” The Sonorous Spectacle World Music Performance Practices as Discourse aims to situate contemporary world music performance practice as a sonorous spectacle. It does so in order to shed light on the power relations involved in and the discursive nature of musical performance within world music and to explore the various idiosyncrasies of the category. It will thereby attempt to understand musical performance within the world music festival space. Herein questions are posed about the framing practices of the world music festival space and the different music-making practices such as steelpan, calypso, rumba, and soukous that were staged at the various festivals attended for this research. The issue of Othering, which has been a point of contention from the inception of world music’s development, remains the springboard of this research project. The overarching question that is considered here is that of the relation between and interaction of the self and other. The research intends to think about this in broad post-colonial terms and in the way the notion of self/other is embedded in academic discourse on world music, constituted by its literary history and methodological approach. ” Excerpt from ‘Abstract’ of the Full Text.


Charissa A. Granger