The New York Times ran an article on "an unusual class of cultural ambassadors and trade envoys, hand-picked by their government to represent their nation to the rest of the world." The article--titled "The New Ambassadors"--talks about alternative rock bands from Canada, Scandinavia, and the Pacific region, who have tried their hand at government grants to support their music careers and forays into the American market. The increase of this phenomenon will likely erode the rigidity of the category known as "world music." Here are some interesting excerpts from the article:
- In a little-understood chapter in the history of cultural exchange, nations from around the world have been choosing musical outfits and sending them to the biggest music markets abroad in hopes of raising their international profile and generating export sales. In a way, it makes perfect sense.
In a global economy that is blurring geographic borders, more and more nations view intellectual property — films, software and the like — as valuable commodities, easily transferred exports that can sell in previously inaccessible markets. That includes intellectual property like pop-punk or death metal. Digitally distributed, music is easier to export than ever. And the artists, many of whom have long dreamed of taking a shot at the Billboard chart, are mostly happy to play along. - “It ultimately comes down to what one thinks of activity of the state on behalf of art or commerce,” said Brent Grulke, creative director of the annual Austin festival South by Southwest, which along with CMJ has emerged as a bazaar of internationally financed talent. “Clearly one of the more inexpensive things that we can produce that potentially has great financial rewards is our culture. For nations that have any kind of forethought into the future of their economies, it’s a no-brainer.”
- From outward appearances, it might seem that the cultural compass just spins at random from one country to the next. But more and more the “next big thing” title may reflect the deliberate efforts of government trade and culture officials, who routinely attend American music festivals, organize junkets for critics and record executives, and arrange coaching and subsidies for their homegrown acts.
- “The government recognizes the importance of a cultural spend for a cultural identity,” Ms. Ostertag said. “I think that we struggle as Canadians for our own Canadian identity. American dominance is so prevalent wherever you go.” Part of maintaining the nation’s place on the cultural map, she added, “is happening through identifying ourselves through the success of other Canadians.”
- Adam Shore, who runs the Vice Recordings label and magazine, and who recently promoted an event at CMJ with the Norwegian consulate, says certain Scandinavian countries always “wind up sending over bands that sound like bands we already have.”
“Is the endgame selling a lot of records in America,” he asked, “or is the endgame exposing America to their culture and their kind of people?”
Above excerpts from "The New Ambassadors", by Jeff Leeds, The New York Times, November 12, 2006
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