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By Nadia Kiwan

This booklet is ready South-North, North-South family among Africa and Europe, featuring the private narratives of musicians in numerous destinations throughout Africa and Europe, and people of the folks who represent their networks in the wider inventive, cultural, and civil society milieus of globalizing societies.

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Extra info for Cultural Globalization and Music: African Artists in Transnational Networks

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By focusing on a few selected examples of Malagasy musicians originating mainly but not exclusively from three sub-regions of Toliara province – Fort Dauphin, Toliara and Morondava – we shall demonstrate the ways in which the cultural and social capital, accrued by virtue of the musicians’ ethnic and regional origin, can enable 28 The View from the South and sustain their careers translocally and can even be strategically employed as a marketing device at transnational level. The cultural dimension of translocal capital The cultural dimension of translocal capital arises from the local styles and rhythms, the knowledge of local scenes, customs, rituals and dialects of musicians in their home regions, and captures their continuing pertinence once they have moved away.

In the next chapter we will engage with the different dimensions of the capital city that give it such a pivotal role in the translocal and transnational careers of musicians. 2) is significantly different from that of Madagascar, although it is undoubtedly the case that there exists a clear rural–urban divide in terms of standards of living, levels of education, general quality of life and cultural practices. 2 Map of Morocco 42 The View from the South Morocco boasts a rich and diverse range of music played by musicians in rural village and mountain locations (see for instance Hoffman 2002; Schuyler 1985; Lortat-Jacob 1981), the data we were able to gather about musicians in provincial rather than rural sites was more relevant to the TNMundi project’s concerns with transnational networking among musicians and cultural producers.

I knew it at the age of 11 ... But when I tell you this now, while I was living there, I never had any inferiority complex, I took my friends there, even girlfriends, if they wanted to come to my place, come, no problem ... I would rehearse with my guitar, my voice, everyone knew me, that I lived there, no problem. 30 in the morning, and the three of us, Senge, we would do the choreography and at 6 in the morning we’d practise our voices. Because Jean was working, and he had to leave at 7. So we had to work in the evening and in the morning.

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