Could music—popular, traditional or world music—be a favoured medium for commenting on the transformations of the world? Could an invisible and enveloping polyphonic material have the capacity to incorporate and express in some particular way the subtle upheavals of a society, its reactionary flows and its emancipatory forces?
Sam Durant, Haroon Mirza, and Bojan Šar?evi? seem to be formulating this hypothesis when they explore the role of music in the face of history, and open up spaces to (re)read past or contemporary moments related to the (trans)formation of cultural identities.
Although they take a conceptual and political approach to music, the three artists nonetheless markedly resist the theoretical or didactic: suggestion always wins out over frontality, and the body—the performing body or the listening body—is the essential medium of the circulation between a musical fragment and its social context.
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