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Talking Back to Globalization

Texts and Practices


Edited By Brian Michael Goss, Mary Rachel Gould and Joan Pedro-Carañana

Globalization is one of the most widely circulated, high-stakes buzzwords of the past generation; yet discussion of the topic is often encased in paradox and contention over what globalization is, to whom and where it may (or may not) apply, and to what effect. In Talking Back to Globalization: Texts and Practices, contributors provide a series of case studies that stress the interplay between culture, politics, and commerce.
Interviews with Natalie Fenton and Radha S. Hegde survey globalization and its interpenetration with the spheres of journalism, activism, social media, and identity. The overview furnished by the interviews is followed by the volume’s two additional extended sections, «Texts» and «Practices.»
Chapters in the «Texts» section seek clues about globalization through its insinuation into mediated forms. The diverse selection of cases cover television, films, online travel web pages, blues music, and the political valences of Portuguese neo-fado.
Chapters in the «Practices» section address more diffused cases than media texts. Their analyses largely orient toward institutional concomitants of globalization that precede the subject’s experience of it. Chapters cover the trajectory of the European university, campaigns to shape journalistic practice during the Cold War, the posture of intellectuals vis-à-vis globalization, and the ideology that animates the Facebook experience.
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Chapter Five: The Globalization of Blues: Rural, Urban, Transatlantic


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The Globalization OF Blues

Rural, Urban, Transatlantic


Since its original development in the southern United States at the turn of the twentieth century, blues has become a global genre, for diverse performers and audiences around the world. Throughout this journey, blues has attracted significant interest from scholars of different fields, including African American studies (Jones a.k.a. Baraka, 1963/2002; Davis, 1999), history (Oliver, 1960/1990), cultural sociology (Keil, 1966/1991), popular music studies (Frith, 1988), and literature (Baker, 1987). Its geographical expansion and influential development within popular culture has also encouraged ongoing research about the appropriation of blues music and/or African American culture around the world. Sites of study have included England, France, the Netherlands, (Wynn, 2007), Germany (Adelt, 2010), Spain (Aznar, 2003; Pedro, 2012), South Africa (Ansell, 2005), Senegal (M’Baye, 2013), Russia (Urban, 2004), the former Soviet Union and Hungary (Raphael-Hernandez, 2004).1

Other nations, still to be examined extensively from a scholarly perspective, nonetheless present a noteworthy presence of blues music and culture. Latin America has strong national scenes in Argentina and Brazil as well as other less consolidated ones in Chile, Peru and Ecuador. Australia hosts several blues festivals including the Byron Bay Bluesfest (1989), which attracts global artists from different styles under the tag “blues & roots”, and the Australian Blues Music Festival (1997), dedicated to showcasing local blues acts. The Balkans region is represented by well-known artists such...

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