‘There is this problematic tendency to see white western male composers whose whole practice depends on the heavy influence of musical forms from Africa, Asia and the diasporas as groundbreaking “geniuses”, whereas when the contrary happens and composers with those backgrounds are looking at what’s happening elsewhere while still using their own language they are perceived as some sort of “footnotes” or copies etc. That’s a complex topic, there’s a lot of things to take into account, to unearth and research more in depth in this area, I’m looking forward to reading this research when it will become more widely and easily accessible.’ –Jessica Ekomane

Source: World Music for Who: Personal Histories of Non-Western Electronic Synthesis

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