Pub Date : 2019-10-31DOI: 10.1093/oxfordhb/9780190659806.013.24
Jason Mccoy
The ethics of musical repatriation become especially murky when representative members of the originating culture disagree over whether certain musical artifacts should be repatriated at all. This may be due to linkages between the artifacts and violent histories, such that the artifacts carry the risk of inducing traumatic memories and contributing to ongoing political conflict. Centering on postgenocide Rwanda, this chapter employs a series of ethnographic vignettes to illustrate these ethical tensions. In 2007, the author came into possession of songs by Simon Bikindi, which were used by government-affiliated propagandists to incite the 1994 genocide. The songs are presently de facto censored by the current regime. In carefully reintroducing the songs to genocide survivors and witnesses, the author found that many did indeed support measures to suppress them, while others expressed an earnest desire to own and listen to them again, primarily as a facilitator for therapeutically remembering and narrativizing their own experiences of terror, loss, and recovery. In conclusion, this chapter does not aim to resolve this conflict, but to present it for the purposes of reflection and dialogue.
{"title":"Memory, Trauma, and the Politics of Repatriating Bikindi’s Music in the Aftermath of the Rwandan Genocide","authors":"Jason Mccoy","doi":"10.1093/oxfordhb/9780190659806.013.24","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.24","url":null,"abstract":"The ethics of musical repatriation become especially murky when representative members of the originating culture disagree over whether certain musical artifacts should be repatriated at all. This may be due to linkages between the artifacts and violent histories, such that the artifacts carry the risk of inducing traumatic memories and contributing to ongoing political conflict. Centering on postgenocide Rwanda, this chapter employs a series of ethnographic vignettes to illustrate these ethical tensions. In 2007, the author came into possession of songs by Simon Bikindi, which were used by government-affiliated propagandists to incite the 1994 genocide. The songs are presently de facto censored by the current regime. In carefully reintroducing the songs to genocide survivors and witnesses, the author found that many did indeed support measures to suppress them, while others expressed an earnest desire to own and listen to them again, primarily as a facilitator for therapeutically remembering and narrativizing their own experiences of terror, loss, and recovery. In conclusion, this chapter does not aim to resolve this conflict, but to present it for the purposes of reflection and dialogue.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128987203","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 : 2019-10-31DOI: 10.1093/OXFORDHB/9780190659806.013.17
Catherine Ingram
This article explains the importance of creating sustainable interactions between custodian communities and archives, arguing that an archive is truly sustainable if it promotes and supports forms of sustainable and unmediated interactions and dialogue between its own organization and custodian communities. It first provides an overview of some of the contemporary concerns of cultural custodians as well as the contemporary concerns of archives before discussing interactions related to stakeholder communities and archived collections of musical recordings. It then describes the author’s experiences from her own research within Kam minority communities in southwestern China over the past thirteen years, and more specifically her involvement in archiving recordings of Kam music, to demonstrate how insights from the perspective of the fieldworker/archivist might be used in the process of developing new initiatives that assist in establishing sustainable custodian-archive dialogue and thus archival sustainability. The author’s work involved collaboration with Kam custodians to create and establish a sustainably archived digital collection of recorded materials with the Pacific and Regional Archive of Digital Sources in Endangered Cultures (PARADISEC). Drawing on this experience, she proposes several new initiatives aimed at enhancing custodian–archive communication founded on two features integral to sustainable digital archives: using the very audiovisual means that form the basis of the archive, and using the archive’s online streaming capabilities (or digital recordable media such as VCDs and DVDs as substitutes where online streaming is not available).
{"title":"“Each in Our Own Village”","authors":"Catherine Ingram","doi":"10.1093/OXFORDHB/9780190659806.013.17","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.17","url":null,"abstract":"This article explains the importance of creating sustainable interactions between custodian communities and archives, arguing that an archive is truly sustainable if it promotes and supports forms of sustainable and unmediated interactions and dialogue between its own organization and custodian communities. It first provides an overview of some of the contemporary concerns of cultural custodians as well as the contemporary concerns of archives before discussing interactions related to stakeholder communities and archived collections of musical recordings. It then describes the author’s experiences from her own research within Kam minority communities in southwestern China over the past thirteen years, and more specifically her involvement in archiving recordings of Kam music, to demonstrate how insights from the perspective of the fieldworker/archivist might be used in the process of developing new initiatives that assist in establishing sustainable custodian-archive dialogue and thus archival sustainability. The author’s work involved collaboration with Kam custodians to create and establish a sustainably archived digital collection of recorded materials with the Pacific and Regional Archive of Digital Sources in Endangered Cultures (PARADISEC). Drawing on this experience, she proposes several new initiatives aimed at enhancing custodian–archive communication founded on two features integral to sustainable digital archives: using the very audiovisual means that form the basis of the archive, and using the archive’s online streaming capabilities (or digital recordable media such as VCDs and DVDs as substitutes where online streaming is not available).","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"214 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133771124","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 : 2019-04-04DOI: 10.1093/oxfordhb/9780190659806.013.42
Sally Treloyn, Matthew Dembal Martin, Rona Goonginda Charles
Repatriation has become almost ubiquitous in ethnomusicological research on Australian Indigenous song. This article provides insights into processes of a repatriation-centered song revitalization project in the Kimberley, northwest Australia. Authored by an ethnomusicologist and two members of the Ngarinyin cultural heritage community, the article provides firsthand accounts of the early phases of a long-term repatriation-centered project referred to locally as the Junba Project. The authors provide a sample of narratives and dialogues that deliver insight into experiences of the work of identifying recordings “in the archive” and cultural negotiation and use of recordings “on Country.” The entanglement of local epistemological frameworks with past and present collection, archival research, repatriation, and dissemination for intergenerational knowledge transmission between spirits, Country, and the living, is explored, showing how recordings move song knowledge from community to archive to community and from generation to generation, and move people in present-day communities. The chapter considers how these “moving songs” allow an interrogation of the fraught endeavor of intercultural collaboration in the pursuit of revitalizing Indigenous song traditions. It positions repatriation as a method that can support intergenerational knowledge transmission and as a method to consider past and present intercultural relationships within research projects and between cultural heritage communities and collecting institutions.
{"title":"Moving Songs","authors":"Sally Treloyn, Matthew Dembal Martin, Rona Goonginda Charles","doi":"10.1093/oxfordhb/9780190659806.013.42","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.42","url":null,"abstract":"Repatriation has become almost ubiquitous in ethnomusicological research on Australian Indigenous song. This article provides insights into processes of a repatriation-centered song revitalization project in the Kimberley, northwest Australia. Authored by an ethnomusicologist and two members of the Ngarinyin cultural heritage community, the article provides firsthand accounts of the early phases of a long-term repatriation-centered project referred to locally as the Junba Project. The authors provide a sample of narratives and dialogues that deliver insight into experiences of the work of identifying recordings “in the archive” and cultural negotiation and use of recordings “on Country.” The entanglement of local epistemological frameworks with past and present collection, archival research, repatriation, and dissemination for intergenerational knowledge transmission between spirits, Country, and the living, is explored, showing how recordings move song knowledge from community to archive to community and from generation to generation, and move people in present-day communities. The chapter considers how these “moving songs” allow an interrogation of the fraught endeavor of intercultural collaboration in the pursuit of revitalizing Indigenous song traditions. It positions repatriation as a method that can support intergenerational knowledge transmission and as a method to consider past and present intercultural relationships within research projects and between cultural heritage communities and collecting institutions.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114590432","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 : 2018-11-07DOI: 10.1093/oxfordhb/9780190659806.013.21
Lisa Òsunlétí Beckley-Roberts
“Cinematic Journeys to the Source: Music Repatriation to Africa in Film” critically explores four documentary films that feature the repatriation of a musician or group of musicians to Africa. More specifically, it asserts that for these artists, their music has created the opportunity for both them and their audience to collectively remember an African past and either consciously or subconsciously is the metaphorical site of repatriation before the physical travel takes place. The author argues that music communities emotionally repatriate through their participation in music making and that in turn makes physical repatriation possible. The chapter makes these points by exploring the concepts of memory, identity, and performance of ethnicity. The films, They Are We, by Emma Christopher; Throw Down Your Heart, starring Béla Fleck, by Sascha Paladino; Feel Like Going Home, which stars Corey Harris, by Martin Scorsese; and Search for the Everlasting Coconut Tree, starring and directed by Adimu Madyun are reviewed based on their contribution to the ongoing dialogue about the negotiation of relationships between Africans and African Americans, perceived healing of the trauma of the trans-Atlantic trade of enslaved people and the lasting effects of it, and the role that music has played in pursuit of achievement of these goals.
“追本溯源的电影之旅:电影中的音乐回归非洲”批判性地探讨了四部以音乐家或一群音乐家返回非洲为特色的纪录片。更具体地说，它断言，对这些艺术家来说，他们的音乐为他们和他们的听众创造了一个机会，让他们集体记住非洲的过去，并且在实际旅行发生之前，有意识或潜意识地成为遣返的隐喻场所。作者认为，音乐社区通过参与音乐创作来实现情感上的回归，这反过来又使物理上的回归成为可能。本章通过探索记忆、身份和种族表现的概念来阐述这些观点。电影《他们是我们》，艾玛·克里斯托弗;《抛下你的心》(Throw Down Your Heart)，由萨沙·帕拉迪诺(Sascha Paladino)主演，巴萨姆拉·弗莱克(b la Fleck);《回家的感觉》，由科里·哈里斯主演，马丁·斯科塞斯执导;以及由Adimu Madyun主演和导演的《寻找永恒的椰子树》是基于他们对非洲人和非裔美国人之间关系谈判的持续对话的贡献，对跨大西洋奴隶贸易创伤的治愈以及它的持久影响，以及音乐在追求这些目标的实现中所扮演的角色。
{"title":"Cinematic Journeys to the Source","authors":"Lisa Òsunlétí Beckley-Roberts","doi":"10.1093/oxfordhb/9780190659806.013.21","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.21","url":null,"abstract":"“Cinematic Journeys to the Source: Music Repatriation to Africa in Film” critically explores four documentary films that feature the repatriation of a musician or group of musicians to Africa. More specifically, it asserts that for these artists, their music has created the opportunity for both them and their audience to collectively remember an African past and either consciously or subconsciously is the metaphorical site of repatriation before the physical travel takes place. The author argues that music communities emotionally repatriate through their participation in music making and that in turn makes physical repatriation possible. The chapter makes these points by exploring the concepts of memory, identity, and performance of ethnicity. The films, They Are We, by Emma Christopher; Throw Down Your Heart, starring Béla Fleck, by Sascha Paladino; Feel Like Going Home, which stars Corey Harris, by Martin Scorsese; and Search for the Everlasting Coconut Tree, starring and directed by Adimu Madyun are reviewed based on their contribution to the ongoing dialogue about the negotiation of relationships between Africans and African Americans, perceived healing of the trauma of the trans-Atlantic trade of enslaved people and the lasting effects of it, and the role that music has played in pursuit of achievement of these goals.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127325929","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 : 2018-11-07DOI: 10.1093/OXFORDHB/9780190659806.013.5
G. Averill
Alan Lomax’s Haitian recordings, 1936–1937, rediscovered in the Library of Congress Archives of Folk Culture in 1999, were edited to produce a boxed set in 2009, with the intention of repatriating the set and eventually the entire corpus of 1,500 recordings and six films to Haiti. This chapter charts the process and the problematics of curating the box set as well as repatriating the archives in the face of the massive 2010 earthquake in Haiti. It discusses the challenges inherent in the large repatriation team assembled by the project’s funders. It also looks at the impact of such recordings on the personal, familial, and religious levels, as the “voices of ancestors” return to their homeland.
{"title":"Repatriating the Alan Lomax Haitian Recordings in Post-Quake Haiti","authors":"G. Averill","doi":"10.1093/OXFORDHB/9780190659806.013.5","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.5","url":null,"abstract":"Alan Lomax’s Haitian recordings, 1936–1937, rediscovered in the Library of Congress Archives of Folk Culture in 1999, were edited to produce a boxed set in 2009, with the intention of repatriating the set and eventually the entire corpus of 1,500 recordings and six films to Haiti. This chapter charts the process and the problematics of curating the box set as well as repatriating the archives in the face of the massive 2010 earthquake in Haiti. It discusses the challenges inherent in the large repatriation team assembled by the project’s funders. It also looks at the impact of such recordings on the personal, familial, and religious levels, as the “voices of ancestors” return to their homeland.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132164248","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 : 2018-11-07DOI: 10.1093/OXFORDHB/9780190659806.013.32
Lyz Jaakola, Timothy B. Powell
“The Songs are Alive” recounts the digital repatriation of Frances Densmore’s audio recordings of Ojibwe/Anishinaabe songs that were originally made on wax cylinders in the first decade of the twentieth century and are held by the Library of Congress. Powell, a digital humanities scholar at the University of Pennsylvania, discusses the process of creating a database that converted a huge digital file of undifferentiated songs into individual recordings given cultural context by Densmore’s remarkably detailed ethnographic descriptions. Jaakola, the director of the Ojibwemowining Center at Fond du Lac Tribal and Community College, writes about bringing the songs back to life by carefully circulating them through the community, identifying culturally sensitive songs, and making new recordings of the songs deemed suitable for the public by working with elders and youth. The songs are now being used by Ojibwe communities in the Great Lakes region for cultural and language revitalization as well as in Minnesota public schools.
{"title":"“The Songs Are Alive”","authors":"Lyz Jaakola, Timothy B. Powell","doi":"10.1093/OXFORDHB/9780190659806.013.32","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.32","url":null,"abstract":"“The Songs are Alive” recounts the digital repatriation of Frances Densmore’s audio recordings of Ojibwe/Anishinaabe songs that were originally made on wax cylinders in the first decade of the twentieth century and are held by the Library of Congress. Powell, a digital humanities scholar at the University of Pennsylvania, discusses the process of creating a database that converted a huge digital file of undifferentiated songs into individual recordings given cultural context by Densmore’s remarkably detailed ethnographic descriptions. Jaakola, the director of the Ojibwemowining Center at Fond du Lac Tribal and Community College, writes about bringing the songs back to life by carefully circulating them through the community, identifying culturally sensitive songs, and making new recordings of the songs deemed suitable for the public by working with elders and youth. The songs are now being used by Ojibwe communities in the Great Lakes region for cultural and language revitalization as well as in Minnesota public schools.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132097901","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 : 2018-09-10DOI: 10.1093/OXFORDHB/9780190659806.013.1
Robert C. Lancefield
Archival collections of ethnomusicological recordings can be valuable to people in the communities whose practices they document. Repatriating these sounds can raise complex ethical questions—some similar to those entailed in the repatriation of unique objects from museums, others specific to recorded sounds as replicable replicas of evanescent events. These questions can involve histories of collecting, repositories’ social roles, identity, translocality, ethical and legal affordances and constraints, and case-specific constellations of these and other factors. This chapter of the Oxford Handbook of Musical Repatriation focuses on questions central to musical repatriation, questionnaire responses from archives in eighteen countries, and an ethnographic case study of the return of certain recordings of Navajo music. First published in 1998, it considers repatriation as enacting an ethic founded in responsibility to the creators of music documented in many collections for which archives care, and as emblematic of changing relationships among researchers, institutions, and communities.
{"title":"Musical Traces’ Retraceable Paths","authors":"Robert C. Lancefield","doi":"10.1093/OXFORDHB/9780190659806.013.1","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.1","url":null,"abstract":"Archival collections of ethnomusicological recordings can be valuable to people in the communities whose practices they document. Repatriating these sounds can raise complex ethical questions—some similar to those entailed in the repatriation of unique objects from museums, others specific to recorded sounds as replicable replicas of evanescent events. These questions can involve histories of collecting, repositories’ social roles, identity, translocality, ethical and legal affordances and constraints, and case-specific constellations of these and other factors. This chapter of the Oxford Handbook of Musical Repatriation focuses on questions central to musical repatriation, questionnaire responses from archives in eighteen countries, and an ethnographic case study of the return of certain recordings of Navajo music. First published in 1998, it considers repatriation as enacting an ethic founded in responsibility to the creators of music documented in many collections for which archives care, and as emblematic of changing relationships among researchers, institutions, and communities.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"264 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133796034","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 : 2018-09-10DOI: 10.1093/oxfordhb/9780190659806.013.7
J. Gray
This chapter provides an account of several audiovisual dissemination activities of the Federal Cylinder Project and the American Folklife Center since the 1970s. Institutional protocols, developed in consultation with tribal advisors, shaped early outreach by the archive to Native communities, as did cooperative efforts with other federal agencies. More recently, as communities and individuals develop their own expertise, the dynamic has sometimes changed: the active role of outreach is now often made by Native and nontribal organizations and individuals, who come to the Center in search of relevant recordings. This mutual process allows both entities to learn about the collections that have been cared for by the archive. Dissemination via collaboration is now a characteristic archival practice—one that preserves elements of the past while working to achieve goals in the present and future, always in consultation with those whose intellectual property is contained in the recordings.
{"title":"Audiovisual Archives","authors":"J. Gray","doi":"10.1093/oxfordhb/9780190659806.013.7","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.7","url":null,"abstract":"This chapter provides an account of several audiovisual dissemination activities of the Federal Cylinder Project and the American Folklife Center since the 1970s. Institutional protocols, developed in consultation with tribal advisors, shaped early outreach by the archive to Native communities, as did cooperative efforts with other federal agencies. More recently, as communities and individuals develop their own expertise, the dynamic has sometimes changed: the active role of outreach is now often made by Native and nontribal organizations and individuals, who come to the Center in search of relevant recordings. This mutual process allows both entities to learn about the collections that have been cared for by the archive. Dissemination via collaboration is now a characteristic archival practice—one that preserves elements of the past while working to achieve goals in the present and future, always in consultation with those whose intellectual property is contained in the recordings.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121861896","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 : 2018-08-08DOI: 10.1093/OXFORDHB/9780190659806.013.11
G. Koch
The term “repatriation” can have different meanings for libraries, museums, and archives. This chapter deals with the important work of “knowledge repatriation” by returning copies of sound recordings to the places from which they originated and explores ethical issues arising from the process. Various repatriation initiatives by Australian institutions as well as specific research projects are explored. Some dilemmas arising for collections management staff due to outdated protocols and procedures for access and copying are shown within the context of the work of the Australian Institute of Aboriginal and Torres Strait Islander Studies along with some actions being taken to address those difficulties. Examples are given of the special use of sound recordings within the legal context of Australian Aboriginal and Torres Strait Islander land claims.
{"title":"“We Want Our Voices Back”","authors":"G. Koch","doi":"10.1093/OXFORDHB/9780190659806.013.11","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.11","url":null,"abstract":"The term “repatriation” can have different meanings for libraries, museums, and archives. This chapter deals with the important work of “knowledge repatriation” by returning copies of sound recordings to the places from which they originated and explores ethical issues arising from the process. Various repatriation initiatives by Australian institutions as well as specific research projects are explored. Some dilemmas arising for collections management staff due to outdated protocols and procedures for access and copying are shown within the context of the work of the Australian Institute of Aboriginal and Torres Strait Islander Studies along with some actions being taken to address those difficulties. Examples are given of the special use of sound recordings within the legal context of Australian Aboriginal and Torres Strait Islander land claims.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131742355","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 : 2018-08-08DOI: 10.1093/OXFORDHB/9780190659806.013.22
Christopher Orr
This chapter examines the documentary film El Gusto through an expanded definition of music repatriation. The film captures the reunion of Jewish and Muslim sha‘bī musicians who perform together for the first time since the Algerian War of Independence. Using theories of collective memory, the author explores how the film’s director, Safinez Bousbia, presents this reunion both as a repatriation of individual culture-bearers who embody a tradition and as a reconstitution of their shared memories. The film’s subsequent publicity and Bousbia’s ongoing initiatives have enabled the musicians to advocate for their music and their shared oral history as intangible cultural heritage. Using Bousbia’s project as a model, the author argues for an approach to ethnographic representation that empowers subjects of repatriation to become agents in cultural preservation.
{"title":"“Pour préserver la mémoire”","authors":"Christopher Orr","doi":"10.1093/OXFORDHB/9780190659806.013.22","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.22","url":null,"abstract":"This chapter examines the documentary film El Gusto through an expanded definition of music repatriation. The film captures the reunion of Jewish and Muslim sha‘bī musicians who perform together for the first time since the Algerian War of Independence. Using theories of collective memory, the author explores how the film’s director, Safinez Bousbia, presents this reunion both as a repatriation of individual culture-bearers who embody a tradition and as a reconstitution of their shared memories. The film’s subsequent publicity and Bousbia’s ongoing initiatives have enabled the musicians to advocate for their music and their shared oral history as intangible cultural heritage. Using Bousbia’s project as a model, the author argues for an approach to ethnographic representation that empowers subjects of repatriation to become agents in cultural preservation.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128936875","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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