Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Sonic Mobilities: Producing Worlds in Southern China

Sonic Mobilities: Producing Worlds in Southern China

Kielman, Adam

Hardcover

Series: Chicago Studies in Ethnomusicology

General Racism & Ethnic StudiesPop/RockWorld Music

ISBN10: 0226817741
ISBN13: 9780226817743
Publisher: University of Chicago Press
Published: Apr 20 2022
Pages: 216
Weight: 0.99
Height: 0.50 Width: 6.00 Depth: 9.00
Language: English
A fascinating look at how the popular musical culture of Guangzhou expresses the city's unique cosmopolitanism.

Guangzhou is a large Chinese city like many others. With a booming economy and abundant job opportunities, it has become a magnet for rural citizens seeking better job prospects as well as global corporations hoping to gain a foothold in one of the world's largest economies. This openness and energy have led to a thriving popular music scene that is every bit the equal of Beijing's. But the musical culture of Guangzhou expresses the city's unique cosmopolitanism. A port city that once played a key role in China's maritime Silk Road, Guangzhou has long been an international hub. Now, new migrants to the city are incorporating diverse Chinese folk traditions into the musical tapestry.

In Sonic Mobilities, ethnomusicologist Adam Kielman takes a deep dive into Guangzhou's music scene through two bands, Wanju Chuanzhang (Toy Captain) and Mabang (Caravan), that express ties to their rural homelands and small-town roots while forging new cosmopolitan musical connections. These bands make music that captures the intersection of the global and local that has come to define Guangzhou, for example by writing songs with a popular Jamaican reggae beat and lyrics in their distinct regional dialects mostly incomprehensible to their audiences. These bands create a sound both instantly recognizable and totally foreign, international and hyper-local. This juxtaposition, Kielman argues, is an apt expression of the demographic, geographic, and political shifts underway in Guangzhou and across the country. Bridging ethnomusicology, popular music studies, cultural geography, and media studies, Kielman examines the cultural dimensions of shifts in conceptualizations of self, space, publics, and state in a rapidly transforming the People's Republic of China.

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