Pub Date : 2023-10-01DOI: 10.5406/21567417.67.3.08
J. Griffith Rollefson, Warrick Moses, Jason Ng, Patrick Marks (aka Pataphysics), Steven Gamble, Ophelia McCabe (aka 0phelia)
Abstract CIPHER: Hip Hop Interpellation is a global hip hop knowledge mapping project using ethnographic, digital, and arts practice research methods to better understand the emergences and flows of the culture's deeply local yet immanently global intertextualities. In this collaborative article, we network and develop ideas from six of CIPHER's global hip hop researchers, elaborating the project in method as well as theory. In so doing, we model our community-engaged CIPHER method of tracking thematic, conceptual, and archetypal relationships, presenting preliminary findings in four interrelated case studies: examples of hip hop knowledge transfer that evidence hip hop's generative glocal dialogue.
摘要:Hip Hop Interpellation是一个全球性的嘻哈知识测绘项目，使用民族志、数字和艺术实践研究方法，更好地了解嘻哈文化的出现和流动，这些文化具有深刻的地方性和内在的全球互文性。在这篇合作文章中，我们与CIPHER的六位全球嘻哈研究人员建立了联系，并发展了他们的想法，在方法和理论上详细阐述了这个项目。在此过程中，我们对社区参与的CIPHER方法进行了建模，以跟踪主题、概念和原型关系，并在四个相互关联的案例研究中提出了初步发现:嘻哈知识转移的例子，证明了嘻哈的生成性全球本地对话。
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Pub Date : 2023-10-01DOI: 10.5406/21567417.67.3.12
George Murer
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Pub Date : 2023-10-01DOI: 10.5406/21567417.67.3.10
Michael O'Toole
In this groundbreaking and multifaceted book, Denise Gill explores the complex answers to a fundamental question: How does a community of musicians form and sustain itself through shared affective practices? The particular musicians at the heart of Gill's analysis are contemporary performers of Turkish classical music, a genre that traces its origins to the heterophonic, makam-based music of the Ottoman court, Sufi lodges, and urban centers of the eastern Mediterranean. Gill analyzes how affective practices centered around melancholy and loss “create and organize communities of musicians, giving them senses of purpose and anchoring their philosophies of sound” (4). She explores this subject through a multidimensional analysis that foregrounds what she terms melancholic modalities. These comprise a wide range of intersecting social, spiritual, and musical practices through which performers of Turkish classical music fashion their senses of self; situate themselves within larger frameworks of national, political, and religious identities; and “give meaning to their music and sonic productions” (16).While the concept of melancholy, as Gill explains, has a long history in Islamic discourse and in Ottoman and Turkish literary traditions, this book is not a study of melancholy in Turkish classical music. Instead, it is a study of the work that various melancholies do for musicians and the affective practices and discourses centered around melancholy that suffuse their performance contexts. As Gill notes, the English term melancholy is a gloss for a variety of nuanced Ottoman and Turkish words and concepts, and she is admirably attentive to the challenges and subtleties of translation. Whether in the translation of linguistic terms, the representation of sound in musical notation, or the multiple forms of translation embodied in practices of listening, Gill centers the voices and sonic productions of musicians themselves as much as possible, elucidating the complex iterations of melancholy at the heart of their musical self-fashionings.Over the course of the book, Gill considers a variety of melancholic modalities that together shape the ways Turkish classical musicians talk, perform, and feel through music and musical sociability. Two broad contexts form the backdrop against which these melancholic modalities are situated. The first is the dissolution of the Ottoman Empire, which entailed the loss of the primary contexts in which the musical repertory now known as Turkish classical music once flourished. Gill argues that articulations of a “loss narrative” in which performers of Turkish classical music acknowledge the death, or dying, of the genre itself “surfaces as the primary constitutive aspect defining the genre for the people playing it” (30). The second of these broad contexts is Islamic discourses of pain and spiritual redemption, especially as rooted in the Mevlevi Sufi understanding of sacred sound as a manifestation of loss and spiritual lon
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Pub Date : 2023-10-01DOI: 10.5406/21567417.67.3.15
David Kaminsky
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Pub Date : 2023-10-01DOI: 10.5406/21567417.67.3.11
Mukaddas Mijit
Rachel Harris's latest contribution, Soundscapes of Uyghur Islam, offers a rare and insightful look at the ever-changing Uyghur sonic environment in recent years. Her analysis shows how the constant adaptation of spiritual, religious, and social practices among Uyghurs is intimately tied to the presence and absence, as well as the circulation and restriction, of sound. The book deepens our understanding of the aggressive censorship and control the People's Republic of China imposes upon Uyghurs while it explores Uyghurs’ religious and spiritual practices. Its original approach also provides precious insights into one of the biggest humanitarian crises of the twenty-first century.Through this work, Harris displays her skills as an excellent ethnographer. Her capacity to gather and examine a wide range of data and guide readers through complex religious, sociopolitical, and historical contexts is remarkable. As in her previous publications, this book is based on fieldwork Harris conducted with several different Uyghur communities located in China's Northwestern Uyghur Region, Kazakhstan, and Kyrgyzstan. She also collected a large amount of digital data as part of her remote ethnography.Her descriptions of these communities are punctuated by rarely observed women's religious practices and rituals as well as interviews she conducted with practitioners. Through her depiction of zikr (remembrance), as performed by women from these communities, Harris reveals an intimate part of Uyghur religious and spiritual tradition: the central role of the büwi (a religious woman's title) in Uyghur villages, making a trenchant analysis of the concepts of womanhood, ritualized weeping, and spiritual performance as a sort of emotional labor performed by büwis on behalf of the community.In examining how religious texts have circulated among Uyghurs in these different regions for the last two decades, Harris argues that the circulation of published or hand-copied texts is strongly facilitated by ritual practices and their musical performances. She suggests that scholars reexamine the binary relationship between oral and written tradition to portray a more fluid, contextually dependent reality. In Harris's view, it is not only important that we study how printed versions of these texts get passed around among the pious, but it is also necessary to observe the tracks of the transaction. Harris describes how these texts were copied, printed, and modulated under different political agendas and how they were then appropriated by women in small villages during their Sufi gatherings.Harris devotes one particularly compelling chapter to the ways in which Islamic recitation has shifted in the Uyghur region and beyond. Recordings and digital media have introduced new, more Middle Eastern-style sounds, which are then embodied in daily practice. The digital circulation of such recordings affects social behaviors in public spaces. Harris expertly documents the power dynamic that thi
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Pub Date : 2023-10-01DOI: 10.5406/21567417.67.3.06
Kimberly Cannady
Abstract In this article, I examine Sveinbjörn Beinteinsson's performances of Icelandic traditional vocal music, or kveða music, in Reykjavík's early 1980s punk-rock scene. Sveinbjörn was an unlikely participant in the Reykjavík scene as a rural farmer in his late fifties and the first high priest of the Ásatrú religion, yet he developed strong personal relationships with many of the younger musicians. Nearly twenty years later, Sveinbjörn's legacy and vocality inspired the postrock band Sigur Rós's collaborations with Steindór Andersen, another influential kveða musician. I argue that Sveinbjörn's performances in the 1980s offered a culturally intimate bridge between the past and present during an unsettling time of social, political, and economic transitions for many Icelanders. This material draws on archival and ethnographic research, and I offer new interventions in terminology and translation of Icelandic traditional music studies.
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Pub Date : 2023-10-01DOI: 10.5406/21567417.67.3.07
Nadia Chana
Abstract This essay takes up a collaboration between Inuk singer Tanya Tagaq and Greenlandic mask dancer Laakkuluk Williamson Bathory to theorize a form of dominant public I call an “ugly public.” Ugly publics rely on the difference between audiences (the people in the room) and publics (which are not quite people and rely on a series of texts) to come into being. Ugly publics result when a dominant public is pinned down and made to feel feelings associated with minoritarian positionings. Crucially, in ugly publics, these feelings do not result from empathizing with minoritarian subjects but rather from confronting their own dominance.
{"title":"Ugly Publics","authors":"Nadia Chana","doi":"10.5406/21567417.67.3.07","DOIUrl":"https://doi.org/10.5406/21567417.67.3.07","url":null,"abstract":"Abstract This essay takes up a collaboration between Inuk singer Tanya Tagaq and Greenlandic mask dancer Laakkuluk Williamson Bathory to theorize a form of dominant public I call an “ugly public.” Ugly publics rely on the difference between audiences (the people in the room) and publics (which are not quite people and rely on a series of texts) to come into being. Ugly publics result when a dominant public is pinned down and made to feel feelings associated with minoritarian positionings. Crucially, in ugly publics, these feelings do not result from empathizing with minoritarian subjects but rather from confronting their own dominance.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204475","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 : 2023-10-01DOI: 10.5406/21567417.67.3.02
Other| October 01 2023 Notes on Contributing Authors Ethnomusicology (2023) 67 (3): viii–x. https://doi.org/10.5406/21567417.67.3.02 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Notes on Contributing Authors. Ethnomusicology 1 October 2023; 67 (3): viii–x. doi: https://doi.org/10.5406/21567417.67.3.02 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressEthnomusicology Search Advanced Search Luca Bussotti obtained his PHD in Sociology of Development at Pisa University (Italy) in 2001. His main field of research is Lusophone Africa, with a particular emphasis on cultural as well as political studies. He was a Professor at the University of Pisa, University of Eduardo Mondlane in Mozambique, a Marie Curie Fellow at the African Studies Center of ISCTE in Lisbon, and an Associate Visiting Professor at the Federal University of Pernambuco (Brazil). Now he is Professor at the Technical University of Mozambique. He has published almost 100 articles in scientific journals all over the world and about 20 books.Kimberly Cannady is a senior lecturer in ethnomusicology and director of the music studies program at Te Herenga Waka - Victoria University of Wellington (New Zealand). Kimberly is interested in how notions of the past shape contemporary musical experiences in both the Arctic and Pacific regions, and she is... You do not currently have access to this content.
{"title":"Notes on Contributing Authors","authors":"","doi":"10.5406/21567417.67.3.02","DOIUrl":"https://doi.org/10.5406/21567417.67.3.02","url":null,"abstract":"Other| October 01 2023 Notes on Contributing Authors Ethnomusicology (2023) 67 (3): viii–x. https://doi.org/10.5406/21567417.67.3.02 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Notes on Contributing Authors. Ethnomusicology 1 October 2023; 67 (3): viii–x. doi: https://doi.org/10.5406/21567417.67.3.02 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressEthnomusicology Search Advanced Search Luca Bussotti obtained his PHD in Sociology of Development at Pisa University (Italy) in 2001. His main field of research is Lusophone Africa, with a particular emphasis on cultural as well as political studies. He was a Professor at the University of Pisa, University of Eduardo Mondlane in Mozambique, a Marie Curie Fellow at the African Studies Center of ISCTE in Lisbon, and an Associate Visiting Professor at the Federal University of Pernambuco (Brazil). Now he is Professor at the Technical University of Mozambique. He has published almost 100 articles in scientific journals all over the world and about 20 books.Kimberly Cannady is a senior lecturer in ethnomusicology and director of the music studies program at Te Herenga Waka - Victoria University of Wellington (New Zealand). Kimberly is interested in how notions of the past shape contemporary musical experiences in both the Arctic and Pacific regions, and she is... You do not currently have access to this content.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206393","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 : 2023-10-01DOI: 10.5406/21567417.67.3.09
Jonathan P. J. Stock
Chang and Frederiksen's book is a welcome contribution on a much underrepresented topic. Chinese dance remains little encountered or researched outside Chinese-speaking parts of the world, despite there being distinctive and interesting folk traditions, such as yangge, which was transformed through the political campaigns of the mid-twentieth century. Other Chinese dance traditions have more recently become sustained and reshaped through China's remarkable efforts at restructuring intangible cultural heritage in the twenty-first century. Then there are imported genres like ballroom, ballet, and modern dance, each with a fascinating history of adoption, adaptation, and social impact (see further, Wilcox 2019). Ballroom is tied intimately to the colonial past, ballet references historical proximity to the Soviet bloc and is featured prominently in the Cultural Revolution's set of model works, and experimental modern dance enjoys a more recent following among the globalized urban elite (Taiwan's Cloud Gate Dance Theater is probably the best-known example). Newer explorations in Chinese dance range from imaginative reconstructions of court dances of the various imperial periods (now often but ambiguously called “classical dance,” gudianwu, a genre that is heavily represented in the present book) to the communal social-and-fitness routines of contemporary guangchangwu (plaza dance).Since this is a vast area, the authors can only point to some of the key features of the subject. Specialist researchers will note a lack of nuance (and some stark historical leaps and oversimplifications) in the opening history of Chinese dance. The fourth chapter—“Why Chinese Dance?”—is similarly flat. There is writing elsewhere that explores the rich and fascinating complexities embraced in and around Chinese dance, for instance, Mueggler's (2002) account of the politics surrounding festivals for the dances of ethnic minorities, Chen Juan's (2020) article on the operations of masculinity in the working lives of migrant male dance hosts in contemporary urban China, or McGuire's (2015) writing on the interplay of martial arts and dance movement in a Toronto lion dance club. Chang and Frederiksen cite some of this work, but they use it mostly in their endnotes rather than taking up the models offered by such studies as inspiration for their own approach. The result is a book that could work well with new undergraduate readers seeking broad-brush guidance. Such a readership is likely to be enthused by the book's warmth and given heart by its direct delivery. Moreover, the book is supported by a companion website where Chang and Frederiksen provide links to examples and brief contextual discussions of many of the dance types mentioned. Although the first couple of video clips I watched were set to rather cheesy and overamplified music tracks that I found distracting, seeing examples of the dances themselves is obviously a huge benefit for those new to the topic (and the use o
{"title":"Chinese Dance: In the Vast Land and Beyond","authors":"Jonathan P. J. Stock","doi":"10.5406/21567417.67.3.09","DOIUrl":"https://doi.org/10.5406/21567417.67.3.09","url":null,"abstract":"Chang and Frederiksen's book is a welcome contribution on a much underrepresented topic. Chinese dance remains little encountered or researched outside Chinese-speaking parts of the world, despite there being distinctive and interesting folk traditions, such as yangge, which was transformed through the political campaigns of the mid-twentieth century. Other Chinese dance traditions have more recently become sustained and reshaped through China's remarkable efforts at restructuring intangible cultural heritage in the twenty-first century. Then there are imported genres like ballroom, ballet, and modern dance, each with a fascinating history of adoption, adaptation, and social impact (see further, Wilcox 2019). Ballroom is tied intimately to the colonial past, ballet references historical proximity to the Soviet bloc and is featured prominently in the Cultural Revolution's set of model works, and experimental modern dance enjoys a more recent following among the globalized urban elite (Taiwan's Cloud Gate Dance Theater is probably the best-known example). Newer explorations in Chinese dance range from imaginative reconstructions of court dances of the various imperial periods (now often but ambiguously called “classical dance,” gudianwu, a genre that is heavily represented in the present book) to the communal social-and-fitness routines of contemporary guangchangwu (plaza dance).Since this is a vast area, the authors can only point to some of the key features of the subject. Specialist researchers will note a lack of nuance (and some stark historical leaps and oversimplifications) in the opening history of Chinese dance. The fourth chapter—“Why Chinese Dance?”—is similarly flat. There is writing elsewhere that explores the rich and fascinating complexities embraced in and around Chinese dance, for instance, Mueggler's (2002) account of the politics surrounding festivals for the dances of ethnic minorities, Chen Juan's (2020) article on the operations of masculinity in the working lives of migrant male dance hosts in contemporary urban China, or McGuire's (2015) writing on the interplay of martial arts and dance movement in a Toronto lion dance club. Chang and Frederiksen cite some of this work, but they use it mostly in their endnotes rather than taking up the models offered by such studies as inspiration for their own approach. The result is a book that could work well with new undergraduate readers seeking broad-brush guidance. Such a readership is likely to be enthused by the book's warmth and given heart by its direct delivery. Moreover, the book is supported by a companion website where Chang and Frederiksen provide links to examples and brief contextual discussions of many of the dance types mentioned. Although the first couple of video clips I watched were set to rather cheesy and overamplified music tracks that I found distracting, seeing examples of the dances themselves is obviously a huge benefit for those new to the topic (and the use o","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206396","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 : 2023-10-01DOI: 10.5406/21567417.67.3.05
Luca Bussotti, Laura António Nhaueleque
Abstract Amakhuwa is an ethnic and linguistic group concentrated in the north of Mozambique. Although the largest ethnic group, it has been historically marginalized by the postcolonial Mozambican state for political reasons. This process of marginalization has also involved cultural aspects, such as music and dance. Amakhuwa musical traditions are differentiated, complex, and express common principles of a Emakhuwa epistemology. This epistemology and the performances and aesthetics it gives rise to are not fixed or timeless but have been evolving in accordance with different influences and historical periods. Influences from the ngoma competitive Swahili and Muslim musical traditions of East Africa are more visible in Emakhuwa music and dance on the coast, while in the interior territories, there is a prevalence of Bantu rhythms. Using postcolonial and decolonial writers as a base for the theoretical framework, this article highlights the epistemology involved in the different forms of Emakhuwa music and dance as well as the historical processes that led to their exclusion from Mozambican national culture.
{"title":"The Hidden Music of a Hidden People: The Case of Amakhuwa of Northern Mozambique","authors":"Luca Bussotti, Laura António Nhaueleque","doi":"10.5406/21567417.67.3.05","DOIUrl":"https://doi.org/10.5406/21567417.67.3.05","url":null,"abstract":"Abstract Amakhuwa is an ethnic and linguistic group concentrated in the north of Mozambique. Although the largest ethnic group, it has been historically marginalized by the postcolonial Mozambican state for political reasons. This process of marginalization has also involved cultural aspects, such as music and dance. Amakhuwa musical traditions are differentiated, complex, and express common principles of a Emakhuwa epistemology. This epistemology and the performances and aesthetics it gives rise to are not fixed or timeless but have been evolving in accordance with different influences and historical periods. Influences from the ngoma competitive Swahili and Muslim musical traditions of East Africa are more visible in Emakhuwa music and dance on the coast, while in the interior territories, there is a prevalence of Bantu rhythms. Using postcolonial and decolonial writers as a base for the theoretical framework, this article highlights the epistemology involved in the different forms of Emakhuwa music and dance as well as the historical processes that led to their exclusion from Mozambican national culture.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206383","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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