-“In this day and age, many members of society and especially other artists still view the DJ as a clown-ish, superficial, unsophisticated and unimportant character, who exists solely to entertain drunk people. If all other reasons fail, this might be motivation enough to start taking ourselves and what we do more seriously.”- Zhao
Dj Zhao is a trademark for the ones who really dig “world music” (hate that terms sooo much!!!) ..anyway
After talking to him few times, i realized he is one of those Dj’s who also want to give something more when they do a set..
to create a whole concept of global music.. in what most of religions are failing.. music is having the leadership..
TO UNITE US..
Here’s his MEGA and HIGHLY RECOMMENDED
DJ Zhao Live – Afromundial, Klub Fabryka, Krakow by reboot.fm
If you want ( and i encourage you guys to) have some minutes to read his words:
“The boundaries of objects are vague – and that goes for us too… Describing the world in terms of discrete objects is a useful fiction.” – Kees van Deemter
Well worn cliche or not, everything in the world is connected. Borders and separation, in the spheres of physics, of politics, of “race”, as it is of culture, are illusions fostered by narrow and fearful minds, often purposefully fabricated by those who seek control and to benefit from alienation, antagonism, and the suffering of millions.
Today our conceptions of the cultures of the world, of their history and relationships to each other, is sadly still under heavy influence of 18th and 19th century revisionist versions of history. During those colonialist times in the United States, education reform initiated by the wealthy elite of powerful industrialists applied sweeping changes across university campuses, teaching a fundamental and intrinsic divide between “East” and “West”, painting the former as largely superstitious, backwards, repressive, and the later progressive, modern, liberal. While in Europe racist German and English scholars began erasing the African and Asian foundational influence of classical Greece out of history, replaced by an absurd Euro-centric story of the “Cradle of Western Civilization” developing more or less autonomously, with the only outside influence from “Northern Tribes”, separate from much older and more advanced civilizations in close physical proximity. The dissemination of this fictional dichotomy between the “occident” and “orient” has always been politically motivated: it furthers the aims of the ruling class, provides a necessary ideological backdrop for colonial and neo-colonial agendas, and is still instrumental in world affairs today (the structural basis for “the war on terror” as related to the demonization of Islam).
But there is no essential divide between “East” and “West”, their relationship being more like parent and child. And when it comes to music, the inter-relatedness of all cultures and the character of their specific relationships can be perhaps even more easily understood. For instance if one looks at the history of the guitar, one finds that it was descendent of the Oud, the first record of which appears in ancient Mesopotamia during the Acadian period (2359-2159 BC). The Romans around 40 AD made a version of it called the Cithara, which spread to the Vikings in Europe; and later Gypsies living in Islamic Spain created the modern guitar based on that. And if one traces the history of 20th Century North American pop and dance music, a crude and very abbreviated but basically sound genealogy describes a line going back to Disco, to Soul, to Funk, to Motown, to Gospel, to Blues, to Jazz, to work songs of the slaves, and indeed, to Africa.
Continuities are everywhere one chooses to look: the Balkans are connected to Israel to Iraq to Spain to Egypt to Morrocco to Mali to the Congo to Haiti to Cuba to Colombia to NYC. Yet there is still this prevalent vantage point that “World Music” is indeed somehow fundamentally different from “Western Music”, and it is still shocking to some that non-Western sounds are making such a ripple in 2010 (the success of artists such as Omar Suleyman, and a new wave of indie musicians citing non-western influence). As if Rock and Roll itself wasn’t African American, and less directly, African in origin. As if Led Zeppelin wasn’t heavily influenced by Turkish music, or the Rolling Stones by Morroccan traditions, the Beatles by Indian Classical, Can and (early) Kraftwerk by East Asian sensibilities and African percussion, Debussey and John Cage by Indonesian Gamelan, Steve Reich and Georgy Ligetti by African polyrhythms, etc, etc, etc. Forward thinking and ground breaking modern music in the “west” has always taken cues from much older non-western sources (similar to the way modern visual art owes much to pre-modern, so called “primitive” forms).
“Those piles of ruins which you see in that narrow valley watered by the Nile, are the remains of opulent cities, the pride of the ancient kingdom of Ethiopia. There a people, now forgotten, discovered while others were yet barbarians, the elements of the arts and sciences.” – Count Volney
Humans have surely forgotten much more than we know today, with the ravage of time, after countless wars, destructions of entire cultures, libraries burnt down. By the same token, ancient musical traditions contain forms which are more advanced, more inventive, more structurally challenging, more revolutionary in every sense of the word, than any “futuristic” electronic dance music today. And in terms of the expansion of minds or shaking of booties, the bits and pieces passed down to us, remnants of sound traditions reaching back to ancient times, often embody methods far superior to what you might find in today’s dance clubs. One man sitting on the island of Madagascar, singing over an insistent rhythmic melody plucked out of a one string instrument contains more ingenuity, more innovation, more raw power, more soul, more fire, than anything produced in the last 30 years.
All rhythm certainly comes from Africa, as the drum itself was invented somewhere around Kenya tens of thousands of years ago. But African music is much more than drumming, for example the various Kora traditions weaving complex melodic structures that would make Bach dizzy. To be more precise, in much of African music one finds an un-differentiated oneness of rhythm and melody, never divorced from each other by over analytical minds. Examples of this can be found in Soukous guitar playing, the various Mbira (thumb piano) musics scattered through out the continent, and the “Shangaan Electro” phenomena which is all the hype right now, itself only the latest expression of age old tradition.
What we have seen in the last few centuries is a return to rhythm, after being largely divided from it for many centuries under the European Classical establishment, which reduced its importance and saw it as “primitive” and “plebean”, emblematic of music of savages and the underclass. But in the melting pot of the Americas, a traumatic confrontation between European and African traditions became probably the most important source of innovation in the past mellenium, forming the seeds of the myriad kinds of musical styles we know today.
The only way to move things forward is to look back upon the treasures of our collective past. It is indeed this re-entry of indigenous musical heritage, fused with urban bass culture, this combination of ancestral musical ideas and modern sound, which is now giving rise to irresistible next level dance music on every continent. Crucial new scenes thrive and vital new styles are born in almost every corner of the world, challenging and displacing the centralized hegemonic culture manufacturing machine which attempts to fill the world with its vacuous regurgitation. But despite the spread of information technologies, there is a pointed lack of communication between musical communities of the world today, and many scenes remain relatively isolated and insular, inaccessible to their potential global audience who hunger after new sounds. For instance Kwaito, the South African House/Hiphop hybrid style based on traditional Zulu music, flourished for 2 decades within the townships while being virtually unknown outside, and only recently began to make waves in the world at large.
3. the Responsibility of DJs
“who cares? it’s just music!” – anonymous
Economic, political, and other arbitrary factors entirely other than artistic merit often determine which music rises to global prominence, and which is relegated to obscurity and silence outside of it’s region. As Alan Lomax put it half a century ago (i paraphrase): “mass media broadcasts the voice of the privileged, while often times more deserving, more beautiful voices in poverty stricken places remain unheard.” Thus djs in these neo-colonialst times, as cultural workers whose particular role affords them direct access to audiences, must be aware of the many levels of inequity in the world, and do his/her job with this awareness in mind.
Of course, above all other concerns, djs must rock the party. We must create unforgettable experiences on the dance floor, and fascilitate that most important (no, it is not frivolous at all!) of social functions: the celebration of life despite its hardships. But there is more than 1 way to mash up the dance, and djs do not have to pander to the charts or appeal to lowest common denominators to please a crowd.
Dogme 2010 (for DJs)
With a goal of countering laziness and conformity in the club today
1. Both entertain and educate the audience: transcend the here and now, go beyond or destroy the status quo.
2. Music is never “just music”, but always an expression of social reality. Allow the world around us and the situation we are in to inform your work. Make site specific references and conceptual links, infuse the musical experience with many levels of meaning.
3. Do in depth research into your chosen styles, its history and lineage as related to other styles, find and make unexpected connections.
4. Do not play any one style all night. Selection should not be restricted by geography, time periods, or genre definitions.
5. Avoid over use of selections which has been played to death, staples within its genre (for instance Dawn Penn’s “You Don’t Love Me (No No No)” in Reggae).
6. No dj tools except as transition between non-tool tracks.
7. Avoid arbitrarily manipulating EQ and effects (for example excessive use of arpeggios as a lazy way to create excitement-by-numbers), as well as unnecessary flashy edits on remixes, if it does not enhance the original material.
8. Use repetition and monotony as means toward an end, not out of default laziness.
9. When possible, make the best use of the innate human tendency to recognize/imagine patterns, instead of beating people’s heads with a giant kick drum ALL of the time.
10. All mashups must sound better, preferably also become more meaningful, than the original material, and not only made as novelty for novelty’s sake.
11. In production, tracks must sound good without and before the application of sophisticated sound design, and all subsequent microedits and polish must only improve on what is already there.
In this day and age, many members of society and especially other artists still view the DJ as a clown-ish, superficial, unsophisticated and unimportant character, who exists solely to entertain drunk people. If all other reasons fail, this might be motivation enough to start taking ourselves and what we do more seriously.