Kelsey Kerton IS501 Dr. Horowitz 9 June 2011 Final Reflection- Bhangra and Copyright Laws/Mash-Ups/Remixes/Sampling Bhangra Rachel’s presentation was about the beauty of Bhangra. I thought the deterritorialization and reterritorialization associated with the Bhangra dance was particularly interesting. Bhangra originated as a very traditional, plain harvest dance completely dominated by men. As Indians emigrated into the 20th century, individuals born in the United Kingdom with a strong Indian ethnic background began using it as a way to cherish their roots. Young men (and women) were encouraged to embrace and master Bhangra to keep fresh in their minds their heritage. The gender roles melded together as a role for women was found in the dance. The glitz and glam of Western society also crept in. I think it is interesting that with Bhangra, as well as tango, the attire of dancers changed with the location the dance was performed at. Tango dancers wore elaborate, non-Western gaucho clothing in Paris, although such flamboyant shows of nationalism were unnecessary at home. In the Bhangra case, men and women seem to have begun pulling from elaborate Indian attire (for traditions outside of Bhangra) and created a cohesive, intricate dress for both genders. In the new age of Bhangra, women had their own roles, but could also play the roles of men if there were an inadequate number of dancers. It is excellent that women have made so many strides forward in terms of equality in the world, and Bhangra is no different. They carved a special role for themselves, and are competent enough to play the traditional male roles as well. As Bhangra evolved in the UK, it began changing in India as well. Not everyone was pleased with the new twist on the treasured tradition. It is unfortunate that cultural purists and religious leaders cannot appreciate the depth and beauty of the new form of the dance. However their position is understandable. They feel as if their traditions are dissolving and being replaced by a cheaper, less authentic version of the real thing. Nonetheless, the youth of India have an identity in Bhangra. Whether it is the old or the new, Bhangra has the ability to shape lives and attitudes. Especially in a world where cultural hegemony seems like a legitimate fear, it is comforting to know that certain traditions are thriving. Even with the new showmanship associated with Bhangra, it is still a style one hears or sees and immediately thinks of India. The Punjabi region. Southwest Asia. Regardless, it is a cultural identity that multitudes can claim. Authentic Bhangra has been categorized and historicized. The new Bhangra and all intermediate forms it took on are just as special. Mash Ups, Sampling and Copyright Law Sami wrote his paper on sampling and copyright law. Copyright law is certainly necessary to some degree; as long as musicians are making money on their abilities they deserve a measure of protection for their talents and originality. But originality can also be taking other peoples’ musical songs or styles and mixing them or twisting them to ultimately make something unique. Something new. Sami made a great point when he said the music industry has not been able to keep up with the technology of the digital age that is now available to anyone with a laptop and an internet connection. Once they figure out a reasonable way to consistently make money on user downloads and artist sampling, maybe things will change. But is such a thing possible? Authenticity is important, but so is innovation. Without innovation, without mixing up and building upon what already exists, culture would come to a standstill. Whether it is a sculptor, a poet, a street musician or a
fashion designer, all aspects of art that make up our culture are inspired by things we see and experience. If musicians need to pay money for every song they seriously draw from, they will not be able to afford to build on existing songs. I was surprised by the Beastie Boys’ album Sami talked about. Paul’s Boutique was a totally innovative utilization of sampling, and would basically be financially impossible with modern copyright laws. Similarly, if Greg Gillis was actually prosecuted for the massive amount of sampling he does as Girl Talk, financial toll would eliminate his ability to make art. I think there is a distinguishable difference between stealing someone’s music and using someone’s music to make something new. If it is changed significantly enough, is it even the same song anymore? Can simply acknowledging the original, without necessarily paying the author royalties or any sums of money, be adequate? The comparison to literature is brilliant. Authors use excerpts from other works frequently. Seth Grahame-Smith wrote an entire novel by changing select excerpts from Jane Austen’s Pride and Prejudice which he titled Pride and Prejudice and Zombies. Admittedly, Jane Austen is dead and unable to press charges, and might have been flabbergasted as to what a zombie was let alone what it was doing in one of her best works, but I imagine she would be flattered. Who would not be flattered if another professional saw fit to use their work to make something that appealed to the general populace? In Grahame-Smith’s case, the novel will likely even become a hit movie. With music, men and women could create memorable albums based on each a predecessor’s work, but obviously portrayed differently enough that it was separate from the original. No reader would ever confuse Grahame-Smith’s work with Austen’s work, neither would a listener confuse Greg Gillis’ mixes with works from the original musicians. The new product is fully distinct and clearly a product of Gillis’ interpretations of hit songs. Copyright law infringement should be a lesser offense for similar artists who are simply seeking to make art. If laws were revamped, it would be difficult to draw lines as to what was allowable and what was not. It is a slippery slope from an individual occasionally downloading songs for free, and downloading thousands of dollars worth of music. It is a slippery slope from a pop artist recording a song a lesser known musician wrote, or taking a stanza from an old tune to add a special touch to their work. Until such a time as all complex situations can be resolved, our culture is stuck in at a halfway point. Some people are prosecuted for downloading music illegally, like the few Sami mentioned in class. Some musicians are prosecuted (or at least receive bad press) for copying songs, like Britney Spears’ recording of a song “Hold it Against Me” that was incredibly similar to an old country hit by The Bellamy Brothers. Some people get away with downloading tens of thousands of songs without paying, like several friends I have. And some artists sample hundreds of songs like crazy and are not prosecuted for it, like Greg Gillis. It is a copyright limbo that I do not think we, as a culture, will escape in the foreseeable future.
Kelsey Kerton
ReplyDeleteIS501
Dr. Horowitz
9 June 2011
Final Reflection- Bhangra and Copyright Laws/Mash-Ups/Remixes/Sampling
Bhangra
Rachel’s presentation was about the beauty of Bhangra. I thought the deterritorialization and reterritorialization associated with the Bhangra dance was particularly interesting.
Bhangra originated as a very traditional, plain harvest dance completely dominated by men. As Indians emigrated into the 20th century, individuals born in the United Kingdom with a strong Indian ethnic background began using it as a way to cherish their roots. Young men (and women) were encouraged to embrace and master Bhangra to keep fresh in their minds their heritage. The gender roles melded together as a role for women was found in the dance. The glitz and glam of Western society also crept in.
I think it is interesting that with Bhangra, as well as tango, the attire of dancers changed with the location the dance was performed at. Tango dancers wore elaborate, non-Western gaucho clothing in Paris, although such flamboyant shows of nationalism were unnecessary at home. In the Bhangra case, men and women seem to have begun pulling from elaborate Indian attire (for traditions outside of Bhangra) and created a cohesive, intricate dress for both genders.
In the new age of Bhangra, women had their own roles, but could also play the roles of men if there were an inadequate number of dancers. It is excellent that women have made so many strides forward in terms of equality in the world, and Bhangra is no different. They carved a special role for themselves, and are competent enough to play the traditional male roles as well. As Bhangra evolved in the UK, it began changing in India as well. Not everyone was pleased with the new twist on the treasured tradition.
It is unfortunate that cultural purists and religious leaders cannot appreciate the depth and beauty of the new form of the dance. However their position is understandable. They feel as if their traditions are dissolving and being replaced by a cheaper, less authentic version of the real thing. Nonetheless, the youth of India have an identity in Bhangra. Whether it is the old or the new, Bhangra has the ability to shape lives and attitudes. Especially in a world where cultural hegemony seems like a legitimate fear, it is comforting to know that certain traditions are thriving. Even with the new showmanship associated with Bhangra, it is still a style one hears or sees and immediately thinks of India. The Punjabi region. Southwest Asia. Regardless, it is a cultural identity that multitudes can claim. Authentic Bhangra has been categorized and historicized. The new Bhangra and all intermediate forms it took on are just as special.
Mash Ups, Sampling and Copyright Law
Sami wrote his paper on sampling and copyright law. Copyright law is certainly necessary to some degree; as long as musicians are making money on their abilities they deserve a measure of protection for their talents and originality. But originality can also be taking other peoples’ musical songs or styles and mixing them or twisting them to ultimately make something unique. Something new. Sami made a great point when he said the music industry has not been able to keep up with the technology of the digital age that is now available to anyone with a laptop and an internet connection. Once they figure out a reasonable way to consistently make money on user downloads and artist sampling, maybe things will change. But is such a thing possible?
Authenticity is important, but so is innovation. Without innovation, without mixing up and building upon what already exists, culture would come to a standstill. Whether it is a sculptor, a poet, a street musician or a
fashion designer, all aspects of art that make up our culture are inspired by things we see and experience. If musicians need to pay money for every song they seriously draw from, they will not be able to afford to build on existing songs. I was surprised by the Beastie Boys’ album Sami talked about. Paul’s Boutique was a totally innovative utilization of sampling, and would basically be financially impossible with modern copyright laws. Similarly, if Greg Gillis was actually prosecuted for the massive amount of sampling he does as Girl Talk, financial toll would eliminate his ability to make art.
ReplyDeleteI think there is a distinguishable difference between stealing someone’s music and using someone’s music to make something new. If it is changed significantly enough, is it even the same song anymore? Can simply acknowledging the original, without necessarily paying the author royalties or any sums of money, be adequate? The comparison to literature is brilliant. Authors use excerpts from other works frequently. Seth Grahame-Smith wrote an entire novel by changing select excerpts from Jane Austen’s Pride and Prejudice which he titled Pride and Prejudice and Zombies. Admittedly, Jane Austen is dead and unable to press charges, and might have been flabbergasted as to what a zombie was let alone what it was doing in one of her best works, but I imagine she would be flattered. Who would not be flattered if another professional saw fit to use their work to make something that appealed to the general populace? In Grahame-Smith’s case, the novel will likely even become a hit movie. With music, men and women could create memorable albums based on each a predecessor’s work, but obviously portrayed differently enough that it was separate from the original. No reader would ever confuse Grahame-Smith’s work with Austen’s work, neither would a listener confuse Greg Gillis’ mixes with works from the original musicians. The new product is fully distinct and clearly a product of Gillis’ interpretations of hit songs.
Copyright law infringement should be a lesser offense for similar artists who are simply seeking to make art. If laws were revamped, it would be difficult to draw lines as to what was allowable and what was not. It is a slippery slope from an individual occasionally downloading songs for free, and downloading thousands of dollars worth of music. It is a slippery slope from a pop artist recording a song a lesser known musician wrote, or taking a stanza from an old tune to add a special touch to their work. Until such a time as all complex situations can be resolved, our culture is stuck in at a halfway point. Some people are prosecuted for downloading music illegally, like the few Sami mentioned in class. Some musicians are prosecuted (or at least receive bad press) for copying songs, like Britney Spears’ recording of a song “Hold it Against Me” that was incredibly similar to an old country hit by The Bellamy Brothers. Some people get away with downloading tens of thousands of songs without paying, like several friends I have. And some artists sample hundreds of songs like crazy and are not prosecuted for it, like Greg Gillis. It is a copyright limbo that I do not think we, as a culture, will escape in the foreseeable future.