Pub Date : 2018-08-08DOI: 10.1093/oxfordhb/9780190659806.013.12
Andrea Emberly, J. Post
As ethnomusicological collections become accessible to individuals, communities, and institutions beyond the scope of the original collector, their contents are often repurposed, reimagined, and reinformed. With the growing engagement with repatriation by archives, individuals, and institutions, field recordings, fieldnotes, images, and other supporting materials offer tangible and intangible records of musical performance, context, and historical data to scholars and the communities that first offered their music for scholarly research. Drawing from the Vhavenda materials in the John Blacking collection housed at the University of Western Australia, this chapter uses two case studies, on children’s music and musical instruments, to explore some of the myriad issues surrounding the repatriation of a historical ethnomusicological collection. The goal is to help shape how future archivists, scholars, and communities engage with archiving and repatriating ethnomusicological collections.
{"title":"Sharing John Blacking","authors":"Andrea Emberly, J. Post","doi":"10.1093/oxfordhb/9780190659806.013.12","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.12","url":null,"abstract":"As ethnomusicological collections become accessible to individuals, communities, and institutions beyond the scope of the original collector, their contents are often repurposed, reimagined, and reinformed. With the growing engagement with repatriation by archives, individuals, and institutions, field recordings, fieldnotes, images, and other supporting materials offer tangible and intangible records of musical performance, context, and historical data to scholars and the communities that first offered their music for scholarly research. Drawing from the Vhavenda materials in the John Blacking collection housed at the University of Western Australia, this chapter uses two case studies, on children’s music and musical instruments, to explore some of the myriad issues surrounding the repatriation of a historical ethnomusicological collection. The goal is to help shape how future archivists, scholars, and communities engage with archiving and repatriating ethnomusicological collections.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"16 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":"123676119","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 : 2018-07-10DOI: 10.1093/OXFORDHB/9780190659806.013.4
B. Diamond, Janice Esther Tulk
Since 2004, “Back on Track” has been produced by the Research Centre for Music, Media, and Place at Memorial University, partly in response to public requests for access to the university’s archival collections. It aims to recover historically and culturally significant documents for public use; augment cultural content in the schools; promote and disseminate the culture of the province and beyond to local, national, and international audiences; stimulate new artistic work that builds on earlier traditions; and contribute to policy development relating to cultural diversity. This chapter considers processes of collaboration, strategies of representation, and the construction of present and future relationships to the past through music. Specifically in relation to Indigenous content in the series, the chapter demonstrates how curated collections, when produced in collaboration with communities and individuals, not only repatriate audio recordings, but also amplify local histories and both personal and collective memories.
{"title":"Rethinking Repatriation and Curation in Newfoundland","authors":"B. Diamond, Janice Esther Tulk","doi":"10.1093/OXFORDHB/9780190659806.013.4","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.4","url":null,"abstract":"Since 2004, “Back on Track” has been produced by the Research Centre for Music, Media, and Place at Memorial University, partly in response to public requests for access to the university’s archival collections. It aims to recover historically and culturally significant documents for public use; augment cultural content in the schools; promote and disseminate the culture of the province and beyond to local, national, and international audiences; stimulate new artistic work that builds on earlier traditions; and contribute to policy development relating to cultural diversity. This chapter considers processes of collaboration, strategies of representation, and the construction of present and future relationships to the past through music. Specifically in relation to Indigenous content in the series, the chapter demonstrates how curated collections, when produced in collaboration with communities and individuals, not only repatriate audio recordings, but also amplify local histories and both personal and collective memories.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123035506","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 : 2018-07-10DOI: 10.1093/oxfordhb/9780190659806.013.3
Diane Thram
This chapter considers issues in repatriation of digital copies of field recordings of music obtained during the colonial era. It is based on the Hugh Tracey Collection preserved at the International Library of African Music (ILAM). A summary of Tracey’s early life and his work throughout sub-Saharan Africa from 1929 to 1972 is followed by the reasons why, with digital conversion and online access to the Collection accomplished, digital return and restudy of Tracey’s field recordings became the ethically responsible thing for ILAM to do. Description of the return of his Kipsigis recordings of “Chemirocha” to their source community in Kenya is followed by consideration of how Tracey’s embrace of the colonial worldview—with its inherent paternalism, racism, and white privilege—mandates digital return as an act of reciprocity and archival ethics. It suggests this gesture toward decolonization of ILAM serves as a model for decolonization of ethnomusicology at large.
{"title":"Music Archives and Repatriation","authors":"Diane Thram","doi":"10.1093/oxfordhb/9780190659806.013.3","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.3","url":null,"abstract":"This chapter considers issues in repatriation of digital copies of field recordings of music obtained during the colonial era. It is based on the Hugh Tracey Collection preserved at the International Library of African Music (ILAM). A summary of Tracey’s early life and his work throughout sub-Saharan Africa from 1929 to 1972 is followed by the reasons why, with digital conversion and online access to the Collection accomplished, digital return and restudy of Tracey’s field recordings became the ethically responsible thing for ILAM to do. Description of the return of his Kipsigis recordings of “Chemirocha” to their source community in Kenya is followed by consideration of how Tracey’s embrace of the colonial worldview—with its inherent paternalism, racism, and white privilege—mandates digital return as an act of reciprocity and archival ethics. It suggests this gesture toward decolonization of ILAM serves as a model for decolonization of ethnomusicology at large.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129519163","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 : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.37
Bret D. Woods
This chapter explores how Irish traditional music provides a case study for analyzing how archives function actively in various interdependent public spheres. As archives are decontextualized snapshots of cultural expressions by which traditional form and continuity are measured and defined, they are at once authoritatively representative and dynamically unbound to a singular authoritative representation. The repatriation of collections and archives, as a complex and multifaceted act, is often seen categorically as a culturally restorative measure—a way to recontextualize a static collection. Repatriation ethics subsequently defer to establishing contextually relevant rights and privileges over the heritage contained within archives. Through the exploration of approaches in developing and re-appropriating archives of Irish traditional music, this chapter reveals that the repatriation of archives is an intersection of subjects much more complex and conceptually varied than that which can be articulated through the simple transfer or relocation of archival materials.
{"title":"Traditional Re-Appropriation","authors":"Bret D. Woods","doi":"10.1093/OXFORDHB/9780190659806.013.37","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.37","url":null,"abstract":"This chapter explores how Irish traditional music provides a case study for analyzing how archives function actively in various interdependent public spheres. As archives are decontextualized snapshots of cultural expressions by which traditional form and continuity are measured and defined, they are at once authoritatively representative and dynamically unbound to a singular authoritative representation. The repatriation of collections and archives, as a complex and multifaceted act, is often seen categorically as a culturally restorative measure—a way to recontextualize a static collection. Repatriation ethics subsequently defer to establishing contextually relevant rights and privileges over the heritage contained within archives. Through the exploration of approaches in developing and re-appropriating archives of Irish traditional music, this chapter reveals that the repatriation of archives is an intersection of subjects much more complex and conceptually varied than that which can be articulated through the simple transfer or relocation of archival materials.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115234755","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 : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.10
F. Gunderson
The song “Shiganga Jilikenya ku Mabala” (Boulders, fighting on the plain) was composed during World War I by Ng’wana Matonange, a Sukuma singer conscripted into the German Army. Matonange saw the war in economic terms from the point of view of a pastoralist, commenting that the Germans and the British were at war because of cattle. The song enjoyed popularity in dance competitions during the 1920s, before being collected by the anthropologist Hans Cory. The song text was transcribed, and archived with the Hans Cory Papers at the University of Dar es Salaam. The text was referenced in interviews with living musicians and other commentators who were from the village where the song was collected. They were able to elucidate further about the composer, the melody, additional verses, performance practice, and the battle documented in the song. Their commentary informed ethnographic and historical interpretation of the song’s transmission trajectory.
歌曲“Shiganga Jilikenya ku Mabala”(巨石，在平原上战斗)是在第一次世界大战期间由Ng 'wana Matonange创作的，他是一名被征召到德国军队的苏库马歌手。Matonange从一个牧民的角度从经济角度看待这场战争，他评论说，德国人和英国人因为牛而开战。这首歌在20世纪20年代的舞蹈比赛中很受欢迎，后来被人类学家汉斯·科里收藏。这首歌的文本被转录，并存档在达累斯萨拉姆大学的汉斯·科里论文中。在对来自歌曲收集地村庄的在世音乐家和其他评论员的采访中，引用了这段文字。他们能够进一步阐明作曲家、旋律、附加的诗句、表演练习和歌曲中记录的战斗。他们的评论为这首歌的传播轨迹提供了民族志和历史解释。
{"title":"“Boulders, Fighting on the Plain”","authors":"F. Gunderson","doi":"10.1093/OXFORDHB/9780190659806.013.10","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.10","url":null,"abstract":"The song “Shiganga Jilikenya ku Mabala” (Boulders, fighting on the plain) was composed during World War I by Ng’wana Matonange, a Sukuma singer conscripted into the German Army. Matonange saw the war in economic terms from the point of view of a pastoralist, commenting that the Germans and the British were at war because of cattle. The song enjoyed popularity in dance competitions during the 1920s, before being collected by the anthropologist Hans Cory. The song text was transcribed, and archived with the Hans Cory Papers at the University of Dar es Salaam. The text was referenced in interviews with living musicians and other commentators who were from the village where the song was collected. They were able to elucidate further about the composer, the melody, additional verses, performance practice, and the battle documented in the song. Their commentary informed ethnographic and historical interpretation of the song’s transmission trajectory.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115745667","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 : 2018-06-07DOI: 10.1093/oxfordhb/9780190659806.013.6
H. Wissler
The Quechua community of Q’eros, Peru, is known internationally for their lifestyle steeped in an “Inca” past. While many documentaries, exhibitions, theses, and articles have been published about them, their direct complaint is that they never see these works. In 2010, the ethnomusicologist Holly Wissler digitized and handed over fifty years of audiovisual archives about the Q’eros directly to their communities. This chapter discusses the collection and presentation of the archives via an “ambulatory movie theater”; the triggering of memory and discussion about past customs and deceased community members; one woman’s multiple viewings of footage of her long-deceased mother as integral process in healing; the impact of archive return directly to the community of origin, versus deposit in a public institution; and a stimulation of consciousness about the place of Q’eros in Andean history, and the uniqueness of their customs that is connected to both Inca and current identity.
{"title":"“Where Dead People Walk”","authors":"H. Wissler","doi":"10.1093/oxfordhb/9780190659806.013.6","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.6","url":null,"abstract":"The Quechua community of Q’eros, Peru, is known internationally for their lifestyle steeped in an “Inca” past. While many documentaries, exhibitions, theses, and articles have been published about them, their direct complaint is that they never see these works. In 2010, the ethnomusicologist Holly Wissler digitized and handed over fifty years of audiovisual archives about the Q’eros directly to their communities. This chapter discusses the collection and presentation of the archives via an “ambulatory movie theater”; the triggering of memory and discussion about past customs and deceased community members; one woman’s multiple viewings of footage of her long-deceased mother as integral process in healing; the impact of archive return directly to the community of origin, versus deposit in a public institution; and a stimulation of consciousness about the place of Q’eros in Andean history, and the uniqueness of their customs that is connected to both Inca and current identity.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123723112","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 : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.18
H. Sakata, Laurel Sercombe, John Vallier
The repatriation of sound and video recordings is one of the ethnomusicology archivist’s most sacrosanct functions. From reviving forgotten traditions to inspiring new ones, recordings have the potential to make a broad array of meaningful impacts once returned to their places of origin. Beyond repatriating recordings, what should archives do to benefit the countries, cultures, and traditions that have made ethnomusicology’s very existence possible? Should ethnomusicologists and archivists work to build the capacity of archives in the developing world? Should they make it a priority to help these archives preserve and provide access to the collections they possess? With this chapter the authors explore these questions while describing a project that has enabled archivists at Radio Afghanistan to preserve and provide wider access to some 8,500 hours of traditional music recordings.
{"title":"Radio Afghanistan Archive Project","authors":"H. Sakata, Laurel Sercombe, John Vallier","doi":"10.1093/OXFORDHB/9780190659806.013.18","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.18","url":null,"abstract":"The repatriation of sound and video recordings is one of the ethnomusicology archivist’s most sacrosanct functions. From reviving forgotten traditions to inspiring new ones, recordings have the potential to make a broad array of meaningful impacts once returned to their places of origin. Beyond repatriating recordings, what should archives do to benefit the countries, cultures, and traditions that have made ethnomusicology’s very existence possible? Should ethnomusicologists and archivists work to build the capacity of archives in the developing world? Should they make it a priority to help these archives preserve and provide access to the collections they possess? With this chapter the authors explore these questions while describing a project that has enabled archivists at Radio Afghanistan to preserve and provide wider access to some 8,500 hours of traditional music recordings.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127555610","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 : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.36
P. Toner
Archival institutions managing Indigenous materials—both state-managed archives and recently created Indigenous “Knowledge Centres”—are examples of “contact zones”: archival materials are products of colonial encounters, and archival management practices are manifestations of forms of governmentality that also include notions of “intangible cultural heritage” and “intellectual property.” This chapter examines new forms of Indigenous empowerment among the Yolngu people of northern Australia in managing their own repatriated cultural heritage materials. It focuses on certain points of tension in these archival contact zones, where both state-managed and Yolngu-managed archives are subject to certain overriding principles of knowledge management: particular methods of documentation and preservation, attention to global standards of knowledge management, and respect for intellectual property law on the one hand, and secrecy, unequal access to knowledge, and the use of restricted knowledge as a political resource on the other.
{"title":"Yolngu Music, Indigenous “Knowledge Centers” and the Emergence of Archives as Contact Zones","authors":"P. Toner","doi":"10.1093/OXFORDHB/9780190659806.013.36","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.36","url":null,"abstract":"Archival institutions managing Indigenous materials—both state-managed archives and recently created Indigenous “Knowledge Centres”—are examples of “contact zones”: archival materials are products of colonial encounters, and archival management practices are manifestations of forms of governmentality that also include notions of “intangible cultural heritage” and “intellectual property.” This chapter examines new forms of Indigenous empowerment among the Yolngu people of northern Australia in managing their own repatriated cultural heritage materials. It focuses on certain points of tension in these archival contact zones, where both state-managed and Yolngu-managed archives are subject to certain overriding principles of knowledge management: particular methods of documentation and preservation, attention to global standards of knowledge management, and respect for intellectual property law on the one hand, and secrecy, unequal access to knowledge, and the use of restricted knowledge as a political resource on the other.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130928133","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 : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.20
Edward Herbst
Bali 1928 is a restoration and repatriation project involving the first published recordings of music in Bali and related film footage and photographs from the 1930s, and a collaboration with Indonesians in all facets of vision, planning, and implementation. Dialogic research among centenarian and younger performers, composers and indigenous scholars has repatriated their knowledge and memories, rekindled by long-lost aural and visual resources. The project has published a series of five CD and DVD volumes in Indonesia by STIKOM Bali and CDs in the United States by Arbiter Records, with dissemination through emerging media and the Internet, and grass-roots repatriation to the genealogical and cultural descendants of the 1928 and 1930s artists and organizations. Extensive research has overcome anonymity, so common with archival materials, which deprives descendants of their unique identities, local epistemologies, and techniques, marginalizing and homogenizing a diverse heritage so that entrenched hegemonies prevail and dominate discourse, authority, and power.
{"title":"Bali 1928 Music Recordings and 1930s Films","authors":"Edward Herbst","doi":"10.1093/OXFORDHB/9780190659806.013.20","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.20","url":null,"abstract":"\u0000 Bali 1928 is a restoration and repatriation project involving the first published recordings of music in Bali and related film footage and photographs from the 1930s, and a collaboration with Indonesians in all facets of vision, planning, and implementation. Dialogic research among centenarian and younger performers, composers and indigenous scholars has repatriated their knowledge and memories, rekindled by long-lost aural and visual resources. The project has published a series of five CD and DVD volumes in Indonesia by STIKOM Bali and CDs in the United States by Arbiter Records, with dissemination through emerging media and the Internet, and grass-roots repatriation to the genealogical and cultural descendants of the 1928 and 1930s artists and organizations. Extensive research has overcome anonymity, so common with archival materials, which deprives descendants of their unique identities, local epistemologies, and techniques, marginalizing and homogenizing a diverse heritage so that entrenched hegemonies prevail and dominate discourse, authority, and power.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132201221","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 : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.8
A. Seeger
For decades, ethnomusicologists, folklorists, anthropologists, and a variety of cultural institutions such as audiovisual archives and museums have been returning parts of their collections to the communities from which they were originally obtained. Starting with a definition of repatriation, this chapter describes some of the attributes of successful repatriation projects. They usually require a highly motivated individual or group within the community, an intermediary to help locate and obtain the recordings, and a funding agency for the effective return of the music to circulation within the community. Different kinds of repatriation are described using examples from the author’s research in Brazil and projects in Australia, India, and the United States. Projects to return music to local circulation have been greatly facilitated by changes in communications technologies and digital recording, and by profound changes in research ethics and the relations between researchers and documentarians and the communities in which they work. Despite these improvements, challenges remain.
{"title":"Archives, Repatriation, and the Challenges Ahead","authors":"A. Seeger","doi":"10.1093/OXFORDHB/9780190659806.013.8","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.8","url":null,"abstract":"For decades, ethnomusicologists, folklorists, anthropologists, and a variety of cultural institutions such as audiovisual archives and museums have been returning parts of their collections to the communities from which they were originally obtained. Starting with a definition of repatriation, this chapter describes some of the attributes of successful repatriation projects. They usually require a highly motivated individual or group within the community, an intermediary to help locate and obtain the recordings, and a funding agency for the effective return of the music to circulation within the community. Different kinds of repatriation are described using examples from the author’s research in Brazil and projects in Australia, India, and the United States. Projects to return music to local circulation have been greatly facilitated by changes in communications technologies and digital recording, and by profound changes in research ethics and the relations between researchers and documentarians and the communities in which they work. Despite these improvements, challenges remain.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134629218","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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