Cultural Imperialism In West Africa

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On the other hand, policies of cultural protectionism and cultural subsidy shouldn’t always be deemed as problematic. There are circumstances in which they could both be wise and necessary. In the case of musicians Youssou N’Dour and Orchestra Baobab from Senegal, a West African acts that have been internationally recognized as an example of decentred and dispread characteristics of contemporary cultural flows and a rich mixture of hybridised cultural influences which combines Western electric guitar playing, Cuban-derived brass sounds and traditional African rhythms (Morley,1996). As Morley (1996) argues, in 1950s and 1960s, the indigenous music of West Africa was almost defunct in many urban areas, while US popular music and Cuban dance…show more content…
Proponents of the theory of media imperialism would argue that “Dallas” represents a symbol of the US dominance threatening the local cultures. However, from various studies such as Liebes and Katz (1990) and Gripsrud (1991), it came to be recognized that audiences are active, with the ability to construct their own meanings from cultural products and media messages and reinterpret, for their own purposes, the media materials that they take in. These studies have also proven that there are cross-cultural differences in decoding the US television programs such as Dynasty and Dallas. They conclude that audiences tend to interpret globally distributed media forms through their own particular and local framework, while their cultural values are more resistant to manipulation, contrasting the views of many proponents of cultural imperialism.However, the EU regulation of European Television and audiovisual services “signalled a conflict between the economic priorities of industrial competitiveness and the desire to maintain the principles of European cultural identity” (Wheeler, 2004,p.350). De Bens and de Smaele (2001) argued that that a lot of domestic production are nothing else than copies of American programs. De Bens and de Smaele (2001) also pointed out to the fact that future fragmentation of the television market…show more content…
However, as trade figures demonstrate, the circulation of US media products continues to define the ‘global’ ” (Thussu, 2010, 224). Critics point out that the concentration of media firms in the hands of a few individuals is impending real competition and endangering diversity with forcing less established actors out of the market.“Boyd-Barrett has argued for a re-conceptualization of imperialism as a process of colonization of communication space, highlighting that such a phrase helps us understand which voices get to be heard and which are excluded, making one conscious of communication space as a site of struggle”(Matos, 2012). Despite the fact that the media industries are no longer solely American, as the cultural imperialists would argue, the global media framework today is increasingly owned by many different Western corporations, with none of them originating from any of the developing nations, either South America or Asia. Consequently, regardless of the rise of non- American companies and reverse flows, the case for perceiving cultural globalisation through the concept of “ Americanization” is still a convincing one if one points out media symbols such as the success that Hollywood films still encounter around the world and the export of American TV series ( Matos,

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