Sanlele, a three-stringed musical instrument emerged in 2004 in Okinawa, is a hybrid musical instrument in-between Hawaiian ukulele and Okinawan sanshin. San, means three, comes from Okinawan sanshin. The term ‘lele’, means jumping, has a direct connection with Hawaiian ukulele. If this is true, the sanlele thus can be understood literally as ‘jumping sanshin’. During the process of hybridizing, the sanlele developed at least four versions, reflecting everchanging aesthetic preferences by musical instrument makers. This paper bases on regular fieldwork made since 2018. It argues that if taking performer into consideration, it is clearly to see that sanlele’s meaning is flexibly constructed and invoked in any performance. Through ‘switched meanings’ in performance, the sanlele switches on or off a connection with Okinawa and Hawaii. There are several backgrounds contributing to its ‘jumping’ on the road of ‘glocalization’ (R. Robertson 1995), including the Okinawan unique tropical champuru cultural spirit, the Worldwide Youth Uchinanchu Festival, and oversea Uchinanchu’s identity rethinking on the road of a ‘transnational homing’(Katie Walsh 2006). To make, to play, and to listen to the sanlele, can be a chance for musical instrument makers, performers, and people who use it to open up in dialogues with histories and cultures of Okinawa, Hawaii, and beyond.
{"title":"Sanlele ‘Jumping’ on the Road of Glocalization: Sounds of Okinawa Tropical Champuru Culture and the World Youth Uchinanchu","authors":"Huang Wan","doi":"10.30819/5319.03","DOIUrl":"https://doi.org/10.30819/5319.03","url":null,"abstract":"\u0000 Sanlele, a three-stringed musical instrument emerged in 2004 in Okinawa, is a hybrid musical\u0000instrument in-between Hawaiian ukulele and Okinawan sanshin. San, means three, comes from\u0000Okinawan sanshin. The term ‘lele’, means jumping, has a direct connection with Hawaiian\u0000ukulele. If this is true, the sanlele thus can be understood literally as ‘jumping sanshin’. During\u0000the process of hybridizing, the sanlele developed at least four versions, reflecting everchanging\u0000aesthetic preferences by musical instrument makers. This paper bases on regular fieldwork made\u0000since 2018. It argues that if taking performer into consideration, it is clearly to see that sanlele’s\u0000meaning is flexibly constructed and invoked in any performance. Through ‘switched meanings’\u0000in performance, the sanlele switches on or off a connection with Okinawa and Hawaii. There are\u0000several backgrounds contributing to its ‘jumping’ on the road of ‘glocalization’ (R. Robertson\u00001995), including the Okinawan unique tropical champuru cultural spirit, the Worldwide Youth\u0000Uchinanchu Festival, and oversea Uchinanchu’s identity rethinking on the road of a\u0000‘transnational homing’(Katie Walsh 2006). To make, to play, and to listen to the sanlele, can be a\u0000chance for musical instrument makers, performers, and people who use it to open up in dialogues\u0000with histories and cultures of Okinawa, Hawaii, and beyond.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128217996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Feasting and banquets played a significant role in defining and strengthening cultural identity. Archaeological-historical studies demonstrated that feasting and banquets were more than a time for celebration and consuming food and wine, they could be of political importance and they have played a major role in the negotiation of power and identity. Indeed, they have contributed to historical transformations. The richest source of banquets in ancient Persia dates back to ‘Chogha Mish’, the largest pre-Sassanian site in the Susiana area, in the western province of Khuzestan, a state located in today’s Iran. Artifacts from ancient Persia, especially from the Achaemenid (539–330 BC) and its successor the Sassanid Empire, have proven to contain extremely valuable information to shine light on the nature of the royal banquets. This paper examines artefacts and a mural from different Persian eras depicting such royal banquets. It focuses on these remnants of culture which allow a glimpse into the Persian past.
{"title":"Banquets, Power, and Identity - Mediation of Power and Identity through Royal Feasts and Banquets in Persia","authors":"Sahereh Astaneh","doi":"10.30819/5319.14","DOIUrl":"https://doi.org/10.30819/5319.14","url":null,"abstract":"\u0000 Feasting and banquets played a significant role in defining and strengthening cultural identity.\u0000Archaeological-historical studies demonstrated that feasting and banquets were more than a time\u0000for celebration and consuming food and wine, they could be of political importance and they\u0000have played a major role in the negotiation of power and identity. Indeed, they have contributed\u0000to historical transformations. The richest source of banquets in ancient Persia dates back to\u0000‘Chogha Mish’, the largest pre-Sassanian site in the Susiana area, in the western province of\u0000Khuzestan, a state located in today’s Iran. Artifacts from ancient Persia, especially from the\u0000Achaemenid (539–330 BC) and its successor the Sassanid Empire, have proven to contain\u0000extremely valuable information to shine light on the nature of the royal banquets.\u0000This paper examines artefacts and a mural from different Persian eras depicting such royal\u0000banquets. It focuses on these remnants of culture which allow a glimpse into the Persian past.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126049984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Guqin (古琴) music, a cultural practice of the Classical Chinese literati which survived and had seen a surge of interest globally in the early 21st century, can be understood as an interactive whole consisting of the instrument and the performer. The musical interface, its music notation focuses heavily on the instrumental spatial-motor relationship with the performer, with sound as product of this psychosomatic interaction. This paper will examine the various layers of this interaction between: a) notation and movement and sound; b) topography of instrument body and physicality of performers’ hand on it; c) physicality and psychology of performance, leading to questions of musicality, authenticity in expression, and intentions or functions of guqin music. By comparing particular works (such as 山居吟 and 潇湘水云) across score collections from different periods (such as 神奇秘谱 1425, 大还阁琴谱 1673, 五知斋琴谱1722), and highlighting certain peculiar fingering position and combinations in earlier music against recent transcriptions of popular music, I will raise questions on possible musical purposes and expressions in relation to the proposed performer-instrument interaction perspective, so as to further understand the evolving nature of this music making over time. This creative interaction in sonic terms as sound and as music, performance practice and musical expression as culture and aesthetics, are some aspects of what I wish to present on an ongoing reinvention of guqin as instrument and music.
{"title":"Guqin Playing Now: Re-inventing the Past as a Creative Way of Sustaining an Instrumental Practice","authors":"Hoh Chung Shih","doi":"10.30819/5319.02","DOIUrl":"https://doi.org/10.30819/5319.02","url":null,"abstract":"\u0000 Guqin (古琴) music, a cultural practice of the Classical Chinese literati which survived and had\u0000seen a surge of interest globally in the early 21st century, can be understood as an interactive\u0000whole consisting of the instrument and the performer. The musical interface, its music notation\u0000focuses heavily on the instrumental spatial-motor relationship with the performer, with sound as\u0000product of this psychosomatic interaction. This paper will examine the various layers of this\u0000interaction between: a) notation and movement and sound; b) topography of instrument body\u0000and physicality of performers’ hand on it; c) physicality and psychology of performance, leading\u0000to questions of musicality, authenticity in expression, and intentions or functions of guqin music.\u0000By comparing particular works (such as 山居吟 and 潇湘水云) across score collections from\u0000different periods (such as 神奇秘谱 1425, 大还阁琴谱 1673, 五知斋琴谱1722), and highlighting\u0000certain peculiar fingering position and combinations in earlier music against recent transcriptions\u0000of popular music, I will raise questions on possible musical purposes and expressions in relation\u0000to the proposed performer-instrument interaction perspective, so as to further understand the\u0000evolving nature of this music making over time. This creative interaction in sonic terms as sound\u0000and as music, performance practice and musical expression as culture and aesthetics, are some\u0000aspects of what I wish to present on an ongoing reinvention of guqin as instrument and music.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132608283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In many Ethiopian traditional cultures, vocal music dominates the musical repertoire. It is only in a handful of traditional contexts, where solely instrumental music becomes part of the repertoire. Contrary to this, however, the modern music domain in Ethiopia offers a wide range of instrumental music. The root of instrumental music in Ethiopia is, most probably, connected with the emergence of independent/private bands in the early 1960s. These modern bands with highly trained Ethiopian musicians, among others, offered ‘light-music’ in hotels and restaurants. In the initial periods, their repertoire mainly entailed re-arranged international melodies. The advancement of the modern music paved a way to increasing musical creativity over the decades to follow. My presentation will attempt to look at instrumentals performed with western music instruments, of which the large part derives from already existing traditional and modern songs. Representative musical pieces will be given special focus in terms of their instrumentation, rearrangement, melodic and metro-rhythmic structures, form and style along with their function, meaning and understanding.
{"title":"Exploring Ethiopian Instrumental Music and Musicians","authors":"Timkehet Teffera","doi":"10.30819/5319.20","DOIUrl":"https://doi.org/10.30819/5319.20","url":null,"abstract":"\u0000 In many Ethiopian traditional cultures, vocal music dominates the musical repertoire. It is only\u0000in a handful of traditional contexts, where solely instrumental music becomes part of the\u0000repertoire. Contrary to this, however, the modern music domain in Ethiopia offers a wide range\u0000of instrumental music. The root of instrumental music in Ethiopia is, most probably, connected\u0000with the emergence of independent/private bands in the early 1960s. These modern bands with\u0000highly trained Ethiopian musicians, among others, offered ‘light-music’ in hotels and restaurants.\u0000In the initial periods, their repertoire mainly entailed re-arranged international melodies. The\u0000advancement of the modern music paved a way to increasing musical creativity over the decades\u0000to follow. My presentation will attempt to look at instrumentals performed with western music\u0000instruments, of which the large part derives from already existing traditional and modern songs.\u0000Representative musical pieces will be given special focus in terms of their instrumentation, rearrangement,\u0000melodic and metro-rhythmic structures, form and style along with their function,\u0000meaning and understanding.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123735142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There is a number of human rituals that are accompanied by sacrifices of food and drinks. Ritual practices of different people are a huge resource of these habits that are found all over the world. This research paper will focus on the role of instrumental music in guiding these sacrifices among selected communities inhabiting Southeast Asia’s mainland. Through a multi-perspective observation this research aims at showing order principles, musical requirements, and their variability, which will be analysed and discussed. Long term field work and participant observation over a specific period of time are the basic preconditions for this research. In addition, this research is also to question basic principles of conveying research outcomes and the use of well-established research tools in order to categorize and identify types of musical and ritual behaviour. The perspective of food offerings may shift the focus from musicality within rituals to the focus on social digestion in the context of sustaining communities.
{"title":"Rituals with Music and Food, Food with Music and Rituals","authors":"G. Jähnichen","doi":"10.30819/5319.15","DOIUrl":"https://doi.org/10.30819/5319.15","url":null,"abstract":"\u0000 There is a number of human rituals that are accompanied by sacrifices of food and drinks. Ritual\u0000practices of different people are a huge resource of these habits that are found all over the world.\u0000This research paper will focus on the role of instrumental music in guiding these sacrifices among\u0000selected communities inhabiting Southeast Asia’s mainland.\u0000Through a multi-perspective observation this research aims at showing order principles, musical\u0000requirements, and their variability, which will be analysed and discussed.\u0000Long term field work and participant observation over a specific period of time are the basic preconditions\u0000for this research. In addition, this research is also to question basic principles of\u0000conveying research outcomes and the use of well-established research tools in order to categorize\u0000and identify types of musical and ritual behaviour. The perspective of food offerings may shift\u0000the focus from musicality within rituals to the focus on social digestion in the context of sustaining\u0000communities.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115011342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Platforms such as YouTube feature materials titled “Teahouse in Ancient China - Historical Ambience XXABSTRACT Music” or “Tea Ceremony Music”. Prima facie, these have parallels with the modern Western concept of the “coffee shop playlist”, which has become quite commonplace as a study or work aid. However, the passive listening habits associated with these kinds of playlists contrast with the varied entertainment culture experienced in the functioning teahouses of modern China, where performative aspects are the focus, for example. In this paper, I explore how Chinese teahouse music is presented on YouTube, drawing comparisons between playlists accompanied by static images and samples of recorded performances found on the platform. Finally, I discuss the potential problems arising from such representations of the Chinese teahouse.
{"title":"Digital Representations of Chinese Teahouse Music","authors":"Corey Moore","doi":"10.30819/5319.17","DOIUrl":"https://doi.org/10.30819/5319.17","url":null,"abstract":"\u0000 Platforms such as YouTube feature materials titled “Teahouse in Ancient China - Historical Ambience\u0000XXABSTRACT Music” or “Tea Ceremony Music”. Prima facie, these have parallels with the modern Western\u0000concept of the “coffee shop playlist”, which has become quite commonplace as a study or work\u0000aid. However, the passive listening habits associated with these kinds of playlists contrast with\u0000the varied entertainment culture experienced in the functioning teahouses of modern China,\u0000where performative aspects are the focus, for example.\u0000In this paper, I explore how Chinese teahouse music is presented on YouTube, drawing\u0000comparisons between playlists accompanied by static images and samples of recorded\u0000performances found on the platform. Finally, I discuss the potential problems arising from such\u0000representations of the Chinese teahouse.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114340303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Musical instruments change all the time. When an instrument is played in different contexts, it will show different functions. The same is true of taiko. When taiko came to Shanghai, involved people established an emotional connection with taiko in the process of playing taiko for a long time, and give taiko a new cultural function under their personal understanding, bringing taiko to their life, building another connection with the life of other taiko enthusiasts. At the same time, taiko also affects the performers' thoughts. Involved people also look for the value and purpose of their own existence through taiko in the process of performing taiko.
{"title":"From Japan to China: Another Interpretation of Taiko","authors":"Li Yujie","doi":"10.30819/5319.05","DOIUrl":"https://doi.org/10.30819/5319.05","url":null,"abstract":"\u0000 Musical instruments change all the time. When an instrument is played in different\u0000contexts, it will show different functions. The same is true of taiko. When taiko came\u0000to Shanghai, involved people established an emotional connection with taiko in the\u0000process of playing taiko for a long time, and give taiko a new cultural function under\u0000their personal understanding, bringing taiko to their life, building another connection\u0000with the life of other taiko enthusiasts. At the same time, taiko also affects the\u0000performers' thoughts. Involved people also look for the value and purpose of their\u0000own existence through taiko in the process of performing taiko.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"235 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133430771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Annah Rais pratuokng is a traditional musical instrument of the Bidayuh. It is also known as a simple idiochord chordophone. It is made of a petung bamboo, and the sound faculty is equivalent to the functions of the Bidayuh community gong set. The sound radiator meaning is made up of tawak, satuk and canang. A similar tube zither made of bamboo, named pretong or sretong, is used by the Bidayuh of Bau. The three-string sound radiators are kromong, canang, gong, plus the tawak and gedabak. Pratuokng sound radiators are like the gongs of the Bidayuh. According to Horsbourgh's observation, "... gongs... are both a musical instrument and a representation of wealth”2. The Annah Rais Bidayuh gong set, privately owned by the villagers, can be typically played every year for ritual practice as well as for entertainment during the Gawai celebration on the first and second June. The audio collection of the Ethnology Section of the Sarawak Museum provides similar recordings from other occasions than played duringGawai Panggah. Also, some groups’ celebrations among the Bidayuh Biata, Bidayuh Selakau, and Lara, Bidayuh Lara were recorded. Few recordings were collected in Annah Rais between 1988 and 1998, which still maintain the same settings as those recorded in Kupuo Saba of Annah Rais to this date. In the context of the use of gongs during celebrations, the representations of gong tones can also be found on a pratuokng. One point of debate in the literature about tube zithers is, whether the voice functions found in the gong collection mimic the string voices found on the pratuokng or the other way round. Does this fact serve as a featured phenomenon to the actual appearance of re-invented musical instruments? Does it contribute to its sustainable appearance today?
{"title":"The Annah Rais Pratuokng and the Practical Appearance of Re-invented Musical Instruments","authors":"Ahmad Faudzi Musib","doi":"10.30819/5319.07","DOIUrl":"https://doi.org/10.30819/5319.07","url":null,"abstract":"\u0000 The Annah Rais pratuokng is a traditional musical instrument of the Bidayuh. It is also known as\u0000a simple idiochord chordophone. It is made of a petung bamboo, and the sound faculty is\u0000equivalent to the functions of the Bidayuh community gong set. The sound radiator meaning is\u0000made up of tawak, satuk and canang. A similar tube zither made of bamboo,\u0000named pretong or sretong, is used by the Bidayuh of Bau. The three-string sound radiators\u0000are kromong, canang, gong, plus the tawak and gedabak. Pratuokng sound radiators are like the\u0000gongs of the Bidayuh. According to Horsbourgh's observation, \"... gongs... are both a musical\u0000instrument and a representation of wealth”2. The Annah Rais Bidayuh gong set, privately owned\u0000by the villagers, can be typically played every year for ritual practice as well as for entertainment\u0000during the Gawai celebration on the first and second June. The audio collection of the Ethnology\u0000Section of the Sarawak Museum provides similar recordings from other occasions than played\u0000duringGawai Panggah. Also, some groups’ celebrations among the Bidayuh Biata, Bidayuh\u0000Selakau, and Lara, Bidayuh Lara were recorded. Few recordings were collected in Annah Rais\u0000between 1988 and 1998, which still maintain the same settings as those recorded in Kupuo Saba\u0000of Annah Rais to this date. In the context of the use of gongs during celebrations, the\u0000representations of gong tones can also be found on a pratuokng. One point of debate in the\u0000literature about tube zithers is, whether the voice functions found in the gong collection mimic\u0000the string voices found on the pratuokng or the other way round. Does this fact serve as a\u0000featured phenomenon to the actual appearance of re-invented musical instruments? Does it\u0000contribute to its sustainable appearance today?\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129276179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An artesa is a large zoomorphic stamping platform in the shape of a cattle related animal (horse, bull or cow) made of one piece of parota tree wood (Enterolobyum Cyclocaroum). Until the midtwentieth century, most collective Afro-descendant celebrations in Costa Chica region (Mexico) implied a fandango de artesa, where stamping dance on an artesa –along with other musical instruments and singing– was the center of the festivity. Nevertheless, since then fandangos began to gradually fall into neglect until practically disappear. In the 1980s, through the intervention of some anthropologists, the fandango underwent into a process of resurgence. Firstly, immersed in the agenda of the institutional programme ‘Our Third Root’ -dedicated to the cultural recognition of Afro-descendants- and later on embraced by a local movement concerned with ‘Afro-Mexican’ political recognition, artesa resurgence went through substantial changes. This process brought new functions, meanings, performative formats, construction and esthetical values to this musical instrument. Based on regional field-work this paper explores artesa’s recent status as a selective cultural process where a re-interpretation and a new narrative have shaped a particular resurgence of this instrument and its contexts of appearance.
artesa是一种大型兽形冲压平台，形状为与牛有关的动物(马，公牛或母牛)，由一块parota树木材(Enterolobyum Cyclocaroum)制成。直到20世纪中期，哥斯达黎加地区(墨西哥)大多数非洲后裔的集体庆祝活动都包含了一种方丹戈(fandango de artesa)，在artesa上跺脚跳舞——以及其他乐器和唱歌——是庆祝活动的中心。然而，从那时起，方丹戈开始逐渐被忽视，直到几乎消失。20世纪80年代，在一些人类学家的介入下，方丹戈经历了一个复苏的过程。首先，沉浸在“我们的第三根”机构计划的议程中——致力于对非洲裔后裔的文化认识——后来被一个与“非裔墨西哥人”政治承认有关的地方运动所接受，artesa的复兴经历了实质性的变化。这个过程给这种乐器带来了新的功能、意义、表演形式、结构和审美价值。基于区域实地考察，本文探讨了萨特萨作为一种选择性文化过程的最新地位，在这种文化过程中，重新解释和新的叙述塑造了这种乐器及其出现的背景的特殊复苏。
{"title":"To Stamp One's Feet: Resurgence of the Artesa as an Identity Reassessment in Afro-Descendant Communities of Costa Chica, Mexico","authors":"C. Rodríguez","doi":"10.30819/5319.11","DOIUrl":"https://doi.org/10.30819/5319.11","url":null,"abstract":"\u0000 An artesa is a large zoomorphic stamping platform in the shape of a cattle related animal (horse,\u0000bull or cow) made of one piece of parota tree wood (Enterolobyum Cyclocaroum). Until the midtwentieth\u0000century, most collective Afro-descendant celebrations in Costa Chica region (Mexico)\u0000implied a fandango de artesa, where stamping dance on an artesa –along with other musical\u0000instruments and singing– was the center of the festivity. Nevertheless, since then fandangos\u0000began to gradually fall into neglect until practically disappear. In the 1980s, through the\u0000intervention of some anthropologists, the fandango underwent into a process of resurgence.\u0000Firstly, immersed in the agenda of the institutional programme ‘Our Third Root’ -dedicated to\u0000the cultural recognition of Afro-descendants- and later on embraced by a local movement\u0000concerned with ‘Afro-Mexican’ political recognition, artesa resurgence went through substantial\u0000changes. This process brought new functions, meanings, performative formats, construction and\u0000esthetical values to this musical instrument. Based on regional field-work this paper explores\u0000artesa’s recent status as a selective cultural process where a re-interpretation and a new narrative\u0000have shaped a particular resurgence of this instrument and its contexts of appearance.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127696980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the late 1990s, the Sri Lankan drummer Piyasara Shilpadhipathi invented a new drum that he named ‘gäwula’ The gäwula was conceived of as a hybrid between two traditional Sri Lankan drums, namely the double-conical-shaped gäṭa beraya and the barrel-shaped dawula, which are associated with two different regional ritual traditions. A double-headed drum that is tied around the drummer’s waist, the gäwula features the timbres of the gäṭa beraya on one drumhead and those of the dawula on the other drumhead. As prescribed by the drum’s inventor, the gäwula can be played either with two bare heads or with one bare hand and a stick in the other hand, similar to the dawula. Shilpadhipathi also composed a vocabulary of drum-patterns that can be played on the gäwula and created a systematic method for learning to play it. This article discusses the production of the gäwula, the ideologies behind its invention, and the contexts within which it has been practised and performed. Using the history of the gäwula as a case study, this paper explores how cultural discourses and individual agency can influence the invention of new musical instruments.
{"title":"Gäwula: The Invention of a Hybrid Drum in Sri Lanka","authors":"Eshantha Peiris","doi":"10.30819/5319.10","DOIUrl":"https://doi.org/10.30819/5319.10","url":null,"abstract":"\u0000 In the late 1990s, the Sri Lankan drummer Piyasara Shilpadhipathi invented a new drum that he\u0000named ‘gäwula’ The gäwula was conceived of as a hybrid between two traditional Sri Lankan\u0000drums, namely the double-conical-shaped gäṭa beraya and the barrel-shaped dawula, which are\u0000associated with two different regional ritual traditions. A double-headed drum that is tied around\u0000the drummer’s waist, the gäwula features the timbres of the gäṭa beraya on one drumhead and\u0000those of the dawula on the other drumhead. As prescribed by the drum’s inventor, the gäwula\u0000can be played either with two bare heads or with one bare hand and a stick in the other hand,\u0000similar to the dawula. Shilpadhipathi also composed a vocabulary of drum-patterns that can be\u0000played on the gäwula and created a systematic method for learning to play it.\u0000This article discusses the production of the gäwula, the ideologies behind its invention, and the\u0000contexts within which it has been practised and performed. Using the history of the gäwula as a\u0000case study, this paper explores how cultural discourses and individual agency can influence the\u0000invention of new musical instruments.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128014025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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