Music has changed dramatically in the last 10 or 15 years due to new technologies (Jones, 2002, Stokes, 1997) and social/economic movements have followed or been responsible for some music popularity genders, including rap and eletronic music, stimulated by internet exchanges of DJs, music blogs and other online arenas.
Africa, in turn, has played a central role in these discussions involving notions of tradition, creativity, identities.
Here I focuse the idea that music and “globalization” go hand and hand, so music, mediation, technology and ontology evolves modes of creativity attendant on music’s changing mediations.
Dealing with Waterman (1990:369) I´m interested in the popular music produced in Africa and its diaspora “as a means of making history, (…), as a medium of retrospective definition of tradition”.
Interdisciplinary in its sources, but anthropological in its methodology, I´m looking music not only as an aesthetic form, but as a vital component of human culture, engaging its religious, historical, political and economical dimensions.
“Libolo” Project, coordinated by Drº Carlos Figueiredo (UMacau) and Drª Márcia Oliveira (USP, Brazil)