Here is the full information about the discourse program of Outernational Days 2: panels, lectures and workshops.

Saturday, July 8, 16.00 / Uranus garden:

Panel discussion: Cultural Appropriation

Speakers:
Raed Yassin (Lebanese musician and visual artist, part of the group Praed, organizer of Irtijal festival in Beirut, owner of Annihaya record label).
Rose Satiko Gitirana Hikiji (professor of the Department of Anthropology at the University of São Paulo USP).
Jan Rohlf (co-founder, artistic director and head of communications of CTM Festival in Berlin).
Derya Yıldırım (Turkish musician and saz player, based in Hamburg, vocalist for Grup Şimşek).
Valeriu Nicolae (Romanian/Roma special representative of the Secretary General - SRSG - of the Council of Europe for Roma Issues and founder and director of Policy Center for Roma and Minorities).

Hosted by:
John Doran (British journalist and writer, founder and editor of The Quietus magazine).

Known as the practice of appropriating cultural aspects from a minority culture, disregarding their core values, cultural appropriation or cultural apartheid is an idea intended to keep the races and cultures apart. It typically involves members of a dominant group exploiting the culture of less privileged groups — often with little understanding of the latter’s history, experience and traditions.

“Taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else's culture without permission. This can include unauthorized use of another culture's dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc. It's most likely to be harmful when the source community is a minority group that has been oppressed or exploited in other ways or when the object of appropriation is particularly sensitive, e.g. sacred objects.” Susan Scafidi, law professor at Fordham University, author of Who Owns Culture? Appropriation and Authenticity in American Law.

Cultural appropriation remains a concern, since this “borrowing” is exploitative because it robs minority groups of the credit they deserve. Art and music forms that originated with minority groups come to be associated with members of the dominant group. As a result, the dominant group is deemed innovative and edgy, while the disadvantaged groups they “borrow” from continue to face negative stereotypes that imply they’re lacking in intelligence and creativity. In addition, when members of a dominant group appropriate the cultures of others, they often reinforce stereotypes about minority groups.

Urban dictionary: ‘Cultural appropriation is something that only Nicki Minaj can get away with’.
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Saturday, July 8, 17.30 / Uranus garden:

Panel discussion: Manele in Romania – from cultural paradox to social meaning

Speakers:
Margaret Beissinger (American musicologist, research scholar and lecturer in the department of Slavic Languages and Literatures at Princeton University, co-author of Manele in Romania: Cultural Expression and Social Meaning in Balkan Popular Music).
Adrian Schiop (Romanian writer and independent journalist, with three novels and a doctoral degree in manele).
Andrei Dinescu (Romanian musician, leader of the music projects Impex, Shamanelism, the defunct Steaua de Mare, PC Harem)
Dan Bursuc (Romanian manager, booking agent and promoter of manele artists, owner of Academia de manele Dan Bursuc, the only school of manele music from Romania)

Hosted by:
Cristian Neagoe (journalist, writer, cultural manager and co-founder of Street Delivery).

Outernational music becomes distinct for its lack of exposure in mainstream and non-mainstream media, for reasons that are usually linked to ethnical biases. Outernational music comprises many contemporary hybrids from all over the world: from Kurdish halay to Romanian manele, from Bulgarian orkestras of chalga to Peruvian chicha, from Palestinian and Syrian dabke to Mexican narcocorrido, Egyptian electro-chabi and many other genres and styles. We defined Outernational as a place positioned outside of history, as a shapeless world that has been developing at the periphery of the International sphere.

Romanian manele – the contemporary Rroma music that has spread around the Balkans with different flavours and modulations – is living off the wedding industry. Musicians release singles and YouTube videos just to ensure the flow of wedding gigs (similar to dabke or halay artists). Sometimes the music is hybridized with pop and dance beats in an attempt at the mainstream, but local manele stars usually earn their main money at mafia bosses’ family events. Manele music never gets aired on radio (a characteristic with clear shades of discrimination towards the Roma people) while TV stations have embraced it periodically in a tabloid way. Although there are hundreds of manele artists, they all operate through two or three agents, and recording and production is limited to very few studios.

The overlapping of mainstream and underground is a common contemporary Outernational paradox. The manele case is very telling, being both underground and aboveground, having millions of listeners but never showing up in local tops. Even if (Western) regular market procedures operate in some of these border societies, with states joining the European Union, others maintain an Outernational dynamic with kinship industries, mass piracy, and unfettered copyright infringement.

‘’In 2011 several of the authors of this volume (Manele in Romania: Cultural Expression and Social Meaning in Balkan Popular Music) participated in a course taught at the National University of Music in Bucharest titled "The manele in the Romanian public debate: transition, democracy, the Romani minority, and the reconstruction of national identity," financed by the Erste Stiftung (Vienna) through its "Patterns" Lecture Project. The course was scrutinized intensely by the media, yet although contested by music professors at the university (because its topic was deemed inappropriate), student attendance and support were considerable. Because of the timely, relevant, but also controversial nature of the course, those involved in the teaching of it decided to transform the results of their research—along with that of three additional foreign colleagues: Anca Giurchescu, Margaret Beissinger, and Victor A. Stoichita—into a collective volume in English.’’manele-in-romania.ro
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Sunday, July 9, 16.00 / Uranus garden:

Lecture: Mircea Florian - the ever fascinating world of the Jew’s harp

Mircea Florian, also known as Florian din Transilvania, M. A. N. Florian or FloriMAN, is a Romanian multi-instrumentalist musician, multimedia artist and computer scientist.
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Sunday, July 9, 16.30 / Uranus garden:

Artist talk: Octavian Nemescu ; hosted by Andrei Tănăsescu (Romanian music and film curator)

Octavian Nemescu is a Romanian composer of orchestral, chamber, choral, electroacoustic, multimedia, metamusic, imaginary, and ritual works that have been heard throughout Europe and elsewhere. Heading the BA program in Electroacustic music at the Bucharest conservator Professor at the National University of Music in Bucharest.
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Sunday, July 9, 17.15 / Uranus garden:

Sâmbăta Sonoră x Outernational:
Mazen Kerbaj (solo)
PFA Orchestra

Sâmbăta Sonoră is a program aimed at developing local appreciation for music research and performance in the fields of contemporary music, free improvisation, sound experiment, radio art and sound poetry.
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