ fates) result from the assumption that a common basis of ‘subalternity’ between refugees and parts of the Southern population exists. The theoretical frame of this discussion is based on thinkers such as Antonio Gramsci, Franco Cassano, and Iain Chambers.
毫不奇怪，移民目前被认为是意大利南部的一个重要话题，由于其地理位置，该地区面临着来自非洲和中东的数千名难民的到来，但由于其自身长期的移民历史，该地区也能够同情他们的困境。意大利南部的流行音乐以一种引人注目的方式反映了这种情况，在许多情况下，强调了与那些来到意大利寻求帮助或庇护的人的亲缘关系和兄弟情谊。通过分析西西里创作歌手和艺术家萨尔瓦托·塔尔塔米拉的《Chiui sta porta》这首可以被视为这种态度的典范的歌曲，将确定基本的策略(文本和音乐)，这些策略也出现在意大利南部创作歌手或乐队的其他歌曲中，如恩佐·阿维塔比尔、尤金尼奥·本纳托或阿尔玛格蕾塔。正如将要展示的那样，要讨论的大多数美学策略(例如诉诸于自己的流行音乐传统，通常与非洲或中东的声音相结合，使用方言，或移民命运的神话化)都是基于这样的假设，即难民和部分南方人口之间存在“次等性”的共同基础。这一讨论的理论框架是基于诸如安东尼奥·葛兰西、佛朗哥·卡萨诺和伊恩·钱伯斯等思想家。
{"title":"“Sunnu li me frati”: espressioni di affinità e fratellanza tra profughi/immigrati e italiani del sud nella popular music del Meridione","authors":"Gerhild Fuchs","doi":"10.15203/ATEM_2018.13","DOIUrl":"https://doi.org/10.15203/ATEM_2018.13","url":null,"abstract":"Not surprisingly, migration is currently perceived as an important topic in the South of Italy, a region which, due to its geographical position, has been confronted with the arrival of thousands of refugees from Africa and the Middle East, but which, due to its own long history of emigration, is also able to empathize with their plight. The popular music of Southern Italy reflects this situation in a striking way, accentuating in many cases the affinities and feelings of brotherhood with those who arrive in Italy looking for help or asylum. By analyzing a song which can be seen as paradigmatic for this attitude, “Chiui sta porta” by Sicilian singer-songwriter and artist Salvatore Tartamella, fundamental strategies will be identified (both textual and musical) that also occur in other songs by southern Italian singer-songwriters or groups, such as Enzo Avitabile, Eugenio Bennato or Almamegretta. As will be demonstrated, most of the aesthetic strategies to be discussed (such as the recourse to one’s own tradition of popular music, often combined with African or Middle Eastern sounds, the use of dialect, or the mythification of migrants’ fates) result from the assumption that a common basis of ‘subalternity’ between refugees and parts of the Southern population exists. The theoretical frame of this discussion is based on thinkers such as Antonio Gramsci, Franco Cassano, and Iain Chambers.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134004283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents a study of songs written by the Neapolitan dub band Almamegretta and by the Florentine rocker Piero Pelu of the band Litfiba. The songs here analysed address the Mediterranean Sea as a cultural space representing a fluid means of transport for melodies as well as people. To better convey this stance, the lyrics are written in Italian, Neapolitan, English, French, and Arabic, and the hybrid sound of the tunes is a mix of genres ranging from Western rock to African, Eastern, and Jamaican contaminations. Among the themes covered by the songwriters are the similar conditions of African and Southern Italian immigrants, the notorious crossings of the Mediterranean Sea by migrants reaching the Italian shores, and the musicians’ wish for a peaceful coexistence of peoples and cultures.
{"title":"Anime migranti in musica: la visione mediterranea di Almamegretta e Piero Pelù","authors":"S. Martini","doi":"10.15203/ATEM_2018.12","DOIUrl":"https://doi.org/10.15203/ATEM_2018.12","url":null,"abstract":"This paper presents a study of songs written by the Neapolitan dub band Almamegretta and by the Florentine rocker Piero Pelu of the band Litfiba. The songs here analysed address the Mediterranean Sea as a cultural space representing a fluid means of transport for melodies as well as people. To better convey this stance, the lyrics are written in Italian, Neapolitan, English, French, and Arabic, and the hybrid sound of the tunes is a mix of genres ranging from Western rock to African, Eastern, and Jamaican contaminations. Among the themes covered by the songwriters are the similar conditions of African and Southern Italian immigrants, the notorious crossings of the Mediterranean Sea by migrants reaching the Italian shores, and the musicians’ wish for a peaceful coexistence of peoples and cultures.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132356501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
G. Fuchs, Ursula Mathis-Moser, Birgit Mertz-Baumgartner
and Viet Nam—was prepared to provide a perspective on environment and natural resource management issues confronting countries along the Mekong River and to recommend a set of approaches to address these issues. The report is based on national baseline studies—Country Environment Reviews (CENRs) undertaken by Asian Development Bank (ADB). Governments in the region, policymakers and development practitioners may find the report, in whole or in parts, useful. The objectives of the CENRs were to assess the trends and impacts of environmental problems in these countries and to provide a strategic framework for improving national environmental management within the context of their development priorities. The report is aimed primarily at enhancing the sustainability of their environments through improved resource management and focuses on issues pertaining to forest and policy issues; biodiversity and protected parks; water resources; coastal and marine resources management ; urban and industrial pollution and energy use. ENVIRONMENTS IN TRANSITION is organized in four chapters. Chapter 1 provides an overview of the basic characteristics of the four countries. Chapter 2 analyzes and describes the extent of environmental stress and emerging problems. Chapter 3 provides the policy and institutional framework for improvements and interventions. Chapter 4 summarizes the environmental action and priority needs for their resolution and it also sets out a strategic framework and recommendations for addressing the key issues identified in each country. The recommendation for priority environmental program and policy initiatives are summarized under four sets of matrices for each country and are illustrated in the Appendix. Each of these action plans constitutes the development framework for the major environmental subsector and presents opportunities for development assistance. Cambodia, Lao PDR, Thailand, and Viet Nam— countries of mainland Southeast Asia—not only share common borders, but also resources and environmental impacts varying in intensity and magnitude. These countries play hosts and are repositories of the earth's diminishing habitats, now under threat. The Mekong Basin has arguably the most diverse biotic and cultural landscape in the world today. The residual impacts of the Indochina conflict coupled with the extraordinary pace at which economic development has been taking place over the last decade has meant that the contradiction between economic growth and environmental protection, and between winners and losers on both sides of the equation , are exposed to an extraordinary and volatile degree (Bryant and Parnwell 1996). These countries while sharing a number of attributes, represent a diversity of aspirations, …
{"title":"Introduction (E)","authors":"G. Fuchs, Ursula Mathis-Moser, Birgit Mertz-Baumgartner","doi":"10.15203/atem_2018.01-3","DOIUrl":"https://doi.org/10.15203/atem_2018.01-3","url":null,"abstract":"and Viet Nam—was prepared to provide a perspective on environment and natural resource management issues confronting countries along the Mekong River and to recommend a set of approaches to address these issues. The report is based on national baseline studies—Country Environment Reviews (CENRs) undertaken by Asian Development Bank (ADB). Governments in the region, policymakers and development practitioners may find the report, in whole or in parts, useful. The objectives of the CENRs were to assess the trends and impacts of environmental problems in these countries and to provide a strategic framework for improving national environmental management within the context of their development priorities. The report is aimed primarily at enhancing the sustainability of their environments through improved resource management and focuses on issues pertaining to forest and policy issues; biodiversity and protected parks; water resources; coastal and marine resources management ; urban and industrial pollution and energy use. ENVIRONMENTS IN TRANSITION is organized in four chapters. Chapter 1 provides an overview of the basic characteristics of the four countries. Chapter 2 analyzes and describes the extent of environmental stress and emerging problems. Chapter 3 provides the policy and institutional framework for improvements and interventions. Chapter 4 summarizes the environmental action and priority needs for their resolution and it also sets out a strategic framework and recommendations for addressing the key issues identified in each country. The recommendation for priority environmental program and policy initiatives are summarized under four sets of matrices for each country and are illustrated in the Appendix. Each of these action plans constitutes the development framework for the major environmental subsector and presents opportunities for development assistance. Cambodia, Lao PDR, Thailand, and Viet Nam— countries of mainland Southeast Asia—not only share common borders, but also resources and environmental impacts varying in intensity and magnitude. These countries play hosts and are repositories of the earth's diminishing habitats, now under threat. The Mekong Basin has arguably the most diverse biotic and cultural landscape in the world today. The residual impacts of the Indochina conflict coupled with the extraordinary pace at which economic development has been taking place over the last decade has meant that the contradiction between economic growth and environmental protection, and between winners and losers on both sides of the equation , are exposed to an extraordinary and volatile degree (Bryant and Parnwell 1996). These countries while sharing a number of attributes, represent a diversity of aspirations, …","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130736195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since its beginnings, French chanson has been full of mixed musical influences. Two present-day French singers, Abd Al Malik and Stromae, preserve this tradition and renew it at the same time. While singing about ‘elsewhere’ used to be a pretext for exoticism with commercial intentions, these two singers symbolise a generation where human mixity has become a major reality, which can also be observed in their songs. When Abd Al Malik, for instance, uses the pattern and inspiration of Jacques Brel’s “Amsterdam” for his own song “Gibraltar”, he changes both meaning and dynamics of the original song. Amsterdam’s port is a tearing dead end ; Abd Al Malik’s port is a place of transfiguration where you can ‘sublimize’ yourself and transform travelling into a productive initiation. On the same level, Stromae, metis and orphan himself, succeeds in sublimizing his pain in a dynamic danse with its success “Papaoutai” ; and he also succeeds in doing so in his song “Bâtard”, a true art poetique, where thanks to his own maestro’s abilities he presents hybridity as riches to be shared.
从一开始，法国香颂就充满了混合的音乐影响。两位当今的法国歌手，Abd Al Malik和Stromae，保留了这一传统，同时又更新了它。虽然唱“他乡”曾经是带有商业意图的异国情调的借口，但这两位歌手象征着人类混合已成为主要现实的一代人，这也可以从他们的歌曲中观察到。例如，当Abd Al Malik将Jacques Brel的“Amsterdam”的模式和灵感用于他自己的歌曲“Gibraltar”时，他改变了原歌曲的意义和动态。阿姆斯特丹的港口是一条撕裂的死胡同;Abd Al Malik的港口是一个变形的地方，在那里你可以“升华”自己，把旅行变成一个富有成效的启蒙。在同一层面上，斯特梅，梅蒂斯和孤儿本身，成功地升华了他的痛苦在一个动态的舞蹈与成功的“帕帕乌泰”;在他的歌曲“bastard”中，他也成功地做到了这一点，这是一首真正的艺术诗，多亏了他自己的大师能力，他将混合呈现为共享的财富。
{"title":"La chanson bâtarde de Stromae et Abd al Malik : Belgique, Afrique et francophonie","authors":"S. Hirschi","doi":"10.15203/ATEM_2018.06","DOIUrl":"https://doi.org/10.15203/ATEM_2018.06","url":null,"abstract":"Since its beginnings, French chanson has been full of mixed musical influences. Two present-day French singers, Abd Al Malik and Stromae, preserve this tradition and renew it at the same time. While singing about ‘elsewhere’ used to be a pretext for exoticism with commercial intentions, these two singers symbolise a generation where human mixity has become a major reality, which can also be observed in their songs. When Abd Al Malik, for instance, uses the pattern and inspiration of Jacques Brel’s “Amsterdam” for his own song “Gibraltar”, he changes both meaning and dynamics of the original song. Amsterdam’s port is a tearing dead end ; Abd Al Malik’s port is a place of transfiguration where you can ‘sublimize’ yourself and transform travelling into a productive initiation. On the same level, Stromae, metis and orphan himself, succeeds in sublimizing his pain in a dynamic danse with its success “Papaoutai” ; and he also succeeds in doing so in his song “Bâtard”, a true art poetique, where thanks to his own maestro’s abilities he presents hybridity as riches to be shared.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122726163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：