Pub Date : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.15
Michael Iyanaga
In ethnomusicology, discussions about repatriation have tended to revolve around “applied” issues. Often left out of the conversation, however, is that when treated as a methodological tool, repatriation can also contribute in profound ways to more theoretical concerns in ethnomusicology. As such, this chapter argues that employing musical repatriation in our fieldwork can help ethnomusicologists write better ethnographies—and thus subsequently to theorize about music and musical people more effectively—as it gives us a privileged avenue to understand the musical communities with which we work. Supported by a case study from Bahia, Brazil, in which a series of repatriation experiences reveal different facets of Catholic saint devotion, this chapter focuses on some of the distinct ethnographic lessons gleaned from the return of several historical recordings to a devotee of Saint Roch more than three decades after the recordings were originally made.
{"title":"Musical Repatriation as Method","authors":"Michael Iyanaga","doi":"10.1093/OXFORDHB/9780190659806.013.15","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.15","url":null,"abstract":"In ethnomusicology, discussions about repatriation have tended to revolve around “applied” issues. Often left out of the conversation, however, is that when treated as a methodological tool, repatriation can also contribute in profound ways to more theoretical concerns in ethnomusicology. As such, this chapter argues that employing musical repatriation in our fieldwork can help ethnomusicologists write better ethnographies—and thus subsequently to theorize about music and musical people more effectively—as it gives us a privileged avenue to understand the musical communities with which we work. Supported by a case study from Bahia, Brazil, in which a series of repatriation experiences reveal different facets of Catholic saint devotion, this chapter focuses on some of the distinct ethnographic lessons gleaned from the return of several historical recordings to a devotee of Saint Roch more than three decades after the recordings were originally made.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical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":"123838133","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/9780190659806.013.13
M. Bakan
How might an ethnomusicology of autism best serve to cultivate an epistemological landscape in which autistic voices are central to contemporary discourses on autistic personhood, civil rights, and ontology? The inherent integrity and dignity of autistic ways of being have been attacked and marginalized for as long as the term “autism” has been in existence. Reversing that course is an essential move toward autistic repatriation, and to contribute to the documentation and dissemination of autistic voices speaking on their own behalf through ethnography—and also through music and discourses about music—is to engage in a form of advocacy archiving that fosters repatriation. It is to such a form of repatriation that this chapter is dedicated, and that work is achieved here principally through the re-presentation (as opposed to representation) of chat messaging-based dialogues between the author and one of his principal autistic musician collaborators, the pseudonymous Donald Rindale.
{"title":"Autism Doesn’t Speak, People Do","authors":"M. Bakan","doi":"10.1093/oxfordhb/9780190659806.013.13","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.13","url":null,"abstract":"How might an ethnomusicology of autism best serve to cultivate an epistemological landscape in which autistic voices are central to contemporary discourses on autistic personhood, civil rights, and ontology? The inherent integrity and dignity of autistic ways of being have been attacked and marginalized for as long as the term “autism” has been in existence. Reversing that course is an essential move toward autistic repatriation, and to contribute to the documentation and dissemination of autistic voices speaking on their own behalf through ethnography—and also through music and discourses about music—is to engage in a form of advocacy archiving that fosters repatriation. It is to such a form of repatriation that this chapter is dedicated, and that work is achieved here principally through the re-presentation (as opposed to representation) of chat messaging-based dialogues between the author and one of his principal autistic musician collaborators, the pseudonymous Donald Rindale.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"12 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":"123679226","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/9780190659806.013.27
Carlos Odria
This chapter builds on sonic repatriation studies to explore the act of regulating the dissemination of songs through radio playlists in Lima, Peru. Using as a case study the broadcasting policies designed by a powerful media corporation, the article shows how marketing specialists have produced a range of class-oriented radio stations seeking to persuade Lima’s audiences to comply with the corporation’s hegemonic discourse, as it becomes manifest through the aesthetic composition of their stations’ playlists. The type of programming used by this corporation functions as a social technology that allows Peru’s influential criollo groups to reinforce the hierarchical organization of the society by promoting race-specific aesthetic concepts in media consumption.
{"title":"Radio Archives and the Art of Persuasion","authors":"Carlos Odria","doi":"10.1093/OXFORDHB/9780190659806.013.27","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.27","url":null,"abstract":"This chapter builds on sonic repatriation studies to explore the act of regulating the dissemination of songs through radio playlists in Lima, Peru. Using as a case study the broadcasting policies designed by a powerful media corporation, the article shows how marketing specialists have produced a range of class-oriented radio stations seeking to persuade Lima’s audiences to comply with the corporation’s hegemonic discourse, as it becomes manifest through the aesthetic composition of their stations’ playlists. The type of programming used by this corporation functions as a social technology that allows Peru’s influential criollo groups to reinforce the hierarchical organization of the society by promoting race-specific aesthetic concepts in media consumption.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"59 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":"114355175","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/9780190659806.013.38
Lauren E. Sweetman, K. Zemke
This chapter unpacks the sociocultural and legal issues surrounding the Māori haka (chant/dance) “Ka Mate” authored by Ngāti Toa chief Te Rauparaha in the 1820s. In Aotearoa New Zealand, this beloved haka has become a symbolic display of biculturalism and is integral to the national imaginary. Historical associations and usages in wartime and sport, particularly rugby, have exacerbated associations with aggression and masculinity with essential meanings becoming diluted and erased with each further layer of appropriation. Important dialogues emerge from Ka Mate’s complex location at the intersection of Indigenous cultural property, the public imagination, the nation-state, and global appropriation. Ka Mate’s contentious legal history, including its recent repatriation to Ngāti Toa as an “intangible” taonga (treasure), highlights the problematics that the circulation of music and dance have for Indigenous custodial guardians, underscoring that repatriation must include an acknowledgment of history, context, and mana (integrity/power).
{"title":"Claiming Ka Mate","authors":"Lauren E. Sweetman, K. Zemke","doi":"10.1093/OXFORDHB/9780190659806.013.38","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.38","url":null,"abstract":"This chapter unpacks the sociocultural and legal issues surrounding the Māori haka (chant/dance) “Ka Mate” authored by Ngāti Toa chief Te Rauparaha in the 1820s. In Aotearoa New Zealand, this beloved haka has become a symbolic display of biculturalism and is integral to the national imaginary. Historical associations and usages in wartime and sport, particularly rugby, have exacerbated associations with aggression and masculinity with essential meanings becoming diluted and erased with each further layer of appropriation. Important dialogues emerge from Ka Mate’s complex location at the intersection of Indigenous cultural property, the public imagination, the nation-state, and global appropriation. Ka Mate’s contentious legal history, including its recent repatriation to Ngāti Toa as an “intangible” taonga (treasure), highlights the problematics that the circulation of music and dance have for Indigenous custodial guardians, underscoring that repatriation must include an acknowledgment of history, context, and mana (integrity/power).","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"2013 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":"127422784","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/9780190659806.013.28
R. Moyle
The Samoan Mau nationalistic movement of the 1920s, which led eventually to Independence in 1962, was characterized by group songs many of which were fervent in their support for traditional leadership and scathing in their condemnation of the then New Zealand administration. In the year 2000 copies of Mau songs recorded some fifty years earlier were among musical items repatriated to Samoa to public acclaim and national radio playback, but within a few weeks they were banned from further broadcast. The ban acknowledged singing as a socially powerful tool for local politics, since the broadcasts transformed songs as cultural artifacts to singing as social assertion, returning into the public arena a range of political views that many Samoans had preferred to keep private.
{"title":"The Banning of Samoa’s Repatriated Mau Songs","authors":"R. Moyle","doi":"10.1093/OXFORDHB/9780190659806.013.28","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.28","url":null,"abstract":"The Samoan Mau nationalistic movement of the 1920s, which led eventually to Independence in 1962, was characterized by group songs many of which were fervent in their support for traditional leadership and scathing in their condemnation of the then New Zealand administration. In the year 2000 copies of Mau songs recorded some fifty years earlier were among musical items repatriated to Samoa to public acclaim and national radio playback, but within a few weeks they were banned from further broadcast. The ban acknowledged singing as a socially powerful tool for local politics, since the broadcasts transformed songs as cultural artifacts to singing as social assertion, returning into the public arena a range of political views that many Samoans had preferred to keep private.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"12 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":"115285531","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/9780190659806.013.25
M. Mengel
This chapter looks at cultural policy toward folk music (muzică populară) in socialist Romania (1948–1989), covering three areas: first, the state including its intentions and actions; second, ethnomusicologists as researchers of rural peasant music and employees of the state, and, third, the public as reached by state institutions. The article argues that Soviet-induced socialist cultural policy effectively constituted a repatriation of peasant music that was systematically collected; documented and researched; intentionally transformed into new products, such as folk orchestras, to facilitate the construction of communism; and then distributed in its new form through a network of state institutions like the mass media. Sources indicate that the socialist state was partially successful in convincing its citizens about the authenticity of the new product (that new folklore was real folklore) while the original peasant music was to a large extent inaccessible to nonspecialist audiences.
{"title":"New Folk Music as Attempted Repatriation in Romania","authors":"M. Mengel","doi":"10.1093/OXFORDHB/9780190659806.013.25","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.25","url":null,"abstract":"This chapter looks at cultural policy toward folk music (muzică populară) in socialist Romania (1948–1989), covering three areas: first, the state including its intentions and actions; second, ethnomusicologists as researchers of rural peasant music and employees of the state, and, third, the public as reached by state institutions. The article argues that Soviet-induced socialist cultural policy effectively constituted a repatriation of peasant music that was systematically collected; documented and researched; intentionally transformed into new products, such as folk orchestras, to facilitate the construction of communism; and then distributed in its new form through a network of state institutions like the mass media. Sources indicate that the socialist state was partially successful in convincing its citizens about the authenticity of the new product (that new folklore was real folklore) while the original peasant music was to a large extent inaccessible to nonspecialist audiences.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"33 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":"125622122","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/9780190659806.013.2
Daniel B. Reed
This chapter explores intersections of human and archival modes of memory in moments of archival repatriation. It recounts two repatriation experiences involving materials from the Indiana University Archives of Traditional Music (ATM)—one in which the author traveled to West Africa to repatriate media recorded in 1934 (around which this chapter is centered), and a second involving Assiniboine sisters from Saskatchewan rediscovering a lost song in the ATM’s listening library (with which the chapter concludes). Human and archival histories are mutually informative; as such, moments when people bring the two modes together also can become moments of new memory creation. The chapter argues that repatriation, understood as a meeting point of human and archival memory, can be deeply meaningful because archives are extensions of humanity. When the two modes of memory, archival and human, are brought into conversation, the result can be powerful, augmenting the potency and value of each.
{"title":"Reflections on Reconnections","authors":"Daniel B. Reed","doi":"10.1093/OXFORDHB/9780190659806.013.2","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.2","url":null,"abstract":"This chapter explores intersections of human and archival modes of memory in moments of archival repatriation. It recounts two repatriation experiences involving materials from the Indiana University Archives of Traditional Music (ATM)—one in which the author traveled to West Africa to repatriate media recorded in 1934 (around which this chapter is centered), and a second involving Assiniboine sisters from Saskatchewan rediscovering a lost song in the ATM’s listening library (with which the chapter concludes). Human and archival histories are mutually informative; as such, moments when people bring the two modes together also can become moments of new memory creation. The chapter argues that repatriation, understood as a meeting point of human and archival memory, can be deeply meaningful because archives are extensions of humanity. When the two modes of memory, archival and human, are brought into conversation, the result can be powerful, augmenting the potency and value of each.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"41 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":"114713242","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/9780190659806.013.16
Patricia Shehan Campbell, J. Christopher Roberts
As the movement to repatriate music from archives gathers steam, the question of how to effectively disseminate the music to people in the culture of origin becomes a pressing issue. This chapter argues that K–12 teachers have a distinctive ability to reintroduce archival music, through three major approaches. In “close-by child-songs by children,” teachers design lessons that incorporate field recordings of children’s music from their home culture, making the music child-centered (and culture-centered). In “child-songs from further afield,” lessons include archived children’s music that is not from the home cultures of the students; such lessons can highlight the similarities across cultures of children’s music. In “adult cultural heritage music,” teachers use the recordings of adults’ musicking experiences in the culture of origin. As such, the music of children is not represented, but the adult musical heritage is disseminated. Examples of these pedagogical approaches to repatriation are provided.
{"title":"Teachers as Agents of the Repatriation of Music and Cultural Heritage","authors":"Patricia Shehan Campbell, J. Christopher Roberts","doi":"10.1093/OXFORDHB/9780190659806.013.16","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.16","url":null,"abstract":"As the movement to repatriate music from archives gathers steam, the question of how to effectively disseminate the music to people in the culture of origin becomes a pressing issue. This chapter argues that K–12 teachers have a distinctive ability to reintroduce archival music, through three major approaches. In “close-by child-songs by children,” teachers design lessons that incorporate field recordings of children’s music from their home culture, making the music child-centered (and culture-centered). In “child-songs from further afield,” lessons include archived children’s music that is not from the home cultures of the students; such lessons can highlight the similarities across cultures of children’s music. In “adult cultural heritage music,” teachers use the recordings of adults’ musicking experiences in the culture of origin. As such, the music of children is not represented, but the adult musical heritage is disseminated. Examples of these pedagogical approaches to repatriation are provided.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"84 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":"127523305","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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