Indiana University Indiana University

Friday, September 28 and Saturday, September 29
Indiana University Memorial Union Walnut Room

Music is often romanticized as a universal language, one of the few modes of human expression that communicates meaning across borders rather than remaining "hard to translate" in the way that language, cultural knowledge, and other expressive forms are. True at some level, something else is equally true in the present global conjuncture. With increasingly global trends in cultural, religious, and ethnic conflict; industry concerns over intellectual property and international piracy; and the branding of places as "origin" sites of particular cultural forms; the human art of music is a battleground not just for breaking borders down but also erecting new ones. The fact that music is created and constantly modified through global circuits of production-circulation-consumption results in multiple stakeholders (ranging from musicians and fans to corporations and government entities) involving themselves in constant negotiations over the meaning and boundaries of musical practice. They engage in acts that are inherently dialectical: performative and political, transgressive of and constitutive of multiple kinds of borders ranging from the national and geo-political to the cultural and economic.

Organized by the

Indiana University Center for Latin American and Caribbean Studies

Sponsored by the following units at Indiana University:
The College Arts and Humanities Institute
The African Studies Program
The Center for the Study of Global Change
The Department of American Studies
The Department of Folklore and Ethnomusicology