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TEN CITIES Project: Clubculture IN/SIDE/OUT

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a but I alright we're gonna
start again way from their way since the number of people coming let me introduce to you time is now I
you know I from Nairobi Kenya that at all and I'm gonna do is i'm going when no no not from no I'm not I'm going back to the very end users rumbling they are from the tent cities
project that entities project is dealing with theories as the names that on 2 continents and higher basically investigating high on the public sphere from the perspective of lot brighter than these different city is gonna be interesting way by the 3 of you I think that few
woke up hello like in our body we're going to do this in english we have to because we have international guests and um guess as you've just heard we are all parts of project that has somehow from a lot to do with the with the with the topic of this conference inside out and because we're dealing recap culture with going out with the rituals of my life and as you all know women with whenever you few God you will always be bits here about whether whether you get in to the clubs and order what to we to get involved always inside was already inside was waiting outside so mean going out has a lot to do with the inside and the outside them do we really believe that claps provide them a semi-private unless it's not really public it's not really private and therefore they can be some really interesting spaces for called the colleges and alternative scenes from this somehow a thought from the nineties and we still believe in that it's not his
idea that you like that some of that but clubs can be some kind of utopia like not not utopia but a real space we can do things that you normally can't do you all know that if you German you all know this rating society terms may still so this there's
theory or topic and the tent cities project is a is a project by good Institute Nairobi and together with many other good institutes in Europe and some
African countries so we run this on this as you've just them tensities on 2 continents B Nairobi Johannesburg you and undergoes and Tyrol in Africa and Lisbon Kiev enabled in Europe and the project gets divided into 2 parts we have a music part which is more the practical
part repaired was involved some we are exchanging we have an exchange programs of electronic music producers from Europe and Africa they will meet they produce music together they exchange ideas and then we have the theoretical part where Joyce and I will encourage engage we are um editors together with um Johannes was the director of good Institute in Nairobi editing a book together that will look at some the use of urban spaces the public
sphere and some some other ideas from the perspective of club culture that means how are clubs used them and will was and we we have a time frame from the sixties to present which is interesting for us
because in sixties many African countries gained their independence and in the sixties you all know that in Europe there has been some sort of rolls social revolution some some toward so it's the time frame we look at that and now we have on stage this interesting mixture of people from because representing both parts of the of the project but we also representing both parts of the term over some of the continent so we have 2 terms Africa here and one-time Europe and um I will quickly introduce my fellows here so this is Dr. just our future searches from Kenya and issue was a consultant from folks farm foundation for the honor photons Foundation's Research program also program make a for the from Fort Foundation it's very interesting very important foundation Kenya and support of many independent media and um arts organization is Africa and she also writes the newspapers academic magazines and for example in 2007 C she called at a book called oven legends call is African popular culture and literature so and it now something it's produced per pronounce them is born in lumber ball on their own grow up in the suburbs of Lisbon put you uh there was listening to stories about living somewhere else found at a very nice phrase uh use a radio DJ uh now in Lisbon has founded collective called fossil along that is dedicated to promoting African inference music in his in his hometown on this country but also among 1 thing but it's so and he started to um uh and under the name but she did you started radio program and this knowledge is involved into a musical project with an album ensemble a record so of maybe you know that means very interesting label uh and um he's often sample its goal of music from the CIA 76 symbolic as a equipped which is a kind of a rhythm and combines it with modern military music resulting in a form of what a very special could tool which is to me was just a modern modern dance music and he's also tensored is greater for Lisbon so he's working together he was just a Nairobi just as I was maybe you can still see it from attempt as my holiday what major work there to give us all um I'm a journalist for economics I was 1 of the 3 editors of group magazine maybe another mechanism for the Tunisian club conscience last year and now I work as a freelance writer writing about music in economics like and I have of love for African cultures in African music because I really feel that all the music I like from blue still techno was really rooted at present in African cultures so we according this book together so what we wanna talk about me today is moon we thought about
maybe half an hour of talking half an hour of questions if you have as many so many questions we want a raise some questions and we all were currently our of to them just a short while ago we were there'll be and um it was producing music then meeting with some key new musicians Johnson I together with many other officers from African and European countries have together for 1 week industry I don't know we really correct answer but think about African and European count music cultures and things that we really believe that the music built spaces we would call column clubs on streets on buildings and them wherever they are people wherever people dance wherever they not even that not only at nite but also in the daytime um enjoys maybe you can talk about that a bit because we found out during our discussions of 1 very important thing for example very poor purported space that you would never think of as a as a collapse phase when you say in Europe you would always think of them the space this with a DJ and loudspeakers but we found that public transport is a very important and subspace with would you wanna talk about this a bit because we come from was very interesting yeah form of crap thank you so it's an interesting thing about the public transport because it's not just the music but please inside it's away the vehicle itself looks out it's the way it's set up as a stage the weights at opposite densities of as a space of expression and so sometimes what in Lagos whether your way in Johannesburg where they call them taxes all you there along with people and Alan or in anaerobe where we call them looked tattoos what you'll find is the way in which this space both outside and inside of the vehicle is colored with lyrics or names of artists beautiful beautiful graffiti but also just a legend a statement about which art is they think is doing the most interesting thing at the moment all which particular song has actually been or sometimes just a catchy phrase and a phrase that travels of not just within the copper travels within the society in terms of the way people use it and use it interesting and it's also interesting to see how young people especially related tool that space of moving music you find young kids going to college and I and I mean anything between 15 and 25 and they're standing at the bus stop but there waiting not just all the next vehicle that's taking them to where they're going but a particular brand so it could be to plot it could be a octal peas or it could be more monitored drama but they know the vehicle even if they involved in an accident that the portal quoted in making this statement the actually know the vehicle not by the registration number but by the name of the legend the lyric that was there that particular week and that's an interesting thing because it's a colorful space it's the space of all sorts of transactions and the other thing that happens even in 1 I think just sitting there you can also buy the music is sitting in a vehicle and waiting for it to what a particular decision and there's a vendor will comes around in Arabic that always be pirate CDs then of all originals but people by the many weak and that's part of how the music circulates it be in regarding 1 then I can speak a bit of both Angolan Portugal England the and the can greater which is the name for the text is used mostly and it used to be more than than others but you 2 was used as a as a 1st step for a musician to showcase his work so it was quite a regular thing for me to end the production of a trick in then to try to fix my trick inside the can there at some point or reading a compilation of I would do a compilation myself and and started offering CDs to the converged so we did the regular airplay on the can engage much I could get popular because radio still is a bit but it used to be quite close actually I don't know what things are are you in in in Berlin but mostly radio tend to be in big mainstream intend to be more focused on the artist said ever label or some sort of more of of a formal career and in the in angle it has nothing to do with that uh so in musicians usually produce produce recommended to try to put them in this compilation skull but the the actually that's where I got the name from its something like a do-it-yourself compilation where you can put your favorite sending you put just your for your for your own opening or closing the the compilation from a more modest in n n n and tried to pushing it to be more popular again going back to the mode that is just remember this 1 very in niceties of that that at nite and when this you can see the relation between the importance and the interference so after the text again on the on the on the on the in the in the city the demo changes of beating the wonder from daytime to nighttime as I think it almost everywhere but the the the the Texas keep on keep on playing loud music in an and I was in in our was involved in a situation where 2 guys
want its money for for for the sparking car and the man gave you just 1 1 note and so both guys were struggling for form for for for the notes and in there was kind of it was kind of violence the violence of the things that what we're getting rough but at some point the scandal managers spaces by each each each and in this site to dance immediately and if fight to stop so this is all all important it carries it stops violence in the involves people inside and outside the where where it passes by did you ever try awarded try to use to give you
your own music to become of your show me what they after the experiment the commander somebody we said Xia we would normally think over this Sidonnie in like a small car I will talk about the minibuses here like like small VW busses in and then when I was mostly be toward through your briars and of what that work on the
on the sound systems do music was too far away from financial rejected actually is good news for you to have the proper image is exact in the most most the times is that they are the eyes and if you know it but it's probably the most popular car in Africa because it keeps on going and going and going and in all the spare parts are quite easy to to fix so is sometimes you are walking on the sticks a giving people fixing the guy at the same time so this is quite quite quite to the reason of of being so popular in in Africa but the regarding music in the wonder what I find it we like in South Africa you have more basing and things are more like very looks areas I guess in in Nairobi everage with average good in in in in in in all the most of the time the Sun systems reading that the the the taxi cabs are not so so good for so that that you don't have a proper basis are proper highs kind of a medium sound so most of the times you could do that you get to that comes from from Angola it there's this very rough sound because it's made to work on that specific space not in clubs but the on that specific space so it's dance music made to work mainly on taxicabs circuits which is kind of curious I guess there I I I tried of course it's like every every produces every tracked by pumping on on on a taxicab actually even we DVDs and movies to try to almost to give to to give it to the to the driver so we keep on promoting it that the 1st argument 3 I did the 1st edition of the documentary to is the pirates uh release actually saying pirates all over there's so so people would would know that it was an official and legal pirate thing so so that the candidate could Sally properly in in in in most of the times you ask for the for the consumer the driver the DECserver or what what are the TREC Saddam's working more now what what what is the most requested song in side effects to give at the moment so it's quite a nice In real way to get to know more about music instead of just tuning in the radio the single 1 and I think not so much in South Africa because of traffic as as lots of uh of TV and radio dedicated to dance music Nairobi or but yeah but there's so that that's a giver's quite a quite a strong in important space I think what's also interesting about that taxicab a space is the way in which the inner city like there'll be the associations of former top to always lower middle class working class but it's interesting to see how some of those practices have influenced naruby society at higher levels so you'll find young kids want a party on Saturday and the higher a public transport vehicle so that when the right and the class the i've that way with music blaring with the legends the lights and don't really interesting lights inside of the vehicle and put the 1 at nite and it's just a moving clobber can literally see that we but I'm not just because the kids hire a private vehicle like that but also because of even kids will drive who have the old cars of the border come from the father of the 1st thing they will do is make sure that they don't arrive at the club alone you have to go up picking up your friends and you have to pump up the volume and you have to arrive at people sitting on the window and just looking like they already at the club so it's been interesting to see how that has found the mitotic culture has influence the rest of society and when you look at them people arriving at Electric Avenue in Arabic you hear the club in the car before you get into the formal lab space always used to happen a few years ago it's not happening anymore all suntanned 0 just pocket a petrol station and everybody sit in the car listening to music having a drink before anybody gets into the club will sometimes of do it I leave the club early morning all those are interesting ways in which the space becomes fluid and influences practices from 1 social class to another that when you when use women usage Electric Avenue Maria should explain sperm theory Emeril we where many cups of situated term atom which part of the city with the of the West letters of the lens and it's been interesting how that has happened over time it wasn't designed that way just the way the music moved to particular area which is not to say that it's the only place where music is happening but it's 1 place of
concentration and so it's become unique in that sense in you want yeah I would say that the regarding these
when uh the text again is is is not such a strong influence on good music but white white what you have what you have no this is quite their mobile thing I know of always over here but people really played loud music from mobile phone from mobile phones on 2 public transportation and it is something that makes part of the of the soundtrack nowadays also known to have a proper car with a
fantastic PAC Simone almost to be able to do your own party before you go to the global or if you don't get to to get inside the club just to eat outside is also very something special in the suburbs of these when spatially related to could do musical so uh mostly based music but quite could do afro allows which is kind of a people colleague of repeating the suburbs of Lisbon but it's not fella related like uh from music would be it's like straight it's like a kind of a downtempo could do toward the maybe an up-tempo Alice we do more syncopated beats and those sounds plus the keys on but which is kind of a more a slow slow down version and to be best with another person those are the sounds in the bits that you get to listen from these cars and mobile phones you don't listen to them on the radio but you see them on the shots and they are the most some of the tracks in import but it's it's kind of a suburbia thing but it's really strong in a very very key thing if you go there you don't miss it on 1 if you keep yourself reading the touristic circle if you go to the suburbs that's what you want what you hear so and so you see that 1 of the things that we found out during this project
was which started in November over the edge of the production phase and 1 on all aware of beam and Lagos Nigeria and now we've been to Johannesburg uh and so Africa and through there'll be in Kenya and there's still some and writing in 1 week we're going to Cairo of Egypt and 1 of the things
that we we found out during during the the musicians of the practice as well as the theory is that clubbing and going out is not only from its but also Stelzer lot about society and the way people dance the way the that they dress in the way that capsules where they are situated who holds 2 cups actually I mean economic aspects are really important here as well and so we've seen that and also of course about the the cities themselves like the urban structures which is 1 of our main main topics here so you can see that for example in Nairobi you would come to Electric Avenue you you you that's where you have to know when you when you talk to really talk about it I would find it interesting to us a bit about how do you get into the clouds I mean the proper perhaps not the boss what you have to do to get in and watch what must you not to refer to the would be refused at the at the door quite different from from below and know what happens here in Electric Avenue some clubs will have a color charge and sometimes they'll have and off folic like you you buy a particular drink and you can come in and it's interesting to see that the way the dress code is different from 1 place to another they club that are still very formal like gypsies but there are others that are fairly easy like changes like you stick and what they wanted to do is just I have no which means that you're looking casual you're looking young you're looking at In the more during the dancing way out the door and that just tell them that you're part of the group of other cover charge is not usually very alone it's not set very high because they did that once in the club spend a lot of money and drinks out and that keeps the attraction that it it will be a constant thing to say about the 1 of the reasons why the cover charge at the club in Arab is not very high is because the way arrogance club is like sampling music you don't want to want club for nite which is the effective thing about electric having you have a choice of plans so you probably go to 5 clubs in 1 nite and you're gonna be paying anything like 10 euros in 1 particular place then it's gonna be too expensive by the end of the nite so they tend to keep the cover charge no because they know that that the culture of the place and it's about keeping the circulation going from holding on to a particular small special group also find interesting but I think 1 of you said that once in some African clubs as long as you're dressed properly you get inside that single doesn't matter if there was a yesterday and area so it's it's very exciting because then it doesn't matter wave from socially which was your economic there's 1 also also again and some new but a similar on our but I really shocked my friends from Africa when I told them that modern some we must not be dressed up to get inside actually every nobody could understand that much they everybody really that gets dressed up to the max to get inside whereas when you show up the door of their commoners is in all to stories them you will be refused entrance entrance from from
sometimes because here I mean it's the same idea of equality inside the club but on the lower level so everybody's really dressed down more often than than the bonding traps that I like so that you have the feeling of a quality there's well it's not so much about showing off like an African yeah in African
blobs of light when we had the composition of labels it's very very shortly it's about how you look and it's partly because the club
activity is tied to something else like they often it will be tied to interestingly a funeral party and they have this idea all shutting down the street so because of the funeral in a particular home the take that street and everybody is welcome but you have to come looking the pot and it's all very dressy it's very shortly it's African dress up a cultural statement and that's what gives you the entrance into the venue and the interesting thing also is how the dance gets differentiated according to age in Lagos if you go to a club as a man who is fortified in in the company of somebody who is thought to so if the flat old is on the dance floor dancing the 45 year old man does not dance they just stand there nodding in appreciation of the music and then if somebody is younger than use dancing particularly well you have a tradition that we now call Womble all showering where you just keep giving money to the person who is dancing the best always impressive and it's away all of making a statement about your age making a statement about a social standing but also respecting the space of the young people while still being a part of it so you participate but you participate differently you not shut out you're allowed to come in with a different set of rules and that's an interesting thing to observe not please when I was referring also to African clubs not regular Lisbon European kind of think more the African from African descendants or African little from Angola Mozambique at 1st you have to really just Sharp sneakers I know only the it's like a very special reviews by Air Jordan or something but just to be really properly Ch give you still talk about dress you went to Electric Avenue but did you find was a gender differentiation in the dress I always feel like the men of lazy about how they look when they go out of course I mean women dressed up for a better and African countries from from as far as I've seen is quite a quite a different I mean because it's it's a bit similar in European countries as well and so many European as that of course it depends on the on the on the location and 1 Caucasian like where go why you know of course but I mean I think that the tendency is generally quite the same and I find it quite interesting to talk about dancing and that when I was in reservoirs and then in a club in Nairobi um I dont selected answer was a problem so answers that answer with all the many locals but some very soon people came to me and said that you can dance like that to this song because you have to do the bicycle or you have to do the car driver holiday after the whatever so this 1 particular dance associated to each song you know it's it's you use Americans or Westerners or whatever that might be they make up their own answers to these songs according to video clip sometimes some post at lot to the nearest and that the sun is something that all of us in Europe we don't know what's was was relieved it's funny because then you know how to move but you still you have to know the moves to actually downstairs to the song is really funny is an interesting responses also about the thing about our understanding of the Arabic dance culture is to see how acquisitive it is how it borrows from so many different um traditions and as you say you know they'll be a dance video more from the song in the video and if pick that up but then they mix it up with a very local statement and it's interesting to key into how that moves from 1 club to another as well you know is it that somebody sent out a memo did somebody send out a message and the spot is everybody know this dance is this interesting to see that movement but also as a single Lagos you'll find that in the lyrics that is the local artists will keep the shouting in the club in the cloud but the concept of a club in is not the same thing as it is in New York so it's interesting how the board that because mostly in Lagos so find street parties you find that in all news happening it's start and that's what they call the club our so when they shout in the lyrics in the cloud it's not clear exactly what they mean but it's possible also that they're relating to a different URL audience relating to a different societies and trying to make those connections through the music maybe they're just mean 50 vector system is 1 thing that they're there they're there I think it's quite associated with with dance in in Africa like music and then some and the same thing as a certificate even myself and I put my my music on stage sees the 1 I had to wear all always a dancer with my so we meet you not to have done the situation of having a show where no 1 would would be dancing so at least on stage the thing would have to be represented properly if it was in africa who everyone would come together but sometimes in Europe people just stand and look and music and dance for me there have always been almost the same thing and specially if you think about African music and most of the traditional forms the way that people come together if even if they are not musicians if if you go to the I don't know uh last century or something people actually just went when you got here she was like with maybe should just sit down like this and inside a conversation with do which is something that you have to do with like problem or African areas you have to be more involved interactive not like this into something like this facing Eurenew facing me so this is
destined to be more like this opening to you and and making a circle and maybe at some point someone with bands and the people that there's doesn't have to be there so that the person that's playing the drum doesn't have to be a musician so I think that that that tradition has always been there in in the Angolan music for example could do every
track that that did that every new track as a choreography associated specific 1 a very specific when the dance of the thing the dance of something else than that of the frog every new music as well as to as a day is to evidence so if I'm mn Cn going to write something but I have to wonder how can I have to have someone dancing lies to when they're out that did check isn't too bad and so like the collapsing of going to a place there's it's it's always there seems since the 1 on on each music even if even if the music is made early morning orally on a weekday music is always made to dancing to involving to celebrate more than necessary Giuseppe background thing but it's an interesting thing because a member of the presentation of when we had the presentation from Cairo and I said that the Egyptians condensed anything else an interesting statement about how prevalent during from from from as far from it I have seen a monist and of African cultures are much more about him at the social being together the togetherness uh compared to the true them to especially building going on and you know when we had this we had a public discussion in Nairobi and um I was kind of criticize that and in Europe people would mostly go all out for themselves in the club and that just stands for themselves and that I found it quite interesting because it's a for me it's a totally different and concept but it's also a matter of togetherness because you had to solve your egos on the crowd when you're in a good club you forget that you are 1 so you 1 with a crowd whereas in for example in Nairobi against people would rather watch each other just like watching a specific person up to the the couple dance but you have a group of friends with you you relate to somebody whereas I could get totally lost and on the dance floor in in in the land so that means to sum it up a bit because we almost over the 1st half an hour it's that shows that clubbing can tell a lot about some societies and countries and as we didn't even talk about sexuality or uh gay clubs in Africa is a very interesting topic because the data is very complicated thing in most of the countries and so on and it it it shows a lot and analysis so you can see the political life that that nite life as might have some political content so that it might you might might read some meaning out of it that from acquired using a move bitterly of produce a lot of musical moved with some people of musicians from Kenya as well as of course from Angola and drama we've talked about them there's these topics about what do you think you guys we have this project book that might be I might be should be a book chip city ones and some of interest what what would be the impact of some of the project I mean what made might it maybe changes in in your countries on in your societies are as it is is there going to be some change does it have any effect for example uh um in African countries most of the times the history of club music the music has not been written down because African countries are so much more societies much so much about horticulturalists the Cuban talk keep talking about things no way right a every arise from the known so what you the and I think get a thing you I know absolutely right about that and how old we as a society but it's also the traditions of scholarship where spaces of like clubs are not taken seriously as a subject for kinetic matter but I think what's really important for me about this so project is the way in which it contributes to the archive of Kenyan music because it's an archive it is absent it's an archive that you can't find in 1 place if an archive but you have to struggle a lot to conceptualize even music that was made just 10 years of some and this is the 1 interesting thing that 1 important thing that this project provides is a space where you can read an essay that talks about dance music from 1960 to the present time in Nairobi that's quite a precious gift but I think the other thing that is gonna begin to below it is come when you look at the assumed club cultures I'm hoping is tool to demystify this idea that participation is only important up at a political level where it is guided by laws by lobbying by electoral processes and that has been very much the way in which public participation has been conceived I think that 1 of the things that this as they should do in the whole body the book should do is to get us to think of public participation in a totally different way and to see happening in different sites to see it happening in different forms of expression that have been largely focused on the body
itself I was just looking to the picture so trying to see who was behind this and and the the I think the most he could not
could try to to make uh like a
balance of what is just 7 because I just ended in the Nairobi episode 3 days or 4 days ago so it's quite early but there's the from me the most important thing on this kind of projects it's actually bringing people together and and and the connections you you you you get to make and I really got to to to to make real real friends 708 if uh know how how deep they will be but they are friends now not 1 not 2 not 3 is few quot quite a few friends uh to a point of air actually I keep the trading e-mails I was just reading e-mails to alive uh you right before the meeting have been trading e-mails we do with that way that that the drama queen uh men and and lesser people at edge of these like got all the e-mails of 2 pieces like this kind of GC from from from from from Nairobi with all the the philosophical and perspiration uh kind of things behind so I I think I really got to to make some of some friends in and then of course they will take they they will be I rely on you to
contextualize it all in and put it in a very uh beautiful way but from for myself it was actually about making friends and in building bridges between different countries and different cultures in Indian of finding ourselves in a very common grounds the debt from the was the most important thing the friends and they're bringing in and the songs and the TREC said that to get that came that came out of those 15 days England became more than that so there when we conceptualize the so project with great Institute
of Nairobi in Kenya and we were talking about productive feedbacks because we kind of feeding back the money of the electronic dance music from Europe to African countries it's not I won't say their roots because of where they are somehow related and often you find common ground the um them and what i from underboss most interesting is through them of course to to prepare our perspective of you all may know from a from a European perspective with African perspectives and see how many similarities they are but of course differences I mean you would expect both but you when you whenever you find them in sources the surprising that they dont the the people in African countries dance to the same music that we did here in the seventies your you are talking about the BG staying alive I mean everybody uh was it was not in the seventies knows that here and our donor some our Diana Ross all these these guys but often of course if you heard from Astorga there are many many differences as well and I find it really refreshing to talk to people from African countries about the differences as well as well because it's really I mean there are there are things that you wish you would have to talk about and what that makes it an interesting project for me you yes stagewise because we did ended with the with a big show uh downtown Nairobi and did the good thing that I really took from from it was actually that's
sometimes people tend to patronize during and maybe people are not getting 2 alternative music maybe people annotating to experimental music or whatever it is but what I really felt it was quite the opposite uh I think that the marketing in Arab exhibit conservative radios and and so with the
audience that was there and it was quite effective place they were really into listening to new stuff and senior new stuff in in the 2 D output of the of the of the whole nite it was like having this the most popular acts at the beginning of the nite and I was afraid people would just ran off red aft after the game will give the show but they didn't they just stay there and they were quite interested so again the dance floor in the club and the the the purpose of dancing sometimes you need to really uh um takes away more the differences in bending at other sorts of of of environments because people in a different more daring into let's come together let's dance together lessons ourselves not as in other forms of of the of the kind of places that you can find yourself and that's what I found the Indian and you know that you're dancing quite so do with to reduce South-African DJ it was it was quite quite funded that kind of good bringing people together that's actually what I when I when I think of the most out of this project and are about to the club thing and and the dance music thing actually is about to bringing people together in that cell or how they in the good thing actually is 1 thing that you mentioned I remember I I'm I'm gonna come kind over a guy that's reverses the DJ instead of dancing uh I dance when no 1 is watching and and and I remember when move toward all the time I went into the to New York I went to this club Sunday afternoon we'd all these guys in France UK of what can and then increase it yeah body and soul and I remember the no alcohol drugs involved and and I was just walk listening to it fantastic sound system fantastic musical selection and at some point I was in my hands in the air and I just you know how did I get there but the people that that that feeling of just as we did is probably selected something more spiritual would something
tribal diagonal but did that feeling of not being yourself just with the crowd it's it's it's really fantastic in that I can kind of evidence in that nite in bits during this if you production was so can mean that would
be the from our side for the 1st part here I mean maybe you have some questions any questions about all covering experiences them um African countries of music experiences all discussions form were however I have some questions please feel free no please maybe this question is that of its some basic them this uh um there difference between the audience in the claps is there a kind of uh um social differ division between the people going out and for example are there it is said this very different culture of dead ends of brokers people or off of people from the countryside or people who come from uh um me regions who are more wealthy OK out at that's very interesting question of this 1 particular clubbing there'll be
called a Carnival and what they started doing of the early 19 eighties was to differentiate the the knights of the same class of so that if you went on sunday nite it was sold light and it was all school in if you went on has denied it was bunker nite and it played a particular kind of Indian music made in the UK and not created from a class as well as social and racial differentiation within the same species depending on what nite you went there now with time what developed again coming out of the carnival laws of what we now refer to for want of a better term ethnic nights and they deal with ethnic nights is that you pick up on a particular community take for example of the law communities and you have for the was your college a tonight you name it after a great warrior in their communities and so on that particular Friday nite or Saturday nite you're going to make a play the music from the law community use of the cuisine from the law community as well as the alcoholic drinks and what not tends to do is I invite even a lot class of people from the law community in Nairobi into the kind of and so what you find on that particular nite is that there is not last differenciation but there would be ethnic differenciation always time what started to happen is that of course is the city people get curious about the practices of other communities and they'll have friends across ethnic communities and so you will invite them to on i'd like that and what was interesting for me to see is how the record all the music is of chosen so that you represent virtually 20 or 40 of the quintessential songs from that community of and it will be from the traditional music in the factors of 20 is up to the present day so I would say that that's how the differenciation as happened because that concept that was started by the carnival has spread to so many other clubs and that is the way in which you'll find differenciation happening within the club space stop the subspace where
they playing the country music yes so like if it's the Kikwete community I sample you can google it is
associated with for western countries it's very very bizarre way where when when are there I mean we may we we have to just drop 1 sentence about the middle of course and we don't know that you and your part of these these and they're really tribal differences in African countries where it where where you have a family Ontario maybe a few service very analyzer uh somebody from loss Oxonians something that an announcement feeling is much stronger of course and an African countries where it's name and and ethical thing and then you have these these Kikuyu people and from the from it's not clear where from up there study part over all the parties of the growing order of the of the of the clubs as a as a country as a country free so they're playing this year's American country music it's really interesting from I'll just add
that in Lisbon CI I came from the picture you have like the regular clubs like every year in Berlin but the African clubs where everyone that comes out of Africa or as an Africa connection goes to people students together and that's quite a difference because people dancing pairs so it's
it's quite usual and and makes part of the nite people inviting others to dance uh along instead of just the people dancing individually as you see in most of the countries in Europe and that's that's that's that's a difference with with a clothing the code the difference is just just so away because if so properly address if you cannot tell with the person with lots of money or no money at all but
when you any more questions from Mr. good but that actually um whomever Pretoria so the Jane
Eyre here tonight to together with a dancer right you wanna say something about me the uh at 10 o'clock at the review board which sounds nice for about um Dellby plane 2 hours of music coming out of Lisbon in Angola mostly need some from and well-being of certificate but mostly please women and animal starting at 10 2 hours if you can if you can do with it the but under these anymore questions are there any
more questions because I might also say something for the last term 15 minutes and the reform knowledge from also during the discussions on how important and dance music is so far has been for many African countries to find their own identity after independence because you might know that many African countries became independent in the sixties from their former colonial countries and you know they were they were left there and then they have to like state from from from having so maybe
200 well out of it you know you remember are we had somebody from from Egypt there um um how issues a journalist and she told us a very interesting story about this music that is called a shopping and the shabby started in the sixties were them being music of poor people from the countryside and it became through very long and 1 1 won't up journey of the music of the revolution of have used uh browser and we found this phenomenon in some other uh African countries as well right is that was at the same mimicking I'm not so sure no no well the process of looking for a sound that becomes a national sound all may not have happened consciously of because artists working the way that they worked and what they respond to but it's been interesting to see how in Kenya the quintessential sound is being nice you don't know what the bank of sound is you need to listen to the song Shakira ordered all World Cup Walker Walker up and she was sort of a group called freshly ground and what pressure validate that they had just had a big visit their appearance as visited there'll be couple concerts and a jump together with some local musicians and they picked up the being a sound that and so what they were selected to work with circular they thought this is a uniquely African sound that we can add to this world cup that is happening in Africa and I was a big moment for thing out so 1 of the biggest international useful bandit but then the became very well known in southern Africa now in West Africa in 1972 there was a a Kenyan musician recorded a song called lunchtime and a been surprised that I travel to to Ghana and to Lagos people will ask me with the lunch time that it was his name again is is still singing and I find that absolutely fascinating alone and maybe the way in which that's all travel across the West Africa was through 1st of which was a big Africa cultural of festival that happened in 1977 but I so they have been a few big moments full Bangalore but nationally I think it's been quite a revolutionary it's only the beggar's sound comes from the late Victorian region from the whole community and again in countries that flawed and rightly said where these ethnic differenciation of sometimes can get violent at the political level it's interesting to see how many there has been a unifying sound so that artists coming from the lakeside coming to recorded music in Nairobi and then getting a higher decision determined by artists from other parts of the country from the coast from the central province from the highlands and that's how the sound has trouble because they shared session guitarist so liberal does the work ordinarily that's on the came adopted by different communities and in as much as in of the early nineties we picked up the pope in a big way we have turned into all kind of peculiar sounds couple Kamusi you probably had to talk of going it but I think really the quintessential Canyon sound is is bank and it's become a formal of national rather than simply ethnic identity so it's an
it's a I think there are very interesting story with of of dual them because it started from from what I've learned it started in as music in the section which is the the ghettos of of of Rwanda and in some some variations it has also become more on has been used by various by the State party as a as soundtrack for hip and young and cool will African country so there because the so that the sum of the president's and some could draw
dancers and musicians abroad and so use that as a vehicle for the image of all of all of us that writer was a year later later on you could do is always been a marginal additional it set off as an actually an attempt of someone doing uh Samba which is equivalent to bang in all the but with the keyboard
and then trying to do dance music in the morning and European way in the 1st track addicted to that the gave them into generates skull could do actually it is a very uh silly story that the name was based on Van Damme movie uh seriously um the guy was just making this funny moves with these s in in in in in the the the the the dictionaries call r s that's the meaning of could doing in in English and and that's OK the guy was making this very simple melody with them electronic marimba kind of 130 VPNs something and find them was on TV and so we decided to honor than them and that's how could do happen but this this was like lots of years ago uh it was earlier used as an xk the some kind of music not with content it's not any strong references just something to run out of the water times the these before the 2 thousands and then after a while people from people moved into it could during inside giving could do the lyrics because it was just beat and um and in nowadays you have this this general model more complex it involves dances production of the chip production and then also lyrics you have 2 different kind of fear so there exists a completely like assume we or just chief lyrics and then you have a more conscious lyrics and that the what the government did after uh the sun knowledge that is is masses of President it is like a 33 years old uh ruling the president in Angola probably 1 of the long-lasting and using angle and um I'm talking about him because he has a strong inference inferencing in local culture of course because he's not important at all apart from that and and and and could do was ignored for volatile from for a long time the 1st time I was thinking and goal after war 2000 something 2002 and you would go to clubs include was not played inside the clubs on the outside the clubs so it was regarded as a very dirty and in general um actually mosaic and that did you were talking about mistake is is the name that you give to all the space in the 1 that that did that's that's outside the and how do you say the the market down like that but like the all the cities have the cars on top of it the wrote so you really don't have proper also was well yeah will endeavor analysts and then it starts this and that's where the mistake so it's not necessarily a bad place to be actually the idea there from 1 is that the peoples at the people at leave on on the condos and on on the on the big buildings they are they are in the ghetto because the majority of the people are living freely in the and the meeting imprisoned on their own ghettos so it's a bit of the opposite concepts and understand that just a
quick note because it's a it's a matter of security if you're if you're if you're very rich in Angola attended yesterday you tend to live in and across the gated community just protect so against crime and so it's funny to see through were the people outside of saying you're living in the ghetto so it's it's the opposite the self and could do was always the general of of the outside in not of the insides recently I think over the last 3 years that that they're trying to push you to as an international brands and all of us is going to happen but but
uh December which is probably the quintessential also from Mongolia has been since the early sixties and you have names like about bias to shoulder bonga that are people that are useful for ever so I don't know could do of course is a very interesting generate more associated to the club culture but if you go back to the seventies declared culturing believes to be um to be about 2 yards in making like weekend parties it would last till we can be people dancing and eating this was the proper club culture in when I guess probably which was the same running King and nobody can go it was really about 2 yards just cooking and bring people together and dancing and underway fiery probably edges makes everything but a cable sick is the the party that we descend ghetto is a part of the rich people leave could do is a very groundbreaking U general that is being taken out uh on by about the president's son because it's been used as a propaganda tool and San but is the equivalent of being music from from from from Kenya and some people might know could draw Europe as well because it was some kind of about 4 or 5 years ago or just for very quot short time especially when the when was the 1st worker some system of which is a group from Portugal and with some Angolan people in there and they made a quot famously what court quickly disappeared again because I have to say that the material of the music right for many European it's a bit true stranger to route because the beats are really likes the text of the areas meaning it's 2 2 draw partial outside of putting on a 30 seconds note uh the when there was a city built
for 6 and a thousand people in the seventies and because of for EDTA it increases to 0 6 million so it's a complete carriers people coming from all different sorts of of all regions with different backgrounds they have no experience something and i in the city so good there is a kind of of of the output of that to the skies affinity to kind of meeting of people so you don't have a TV channel you done every 2 channels to make a normalized things so the style as is being not not over the recent years but on your early on during this quite an architect and I think that was the main quality of it and not condemn the production in terms of dance in terms of expression it was not the travel thing as specific travel or at it makes think it was just that the clash of everyone at the same time when the same city with without knowing exactly what they should do what were the codes and that that that kind of clash was was was was the was and the cause of of this very strange and or regional uh form of music and dance I guess what about quite a lot it's a perfect quite have any party not really I mean to be honest i've would serve 95 per cent of quite a fall for a European users were born it's really just like this you know it's the beats owing could draw has very interesting beats the breaks it has some traditional drumming there has it follows this unusual Portuguese language but to be honest a lot of quite it was just like I don't know just very small Hollister as is like barking dogs lyrics in the rapper's camera properly then not flowing just grew and then you get this be so that isn't that didn't really have an impact years there was interesting as phenomenon especially as a as a liberation phenomenon so Africa after uh after Mandela became president of 94 thing there was so that that they had as its importance but as music like style was my I'm not so sure and it's been interesting to see also called on the social function of quite a lot has changed of because when it came on the bottle of bubble gum pop like a just very much songs of the Revolution quite enter that spirit of the evolution but now it's become a statement about it to relate to do so you have lots of like what is a little you know posing in the blankets and that making that kind of statement about Italian music videos she's holding time to the rule wherever explain so for instance that is the equivalent but you have here in Europe when you when you buy some time in the newspapers or magazines what country life through the rural life like of the Bradbury people in the countryside and it's a bit similar to that so you return true to the original tribal background with original tribal designs you show you some of the new kids on the countryside and dyslexia drop how happy people of our it's I mean that the people from so Africa
expanded it's a mixture of a kind a and Europe Americas but it's also looking for sales because more people still live in the countryside and so Africa them in the cities right it's very much a commercial decision and it's and have seen the same sort of commercial decisions coming to the music in a narrow
view where gospel you know since the 19 eighties mid 19 eighties gospel has been the runaway hit John and you'll find a lot of artists who are having problems breaking through the hypocrisy the local heap obscene will certainly make a big announcement that have become possible artist when you listen to the song is nothing sometimes even in the lyrics all suddenly at a sonic level there's nothing in the sound to distinguish it from any other sound that is some and of non-secular sound but what you find impossible now all of is lyrics that camouflage you can interpret them the the we the message could be about scored it could be a lot of hidden love it could be so they they they allow themselves to do that but at the same time the market themselves as possible because they know that to the big sales in the concepts of by quite quite a
fantasy uh this is because it's quite quite a for me I got to know it through a readable mentor FM it was about to displaying Alice records like most more soulful in R&D
oriented records slowly they would pitch down the the the the the mass is at work early records and maybe 2 less 4 per cent on the techniques as cells of something any to some waiting for me it's it's due to some perfect because it gives more space actually in terms of production there are a few elements and you you know that the 909 machine but with like that there's this open I had that usually use and as music it's its use like it's just like this but in quite a bit that sounds like it's it's such that you really get to enjoy that that that thing it's like a like a kind of uh house that like people condensed uh properly panel of probably the the thing is that if it is too slow if a person does not advancing to to show up at the front with the ISOcat hierarchic
movements that you really have to be in the room with that well over there because it is too fast you just a few of the people and get to know this but quite is really easy sensual but at the same time it's really powerful and strong because of the early songs I remember were about struggle in about marching against appetite of course in in in in disease this the strength of the because the strength always they're always there it's a very kind of high-margin margin markup on watching that also these very sexy if you want to uh also so he serves both ways you can be pollable a politician and 60 at the same time which from each works very very well so I would say is a very nice
crossword are meant to be a politician answer to the same time debate is always there so I'm not there are many more questions from our persons yes is 1 the all have the documentation would be out of time so we're kind of we just started writing the
book because we had this workshop was the Nairobi and took um last Thursday and where we put the conceptual framework together to gather all the office from all African and European countries and worked on the book for 1 week now people start right so we having floor maybe in 1 and a half years against so it's just so take some time you know we we have to find a publisher will be in English we want to um publishers where there was a very known terms of scientific publishing company in English language we haven't found that yet so much that it sometimes we you should take this as advertising for book because it's still sometimes it's on the same with the album I mean the the the the last recording phase in care next week starting next week and then we have our tracks together and then we will look for proper label to to publish this uh proper um determined as a global and we will see them things like you
know the uh
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Metadaten

Formale Metadaten

Titel TEN CITIES Project: Clubculture IN/SIDE/OUT
Serientitel re:publica 2013
Anzahl der Teile 132
Autor Sievers, Florian
Coquenão, Pedro
Nyairo, Joyce
Lizenz CC-Namensnennung - Weitergabe unter gleichen Bedingungen 3.0 Deutschland:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen und das Werk bzw. diesen Inhalt auch in veränderter Form nur unter den Bedingungen dieser Lizenz weitergeben.
DOI 10.5446/33596
Herausgeber re:publica
Erscheinungsjahr 2013
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract Zehn Städte, zwei Kontinente, drei Disziplinen: Unter dem Titel TEN CITIES kommen um die 50 DJs, Musikproduzenten und Instrumentalisten aus Berlin, Bristol, Johannesburg, Kairo, Kiew, Lagos, Lissabon, Luanda, Nairobi und Neapel zusammen, um gemeinsam Musik zu produzieren und sich über die Clubszenen ihrer Länder auszutauschen. Ein Forschungsprojekt untersucht zugleich den Begriff der Öffentlichkeit aus der Perspektive von Clubkultur: 23 Wissenschaftler erarbeiten Essays und Studien über die teils unbekannten Musikszenen und ihre Subkulturen, zehn Fotografen erkunden diese künstlerisch.

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