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Music of the First Nations: Tradition and Innovation in North America by
Publication Date: 2009-03-13
This unique anthology presents a wide variety of approaches to an ethnomusicology of Inuit and Native North American musical expression. Contributors include Native and non-Native scholars who provide erudite and illuminating perspectives on aboriginal culture, incorporating both traditional practices and contemporary musical influences. Gathering scholarship on a realm of intense interest but little previous publication, this collection promises to revitalize the study of Native music in North America, an area of ethnomusicology that stands to benefit greatly from these scholars' cooperative, community-oriented methods. Contributors are T. Christopher Aplin, Tara Browner, Paula Conlon, David E. Draper, Elaine Keillor, Lucy Lafferty, Franziska von Rosen, David Samuels, Laurel Sercombe, and Judith Vander.
Indigenous Dance and Dancing Indian by
Publication Date: 2011-12-28
Focusing on the enactment of identity in dance, Indigenous Dance and Dancing Indian is a cross-cultural, cross-ethnic, and cross-national comparison of indigenous dance practices. Considering four genres of dance in which indigenous people are represented--K'iche Maya traditional dance, powwow, folkloric dance, and dancing sports mascots--the book addresses both the ideational and behavioral dimensions of identity. Each dance is examined as a unique cultural expression in individual chapters, and then all are compared in the conclusion, where striking parallels and important divergences are revealed. Ultimately, Krystal describes how dancers and audiences work to construct and consume satisfying and meaningful identities through dance by either challenging social inequality or reinforcing the present social order. Detailed ethnographic work, thorough case studies, and an insightful narrative voice make Indigenous Dance and Dancing Indian a substantial addition to scholarly literature on dance in the Americas. It will be of interest to scholars of Native American studies, social sciences, and performing arts.
Aboriginal Music In Contemporary Canada: Echoes and Exchanges by
Publication Date: 2012-01-01
First Nations, Inuit, and Métis music in Canada is dynamic and diverse, reflecting continuities with earlier traditions and innovative approaches to creating new musical sounds. Aboriginal Music in Contemporary Canada narrates a story of resistance and renewal, struggle and success, as indigenous musicians in Canada negotiate who they are and who they want to be. Comprised of essays, interviews, and personal reflections by Aboriginal and non-Aboriginal musicians and scholars alike, the collection highlights themes of innovation, teaching and transmission, and cultural interaction. Individual chapters discuss musical genres ranging from popular styles including country and pop to nation-specific and intertribal practices such as powwows, as well as hybrid performances that incorporate music with theatre and dance. As a whole, this collection demonstrates how music is a powerful tool for articulating the social challenges faced by Aboriginal communities and an effective way to affirm indigenous strength and pride. Juxtaposing scholarly study with artistic practice, Aboriginal Music in Contemporary Canada celebrates and critically engages Canada's vibrant Aboriginal music scene. Contributors include Véronique Audet (Université de Montreal), Columpa C. Bobb (Tsleil Waututh and Nlaka'pamux, Manitoba Theatre for Young People), Sadie Buck (Haudenosaunee), Annette Chrétien (Métis), Marie Clements (Métis/Dene), Walter Denny Jr. (Mi'kmaw), Gabriel Desrosiers (Ojibwa, University of Minnesota, Morris), Beverley Diamond (Memorial University), Jimmy Dick (Cree), Byron Dueck (Royal Northern College of Music), Klisala Harrison (University of Helsinki), Donna Lariviere (Algonquin), Charity Marsh (University of Regina), Sophie Merasty (Dene and Cree), Garry Oker (Dane-zaa), Marcia Ostashewski (Cape Breton University), Mary Piercey (Memorial University), Amber Ridington (Memorial University), Dylan Robinson (Stó:lo, University of Toronto), Christopher Scales (Michigan State University), Gilles Sioui (Wendat), Gordon E. Smith (Queen's University), Beverly Souliere (Algonquin), Janice Esther Tulk (Memorial University), Florent Vollant (Innu) and Russell Wallace (Lil'wat).
Opera Indigene: Re/presenting First Nations and Indigenous Cultures by
Call Number: ML1700. O67 2011
Publication Date: 2016-05-13
The representation of non-Western cultures in opera has long been a focus of critical inquiry. Within this field, the diverse relationships between opera and First Nations and Indigenous cultures, however, have received far less attention. Opera Indigene takes this subject as its focus, addressing the changing historical depictions of Indigenous cultures in opera and the more contemporary practices of Indigenous and First Nations artists. The use of 're/presenting' in the title signals an important distinction between how representations of Indigenous identity have been constructed in operatic history and how Indigenous artists have more recently utilized opera as an interface to present and develop their cultural practices. This volume explores how operas on Indigenous subjects reflect the evolving relationships between Indigenous peoples, the colonizing forces of imperial power, and forms of internal colonization in developing nation-states. Drawing upon postcolonial theory, ethnomusicology, cultural geography and critical discourses on nationalism and multiculturalism, the collection brings together experts on opera and music in Canada, the Americas and Australia in a stimulating comparative study of operatic re/presentation.
Imagining Native America in Music by
Publication Date: 2006-02-16
This book offers a comprehensive look at musical representations of native America from the pre colonial past through the American West and up to the present. The discussion covers a wide range of topics, from the ballets of Lully in the court of Louis XIV to popular ballads of the nineteenth century; from eighteenth-century British-American theater to the musical theater of Irving Berlin; from chamber music by Dvoˆr#65533;k to film music for Apaches in Hollywood Westerns.Michael Pisani demonstrates how European colonists and their descendants were fascinated by the idea of race and ethnicity in music, and he examines how music contributed to the complex process of cultural mediation. Pisani reveals how certain themes and metaphors changed over the centuries and shows how much of this "Indian music,” which was and continues to be largely imagined, alternately idealized and vilified the peoples of native America.
Hip Hop Beats, Indigenous Rhymes: Modernity and Hip Hop in Indigenous North America by
Publication Date: 2018-04-01
Expressive culture has always been an important part of the social, political, and economic lives of Indigenous people. More recently, Indigenous people have blended expressive cultures with hip hop culture, creating new sounds, aesthetics, movements, and ways of being Indigenous. This book documents recent developments among the Indigenous hip hop generation. Meeting at the nexus of hip hop studies, Indigenous studies, and critical ethnic studies, Hip Hop Beats, Indigenous Rhymes argues that Indigenous people use hip hop culture to assert their sovereignty and challenge settler colonialism. From rapping about land and water rights from Flint to Standing Rock, to remixing traditional beading with hip hop aesthetics, Indigenous people are using hip hop to challenge their ongoing dispossession, disrupt racist stereotypes and images of Indigenous people, contest white supremacy and heteropatriarchy, and reconstruct ideas of a progressive masculinity. In addition, this book carefully traces the idea of authenticity; that is, the common notion that, by engaging in a Black culture, Indigenous people are losing their traditions. Indigenous hip hop artists navigate the muddy waters of the politics of authenticity by creating art that is not bound by narrow conceptions of what it means to be Indigenous; instead, they flip the notion of tradition and create alternative visions of what being Indigenous means today, and what that might look like going forward.
This book is incredibly important and will change the fields of Native American, African American, gender, and sound studies. It is the first full-length monograph on the rich, diverse, and complex field of Indigenous hip hop. This is the text against which all other studies in the field will be compared. - Michelle Raheja, University of California, Riverside
Travels with Frances Densmore: Her Life, Work, and Legacy in Native American Studies by
Publication Date: 2015-06-01
Over the first half of the twentieth century, scientist and scholar Frances Densmore (1867-1957) visited thirty-five Native American tribes, recorded more than twenty-five hundred songs, amassed hundreds of artifacts and Native-crafted objects, and transcribed information about Native cultures. Her visits to indigenous groups included meetings with the Ojibwes, Lakotas, Dakotas, Northern Utes, Ho-chunks, Seminoles, and Makahs. A "New Woman" and a self-trained anthropologist, she not only influenced government attitudes toward indigenous cultures but also helped mold the field of anthropology. Densmore remains an intriguing historical figure. Although researchers use her vast collections at the Smithsonian and Minnesota Historical Society, as well as her many publications, some scholars critique her methods of "salvage anthropology" and concepts of the "vanishing" Native American. Travels with Frances Densmore is the first detailed study of her life and work. Through narrative descriptions of her life paired with critical essays about her work, this book is an essential guide for understanding how Densmore formed her collections and the lasting importance they have had for researchers in a variety of fields.
Natalie Curtis Burlin: A Life in Native and African American Music by
Publication Date: 2010-05-01
Natalie Curtis Burlin (1876-1921) was born to a wealthy New York City family and initially trained for a career as a classical concert pianist. But in 1903, she left her family and training behind to study, collect, and popularize the music of American Indians in the Southwest and African Americans at the Hampton Institute in the belief that the music of these groups could help forge a distinctive American identity in a time of dramatic social change. Michelle Wick Patterson examines the life, work, and legacy of Curtis at the turn of the century. The influence of increased industrialization, urbanization, immigration, and shaken social mores motivated Curtis to emphasize Native and African American contributions to the antimodernist discourse of this period. Additionally, Curtis's work in the field and her actions with informants reflect the impact of the changing status of women in public life, marriage, and the professions as well as new ideas regarding race and culture. Many of the people who touched Curtis's life were among the intellectual, political, and artistic leaders of their time, including Theodore Roosevelt, Charles Lummis, Franz Boas, George Foster Peabody, and others. This well-researched and richly textured portrait of Curtis illuminates the life and contributions of an important early ethnomusicologist, meticulously portraying her within the social, intellectual, and political developments of the day.
A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild by
Publication Date: 2017
This volume of essays honours the life and work of Stephen A. Wild, one of Australia’s leading ethnomusicologists. Born in Western Australia, Wild studied at Indiana University in the USA before returning to Australia to pursue a lifelong career with Indigenous Australian music. As researcher, teacher, and administrator, Wild’s work has impacted generations of scholars around the world, leading him to be described as ‘a great facilitator and a scholar who serves humanity through music’ by Andrée Grau, Professor of the Anthropology of Dance at University of Roehampton, London. Focusing on the music of Aboriginal Australia and the Pacific Islands, and the concerns of archiving and academia, the essays within are authored by peers, colleagues, and former students of Wild. Most of the authors are members of the Study Group on Music and Dance of Oceania of the International Council for Traditional Music, an organisation that has also played an important role in Wild’s life and development as a scholar of international standing. Ranging in scope from the musicological to the anthropological—from technical musical analyses to observations of the sociocultural context of music—these essays reflect not only on the varied and cross-disciplinary nature of Wild’s work, but on the many facets of ethnomusicology today.
Media, Indigeneity, and Nation in South Asia by
Publication Date: 2019-08-27
How do videos, movies and documentaries dedicated to indigenous communities transform the media landscape of South Asia? Based on extensive original research, this book examines how in South Asia popular music videos, activist political clips, movies and documentaries about, by and for indigenous communities take on radically new significances. Media, Indigeneity and Nation in South Asia shows how in the portrayal of indigenous groups by both 'insiders' and 'outsiders' imaginations of indigeneity and nation become increasingly interlinked. Indigenous groups, typically marginal to the nation, are at the same time part of mainstream polities and cultures. Drawing on perspectives from media studies and visual anthropology, this book compares and contrasts the situation in South Asia with indigeneity globally.
Making Aboriginal Men and Music in Central Australia by
Publication Date: 2015-12-31
This detailed ethnographic study explores the crafting of contemporary forms of Aboriginal manhood in the world of country, rock and reggae music making in Central Australia. Focusing on four different musical contexts - an Aboriginal recording studio, remote Aboriginal settlements, small non-indigenous towns, and tours beyond the musicians' homeland - the author challenges existing scholarly, political and popular understandings of Australian Aboriginal music, men, and related indigenous matters in terms of radical social, cultural and racial difference. Based on extensive anthropological field research among Aboriginal rock, country and reggae musicians in small towns and remote desert settlements in Central Australia, the book investigates how Aboriginal musicians experience and articulate various aspects of their male and indigenous sense of selves as they make music and engage with indigenous and non-indigenous people, practices, places, and sets of values. Making Aboriginal Men and Music is a highly original, intimate study which advances our understanding of contemporary indigenous and male identity formation within Aboriginal Australian society. Providing new analytical insights for scholars and students in fields such as social and cultural anthropology, cultural studies, popular music, and gender studies, this engaging text makes a significant contribution to the study of indigenous identity in remote Australia and beyond.
Circulating Cultures Exchanges of Australian Indigenous Music, Dance and Media by
Circulating Cultures is an edited book about the transformation of cultural materials through the Australian landscape. The book explores cultural circulation, exchange and transit, through events such as the geographical movement of song series across the Kimberley and Arnhem Land; the transformation of Australian Aboriginal dance in the hands of an American choreographer; and the indigenisation of symbolic meanings in heavy metal music. Circulating Cultures crosses disciplinary boundaries, with contributions from historians, musicologists, linguists and dance historians, to depict shifts of cultural materials through time, place and interventions from people. It looks at the way Indigenous and non-Indigenous performing arts have changed through intercultural influence and collaboration.
Landscapes of Indigenous Performance: Music, Song, and Dance of the Torres Strait and Arnhem Land by
Publication Date: 2005-01-01
This book brings together a wide range of contemporary explorations of Indigenous music and dance in the Torres Strait and the tropical regions of the Northern Territory. This collection shows how traditional music and dance have responded to colonial control in the past and more recently to other external forces beyond local control. It looks at musical pasts and presents as a continuum of creativity; at contemporary cultural performance as a contested domain; and at cross-cultural issues of recording and teaching music and dance as experienced by Indigenous leaders and educators, and non-Indigenous researchers and scholars. Indigenous and non-Indigenous contributors demonstrate how local music and dance genres have been subject to missionary, institutional, popular and global influences. They offer an understanding of the cultural background and history of Torres Strait music; discuss how contemporary Christian music and dance in Arnhem Land incorporate traditional ritual; unpack the complex form and structure of an Australian Aboriginal song series; and examine the transformation of a nineteenth-century American popular song into a 'traditional' anthem of the Torres Strait. The book also examines the interface between Aboriginal ritual, movement and the environment as portrayed on film, and explores the issues raised by the presence of Aboriginal performers in the non-Indigenous university classroom. The book is of critical importance for those involved in the fields of music, dance and performance in general.
The Sound of Navajo Country: Music, Language and Dine Belonging by
Publication Date: 2017-03-13
In this ethnography of Navajo (Diné) popular music culture, Kristina M. Jacobsen examines questions of Indigenous identity and performance by focusing on the surprising and vibrant Navajo country music scene. Through multiple first-person accounts, Jacobsen illuminates country music?s connections to the Indigenous politics of language and belonging, examining through the lens of music both the politics of difference and many internal distinctions Diné make among themselves and their fellow Navajo citizens. As the second largest tribe in the United States, the Navajo have often been portrayed as a singular and monolithic entity. Using her experience as a singer, lap steel player, and Navajo language learner, Jacobsen challenges this notion, showing the ways Navajos distinguish themselves from one another through musical taste, linguistic abilities, geographic location, physical appearance, degree of Navajo or Indian blood, and class affiliations. By linking cultural anthropology to ethnomusicology, linguistic anthropology, and critical Indigenous studies, Jacobsen shows how Navajo poetics and politics offer important insights into the politics of Indigeneity in Native North America, highlighting the complex ways that identities are negotiated in multiple, often contradictory, spheres.
Burst of Breath: Indigenous Ritual Wind Instruments in Lowland South America by
Publication Date: 2011-12-01
The first in-depth, comparative, and interdisciplinary study of indigenous Amazonian musical cultures, Burst of Breath showcases new research on the dynamic range of ritual power and social significance of various wind instruments--including flutes, trumpets, clarinets, and whistles--played in sacred rituals and ceremonies in Lowland South America. The editors provide a detailed overview of the historical significance, scientific classification, shamanic and cosmological associations, and changing social meanings of ritual wind instruments within Amazonian cultures. These essays present a wide perspective that goes beyond better-documented areas such as the Upper Xingu and northwest Amazon. Some of the authors explore the ways ritual wind instruments are used to introduce natural sounds into social contexts and to cross boundaries between verbal and nonverbal communication. Others look at how ritual wind instruments and their music enter into local definitions and negotiations of relations between men, women, kin, insiders, and outsiders. Closely considering these instruments in their many roles and contexts--in curing and purification, negotiating relations, connecting mythic ancestors and humans today--this volume reveals the power and complexity of the music at the heart of collective rituals across lowland South America.
Arts of Engagement: Taking Aesthetic Action In and Beyond the Truth and Reconciliation Commission of Canada by
Publication Date: 2016-07-15
Arts of Engagement focuses on the role that music, film, visual art, and Indigenous cultural practices play in and beyond Canada's Truth and Reconciliation Commission on Indian Residential Schools. Contributors here examine the impact of aesthetic and sensory experience in residential school history, at TRC national and community events, and in artwork and exhibitions not affiliated with the TRC. Using the framework of "aesthetic action," the essays expand the frame of aesthetics to include visual, aural, and kinetic sensory experience, and question the ways in which key components of reconciliation such as apology and witnessing have social and political effects for residential school survivors, intergenerational survivors, and settler publics. This volume makes an important contribution to the discourse on reconciliation in Canada by examining how aesthetic and sensory interventions offer alternative forms of political action and healing. These forms of aesthetic action encompass both sensory appeals to empathize and invitations to join together in alliance and new relationships as well as refusals to follow the normative scripts of reconciliation. Such refusals are important in their assertion of new terms for conciliation, terms that resist the imperatives of reconciliation as a form of resolution. This collection charts new ground by detailing the aesthetic grammars of reconciliation and conciliation. The authors document the efficacies of the TRC for the various Indigenous and settler publics it has addressed, and consider the future aesthetic actions that must be taken in order to move beyond what many have identified as the TRC's political limitations.