2000+Sweet+Lullaby+for+World+Music+copy

A Sweet Lullaby for World Music

Stel'en ridd

T b~gin ~ the music globali za tion .commonplace~ th.a~ arc n~o~ t br~ad ly ci r~ul 01ailllg 111 Western Intellectual dt~course a:-. m.: tualtttes or Im mediate predic-tion~ at the entl or the twent ieth century:

I. Music's tleep connection to !->OCial itlentitics ha~ been distinctively i nten~ ified by globalita tion. Thi:-. intensification i ~; due to the way!. cultural :-.cparation and i>Ocial exchange arc mutually m:cclcratcd hy transnational flows of technology, media. and popular culture. The re~ul t is that mu-,ical identities and styles arc more vi:-,ibly transient. more audibl y in state~ of constatll fission and fusion than ever before.

2. Our era is increasingly dominated by fantasies and n:a li7ations of -;onic virtuality. Not only does comemporary technology make all musical worlds actually or potentially tran:-.portablc and bearable in all others, but thi 'i transportabil ity is ~ometh i ng fewer and fewer people take in any way to be remarkable. As 'onic virtuality i ~ increaard, for t h~ un~nding mix of cd~hralion nnd a nxiety in their recording' or Rorog" ..:lu: to Maril Lte. Odd Arc Bcr~aak. ;tnd l lugo Zcmp lor Ihctr friendship. cummcnL\. and provi,tun ul do~umcnh: 111 Arjun Appadur;u. Vet! l: rlmann. Li'a llcndcr-.,on. AIIM>n Lcitch. D:t\ 1d S:unueb. Tim Ta) I or. und Public Crllwre's reader' for ' uggc,uon ..... tnd Ill Spring 191J9 cnlloqu1a audience' al Ml Holyokc College. Amhcn.l Collcg

Public Cu lture lorie~ or trave l. migration. contact, colonization, diasrora. and di -.per:-.a l. ll is thererore the recorded form. m. it cin.:ulate~ cummen.: iall y, that ddines the authenticity of mu~ic glohalia Hion. The hero and vi llain of thi ~ ~ ituation . the mu:-.ic industry. ha~ triumphed through cominuou'> ,cn ical and hori tontal merger and corN)Iidation. By aligning technologie' or recording and repro-duction with the di ~'cmination caraci ti c~ of other entertainment and ruhlica-tion media. the indu'-!ry ha:-. accomplished the key capitali~t goal or unl.'nding marketplace ex pan, ion.

4 . Mu-.ical globalin llion i-. experienced and narrated"' equally cclehra tory and contemiou ~ hceau-.e ewryone can hear equally omnipre~ent '>ign-. or augmented and dimini -,hcd mu -.ical diver'>ity. Tenf'OC.:Cse called globalitation the!>e day:-.. thi:-. ver,ion i-. clear!) about increasingly complin llcd rluralities, uneven cxreriencc-,. and consolidated power ... But io.; there anything di c.; tinctivc about how thi~ i~ happening in the world or mu -, irltl ' ' 11h "Rotin~c' m it ~ Llndlcn: a 'er) "\eel Yiddi' h lull.ahy.

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Public Culture If thl:!se reco rding~ had much in com mon it was often their rolitics of repre-sentati on. Th ey were frequently ckpictions or a world where the audibility of intercu lwral inlluence~ was mi xed down or muted. Acad~m ics wen: particu-larly comp.licit with co mmerce here. becoming guarantors of a musica l authen-tic ity mea nt equally to sign ify authoritative documentary rea lism and cultural uniqucncs:-.. Ironicall y it was the turbulence of independence movement ~. anti-colonial demonstrati ons, and the power ru l nationalist ~ trugg l es or th e late 1950-, and earl y 1960s in Al"ricu. A:,ia. and Latin America that l"ueled this mar-ketplace creation or and commercial desire for authentic (and orten nos talgic) musical ebewhere),. Soundprint~ or tho~e political stru ggles would not be widely hearahle on popu lar recordings or celebrated in the commercial music marketplace for thei r own stunningly powerful authentici ty for another dec ade. And complex ly intcrcu lturalmusics. like the one moment in an introduction to a colkc-tion of ea rly IASPM conference paper~, Simon Frith ( 1989, 5) writes: "Perhaps it is not a c.:oincidenec.: that l ASPM has grown a~-, an academic orga ni D.t ti onju ~ t a:-. world mu ~ic; the sounds or countries other than North America or Western Europe. ha~ begun to he recordctl. packaged. and ~old a~ a success ful new rop genre:

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This commercial potential of world music begun developing rapidly in the 1980">. as did the di~cur~ive shift in the term from acutlemic de:-.ignation to di~tinct marketing ca tegory. Reprising an earlier trend. signa led commcn.:ially in the promotional relationship or the BcaLlc~ to Ravi Shankar. pop star co lluhorulion and curation became the central world music marketplace ~ignifier ror the mid-

1980~ . This wa~ made po~:-.ible by the ability of Western pop mu~ic elite and their record companic:-. to finance artistic forays into a world that would quick!) come to be experienced a~ geographically expan~ive and aesthetically familiar. The key example:-. were Paul Simon'

c-mail info-ti sement!>: hcsH .. eller l i t!>. critic\ hot pick\. downloadahle sample'>, lullaby for World Music and other promotional fare. Likewise there wa-.. a proliferation of recording laheb devoted to world mu~ic and even diqinct marketing plans '>pecifically devoted to the genre - for example, the Putamayo compilations. now ubiquitous in Starhucks and other chain:- (Zwerin !993).

So if the 1990s created a world of consumer~ incrca:-.. ingly familiar wi th musi-cal groups a. diverse in hi ~ tory, region. and sty le a'> Ladysmith Black Mambazo and The M ysteriou:.. Bulgarian Voices. or The Chieflam. and Zap Mama. or Car-lo!. akai and The Gipsy Kings. or Apache Indian and Yothu Yindi. or Ofra Haza and Manu Dibango. it wa~ due to a major rewnfiguration or how the musica l globe was being curated. recorded, marketed, advertised, and promoted. World music was no longer dominated hy academic documentation and promotion of traditions. Rather. the phrase -,wept through the public sphere lir '> t and foremost signify ing a global indu5.try. one focused on marketing danccahlc ethnicity and exotic alterity on the v. orld pleasure and commodity map. By century\ end. ll'orld music had come to signify "a small world with a huge number of po..,!-.ibili-ties: \onic cxcur'> ion. a.., clo-..e a!-. a CD player, .. in the memorable phrasing of the Ne11' York Ttmes' "Pop View" columnist .Ion Pareles ( 1999, E I ).

Anxiety and Celebration

That any and every hybrid or traditional ~ t yle could ~o successfully be lumped together by the single market labelll'or/d 11111.\h' ~ i gnilied the commercial triumph of global mu. ical industrial izat ion (Chanan 1995). But the same proce\~ ~ignified something more cri tical to scholars in cthnomu icology and cultural ::. tudie:-. of

mu~ic, namely, the relative ea~e with which the music industry could. in Jocc-lync's Guilbault\ ( 1993, 40) phrase, 'banali;rc diffcrcm:c." Cone..,pondingly. the first decade of ac:.~dcmic inves tigation of the making of world mu-;ic focu-;es on how difference ha.., fared in thi world mu~ ic i ndu~t ry {for example, Erl rnann 1993, 1996a. J996b: Feld 1988. 1994. 1996: Garofalo 1993: Goodwin and Gore 1990: Gui lbauh 1993, 1997: llayward 1998; LipsitL 199-t: Mitchell 19%: euen-fe ldl 1997: Sharrna. Hutnyk. and Sharma 1996; Taylor 1997). These works ask how musical differcntc ha~ been represented, exalted and feti ~hi/cd : how its market shares have ri ~en and fallen. where they have been depreciated and mort-gaged; how they have been traded. merged. and cashed out. Thc:-..e storie!-> first and foremost arc about the uneven reward~. the un!->eLL i ing representation'>. and the complex ly entangled desires that lie underneath the commercial rhetoric of global connection. that is. the rhetoric of "free" now and "greater" acccs-... They

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Public Culture pre~elll :-.tories of how mu:-.ic':-. form!> of local. regional. and ~;odal di~tinction arc more and more tensely poi:-cd, living the contradiction" encountered through embracing and re~>ii>ting dominant hcgemonic trends in the global popular music indu-; try.

Witnc~sing and chronicling these :-.torie~ has prmlucctl a new discour-;e on ::wthenticity. a discourse forged out of narrati ve:-. equally anxiou:-. and celebratory about the world-anti the mu~ic-of world mu-.ic. Anxiou-; naJTative~ !-ome-time"> ">tart from the o;u-;picionthat capi tal i:-.tconcent ration and competition in the recording 111du~try i), alway~ productive of a lc:-.l>er arti'>try. a more commercial. diluted. and M.:llahlc ver),il) Jl o f a world once more "pure: real, .. or lel>~ com-rnodi lied. Thi!> su:-.picion fuel !> a kintl or policing of the lm;atilln:-. of musical authen-ticity and traditions. lt que!>tion~ whether world music does more to incite or cra\e mu:-.ical divcr'>ity, a~l-,ing why and how mu:-icalloiC!..

In re~ponse. ce lebratory narratives counter the:-e anxieties h) ic tend to normali;e and naturali;e gloh:JI-iL.ation. not unlil-,e way:-. "moderni;ation .. narrative~ once naturali7eu other grand and -.weering currents that tran,formcd and rerigured intercullural hi~tories. A

it will include a joyful and chaotic mix of many !>Ounds. a music that plays on Lullaby for World Music while no one knows how it"s going to end .. ( 1998. 88). Celebratory narrative!> then imagine a natural tenacity of the past rcr-.ounding in pos~ibi lities for an ampl ified present. one that Scan Barlow and Banning Eyre characteriLe in their celebratory book AfmPop! as an "endlessly creative conversation" between " local roots and international pop culture .. ( 1995. vii).

On the anxiou.., side we read narra tives that ino;ist on the complicity of world music in commodifying ethnici ty. locuting it in the .. finanscapcs and .. media-stapes" of global popular culture (Appadurai 1996) and the .. noise'' or ''channel-izcd violence of music'~> industrial economy (Attali 1985). Anxiou!'. mmati ve~> see lillle possibil ity ror resisting commodifications or ethnicity and rocu-;, instead, on understanding the hegcmonic location they occupy within global ia uion pructices and instiltltions. In Veil Erlmann's ( 1993. 130) phrasing: The global musical pas-tiche i-. more an attempt at coating the sounds of the full y commodified pre-;ent wi th the patina of use value in some other time and place ... In particular. it i !> the production and di ssemination of world music in cosmopolitan and metropolitan centers that clearly underscores the character of the exotic labor it impom and sell . Ashwani Shanna ( 1996. 22) locates it this way in Dis-Oriellling Rhyr!tms: T!te Po/irics of 1/te Ne11 Asion Dance Music, an exemplary collection of anx iou~ eio.says: "instances of mu..,ical and cultura l conversation' validated under the sign of World Music too easi ly ma~k the exploitati ve labour rc lation:-.hip of the very powerful transnational corporations with the 'Third World' mm.icians, let alone with tho. e or the Third World with only their photogenic poverty to !-.C l I. ..

A t the same time. anxious narrati ves also chronicle indigeni zation as a respon~e to globaliLation, a response that i~ resistant either to trends in cultural imperialism or to incrcascd cultural homogeneity. Likewise, anxiou '> narrati ves also insist on world music\ abilities to reassert place and locale against global-ization. Indeed. in "ome anxiouc; narrati ves. the very term glohal comes tu be synonymous wi th di:,p/aced. In other words. di -.placement metaphorites global-inttion as a simultanei ty of alienation and dispersal. Anxiou\ narrati ves then want to dic;cover a CO~> I of globalization, want to calculate the kind\ of lo~s and diminution of musical heterogeneity that proceed from its practices. AI the same time anxious narratives want to claim the potemial and hope that every loss opens up for resistance. for reassertion. for reclamation. for response.

The broad picture then. is that today\ world music. li J...e global itation dis-cour~e more generall y, i~ equally routed through the public of anxiety and celebration. While c;ometimes quite tl itinct. these narra ti ve posi tions on anxiety and celebration :.ecm increasingly more intertwined, seamlcssly

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Public Culture indexing the ~ tatu ~ or world music a ... a tensely modern category. Where anx iou~ and celehrmory narrati ve'> typically merge i~ in the space or a guarded optimism for mu sical future!>. Rccogni 7ing how. in a n.:mar!..ably short time, the dive rpecter or one world mu:- ic - its antithesis-the anxiou and celebratory both embrace mu~ica l plurality a:- a dialectical necc ... -.ity in a world where world mu..,ic circu lation is increasingly dominated hy predictable mu-..ical C\)ll11110ditie:-.

Sweet Lullaby

I :-.hirt now from world music a.., a discourse to world music as a contact t.one or activitic~ and representation\. I part icul arly want to explore ..,nme of the ~.:xperiential eiTccts ofworldmu..,ic. a ... !..ing how it~ routes. circuits. and traffic- the now familiar motional and tran~pon metaphor. indu-. try players, journali::.t'>. and academics. The particular t:tt'>e I review is one that begin' with the unaha'>hcd reproduction of primiti vism in world mu.,ic. Thi ' is a theme that has already pro-duced con, iderab lc critica l commentary. ye t it..; pcr'\i\ tcncc continues to cxpO'>C signiticant i:-sue:- in under'> tanding mu'>ical power and difference. The question I" 11 pose concern ~ how the notion of being into world music .. in Will I Kerr\ recent po collection re lea,cd an LP titled Solomon l.llalld.l: 1-'t.ite/eka mu/ Buegu Musicjimn /vlolaito. recorded in 1969 and 1970 hy llugu Zemp of the Ethnomu~ico lugy Department of the Mu:-l!c de rf-lomme and Centre National de la Rechcn.:he Seientili4ue. The LP wa:-. rc-relea:-eJ a-; a CD in 1990. in the reorganized UNESCO 'erie:-. Mmic:-. and Mu:-.i-ciam. of the World. di!->lrihuted by AuviJi :-.. Among the :-election'> on the LP and CD is a Baegu lullahy from orthern Malaita. Titled .. Rorog\\ ela." it i~ an unac-companied vocal !-.Ung by a woman named Afunal..wa. While this recording is well known to cthnomusicologis t~ or tht: Pacific bland .... it received liulc airplay. limited di :- tri bution. and minimal ~a l es.

All of this changed in 1992 when .. Rorogwcla began a ca reer as a popular hit ~ung in the '~orld mu:,ic marketplace. Thi -, took place when Zcmps recording or Arunal..wa was digitally sampled by Eric Moquet and Michcl Sanchc; for /)eep Forest. a CD produced by Dan Lacbman for Ccline Mu:-ic and marl..cted by 550 Mu:-idEpic. a di v i~ ion of Sony Mu:-ic. The ::.ong appea red under the title .. Sweet Lullaby .. and includes Afunakwa\ voice singing .. Rorogwcla .. to a dance bl.!a t

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provided by a drum machine. The recording abo include~ ~ynthesi1.cr accompa-niments and imerludes of digital samples from Cemral Aflican forest watcr-

!>pla~hing game'> and 'ocal yodels. On the first choru:-. Afunal-. wa:-. voice i'> solo: on the second chorus ~he is backed by digital YOice multiplica tion and a swdio choru

Public Culture

Figure 3 Till mayhc ... )OUr luiUrc" 1>f prinuti'c and ' Pintualm. cutrogcna, Coca-Cola. Por..,che. Sony. and The Bod) Shop (fig. } )_

In 1996 llug.o Zemp wrote an article in the Yearlmok for Traditional Mu~ic. clhnomu~icology\ main international journal: hi~ pic

spoke out abou t hi ), presumed "!>uppon for Deep f (Jre.w- indeed. he sharply challenged the legal and moral circumstancc5. of UNESC0'1- cont racLUal rela-tionship to the recording. Hi1- protest contains the following key narrative points:

Noriko Aikawa, UNESCO's Chief of Cultural Heritage. from the division in charge of their recording series. contacted Zemp in 1992 to seek his permission to license to Deep Forest samples from a UNESCO recording he had made in West Africa. Zernp was told that Deep Forest wished to sample several U ESCO recordings for a projcct in honor of Earth Day: UNESCO was will ing to grant license for the samples as long as Zemp and the other recon.Jists agreed. and i f the source musicians and recordings were properl y credited. Zemp listened to a Deep Forest extract over the phone and re fused to give his permission; in opposi-tion he encouraged A ikuwa and UNESCO to suppon project:- that more directly benefit indigcnou~ nwsics and musicians.

Sometime later Francis Bebey called Zcmp, urging him to reconsider his refusal. Of this episode Zcmp ( 1996. 45) writes: since Bcbey, a well known African compo~er and musician (who wrote also a book on tradit ional African music), gave his personal support to the matter, I reconsidered my point of view. and out of respect to him.J .,aid O.K. on the telephone to him. After all , I thought, it wa~ for a justifiable aim: pre-;erving and protecting tropical rain forests in the world."

Zemp's next encounter with the recording was unrelated. After Oeep Forest wa!-1 released, Le Chant du Monde. the publ isher of the cthnomusicological record series Zemp direct:-. at the Musce de l ' llomme. informed him that Deep Forest had. without license. sampled material from an African recording in the

mu~cum series. Le Chant du M ondc pursued the case. eventually wi nni ng an out-of-court financial selllcmcnt from Celine Mu~ic.

Only after thi ~ episode, plus press repon o; of the CD\ mounting marketpl ace succe!.~ and two lcuers from overseas colleague' inquiring about his adveni~ed compl icity in Deep Forest. did Zcmp actually receive and li~ten to a copy of the CD. While he heard no :-.amples taken from his Wchampoo commercial on French TV. Zemp rcque-. tcd meetings with both Francis Bebey and Noriko A ikawa.

Franci ~ Bebey confirmed that he had been enlisted by the producer ut Celinc Music to persuade Zcmp to rewnsider. Bebey's ~u bscquentlcncr to Cel ine Music. quoted by Zcmp ( 1996, 47). put it this way: 'Mr. Zemp, after making sure that I

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lullaby for World Music

Public Culture really believed in the value of u;;ing his recordings in the context of a modern musical crea tion a~ yours, was remarkabl y cou rteou~ and under~ta ntling. At the end of our telephone conver'iation. he consented to let you use forty '>econds of music taken rrom his disc ... I hope that thi o., allows you to fini ~h your project for The Day of the Earth successfully. Yours ..... Based on this lener and their meet-ing Zemp decided that Celine Music had misled Behey to helieve that the record-ing was a limited relea"e for a noncommercial purpose, comparable to other UNESCO recording~.

In his meeting with Noriko Aikawa. Zemp reviewed three items in the UNESCO correspondence tile. First was A ikawa's letter to A uvidis (the company that holds licensing rights on UNESCO'-; behall') indicating that Zcmp had denied permission for his West African recording to be ..,ampled. Second. there was a let-ter from Ce line Music to Auvidis ao.,king for confirmation that Zemp had recon-sidered. Finally. there was a

V Rtwltktunul Bmgu \ hLnr i1almto Solmnon /.Omething else important happened to Afu-nakwa's lullahy in 1996. An acoul. tic and instrumcntnl adaptation of"Rorogwela"' was recorded by Jan Garharek. a Norwegian saxophoni:>t. on his ECM CD tit led Visible World. Garbarek didn't encounter Rorogwcla .. though Zcmp\ UNESCO recording but ra ther through Deep Fore.11 . Since Deep Forest gave no '>Ource for sweet Lul laby: Garbarek a ... sumed that the ... ong originated in Cent ral A frica. at the si te of many of the CD'. sources. So on Visible World hi~ adaptation i~ titled

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lulla by for World Music

Public Culture

Figure 6 f'thno-tcdmn "'und doe~ "' ;H::ou,ric .111d 'p1rirual 'uuud,.:apc

'Pygmy Luiit grome (the modernl',t "111 rrayer-lik.c "Pygmy Lullaby" was on Ill) mind when I went to a mL...,ic glob-alintion \erninar in orway in June J9(}H to Ji -.cu'" my research on "p)gmy por." the hi~tor) of jaa. rock.. and uvant-garde appropriations and extension' of mu,ic-. from Central Africa's rainfore'-t people-. (Fcld 1996). While not Ai'rica-dcrived. Gar-h;trck. \ "Pygmy Lullaby'' nonethclcs-; bore an interesting relation

or the !>a me or sim ilar material, following on the tremendous commercial 'iUCCe\!> of lullaby for World Music " unplugged"' recordings. a trend MTV initiated for rock in 19H9.

One of the seminar participants wa~ Marit Lie of Norway~ NRK radio. Hav-ing presented programs or Garbareks music, ~he volunteered to contact him about the '"Pygmy Lullaby"' ~tory. When she did Garbarck acknowledged Deep Forest's .. Sweet Lullaby"" as hi.., source and regic.,tered su rpri~e and some dismay about his miscredit. But. comparing himself to Edvard Grieg. Garharck claimed folk music to be an important '>Ourcc of inspiration for him and not a :-.cholarly preoccupation. where auention to source origins might maner morl.!. He told her that he cou ld not do anything about the printed allribution on Visible World. hut that hc wou ld correct the title if he performed the song in concert.

While Garbarek's response indicated concern. it didn't address the underly-ing legal and financial relation

But before these arrived I receiv~d a !.urpri !>e phone call , on 12 October, from Lullaby for World Music Jan Garbarek. He wa~> ted no time asking if I had branded him a thie f to th e NRK. He !.aid that he did not hear me 1.ay thi ~ hut that it wa:. implied in the pro-gram\ introduct ion. I ex rlained that my concern was not to auack him pen.on-ally but to rai '>e the i::.l>Ue of ownership inequitiel> in intellectual and cu ltural properLy. He '>aid he was relieved to hear that my concern ' were ~tructural and not ~pecilic to him. Nonetheless he ~aid he wanted RK 10 issue an apology

becau~e Per Kris tian Olscns statemenh were mi sleading. He said that the pro-gram !> ingled him out , giving li ~ tener' the impre~sion that he hadn't paid for songs he recorded.

On thi ~ point Garbard. :. tressed. repeatedly, that he had indeed paitl for "Pygmy Lullaby"' because in orway. TONO. the national collecting agency. split the reven ues from ~ong~ auributed to oraltratlition between the pcrl'ormer and a rund to promote rolk mu.,ic ... TO 0 judges. on a rercentagc ba~i.,, what portion of a recorded ~ong i~ a uniquely new arrangement and performance and what portion is the source material. In the ca~e of "Pygmy Lullaby .. TONO con-sidered 50 percent of the song to be Garbarek\ original work . From hi., point of view the 50 percent or withheld royal tie~ (whether or nmthcy went to the ~ong\ original source) constituted comren required. he insis ted that his case against Kulturnytt be reviewed by the highest broadcasti ng review board. The revie\\ that followed uphe ld Kulturnytr s integrity. The report stated that culture journali~m in orway was once typically less critical in s tyle and that Kulturnytt\ current approach was welcome. although it could he accompli~hed with more a~.:curacy. This comment was not a reference to Per Kris tian Olscns confusion of Sa moa with the Solomon blands: rather it was a reference to the inaccurate !.tatcment that Garbarek was "earning million:. from Third World mu:.ics ... The decision aJ...o stated ~orne sym-pathy for Garbarek'~> predicament , reminding the RK that the effect of criticic;m may be hurtful. even if the content is technically correct.

The muller didn't end there. Unsatisfi ed by NRK\, re!>pon. e, Garbarek then asked the Norwegian Pres\ Council. the highest journalism body in the country. to review the case. documenting his grievances in a 17 ovcmber letter of over

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Whose Master('s) Voice?

Much more could be detailed about these versions of Rorogwcla: and the ~onic, aesthetic. and pol itical issues they rai ~e. Much too could be added about why nobody knows whether ''Sweet Lul laby" or 'Pygmy Lullaby'' have had a hearing or response from Afunakwa or the Baegu community. But even this introductory accounting begins to make clear how companies. performers. rccordi~ts. organiza-tions. and media ca n now fi nd their identities embroiled in complex multi local . In Mimesi.\ und Alreriry. Michacl Taussig writes: "Once the mimetic ha. sprung into being, a terrifically ambiguous power is established; there is born the power to represent the world, yet that same power is a power to falsify. mask and pose. The two powers are inseparable' ( 1993. 42-43). Here those two in eparable power~ are productive of the anxiety and celebration that links aura to authenticity, creativi ty to caricature. difference to dominance. Criti-cally, the musiciu ns who made "Sweet Lullaby" and "Pygmy Lullaby'' didn't need to know the name Afunakwa, the name "Rorogwela: or the song's ac tual geographic location. From the initial s tandpoint of the 1-.ampler, Afunakwa i1-. not a person but a ~ound ; from the ~ub~equcnt standpoint of the arranger tha t ~ound is a melody and not a distinct performance. Thu-;, when it comes to mimetic power. it is the detachability of their underlying acoust ic material that takes precedence over hearing 'Rorogwela." "Sweet Lullaby; and ''Pygmy Lullaby'' as the same song.

These representat ional politics call out for more his torical contextualitation, which can in part be accompli~hed by juxtaposing today's world music wi th a moment in its prehistory. one hundred years ago. at the clol.e of the nineteenth century. Consider then John Comfon Fill more, a pianist and pioneer field rccordi ~ t of ati vc North America active at that time. In 1895 and 1899 he wrote articles in the Journal of American Folklore a nu A111erican Anthropologist to argue that natural and uni versal acoustic laws underlie the latent harmonic logic of Native American vocal melodic:.. Accordingly, he produced transcriptions of early wax cylinder fie ld recording in the form of harmonized piano arrangement , and pre-sented them as revelation:. of what American Ind ians really meant to ~i ng. but couldn't realize. This work initi ally suckered the most prominent ethnomu!>icolo-gist (France Dcnsmore) and anthropologist (Fran7 Boas) or the

Public Culture both later repudiatcu Fillmorc\ methou'., rccogniting them as reflec ti ve more of the romantic nationalism or his compo~ition:-. ( for exam ple, Indian Famasia Numl1er OnejiJr Full Orches/ra . 1890) than a scholarl y inquiry into acou:, tic uni-ver'>ali:-.m.

One hundred years later. Deep Fores t take to their sampler),, synt he~ i t.er-. . and drum machine-;. Lii- tening to old recording~ . they !>earch for the nat ural rhythm-;: then. in virtual collaboration'> with the indigene\, they amplify the latent beat they hear in:-. idc diiTerenee. Li :-. tcning to that amplification. Jan Garbarek hea r'> ye t more: arranging the inner harmonic:-.. he i-uggc~ t '> their underl}ing ~piritualit y. The~e "train arc cele-brated a:, liberatory and in:-.piring, that they unque:, tionably bring plea"ure and s timulation to many, retell!> a '> tory of the aflinit ie'> of modern ., and primiti ve:-. Lil-c varictie-. or primi ti v i~m well chronicled in other domain-; (for exampk . Rubin IY84: ClilTord 1988, 189 - 214: Torgovnicl- 1990: Bar"an and Bu-.h 1995), world mul-ic create!-. a voyage of di-.covery. a sonic experience of contact. an audi-tory denowering tha t penetrate" the harmony of difference. And like other ~itcs of di ~cnvery. this one provoke:-. the :-.arne anxiou.., que~tion : h world mu'> ic a form of artis tic humiliation. the price primiti 've!-. pay for attracting the allention Of modems. for gain ing emry in to their world of rcpre~enta t ion? (on development and humiliati on. sec Sahlins 1 that community tru~t. academic recogni-tion. and in :-. titlllional prestige mean lillle when you arc up against international entertainment law. mnjor rccoru companic~ . the media and marketing ''orld. music cDIIccti ng agencic'. and highly paid. highly protect.:d pop star\ . Here they arc glohali7ure:-. or musical panicipation. and that is -. till the world mu~ic location where celebration ru le., mo:-.1. Musician-. are havi ng a great time. and they arc

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Erlmann. Veit. 1993. The politic~ and ael>lhetics of transnational mu)>iC!.. The lullaby for World Music World of Music 35(2): 3- 15.

--- . 1996a. The aesthetics or the global imagination: Rellection" on world mu ic in the 1990s. Public Culture 8: ..J.67- 87.

---. 1996b. Nightso11g: Pe1fo rma11ce. poll'er a11d practice in South Africa. Chicago: University of Chicago Press.

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Figure Credits

Figure 3- Deep Fore.1r. 1992 Celine Mu1.ic/Synsound 1992 Cclinc Mu~ic/Syn:.ound/550 Mu!.ic- Epic (Sony Mu-,ic. Inc.). Produced by Dan Lack~man. arranged by E1ic Mouquctand Michcl Sanchct. Dc~ign and photo~: F.A.W.

Figure 4-U ESCO Collection Mu!ieal Source~. Faraleka and Baegu Music. Malaita , Solomon Islands. The Primeval Culture~ 1- 1. 197J. (LP) Edited for the International Mu-.ic Council hy the Intcrnational lnl>titutc for Comparative Mu~ic Studies and Documentation. General Editor: Alain Daniclou. Recording'>, otes, and Photographs by Hugo Zemp. LP 1973 Philip~/U ESCO.

Figure 5- UNESCO Collection Mul> ique~ et Mu~>ic.:ien~ du Mondc/Mus ic~ and Mu!> icia ns of lhe World. Solomon Islands/lies Salo111o11: Faw!eka wul Baegu Mt1.1icjro111 Malaira. Recordings, Notes, and PhoiOgraphl> by Hugo Zcmp. (CD)

Rci~suc with I he support of the French Ministry of Culture and Communication for lhc International Music Counci i/Consei l lntemational de la Musique. Auvidis/IIMSD/UNESCO 1990 Auvidi~-UNESCO 197311990. Design: Jacques Blanpain.

Figure 6-Jan Garharek, Vi.1ihle World. Produced by Manfrcd Eicher. CD 1996 ECM Record:.. "All compositions by Jan Garbare(... except Pygmy Lullaby. an African traditional melody. arranged by Jan Garharek ...... Cover photo: Jan Jcdlicka : cover design: Barbara Wojirsch.

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