Let Africa Resound the World: Francis Bebey in the Globalizing World
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Francis Bebey (b Cameroon, 1929; d Paris, 2001) is one of the founding fathers of the World Music and Afropop as well as his activities range in various fields: novelist, composer, performer, sound technician, journalist and maybe musicologist. His versatility may represent his dynamic life in globalizing world of the twentieth century. It is interesting to see how he tried to realize his ideology that African music transcends all boundaries that exist in the world. For him, African rhythm plays an important role to let Africa resound the world. In this paper, I explore how Bebey practiced his concept of African music in the globalizing world using Appadurai's five-landscapes model. First, I will trace Bebey's migratory life to see his ethnoscape that may show how he interacted with other musicians in the different part of the world. Second, I will discuss how Bebey used modern technology in his music making in terms of technoscapes with his African Electronic Music 1975- 1982. Third, I would like to see his financescape in connection with the circulation of his music through the process of commodification, which may show his symbiotic relationship with the world music industry. Fourth, I will examine his mediascapes in the context of Feld's pygmy pop discussion. Last, I will return to his ideology-Let Africa Resound the World- in the complex globalizing world in relation to ideoscapes.
Abstract
Francis Bebey (b Cameroon, 1929; d Paris, 2001) is one of the founding fathers of the World Music and Afropop as well as his activities range in various fields: novelist, composer, performer, sound technician, journalist and maybe musicologist. His versatility may represent his dynamic life in globalizing world of the twentieth century. It is interesting to see how he tried to realize his ideology that African music transcends all boundaries that exist in the world. For him, African rhythm plays an important role to let Africa resound the world. In this paper, I explore how Bebey practiced his concept of African music in the globalizing world using Appadurai's five-landscapes model. First, I will trace Bebey's migratory life to see his ethnoscape that may show how he interacted with other musicians in the different part of the world. Second, I will discuss how Bebey used modern technology in his music making in terms of technoscapes with his African Electronic Music 1975- 1982. Third, I would like to see his financescape in connection with the circulation of his music through the process of commodification, which may show his symbiotic relationship with the world music industry. Fourth, I will examine his mediascapes in the context of Feld's pygmy pop discussion. Last, I will return to his ideology-Let Africa Resound the World- in the complex globalizing world in relation to ideoscapes.
참고문헌 (20)
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- Appadurai, Arjun, "Modernity at Large: Cultural Dimensions of Globalization" (1996), University of Minnesota Press
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- Robert, John Strom, "Notes from Nandolo", with Love: Francis Bebey Works 1963-1994, 1995