Dutch Politics of Music-Washing at Eurovision: The Monstrous Hybrid of Commodified Musical Legacies of Slavery, Imperialist Utopianism, and White Nationalism.
The paper investigates the Dutch entry at Eurovision 2021, when the Netherlands' representative Jeangu Macrooy performed a song that referred to the singer's Afro-Surinamese origins and to the ages of slavery enforced in Suriname by Dutch colonists between the mid-1600s until its abolition in 1863....
| Publicado en: | Popular Music & Society Vol. 48; no. 2; pp. 232 - 253 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
May2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=185445819&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 185445819 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007766 POA jtl: Popular Music & Society issn: 03007766 maglogo: Y pubinfo: dt: May2025 vid: 48 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 185445819 10.1080/03007766.2025.2468989 ppf: 232 ppct: 21 formats: fmt: – @attributes: type: T – @attributes: type: P size: 384KB tig: atl: Dutch Politics of Music-Washing at Eurovision: The Monstrous Hybrid of Commodified Musical Legacies of Slavery, Imperialist Utopianism, and White Nationalism. aug: au: Susdorf, Marek affil: Department of Arts, Culture, and Media, University of Groningen, Groningen, The Netherlands su: Eurovision Song Contest Postcolonialism Musical style Imperialism Postcolonial literature Forced labor Cultural property Political science Suriname Netherlands sug: subj: Suriname Netherlands Eurovision Song Contest Postcolonialism Musical style Imperialism Postcolonial literature Forced labor Cultural property Political science keyword: coloniality Eurovision hybridity nationalism The Netherlands ab: The paper investigates the Dutch entry at Eurovision 2021, when the Netherlands' representative Jeangu Macrooy performed a song that referred to the singer's Afro-Surinamese origins and to the ages of slavery enforced in Suriname by Dutch colonists between the mid-1600s until its abolition in 1863. I interpret the performance and its public reception through how Western coloniality has been trying to appropriate, simplify, or commodify musical legacies of slavery since the early 1900s. Resultingly, such postcolonial musical hybrids represent the merging of two opposing utopianist ideologies—the call for freedom of those entrapped by the Western capitalist colonial empire and this empire's continuous urge to expand its authority and modes of exploitation. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Popular Music & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Popular Music & Society holder: Taylor & Francis Ltd dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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