Cultural Globalization is as important as political and economic globalization, and yet sometimes receives less media and popular attention. It can also be a useful tool to introduce students to the idea of globalization. I have a colleague who teaches the “Introduction to International Studies” class at a local community college. He begins each class with a sampling of global music, such as West African fusion or Botswana jazz. He thinks that it helps to focus the students on the content of the class. Music is like food, a touch point that everyone shares, which can share as a place to start a conversation about globalization.
We’re all familiar with fusion music, which blends genres, but there are some truly unexpected combinations. Since I like bluegrass -and am studying Chinese- a colleague introduced me to Wu Fei and Abigail Washburn’s music, which combines the the banjo to combine with the guzheng. Their album is available on Spotify. …
In my most recent episode of my podcast, Dispatch 7, I interviewed Dr. Priya Kapoor about the murder of musicians in South Asia. Priya was able to put these murders into a larger historical and religious context in the region, while at the same time showing the commonalities between different South Asian states. In the show notes you can find YouTube videos (which she kindly shared with me) of different musicians performing, as well as the citation for her new book chapter on the topic.
I posted the podcast episode last night before I went to bed, and by the morning people had already found and listened to it. I think that this will be a popular episode. In upcoming episodes I will be talking to an expert on Indigenous Science Fiction and a Chinese language learner. Please check back in two weeks for the next episode.
The Rotunda, Stowe Landscape Gardens. Photo by Philip Halling. Creative Commons license, Wikipedia
Every year I cover an appropriate international mystery for Halloween. For example, last year I talked about ghosts of Hong Kong and Macau. Earlier this month I talked about the ghost ship the Baltimore, which was found with only a single survivor, a woman, who soon vanished from Nova Scotia and was never seen again. This year I want to review a novel, Wylding Hall, by Elizabeth Hand. The novel is a ghost story set in a remote English country house in the 1960s. The characters are primarily members of an English folk band, who came of age in the era of Fairport Convention in the late 1960s, when the folk rock movement was a pop culture force in Great Britain. Even though the pop culture of this period will be familiar to most Western readers, the specifically British context will be alien to most Americans and Canadians. The story begins after a terrible tragedy, which leads the band manager to isolate the band in an old country-house, not only to heal the group’s members but also to create a new album.
The work is inspired by the genre of pop music band histories that focus on juxtaposing the differing voices of band members. Hand, an American, has an amazing ear for dialogue. I think that dialogue is always tricky for a writer, as the smallest error in tone or wording can be jarring. At the same time, it is perhaps the best tool for characterization, and this is how Hand employs it. Dialogue propels the novel, so that the reader is soon swept into the jealousies, loves, and secrets of a British band. All ghost stories are dominated by the past. In Hand’s novel, however, the past at times seems distant and undefined. In truth the book is dominated by the 1960s in one summer in the life of a band. It differs from the stories of M.R. James and many other English authors of ghost stories because the past doesn’t seem to overwhelm the present. Even though the past intrudes, this novel is truly the story of the band itself. …
