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Rude citizenship
Jamaican popular music, copyright, and the reverberations of colonial powerVerfasser: Mann, Larisa Kingston
(DE-588)1259356418978-1-4696-6724-9; 978-1-4696-6723-2
Schlagwörter: Jamaika
; Musik ; Kooperation ; Urheberrecht 
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Letzte Änderung: 21.09.2023
MARC-Felder:
- Bayerische Staatsbibliothek München (Sigel: 12)
- Bibliothek des MPI für Innovation und Wettbewerb und des MPI für Steuerrecht und Öffentliche Finanzen München (keine Fernleihe möglich)
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https://gateway-bayern.de/BV047958804
Letzte Änderung: 21.09.2023
| Titel: | Rude citizenship |
|---|---|
| Untertitel: | Jamaican popular music, copyright, and the reverberations of colonial power |
| URL: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=03334004... |
| Erläuterung : | Inhaltsverzeichnis |
| Von: | Larisa Kingston Mann |
| ISBN: | 978-1-4696-6724-9 |
| Preis/Einband: | pbk. |
| ISBN: | 978-1-4696-6723-2 |
| Preis/Einband: | hbk. |
| Erscheinungsort: | Chapel Hill |
| Verlag: | The University of North Carolina Press |
| Erscheinungsjahr: | [2022] |
| Erscheinungsjahr: | © 2022 |
| Umfang: | 228 Seiten |
| Abstract: | "In this deep dive into the Jamaican music world filled with the voices of creators, producers, and consumers, Larisa Kingston Mann-DJ, media law expert, and ethnographer-identifies how a culture of collaboration lies at the heart of Jamaican creative practices and legal personhood. In street dances, recording sessions, and global genres such as the riddim, notions of originality include reliance on shared knowledge and authorship as an interactive practice. In this context, musicians, music producers, and audiences are often resistant to conventional copyright practices. And this resistance, Mann reveals, goes beyond cultural concerns. Because many working-class and poor people are cut off from the full benefits of citizenship on the basis of race, class, and geography, Jamaican music spaces are an important site of social commentary and political action in the face of the state's limited reach and neglect of social services and infrastructure. Music makers organize performance and commerce in ways that defy, though not without danger, state ordinances and intellectual property law and provide poor Jamaicans avenues for self-expression and self-definition that are closed off to them in the wider society. In a postcolonial world, how creators relate to copyright reveals how people will play outside, within, and through the limits of their marginalization"-- |
| Sprache: | eng |
| RVK-Notation: | LS 48015 |
| RVK-Notation: | LS 48700 |
| Fid-Notation: | MUS |
| Angaben zum Inhalt: | Introduction : Community originality and colonial copyright -- Voice of the people : Cultural survival as a musical imperative -- Every night it's something : Exilic authoritiy in the street dance -- Counteractions : Musical conversation against commodification -- Conclusion : New visions from old traditions : autonomy from the commons |
| Andere Ausgabe: | Erscheint auch als |
| _Bemerkung: | Online-Ausgabe |
| _ISBN: | 978-1-4696-6726-3 |
| Andere Ausgabe: | Erscheint auch als |
| _Bemerkung: | Online-Ausgabe |
| _ISBN: | 978-1-4696-6725-6 |
| Thema (Schlagwort): | Jamaika; Musik; Kooperation; Urheberrecht |
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| 245 | 1 | 0 | |a Rude citizenship |b Jamaican popular music, copyright, and the reverberations of colonial power |c Larisa Kingston Mann |
| 264 | 1 | |a Chapel Hill |b The University of North Carolina Press |c [2022] | |
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| 505 | 8 | |a Introduction : Community originality and colonial copyright -- Voice of the people : Cultural survival as a musical imperative -- Every night it's something : Exilic authoritiy in the street dance -- Counteractions : Musical conversation against commodification -- Conclusion : New visions from old traditions : autonomy from the commons | |
| 520 | 3 | |a "In this deep dive into the Jamaican music world filled with the voices of creators, producers, and consumers, Larisa Kingston Mann-DJ, media law expert, and ethnographer-identifies how a culture of collaboration lies at the heart of Jamaican creative practices and legal personhood. In street dances, recording sessions, and global genres such as the riddim, notions of originality include reliance on shared knowledge and authorship as an interactive practice. In this context, musicians, music producers, and audiences are often resistant to conventional copyright practices. And this resistance, Mann reveals, goes beyond cultural concerns. Because many working-class and poor people are cut off from the full benefits of citizenship on the basis of race, class, and geography, Jamaican music spaces are an important site of social commentary and political action in the face of the state's limited reach and neglect of social services and infrastructure. Music makers organize performance and commerce in ways that defy, though not without danger, state ordinances and intellectual property law and provide poor Jamaicans avenues for self-expression and self-definition that are closed off to them in the wider society. In a postcolonial world, how creators relate to copyright reveals how people will play outside, within, and through the limits of their marginalization"-- | |
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