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By Georgina Born, David Hesmondhalgh

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This is the moment encapsulated by the process model. (3) When the musical imaginary works to reproduce, reinforce, actualize, 36 GEORGINA BORN AND DAVID HESMONDHALGH or memorialize extant sociocultural identities, in some cases also forcefully repressing both transformation and alternatives. Here, musical representations may potentially be hypostatized by such a “burden of representation”; they may be strongly bounded, highly redundant, prevented from engaging in the “promiscuity” of hybridity.

This is an identification that only ever exists in collective or individual fantasy, and thus acts surreptitiously but powerfully to inscribe and reinscribe existing boundaries of self and other, as well as the hierarchies and stratifications between those categories. This moment may be a precondition for the emergence or negotiation of new identities (as in 2, below); but it also commonly operates as a substitute for such real identifications. Much of the scholarship and most of the papers in this volume dealing with musical primitivism, exoticism, and Orientalism address these kinds of purely imaginary projections that are fantasy-imbued, act primarily as imaginary extensions of the subject, and are never enacted in real cultural transformations of individual or collective self.

49 In this sense, cultural postmodernism can be seen as an ideology tout court in the classic sense of a cultural system that conceals domination and inequality. III. OTHERING, HYBRIDITY, AND FUSION IN TRANSNATIONAL POPULAR MUSICS A third way into the material in this book concerns a new relationship between popular music studies and ethnomusicology and how these disci- 22 GEORGINA BORN AND DAVID HESMONDHALGH plines have been inflected by postcolonial theory and black cultural studies, as well as by wider socioeconomic and cultural transformations associated with globalization.

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