Worldtown Hearsay :: Is Ethno-techno exploiting world music?
Omar Souleyman is a funny trend, an anomaly in the music world. Souleyman is a Middle-aged man from a Syrian peasant background; his videos complement with a homemade wedding video kitsch that propel the ironies hipsters love to dote on. Dressed in his traditional Arab garb, he stands quite in contrast to the audience he performs for across the European dance circuit.
Is ethno-techno the new turn in appropriated world music? The sounds are widening in their scope and popularity but usually thousands of miles away from the subterranean producers who unleash the source of these mixes. So, asks the Guardian, is the ethno-techno trend just another form of neo-colonialism?
Such musical references feed into the idea of techno as this fluid global community, but Aguayo is scathing: “Maybe for techno’s easyJet set it’s a small world. But ask young musicians in Santiago or Buenos Aires how easy it is to move around. It’s naive, in a brutal way, to say that we’re all world citizens”.
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