Category Archives: Ethnomusicology

July 15, 2017 · 6:00 am

The international journal of traditional arts

Launched in 2017, The international journal of traditional arts is an international, peer-reviewed gold open access journal that promotes a broad-ranging understanding of the relevance of traditional arts in contemporary social life.

The journal publishes leading and robust scholarship on traditional arts from around the world with a focus on the contemporary policy and practice of traditional music, dance, drama, oral narrative, and crafts. Its scope includes ethnomusicology, cultural sociology, anthropology, ethnology, ethnochoreology, cultural policy, folklore, musicology, cultural studies, cultural economics, heritage, and tourism studies.

Above and below, Quartett Laseyer, a group that figures in one of the articles in the inaugural issue.

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July 3, 2017 · 6:00 am

The Dancing Queens of Mumbai

For many Indian hijras—a casteless and classless queer minority—badhais (ritualistic music and dance) are the only available means of revenue aside from sex work and bar dance; this has been the practical reality for hijras for nearly two centuries of legal persecution.

While the current reality does not bode well for the continuation of hijra badhais as we once knew them, newly emerging transgender ensembles like Mumbai’s Dancing Queens are introducing new possibilities for hijra performativity and empowerment.

Established within a reconstituted urban Indian context, new adaptive strategies are predicated on the exchange of devalued ways of encoding hijra difference for updated, modern ones based upon the distinctly LGBTIQ discourse of pehchān (acknowledgement of the self, or identity). The Dancing Queens’s staging of pehchān empowers hijras through a global transgender lexicon while simultaneously renewing particular preexisting performance repertoires of homo-sociality.

This according to “The Dancing Queens: Negotiating hijra pehchān from India’s streets onto the global stage” by Jeff Roy (Ethnomusicology review XX [2015] pp. 69–91). This journal, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.

Above and below, the Dancing Queens in action.

BONUS: Ready for more? Here’s a full performance.

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May 23, 2017 · 6:00 am

Puls: Musik- och dansetnologisk tidskrift

In 2016 Svenskt Visarkiv launched Puls: Musik- och dansetnologisk tidskrift/Journal for ethnomusicology and ethnochoreology, an open-access, peer-reviewed online journal (EISSN 2002-2972).

While the main focus of the journal is ethnomusicology and ethnochoreology, it also embraces adjacent disciplines, such as other aspects of musicology and choreology, folklore, literature, and related studies of traditional and popular culture. The journal focuses on discussion of the expressions, roles, and functions of music and dancing in society. Articles are published in Scandinavian languages or in English.

Below, Frode Fjellheim’s Eatnemen vuelie as heard in Disney’s Frozen, the subject of a discussion in the inaugural issue.

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May 21, 2017 · 6:00 am

Frances Densmore’s legacy

In Frances Densmore’s broad sweep through Native American communities, practicing what is now considered salvage anthropology, she worked with more Native American cultures than any anthropologist of her time.

After Densmore’s passing in 1957, others found it difficult to assess the results of her decades of work or to fit them into histories of various types. She had participated actively in communities of musicologists, anthropologists, and other professional women, as well as with Native communities as she pursued her social science. These communities were historically imbricated.

Densmore saw her work as the single focus of a lifetime. That work, over time, became but one part of a larger cultural context within which musicologists and anthropologists as a whole, as well as women anthropologists in particular and Native American writers, examined her work.

This according to “Gone but not quite forgotten” by Joan M. Jensen, an essay included in Travels with Frances Densmore: Her life, work, and legacy in Native American studies (Lincoln: University of Nebraska Press, 2015, pp. 242–83).

Today is Densmore’s 150th birthday! Above, with Susan Windgrow (Maka Waste’ Win/Good Earth Woman), ca. 1930; below, Sitting Bull’s favorite song, recorded by Densmore from a man who had learned it by hearing it sung repeatedly by Sitting Bull himself.

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May 19, 2017 · 6:00 am

Harry Smith’s grand collage

The power of Harry Smith’s Anthology of American folk music, which turns 65 this year, lies squarely in its use of collage.

Smith’s decisions in sequencing and juxtaposing the 84 songs encouraged a play of sounds and lyrical content that calls attention to similarities and differences, opening multiple meanings and allowing for many possible interpretations.

By privileging collage over narrative, Smith created a complex and nuanced work of social commentary. Through collage, the Anthology captures the ongoing negotiation of the various voices—past and present, black and white—taking part in the reconstruction of U.S. history. These voices remain audible today.

This according to “Collage, politics, and narrative approaches to Harry Smith’s Anthology of American folk music” by Dan Blim, an essay included in Harry Smith’s Anthology of American folk music: America changed through music (Abington: Routledge, 2017, pp. 82–99).

Above, Smith ca. 1965; below, selections from volume II of the six-volume set.

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May 11, 2017 · 6:00 am

Benga and Luo traditions

Benga, a Kenyan dance music, first emerged within the Luo community during the late 1960s. The genre has provided many Kenyans with a malleable platform that connects with the traditional ethnic poetic and musical sensibilities that have been resilient in both rural and urban Luo life.

Despite criticism that it was unpolished and parochial, benga’s development shows a clear movement towards sophistication and compositional experimentation. Ultimately benga musicians succeeded in creating a style distinct from its regional counterparts using traditional Luo melodic rhythmic structures and accompaniment cycles.

This according to “Continuities and innovation in Luo song style: Creating the benga beat in Kenya 1960 to 1995” by Ian Eagleson (African music IX/4 [2014] pp. 91–122).

Above and below, Okatch Biggy, a pioneer of 1990s benga.

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May 8, 2017 · 6:00 am

Indian theatre journal

Launched by Intellect in 2017, Indian theatre journal (ISSN 2059-0660) is the first international journal on Indian dramatic arts.

ITJ is committed to publishing a wide range of critical and scholarly approaches to various aspects of Indian theater and performance in their social, political, cultural, economic, and diasporic contexts through academic essays, plays, production reviews, interviews, and performance events.

The journal brings together current intellectual debates and artistic practices in theater, dance, music, arts, aesthetics, and culture, illuminating the wider context of the confluences and correspondences between philosophy, performance, and culture in India.

This double-blind peer-reviewed journal creates an international platform for scholars, critics, playwrights, actors, and directors for presenting their work through cutting-edge research and innovative performance practice. In addition, ITJ explores recent developments in intercultural theater, theater anthropology, performance studies, and the Indian and South Asian diaspora across the globe.

Below, an excerpt including music and dance from Rabindranath Tagore’s Phālgunī, a work discussed in ITJ’s first issue.

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May 4, 2017 · 6:00 am

The global jukebox

The global jukebox is the culmination of a lifetime of groundbreaking work by Alan Lomax, whose efforts to record and compile song and dance from around the world led to this collaborative project—an interactive portal for the world’s music, dance, and speaking traditions from almost every corner of the earth, recorded by hundreds of pioneering ethnographers.

This open-access resource is divided into three broad areas of inquiry: cantometrics, an analysis of the elements of song within and across cultures, and choreometrics and parlametrics, which similarly evaluate dancing and speaking.

Users can search by genre or culture and experience thousands of songs and videos that come from a myriad of traditions; seek their ancestry through song and dance; uncover the roots and connections of their favorite musical genres; take a guided tour through the vibrant musical culture of a single region or style; look at clusters of any tradition’s song styles; or search for their own answers with the site’s analytical tools.

Below, Lomax discusses the background of the project.

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May 1, 2017 · 6:00 am

May Day and mayhem

On this first day of May, let’s look at a vivid depiction of Dublin May Day customs from a ballad that was first published in 1843, though it was already flourishing at least 60 years earlier.

De May Bush takes place amid a longstanding feud between the Liberty and Ormond factions—weavers and butchers, respectively—and revolves around the tradition of selecting, cutting, and guarding a handsome May Bush throughout the night before May Day. The vigil involved much revelry and drinking, and on this particular occasion the butchers fell asleep and the weavers stole their May Bush. The butchers’ leader exacted revenge in the form of driving a bull into the heart of the weavers’ turf to wreak havoc and create mayhem.

Like the song itself, the action depicted is a performance genre; the theft of the bush resembles the recurrent motif of the abduction of a bride. The butchers and the weavers were just as capable of manipulating multivalent social language as they were of ribald, full-bodied expression in song—complementary performance genres that meet around the May Bush.

This according to “May Day and mayhem: Portraits of a holiday in eighteenth-century Dublin ballads” by Cozette Griffin-Kremer, an essay included in The flowering thorn: International ballad studies (Logan: Utah State University, 2003, pp. 101–27).

Above, an Irish hawthorn, a popular choice for the May Bush; below, a tourist video shows decorated May Bushes in Galway.

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April 28, 2017 · 6:00 am

Jean Redpath and Robert Burns

The young Scottish traditional singer Jean Redpath shared a New York apartment with Bob Dylan in the early 1960s; she went on to make more than 40 recordings, not least the astonishing project she embarked upon with the American composer Serge Hovey, to record all of the songs composed and collected by Robert Burns.

Hovey arranged 323 Burns songs for her, matching them to their original melodies, often with imaginative contemporary orchestral arrangements. Redpath recorded seven albums of these arrangements, which were critically acclaimed, and went on to make other Burns albums as well.

This according to “Jean Redpath, MBE” by Jim Gilchrist (The Scotsman, 23 August 2014).

Today would have been Redpath’s 80th birthday! Above, a portrait by Alexander Fraser commissioned by the Glenrothes Burns Club; below, Redpath’s recording of Burns’s Green grow the rashes.

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