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Uva-DARE (Digital Academic Repository) UvA-DARE (Digital Academic Repository) The art of being different: exploring diversity in the cultural industries Brandellero, A.M.C. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Brandellero, A. M. C. (2011). The art of being different: exploring diversity in the cultural industries. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 AMANDA_BRANDELLERO_FULL_COVER_351X240.indd 1 4/6/11 7:49 PM THE ART OF BEING DIFFERENT Exploring diversity in the cultural industries Amanda Brandellero ISBN: 978-94-90371-82-1 Cover illustration: Caroline Money Overall cover design: Marcus Pungetti Layout and printing: Off Page, www.offpage.nl Copyright © 2011 by A. Brandellero. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without prior permission of the author. THE ART OF BEING DIFFERENT Exploring diversity in the cultural industries ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op woensdag 25 mei 2011, te 12:00 uur door Amanda Maria Caterina Brandellero geboren te Padova, Italië P ROMOTIECOMMIssIE Promotor: Prof. dr R.C. Kloosterman Overige leden: Prof. dr. E.R. Engelen Prof. dr. G. Kuipers Prof. dr. M. Martiniello Prof. dr. D. Power Prof. dr. J. Rath Faculteit der Maatschappij- en Gedragswetenschappen. This research has benefited from the financial support of the Habiforum Research Programme, the Amsterdam Institute for Social Science Research (AISSR), University of Amsterdam, the Urban Development Construction and Architecture Plan of the French Ministry of Ecology, Energy, Sustainable Development and Sea (M07.03 14/06/2007 / 0002662), the French Ministry of Culture and Communication (3980/60653) the association Les Faubourgs Numériques, the European Cultural Foundation and Swedish Riksbankens Jubileumsfond. C ONTENTs 1. Prologue 11 2. Introduction 15 2.1 Producing culture 18 2.2 Situating the cultural industries 20 2.1 Epistemological and methodological trajectory 24 3. Crossing cultural borders? Migrant cultural entrepreneurs and diversity in the cultural industries 31 3.1 Prologue 33 3.2 Introduction 34 3.3 Structure and methodology 37 3.4 Cultural industries in perspective 40 3.5 Negotiating the cultural industries’ opportunity structure 50 3.6 Migrants in the cultural industries 57 3.7 Across cultural borders: reflections from the fieldwork 66 3.1 The role of policy in the field of diversity in the cultural industries 85 3.2 Annex – Topic guide 90 4. Parallel worlds? Commodifying ethnic diversity in the Paris world music scene 99 4.1 Introduction 101 4.2 Commodification in the cultural industries 103 4.3 Commodifying world music in Paris: the commodification gradient at work 107 4.4 Defining opportunities for commodification 108 4.5 Implications for research of the commodification gradient 118 4.6 Annex: List of interviewees 120 5. Paris, capital of world music? Exploring the trans-local dynamics of music production 125 5.1 Introduction 127 5.2 Music clusters and the city 129 5.3 Data and methodology 130 5.4 A world of music in Paris: French colonies and migration flows 131 5.5 Unpacking the Paris world music cluster 133 5.6 A trans-local world music cluster 134 5.7 Renewing the cluster: a (trans-local) strategy for the capital of world music? 138 5.8 Conclusions 140 5.9 Acknowledgments 141 6. Multiple and shifting geographies of world music production 147 6.1 Introduction 149 6.2 (World) music and place 149 6.3 Methodology and mapping 151 6.4 Geographies of world music 152 6.5 Conclusions 157 7. Keeping the market at bay: exploring the loci of innovation in the cultural industries 167 7.1 Introduction 169 7.2 On aesthetic value creation and innovation in the cultural industries 170 7.3 From creativity to innovation 172 7.4 Conditions of innovation 175 7.5 A brief illustration: the Dutch case 179 7.6 Implications for further research 181 8. Concluding remarks 187 8.1 Scientific contributions 191 8.2 Limitations and suggestions for further research 192 8.3 Practical implications 193 Summary 197 Samenvatting 203 Curriculum Vitae 209 To the memory of my dear Granny and to my beloved Mum AOl CkN w EDGEMENTs Of the many people who have helped me to make this book possible, I am most grateful to Robert Kloosterman, my promoter, who provided me with inspiring intellectual guidance, an encouraging attitude, and very supportive and generous supervision, peppered with great music tips along the way. It has been a great pleasure working with him. From Space and Economy to Geographies of Globalisation, colleagues in the research groups I have been part of have also provided me with a stimulating and encouraging working environment. I am particularly grateful to Michaël Deinema, Ewald Engelen, James Sidaway for inspiring discussions and advice. I also want to thank Joni Hayen, Tom Pauws, Ate Poorthuis for their excellent research assistance. Outside of the University of Amsterdam, I had many fruitful exchanges with fellow researchers at the Nethur Graduate School and at the International Migration, Integration, and Social Cohesion (IMISCOE) Research Network workshops I took part in. To my co-authors, Pierric Calenge, Ludovic Halbert and Karin Pfeffer, I am greatly indebted for very enriching collaborations. Finally, I thank Isabelle Schwarz and Tsveta Andreeva at the European Cultural Foundation for encouraging me in the pursuit of my research interests. When I look back at the past few years, my research is tied in with happy memories shared with many lovely people I met at the UvA: Rogier, Michaël and Tiziana and our dancing session at Korsakoff, girls’ night in de Indische Buurt with Inge and Simea, moshing with Stella and Arka at the Melkweg, Bart who taught me the meaning of the word gezellig, Manuel and the NY in one day tour, Perry (aka PJ) and his hilarious impersonations, celebrating my birthday with my ‘almost twin’ Hebe, Mariangela and our ‘surviving Dutch food and coffee’ crisis sessions, celebrating Queen’s Day along the canals with Toni and Albert, escaping the howling dogs at a conference in Istanbul with Joni and Veronica, and finally all the lovely dinners and laughter shared in the great company of Marcel V., Thomas and Lygia. Over the years, I have also come to see the up side of the ‘flexible workspace’ revolution: Anna L., Bart S., Michaël, Monika, Merijn, Pascal, Robert M., Sylvia and Tineke, it has been great sharing an office with you! Other fellow PhDs and colleagues have also helped make the UvA a very friendly place: thanks to Anita, Anna G., Annika, Aslan, Bas, Brooke, Edith de Meester, Edith van Ewijk Els, Emma, Federico, Fenne, Koen, Marco, Marjolein, Melika, Mendel, Nadav, Robert R., Rodrigo, Sebastian, Stan, Volkan, and Wouter. I also want to thank Puikang, Marianne, Guida, Gert and Barbara for their support. Special thank yous go out to Jurek, without whom this great adventure would not have started in the first place, to Misha, for keeping me company during those cold winter weekends at the office, to Caroline, for giving me a home away from home during fieldwork in Paris, for her lovely cover artwork, and for always being close in spite of the distance, to Marcus for being such a star and working his magic on the cover, to Olivia for being so sweet, and to Franci and Karin, two absolutely wonderful people whose generosity and support have been invaluable to me along the way. Finally, I thank my family for their support and trust in me, and Marcel for his unwavering optimism and infinite patience which kept me going when the thesis got the better of me. 9 11111 POGR lO uE ProloguE Abaji was born in Lebanon, ‘the country of all exiles’1, to an Armenian-Greek father born in Izmir, and an Armenian-Syrian mother born in Istanbul. He began to play the guitar at the age of ten. He was passionate about music, he told me, but not about music of the Orient. He left his native Lebanon in 1976, at the start of the war, headed for France. There he felt something was missing in his musical skills and started taking Brazilian percussion classes, expanding his understanding of rhythmic structures. Gradually, and by distancing himself from his early experience of war and suffering, the Orient came back to him, through his music. Like a musical magician, when an instrument does not convey the exact sound he is searching for, he assembles a new one. His collection of instruments is so impressive, collected during various travels across continents, that part of it is now exhibited in the entrance of the Quai Branly museum, in Paris.
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