Pub Date : 2023-01-01DOI: 10.5406/21567417.67.1.03
Kirstin Haag
When Maryknoll missionaries arrived in rural highland Guatemala in the 1940s, they were baffled by local justifications for syncretic and unorthodox religious practices. Locals cited their own small libraries of religious and liturgical music manuscripts—compiled locally in the late sixteenth and early seventeenth centuries—in arguing that their practice was theologically sound and that it was instead the missionaries who were spreading heretical practices. Based on research at the Maryknoll Missionary Archive, I trace twentieth-century musical and religious practices drawing from these colonial-era music books, and I examine the precarity of Indigenous ownership over culturally hybrid practices and how embodiment intersects with notions of hybridity.
{"title":"Religious Conflict, Ritual Embodiment, and Music in the Twentieth-Century Guatemalan Highlands","authors":"Kirstin Haag","doi":"10.5406/21567417.67.1.03","DOIUrl":"https://doi.org/10.5406/21567417.67.1.03","url":null,"abstract":"\u0000 When Maryknoll missionaries arrived in rural highland Guatemala in the 1940s, they were baffled by local justifications for syncretic and unorthodox religious practices. Locals cited their own small libraries of religious and liturgical music manuscripts—compiled locally in the late sixteenth and early seventeenth centuries—in arguing that their practice was theologically sound and that it was instead the missionaries who were spreading heretical practices. Based on research at the Maryknoll Missionary Archive, I trace twentieth-century musical and religious practices drawing from these colonial-era music books, and I examine the precarity of Indigenous ownership over culturally hybrid practices and how embodiment intersects with notions of hybridity.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41877826","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 : 2023-01-01DOI: 10.5406/21567417.67.1.10
H. Munro
{"title":"Jump Up! Caribbean Carnival Music in New York","authors":"H. Munro","doi":"10.5406/21567417.67.1.10","DOIUrl":"https://doi.org/10.5406/21567417.67.1.10","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42210160","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 : 2023-01-01DOI: 10.5406/21567417.67.1.04
S. Eze
This article discusses the ethnicization of Igbo popular music amid renewed secessionist calls for the defunct state of Biafra. It engages with people's interpretation of ethnic sentiments as expressed in the music of two Igbo popular musicians in Nigeria and the significance of this phenomenon. Given the undercurrents of ethnic rifts, which preceded the Nigeria-Biafra war (1967–1970), postwar Nigerian society remains fraught with questions of ethnonationalism. Within the heated polity, Igbo popular musicians routinely engage in nostalgic discourses about Biafra by articulating the catastrophes of the past and mobilizing the populace to confront present challenges. Specifically, the article engages with the dialectics of ethnonationalism in contemporary Igbo popular music via critical analysis of current repertoire. It contends that Igbo popular musicians deploy ethnic memories, symbols, and cultural essentials as potent political, communication, and mobilization strategies to nurture the consciousness of the Igbo nation in Nigeria.
{"title":"Echoes of Ethnicity: Popular Music and the Resurgence of Igbo Nationalism in Democratic Nigeria","authors":"S. Eze","doi":"10.5406/21567417.67.1.04","DOIUrl":"https://doi.org/10.5406/21567417.67.1.04","url":null,"abstract":"\u0000 This article discusses the ethnicization of Igbo popular music amid renewed secessionist calls for the defunct state of Biafra. It engages with people's interpretation of ethnic sentiments as expressed in the music of two Igbo popular musicians in Nigeria and the significance of this phenomenon. Given the undercurrents of ethnic rifts, which preceded the Nigeria-Biafra war (1967–1970), postwar Nigerian society remains fraught with questions of ethnonationalism. Within the heated polity, Igbo popular musicians routinely engage in nostalgic discourses about Biafra by articulating the catastrophes of the past and mobilizing the populace to confront present challenges. Specifically, the article engages with the dialectics of ethnonationalism in contemporary Igbo popular music via critical analysis of current repertoire. It contends that Igbo popular musicians deploy ethnic memories, symbols, and cultural essentials as potent political, communication, and mobilization strategies to nurture the consciousness of the Igbo nation in Nigeria.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"1 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41465455","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 : 2023-01-01DOI: 10.5406/21567417.67.1.09
Michael Allemana
{"title":"Jazzing: New York City's Unseen Scene","authors":"Michael Allemana","doi":"10.5406/21567417.67.1.09","DOIUrl":"https://doi.org/10.5406/21567417.67.1.09","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42839095","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 : 2023-01-01DOI: 10.5406/21567417.67.1.06
Erol Köymen
Drawing on extended fieldwork, I analyze the performative aesthetics that incorporate a New Wave Turkish public in Berlin. Asking how elite migrants perform publics, I theorize counterpathways of incorporation to understand how urban professional New Wave migrants are located through performance along a pathway of identity and belonging shaped by authoritarian populism, Turkish diasporic counterpublics, and the hegemonic Berlin public sphere. I argue that a performative “aesthetics of displacement” shaped by academic theory produces a New Wave Turkish pathway from Istanbul to Berlin that “counterincorporates” a New Wave Turkish public into the urban public sphere.
{"title":"“Really, We Should Have Been Playing Saz in a Little Room”: “New Wave” Turkish Migrants, Performance, and Counterpathways of Incorporation in Berlin","authors":"Erol Köymen","doi":"10.5406/21567417.67.1.06","DOIUrl":"https://doi.org/10.5406/21567417.67.1.06","url":null,"abstract":"\u0000 Drawing on extended fieldwork, I analyze the performative aesthetics that incorporate a New Wave Turkish public in Berlin. Asking how elite migrants perform publics, I theorize counterpathways of incorporation to understand how urban professional New Wave migrants are located through performance along a pathway of identity and belonging shaped by authoritarian populism, Turkish diasporic counterpublics, and the hegemonic Berlin public sphere. I argue that a performative “aesthetics of displacement” shaped by academic theory produces a New Wave Turkish pathway from Istanbul to Berlin that “counterincorporates” a New Wave Turkish public into the urban public sphere.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43592516","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 : 2023-01-01DOI: 10.5406/21567417.67.1.05
I. Forchu
This article aims to understand how modern Igbo women in a patriarchal, dynamic, and fast-globalizing southeastern Nigerian society interpret and create meaning through the concept and practice of traditional music. I employed ethnographic and musicological research methods and focused on the organization, performance practice, and musical contents of three Igbo women's ensembles. One of my major findings is that joint music-making efforts among Igbo women enhances bonding and reinforces group identity that yields psychological empowerment. I argue that the psychotherapeutic intentions of African music offer an ideal medium through which Igbo women can achieve psychological and social empowerment.
{"title":"Depiction and Empowerment of Women in Indigenous Igbo Music","authors":"I. Forchu","doi":"10.5406/21567417.67.1.05","DOIUrl":"https://doi.org/10.5406/21567417.67.1.05","url":null,"abstract":"\u0000 This article aims to understand how modern Igbo women in a patriarchal, dynamic, and fast-globalizing southeastern Nigerian society interpret and create meaning through the concept and practice of traditional music. I employed ethnographic and musicological research methods and focused on the organization, performance practice, and musical contents of three Igbo women's ensembles. One of my major findings is that joint music-making efforts among Igbo women enhances bonding and reinforces group identity that yields psychological empowerment. I argue that the psychotherapeutic intentions of African music offer an ideal medium through which Igbo women can achieve psychological and social empowerment.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49667660","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 : 2023-01-01DOI: 10.5406/21567417.67.1.07
Toby Wren
Palghat Raghu was a master of the mridangam and one of the leading figures in South Indian Carnatic music. In this article, I want to contribute a perspective on his musical life and, through my reflections on my time with him, contribute insights toward a fuller understanding of Carnatic music and Western engagements with it. I do so by drawing on fieldwork I conducted in Chennai, India, at various times between 2005–2013. Specifically, I use examples of solkattu from my lessons with him to illustrate Raghu's approach to rhythm and the general rhythmic approach within Carnatic music, including the kinds of musical-cognitive skills involved in rhythmic production within the Carnatic system. By describing aspects of his practice and his various interactions with other musicians, I also reflect on his position as a culture-bearer and on the relationships between musical cultures.
{"title":"Remembering Palghat Raghu","authors":"Toby Wren","doi":"10.5406/21567417.67.1.07","DOIUrl":"https://doi.org/10.5406/21567417.67.1.07","url":null,"abstract":"\u0000 Palghat Raghu was a master of the mridangam and one of the leading figures in South Indian Carnatic music. In this article, I want to contribute a perspective on his musical life and, through my reflections on my time with him, contribute insights toward a fuller understanding of Carnatic music and Western engagements with it. I do so by drawing on fieldwork I conducted in Chennai, India, at various times between 2005–2013. Specifically, I use examples of solkattu from my lessons with him to illustrate Raghu's approach to rhythm and the general rhythmic approach within Carnatic music, including the kinds of musical-cognitive skills involved in rhythmic production within the Carnatic system. By describing aspects of his practice and his various interactions with other musicians, I also reflect on his position as a culture-bearer and on the relationships between musical cultures.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44264648","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 : 2022-10-01DOI: 10.5406/21567417.66.3.08
R. Opara, Benedict Agbo
Why are conversations about seduction, the female body, and choosing partners central at a funeral during the Ikorodo music performance? How does Ikorodo enact the act of seduction? How has the act of seduction and Ikorodo performance practice evolved? How do Ikorodo performances express the indigenous conceptions of seductions? These are the questions this article addresses to reveal—how Ikorodo dance provides a platform for new beginnings and enactments of Nsukka Igbo societal gender ideologies. Drawing from indigenous conceptions of seduction, histories, practitioners’ and audiences’ narratives, archival materials, existing scholarship, and Ikorodu performance practice as experienced and collected during fieldwork, this article explores how Ikorodo dance—a traditional musical genre well known and performed in Nsukka, Enugu State, Nigeria—maintains its primary function of providing a space where maiden dancers utilize music to find life partners even when performed at a funeral. Emphasis on the male gaze interrogates the dominant idea that music gives African women agency.
{"title":"Music, Seduction, and New Beginnings: The Ikorodo Maiden Dance of Nsukka","authors":"R. Opara, Benedict Agbo","doi":"10.5406/21567417.66.3.08","DOIUrl":"https://doi.org/10.5406/21567417.66.3.08","url":null,"abstract":"\u0000 Why are conversations about seduction, the female body, and choosing partners central at a funeral during the Ikorodo music performance? How does Ikorodo enact the act of seduction? How has the act of seduction and Ikorodo performance practice evolved? How do Ikorodo performances express the indigenous conceptions of seductions? These are the questions this article addresses to reveal—how Ikorodo dance provides a platform for new beginnings and enactments of Nsukka Igbo societal gender ideologies. Drawing from indigenous conceptions of seduction, histories, practitioners’ and audiences’ narratives, archival materials, existing scholarship, and Ikorodu performance practice as experienced and collected during fieldwork, this article explores how Ikorodo dance—a traditional musical genre well known and performed in Nsukka, Enugu State, Nigeria—maintains its primary function of providing a space where maiden dancers utilize music to find life partners even when performed at a funeral. Emphasis on the male gaze interrogates the dominant idea that music gives African women agency.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43550273","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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