
Dutch: 
In 1991 stortte de Sovjet Unie in.
Sommigen zagen dit als het einde van ideologie,
aangezien er geen grootschalig alternatief meer was voor het liberale kapitalisme. Fukuyama
noemde het zelfs het einde van de geschiedenis.
In het algemeen moest het Westen, na het verdwijnen van wat men het Rode Gevaar noemde,
het symbolische landschap opnieuw uitvinden tot op zekere hoogte.
Misschien is dat deels de reden waarom men in de jaren 90  een nieuwe stijging zag van reclamebeelden waarin twee elementen
elkaar ontmoetten: een oppervlakkige aanvaarding en vieren van wereldeenheid en
een esthetiek van een terugkeer naar
zogenaamde
"simpelheid en puurheid"
voorgesteld door derdewereldlanden. Hiermee bedoel ik bijvoorbeeld kinderkoren, verschillende culturele groepen die colaflesjes vasthouden,
verschillende nationaliteiten die samenkomen, inheemse gezangen en niet-geïndustrialiseerde regio's, zelfs
een soort fetisj voor het leven in een stam.

English: 
In 1991 the Soviet Union collapsed.
Some saw this as the end of ideology
there no longer being a significantly large scale alternative to liberal capitalism. Fukuyama
even famously proclaimed it to be the end of history.
Generally the West, following the disappearance of what was called the Red Menace,
had to reinvent a symbolic landscape to some extent.
Perhaps that is part of the reason why the 90's saw a newfound increase in a certain trend within corporate imagery... where two elements
intersected a surface level acceptance and celebration of global unity and
aesthetics of a return to
quote-unquote
"simplicity and purity"
represented by third world cultures. What I mean by this is children's choirs, different cultural groups holding coca-cola bottles,
different nationalities gathering together, native chanting and un-industrialized areas, even a
fetishization of tribal life.

Dutch: 
Op muzikaal vlak werden deze thema's uitgedrukt in new-age en wereldmuziek, die in de jaren 90 het hoogtepunt bereikten
zowel qua CD-verkoop en gebruik op TV en in winkels.
In 1970
Nam etnomusicoloog Hugo Zemp een slaapliedje op, gezongen door Afunakwa,
een vrouw uit de Solomon-eilanden, nabij Papua Nieuw-Guinea.
De opname werd gepubliceerd op CD in 1990 door UNESCO als een deel van hun "muziek van de wereld" reeks.
Fast forward naar de jaren 90... Het Franse new-age muziekproject "Deep Forest"
vroeg Zemp om toestemming om de opname te gebruiken voor een nieuw liedje. Hun officiële website
verklaarde het doel van hun muzikale projecten. "Eric Mouquet en Michael Sanchez van Deep Forest zijn muzikale verslaggevers
een stemloos muzikaal duo, zij verzamelen stemmen uit alle hoeken van de planeet.
Door hun werk zijn oneindig vreemde uitingen bekend geworden voor ons.
Van Africa of Oost-Europa,

English: 
Sonically, these two themes were embodied in new-age and world music... which in the 90s reached its peak both in terms of
record sales and use in TV and stores. In
1970
Ethnomusicologist Hugo Zemp recorded a lullaby being sung by a woman named on
Afunakwa in the Solomon Islands near Papua, New Guinea.
The recording was released on CD in 1990 by UNESCO as part of their musics and musicians of the world series.
Fast forward to the 90s... the French new-age music project "Deep Forests"
requested Zemp's permission to sample the recording for a new song. Their official website
stated their musical projects intended goal. "Eric mouquet and Michael Sanchez of Deep Forest are sound reporters. A
voiceless musical duo, they draw on voices from every corner of the world.
Under their patronage, infinitely distant utterances have become familiar to us. From
Africa or Eastern Europe,

Dutch: 
van pygmeeën tot nomaden, de menselijke visioenen die Deep Forest ons brachten, hebben geholpen om
de muzikale kloof tussen de hemisferen te dichten."
Aanvankelijk aarzelde de musicoloog Zemp, aangezien hij traditionele muziek wou steunen in plaats van fusion projecten.
Maar uiteindelijk gaf hij zijn toestemming, op voorwaarde dat het sample zou worden gebruikt voor een niet-commerciële
opname voor het goede doel voor Earth Day. Het duo bracht het liedje uit met de titel "Sweet Lullaby".
Wanneer Zemp hoorde dat de muziek werd gebruikt in een shampooreclame, was hij erg overstuur.
Hij schreef een brief waarin hij Deep Forest ervan beschuldigde dat ze gelogen hadden en
dat hun opbrengsten zouden worden gedeeld met de Baegu stam,
waar het slaapliedje vandaan komt. Ze weigerden en het liedje werd nog gebruikt in verschillende reclamespots.... Neutrogena,
Coca-Cola,
Porsche, Sony en The Body Shop, om er maar een paar te noemen. De rest van het album
gebruikt opnames van Pygmee stammen en het album begint zelfs zo melig als maar zijn kan:

English: 
from pygmies to nomads, the human visions brought to us by deep forests have helped greatly in
narrowing the musical gap between the hemispheres."
Initially, the musicologist Zemp was hesitant as he wanted to support traditional music rather than fusion projects.
But eventually gave a verbal okay on the condition that the sample would be used for a non-commercial
charitable recording for Earth Day. The duo released the song titling it "Sweet Lullaby".
Now when Zemp heard it being used for a shampoo commercial, he got quite upset.
He wrote a letter accusing Deep Forest of lying and
demanding that their royalties would be shared with a Baegu people,
where the lullaby comes from. They refused and the song was used in many more commercials... Neutrogena,
Coca-cola,
Porsche, Sony, and The Body Shop, to name just some. Now, the rest of the al bum
samples recordings from Pygmy tribes, and the album even starts as cheesily as possible... with the following words

Dutch: 
"Ergens diep in de jungle wonen er kleine mannen en vrouwen. Ze zijn ons verleden. En misschien... misschien zijn ze onze toekomst."
Dit zorgde ervoor dat veel mensen aannamen dat de melodie van "Sweet Lullaby"
ook een Pygmee melodie was en de beroemde Noorse
saxofonist Jan Garbarek maakte zelfs zijn eigen versie van de melodie en noemde het "Pygmy Melody", wat leidde tot nog meer controverse.
Uiteindelijk werd een deel van de opbrengst van Deep Forest gebruikt om "Het Pygmee Fonds" te steunen
een organisatie uit Californië
die probeert om mensen uit Centraal Afrika te helpen om te gaan met klimaatrampen in hun thuisland
maar de organisatie heeft gezegd dat geen enkele van de inheemse volkeren die voorkomen op het album
effectief geholpen zullen worden door het Pygmee Fonds. Kortom
het was een rommeltje... vol van verwarring, mislukte doelstellingen en gerechtelijk conflict.

English: 
"Somewhere deep in the jungle are living some little men and women. They are our past. And maybe... Maybe there are our future."
This led a lot of people to assume that the leading melody of "Sweet
Lullaby" is a Pygmy melody as well and the critically acclaimed Norwegian
saxophonist Jan Garbarek even recorded his own arrangement of the melody, calling it "Pygmy Melody", leading to even more
controversy. Eventually part of Deep Forests royalties from their self-titled album started being used to support "The Pygmy Fund" a
California based organization
committed to helping the natives of Central Africa cope with environmental threats to their homeland and... well... the
organization stated that none of the indigenous groups actually featured on the album will be
assisted by The Pygmy Fund. To make a long story short
it was a mess... filled with confusion, failed intentions, and legal conflict, and

English: 
throughout all of it, what did Afunakwa,
the woman who's voice was actually featured in "Sweet Lullaby", think about it?
Well.
There's no evidence that anyone cared to find out.
No one asked her. No one interviewed her. As the conflict went on between an ethnomusicologist,
two music producers, and a jazz musician (among others)...
The person at the very origin of the controversy was left voiceless, and she passed away in
1998, so ironically the voiceless duo that prided itself on bringing the world closer together
not only failed to give credit to Afunakwa
they led to miscategorizations about where the melody even came from and left the singer herself voiceless. Now
I don't want to be misunderstood.
My purpose here is not to extol intellectual property rights or to make people feel guilty for enjoying
popularized versions of traditional music or to promote some kind of cultural isolation

Dutch: 
En wat dacht Afunakwa,
de vrouw wiens stem gebruikt werd op "Sweet Lullaby", van dit alles?
Wel,
er is geen bewijs van dat iemand dat onderzocht heeft.
Niemand heeft het haar gevraagd. Niemand heeft haar geïnterviewd. Het conflict liep tussen een etnomusicoloog,
twee producers en een jazz muzikant.
De persoon aan de bron van de controverse bleef stemloos en ze overleed in
1998, dus ironisch genoeg had het "stemloze duo" dat er trots op was dat ze de wereld dichter bij elkaar brachten
Afunakwa niet in de verf gezet
en ze zorgden voor misvattingen over waar de melodie vandaan kwam en lieten de zangeres zelf stemloos.
 
 
 

Dutch: 
 
 
 
 
 
 
 
 
 
 

English: 
but to point out that, with all this talk of making the world more open and connected and
enabling freer flows and greater access... the flows are almost never
symmetrical. The creative joy and certainly the profits reaped from this joy do not always go both ways...
and we know that the prime goal of those reaping the profits is not really global unity.
Ironically the increased interest in World Music, which is a term really used to mean "third world music"
grew out of anti-colonial struggles and initially was an academic interest explored by academic
Ethnomusicologists until the 80s and 90s when record companies found out how to market this material. On the one hand
there is a clear interest in what people perceive as culturally different,
alternatively marketed as exotic or even tribal and primitive - but on the other hand, in order to make this marketing as profitable as possible
this alterity must be contained within certain forms of popular music.

Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
It must be standardized to appeal to as many people as possible, and so, within the genre of World Music (as popularly understood),
there is an inherent tension. On the one hand that markets itself as promoting cultural difference. On the other hand it
banalizes this very difference by forming it all according to a single mold. On the one hand
it celebrates giving indigenous peoples a voice. On the other hand
it denies them this very voice. This tension is inherent in the very term "World Music".
After all, if the point of the genre is to promote cultural diversity from all around the world,
how can such enumerable diversities be
encapsulated by a single musical label? The very profitability of this term as a marketing tactic depends on a surface level
level appearance of cultural difference
which is undercut by the need to popularize and standardize and if these tensions are inherent to world music
it is very likely that they are inherent in corporate themes of this kind more generally. To describe this phenomenon in a few words as
jiseok says

English: 
"liberal multiculturalism as an experience of [an] Other deprived of its Otherness". The
"idealised Other". Now a lot of modern philosophers believe that with the coming of modernity
Humanity lost something that it previously found very valuable.
This was psychiatrist Jung, for instance, believed that there was a black hole left in human life that previously used to be filled with
religious belief,
Rituals, and God worship, and that such black holes could be used by marketing agencies to promote certain types of commodity that play on
Satisfying these pre-modern needs like "World Music" that supposedly connects you to your deeper
Spiritual self and helps you unearth your roots. Take for instance,
Enigmas hit single, another example of the 90s intersection of New Age and World Music
fittingly titled
"Return
to Innocence". The song contains a sample of a song by Difang and Iguy Duana, two musicians from Taiwan who were not
credited and permission for sampling of their music was not requested, later leading to lawsuits. Nevertheless

Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 

Dutch: 
 
 
 
 
 
 
 
 
 

English: 
the song was used in numerous movies, TV shows, and commercials - including an ad for the 1996 Olympic Games.
Again,
utilizing themes of global unity. The question then arises, is this attempt to return to that which is seen as
simple, pure, and primitive a
genuine place of refuge from modernity and capitalism... or is it quite the opposite? A unique and new part of
Capitalism - one which in fact even helps sustain it?
And so, the late Mark Fisher provocatively writes,
And this is why Fischer mentions the movie Avatar
it encapsulates this tension. On the one hand the movie presents the tribal lifestyle of Navi as

English: 
genuine, noble, and authentic. Set against the artificial evil of the military-industrial complex...
and yet the very production of the movie depends on the destruction of such tribal lifestyles. Mark Fisher writes
This statement is even more relevant
now, as there are plans of a sequel to avatar, which will not only use never-before-seen underwater motion detection technology -
it's also entertaining the idea of glasses-free 3D.
In other words,
you can enjoy the meaningless chanting in the song -----

Dutch: 
 
 
 
 
 
 
 

English: 
made to mimic the styles of African tribal and Celtic style music and you'll enjoy it as it premieres in a commercial for
Delta Airlines.
You can find your true inner self through the sounds of pure moods and you'll do it by ordering a mass-produced CD
standardized to be as accessible to as many people as possible.
Finally if you go far enough
you may denounce processed food or even vaccination as modernity is evil intervention while shopping at Whole Foods, the very
profitability of which is built on the backs of and achieved at the cost of, local foods,
regional producers and distributors. If it is true, as Marc Fisher believed, that this desire to return to simplicity,
to innocence and to purity is a new invention unique to
Capitalism and it is certainly the case that World Music is a new invention, a term that could only start having meaning in the 20th
century.... then perhaps the solution is not to seek refuge in the idea of some lost past but to retrieve a lost future and

Dutch: 
 
 
 
 
 
 
 
 
 
 
 

Dutch: 
 
 
 
 
 
 

English: 
I'd like to thank my patrons. Of course. I'm really sorry for any mispronounced names.
 
dishonest etics Alex Wenberg, Musso Gaius Gracchus
 
Thank You
I'm sorry

Dutch: 
 

English: 
thank you
