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Cosmopolitan Hubs: Glocalization and Non-Native Culture Brokers in the Globalization of Popular Music Cultures

image of Cosmopolitan Hubs: Glocalization and Non-Native Culture Brokers in the Globalization of Popular Music Cultures
  • By Tenley Martin
  • Source: The Intellect Handbook of Popular Music Methodologies , pp 276-291
  • Publication Date: June 2025
  • DOI: https://doi.org/10.1386/9781835951033_18
  • Language: English
  • Accessibility Summary:  EPUB 3 and pdf file included; compatible with devices and software which can read these formats. Adjustable font size, spacing, contrast, text justification, number of columns (ePUB only). Alternative text for images. Tagged with a logical reading order to assist screen readers. Navigation between in-text citations and reference list, and endnotes and endnote markers.

As popular musicologists, how might we make sense of how popular musics travel and re-emerge transnationally? While some scholars imply the “global” is overriding the “local” in an acceleration toward homogenisation, others counterargue that cultural globalisation entails, to quote sociologist Roland Robertson (1995), the ‘incorporation of locality’, a thesis reflected in Robertson's co-option of the term ‘glocalisation’ connoting the ‘simultaneity and the interpenetration of […] the global and the local’. In this chapter I will discuss how glocalization has been applied and developed in popular music studies, and extend this discourse via the new concept of ‘cosmopolitan hubs’ via a case study of transnational flamenco.

Keywords: Cosmopolitan Hubs ; cosmopolitanism ; Flamenco ; Globalization ; Glocalization ; human hubs ; music cosmopolitanism ; transnational

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References

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     [Google Scholar]
  2. Aoyama, Y. (2007), ‘The role of consumption and globalisation in a cultural industry’, Geoforum, 38, pp. 103–13.
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  3. Appadurai, A. (1990). ‘Disjuncture and difference in the global cultural economy’, Theory, Culture and Society, 7, pp. 295–310.
     [Google Scholar]
  4. Castells, M. (1997), The Power of Identity, Oxford and Malden, MA: Blackwell Publishers.291
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  5. Clifford, J. (1988), The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art, Cambridge, MA and London: Harvard University Press.
    [Google Scholar]
  6. Corona, I. and Madrid, A. (2007), Postnational Music Identities: Cultural Production, Distribution, and Consumption in a Globalized Scenario, Plymouth: Lexington Books.
     [Google Scholar]
  7. Eisentraut, J. (2001), ‘Samba in Wales: Making sense of adopted music’, British Forum for Ethnomusicology, 10:1, pp. 85–105.
     [Google Scholar]
  8. Ferguson, M. (1992), ‘The mythology about globalization’, European Journal of Communication, 7, pp. 69–93.
     [Google Scholar]
  9. Finnegan, R. (2007), The Hidden Musicians, Middletown, CT: Wesleyan University Press.
     [Google Scholar]
  10. Gerring, J. (2017), Case Study Research: Principles and Practices, 2nd ed., Cambridge: Cambridge University Press.
     [Google Scholar]
  11. Hamelink, C. J. (1983), Cultural Autonomy in Global Communications, New York: Longman.
     [Google Scholar]
  12. Hannerz, U. (1990), ‘Cosmopolitans and locals in world culture’, Theory, Culture and Society, 7, pp. 237–51.
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  14. Hannerz, U. (2005), The Two Faces of Cosmopolitanism: Culture and Politics, Barcelona: CIDOB edicions.
    [Google Scholar]
  15. Hassi, A. and Storti, G. (2012), ‘Globalization and culture: The three H scenarios’, in H. Cuadra-Montiel (ed.), Globalization: Approaches to Diversity, Croatia: InTech, pp. 3–21, https://doi.org/10.5772/45655.
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    [Google Scholar]
  17. Kiwan, N. and Meinhof, U. (2011a), Cultural Globalization and Music: African Musicians in Transnational Networks, Basingstoke: Palgrave Macmillan.
     [Google Scholar]
  18. Kiwan, N. and Meinhof, U. (2011b), ‘Music and migration: A transnational approach’, Music and Arts in Action, 3:3, pp. 3–20.
     [Google Scholar]
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     [Google Scholar]
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     [Google Scholar]
  25. Rice, T. and Ruskin, J. D. (2012), ‘The individual in musical ethnography’, Ethnomusicology, 56:2, pp. 299–327.
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  28. Steingress, G. and Baltanás, E. (2002), ‘El Flamenco como Patrimonio Cultural o una Construcción Artificial más de la Identidad Andaluza’, Revista Andaluza de Ciencias Sociales, 1, pp. 43–64.
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  30. Szerszynski, B. and Urry, J. (2002), ‘Cultures of cosmopolitanism’, The Sociological Review, 50:4, pp. 462–81.
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  31. Tomlinson, J. (2003), ‘Globalisation and cultural identity’, in D. Held and A. McGraw (eds), The Global Transformations Reader, 2nd ed., Cambridge: Blackwell Publishing, pp. 269–77.
     [Google Scholar]
  32. Urquía, N. (2005), ‘The re-branding of salsa in London's Dance Clubs: How an ethnicised form of cultural capital was institutionalised’, Leisure Studies, 24:4, pp. 385–97.
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