music
The political economy of music distribution goes unchecked. Despite increased digital revenues, also across Africa, music markets remain characterised by bottlenecks between musicians and audiences.
Read MoreThis co-authored book Global Cultural Economy critically interrogates the role cultural and creative industries play in societies.
Read MoreAcross the African continent, music distribution has long been dominated by makeshift networks operating in the margins of the formal economy. The rise of digital distribution has promised change, but how has this affected the political economy of music industries?
Read MoreÀ travers un engagement empiriquement fondé au sein de ce débat, ce livre montre comment le recours à la catégorie des « industries culturelles et créatives » dans les politiques publiques reconfigure les limites des politiques culturelles.
Read MoreGhana, like many other countries, tries to eliminate media piracy. But what does this mean for distributors working in the margins of the formal economy? And, more fundamentally, what does this means for the tension between copyright and cultural rights?
Read MoreGhana, like many other countries, tries to eliminate media piracy. But what does this mean for distributors working in the margins of the formal economy? And, more fundamentally, what does this means for the tension between copyright and cultural rights?
Read MoreThis paper explores how musicians and music workers make sense of the cultural policies that have shaped and will shape the built infrastructure (concert venues, clubs, etc.) they need.
Read MoreIn Developing Cultural Industries, Christiaan De Beukelaer offers a thorough exploration of how the concepts of cultural and creative industries are constructed and implemented across African countries and evaluates various policy implications of his findings.
Read MoreThis article presents an analysis of the invention of tradition within musics created by and related to Swahili culture. We focus on the ways the local tourist industry deals with musical heritage.
Read MoreKernfeld convincingly argues that one cannot simply posit pop song piracy as the illegal counterpart of the legitimate music businesses. In fact, piracy has often prompted much-needed innovations in the music business in technical and commercial terms.
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