Difference between revisions of "Music and Global Human Development"

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Music and Indigenous Development network.
 
  
Current project directions:
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Short URL: http://bit.ly/musicghd
  
* [[Songs for sustainable peace and development]]:  using local popular music styles to disseminate messages relevant to crucial development issues, especially public health, education, and tolerance.  Most of our work thus far has been with Liberian musicians, dealing with post-civil war issues. See for instance http://bit.ly/sanitationliberia .  
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This project, music4ghd, encompasses participatory action research projects in music & development, centered on collaborations between academics, NGOs, government organizations, musicians, and others, applying ethnomusicology to real-world social issues, focusing peoples who have been marginalized--socially, politically, economically--by colonialism and its aftermath, whether in the "developing" world or not.
  
* [[Music for cultural continuity and civil society]]: supporting participatory musical continuity (not stasis) for intergenerational connectivity over time, and social solidarity in the present. Ironically one of the best ways to support musical continuity is by injecting "traditional" music into the local media space, which otherwise tends to become filled with global popular music. Projects include partnerships with culture organizations in Egypt, Lebanon, and elsewhere.  See for instance  http://kinkadrum.org.
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''Music4ghd includes two main branches''
  
Please follow the above links to read more...
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* '''[[Songs for sustainable peace and development]]''':  using local mass-mediated popular music styles to disseminate messages relevant to crucial development issues, especially public health, education, and tolerance, and especially to the youth.  '''Most of our work thus far has been with Liberian musicians, dealing with post-civil war issues. See, for instance, [http://bit.ly/sanitationliberia Sanitation]'''
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* '''[[Music for cultural continuity and civil society]]''': supporting participatory musical continuity (not stasis) for intergenerational connectivity over time, and social solidarity in the present. Ironically one of the most powerful ways to support musical continuity is by injecting "traditional" music into the local media space, which otherwise tends to become filled with global popular music. '''Projects include partnerships with culture organizations in Egypt, Lebanon, and elsewhere.  See for instance, in Ghana:  [http://kinkadrum.org Kinka: Songs from Avenorpedo]'''
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Please follow the above links to learn more...
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--Michael Frishkopf

Latest revision as of 13:16, 16 December 2013

Short URL: http://bit.ly/musicghd

This project, music4ghd, encompasses participatory action research projects in music & development, centered on collaborations between academics, NGOs, government organizations, musicians, and others, applying ethnomusicology to real-world social issues, focusing peoples who have been marginalized--socially, politically, economically--by colonialism and its aftermath, whether in the "developing" world or not.

Music4ghd includes two main branches

  • Songs for sustainable peace and development: using local mass-mediated popular music styles to disseminate messages relevant to crucial development issues, especially public health, education, and tolerance, and especially to the youth. Most of our work thus far has been with Liberian musicians, dealing with post-civil war issues. See, for instance, Sanitation
  • Music for cultural continuity and civil society: supporting participatory musical continuity (not stasis) for intergenerational connectivity over time, and social solidarity in the present. Ironically one of the most powerful ways to support musical continuity is by injecting "traditional" music into the local media space, which otherwise tends to become filled with global popular music. Projects include partnerships with culture organizations in Egypt, Lebanon, and elsewhere. See for instance, in Ghana: Kinka: Songs from Avenorpedo

Please follow the above links to learn more...

--Michael Frishkopf