![]() ![]() ![]() The popularity of remixed north Indian ‘folk’ styles such as bhangra, the reincarnation of the Sufi classical traditions such as qawwali as ‘Sufi rock’ and its incorporation into Hindi film music,9 and the cinematic success of ‘folk’ singers like Ila Arun or Kailash Kher could all be cited as examples of this phenomenon. Music directors, while using the latest studio technologies and updating themselves vis-à-vis globally disseminated genres like hip hop and techno, have yet turned to ‘folk’ or semi-classical genres both to market their appeal in terms of indigeneity or tradition, and to fashion hybrid musical styles. This is evidenced in the aforementioned ‘multiplex’ films dealing with metropolitan contexts within India,7 as well as films set among NRIs in Western metropolitan centers.8 While this seems to indicate an aspirational integration into global capitalism and mediascapes of the post-Cold War neoliberal period, we also see the simultaneous reappropriation of musical cultures and styles marked as ‘folk’ or ‘regional,’ with many film songs and singers projecting markers of indigeneity, rusticity and tradition. Aniruddha Dutta metropolitan lifestyles (Mazzarella 2004: 1).
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