Cultural Translations

tion and disjuncture from origins caused by its dissemination via mass media, remains stronglyconnected to cultural roots, even among hybrid genres, a phenomenon that has complex andmultifaceted educational implications. 18 The following coloured figure illustrates Four CulturalistConceptions, as will be explained further below:Model 1. Four Culturalist ConceptionsFigure 1: Model-Four Culturalist Conceptions26Figure 1: Model-Four Culturalist ConceptionsThe Four Culturalist Conceptions illustrated here consist of 1) Biculturalism, 2) Multiculturalism,3) Interculturalism, and 4) Transculturalism. Each conception entails a slightly differentapproach to institutionalization of the cross-cultural meeting of two or more distinct traditions,as encountered in various public sector contexts, such as education and arts policy. The firstThe Four Culturalist Conceptions illustrated here consist of 1) Biculturalism, 2)example, “Biculturalism”, indicates the meeting of two major cultural strands, each of which isMulticulturalism, expected to respond to 3) the Interculturalism, other in an attitude of cooperation and 4) Transculturalism. and even compromise. This Each ap-conception enslightly different approach to institutionalization of the cross-cultural meeting of tproach to cross-cultural contact has for many years been regarded as official government policymore in such distinct nations as traditions, New Zealand, as where encountered there is a single in clearly various identifiable public indigenous sector popula-contexts, such aseducation and a single and colonizing arts policy. power, The in this first case the example, Maori and “Biculturalism”, British (or Pakeha) residents. indicates the meetinHowever, as I have discussed elsewhere, 19 nowadays the demographic makeup of even a nationtwo major cultural strands, each of which is expected to respond to the other in anlike New Zealand is actually far more complex than mere biculturalism would appear to suggest,attitude of cooperation and even compromise. This approach to cross-cultural confor 18 many David G. years Hebert, Jazz been and Rock regarded Music, W. as M. Anderson official and government P. S. Campbell, eds., policy Multicultural in such Perspectivesin Music where Education, there vol.1 is (Lanham: a single Rowman-Littlefield, clearly identifiable 2010); David G. Hebert, indigenous Ethnicity and population Music and a snations as NeZealand,Education: Sociological Dimensions, R. Wright, ed., Sociology and Music Education (Aldershot: Ashgate,colonizing 2010), pp.93-114; power, David G. in Hebert, this Rethinking case the Historiography Maori and of Hybrid British Genres (or in Music Pakeha) Education, residents. L. HowevVakeva and V. Kurkela, eds., De-Canonizing Music History (Newcastle: Cambridge Scholars Press, 2009),have discussed elsewhere, 19 nowadays the demographic makeup of even a nationpp.163-184.New 19 David Zealand G. Hebert, is “Music actually transmission far more in an Auckland complex Tongan than community mere youth biculturalism band,” International would appearJournal of Community Music, 1(2), (2008) pp.169-188.suggest, since there are many Asians and Pacific Islander residents from an arraybackgrounds, some of whom (such as in the case of the Niueans) are found in greaDavid G. Hebertnumbers in New Zealand than “back home.” The second example, Multiculturalisoften represented through the use of such common metaphors as a “melting pot” o