Zimfest 2007 Registration Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Z Is for Zimbabwe – Sample Chapter from Book
Copyrighted Material MEET ZIMBABWE! is for Zimbabwe MALAWI Z ZAMBIA a m b e z i r R ive i v R Z e i a r z m e Lake Kariba b b ez m i Za Ri NAMIBIA HARARE ve Victoria r Falls MUTARE MOZAMBIQUE BULAWAYO Great INDIAN Zimbabwe OCEAN BOTSWANA SOUTH AFRICA Z is Zimbabwe, the great “House of Stone,” Where zebras, giraffes and elephants roam. ZIMBABWE 311 Sample Chapter from "Australia to Zimbabwe" ©2015 Copyrighted Material MEET ZIMBABWE! Here you can hear the mbira’s soft sounds [em-BEER-rah] Calling the ancestors Mbira out of the ground. (Thumb Piano) Here Victoria Falls Victoria Falls from the river Zambezi, [zam-BEE-zee] “Mosi oa Tunya” And across the plateau, the weather is easy. Here men find great sculptures hidden in stones, Stone Sculpture Near fields where tobacco and cotton are grown. But their food is from corn Cotton served with sauce (just like pasta) – For breakfast there’s bota, for dinner there’s sadza. Once a colony British called Southern Rhodesia, Sadza This nation was founded on historic amnesia Bota 312 ZIMBABWE Sample Chapter from "Australia to Zimbabwe" ©2015 Copyrighted Material MEET ZIMBABWE! Brits believed civilization arrived with the whites, Who soon took the best land and had all the rights. Cecil Rhodes Rhodesia’s Founder They couldn’t believe Great Zimbabwe had been Great Zimbabwe Constructed by locals – by those with black skin. This fortress in ruins from medieval times Bird Sculpture from Had been city and home Great Zimbabwe to a culture refined. White settlers built cities Great Zimbabwe and farms in this place, And blacks became second class due to their race. -
Human Rights for Musicians Freemuse
HUMAN RIGHTS FOR MUSICIANS FREEMUSE – The World Forum on Music and Censorship Freemuse is an international organisation advocating freedom of expression for musicians and composers worldwide. OUR MAIN OBJECTIVES ARE TO: • Document violations • Inform media and the public • Describe the mechanisms of censorship • Support censored musicians and composers • Develop a global support network FREEMUSE Freemuse Tel: +45 33 32 10 27 Nytorv 17, 3rd floor Fax: +45 33 32 10 45 DK-1450 Copenhagen K Denmark [email protected] www.freemuse.org HUMAN RIGHTS FOR MUSICIANS HUMAN RIGHTS FOR MUSICIANS Ten Years with Freemuse Human Rights for Musicians: Ten Years with Freemuse Edited by Krister Malm ISBN 978-87-988163-2-4 Published by Freemuse, Nytorv 17, 1450 Copenhagen, Denmark www.freemuse.org Printed by Handy-Print, Denmark © Freemuse, 2008 Layout by Kristina Funkeson Photos courtesy of Anna Schori (p. 26), Ole Reitov (p. 28 & p. 64), Andy Rice (p. 32), Marie Korpe (p. 40) & Mik Aidt (p. 66). The remaining photos are artist press photos. Proofreading by Julian Isherwood Supervision of production by Marie Korpe All rights reserved CONTENTS INTRODUCTION Human rights for musicians – The Freemuse story Marie Korpe 9 Ten years of Freemuse – A view from the chair Martin Cloonan 13 PART I Impressions & Descriptions Deeyah 21 Marcel Khalife 25 Roger Lucey 27 Ferhat Tunç 29 Farhad Darya 31 Gorki Aguila 33 Mahsa Vahdat 35 Stephan Said 37 Salman Ahmad 41 PART II Interactions & Reactions Introducing Freemuse Krister Malm 45 The organisation that was missing Morten -
Politics and Popular Culture: the Renaissance in Liberian Music, 1970-89
POLITICS AND POPULAR CULTURE: THE RENAISSANCE IN LIBERIAN MUSIC, 1970-89 By TIMOTHY D. NEVIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 © 2010 Timothy Nevin 2 To all the Liberian musicians who died during the war-- (Tecumsey Roberts, Robert Toe, Morris Dorley and many others) Rest in Peace 3 ACKNOWLEDGMENTS I would like to thank my parents and my uncle Frank for encouraging me to pursue graduate studies. My father’s dedication to intellectual pursuits and his life-long love of teaching have been constant inspirations to me. I would like to thank my Liberian wife, Debra Doeway for her patience in attempting to answer my thousand and one questions about Liberian social life and the time period “before the war.” I would like to thank Dr. Luise White, my dissertation advisor, for her guidance and intellectual rigor as well as Dr. Sue O’Brien for reading my manuscript and offering helpful suggestions. I would like to thank others who also read portions of my rough draft including Marissa Moorman. I would like to thank University of Florida’s Africana librarians Dan Reboussin and Peter Malanchuk for their kind assistance and instruction during my first semester of graduate school. I would like to acknowledge the many university libraries and public archives that welcomed me during my cross-country research adventure during the summer of 2007. These include, but are not limited to; Verlon Stone and the Liberian Collections Project at Indiana University, John Collins and the University of Ghana at East Legon, Northwestern University, Emory University, Brown University, New York University, the National Archives of Liberia, Dr. -
Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge
Mhishi, Lennon Chido (2017) Songs of migration : experiences of music, place making and identity negotiation amongst Zimbabweans in London. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/26684 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Songs of Migration: Experiences of Music, Place Making and Identity Negotiation Amongst Zimbabweans in London Lennon Chido Mhishi Thesis submitted for the degree of PhD Anthropology and Sociology 2017 Department of Anthropology and Sociology SOAS, University of London 1 I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
The Musician in New and Changing Contexts
/ iÊÕÃV>ÊÊ iÜÊ>`Ê >}}Ê ÌiÝÌÃÊÊ - Ê ÃÃÊ-i>ÀÊ£n * ,-* /6 -Ê Ê 1- Ê Ê 1- Ê 1 /" * ,-* /6 -Ê Ê1- Ê Ê1- Ê 1 /" Ê "ÊÎ £°Ê >À>Ê iViÀÀÕÛÃÌi`Ì]Ê Ê}Û>ÀÊ"ÃÃÊEÊ Û>Ê-CÌ iÀ\Ê7", Ê 1- Ê- ""ÊÊÕÃÕ`iÀÛÃ}ÊÊiÊF}ÕÌÕÀiÊÃ>°Ê> / iÊ- Ê ÃÃÊvÀÊÌ iÊ `ÕV>ÌÊvÊ ÊÓäää°Ê*«ÊÇ{° Ì iÊ*ÀviÃÃ>ÊÕÃV>]Ê£nÊ-i>ÀÊ Ó°Ê / iÊ- Ê ÃÃÊvÀÊÌ iÊ `ÕV>ÌÊvÊÌ iÊ*ÀviÃÃ>Ê Ê ÕÃV>°Ê/ iÊÕÃV>AÃÊ,i\Ê iÜÊ >i}iÃ°Ê Ê>À>Ài]Ê<L>LÜi Ê >ÊÓäää°Ê*«ÊÓ£Ó°Ê `ÌÀ\Ê>VʰÊ"Û> Î°Ê / iÊ- Ê ÃÃÊvÀÊÌ iÊ `ÕV>ÌÊvÊÌ iÊ*ÀviÃÃ>Ê Ê ÕÃV>°Ê/ iÊÕÃV>ÊÊ iÜÊ>`Ê >}}Ê ÌiÝÌÃ°Ê / Ê1- Ê Ê 7Ê Ê >ÊÓääÓ°Ê*«Ê£xÈ°Ê `ÌÀ\ÊF>ÊÕ`ÃÌÀ Ê Ê " / 8/-Ê `Ìi`ÊLÞÊF>ÊÕ`ÃÌÀ -ÕLÃVÀ«ÌÊÌÊÌ iÊÃiÀiÃÊ>`ÊÀ`iÀÃÊvÀÊÃ}iÊÛÕiÃÊà Õ`ÊLiÊ>``ÀiÃÃi`ÊÌ\ >ÊV>`iÞÊvÊÕÃV]Ê ÝÊnÓäÎ]Ê- ÓääÊ{£Ê>]Ê-Üi`i -- Ê£{ä{ÈäÎÓ Î • 1 Publications from the Malmö Academy of Music PERSPECTIVES IN MUSIC AND MUSIC EDUCATION NO 3 The ISME Commission for the Education of the Professional Musician 1998 Seminar in Harare, Zimbabwe THE MUSICIAN IN NEW AND CHANGING CONTEXTS Edited by Håkan Lundström 2 • THE MUSICIAN IN NEW AND CHANGING CONTEXTS The Musician in New and Changing Contexts The ISME Commission for the Education of the Professional Musician, 1998 seminar in Harare, Zimbabwe © The authors & Håkan Lundström 1998 ISSN 1404-6032 Legally responsible: Håkan Lundström Publications from the Malmö Academy of Music: PERSPECTIVES IN MUSIC AND MUSIC EDUCATION NO 3 Printed by: Media-Tryck, Lund University, Lund 2002. -
Sem{Studentnews}
SEM{STUDENTNEWS} An official publication of the Society for Ethnomusicology MUSIC AND DIASPORA Welcome! A Letter from the Editor 1 SEM Reports 2 Student Voices 3 The State of the Field 4 Dear SEM 7 Discerning Diaspora 9 Diaspora, Globalization, Transnationalism, Oh My! 10 The Fate of Diaspora 12 The Diaspora Nyunga Nyunga Mbira 13 Songs of a Lost Tribe 14 Diaspora and Technology 15 Towards an Ethnography of the ‘Diaspora’ 17 Reflections on Multi-Sited Ethnographies: Volume 10 | Spring/Summer 2015 Volume An Interview with Deborah Wong 18 Join your peers by ‘liking’ us on Diasporic Sounds: A Resource List 21 Facebook, and get Our Staff 24 the latest updates and calls for submissions! information for cover image found on page 24 Musical Diasporas, Diasporic Musics To our faithful readers and those that “home”—my knowledge base are quite unique, but as the perusing our pages for the first of these issues has grown in photographer of the above image time, welcome to Volume 10 of editing this volume. It is my hope points out, they are indeed SEM Student News. Within that yours will too. I am pleased diasporic—representing the ethnomusicology and cognate to say that we had numerous Atlantic experience and the New disciplines, the term “diaspora” responses to our calls for World experience—of African has been problematized and submission, and we look forward Americans working within these defended, substituted and to continued engagement with communities. This nuanced accepted; here, our contributors both student and professional understanding of diaspora lends engage with the issues and current ethnomusicologists. -
Zimfest 2006 Registration Guide
Zimbabwean Music Festival Pre-Fest: July 20 Festival: July 21 - 23, 2006 Oregon Country Fair Site, Veneta, Oregon Dancing Under the Stars Greetings New This Year Welcome to the ever-growing community of Zimbabwean music Besides holding our Festival outdoors and “dancing under the stars,” lovers!! Summer is reaching out to us through the drizzle. Spring rain what’s new this year? Well, much of the food we’ll eat is being grown drumming on the window, budding branches rattling together, birds just for us! “Hey Bales! Farm” near Eugene is planting rows and rows singing in the morning as the sun breaks through the clouds - all of greens for our event. It will be fresh and healthy. More about the whisper to us of the spirit of mbira, the pulse of the marimba, the heart food on page 3. Yum. of our family. The Zimfest community in Eugene wishes to open our arms with joy and invite you all to a very special 15th Zimfest, We considered the idea of a “one price” festival, but instead created a “Dancing Under the Stars - Zimfest 2006” cost structure that better reflects your needs. We believe it will be a little less expensive for most of you, especially those with kids. This year our gathering will be on the Oregon Country Fair site near Everyone under 12 will be free, paying only for workshops. Veneta, Oregon, 15 miles west of Eugene. Native Americans have laughed and danced on this land for centuries. Their spirits look over The Main Stage is the Only Stage this year. -
The Kalimba, Its African History, and Black Pride V3.Indd
e Kalimba, its African History, and Black Pride Mark Holdaway Kalimba Magic ere are so many types of kalimba! Where did it all start? e Kalimba is an ancient instrument from Africa First documented by a European in 1586 when Portugese mis- sionary Father Dos Santos wrote about a 9-note instrument called the Ambira while traveling in Mozambique: “ ey strike the keys as lightly as a good player strikes those of a harpsichord... they produce a sweet and gentle harmony of accordant sounds.” But the kalimba was already an ancient instrument in 1586! First invented about 3000 years ago... Bamboo kalimbas! About 1300 years ago, metal-tined kalimbas were born in southern Africa when the Iron Age arrived. Hugh Tracey (1903-1977) was a “musical explorer” of Africa, traveling, document- ing, and recording music in southern Africa for 50 years. But Hugh’s son Andrew Tracey comes closer to un- locking the secrets of the kalimba.... Andrew Tracey beside a pho- to of his father Hugh Tracey, Starting in the late 19th century, imperi- alistic European colo- nization in Africa took much land from Afri- ca’s peoples. Cities developed and in the 1920’s and 30’s poor Africans moved to cities for jobs and a new and dif- ferent life from their tradi- tional, rural roots. Durban, South Africa, circa 1925. Blacks were not allowed to own land or live in cities. If they wanted to work, black migrants were forced to live in shantytowns, or townships, that sprang up around the cit- ies. Europeans had almost no regard at all for traditional African music, and from long before colonial days in Africa, Christian missionaries had been preaching and teaching hymns. -
Fall 2017 Whole Notes
Fall 2017 WholeThe magazine for friends and alumni of the UniversityNotes of Washington School of Music IN THIS ISSUE 3 . School News School 6 . Sophisticated Whittling From the Director 8 . Archival Transitions Complete News This issue of Whole Notes 10 . Faculty News FACULTY COMPOSER HUCK HODGE GRANTED CHARLES IVES LIVING AWARD offers a look back at the 12 . New Publications and Recordings The American Academy of Arts and Letters has named UW faculty composer Huck Hodge the recipient of the Charles Ives Living, the largest monetary award granted exclusively to 13 . New Faculty 2016-17 academic year American composers. 14 . UW Music in the Common Tent and the briefest glimpse 16 . Making Appearances Honoring mid-career composers of unheralded acclaim, the cash award of $225,000 enables— of the work engaging and in fact requires—the recipient to “quit his day job” for a two-year period in order to focus 18 . Student and Alumni News our students, faculty, solely on composing, a luxury not afforded Ives himself, who composed the body of his work 20 . In the Community in relative obscurity while earning a living in the insurance trade. and alumni. As you will 21 . Grand Finale While on leave from the UW starting July 1, 2018, Hodge (who currently serves as chair of read in this issue, our 23 . Scholarship Chamber Groups the UW Composition program) plans to continue his prolific output of new works developed 24 . Giving Notes achievements take many in his eight years on the UW Music faculty, during which he has garnered numerous honors, including a prestigious Rome Prize in Composition, the Gaudeamus Prize, the ISCM League of 26 . -
MFD2007-2014Booklet.Pdf
2007–2014 Music Freedom Day 2007–2014 Compiled & edited by Sunna Reitov Korpe Report no. 12/2014 ISBN: ISBN 978-87988163-8-6 Published by Freemuse Jemtelandsgade 1, 2300 Copenhagen S., Denmark www.freemuse.org www.artsfreedom.org Copyright Freemuse, 2014-10-14 Graphic design: Sunna Reitov Korpe Cover by Mik Aidt Drawing, p. 4 & Music Freedom Day logo, by Kristina Funkeson, p. 49. Music will not be Silenced logo by Ümit Kurt, p. 49. Photos and artworks published with courtesy from partners. Editorial advisor: Marie Korpe Freemuse receives funding from The Swedish International Development Corporation Agency & The Norwegian Ministry of Foreign Affairs 2 MUSIC FREEDOM DAY 2007–2014 Thanks to all event organisers, collaborators and partners who have participated in Music Freedom Day. Music Freedom Day is a powerful, united manifestation to support persecuted, prosecuted and imprisoned musicians, many of whose only crime has been that they have spoken up against authorities and insisted on the right to express Special thanks to all musicians and artists, who themselves through their music. Furthermore it is a day to contributed and continue to fight for freedom of musical highlight the role and impact of music in our societies. expression worldwide, and to local sponsors and main Worldwide, musicians’ and composers’ rights to freedom of donors: expression are violated, but the strong support for Music Freedom Day every year demonstrates the will to continue the advocacy and defence for the universal rights to compose, perform and participate in musical activities. Björn Afzelius International Culture Foundation & Media houses in Canada, USA, Zimbabwe and Pakistan joined Roskilde Festival Charity Society the first global Music Freedom Day. -
MUSICKING at HOME on the WOOD THAT SINGS: CONTEMPORARY MARIMBA PERFORMANCE PRACTICES in ZIMBABWE by WONDER MAGURAUSHE Submitted
MUSICKING AT HOME ON THE WOOD THAT SINGS: CONTEMPORARY MARIMBA PERFORMANCE PRACTICES IN ZIMBABWE by WONDER MAGURAUSHE Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA Supervisor: Professor Marc Duby JUNE 2017 Declaration I declare that MUSICKING AT HOME ON THE WOOD THAT SINGS: CONTEMPORARY MARIMBA PERFORMANCE PRACTICE IN ZIMBABWE is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Initials and Surname: W. Maguraushe Student number: 55544681 Date: June 2017 ii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Professor Marc Duby for his visionary guidance and dedication, which kept me on radar throughout the compilation of this thesis. May the Lord bless you abundantly. To my family, thank you so much for enduring long periods without me as I travelled to attend to the demands of this research. Your support makes you my most prized companions. For making this study possible, I would like to acknowledge all my research participants; marimba performers, marimba makers, marimba music fans, and festival organisers. Your commitment to Zimbabwe marimba music performance practice has a reserved place in my heart. To Richard and Isaac, I say bravo! I am personally indebted to members of Rimba Resonance Vibes Ensemble for being such a wonderful band to work with. All of you are destined for dizzy heights in the world of marimba music performance; just keep on scaling! iii ABSTRACT This thesis explores the current state of marimba music performance practice in Zimbabwe. -
Zimbabwean Mbira Music and Modern Spirituality in the Western United States
Zimbabwean Mbira Music and Modern Spirituality in the Western United States Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By James Daniel Lindroth, BM Graduate Program in Music The Ohio State University 2018 Thesis Committee: Ryan Skinner, Adviser Isaac Weiner Michelle Wibbelsman Copyright by James Daniel Lindroth 2018 Abstract Zimbabwean music found its way to the Western United States through a visiting artist in the ethnomusicology department at University of Washington in the 1960s. In this paper, I look at some of the consequential musical practices that have spread throughout the United States since then. More specifically, I look the mbira dzavadzimu, a lamellophone from the Shona people of Zimbabwe, and the role its music has taken on within the North American Zimbabwean music community. I examine the ways the music also fits within movements of modern spirituality, defined by the borrowing of foreign practices as a means of accessing “spiritual experiences.” I trace a history of the instrument through the United States, as well as the spread and attention to it within both the North American musicking community and scholarship. I then describe the “spiritual” felt by mbira players and how the sociality inherent to the performance of the instrument helps define said spiritual experiences. Finally, I describe the practices of American mbira players and the ways engaging with the music authentically allows them access to heightened affective states. This document serves the purpose of showing the ways mbira dzavadzimu is positioned within modern spirituality and the idiosyncrasies of mbira performance as a spiritual practice.