Abstract

The experience of development, as well as understandings of and responses to it, are uniquely rendered through popular culture generally, and popular music in particular. Music has been a medium of choice through which marginalised populations all over the world convey their (frequently critical) views, while in the Global North music has also long played a prominent (if notorious) role in portraying the plight of the South’s ‘starving millions’ as an emotional pretext for soliciting funds for international aid. We discuss the relationship between music and development in five specific domains: the tradition of Western ‘protest’ music; musical resistance in the Global South; music-based development interventions; commodification and appropriation; and, finally, music as a globalised development vernacular. We present our analyses not as definitive or comprehensive but as invitations to broaden the range of potential contributions to development debates, and the communicative modalities in and through which these debates are conducted. Doing so may lead to enhancing the relevance and coherence of development debates for a greater range of key stakeholders of development by making them more open, authentic, and compelling.

摘要

通过普遍的流行文化，尤其是流行音乐，独特地呈现了发展的经验以及对发展的理解和回应。音乐一直是一种选择的媒介，全世界边缘化的人们通过这种媒介表达他们的观点（经常是批评的），而在全球北方，音乐长期以来在描绘南方“挨饿的数百万人”的困境中发挥了突出的作用（如果是臭名昭著的）。 ”，以此作为筹集国际援助资金的情感借口。我们在五个特定领域讨论音乐与发展之间的关系：西方“抗议”音乐的传统；全球南方的音乐抵抗；基于音乐的发展干预措施；商品化和挪用；最后，音乐是全球化发展的本土语言。我们提出的分析不是权威性的或全面的，而是邀请其扩大对发展辩论的潜在贡献的范围，以及进行辩论的方式和方式。这样做可能会使公开辩论更加开放，真实和具有说服力，从而使发展辩论的针对性和一致性对于更大范围的主要发展利益攸关方而言更为重要。