Gotowa bibliografia na temat „Bandama River Project”

Dams bulding can lead to the disturbance of the living environment of aquatic species, directly impacting the fishing sector and indirectly the lives of riparian populations.A new hydroelectric dam is currently under construction on the Bandama River. This development could cause risks of disruption of the habits of the riparian populations who live from activities related to fishing. This study was conducted to obtain baseline data on the lives of the local populations before the dam is actually put in place in order to understand the long-term impacts of this hydroelectric development. Informationswerecollected every day, except holidays, in the villages of the area impacted by the development, between November 2019 and October 2020.A questionnaire was used with the actors (fishermen and fishmongers) and interviews were held to characterize their activities, income and socio-demographic profile. Most of the fishermen are natives who practice the activity on a part-time basis, with agriculture as a secondary activity while the non-native fishermen are full-time. The majority of fishermen are educated, with a rate of 48%. The others are either illiterate (31%) or have attended Koranic school (21%). They are adults in the 30 to 45 age group. The fishing activity is successful with excellent profit margins, despite the lack of organization noted in some localities. The distribution circuit observed involves sale by rope or by heap, and processing by smoking, with the involvement of fishmongers. In the study area, fishing provides a good income for the actors and is practiced mainly by Ivorians. The results of the characteristics of the fishing activities constitute a basis for assessing the future impact of the dam, and also for the managers in the implementation of a sustainable management plan of the fishery resources in this area.

The building of hydroelectric dams has consequences on the ecological conditions of ecosystems, such as the regression or disappearance of certain species that have a benthic entomophagous diet or a proliferation of omnivorous and planktivorous species. The study of fish feeding can provide data not only on the presence of prey, but also on the abundance and availability of trophic potential. In view of the new hydroelectric development project on the Bandama River, this study proposes to examine the diets of Synodontis bastiani, S. schall and S. punctifer that are captured in the area. Stomachs were collected and contents examined from fish caught monthly between November 2019 and October 2020 using gill nets in the N'Dènou locality. A total of 417 fish belonging to S. bastiani, S. schall, S. punctifer were examined. The food spectrum of the studied species is wide and diversified. It is mainly composed of Macrophytes, Insects, Worms, Mollusks, Zooplankton, Crustaceans. These species are all omnivorous with a benthophagous tendency. No difference was observed in the diet according to the size.

Background Buruli ulcer, caused by Mycobacterium ulcerans, is a neglected tropical skin disease that is primarily endemic in West and Central Africa, including Côte d’Ivoire. Studies indicate that M. ulcerans infections are caused by contact with an environmental reservoir of the bacteria, governed by specific human biological conditions. Yet, the nature of this reservoir and the exact mode of transmission remain unknown. Methodology To identify ecologic risk factors of Buruli ulcer in south-central Côte d’Ivoire, we pursued a qualitative study matched with geo-referencing inquiry. Embedded in a broader integrated wound management research project, we (i) mapped households and water sources of laboratory confirmed Buruli ulcer cases and (ii) interviewed 12 patients and four health care workers to assess exposure to surface water and to deepen the understanding of perceived transmission pathways. Principal findings Water availability, accessibility, and affordability were reported as key determinants for choosing water resources. Furthermore, perceived risks were related to environmental, structural, and individual factors. Despite the presence of improved water sources (e.g., drilled wells), communities heavily relied on unprotected surface water for a multitude of activities. The nearby Bandama River and seasonal waterbodies were frequently used for washing, bathing, and collection of water for drinking and cooking. Many residents also reported to cross the river on a daily basis for agricultural chores, and hence, are exposed to stagnant water during farming activities. Conclusions/significance Our study in two Buruli ulcer endemic villages in south-central Côte d’Ivoire revealed a wide range of water-related domestic activities that might expose people to an increased risk of contracting the disease. Environmental, biological, social, and cultural risk factors are closely interlinked and should be considered in future investigations of Buruli ulcer transmission. Active participation of the communities is key to better understand their circumstances to advance research and fight against Buruli ulcer and other neglected tropical diseases.

Bencana banjir bandang yang sempat melanda Kecamatan Bumiaji, Kota Batu pada tanggal 4 November 2021 pukul 14.00, sehingga mengakibatkan kerusakan talud dan alur sungai pada Sungai Kricik. Menanggapi hal tersebut, maka diperlukan adanya penanganan terutama pada pengamanan tebing dan saluran. Namun, dalam penanganan proyek ini sempat terjadi keterlambatan dikarenakan beberapa faktor. Oleh karena itu, tujuan dari penelitian ini adalah untuk mengoptimalkan waktu, sumber daya, dan alat berat yang digunakan dengan biaya proyek yang paling efisien dengan menggunakan aplikasi Microsoft Project. Salah satu pendekatan yang digunakan adalah dengan meningkatkan durasi jam kerja dan jumlah alat berat yang digunakan. Permasalahan ini dianalisis melalui evaluasi jadwal pekerjaan, dengan solusi alternatif yang fokus pada percepatan proyek melalui peningkatan penggunaan alat berat dan jam kerja. Hasil analisis menunjukkan bahwa durasi normal proyek adalah 122 hari kerja. Melalui penjadwalan alternatif yang paling optimal, yaitu dengan penambahan durasi jam kerja, rencana anggaran biaya dapat dikurangi sebesar Rp. 1.146.214.952 atau 3,06%, dan durasi proyek dapat dipercepat selama 3 hari atau 2,52%. A flash flood occurred in Bumiaji Subdistrict, Batu City on November 4, 2021 at 14:00, causing damage to the embankment and river channel of the Kricik River. To address this situation, it is essential to take action, particularly in securing the cliffs and channels. However, there were delays in implementing this project due to various factors. Consequently, the aim of this study is to optimize the project's time, resources, and heavy equipment usage while achieving the most cost-efficient outcome using the Microsoft Project application. One strategy employed involves extending the working hours and increasing the number of heavy equipment used. The problem was analyzed by evaluating the project schedule, and alternative solutions were proposed to expedite the project by maximizing the utilization of heavy equipment and working hours. The analysis revealed that the normal project duration was 122 working days. By implementing the most optimal alternative schedule, which includes extending the working hours, the planned budget can be reduced by Rp. 1,146,214,952 or 3.06%, and the project duration can be shortened by 3 days or 2.52%.

ABSTRAKBanjir merupakan luapan air yang melebihi tinggi muka air normal sehingga meluap dari palung sungai yang menyebabkan terjadinya genangan air dilahan rendah. Pada umumnya banjir terjadi karena curah hujan yang tinggi yang mengakibatkan sistem pengaliran air yang terdiri dari sungai dan anak sungai serta sistem saluran drainase dan kanal penampung banjir buatan yang ada tidak mampu menampung akumulasi air hujan sehingga meluap (Mandasari, 2020). Banjir merupakan bencana alam yang ketiga terbesar didunia yang telah banyak menelan korban jiwa dan kerugian harta benda (BNPB, 2016), (BNPB, 2012). Angka kejadian banjir bandang di Bengkulu menuruti peringkat ke 7 secara nasional dengan 28 kali kejadian banjir bandang dan 231 kejadian banjir (Badan Pusat Statistik Indonesia, 2018), sedangkan kejadian banjir dan tanah longsor di provinsi Bengkulu telah melanda 9 kabupaten dan kota dengan dampak akibat banjir terdapat 30 jiwa meninggal, 6 jiwa hilang, 4 jiwa luka-luka, 12.000 mengungsi dan 13.000 terdampak akibat banjir (BNPB Provinsi Bengkulu, 2019). Tujuan pengabdian masyarakat ini adalah meningkatkan keterampilan kelompok karang taruna dalam melakukan penyelamatan diri dari bencana banjir sehingga dapat mengurangi angka kerugian dan kematian saat terjadi banjir di kelurahan bentiring Kota Bengkulu. Terdapat perubahan keterampilan tentang cara penyelamatan diri dari bencana banjir, dengan demikian latihan gabungan penyelamatan diri dari bencana banjir pada kelompok karang taruna di kelurahan bentiring Kota Bengkulu sangat efektif untuk meningkatkan keterampilan kelompok karang taruna dalam melakukan penyelamatan diri agar dapat mengurangi angka kerugian dan kematian saat terjadi banjir. Diharapkan dengan melakukan latihan gabungan penyelamatan diri, masyarakat menjadi lebih siap saat terjadi banjir. Kata Kunci: Latihan Gabungan, penyelamatan diri, banjir. ABSTRACTFlooding occurs when the regular water level of a river exceeds the capacity of the riverbed, causing pools on low terrain. Floods are caused by excessive rainfall, which causes a water drainage system comprised of rivers and tributaries, as well as drainage systems and artificial flood storage canals, to become unable to accept the buildup of rainwater, causing it to overflow. (Mandasari, 2020). Floods are the world's third-largest natural disaster, claiming many lives and causing significant property damage (BNPB, 2016). (BNPB, 2012). Bengkulu ranks 7th in the country for flash floods, with 28 flash floods and 231 floods (Indonesian Central Statistics Agency, 2018), while floods and landslides have impacted 9 districts and cities in Bengkulu province. 30 people died in floods, 6 people went missing, 4 people were injured, 12,000 people were displaced, and 13,000 people were affected (BNPB Bengkulu Province, 2019). The purpose of this community service project is to develop the skills of young groups in self-rescue from flood disasters so that they can reduce the number of losses and deaths in Bentiring Village, Bengkulu City when floods come. The combined exercise to save themselves from flood disasters in youth groups in Bentiring village, Bengkulu City, has been highly beneficial in developing the skills of youth groups in carrying out self-rescue in order to limit the amount of losses and deaths when floods come. The community will be better prepared in the case of a flood if they practice collaborative self-rescue exercises. Keywords: combined exercise, self-rescue, flood.

Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical content, the visual elements of sheet music were important and thus far have been under-acknowledged. Sheet music diffused the imagery connecting ‘country’ to music, to particular landscapes, and masculinities. In the literature on country music much emphasis has been placed on film, radio and television (Tichi; Peterson). Yet, sheet music was for several decades the most common way people bought personal copies of songs they liked and intended to play at home on piano, guitar or ukulele. This was particularly the case in Australia – geographically distant, and rarely included in international tours by American country music stars. Sheet music is thus a rich text to reveal the historical contours of ‘country’. My second and related argument is that that the possibilities for the globalising of ‘country’ were first explored in music. The idea of transnational discourses associated with ‘country’ and ‘rurality’ is relatively new (Cloke et al; Gorman-Murray et al; McCarthy), but in music we see early evidence of a globalising discourse of ‘country’ well ahead of the time period usually analysed. Accordingly, my focus is on the sheet music of country songs in Australia in the first half of the twentieth century and on how visual representations hybridised travelling themes to create a new vernacular ‘country’ in Australia. Creating ‘Country’ Music Country music, as its name suggests, is perceived as the music of rural areas, “defined in contrast to metropolitan norms” (Smith 301). However, the ‘naturalness’ of associations between country music and rurality belies a history of urban capitalism and the refinement of deliberate methods of marketing music through associated visual imagery. Early groups wore suits and dressed for urban audiences – but then altered appearances later, on the insistence of urban record companies, to emphasise rurality and cowboy heritage. Post-1950, ‘country’ came to replace ‘folk’ music as a marketing label, as the latter was considered to have too many communistic references (Hemphill 5), and the ethnic mixing of earlier folk styles was conveniently forgotten in the marketing of ‘country’ music as distinct from African American ‘race’ and ‘r and b’ music. Now an industry of its own with multinational headquarters in Nashville, country music is a ‘cash cow’ for entertainment corporations, with lower average production costs, considerable profit margins, and marketing advantages that stem from tropes of working class identity and ‘rural’ honesty (see Lewis; Arango). Another of country music’s associations is with American geography – and an imagined heartland in the colonial frontier of the American West. Slippages between ‘country’ and ‘western’ in music, film and dress enhance this. But historical fictions are masked: ‘purists’ argue that western dress and music have nothing to do with ‘country’ (see truewesternmusic.com), while recognition of the Spanish-Mexican, Native American and Hawaiian origins of ‘cowboy’ mythology is meagre (George-Warren and Freedman). Similarly, the highly international diffusion and adaptation of country music as it rose to prominence in the 1940s is frequently downplayed (Connell and Gibson), as are the destructive elements of colonialism and dispossession of indigenous peoples in frontier America (though Johnny Cash’s 1964 album The Ballads Of The American Indian: Bitter Tears was an exception). Adding to the above is the way ‘country’ operates discursively in music as a means to construct particular masculinities. Again, linked to rural imagery and the American frontier, the dominant masculinity is of rugged men wrestling nature, negotiating hardships and the pressures of family life. Country music valorises ‘heroic masculinities’ (Holt and Thompson), with echoes of earlier cowboy identities reverberating into contemporary performance through dress style, lyrical content and marketing imagery. The men of country music mythology live an isolated existence, working hard to earn an income for dependent families. Their music speaks to the triumph of hard work, honest values (meaning in this context a musical style, and lyrical concerns that are ‘down to earth’, ‘straightforward’ and ‘without pretence’) and physical strength, in spite of neglect from national governments and uncaring urban leaders. Country music has often come to be associated with conservative politics, heteronormativity, and whiteness (Gibson and Davidson), echoing the wider politics of ‘country’ – it is no coincidence, for example, that the slogan for the 2008 Republican National Convention in America was ‘country first’. And yet, throughout its history, country music has also enabled more diverse gender performances to emerge – from those emphasising (or bemoaning) domesticity; assertive femininity; creative negotiation of ‘country’ norms by gay men; and ‘alternative’ culture (captured in the marketing tag, ‘alt.country’); to those acknowledging white male victimhood, criminality (‘the outlaw’), vulnerability and cruelty (see Johnson; McCusker and Pecknold; Saucier). Despite dominant tropes of ‘honesty’, country music is far from transparent, standing for certain values and identities, and yet enabling the construction of diverse and contradictory others. Historical analysis is therefore required to trace the emergence of ‘country’ in music, as it travelled beyond America. A Note on Sheet Music as Media Source Sheet music was one of the main modes of distribution of music from the 1930s through to the 1950s – a formative period in which an eclectic group of otherwise distinct ‘hillbilly’ and ‘folk’ styles moved into a single genre identity, and after which vinyl singles and LP records with picture covers dominated. Sheet music was prevalent in everyday life: beyond radio, a hit song was one that was widely purchased as sheet music, while pianos and sheet music collections (stored in a piece of furniture called a ‘music canterbury’) in family homes were commonplace. Sheet music is in many respects preferable to recorded music as a form of evidence for historical analysis of country music. Picture LP covers did not arrive until the late 1950s (by which time rock and roll had surpassed country music). Until then, 78 rpm shellac discs, the main form of pre-recorded music, featured generic brown paper sleeves from the individual record companies, or city retail stores. Also, while radio was clearly central to the consumption of music in this period, it obviously also lacked the pictorial element that sheet music could provide. Sheet music bridged the music and printing industries – the latter already well-equipped with colour printing, graphic design and marketing tools. Sheet music was often literally crammed with information, providing the researcher with musical notation, lyrics, cover art and embedded advertisements – aural and visual texts combined. These multiple dimensions of sheet music proved useful here, for clues to the context of the music/media industries and geography of distribution (for instance, in addresses for publishers and sheet music retail shops). Moreover, most sheet music of the time used rich, sometimes exaggerated, images to convince passing shoppers to buy songs that they had possibly never heard. As sheet music required caricature rather than detail or historical accuracy, it enabled fantasy without distraction. In terms of representations of ‘country’, then, sheet music is perhaps even more evocative than film or television. Hundreds of sheet music items were collected for this research over several years, through deliberate searching (for instance, in library archives and specialist sheet music stores) and with some serendipity (for instance, when buying second hand sheet music in charity shops or garage sales). The collected material is probably not representative of all music available at the time – it is as much a specialised personal collection as a comprehensive survey. However, at least some material from all the major Australian country music performers of the time were found, and the resulting collection appears to be several times larger than that held currently by the National Library of Australia (from which some entries were sourced). All examples here are of songs written by, or cover art designed for Australian country music performers. For brevity’s sake, the following analysis of the sheet music follows a crudely chronological framework. Country Music in Australia Before ‘Country’ Country music did not ‘arrive’ in Australia from America as a fully-finished genre category; nor was Australia at the time without rural mythology or its own folk music traditions. Associations between Australian national identity, rurality and popular culture were entrenched in a period of intense creativity and renewed national pride in the decades prior to and after Federation in 1901. This period saw an outpouring of art, poetry, music and writing in new nationalist idiom, rooted in ‘the bush’ (though drawing heavily on Celtic expressions), and celebrating themes of mateship, rural adversity and ‘battlers’. By the turn of the twentieth century, such myths, invoked through memory and nostalgia, had already been popularised. Australia had a fully-established system of colonies, capital cities and state governments, and was highly urbanised. Yet the poetry, folk music and art, invariably set in rural locales, looked back to the early 1800s, romanticising bush characters and frontier events. The ‘bush ballad’ was a central and recurring motif, one that commentators have argued was distinctly, and essentially ‘Australian’ (Watson; Smith). Sheet music from this early period reflects the nationalistic, bush-orientated popular culture of the time: iconic Australian fauna and flora are prominent, and Australian folk culture is emphasised as ‘native’ (being the first era of cultural expressions from Australian-born residents). Pioneer life and achievements are celebrated. ‘Along the road to Gundagai’, for instance, was about an iconic Australian country town and depicted sheep droving along rustic trails with overhanging eucalypts. Male figures are either absent, or are depicted in situ as lone drovers in the archetypal ‘shepherd’ image, behind their flocks of sheep (Figure 1). Figure 1: No. 1 Magpie Ballads – The Pioneer (c1900) and Along the road to Gundagai (1923). Further colonial ruralities developed in Australia from the 1910s to 1940s, when agrarian values grew in the promotion of Australian agricultural exports. Australia ‘rode on the sheep’s back’ to industrialisation, and governments promoted rural development and inland migration. It was a period in which rural lifestyles were seen as superior to those in the crowded inner city, and government strategies sought to create a landed proletariat through post-war land settlement and farm allotment schemes. National security was said to rely on populating the inland with those of European descent, developing rural industries, and breeding a healthier and yet compliant population (Dufty), from which armies of war-ready men could be recruited in times of conflict. Popular culture served these national interests, and thus during these decades, when ‘hillbilly’ and other North American music forms were imported, they were transformed, adapted and reworked (as in other places such as Canada – see Lehr). There were definite parallels in the frontier narratives of the United States (Whiteoak), and several local adaptations followed: Tex Morton became Australia’s ‘Yodelling boundary rider’ and Gordon Parsons became ‘Australia’s yodelling bushman’. American songs were re-recorded and performed, and new original songs written with Australian lyrics, titles and themes. Visual imagery in sheet music built upon earlier folk/bush frontier themes to re-cast Australian pastoralism in a more settled, modernist and nationalist aesthetic; farms were places for the production of a robust nation. Where male figures were present on sheet music covers in the early twentieth century, they became more prominent in this period, and wore Akubras (Figure 2). The lyrics to John Ashe’s Growin’ the Golden Fleece (1952) exemplify this mix of Australian frontier imagery, new pastoralist/nationalist rhetoric, and the importation of American cowboy masculinity: Go west and take up sheep, man, North Queensland is the shot But if you don’t get rich, man, you’re sure to get dry rot Oh! Growin’ the golden fleece, battlin’ a-way out west Is bound to break your flamin’ heart, or else expand your chest… We westerners are handy, we can’t afford to crack Not while the whole darn’d country is riding on our back Figure 2: Eric Tutin’s Shearers’ Jamboree (1946). As in America, country music struck a chord because it emerged “at a point in history when the project of the creation and settlement of a new society was underway but had been neither completed nor abandoned” (Dyer 33). Governments pressed on with the colonial project of inland expansion in Australia, despite the theft of indigenous country this entailed, and popular culture such as music became a means to normalise and naturalise the process. Again, mutations of American western imagery, and particular iconic male figures were important, as in Roy Darling’s (1945) Overlander Trail (Figure 3): Wagon wheels are rolling on, and the days seem mighty long Clouds of heat-dust in the air, bawling cattle everywhere They’re on the overlander trail Where only sheer determination will prevail Men of Aussie with a job to do, they’ll stick and drive the cattle through And though they sweat they know they surely must Keep on the trail that winds a-head thro’ heat and dust All sons of Aussie and they will not fail. Sheet music depicted silhouetted men in cowboy hats on horses (either riding solo or in small groups), riding into sunsets or before looming mountain ranges. Music – an important part of popular culture in the 1940s – furthered the colonial project of invading, securing and transforming the Australian interior by normalising its agendas and providing it with heroic male characters, stirring tales and catchy tunes. Figure 3: ‘Roy Darling’s (1945) Overlander Trail and Smoky Dawson’s The Overlander’s Song (1946). ‘Country Music’ Becomes a (Globalised) Genre Further growth in Australian country music followed waves of popularity in the United States in the 1940s and 1950s, and was heavily influenced by new cross-media publicity opportunities. Radio shows expanded, and western TV shows such as Bonanza and On the Range fuelled a ‘golden age’. Australian performers such as Slim Dusty and Smokey Dawson rose to fame (see Fitzgerald and Hayward) in an era when rural-urban migration peaked. Sheet music reflected the further diffusion and adoption of American visual imagery: where male figures were present on sheet music covers, they became more prominent than before and wore Stetsons. Some were depicted as chiselled-faced but simple men, with plain clothing and square jaws. Others began to more enthusiastically embrace cowboy looks, with bandana neckerchiefs, rawhide waistcoats, embellished and harnessed tall shaft boots, pipe-edged western shirts with wide collars, smile pockets, snap fasteners and shotgun cuffs, and fringed leather jackets (Figure 4). Landscapes altered further too: cacti replaced eucalypts, and iconic ‘western’ imagery of dusty towns, deserts, mesas and buttes appeared (Figure 5). Any semblance of folk music’s appeal to rustic authenticity was jettisoned in favour of showmanship, as cowboy personas were constructed to maximise cinematic appeal. Figure 4: Al Dexter’s Pistol Packin’ Mama (1943) and Reg Lindsay’s (1954) Country and Western Song Album. Figure 5: Tim McNamara’s Hitching Post (1948) and Smoky Dawson’s Golden West Album (1951). Far from slavish mimicry of American culture, however, hybridisations were common. According to Australian music historian Graeme Smith (300): “Australian place names appear, seeking the same mythological resonance that American localisation evoked: hobos became bagmen […] cowboys become boundary riders.” Thus alongside reproductions of the musical notations of American songs by Lefty Frizzel, Roy Carter and Jimmie Rodgers were songs with localised themes by new Australian stars such as Reg Lindsay and Smoky Dawson: My curlyheaded buckaroo, My home way out back, and On the Murray Valley. On the cover of The square dance by the billabong (Figure 6) – the title of which itself was a conjunction of archetypal ‘country’ images from both America and Australia – a background of eucalypts and windmills frames dancers in classic 1940s western (American) garb. In the case of Tex Morton’s Beautiful Queensland (Figure 7), itself mutated from W. Lee O’Daniel’s Beautiful Texas (c1945), the sheet music instructed those playing the music that the ‘names of other states may be substituted for Queensland’. ‘Country’ music had become an established genre, with normative values, standardised images and themes and yet constituted a stylistic formula with enough polysemy to enable local adaptations and variations. Figure 6: The Square dance by the billabong, Vernon Lisle, 1951. Figure 7: Beautiful Queensland, Tex Morton, c1945 source: http://nla.gov.au/nla.mus-vn1793930. Conclusions In country music images of place and masculinity combine. In music, frontier landscapes are populated by rugged men living ‘on the range’ in neo-colonial attempts to tame the land and convert it to productive uses. This article has considered only one media – sheet music – in only one country (Australia) and in only one time period (1900-1950s). There is much more to say than was possible here about country music, place and gender – particularly recently, since ‘country’ has fragmented into several niches, and marketing of country music via cable television and the internet has ensued (see McCusker and Pecknold). My purpose here has been instead to explore the early origins of ‘country’ mythology in popular culture, through a media source rarely analysed. Images associated with ‘country’ travelled internationally via sheet music, immensely popular in the 1930s and 1940s before the advent of television. The visual elements of sheet music contributed to the popularisation and standardisation of genre expectations and appearances, and yet these too travelled and were adapted and varied in places like Australia which had their own colonial histories and folk music heritages. Evidenced here is how combinations of geographical and gender imagery embraced imported American cowboy imagery and adapted it to local markets and concerns. Australia saw itself as a modern rural utopia with export aspirations and a desire to secure permanence through taming and populating its inland. Sheet music reflected all this. So too, sheet music reveals the historical contours of ‘country’ as a transnational discourse – and the extent to which ‘country’ brought with it a clearly defined set of normative values, a somewhat exaggerated cowboy masculinity, and a remarkable capacity to be moulded to local circumstances. Well before later and more supposedly ‘global’ media such as the internet and television, the humble printed sheet of notated music was steadily shaping ‘country’ imagery, and an emergent international geography of cultural flows. References Arango, Tim. “Cashville USA.” Fortune, Jan 29, 2007. Sept 3, 2008, http://money.cnn.com/magazines/fortune/fortune_archive/2007/01/22/8397980/index.htm. Cloke, Paul, Marsden, Terry and Mooney, Patrick, eds. Handbook of Rural Studies, London: Sage, 2006. Connell, John and Gibson, Chris. Sound Tracks: Popular Music, Identity and Place, London: Routledge, 2003. Dufty, Rae. Rethinking the politics of distribution: the geographies and governmentalities of housing assistance in rural New South Wales, Australia, PhD thesis, UNSW, 2008. Dyer, Richard. White: Essays on Race and Culture, London: Routledge, 1997. George-Warren, Holly and Freedman, Michelle. How the West was Worn: a History of Western Wear, New York: Abrams, 2000. Fitzgerald, Jon and Hayward, Phil. “At the confluence: Slim Dusty and Australian country music.” Outback and Urban: Australian Country Music. Ed. Phil Hayward. Gympie: Australian Institute of Country Music Press, 2003. 29-54. Gibson, Chris and Davidson, Deborah. “Tamworth, Australia’s ‘country music capital’: place marketing, rural narratives and resident reactions.” Journal of Rural Studies 20 (2004): 387-404. 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Exploration and production of oil and gas in ultra-deep waters will face several technical challenges. One major concern of the static failure of flexible pipes is the occurrence of damage on external sheath and high resistance bandages that in some cases can generate radial instability of those structures. The new ultra-deep water fields will require a better understanding of those failure mechanisms and relationship between compressive loads and defect sizes to guarantee a safe operation, otherwise the expected service lifetime will not be achieved. Besides that, historical data of in-service failures of this type of equipment shows that several flexible pipes have to be early replaced due to missing of proper data to evaluate damaged structures. Therefore, even worse results are expected on ultra-deep water field application. Flexible risers comprise multiple structural layers, which combine leads to characteristics of resistance, tightness and desired flexibility, both for its installation and operation. Regarding the mechanical strength, flexible riser structure must withstand several load modes acting together or isolated. Within this context, axial compression acting individually or combined is the responsible for radial instability of flexible pipes. Radial instability occurs mainly when the flexible pipe suffers damage on the outer layers, which are responsible for radial strain resistance. This damage on the external sheath and bandages occurs due to the launching procedure, project or material failures, wearing, excessive loading, abandonment procedures or possible falling. Damages on the external bandage layer, together with axial compressive load may lead to catastrophic failures due to radial strains, as well known as birdcaging or lateral bucking, thereby leading to a complex local analysis in the search for solutions capable to predict riser behavior. Therefore, this study intends to build a relationship between the size of the defects and compressive loads for flexible risers that leads to birdcage formation, which consequently reduces the pipe expected life. The measurements were performed in full scale mechanical tests of two sizes of flexible risers. After that, finite element method models calibrated and validated with mechanical tests data, were used to extrapolate the results for other possible defect scenarios. The case studies for an analysis of the relationship between compressive loads and sizes of defects which lead to radial instability and consequently to pipe stiffness decreasing, were two flexible pipes of different sizes, widely used on offshore applications, with produced defects. Besides that, thirty-two conditions were analyzed through the model developed with variations in the size of defects, according to riser geometric limits in length and width. The results indicated that the radial instability in flexible pipes with defect on high resistance bandages does not reach the failure criterion for axial stiffness if compressive loads are limited to a threshold. Also, the defect size on bandage of flexible pipes subjected to compressive loads influences the radial instability, reducing the stiffness up to five times according to obtained results, especially depending on its length and without significant dependence of the width. One of the simulated conditions presented a change on the deformation distribution located near the manufactured defect, indicating another type of instability known as lateral buckling.