Nadia Bahra, Lando Kirchmair, Matthias Pasdzierny, Albrecht Wiedmann
The introduction summarizes the key topics of the themed issue "Access to Waxes – The Collections from the Arab World of the Berlin Phonogramm-Archiv (BPhA)” and its contributions. It discusses the ethical, legal, and technical considerations involved in making these culturally significant but also sensitive recordings from the Arab world accessible to the public, especially in the context of ongoing debates around “decolonization” and cultural restitution.
{"title":"Access to Waxes – The Collections from the Arab World of the Berlin Phonogramm-Archiv: Between Digitization, \"Repatriation,\" and Online Publication","authors":"Nadia Bahra, Lando Kirchmair, Matthias Pasdzierny, Albrecht Wiedmann","doi":"10.59998/2023-12-2-1422","DOIUrl":"https://doi.org/10.59998/2023-12-2-1422","url":null,"abstract":"The introduction summarizes the key topics of the themed issue \"Access to Waxes – The Collections from the Arab World of the Berlin Phonogramm-Archiv (BPhA)” and its contributions. It discusses the ethical, legal, and technical considerations involved in making these culturally significant but also sensitive recordings from the Arab world accessible to the public, especially in the context of ongoing debates around “decolonization” and cultural restitution.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"176 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140428776","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}
This paper contextualizes the “Access to Waxes” workshop and publications within the broader context of the ongoing debates in ethnomusicology and related disciplines about the ethics and politics of historical sound recordings, archives, acoustic memory, cultural rights, intellectual property, musical repatriation, and access. Selected initiatives on the topic spearheaded by the two major scholarly societies focusing on the transdisciplinary study of music, the ICTMD and the Society for Ethnomusicology, are referred to. The contribution also critically evaluates the categorization and labeling of music in archives (like the term “Arab/Arabic music”) and emphasizes the need for a critical study of historical sound recordings like the collections of the Berlin Phonogrammarchiv. This would involve collaboration with source communities and local institutions ideally leading to the development of shared research practices and creating the conditions to access, revitalize, and sustain their musical heritage.
{"title":"Interrogating \"Access to Waxes\" – Introductory Remarks on the Collections from the Arab World of the Berlin Phonogramm-Archiv","authors":"S. Castelo-branco","doi":"10.59998/2023-12-2-1424","DOIUrl":"https://doi.org/10.59998/2023-12-2-1424","url":null,"abstract":"This paper contextualizes the “Access to Waxes” workshop and publications within the broader context of the ongoing debates in ethnomusicology and related disciplines about the ethics and politics of historical sound recordings, archives, acoustic memory, cultural rights, intellectual property, musical repatriation, and access. Selected initiatives on the topic spearheaded by the two major scholarly societies focusing on the transdisciplinary study of music, the ICTMD and the Society for Ethnomusicology, are referred to. The contribution also critically evaluates the categorization and labeling of music in archives (like the term “Arab/Arabic music”) and emphasizes the need for a critical study of historical sound recordings like the collections of the Berlin Phonogrammarchiv. This would involve collaboration with source communities and local institutions ideally leading to the development of shared research practices and creating the conditions to access, revitalize, and sustain their musical heritage.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"53 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140430822","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 102 cylinders recorded by Hans Helfritz in Yemen in 1930–31 and held by the Berlin Phonogramm-Archive represent a precious asset for the study of music of this country. They are the first large number of recordings of Yemenite music carried out in the field, just before the beginning of the first commercial recordings in Aden a few years later. Unlike the Aden recordings, Helfritz's represent mainly popular musical genres from the different tribes from the Highlands and Hadramawt, soldiers' songs, work songs, women's songs, and Jewish songs. As a first approach to this collection, I re-documented an anthology of a dozen of these recordings. I brought together as much information as possible from different sources in order to contextualize this music and its collection: Helfritz's biography, his books, his two main travels to Yemen and how he recorded music, and some considerations about Helfritz's contribution to the knowledge of Yemenite music. I consider the ambiguities of his orientalist vision and approach as an explorer more than as a musicologist, which contributed to the form and content of the collection itself. Finally, I bring up a few ethical considerations about these "captured sounds" and the future of this collection.
{"title":"Historical Glimpse of Music in Yemen in the 1930s: A First Approach to the Cylinders Recorded by Hans Helfritz","authors":"Jean Lambert","doi":"10.59998/2023-12-2-1426","DOIUrl":"https://doi.org/10.59998/2023-12-2-1426","url":null,"abstract":"The 102 cylinders recorded by Hans Helfritz in Yemen in 1930–31 and held by the Berlin Phonogramm-Archive represent a precious asset for the study of music of this country. They are the first large number of recordings of Yemenite music carried out in the field, just before the beginning of the first commercial recordings in Aden a few years later. Unlike the Aden recordings, Helfritz's represent mainly popular musical genres from the different tribes from the Highlands and Hadramawt, soldiers' songs, work songs, women's songs, and Jewish songs. As a first approach to this collection, I re-documented an anthology of a dozen of these recordings. I brought together as much information as possible from different sources in order to contextualize this music and its collection: Helfritz's biography, his books, his two main travels to Yemen and how he recorded music, and some considerations about Helfritz's contribution to the knowledge of Yemenite music. I consider the ambiguities of his orientalist vision and approach as an explorer more than as a musicologist, which contributed to the form and content of the collection itself. Finally, I bring up a few ethical considerations about these \"captured sounds\" and the future of this collection.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"48 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140431566","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}
For some years now, there has been an intense and controversial debate about the relationship between the culture of memory and research into the consequences of colonialism, on the one hand, and the Holocaust, on the other. Michael Rothberg's concept of multidirectional memory and Nathan Sznaider's contribution to the debate on the vanishing points of memory ("Fluchtpunkte der Erinnerung") provide only a few of several examples. Using the recordings of the German-Jewish composer and ethnomusicologist Brigitte Schiffer, made at the oasis of Siwa in the Sahara in 1932/33, as a case study, the article reflects on the implications of this debate for dealing with the so-called Berlin School of comparative musicology. Beyond that, the article asks how the complexity of competing memory discourses affects current approaches and efforts of decolonizing archives and identifies perspectives and strategies for how to handle such collections today, especially regarding the chances and challenges of so-called recirculation.
几年来，关于记忆文化与殖民主义和大屠杀后果研究之间的关系，一直存在着激烈的争论。迈克尔-罗斯伯格（Michael Rothberg）的多向记忆概念和内森-施奈德（Nathan Sznaider）对记忆消失点（"Fluchtpunkte der Erinnerung"）辩论的贡献只是其中的几个例子。文章以德裔犹太作曲家和民族音乐学家布里吉特-希弗 1932/33 年在撒哈拉西瓦绿洲的录音为案例，反思了这场辩论对所谓柏林比较音乐学派的影响。除此以外，文章还探讨了相互竞争的记忆论述的复杂性如何影响当前档案非殖民化的方法和努力，并确定了当今如何处理此类藏品的视角和策略，特别是关于所谓再循环的机会和挑战。
{"title":"Whom to Remember – How to Return? Brigitte Schiffer, the Voices of Siwa and the Entangled History of the Berlin School of Ethnomusicology","authors":"Matthias Pasdzierny","doi":"10.59998/2023-12-2-1427","DOIUrl":"https://doi.org/10.59998/2023-12-2-1427","url":null,"abstract":"For some years now, there has been an intense and controversial debate about the relationship between the culture of memory and research into the consequences of colonialism, on the one hand, and the Holocaust, on the other. Michael Rothberg's concept of multidirectional memory and Nathan Sznaider's contribution to the debate on the vanishing points of memory (\"Fluchtpunkte der Erinnerung\") provide only a few of several examples. Using the recordings of the German-Jewish composer and ethnomusicologist Brigitte Schiffer, made at the oasis of Siwa in the Sahara in 1932/33, as a case study, the article reflects on the implications of this debate for dealing with the so-called Berlin School of comparative musicology. Beyond that, the article asks how the complexity of competing memory discourses affects current approaches and efforts of decolonizing archives and identifies perspectives and strategies for how to handle such collections today, especially regarding the chances and challenges of so-called recirculation.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"170 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140428663","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 number of collections of music from the Arab world housed in the Berlin Phonogramm-Archiv (BPhA), 30 in all, is impressive, as is the great number of wax cylinders. In the beginning, Arab music was not the main concern of the Berlin Phonogramm-Archiv; there were a small number of collections of music from the Arab world until 1918, but even then, extensive research was being done (see Hornbostel's 1906–7 article on Tunisian music). Recordings made in German prisoner-of-war camps during World War I augmented the holdings. Fieldwork in Arab countries peaked around 1930, with recordings made by Robert Lachmann as the leading figure and several other scholars associated with the Berlin School of Comparative Musicology. This article presents an overview of the BPhA's collections from the Arab world, their status and content, and highlights their specific features compared to its collections from other regions of the world. Based on the historical documents associated with the collections (correspondence, publications), information will also be given about the collectors, their backgrounds, motivations, and fieldwork.
{"title":"Collections of Music from the Arab World in the Berlin Phonogramm-Archiv","authors":"Susanne Ziegler","doi":"10.59998/2023-12-2-1425","DOIUrl":"https://doi.org/10.59998/2023-12-2-1425","url":null,"abstract":"The number of collections of music from the Arab world housed in the Berlin Phonogramm-Archiv (BPhA), 30 in all, is impressive, as is the great number of wax cylinders. In the beginning, Arab music was not the main concern of the Berlin Phonogramm-Archiv; there were a small number of collections of music from the Arab world until 1918, but even then, extensive research was being done (see Hornbostel's 1906–7 article on Tunisian music). Recordings made in German prisoner-of-war camps during World War I augmented the holdings. Fieldwork in Arab countries peaked around 1930, with recordings made by Robert Lachmann as the leading figure and several other scholars associated with the Berlin School of Comparative Musicology. This article presents an overview of the BPhA's collections from the Arab world, their status and content, and highlights their specific features compared to its collections from other regions of the world. Based on the historical documents associated with the collections (correspondence, publications), information will also be given about the collectors, their backgrounds, motivations, and fieldwork.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140430737","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}
Of the multidisciplinary cohort of scholars associated with the Berlin Phonogramm-Archiv in its formative decades, it is Robert Lachmann (1892–1939) who, in his approach to fieldwork and the importance he attached to it, comes closest to adopting the methods of classic ethnomusicology. In April 1935, having been dismissed from his post in the Prussian State Library under the Nazi racial laws, he took up a temporary appointment at the newly founded Hebrew University of Jerusalem with a mission to create an Archive of Oriental Music. He brought with him copies of his entire collection of some 500 wax cylinder recordings held in the Berlin Phonogramm-Archiv. Between 1935 and 1938, Lachmann made 956 recordings on metal disc documenting musical traditions of different "Eastern" communities of Palestine. His writings from this period, however, relied predominantly on research carried over from his Berlin years. The most substantial, and the first to be completed, is his monograph Jewish Cantillation and Song in the Isle of Djerba (Gesänge der Juden auf der Insel Djerba) based on his fieldwork in Djerba in 1929. In this contribution, I argue that Lachmann's pioneering study of this Tunisian Jewish community provided the methodological blueprint for much of his work in Palestine. I focus on his series of 12 radio programs, entitled "Oriental Music," transmitted by the Palestine Broadcasting Service between November 1936 and April 1937. The programs, which feature different groups living in or around Jerusalem, were illustrated by live studio performances by local musicians and singers, simultaneously recorded onto metal disc. In successive lectures, Lachmann presents fundamental ideas about the nature and evolution of musical practices and systems that are explored more fully in his Djerba monograph. Thwarted by inadequate finances and lack of institutional support, Lachmann's work was cut short by his premature death in May 1939 and it fell to his former student, Edith Gerson-Kiwi, to pick up the threads of his project. His collecting activities, together with the comparative vision that informed them, laid the foundations for the work of subsequent generations of ethnomusicologists.
{"title":"From Wax Cylinder to Metal Disc: Transplanting Robert Lachmann’s “Oriental Music” Project from Berlin to Jerusalem on the Eve of World War II","authors":"Ruth F. Davies","doi":"10.59998/2023-12-2-1428","DOIUrl":"https://doi.org/10.59998/2023-12-2-1428","url":null,"abstract":"Of the multidisciplinary cohort of scholars associated with the Berlin Phonogramm-Archiv in its formative decades, it is Robert Lachmann (1892–1939) who, in his approach to fieldwork and the importance he attached to it, comes closest to adopting the methods of classic ethnomusicology. In April 1935, having been dismissed from his post in the Prussian State Library under the Nazi racial laws, he took up a temporary appointment at the newly founded Hebrew University of Jerusalem with a mission to create an Archive of Oriental Music. He brought with him copies of his entire collection of some 500 wax cylinder recordings held in the Berlin Phonogramm-Archiv. Between 1935 and 1938, Lachmann made 956 recordings on metal disc documenting musical traditions of different \"Eastern\" communities of Palestine. His writings from this period, however, relied predominantly on research carried over from his Berlin years. The most substantial, and the first to be completed, is his monograph Jewish Cantillation and Song in the Isle of Djerba (Gesänge der Juden auf der Insel Djerba) based on his fieldwork in Djerba in 1929. In this contribution, I argue that Lachmann's pioneering study of this Tunisian Jewish community provided the methodological blueprint for much of his work in Palestine. I focus on his series of 12 radio programs, entitled \"Oriental Music,\" transmitted by the Palestine Broadcasting Service between November 1936 and April 1937. The programs, which feature different groups living in or around Jerusalem, were illustrated by live studio performances by local musicians and singers, simultaneously recorded onto metal disc. In successive lectures, Lachmann presents fundamental ideas about the nature and evolution of musical practices and systems that are explored more fully in his Djerba monograph.\u0000Thwarted by inadequate finances and lack of institutional support, Lachmann's work was cut short by his premature death in May 1939 and it fell to his former student, Edith Gerson-Kiwi, to pick up the threads of his project. His collecting activities, together with the comparative vision that informed them, laid the foundations for the work of subsequent generations of ethnomusicologists.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140431918","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}
This contribution details methodological adaptations of face-to-face ethnographic and participatory research approaches for the digital realm and examines emergent ethical concerns. It developed while a research team in Melbourne considered the implications of COVID-19 lockdown for their research on social connection through intercultural music engagement. Pursuing the proliferation of online music activity aimed at maintaining social bonds during the physical distancing of the first months of the pandemic, the team turned to digital platforms as the field of research. Projects included observation of audience engagement with YouTube music broadcasts during COVID-19 lockdown and a participatory action research project exploring asynchronous multitracking performance. The pandemic underlined the world’s increasing interconnectedness, where social ties can span the local to the global. Through an appraisal of the research and consideration of existing discourse about online research approaches and decolonizing methodology, the article also examines the implications of global interconnectedness for interdisciplinary inquiry and the study of different cultural identities and their music and dance practice.
{"title":"Intercultural Music Engagement over Electronic Bridges: Online Ethnography and Actions Research during COVID-19 Lockdown","authors":"Trisnasari Fraser, J. Davidson, A. Crooke","doi":"10.59998/2023-12-1-1314","DOIUrl":"https://doi.org/10.59998/2023-12-1-1314","url":null,"abstract":"This contribution details methodological adaptations of face-to-face ethnographic and participatory research approaches for the digital realm and examines emergent ethical concerns. It developed while a research team in Melbourne considered the implications of COVID-19 lockdown for their research on social connection through intercultural music engagement. Pursuing the proliferation of online music activity aimed at maintaining social bonds during the physical distancing of the first months of the pandemic, the team turned to digital platforms as the field of research. Projects included observation of audience engagement with YouTube music broadcasts during COVID-19 lockdown and a participatory action research project exploring asynchronous multitracking performance. The pandemic underlined the world’s increasing interconnectedness, where social ties can span the local to the global. Through an appraisal of the research and consideration of existing discourse about online research approaches and decolonizing methodology, the article also examines the implications of global interconnectedness for interdisciplinary inquiry and the study of different cultural identities and their music and dance practice.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122663327","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}
This contribution describes collaborative research designed and implemented by a team of three scholar-teachers: two of us in Indonesia and one in Virginia. After a year in quarantine, each of us was challenged by the inability to continue our own ethnographic research projects on religious culture in Indonesia and the limitations on international collaboration effected by the corona pandemic. Using zoom meetings for planning and ‘virtual ethnography’ as a method of data collection, our collaborative research investigates the challenges presented by the pandemic among practitioners of Islamic music and Qur’anic arts, and educators in Indonesia’s Islamic universities. Three focused group discussions (FGD) in April and May 2021 brought together diverse voices on the effects of the corona pandemic on Islamic music, Qur’anic arts, and the social rituals where they normally occur. Open-ended questions allowed FGD participants to share their perspectives on the effects of the past year’s quarantine protocol on the social, cultural, economic, artistic, and ritual aspects of daily life in Indonesia, and the various innovations and best practices that have developed during these challenging times. In addition to collecting qualitative data from community individuals, our FGDs also allowed various scholars and practitioners to converse with one another. The geographic and institutional breadth of our research team is extended by the variety of invited participants in our FGDs. They are artists, religious leaders, and academics from the areas of Jakarta, Yogyakarta, Surakarta, Semarang, Malang, Bandung, Medan, Padang, Banda Aceh, and Manado. Through this series of conversations and with innovative, collaborative research methods we are rethinking the parameters of ethnography at the intersection of society, culture, religion, gender, and the arts in Indonesia in the time of the corona pandemic.
{"title":"Islamic Music and Qur’anic Arts in the Time of the Corona Pandemic: Collaborative Research and Virtual Ethnography “in” Indonesia","authors":"Muhammad As'ad, Dadi Darmadi, Anne K. Rasmussen","doi":"10.59998/2023-12-1-1312","DOIUrl":"https://doi.org/10.59998/2023-12-1-1312","url":null,"abstract":"This contribution describes collaborative research designed and implemented by a team of three scholar-teachers: two of us in Indonesia and one in Virginia. After a year in quarantine, each of us was challenged by the inability to continue our own ethnographic research projects on religious culture in Indonesia and the limitations on international collaboration effected by the corona pandemic. Using zoom meetings for planning and ‘virtual ethnography’ as a method of data collection, our collaborative research investigates the challenges presented by the pandemic among practitioners of Islamic music and Qur’anic arts, and educators in Indonesia’s Islamic universities. Three focused group discussions (FGD) in April and May 2021 brought together diverse voices on the effects of the corona pandemic on Islamic music, Qur’anic arts, and the social rituals where they normally occur. Open-ended questions allowed FGD participants to share their perspectives on the effects of the past year’s quarantine protocol on the social, cultural, economic, artistic, and ritual aspects of daily life in Indonesia, and the various innovations and best practices that have developed during these challenging times. In addition to collecting qualitative data from community individuals, our FGDs also allowed various scholars and practitioners to converse with one another. The geographic and institutional breadth of our research team is extended by the variety of invited participants in our FGDs. They are artists, religious leaders, and academics from the areas of Jakarta, Yogyakarta, Surakarta, Semarang, Malang, Bandung, Medan, Padang, Banda Aceh, and Manado. Through this series of conversations and with innovative, collaborative research methods we are rethinking the parameters of ethnography at the intersection of society, culture, religion, gender, and the arts in Indonesia in the time of the corona pandemic.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"105 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133308954","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-person interactions were drastically altered in the unincorporated territory island of Guåhan (Guam) and the Commonwealth of the Northern Mariana Islands during the height of the COVID-19 pandemic in 2020. This article seeks to investigate how lålai (CHamoru chant) and music making are resurgent forms of sound-based cultural practices that can be understood as “narrative medicine.” The latter has the potential to be a model for musical sensemaking, whereby Indigenous storytelling maintains connections among kin and heals from colonial trauma. Critically reflecting on a community grant film project entitled, “Tåhdong Marianas: Storytelling Across the Marianas,” I explore how a young group of Indigenous CHamorus use the medium of film to adapt to the situation of COVID-19 while calling into question conventional parameters of fieldwork. I analyze how the privileging of work done by and for Indigenous people actively foregrounds the sonic potential of narrative medicine by focusing on the sensory experiences of island peoples to music in ways that undo the epistemic violence of Indigenous knowledge erasure and extraction.
{"title":"Fieldwork through Filmmaking: Listening to Narrative Medicine in “Tåhdong Marianas”","authors":"Andrew Gumataotao","doi":"10.59998/2023-12-1-1316","DOIUrl":"https://doi.org/10.59998/2023-12-1-1316","url":null,"abstract":"In-person interactions were drastically altered in the unincorporated territory island of Guåhan (Guam) and the Commonwealth of the Northern Mariana Islands during the height of the COVID-19 pandemic in 2020. This article seeks to investigate how lålai (CHamoru chant) and music making are resurgent forms of sound-based cultural practices that can be understood as “narrative medicine.” The latter has the potential to be a model for musical sensemaking, whereby Indigenous storytelling maintains connections among kin and heals from colonial trauma. Critically reflecting on a community grant film project entitled, “Tåhdong Marianas: Storytelling Across the Marianas,” I explore how a young group of Indigenous CHamorus use the medium of film to adapt to the situation of COVID-19 while calling into question conventional parameters of fieldwork. I analyze how the privileging of work done by and for Indigenous people actively foregrounds the sonic potential of narrative medicine by focusing on the sensory experiences of island peoples to music in ways that undo the epistemic violence of Indigenous knowledge erasure and extraction.","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125123349","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}
An Introduction to the issue "Music Making and Music Research in the Asia-Pacific Region in Times of COVID-19".
“新冠肺炎时代亚太地区的音乐创作与音乐研究”专题介绍。
{"title":"Introduction: Surmounting Physical Distance","authors":"Sebastian Hachmeyer, Celia Fritze-Nabjinsky","doi":"10.59998/2023-12-1-1311","DOIUrl":"https://doi.org/10.59998/2023-12-1-1311","url":null,"abstract":"An Introduction to the issue \"Music Making and Music Research in the Asia-Pacific Region in Times of COVID-19\".","PeriodicalId":413815,"journal":{"name":"the world of music (new series)","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129319239","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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