Popular Music, Forced Migration from Syria, and Welcome Culture in Germany and Austria

Among the people arriving in the European Union during the long summer of migration in 2015/16 and in the immediate years before were also musicians who positioned themselves within genres of popular music. In this article, I re-construct the musical developments of three selected musicians/bands, who fled the civil war in Syria, after their arrival in Austria or Germany: the rock band Khebez Dawle خبز دولة, the pop band Basalt, and the rapper Enana Alassar. Discussing the ways of settling in and adapting to a new life situation gives insights into the individual musical developments and the musicians’ agency to negotiate and perform their surroundings and new life situation in their music, including a handling of categorizations as musicians from Syria or “refugee” musicians in media and on stages within the activities of the so-called Welcome Culture. Furthermore, it points to general transformations in regard to music-making by Syrians and the intertwining of political and social transformations and individual music-making choices.

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Pop–Power–Positions: Engaging with the (Post)Colonial in Popular Music Studies. An Introduction

Popular music is embedded in and connected to our globalized world. A world that is, however, not an equal and fair one. Issues of power, place, and positions play a fundamental role in all aspects of life: It matters in which context, world region, class, or ethnic belonging a person, an institution, a music is situated. The first volume of the IASPM D-A-CH series ~Vibes looks at (global) power relations and representations of differences in popular music (studies). In the introduction the editors argue for the inclusion of postcolonial thought and questions of decolonizing academia into popular music studies. Based on papers held at the IASPM D-A-CH conference in Bern 2018, this volume presents seven articles from various disciplines, discussing education, economics, globalization, and politics.

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„Pop–Power–Positions: Engaging with the (Post)Colonial in Popular Music Studies. An Introduction“ weiterlesen