Pub Date : 1900-01-01DOI: 10.1093/oso/9780197517550.003.0011
A. Mcgraw
This chapter describes a music program in the Richmond, Virginia, city jail and the ethical ambiguities arising from the author’s overlapping roles as organizer and observer. The author examines the vague boundaries between applied and academic ethnomusicology, voluntarism and work, and personal and institutional ethical standards. An ethnomusicological approach to music in jails and prisons exposes ethical frictions between policies, methodologies, and codes espoused by IRB (or other ethics review) boards, ethnomusicologists, their interlocutors, and academic societies. The tension between the author’s status as a volunteer and ethnographer raises a number of questions: How is ethical knowledge differently defined? Which definitions have more authority and how is that authority established? Where are the epistemological and ethical boundaries between academic and applied ethnomusicology? How is ethnographic knowledge connected to social change? An examination of the ethnomusicology’s relationship to IRBs reveals ongoing ethical ambiguities, especially regarding research on “vulnerable populations.” The author examines the ways in which IRBs might impede the production of public knowledge that would serve the ethical demands of social justice.
{"title":"Ethical Friction","authors":"A. Mcgraw","doi":"10.1093/oso/9780197517550.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780197517550.003.0011","url":null,"abstract":"This chapter describes a music program in the Richmond, Virginia, city jail and the ethical ambiguities arising from the author’s overlapping roles as organizer and observer. The author examines the vague boundaries between applied and academic ethnomusicology, voluntarism and work, and personal and institutional ethical standards. An ethnomusicological approach to music in jails and prisons exposes ethical frictions between policies, methodologies, and codes espoused by IRB (or other ethics review) boards, ethnomusicologists, their interlocutors, and academic societies. The tension between the author’s status as a volunteer and ethnographer raises a number of questions: How is ethical knowledge differently defined? Which definitions have more authority and how is that authority established? Where are the epistemological and ethical boundaries between academic and applied ethnomusicology? How is ethnographic knowledge connected to social change? An examination of the ethnomusicology’s relationship to IRBs reveals ongoing ethical ambiguities, especially regarding research on “vulnerable populations.” The author examines the ways in which IRBs might impede the production of public knowledge that would serve the ethical demands of social justice.","PeriodicalId":265528,"journal":{"name":"Transforming Ethnomusicology Volume II","volume":"146 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122377690","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}
Pub Date : 1900-01-01DOI: 10.1093/oso/9780197517550.003.0009
Sally Treloyn, Ronald Charles
To the extent that intercultural ethnomusicology in the Australian settler state operates on a colonialist stage, research that perpetuates a procedure of discovery, recording, and offsite archiving, analysis, and interpretation risks repeating a form of musical colonialism with which ethnomusicology worldwide is inextricably tied. While these research methods continue to play an important role in contemporary intercultural ethnomusicological research, ethnomusicologists in Australia in recent years have become increasingly concerned to make their research available to cultural heritage communities. Cultural heritage communities are also leading discovery, identification, recording, and dissemination to support, revive, reinvent, and sustain their practices and knowledges. Repatriation is now almost ubiquitous in ethnomusicological approaches to Aboriginal music in Australia as researchers and collaborating communities seek to harness research to respond to the impact that colonialism has had on social and emotional well-being, education, the environment, and the health of performance traditions. However, the hand-to-hand transaction of research products and represented knowledge from performers to researcher and archive back to performers opens a new field of complexities and ambiguities for both Indigenous and non-Indigenous participants: just like earlier forms of ethnomusicology, the introduction, return, and repatriation of research materials operate in “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination” (Pratt 2007 [1992]). In this chapter, we recount the processes and outcomes of “The Junba Project” located in the Kimberley region of northwest Australia. Framed by a participatory action research model, the project has emphasized responsiveness, iteration, and collaborative reflection, with an aim to identify strategies to sustain endangered Junba dance-song practices through recording, repatriation, and dissemination. We draw on Pratt’s notion of the “contact zone” as a “discomfort zone” (Somerville & Perkins 2003) and look upon an applied/advocacy ethnomusicological project as an opportunity for difference and dialogue in the repatriation process to support heterogeneous research agendas.
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Pub Date : 1900-01-01DOI: 10.1093/oso/9780197517550.003.0003
Michael Frishkopf
This chapter outlines a model for engaged ethnomusicology fostering human development, locally and globally, through sustainable music-centered community collaborations. Human development is a process of upholding human value in the world—rights, freedoms, social justice. Human development is impeded by dehumanization—the human treated as a nonhuman through an impersonal world system (and ironically shaping much “development” work today). The model builds on Habermas’s duality of system and lifeworld, but argues that the maintenance of the lifeworld—locus of human value—depends not only on rational “communicative action” (as per Habermas), but equally on affective social connectivity, constructed primarily through a profoundly social “soundworld,” where sonic feedback loops of thought-feeling produce “resonance.” The chapter describes projects that use participatory action research to forge collaborative, community-engaged networks, blurring differences between “researcher” and “researched,” drawing participants into a shared, resonant soundworld, across boundaries of ethnicity, religion, nation, and class. Projects based in Liberia, Ghana, and Egypt address post-conflict trauma, public health issues, maternal and neonatal health, cultural continuity and civil society. The chapter suggests that resonant networks of participatory action research in ethnomusicology have the potential not only to transform local communities—whether rich or poor—but also to transform the networks themselves, toward global human development.
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Pub Date : 1900-01-01DOI: 10.1093/oso/9780197517550.003.0005
A. Hofman
This chapter explores ethnomusicology as knowledge-production labor in contexts of neoliberal institutions. By discussing some important (and often silenced) aspects of knowledge production, it aims to demonstrate how the transformation of material conditions of academic labor, commodification, and precarization radically reconfigure a praxis of collaborative research. The chapter strives to demonstrate how the claims for alternative knowledge production cannot be made without addressing the structural mechanisms behind neoliberalization of academia, by addressing the following questions: How do current transformations of labor and material conditions for scholars reshape the public-oriented scholarship and the praxis of “applied ethnomusicology”? How can we discuss a more diverse, critical, and impactful future for ethnomusicology in the sense of the “self-transformation” and “self-emancipation” of the discipline as institutional practice and academic labor?
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Pub Date : 1900-01-01DOI: 10.1093/oso/9780197517550.003.0007
Chad S. Hamill
As many large-scale protests by Indigenous people have articulated, lands inhabited by Indigenous communities (such as desert margins, small islands, lakes and rivers, high-altitude zones, and the circumpolar Arctic) are particularly vulnerable to the dramatic shifts in climate currently underway. The delicate ecosystems upon which Indigenous communities rely are in flux, and the accelerating rate of climate change—outpacing the direst scientific projections—amounts to a crisis that is every bit as threatening as the legacy of European colonialism. Fortunately, for millennia Indigenous communities have cultivated an intimate awareness of their ecology and have remained, throughout the era of world-wide industrial devastation, adept at adapting to environmental change. This awareness and adaptive power has been discussed within the framework of Traditional Ecological Knowledge (TEK). Using traditional stories and songs in Indigenous communities as a touchstone, this chapter will explore three interrelated aspects of TEK: (1) its role in assisting Indigenous communities in adapting to the effects of climate change; (2) its potential to inform and influence Western-generated climate science; and (3) its promise as a unifying thread tying Indigenous communities together, strengthening global self-determination.
{"title":"The Earth Is (Still) Our Mother","authors":"Chad S. Hamill","doi":"10.1093/oso/9780197517550.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780197517550.003.0007","url":null,"abstract":"As many large-scale protests by Indigenous people have articulated, lands inhabited by Indigenous communities (such as desert margins, small islands, lakes and rivers, high-altitude zones, and the circumpolar Arctic) are particularly vulnerable to the dramatic shifts in climate currently underway. The delicate ecosystems upon which Indigenous communities rely are in flux, and the accelerating rate of climate change—outpacing the direst scientific projections—amounts to a crisis that is every bit as threatening as the legacy of European colonialism. Fortunately, for millennia Indigenous communities have cultivated an intimate awareness of their ecology and have remained, throughout the era of world-wide industrial devastation, adept at adapting to environmental change. This awareness and adaptive power has been discussed within the framework of Traditional Ecological Knowledge (TEK). Using traditional stories and songs in Indigenous communities as a touchstone, this chapter will explore three interrelated aspects of TEK: (1) its role in assisting Indigenous communities in adapting to the effects of climate change; (2) its potential to inform and influence Western-generated climate science; and (3) its promise as a unifying thread tying Indigenous communities together, strengthening global self-determination.","PeriodicalId":265528,"journal":{"name":"Transforming Ethnomusicology Volume II","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122111945","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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