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883.More information
The article examines the concept of « intersection » on the basis of what the author has observed in different ritual actions in Kerala, India. It denotes complex interplays which unify or distinguish different artistic practices, such as music, visual arts and dance. The author argues that the analysis of composition processes of art association (as well as dissociation in new performance contexts) enables comparisons across South Asia and beyond its cultural peculiarities, for instance in Western contemporary art. Based on creative process, the study considers these interplays as concrete experimentations of sensitive perceptions, and takes into account local theories concerning efficiency. How can one define and describe the modes of convergence between visual and sound idioms ? Which type of experiences do they cultivate in different performance contexts ? Through association or dissociation processes, how do participants attribute specific values ?
Keywords: Guillebaud, musique, danse, arts visuels, Inde, Kerala, rythme, multisensorialité, Guillebaud, Music, Dance, Visual Arts, India, Kerala, Rhythm, Multisensoriality, Guillebaud, música, danza, artes visuales, India, ritmo, multisensorialidad
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Since the early 2000s, the city of Bogota has welcomed a singular phenomenon that is very much alive today while almost unthinkable only a few decades ago: the commercial and critical success of musicians of Afro-Colombian descent, bearing traditions coming directly from the most disadvantaged regions of the country. Within this panorama, Afro-Colombian music is experiencing a renaissance through the recording, for commercial purposes, of traditional musical genres intended for Colombian and international urban audiences. Drawing from Eliot Bates' question about how tradition is produced in twenty-first century digital recording studios, this article will address some of the challenges faced by independent music labels that are promoting traditional Afro-Colombian music to wider international audiences. Based on different case studies of recent practices of recording Afro-Colombian music in Bogota—with producers such as Diego Gómez (Llorona Records), Urián Sarmiento (Sonidos Enraizados), Juan-Sebastián Bastos (Tambora Records) and Julián Gallo (Juga Music)—this article will shed light on how the creative use of studio technology helps independent record labels craft and promote musical projects that are either labeled “traditional” or “fusion,” and what these two categories can reveal about the creative and commercial processes at stake in this contemporary phenomenon.
Keywords: studio d'enregistrement, ethnomusicologie, Colombie, labels discographiques, recording studio, ethnomusicology, Colombia, record labels, world music
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