Pub Date : 2022-09-02DOI: 10.1080/17411912.2022.2152249
Iva Nenić
ABSTRACT This paper focuses on the jembe (djembé) as a symbol of Africanness in contemporary Serbian culture. Players’ narratives often underline the universality and spirituality of distant, romanticised Africa linking these supposed features to ‘archaic’ aspects of Serbian and Balkan traditional music. The trope of universally adaptable rhythm has united different players, from pioneers of cross-cultural sound during late Yugoslav socialism to the proponents of present-day multiculturalism in Serbia. This paper is informed by ethnographic research with the group Đembija, a recent Belgrade-based music project, and by the use and discourse surrounding the jembe and other African instruments by other contemporary Serbian musicians. The jembe's use in world music bands serves as the basis for a diversity of ideological, poetic and musical practices. Simultaneously, the aural learning, small scale and ‘slow pace’ of musicianship, in contrast to the hectic everyday experience of contemporary capitalist society, acquires nostalgic resonances within Serbia’s budding cross-cultural jembe playing practices.
{"title":"‘Imagined Balkans’ meets ‘imagined Africa’: the contemporary practice of jembe drumming in Serbia","authors":"Iva Nenić","doi":"10.1080/17411912.2022.2152249","DOIUrl":"https://doi.org/10.1080/17411912.2022.2152249","url":null,"abstract":"ABSTRACT This paper focuses on the jembe (djembé) as a symbol of Africanness in contemporary Serbian culture. Players’ narratives often underline the universality and spirituality of distant, romanticised Africa linking these supposed features to ‘archaic’ aspects of Serbian and Balkan traditional music. The trope of universally adaptable rhythm has united different players, from pioneers of cross-cultural sound during late Yugoslav socialism to the proponents of present-day multiculturalism in Serbia. This paper is informed by ethnographic research with the group Đembija, a recent Belgrade-based music project, and by the use and discourse surrounding the jembe and other African instruments by other contemporary Serbian musicians. The jembe's use in world music bands serves as the basis for a diversity of ideological, poetic and musical practices. Simultaneously, the aural learning, small scale and ‘slow pace’ of musicianship, in contrast to the hectic everyday experience of contemporary capitalist society, acquires nostalgic resonances within Serbia’s budding cross-cultural jembe playing practices.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"429 - 448"},"PeriodicalIF":0.8,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48926846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/17411912.2022.2151027
Linda Cimardi
ABSTRACT The ubiquity of the jembe in western and northern Europe, as well as in North America, was instigated during the 1970s by influential West African jembe players, later developing within world music, where this drum came to represent the essence of ‘African music’. In Croatia the popularity of the jembe did not arise until the late 1990s, motivated by local Croatian musicians who shaped an African music scene in Zagreb. More than a decade later, the first performers from West Africa—specifically from Senegal—settled in Croatia and claimed a space in the limited scene that had mainly crystallised around the jembe. Albeit within a climate of open collaboration, frictions emerged between these two groups of jembe performers surrounding issues of authenticity and labour. This article focuses on the initial phases and issues at stake in this encounter between Croatian and Senegalese jembe practitioners. Although these tensions resonate with exoticising discourses and notions of appropriation that have often characterised the world music industry, it is argued that generalising interpretations as well as the actors’ subjective readings must be deconstructed in order to grasp the complexities of this encounter and the processes shaping the African music scene in Zagreb.
{"title":"Whose jembe? A drum as a countercultural icon and a symbol of African authenticity in Zagreb","authors":"Linda Cimardi","doi":"10.1080/17411912.2022.2151027","DOIUrl":"https://doi.org/10.1080/17411912.2022.2151027","url":null,"abstract":"ABSTRACT The ubiquity of the jembe in western and northern Europe, as well as in North America, was instigated during the 1970s by influential West African jembe players, later developing within world music, where this drum came to represent the essence of ‘African music’. In Croatia the popularity of the jembe did not arise until the late 1990s, motivated by local Croatian musicians who shaped an African music scene in Zagreb. More than a decade later, the first performers from West Africa—specifically from Senegal—settled in Croatia and claimed a space in the limited scene that had mainly crystallised around the jembe. Albeit within a climate of open collaboration, frictions emerged between these two groups of jembe performers surrounding issues of authenticity and labour. This article focuses on the initial phases and issues at stake in this encounter between Croatian and Senegalese jembe practitioners. Although these tensions resonate with exoticising discourses and notions of appropriation that have often characterised the world music industry, it is argued that generalising interpretations as well as the actors’ subjective readings must be deconstructed in order to grasp the complexities of this encounter and the processes shaping the African music scene in Zagreb.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"393 - 411"},"PeriodicalIF":0.8,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41535839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/17411912.2022.2117227
Ben Earle
{"title":"The art of appreciation: music and middlebrow culture in modern Britain","authors":"Ben Earle","doi":"10.1080/17411912.2022.2117227","DOIUrl":"https://doi.org/10.1080/17411912.2022.2117227","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"32 1","pages":"149 - 152"},"PeriodicalIF":0.8,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59951533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/17411912.2022.2144402
Fulvia Caruso
ABSTRACT This article examines music’s contribution to the wellbeing, identity affirmation, and cultural integration of African asylum seekers in Italy, in a context where the Italian majority is often hostile to migrants and denies multiculturalism. As part of a broader long-term action-based project dedicated to improving intercultural understandings, this case study focuses on the life story and initiatives of a single musician: Bawa Salifu. It follows Salifu from his status as an irregular migrant, who travelled to Italy from Ghana, to his role as a cultural mediator for asylum seekers in Italy and as the founder in 2015 of the musical project Oghene Damba: Cremona Boys Musical Theater. The sensitivities surrounding getting to know Salifu well enough to discuss his personal experiences are highlighted; this was only possible after documenting Oghene Damba performances for four years. Other ethnographic interaction strategies are also discussed, including jointly watching and commenting on Oghene Damba recordings and YouTube videos. Despite the limitations imposed on asylum seekers, Salifu’s various musical initiatives and collaborations reveal the potential of music to give meaning to their disorientated lives and to make steps towards acceptance into Italian society.
摘要本文探讨了音乐对意大利非洲寻求庇护者的福祉、身份认同和文化融合的贡献，在这种背景下，意大利多数人往往对移民怀有敌意，否认多元文化。作为一个致力于提高跨文化理解的更广泛的长期行动项目的一部分，本案例研究聚焦于一位音乐家巴瓦·萨利夫的生活故事和倡议。该片讲述了萨利夫从加纳前往意大利的非正常移民身份，到他在意大利担任寻求庇护者的文化调解员，以及2015年音乐项目Oghene Damba：Cremona Boys musical Theater的创始人。强调了对萨利夫足够了解以讨论他的个人经历的敏感性；这是在记录了四年Oghene Damba的表演之后才有可能实现的。还讨论了其他民族志互动策略，包括共同观看和评论Oghene Damba的录音和YouTube视频。尽管对寻求庇护者施加了限制，但Salifu的各种音乐倡议和合作揭示了音乐的潜力，让他们迷失方向的生活有意义，并朝着被意大利社会接受的方向迈出步伐。
{"title":"Musical resilience strategies for African asylum seekers in Italy: the cultural mediator Bawa Salifu","authors":"Fulvia Caruso","doi":"10.1080/17411912.2022.2144402","DOIUrl":"https://doi.org/10.1080/17411912.2022.2144402","url":null,"abstract":"ABSTRACT This article examines music’s contribution to the wellbeing, identity affirmation, and cultural integration of African asylum seekers in Italy, in a context where the Italian majority is often hostile to migrants and denies multiculturalism. As part of a broader long-term action-based project dedicated to improving intercultural understandings, this case study focuses on the life story and initiatives of a single musician: Bawa Salifu. It follows Salifu from his status as an irregular migrant, who travelled to Italy from Ghana, to his role as a cultural mediator for asylum seekers in Italy and as the founder in 2015 of the musical project Oghene Damba: Cremona Boys Musical Theater. The sensitivities surrounding getting to know Salifu well enough to discuss his personal experiences are highlighted; this was only possible after documenting Oghene Damba performances for four years. Other ethnographic interaction strategies are also discussed, including jointly watching and commenting on Oghene Damba recordings and YouTube videos. Despite the limitations imposed on asylum seekers, Salifu’s various musical initiatives and collaborations reveal the potential of music to give meaning to their disorientated lives and to make steps towards acceptance into Italian society.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"373 - 392"},"PeriodicalIF":0.8,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46542223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/17411912.2022.2147669
Elina Djebbari
ABSTRACT As a former French colony, Mali's musical landscape contributed in important ways to the formation of the world music scene in France, where many of its most famous musicians have recorded, performed, and sometimes settled, especially from the 1980s onwards. Drawing on this context, the essay offers an overview of the African world music scene in France through some of its main vectors of development, including labels, festivals, and cultural institutions. This is approached through the analysis of programmes from important French world music festivals showcasing Malian musicians, such as Africolor or Musiques Métisses, and by exploring examples of musical collaborations—referred to in France as ‘transcultural musical creations’—which were often implemented within cultural institutions and featured in festivals. Elaborating on how an elitist art culture was created, by stressing certain features of Malian music to the detriment of others, it is argued that these musical productions perform a play with otherness, which, in turn, has enabled western canons to take the guise of praising Malian music genres and instruments. Ultimately, these creative processes—and the discourses that foreground them—shed light on how France articulates and negotiates the postcolonial relationships it sustains with some of its former colonies.
{"title":"Malian music ‘made in France’: postcolonial relationships through world music festivals and ‘transcultural creations’","authors":"Elina Djebbari","doi":"10.1080/17411912.2022.2147669","DOIUrl":"https://doi.org/10.1080/17411912.2022.2147669","url":null,"abstract":"ABSTRACT As a former French colony, Mali's musical landscape contributed in important ways to the formation of the world music scene in France, where many of its most famous musicians have recorded, performed, and sometimes settled, especially from the 1980s onwards. Drawing on this context, the essay offers an overview of the African world music scene in France through some of its main vectors of development, including labels, festivals, and cultural institutions. This is approached through the analysis of programmes from important French world music festivals showcasing Malian musicians, such as Africolor or Musiques Métisses, and by exploring examples of musical collaborations—referred to in France as ‘transcultural musical creations’—which were often implemented within cultural institutions and featured in festivals. Elaborating on how an elitist art culture was created, by stressing certain features of Malian music to the detriment of others, it is argued that these musical productions perform a play with otherness, which, in turn, has enabled western canons to take the guise of praising Malian music genres and instruments. Ultimately, these creative processes—and the discourses that foreground them—shed light on how France articulates and negotiates the postcolonial relationships it sustains with some of its former colonies.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"412 - 428"},"PeriodicalIF":0.8,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44230719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-18DOI: 10.1080/17411912.2022.2095294
Elina Seye
ABSTRACT The history of African musics in Finland has specific characteristics because the African diaspora communities in Finland are relatively young and small. Many African professional musicians living in Finland moved there because of their personal connections with Finns rather than because of broader flows of migration. Despite the minimal numbers of Africans living in Finland, a lively scene of African musics began to develop from the 1980s, and this scene has continued to be characterised by collaborations between Africans and white Finns. This article discusses the early history of African musics in Finland, with a focus on these collaborations that have created cultural spaces where ideas of ‘Africanness’ are central but not strictly tied to Blackness or Otherness, thereby resembling Homi Bhabha’s idea of a postcolonial ‘Third Space’ that opens conventional meanings to negotiation and redefinition.
{"title":"Music as a Third Space? – African musics as a field of collaboration in Finland","authors":"Elina Seye","doi":"10.1080/17411912.2022.2095294","DOIUrl":"https://doi.org/10.1080/17411912.2022.2095294","url":null,"abstract":"ABSTRACT The history of African musics in Finland has specific characteristics because the African diaspora communities in Finland are relatively young and small. Many African professional musicians living in Finland moved there because of their personal connections with Finns rather than because of broader flows of migration. Despite the minimal numbers of Africans living in Finland, a lively scene of African musics began to develop from the 1980s, and this scene has continued to be characterised by collaborations between Africans and white Finns. This article discusses the early history of African musics in Finland, with a focus on these collaborations that have created cultural spaces where ideas of ‘Africanness’ are central but not strictly tied to Blackness or Otherness, thereby resembling Homi Bhabha’s idea of a postcolonial ‘Third Space’ that opens conventional meanings to negotiation and redefinition.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"353 - 372"},"PeriodicalIF":0.8,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42674334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-14DOI: 10.1080/17411912.2022.2093016
Andrea Conger
Published in Ethnomusicology Forum (Vol. 32, No. 1, 2023)
发表于《民族音乐学论坛》2023年第32卷第1期
{"title":"Movement of the people: Hungarian folk dance, populism, and citizenship","authors":"Andrea Conger","doi":"10.1080/17411912.2022.2093016","DOIUrl":"https://doi.org/10.1080/17411912.2022.2093016","url":null,"abstract":"Published in Ethnomusicology Forum (Vol. 32, No. 1, 2023)","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"351 ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138505450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-14DOI: 10.1080/17411912.2022.2093765
Hélène Sechehaye
{"title":"Turkish Folk music between Ghent and Turkey: context, performance, function","authors":"Hélène Sechehaye","doi":"10.1080/17411912.2022.2093765","DOIUrl":"https://doi.org/10.1080/17411912.2022.2093765","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"454 - 456"},"PeriodicalIF":0.8,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46690224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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