Çudamani, a sekaa (a communal club under the auspices of a ward) and a sanggar (a more tightly governed and broader arts organization) in the Balinese village of Pengosekan, is committed to studying and teaching Balinese music and dance; it is also a transnational arts phenomenon.
Çudamani is first a traditional sekaa, in the sense that it is committed to its local community, and one of the main missions of the troupe is to ngayah, or perform voluntary performance service at temple festivals. The original troupe was initiated in the late 1990s; today, the organization includes at least four different sub-groups (including children’s clubs).
The group is postmodern because of the transnational basis, the neotraditionalism, the mixing of new and traditional musics and the play of genre, the fluidity of local and global identities, and the fact that the troupe seems to defy preconceived notions of sekaa or sanggar and to transcend some principles upon which such organizations have been established. While its international notoriety distinguishes this group from most others, Çudamani’s global participation and embrace of neotraditionalism illuminates growing trends within Bali and provides a case study of circulating, 21st-century ideation on cultural representation and the role of the arts.
This according to “Between traditionalism and postmodernism: The Balinese performing arts institution Çudamani” by David D. Harnish, an essay included in Performing arts in postmodern Bali: Changing interpretations, founding traditions (Aaachen: Shaker Verlag, 2013, pp. 257–77).
The Beatles, a.k.a. The white album, contests the arbitrary distinction between popular music and political engagement through its radical eclecticism and self-reflexivity. The album outlines a new way of being political—a postmodern politics—that was and still is to a large extent erroneously seen as escapism.
Critics from the New Left charge that the disparate styles and self-conscious references on the record signal the Beatles’ disregard of politics; but this perspective implies that there is only one way of being political, and fails to consider the historical circumstances that give any use of parody its particular significance.
By 1968 corporate attempts to manipulate rock artists and fans were reaching a peak, and early rock and roll had lost much of its initially subversive allure. Concurrently, the Beatles found themselves lauded for their masterpiece, Sergeant Pepper’s Lonely Hearts Club Band.
The Beatles’ turn to parody then serves not as an escape from but as a specific response to key cultural tensions: the self-reflexivity and ironic appropriation of various styles on the album allowed the Beatles to contest the commodification of rock music even as they challenged assumptions about what constitutes political relevance.
This according to “We all want to change the world: Postmodern politics and the Beatles’ White album” by Jeffrey Roessner, an essay included in Reading the Beatles: Cultural studies, literary criticism, and the Fab Four (Albany: State University of New York Press, 2006, pp. 147–158).
Today is The white album’s 45th birthday! Below, documentary footage of the album’s creation.
According to “Changing the musical object: Approaches to performance analysis” by Nicholas Cook, broad cultural developments associated with poststructuralism and postmodernism have placed an emphasis on reception—on performance rather than on inherent meaning—but the reflection of these developments in musicology has been skewed by that discipline’s retention of the concept of music as written text.
Cook argues that just as writings about music influence performances, so performance style has an impact on musicology, creating the prospect of a historiography predicated not on compositional innovation but on music as it is experienced in everyday life.
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