Halim al-Daph

Weltmusik 2.0: Zwischen Spass- und Protestkultur

By Thomas Burkhalter (Norient) on January 27, 2011

By Thomas Burkhalter (Norient) on 27 January 2011 in ACADEMIC

Musiker aus Afrika, Asien und Lateinamerika formulieren selbstbewusste nach-koloniale Positionen. Ihre Parodien auf Exotika und der Fokus auf Gewalt zeigen aber: Alte Abhängigkeiten haben weiterhin Bestand.

Posted in ACADEMIC | Tagged Adham Hafez, Avant-Garde, baile funk, baltimore club, beat research, Beatniks, Beirut, Cairo, Charbel Haber, Checkpoint 303, Cumbia, Cynthia Zaven, detroit ghettotech, Die Antwoord, digitalization, Diplo, DJ Rupture, Dossier Arab World, Dossier World Music 2.0, Dubsided, dubstep, Exotica, Favela Chic, Gazelle, Ghislain Poirier, glitch, Global Ghettotech, Globale Nischen, globalization, grime, Halim al-Daph, Hassan Khan, Jagwa, K'Naan, Kode 9, kuduro, kwaito, Luigi Russolo, M.I.A, Mad Decent, Mahmoud Refat, Major Lazer, Man Recordings, Mazen Kerbaj, Music 2.0, Music and Satire, Nortec, Omar Souleyman, Osman Arabi, Out of the Absurdity of Life, Outhere Records, Pastiche, Postkolonialismus, postmodern, Raed Yassin, Ramsi Lehner, reggaeton, Schlachthofbronx, Scrambled Eggs, Secousse, Shangaan, Shangaan Electro, Steve Goodman, Tam Tam Motherland, Tarek Atoui, Tashweesh, Terry Lynn, The Hardcore Continuum, Thementage2012, UK Funky, Veit Erlmann, War, Wayne Marshall, Werner Jauk, Wildlife, World Music 2.0 | 16 Responses

June 18th 2019

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Halim al-Daph

Weltmusik 2.0: Zwischen Spass- und Protestkultur

SEARCH

NORIENT BOOK – VISIONS OF A NEW WORLD

CURRENT NORIENT PROJECTS

NMFF – TRAILER

NORIENT ON TWITTER

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NORIENT PUBLICATIONS

ABOUT NORIENT

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