Abstract
Este artigo explora as implicações do aumento das atuações de música ao vivo digitalmente mediadas no contexto de uma cena cultural marginalizada, nomeadamente a cena musical independente de Hong Kong, durante a pandemia de Covid-19. Combinando a observação de eventos com entrevistas a atores-chave dentro da cena, este artigo analisa os processos pelos quais a platforming parcial das atividades de música ao vivo levou a processos de (des)territorialização e (re)territorialização - através das colaborações entre alguns atores de música indie de Hong Kong e outros internacionais -, proporcionando a reafirmação do local, através do uso de representações visuais da cidade em concertos online, bem como o fomento de formas de desvinculação digital. Por sua vez, o artigo argumenta que as análises sobre a platforming da música devem ter em consideração os efeitos sócio-culturais das plataformas digitais em contextos específicos de criação e consumo cultural, tais como as cenas culturais.
This article explores the implications of the rise of digitally-mediated live music performances in the context of one marginalized cultural scene, the Hong Kong independent music scene, during the Covid-19 pandemic. Combining observation of live-streamed events with interviews of key actors in the scene, this article analyses the processes by which the partial 'platformization' of live music activities has led to the deterritorialization and reterritorialization of the scene - through collaborations between some Hong Kong and international indie music actors and the reaffirmation of the ‘local’ via the use of visual represesentations of the city in online concerts, as well as to forms of digital disengagement. In turn, the article argues that analyses of the platformization of culture music must take into consideration the socio-cultural effects of digital platforms on specific localized contexts of cultural creation and consumption such as cultural scenes.
This article explores the implications of the rise of digitally-mediated live music performances in the context of one marginalized cultural scene, the Hong Kong independent music scene, during the Covid-19 pandemic. Combining observation of live-streamed events with interviews of key actors in the scene, this article analyses the processes by which the partial 'platformization' of live music activities has led to the deterritorialization and reterritorialization of the scene - through collaborations between some Hong Kong and international indie music actors and the reaffirmation of the ‘local’ via the use of visual represesentations of the city in online concerts, as well as to forms of digital disengagement. In turn, the article argues that analyses of the platformization of culture music must take into consideration the socio-cultural effects of digital platforms on specific localized contexts of cultural creation and consumption such as cultural scenes.
Translated title of the contribution | The social and cultural dimension of 'platforming' live music: The case of the Hong Kong independent music scene during the Covid-19 pandemic |
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Original language | Portuguese |
Pages (from-to) | 11-32 |
Number of pages | 22 |
Journal | Todas as Artes |
Volume | 4 |
Issue number | 3 |
Publication status | Published - 23 May 2022 |
User-Defined Keywords
- Hong Kong
- live music
- digital platforms - platforming
- cultural scenes
- Covid-19
- musique en direct
- plateformes numériques - platforming
- culturel
- scènes