Ethnomusicologists often move into the field to observe, analyse, and describe the knowledge creation and negotiation practices of a musical tradition. However, the scenarios caused by the COVID-19 pandemic have proven to be a challenge to the practice of our ethnographic work. We were prevented from going to the field and musicians could not meet physically to develop their musicking, partially transferring their practices to various digital platforms. Although the pandemic confronts us with previously unthinkable challenges, some of these situations are not new if we think about musical practices like those of TikTok. Beyond the time of the pandemic, these practices have already shown to be a challenge for various theoretical and methodological conceptions of our ethnographic work, since they do not materialize in concrete practices in a given place. In this article, drawing on my ethnographic research on TikTok musicking from an Austrian perspective, as well as my reflections as an ethnomusicologist during the time of the COVID-19 pandemic, I will discuss the idea of musical geography through practice, as well as the concepts of presence and co-presence, to critically reflect on the ideas of “being there” or “being present”, so important in ethnographic work. In addition to these reflections, I will examine and discuss various experiences lived throughout the musicking of TikTok under a multimedia reality before and during the pandemic, in order to discuss the idea that musical geography through practice can change our perspectives on the field pre- and post-pandemic.
{"title":"It’s All About “Being There”","authors":"J. Bermúdez","doi":"10.1558/jwpm.26375","DOIUrl":"https://doi.org/10.1558/jwpm.26375","url":null,"abstract":"Ethnomusicologists often move into the field to observe, analyse, and describe the knowledge creation and negotiation practices of a musical tradition. However, the scenarios caused by the COVID-19 pandemic have proven to be a challenge to the practice of our ethnographic work. We were prevented from going to the field and musicians could not meet physically to develop their musicking, partially transferring their practices to various digital platforms. Although the pandemic confronts us with previously unthinkable challenges, some of these situations are not new if we think about musical practices like those of TikTok. Beyond the time of the pandemic, these practices have already shown to be a challenge for various theoretical and methodological conceptions of our ethnographic work, since they do not materialize in concrete practices in a given place. In this article, drawing on my ethnographic research on TikTok musicking from an Austrian perspective, as well as my reflections as an ethnomusicologist during the time of the COVID-19 pandemic, I will discuss the idea of musical geography through practice, as well as the concepts of presence and co-presence, to critically reflect on the ideas of “being there” or “being present”, so important in ethnographic work. In addition to these reflections, I will examine and discuss various experiences lived throughout the musicking of TikTok under a multimedia reality before and during the pandemic, in order to discuss the idea that musical geography through practice can change our perspectives on the field pre- and post-pandemic.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41276696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Sacred Harp community was among the groups most affected by pandemic seclusion. Their multipart singing practice is a cultural heritage that includes both oral and written traditions, and creates a strong interaction between people through formalized music codes and behaviours that emerge, develop, and manifest in highly iconic communal spaces. Since global isolation made live singing impossible, this trans-cultural community tried to preserve the continuity of its multipart singing tradition by developing a set of strategies based on virtual singing and online activities. Although the fundamental elements were drastically affected by the isolation, participants represented missing sound environments using all possible means to recreate the spirit and gestation of social singing. After participating as a singer with a local group during fieldwork, I had to reshape my research methods to the pandemic, focusing on aspects of music dissemination that are less evident during physical gatherings.
{"title":"Changes and Chances in a Multipart Singing Community and Its Tradition, before and throughout the Global Isolation","authors":"Delia Dattilo","doi":"10.1558/jwpm.26386","DOIUrl":"https://doi.org/10.1558/jwpm.26386","url":null,"abstract":"The Sacred Harp community was among the groups most affected by pandemic seclusion. Their multipart singing practice is a cultural heritage that includes both oral and written traditions, and creates a strong interaction between people through formalized music codes and behaviours that emerge, develop, and manifest in highly iconic communal spaces. Since global isolation made live singing impossible, this trans-cultural community tried to preserve the continuity of its multipart singing tradition by developing a set of strategies based on virtual singing and online activities. Although the fundamental elements were drastically affected by the isolation, participants represented missing sound environments using all possible means to recreate the spirit and gestation of social singing. After participating as a singer with a local group during fieldwork, I had to reshape my research methods to the pandemic, focusing on aspects of music dissemination that are less evident during physical gatherings.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67599360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In January 2020, the beginning of the Covid-19 pandemic led to the interruption of a high number of aggregation-based human activities, such as in-presence live music concerts. One temporary alternative to the problem was the organization of livestreaming music events, which allow only a limited degree of interaction; such a solution fit the needs of those performances where there is little or no need at all for participation, but music practices with a participatory nature were at a disadvantage. Another issue pertains to the overall dimension of live experience: how is the “here and now” of a live music performance shaped in an online setting? Analysing two examples of livestreaming music events that took place in 2020 in Italy and England, this article aims to invite a reflection on how “participation” can come to be understood in online music practices.
{"title":"Reflecting on Participation through Livestreaming Music Events in Times of Pandemic","authors":"Francesca Cireddu","doi":"10.1558/jwpm.26384","DOIUrl":"https://doi.org/10.1558/jwpm.26384","url":null,"abstract":"In January 2020, the beginning of the Covid-19 pandemic led to the interruption of a high number of aggregation-based human activities, such as in-presence live music concerts. One temporary alternative to the problem was the organization of livestreaming music events, which allow only a limited degree of interaction; such a solution fit the needs of those performances where there is little or no need at all for participation, but music practices with a participatory nature were at a disadvantage. Another issue pertains to the overall dimension of live experience: how is the “here and now” of a live music performance shaped in an online setting? Analysing two examples of livestreaming music events that took place in 2020 in Italy and England, this article aims to invite a reflection on how “participation” can come to be understood in online music practices.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43840305","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}
{"title":"Preface","authors":"Maurizio Agamennone","doi":"10.1558/jwpm.26373","DOIUrl":"https://doi.org/10.1558/jwpm.26373","url":null,"abstract":"","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41512374","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}
{"title":"Introduction","authors":"Daniele Palma","doi":"10.1558/jwpm.26374","DOIUrl":"https://doi.org/10.1558/jwpm.26374","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46657198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the pandemic summer of 2020 in Helsinki, UG (underground) outdoor parties were able to disengage electronic live music practices from profit making and the logics of cultural extractivism, offering a sustainable practice by and for the local techno music scene. In this article, the UG parties are understood as a learning experience, in which sustainability gave access to a different way to produce and consume culture, in particular thanks to: (1) safe space and pedagogy, (2) ecological awareness, (3) no-profit and community building, (4) music curating, and (5) randomness and exploration. The UG party scene moved outdoors, with no profit to be made, and mostly on public land located in wastelands, shorelines, and forests. This operation suspended cultural extractivism through means that had been previously developed, but that acquired a new dimension because of being performed outdoors. The physical borders of indoor private spaces, and their real-estate dimension, is the key issue in relation to music extraction. When played in public natural settings, with no clear borders or limitations, music is able to regain a political dimension. The mixed-methods approach I used here involves interviews, digital ethnographies and post-party on-site explorations and was based on a thoughtful reflection on how to overcome ethical research issues on one side, and the fear of contagion on the other. A scene as a local actor in times of crisis plays a significant role in keeping social practices alive, and in defining ways to overcome and learn from difficult times.
{"title":"Becoming Sustainable, Underground","authors":"G. Bottà","doi":"10.1558/jwpm.26385","DOIUrl":"https://doi.org/10.1558/jwpm.26385","url":null,"abstract":"In the pandemic summer of 2020 in Helsinki, UG (underground) outdoor parties were able to disengage electronic live music practices from profit making and the logics of cultural extractivism, offering a sustainable practice by and for the local techno music scene. In this article, the UG parties are understood as a learning experience, in which sustainability gave access to a different way to produce and consume culture, in particular thanks to: (1) safe space and pedagogy, (2) ecological awareness, (3) no-profit and community building, (4) music curating, and (5) randomness and exploration. The UG party scene moved outdoors, with no profit to be made, and mostly on public land located in wastelands, shorelines, and forests. This operation suspended cultural extractivism through means that had been previously developed, but that acquired a new dimension because of being performed outdoors. The physical borders of indoor private spaces, and their real-estate dimension, is the key issue in relation to music extraction. When played in public natural settings, with no clear borders or limitations, music is able to regain a political dimension. The mixed-methods approach I used here involves interviews, digital ethnographies and post-party on-site explorations and was based on a thoughtful reflection on how to overcome ethical research issues on one side, and the fear of contagion on the other. A scene as a local actor in times of crisis plays a significant role in keeping social practices alive, and in defining ways to overcome and learn from difficult times.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44819306","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}
Wayang kulit (traditional shadow puppet theatre) is one of the most important performing arts in present-day Java. Even during the pandemic, performers did not abandon their vocation and employed various online platforms to share their art. Although the use of social media for advertising and, occasionally, livestreaming traditional performances was not entirely unprecedented, the circumstances of 2020 have clearly contributed to the significant acceleration of these trends. Issues of global mediatization and virtual participation have become crucial elements within the shadow puppet theatre of the so-called jaman now (“the time of now”). Some of the most famous puppeteers of Central Java, Ki Cahyo Kuntadi and Ki Seno Nugroho, invented new formats, such as wayang elektrik and wayang climen, and adopted new marketing strategies to meet a new audience demand in a time of social distance. These new forms contributed to confirm and speed-up transformation processes already embryonal to the wayang art and drastically changed the function and fruition of one of the most important Javanese performing arts. Uniting practice-led research and digital ethnography, this article intends to offer an example of how oral traditions are affected by the social and technological reverberations of the pandemic era.
Wayang kulit(传统皮影戏)是当今爪哇最重要的表演艺术之一。即使在疫情期间，表演者也没有放弃自己的职业，利用各种网络平台分享他们的艺术。尽管利用社交媒体进行广告宣传，偶尔还对传统表演进行直播并非完全没有先例，但2020年的情况显然促成了这些趋势的显著加速。全球媒介化和虚拟参与的问题已经成为所谓的jaman now(“现在的时间”)皮影戏中的关键因素。中爪哇一些最著名的木偶戏演员，如Ki Cahyo Kuntadi和Ki Seno Nugroho，发明了新的形式，如wayang elektrik和wayang climen，并采取了新的营销策略，以满足社会距离时代的新观众需求。这些新的形式有助于确认和加速已经萌芽的瓦扬艺术的转变过程，并彻底改变了爪哇最重要的表演艺术之一的功能和成果。结合以实践为主导的研究和数字民族志，本文旨在提供一个例子，说明口述传统如何受到大流行时代的社会和技术反响的影响。
{"title":"Going “Viral”","authors":"Ilaria Meloni, Elisha Orcarus Allasso","doi":"10.1558/jwpm.26376","DOIUrl":"https://doi.org/10.1558/jwpm.26376","url":null,"abstract":"Wayang kulit (traditional shadow puppet theatre) is one of the most important performing arts in present-day Java. Even during the pandemic, performers did not abandon their vocation and employed various online platforms to share their art. Although the use of social media for advertising and, occasionally, livestreaming traditional performances was not entirely unprecedented, the circumstances of 2020 have clearly contributed to the significant acceleration of these trends. Issues of global mediatization and virtual participation have become crucial elements within the shadow puppet theatre of the so-called jaman now (“the time of now”). Some of the most famous puppeteers of Central Java, Ki Cahyo Kuntadi and Ki Seno Nugroho, invented new formats, such as wayang elektrik and wayang climen, and adopted new marketing strategies to meet a new audience demand in a time of social distance. These new forms contributed to confirm and speed-up transformation processes already embryonal to the wayang art and drastically changed the function and fruition of one of the most important Javanese performing arts. Uniting practice-led research and digital ethnography, this article intends to offer an example of how oral traditions are affected by the social and technological reverberations of the pandemic era.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67599302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent years, the issue of gender inequality in music festival lineups has become a major topic of discussion in the industry. In response, some festival organizers have implemented quotas or other regulative policies in an attempt to produce gender balanced lineups. However, by distinguishing between “hard” and “soft” gender balance, I argue that organizers often employ a “soft” definition which masks prevailing gender disparities and I propose that a “hard” approach which encompasses a more fine-grained analysis of the gender dynamics of festival programming should instead be adopted. Using the WOMAD Festival as a case study, I demonstrate the benefits of a “hard” approach for scrutinizing the gender composition of festival lineups and interrogating the claims of progress made by organizers. I also discuss WOMAD’s strategies for fostering greater gender balance, which may offer other festival organizers some valuable starting points for addressing gender inequalities in their own lineups.
{"title":"Illusions of Inclusion","authors":"James Nissen","doi":"10.1558/jwpm.19955","DOIUrl":"https://doi.org/10.1558/jwpm.19955","url":null,"abstract":"In recent years, the issue of gender inequality in music festival lineups has become a major topic of discussion in the industry. In response, some festival organizers have implemented quotas or other regulative policies in an attempt to produce gender balanced lineups. However, by distinguishing between “hard” and “soft” gender balance, I argue that organizers often employ a “soft” definition which masks prevailing gender disparities and I propose that a “hard” approach which encompasses a more fine-grained analysis of the gender dynamics of festival programming should instead be adopted. Using the WOMAD Festival as a case study, I demonstrate the benefits of a “hard” approach for scrutinizing the gender composition of festival lineups and interrogating the claims of progress made by organizers. I also discuss WOMAD’s strategies for fostering greater gender balance, which may offer other festival organizers some valuable starting points for addressing gender inequalities in their own lineups.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46337653","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}
Taco Hemingway is one of Poland’s most popular rappers, becoming the first Polish artist to be streamed a billion times on Spotify. Often described as a fresh voice in the Polish hip hop scene, Hemingway also offers a new perspective due to his status as a return migrant, having lived in the United Kingdom. As such, this article positions Hemingway’s output in the context of migration studies and, specifically, the impact migration has on sending countries. Through Hemingway’s music, the article examines the various stages of migration, from experiences abroad to return and circular migration, while also appraising Hemingway’s work within the context of social remittances—the impact that return migrants have on stayers. It also posits that Hemingway’s oeuvre represents the failure of the “Grand Narrative” of Polish migration, as well as the dissatisfaction that return migrants can feel upon return, choosing ultimately to go back to the country to which they emigrated.
{"title":"Polish Hip Hop at Home and Abroad","authors":"Kamila Rymajdo","doi":"10.1558/jwpm.22212","DOIUrl":"https://doi.org/10.1558/jwpm.22212","url":null,"abstract":"Taco Hemingway is one of Poland’s most popular rappers, becoming the first Polish artist to be streamed a billion times on Spotify. Often described as a fresh voice in the Polish hip hop scene, Hemingway also offers a new perspective due to his status as a return migrant, having lived in the United Kingdom. As such, this article positions Hemingway’s output in the context of migration studies and, specifically, the impact migration has on sending countries. Through Hemingway’s music, the article examines the various stages of migration, from experiences abroad to return and circular migration, while also appraising Hemingway’s work within the context of social remittances—the impact that return migrants have on stayers. It also posits that Hemingway’s oeuvre represents the failure of the “Grand Narrative” of Polish migration, as well as the dissatisfaction that return migrants can feel upon return, choosing ultimately to go back to the country to which they emigrated.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47334659","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}
Andrew F. Jones. 2020. Circuit Listening: Chinese Popular Music in the Global 1960s.Minneapolis, MN: University of Minnesota Press. ix + 304pp. ISBN 978-1-5179-0207-0 (pbk)
{"title":"Andrew F. Jones. 2020. Circuit Listening: Chinese Popular Music in the Global 1960s","authors":"N. Amar","doi":"10.1558/jwpm.21308","DOIUrl":"https://doi.org/10.1558/jwpm.21308","url":null,"abstract":"Andrew F. Jones. 2020. Circuit Listening: Chinese Popular Music in the Global 1960s.Minneapolis, MN: University of Minnesota Press. ix + 304pp. ISBN 978-1-5179-0207-0 (pbk)\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46836580","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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