Society for Ethnomusicology 60th Annual Meeting, 2015 Abstracts Walking, Parading, and Footworking Through the City: Urban collectively entrained and individually varied. Understanding their footwork Processional Music Practices and Embodied Histories as both an enactment of sedimented histories and a creative process of Marié Abe, Boston University, Chair, – Panel Abstract reconfiguring the spatial dynamics of urban streets, I suggest that a sense of enticement emerges from the oscillation between these different temporalities, In Michel de Certeau’s now-famous essay, “Walking the City,” he celebrates particularly within the entanglement of western imperialism and the bodily knowing of the urban environment as a resistant practice: a relational, development of Japanese capitalist modernity that informed the formation of kinesthetic, and ephemeral “anti-museum.” And yet, the potential for one’s chindon-ya. walking to disrupt the social order depends on the walker’s racial, ethnic, gendered, national and/or classed subjectivities. Following de Certeau’s In a State of Belief: Postsecular Modernity and Korean Church provocations, this panel investigates three distinct urban, processional music Performance in Kazakhstan traditions in which walking shapes participants’ relationships to the past, the Margarethe Adams, Stony Brook University city, and/or to each other. For chindon-ya troupes in Osaka - who perform a kind of musical advertisement - discordant walking holds a key to their "The postsecular may be less a new phase of cultural development than it is a performance of enticement, as an intersection of their vested interests in working through of the problems and contradictions in the secularization producing distinct sociality, aesthetics, and history. For the Shanghai process itself" (Dunn 2010:92). Critical theorist, Allen Dunn describes the Municipal Brass Band, a 1930s British-administered ensemble, alfresco skepticism of the enlightenment and the "disenchantment" of modern society performances in public parks invited planned and unplanned parading as inherently negative. But for those who lived during the Soviet era, the incidents that revealed the tensions inherent in the Band as an imperial-and- negative aspects of secularization (the closing of mosques, synagogues, and not imperial project. Finally, for dancers in New Orleans second lines - African churches; the persecution of religious leaders, and more) were accompanied by American brass band parades - performing their signature footwork atop a powerfully optimistic ideology with a strong social message promising (and vertical city structures inverts racialized histories of imperialism while re- in many ways delivering) widespread social change. The Soviet State may not inscribing patriarchal contests over public space. Taken together, these three have swept all its citizens along in its optimism, but its departure, after papers address the ways in which sonic and kinesthetic practices - walking, seventy years, left a palpable ideological void. This paper will examine one of parading, and footworking - enact sedimented histories, re-map urban spaces, the many imported religious institutions that flooded into Central Asia after and present alternative modes of sociality. the fall of the Soviet Union--the Korean church. In this study, based on ethnographic research conducted between 2004 and 2014, I examine Korean Walking as a Genealogical Performance on the Streets of Osaka, church-going practices over the past decade in Almaty, Kazakhstan, Japan particularly focusing on dance, gesture, and musical performance during Marié Abe, Boston University worship and in holiday celebrations. I seek to clarify how transnational networks are implicated in religious institutions in postsecular Central Asia. Since its inception in the late 1800s, practitioners of chindon-ya - a Japanese Transnationalist discourse figures prominently in interviews with musical advertisement practice - have often been alluded to as magicians of congregation members, both in discussion of family ties to Korea, and in the the city, or likened to the Pied Piper of Hamelin. Ostentatiously dressed, ways they link the aesthetic choices of gesture to an American style of chindon-ya practitioners parade through the streets, not to publicize products worship. Works Cited Dunn, Allen. 2010. The Precarious Integrity of the themselves, but to draw customers out of their homes to employers’ Postsecular. boundary 2 (3):91-99. establishments by playing music. This paper zeroes in on the centrality of walking in chindon-ya’s performance of enticement by showing how the The Architecture of Sacred Time: Jewish Music and the Construction seemingly nonchalant gait of chindon-ya is in fact guided by sonically, of Ritual aesthetically, and physiologically informed performance tactics grounded in Rachel Adelstein, University of Cambridge specific senses of historicity and sociality. Particularly, I attend to what I call embodied dissonance; unlike most processional musical practices, chindon-ya In 1951, Rabbi Abraham Joshua Heschel wrote that Judaism "is a religion of practitioners’ footwork is not “in time,” either with each other or to the music time aiming at the sanctification of time" and commented that ritual could be they perform. By analyzing an Osaka-based chindon-ya troupe’s kinesthetic seen as the architecture of that sacred time. One can also see music as an and discursive practices during their street routines and “walking workshops” artistic representation of time, as the performance of a piece of music is wholly designed for the aspiring chindon-ya practitioners, I will show how chindon- dependent on time for its execution. It is hardly surprising, then, that a large ya’s walking movement is an imaginative and genealogical performance - they proportion of Jewish liturgical and para-liturgical ritual consists of song, embody different temporalities that are simultaneously disciplined and chant, or other forms of music. In this paper, I draw on ethnographic playful, national and individual, European and indigenously Japanese, interviews and field encounters in the United States and the United Kingdom 1 Society for Ethnomusicology 60th Annual Meeting, 2015 Abstracts to examine the ways in which music shapes and influences the performance Notable among the Peligrosa DJs is their recurring use of cumbia, a genre and structure of Jewish ritual. I begin with a brief examination of the sonic with roots in Colombia's Caribbean coast but that has become popular structure of the Sabbath and the ways in which a contemporary service leader throughout the Americas, especially in working class communities. What is might select a blend of traditional, modern, local, or international Jewish the role of cumbia in global bass? Why did this scene start so early in Austin, musical cues to shape and define the sacrality of this time for that particular and how does it fit into a larger trend? In this paper, I present research from congregation. I then explore strategies of using music to shape the practice of ongoing dissertation fieldwork among DJs and audiences. I argue that more recent Jewish rituals, such as preserving and transmitting the memory cumbia's transnational spread, which emphasized its "tropicalness" while of the Holocaust and rituals devoted to spiritual healing and recovery from downplaying racial and national ties, makes it an ideal vehicle for sounding a physical and psychic traumas. I discuss traditional and contemporary pan-Latino identity. Global bass DJs perform subcultural work, and of requirements for delineating and shaping sacred time, and explore some of the particularly importance in a city like Austin that fashions itself a musical innovations that service leaders are implementing in congregational life today. capital and trendsetter. This "cumbia cosmopolatina", following Deborah Pacini Hernandez, mediates a series of binaries--traditional/modern, Conflicted Histories: Tracing Modern Knowledge about a Thai Royal immigrant/native, global north/south, etc.--that are imagined to be at the Ensemble heart of the Latino, and implicitly the contemporary cosmopolitan, experience. Supeena Adler, University of California, Riverside Experiments in Collaborative Analysis: Making Sense of Thumri with Musical knowledge in the Thai tradition is transmitted much like music, Expert Listeners orally and through close relationships between teachers and students. Chloe Alaghband-Zadeh, University of Cambridge Musicians are considered to be authoritative carriers of musical knowledge, while non-musicians and historical texts are often not highly regarded by What is the relationship between listening to music and analysing it? For musicians. In this paper, I investigate divergent accounts of the history of a connoisseurs of North Indian classical music (rasikas), the two activities are unique Thai royal ensemble from living practitioners and historical texts. I closely related. Rasikas typically pride themselves on their knowledge of focus on the khrueangsai pii chawaa ("string instruments with Javanese music theory and of the typical stylistic characteristics of different gharanas oboe") ensemble in central Thailand, a highly-regarded ensemble known for its (pedagogical lineages). When listening to live performances, they pay careful repertoire, tuning, high level of difficulty, and overt and exceptionable attention to musical nuances, commenting or gesturing whenever they hear virtuosity. Khrueangsai pii