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Society for Ethnomusicology Abstracts Society for Ethnomusicology Abstracts The “Remembered” Song and the “Demented” Mind: How poem “Oh Father, I’m Yusuf” (1995). The song’s reference to a Music Creates Meaning for the Caregivers of Patients with Qur’anic verse drew hostile reactions from conservative Muslim End-Stage Dementia factions, who charged that Khalife’s setting was offensive to some Theresa A. Allison, (University of California, San Francisco) Muslims. It is ironic that an artist like Khalife, who was honored by the UN in 1995 as UNESCO Artist for Peace because he sang for The nursing home represents a new type of village. Skilled nursing love, freedom, and liberation, would be the center of a controversy facilities function as artificially constructed societies within which dealing with freedom of expression and censorship. Khalife elders attempt to create meaningful lives, and music serves as an challenged the court and its persecution of artists, claiming that the outlet for creativity and expression. Music involvement takes Lebanon he knew has become a country of civil war, self-destruction, multiple forms in these villages, including passive listening to radios and intolerance. Using Khalife’s case as an example, in this paper I at nursing stations, interaction with visiting musicians, and examine various social, cultural, and political factors that have participation in endless sing-alongs. Within this context, contributed to the polarization of art in the Middle East. I conversations with musicians, families and staff members alike contextualize this examination by detailing the role Khalife’s music inspire spontaneous retellings of one particular story, that of an end- plays in Arabic culture, among rising social and political tensions. stage Alzheimer’s patient who responds to a song. In each version, Further, I analyze the music and its implications on both Christian the resident, mute and unresponsive to speech or gentle touch, sits and Muslim communities in Lebanon in order to illustrate music’s bolt upright in response to a song. The “light comes on in her eyes.” paramount role as a social force capable of either uniting or dividing She focuses on the performer and makes eye contact that has a a nation. Finally, I argue that the controversy regarding Khalife’s profound impact on the storyteller. After the song ends, she slumps, “Oh Father, I’m Yusuf” reflects rising tensions among religious the light fades, and she retreats into the haze of end-stage dementia. factions over censorship, art, and political freedom in the Middle This paper, based on ethnographic fieldwork as a geriatric physician East. in a 430-bed nursing home, analyzes multiple versions of this trope in order to better understand the ways in which music is used to create meaning not only for dementia patients, but also for their The Commercialization of Mambo in Post-War America: caregivers. I focus primarily on the ways in which these moments When Canasta was Replaced by Mambo Lessons create a sense of connection for the people around the patients. In a Monica Ambalal, (California State University, Long Beach) situation in which relationships are impeded by the resident's cognitive disability, I assert that music has a unique, indexical In 1951, the increasing interest in the mambo dance form caused a power that translates into a perceived bridge between caregiver and rise in Latin record sales in the U.S., and by 1954 in particular, patient. America fostered an obsession with the dance that eventually lead to the “mambo craze”. This sudden infatuation with mambo aided in the exposure of Latin music to Americans, however, the dance Marcel Khalife’s “Oh Father, I’m Yusuf” and the Struggle For morphed into an Americanized version that strayed from its Cuban Political Freedom and Religious Sensitivity roots due to an over-processing of mambo in the media, advertising, Nasser Al-Taee, (University of Tennessee) and recording industries. Additionally, mambo became inclusive to the aspect of social dance and dance studios began offering mambo In the mid 1990s, celebrated Lebanese artist Marcel Khalife was lessons as part of their curriculum. Soon, formal dance diagrams accused of blasphemy by Dar al-Fatwa, Lebanon’s highest Sunni began appearing in performing arts periodicals as well as popular authority because of his setting of Palestinian Mahmoud Darwish’s weekly magazines, and although the basic mambo step was outlined 1 November 15-19, 2006 • Honolulu, Hawai‘i Society for Ethnomusicology Abstracts in many of the diagrams, the idea of viewing the dance in a pre- Pre-Performance Composition and Composition-in- conceived and structuralized manner caused uninformed readers to Performance: Towards a Theory of Improvisation in Akan misinterpret the dance. Simultaneously, rock n’ roll music was Nnwonkoro Songs gaining popularity, and in the dance hall atmosphere the evolution of Kwasi Ampene, (University of Colorado atBoulder) both forms resulted in the birth of a hybrid jitterbug-mambo that became popular with younger performers. These developments Nnwonkoro is a genre of women’s song and one of the most caused thousands to perform the mambo with a lack of regard to the exuberant vocal traditions found among the Akan-speaking peoples authentic Afro-Cuban structure and nature of the dance. To prove of Ghana. Nnwonkoro groups perform regularly at funerary my argument, I will present a comparison between Cuban and celebrations, on state occasions, for entertainment and sometimes in American forms of mambo, and a media presentation of dance the Christian Church. While several factors contribute to the diagrams, news clippings, and musical examples will be included. popularity of nnwonkoro, the most crucial factor is the ability of the performers to recompose or improvise songs in the traditional repertory in order to make them meaningful for those who attend the “Encounter of Myth and Dance on Tanna” events. As in other oral-based vocal traditions in Africa, the Raymond Ammann, (University of Basel, Switzerland / Vanuatu) performers recognize fixed texts that exist prior to performance and as a result, improvisation during performance is based on the In the interior of the island of Tanna (in the southern islands of elaboration of pre-figured musical ideas. Based on long-term field Vanuatu), the culture has changed little since colonization; western research among the Akan, my presentation will focus on the products and Christianity are still rejected, and Islanders pride enabling devices deployed by performer-composers of nnwonkoro, in themselves on the strength of their cultural retention. The cultural particular, the underlying theories that inform the choice of musico- change that this paper concerns, however, goes further back in textual materials. history than colonization and takes place in a time before written sources. Local myths tell of important social changes that took place during the period before first contact, when an egalitarian two-class Music, Instruments, and Regalia in the Great Lakes Region system changed to a hierarchical three-class system. In comparing of East Africa the events of these 'historic-mythical' accounts with contemporary Lois Ann Anderson, (University of Wisconsin-Madison) Tanna music and dance traditions, surprising parallels become evident. Drawing upon both local myths and the particularities of In the kingdoms and chiefdoms of Uganda, Tanzania, Rwanda and choreography, musical form, structure, and meaning, I show how the Burundi, musical instruments were a part of the kingdom’s or two major dance forms of the island indicate their affiliation to time chiefdom’s regalia. The king/chief struck the drum of either before or after this orally-recorded social and cultural change. kingship/chiefship at his coronation and, in some areas, this drum During both periods, the dances were grounded in exchange was never struck again during his reign.Other instruments which ceremonies and formed the major feature of social events; thus, were found at court performances included praise drums, a drum interpreting the symbolism and meaning of the dances requires chime, trumpets, flutes, harps, lyres, zithers, and xylophones. A understanding the function and structure of these ceremonies at multiplicity of drums was characteristic of each area, associated with different times in the history of Tanna. The power of these dances to the drum of kingship/chiefship, or played in tamden with sets of tell us—from an islander perspective—about historical events that melody instruments. In some areas the drum of kingship had its own took place prior to first contact is due to islanders’ ability to frame regalia, including musical instruments.While the dance as a vivid “memory” of the past. kingdoms/chiefdoms of the Great Lakes region of East Africa were 2 November 15-19, 2006 • Honolulu, Hawai‘i Society for Ethnomusicology Abstracts culturally and, often, historically related, some distinctions can also ethnography. This point will be shown through elaborating upon one be identified in terms of musical instruments. Praise drums were field encounter in which my primary collaborator, Fort Sill Apache characteristic of Buganda, Bunyoro, and Toro. A drum-chime and tribal historian Michael Darrow, schooled me on the finer points of xylophones were found only at the court in Buganda. Trumpets were Plato, epistemological objectification, and chocolate cake, thus found in most kingdoms, except Burundi. Sets of single tone flutes leaving us to answer the question: which came first—the dialogue, were characteristic of Bunyoro, Toro, Nkore, Kiziba, and Rwanda. the hermeneutic-phenomenological philosophy, or the Apachean Multi-tone flutes were characteristic of Buganda and Nkore. The chocolate cake? harp was characteristic of Bunyoro and Buganda, while the lyre was found in Buganda. The zither was characteristic of Bunyoro, Toro, Nkore, the Haya chiefdoms of Tanzania, Rwanda, and Burundi. This “We've Got Names”: Immigrants, Individuals, and Identity in paper will explore the historical and cultural characteristics of the African [American] Hip Hop. royal and regalia instruments of the kingdoms and chiefdoms in the Catherine M.
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