Pub Date : 2021-09-02DOI: 10.1080/17411912.2021.2027112
Phil Alexander, Alexander Cannon, Henry Stobart, F. Wilkins
We complete the 30th volume of Ethnomusicology Forum following another year living with the COVID-19 virus. As the year ends and we see the rise of another variant of concern, the editors reflect on the impact of the Omicron variant on borders and their closure. As Omicron migrates and spreads, borders have been shut and connections with southern and western Africa in particular have been impacted. Many borders between parts of the Global North remain open, however, despite rising numbers of cases in these locations. Why are certain governments so quick to stop movement from some of the poorest regions of the world, but retain unrestricted movement with close neighbors with whom they share economic might? And at the same time, as booster vaccines campaigns in the Global North kick into high gear, closed-off countries of the South struggle to get first doses to their populations. Borders generate inequity, and whilst the British Forum for Ethnomusicology alongside the editors of Ethnomusicology Forum hold no sway over UK political decision-making, we can offer ways to open virtual borders and encourage conversation between scholars caught on different sides of government-imposed divides. During the autumn one-day conference – which actually took place over two days online in mid-November – the program committee brought together scholars at many different stages of their careers from North America, South America, Asia, Australia, and Europe to discuss ‘Ethnomusicology in 2022 and Beyond’. This year marked the first time that the BFE Executive Committee hosted the conference via the Zoom platform, enabling ethnomusicologists across disparate time zones to share ideas. On the Ethnomusicology Forum editorial team, we further seek to tear down borders with a new initiative to appoint four copy editors who will assist in the preparation of scholarly pieces written by those who have English as a second or third (or fourth!) language. We look forward to hearing new voices in the pages of our journal, so please send in your articles for peer-review! In this issue, we are very pleased to present six stand-alone articles of original research. We open with two articles that engage with folklore and folk revivals in Europe and South America. First, Felix Morgenstern investigates the fascinating presence of Irish music in East Germany during the last two decades of the Cold War as a way for musicians to foreground anti-colonial and anti-imperialist sentiment during an East German folk revival. Deploying Svetlana Boym’s term ‘sideways nostalgia’, Morgenstern explains how German bands adopted Irish rebel songs as a way to rebuild a sense of cultural identity and ‘lost German national pride’ in the fraught and contentious post-war period. Secondly, María Bernardita Batlle Lathrop evaluates the life and work of Violeta Parra, a Chilean singer and folklorist who popularised rural musical practice in urban Chile and further afield during the middle of the twentieth c
{"title":"Editorial","authors":"Phil Alexander, Alexander Cannon, Henry Stobart, F. Wilkins","doi":"10.1080/17411912.2021.2027112","DOIUrl":"https://doi.org/10.1080/17411912.2021.2027112","url":null,"abstract":"We complete the 30th volume of Ethnomusicology Forum following another year living with the COVID-19 virus. As the year ends and we see the rise of another variant of concern, the editors reflect on the impact of the Omicron variant on borders and their closure. As Omicron migrates and spreads, borders have been shut and connections with southern and western Africa in particular have been impacted. Many borders between parts of the Global North remain open, however, despite rising numbers of cases in these locations. Why are certain governments so quick to stop movement from some of the poorest regions of the world, but retain unrestricted movement with close neighbors with whom they share economic might? And at the same time, as booster vaccines campaigns in the Global North kick into high gear, closed-off countries of the South struggle to get first doses to their populations. Borders generate inequity, and whilst the British Forum for Ethnomusicology alongside the editors of Ethnomusicology Forum hold no sway over UK political decision-making, we can offer ways to open virtual borders and encourage conversation between scholars caught on different sides of government-imposed divides. During the autumn one-day conference – which actually took place over two days online in mid-November – the program committee brought together scholars at many different stages of their careers from North America, South America, Asia, Australia, and Europe to discuss ‘Ethnomusicology in 2022 and Beyond’. This year marked the first time that the BFE Executive Committee hosted the conference via the Zoom platform, enabling ethnomusicologists across disparate time zones to share ideas. On the Ethnomusicology Forum editorial team, we further seek to tear down borders with a new initiative to appoint four copy editors who will assist in the preparation of scholarly pieces written by those who have English as a second or third (or fourth!) language. We look forward to hearing new voices in the pages of our journal, so please send in your articles for peer-review! In this issue, we are very pleased to present six stand-alone articles of original research. We open with two articles that engage with folklore and folk revivals in Europe and South America. First, Felix Morgenstern investigates the fascinating presence of Irish music in East Germany during the last two decades of the Cold War as a way for musicians to foreground anti-colonial and anti-imperialist sentiment during an East German folk revival. Deploying Svetlana Boym’s term ‘sideways nostalgia’, Morgenstern explains how German bands adopted Irish rebel songs as a way to rebuild a sense of cultural identity and ‘lost German national pride’ in the fraught and contentious post-war period. Secondly, María Bernardita Batlle Lathrop evaluates the life and work of Violeta Parra, a Chilean singer and folklorist who popularised rural musical practice in urban Chile and further afield during the middle of the twentieth c","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"337 - 339"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44144368","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 : 2021-09-02DOI: 10.1080/17411912.2021.2008264
Jennifer Kyker
ABSTRACT In Zimbabwe, the ceremony known as kurova guva is widely held by Shona speakers in order to reintegrate deceased family members within the patrilineage as ancestral spirits, or vadzimu. Conducted a year after burial, kurova guva involves a heterogeneous musical environment that distinguishes it from other ritual events described in the literature on Zimbabwean music. Held by traditionalists and members of several Christian denominations, the ceremony also offers a potent reminder that indigenous ritual remains a vibrant part of the contemporary Zimbabwean experience. I illustrate how music is a central mode of ritual practice at kurova guva, where it is considered ritually efficacious in enabling participants to reclaim the spirit of the deceased as a lineage ancestor. At the same time, I suggest that musical practice also participates in the continual renegotiation, articulation, and social production of the ritual contours of kurova guva. Through the negotiation of music’s spatial and temporal dimensions, I illustrate how participants at kurova guva express the structured ambiguity at the heart of ritual process. My analysis suggests that the gap between discursive expectations and actualised musical experience constitutes a productive site for ethnomusicological analysis.
{"title":"Outside the house, there are no laws: musical practice and ritual dynamics at Shona kurova guva ceremonies","authors":"Jennifer Kyker","doi":"10.1080/17411912.2021.2008264","DOIUrl":"https://doi.org/10.1080/17411912.2021.2008264","url":null,"abstract":"ABSTRACT In Zimbabwe, the ceremony known as kurova guva is widely held by Shona speakers in order to reintegrate deceased family members within the patrilineage as ancestral spirits, or vadzimu. Conducted a year after burial, kurova guva involves a heterogeneous musical environment that distinguishes it from other ritual events described in the literature on Zimbabwean music. Held by traditionalists and members of several Christian denominations, the ceremony also offers a potent reminder that indigenous ritual remains a vibrant part of the contemporary Zimbabwean experience. I illustrate how music is a central mode of ritual practice at kurova guva, where it is considered ritually efficacious in enabling participants to reclaim the spirit of the deceased as a lineage ancestor. At the same time, I suggest that musical practice also participates in the continual renegotiation, articulation, and social production of the ritual contours of kurova guva. Through the negotiation of music’s spatial and temporal dimensions, I illustrate how participants at kurova guva express the structured ambiguity at the heart of ritual process. My analysis suggests that the gap between discursive expectations and actualised musical experience constitutes a productive site for ethnomusicological analysis.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"422 - 442"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44245491","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 : 2021-08-25DOI: 10.1080/17411912.2021.1964374
S. McKerrell
ABSTRACT This paper argues for ethnomusicologists to begin using performance not just as a tool to understand the social and cultural field, but to use music and dance as methods in ‘translational’ ethnomusicology that focuses upon the translation and communication of artistic performance aesthetics and to theorise a space for research outcomes that are sited in original performative knowledge, explored, produced and delivered through performance itself. The paper briefly surveys some of the key historical discussions of musical performance in/as research and the epistemological challenges that surround a methodologically defined field such as ethnomusicology where there is no central musical canon. The paper introduces the concept of ‘emic resistance’ where the researcher–performer resists translating their non-verbal, somatic aesthetic musical knowledge into text. The paper concludes by drawing on some of the most recent developments in both ethnomusicological and closely related performance-analytical scholarship to propose a translational model for practice research in ethnomusicology.
{"title":"Towards practice research in ethnomusicology","authors":"S. McKerrell","doi":"10.1080/17411912.2021.1964374","DOIUrl":"https://doi.org/10.1080/17411912.2021.1964374","url":null,"abstract":"ABSTRACT This paper argues for ethnomusicologists to begin using performance not just as a tool to understand the social and cultural field, but to use music and dance as methods in ‘translational’ ethnomusicology that focuses upon the translation and communication of artistic performance aesthetics and to theorise a space for research outcomes that are sited in original performative knowledge, explored, produced and delivered through performance itself. The paper briefly surveys some of the key historical discussions of musical performance in/as research and the epistemological challenges that surround a methodologically defined field such as ethnomusicology where there is no central musical canon. The paper introduces the concept of ‘emic resistance’ where the researcher–performer resists translating their non-verbal, somatic aesthetic musical knowledge into text. The paper concludes by drawing on some of the most recent developments in both ethnomusicological and closely related performance-analytical scholarship to propose a translational model for practice research in ethnomusicology.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"10 - 27"},"PeriodicalIF":0.8,"publicationDate":"2021-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41819601","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 : 2021-08-24DOI: 10.1080/17411912.2021.1967770
Felix Morgenstern
ABSTRACT In the 1970s and ‘80s, several East German folk revival artists started playing Irish traditional music, long before reconnecting with German folk-song material that had been put into the service of extreme nationalist and racist propaganda during the Nazi era (1933–45). Drawing upon ethnographic research among former GDR folk musicians, this article proposes that many of these post-war artists aligned with the anti-colonial messages of Irish rebel songs, performing a veritable sense of ‘Irish’ Republicanism, a form of national pride that was considered more socially acceptable than indigenous patriotic German leanings. Adapting Boym’s (2001) concept of ‘sideways nostalgia’, and illustrating crucial distinctions between historical registers of German and Irish musical exceptionalism, the article purports to unravel trajectories through which this narrative of political alignment is fashioned and sustained, ultimately illustrating music’s capacity to sound nationalism’s polyphonic trajectories.
{"title":"Sideways nostalgia, adopted republicanism and the performance of Irish rebel songs in the GDR","authors":"Felix Morgenstern","doi":"10.1080/17411912.2021.1967770","DOIUrl":"https://doi.org/10.1080/17411912.2021.1967770","url":null,"abstract":"ABSTRACT In the 1970s and ‘80s, several East German folk revival artists started playing Irish traditional music, long before reconnecting with German folk-song material that had been put into the service of extreme nationalist and racist propaganda during the Nazi era (1933–45). Drawing upon ethnographic research among former GDR folk musicians, this article proposes that many of these post-war artists aligned with the anti-colonial messages of Irish rebel songs, performing a veritable sense of ‘Irish’ Republicanism, a form of national pride that was considered more socially acceptable than indigenous patriotic German leanings. Adapting Boym’s (2001) concept of ‘sideways nostalgia’, and illustrating crucial distinctions between historical registers of German and Irish musical exceptionalism, the article purports to unravel trajectories through which this narrative of political alignment is fashioned and sustained, ultimately illustrating music’s capacity to sound nationalism’s polyphonic trajectories.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"340 - 357"},"PeriodicalIF":0.8,"publicationDate":"2021-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43309167","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 : 2021-07-16DOI: 10.1080/17411912.2021.1953392
A. Alarcón-Jiménez, Raquel Jiménez Pasalodos, M. Díaz‐Andreu
ABSTRACT The unpublished field notes on Native American Yokuts cultures and languages taken by linguist and ethnologist John P. Harrington in 1914–1942, now kept at the Smithsonian Institution, are analysed in the framework of Edward S. Caseýs concept of mapping with/in. The Yokuts’ process of mapping tripni places (powerful places) with/in their ancestral territories during the early twentieth century is discussed, paying particular attention to the role of hearing and sound. Moreover, in these archival materials, Yokuts tribal members relate with different bodies of water in an absorptive and porous way, with sound being part of a complex haptic and multi-sensory process. By listening to the testimonies of the Yokuts tribal members who collaborated with Harrington, we argue that sound perception, song, and the sense of hearing played a key role in the process of mapping tripni.
{"title":"Mapping with/in: hearing power in Yokuts landscapes at the beginning of the twentieth century","authors":"A. Alarcón-Jiménez, Raquel Jiménez Pasalodos, M. Díaz‐Andreu","doi":"10.1080/17411912.2021.1953392","DOIUrl":"https://doi.org/10.1080/17411912.2021.1953392","url":null,"abstract":"ABSTRACT The unpublished field notes on Native American Yokuts cultures and languages taken by linguist and ethnologist John P. Harrington in 1914–1942, now kept at the Smithsonian Institution, are analysed in the framework of Edward S. Caseýs concept of mapping with/in. The Yokuts’ process of mapping tripni places (powerful places) with/in their ancestral territories during the early twentieth century is discussed, paying particular attention to the role of hearing and sound. Moreover, in these archival materials, Yokuts tribal members relate with different bodies of water in an absorptive and porous way, with sound being part of a complex haptic and multi-sensory process. By listening to the testimonies of the Yokuts tribal members who collaborated with Harrington, we argue that sound perception, song, and the sense of hearing played a key role in the process of mapping tripni.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"379 - 396"},"PeriodicalIF":0.8,"publicationDate":"2021-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2021.1953392","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43445447","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 : 2021-07-02DOI: 10.1080/17411912.2021.1938623
A. Kenny, Katie Young
ABSTRACT This article explores how diasporic musical spaces are created within key cultural night venues in Galway, Ireland. We hear two distinct migrant musicians’ voices, both literally and metaphorically, highlighting how over time, they have been shaping and are being shaped by musical space in Galway. It is argued that the night is a significant time for African migrant musicians to position themselves within this small city; to make their presence both visible and audible through performance. Drawing on ethnographic fieldwork from an Afromusic night and an Open Mic event at two prominent ‘Irish’ cultural venues, these distinct night spaces emerge as central to the process of interpreting and relaying experiences of migration and migrant life in Ireland through music. Thus, through a focus on migrant musical interactions in well-known ‘Irish’ cultural venues at night, new insights into how musical spaces are negotiated, shaped and transformed over time are illuminated.
{"title":"‘The house of the Irish’: African migrant musicians and the creation of diasporic space at night","authors":"A. Kenny, Katie Young","doi":"10.1080/17411912.2021.1938623","DOIUrl":"https://doi.org/10.1080/17411912.2021.1938623","url":null,"abstract":"ABSTRACT This article explores how diasporic musical spaces are created within key cultural night venues in Galway, Ireland. We hear two distinct migrant musicians’ voices, both literally and metaphorically, highlighting how over time, they have been shaping and are being shaped by musical space in Galway. It is argued that the night is a significant time for African migrant musicians to position themselves within this small city; to make their presence both visible and audible through performance. Drawing on ethnographic fieldwork from an Afromusic night and an Open Mic event at two prominent ‘Irish’ cultural venues, these distinct night spaces emerge as central to the process of interpreting and relaying experiences of migration and migrant life in Ireland through music. Thus, through a focus on migrant musical interactions in well-known ‘Irish’ cultural venues at night, new insights into how musical spaces are negotiated, shaped and transformed over time are illuminated.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"332 - 352"},"PeriodicalIF":0.8,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2021.1938623","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48036892","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 : 2021-05-04DOI: 10.1080/17411912.2021.1974173
Colin Harte
{"title":"Sounds from the other side: Afro-South Asian collaborations in Black popular music","authors":"Colin Harte","doi":"10.1080/17411912.2021.1974173","DOIUrl":"https://doi.org/10.1080/17411912.2021.1974173","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"335 - 336"},"PeriodicalIF":0.8,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42469390","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 : 2021-05-04DOI: 10.1080/17411912.2021.1930567
Keith Howard
{"title":"The musical human: a history of life on earth","authors":"Keith Howard","doi":"10.1080/17411912.2021.1930567","DOIUrl":"https://doi.org/10.1080/17411912.2021.1930567","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"324 - 331"},"PeriodicalIF":0.8,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2021.1930567","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42736302","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 : 2021-05-04DOI: 10.1080/17411912.2021.1944254
Ariana Phillips-Hutton
ABSTRACT Ever since Richard Taruskin pointed to Steve Reich’s use of survivor testimony in hailing the composer’s Different Trains (1988) as ‘the only adequate musical response … to the Holocaust’, composers of Western art music have embraced musicalised testimony as a form of truthful sonic witnessing to historical conflict. This persistent connection between music and testimony often is framed as documenting memories of trauma, yet this interpretation does not address the reciprocal relationships between the presumed truths of sound and its aesthetic presentation in music. Driven by Hannah Arendt’s claim that ‘factual truths are never compellingly true’, in this essay I trace the interpenetration of documentary sound and music as conveying a compelling reality or truth. This is followed by examples of testimonial witnesses in works by Philip Miller and Mary Kouyoumdjian. Finally, I reflect on the roles that testimonial music might play in imparting such compelling truths in connection with societal conflict.
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