Singaporean DJ Likie Low Brings Local Sounds to Global Stage
· news
The Sonic Diplomats: How Local Sounds Are Breaking Down Borders
As international connections deepen, local sounds from around the world are being repurposed and reimagined on global stages. Likie Low’s recent performance at Tomorrowland is a prime example of this phenomenon. The 27-year-old Singaporean DJ, known as “Likki,” blended local sounds – from the Asian koel’s piercing calls to MRT warning announcements – with electronic dance music.
These instantly recognizable sounds were woven together in a way that showcased Low’s musical talent and highlighted the rich cultural heritage of her hometown. But what makes Low’s performance significant is its implications for cross-cultural exchange and collaboration. As a DJ from a small city-state, she has transcended geographical boundaries to connect with a global audience through music.
Low’s use of local sounds speaks to a deeper issue: the need for cultural representation in international events like Tomorrowland. For too long, electronic dance music festivals have been dominated by Western artists and styles, leaving little room for diverse voices and perspectives. Low’s set was a refreshing departure from this norm, showcasing the unique sonic landscape of Singapore.
The incorporation of local sounds into mainstream music festivals is part of a growing trend of “sonic diplomacy.” Artists like Femi Kuti from Nigeria and Sunidhi Chauhan from India are using music to bridge cultural divides and foster greater understanding between nations. Their Afrobeat rhythms and Bollywood beats have gained international recognition, demonstrating the power of music to break down borders.
However, this trend also raises important questions about ownership, appropriation, and cultural sensitivity. When local sounds are repurposed for international audiences, who gets to decide what is authentic? How can we ensure that these collaborations do not perpetuate cultural stereotypes or exploit traditional music forms?
As the world becomes increasingly interconnected, it’s essential to think critically about the role of music in global events. By incorporating local sounds and perspectives into mainstream festivals, we can create a more inclusive and representative musical landscape. But we must also be mindful of the complexities involved in cultural exchange.
Low’s success at Tomorrowland is a testament to the power of sonic diplomacy, but it also highlights the challenges ahead. As global events continue to evolve, one thing is clear: music will remain at the forefront of cross-cultural exchange, breaking down borders and building bridges between nations. In Low’s own words, “music has no language.” But as we look to the future of global events, it’s time to start asking questions about whose sounds are being represented and whose voices are being amplified.
Reader Views
- RJReporter J. Avery · staff reporter
While Likie Low's innovative blend of local sounds and electronic dance music is undeniably catchy and thought-provoking, it also highlights the fine line between sonic diplomacy and cultural appropriation. The article touches on this issue but glosses over the fact that true cross-cultural exchange requires not just tokenistic nods to diversity but also meaningful collaboration with artists from these regions. It's one thing for a DJ like Low to incorporate MRT announcements into their set, but can they be said to truly represent Singapore's musical identity when they're performing in a European festival setting?
- CMColumnist M. Reid · opinion columnist
While it's commendable that artists like Likie Low are bringing local sounds to global stages, we should be cautious not to fetishize cultural appropriation under the guise of "sonic diplomacy." The line between creative fusion and cultural exploitation is thin indeed. What's often overlooked in discussions about repurposing local sounds is the need for equitable partnerships and fair compensation for the communities whose traditions are being borrowed from. Without these considerations, the trend towards global sonic exchange risks perpetuating musical colonialism.
- EKEditor K. Wells · editor
While Likie Low's performance at Tomorrowland is undeniably a triumph for local sounds on the global stage, let's not forget that sonic diplomacy can be a double-edged sword. The ease with which artists like Low weave together disparate sounds risks glossing over the complexities of cultural ownership and appropriation. What happens when Western producers or DJs co-opt local rhythms without acknowledging their origins? Can we trust that cross-cultural exchange will always be a two-way street, or is it just a new form of sonic colonialism in disguise?