Pub Date : 2022-04-01DOI: 10.5406/21567417.66.1.10
Kevin C. Schattenkirk
{"title":"A Queerly Joyful Noise: Choral Musicking for Social JusticeFocus: Choral Music in Global Perspective","authors":"Kevin C. Schattenkirk","doi":"10.5406/21567417.66.1.10","DOIUrl":"https://doi.org/10.5406/21567417.66.1.10","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47988990","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 : 2022-04-01DOI: 10.5406/21567417.66.1.07
V. Virani
Malvi nirguṇ bhajans, songs once used primarily for spiritual contemplation, are now being performed onstage in a variety of new contexts. I argue that these contexts are more than commercial opportunities and provide performers the opportunity to engage in new processes of self-authorship that I term “aspirational subjectivities.” These subjectivities amalgamate spiritual frameworks of aspiration derived from mystical poetry, socioreligious frameworks of aspiration inspired by lower-caste activist movements, and socioeconomic frameworks of aspiration spurred by India's neoliberal zeitgeist. This article demonstrates how musicians negotiate spiritual, social, and economic aspirational subjectivities through performance practice to overcome long-internalized stigmas of caste discrimination.
{"title":"From Satsaṅg to Stage: Negotiating Aesthetic Theologies and Aspirational Subjectivities in a North Indian Bhajan Competition","authors":"V. Virani","doi":"10.5406/21567417.66.1.07","DOIUrl":"https://doi.org/10.5406/21567417.66.1.07","url":null,"abstract":"\u0000 Malvi nirguṇ bhajans, songs once used primarily for spiritual contemplation, are now being performed onstage in a variety of new contexts. I argue that these contexts are more than commercial opportunities and provide performers the opportunity to engage in new processes of self-authorship that I term “aspirational subjectivities.” These subjectivities amalgamate spiritual frameworks of aspiration derived from mystical poetry, socioreligious frameworks of aspiration inspired by lower-caste activist movements, and socioeconomic frameworks of aspiration spurred by India's neoliberal zeitgeist. This article demonstrates how musicians negotiate spiritual, social, and economic aspirational subjectivities through performance practice to overcome long-internalized stigmas of caste discrimination.\u0000","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44631703","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 : 2022-04-01DOI: 10.5406/21567417.66.1.06
Polina Dessiatnitchenko
The 650th anniversary of Azerbaijan's beloved poet Imadaddin Nasimi (1369–1417) in 2019 was marked by two compositions in which his famous qəzəl “Sığmazam” was set to music. Qəzəl poetry is usually performed in muğam, a branch of traditional Azerbaijani music, and its unorthodox use by pop stars in these two compositions sparked intense debates. In this article, I discuss how the deep significance and instrumentality that qəzəl poetry holds in the post-Soviet context explains the powerful impact of the two pieces. I show how interpretation and imagination of qəzəl meanings in muğam, especially the theme of the beyond, is a way to make social and political realities and articulate post-Soviet subjectivities that emerge through the narrative of loss and in relation to beliefs about the Soviet past.
{"title":"The Pearl of Muğam Philosophy: Qəzəl Poetry and Musical Hermeneutics in Independent Azerbaijan","authors":"Polina Dessiatnitchenko","doi":"10.5406/21567417.66.1.06","DOIUrl":"https://doi.org/10.5406/21567417.66.1.06","url":null,"abstract":"\u0000 The 650th anniversary of Azerbaijan's beloved poet Imadaddin Nasimi (1369–1417) in 2019 was marked by two compositions in which his famous qəzəl “Sığmazam” was set to music. Qəzəl poetry is usually performed in muğam, a branch of traditional Azerbaijani music, and its unorthodox use by pop stars in these two compositions sparked intense debates. In this article, I discuss how the deep significance and instrumentality that qəzəl poetry holds in the post-Soviet context explains the powerful impact of the two pieces. I show how interpretation and imagination of qəzəl meanings in muğam, especially the theme of the beyond, is a way to make social and political realities and articulate post-Soviet subjectivities that emerge through the narrative of loss and in relation to beliefs about the Soviet past.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43813828","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 : 2022-04-01DOI: 10.5406/21567417.66.1.16
K. K. Shelemay
{"title":"Studies on a Global History of Music: A Balzan Musicology Project","authors":"K. K. Shelemay","doi":"10.5406/21567417.66.1.16","DOIUrl":"https://doi.org/10.5406/21567417.66.1.16","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46162869","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 : 2022-04-01DOI: 10.5406/21567417.66.1.05
M. Sonevytsky
In the Soviet Union, logics of evolutionism undergirded the Communist party-state's interventions into many aspects of Soviet life, including the realm of “folk music.” In this article, I draw on the example of the Soviet institutionalization of a Crimean Tatar folk orchestra to demonstrate how Soviet musical evolutionism ordered and constrained vernacular musical practices in ways that have had long-term political consequences, especially concerning the politics of post-Soviet indigeneity. I argue that to delink teleology from musical evolution—akin to how evolution is understood in the physical sciences—would take a fundamental step toward decolonizing music studies. I conclude by comparing the Soviet case to contemporary discourses of musical evolutionism, observing how it risks exiling some musics to a present that is “less evolved.” Crimean Tatar language, translated by Adel Khairutdinova, Muslim Umerov, and Ayla Bakkalli
{"title":"Musical Evolution and the Other: From State-Sponsored Musical Evolutionism in the USSR to Post-Soviet Crimean Tatar Indigenous Music","authors":"M. Sonevytsky","doi":"10.5406/21567417.66.1.05","DOIUrl":"https://doi.org/10.5406/21567417.66.1.05","url":null,"abstract":"\u0000 In the Soviet Union, logics of evolutionism undergirded the Communist party-state's interventions into many aspects of Soviet life, including the realm of “folk music.” In this article, I draw on the example of the Soviet institutionalization of a Crimean Tatar folk orchestra to demonstrate how Soviet musical evolutionism ordered and constrained vernacular musical practices in ways that have had long-term political consequences, especially concerning the politics of post-Soviet indigeneity. I argue that to delink teleology from musical evolution—akin to how evolution is understood in the physical sciences—would take a fundamental step toward decolonizing music studies. I conclude by comparing the Soviet case to contemporary discourses of musical evolutionism, observing how it risks exiling some musics to a present that is “less evolved.”\u0000 Crimean Tatar language, translated by Adel Khairutdinova, Muslim Umerov, and Ayla Bakkalli","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46335723","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 : 2022-04-01DOI: 10.5406/21567417.66.1.17
Ingrid T. Monson
{"title":"Voices of the Rainforest: A Day in the Life of Bosavi Papua New Guinea","authors":"Ingrid T. Monson","doi":"10.5406/21567417.66.1.17","DOIUrl":"https://doi.org/10.5406/21567417.66.1.17","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47286363","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 : 2022-04-01DOI: 10.5406/21567417.66.1.08
D. Lewis
When calypsonian Merchant died of HIV-related causes in 1999, his life and death became a conduit for the public discussion of HIV/AIDS in Trinidad and Tobago. Merchant was remembered simultaneously as a womanizing, working-class calypsonian and as a closeted gay man. These public narratives, like narratives of other individuals associated with disease or epidemics, used music to allocate risk to marginalized groups and, by implication, away from much of the general Trinidadian public.
{"title":"Let No Man Judge: Remembering the Calypsonian and Containing Risk","authors":"D. Lewis","doi":"10.5406/21567417.66.1.08","DOIUrl":"https://doi.org/10.5406/21567417.66.1.08","url":null,"abstract":"\u0000 When calypsonian Merchant died of HIV-related causes in 1999, his life and death became a conduit for the public discussion of HIV/AIDS in Trinidad and Tobago. Merchant was remembered simultaneously as a womanizing, working-class calypsonian and as a closeted gay man. These public narratives, like narratives of other individuals associated with disease or epidemics, used music to allocate risk to marginalized groups and, by implication, away from much of the general Trinidadian public.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430048","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 : 2022-04-01DOI: 10.5406/21567417.66.1.04
Byron Dueck
This article examines Catholic liturgical music in indigenous idioms in central Cameroon, focusing on a Sanctus by composer Jean André Yebnoun Ngann. We consider how musicians enact deference and authority through the sounding materials of music, discussions of music, and social interactions that allow music-making to occur, proposing that all of these might usefully be analyzed with the help of the linguistic concept of deixis. Study of four different performances of the Sanctus reveals how contemporary music-making elaborates forms of deference shaped not only by colonialism and Catholicism but also by older ways of leading and following.
{"title":"Authority, Deference, and Disregard in Catholic Liturgical Music in Central Cameroon","authors":"Byron Dueck","doi":"10.5406/21567417.66.1.04","DOIUrl":"https://doi.org/10.5406/21567417.66.1.04","url":null,"abstract":"\u0000 This article examines Catholic liturgical music in indigenous idioms in central Cameroon, focusing on a Sanctus by composer Jean André Yebnoun Ngann. We consider how musicians enact deference and authority through the sounding materials of music, discussions of music, and social interactions that allow music-making to occur, proposing that all of these might usefully be analyzed with the help of the linguistic concept of deixis. Study of four different performances of the Sanctus reveals how contemporary music-making elaborates forms of deference shaped not only by colonialism and Catholicism but also by older ways of leading and following.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44589498","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 : 2022-04-01DOI: 10.5406/21567417.66.1.14
Ameera Nimjee
Moving Bodies is a detailed and critical examination of the role of the South Indian classical dance form bharatanatyam in the context of war-torn Sri Lanka, specifically as practiced in the capital city, Colombo. Drawing on choreographic analysis, dance ethnography and dance history, Satkunaratnam traces the rise and evolution of bharatanatyam within Colombo, and the different roles and resonances that the dance form has sustained in the face of a changing and frequently violent political backdrop. While there are growing bodies of scholarship considering the history and role of bharatanatyam in India and beyond, as well as reflecting on the history and significance of the twenty-six-year Sri Lankan civil war, apart from an excellent article by martial artist and scholar Janet O’Shea (2016), there is no work hitherto that has brought these two areas of enquiry together. Satkunaratnam’s book fills this gap. At the heart of the book is a reflection on the construction of identity, a process that takes on a particular urgency and significance in the context of a “time and place” made “dangerously transient” by war (46). Key to her discussion is a commitment to understanding identity as inherently fluid, following cultural theorist Homi Bhabha’s insistence on culture as “transnational and translational” (21). At times of war, she argues, the space for the recognition of cultures as shifting and hybridized is submerged by the desire for a fixed cultural signifier that can serve as an identitarian rallying point. The first half of the book considers ways in which “bodies and movement” (6) are represented and refracted in ways beyond their control to serve the specific ideologies and institutions of politics and state. The second half looks at ways that dancers and choreographers negotiate and challenge such imposed identities, reasserting agency through choreographies of resistance. In this way, Satkunaratnam records how bharatanatyam has been classified variously as “Oriental,” “Indian,” “indigenous,” and “Tamil,” depending on the differing agendas and contexts of those imposing the classifications. She highlights, for example, how the experience of the vicious anti-Tamil riots in July of 1983 (“Black July”) “inscribed [bharatanatyam] with significance as a uniquely Tamil practice” in the face of “institutional, national and social exclusion” (49). She shows how, since 1972, bharatanatyam has been included within the mandatory “aesthetics” module of Sri Lankan state education, as a signifier, she suggests, of a Sri Lanka that is “multicultural” and accepting of diversity. And yet, a little probing reveals the limits of this inclusion and the extent to which it can serve to contribute still further to segregation along ethnic lines and an ultimate positioning of bharatanatyam as “Other.” In the second half of the book, she explores how creative choreography can subvert the very fixity that nationalism clings to, permitting a sense of choice in a space
{"title":"Moving Bodies, Navigating Conflict: Practicing Bharata Natyam in Colombo, Sri Lanka","authors":"Ameera Nimjee","doi":"10.5406/21567417.66.1.14","DOIUrl":"https://doi.org/10.5406/21567417.66.1.14","url":null,"abstract":"Moving Bodies is a detailed and critical examination of the role of the South Indian classical dance form bharatanatyam in the context of war-torn Sri Lanka, specifically as practiced in the capital city, Colombo. Drawing on choreographic analysis, dance ethnography and dance history, Satkunaratnam traces the rise and evolution of bharatanatyam within Colombo, and the different roles and resonances that the dance form has sustained in the face of a changing and frequently violent political backdrop. While there are growing bodies of scholarship considering the history and role of bharatanatyam in India and beyond, as well as reflecting on the history and significance of the twenty-six-year Sri Lankan civil war, apart from an excellent article by martial artist and scholar Janet O’Shea (2016), there is no work hitherto that has brought these two areas of enquiry together. Satkunaratnam’s book fills this gap. At the heart of the book is a reflection on the construction of identity, a process that takes on a particular urgency and significance in the context of a “time and place” made “dangerously transient” by war (46). Key to her discussion is a commitment to understanding identity as inherently fluid, following cultural theorist Homi Bhabha’s insistence on culture as “transnational and translational” (21). At times of war, she argues, the space for the recognition of cultures as shifting and hybridized is submerged by the desire for a fixed cultural signifier that can serve as an identitarian rallying point. The first half of the book considers ways in which “bodies and movement” (6) are represented and refracted in ways beyond their control to serve the specific ideologies and institutions of politics and state. The second half looks at ways that dancers and choreographers negotiate and challenge such imposed identities, reasserting agency through choreographies of resistance. In this way, Satkunaratnam records how bharatanatyam has been classified variously as “Oriental,” “Indian,” “indigenous,” and “Tamil,” depending on the differing agendas and contexts of those imposing the classifications. She highlights, for example, how the experience of the vicious anti-Tamil riots in July of 1983 (“Black July”) “inscribed [bharatanatyam] with significance as a uniquely Tamil practice” in the face of “institutional, national and social exclusion” (49). She shows how, since 1972, bharatanatyam has been included within the mandatory “aesthetics” module of Sri Lankan state education, as a signifier, she suggests, of a Sri Lanka that is “multicultural” and accepting of diversity. And yet, a little probing reveals the limits of this inclusion and the extent to which it can serve to contribute still further to segregation along ethnic lines and an ultimate positioning of bharatanatyam as “Other.” In the second half of the book, she explores how creative choreography can subvert the very fixity that nationalism clings to, permitting a sense of choice in a space","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45322713","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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