Martin A. M. Gansinger

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls.

In der musikalischen Methode der kollektiven Improvisation kommt eine Spielauffassung zum Ausdruck, deren demokratisch-emanzipatorische Grundeinstellung Vergleiche mit dem von Jürgen Habermas formulierten Konzept der idealen Sprechsituation nahe legt. Diese Vermutung wird im Rahmen einer einleitenden Annäherung an die kollektive Improvisation als von Interaktivität und Synchronizität geprägtes Beziehungsgeschehen näher ausgeführt. Nach einer Diskussion des improvisatorischen Handelns in der Musik in Bezug auf theoretische, historische und psychologische Aspekte werden die verschiedenen, aus dem Free Jazz der 1960er Jahre hervorgegangenen Entwicklungsstufen der freien bzw. kollektiven Improvisation dargestellt. Im Anschluss daran wird die Kollektiv-Improvisation unter Bezugnahme auf das Konzept der idealen Sprechsituation diskutiert und im interkulturellen Kontext verortet, wobei die von Musikern wie Derek Bailey geforderte Sublimierung idiomatischer, kulturell geprägter Ausdrucksformen durch die individuelle Entwicklung einer charakteristischen Klangsprache am Instrument als egalisierend für die tendenziell asymmetrisch geprägten Dialogformen dieser Situation erläutert wird. Inklusive Interviews mit Evan Parker, Alexander von Schlippenbach und Joe Fonda.

This contribution aims to explore the historical predecessors of the Five Percenter model of self-realization, as popularized by Hip Hop artists such as Supreme Team, Rakim Allah, Brand Nubian, Wu-Tang Clan, or Sunz of Man. As compared to frequent considerations of the phenomenon as a creative mythological background for a socio-political struggle, Five Percenter teachings shall be discussed as contemporary interpretations of historical models of self-realization in various philosophical, religious, and esoteric systems. By putting the coded system of the tenfold Supreme Mathematics as one of its core teachings in context with the Pythagorean Tetractys, an arrangement of ten points in four lines, the commonalities between the sequence and concepts attributed to the respective numbers will be demonstrated.

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and its specific ability to absorb and incorporate elements of Western culture. After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression.

This edited volume is designed to explore different perspectives of culture, identity and social development using the impact of the digital age as a common thread, aiming at interdisciplinary audiences. Cases of communities and individuals using new technology as a tool to preserve and explore their cultural heritage alongside new media as a source for social orientation ranging from language acquisition to health-related issues will be covered. Therefore, aspects such as Art and Cultural Studies, Media and Communication, Behavioral Science, Psychology, Philosophy and innovative approaches used by creative individuals are included. From the Aboriginal tribes of Australia, to the Maoris of New Zealand, to the mystical teachings of Sufi brotherhoods, the significance of the oral and written traditions and their current relation to online activities shall be discussed in the opening article. The book continues with a closer look at obesity awareness support groups and their impact on social media, Facebook usage in language learning context, smartphone addiction and internet dependency, as well as online media reporting of controversial ethical issues. The Digital progress has already left its dominating mark as the world entered the 21st century. Without a doubt, as technology continues its ascent, society will be faced with new and altering values in an effort to catch-up with this extraordinary Digitization, adapt satisfactorily in order to utilize these strong developments in everyday life.

Ausgehend von der immer wieder bemühten Metapher des Black CNN wird versucht, das Potenzial der musikalischen Ausdrucksform des HipHop als Kommunikationsstruktur der Schwarzen Minderheit in den USA zu analysieren. Nach einer historisch-kulturellen Erläuterung, die sich mit der Tradition der Reflektion sozialer und politischer Aspekte in den unterschiedlichen musikalischen Äußerungen der Schwarzen Volksgruppe in den USA beschäftigt und schon ansatzweise die Bedeutung dieser Ausdrucksmöglichkeit im Kontext eines internal colonialsm vor Augen führt, werden jene soziodemographischen Entwicklungen nachvollziehbar gemacht, die sich als zentraler Kritikpunkt in den verbalen Artikulationen des HipHop widerspiegeln. Vor dem theoretischem Hintergrund von cultural citizenship - ein Konzept zur Bestimmung kultureller Teilhabe in der Mediengesellschaft -, werden 25 Textbeispiele, die sich auf HipHop- Veröffentlichungen von 1982 bis 2004 finden, auf ihre Übereinstimmung mit Indikatoren untersucht, die sich aus, den Medien zugeschriebenen, politischen und sozialen Funktionen ableiten lassen. Overseen by Scott La Rock...

Im institutionalisierten Bereich interkultureller Beziehungen kommt es permanent zu Bemühungen, über gemeinsame musikalische Projekte Brücken zum Austausch von Lebensrealitäten und Erfahrungen zu erzielen. In vielen Fällen besteht jedoch nicht die Gelegenheit des gegenseitigen Austausches, weil die beteiligten Akteure entweder nebeneinander agieren, ohne aufeinander einzugehen und die Impulse ihres Gegenübers in den eigenen Beiträgen zu reflektieren, oder aber eine der beiden Bestandteile den anderen dominiert, und keine entsprechende Gelegenheit zur gleichberechtigten Artikulation einräumt. Der Grund dafür liegt häufig in der Starrheit der musikalischen Systeme, die bei solchen Gelegenheiten aufeinander treffen und deren Unfähigkeit, auf Impulse außerhalb des jeweiligen Bezugsrahmens einzugehen. Die Improvisation bietet in diesem Zusammenhang einen tatsächlichen Spielplatz für unterschiedliche Zugänge und Entwürfe, der dazu einlädt, sich spielerisch einander anzunähern. Während im idiomatisch eingeschränkten Ausdrucksspektrum auch hier noch einige Barrieren existieren dürften, stellt sich im Kontext der harmonisch und rhythmisch freien Variante eine scheinbar ideale Basis zum gegenseitigen Erfahrungsaustausch dar. Diese wird nicht zuletzt aufgrund einer stark individualisierten Klangästhetik und Ausdruckspalette erzielt, deren Repräsentationsanteil an deutlich zuzuordnenden Elementen einer jeweiligen kulturellen Entität jedoch oft nicht exakt zu bestimmen ist. So widmet sich ein zentraler Aspekt der Arbeit der Frage nach der Zuweisungsebene der in diesem Zusammenhang getätigten Ausdrucksweisen, die sich im Bereich zwischen eindeutig einer bestimmten kulturellen Entität zuzuordnenden Elemente – häufig in Form von traditionellen Instrumenten als kulturelle Artefakte einer spezifischen regionalen Zugehörigkeit – und der rein technischen Herangehensweise an die musikalische Praxis der Kollektiv-Improvisation als Bestandteil einer global präsenten Subkultur der freien Improvisationsszene bewegt. Regelmäßig initiierte Projekte, die sich mit dieser Thematik auseinandersetzen werden im methodischen Teil der Arbeit zur Diskussion gestellt und als Ausgangspunkt für Erkenntnisse zur Optimierung von Projekten mit ähnlich ausgerichteten Zielsetzungen herangezogen.

This article is discussing the possibilities of new media technologies in the context of transmitting ancient spiritual traditions in various cultural and religious backgrounds. The use of internet as a means to preserve the orally transmitted knowledge of the Aboriginals and Maoris, and in doing so transferring their cultural heritage to their younger generations and interest groups. Following is an extended case study of the Naqshbandi Sufi Order and its specific compatibility of a traditional orientation towards spiritual work among people rather than monastic seclusion and its recent application of digital media resources. Therefore, new technology is being discussed as a logical extension, not without attention being drawn to possible limitations, however.

This volume compiles international contributions that explore the potential risks and chances coming along with the wide-scale migration of society into digital space. Suggesting a shift of paradigm from Spiral of Silence to Nexus of Noise, the opening chapter provides an overview on systematic approaches and mechanisms of manipulation – ranging from populist political players to Cambridge Analytica. After a discussion of the the juxtaposition effects of social media use on social environments, the efficient instrumentalization of Twitter by Turkish politicans in the course of the US-decision to recognize Jerusalem as Israel’s capital is being analyzed. Following a case study of Instagram, Black Lives Matter and racism is a research about the impact of online pornography on the academic performance of university students. Another chapter is pointing out the potential of online tools for the successful relaunch of shadow brands. The closing section of the book deals with the role of social media on the opinion formation about the Euromaidan movement during the Ukrainian revolution and offers a comparative study touching on Russian and Western depictions of political documentaries in the 2000s.

This chapter aims to direct attention to the political dimension of the social media age. Although current events like the Cambridge Analytica data breach managed to raise awareness for the issue, the systematically organized and orchestrated mechanisms at play still remain oblivious to most. Next to dangerous monopoly-tendencies among the powerful players on the market, reliance on automated algorithms in dealing with content seems to enable large-scale manipulation that is applied for economical and political purposes alike. The successful replacement of traditional parties by movements based on personality cults around marketable young faces like Emmanuel Macron or Austria’s Sebastian Kurz is strongly linked to products and services offered by an industry that simply provides likes and followers for cash. Inspired by Trump’s monopolization of the Twitter-channel, these new political acteurs use the potential of social media for effective message control, allowing them to avoid confrontations with professional journalists. In addition, an extremely active minority of organized agitators relies on the viral potential of the web to strongly influence and dictate public discourse – suggesting a shift from the Spiral of Silence to the dangerous illusion of a Nexus of Noise.

Im Rahmen der folgenden Seiten sollen die Kommunikationsbedingungen im Kontext der Kollektiv-Improvisation genauer analysiert und einem Vergleich mit den Voraussetzungen der idealen Sprechsituation von Habermas unterzogen werden. Hinleitend dazu erfolgt zum Einstieg eine Darstellung jener Ausgangsbedingungen, welche die Methode der kollektiven Improvisation von herkömmlichen musikalischen Verfahren unterscheidet. Zu diesem Zweck werden neben einer kurzen Erläuterung der bereits im vorangegangenen Kapitel ausführlich diskutierten Ausgangsbedingungen u.a. Ansätze aus der Musiktherapie herangezogen, die sowohl soziale als auch politische Faktoren mit einbeziehen. Im Anschluss daran sollen mittels einer systemtheoretisch orientierten Annäherung, wie sie von Borgo und Goguen vorgenommen wurde, jene Aspekte genauer beleuchtet werden, die Aufschluss über die tatsächlichen Kommunikationsstrukturen und geben.

The chapter deals with the contrast between defining aspects of religious rigidity, a socio-historically derived counter-narrative, and anti-consumerism in Rastafarian philosophy and culture on one hand and the universal message and commercial success of the music on the other. After discussing the status of the genre as part of Jamaican national culture, the inherent socio-political claim of Reggae and Rastafarian culture are put in context with the conflicting claims of superiority and non-partiality that can frequently be found in the music. Along the lines of religious doctrines in Rastafarian culture and the attempted spiritual transcendence of racism the chapter closes with an exploration of the genre's signature tropes of social justice and anti-materialism, also considering the less strictly defined identity-constructions of recent artists linked to the Reggae Revival movement. "Martin A. M. Gansinger's study of Reggae and class employs Rastafarianism as a key ingredient of both concepts. Gansinger contends that Rastafarianism offers a "spirituality-based consciousness" that lends itself to an egalitarian-driven social consciousness. Reggae's strong social, political and culture capital as a philosophy of liberation owes much to Rastafarianism, which, for all its contradictions, embodied in categories such as the "righteous" and the "wicked", as well as its segregationalist and patriarchal past, offers a means through which the music advances a socially transformative spirituality that may play a part in the rediscovery of a truly social consciousness." (Ian Peddie, Introduction to The Bloomsbury Handbook of Popular Music and Social Class)

The Sufi tradition remains one of the most mysterious and least understood systems of self-realization. This book demystifies the practice of the sohbet—an ad hoc discourse—as the central instructional tool in the globally influential Naqshbandi-Haqqani Order. It approaches the practice using categories of improvised music to establish a framework for analyzation. Its ritualized formal structure, illustrated via selected talks of Shaykh Nazim Adil al-Haqqani, discloses the underlying—and assumingly primary—function to provoke prolonged states of raised awareness in listeners and condition their sympathetic nervous system. In an extensive discussion based on several years of field research in Cyprus, the book relates this intention to similar practices in other traditional knowledge systems by proposing psychophysical interpretations based on psychology, biochemistry, neuroscience, or quantum physics. It will appeal to scholars and students of Sufism, Islamic studies, and comparative religion, as well as those interested in performance studies and improvised music, interpersonal communication, and education.

In the age of iDeology - in which individual access and participation to technology is about to replace the rich texture of religion, culture, tradition and political convictions - the social impact of media discourse only magnifies. This volume is an attempt to explore the influence of ever-available communication content on the minds and behavior of a population that has made the permanent and often obsessive use of communication technology a defining element of social orientation. Unlike the many accounts that focus on the remarkably redefined patterns in the context of Western society - ranging from twittering Presidents to the emerging populist movements all over Europe - this volume portrays the situation from the frequently neglected perspective of the global periphery. As opposed to simply transfer and measure perspectives taken from a Western point of view, the clear intention of this volume is to provide ample space for the sincere and explorative consideration of local characteristics and settings of the different social, cultural and political contexts and therefore contribute to providing the ground for future research.

While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study based on Critical Discourse Analysis as well as ethnographic research has been conducted to determine the degree and direction of Bobo Shanti-representations in Jamaican Dancehall-Reggae as compared to Five Percenter Rap in the US, focusing on visual representations, declared affiliations as well as claims of moral superiority and gender roles in reference to doctrinal sources.

This book was compiled in order to connect the dots between past and present expressions of significant phenomena in media and culture. It attempts to provide a “big picture” perspective on how contemporary relevant manifestations of the entertainment industry, artistic expression, mediated civic engagement, technological infrastructure, or automated information control evolved from subversive surroundings, niche markets, and underestimated potentials to shaping forces in today's society. This book can be seen as both, a celebration of past and present achievements of creative expression, artistic articulation, cultural contributions, and mediated movements for the sake of liberalization and democracy, and a warning against a “cultural revolution” defined by censorship, suppression of pluralist opinions, unnatural conformity in science and journalism, and the distinction between “fake news” and “fact” handled by artificial intelligence or part-time fact checkers.

This chapter aims at pointing out the consistency of Islam as a source for empowerment strategies of the Black population in the United States and the religion’s effective reinterpretation as a sort of contemporary gnostic self-realization in Hip Hop culture. Moreover, the link between hybrid identity constructions of Hip Hop artists that borrow from religious and cultural sources of Islam and corresponding traditions of spiritual realization in mystical Islam and Sufism is demonstrated in the course of the discussion.

The volume provides an updated perspective on international aspects of various developments in media and culture. It includes discussions on how the digital environment contributes to the transformation and re-interpretation of existing phenomena, such as violence-on-demand in online movies, the internet appeal of virtual gangsta rappers, or the revived battle rap tradition, which operates outside the commercial limitations of the music industry and generates more views on social media than most recording artists. The book offers a new consideration of long-term trends and developments, and demonstrates in various examples how formerly marginal practices like gaming or the previously shunned Turkish movie industry have turned into influential tools of social change. In addition, the reciprocity of media content and political settings is underlined in a focus on the Arab world and the reconstruction of impulses from transnational media outlets to recent forms of citizen journalism, as well as in the case of governments’ approaches to media policy in response to the COVID-19 pandemic. The book places the spotlight on pressing issues, such as the ongoing enforcement of information control in the name of public health or the local politics and practices that hinder the process of democratization in authoritarian systems.

New media are increasingly providing spaces and opportunities for media houses and activist groups engaged in socio-political reform in Africa. In Nigeria, social media are becoming platforms for communicating messages of resistance against oppressive political and exploitative economic power structures. This study analyzed Ogas at the top (OATT), an online puppetry series by Buni TV, as a way of examining new platforms and message content in Nigeria’s rapidly changing media sphere. Relying on semiotics and critical discourse analysis perspectives, the study analyzed select episodes of the series, to gauge how producers constructed powerful visual and linguistic messages to boldly satirize social injustices perpetrated by Nigeria’s political elites.

This paper discusses the influence and transformation of the Bobo Shanti Rasta Mansion in Jamaican popular music. While affiliates of the strict denomination of the Rastafarian faith got labeled as militant radicals by more moderate Rasta branches and mainstream artists alike in the 1990s, a new generation of artistes has carefully deconstructed the Bobo identity, using portions to underline cultural authenticity. The transformative nature of this process is demonstrated in the form of a descriptive historical discussion and representative samples of lyrical content.

The aim of this study is to explore the representation of Pashtuns in Pashtu classic (before 1985) and modern (after 2000) movies and what is the difference of the portrayal of these movies and Pashtun literature. In particular, this study investigated in which time frame the depiction of Pashtun is positive and similar to their academic descriptions. A mixed methods approach consisting of qualitative case study, content analysis and comparative semiotic analysis was used to examine the content of the movies. Eighty positive leading characters were purposely selected from the sample (ten classic and ten modern Pashtu movies) to compare with academic literature on Pashtun culture.

This Volume is designed to introduce the reader to a few selected topics reflecting on aspects of Nigerian media and culture, where traditional forms of communication meet with the technical possibilities and globalized vision of the 21st century. It is a very important part of the concept of this book and our clear intention as Editors to provide an international platform for Nigerian future academics to address selected key issues and demonstrate interesting aspects of tradition and modernity from their very own perspective. Next to an introductory contribution by the Editors highlighting the considerable influence of Nigerian music and culture on those of the Black diaspora in the USA and vice-versa, the book includes detailed case-studies of various Nigerian media outlets.

Ausgehend von der, von Journalisten und Musikern immer wieder bemühten Metapher des 'Black CNN' wird versucht, das Potenzial der musikalischen Ausdrucksform des HipHop als Kommunikationsstruktur der Schwarzen Minderheit in den USA zu analysieren. Nach einer historisch-kulturellen Erläuterung, die sich mit der Tradition der Reflektion sozialer und politischer Aspekte in den unterschiedlichen musikalischen Äußerungen der Schwarzen Volksgruppe in den USA beschäftigt und schon ansatzweise die Bedeutung dieser Ausdrucksmöglichkeit im Kontext eines 'internal colonialsm' vor Augen führt, werden jene soziodemographischen Entwicklungen nachvollziehbar gemacht, die sich als zentraler Kritikpunkt in den verbalen Artikulationen des HipHop widerspiegeln. Bestehende mediale Dysfunktionen hinsichtlich der Repräsentation von Angehörigen der Schwarzen Minderheit werden mit einem entsprechenden Fallbeispiel belegt. Vor dem theoretischem Hintergrund von 'cultural citizenship' - ein Konzept zur Bestimmung kultureller Teilhabe in der Mediengesellschaft -, werden 25 Textbeispiele, die sich auf HipHop-Veröffentlichungen von 1982 bis 2004 finden, auf ihre Übereinstimmung mit Indikatoren untersucht, die sich aus, den Medien zugeschriebenen, politischen und sozialen Funktionen ableiten lassen. Die angewandte Inhaltsanalyse lässt zahlreiche Entsprechungen erkennen, die sich zum Teil in komplexen, der Kritik- und Kontrollfunktion bzw. Integrationsfunktion der Medien zuzuordnenden Inhalten äußern.

La méthode musicale d'improvisation collective exprime une conception du jeu dont l'attitude de base démocratique et émancipatrice suggère des comparaisons avec le concept de la situation idéale du discours formulé par Jürgen Habermas. Cette présomption est expliquée plus en détail dans le cadre d'une approche introductive de l'improvisation collective comme processus de relation caractérisé par l'interactivité et la synchronicité. Après une discussion sur l'action d'improvisation en musique sous ses aspects théoriques, historiques et psychologiques, les différents stades de développement de l'improvisation libre ou collective issus du free jazz dans les années 1960 seront présentés. La sublimation des formes d'expression idiomatiques et culturelles exigées par des musiciens comme Derek Bailey s'expliquera par le développement individuel d'un langage sonore caractéristique sur l'instrument en tant qu'égalisation pour les formes de dialogue asymétriques de cette situation.

Taking the metaphor of Black CNN as a starting point, the project attempts to analyze the potential of the musical form of expression of hip hop as a communication structure of the black minority in the USA. After a historical-cultural explanation, which deals with the tradition of reflecting social and political aspects in the different musical expressions of the Black ethnic group in the USA, and which already shows the importance of this form of expression in the context of an internal colonialsm, those socio-demographic developments are made comprehensible as a central point of criticism in the verbal articulations of hip hop. Against the theoretical background of cultural citizenship - a concept for determining cultural participation in the media society - 25 text samples found in hip hop releases from 1982 to 2004 will be examined for their correspondence with indicators that can be derived from political and social functions attributed to the media.

The musical method of collective improvisation expresses a conception of the game whose democratic-emancipatory basic attitude suggests comparisons with the concept of the ideal speech situation formulated by Jürgen Habermas. This presumption is explained in more detail within the framework of an introductory approach to collective improvisation as a process of relationship characterized by interactivity and synchronicity. After a discussion of improvisational action in music with regard to theoretical, historical and psychological aspects, the various developmental stages of free or collective improvisation that emerged from free jazz in the 1960s will be presented. Subsequently, the collective improvisation will be discussed with reference to the concept of the ideal speech situation and located in an intercultural context. The sublimation of idiomatic, culturally shaped forms of expression demanded by musicians like Derek Bailey will be explained by the individual development of a characteristic sound language on the instrument as equalizing for the asymmetrically shaped dialogue forms of this situation.

This study is aiming at analyzing extemporaneous methods of instructional speech in the context of the Naqshbandi Sufi Order and its parallels with improvised music as well as potential for modern educational purposes. Focusing on a processual analysis covering the flow of events in the communication and its environment, the work is using approaches applied in performance studies as well as improvised music, as well as cognitive science and psychological perspectives concerned with the mechanisms of the subconsciousness. Field research data collected at the Naqshbandi lodge in Lefke/Cyprus as well as a considerable amount of recorded speech acts serve as material for the conducted qualitative content analysis.