Ethics

Ghana has a budding music scene with many talented artists. Over the past ten years, many of them are doing great with little or no support. This however, isn’t stopping these musicians from creating – and churning out greatness.

In this first issue of the Norient Sound Series, we examine how political contexts of our time are transformed into musical production. With case studies from all around the world, this Norient Special approaches sampling as a tool for critical thought and a way of alternative storytelling.

To what extent do sampling practices maintain or disrupt an exoticized ideal of indigenous populations? The Brazilian research collective Laura confronts two sampling strategies performed by different artists in Brazil. On one hand, a worldwide EDM artist who repeats the clichés of exotizing cultural appropriation, and on the other indigenous artists who use rap as a mode of enunciation.

In this testimonial, the electronic music producer Eomac describes how his sampling strategy has changed over time. Starting out as a young producer, he used any sound available. Temporary ending as an experienced musician, he is confronted by complex ethical questions. Today, when using foreign sounds, Eomac emphasizes the intent behind as key.