Going back to the series of ideas about the future of the record industry as published by Rolling Stone a few weeks ago and mentioned here.

In the original article, five "theories" about what the future may hold for the record industry were listed, in connection with quotes from participants in that industry.

• Theory 1: Ad-Supported Music
• Theory 2: Peer-to-Peer Goes Legit
• Theory 3: Endless Access Points for Music
• Theory 4: Labels Change Their Stripes
• Theory 5: Consumers Become Retailers

These "theories" encourage me to add my own personal ideas about the future of music and the record industry. With reference to the Global Business Network, my ideas are thought of as scenarios or possible models. Given my very limited experience with the record industry itself (I’m an ethnomusicologist and a musician), these are purely based on my personal opinions and may seem unrealistic. But the exercise is quite fun.

Some of these scenarios overlap with one another or with the Rolling Stone "theories." This is how it should be as the future is rarely one-dimensional.

Scenario 1: DIY Music

Music ceases to be a spectator sport. Sales of recording equipment, music instruction material, musical instruments, music-related software, and musical charts all skyrocket, eventually making up for lost revenues in the record industry. While professional musicians remain important, emphasis is put on music-making activities. Music teachers, music researchers, and music therapists all gain recognition in the process. Increasingly, musickers and musicians are put on a continuum.

While it may not represent a radical shift, I notice such a tendency toward "democratised" music-making. Games like Guitar Hero, social networking sites like GarageBand.com, television shows like American Idol, and computer software like iLife GarageBand all seem to point in the same direction. Given the number of YouTube videos of people playing or otherwise participating in music, one can envision business models based on the fact that playing music is itself quite enjoyable.

As an analogy, home cooking might have an impact on restaurant businesses.

Scenario 2: Alternative Business Plans

Related to ideas about licensing mentioned in Rolling Stone but music-making becomes more of a commercial endeavour, like some forms of photography have become. Licensing music for use in videogames, grocery stores, wedding videos, lounges, commercials, ringtones, elevators… What would be sold then would not be the access to musical recordings but the association between musical elements and some location, product, person, or use. While such a scenario sounds very restrictive it could in fact be quite liberating as long as the licensing systems are extremely user-friendly and if musicians are truly involved in the financial transactions.

I recently blogged about ringtone sales as making some sense, in my mind. Through data available in the previous Rolling Stone article, I came to realise that the figures I had in mind were apparently off-base and that ringtone sales amount to much less than I originally thought. Still, it seems that some of those alternative business models have some chance of becoming quite important in the near future.

Scenario 3: The Two Cultures

Inspired by Lessig’s well-known Free Culture book, the idea that "permission culture and free culture" or "commercial culture and noncommercial culture" may coexist for a significant amount of time. I have actually given this scenario a fair bit of thought and it seems to me to be panning out to a certain extent.

The most radical examples of "free culture" are still rather marginal in terms of the awareness of the general population in North America but there seems to be a lot of dynamism in "free culture" in North America and elsewhere, especially as they relate to online activities.

Scenario 4: Status Quo

I really doubt that this is the scenario which will pan out but it’s important to think about the general instability of the current model. Most participants in the record industry’s business (including many musicians and music listeners) agree that the current situation is not at all viable. In fact, the agreement between record industry executives and music listeners is quite striking: we all know that things need to change. We just don’t agree on where those changes should lead us.

Scenario 5: Dinosaurs Wake Up

Though I have come to doubt that the member corporations in the Recording Industry Association of America might "get a clue" any time soon, it is something to consider. If it were the case, executives in these corporations might be able to save their stakes in the commercial transactions involving music. In order to do so, they would need to implement important changes to please everybody involved. In fact, they would need to make amends with those who have been involved in those numerous lawsuits, many of which are quite ludicrous.

Scenario 6: Music is Dead, Long Live Musics!

Call it the CriticalWorld scenario: Thinking Globalisation Through Music.

This one would be quite close to my heart, as an ethnomusicologist and anthropologist. And it’s a scenario which seems to be off the radar of many people "in the industry." People who grok this scenario tend to be closer to the "free culture" movement, possibly because of the Anglo-American origins of market-based liberalism.

The Euro-American dominance on music distribution networks makes way for a music diversity. Music scenes flourish all around the World, musicians from different parts of the World travel anywhere else without having to go through major distribution labels, music becomes social glue across any cultural or social border.

Of course, some music scenes may become more important than others and there is likely to be a lot of overlap between musical styles and genres across the Globe. But music diversity can be a powerful force whether or not we think of biological analogies. In this context, talking about "The Music Industry" would be like talking about "The Cuisine" or "The Language." Some people might envision a completely homogeneous world but I just cannot see that it will happen.

My hunch is that some mix of these and other ideas will make up "the future of music" yet there will not be a single direction for the whole of music-related businesses.

The future is bright. And complex.

The first is a summary of the overall situation for major labels. Including biting commentary which seems quite appropriate. (That piece was also covered by Boing Boing.)

A similar piece was published in Wired a few years ago:
Wired 11.02: The Year The Music Dies
According to that Wired piece, Billboard editor-in-chief (and former editor for Rolling Stone) Timothy White predicted the demise of the record industry before his death in 2002.

The second Rolling Stone compiles several scenarios for the future of the record industry, à la Global Business Network.
Together, a rather clear overall picture of what is going on with and what may happen to the record industry. Plenty of tidbits which should make their way into analysis of the music industry at large.
Of course, there could have been more attention given to actual musicians and the report seems somewhat self-serving for Rolling Stone. Not to mention that the perspective is very much that of large multi-national conglomerates.
A useful read nonetheless.<—9c9903708802dc016273bda0c1c42df9—>

Interestingly enough, some are wondering if Austin’s music scene isn’t dying. Not that Montrealers haven’t been asking the same questions about their city’s musical dynamism. But it does seem like rent is the main issue for musicians anywhere (in English-speaking North America).<—9b325c671317f56c5d80676b057a7a4a—>

// Artivistic + MAI (Montréal, arts interculturels) présentent //

Nationalisme : l’exercice des cultures d’occupation—-
Une discussion autour des nationalismes à Montréal

Le vendredi 20 octobre 2006, à midi
Café du MAI (3680, Jeanne-Mance)

12h00 – Table ronde 1
14h00 – Table ronde 2

avec:

Devora Neumark (modératrice)

Stefan Christoff (Tadamon!)
Lynne Cooper (Le Trunk Collectif)
Sujata Dey (Québec Solidaire)
Ehab Latoyef (Shalom Salaam Montreal)
Afshin Matlabi (artiste)
Leila Pourtavaf (No One Is Illegal – Montreal)
Guy Sioui-Durand (sociologue/commissaire)
Rahul Varma (Teesri Duniya)

+++

Dans le cadre de l’exposition solo Terrorisme, Démocratie, Loisir (présentée au
MAI jusqu’au 28 octobre) de l’artiste irano-canadien Afshin Matlabi, le
collectif montréalais Artivistic et le MAI (Montréal, arts interculturels)
présentent Nationalisme : l’exercice des cultures d’occupation, un événement
composé de deux tables rondes. Ces activités bilingues auront lieu dans
l’atmosphère conviviale du Café du MAI au 3680, rue Jeanne-Mance. Cette
rencontre a pour source d’inspiration le travail d’Afshin Matlabi, qui explore
avec humour et ironie des thématiques comme le rôle des Nations Unies,
l’obsession nord-américaine du loisir et les discours nationalistes.

Animée par l’artiste et activiste Devora Neumark, les deux tables rondes
réuniront divers représentants du milieu artistique, universitaire, activiste
et communautaire de Montréal et de Québec. Les principaux interlocuteurs
seront Ehab Latoyef (Shalom Salaam Montreal), Stefan Cristoff (Tadamon!),
Afshin Matlabi (artiste), Guy Sioui-Durand (sociologue), Rahul Varma (Teesri
Duniya), Lynne Cooper (Le Trunk Collectif), Leila Pourtavaf (Personne n’est
illégal – Montréal) et Sujata Dey (Québec solidaire). Le nationalisme sera
traité sous l’angle de l’occupation dans ses diverses formes – territoriale,
physique ou imaginaire – en tentant de démontrer comment l’appropriation de
l’espace est à la fois source de conflit et d’alliance.

Le public est invité à venir échanger sur ce sujet très présent dans
l’actualité
lors de cette rencontre gratuite.

L’évènement a pour but de rassembler des artistes, théoriciens, et activistes
communautaires locaux afin de réfléchir sur la notion (trop souvent tabou) du
nationalisme dans nos contextes actuels. Prenant en considération les enjeux
spécifiques au contexte montréalais, dont son cadre socio-politique, sa société
pluraliste, son passé/présent coloniale, et dans le cadre des affaires
globales, sous quelles conditions et dans quelles circonstances apparaissent,
développent, s’entrecroisent, et se confrontent différentes formes de
nationalismes? A quelle fin l’humiliation, la fierté, la menace, et les
sentiments multiples d’appartenance de l’individu, à la fois à des communautés
locales et globales, prennent-ils forme dans des expressions collectives et des
manifestations de nationalisme? Comment se négocient les tensions de la
culpabilité, la honte, l’identité, la mémoire, et la géographie? Dans quelles
mesures peut-on dire que le nationalisme est responsable pour les guerres, des
communautés fortes, la patriarchie, la hétéronormalité, et le sexisme? Quelles
sont les nouvelles formes de nationalisme créées par voies de réseaux globaux
d’artistes, d’activistes, et de réfugiés… Il y a-t-il plusieurs formes de
nationalismes? Comment ces complexités sont-elles traitées ou manifestées dans
différentes démarches et pratiques artistiques?

+++

Pour de plus amples informations :

Cléo Myers, Responsable des relations publiques, MAI (514) 982-1812,
comm@m-a-i.qc.ca

Catherine Melançon, Coordonnatrice pour Artivistic (514) 524-9019,
catherine.melancon@umontreal.ca / info.artivistic@gmail.com

http://m-a-i.qc.ca/ | http://artivistic.omweb.org/

http://artivistic.omweb.org/
http://m-a-i.qc.ca/

// Artivistic + MAI (Montreal, arts interculturels) present //

Nationalism: Performing Cultures of Occupation—A Discussion on Nationalisms in Montreal

Friday, October 20, 2006 at 12 noon
MAI Café (3680, Jeanne-Mance)

12 noon – Round Table 1
2 pm – Round Table 2

with:

Devora Neumark (moderator)

Stefan Christoff (Tadamon!)
Lynne Cooper (Le Trunk Collectif)
Sujata Dey (Québec solidaire)
Ehab Latoyef (Shalom Salaam Montreal)
Leila Pourtavaf (No One Is Illegal – Montreal)
Guy Sioui-Durand (sociologist/curator)
Rahul Varma (Teesri Duniya)

+++

Within the framework of the solo exhibition, Terrorism, Democracy, Leisure, by
Iranian-Canadian artist, Afshin Matlabi at the MAI until October 28, the
Montreal-based collective Artivistic and the MAI (Montréal, arts
interculturels)
present Nationalism: Performing Cultures of Occupation, featuring two round
table discussions. These bilingual activities will be held in the informal
atmosphere of the MAI Café, at 3680 Jeanne-Mance. This event builds from
Afshin Matlabi’s work in which he explores, with humour and irony, such
questions as the role of the United Nations, North American leisure-based
society and nationalist discourse.

Moderated by the artist and activist, Devora Neumark, two round table
discussions will bring together representatives from various milieus, including
artistic, academic, activist and community, in Montreal and Quebec City. g
together representatives from various milieus, including artistic, university,
activist and community, in Montreal and Quebec City. The main participants will
be Ehab Latoyef (Shalom Salaam Montreal), Stefan Cristoff (Tadamon!),
Afshin Matlabi (artist), Guy Sioui-Durand (sociologist/curator), Rahul Varma
(Teesri Duniya), Lynne Cooper (Le Trunk Collectif), Leila Pourtavaf (No One is
Illegal – Montréal) and Sujata Dey (Québec solidaire). Nationalism will be
examined through the lens of occupation in all of its forms – territorial,
physical, imaginary – in an attempt to show how the appropriation of space can
be both a source of conflict and alliance.

All are invited to participate in this free event which will allow for dialogue
on this very topical issue.

The event aims to bring together local artists, theorists, and community
activists in order to critically question the (often taboo) notion of
nationalism in our diverse cultural contexts. Taking into consideration
Montreal’s distinct socio-political framework, pluralist society, dual
white-settler colonialist history, and within the present state of global
affairs, under what conditions and circumstances do differing forms of
nationalism unfold, meet, overlap or contest with one another? How are
humiliation, pride, threat, and individuals’ multiple senses of belonging to
both local and transnational communities performed through collective
expressions and manifestations of nationalism? How does one negotiate the
tensions of guilt, shame, identity, memory, geography? How does nationalism
cause wars, strong communities, patriarchy, heteronormality, sexism? What new
forms of nationalism are being created by way of global networks of artists,
activists, refugees… Are there many nationalisms? How do different artistic
practices deal with or manifest these complexities?<—5457cb0c4b7ceec077068b606bb5c280—>

“The tecno-brega DJ’s usually acknowledge in their live presentations the presence of people from various neighborhoods, and this acknowledgement is of great value to the audience, leading thousands of buy copies of the recorded live presentation.”

In honour of the Day Against DRM, Cory Doctorow appeared on CNET’s The Real Deal podcast with Tom Merritt. Doctorow mentioned Tecno Brega in his discussion of DRM and the notion that those artists are not discouraging others from getting paid by selling recordings of their music. Like radio in other contexts, inexpensive recordings are promotional items for these artists. Contrary to radio, this promotion is done without control from labels (in a payola or other playlist scheme).
What strikes me even more, though, is the phenomenon of mentioning neighborhoods in these recordings. As is the case with hunters associations in Mali, musical acknowledgement represents a cultural value which may, in turn, bring about commercial value. In fact, in Mali, people who sponsor performance events for the hunters associations are often people linked to hunters without being hunters themselves. They simply want the musicians to talk about them.
Who said that Jessica Simpson’s customized “A Public Affair” was innovative?<—8aaefc15baed3937bf76d099efce10ac—>

If your institution subscribes to one or more SAGE journals, free online access to ALL SAGE journals is available for you, your colleagues, and your students until October 18, 2006! No registration is required, so start accessing articles in your discipline on SAGE Journals Online today! Search leading SAGE journals covering a wide range of subjects in Business, Humanities, Social Sciences, and Science, Technology, and Medicine.

If your institution does not subscribe to any SAGE journals, click here to register for free online access to the trial today!

Learn more about the enhanced SAGE Journals Online platform coming soon!

1. New look and feel
2. Improved navigation
3. Enhanced advanced search options

Thanks, Marsha, for the heads-up—7a7bd624ff78ec154515f2dc52c5375c—>

IASPM-US 2007 Logo
[Conference Home] [Registration] [Program] [Local Info] [Ridesharing]

IASPM Canada and IASPM-US 2007 Joint Conference:
Boundaries, Blockades and Bridges

Northeastern University
April 26-29, 2007
Boston, Massachusetts

Submission deadline: 11:59 PST November 1, 2006.<—a9deab1a1bc7025e4e4e0ab56a8ba2f9—>

SÉMINAIRE PLU-6042 – Automne 2006

Septième édition du Séminaire du CRI :
PROBLÉMATIQUES DE L’INTERMÉDIALITÉ.

INTERMÉDIALITÉ ET INTERSUBJECTIVITÉ

Sous la direction de Bob W. White
Professeur au Département d’anthropologie de l’Université de Montréal

PRÉSENTATION

L’histoire de la pensée moderne est en grande partie l’histoire de l’émergence du sujet moderne, mais comment rendre compte de ce phénomène sans avoir recours à une véritable théorie de la rencontre ?
L’intersubjectivité — c’est-à-dire l’ensemble de gestes, paroles et préjugés qui conditionnent la rencontre avec l’autre — n’a pas un domicile disciplinaire fixe, mais plusieurs disciplines possèdent des modèles intéressants pour réfléchir ce phénomène (philosophie, études littéraires, anthropologie, études cinématographiques, psychologie).
Pendant que certains penseurs donnent un statut ontologique à l’intersubjectivité, d’autres le prennent comme feuille de route méthodologique ou morale. Dans le contexte d’une réflexion sur l’intermédialité, l’étude de l’intersubjectivité nous permet de comprendre non seulement l’interaction entre les êtres humains à travers différentes sortes de produits culturels (livres, films, disques, peintures, expositions), mais aussi l’entre-deux qui se crée dans plusieurs sortes de dispositifs médiatiques (cinéma, télévision, radio, internet, musée). Ce séminaire propose une analyse des différentes théories et situations de l’intersubjectivité et vise à
explorer l’intersubjectivité en tant que projet esthétique comme en tant que projet éthique.

CONFERENCIERS INVITES

Distance temporelle, distance culturelle, et l’objet d’art?
Walter Moser (Chaire de recherche du Canada, Université d’Ottawa)

Réponsivité et dialogisme chez Bakhtin : Le civisme raté du «Bus Uncle »
Greg Nielsen (Department of Sociology and Anthropology, Concordia University)

L’herméneutique entre ontologie et langage: le cinéma d’animation de J.M. Kibushi Ndjate Wooto
Lomomba Emongo (Philosophie, UQAM)

Installations interactives : La rencontre de l’autre
Luc Courchesne (École de design industriel, Université de Montréal)

La médiation par l’objet: l’exemple du musée
Élise Dubuc (affiliation, Université de Montréal)

L’entre-deux au cinéma : triangulation entre personnage, réalisateur et spectateur
Frédéric Sabouraud (cineaste et critique culturel)

Petite histoire et expérience d’un collectif : Medvedkine & Cie.
Marion Froger (Université de Montréal) et Viva Paci (Université de Montréal)

Intersubjectivité et sociabilité sur le web
Madeleine Pastinelli (Département de sociologie, Université Laval)

HORAIRE ET SALLE

Le séminaire se tiendra tous les mardis, de 9h00 à midi à compter du 5 septembre jusqu’au 5 décembre 2006 dans la salle Z-345 du Pavillon Claire-McNicoll de l’Université de Montréal, au 2900, Chemin de la tour.

INSCRIPTIONS

Ce séminaire vise plus spécifiquement les étudiants d’Anthropologie, d’Études cinématographiques, d’Histoire de l’art, de Littérature comparée, d’Études littéraires, de Sociologie, de Psychologie et de Philosophie.

Prière de vous inscrire auprès du responsable de la gestion des dossiers étudiants des 2e et 3e cycles de votre département.

Pour tout renseignement, merci de bien vouloir contacter :
M. Bob W. White à l’adresse suivante : bob.white@umontreal.ca
ou
Anne Lardeux : anne.lardeux@umontreal.ca

Page Web du séminaire:
http://cri.histart.umontreal.ca/cri/fr/cdoc/FicheActivites.asp?ActiviteID=1688
———————————————————————————————————————————————————————En parallèle de ce séminaire, le Centre de recherche propose une cycle de projections de films.
Ces séances sont ouvertes au public.

« Cycle L’entre d’eux »
Programmation proposée par Le Centre de recherche sur intermédialité
avec la collaboration de la Cinémathèque québécoise

Mercredi 20 septembre
18h30 Fernand-Seguin

Bon voyage
Réal. : Kapwani Kiwanga [Écosse – France, 2004, 3 min., s.-t. a.]
Une exploration visuelle du travail, Bon Voyage dresse le portrait
d’une femme sur son lieu de travail : les toilettes de la gare
Montparnasse à Paris.

Suivi de

Manmuswak
Réal. : Olive Martin et Patrick Bernier [France, 2005, 16 min.]
La journée ordinaire de K., homme d’origine africaine vivante en
France et employé comme vigile, à travers ses métamorphoses
successives de surveillé en surveillant.

Suivi de

Eux et moi
Réal. : Stéphane Breton [France, 2001, 62 min.]
Depuis quelques années, un ethnologue retourne régulièrement dans un
petit village de Nouvelle-Guinée. Il parle la langue de ses habitants,
partage leur quotidien. Tout en filmant les individus qui lui sont le
plus proche, le réalisateur livre ses propres questionnements et les
doutes incessants qu’il subit. Fait relativement rare pour être
apprécié, l’ethnologue devient ainsi objet d’étude lui-même au travers
d’une interaction qui n’est jamais vécue comme pleinement
satisfaisante ou naturelle avec le peuple.

Mercredi 27 septembre
18h30 Fernand-Seguin

The Good Woman of Bangkok
Réal. : Dennis O’Rourke [Australie, 1991, 82 min.]
Comme la pièce de Brecht dont il reprend à son compte le titre, le
film s’organise autour de la figure centrale d’une prostituée pour
examiner la possibilité de vivre une bonne vie dans un monde
imparfait. O’Rourke examine la complexité de sa position (client,
amoureux et cinéaste) et explore les conjonctions entre sexe et argent
dans cette zone de contact entre Orient et Occident qu’est Bangkok.

Mercredi 4 octobre
18h30 Claude-Jutra

Le goût de la farine
Réal. : Pierre Perrault [Québec, 1977, 108 min.]
Trois blancs partent à la découverte de Saint-Augustin et de la
Romaine, dans la région de la Côte-Nord, au Québec.

Mercredi 22 novembre
18h30 Fernand-Seguin

Figure-toi. Auto-portrait(s) d’une classe de 3PP
Réal. : Frédéric Sabouraud, [France, 2004, 70 min.]
Animateur d’un atelier vidéo dans un lycée professionnel parisien,
Frédéric Sabouraud s’est mis à filmer pour son propre compte un groupe
d’élèves engagé dans des exercices d’autoportrait. Documentaire sur
une activité pédagogique impliquant des adolescents immigrés aux
prises avec le système scolaire et les problématiques de
l’intégration, le film poursuit aussi, en voix off, une méditation sur
l’exil.

Sans faire d’histoire
Réal. : Frédéric Sabouraud, [France, 2004, 55 min.]
Ce film est une fiction qui raconte les aventures d’un homme à la
recherche d’une introuvable histoire.

Mercredi 29 novembre
18h00 Claude-Jutra

Ice
Réal. Robert Kramer [États-Unis, 1970, 121 min.]
Le film suit un groupe fictif qui mène une offensive nationale
destinée à provoquer un soulèvement général de la population (…).
C’est un récit en forme d’avertissement, un film de science-fiction
qui projette nos peurs et notre paranoïa de la violence et de la
révolution dans l’avenir ‘pour voir ce qui pourrait se passer’. À
l’époque il fonctionnait comme un psychodrame obligeant le spectateur
à se positionner. (Paul Mac Isaac, 1998).

20h30 Claude-Jutra

Point de départ
Réal. Robert Kramer [France, 1993, 90 min., v.o.
française/vietnamienne s.-t.f.]
En 1969, Robert Kramer s’était rendu au Vietnam avec une délégation
d’Américains opposés à la guerre. Il en était revenu avec People’s
War, document militant d’un intellectuel engagé dans le combat
anti-impérialiste. 23 ans plus tard, il retourne à Hanoï, caméra sur
l’épaule, avide de voir, d’écouter, de comprendre le Vietnam des
années 90. De rencontre en rencontre, Robert Kramer ne cesse de
chercher ses marques et d’en changer continuellement, fasciné par le
quotidien, les visages, les gestes, les lieux qu’il capte d’une
manière sidérante, hors de tout cadre établi. Véritable partition
visuelle, le film mêle sans cesse passé et présent, explore les
mémoires, évoque les espoirs et les doutes d’un pays en pleine
mutation.

Mercredi 06 décembre
18h30 Fernand-Seguin

Berlin 10/90
Réal. Robert Kramer [France, 1991, 63 min.]
La commande d’Arte exigeait du cinéaste un plan-séquence d’une heure,
contrainte nouvelle dans le cinéma puisque les caméras pellicule ne
permettaient pas de dépasser le quart d’heure. Le dispositif imaginé
pour venir à bout du pari est de découper l’espace et le temps en deux
« scènes » reliées l’une à l’autre par des mouvements latéraux : (…)
Kramer assis sur une chaise et un poste de télévision. (Jean-Louis
Comolli, 2002).<—97c2f2e321a756c99a2e7d453b226203—><—28e213d9422ed309570e604efd9d6bc7—>

Appel à communications

LES MUSIQUES DANS LE MONDE DE L’ISLAM

Un congrès international
à Assilah (Maroc) du 3 au 9 août 2007 (attention, léger changement de dates)
organisé par la Fondation du Forum d’Assilah et la Maison des Cultures du
Monde

Date limite de soumission : 15 octobre 2006

Call For Papers

Conference on Music in the World of Islam

An international conference in Assilah (Morocco), August 3-9, 2007 (dates changed from previous announcements) organized by Fondation du Forum d’Assilah and Maison des Cultures du
Monde.

Submit abstracts by : October 15, 2006

As part of JSTOR’s mission to create an archive of scholarly literature and extend access to the archive as broadly as possible, we are proud to announce that JSTOR has adopted a plan to waive participation fees for any academic or not-for-profit institution on the continent of Africa. This plan affects new participants, as well as institutions that currently participate in JSTOR.

JSTOR is one of the most important electronic repositories of academic articles. It covers a wide range of journals from most academic disciplines and from a long period of time. While Internet access itself is often costly in Africa, this could greatly benefit the collaboration between African scholars and their colleagues outside of Africa.<—ca683579eef4251bb63f423e9db9501b—>

À moins de s’intéresser de près au Brésil ou à un sujet qui peut y être lié ou particulièrement étudié ici, très peu d’étudiants liront des articles ou livres d’ethnomusicologues et anthropologues brésiliens, sauf peut-être les « classiques » de Roberto da Matta, Gilberto Freyre ou Mario de Andrade, par exemple. Il existe pourtant une littérature abondante qui traite de sujets liés de près ou de loin à l’ethnomusicologie (anthropologie, « études culturelles », « folklore », politiques publiques et culturelles, éducation artistique, droit des minorités, etc.), ainsi que des ouvrages d’ethnomusicologie (habituellement édités par les presses des universités fédérales). Dommage que celle-ci ne soit que très peu traduite en anglais ou en français. À ce sujet, je dirais qu’il existe de nombreux échanges entre les pays d’Amérique latine et le Brésil. La proximité des langues portugaise et espagnole rend ces collaborations plus faciles et les préoccupations des chercheurs semblent être comparables. Si les professeurs lisent ce qui s’écrit à l’extérieur du Brésil, trop peu d’étudiants (surtout au baccalauréat et à la maîtrise) le font. La lecture de textes en anglais et en français (encore pire !) les rebrousse… Ceci laisse toutefois place au développement d’une ethnomusicologie « sud-américaine » et « brésilienne ».

Le Brésil étant un pays énorme et regorgeant de traditions culturelles musiques diverses selon les régions, les étudiants et professeurs choisissent généralement d’effectuer leurs recherches dans leur propre pays. Le travail de terrain dans une contrée inconnue ou totalement différente de la leur ne fait pas partie de la tradition ethnomusicologique brésilienne (probablement aussi parce que la plupart n’auraient pas la possibilité de le faire) et cette perspective fait même rigoler plusieurs d’entre eux. Comment un Brésilien pourrait comprendre les enjeux d’une musique bulgare ? Que ce soit auprès des communautés autochtones, afro-brésiliennes, des groupes minoritaires ou marginaux, plusieurs vont tenter de comprendre les préoccupations et revendications des communautés étudiées et adoptent en quelque sorte un rôle de médiateur entre les instances publiques et ces populations avec qui ils collaborent (je pourrais dire « ces populations qu’ils étudient », mais j’ai l’impression que la tendance actuelle va vers un travail de collaboration et de dialogue avec les populations étudiées). Cela dit, il existe diverses méthodes et préoccupations.

Le professeur Samuel Araújo, avec qui je travaille actuellement, fait partie des quelques chercheurs-ethnomusicologues brésiliens (avec, entre autres, Angela Luhning de l’UFBA) qui optent pour une ethnomusicologie « appliquée » et « participante », dans laquelle le retour aux communautés « étudiées » est primordial. D’ailleurs, les questions posées proviennent souvent de l’intérieur-même de ces communautés. Dans ce cas, le chercheur joue un rôle de médiateur et d’orienteur et suscite la réflexion au sein du groupe. Le dialogue engendré par cette méthode remet parfois en doute « l’autorité scientifique », puisqu’il s’agit d’une certaine façon d’intégrer et de considérer davantage le discours des personnes « étudiées ». Ainsi, on tente également de rapprocher les milieux académique et « populaires ».

Fait propre à l’Amérique latine, l’ « hétérogénéité multitemporelle » (voir à ce sujet : N.G. Canclini, 1998), c’est-à-dire une forme de coexistence des pratiques modernes à côté de celles traditionnelles et aussi ce résultat hybride du mélange entre le sacré, le populaire et la culture de masse, a certainement à voir avec le fait que l’étude des musiques populaires (autant que ce que nous pourrions appeler musiques régionales, traditionnelles ou autres) relève en grande partie de l’ethnomusicologie ici.

Ainsi, on a vu naître l’Association latino-américaine pour l’étude de la musique populaire (branche latino-américaine de l’IASPM) suite au congrès de la Havane (1994, je crois). L’ouvrage « Música Popular na América Latina – Pontos de Escuta » (UFRGS Editora, org. de Martha Ulhôa et Ana Maria Ochoa, en espagnol et portugais) est disponible à la bibliothèque de l’UdeM (sinon, auprès de Philip Tagg !) et donne une bonne idée des tendances actuelles dans l’études des musiques populaires en Amérique latine. On y retrouve plusieurs articles d’ethnomusicologues.

Ce lien entre ethnomusicologie et musiques populaires ne date pas d’hier dans la « tradition ethnomusicologique » brésilienne. Les premiers ouvrages traitant des musiques brésiliennes (Renato Almeida (1942), Mario de Andrade(1963 et 1972) incluent les différents styles de musiques populaires propres à chaque région. Toutefois, l’ethnomusicologie brésilienne est apparue officiellement au travers des programmes d’anthropologie, particulièrement dans la recherche en ethnologie indigène (Bastos, 1979). Les chercheurs actuels s’intéressent de plus en plus aux effets de la mise en marché des musiques, aux recherches en milieu urbain (hip hop, funk, rock ; soit les musiques qui ne font pas partie du courant MPB {música popular brasileira}), etc. Aussi, le contexte particulier du Brésil et de l’Amérique latine amène les chercheurs à s’intéresser à divers thèmes, telles que ceux de la violence ou de la sécurité publique(voir Araújo, A. Cragnolini), les politiques publiques (Araújo, Alves de Souza, R. Pereira Tugny).

Enfin, concernant les liens entre anthropologie et ethnomusicologie, la musique est au coeur de la vie des Brésiliens. Les anthropologues peuvent donc difficilement en faire abstraction et, comme le précise Menezes Bastos (Anais, II Encontro Nacional da ABET, 2004), « la musique s’avère presque indispensable pour une compréhension du Brésil ». Il existe encore aujourd’hui une tradition d’anthropologues qui étudient les phénomènes musicaux (étude des musiques brésiliennes « de fora » [de l’extérieur de la tradition ethnomusicologique). Hermano Vianna en est un bon exemple (anthropologue qui a fait des recherches sur la samba et le funk brasileiro, entre autrs). Mais l’ethnomusicologie occupe une place de plus en plus importante. La discipline (recherche et enseignement) est présente dans les États de Rio Grande do Sul, Santa Catarina, Rio de Janeiro, São Paulo, Brasília, bahia, Pernambuco et Paraíba. De plus, plusieurs Américains, Français et Anglais poursuivent des recherches au Brésil. Plusieurs ethnomusicologues brésiliens (Lucas, Luhning, Pinto, Araújo, Carvalho, Sandroni) trouvent que les travaux fait par des chercheurs provenant de d’autres disciplines (anthropologie, sociologie…) n’atteignent pas le même niveau de « maturité » que les publications provenant des ethnomusicologues. Dans le but de favoriser les échanges d’idées et de connaissances, les ethnomusicologues brésiliens ont créé, en 2001, l’Association brésilienne d’ethnomusicologie (ABET) a été créée et la revue « Música e cultura » vient de publier sa première édition (2006).<—4a6148cf0e2831f7927d372ae44f2f02—><—80f307f6ad08ef9007a8670814a61779—>

Alhan el-Aalam Music and Culture Series Workshop
Fri, June 16, 1:00 PM
Sala Rossa
4848 St. Laurent
Free!

As part of the programming for its 2006 edition, the organizers of Suoni Per Il Popolo are pleased to announce “Middle Eastern Musical Expression in an Age of Fear and Misunderstanding: A Workshop”. This workshop, which will include the participation of a number of artists from throughout the Middle East and its various diasporas, is organized in conjunction with the “Alhan El-Aalam” series, whose goal is to the celebrate the influence of Middle Eastern music on the North American avant garde and acknowledge the presence of various Middle Eastern diasporas in Canadian public life. The facilitators for the workshop will present a series of listening activities and discussion that touch on some or all of the following topics:

-How does music, not only lyrics but also sound, convey meaning about cultural, ethnic, and religious difference?
-How can music be both a bridge and an obstacle to combating negative stereotypes about people and politics in the Middle East?
-Can improvisation and/or listening be mobilized as metaphors of reconciliation in current and recent conflicts in the Middle East?
-What is or what should be the role that artists play in public debates about political and economic violence?
-What does it mean to talk about the Middle East as a political or cultural entity?

This workshop will include: Hassan El-Hadi, Yassin Alsalman (Narci) and members of A Silver Mt. Zion and The Black Ox Orchestra
Workshop facilitators:
Eric Lewis (Department of Philosophy, McGill University)
Bob W. White (Department of Anthropology, Université de Montréal)

Come join us for an afternoon of discussion, music and debate.

Why is French music from Quebec almost entirely absent from most Canadian online music services?

It’d be interesting to determine the effects of Canadian Content rules (“CanCon”) on the state of Quebec’s musics. It’s quite possible that CanCon has been one of the reasons behind the vitality of Francophone music in Quebec, especially when considering airplay on Anglophone radio stations. Yet, it seems to me that the current state of the “music industry” in Quebec is much less dependent on CanCon than it might have been in the past. This is not a full-fledged analysis on my part and I might be completely off-base. But this preliminary hypothesis is based on a few observations as a French-speaking Quebecker, a «Canadien errant» (an itinerant French-Canadian), and a fan of Francophone musics. My emphasis here is on «chanson», the type of music done by «auteurs compositeurs interprètes» (“singers-songwriters”). In terms of sales, it’s a relatively important market but it’s mostly significant as part of Québécois identity.
Through a significant period of Quebec’s recent history, there was a perception that musicians, especially singers, had to succeed in Paris to be recognized in Quebec. France was, and still remains to some extent, the main reference for Quebec’s “cultural institutions” and there was a sense that Quebec culture was dependent on French recognition. Many actors in Quebec’s music scenes looked up to France as a significant source of prestige. Obviously, Quebec artists were also influenced by British and American cultures. But pride in “our artists” was most often triggered by the accolades they would receive in France.
Quebec’s singers are now much less dependent on France. For instance, Daniel Bélanger, Ariane Moffatt, and other musicians on the Audiogram independent label have achieved significant success in Quebec before ever performing in France. In fact, a few French artists even achieve recognition in Quebec before they do so in France, partly because of large musicals like Plamondon and Cocciante’s adaptation of Notre-Dame de Paris. Some could say that Quebec culture is now much more inward-looking and insular than it ever was. The effect is a relative autonomy in the world of “cultural industries” (arts and entertainment, media, etc.).
Which brings another point, often bemoaned by many Quebeckers but clearly central to Quebec’s current situation: media convergence. In Quebec, “convergence” is often used as a buzzword to designate (and often decry) the practises of large corporations like Quebecor which own several media outlets and use this type of integration to cross-promote the people with whom they sign contract (or, as some put it, “to plug the artists they own”). Quebecor itself, seen as a giant, argues that it is in fact much smaller and more benevolent than the real threat of international media conglomerates (typically coming from the United States). Whatever the case may be, this discourse plays on cultural identity. No matter how evil or monopolistic it may be, Quebecor is still a Quebec institution (it says so in its name). And the contents they push are identified as part of Quebec culture, whether they’re original Quebec content or are adaptated from content which has worked in France and the United States.
By to the CRTC and content rules. Quebec content (QueCon) is covered in part by CanCon, at least through language-specific rules (Acadian and Franco-Ontarian musics are different though connected stories). Cultural protectionism does titillate cultural identity. Québécois don’t typically think of Canada’s federal agencies like the CRTC as defenders of Quebec’s distinct culture. In fact, some Québécois critics see the CRTC almost as a threat to Quebec culture, perhaps even more so than anything coming from the United States. This perception might be completely inaccurate but it does inform the attitudes of many Québécois on culture and media.
In such a context, how important is it for the CRTC to “protect” Quebec content?<—0e1e868329cb81e3a22a710f726d685e—>

Organology and Globalization. Made for each other.

J’ai jusqu’à présent évité d’envoyer ou poster des photos identifiant les
compositeurs, par simple précaution, bien qu’ils m’aient donné leur
consentement, mais après avoir reconfirmé de nouveau avec eux leur accord
de poster des photos plus explicites et identifiables, je peux enfin vous
envoyer des photos plus intéressantes.

Je vous envoie donc une photo du Muziekgebouw de loin et une des quatre
compositeurs dans un restaurant indien où nous avons passé un bon moment à
discuter de musique et identité. J’ai pu aujourd’hui organisé un
calendrier d’entrevues individuels avec chacun des compositeurs. Pour
aller au delà du discours SUR la musique et pour parler de discours
musical comme tel, j’ai demandé aux compositeurs d’apporter leurs
brouillons et partitions, et si possible des enregistrements à partir de
leurs logiciels de notation de leurs créations et nous allons faire
l’entrevue en prennant ces documents comme point de référence. J’ai pu le
faire aujourd’hui avec Ezequiel, le compositeur argentin, et vous ne
pouvez imaginer la richesse de la discussion. Il m’a beaucoup appris sur
le processus de création musicale et surtout sur sa façon d’approcher une
nouvelle pièce et de la construire.

Dans une tradition musicale très dépendante de l’écriture, j’ai compris
que la partition était incontournable et qu,il fallait l’inclure comme
“informateur” dans l’entretien ethnomusicologique. Ce qui rend la
conversation encore plus intéressante, c’est la présence du NEM, dont les
répétitions des créations tous les jours permet aussi d’examiner des
questions d’interprétation et de performance.

Je n’entrerai pas dans les détails des discussions (ce sera pour la
thèse!) mais je vous laisse au moins avec quelques photos. (une photo avec
la compositrice allemande, Karola, discutant de sa pièce avec Lorraine
Vaillancourt durant une répétition, une de Geof, le compositeur canadien
écoutant sa pièce sur scène durant une répétition et une de Marco, le
compositeur serbe, durant un master-class d’analyse de son oeuvre, et une
de Ezequiel, avec des brouillons de sa partitions suite à notre entretien
(Je voulais le photographier lisant la partition, mais il était trop
conscient de la caméra. J’ai eu droit à un magnifique sourire).

À bientôt!

Yara

<—1e3104e1343b999dc21ddfa8ff53ceea—>

As I talked to the musicians, I realized that they were really impressed with the place, it seemed that they were in their fairytale music hall, and couldn’t stop raving about the acoustics.

As for the composers, I had a nice bite with them over lunch and talked about different ideologies in music conservatories, and between the schools of electroacoustic music and instrumental music. Didn’t record … I decided to keep the “technology” out of the way until I establish a real rapport. All though I did record over three hours of repetitions with the ipod discreetly placed under the conductor in order to hear his comments on the piece. He seemd to be very comfortable with it.

So over all it was a pretty successful and impressive day. Just got back to catch up on some much needed sleep and make some phone calls … until I realized my low budget hotel doesn’t have a phone line in my room. Oh well! It was free wireless internet so who needs phones?

BTW Thanks Pascal for the links to the NEM!

Here is the link to the Muziekgebouw where the event is taking place and I’ll be uploading some pics right away:
http://www.muziekgebouw.nl/uk/gebouw_detail.asp?id=3

Yara

I’m sure I’ve earned a couple of bloody tourist looks here and there, especially after I dragged my bag right into the tiny tram carts, but I have to say, the atmosphere of the city is wonderful. It’s not the city of legal prostitution and legal drugs for nothing. It is also Rembrandt’s 400th anniversary so wherever you go you see Rembrandt staring at you with his Renaissance clair-obscure glare. I bought a three day ticket for the trams but I’m seriously considering renting a bike and just taking advantage of the canals and narrow streets. The weather is chilly but has that springy feel in it and the streets are filled with bikers and walkers. It makes you feel alive.

The Forum du NEM, which is the competition/event I’m researching starts today. Even though I haven’t slept yet, I’m probably going directly there as soon as I have my 5 euro toast and jam breakfast (expensive is the word I’m looking for here). I’m a little nervous as first days always are. This time there are 4 composers I’ll be trying to interview about music, identity, postcolonialism and all that stuff anthropologists are so fond of these days.

An update will be coming to you soon, probably tonight!

Yara<—4363fd2c1fe28a5708bcbc8300c25fab—>

Consumers International – Copyright and Access to Knowledge
The Statement to WIPO (Word) is quite short (3 pages) and quite useful. Haven’t read the Full Report (PDF) yet, but it sounds interesting. Focusing on knowledge, learning, and teaching seems like a good strategy in the context.

McCann also has a website devoted to Music and Copyright, including lots of links and documents. Fortunately enough, his participation on the SEM-L mailing-list on issues of music reappropriation has been advocating for moving away from the simplistic view of copyright as legalistic-commercial issue.<—79452c389c4ef3af47c4fda2498c6d2b—>

What makes together? Notes on the life of political
collectivities
CASAZine #3: Borders, Markets, Movements

“Through the work of listening to others, of hearing
the force of their pain and the energy of their anger,
of learning to be surprised by all that one feels
oneself to be against; through all of this, a ‘we’ is
formed and an attachment is made.”
-Sarah Ahmed

The focus of this issue emerges from the 2005 Cultural
Analysis Summer Academy (CASA) international meeting
in Amsterdam organized around the themes of “Borders,
Markets and Movements”. CASA addressed a variety of
topics from immigration policy to working conditions
to the democratization of education. What united this
wide range of interests was a commitment to raising
questions of social responsibility, along with a
desire for collective analyses and collective
solutions for confronting and countering oppressions.

From this shared commitment, CASA 2005 became a space
for telling stories of our political successes and
failures in organizing, of our hopes and yearnings for
a more just world, as well as of our daily
negotiations with both privilege and marginalization
in the places where we work and live. The
conversations, narratives and anecdotes exchanged at
CASA reflect broader issues that people working toward
social justice consider in everyday life.

Call for Papers

Editors of what makes together?, the 3rd issue of
CASAZine, invite proposals that investigate the
commitments, relationships and attachments involved in
working collectively. We seek experiential writing
that critically reflects upon issues of the political,
ethical and emotional labour involved in imagining,
enacting and sustaining political collectivities that
work toward the creation of social justice.

Whether engaged in solidarity projects seeking justice
for refugees, localized struggles for worker’s rights
or international movement building around democratized
education, all of this political organizing demands
constant and critical reflection regarding the
processes of working collectively to enact social
change.

Focused on what we can gather from listening to each
other, we envision this collection as an “ethics of
tactics” rather than a guidebook or instruction
manual. Instead of telling each other what to do, we
see this ethics of tactics as an opening to what each
other has to tell, and as a proper listening that can
create the force and formation of a ‘we’. Toward this
aim, we seek writing that interrogates and expands
upon questions such as:

Submission Guidelines

Submissions should be between 500-3,000 words. We are
open to various writing styles and encourage
creativity and experimental forms.

Send email queries and submissions (as Word documents)
to whatmakestogether@riseup.net

Deadline: Feb 15th, 2006

CASA

CASA offers a platform for people to discuss and
combine efforts and information working towards social
transformation. For more information on CASA 2005
Borders, Markets, Movements and to find out about the
summer meeting CASA 2006: Constructing Social Change
go to http://www.casa.manifestor.org/<—f9c17f2605b7a71c464d2bf7659192e3—>

Press release

Street date: November 1, 2005

Musical Bells of Accra, Ghana

The Time of Bells, 3

Produced by Steven Feld & Nii Noi Nortey
Released in collaboration with VoxLox

Steven Feld’s global excursion into the sonic worlds shaped by bells continues with the third volume of a planned five disc series, co-released by VoxLox and EarthEar. In previous releases, Feld’s soundscape compositions from five European countries explored how animal, church, and festival bells shape social time. Now Musical Bells of Accra, Ghana turns to bells as musical instruments. The three featured groups highlight the vibrant mix of music styles in Accra today.  But what’s unique here is the presence of jazz in the mix, whether it is the traces of swing parts you hear in bells jamming with car horns, or the straight-up tribute to John Coltrane and the 1970’s avant garde played on African as well as Western instruments.

In Accra, capital cityof Ghana, the former “Gold Coast,” one commonly hears musicians instruct that “the bell is the keeper of the time” in traditional drum and dance ensembles. But bells do much more than keep ensemble time. Listen here as bells of different sizes, pitches, and timbres make time multiple. Interacting with voices, wind, string, percussion and reed instruments­—including car horns and jazz saxophone—bells ring the vibrant time of traditional, modern, Pan African diasporic styles now resounding in Accra.

Musical Bells of Accra, Ghana features three never-recorded ensembles working out bell
time on six extended tracks:

Trotro Drivers Union Por Por Group:

Por Por music links two great 20^th Century inventions, the motor car and jazz music. Played by professional bus drivers on bells and the squeeze bulb circular brass car horns brought to Ghana by Indian traders, por por (pronounced paaw paaw) started as a way to scare animals away on forest roads at night as drivers pumped punctured tires. The music grew into a style equally resembling African animal horn ensembles and
riffing jazz horn sections.

Accra Trane Station:
Nii Noi Nortey and Nii Otoo Annan weave bells together with wind, reed, string and percussion sounds of Africa and the Diaspora.  Nortey is inventor of the “afrifone” a family of West African instruments modified with saxophone mouthpieces. Annan is inventor of the “African Percussion Kit,” a wild mixture of jazz cymbals and African drums and bells. The ATS tracks preview a forthcoming tribute CD to the African legacy of John Coltrane.

Powerful Bells:
An impromptu medley for bells and voices by seasoned performers associated with the Powerful Drum Shop at Accra’s National Arts Center.

For full liner notes for Musical Bells of Accra—The Time of Bells, 3: VoxLox

The Time of Bells is the most ambitious recording project on the sonic legacy of bells
across human and animal history, and continues the groundbreaking work Feld has done in the academic world to build an appreciation of the value of high-quality field recordings as ethnographic publications in their own right.  The Time of Bells series builds on his
earlier work on the acoustic ecology of rainforests (Voices of the Rainforest, Rainforest Soundwalks), and is a soundscape contribution to understanding how bells produce musical and social time around the world.

For more about Feld’s line of VoxLox recordings: www.voxlox.net

For the Time of Bells series: www.EarthEar.com/catalog/timebellsone.html

www.EarthEar.com/catalog/timebellstwo.html

www.EarthEar.com/catalog/timebellsthree.html

For Feld’s New Guinea recordings: www.EarthEar.com/catalog/rainsoundwalks.html

For Feld’s other recordings in Greek Macedonia: www.EarthEar.com/catalog/bellswinterfestivals.html

www.uwm.edu/People/dickblau/BrightBalkanMorning/

Previous EarthEar releases (http://www.EarthEar.com/eerelease)

2004:

A Day of Sound (Jason Reinier, et al)

The Time of Bells 2 (Steve Feld)

The Time of Bells 1 (Steve Feld)

2002:

Grooved Whale (Lisa Walker)

Caratinga: Soundscapes of Brazil’s Atlantic Rainforest (Doug Quin)

2001:

Rainforest Soundwalks: Ambiences of Bosavi, Papua New Guinea (Steve Feld)

2000:

Before the War (David Rothenberg/Doug Quin)

1999:

The Dreams of Gaia (2CD, Various)

Forests: A Book of Hours (Doug Quin)

Why do Whales and Children Sing?: A Guide to Listening in Nature (David Dunn)

FOR REVIEW COPIES OF ANY TITLE, OR FOR INTERVIEW REQUESTS,
PLEASE CONTACT JIM CUMMINGS AT:
cummings@earthear.com

888-356-4918
505-466-1879

De retour ici, je google un peu et découvre un artiste engagé plutôt intéressant, qui a du récemment se réfugier en France… Vous trouverez ici un petit documentaire (environ 12 min, 65MB, format RealMedia) sur l’artiste, deux MP3s de son plus récent album (maintenant introuvable, parait-il), ainsi que des liens à d’autres textes sur lui.

Pour le plaisir de découvrir un nouvel artiste.

Do you want to make revolutionary radio? Are you interested in social
justice issues in Africa? Are you creative, political and ready to step up
to the mic? The Amandla Radio Show wants you!

************************************************************************
THE AMANDLA RADIO SHOW ON CKUT IS LOOKING FOR VOLUNTEERS

************************************************************************
Volunteers do not have to have any radio experience but do need a desire to learn!

WHO WE ARE:

Amandla is a bilingual African current affairs show which airs on CKUT 90.3
fm every Wednesday from 7 pm to 8 pm. For over 13 years, we have been
covering issues in Africa which are ignored and misrepresented in the
mainstream media. We focus much of our work on grassroots struggles,
resistance movements and social justice concerns in Africa while revealing
the international dimension of the issues we cover. The shows

WHO WE ARE LOOKING FOR:

We are looking for hosts for our radio show in French and English, as well
as occasional contributors, researchers and engineers/technicians.
Volunteers do not have to have any radio experience but do need a desire to
learn! We are more than happy to train new volunteers and, by becoming a
member of CKUT, you can sign up for a variety of training sessions.
As an Amandla volunteer, you will also have access to production studios to
bring your shows to life on the CKUT airwaves.

INTERESTED??

For more information, contact us at amandla_montreal@yahoo.ca or through CKUT
Radio McGill at www.ckut.ca or news@ckut.ca

—___________________________________________
Graffiti.net free e-mail @ www.graffiti.net
Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year!

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[As for the quote in the title of this entry, some discussion here]<—93dbfeb53ac1bebebb035e75eac51419—>

So, is podcasting a way to globalise orality? <—33d3f4b6c2a265833b5c1e4241a251bc—><—1eee2c2127a635ad6486c5b520775b8c—>

The New York Times > Arts > Music > Cold Fusion: Montreal’s Explosive Music Scene
An explosive music scene in Montreal. Interesting.<—d85463ccf7f7a8182424c387e1032aef—>