This volume celebrates the significant resurgence of interest in the anthropology of music and dance in recent decades. Traversing a range of fascinating topics,from the reassessment of historical figures such as Katherine Dunham and John Blacking, to the contemporary salience of sonic conflict between Islamic Uyghur and the Han Chinese, the essays within Music, Dance, Anthropology make a strong argument for the continued importance of the work of ethnomusicologists and ethnochoreologists, and of their ongoing recourse to anthropological theories and practices. Case studies are offered from areas as diverse as Central Africa,Ireland, Greece, Uganda and Central Asia, and illuminate core anthropological concepts such as the nature of embodied knowledge, the role of citizenship, ritual practices, and the construction of individual and group identities via a range of ethnographic methodologies. These include the consideration of soundscapes, the use of ethnographic filmmaking, and a reflection on the importance of close cultural engagement over many years. Taken together these contributions show the study of music and dance practices to be essential to any rounded study of social activity, in whatever context it is found. For as this volume consistently demonstrates, the performance of music and dance is always about more than just the performance of music and dance. Contributors: John Baily; Peter Cooke; Ann R. David; Catherine E. Foley; Andree Grau; Rachel Harris; Maria Koutsouba; Jerome Lewis; Barley Norton; Carole Pegg; Martin Stokes.

Narrating the story from the perspective of key characters gives us insights into its many horrors and uncertainties as well as its joys

Ethnomusicology and its Intimacies situates intimacy, a concept that encompasses a wide range of often informal social practices and processes for building closeness and relationality, within the ethnomusicological study of music and sound. These scholarly essays reflect on a range of interactions between individuals and communities that deepen connections and associations, and which may be played out relatively briefly or nurtured over time. Three major sections on Performance, Auto/biographical strategies, and Film are each prefaced by an interview with a scholar or practitioner with close knowledge of the subject that links the chapters in that section. Often drawing directly on fieldwork experience in a variety of contexts, authors consider how concepts of intimacy can illuminate the ethnographic study of music, addressing questions such as: how can we understand ethnomusicological and ethnographic research and performance as processes of musically-mediated intimacy? How are the longstanding relationships we develop with others particularly intimated by and through musicking? How do we understand the musically intimate relationships of others and how do these inflect our own musical intimacies? How does music represent, inscribe, constrain or provoke social or personal intimacies in particular contexts? The volume will appeal to all scholars with interests in music and how it is used to construct relationships in different contexts around the world.

This volume brings together leading voices from the new wave of research on musical instruments to consider how we can connect the material aspects of instruments with their social function, approaches that have been otherwise too frequently separated in musical scholarship. Shaping Sound and Society: The Cultural Study of Musical Instruments locates the instruments at the center of cultural interactions. With contributions from ten scholars spanning a variety of methodologies and a wide range of both contemporary and historic music cultures, the volume is divided into three sections. Contributors discuss the relationships between makers, performers and their local communities, the different meanings that instruments accrue as they travel over time and place, and the manner in which instruments throw new light on historic music cultures. Alongside the scholarly chapters, the volume also includes a selection of shorter interludes based on interviews with makers of comparatively new instruments, offering further insights into the process of musical instrument innovation. An essential read for students and academics in the fields of music and ethnomusicology, this volume will also interest anyone looking to understand how the cultural interaction of musical instruments is deeply informed and influenced by social, technological, and cultural change.

Professional Music-Making in London is an engaging yet innovative study which examines the lives and work of Western art musicians from an ethnographic perspective. Drawing in part on his own professional experience, Stephen Cottrell considers to what extent musicians in Western society conform to Alan Merriam's paradigmatic assessment of them as having low status yet high respect, as well as being given an unusual degree of licence to deviate from convention. The book draws on a wide variety of approaches from scholars elsewhere: from ethnomusicologists such as Bruno Nettl and Henry Kingsbury, performance theorists such as Richard Schechner and Victor Turner, as well as psychologists such as Sigmund Freud and Melanie Klein. This rich intellectual heritage provides the framework for discussion of a variety of themes, including how musicians conceive their self identity and how this is negotiated in the professional musical world; how the deputy system facilitates musical exchange and engenders gift relationships; how humour lubricates social and musical relationships and mitigates the stresses of musicians' lives; and how the events in which musicians participate can be viewed as quasi-rituals, and thus related to analogous events in non-Western cultures. The focus of this study is on professional music-making in London, one of the world's busiest centres of musical performance. Yet the issues raised and explored are deeply relevant to other major centres of Western art music, such as New York, Berlin or Sydney. Ethnomusicologists, anthropologists, musicologists, performers, teachers and concert-goers will find this book a stimulating insight into, and investigation of, Western art musicians and their place in today's world.

Professional Music-Making in London is an engaging yet innovative study which examines the lives and work of Western art musicians from an ethnographic perspective. Drawing in part on his own professional experience, Stephen Cottrell considers to what extent musicians in Western society conform to Alan Merriam's paradigmatic assessment of them as having low status yet high respect, as well as being given an unusual degree of licence to deviate from convention. The book draws on a wide variety of approaches from scholars elsewhere: from ethnomusicologists such as Bruno Nettl and Henry Kingsbury, performance theorists such as Richard Schechner and Victor Turner, as well as psychologists such as Sigmund Freud and Melanie Klein. This rich intellectual heritage provides the framework for discussion of a variety of themes, including how musicians conceive their self identity and how this is negotiated in the professional musical world; how the deputy system facilitates musical exchange and engenders gift relationships; how humour lubricates social and musical relationships and mitigates the stresses of musicians' lives; and how the events in which musicians participate can be viewed as quasi-rituals, and thus related to analogous events in non-Western cultures. The focus of this study is on professional music-making in London, one of the world's busiest centres of musical performance. Yet the issues raised and explored are deeply relevant to other major centres of Western art music, such as New York, Berlin or Sydney. Ethnomusicologists, anthropologists, musicologists, performers, teachers and concert-goers will find this book a stimulating insight into, and investigation of, Western art musicians and their place in today's world.

This A-Z of the Christian faith is written for beginners of all ages. It suitable for anyone aged 9 - 90. It introduces the key words and concepts of the Christian faith and tells the story of how God's heart's is open to everyone through the life, death and resurrection of his Son, Jesus Christ.

In this attractive illustrated book, Stephen Cottrell reflects on five of the Christ in the Wilderness paintings, and reveals them to be a rich source of spiritual wisdom and nourishment. He invites us to slow down and enter into the stillness of Stanley Spencer's vision. By dwelling in the wilderness of these evocative portraits, Stephen Cottrell encourages us to refine our own discipleship and learn again what it means to follow Christ.

In returning and rest you shall be saved. Isaiah 30:15

When was the last time you had a real day off? Ditched the to do lists? Switched off the phone? Unplugged the alarm clock? Sat in the bath until the water went cold?

Most of us live at breakneck speed. Busy lives work, family, friends, endless tasks leave us with little time to sleep, never mind stopping and reflecting. We urgently need to stop imagining that everything is so urgent. We need to learn to nurture our inner slob.

In this generous, life-affirming book, Cottrell invites us to slow down and stop breathe and start an adventure of self-discovery and renewed creativity that will improve the way we see life and help us catch a glimpse of God. "

'A movingly personal book ... the fruit of much deeply meditated sharing of the good news with people of all sorts. Reading it is a real discovery of the fresh waters of faith.' - from the foreword by Rowan Williams 'After this, when Jesus knew that all now was finished, he said, "I am thirsty."' Jesus' words from the cross - a picture of God sharing the world's suffering, experiencing our humanity - can be a window onto God's purposes, leading to a deeper appreciation of his overwhelming love. I Thirst, the Archbishop of Canterbury's Lent book for 2004, helps us explore what the death of Jesus means and how it relates to our lives today. Bishop Stephen Cottrell follows the passion story in John's Gospel, penetrating the deep mystery of a God who loves humanity no matter the cost. Each layer of meaning in the simple cry 'I thirst' is an invitation to consider our own lives and think again about what it means to be a follower of Christ in the modern world.

'Stephen Cottrell writes about Christ as if he were here now. As if redemption were possible for all of us, as if the void that threatens to engulf us all could be filled by a personal relationship with Christ in the present. He is a compelling writer.' - Russell Brand Inspired by a conversation with a barista who asked him why he became a priest, this is the Archbishop of York Stephen Cottrell's extended answer to that question - as well as the letter he'd like to write to a divided country that no longer sees the relevance or value of the Christian narrative. Archbishop Stephen is a much-admired voice within the church, but in this book he writes for a more general audience, and those who might call themselves spiritual seekers - as well as anyone who is concerned about the life and unity of the UK. A short, beautiful book, this is at once both contemplative and deeply practical, which will speak to both Christians and those on the edges of faith. 'A deeply thoughtful exposition of faith's transformative power, Dear England gave me hope, not only for the future of Christianity, but for a changed world too.' - David Lammy MP

Messenger, sentinel, steward ... these three words have been used to describe the work of a priest in the Church of England since Cranmer wrote the original ordination rite in 1550. Two more, servant and shepherd, were added in 1980. Taken together, these five metaphors provide a rich and resonant set of ideas through which to explore the nature of Christian ministry. In this short, lyrical book, Bishop Stephen Cottrell explores each one; based on actual addresses given to ordinands on the night before their ordination, it is refreshing, challenging and accessible. Anyone considering ordination or already in ministry will want to read this book for the fascinating exploration of the five metaphors he considers.

Found in Common Worship: Times and Seasons, The Way of the Cross is a series of scripture-based devotions for personal or group use in Lent and Holy Week. Similar in intent to the traditional Stations of the Cross, it focuses wholly on the biblical narrative of the passion, death and resurrection of Jesus. This seasonal companion provides the sequence of fifteen meditations appears in full, including opening and concluding prayers. Each is accompanied by three short reflections from different perspectives by three of today's very best spiritual writers: - Paula Gooder offers reflections on the scriptural narratives; - Stephen Cottrell considers the story from the perspective of personal discipleship; - Philip North explores the story's challenge to mission and witness.

On a September morning, Bishop Stephen Cottrell said mass in his chapel, kissed his wife goodbye, stepped out of his front door and walked two miles to the nearest station. It was the start of a 700 kilometre pilgrimage to Santiago de Compostela. Choosing the least travelled route across northern Spain, he craved the solitude of the road and felt the small vulnerabilities of not knowing what each day would bring - where meals or a bed would be found - would be beneficial. As a busy diocesan bishop, he looked forward not so much to arriving at the great destination, but to what the journey itself would reveal to him. This is a spiritual diary of that journey, comprising reflections, prayer poems and evocative images from the road and poetry which Stephen Cottrell has written for many years. Arranged in four sections, each with seven paired reflections and poems, the shape of the book echoes the rhythm of walking and is an intimate and honest account of the profound effect of the age-old tradition of going on pilgrimage.

In the Gospel of Mark's account of the Passion narrative, Jesus calls out from the cross 'Eloi, Eloi, lema sabachthani?' which is the Aramaic for 'My God, my God, why have you forsaken me?' - the first line of Psalm 22. It's an anguished expression - traditionally ascribed to King David - of defeat, failure, abandonment and despair. This series of reflections, written for Lent and Holy Week 2023 by the Archbishop of York Stephen Cottrell, ponders the significance of these words. What does it mean for Jesus to have quoted them, at the very end of his life? What do those words mean for us? This is a beautiful and compelling exploration of the dark, suffering side of the Passion - and how Jesus' words lead us to the greatest hope of all.

Arguably the most imaginative and energetic church response to the pandemic has been that of HeartEdge, the interdenominational church renewal movement founded at St Martin in the Fields by Samuel Wells but now extending beyond the UK to Europe, North America and Australia. From serving thousands of meals on London's streets to becoming, in all but name, an online conference centre and theological college offering hundreds of events, one outstanding feature of its programme has been Samuel Wells' monthly conversations about the future of the Church with leading figures from Britain and America, attended by large online audiences. This volume offers a distillation of those conversations which, instead of being preoccupied with decline, focus on what Christian presence and practice might look like in the world that is being reshaped by what the pandemic has revealed, and the theology that is needed to sustain such a vision.

'When someone hits the ground running, there is all the superficial attraction of movement and progress. But there is no guarantee that they are going in the right direction.' In Hit The Ground Kneeling, Stephen Cottrell takes common statements about leadership - statements that we often take for granted - and challenges them in the light of the Christian faith and Christian perspectives on leadership. Wherever you exercise leadership (at work, organizing a home, or doing something like coaching a local football team), the author playfully suggests some models of leadership that can help you - whether or not you reckon you're a Christian.