Anlässlich der Konferenz “Identities – An interdisciplinary approach” spreche ich am 23.10.2014 zum Thema “Young musicians as trend-setters for a transcultural Bavarian identity.” Veranstaltungsort ist der Macka Campus der Istanbul Technical University. Hier das Abstract:
Young musicians as a trend-setters for a transcultural Bavarian identity?
Since the late 2000s there is a hype around a young generation of musicians in Upper Bavaria, a federal district in the south of Germany: They often incorporate influences from different musics of the world but at the same time, their sound is perceived as distinctly Bavarian. In my paper I will try to disentangle the complex web of musics and identities connected to this Bavaria-Music, using examples from my fieldwork regarding the jam session at the famous Hofbräuhaus Munich and the TV-program “Z’amrocken” connected to it.
Hofbräuhaus Munich is one of the key places which symbolize Bavarian cultural identity. For this reason, Bavarian traditional music is an important element at the monthly jam session taking place there. But at the same time, groups from other countries and local migrants are invited to join in or to bring their own music. The result is an event, which heavily relies on long established cultural Symbols of Bavaria but also is also open to the transcultural interconnectedness in a globalized world. For example, once a Marimba group from Zimbabwe jammed all evening with a local Bavaria-Music-Band, spontaneously creating a musical hybrid. The Hofbäuhaus-Jamsession is only one example for what seems to be the development of a new Bavarian regional identity, which is aware of the own tradition but also incorporates openness to the other as part of the own. These ideas seem to spread from the field of arts to other parts of society via the media.
I have talked to musicians as well as recipients and analyzed media coverage to find out: Which elements of the music enable musicians and recipients to mentally locate music and use it as a symbol for identity? How can the interplay of cultural essentialism and hybridity within the new regional identity be characterized more precisely?