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Powered by TCPDF ( Editorial Board Powered by TCPDF (www.tcpdf.org) Editorial Board Editor: The Head Department of Cultural Studies Tezpur University Issue Editor: Hashik NK Associate Editors: Minakshi Dutta Parismita Hazarika Bijaya Bhattacharjee Sahnewaz Hussain Page Design: Swikrita Dowerah Editorial The different cultural traits operate by cultural synthesis through hybridization process. The discourse on cultural process mainly advocates super imposition model and acculturation process. In hybridity, the form that evolves as a product of hybridization cannot be dissected from the culture. In other words, the dominant cultural traits are easily traceable in super-imposition and, in acculturation model. In contrast, ambivalence remains in tracing out the traits of dominant and the subdued cultures. Hybridity remains an independent cultural phenomenon and allows for understanding a cultural system in all its heterogeneity. The hybridized cultural system speaks about a cultural phenomenon which is dynamic rather than static. Leenasri’s article reads the hybridization of Assamese popular music and its impact by taking DY-Medley as an example for discussion. On the other hand, Chakri’s article analyses a set of ethnographic photographs of colonial Nagaland and exposes the way in which they construct the ‘Other’. In conjunction with emphasizing the relevance of the photographs, the article argues that these photographs were influential in creating an ethnographic discourse of different indigenous groups, leading to the creation of cultural stereotypes. Further, it is also argues that the visualities of Naga community in the colonial period finds a historical continuity in the post-colonial period. Rubirams article provides a baseline of information about the meaning of death and post-death beliefs and practices of Karbi community and tries to understand the role of ancestors in constructing the identity of the community in the multi-ethnic context of North East India. Gargee’s article is an attempt to establish the validity of the indigenous beliefs and practices of the Tiwa as an example of a symbiotic relationship between man and the environment. Thus, the collection of articles in this issue of Praxis tries to address the question of human finitude, accomplishment and community in the socio-political milieu of North East India. Hashik NK Issue Editor Powered by TCPDF (www.tcpdf.org) Hybridization in Assamese Popular Music: A study of DY-Medley Music Sequel Leensasri Gogoi Abstract In the present age, music has become more widespread than ever because of the sophisticated technology and marketing that allow easy access to music as commodities. Modern technology enables people to enjoy music in various ways. In this globalized world, hybridization process is taking place in various aspects of human life and it is very obvious in the domain of music also. Recently music has taking a new dimension. Emphasis is laid on this article on Assamese popular music. Therefore, DY-Medley a music sequel of Assam has been taken as an example for discuss about hybridization process that takes place in case of Assamese popular music. Aspects like representation, authenticity, commodification, de-territorialization are the broad areas dealt in here. Impact of hybridization upon Assamese music is a point of concern and discussion here. Keywords: popular culture-music-commodity-hybridization-authenticity Introduction Music is a product and an integral part of human experience. It sleeps into arts and culture, finds appearance in language and has great influence on human lifestyle. An overall combination of melody, rhythm, beats and tone enriched by the magical input of the singer’s perfect feel, body language and moves that captivate the soul of the listeners either by providing relaxation of the mind or compelling towards body moves in the form of head bangs, feet taps etc., consequently gaining a great demand amongst audience can be considered as popular music. ‘Many writers use the term popular music to designate music which is mediated electronically and which comes to its listeners via the playback of audio and video recordings, or via the internet, or through performance on film or television or in amplified live performance’ (Hesmondhalgh and Keith 2002, 2). Impact of globalization in various aspects of human lifestyle including music is spread widely; and it is visible in today’s scenario. ‘Globalization is a very complex set of processes and partly because global activities, problems and crises seem to emerge and develop so rapidly’(Holton 2011). It compels to think about culture as the process of the promotion of a complex internal life that takes on form and meaning in social action on a global range. It leads to 1 cultural homogenization which means westernization, and that global process function to impose western cultural imperialism on the non-western world. Eventual result of this, is the hybridized or mixed cultural forms resulted by the process of cross cultural borrowings and intercultural fusion and combination. An important outcome of globalization is the process of hybridization which involves a significant change in the boundaries of the so-called bounded cultures of pre-globalized times, in terms of their renewed production, distribution and consumption in the age of globalization. As the cultural products began to be produced and consumed beyond their traditional territories, it entailed an entirely new spatial distribution of the various cultural goods. It can be seen in today’s scenario in every aspects of human life or culture. As a part of culture, music is very much affected by this phenomenon. The term hybridization can be understood as a process of mixture between two or more differently labeled cultural traits. They may be different in being old and new, native and foreign or local and global. It becomes a newer hybridized form when people mix the traditional with the western; and also sometimes when the mixing is made between different generic versions of the local itself. It enables people to express personal and cultural identities that are different from their own, existing ones. Hybridization of music can be understood with regards to a kind of blending of various music genres, mixing of two different language, tune, flavor, emotion etc. The word hybrid has a concrete origin. Hybridization was a biological term which was used to describe the product of a crossing of two plants or species. Now it is a term for a wide range of social and cultural phenomenon concerning amalgamation and has become a key concept within cultural criticism. The term in social sciences is often used in the context of the ultimate result of globalization that is being experienced all over the world today. With the rapid transformation of human life, development of knowledge and growth of technology, a kind of culture has taken shape that is highly new, unique and popular among the masses. It can be termed as “hybrid culture”. Cultural hybridization is defined as the ways in which forms become separated from existing practices and recombine with new forms as a result of mixing different cultural forms. According to Holloway and Hubbard….. “In the past hybrids were only noted in border areas where languages, rituals and cultures mixed and created new cultural forms. Today the hybrids are 2 to be seen in everywhere because of the global and local intertwined in many ways.” ((Holloway and Hubbard 2001) Two basic characteristics of hybridization in terms of music are….. standardization and fusion. Standardization refers to that process of cultural transformation which involves higher visibility and recognition of one particular form or version of a cultural product at the cost of the other available forms or versions. This is a process through which a particular style of cultural performance becomes more powerful, looks more authentic in public sphere. Adorno’s Theory of standardization deals with the position of popular culture in a capitalist society. In the essay ‘On Popular Music’, Adorno discusses about standardization by making distinction between serious music and popular music (Adorno and Simpson 1941). Adorno noted that the whole structure of popular music is standardized. According to him “all popular music contained a verse, chorus and bridge and that these elements were interchangeable without damaging the song”. Adorno’s definition towards to serious music is- serious music includes classical and avant-garde pieces (Serious music, for Adorno, includes classical and avant-garde pieces). These are the music which fulfills the emotional human need, whereas popular music cannot. Adorno’s theory of standardization can be seen in popular music today. He says “standardization of song hits keeps the customers in line doing their thinking for them, as it were. Standardization of popular music has been considered in structured terms that is, as an inherent quality without definite reference to the process of production or to the fundamental cause for standardization”. So, standardization is a process through which music are consumed and this are makes in a different way which is highly new, advanced, visible or clear. With the concepts of cultural hybridization as briefed above, this article puts for itself the following objectives: a) Exploration and analysis of the hybridization process in the audio elements of the songs and music of DY-Medley, and b) Exploration and analysis of the hybridization process in terms of the visual aspects of the DY-Medley performances. Hybridization and Assamese Popular Music Assamese music can be understood in terms of their categories such as - regional folk music, ethnic folk music, devotional song, modern music etc. 3 The experts and connoisseurs have divided the classical Assamese music into two parts Borgeet and Ojapali. Folk songs, regional folk songs are considered as the native music of Assam which has no author or composer; these have been continuing through one generation to the next. The composers of Borgeet, Mahapurush Srimanta Sankardeva and his disciple Madhavdeva, gave a new definition to the Assamese music.
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