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This book illustrates how ethnographic investigation of musical
performances might contribute to the analysis of diaspora. It
embraces diverse examples such as 'mourning and cultures of
survival' amongst Aboriginal and Jewish communities in Australia,
remembering a Kazakh 'homeland' in Western Mongolia, celebrating
Diwali in New Zealand and the circulation of musical performances
in Mozambique, Portugal and the UK. Some of the topics discussed in
Musical Performance in the Diaspora include: the expression and
shaping of diasporic and postcolonial identities through
performance musical memory in diasporic contexts the geographies of
performance the politics of 'new' forms of diasporic music-making.
This book presents a rich array of theoretical approaches and wide
ranging ethnographic case studies to reconsider and challenge
discourses that have favoured uncritical notions of diasporic
'hybridity' and to broaden current analyses of performance in the
diaspora.
This book illustrates how ethnographic investigation of musical
performances might contribute to the analysis of diaspora. It
embraces diverse examples such as 'mourning and cultures of
survival' amongst Aboriginal and Jewish communities in Australia,
remembering a Kazakh 'homeland' in Western Mongolia, celebrating
Diwali in New Zealand and the circulation of musical performances
in Mozambique, Portugal and the UK. Some of the topics discussed in
Musical Performance in the Diaspora include: the expression and
shaping of diasporic and postcolonial identities through
performance; musical memory in diasporic contexts; the geographies
of performance; and the politics of 'new' forms of diasporic
music-making. This book presents a rich array of theoretical
approaches and wide-ranging ethnographic case studies to reconsider
and challenge discourses that have favoured uncritical notions of
diasporic 'hybridity' and to broaden current analyses of
performance in the diaspora.
Dance, Music and Cultures of Decolonisation in the Indian Diaspora
provides fascinating examples of dance and music projects across
the Indian Diaspora to highlight that decolonisation is a creative
process, as well as a historical and political one. The book
analyses creative processes in decolonising projects, illustrating
how dance and music across the Indian Diaspora articulate
socio-political aspirations in the wake of thinkers such as Gandhi
and Ambedkar. It presents a wide range of examples: post-apartheid
practices and experiences in a South African dance company,
contestations over national identity politics in Trinidadian music
competitions, essentialist and assimilationist strategies in a
British dance competition, the new musical creativity of
second-generation British-Tamil performers, Indian classical dance
projects of reform and British multiculturalism, feminist
intercultural performances in Australia, and performance
re-enactments of museum exhibits that critically examine the past.
Key topics under discussion include postcolonial contestations,
decolonising scholarship, dialogic pedagogies and intellectual
responsibility. The book critically reflects on decolonising aims
around respect, equality and the colonial past's redress as
expressed through performing arts projects. Presenting richly
detailed case studies that underline the need to examine creative
processes in the cultures of decolonisation, Dance, Music and
Cultures of Decolonisation in the Indian Diaspora will be of great
interest to scholars of South Asian Studies, Diaspora Studies,
Performing Arts Studies and Anthropology. The chapters were
originally published as a special issue of South Asian Diaspora.
Dance, Music and Cultures of Decolonisation in the Indian Diaspora
provides fascinating examples of dance and music projects across
the Indian Diaspora to highlight that decolonisation is a creative
process, as well as a historical and political one. The book
analyses creative processes in decolonising projects, illustrating
how dance and music across the Indian Diaspora articulate
socio-political aspirations in the wake of thinkers such as Gandhi
and Ambedkar. It presents a wide range of examples: post-apartheid
practices and experiences in a South African dance company,
contestations over national identity politics in Trinidadian music
competitions, essentialist and assimilationist strategies in a
British dance competition, the new musical creativity of
second-generation British-Tamil performers, Indian classical dance
projects of reform and British multiculturalism, feminist
intercultural performances in Australia, and performance
re-enactments of museum exhibits that critically examine the past.
Key topics under discussion include postcolonial contestations,
decolonising scholarship, dialogic pedagogies and intellectual
responsibility. The book critically reflects on decolonising aims
around respect, equality and the colonial past's redress as
expressed through performing arts projects. Presenting richly
detailed case studies that underline the need to examine creative
processes in the cultures of decolonisation, Dance, Music and
Cultures of Decolonisation in the Indian Diaspora will be of great
interest to scholars of South Asian Studies, Diaspora Studies,
Performing Arts Studies and Anthropology. The chapters were
originally published as a special issue of South Asian Diaspora.
Presenting a range of ethnographic case studies from around the
globe, this edited collection offers new ways of thinking about the
interconnectivity of gender, place, and emotion in musical
performance. While ethnomusicologists and anthropologists have long
recognized the theoretical connections between gender, place, and
emotion in musical performance, these concepts are seldom analyzed
together. Performing Gender, Place, andEmotion in Music is the
first book-length study to examine the interweaving of these three
concepts from a cross-cultural perspective. Contributors show how a
theoretical focus one dimension implicates the others, creating
anexus of performative engagement. This process is examined across
different regions around the globe, through two key questions: How
are aesthetic, emotional, and imagined relations between performers
and places embodied musically? And in what ways is this performance
of emotion gendered across quotidian, ritual, and staged events?
Through ethnographic case studies, the volume explores issues of
emplacement, embodiment, and emotion in three parts: landscape and
emotion; memory and attachment; and nationalism and indigeneity.
Part I focuses on emplaced sentiments in Australasia through
Vietnamese spirit possession, Balinese dance, and land rights in
Aboriginal performance. PartII addresses memories of Aboriginal
choral singing, belonging in Bavarian music-making, and
gender-performativity in Polish song. Part III evaluates emotion
and fandom around a Korean singer in Japan, and Sami
interconnectivitiesin traditional and modern musical practices.
Beverley Diamond provides a thought-provoking commentary in the
afterword. Contributors: Beverley Diamond, Fiona Magowan, Jonathan
McIntosh, Barley Norton, Tina K. Ramnarine, Muriel Swijghuisen
Reigersberg, Sara R. Walmsley-Pledl, Louise Wrazen, Christine Yano.
Fiona Magowan is Professor of Anthropology at Queen's University,
Belfast. Louise Wrazen is Associate Professor of Music at York
University.
What are the musical sounds that people remember in the diaspora?
What are the sounds they create? Recognising the importance that
people attach to musical performances, this book explores the
significance of widespread Caribbean genres in diaspora politics.
Tina K. Ramnarine uses ethnographic approaches to unravel creative
processes of memory, innovation and production and to interrogate
geographies of musical canons, hybridity discourses and culture
theory. She challenges us to rethink diaspora as only being about
displacement, to move beyond the limits of marginalisation and
otherness, and to imagine the possibilities of 'beautiful cosmos'.
Asking 'where is home in the diaspora?' this book presents radical
perspectives in the study of diaspora.
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The New (Ethno)musicologies (Paperback)
Henry Stobart; Contributions by John Baily, Michelle Bigenho, Caroline Bithell, Philip V. Bohlman, …
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R2,319
Discovery Miles 23 190
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Ships in 10 - 15 working days
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Over the past twenty years, a range of radical developments has
revolutionized musicology, leading certain practitioners to
describe their discipline as 'New.' What has happened to
ethnomusicology during this period? Have its theories,
methodologies, and values remain rooted in the 1970s and 1980s or
have they also transformed? What directions might or should it take
in the new millennium? The New (Ethno)musicologies seeks to answer
these questions by addressing and critically examining key issues
in contemporary ethnomusicology. Set in two parts, the volume
explores ethnomusicology's shifting relationship to other
disciplines and to its own 'mythic' histories and plots a range of
potential developments for its future. It attempts to address how
ethnomusicology might be viewed by those working both inside and
outside the discipline and what its broader contribution and
relevance might be within and beyond the academy. Henry Stobart has
collected essays from key figures in ethnomusicology and
musicology, including Caroline Bithell, Martin Clayton, Fabian
Holt, Jim Samson, and Abigail Wood, as well as Europea series
editors, Martin Stokes and Philip V. Bohlman. The engaging result
presents a range of perspectives, reflecting on disciplinary
change, methodological developments, and the broader sphere of
music scholarship in a fresh and unique way, and will be a key
source for students and scholars.
Offering innovative approaches to thinking about orchestras, Global
Perspectives on Orchestras: Collective Creativity and Social Agency
adopts ethnographic, historical and comparative perspectives on a
variety of traditions, including symphony, Caribbean steel,
Indonesian gamelan, Indian film and Vietnamese court examples. The
volume presents compelling analyses of orchestras in their
socio-historical, economic, intercultural and postcolonial
contexts, while emphasizing the global and historical connections
between musical traditions. By drawing on new ethnographic and
historical data, the essays describe orchestral creative processes
and the politics shaping performance practices. Each essay
considers how musicians work together in ensembles, focusing on
issues such as training, rehearsal, creative choices, compositional
processes, and organizational infrastructures. Testimonies of
orchestral musicians highlight practitioners' views into the
diverse world of orchestras. As a whole, the volume discusses the
creative roles of performers, arrangers, composers and arts
agencies, as well as the social environments supporting musical
collaborations. With contributions from an international team of
researchers, Global Perspectives on Orchestras offers critical
insights gained from the study of orchestras, collective creativity
and social agency, and the connections between orchestral
performances, colonial histories, postcolonial practices,
ethnographic writings and comparative theorizations.
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