Volume 14, Number 1 | Spring/Summer 2018 ISSN 2578-4242 to theclassroom every week, we nevertheless set ofdiscipline-specific toolsandmethodologies pass up. eachofusclearlyWhile bringsa different in theclassroom was anopportunity Icouldnot collaborating with a politicalscientist who “gets it” be commonplacetomost ethnomusicologists. Yet, concept, theconfluenceofmusicandpoliticsmay trans-institutional teamteaching. As a theoretical as partofour university’s initiative tosupport in Africa:APedagogical Perspective The Coextensive MomentofMusicand Letter from theSEMPresident SEM for submission! updates andcalls to get thelatest and semsn.com Facebook by following uson Join your peers © the Societyfor A publicationof , Twitter , and African Politics,” “Rhythm ofChange: African scientist Keith Weghorst, titled co-teach a course with political at Vanderbilt University where I wind down thespring semester As I write thisbriefreflection, I Stadium Shows and Spotify: and the Complicity of Consumption 29 { STUDENTNEWS “We’re Not GonnaTake It”:Trump West andStriking Virginia Teachers 22 Deconstruction asPolitical in JanelleMonáe’sDeconstruction Discourse “Q.U.E.E.N.” 25 After theMudslides:TheEthicsof , Witnessing,andFieldworkAfter 51 Peacebuilding, Not Politics: MusicandMESPO’s Modelfor Change46 Audiovisual Frames: WhatFilmsCanDo:AnInterview withJeffRoy 14 Glocal Politics inBavarian SlangRap:“Wolli” by &Maniac37 Liquid Analogies ofPolitical Structure inEthnomusicologicalWriting 56 Music andConflictResolutioninIsraeli-Palestinian Relations42 Cover &Maniac/Demograffics ©(seepage37) ofLiquid imagecourtesy Student Voices:Student WhoCares AboutEthnomusicology?5 “Baile deFavela” andItsSoundingTransgressions 32 Beyond theIRB:Affirmative ConsentintheField54 Politics &Music:AnAnnotated Bibliography 60 of coursesfrom which they could draw preexisting variety ofbackgrounds anda meager assortment program, thestudentscametocourse with a images inour joint sessions. to noticefewer charts,diagrams,andorganological we establisheda pedagogical groove, andIbegan musical instruments. After several weeks, however, had wonderfully complex graphs;Ihadslides with seemed tobespeaking different languages—he scientist” was versus the“ethnomusicologist.” We was crystal clear tothestudents who the“political say that when we firststartedteaching together, it doctoral-level field research in Tanzania). Ishould we have incommon(note thatbothofusconducted musical repertoires, andpedagogical experiences continue tobesurprisedathow many casestudies, Since Vanderbilt doesnothave an African studies Ethnomusicology andEmpathy49 Letter from theSEMPresident 1 MUSIC AND POLITICS Thoughts from theField10 continued on next page . . Dear SEM19 Our Staff 63 } 1 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 for © Ethnomusicology Sudan, (6) Rwanda, and(7)Somalia. substantive coursework. The country casesinclude:(1)Nigeria, (2) Tanzania, (3) Sierra Leone,(4) South Africa, (5) Section 1.3:CountryProfiles. Our review ofpoliticalhistory will focus inparticular onthecases thatguideour century. post-colonial period(1960–1990s), theresurgence ofdemocratization(1990–later 1990s), andthetwenty-first of thepoliticssub-Saharan Africa, focusing inparticular onthelate-colonialperiod(1940–1950s/60s), the Rwandan genocide toldby Wyclef Jean, addressing stereotypes early oniscritical. We will provide a briefhistory about landing inthe “beautifulcountry of Africa,” Toto blessing therainsofsub-Continent,or lessonsofthe . We establisha criticalapproach toward images of Africa from thestart. Whether itsRick Ross tweeting politics andmusic. This sectionalsointerrogates preconceptions about Africa asa continent,itsmusic,and the importanceoforaltraditionin Africa asa means ofspreading information, making itidealfor thestudy of and, asa consequence, musicasa form ofcommunicationisstillcritical. This introductory goal establishes political narratives isprominent in African . Illiteracy hasremained highinmany African countries, knowledge about Africa anditspoliticsmusic.Orationasa means ofcommunicating historicaland Section 1.2:Why Africa? it isusedandprocessed by humans. introductory goal ofthecourseistounderstandmusicasanagent ofpoliticalchange through the ways in which and emotionalresponses. We alsostudy how musicisusedasa meansofspreading information. Our first us andshapeour behavior? Our classbeginsby exploring how thestimulusofmusicelicitsmental,physical, Section 1.1:Why Music? Why doesmusichave a strong andpowerful influenceonhumans? How doesmusicaffect Section 1:Background andCoursePreliminaries Outline Course from Mali. a week-long residency with a multi-ethnicgroup of Sams’K Lejahfrom Burkina Faso andculminating in including a week-long visit with revolutionary artist for thesemester, allowing for several deviations, below mapsouttheconceptualtrajectory we planned spirit ofespritdecorps,thedetailedcourseoutline semester andtheintendedlearning outcomes.Inthe frequently deviated) togive a senseoftheflow ofthe I includea rough outlinebelow (from which we Tennessee, specifically theSomalicommunity. dive intolocalimmigrantcommunitiesinNashville, into four substantive unitsculminating ina deep presented inclass. We conceptualizedthecourse or musicalbackgrounds ofindividual casestudies basic information, assuming nothing ofthepolitical feeder courses). So,inmostcases, we started with in African Music and African Politics were direct information (it turnedoutthatour individual courses . continued Letter from theSEMPresident A secondintroductory goal ofthecourseisdeconstructing students’ preexisting directly [email protected]. structure andreadings. Feel free tocontactme any reactions or insight,especially regarding course the first for thiscourse,I would ofcourse welcome we documentthecourseexperience. As this was invitevisit to you course from which we drew our daily readings. Ialso the bibliography [ and historic African . Inaddition,Iinclude music andpoliticsinthestudy ofcontemporary of our ideologicalperspectives ontheroles of syllabus butrather asa road mapfor theemergence outline below shouldnotbeunderstoodasa strict such a way hadbecomesecondnature. The course of theinterdependence ofmusicandpoliticsin politics,” casually intheir interviews asifthinking the phrase,“coextensive momentofmusicand President, Societyfor Ethnomusicology Gregory Barz,Vanderbilt University By theendofcourse,Iheard studentsusing rhythm-of-change.com, where available atsemsn.com continued on next page . . ] for the ■ 2 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology stations on day. constituencies, they alsousemusicians tobring otherwise disenchanted voters intotheparty fold andpolling Africa inthemultiparty era. dominantpartieslikeWhile the ANC useclientelismand kickbackstolure key Me My MachineGun”), we study how dominantpartiesusemusicin political campaignsby turning toSouth Section 3.4:The African National Congress’s Electoral Dominance . Centering on“Aweluth’ Umishini Wami” (“Bring power andresistance during apartheid. in popular musictotheefforts ofSouth Africa’s government BantuRadio, we cover thecomplex terrainof its role inresistance totheapartheidregime. From therhythms thatpowered resistance andhiddenmessages Section 3.3:Music and theFight Against Apartheid. Our firstinvestigation intoSouth Africa’s music focuses on party, Movement ofthePeople. 1960s–1980s insub-Saharan Africa. We follow Kuti’s story inorder toseetheoriginsofhisNkrumahist political We explore thepoliticsofdissentunder military rule, a form ofgovernment thatpredominated from the criticizing theNigerian military (“Zombie”) andmilitary dictator Olusegun Obasanjo (“Coffin for Headof ”). Section 3.2:Fela Kuti and theKalakuta . We reflect on Fela Kuti’s ShrineinLagos and anthems systems; and(4) thestructure ofelectoralcampaignsin which oppositionfacesdisadvantages. post-colonial Africa; (2)theriseofelectoralauthoritarianism inthepost-Cold-War era;(3) single-party dominant and themodalregime typein Africa isa variety ofauthoritarianism. We focus on:(1)military dictatorshipsin Section 3.1:Democratization and . Africa’s post-colonialhistory islargely defined by non-democraticrule, We thenmove tounderstanding therole ofmusicinthosepoliticalevents through case-driven studies. We begin with readings onkey politicalscienceconceptsinorder toscaffold an exploration ofmusicandpolitics. Section 3:Music,, andDictatorship andtheliving legaciesoftheUniversal Negro Improvement Association andtheUhuruMovement. Renaissance andintocurrent popular hip-hopandrap. We draw attentiontolinkages ofmusicandpoliticsinthe with particular attentiontoitsemergence intheUnited States during theculturalrevolution oftheHarlem themes ofPan-Africanism inmusicsfrom the African continent. We alsostudy Pan-Africanism inthe West, Section 2.4:Musical Pan-Africanism . Africa and African unity isa themeinsub-Saharan African . We trace image ofstrength through difference. encountered theimpossibletask ofcreating unity. We study theefficacy ofbuilding therainbow nationandan era. Faced with thedifficulttasksoferasing yearsofinstitutionalizedsegregation andbrutality, party leaders Section 2.3:South Africa: Coloring theRainbow Nation. We turnour attentiontoSouth Africa in thepost-apartheid modern Tanzania, where Zanzibar stillseekspoliticalautonomy. alongside subnationalZanzibariidentity. We explore thesuccessesandshortcomingsofidentity formation in of traditionalauthority, andhow taarab musichasbeendeployed in Tanzania’s history tobuildnationalunity will seehow artistsandmusic,like BiKudude’s performance oftaarab “Kijiti”, challenge thepoliticalpower profile ofnational symbols designedtobuild a Tanzanian identity thatemphasizedhomogeneity. InZanzibar, we of African , which combinedforced relocation, villagization, andeconomiccollectivism with a Section 2.2:Tanzania: Umojain a Divided Union. For Tanzania, we explore therole ofJulius Nyerere’s Ujamaa the process. successful attemptstoestablishstrong nationalidentity—Tanzania andSouth Africa—and therole ofmusicin cultural heterogeneity of African statesthathasmadestrong nationalidentitiessoelusive. We thenmove totwo from (Benedict Anderson [1983], etc.),followed by therichpoliticalscienceliterature onthe Section 2.1:Formation and Politicization of Identity. We begin with theclassicalliterature onidentity formation Section 2:Music,Nationalism,andPan-Africanism . continued Letter from theSEMPresident continued on next page . . 3 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology authoritarian President Paul Kagame. follow Mihogo andhismusictoRwandan prison, where heserves a ten-year sentencefor “conspiracy” against at Gacaca courtsinKigaliandseehow hismusichashelpedRwanda transform its war-torn wounds. We also realities ontheground in what isnow a severely constrainedpoliticalregime. We sit with KizitoMihogo incircles of post-conflicthealing. It alsoplays a role increating a dejure Rwanda represented oneofthefirst systemic, internationally endorsedattempts tointegrateartintotheprocess be rebuilt. This modulefocuses ontherole of musicanddanceinRwanda inthepost-genocide environment. neighbors andfriendsturntoenemiesfor 100days—the socialfabricofsucha society needsincredible effort to Section 4.4:Conflict Transformation: Rwandan Genocide. genocide touchesanentire country—whenWhen music displacesmemoriesofconflictandhow musicissuitedto overcoming politically inducedtrauma. Jal isa critical voice inthishistory. A former child-soldier turnedreggae ,hisstoriesdemonstratehow Section 4.3:Conflict Transformation: Civil War in Sudan. hasexperienced multipleCivil Wars. Emmanuel and danceinthepost-conflicttransformation process. 2Pac songsand images usedtoorganizegangsofchildsoldiersintocohesive military unitsandoriginalmusic Section 4.2:Music During and After Sierra Leone’s Civil War. Music pervaded Sierra Leone’s civil war. This includes that shapecivil war, how civil wars end,andhow they are resolved. Section 4.1:Causesand Consequencesof Civil War. We focus on what definescivil war, itscauses,narratives and goals apartheid. critical role inconflictsdiverse as Rwanda’s genocide, civil wars inSierra LeoneandSudan,South African considerably lessonpreventing conflict,transformation, andpeacebuilding. Music, ,anddrama a genocides thanany other century inhistory. Political sciencefocuses oncausesofconflictanditsconductbut Political violence, conflict, andcivil war are ofsignificanceinthe twentieth century, whichencompassedmore Section 4:Music,Political Violence,andReconciliation . continued Letter from theSEMPresident Bob Geldof’s versionBob Geldof’s of Africa onethat Africans themselves desire andidolize? has shedlightonZulu musicalstyles, even thoughhisalbum was recorded inSouth Africa during apartheid?Is which becametheCoca Cola anthemofthe 2010 World Cup?ShouldPaul Simonbepraisedfor how his work isofgreaterWhat value for Africa inK’naan’s music, a song aboutstrugglesinSomalia or “Wavin’ Flag,” hissong Section 5.2:Western Music and Unintended Consequences . We turna cynicaleye toward Western musicin Africa. derive from theseefforts? Somali refugee K’naan hasdrawn attentiontothecollapseofgovernment andorder there. positiveWhat changes (Bono), Western musiciansengage with Africa by highlighting itschronic poverty andpoliticalstrife. Recently, Section 5.1:Western Music for Positive Change.From USA for Africa toLiveAid andthis generation’s BobGeldof interest provides netbenefitsor costsinthecontext of Africa’s politicsanddevelopment. African musicisofgreat interest to Western musicians. The finalsubstantive sectioninterrogates whether that Section 5:Music,Development, andGlobalization please contact theeditor [email protected]. volume 1and 2.Ifthere 15,numbers are any topics that you want usto address, We are currently discussingplansfor future News issuesofSEMStudent , including { Bibliography ofselected coursereadings available atsemsn.com} post-racial society inRwanda atconflict with the 4 Student Voices: Who Cares About Ethnomusicology? A Student Union Column

By Kevin Sliwoski (University of California, Riverside)

In this, my first “Student Voices” column, I offer my thoughts on how SEM might extend its political influence. This column is inherently a forum for multiple viewpoints; I begin here with my own in hope that our readers will participate in this exchange of ideas around ethnomusicology as a field, a “brand,” and a positionality. My research this past year on the sonic and political consequences of the US Military overseas has led me to settings and conversations far outside of ethnomusicology, some of which made me intimately aware of various challenges within our field and its outward appearance. I want to begin a conversation to which junior and senior Society for Ethnomusicology members may contribute. I would like for this space to continue as an outlet for students to voice their thoughts and concerns and to challenge current practices and approaches with new ideas. As such, I warmly invite ethnomusicology students to participate in our Vol. 14, No. 1 | Spring/Summer 2018 Vol. } Student Union and all readers to respond to our discussions in this publication via email, Facebook, and the SU Blog. We welcome your perspectives.

Who Cares About Ethnomusicology? SU Leadership: How many times have you been met with awkward pauses, confusion, or skepticism when you tell someone—usually a family member—that you Jeremy Reed STUDENTNEWS

{ study “ethnomusicology”? How many times have you had to qualify or over- Chair explain what an “ethnomusicologist” does? You might have experienced Indiana University, Bloomington

SEM this exchange more than once. It does not help that ethnomusicology is a [email protected] rather cumbersome, difficult-to-explain word (for example, see Nettl [1983] 2005). As representatives of the discipline, our soft underbelly is often our Kevin Sliwoski Vice Chair field’s lack of public legibility and institutional recognition. This barrier UC Riverside can frustrate our efforts to engage with individuals, communities, and [email protected] institutions outside of our own. It can also make advocacy more difficult. Part of the problem is the reception of music studies by other disciplines. Cali Alexander Nettl reminds us that, “in Western academic culture, musicians have made Secretary/Treasurer it known that others can’t really understand and talk about music, while CU Boulder people in other fields stay away” (Nettl 2010, 98). These arbitrary borders [email protected] have isolated the study of music as an ultra-specialized field and music cultures as off limits to non-specialists, often leaving ethnomusicologists at a Shumaila Hemanai Member-at-Large disadvantage. This divide has begun to thaw out with the injection of sound University of studies into the academy. [email protected] For many years, SEM as a collective has been moving toward deliberate and calculated public engagement beyond individual research, publications, and advocacy efforts. Our 2016 position statement called for ethnomusicologists to “disseminate our research, teaching, and activism in ways that are more public and more political.” Certainly our efforts should be public, political, and present. However, for whom “has [it] become clear that our work is more important now than ever”? If one of the problems of our discipline is being known, then our position statements and research remain internal and, worse, peripheral within the academy and to the public. I am glad that SEM issues position statements that condemn actions,

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Society for Ethnomusicology © 5 Student Voices: Who Cares About Ethnomusicology? . . . continued individuals, and organizations that oppose the ethical standards we hold ourselves to as researchers and humanists— As ethnomusicologists, how can but who, outside of SEM, reads them? As ethnomusicologists, how can we expect to be engaged we expect to be engaged in in the political—to be advocates—when those around us are the political—to be advocates— not even sure what we do? How effective are our political positions if they are not widely read or disseminated? If our when those around us are first conversation point is to define our profession, that is time spent explaining or defining a problem rather than time not even sure what we do? spent solving one. To take up the call of applied or engaged or Vol. 14, No. 1 | Spring/Summer 2018 Vol.

} political ethnomusicology requires us to have influence and How effective are our political recognition beyond our own ranks and beyond the borders of positions if they are not widely the academy. I think SEM’s proposed five-year strategic plan read or disseminated? addresses the correct issues, especially the call to “Promote Ethnomusicology” and “Expand Public, Applied, and Advocacy Initiatives” (Cowdery 2018, 5). But how do we execute these suggestions? Before I offer my own ideas, I STUDENTNEWS { want to address one major issue that I think continues to hold back SEM’s efforts to be a relevant political force.

SEM On Naming and Branding Although labels and definitions have been much debated in ethnomusicology (see Nettl [1983] 2005 and 2010; Rice 2014; Bigenho 2009), it warrants a place here. We are still burdened by the fact that, during the development of our discipline, we were not entirely successful in representing and defining our field to the public. And now, the public and many other academics remain unclear on what ethnomusicology is, what we do, and why it matters. As of April 8, 2018, our society’s definition of ethnomusicology on our website is somewhat opaque, yet it is our main point of contact with a public audience. Consider the opening phrase of our definition:

“Ethnomusicology is the study of music in its cultural context. Ethnomusicologists approach music as a social process in order to understand not only what music is but why it is: what music means to its practitioners and audiences, and how those meanings are conveyed.”

This definition does not clarify ethnomusicology, or the work ethnomusicologists do, to the general public. Additionally, why is this fundamental information tucked away, three clicks from SEM’s homepage? However, as of April 8, 2018, our profile and definition are better represented with the American Council of Learned Sciences (ACLS):

“to promote the research, study, and performance of music in all historical periods and cultural contexts.”

It’s still not perfect, but it is clear and concise, and ACLS’s user-friendly website makes this definition more accessible. Now, compare SEM’s definition of ethnomusicology to theAmerican Anthropological Association’s answer to “What is Anthropology?”:

“Anthropology is the study of humans, past and present.”

This definition is short, evocative and idealistic. It is easily found as soon as you click on AAA’s main webpage. It forms an important part of AAA’s brand, which is carefully and professionally rendered online. AAA has an

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Society for Ethnomusicology © 6 Student Voices: Who Cares About Ethnomusicology? . . . continued attractively-designed website that is easy to click through. It has big text, bold headlines, and bright photos. It invites Ethnomusicology does not have visitors in. The website shows how seriously AAA takes the business of anthropology and demonstrates the discipline’s a unified, clear, and accessible maturity and the value it holds for its mission and definition of our discipline, and members. In his 2004 SEM Newsletter column on political advocacy, then-SEM president Timothy Rice found AAA’s it does not have a dynamic website to be “rich with ideas you might want to consider” brand. . . . if engaging with the (3). AAA has developed and invested in a brand—SEM should consider doing the same. Ethnomusicology does public and taking political positions Vol. 14, No. 1 | Spring/Summer 2018 Vol. } not have a unified, clear, and accessible definition of our is important to us, how much are discipline, and it does not have a dynamic brand. We, as a professional organization, need to define ourselves and we willing to spend to rehabilitate debate what our public profile is going to look like. And, our public image so that our if engaging with the public and taking political positions is important to us, how much are we willing to spend to research is more known? rehabilitate our public image so that our research is more STUDENTNEWS { known? With recognition, we might better advocate for those people and communities we care about. SEM

Lobbying and Public Relations I suggest that the Society for Ethnomusicology should consider hiring a professional public relations firm or a professional lobbying firm (or both) to better represent our society and our goals publicly to the world and to our elected officials. Instead of Director Stephen Stuempfle breathlessly “pounding the pavement” of Capitol Hill (Barz 2018, 3), we might have professional advocates coolly working on our behalf full time who can devote their energies to advocating for ethnomusicology and for the . I would guess that many of us would like to be more public and engaged as advocates but cannot because professional and institutional responsibilities (and sometimes distance) preclude us from such activities. Why not hire someone to cover the ground we cannot at the congressional level? I recognize that outsourcing our problems and advocacy efforts may not satisfy any personal desires to be public advocates. And I am not suggesting that lobbying become a substitute; rather, it would be a supplement to other endeavors. It is a way to be professionally connected to politics without the considerable investment of time, travel, [Lobbying] is a way to be and money that may be out of reach for many practicing ethnomusicologists. In consideration of the balance needed professionally connected between professional ethics and lobbying, we should be cautious to politics without the and deliberate if we choose to lobby. Thanks to David Price (2016), we know some of the risks that political and governmental considerable investment of collaboration can pose to our ethical responsibilities as time, travel, and money that researchers. We do not want our discipline to be “quietly shaped” (xi) by government influence or follow the example of past may be out of reach for many academics who “ignored the political contexts in which the practicing ethnomusicologists. continued on next page . . .

Society for Ethnomusicology © 7 Student Voices: Who Cares About Ethnomusicology? . . . continued projects were embedded” (123), in exchange for research funding or access to communities provided through programs such as USAID in the 1960s. However, reflexively examining our politics, ethics, and brand might result in works or actions that elevate our discipline and connect us to new people. The Counter- Manual (2009) organized by the Network of Concerned Anthropologists was a visible and public ideological challenge from an academic society against the US Military’s Iraq War counterinsurgency (COIN) doctrine—the “winning hearts and minds” approach to combat, which emphasized culture and communication rather than bombs and bullets. It also served to condemn social scientists who embedded with US forces through the Human Terrain Systems (HTS) program (see 2007; McFate and Laurence 2016; Gonzalez 2015). The meta-commentary on HTS is complicated, but, in this effort, these anthropologists responded. They advocated for Iraqis, for ethical research Vol. 14, No. 1 | Spring/Summer 2018 Vol.

} practices, and for accountability they felt had been sacrificed. SEM’s 2007 Position Statement on Torture functioned in a similar but on a much smaller scale. I am not sure what the public relevancy of that position statement has been, besides Suzanne Cusick’s (2006; 2008) exceptional series of articles, to which the statement directly refers. Could we—should we—have done more then? How can we do more now? I note several obstacles we need to address when it comes to lobbying: funding, representation and management, ethics, and I note several obstacles legality. In regard to funding for outreach and lobbying efforts, SEM STUDENTNEWS { could consider raising membership dues, which would be a simple, we need to address when albeit possibly unpopular, solution. Likewise, for representation and SEM it comes to lobbying: management, SEM could create a service position (e.g., “Political Outreach Representative”) within the Ethics Committee to facilitate funding, representation and communicate with our hired representatives. Ideally, this would include both student and professional input. Naturally, the Ethics and management, ethics, Committee and board would need to thoroughly review such a and legality. project and verify whether a lobbying effort fundamentally violates the society’s mission. If the SEM board and/or society members could agree on a lobbying or PR campaign, there would no doubt be a series of changes and adjustments to the bylaws of SEM. There are limits to the amount of lobbying a nonprofit organization can engage in, so as not to jeopardize the organization’s tax-exempt status. While the Internal Revenue Service, as of May 21, 2018, outlines that “some lobbying” is acceptable, the IRS also explains that “organizations may . . . involve themselves in issues of without the activity being considered as lobbying,” and use the examples of educational activities and the distribution of educational materials as an avenue of involvement without lobbying. While navigating the legal territory of lobbying might prove too much, I believe that influencing public policy through and our expertise is within our reach and might satisfy efforts to expand political advocacy and activism within SEM.

Service Ethnomusicology I think that being an advocate—a successful advocate—means setting aside a degree of self-reflexivity. Ethnomusicologists like to be present in their written work, and this is part of our training. Although self- reflexivity and autoethnography may be held up as important tools for the ethnomusicologist, it can be a shaky line between reflection and indulgence. Advocating is about public support for a cause, group, or individual. Advocating is not concerned with the wants and needs of the advocate—although, of course, there can be significant overlap. To be successful advocates today might require us to downplay the ego of self-reflexivity in

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Society for Ethnomusicology © 8 Student Voices: Who Cares About Ethnomusicology? . . . continued our work and direct that energy inward to our discipline. This might then allow our communities to become the sole focus of our efforts. In our pursuit to be engaged, applied, advocate, or public ethnomusicologists, the term that might best represent all such efforts is “service ethnomusicology.” We are in service to our consultants, our discipline, our society, and what SEM is now gesturing to: society and politics. I think the shift to a service ethnomusicology mindset or training might further point us in a more productive direction.

References Barz, Gregory. 2018. “Sounding Advocacy in Ethnomusicology.” SEM Newsletter 52 (2): 3–4. Bigenho, Michelle. 2009. “Why I’m Not an Ethnomusicologist: A View from Anthropology.” In The New (Ethno)musicologies,

Vol. 14, No. 1 | Spring/Summer 2018 Vol. edited by Henry Stobart, 28–39. Lanham, MD: Scarecrow Press. } Cowdery, James, ed. 2018. “SEM 2017–2022 Strategic Plan.” SEM Newsletter 52 (2): 5–6. Cusick, Suzanne. 2006. “Music as Torture/Music as Weapon.” TRANS-Revista Transcultural de Musica 10. http://www.sibetrans. com/trans/a152/music-as-torture-music-as-weapon. ———. 2008. “‘You Are in a Place That Is Out of the World . . .’: Music in the Detention Camps of the ‘Global War on Terror.’” Journal of the Society for American Music 2 (1): 1–26. Gonzalez, Roberto J. 2015. “The Rise and Fall of the Human Terrain System.” Counterpunch, June 29, 2015. https://www. counterpunch.org/2015/06/29/the-rise-and-fall-of-the-human-terrain-system/. STUDENTNEWS { McFate, Montgomery, and Janice H. Laurence, eds. 2016. Social Science Goes to War: The Human Terrain System in Iraq and Afghanistan. New York: . SEM Nettl, Bruno. (1983) 2005. “The Harmless Drudge: Defining Ethnomusicology.” In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 3–15. Urbana: University of Illinois Press. ———. 2010. Nettl’s Elephant: On the History of Ethnomusicology. Urbana: University of Illinois Press. Network of Concerned Anthropologists. 2009. The Counter-Counterinsurgency Manual. : Prickly Paradigm Press. Price, David. 2016. Anthropology: The CIA, the Pentagon, and the Growth of Dual Use Anthropology. Durham, NC: Duke University Press. Rice, Timothy. 2004. “SEM and Political Advocacy.” SEM Newsletter 38 (2): 1, 3–4. ———. 2014. Ethnomusicology: A Very Short Introduction. New York: Oxford University Press. United States. 2007. The U.S. Army/Marine Corps Counterinsurgency Field Manual: U.S. Army Field Manual No. 3–24: Marine Corps Warfighting Publication no. 3–33.5. Chicago: University of Chicago Press.

SEM Student Union Blog The SEM Student Union (SU) is composed of the society’s student membership and serves as a resource and voice for students in the society. In this blog, we share our experiences of music, education, and life. Please join us and share your musical stories at semstudentunion.wordpress.com, and email us at [email protected].

The SU Blog also features a variety of series, including: • Ethnomusicology and Parenthood • In Discipline: Talks from the European Side • From the Field • Textbook Review • Ethnomusicology Student Groups

Society for Ethnomusicology © 9 Thoughts from the Field Student Impressions, Perspectives, and Experiences

By Hannah Adamy (University of California, Davis)

As a writer and musician, I like to think about the disruptive possibilities of my skill set. I like to think that my repertoire of skills is useful to the revolution. Often, however, I am most useful as a body, as someone who showed up. When I began crafting a prompt for this music and politics issue of SEM Student News, I kept returning to this matter of showing up and the role sound might play within it. Ethnography, too, is a matter of showing up and of continuing to show up. Therefore, I asked the following seven scholars to describe a moment of musical disruption in their research. Each contribution highlights both a moment of showing up (the vignette) as well as a sense of return to the place and/or history of a community. Therefore, with the help of our gracious guides, let us attune to the vortex of sound during a protest in ; publicly listen-in on a live guitar performance on the streets of Tunis; submerge ourselves in the cacophony of an impromptu sonic duel during the national elections in Lusaka; reflect Vol. 14, No. 1 | Spring/Summer 2018 Vol.

} on the transformation of a space through music during a celebration of the Cuban revolution; witness the disruption of expectations in a tweet; parse a Sudanese interlocutor’s repertoire of both peaceful and violent in response to the conflict in his home country; and sing in a Japanese-American internment barrack at Heart Mountain, Wyoming. Each moment of sounding draws our attention to the ways in which sound facilitates attention to the bodies that show up.

STUDENTNEWS Chris Nickell (New York up the most recalcitrant of us, but we will not be { University): The tell-tale silenced as our shouts of “Shame!” echo off the walls of the emptied urban canyon. The ambulance fakes SEM two-note chime of the Signal messenger app rings out from a slow reverse only to break away at full speed down marshalls’ phones as we round the Broadway, playing chicken with the bravest among northwest corner of 26 Federal us. Plaza on our fourth circling. The As the ambulance sirens fade, the arrests begin. energy of our silent Jericho walk turns anxious as Human mics emerge to amplify the messages of our recognition courses up and down the human chain: captured ranks. As the last are loaded into police vans, Ravi Ragbir, leader of the New Sanctuary Coalition, is we sing together. Our song bears witness and marks being detained. This is not a drill. a first collective step in processing. Passersby and We gather in the nearby plaza to regroup while journalists gather the soundbites we offer readily. We speakers stoke the crowd. All of a sudden, the air make plans for jail support, vigils, grabbing dinner shifts. We look up from our posting and texting and together soon. emailing to better hear one of the speakers. His voice has fallen out of the usual protest speech cadence as Rachel Colwell (University he tells us Ravi is being taken away in an ambulance of California, Berkeley): The and directs the crowd to the vehicular exit. first time I heard the sound of We lurch backward then forward. We take new live guitar on Habib Bourguiba shape, transforming from pond to river, flowing Avenue—the main thoroughfare toward the ramp where the ambulance is coming of the ville nouvelle in Tunis, up as the first drops of us arrive. Brass players and Tunisia—I did a “double take,” drummers give our chants form, surrounding us with checking storefronts to see if the liveness I perceived our own sounds as federal and local police encircle was an illusion. Straight ahead, I came upon a crowd the ambulance, barking orders to disperse. In this of spectators gathering around a handful of young improvisatory moment, we sound multitudes. Tunisian men who were singing, accompanied by The ambulance makes slow progress, the driver guitar, melodica, and percussion, on the sidewalk. careful not to be too careful. Police begin roughing continued on next page . . .

Society for Ethnomusicology © 10 Thoughts from the Field . . . continued Surrounded by a sea of recording smartphones held speakers mounted on its roof, drove past, blasting high, they played on nonchalantly, as if their actions, their theme, “Dununa Reverse (Kick it Back).” In the and the centripetal spatial-sonic affect it was causing, midst of the cacophony, the PF supporters in the were commonplace. Previously, I had not seen any van and the UPND supporters on the soccer field— street music over the course of my thirteen months some of whom were by then running after the PF of walking that same route. Upon closer examination, minivan—were verbally “dununa reversing” and I sensed a nervous energy flitting among the “dununa forwarding” insults at each other, disrupting members as they glanced up and down the road, the preparations for the rally. The media crew, mostly keeping an eye out for police, who, as many Tunisian from privately owned MUVI TV, were packing their musicians informed me, capriciously arrest or ignore equipment and getting ready to leave. This went on musickers as they choose. for about forty minutes before the PF supporters musicking and its partner, public listening, the van drove away, still blasting “Dununa Reverse,”

Vol. 14, No. 1 | Spring/Summer 2018 Vol. have long been contested in Tunisia. Especially in while some UPND supporters were singing and } urban settings, the appropriateness or “decency” of chanting “Dununa Forward” in response. The rally street music is bound up in Islamic concerns about was delayed until after 4:00 p.m. gendered and classed social, sonic, and somatic interactions; the shadow of post-colonial rhetoric Kjetil Klette Bøhler (Oslo around racialized noise, manners, and hygiene; and Metropolitan University): of normativity well-worn from decades Throughout three years of STUDENTNEWS

{ of authoritarian control. On this particular café- fieldwork in , I was struck rich stretch of sidewalk, talk turns so often to the by the ways in which musical

SEM perceived failures of the 2011 Tunisian Revolution. pleasure and forms of politics But the act of filling the air with music, here in this were intimately bound. location, precisely where thousands of protesters Pleasurable Cuban grooves were sources of national called for the ouster of now-exiled president Ben ‘Ali, pride, black politics, and political critique, while is an emboldened and empowered claim to rights of simultaneously being powerful aesthetic experiences. mobility, access, and public expression, resonating However, few theories account for this level of in a city that is newly challenging restrictions on musical politics, which has led John Street (2012) to collective sounded presence. conclude that we have developed a “political theory of music” but lack a corresponding “musical theory Mathew Tembo (University of of politics.” How do we, for example, explain the ways Pittsburgh): In August 2016, a in which the following words were disseminated to few weeks before the Zambia hundreds of thousands of Cubans when, in 2013, national elections, I attended a Roberto Carcasses improvised a sung call-and- campaign rally that was organized response which transformed a celebration of the by the United Party for National Cuban revolution into a space of political critique: Development (UPND) in the Mtendere neighborhood of Lusaka. I got to the soccer Coro: I want, remember that I always want . . . field where the rally was to take place an hour before Carcasses: Free access to information, so that I can the 3:00 p.m. scheduled meeting. A crowd of UPND make up my own opinion. sympathizers had already gathered by the time I got Coro: I want, remember that I always want . . . there and the party’s theme song, “Dununa Forward Carcasses: I want to elect the president, through (Kick It Forward),” was already blasting on repeat voting and not another way. from the speakers that hung on the stage where UPND political leaders were to give their speeches. No other medium of communication would About thirty minutes later, a minivan from the be able to express such a profound and direct opposition Patriotic Front Party (PF), with huge continued on next page . . .

Society for Ethnomusicology © 11 Thoughts from the Field . . . continued political critique to hundreds of thousands in Cuba. make what and how—and the material illegibility that Inspired by Street, I encourage new ways of thinking conditions a musician’s life when their artistry refuses about musical politics that draw attention to the to create and imagine on the terms of a racialized and surplus value that music adds to politics as political racist industry. statements unfold temporally in specific arpeggios, diatonic movements, and syncopated structures, Sarah Bishop (Ohio State or other sounding structures, with correlated University): In 2017, I conducted emotional affordances. Such an approach could several in-depth interviews with then be complemented with other studies that focus Mha Chang, a studio producer exclusively on , , discourses, and larger in Ethiopia. Though residing in institutions, and together create a more robust Ethiopia, Mha Chang has friends musical theory of politics. and family in South Sudan and

Vol. 14, No. 1 | Spring/Summer 2018 Vol. has been personally affected by the ongoing conflict } Evan Pensis (University of there. Consequently, many of his songs address the Chicago): In my own work, I war and advise South Sudanese toward peace and note how frequently dwelling reconciliation. in aesthetic or sonic concerns At least, that was my impression after our first feels like getting stuck, detached interview. As we spent more time in conversation, from the world where things like inconsistencies surfaced, and I discovered some of his STUDENTNEWS

{ politics and justice are imagined other songs are more likely to endorse conflict than to take place. Yet the question of cultural authority peace. One of these, “Buom Nuer,” lauds the bravery

SEM in aesthetic expression (its conventionality) always of the Nuer ethnic group (of which Mha Chang is a troubles the making of music, and not only with member) and boldly states, “This country belongs things like citation or form but in less intentional to who? The Nuer!,” threatening to shoot those who ways, too, as in getting stuck on a project at the betray them. Indeed, Mha Chang’s music has been studio or on the page. For example, Dawn Richard, a purposely used disruptively: he recounted to me an musician from and former member of incident in a refugee camp in which his songs were the hip-hop girl group Danity Kane, frequently raises played as an affront on missionary pastors who the attention to this dimension of cultural authority. In refugees thought were spies. A physical fight nearly January of this year, she tweeted, “dear folks. black broke out. girls exist in all . don’t limit us. thanks.” (@ I had already encountered music’s entanglements DawnRichard, January 19, 2018) In her brief epistle, in violence while doing field research in this region. Dawn confronts mainstream stereotypes about black Yet, this coming from Mha Chang, who is otherwise women and the music they are supposed to make. committed to peace-building, was surprising. “The With work that spans art pop, R&B, epic poetry, people haven’t forgotten what’s happening,” he hip-hop, and , Dawn’s music is thus said. “So war songs continue until we find peace.” disruptive: her affinity to cross and juxtapose genres Though it is tempting to valorize music’s potential shakes up the associations people as listeners and for facilitating reconciliation, this serves as a sobering producers carry about genre, blackness, and black reminder that even musicians who sing for peace womanhood. Dawn’s tweet suggests a different frame have their limitations when collective trauma is to track how politics shows up in music—who gets to intense and ongoing.

continued on next page . . .

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Society for Ethnomusicology © 12 Thoughts from the Field . . . continued Julian Saporiti (Brown Incarceration and my own family’s history as University): Last October, I was Vietnamese refugees. There are roughly sixty songs on top of a mountain. My friend based on oral , fieldwork, and archival K was singing a haiku written research. There are also different modes of scholarly seventy-five years ago, only a few analysis which become available through creative miles from our perch. The haiku’s practice. On tour, we find collaboration with the author was one of thousands of audience and the performance continuously evolves. Japanese Americans sent to a concentration camp in On our last day at Heart Mountain, after a rural Wyoming called Heart Mountain. morning spent researching and filming, K, Erin, and I played a concert in an original barrack. Erin wore a With the high peak to my back sweater knit by her grandmother, Misa Hatakeyama, A thousand barracks who had been incarcerated here. Before our last song,

Vol. 14, No. 1 | Spring/Summer 2018 Vol. Under the autumn moon I looked out the window at the mountain the Crow } call Foretop’s Father. I thought about the band Sitting next to my collaborator Erin Aoyama, that once played here, behind the barbed wire I watched a crow fly below us. The sky was blue. A and guard towers. We sang Cole Porter’s “Don’t Fence filmmaker and two journalists were documenting our Me In.” fieldwork and concerts in the area. Erin and I tour the country behind No-No Let me be by myself in the evening breeze STUDENTNEWS

{ Boy, a multimedia concert which uses storytelling, And listen to the murmur of the cottonwood trees songs, and archival visuals to explore little known Send me off forever but I ask you please

SEM Asian-American histories, including the Japanese Don't fence me in

Visit SEM Student News’ at semsn.com for the latest and past issues, calls, announcements, cross-publications, supplementary materials, and more.

The next issue of SEM Student News (volume 14, number 2) will focus on a theme of internal and institutional politics in ethnomusicology. If you would like to contribute to this issue, please contact the editor at [email protected].

Society for Ethnomusicology © 13 Audiovisual Frames What Films Can Do: An Interview with Jeff Roy

By Diego Pani (Memorial University of Newfoundland)

Ethnomusicologists continuously engage with media production. Starting from recording music making, using audiovisual technologies pushes our field toward new narrative forms, where audio and video outputs integrate not only into writing but become the very core of research projects. This column provides a space for thinking on the politics of audiovisual representation in ethnomusicological research by exploring the work of researchers who seek to overcome the limits of written scholarly production via documentary filmmaking, photo reportage, audio recording, and online platforms.

I first came across Jeff Roy’s work when I read his 2015 doctoral thesis, “Ethnomusicology of the Closet: (Con) Figuring Transgender-Hijra Identity Through Documentary Filmmaking,” where he actively engages his critical use of documentary filmmaking inside Indian trans-hijra performance with the (con)figuration of trans-hijra LGBTIQ+ identity. Vol. 14, No. 1 | Spring/Summer 2018 Vol. } Having earned his PhD at the University of California, Los Angeles, in 2015, Jeff Roy is now a Postdoctoral Fellow at Le Centre d’études de l’Inde et de l’Asie du Sud at Université Sciences et Lettres. He has worked as a director for several documentaries, including the medium-length Mohammed to Maya (2013) and the documentary series Music in Liminal Spaces (2012–2013), fostering a research commitment deeply connected with his public engagement as an activist for the rights of the Indian LGBTIQ+ community. I chose to ask him some questions that are strictly related to his audiovisual work, his public role as an

STUDENTNEWS activist, and more broadly, how today’s ethnomusicologists can engage with documentary production and the { public dissemination of their research results.

SEM DP: From your PhD dissertation to your consequent production, your research has been closely related to the creation of documentaries. In your vision, what is the contribution that documentary filmmaking-based researchers can add to the field of ethnomusicology?

JR: The use of audio-visual technologies is nothing new to the field of ethnomusicology. Many of us work with recording devices of different kinds and, in a way, their use defines our practice in the field. We can also point to a long line of ethnomusicologists and cultural anthropologists who have turned their audio-visual documentations into films—, Hugo Zemp, Judith and David MacDougall, Amy Catlin, and Nazir Jairazbhoy, to name a few. One of the apparent benefits of the use of film-as-research is that it allows music to be heard and the music-makers to “speak for themselves,” although this does not entirely reflect what goes on in the field or editing suite, especially in the observational or even reflexive observational film genres. I would venture to say that the contribution of filmmaking to our field is not just what comes after filming and the headache of post production but within the embodied practice of doing research. Participatory and performative filmmaking, in particular, allows us to engage music’s creators, forms, and functions in interesting and sometimes surprising ways that also uphold the ethics of social responsibility and advocacy. I am borrowing the word “participatory” from cinéma vérité to describe the ways in which researchers and participants engage in the shared labor of decolonial scholarly praxis.1 There are a number of ethnomusicological filmmakers out there who are doing this sort of thing. Zoe Sherinian (2011; 2014), whose work brings her to drumming communities of Dalit women in South India, is a great example of the ways in which the practice of participatory filmmaking can foster solidarity between women of diverse backgrounds.2 Taking into serious account the long history of exploitation of and trans subjects in the media worldwide, my own film work with hijra and nonconforming performers in Mumbai has

continued on next page . . .

Society for Ethnomusicology © 14 Audiovisual Frames . . . continued involved performance not just as an object of study but as a method. In my latest projects—most recently with the Dancing Queens, with whom I have worked for many years—I investigate the ways the collaborative practice of filmmaking can manifest different shared imagined futures for performers who are invested in social change. I explain in detail what I call a performative, or queer, approach to ethnomusicological filmmaking in a forthcoming essay in Queering the Field (Roy, forthcoming). Vol. 14, No. 1 | Spring/Summer 2018 Vol. } STUDENTNEWS { SEM

Photos from Dancing Queens: It’s All About Family (2016). Courtesy of Jeff Roy.

DP: The video medium can help a researcher to overcome the limits of scholarly written production, creating research output that can be accessed from different levels and speak to a broader public. Do you ever think about your documentary work in these terms?

JR: I think you’re absolutely right. Since film has the power to speak on many levels to wide and diverse audiences, we must be critically attentive to how it represents and impacts the lives of those in front of and behind the camera. continued on next page . . .

Society for Ethnomusicology © 15 Audiovisual Frames . . . continued Vol. 14, No. 1 | Spring/Summer 2018 Vol. }

Photo from Dancing Queens. Courtesy of Jeff Roy. STUDENTNEWS {

DP: Your work is heavily tied to the politics of representation of the LGBTIQ+ community in India. What was the

SEM reception of your documentaries inside this community?

JR: It largely depends on the film. I’ve made films that have been received positively by activists and scholars from inside the LGBTIQ+ community in India. Some have even won awards at queer and mainstream film festivals in India and elsewhere. But I’ve also made films that, for one reason or another, have been challenged. All of these responses have informed my filmmaking practice in some way. Filmmaking is about opening up dialogue between your collaborators, yourself, and your viewers. When you make films and when you are creating a body of work in general, you are making something that lives and breathes. Your film’s release date is the date of its birth, and you and your collaborators have to nurture the baby throughout its reception. Sorry for the clichéd birth metaphor, but I think I may have a bit of womb-envy.

DP: Can you give me an outline of the basic setup in which you conduct fieldwork and the consequent shooting of the documentary scenes (if these are divided)? Do you prefer a solo filming process or collaborating with a technical crew?

JR: Each film requires a different approach and set of logistics. But it has become increasingly important to me to involve study participants at all stages of film production, including pre-production (script writing, raising funds, planning of budget, hiring talent, scouting locations, buying and renting equipment, and other painstaking labors), production (actual filming), post-production (editing, color correction, sound mixing, more painstaking labors), and audience engagement (red carpet screenings, special events, classrooms, online streaming, and other distribution methods, also known as “the best part”). In my experience, it is important that you and everyone you work with have an idea of where the film is going to go before the first scene gets shot.

{ Dancing Queens: It’s All About Family (2016) Trailer } Co-produced by Godrej India Culture Lab, Courtesy of Jeff Roy.

continued on next page . . .

Society for Ethnomusicology © 16 Audiovisual Frames . . . continued

Jeff Roy. Photo by Ryan Ballard. Vol. 14, No. 1 | Spring/Summer 2018 Vol. }

DP: Your work is permeated with a multilinear representation of the different voices, different perspectives on LGBTIQ+ rights in India. The characters in your films seem to be engaged in a dialogue with the camera. Can we STUDENTNEWS

{ talk about your research framework as profoundly influenced by the dialogical approach?

SEM JR: I think this comes from my training with Marina Goldovskaya, my adopted grandmother of documentary from UCLA’s Department of Theater, Film & Television. She encouraged her students—who she called her grandchildren—to consider the camera as a human character within the narrative of the film. (She is a very important figure in the cinéma vérité school of practice. Consider this an official “shout out.”) Humanizing yourself and your collaborators in the filming process tends to become a default position when in the field, since in most extremely low- or no-budget circumstances, you are your own cameraperson, sound person, director, and producer. But, I lean heavily on this approach even with a crew because it signals the presence and perspective of the filmmaker, weakens the objectifying gaze of the camera, and—if shot and edited in such a way—draws the spectator’s attention away from that “object over there” to the lived encounter between two or more people. This reminds me of a quote from Lucien Taylor (1998, 3), who says that if documentation is not, in the end, participatory and self-reflexive, then it is not human.

{ Mohammed to Maya (2013) Trailer }

DP: Right after your directorial debut film (Mohammed to Maya), in 2013 you produced the documentary series Music in Liminal Spaces that comprises fourteen different episodes structured as portraits of Mumbai’s underground musicians and dancers. What drove you to the choice of doing a series instead of a single documentary?

JR: I wanted to create a documentary series centering on the lives and experiences of members of Mumbai’s queer, trans, and hijra music communities, without demonstrating a preference for any particular person, group, or non-governmental organization, in a way that would have happened in a single film. I wanted each of the films to speak on their own, not only for narrative purposes but also so that those with whom I worked would be able to claim the film as their own and use it for whatever reason. Some of my collaborators have used films and images to promote their own concerts, , social media personae, or political demonstrations, for instance.

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Society for Ethnomusicology © 17 Audiovisual Frames . . . continued { “Welcome to Mumbai (Meet the Dancing Queens),” Music in Liminal Spaces (2012–13) } Executive produced by Fulbright-mtvU, Courtesy of Jeff Roy.

DP: You have a strong media presence, especially on the internet. Dedicated websites and press reviews highly cover many of your projects. How much of the public showcase of your research work through internet and the press is essential for you? Is this, in some instances, attached to the values of the Indian LGBTIQ+ community’s representation that your work has?

JR: Absolutely, or in queer speak, yass queen. Much of the media attention came as a result of the stature that some of my participants already have in the public sphere—Laxmi Narayan Tripathi (a political figure and reality television star), the Dancing Queens (who regularly perform at Pride events), Prince Manvendra Singh Gohil (whose story was featured on The Oprah Winfrey Show), Alisha Batth (Coke Studio India), Alisha Pais (The Stage), and

Vol. 14, No. 1 | Spring/Summer 2018 Vol. others. In other cases, the films helped to raise awareness about the lives and experiences of people who have } a presence in their neighborhoods, community centers, and/or performance communities, but who may be lesser-known on a national or international scale. Much of the media attention that we received became part of the communities’ own efforts to amplify the voices and showcase the talents of those who have otherwise been silenced, sidelined, or shut out of public discourse. As I alluded to earlier, I am deeply invested in what films can do for those invested in their production. This means that the projects I take on must, from their inception to projection on the silver screen, align with the hopes, dreams, values, and practices of those who are involved in STUDENTNEWS

{ the collaborative process of making them.

SEM { “Meet Alisha Batth,” Music in Liminal Spaces (2012–13) } Executive produced by Fulbright-mtvU, Courtesy of Jeff Roy.

{ “Melodies (and Maladies) of a Monarch (Interview with Prince Manvendra Singh Gohil),” Music in Liminal Spaces (2012–13) } Executive produced by Fulbright-mtvU, Courtesy of Jeff Roy.

Endnotes 1. Bill Nichols (2001, 23) suggests that in the “participatory mode” of filmmaking, viewers bear witness to “a form of a dialogue between filmmaker and subject that stresses situated engagement, negotiated interaction, and emotion-laden encounter.” 2. Zoe Sherinian has produced and directed two documentary films, This is a Music: Reclaiming an Untouchable Drum (2011) and her more recent Sakthi Vibrations (2018), which focuses on the use of Tamil folk arts to develop self-esteem in young Dalit women at the Sakthi Folk Cultural Centre.

References Nichols, Bill. 2001. Introduction to Documentary. Bloomington: Indiana University Press. Roy, Jeff. 2015. “Ethnomusicology of the Closet: (Con)Figuring Transgender-Hijra Identity Through Documentary Filmmaking.” PhD diss., University of California, Los Angeles. ProQuest ID: Roy_ucla_0031D_14087. Merritt ID: ark:/13030/m5574gn5. Retrieved from https://escholarship.org/uc/item/9f89v8mm. ———. Forthcoming. “Her Tall, Slender Frame: Con/Figuring Transgender-Hījrạ̄ Music and Dance Through Documentary Filmmaking.” In Queering the Field: Sounding Out Ethnomusicology, edited by Gregory Barz and William Cheng. Oxford: Oxford University Press. Sherinian, Zoe, dir. 2011. This is a Music: Reclaiming an Untouchable Drum. Sherinian Productions. https://search.alexanderstreet. com/view/work/3407942. ———. 2014. Tamil as Dalit Liberation Theology. Bloomington: Indiana University Press. Taylor, Lucien. 1998. Introduction to Transcultural Cinema, by Douglas MacDougall, 3–21. Edited by Lucien Taylor. Princeton, NJ: Princeton University Press.

Society for Ethnomusicology © 18 Dear SEM, At SEM Student News, we try to A response column by Davin Vidigal Rosenberg (University address the most pressing issues of California, Davis) and Eugenia Siegel Conte (University of California, Santa Barbara) and diverse research fields for

For this issue, we asked a select group of senior scholars, our student body and broader reflecting upon their own knowledge and experience readership. Want to get advice engaging with music-making in politicized contexts, to offer student scholars advice regarding the ethics of fieldwork and insight from our network of amidst instability and to suggest how we can ethically and peers, colleagues, and mentors? adeptly navigate highly-political music research. Below you will find thoughtful responses from Drs. Katherine Meizel Please email your questions to (Bowling Green State University), Benjamin Raphael Teitelbaum [email protected]. (University of Colorado, Boulder), and Kay Kaufman Shelemay (Harvard University). Vol. 14, No. 1 | Spring/Summer 2018 Vol. } Katherine Meizel: would be a betrayal of the individuals I’d interviewed “Politics” is a complicated concept who believed in the show’s mission and process and whose multiple, intercontextual who generously shared their experiences with me. I definitions tend to touch on could not position my career or my experience above the negotiation of resources, theirs—ethnomusicologists learn, along with the relationships, values, agency, and application of cultural relativism and a healthy fear perhaps most significantly, the of our impact on others, to avoid placing our own STUDENTNEWS { distribution of power. Because music is an act that ahead of anyone else’s. also engages with these negotiations, and because That said, my Idol research was lower-risk than SEM academic research is inherently embedded in global some, and another reason to suppress outright power structures, an ethnomusicologist’s work— positional statements involves the researcher’s own talking to people about music, writing and teaching wellbeing. Especially for ethnomusicologists whose about it, helping to create it, document it, curate it— identities are marginalized in “the field” where is always political. they work, or in academe in general, it is vital to “What advice can you offer students . . . [on] how remember that not privileging one’s experiences over to ethically and adeptly navigate highly-political others’ does not necessarily mean subjugating them research?” My initial response upon reading this for the sake of a project, or even for a relationship question was to laugh—“When you figure it out, in the field. If politics means that a researcher is in let me in on the secret!” Political contexts change, danger, that’s a reality that should not be ignored. personal contexts change; so do our methods and Take care of yourself, too. approaches to fieldwork. I can say that prior to I think there is perhaps no way to “adeptly” tenure I did less work that articulated a clear political navigate highly-political research. But there are stance. I can say that many ethnomusicology students ways to messily navigate it, to lurch from mistake working today are more courageous than I have ever to mistake as in any other research context, while been. keeping in mind the ways in which politics affect both Until recent years, I worked hard in my writing the research participant and the researcher. Know to draw a political map for readers but allow them where you stand, but move aside when you need to. to put the pins in themselves. My first book (Meizel Speak your mind when you can but not over others. 2011) was sometimes criticized for not explicitly And don’t forget to talk about the music. calling out American Idol as part of a corporate machine relentlessly crushing artistic agency and Reference the future of truth in US society. Though there was Meizel, Katherine. 2011. Idolized: Music, Media, and Identity in certainly critique in my writing, this was honestly a American Idol. Bloomington: Indiana University Press. fair point. But I had made a conscious decision not to make such a direct statement because I felt like it continued on next page . . .

Society for Ethnomusicology © 19 Dear SEM, . . . continued Benjamin Raphael Teitelbaum: encountered extreme political instability in the While we are accustomed field—a violent revolution that began midway to thinking about the social through my doctoral fieldwork in Ethiopia (Shelemay or physical dangers that can 1991)—I learned that ethical concerns associated with come with study in politically- politics were ever present and required unanticipated charged environments, we often ethnographic improvisations. Suddenly, I not overlook intellectual pitfalls. only had to evaluate my own responses to political Few topics ignite our passions like politics. That changes and violence all around but also gauge the intense emotional investment can be a powerful danger that my presence and actions would, or could tool motivating us to dig deeper into our subject, unwittingly, have on the safety of others. My rural but it also needs to be managed so that it doesn’t field sites were quickly rendered inaccessible due to undermine our work as scholars. No, I’m not talking fighting, travel restrictions, and general instability.

Vol. 14, No. 1 | Spring/Summer 2018 Vol. about striving to be a “neutral” observer. Instead, my Although I was allowed, due to my marriage to } main message to students of music and politics is to a permanent resident, to remain in the Ethiopian remember that your first priority must be to learn capital for two more years after most researchers about the people you are studying. Only secondary were ejected or had already left the country, living to that, if you must, should activism or “engaged amidst daily threats and violence necessarily reduced research” set in. When that order is reversed it can a panoply of ethical worries to a single-minded lead to knowledge suspect for having been crafted to focus on the most basic concerns of personal safety, STUDENTNEWS

{ a moral agenda or, alternately, activism that rests on both for myself and everyone around me. Contact dubious epistemological grounds. Moral authority, with a foreign researcher could arouse suspicion

SEM as anthropologist Roy D’Andrade (1995) once wrote, in the context of a brutal regime. Therefore, as I flows from knowledge, and not the other way around. purposefully shifted my research to documenting So for the ethnomusicologist, “right” is correctly and musicians at risk, I constantly re- understanding the people you are studying and their assessed how this work might affect the welfare of situation, while “wrong” is misunderstanding them. others in very dangerous times. Following that principle helped me stay focused while There were practical, ethnographic outcomes studying actors whose cause I found both upsetting to these realizations: I stopped attending Ethiopian and threatening (see Teitelbaum 2017; 2018). church rituals and, through contacts, arranged interview sessions with church musicians in private References places. Knowing as well that revolutionary forces D’Andrade, Roy. 1995. “Moral Models in Anthropology.” might search our home, and that I would certainly Current Anthropology 36 (3): 399–408. have to pass my field materials by a government Teitelbaum, Benjamin R. 2017. Lions of the North: Sounds censor when I eventually left the country, I took care of the New Nordic Radical Nationalism. Oxford: Oxford in my field notes not to document discussions of University Press. anything touching on the revolution, and suspended ———. 2018. “Collaborating with the Radical Right: Scholar- Informant Solidarity and the Case for an Immoral writing in my personal journal lest it be confiscated Anthropology.” Current Anthropology (forthcoming). and endanger anyone I mentioned. As the revolution became more entrenched and it became clear that Kay Kaufman Shelemay: my time in Ethiopia could suddenly end as well Among the many challenges as prevent my return for the foreseeable future— that arise throughout the indeed, the revolution lasted seventeen years and ethnographic process, ethical I was not able to return until after more than a concerns connected to music decade later—I tried to balance positive ethical and politics are ubiquitous. actions against the risks they incurred. At calculated As an ethnomusicologist who moments I did take chances, such as responding continued on next page . . .

Society for Ethnomusicology © 20 Dear SEM, . . . continued to an urgent request to take for safekeeping sound In our increasingly unstable world, with truly recordings from an archive under threat, and life-threatening political situations never beyond carrying with me a private manuscript on my imagination, I urge those entering just about any field departure. to always have a backup plan and to be keenly aware Today, it is has become common to study of rapidly changing political events on which one will music in situations of conflict. I usually advise have to base ethical decisions. students to be cautious in entering situations that are politically volatile and to be aware that the Reference risks are not just theirs but can potentially impact Shelemay, Kay Kaufman. 1991. A Song of Longing: An on their interlocutors and colleagues in the field. Ethiopian Journey. Urbana: University of Illinois Press. Vol. 14, No. 1 | Spring/Summer 2018 Vol. } SEM Student News Archives

SEM holds an archive of past SEM Student News issues. We have touched on many topics, including sound and sensory studies, decolonization, the job market, STUDENTNEWS

{ publishing, health, diaspora, interdisciplinarity, funding, and more.

SEM You can check them all out, along with submission guidelines, resource lists, and supplementary materials, by visiting semsn.com.

SEM {STUDENTNEWS} SEM {STUDENTNEWS} SEM {STUDENTNEWS} SEM{STUDENTNEWS} An official publication of the Society for An official publication SOUND AND SENSORY STUDIES An official publication An official publication ETHNOMUSICOLOGY NOW DECOLONIZING ETHNOMUSICOLOGY Ethnomusicology of the Society for of the Society for of the Society for Letter from the Editor 1 Ethnomusicology From the Editor 1 Ethnomusicology Letter from the SEM President 1 Ethnomusicology FINDING PATHS ON THE JOB MARKET SEM Reports 2 SEM Reports 3 SEM Reports 6 SEM Regional Chapter Updates 10 Student Voices 5 Welcome! Student Voices 6 Student Voices 13 Thoughts from the Field 11 A Letter from the Editor 1 Dear SEM 14 Dear SEM 14 SEM Reports 2 Thoughts from the Field 20 Student Voices 3 Dear SEM 23 . . . AND ETHNOMUSICOLOGY Thinking through Decolonizing Ethnomusicology The State of the Field 5 POLITICAL DISCOURSE “Personal-is-Political”: Decolonial Praxis and the Future 17 Sounds and Subjects: Ethnomusicology and its Relation to Sound Studies 18 Dear SEM 7 A Response to “Decolonizing Ethnomusicology” 25 Decolonizable Spaces in Ethnomusicology 20 Are We Human, or are We Scholars? 20 Decolonizing through Sound 21 Ethnomusicology, Islam, and Political Dialogue 27 Music Studies and Sound: A Conversation with Matt Sakakeeny 22 Thinking about the Job Market The “Pre-Postmodern” Ethnomusicology of Zora Neale Hurston 31 Reflecting on the Pulse The Ethnomusicology Job Market 9 Mad Planet 23 Preparing for Marketability and Success in Academia 12 SENSORY PERCEPTION IN FIELD AND PRACTICE ENGAGING THROUGH SEM After Pulse: Political Movements and the Dance Floor 25 Transference and Creativity in the Job Market 13 Hotness Revisited 25 SEM Chapter Meetings; Or, Why that Six-Hour Drive Really is Worth It 34 Contemplation, Encouragement, and Celebration: The Ten Tracks Project 36 Confronting Colonial Legacies What Do Ethnomusicologists Do? “You’ve Never Heard This?” 26 What is a “True Ethnomusicologist” 14 Listening to the 2017 Brier 30 INTO THE FIELD Postcolonial Institutional Ethnography 27 Dissertation Grant Writing 17 Join your peers Buddha’s Songs: A Close Reading of Singing in a Taiwanese Monastery 38 Join your peers “Shadow in the Field”?: Doing Medical Ethnomusicology in Croatia 40 “Music in Times of Trouble” 18 Join your peers In Search for Decolonialized Perspectives 30 12 | Spring/Summer 2016 Volume by liking us on Join your peers by Thinking Beyond Your Degree (Dr. Rebecca Dirksen) 20 The Sense of a Feast: Capturing the Georgian Supra 41 by “liking” us on Cross-Cultural Interviews 42 by “liking” us on The Cape Coon Carnival: Photographic Essay 31 Facebook and ‘liking’ us on Volume 13, Number 2 | Fall/Winter 2017 13, Number 2 | Fall/Winter Volume Facebook and Hustle and Swag: The Individual as Enterprise 44 Facebook and following us on More than Sound: A Sensory Studies Bibliography for Novices 45 2016 12, Number 2 | Fall/Winter Volume Decolonizing the Discipline: A Conversation with Aaron Fox 38 following us on following us on Facebook, and get Ethnomusicology Career Affairs: A Resource List 22 Twitter to get the Shadows of Ethnography 47 Twitter to get the Twitter to get the Reading, Decolonizing: Some Resources from Many Perspectives 42 the latest updates Our Staff 24 latest updates and Our Staff 48 latest updates and Our Staff 49 latest updates and Our Staff 44 and calls for

calls for submission! 13, Number 1 | Spring/Summer 2017 Volume Cover image courtesy of Diego Pani and Jordan Zalis (see page 30) calls for submission! calls for submission! submission! cover image created from this issue with wordclouds.com Cover Image: “Be a Good Girl” by Tania Willard (Secwepemc Nation)—see page 41 cover image provided by kozzi.com From the Editor Letter from the SEM President “A” is for Academic, Applied, Alternative . . . Dear readers, welcome to SEM Student News Fall/ for themselves. To varying degrees and approaches, Letter from the Editor Once again, I welcome our readers to a new volume of skill sets. “Applied,” “public sector,” “private sector,” and Hello from Malang, East Java, Company (VOC) and Dutch colonists, eager to enjoy Welcome to Volume 12, Number 2, of SEM Student Thus, I hope that you, our colleagues and readers, Winter 2017! This issue features a return to our each one of them inquires into the intersections SEM Student News. In this, my final volume as editor, I other modifiers have been used as alternative or Indonesia. Davin, thank you for the cool climate and productive agriculture of the News! This is my first issue as editor and thus an will open yourselves to the various critiques and might ask that the readership bear with some reflexivity. supplemental options in our paths as student scholars, themed format with a focus on sound and sensory between sound studies, ethnomusicology, and the asking me to write a greeting for area. Located in East Java, Malang is now a bustling important one for me, but it is also a significant perspectives presented here, consider them with and As an instrument of SEM and as a sounding board for predominantly training to be professors. Many programs studies and ethnomusicology. While not a first for field of sensory studies more broadly; some, going the summer 2017 issue of SEM city of 40 universities. It lies two hours south of the one for our newsletter, society, and field as a whole. against your own work and experiences, and reflect issues important to the student body, the newsletter’s continue to focus solely on training students for the our publication, but certainly to a greater degree and even further, surpass any clear boundaries between Student News. Your newsletter is metropolis, Surabaya, one of the busiest port cities Decolonizing ethnomusicology, as the following on what it means to bring decolonizing knowledges contributors have covered a wide breadth of topics tenure-track job, but a few have broadened their befitting our multi-sensory theme, the present issue’s these fields to reveal that everything we do as during my tenure. From research funding to researcher offerings to at least acknowledge divergent paths. For simply brilliant, and I have been on the Marine Silk Road, and about two hours east voices advocate, is as pressing a concern and project and praxes into the spaces we negotiate on a daily contributions embrace multiple media. We retain our ethnomusicologists fundamentally attends to what we health, labor issues to publication, and interdisciplinary many, myself included, the academic job is indeed the enlightened and inspired by is the horseshoe of coastal East Java towns that I also as it has ever been—(post)colonialism and its legacies primary print medium but with the incorporation of sense and how we sense (Howes 2015). basis. approaches to music studies, we have focused on the aspiration, but the reality remains that those elusive and rereading past issues. I write with a few reflections want to visit. Malang is surrounded by mountains, the photographs and figures, the latter of which include In my own research, I find myself particularly pervade our daily lives, from the classroom to the In addition to contributions submitted in issues students feel are most pressing. In some ways, this limited posts at institutions are increasingly difficult to on “fieldwork,” riffing a bit more personally on some most well-known of which are Bromo and Semero. (I links to externally hosted audio and video examples inspired by the fields of sound and sensory field, wherever that may be. response to our call for submissions, this issue of SEM volume revisits many of the themes we have already land and many of us find ourself in “alternative” work. of the themes from my last “President’s Column” have been told that the city has also been a repository (several of which you can find on our newYouTube studies. For starters, Steven Feld’s (2015) notion of Our initial call invited critical discussion of Student News features two cross-publications from covered but with reflection on the growing concerns over For some, the “alternative” paths are or would be the for the SEM Newsletter: “Notes from the Field ~ The for convicts and ne’er-do-wells due to the difficulty channel). I hope that we can continue to expand acoustemology, the study of sonic ways of knowing ethnomusicology as a field and practice, asking a special issue of Ethnomusicology Review/Sounding the current job market for ethnomusicology graduates. goal, if they were presented as valid and valued. Ethnomusicologist’s Rite of Return” (Rasmussen of mountain travel to and from the destination, our publication and content beyond the limitations and being in the world, or knowing-through and contributors to draw attention to the significance Board dedicated to the Pulse nightclub shooting in In the following columns and editorials you will find The larger point here is not to only discuss possible 2017). and thus has a character of multiculturalism and advice and discussions on the ever-growing issue of solutions to the job market crunch, but to think about the of text and word, and that you, our readers and knowing-with sound, has helped me to explore of diversity in perspectives and representation. Orlando, Florida. Their issue features a range of Malang, historically encompassed in the independent resistance.) One might compare contingent labor within academic and public sector ways these labels inadvertently divide our career contributors, can likewise engage with Student News how sociocultural values and ideals are sense-able Furthermore, it encouraged reflexive critique of reflections on the tragedy and its implications for our Kanjuruhan and Singhasari Kingdoms, beginning in Malang to Boston, for its universities, to Australia our positions, roles, actions, responsibilities, and work as ethnomusicologists. Likewise, Ethnomusicology work. However, this volume deals as much with the job aspirations and limit our options. We hope that this on multiple fronts. and knowable through musicking. Likewise, I am market as it does the need to reconsider how we volume can begin discussion anew to reconsider our field the 8th century, and later subsumed by the Majapahit for its legacy of prisoner exile, and to New England relationships within the communities where we are Review/Sounding Board includes three SEM Student The following contributions need little employing the notion of acoustemology to ask how approach the training of ethnomusicologists, and our introduction and will sound, show, speak, and move Kingdom and then by the Mataram Sultanate, or for its hillside orchards. I compare engaged as graduate students and ethnomusicologists. News editorials on decolonizing ethnomusicology. We continued on next page . . . continued on next page . . . conceptions for what we can do with our interdisciplinary eventually came under control of the East India continued on next page . . . continued on next page . . . Society for Ethnomusicology © 1 Society for Ethnomusicology © 1! Society for Ethnomusicology © 1 Society for Ethnomusicology © 1

SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} An official An official publication An official publication An official publication The Society for publication of the of the Society for of the Society for of the Society for Ethnomusicology’s Society for Ethnomusicology Ethnomusicology Ethnomusicology only publication run Ethnomusicology AND ETHNOMUSICOLOGY MUSIC AND DIASPORA by students, for MEDICAL AND COGNITIVE ETHNOMUSICOLOGY ! THE FUNDING ISSUE students. ! ! IN THIS ISSUE Welcome! Welcome! Welcome! Welcome! A Letter from the Editor 1 A Letter from the Editor 1 ! A Letter from the SEM President 1 ! Letter from the Incoming Editor 1 SEM Reports 2 SEM Reports 2 ! Ethnomusicology + Inter/disciplinarity Student Voices 3 Student Voices 2 ! SEM Student Union Update 2 The State of the Field 4 SEM Reports 3 ! New! SEM Reports 2 Letter from the President 1 Dear SEM 6 The State of the Field 4 ! ! Student Union Update 3 Dear SEM 7 The State of the Field 4 ! Money money money money … money! Dear SEM 6 ! Diverging Paths, Common Goals 8 ! The State of the Field 3 The State of the Field 4 An Ethnomusicologist from Mars? 9 Discerning Diaspora 9 ! Dear SEM 5 Dear SEM 6 Legitimizing Culture-Specific Learner Practices 11 Diaspora, Globalization, Transnationalism, Oh My! 10 Methodological Divides 8 ! Effective Grant Writing 7 Job Seeking Outside Academia 8 Disrupting the Paradigm 13 The Fate of Diaspora 12 If You Have a Cognitive Hammer 10 ! An Ethnographic Study of PhD Funding 9 The Renewed Challenges to “Bi-Musicality” 14 The Diaspora Nyunga Nyunga Mbira 13 ! Volume 7 | Fall/Winter 2013 Volume Volume 9 | Fall/Winter 2014 Volume Thinking Beyond Cultural 11 Looking for Advantages: Funding the Degree 10 Tools of the Trade 16 Songs of a Lost Tribe 14 ! Ethnomusicology, Jazz Education + Record Production 9 Volume 11 | Fall/Winter 2015 Volume “Evidence” and the Clinical/Cultural Divide 12 ! World Music and Cultural Knowledge 17 Diaspora and Technology 15 Graduate Student Debt: It’s A Thing 11 Conceptualizing Global Music Education 11 Cultural Cognition 13 ! Growing the Next Generation of Tango Musicians 19 Towards an Ethnography of the ‘Diaspora’ 17 ! Taking a Leap: In Favor of Student Debt 12 Expanding the Reach of Ethnomusicology 12 Harmonizing Ethnomusicology and Music Education: Reflections on Multi-Sited Ethnographies: Medical Humanities in Practice 15 8 | Spring/Summer 2014 Volume ! The Spousal Subvention 13 A Conversation with Patricia Shehan Campbell 20 10 | Spring/Summer 2015 Volume An Interview with Deborah Wong 18 ! Resources 14 Join your peers by Ethnomusicology ++ : A Bibliography 13 Join your peers by Join your peers by Join your peers by Music, Medicine, Health, and Cognition: A Resource List 16 Join! your peers by ‘liking’ us on ! Our Staff 17 ‘liking’ us on Music Education and Ethnomusicology: A Resource List 23 ‘liking’ us on Diasporic Sounds: A Resource List 21 ‘liking’ us on Our Staff 20 ‘liking’ us on Our Staff 17 Facebook and get Facebook, and get Our Staff 26 Facebook, and get Our Staff 24 Facebook, and get Facebook, and get the latest updates the latest updates the latest updates the latest updates the latest updates and calls for and calls for and calls for and calls for and calls for submissions! submission! cover image provided by kozzi.com submissions! information for cover image found on page 24 submissions! cover image information found on page 20 submissions! Funding Matters Disciplinarity and Interdisciplinarity in Ethnomusicology through Teaching Musical Diasporas, Diasporic Musics A Letter from the SEM President a letter from the incoming editor Greetings again from the SEM education and ethnomusicology— with Patricia Shehan Campbell To our faithful readers and those that “home”—my knowledge base are quite unique, but as the We have come to expect that SEM do with living in balance, not simply preventing or Ethnomusicology Student News staff. This volume two historically divided career and (University of Washington) who perusing our pages for the first of these issues has grown in photographer of the above image Student News will address issues that are eradicating the cause of illness. I’ve had to learn more Once again, we welcome you to often the search for funding is so This issue also marks a significant brings together the old and new in research paths in most music suggests a combination of trainings time, welcome to Volume 10 of editing this volume. It is my hope points out, they are indeed urgent and significant. This issue deeply about the biopolitics of colonialism and another edition of SEM Student News. narrowly focused it becomes an shift in the life of SEM Student News. a letter from the president of sem our staff. We have had a few programs. As many of us build —ethnomusicology and music SEM Student News. Within that yours will too. I am pleased diasporic—representing the continues the pattern with a focus on imperialism where not all bodies are grievable. Vol. 8 covers a wide array of isolating and self-guided project. Our founding editor, Lauren The choice of interdisciplinarity as anthropologists concerned with study of a set of natural-kind “retirements” from the newsletter, student careers around novel education together—is a valuable ethnomusicology and cognate to say that we had numerous Atlantic experience and the New medical ethnomusicology and cognitive Ethnomusicologists understand the potential that music viewpoints on a subject we all tackle Though we cannot provide the Sweetman, is stepping down with the theme of this issue of SEM music as a cultural phenomenon things-in-the-world (such as while pursuing higher education: perfect formula for obtaining the completion of Vol. 8. Her time with more to come shortly. We are research foci and developing new and attainable solution. The other disciplines, the term “diaspora” responses to our calls for World experience—of African ethnomusicology—two areas that are and dance have in treatment, as means to animate both Student News usefully returns a were an important driving force in invertebrates or stars or minds) but funding. The responses you will find funding, here we can ponder issues spent developing this publication has pleased to introduce four new staff concepts for the study of music, side of the coin—music education has been problematized and submission, and we look forward Americans working within these attracting a growing number of new body and creative spirit, to survive trauma. Do we pay longstanding concern of our Þeld the foundation of our Þeld. But rather as a group of people in this volume from scholars and to consider in your search. made significant strides in voicing to the spotlight of critical ethnomusicology’s history has working in concord or conßict to contributors— Eugenia Siegel how many of us aim to hone our as a field—could also benefit from defended, substituted and to continued engagement with communities. This nuanced and old scholars while also serving to build our equal attention to the fact that sound can inflict pain? students raise varied questions from student concerns within, and indeed Too often students (and scholars) attention. From ethnomusicology’s always been more complex and far try to grapple with some facet of Conte (Wesleyan University), Kyle teaching skills as much as our better approaches to “world music,” accepted; here, our contributors both student and professional understanding of diaspora lends interdisciplinary capacity. I am also eager to see whether contributors to the logistics of funding to the broader beyond, SEM. Her attention to DeCoste (alumnus of Tulane research skills? While scholarship is as not just a token selection for engage with the issues and current ethnomusicologists. For this agency to the community and I will be interested to see how those who write this newsletter will write about the potential cross talk become overwhelmed and feel founding in the early twentieth ranging than that, with scholars existence. Why, for example, are implications of academic budget cuts. potentially belittled by the process of detail, level of professionalism, and University), Brett Gallo (alumnus of often the main agenda for most concert, but a complimentary trends of diaspora music studies, volume, the discussion on avoids resorting to broad labels or about these issues will speak about the assumptions that between the two themes. The emotions that listening century through the nineteen- from a wide array of backgrounds (the study, perhaps, of From choosing a program of study rejection. But, as you will read in the long hours spent making SEM Tufts University), and Simran Singh ethnomusicologists, most of us end pedagogical approach to teaching broadly defined, and you will find diaspora took many forms and outsider assumptions. Many of frame our work in each of these areas. Will they address invokes, the expansion of sensory intensity (in trance, for Student News what it is are a eighties at least, it had been a making contributions to our society) and anthropology (the based on financial packages to Dear SEM column, Dr. Anthony truism that our Þeld operates at literature, and that is even more study of humanity) different (Royal Holloway, University of up in some form of educational music. a variety of problems, solutions, each editorial brings to light the thoughts shared in this the additional skills and knowledge we must acquire to instance), and the entrainment of bodies in performance considering student debt and family Seeger suggests thinking of the process testament to her four years of )—whose first contributions setting where teaching is the bulk of and case studies that deal with questions regarding both volume center on this idea of do such scholarship, for instance, or the methodologies —all are topics in cognitive ethnomusicology that cross service. As the incoming editor, I bid the intersection of anthropology true today. The interdisciplinarity disciplines? It is certainly not We hope this volume truly speaks concerns, funding is a complicated as casting many fishing lines. A huge can be found below. Their unique our work. Many of us will rely on such ideas. As a researcher whose communities’ positions as well as self-identification and the might we need to develop? Will they call into question over to medical ethnomusicology. a hearty thanks to Lauren for her and . In some at the origin of our Þeld helps us because “society” and “humanity” beyond borders and opens up matter. Though this is a topic of number of lines may be cast, but once perspectives are a nice addition to “on the job” training through primary focus has not been on the researchers’ positions understanding of complex some of the broad assumptions that frame mainstream Congratulations to the staff of SEM Student News patience and trust in me to take over important ways, this is not to remember a fact that scholars are cleanly separable phenomena conversations for us all to be better discussion among peers, we rarely the “big one” comes in, it makes up our staff. Welcome to you all! graduate teaching or paying our disaporic communities in the concerning “diasporic” identity. emotional, cultural, and scientific approaches? In my own work, I’ve often had to for creating such a dynamic publication. Thanks for find ourselves engaged with the idea for the fatigue and disappointment. the reins of this important canon for inaccurate. Conversations between from other areas often have to that require distinct methods of scholars, students, and teachers. * the students of SEM. * dues in adjunct life. This volume traditional sense—peoples This volume’s cover image is a historical processes. * question what I assume “health” is. Indigenous teachers bringing these two themes together. * of funding as a part of coursework. We hope this issue is full of useful musicologists interested in non- work hard to understand: a study and therefore distinct For this volume, we focused on the says we can do better. We should do By Justin R. Hunter displaced from a “homeland” but prime example. The Mardi Gras —along with most in our discipline—emphasize that Many programs may discuss the thoughts to consider while you begin, By Justin R Hunter (University of Western musics and discipline is not best deÞned as the continued on next page... trajectories between music (University of Arkansas) By Justin R. Hunter (University of By Dr. Beverley Diamond (Memorial University) “how to’s” of grant writing, but or continue, to cast your lines. Hawai‘i at Mānoa) better. We feature a conversation retaining (or not) cultural ties to Indian traditions in New Orleans Hawai‘i at Mānoa) health is not just individual but also social, that it has to Society for Ethnomusicology © 1 Society for Ethnomusicology © !1 Society for Ethnomusicology © !1 Society for Ethnomusicology © #1 Society for Ethnomusicology © 1

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An initiative of the An initiative of the An initiative of the An initiative of the An initiative of the An initiative of the Student Concerns Student Concerns Student Concerns Student Concerns Student Concerns Student Concerns Committee of the Committee of the Committee of the Committee of the IN THIS ISSUE Committee of the Committee of the Society for IN THIS ISSUE Society for IN THIS ISSUE Society for Society for Society for Society for IN THIS ISSUE IN THIS ISSUE Ethnomusicology Ethnomusicology Ethnomusicology Ethnomusicology Ethnomusicology IN THIS ISSUE Ethnomusicology Welcome! Welcome! Welcome! Welcome! Letter from the Editor 1 Welcome! Letter from the Staff 1 Letter from the Editor 1 Welcome! Letter From The Editor 1 SCC Update 2 Letter from the Editor 1 SCC Update 2 Letter From The Staff 1 Letter From The President Of SEM 2 SCC Update 2 SCC Update 2 The State of the Field 3 Letter From The Editor 2 Letter From The Presidents Of The SCC 3 Digital Ethnomusicology Community News 3 Upcoming Conferences 2 Community News 3 Econ 101 4 The Limits of Digital Ethnography in a Lo-Fi World 3 SCC Update 3 SEM Student News The State of the Field 4 Speaking Out On Student Health Community News 3 Chapter Updates 4 Applied + Activist Ethno The Lowdown on Student Labor 1 | Fall 2010 Volume Conferences 5 Dear SEM 7 Boosting Productivity by Stopping to Smell the Roses 4 RedeÞning ÒAppliedÓ Ethnomusicology 4 Privatizing the Public University 5 Student Issues: Publishing A Word From The Pacific Review Of Ethnomusicology 5 The State of the Field 5 Dear Little Man 5 A Community of Writers 5 Working the Private Sector 7 Feature: Historical Ethnomusicology 6 Online Bodies: Education + Social Media Dear SEM 8 Paper Labor: A Guide To First Publications 7 Getting To Know Each Other: Three Student Profiles 6 The State of the Field 6 The Rise of the MOOC 10 Facing Health Crises 10 Article: Contemplating Historical Ethnomusicology 9 Dear SEM 7 The Job Market Feature: Intellectual Property Recent Student Publications 11 Material Student Bodies in a Digitized Academic World 11 5 | Fall/Winter 2012 Volume Changing Dynamics through Trauma 10 3 | Fall/Winter 2011 Volume Connecting Ethnomusicologists 13 Responsibility and the Ethnomusicologist 8 What’s in a Job Application, Anyway? 9 SEM Student News Introduction 9 Call For Submissions 11 Conßicted Bodies 11 Getting To Know Each Other: Three Student Profiles 9 Our Staff 12 Digital Technologies and Music 14 Working in the Applied Sector 10 Dear Icon Formerly Known as Little Man 10 now has a Join your peers by Join your peers by Ethnomusicologizing While “Disabled” 11 Want to stay in the Want to stay in the Facebook page! Staff Editorial: Debating IP Issues Within SEM 13

Volume 6 | Spring/Summer 2013 Volume On Facebook: Part 1 14 4 | Spring/Summer 2012 Volume A Musical Exploration in Rhythmic Immersion 11 Top Ten Tips for the Ethnomusicology Job Market 12 2 | Spring/Summer 2011 Volume ‘liking’ us on ‘liking’ us on Health Insurance: What You Need to Know 13 SEM Student News SEM Student News ‘Like’ us to receive As Simple As Sharing? IP And An Ethnomusicology Of Fairness 14 Organizations + Resources 12 Stolen Images? Copyright Protection In Public Spaces 16 Facebook, and get On Facebook: Part 2 15 Facebook, and get Organizations + Resources 15 loop? Join your loop? Join your our updates and the latest updates Organizations + Resources 17 the latest updates peers by ‘liking’ us peers by ‘liking’ us Getting to Know Your SEM 14 calls for Our Staff 18 and calls for and calls for on Facebook, and Our Staff 16 on Facebook, and Getting to Know Your Council + Reps 15 Our Staff 18 submissions, and submissions! Our Staff 21 submissions! get the latest get the latest Our Staff 16 become part of the Our First Issue! updates and calls updates and calls larger student a letter from the editor for submissions! for submissions! community! By Lauren E. Sweetman () Sites of Convergence Speaking Out On Student Health I am excited to say it (so read it out ethnomusicology and related musical expression. Here we see not The Labor Issue: Answering Your Calls Welcome Back! loud!): these are the Þrst words of the disciplines to share their stories. We only the passion that has long driven a letter from the editor and against the stigma of seeking help Being a ______Ethnomusicologist a letter from the staff a letter from the staff Þrst issue of SEMÕs new student want to provide our immense, often us, but also the interdisciplinary newsletter! This particular moment disconnected community with a nature of music research to which we Welcome, dear readers, to the sixth Or at least a semi-luddite, who owns Auckland, Aotearoa New Zealand Welcome to the Þfth issue of SEM about our health in professional scholars-to-be. And this fear is choosing our adjectives volume of SEM Student News, an iPhone 3G with outdated apps and working on this volume with Student News! As we enter our third settings, with the exception of, as heightened especially when facing Welcome to the second issue of Regardless of where you are in contributions will further the marks a beginning of something, and chance to get to know each other, a all can relate. devoted to the topic “digital and who doesn’t sync anything (the contributors spanning from here to year of publication, we wanted to Prof. Ellen Koskoff writes in our mental health issues, leading to a Welcome to the fourth volume of and social engagement is one I our research, but also strengthens Greetings! Welcome to the third what we will do with our 12:30pm. Let us know what you’d SEM Student News! We hope you your grad school trek, this issue dialogue already taking place in beginnings are powerful. I grappled place to articulate our comings and ethnomusicology.” To begin, a few cloud freaks me out). I’m a moderate Hawai‘i to Arkansas to England to start it off by breaking the silence on Dear SEM column, the host of untreated, overwhelmed, SEM Student News. In this issue, constantly face in both my it? volume of SEM Student News, ethnomusicology degrees, and how like to see in our future pages, and are all able to enjoy some rest and aims to equip you with interesting our listservs, seminars, grad with various ways to say hello, to goings, and a platform to voice the At SEM Student News, we ultimately welcome you, to invite you in to what debates and tensions we encounter. work for you. Please feel free to send questions: What kinds of spaces do Facebooker, and I do depend on the Bali. So when I consider my own a pressing issue affecting us all: our legendaryÒethno street credÓ gained unsupported students whose work we highlight the subÞelds of professional and personal lives. devoted to an issue on all of our we will do it. learn how you can be a part of the relaxation after a long academic and helpful discussions in response lounges, and pubs. So enjoy the you converge in? Where do you Internet for my daily routine—e- sites of convergence, this newsletter health. from surviving a life-threatening and lives would beneÞt greatly if minds: work. As we gear up for team. Not going to SEM? Send us is, for us, an undeniable labor of love. We hope to arm you with information us your input, ideas, and comments applied and activist Colleagues often ask me why I Many of our teachers and mentors year. To recent graduates, to two current concerns of the newsletter—and let us know what loiter? Where are your sites of mails, Young and the Restless is forefront on my mind. As a infectious disease while in the Þeld. they accessed the help available to SEM’s annual conference in In this issue, youÕll Þnd critical an email or post on our Facebook Such labor, however, often includes and updates, or, in a word, news: via email, and join our Facebook ethnomusicology, questioning how bother with all the ethics reviews, are conducting community-based, admittees, comps-completers, and student community: intellectual you think! interaction, contemplation, and updates (don’t judge), hockey scores, publication only available online, From malaria to sleep deprivation to them. What results from the stigmas our work as scholars can be community meetings, and collaborative research and writing Philadelphia, we invite our discussions of the economy and page. We look forward to hearing moments of stress and frustration that news of your peers, news of events, group. We want to use this newsletter procrastination? 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But this existence is publish and speak to each other, for basement, a kitchen? And while in academic literature that makes up a the SEM listservs and Facebook, it maternity leave, our work as issue for the public setting of our often takes a backseat to the and the Þeld as a whole. geared to help you navigate and Warmest Regards, still slogging through readings, the following pages, which feature ideas, and concerns to our what we have in common, what we Each issue will include a variety of students to experiment with forms, these locales, are you also in another makes immediately visible the ethnomusicologists both affects and institutions, to be dealt with largely demands and ambitions of our communities in which we Þnd work should matter to them, what times we hear how experimental substantial part of ABD life as I gear plan your future careers. The SEM{StudentNews} Team papers, and summer programs, we editorial articles written by our Facebook page or email us at can all share. So please join us, as articles, interviews, and updates of ideas, and opinions that may not Þt world, a digital world, consuming, up to write my dissertation. And if inßuence of the digital world in our is affected by our health in profound on our own. Many of us may fear professional lives. That is, as you will ourselves. As a medical greater purpose I can serve, and writing, social engagement, or As many of us begin to consider [email protected] wish you sleep, caffeine, and peers as well as the advice of our [email protected] so celebrators and empathizers, as conferences, publications, and other neatly into other publications at this uploading, downloading, or wading my research were about the Internet? academic work. professional and personal ways. And that turning to our mentors, student hear from the contributors in this ethnomusicologist researching what results I can guarantee. How public scholarship had to wait until students and colleagues, as we begin pertinent materials. Each issue will be point in our careers. So let us know through the likes of Facebook, I can only imagine how the hours yet, though most of can easily name health centers, counseling services, or volume, until something happens indigenous health and an activist can we reconcile these two often- they were post-dissertation, post- our futures outside of graduate At SEM Student News, we value humor. And to those of you in the senior colleagues. We have we can continue to expand the YouTube, JSTOR, or Soundcloud? I spent digitally would multiply. And as I begin to think of life post- a number of colleagues, mentors, or disability services for health advice that is impossible to ignore. working in educational opposing positions, and foster a job, post-book, post-tenure, post-I- school, the recent effects of a your voice. Come meet our staff at Þeld, we wish you safe and expanded our content conversation among students in this endeavor together in the devoted to a particular Þeld or theme what you think! In letters, prose, have to admit that by modern PhD and prepare to enter the job friends in our Þeld whose health has will damage our reputation as documentary media, the productive and meaningful have-already-proven-myself-as-an- downtrodden and transforming the Student Concerns Committee productive journeys! considerably since our last issue; it ethnomusicology. following pages. in ethnomusicology. This issue, poetry, articles, or however else you standards I may be a bit of a luddite. As I write now, I am Òin the ÞeldÓ in market, I am ßooded with questions become an issue, we seldom talk intellectual, capable, savvy, with-it continued on next page... relationship between academics dialogue that not only facilitates continued on next page... economy have led us to question meeting on Thursday, Nov. 17 at is our hope that these focused on historical express yourself, we welcome you. In this newsletter, we strive to create a ethnomusicology, invites us to begin forum for students in by looking back into the richness of

Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1

Society for Ethnomusicology © 21 “We’re Not Gonna Take It” Trump and Striking West Virginia Teachers

By Dr. Justin Patch (Vassar College)

On February 22, 2018, public school teachers in West Virginia went on strike, leaving over 277,000 children across the state without classrooms for over a week. The educators’ demands were simple: a modest 5% pay raise (collectively, they are among the lowest paid in the nation) and access to affordable healthcare (Stewart 2018). Teachers and their supporters flooded the capitol building in Charleston to protest. CNN footage from February 26 captures striking teachers collectively singing the chorus from Twisted Sister’s “We’re Not Gonna Take It,” a song that just two years earlier was synonymous with ’s presidential campaign. If the defiant, anti-authoritarian hair metal anthem was an unlikely accompaniment for a septuagenarian real estate developer’s presidential run, it was an equally strange bedfellow for public school teachers in a state that voted overwhelmingly for Donald Trump. Not a single county in West Virginia voted for Clinton, and Trump

Vol. 14, No. 1 | Spring/Summer 2018 Vol. carried a full 67% of the vote to Clinton’s 26%. What makes this concurrence even more remarkable is that in } 1980s hair metal songs, teachers were often the targets of derision, presented as authority figures to be rebelled against and symbolically diminished through violent, destructive, or sexual fantasy. Films like Pump Up the Volume (Moyle 1990) and The Breakfast Club (Hughes 1985), videos like Van Halen’s Musical sounds are open “Hot for Teacher” (1984), and the lyrics of countless metal songs pit students against teachers and underscore rock’s antagonism signifiers, and the ability to STUDENTNEWS

{ toward institutions of social control and hegemonic power. That West Virginia teachers chose “We’re not Gonna Take control public interpretation

SEM it,” a song from a genre that is overwhelmingly anti-teacher, as their rallying cry demonstrates several things. First, the of sonic utterances is a polysemic nature of music. Musical sounds are open signifiers, and the ability to control public interpretation of sonic demonstration of social capital utterances is a demonstration of social capital and ideological power. Donald Trump excelled at this musical power play. and ideological power. His defiance of intellectual property rights and obliviousness toward the texts and politics of the artists whose songs he used during his campaign struck a chord with voters. His supporters relished his refusal to bow to pressure and will to assert dominance over public culture as a rebuttal of the collectively despised “politically correct” status quo. His outsider stance and rebellious image allowed him to use songs like “We’re Not Gonna Take It” to sonically exemplify the pugilistic, zero-sum ethos of his campaign and those who chose to join its ranks. Second, this confluence reveals the tenuousness of cultural power. Just as Trump’s campaign exhumed Twisted Sister’s hit from the dustbin of MTV’s early days and gave it new cultural relevance (apart from nostalgia or irony), it also opened the song to popular reinterpretation. Sounds of are easily co-opted by power, appropriated from the peripheries and brought to the center, but their journey does not necessarily stop there. There is always the potential for adding another layer, for re-signifying a song (Barthes 2012). Perhaps the West Virginia teachers envisioned themselves as outsiders, rejected and dismissed by institutions of power, and utilized a legible cultural symbol of resistance to the status quo. This ethos of the necessary forgotten mimics the Rust-Belt ethos that won Trump crucial support in states like West Virginia, Ohio, Wisconsin, and . In the case of the West Virginia teachers, it might not have mattered that the brutal status quo was the result of the policies and that “We’re Not Gonna Take It” supported less than two years earlier. Third, this event shows that while people listen to politicians, they also talk back, at times reshaping political rhetoric for their own ends. Campaigning politicians make a point of performing listening. They re-narrate curated stories from constituents to bolster their policy decisions and ideologies, participate in focus groups and

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Society for Ethnomusicology © 22 “We’re Not Gonna Take It” . . . continued call-in shows, and emphasize how hearing the hardships and struggles of ordinary people affects their decision- making and fortifies their convictions. When citizens’ responses to candidates are played back through news media it is done in the context of discourses controlled by the . Established partisan views prevail, parroting existing political talking points with few critical variations. In the case of West Virginia teachers singing “We’re Not Gonna Take It,” we hear citizens’ political variation, an unconventional re-signification of campaign rhetoric and culture. It is clear that the West Virginia teachers heard Trump’s musical/political rhetoric and learned a new association between the song and an oppositional political stance, rather than an anthem to angsty youth culture or a cheeky piece of nostalgia. Their singing extracted the rebellious stance and disconnected it from Trump, his party, and his rhetoric. They re-signified “We’re Not Gonna Take It” to bolster their own political maneuvers and confronted a Governor who switched parties in order to support Trump’s and a Republican-dominated with a cultural product they once embraced. What is yet to be known about the political organization of the West Virginia teacher’s strike, which ended

Vol. 14, No. 1 | Spring/Summer 2018 Vol. on March 6 with the teacher’s modest demands being met, is the process that organizers, teachers, and their } supporters went through. As organized labor experiences losses and workers find themselves more vulnerable in a post-industrial economy, it is of vital importance to understand new labor activism from an ethnographic standpoint. As Eyerman and Jamison (1998), Mark Mattern (1998), Robbie Lieberman It is through ethnography ([1989] 1995), the website traxonthetrail.com, and other scholars have pointed out, musical culture is an essential aspect of political that we can fully understand STUDENTNEWS

{ culture. Recent ethnographic work on political movements, like Michael O’Brien’s (2013) on protest in Madison, WI, Max Jack’s processes of re-signifying, of

SEM (2013) research with St. Pauli Ultras in Germany, or my own (Patch collectively remaking culture 2013) work with anti-war protests in Austin, TX, are windows into the processes creating and maintaining movement culture. It is to speak meaningfully through ethnography that we can fully understand processes of re- signifying, of collectively remaking culture to speak meaningfully to the past and future as to the past and future as determined by the present. Since music is polysemic, analyses from a distance are limited (as this piece determined by the present. demonstrates). Engaging in activism is the most effective way to understand protest from the ground up. The difficulty with this sort of fieldwork is that it is unpredictable. The protests in West Virginia lasted slightly more than a week, and the 2011 protests in Madison, a few months. These movements arise to meet a collective challenge, injustice, or issue, and then often vanish or hibernate. One cannot anticipate when a movement will emerge, The only practical solution and researcher mobility is an issue. In the case of the recent is to stay active, and to “March for Our Lives” anti-gun violence rally in March of 2018, an ethnographer would have had a mere month to get to South Florida, maintain relationships gain the trust of the organizers, and document the proceedings to get an in-depth perspective. This is a tall order for both students with activists in our own and professionals. The only practical solution is to stay active, and to maintain relationships with activists in our own communities that communities that might might facilitate engagement when it occurs (and it nearly always is). facilitate engagement when In these tense days, political critique and social justice pedagogy depend on engagement with dynamic political cultures, it occurs. including their musical cultures. As Henry Giroux (2006) theorized, public pedagogy matters, and public cultures teach us how to be in

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Society for Ethnomusicology © 23 “We’re Not Gonna Take It” . . . continued the world, with ourselves, and with others. This necessitates engagement with musical cultures from positions of familiarity with processes of signifying and re-signifying. Activism and engagement are essential to writing ethnographies and teaching courses on political cultures that advance our understanding of the practical and theoretical roles of music in politics. Someday soon, perhaps we will know why the West Virginia teachers decided to sing “We’re Not Gonna Take It,” the role it played in garnering enough support to win them the pay increase and health insurance they deserve, and the influence this cultural enunciation may yet have on the myriad labor and social justice movements that are bubbling below the surface. We might also find out if the West Virginia teacher’s musical rendition was the inspiration for the striking Oklahoma teachers’ marching band that accompanied their protests in April 2018. Has recent political action remade a hyperbolic hair band anthem the new “This Land is Your Land,” with all of its contradictory uses and interpretations? And how do separate but connected groups of activists repurpose three-decade old sounds to speak on their behalf? The answers to these questions, of these multiple possible meanings and their cultural politics, can only be answered

Vol. 14, No. 1 | Spring/Summer 2018 Vol. ethnographically. }

Endnote 1. Other educator-centric videos of “We’re not Gonna Take it” include: a group of teachers from Valrico, Florida, lip- synching the song to protest students texting, chewing gum, and wearing revealing outfits (https://www.youtube.com/ watch?v=Ny-3HzD_1T4); a poor performance by what appears to be a teacher singing with a school rock band; and a surprisingly lackluster performance by striking teachers from 2012 (the last two videos are unattributed). STUDENTNEWS { References Angelus, Pete, and David Lee Roth, dirs. 1984. “Hot for Teacher.” Warner Bros. Records. SEM Barthes, Roland. 2012. Mythologies. New York: Hill and Wang. Eyerman, Ron, and Andrew Jamison. 1998. Music and Social Movements: Mobilizing Traditions in the Twentieth Century. Cambridge, UK: Cambridge University Press. Henry A. Giroux. 2006. “Cultural Studies, Public Pedagogy, and the Responsibility of Intellectuals.” Communication and Critical/ Cultural Studies 1 (1): 59–79. Hughes, John, dir. 1985. The Breakfast Club. Universal Pictures. Jack, Max. 2013. “On the Terrace: Ritual Performance of Identity and Conflict by the Shamrock Rovers Football Club Ultras in Dublin.” Ethnomusicology Review 18. Lieberman, Robbie. (1989) 1995. My Song Is My Weapon: People’s Songs, American Communism, and the Politics of Culture, 1930-50. Urbana: University of Illinois Press. Mattern, Mark. 1998. Acting in Concert: Music, Community, and Political Action. , NJ: Rutgers University Press. Moyle, Allan, dir. 1990. Pump Up the Volume. New Line Cinema. New York Times. 2017. “West Virginia Results.” Last modified August 1, 2017. Accessed March 27, 2018.https://www.nytimes.com/ elections/results/west-virginia. O’Brien, Michael S. 2013. “This is What Democracy Sounds Like: Live and Mediated Soundscapes of the Wisconsin Uprising.” Music and Politics 7 (2). http://dx.doi.org/10.3998/mp.9460447.0007.204. Patch, Justin. 2013. “Total War, Total Anti-War: Music, Holism, and Anti-War Protest.” Ethnomusicology Review 18. https://www. ethnomusicologyreview.ucla.edu/journal/volume/18/piece/700. Sandoval, Chela. 2000. Methodology of the Oppressed. Minneapolis: University of Minnesota Press. Snider, Dee/Twisted Sister. 1984. “We’re Not Gonna Take It.” Stay Hungry. Atlantic Records. Stewart, Emily. 2018. “All of West Virginia’s teachers have been on strike for over a week.” Vox.com, March 4, 2018. Accessed March 27, 2018. https://www.vox.com/policy-and-politics/2018/3/3/17074824/west-virginia-teachers-strike-justice-union. Turner, Cory. 2018. “The Fight Over Teacher Salaries: A Look At The Numbers.” NPR.org, March 16, 2018. Accessed March 27, 2018. https://www.npr.org/sections/ed/2018/03/16/592221378/the-fight-over-teacher-salaries-a-look-at-the-numbers. Van Halen. 1984. “Hot for Teacher.” 1984. Warner Bros. Records.

Society for Ethnomusicology © 24 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology act ofpushing through boundaries imposedon freedom butalsoa continuation oftheliberatory full, physical acknowledgment oftheir newfound character’s ambiguoussexuality. flirtation with a girlinthedancetroupe reflects her the angularity andcoolnessofanandroid. Overt sometimes fluidandflexible andother times reflect and eventually a tuxedo. Her dancemoves are and sash,thenreappearing ina tight-fitting dress gender, appearing firstin a Napoleon-esque suit In her sartorialpresentation, Monáe plays with glass enclosures. They starttodance. Haydn. Monáe stirs. The bandemerges from their slips away. A groove startstofillthe room, silencing surreptitiously putsa record ontheturntable,and Cello ConcertoNo. 1. A museum visitor infiltrates, :thesecondmovement ofHaydn’s the exhibit over a soundtrack ofrestrained, orderly cool female voice emanating from a screen explains By Audrey Slote (University ofMinnesota) in JanelleMonáe’s “Q.U.E.E.N.” Deconstruction asPolitical Discourse The musicians’ performance isnotjusta ensuesisa celebrationofliminality.What Video Screenshot. Figure 1. Monáe,center, andherfellow musicians frozen museum. inafuturistic behindglass futuristic museum(see figure 1). A are frozen behindglassina singer andher fellow musicians Just prior tothisfirst event, the with theliberationofitsheroes. Monáe’s “Q.U.E.E.N.” The music video for Janelle begins Daylanne K.Englishand Alvin Kim(2013,217) utopian conceptsofbeing incommunity. the Afrofuturist project ofconstructing alternative, inevitably unfolding toward white progress. a conceptofhistory aslinear, teleological,and narrative arcs andcomplicatetemporality tocritique the statusquo. Afrofuturists warp, fracture, andblur claimed power attheexpense ofothersisto uphold narratives ofhistory that valorize those who have The answer is inevitable: with the victor.” To uphold “With whom doeshistoricismactually sympathize? As Walter Benjamin(2003,391)famously wrote, deconstructing Eurocentric narratives ofhistory. stem from a fundamental Afrofuturist project of the musicalstructures thatcompriseitsfoundation, discourse. Monáe’s theater ofbinary-blurring, and and, by extension, Afrofuturism’s modesofpolitical deconstructive processes inan Afrofuturist aesthetic “Q.U.E.E.N.” isthethird song,Monáe roots InThe Electric Lady, thealbumon which parallel process ofdeconstruction. of binaries,anabstractmusicalstructure enactsa and text thatovertly signify thedeconstruction constructed labels.Undergirding thedance,fashion, harness todefy metaphoricalcontainmentby socially physical containment which themusiciansthen them. The groove istheforce ofliberationfrom Meanwhile, “Q.U.E.E.N.” alsoparticipatesin continued on next page . . 25 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018

Society for © Ethnomusicology couched incyborg identity, queernessinherently total liminality ofthecyborg.But even when not character’s identity perhapsalready implicitinthe queerness, Monáe draws outanelementofher interactions with a female dancer. By performing a queer identity in“Q.U.E.E.N.” through flirtatious critique thoselabelsthatdohinder real people. se, Monáe’s performance asCindienablesher to machine binary doesnotrestrict humanbeingsper race, individual identity or body.” thehuman/ While of manor woman, human,artifact,member ofa and thusableto“make very problematic thestatuses cyborgs are “super richinboundary transgressions” of liminality. As Donna Haraway (2004,36–37) writes, position inthisliminalspacealsoimpliesother kinds the boundary between humanandmachine.Her pop star. As a humanoidrobot, Cindidestabilizes Mayweather, a rebellious android fugitive-turned- Lady, andthealbumsthatprecede it,asCindi deconstruction. ShedancesandsingsinThe Electric a persona whose identity furthers Afrofuturist constrained social,racial,andeconomicorders.” production andpoliticaltheory thatimagineless define Afrofuturism as “African Americancultural point tothisimaginative component when they . continued Deconstruction asPolitical Discourse 71 61 51 41 31 21 1 5 & & & & & & & & & At thesame time,thecharacter Cindiprojects In the“Q.U.E.E.N.” video, Monáe performs # # # # # # # # # # # # # # # # # # 4 4 Figure (B 3.“Q.U.E.E.N”to F#,withintermittent verse fifth withanascendingperfect DandE). > œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Figure 2.“Q.U.E.E.N.” (Bto B-minorostinato fourth withdescendingperfect F#). Œ ‰ œ ‰ j œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ

œ j 69 59 49 39 29 19 9 79 œ ? ? ? ? ? ? ? ? ? - œ œ # # # # # # # # # ‰ # # # # # # # # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 4 œ œ . j œ # œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ - œ œ œ ∑ > ‰ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ™ œ . j > > œ J œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ - œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ™ ‰ œ composed out(see figure 4). of the verse, with embellishmentsofitstonictriad 3). Then, thechorusappearsasa kindofdilution fifth (BtoF#, withintermittentDandE;seefigure that ofthe verse isitsinversion, anascending perfect ostinato isa descending perfect fourth (BtoF#), while across a specificaxis. The basicmotivic cellofthe inversion without alltheintervals perfectly inverted ostinato; the verse relates totheostinato via motivic Straus (2003,318) callsa “fuzzy inversion” of the is involved, the verse canbeconsidered what Joseph onto it(see figure 2). Thoughnoliteraltransposition generator ofmelodiclinesthatare superimposed ostinato functionsasbotha formal unitanda deconstruction. Throughout thesong,a B-minor elements unspoola complementary narrative of machine, maleandfemale, queer andstraight.Sonic boundaries thatseparatebinariesofhumanand for undermining further binariesnested within them. dons two binary-blurring identities with implications cyborg inthecontext ofan Afrofuturist work, Monáe by performing queerness,andby performing asa destabilize normative andsexualities.” Thus, broad range ofbehavior andrepresentations that (2013, 826) writes, queer identity “represent[s] a subverts norms. As musicologistJudith Peraino . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ > œ œ j . Visual elementsof“Q.U.E.E.N.” blur the œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ . ∑ ∑ ∑ ∑ ∑ ∑ ∑ > œ œ . ‰ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ j ∑ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ continued on next page . . œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ - ˙ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ Ó > œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ

26 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018

Society for © Ethnomusicology . continued Deconstruction asPolitical Discourse video asfrozen intime, with their groove preserved acknowledged. The portrayal ofthemusicians inthe repetition, theostinatodemandsthat pastbe below that which developed from it. Through its ostinato isthesoundofa prior moment, compacted itself theghostly aftereffect of apast cycle.” The ahistorical form meansthateachcycle contains within emphasis inoriginal) writes, “Theeffect ofcyclicity as conception ofhistory, Tobias Van Veen (2013,18; sedimented intocurrent time.Invoking an Adornian Afrofuturist approach tohistory in which thepastis outgrowths. and theother melodiesare the the ostinatoisprinciple, London 2002,716). Inthiscase, govern entire pieces.” (quoted in of general principlesthat are understoodasoutgrowths composition .in which events linearity: “theprincipleof Kramer definesasnon- Jonathandemonstrates what The relationship among ostinato, verse, andchorus the musicprogressing toward a pointofarrival. the future, theostinatounderminesany senseof how we perceive timeinthesong.Inrelation to repeating unit,theostinatohasimplications for to constructa utopianspace. As a continuously from itbothdeconstructtemporality andcoalesce and itsinterplay with melodicmaterialsderived entire aestheticofthealbum warrants, theostinato 6 & & The ostinatosonically demonstratesan Read through the Afrofuturist lens which the # # # # 4 4 up œ Figure 4.“Q.U.E.E.N.”, similarto chorus verse andwithoutembellishments ofitstonic triad. Ó , ™ don't œ j ‰ Am cut œ œ j ™ œ I œ a me œ freak j do œ ˙ ™ wn for œ breaks down theboundary. their own history. Theostinato their own they past, reclaim By dancingto themusicof j dan œ ‰ ™ - And cing œ œ j j round? y eah œ ˙ œ I ‰ w addresses her cohortofrebel women: “We rising alone under a spotlightin a darkened space, and only formal boundary. Shereappears ina tuxedo, accompanying textural change constitutes thesong’s sterile prisonintoa self-contained utopia. Mayweather andher rebel collective have turneda utopian vision, self-contained andatemporal.Cindi London 2002,716). The form ofthesong reflects a eternity thatispresent inevery moment” (quoted in which couldgo onasthey are for aneternity .an are “ina stateofalways having already commenced, socially constructedstrictures, andtheostinato currents setupa spaceoffreedom by dissolving breaks down theboundary. The binary-blurring past, they reclaim their own history. The ostinato and present. By dancing tothemusicoftheir own and sonically reinforced theboundariesbetween past liberates themusiciansfrom captors who physically predates thesceneitself. as anartifacton vinyl, suggests thatthemusiclong Am œ an œ j - When MonáeWhen beginstorapattheend, the The reinitiation oftheostinatogroove on vinyl œ na I œ œ a be, œ freak j œ ‰ ™ w œ for an œ j concept ofmoment forms, from Karlheinz Stockhausen’s phenomenon, which hederives term moment timetodescribethis is perceived. Kramer usesthe a piece’s relationship totime forms have implicationsfor how In Kramer’s theory, non-linear self-perpetuating self-sufficiency. imbue thespace with a senseof superimposed verse andchorus - na get œ œ ™ be - œ ting j œ j continued on next page . . ‰ do Quen ˙ wn? ¿ ‰ Œ Don't œ j Ó which cut œ me œ 27 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Wickman, Forrest. 2013.“DoesJanelle Monáe’s New Song Address Her Sexuality?” Slate, April 23,2013.http://www.slate.com/ Walker, Carrie.2014.“Disassembling theMatrix ofDomination:Janelle Monáe’s Transformative Vision.” In Media Res: Race, Van Veen, Tobias. 2013.“Vessels of Transfer: Allegories of Afrofuturism inJeff Millsand Janelle Monáe.” Dancecult: Journalof Straus, Joseph. 2003.“Uniformity, Balance,andSmoothness in Atonal Voice-Leading.” MusicSpectrum Theory Stallings, L.H.2015. “From theFreaks ofFreaknik totheFreaks ofMagicCity: Black Women, Androgyny, Dance, andProfane Rollefson, Griffith.2008.“The ‘Robot Voodoo Power’ Thesis: Afrofuturism and Anti-Anti-Essentialism from Sun Ra to Kool Peraino, Judith A. 2013.“TheSame,butDifferent: Sexuality and Musicology, Thenand Now.” Colloquy: Music andSexuality, Society for © Ethnomusicology ——— ——— ——— Monáe, Janelle. 2010. The ArchAndroid. London, Justin. 2002. “Meter in Twentieth-Century Theory.” InThe CambridgeHistory of Western Music byTheory,edited Thomas Karlan, Sarah.2013.“Janelle Monáe Is The Dapper Queen.” Buzzfeed, April9, 2013.https://www.buzzfeed.com/skarlan/janelle- Husserl, Edmund.1991.“On thePhenomenology oftheConsciousnessInternal Time.” InCollected Works, editedby Rudolf Haraway, Donna.2004.“A Manifesto for Cyborgs:Science, Technology, andSocialistFeminism inthe1980s.” InThe Haraway Greene, Jayson. 2013.“Janelle Monáe: The Electric Lady.” English, Daylanne K.,and Alvin Kim.2013.“Now We Want Our Cut:Janelle Monáe’s Neo-Afrofuturism.” American Studies Ebony. 2013.“Icon intheMaking: The New Face of Afrofuturism.” Octoberhttp://www.ebony.com/entertainment- 11,2013. Dombal, Ryan. 2010. “Janelle Monáe Talks Robots, Diddy, andHer Genre-Bursting New .” Pitchfork,May 17, 2010. https:// Benjamin, Walter. 2003.“On theConceptofHistory.” InSelected Writings Vol. 4,editedby Howard EilandandMichael W. Benjamin, Jeff. 2013.“Exclusive Interview: Janelle Monáe Says ‘Q.U.E.E.N.’ Is for The ‘Ostracized andMarginalized.’” Fuse, Adorno,Theodor W.1997. References throughout thesong culminateinher calltopolitical / Or will you preach?” Currents ofsocialcritique be electricsheep? / Electricladies will you sleep? up now, you gotta deal you gotta cope / Will you . continued Deconstruction asPolitical Discourse blogs/browbeat/2013/04/23/janelle_mon_e_new_single_q_u_e_e_n_singer_aims_to_defy_every_label_sexual.html. University Press. Identity, and Pop Culture in the Twenty-First Century,editedby James BraxtonPeterson, 215–38. Lewisburg, PA: Bucknell Culture 5(2):7–41. Press. Sites ofMemory.” InFunktheErotic: Transaesthetics and Black Sexual Cultures, 176–204.Champaign:University ofIllinois Keith.” Black Music Research Journal 28(1):83–109. Journal of the American Musicological Society 66(3): 825–31. Posted May 1,2013.https://youtu.be/tEddixS-UoU Christiansen, 695–725. Cambridge, UK:Cambridge University Press. Monáe-is-the-dapper-queen?utm_term=.cqvEWwwLD#.xvpB699LE. Bernet, translatedby John BarnettBrough, 3–103.Dordrecht, The Netherlands: Kluwer Academic Publishers. Reader, editedby Donna Haraway, 7–45. New York: Routledge. albums/18470-janelle-monae-the-electric-lady/. 25 (4): 217–30. culture/icon-in-the-making. pitchfork.com/news/38754-janelle-monae-talks-robots-diddy-and-her-genre-bursting-new-album/. Jennings, translatedby EdmundJephcott, 389–400. Cambridge, MA: The BelknapPress ofHarvard University Press. September 18,2013.https://www.fuse.tv/videos/2013/09/janelle-monae-queen-interview Minneapolis: University ofMinnesota Press. ElectricLady_iTunelYRICS.pdf. . 2013c.The Electric Lady. WondalandSociety.Spotify. Arts Accessedvia . 2013b.“Liner Notes toThe Electric Lady.” WondalandSociety. Arts . 2013a.“Janelle Monáe -Q.U.E.E.N. feat. Erykah Badu[Official Video].” YouTube video,6:03.Directed by Alan Ferguson. Aesthetic Theory. Editedby Gretel Adorno andRolf Tiedemann. Translated by Robert Hullot-Kentor. Wondaland Arts Society andBadBoy Records. Accessed via Spotify. . Pitchfork, September 10, 2013. https://pitchfork.com/reviews/ women, isbuta dream. which especially upliftsthebodiesand voices ofblack marginalized, theaccepting spaceof“Q.U.E.E.N.,” action. Without real-world work onbehalfofthe http://www.janellemonae.com/press/JanelleMonae_ . 25 (2):305–52. 28 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology individual; itsexistence isubiquitous,and whether extends further than thecomprehension ofany one individual” (13). Neoliberal ’s functioning and symbols, itsown independencerelative toany “powerful andpervasive . . . system, with its own logic relationships show usthatneoliberalcapitalismisa further encompasspopular musicalcultures. These are locatedentertainment industries,and which cultures, asembodied instadiumshows, within which engendered by globalcorporate acquisition andsuccess form oftremendous monetary which, inmany cases,takes the a relationship tocapitalism, popular music, we may locate system. Incontemplating be conceived ofasa cultural how neoliberalcapitalismcan signs andsymbols todiscuss (2015) provides a vocabulary of religion, Timothyof Taylor on the“cultural dimension” Clifford Geertz’s (1973,89) work In thisregard, drawing on exclusion andexclusivity. social, cultural,andeconomic affiliations, andsolidarities, are often groundedin capitalism inthatthey dependonalliances, complicities within a wider system ofglobal markets far flung from thespaces where we usethem. composed ofresources andlabour extracted from mobile devices, which inturnare comprisedand take placeinprivate, suchasstreaming musiconour footprints such spectaclesleave behind. They also shows andselectively ignoring theexcessive carbon tickets to watch bands we love atsoldoutstadium consumption occur inpublic;for example, buying or inadvertent, within thissystem. These actsof and practitionersfindourselves asactors, willing I make thisassertionbecause we asmusicscholars structural terms, within a wider system ofcapitalism. political, asthey are located,inbothtemporaland Acts ofconsumptioncanbeunderstoodasinherently By Simran Singh(Royal Holloway, University ofLondon) Popular ofConsumption MusicandtheComplicity Stadium ShowsandSpotify These actionstake theform ofpolitical enmeshed innosmallmeasure. inthissystem,complicit they are people desire orchooseto be ubiquitous, andwhether ornot one individual;itsexistence is than thecomprehension ofany functioning extends further Neoliberal capitalism’s Here, popular music’s heroes andsuperstars, and corporate cultures andentertainmentindustries . as themedia,anequally prominent component of of music, via globalchannels ofinformation such salient among thesecommoditiesistheconsumption global mappingsofpreference andpleasure. No less communication (e.g., smartphonesandtablets) actas footwear, clothing,andhairstyles) andmeansof consumption shows how certaincommodities(e.g., artistic freedom asindicative ofa wider socialand determination andnon-conformity pointstoward organization oflabor;anapparent ofself- of exploitation which hasinhibitedthesuccessful choice hasinturnbeenpartofa neoliberalstrategy who arguesthatthisdiscourseofindividualism and neoliberalism, suchasDavid Harvey ([1973] 2009), the startofthisessay. Taylor acknowledges criticsof encompassing culture, suchasthoserecounted at personal conceptionsofone’s individuality inan culture. Here, theterm“identity” relates to to locatethemselves ina wider consumerist of consumptionisa powerful way for individuals notion ofidentity perceived through theframe understood through Taylor’s argumentthatthe system, they are enmeshedinnosmallmeasure. or notpeopledesire or choosetobecomplicitinthis In thisregard, our placeinthissystem canbe This view of cultural attribute. based ona given andforegone constructions are always the understanding that such of consumption,challenging engendered through processes construction isinpart Taylor shows ushow identity of neoliberalcapitalism, and practicesinthecontext of identity-centric discourses a particular focus ontherise culture. Nevertheless, through of theneoliberalization is animportantcomponent limitation, which economic continued on next page . . 29 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology choices actasinterventions, deeming worth and and products remain thesame,butour consumer over Androids. The inherent usesoftheseservices we chooseSpotify over Apple Music, andiPhones reasserted atthelevel ofthebrand.On thisbasis, mass production, its qualitative uniquenessmustbe materiality ofanobjectisreduced toa copy in into our lived, everyday experiences. Here, asthe aspects ofpoliticaleconomy insinuatethemselves between producer and consumer,” showing ushow discourses] .replace thesocialrelations onceheld states that“abstract, largely immaterialimages [and of both.” Indialogue,Sasha Newell (2013,150) the signandsignified,modifying theessence so astonearly eradicatetherelationship between have perfected modesofartisticreplication Baudrillard ([1976] 1993) arguesthatpost-industrial in theenjoyment ofpopular culturalforms? consumer cultures butactive participantsandagents perception work for us,notaspassive dupesof the world around us? And, how do we make that production ofmusicallow ustoperceive about larger questions: doestheconsumptionand What in theglobalpoliticaleconomy ofcapitalismraises objects andideas. based onsystems ofmeaningsinherent tothese the forming andforging ofemotionalconnections means ofself-identification and-representation in the discoursesandcausesthey represent, allserve as . continued Stadium ShowsandSpotify According toEric Watts (1997, 43), “Jean Within thisframe,our roles asindividual actors popular cultural forms? and agentsintheenjoyment of us . . . [as)active participants make thatperception work for around us?And,how dowe us to perceive abouttheworld and production ofmusicallow What doestheconsumption hip-hop, thisalsotook theform ofinteractions to audiences.Besidesencounters with American musicians andpromoters relate toeachother and to neoliberalismtransformed the way that Uganda reflected how aneconomictransition of capitalisteconomies” (Newell 2013,140). authenticity andimitative reproduction attheheart performative magicmerge with theanxietiesover cultural logicsin which localunderstandingsof revealing interactions that“represent intermeshed and Comaroff 1999;Comaroff and Comaroff 2001), with effect toindividuals andsociety (see Comaroff novel andsurprising forms inthe handsofand global South, where thetermsofcapitalismtake dynamic ways. This isparticularly thecasein imagined, occur inseemingly disorganised yet and itsinequities.Suchnegotiations, bothreal and meanings, revealing negotiations with capitalism relationships pointtonovel andsubjective usesand social andeconomicbelonging.Likewise, these for meaning andmobility, including thoseof form with commoditiesandcausescapture strivings cases, a politicaleconomy ofexploitation. serving powerful corporateactorsin what is,inmost in thegaining ofrecognition andloyalty, andinturn approach tochange” (Wheeler 2013,6), all leveraged imagination, sensory experiences, and visionary that isdynamic initsinclusionof“anthropology, forms ofrecognition andconformity act via a process appropriateness toour individual preferences. These For example, my research on hip-hopin Nonetheless, therelationships we asindividuals belonging. of socialandeconomic and mobility, includingthose capture for strivings meaning commodities andcauses as individualsform with . therelationships we continued on next page . . 30 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology 2013. Wheeler, Alina. Watts, EricK.1997. “An ExplorationofSpectacular Consumption:Gangsta RapasCulturalCommodity.” Communication Studies Taylor, Timothy D. 2015. Music and Capitalism: A History of thePresent. Chicago: University ofChicago Press. Sterne, Jonathan. 2012.MP3: The Meaning of a Format . Durham,NC: Duke University Press. Newell, Sasha.2013.“BrandsasMasks:PublicSecrecy andtheCounterfeit inCôted'Ivoire.” Journal of theRoyal Anthropological Lipsitz, George. 2007. Footsteps in theDark: The Hidden Histories of Popular Music . Minneapolis:University ofMinnesota Press. Harvey, David. (1973) 2009. Social Justice and theCity.Rev. ed. Athens: University ofGeorgia Press. Geertz, Clifford. 1973.The Interpretation of Cultures. New York: BasicBooks. Comaroff, Jean, andComaroff, JohnL.,eds.2001.Millennial Capitalism and theCulture of Neoliberalism . Durham,NC: Duke Comaroff, John L.,andComaroff, Jean,eds.1999. and thePolitical Imagination in Africa: Critical Perspectives. Chicago: Baudrillard, Jean. (1976) 1993.Symbolic Exchangeand Death. Translated by IainHamiltonGrant.London:Sage Publications. Appadurai, Arjun. 1990. “Disjuncture andDifference intheGlobalCulturalEconomy.” Theory, Culture &Society 7(2):295–310. References technology andmusicalreleases. nonetheless dynamic intermsofaccesstomusic created a vibrant musicalspace,rife with piracy but among artists,producers, anddistributors has the commodificationofmusicandcompetition at anunprecedented scaleandspeed.Inthis, imagery andinformation to elicitthediffusionof and power oftechnology which theorizesthereach conception oftechnoscapes, are akinto Appadurai’s (1990) These modesoftransmission ease ofaccessandtransmission. engendering anunprecedented such asMP3(Sterne 2012), the proliferation ofnew formats digital media hasallowed for However, inthe present day, say, pirated—compilations. through unofficial—thatisto through traditionalmedia,suchasradio,andalso social processes. These forms are easily transmitted which issimilarly informed by globalmusicaland Africa, notably contemporary Nigerian Afrobeat, with popular musicalforms from other partsof . continued Stadium ShowsandSpotify Visit semsn.com to findbackissues, submissionguidelines, resource andmore. lists, Sons. 48 (1):42–58. Institute 19(1):138–54. University Press. University ofChicago Press. Designing Brand Identity: An Essential Guide for theWholeBranding Team. 4thed.Hoboken, NJ: John Wiley & interventions withinthissystem. smaller interrogations ofand of musicalsocorrals spacefor capitalism, theconsumption as leviathan symbolsof act and streaming services Thus, whilestadium shows capitalist inequalities. practice thatbothchallenge andcircumvent global consumption, fashioninterventions through creative and practitionersmight,through our actsof success, andculturalinfluence.Here, we asscholars this system. As LipsitzstatesinFootsteps in theDark smaller interrogations ofandinterventions within the consumptionofmusicalsocorralsspacefor services actasleviathan symbols ofcapitalism, Thus, while stadiumshows andstreaming creative expression, commercial and replications thatencompass system through proliferations and alignthemselves inthis Individuals andgroups arrange from thesealternative histories. in theform ofstars to emerge while alsoallowing “heroes” from formal narratives (xi)— experiences ofpeopleexcluded memory, aspirations,and history—through theshared of alternative discoursesof complicit intheformation (2007), popular musicis 31 “Baile de ” and Its Sounding Transgressions By Andressa Gonçalves Vidigal Rosenberg (University of California, Davis)

Before I begin discussing Brazilian funk and the 2015–16 protests in Brazil, I should disclose my situational instance (lugar de fala). I am a white, mid-upper-class Brazilian woman, born-and-raised in Maringá, Paraná—a town notorious for its rodeos, conservative politicians, and gentrification. I am not a specialist in Brazilian funk, but I am versed in the logics shared by many white Brazilians who tend to impose on funk qualities that simultaneously criminalize, mock, and fully de-characterize it as musical expression. I have followed funk, with my own personal biases, since 2014. One of the reasons I began studying funk was to tame my own mixed feelings toward the genre.1 Another reason is the genre’s growing use in political protests. I originally wrote the following piece before Dilma Rousseff’s impeachment on August 31, 2016, and Michel Temer’s subsequent horrendous politics. I am still hopeful for Vol. 14, No. 1 | Spring/Summer 2018 Vol.

} social transformation through funk and protests.

Funk: Criminalization and Transgressing Potentials The Brazilian funk song “Baile de Favela” (Favela2 Dance), by São Paulo city-native MC João, was repeatedly parodied during the 2015–16 protests and used in at least four different Brazilian states (São Paulo, , Paraná, and Bahia)—each time with completely distinct lyrics.3 Likewise, “Baile de Favela” has now received more than 193 million views on YouTube since being published on June 19, 2015. Given its popularity and use in diverse STUDENTNEWS { contexts, I ask: Why did “Baile de Favela” became substrate to protest songs in Brazil during a wave of student demonstrations extending from the end of 2015 until May of 2016? In this article, I investigate how transgressive SEM references to Brazilian funk are in the context of protest. I argue that funk, with its inherent connections to race, marginalized sounds, and culture, has served as a means of transgression in public remonstrations in Brazil, itself becoming a protagonist in songs of protests. Brazilian funk derives from US African-American genres such as funk, soul, hip-hop, and rap. The word “funk” in Brazil has been loosely used to refer to all of these genres since the 1970s. By the end of the 1980s, it became more closely related to low-budget songs, with simple or no melodic lines, sung to an electronic beat derived from . In its earlier forms, the bass beat could be as simple as an electronic keyboard- generated-and-looped beat (Sansone [2003] 2004, 171–77). Today, funk maintains this low-budget aesthetic, with important emerging producers, such as KondZilla, releasing videos over YouTube—not via mainstream media such as radio or television. There are several reasons why funk, like many other marginalized Brazilian musical genres, has served political protests in Brazil well. I believe funk’s blackness, sexual explicity, and poverty-stricken origins are some of them. Funk has been criminalized since 1992, when, in Rio de Janeiro, two groups of competing (shanty towns) gathered at the Arpoador—a small peninsula between the famous beaches of Ipanema and Copacabana— to have a public dance face-off in the rich neighborhood. The face-off merely reflected funk’s growing culture of dance-floor battles. However, the open-air, friendly dance competition at the beach with mostly black participants ended up being misinterpreted by (white) spectators and the national media as arrastão, a mass robbery. Thus, through at once racist and classist assumptions, funk began its infamous historical trajectory, often and again associated with violence, drug dealing factions, robbery, and crime in general (Vianna 1987; Denis 2006). Brazilian funk, in all its variations, has been regulated and pushed toward marginalization, together with rap and hip-hop. Past and present, many laws criminalizing funk gatherings pose difficulties for organizers acquiring permits, including expensive and nearly unattainable demands from safety authorities such as metal detectors and warrants from firefighters; it is a common practice of Brazilian law enforcement to refuse warrants to gatherings which they dislike or disapprove of (Coutinho 2015, 534). Recent laws altogether prohibit public continued on next page . . .

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. . . continued Its Sounding Transgressions funk gatherings in Rio de Janeiro and São Paulo, with police raids targeting such events (Pereira 2012). In fact, even though In part, these limitations are funk carioca4 became a cultural heritage of Rio de Janeiro state in 2009, it can still be criminalized and/or censored by the state imposed because funk still faces (Coutinho 2015, 536). In part, these limitations are imposed because funk still faces the difficult task of asserting itself as a the difficult task of asserting bona fide culture, which to the Brazilian media, the government, and society at large is an outrageous idea. itself as a bona fide culture, which to the Brazilian media, MC João and His “Baile de Favela” As with many other funk MCs (masters of ceremony), 24-year- Vol. 14, No. 1 | Spring/Summer 2018 Vol.

} the government, and society at old MC João comes from a poor family and precarious reality. In an interview for G1 newspaper, he describes how large is an outrageous idea. he dodged criminal life through hard work as an office-boy by day and a bailes funks (funk dances) host by night (Ortega 2016). In his humble speech, MC João proposes an ostentation that is far removed from the musical genre funk ostentação’s typical character. Funk ostentação emerged in São Paulo, and it revolves around ostentation, that

STUDENTNEWS is, around showing-off possessions, new cars, expensive brand clothing, and all things bling-related (Pereira { 2012, 1–4).4 Conversely, MC João intends to tell his own story through funk by showcasing how he overcame

SEM social and economic barriers. Although in theory MC João portrays his music as a premeditated act, during the same interview he admits to having forgotten what he was supposed to sing when recording “Baile de Favela” with producer KondZilla. Consequently, he made something up on the spot (Ortega 2016). Yet, this does not detract from any consciousness MC João had of his music-making but rather reflects the unpretentious and improvisational manner with which funk is often created. In its simplicity, “Baile de Favela” directly translates more of MC João’s ideas as an improvised song than it may have if it were entirely pre-composed. “Baile de Favela” has a simple melodic structure with a three-note theme and rhythmic, ostinato-like pattern that resembles the son clave. In the lyrics, MC João does not talk about motorcycles or piles of money. Rather, he focuses on favela and baile funk sexuality as his core themes. He speaks of his lover and the sexual tension between them; . . . MC João recites a list of the and part of the lyrics are controversial for referencing the female reproductive organ, intercourse, and underaged boys many favelas and bailes funks having their way with women. In turn, the video displays more of the typical ostentação style by depicting MC João driving an he frequented throughout his expensive car with his friends through a favela—observers are in awe. Throughout the video, the static audience multiplies and life. His persistent list sounds and begins dancing. The scenery evolves into a street party in the feels like an ostentatious display style of underground public funk gatherings. At the center is MC João and his brand-new car. Right after the oversexualized and defiant celebration of set of verses, MC João recites a list of the many favelas and bailes funks he frequented throughout his life. His persistent these places. list sounds and feels like an ostentatious display and defiant celebration of these places.

continued on next page . . .

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. . . continued Its Sounding Transgressions Parody in the 2015–16 Protests—How It All Started In October of 2015, the very first parody of “Baile de Favela” was published on YouTube by the Movimento dos Estudantes Secundaristas (Secondary School Students’ Movement) of São Paulo state. The students mobilized in response to Geraldo Alckmin’s education reforms which entailed the closing of 93 primary and secondary schools and the relocation of around 300,000 students.5 This political movement was greatly successful, and by the end of 2015 the number of occupied schools neared 200 (Mendonça 2015). “Baile de Favela” was parodied by MCs Foice and Martelo (Sickle and Hammer, in reference to socialism) and offered as an anthem to the students who were occupying schools and resisting the reforms. This parody became “Escola de Luta” (School of Struggle). (To understand modifications made through parody, I offer a lyric transcription and translation of both “Baile de Favela” and “Escola de Luta,” available on page 65.)

Vol. 14, No. 1 | Spring/Summer 2018 Vol. “Escola de Luta” portrays tension between state and } students. Instead of listing off favelas, Foice and Martelo list Instead of listing off favelas, the schools which have been successfully occupied. The new lyrics turn the song into a threat to the state and governor, as Foice and Martelo list the in “estado/Geraldo [Alckmin] veio quente, nóis já tá fervendo” (“state/Geraldo [Alckmin] came hot, we were already boiling”). schools which have been “Escola de Luta” maintains the musical traits of “Baile de

STUDENTNEWS Favela,” even though the lower-budget imitation is audible. I { successfully occupied. . . . I hear hear the listing of occupied schools as an ostentation of the

SEM student movement’s prowess. In the parody, Foice and Martelo the listing of occupied schools substitute sexual tension with political tension between students and state. However, this political tension still evokes the sexual as an ostentation of the student tension present in the original song through collective memory and shared knowledge. Thus, the song gains transgressive movement’s prowess. strength by placing the students as agents where the original song emphasizes sexuality.

Points of Transgression In this brief example, Brazilian funk has provided an effective frame for protest songs in Brazil because funk, from carioca to “Baile de Favela” has crossed ostentação, has been criminalized since its genesis (see Vianna numerous lines on its own. Yet, 1987; Denis 2006; Pereira 2012). affirms that “transgression incessantly crosses and recrosses a line which with its protest parodies, “Baile closes up behind it in a wave of extremely short duration, and thus it is made to return once more right to the horizon de Favela” made its way to of the uncrossable” (1977, 34). “Baile de Favela” has crossed numerous lines on its own. Yet, with its protest parodies, “Baile the “uncrossable” by lending de Favela” made its way to the “uncrossable” by lending itself itself to political protests while to political protests while still remaining essentially of the periphery, the black, the prohibited, and the marginalized. still remaining essentially of In “Escola de Luta,” funk is the ultimate driving sound and force for transgression. It exposes the socially sanitized to the periphery, the black, the flawed politics and legislation limitations; it also displays the prohibited, and the marginalized. black, the marginal, the extremely poor, and the unacceptably

continued on next page . . .

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. . . continued Its Sounding Transgressions sexual. Unacceptable because we have under-aged students evoking sexual tension through the sound of funk at elementary schools, where sexuality is almost a taboo subject—let’s not forget that even if the students may not be old enough to understand, the musical sexual innuendos of funk are easily recognized by adults/parents, who often react in aversion to the musical genre as a whole. Thus, funk has conquered new spaces to become a music of resistance in Brazilian protests. It is through Brazilian funk’s transgression of state- and media- imposed confinements that it gains additional social dimensions and functions in the process of resisting political oppression.

Endnotes 1. Funk can be empowering, oversexualizing, sordid, extremely explicit, objectifying of women’s bodies, and misogynistic, and therefore its complexity should defy any clear-cut opinion. For examples of these variations, hear: MC Carol featuring Vol. 14, No. 1 | Spring/Summer 2018 Vol.

} Heavy Baile “Marielle Franco”; MC Doguinha “Vem e Brota Aqui na Base”; Jojo Maronttinni “Que Tiro Foi Esse.” 2. Favelas are improvised community conglomerations. They emerged during the slave liberations in the 1800s (Valadares 2005, 60) and are extremely poor neighborhoods predominantly populated by blacks. Today, they have achieved large geographical extensions and populate big cities such as Rio de Janeiro, São Paulo, Bahia, and Recife. They are often associated with precarious living on hill sides; yet, in Recife, for example, they are situated along or at the swamp (mangue) regions. 3. To get a sense of the different parodies, hear: https://www.youtube.com/watch?v=uSG6G_BHUTA; https:// www.facebook.com/FrentexPR/videos/972288116152855/; https://www.facebook.com/levantelavras/videos/772127299553974/;

STUDENTNEWS https://www.youtube.com/watch?v=m2aj0nT9iCw. { 4. Nothing is simple when discussing Brazilian funk, but generally, carioca stands for funk from Rio de Janeiro and ostentação for funk from São Paulo. SEM 5. For more information on the school protests, see: Bitencourt (2017); Romancini and Castilho (2017).

References Bitencourt, Bianca Ferraz. 2017. “Ocupar e Resistir: A Ressignificação do Funk na Luta dos Estudantes.” [Occupying and resisting: The re-signification of funk in the students’ struggle.] Cadernos de Letras UFF 27 (54): 261–72. http://dx.doi. org/10.22409/cadletrasuff.2017n54a369. Bezerra, Julia, and Lucas Reginato. 2017. Funk: A Batida Eletrônica dos Bailes Cariocas que Contagiou o Brasil. [Funk: The contagious electronic beat of carioca dances that allured Brazil.] São Paulo: Panda Books. Coutinho, Reginaldo A. 2015. “The Acknowledgment of Funk Carioca as ‘Patrimônio Cultural’: Daily Life and Social and Political Clashes Around the Law 5543/2009.” Antítese 9 (15): 520–40. Crook, Larry, and Randal Johnson. 1999. Black Brazil: Culture, Identity, and Social Mobilization. Los Angeles: UCLA Latin American Center Publications. Essinger, Silvio. 2005. Batidão: Uma História do Funk. [Batidão: A History of Funk.] São Paulo: Editora Record. Foucault, Michel. 1977. Language, Counter-Memory, Practice: Selected Essays and Interviews. Edited and translated by Donald F. Bouchard. Ithaca, NY: Cornell University Press. Martins, Denis M. M. 2006. “Direito e Cultura Popular: o Batidão do Funk Carioca no Ordenamento Jurídico.” [Law and : The funk batidão carioca within legal order.] Bachelor’s diss., Universidade Estadual do Rio de Janeiro. Mendonça, Renata. 2015. “Alckmin Recua em Fechamento de Escolas em SP: Para Onde Vai o Movimento dos Estudantes Agora.” [Alckmin recedes from shutting down schools in São Paulo: The path forward for the student movement.] BBC Brasil, December 4, 2015. Accessed April 3, 2018. http://www.bbc.com/portuguese/noticias/2015/12/151204_alckimin_ estudantes_movimento_rm. O’Connell, John Morgan, and Salwa El-Shawan Castelo-Branco, eds. 2010. Music and Conflict. Chicago: University of Illinois Press. Ortega, Rodrigo. 2016. “‘Baile de favela’ muda vida de Mc João, que sustenta família desde os 17 anos.” [Baile de favela transforms the life of Mc João, who has supported his family ever since he was 17 years old.] G1 Música, January 18, 2016.

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. . . continued Its Sounding Transgressions Updated February 2, 2016. Accessed April 3, 2018. http://g1.globo.com/musica/noticia/2016/01/baile-de-favela-muda-vida- de-mc-joao-que-sustenta-familia-desde-os-17-anos.html. Pereira, Alexandre B. 2012. “Funk Ostentação em São Paulo: Imaginação, Consumo e Novas Tecnologias da Informação e da Comunicação.” [Ostentation funk in São Paulo: Imagination, consumerism and new technologies of information and communication.] Revista Estudos da Cultura 1. Accessed April 3, 2018. http://www.each.usp.br/revistaec/?q=revista/1/ funk-ostenta%C3%A7%C3%A3o-em-s%C3%A3o-paulo-imagina%C3%A7%C3%A3o-consumo-e-novas-tecnologias-da- informa%C3%A7%C3%A3o-e-da. Romancini, Richard, and Fernanda Castilho. 2017. “‘How to Occupy a School? I Search the Internet!’: Participatory Politics in Public School Occupations in Brazil.” Intercom: Revista Brasileira de Ciências da Comunicação 40 (2): 93–110. https://dx.doi. org/10.1590/1809-5844201726. Romero, Simon. 2014. “Brazil’s Latest Clash With Its Urban Youth Takes Place at the Mall.” New York Times, January 19, 2014. Accessed April 3, 2018. http://www.nytimes.com/2014/01/20/world/americas/brazils-latest-clash-with-its-urban-youth- Vol. 14, No. 1 | Spring/Summer 2018 Vol. } takes-place-at-the-mall.html?_r=0. Rapoza, Kenneth. 2015. “In Brazil, Protesting Teachers Get Lesson in .” Forbes, May 1, 2015. Accessed April 3, 2018. http://www.forbes.com/sites/kenrapoza/2015/05/01/in-brazil-protesting-teachers-get-lesson-in-police- brutality/#5dbe38096a73. Santos, Rafael. 2003. “Dimensões Imateriais Da Cultura Negra.” Teias 4 (7–8): 1–13. Sansone, Livio. (2003) 2004. “O Funk ‘Glocal’ na Bahia e no Rio de Janeiro: Interpretações Locais da Globalização Negra.” In Negritude sem Etnicidade: O Local e o Global Relações Raciais e na Produção Cultural Negra do Brasil, 167–208. Translated by STUDENTNEWS

{ Vera Ribeiro. Rio de Janeiro: Pallas Editora e Distribuidora Ltda. Originally published as: “Glocal’ Funk in Bahia and in Rio: Local Interpretations of Black Globalization.” In Blackness Without Ethnicity: Constructing Race in Brazil, 111–40. NY: Palgrave MacMillan. SEM Scott, James C. 1990. Domination and the Arts of Resistance: Hidden Transcripts. New Haven: Yale University Press. Trotta, Felipe da Costa. 2014. “The Music that Bothers: The Funk and the Rolezinho.” Paper published in XXIII Encontro Anual da Compós, Universidade Federal do Pará. http://compos.org.br/encontro2014/anais/Docs/GT06_COMUNICACAO_E_ SOCIABILIDADE/trotta2014_2180.pdf. Valladares, Licia do Prado. 2005. A invenção da favela: do Mito de Origem a Favela.com. [The invention of the favela: From the myth of origin to Favela.com.] Rio de Janeiro: FGV Editora. Vianna, Hermano P., Jr. 1987. “O Baile Funk Carioca: Festas e Estilos de Vida Metropolitanos.” [Carioca funk dances: Parties and metropolitan life-styles.] PhD diss., Universidade Federal do Rio de Janeiro. ———. 1988. O mundo funk carioca. [The world of carioca funk.] Rio de Janeiro: Jorge Zahar. ———. 1990. “Funk e a Cultura Popular Carioca.” [Funk and the carioca popular culture.] Revista Estudos Históricos 3 (6): 244–53.

SEM Student News has a global readership. As such, we value insight from students from around the world and the varied views that come with international participation. We encourage students interested in publishing with us to submit during calls for submission, regardless of their first language.

Additionally, we welcome and encourage submissions in a variety of formats, written and otherwise. If you are interested in contributing an innovative written, photographic, audio/video, or multimedia article to SEM Student News, please contact the editor at [email protected].

Society for Ethnomusicology © 36 Glocal Politics in Bavarian Slang Rap “Wolli” by Liquid & Maniac

By Fabio Dick (Julius-Maximilians-Universität, Würzburg, Germany)

Located in Southern Germany, Liquid & Manic both have German citizenship Eastern Bavaria, Regensburg is the and US American backgrounds: Achim Schneemann, capital of the Oberpfalz (Upper alias Maniac, was born in 1985 in Niederbayern and Palatinate) and an important grew up in Greenville, South Carolina, where he lived economic and cultural center with his family for eleven years before returning to for the whole region (UNESCO, Bavaria in 2003. Harold Merl, aka Liquid, is named n.d.), which includes the nearby after his father, a US American soldier who left district of Niederbayern (Lower Bavaria). In 2016, the family before he was born in 1990. Merl grew accusations of bribery and corruption against the up in Regenstauf, a village in the Oberpfalz near then-mayor of the city, Joachim “Wolli” Wolbergs, Regensburg. After they had finished their respective

Vol. 14, No. 1 | Spring/Summer 2018 Vol. became public. These allegations not only altered apprenticeships, Merl and Schneemann worked } many citizens’ opinions of him as a person but also different jobs for several years; today, musicking shaped and reinforced for others a negative attitude serves as their full-time profession. While they about politicians in general by confirming stereotypes each work on individual hip-hop projects, Liquid & of their local, national, and international agenda. The Maniac’s “Wolli” illustrates their collaborative efforts town was definitely affected by this political scandal. in slang rap, which, in this context, simply refers to In early January 2017, Wolbergs was suspended the permanent use of slang lyrics in hip-hop music— STUDENTNEWS

{ from duty and even placed in investigative custody i.e., texts in a regional or local dialect. for a couple of weeks. Nearly simultaneous with The slang rap community (made up of both

SEM this suspension, Regensburg-based hip-hop crew artists and audience) in Bavaria established itself Liquid & Maniac released their song “Wolli,” titled over the last decade, whereas German hip-hop had after Wolbergs’ nickname. The tune was uploaded to its boom in the 1990s. In comparison with the rest YouTube on January 27, 2017, and after one year had of the country, local language and conversation tend received more than 30,000 views. to be colored by a rather strong dialect, especially in

Figure 1. Liquid, Maniac, and “crew” wear homemade paper masks of politicians. Video screenshot.

continued on next page . . .

Society for Ethnomusicology © 37 Glocal Politics in Bavarian Slang Rap . . . continued rural areas of Bavaria. So-called Boarisch or Mundart name of the artist BBou [Boarischa Bou] translates is generally understood better not only in Southern as “Bavarian Boy”) and “Bua” in Niederbayern (see Germany but in the German speaking regions of Zehetner [1985] for detailed information about the Alps (Austria and Switzerland). As a result, local Bavarian dialect). The nickname of the former artists might enjoy a huge increase in popularity on Regensburg mayor, “Wolli,” in fact sounds more like a regional level without receiving much attention Wolle/Wollä in German written pronunciation, or throughout the rest of Germany at all. One of the wollɛ/wollɛ: in phonetic spelling. In the very same first crews who performed songs in their local dialect way, the slang expression “Scholli” is colored by was Doppel D (“Watschnbaam”). Their rather small dialect and therefore can function as a rhyme to success was vastly exceeded some years later by artists “Wolli,” like the English word “story”—an anglicism like Liquid & BBou (“Mach doch dein Polt - ”) from a German linguistic perspective. “Scholli” is a and Dicht & Ergreifend (“Zipfeschwinga”). In 2016, common colloquial term and difficult to translate. Its

Vol. 14, No. 1 | Spring/Summer 2018 Vol. many of the aforementioned pioneers formed a meanings range from something like bro or pal to } sort of all-star group and released a music video on villain/hustler/rascal, but the so-called person would YouTube titled “Bavarian Squad.” in some way still be sympathetic and likable. The The idea of “glocalization,” as the term itself word is typically used in contexts of surprise and/or indicates, is based upon the relationship between admiration within the standard phrase, “Mein lieber the local and the global Scholli,” or exactly as in (Robertson [1995] 1998). Liquid & Maniac’s “Wolli”:

STUDENTNEWS “Wolli” visualizes and narrates a

{ Emphasizing a spatial “Wolli, Wolli—mei liaba meaning, this concept could version of glocal politics within this Scholli!”

SEM be described as a process The lyrics of the song of spreading, flowing, and/ form of glocal music. It verbally refers speak directly about the or diffusion. Today, this to a local topic of a current political Joachim “Wolli” Wolbergs is well established within political scandal. (You cross-disciplinary contexts scandal, but visually connects can find a transcription yet does not receive much and translations of the public awareness. People that with international politics. lyrics on page 67.) By may feel and recognize the Furthermore, it combines the local, doing so, the tune itself tension between regional becomes a part of the and international contexts Bavarian dialect with the global, debate surrounding local but all too often subsume internationalized genre of hip-hop. politics. Moreover, the this into the logic of video projects them on a globalization. However, the global scale by supporting impact of the local and global are interdependent and referring to stereotypical notions of politicians. and logical within the concept of glocalization. Here, So, to summarize before explaining in detail: “Wolli” I demonstrate these tensions as interdependent visualizes and narrates a version of glocal politics processes on many different levels. within this form of glocal music. It verbally refers Since it is not possible to explain nuances of to a local topic of a current political scandal but Bavarian dialect(s) in detail here, I will try to sketch visually connects that with international politics. out one main characteristic and thereby focus on Furthermore, it combines the local Bavarian dialect Oberpfalz and Niederbayern. In Oberpfalz, the with the global, internationalized genre of hip-hop. intonation of the letter “u” in a word tends to be “Wolli” begins with a long intro followed by a spoken “ou”—in Niederbayern, this “u” tends to be chorus. Although sung completely in Bavarian, every pronounced “ua.” For instance, “boy” in German is single part notably features more Anglicisms than Junge or Bub. In these regions, the second “b“ of Bub is local slang words. The ambivalent connotation of left out, which results in “Bou” in Oberpfalz (e.g., the continued on next page . . .

Society for Ethnomusicology © 38 Glocal Politics in Bavarian Slang Rap . . . continued “(mei liaba) Scholli” as mentioned above remains Schaidinger, mayor of Regensburg from 1996 to 2014 interesting. In using this expression, Liquid & Manic and Wolbergs’ predecessor in office. Liquid compares direct surprise, anger, and appreciation at Wolbergs these two figures to prostitutes. Finally, he suggests all at once; they contradictorily designate him a nice that Wolli use the donations that Wolbergs and his cheater. Wearing a Donald Trump mask, Maniac , SPD (Sozialdemokratische Partei raps the first verse, thematically linking the topic of Deutschlands) received from Tretzel as an investment public housing with corruption. He proposes himself in young people, instead of spending them on as a candidate for mayor in a rather self-deprecating cocaine. Mockingly, Liquid assumes/implies that such way, saying he then would organize apartments an approach would consequently turn Wolbergs from for everyone and legalize marijuana. Likewise, he “OB” (the German abbreviation for Oberbürgermeister, calls the public affair a sad thing that makes him the mayor of a big city) into an “OG” (original feel ashamed. Additionally, he postulates not to gangster/gangsta). Such a makeover would also

Vol. 14, No. 1 | Spring/Summer 2018 Vol. keep “it” (i.e., politics) going in terms of “business as include a BMW (Bayerische Motoren Werke; Bavarian } usual” or to act as if nothing had happened: “ja/yo, i Motor Works) equipped with an SPD flag as a gang scham’mi / und so / konns a ned weidageh / ollawei, sign. des is traurig” (“yes/yo, I feel ashamed / and / it can’t Because the whole tune stays in-dialect, continue like this / all the time, that is so sad”). listening comprehension for non-natives seems Liquid sings the second verse “disguised” as near-impossible. Nevertheless, anglicisms by far Barack Obama. Similar to his predecessor—note outnumber real slang expressions. They range from STUDENTNEWS

{ that Obama follows Trump in the video, the reverse an isolated “gangstershit” spoken in the intro to entire order of their presidencies—he bluntly criticizes sentences, including citing Wu-Tang Clan’s (idea of)

SEM Wolli. While the context is seen as a serious matter, “C.R.E.A.M.”—Cash Rules Everything Around Me—at the lyrics are simultaneously accusatory and teasing. the end of the first verse.1 Additionally, the line “don’t For instance, Liquid asks the former mayor to lend drop the soap, sugar” in the second verse reflects a him half a million euros “cash” to purchase new humorous hint/warning of Wolbergs’ upcoming time fancy clothes, a smartphone, and a recording studio. in prison. Moreover, the repeated usage of fill-in His comments also name two prominent people words such as “yo” and “ey” may be understood as affected by the scandal: Volker Tretzel, director “universal” hip-hop slang and thereby references to of the involved construction company; and Hans the genre.

Figure 2. One of the “crew” mimics Angela Merkel’s “typical” hand gesture. Video screenshot.

continued on next page . . .

Society for Ethnomusicology © 39 Glocal Politics in Bavarian Slang Rap . . . continued Vol. 14, No. 1 | Spring/Summer 2018 Vol. }

Figure 3. ”Kim Jong-Un” gestures to the camera, the viewer, and the world. Video screenshot. STUDENTNEWS { Five people dominate the foreground of the to the camera, the viewer, and the world (see figure video. They all wear homemade paper masks that 3). While the overall setting remains the same, the SEM show the faces of the following politicians: Donald background—in clear contrast to the movement in Trump, Barack Obama, Vladimir Putin, Angela the foreground of the screen—brings into focus the Merkel, and Kim Jong-Un (see figure 1). Since no town’s most distinctive landmark: the Regensburger facial expressions except the ones imprinted on the Cathedral (Reng’schbuaga Dom) (see figure 4). masks are visible, the crew’s gestures have increased effect, and because the musicians disappear in this way, their acting creates both a critical and comedic outcome. Furthermore, they all reveal distinctive references to behavior often associated with hip-hop, for example, dance moves and hand movements in accordance with the rhythm. For instance, one of the crew frequently mimics Angela Merkel’s “typical” hand gesture, which they accompany with a shrug of the shoulders (see figure 2). However, this very gesture might be more recognizable to hip-hop aficionados for its occasional uses by world-famous rapper Jay-Z. Altogether, the shrug of the shoulders could be “read” both as a sign of innocence and a lack of interest, while the mask and the hands simply identify this individual as Angela Merkel—or as a “secret” rapper. Other striking gestures relate closely to the lyrics, context, and message of the song. These are sometimes subtle but usually evident Figure 4. The Regensburger Cathedral and offensive; for example, Obama dabbing, Putin (Reng’schbuaga Dom). Photo by Fabio Dick. throwing money, and Kim giving the middle finger continued on next page . . .

Society for Ethnomusicology © 40 Glocal Politics in Bavarian Slang Rap . . . continued On the one hand, this factors such as accessibility article situated elements of Fairness, equality, and freedom or usability—certainly not the audio and video material world wide. To what extent and their construction of should always represent key this situation in cyberspace images and meanings on a elements for the local in and as mirrors the “real” world musical dimension. On the has to be taken into serious other hand, it embedded the global in musics, and vice- consideration. Fairness, the song in diverse contexts, equality, and freedom should providing a social, linguistic, versa, i.e., the global in, and as, always (cf. Baumann 2000) and political backdrop. In the local—they might be different, represent key elements doing so, I first and foremost for the local in and as the wanted to connect spheres but they mutually influence and global in musics, and vice-

Vol. 14, No. 1 | Spring/Summer 2018 Vol. of dialect/slang, hip-hop/ versa, i.e., the global in and } require one another. rap, and politics, not only as the local—they might be from a local and regional different but they mutually to an international and global stage but also with an influence and require one another. The song “Wolli” intertextual and semiotic approach. Yet, the visibility demonstrates how closely and reflexively music and and audibility of Bavarian slang rap depends heavily politics intertwine. It may help to hear and see, and on access to, and interest in, the world wide web. This maybe understand, the glocal in this particular piece STUDENTNEWS

{ network might provide a glocal concept for certain of Bavarian slang rap. privileged areas of the world, but—with regard to SEM

Endnote 1. “C.R.E.A.M.” is a track off of their (1993) debut album, Enter the Wu-Tang (36 Chambers), not a reference to the famous British rock band.

References Baumann, Max Peter. 2000. “Musik der Regionen im Kontext globaler Konstrukte.” [Music of the regions in the context of global constructions.] In Kultur und Region im Zeichen der Globalisierung: Wohin treiben die Regionalkulturen? [Culture and region facing globalization: Where are the regional cultures floating/drifting (to)?], edited by Şefik Alp Bahadır, 431–54. Neustadt an der Aisch: Degener & Co. Robertson, Roland. (1995) 1998. “Glokalisierung: Homogenität und Heterogenität in Raum und Zeit.” In Perspektiven der Weltgesellschaft, edited by , 192–220. Translated by Bettina Engels. Frankfurt a.M.: Suhrkamp. Originally published as “Glocalization: Time-Space and Homogeneity-Heterogeneity.” In Global Modernities, edited by Mike Featherstone, Scott Lash, and Roland Robertson, 25–44. London: Sage. UNESCO. n.d. “Old town of Regensburg with Stadtamhof.” United Nations Education, Scientific and Cultural Organization. Accessed May 5, 2018. http://whc.unesco.org/en/list/1155. Liquid & Maniac. WOLLI (Official Video). YouTube video, 3:21. Posted January 27, 2017. https://www.youtube.com/ watch?v=SekXy6Gth5Y. Zehetner, Ludwig. 1985. Das bairische Dialektbuch. [The book of Bavarian dialect.] Munich: Beck.

Further Listening BBou (Boarischa Bou). YouTube channel. Created August 22, 2006. https://www.youtube.com/user/gloamichl. Dicht & Ergreifend. YouTube channel. Created January 5, 2014. https://www.youtube.com/user/dichtunderfreifend. Doppel D: Graem/Grämsn (Bagage Musique). YouTube channel. Created March 26, 2006. https://www.youtube. com/user/graem; Monaco F. YouTube channel. Created October 29, 2012. https://www.youtube.com/channel/ UCCmbxRnrSR60LTM-kc3qq8w. Liquid. YouTube channel. Created November 14, 2012. https://www.youtube.com/user/dasistliquid. Maniac/Demograffics. YouTube channel. Created January 25, 2009. https://www.youtube.com/user/akdahost.

Society for Ethnomusicology © 41 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology successful coexistence initiative. activities. This project hasnotonly gainedinternationalrecognition buthasrevealed itself over timetobea involved. This includes hosting rehearsals attheir homes,carpooling thestudentsevery week, andother outside not involve justthestudents. As a participationrequirement, theparents ofthestudentsmustalsobeactively they learntobuildfriendships. This project isalsoa wonderful example ofcommunity building asitdoes Hawaiians inthenineteenthcentury, bringsthesetwo inter-ethnic studentstogether ona neutrallevel where play theukuleletogether. The ukulele,aninstrumentdeveloped from small Portuguese guitarsby indigenous With thehelpofPaul’s wife, Daphna Orion,thesestudentsfrom Al-Tira andHod HaSharon meetevery week to through thecollaborationbetween Arab andJewish studentsintwo separatesuburbsof Tel Aviv (see figures 1–5). Peace, which was founded by Paul Moore, an“outsider” from England. This project aimstopromote coexistence By Teresa EnYart University) (Liberty Music andConflict Resolution Figure 1. DaphnaOrionleadsthegroup intheir During my recent fieldwork in Israel, I explored three distinctprojects. Thefirst was withUkuleles for first first of theseasoninHodHaSharon.rehearsal bridges are builtthrough interaction,commonality, andempathy. create positive spaces where itissafe tointeract with the“other.” It isinthesesafe spacesthat while seeking tode-escalatetensionand violence. These initiatives andprojects seek to at thegrassroots level. Music hasalsobeenusedasa tooltopromote culturalawareness through musichave directly andindirectly soughttochange thesocialandpoliticalsituation in thepeacemaking andpeacebuilding process. Initiatives inIsrael thatpromote coexistence Music andconflict resolution inthe Israeli-Palestinian conflicthasplayed animportant role inIsraeli-Palestinian Relations Photo by Teresa EnYart. Photo by Teresa EnYart. togetherlearning theirparts duringrehearsal. Figure 2.Razi(Arab) andYuval (Jew) working outand

continued on next page . . 42 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology . continued Music andConflict Resolution Figures take 3&4.Thestudents afew minutes between songs to laughand joke around witheachother. inIsraeli-Palestinian Relations Photo by Teresa EnYart.

continued on next page . . EnYart. Photo by Teresa learning anew song. Figure 5.Thestudents 43 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology is laidout,guidedby a musictherapist,creates anatmosphere amenabletohealing andreconciliation. participation, nor doesitdeterminethelevel ofsuccessa person will have inthecourse. The way thatthisproject musical identity mightthenleadtoacceptanceandtoleranceofthe “other.” Musicianship isnotrequired for to address socialand politicalissuesthrough anattempttobroaden one’s musicalidentity. Expanding one’s starts with listening tothe“other” andtheir music, which eventually turnsintodialogue. This project alsoaims Gilboa designed theLet’s Talk Music coursebased onthisconcept.Creating andenhancing communication “other.” This conceptincludesnotonly musicthatpeoplelike, or identify with, butmusic thatthey donotlike. identities. Gilboa usestheconceptofmusicalidentity toexplore nationalandculturalidentity ofoneselfandthe point ofmusictherapy, with theintention tocreate a dialoguebetween Arabs andJews through their musical Lastly, Avi Gilboa,a Jewish-Israeli, designedtheLet's Talk Music courseatBar-Ilan University, from the vantage . continued Music andConflict Resolution music together testifiesthatcoexistence ispossible: asitcontinuestogrow. He believes thatmaking Elias’ experience hashelpedshapeanddevelop this 2003), which alsopromoted coexistence through music. internationally-recognized group Bustan Abraham (1991– is alsoa well-known oudplayer and was a member of Arab-Israeli, isthecurrent director oftheorchestra. He relevant toitsinter-ethnic members. Taiseer Elias,an musicianship while performing musicthatisculturally “high-art” music. This orchestra seeksthehighestlevel of brings Arabs andJews together under thepremise of the personhasanemotionalconnectiontomusic. (Gilboa 2016,3–4;emphasisinoriginal) knows butresists anddisregards. The fact thatthere isa negative attitudetowards thesetypesofmusicimpliesthat (fourth circle). The third circle isactually a person’s musical alter-ego. It containstypesofmusicthat theperson she dislikes or even disapproves of(third circle) andthe typesofmusicthatheor shesimply doesnotknow about The third andfourth circles definethenegative sidesofone’s musicalidentity, thatis,thetypesofmusic thatheor connected toone’s personaltastebutmore tohisor her culturalenvironment. . The second,more encompassing circle, Myculture’s music,includesmusicalchoicesthatare notnecessarily taste. . The inner circle, My music,includesallofthemusicalstyles thatonelikes anddefinesaspartofhisor her musical notes. (Elias,pers.comm.,November 28,2017) presumptions or Ihate you, or Idon’t like you, itcannot work. [We cannot] justsitandplay something andread the walls ofhatred andmisunderstanding,becauseIamnotabletositdown with you andcreate with you ifIhave hate eachother. You have tohave mutualrespect. We are like brothers. That is why Isay thatmusiccantear down when you want tocreate musictogether you cannot possible butitcanbea very niceexperience, because is really great. It meansthatcoexistence isnotonly can cometogether andcreate thisnicemusictogether The very factthat Arabs andJews work together and Next, the Arab-Jewish Orchestra atHaifa University inIsraeli-Palestinian Relations mutual respect.” each other. You have to have music together you cannot hate because whenyou want to create niceexperience,it canbeavery coexistence isnot onlypossiblebut together isreally great. Itmeansthat together andcreate thisnicemusic work together andcancome “The fact very thatArabs andJews

continued on next page . . 44 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Knudsen, Jan Sverre. 2011.“Music of theEthnicMinority: A Postnational Perspective.”and Music Artsin Action 3(3) 77–91. Gilboa, Avi. 2016.“Let’s Talk Music - A Model for Enhancing Intercultural Communication: Trying toUnderstand Why Society for © Ethnomusicology ——— Folkestad, Göran.2002.“National Identity inMusic.” InMusical Identities , editedby Raymond A.R. MacDonald,David J. References November 13,2017). step is.“Sometimesittakes thepeople who actually live theconflicttodo resolution” (Gilboa, pers.comm., conflict, itmightbethemissing link to get there. Yet, itisuptothoseintheconflict decide whatthe next groups while building trustanddeveloping relationships. musiccannotbethesoleanswerWhile tointer-ethnic act ofmusic-making. Music-making hasfurther promoted a collaborative joint effort between two opposing political issues.Inaddressing suchserious issues,musichashelpedrelieve inter-ethnic tensionsthrough the context ofa greater globalculture. Music hasproven tobeanindirect buteffective way toaddress socialand Palestinian conflicthasledtoinnovative methods andconceptsthatcouldbeappliedcross-culturally inthe people, thenmusiccannotbedisregarded asa peacemaking tool.Music andconflict resolution inthe Israeli- general” (79). only challenges thesignificanceofnationalidentity, butalsoquestionstheemphasisplacedonidentity in which culture istransmittedacross nationalboundaries.Knudsen writes, “a post-nationalperspective not Jan Sverre Knudsen(2011), who suggests looking pastnationalconceptsof youth identity duetothe ways in In hischapter, “Post-National Identities inMusic” in theHandbook of Musical Identities (2017),Folkestad cites element neededtobridge thegap. commonality lies,andinthiscommonality, theunifying incorporated. These multipleculturalidentitiesare where nationalist identity in which multipleculturalidentitiesare Göran Folkestad (2002)believes thatthere isa post- to includethe“other.” referringWhen tomusicalidentity, identities needtobechallenged, altered, andreconstructed strong divisions between ethnicgroups. These nationalist particularly with nationalistidentitiesdrawing andenforcing important aspect when itcomestointer-ethnic conflict, identity transformation. Identity transformation isan trust building,andcommunity building thathave promoted levels ofenhancedcommunication,broken stereotypes, . continued Music andConflict Resolution Visit semsn.comto find backissues,submissionguidelines, resource andmore. lists, view/819/707 and How Music Helps.” Voices: A World Forum for 16(1):1–23.https://voices.no/index.php/voices/article/ edited by Raymond MacDonald,David J. Hargreaves, andDorothy Miell,122–36.Oxford: Oxford University Press. Hargreaves, andDorothy Miell,151–62.Oxford: Oxford University Press. If identity transformation or finding a commonidentity through musiccanbuild a bridge between In eachoftheseprojects, there have beentraceable context in which itoperates,mighthave a non-segregating anduniting function.(Folkestad 2002,160) Global youth culture anditsmusic,becauseitisthesameregardless ofnational,ethnicor culturalheritage ofthe . 2017. “Post-National Identities inMusic: Acting ina GlobalIntertextual Musical Arena.” InHandbook of Musical Identities, . inIsraeli-Palestinian Relations needed to bridgethegap. commonality, theunifyingelement where commonalitylies,andinthis multiple cultural identitiesare identities are incorporated. These identity inwhichmultiplecultural . there isapost-nationalist

45 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 or over Skype with a group of young people from we would have dialogue sessionsamong ourselves, doing was gathering twiceper monthor so.Either which was calledtheDialogueClub. What we were university (which was allIcould doatthattime), to have anactionplan,so I starteda clubatthe types ofthings.So when Icameback, was supposed and how the government deals with religion—these live together, their history, thetypeofgovernment studying thereligions thatexist there, how people unique opportunity. We spentfive weeks inthe US States. Sothisprogram was a very good anda very religious pluralism anddemocracy intheUnited the opportunity togo totheUS for a program about religions, and history ofthereligions inIraq.Igot Palestine, internationalrelations, comparative world civilization, history, politics,a courseonIsrael and mechanical engineering. These coursesincluded classes indifferent fieldsthat were not relevant to so, sinceit’s a liberalartsschool,Itook a lotof University ofIraq-Sulaimani.But while doing studied mechanicalengineering atthe American Society for © Ethnomusicology connection. Youpersonal canread ofourconversation portions below. was perhapsofferingamore sustainable understanding ofpoliticsitself, refashioned precisely in terms of than “oil,politics,andwar.” Inhisfocus onpeacebuildingatboth levels, localandglobal Ibelieve Hastiar concentratingEast, onworldwide problems suchas“energy, theenvironment, andsealevels” rather connections between individuals.Healsofocused oninterventions extending far beyond theMiddle politics—not onlyasatool withwhichto effectchangewithinthe region butalsoasa way to buildnew differences.” Throughout ourconversation, preferred Hastiar to speakaboutpeacebuilding rather than education, peacefuldialogue,andresolution ofconflictscaused by religious, ethnic, political,and other and politicallyneutral youth-founded, youth-led organization promoting through peaceandglobalization Sustainable Peace Organization. According to theorganization’s Facebookpage,“MESPOisareligiously Sheikhani,theco-founderthese issueswithHastiar andcurrent executive director ofMESPO,theMiddleEast through musicprobably seemsirrelevant atworst. Recently, andimpossible atbest however, Ispoke about admit thatmy mefeeling own that,for ofus,politicalengagement initialthoughtsonthesubjectleft most politics mayseemlike another just to post hidefrom your mental newsfeed (DugganandSmith2016).I’ll political conversations News ontheirsocialmediapages,anSEMStudent issuedevoted to musicand If you’re atalllike whorecently the83%ofUSAmerican socialmediausers admitted they avoid entering By JonBullock(University ofChicago) Music andMESPO’s Modelfor ChangingtheWorld Peacebuilding, NotPolitics the centralgovernment. I Kurdistan Region andBaghdad, is actually a disputedarea by the Kurdistan region ofIraq, which in Kirkuk.Iamfrom Kirkuk, Hastiar Sheikhani,andI was born HS: Firstofall,my nameis religious pluralism,democracy and good governance, them goals, or we can namethemthemes. They are peacebuilding—is insix different ways. We canname HS: Yes. Sobasically, the way we approach our work— Kurdistan] area. Is thatcorrect? JB: And you oftenhave workshops inthe[Iraqi Middle EastSustainablePeace Organization. activities each year. SoIandsomefriends, we started that were doing very minimal,like low-key sortsof There were justa coupleofforeign organizations were localand were actually active inthecommunity. peacebuilding. Ifound zero peaceorganizationsthat for organizationsto work with, that were doing to Iraq,theKurdistan Region, Istartedlooking didn’t have anorganization.So when Icameback not doing thepeacebuilding inanorganized way. I I felt like I was theonly onethere notdoing thejob, and we got motivation from him.SoonceI was there, countries. So while I was there, ImettheDalai Lama, had] conflict withinthem,andIraq was oneofthese young people,peacebuildersfrom [countries that of Peace (USIP). This program took twenty-eight a different organizationcalled United States Institute Because ofallthis,Igot thechancetogo toIndia with different countries,especially onesthathadconflict. continued on next page . . 46 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology variety ofdifferent performances. will have a muchbigger event, and we will have a we will dothesamethisupcoming year in2018. We Assyrian singers, andKurdish singers ofcourse. And languages. We had Arabic singers, Turkmen singers, from different Kurdish dialects,andfrom different Also we hadsix singers from different backgrounds, only thedafbutother musicalstyles andinstruments. this instrumentasa toolfor peacebuilding. And not [frame drum], and we didour besttotry tointroduce unique musicalcelebration with theKurdish daf Day ofPeace, inSeptember last year, we hada very and vice versa. Soasanexample, ontheInternational us because we believe thathappinessbringspeace, HS: Right.Music hasbeena very importantpartfor has hadinthesesortsofprocesses? JB: Can you talk a littlebitabouttherole thatmusic departments. and lastly, conflict resolution andmanagement. Six empowerment, preservation ofculturalheritage, peace education,gender equality and women’s . continued Peacebuilding, NotPolitics books by DalaiLama) inDharamsala, the India,May 2016.Photo Sheikhani. ofHastiar courtesy Hastiar Sheikhani and His Holiness the DalaiLamaexchanging SheikhaniandHisHolinessthe Hastiar (Kurdistan gifts flagandtwo ideas. violent andmore cooperative andmore opentonew And whenever peopleare happy, they cometobeless endorphins. And thesehormonesmake you happy. release ofhappinesshormoneslike dopamineand talk aboutitinthe scientific way, musicinitiatesthe interaction, there’s a connection. Also, music,if we each other. And oncethey dothis,oncethey dothis musical cultures, they would belearning about have conflicts withintheir countries,ifthey exchange Iraq or a Turk from Turkey, which they normally So for example, ifa Kurdish guy meets an Arab from an interaction.It’s alsoa culture thatcanbelearned. for it. The more we love it.SoIthink musicisalso more we learnaboutit,themore we have feelings or something (itdoesn’t have tobea human), the humans, as we interact,as we learnaboutsomeone HS: Ihave a lotofdifferent thoughts.Ibelieve that a different way or allows for thissortofcollaboration? JB: do What you think itisaboutmusicthatspeaksin continued on next page . . 47 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology Middle EastSustainablePeace Organization(@MESPOforPeace). “MiddleEastSustainablePeace Organization–MESPO.” Duggan, Maeve, and Aaron Smith.2016.“ThePolitical Environment onSocialMedia.” Pew Research Center,October 25, 2016. References (according to thesamereport, theannualglobal atamereon peacebuildingefforts $2billion expenditurePeace theannualglobal thatlists research from theInstitute ofEconomicsand global peace,citing economic benefitsof wentHastiar onto share histhoughtsonthe important partofthisculture. they have nothing else left.SoIthink musicis a very connections between them.Soifthisculture dies, have would betheir culture, you know, their own Turkey, inSyria, theonly thing thatKurds might are making.Becauseas you probably know, even in fighters, their supporters, withthemusicthatthey are trying to, you know, motivate their people,their as they are anarmedmovement ina civil war, they peace. SoIthink,even for Kurds, inRojava rightnow, own role inpolitics,, even war, even in humanhistory, hashada lotofinfluence,like its HS: Music inhistory, notonly Kurdish history but music isdoing there. bit aboutthat—sortof,again, what you think itisthat forces]. I wondered if you would mindsharing a little Syria currently occupiedby Turkish-backed military about Kurdish musicasprotest inRojava [a region in JB: Isaw a while back that you shared anarticle . continued Peacebuilding, NotPolitics Facebook. Accessed April 9, 2018. Facebook.9, Accessed April Accessed April 9, 2018.http://www.pewinternet.org/2016/10/25/the-political-environment-on-social-media/. visit facebook.com/MESPOforPeace To learnmore about MESPO, https://www.facebook.com/MESPOforPeace/. about eachother? could actuallycommunicate peacefullyandlearn American politicaldivide,amentality inwhichwe words, coulditperhapsoffer, even inthecurrent US avoid Or, “politics”atallcosts? to useHastiar’s this make ourwork more relevant to the83%who work interms ofpeacebuildingprocesses? Would what mightitmeanto understand andpositionour suggested that and modernizationfor over acentury, Hastiar caught upinthedevastating politicsofcolonialism Iraqi Kurdistan, aregion thathasbeenhopelessly peacefully andlearnabouteachother.” Even in mentality inwhichthey cancommunicate political identity, butwithadifferent mentality—a role inMESPO,where individuals“comewiththeir concept hehimselfsuggested playsonlyaminimal provocativemost way ofthinkingabout politics,a between individualsthatprovided mewiththe end, itwas Hastiar’s focus onbuilding connections expenditure onicecream is$9billion).Butinthe To return to thethemeofmusicandpolitics, reasons to hopefor thefuture.” we shouldgive themreasons to stay and like. Instead ofgivingthemreasons to leave, the peoplewhodecidewhatfuture looks the peoplewhowillplanfor thefuture, andit’s “it’s thepeoplehere whowillbuilda future. It’s

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t g a a z n i 48 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology morning—ten minutesafter thefirsthijacked was supposedtodepartfrom at8:54 that the University of Washington. My flight, which of my Master’s degree in ethnomusicology from plane boundfor Seoul,following the completion this story with me was palpable. for thetable,free ofcharge. Their delightin sharing waitstaff and were given extra sidedishesanddessert special treatment from the couple. The couplereceived the youngimpressedwith was notably surprisedand reed woodwind). The waiter sound oftheduduk(a double and falleninlove with the music intheir classatschool had learnedabout Armenian they mentionedthatthey conversationthe waiter, with over the weekend. Intheir Watertown, Massachusetts, Armenian restaurant in that they haddinedatan before section. They wanted toletmeknow who were actually a couple—spoke tomeexcitedly ethnomusicology course.Oneday, two students— small discussionsectionfor anundergraduate wistfully, “It reminds meofhome.” station was playing a medley oftezeta. The driver said was soonapproaching andthattheEthiopianradio You know Ethiopia?” He notedthatOrthodox Easter He begantospeak animatedly: “You know tezeta? eyes, andgave methedeepestsmileIhave ever seen. immediately turnedaround, peered directly intomy as to whether we were listening totezeta. The driver tezeta—a melancholicballadform. Iinquired politely I recognized a song ontheradioasanEthiopian snowstorm andD.C. traffic.During theconversation, By Dr. Katherine In-Young Lee(University ofCalifornia, LosAngeles) Ethnomusicology andEmpathy Three. OnSeptember 11,2001,I was ona Two. During graduateschool,Itaughta warm weather following a We discussedtheunseasonably instantly struck upa conversation. D.C. The driver was chatty and we in WashingtonNational Airport took a taxifrom a hoteltoReagan One. InlateMarch ofthis year, I understanding. cross-cultural exchange and were lessonsinscribedin encounters inethnomusicology ofmy ownthat attheheart fugue state was arecognition But whatbrought meoutofa ethnomusicology. Like many ofmy colleagues, teach undergraduateand graduate coursesin since stayed thecourseasanethnomusicologist. ethnomusicology atHarvard University andhave In thefallof2005Ibegana doctoral program in eventually madethedecisiontoreturn toacademia. heart ofmy own encountersinethnomusicology me outofa fuguestate was a recognition thatatthe could have easily taken a detour. But what brought ethnomusicology asa fieldofstudy. After 9/11, my life stories together ismy realization oftherelevance of was a bleak periodthatshook metothecore. I wallowed indoubt,couch-bound,for several days. It Unable toreach theairlinestorebook my reservation, seemed tobefalling topiecesinfront ofmy eyes. language study was a trivial pursuit when the world whether my journey toSouthKorea toembark on I alsounderwent a periodofuncertainty, questioning focus onanything butthecoverage ofthe9/11attacks. days gluedtothetelevision setindisbelief,unableto Airport andreturning home,Ispentthenext several in Shanksville, Pennsylvania. After leaving Metro towers, thePentagon attack,andthedowned plane events thatfatefulmorning:thecollapseoftwo monitors attheairportI witnessed theunfolding of passengers were forced todeplane.Onlarge-screen Trade Center—was grounded by theFAA andall plane was flown intothe North Tower ofthe World Now a professor inhigher education, I The connective thread thattiestheseshort study, work, andtravel, I After a few years oflanguage be one year turnedintofour. study. What was supposedto traveled toSeoulfor language to my triptoSouthKorea, I despite theominousfalsestart the imminenceof war. Thus, fears ofthe“Other” ushered in were poisedtoenter, when the historicalmomentthat we seemed valuable inlightof lessons understanding. These cross-cultural exchange and were lessonsinscribedin continued on next page . . 49 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology their own. appreciation for cultures thatmay bedifferent from take-away for students isanunderstanding ofand order topassexams. But itismy hopethatthefinal identifying aneclecticarray oflistening examples in memorize unfamiliar namesandtermsinadditionto . Ina world music course, we ask studentsto particular musicalperformance, style, genre, or to boththe“setting” andthe“significance” of a sound, setting,andsignificance—thiscontext refers Shelemay’s (2015)tripartite“soundscapes” model— through musical casestudies.InKay Kaufman hearing. We alsopresent them with culturalcontexts music analytically andtodescribe what they are We give studentstoolsto learn how tolisten worlds, different values, anddifferent worldviews. politics”), lectures are excursions todifferent sound by theme(e.g., “musicandreligion” and“music world musiccourseisorganizedgeographically or particularly well-suited. I believe ethnomusicology is order, butitisoneto which This may seemlike a tall teach studentsaboutempathy. vehicles through which to ethnomusicology coursesas course andother similar of the“world music” lecture years, Ihave cometothink an interest inmusic.Over the music classbecausethey have humanities; or tosimply take a with something from the STEM-related coursework requirements; tobalancetheir General Educationor Diversity these coursesfor a variety ofreasons: tosatisfy such coursesatuniversities todate.Students take that several thousandsofstudentshave enrolled in many ethnomusicologists.Onecanonly imagine bread andbutter ofundergraduateteaching for global musicaltour for non-musicmajors,are the variants. These courses,typically designedasa course called“Musics ofthe World” anditsregional I have regularly taughtanundergraduatesurvey . continued Ethnomusicology andEmpathy Regardless of whether a difference. understanding, andembracing and anargument for tolerating, unexpected conversations, examples thatmaylater spark skills, presentation ofmusical how to develop closerlistening ethnocentrism, on instruction to deflect opportunity What we canofferisan Shelemay, Kay Kaufman. 2015. Soundscapes: Reference empathy. attentively toothers with bothunderstanding and guide studentsthrough thefocused act oflistening ethnomusicologists are inanidealpositionto because we are trained intheartoflistening, understanding, andembracing difference. And, conversations, andanargumentfor tolerating, musical examples thatmay later spark unexpected how todevelop closer listening skills,presentation of opportunity todeflectethnocentrism,instruction on to different cultural systems.What we canoffer isan harassment andassaultintheacademy (yes, even workplace, andtheshocking prevalence ofsexual and racializedmicro- andmacro-aggressions inthe inequities surrounding contingent labor, gendered for decolonizing ethnomusicology, theblatant so astodiminishthefollowing: critiquesthatcall learning. Idonotmeantobenaively idealistic our disciplineand within our institutionsofhigher in a Changing World. New York: W.W. Norton. Granted, there are stillfraughtissues within details thatgive significance we are trainedtoilluminate large world musicsurveys, we present tostudentsin be thecenterpieceof what populace. musicmayWhile the current andfuture voting do asteachersineducating have doneandcontinueto reflect onthe work that we ethnomusicologists might I wonder whetheras we the United States, however, current politicalclimatein do. Inthinking aboutthe still have much work to ethnomusicology). Wein programswithin venerable 50 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 this community and theethicalquestionsthatcontinuetoguideour fieldwork processes. too, hadfelt theground shift,inmore ways thanone. Here, we detailour individual approaches to working with experience ontheperiphery. Therefore, thelabelof“witness” isappropriate butperhapsnotentirely apt. We, smoke, ash,road closures, andunnaturalquietintheaftermathoffires andmudslides were partofour California andthrough thistimeexperienced our first extreme naturaldisastersatclosequarters. Thesirens, minutes’ drive away). greater community ofMontecito (we live inGoleta,about fifteen “volunteers.” We were noteven membersofthechurch or the We were not“victims.” We were not“evacuees.” We were not our professional singing gig andour fieldwork observations. of thetraumaticevents andtheaftermathseparatefrom both trusting our own reactions, trying tokeep our own experience newness intheparish, we may have felt a personalresistance in for our own academicends.Particularly duetoour relative was stillevident—mining anestablishedcommunity’s trauma highway by slowly crawling through Montecito where themud we were rubberneckers—like the drivers clogging upthe101 the during thistime.It seemedexploitative, asthough all. Bothofushadgrave concernsabouteven asking toresearch to determineifit was ethically soundtopursuethisresearch at documenting andtheorizing thisexperience. Indeed,first we had was malleable, adjusting todifferent acousticspacesandliturgicalneeds. priorities intheaftermath.Providing music for worship servicesandcommunity memorials,thechoir’s mission church choir, a smallgroup madeupof volunteers andpaidsingers, was emblematicofthechurch’s shifting assistance, andunderlying itall,theinstability ofgrief,sometimesexplicit andsometimesundefined. The ASBTS philosophical parishtransformations thatguidedthiscommunity through trauma, witnessing, advocacy, active grieving community. As singers at ASBTS recently hired inthefall, we hadfront-row seatstophysical and researchers focused onchoralpractice,andresidents ofSanta Barbara County—witnessing thetrauma ofa Society for © Ethnomusicology over forty milesinthelargest fire inCalifornia’s recorded history. duration ofthemassive Thomas Fire, which threatened Montecito andadjacentareas ina swath thatmeasured home toa broken andmourning congregation. This cameonthetailendofmultipleevacuations throughout the By EugeniaSiegelConte andLauren Vanderlinden (University ofCalifornia, Santa Barbara) The EthicsofSinging,Witnessing,andFieldwork theMudslides After But we were notdetached“researchers” either. Bothofusare recent transplantstothecentralcoastof We, asparticipants, witnesses, andresearchers, hadmany choicestomake aboutour approach to In December andJanuary 2018, we found ourselves—as employed choral“ringers,” alternated between a trauma treatment center, a siteofcommunity solidarity, anda spiritual Fourteen familiesinthecongregation losttheir homes.Inthesubsequentmonths,church where mud-encrusted walk-ins sought warmth, food, medicalattention,andevacuation. old Episcopalchurch, All Saints-by-the-Sea (ASBTS), becametheprimary triage location, through thecoastalenclave, decimating thetown. Twenty-three peopledied. A 114-year mountainsides around Montecito, California, becameliquid. A river ofmudanddebrisswept Early inthemorning ofJanuary 9, 2018,during a violent downpour, thefire-stripped SEM Student NewsConnect with SEMStudent onFacebookand Twitter detached “researchers” either. Montecito . . . Butwe were not or thegreater communityof even ofthechurch members not “volunteers.” We were not were not “evacuees.” We were We were not “victims.” We 1 continued on next page . ethnomusicological . 51 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology . continued theMudslides After in Santa Barbara county. witness first-hand to these events beneath itall,asecond-and researcher; and,asa bedrock roles—paid singer; academic of myself assplitinto three . throughout thistime,Ithought it all,a second-andfirst-hand witnesstothese events inSanta Barbara county. At a serviceentitled “A thought ofmyself assplitintothree roles—paid singer; academicresearcher; and,asa bedrock beneath and easetrauma inregularly scheduledservicesandadditionalevents. And so,throughout thistime,I ASBTS community asa specifictypeoffieldsite,noting how choral musiccouldbeusedto reactto that, asa scholar ofchoralcontexts andtraditions,Icouldframemy experiences with thetraumatized whole choir as well as with many parishionersandclergy. After thedeluge in Montecito, Iquickly realized flood—I was welcomed intothecommunity. By thetimeofmudslideI was onfirst-nameterms withthe ESC: While working with ASBTS—where I was hired inSeptember, several monthsbefore thefires and doing research surrounding the very trauma thatbrought usalltogether? group prior tothefires andmudslides,someone who ispaidtobepart ofthatgroup, andsomeone who is and shared community; but where exactly ismy placeinthatclosenessassomeone who was notpartofthe brought themembersofchoir (and thecongregation) intoa greater senseofintimacy, dependency, the peopleof ASBTS through witnessing themintheir most vulnerable hoursofgriefandneed. This has know mostofthepeopleat ASBTS when Itook thejob. As the year hasprogressed, Ihave gotten toknow own introversion from thechurch’s needfor strong, supportive voices raisedinsong. Additionally, Ididnot a difficult process asI have triedtountangle my singing and writing aboutthisexperience hasbeen My defaultmodeofcompassionisquietude;and congregation’s needsfirst. It hasnotbeeneasy. for thelossesofthiscommunity while putting the have continually dealt with my own desire togrieve choir intothenew year, andinthelastfive months down, grieving people.Icontinuedsinging with the added strength toanensembleofdisplaced, worn- role changed toproviding stability, reliability, and of Montecito for more thana month,my primary and mudslides wreaked havoc onthecommunity extra voice for theholiday services.But asthefire singer for theChristmasseason,initially justan LV: I was hired mid-December asa temporary be a good “ringer”; or allow emotional witnessing to dissolve make: either detachfrom theproceedings oftheserviceand line, andIbecameacutely aware ofthedecisionIhadto singer’s detachmentinservicetothemusicalaesthetic and Lord, are holy. Alleluia!” Istruggledtoretain a professional and fillour hearts with your peace,” we sang.“You alone,O harrowing detailsofdeath,loss,andbewilderment. “Come discussion ofexperiences from thatday, which included the altar table.Before thisritual,there hadbeenanopen their thanksandremembrances ona banner laying across French taizé the choir sang a repeated, meditative linedrawn from the firmly separatedin my mindcameinto volatile contact. As month anniversary ofthemudslide,three roles Ihad Gathering ofHope &Remembrance,” marking theone- worn-down, grieving people. strength to an ensemble of displaced, stability, reliability, andadded rolemy primary changedto providing of Montecito for more thanamonth, wreaked havoc onthecommunity . asthefire andmudslides 2 service,membersofthecommunity wrote continued on next page . . 52 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology Wilson-Dickson, Andrew. 2001.“Taizé.” Grove Music Online.Retrieved May 2,2018. http://www.oxfordmusiconline.com/ Taylor, Diana.2003.The Archive and theRepertoire. Durham,NC: Duke University Press. Hershenson, Roberta. 2005. “‘Ringers’ Give theGiftof Voice.”New The YorkTimes , December 18,2005. Accessed May 2,2018. References church, usually during communionrites. ASBTS’s choraldirector, Nelson Hueber, intheaftermathofmudslides;andthesechantsare stillperiodically inuseatthe of other languages, thatcouldbeintonedrepeatedly (Wilson-Dickson 2001). This meditative choralpractice was espousedby near Cluny, France. andorganistJacques Berthier composedshort,repeatable chantsinLatin,andlater ina variety 2. for a colloquialdiscussionofthisterm. congregation inmusicianshipand vocal production, a role thatsectionleader positions often require. See Hershenson (2005) in a paidcapacity, we are notpredominantly responsible inguiding other “volunteer” (non-professional) singers from the role (which impliesthatthere isonly onehired singer per section). Bothofusare inthealtosection. Though we are included weekly services,specialevents, andreligious celebrations.Here, we usethis termtodifferentiate from a “section leadership” 1. Endnotes Saints-by-the-Sea. responses canhelpbetter illustratethekaleidoscopic variations oftrauma, witnessing, singing,andhealing at All- ways of witnessing through thesame“viewfinder,” inthehopesthatdiversity ofour thoughts,choices,and We have similarly benefitedfrom theopportunity to work together onthisproject, andtofindour individual . continued theMudslides After Marianne Hirsch,andBarbara Kirschenblatt-Gimblett: New York City through photography, which sheshared anddiscussed with friendsandcolleaguesLorieNovak, nebulous membership. As Diana Taylor says about witnessing theevents andaftermathofthe9/11attackson responsibilities as witnesses, canmove ustonew levels ofengagement inthecommunity as we triage our and responsibility. Our privileges asmembersofthechoir andasethnomusicologists-in-training,our allowances, andresponsibilities, thistypeofcyclical questioning canhelpustoreevaluate our positionality experience asfieldworkers. Insteadofsettling on a particular tack or setofafforded fieldwork permissions, personality differences. However, itseemsthatthisconstant recycling ofquestionscanhelp ustoguideour As you can see, we are left withquestionsaboutour involvement, our implied roles, andour interpolated grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000046767 https://www.nytimes.com/2005/12/18/nyregion/ringers-give-the-gift-of-voice.html. Taizé choralservices were popularizedaround the world inthe1970s,fashionedafter a practicedeveloped in a monastery “Ringers” is a termusedtodescribesingers who are either habitually or periodically hired tosing inchurch choirsfor viewfinder—the seeing,again,dislocatedfrom knowing. (Taylor 2003,243–44) remembering who took which—were infactquitedifferent. Our views hadperhapslittleconnection withthe the samethings,or ifour takes ontheevents—apparently sosimilar inphotographsthat we hada hard time an actofinterlocution,a needtomake senseandcommunicate.It was a way ofassessing whether we hadallseen the photoscouldnotcommunicateinthemselves, a recognition, perhaps,thattaking a photograph was initself dosomething,Ikept taking photos..Speaking abouttheneedtophotograph with themmade up forTo what simple abdicationofresponsibility asa peripheral,supporting member ofthecommunity? affected by themudslide or fire, whatclaimscouldImake tothegrieving process? Wasthisempathy? Or career couldpotentially profit from these experiences? And,as a remote witness,rather thanonedirectly I assumethegriefofthiscongregation when Imyself ambotha paidparticipantanda researcher whose banner andhugged eachother. But even thislossofcontrol containedlayers ofethicalresponsibility. Should event. Eventually, Ientirely lostcontrol ofthatdecisionand wept along with participantsasthey signedthe my professional vocal engagement intoa more personalreaction thatcouldbetter helpmeunderstandthe . 53 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 prolonged period(in weekly visits for aboutsix of theminreturn. I want toobserve classesfor a research, it’s truethatI’m asking some big things and bea resource for themasthey assistmeinmy Although I’m trying togive back tomy schools students I’m working with, andtotheir parents. need tosignfor them. under eighteenandtheir parents participating inmy research are is becausemostofthestudents about signedconsentsheetsatall and theonly reason Ihave to worry Institutional Review Board (IRB), “minimal risk” by my university’s My research isclassifiedas teachtostudents?” and “What values canJavanese students misbehave in your class?” like do “What you do when questions Iask are fairly innocuous, explicitly abouta sensitive subject,andingeneral, the or Javanese gamelanensemble.My research isnot non-Western musicclasseslike a Chinesedrumclub emphasis affects musiceducation,particularly in emphasizes character educationandhow that how theschoolsystem inCentralJava, Indonesia, Society for © Ethnomusicology asking for consentinthefield. time, I’ve found myself musing over theprocess of (UniversityBy GillianIrwin ofCalifornia, Davis) Affirmative ConsentintheField Beyond theIRB the editor at [email protected] to discussyour ideas. NewsStudent , orsomething elseintheworld ofethnomusicology, pleasecontact If you would like to inresponse write anarticle to thisoraprevious issueofSEM Consent sheetsare unfamiliar tomostofthe and methodologies.During this questions, preliminary findings, re-evaluating their research I’m sure mostresearchers are research period,a pointat which mark ofmy year-long field Last monthIhitthesix-month 1 My research explores things oftheminreturn. that I’maskingsomebig in my research, it’s true them asthey me assist and bearesource for give backto my schools to Although I’mtrying understand what they are permitting. also hopethatthey want tosay yes and thatthey fully guardians tofeel thatthey are free tosay no,butI rather thanask meaboutitasthissister did.I want misunderstand what Iamasking butignore thepaper like this, where parents or guardians might interact with a foreign researcher andbeinvolved in instead seeitasanopportunity for their children to confused, intimidated,or bothered by my work but so thatparents, teachers,andprincipals will notbe I am very concernedaboutphrasing my requests I cannotusedata from thatclassroom. As a result, does notagree toletmeobserve their child’s class, class failstoreturn a consentsheet,or iftheir parent of obtaining consent,thatifjustonestudentina without meeting students’ parents. after school.Iamdoing thesethings,inmostcases, means taking uptheir breaks or asking for their time and teachers.Ialso want totalk tostudents, which months), which couldbea distractionfor students I amalways aware, asIgo through thisprocess other outcomesofsituations carefully, Iamconcernedabout tried toexplain my project very “No, definitely not!”While Ihave students. Iimmediately replied, the project required a fee from the home andasked ifparticipating in texted me after Isentthesheets this—one student’s older sister am. Ihave already experienced asking for more thanIactually parents may assumethatIam however, despitemy efforts, an importantproject. Sometimes, continued on next page . 54 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology Weinhold, Karen. 2017. “A Crowdsourced Survey ofSexual Harassmentinthe Academy.” The Professor is In December (blog). 1, Tuck, Eve, andK. Wayne Yang. 2014.“Unbecoming Claims:Pedagogies ofRefusal inQualitative Research.” Qualitative Inquiry Simpson, Audra. 2007. “On EthnographicRefusal: Indigeneity, ‘Voice’ andColonialCitizenship.” Junctures 9:67–80. Ortner, Sherry B.1995. “Resistance andtheProblem ofEthnographicRefusal.” Comparative Studies in Society and History 37(1): Gaztambide-Fernández, Rubén A. 2015. “EliteEntanglements andtheDemandfor a Radically Un/Ethical Position: The Caseof Crampton, Alexandra. 2015. “EthnographicRefusal asResearch Method: Examplefrom a Study ofa Family CourtChild References researchers athomeandinthefield. in theacademy atlarge, we canmove toward anacademicculture thatprotects andrespects participants,students,and and assaultinother areas oflife. Ihopethatby engaging with the#MeToo movement andby questioning power dynamics ways in which Iamcomplicitina culture thatoftendoesnotdemandor value affirmative consentincases of sexualharassment learning aboutabusesofpower inthe wider academic world as well asinmy own department,Ifelt itnecessary toexamine the 1. Endnote my participants’ autonomy, asking permission use when negotiating other issuesofconsent: valuing to live by thesamerulesIbelieve allpeopleshould (beginner ethnographers rarely do), butI’m trying to it?Idon’t have perfect answers tothesequestions processes without acting asthough we are entitled positive, enthusiasticconsenttoour research parents proceed? How canethnographersencourage projects thatare dependentupontheconsentof Fernández 2015;Crampton2015).But how should Tuck and Yang 2014;Gaztambide- (Ortner 2005; Simpson2007; are particularly sensitive innature with ethnographicprojects that generally, theseissueshave todo information in their work—but the ethnographer toincludethat information or onthepartof part oftheparticipanttoprovide refusal—either refusal onthe the issueofethnographic . continued Beyond theIRB information, resource andmore. lists, NewsVisit SEMStudent atsemsn.comtostaff findback issues,submissionguidelines, 2017. https://theprofessorisin.com/2017/12/01/a-crowdsourced-survey-of-sexual-harassment-in-the-academy 1–8. 173–93. Wienie Night.” International Journal of Qualitative Studies in Education28(9): 1129–47. Custody Mediation Program.” Qualitative Social Work 14(4): 453–70. Many scholarshave tackled I conceived thisarticleas part ofmy personalresponse tothe#MeToo movement inacademia (see Weinhold 2017).In we are entitledto it? without actingasthough our research processes consenttoenthusiastic encourage positive, How canethnographers and enthusiastic,informed consentinthefield. encourage anatmosphere ofmutualtrust,respect, methodologies andassumptionsaboutconsentto researchers, we shouldcontinueinterrogating our for ethnographerspreparing for fieldwork. As process canbeincludedinseminarsand workshops field. My hopeisthatdiscussionsabouttheconsent Indonesian friendsandother researchers inmy and regularly discussing issuesofconsent with providing my phonenumber toparents andteachers; before entering their classrooms; mutual trust with teachers understandable; developing my language isclear andeasily language teacherstoensure that language consentsheets with my working through my Indonesian- own research, thishasmeant a box onmy IRBreport. Inmy seeking consentthatchecksoff a humanconnectionrather than clearly andoften,pursuing . 55 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Anthropology of Music: dominant anthropological schoolofstructural-functionalism, expressed by Alan Merriam inhisdefining text The Society for © Ethnomusicology augmented during theEnlightenmentby mechanisticmodelsofphysics, physiology, andsocialorganization. the Renaissance with suchideasas“thebody politic” (Christine dePizan,Francis Bacon,andothers), eventually toward themodeloforganism when discussing politicalstructure. The organicistmodelpersistedthrough Republic gives ustheclassic“ship ofstate” trope, while Aristotle, theconsummatebiologicaltaxonomist, tended Theories ofpoliticalorganizationinthe West have long hadrecourse tometaphorsofform andfunction.’s By BrianFairley (New York University) Analogies of Political Structure accepted within academia. accepted within reveal weaknesses inthepredictive power ofLomax’s song/society categories, which have generally notbeen was ’s cantometricsproject (1968;1976). ClassiccritiquesofLomax (McLeod 1974; Feld 1984) stake a claim for methodsthatsubvert thedominanceof Western-oriented musicology. use ofthesymphony/authoritarianism analogy fits a larger disciplinary anxiety inethnomusicology, eager to interlocutors andtheir worldviews comesoffassomething like a hegemonic move itself.Setting thataside, Keil’s “temporal-aural-horizontal-egalitarian” (1979, 183). Reading thispassage today, Keil’s aggressive Other-ing ofhis of politicaldominance—for studying Tiv “life energies,” which, Keil argues with characteristicexuberance, is the inadequacy of Western analytical frameworks—implicated, like thesymphony, inhierarchical relations its center. OneofKeil’s aimsinciting Canettiistodemonstrate totalitarian state, with theauthoritarianfigure oftheconductor at Elias Canetti’s (1963) depictionofa symphony concertasa ethnomusicologist CharlesKeil (1979, 183–86) quotesatlength production andhierarchical rule.Likewise, inTiv Song, 68–69) inhisinfluentialMusicking asa modelofindustrial symphony orchestra, employed by Christopher Small(1998, popular object(target?) ofpoliticalanalogy isthe Western action. understanding musicaseither a reflection ofpoliticsor political may pointtothelimitsofsuchformally analogicthinking for Jacques Rancière tomusicstudies(Moreno andSteingo 2012) application ofthepoliticalandaesthetictheory ofphilosopher an interdiscipline like ethnomusicology. Inturn,therecent critical eye tothecross-domain comparisonssocommonin orientations thataccountfor suchanalogies, we canturna These meetingsconstitutethethemeofthisessay. By understanding inbroadly synoptic termsthetheoretical tyranny, or —are employed rhetorically toelucidateforms ofmusicalorganization,and vice versa. Harmony oftheSpheres. whether inanthropomorphic visions ofmusicalinstrumentsor inthecelestialclockwork implicitinthe The ecology ofmetaphor inmusic writing likewise soundschanges ontheseorganicistandmechanisticthemes, music reflects theculture of which itis a part.(1964,47;emphasis added) organization, economics,political structure , andother aspects..Ina very real sense[the investigator] findsthat [A]s humanbehavior, musicisrelated synchronically toother behaviors, including religion, drama, dance,social By far thestrongest twentieth-century statementofisomorphismbetween musicalandpoliticalorganization A Facebook postIrecently saw reminded methatone At times,thesetwo conceptual worlds meet when forms ofpoliticalorganization—like democracy, inEthnomusicologicalWriting 2 Even so,Lomax’s work may beseenprimarily asanextension or amplificationofthe ethnomusicology. in aninterdiscipline like socommon comparisons critical eye to thecross-domain such analogies,we canturna orientations thataccountfor synoptic terms thetheoretical By understanding inbroadly continued on next page . . 1

56 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology . continued Analogies of Political Structure both for the way itmisrepresented power structures within jazzensemblesandserved toobscure thereality and anti-Communistfreedom. Much excellent work hasbeendonetocritiquethe premises ofthis analogy, , namely theuseofjazzinCold War diplomacy asa metaphor andintendedcatalyst for democracy these forms’ appearance. nevertheless citesdevelopments ofindustrial modernity like timepieces,printing,and widespread literacy for have tendedtoregard thesesaboutsociomusicalhomologies with suspicion,ifnotoutrightderision” (46), he of pre-modern musical life. Mindfulthat“on the whole, musicologists,like mostother mainstream scholars, of development andclosure which are distinct,inhis view, from additive, strophic, or ostinatoforms typical Manuel isconcerned with “closed musicalstructures” like sonata andsong forms, andthenarrative structures “formal structures in Western musicreflect a general aestheticconditioned by socialeconomy.” In particular, modes andconditionsofproduction and value creation, Peter Manuel (2002,45)makes sucha leap,arguing that India. Although Qureshi doesnotseefeudalism reflected in“themusicitself,” choosing insteadto focus on Ethnomusicology: Thirty-One Issues and Concepts : comparisons astheonethatappearsinsecondedition ofBrunoNettl’s venerable “red book,” The Study of toward a kindof utopian whole. different musicalbackgrounds andknowledges of a group ofimprovising musiciansserve to work together Even inanarticleexploring theconnectionbetween andanarchism (Bell2014), the stayed initsproper place). Analogies with politicalstructure likewise presume a kindofhomeostaticcooperation. different partsof a society work together for a periodoftimeto keep everything inbalance (as long as everything Chief among thesepersistent,unspoken assumptions was theidea ofhomeostasisor equilibrium:thatallthe production andcontrol. colonial modalitiesofknowledge demonstrate how rooted itisin excellence, even asscholars sociocultural modelpar system remains theseductive paradigm. TheIndiancaste- of thelure oftheexplanatory This isaclassicdemonstration say thatstructurally, theparallelsare clear. (Nettl [1983] 2005, 350) the outcastesare represented by thetamboura.Parallels canbedrawn at various additionalpoints,butsufficeitto the castesystem, nolonger legally operative butstillinevidence. The ensemblereflects a variety ofcastes,and even ensemble. . . . It’s a kindofevent thathasalways struck measa reflection oftheolder Hindusocialorganization, In theculture ofCarnatic musicinMadras(Chennai), thetermkaccheriisusedfor a large concert with an In theinterest ofspace,Ionly nodtoward one ofthemajor mobilizationsofpolitical analogy inrecent The lingering influenceofstructural-functionalist thinking leads,I would argue,toward suchoff-hand inEthnomusicologicalWriting that helpedshapethe world ofhereditary musiciansinNorth this framework tolook atthesystems offeudal patronage significant as a precursor tocapitalism, yet Qureshi extends Marx’s history ofpoliticaleconomy, feudalism was primarily order toask thequestion,“isHindustanimusicfeudal?” In Burckhardt Qureshi (2002)employs Marxiananalysis in Casteisnottheonly way todothis work, however. Regula was seenasabsent from Indiansensibilities” (2015, 39). tradition, standing inplaceofthehistorical-mindednessthat and sphere ofsocialrelations—that articulated thelegaciesof century, “caste cametobe viewed astheprimary institution— and control. As Nicholas Dirks writes aboutthemid-nineteenth how rooted itisincolonialmodalitiesofknowledge production sociocultural modelpar excellence,even asscholarsdemonstrate paradigm. The Indiancaste-system remains theseductive This isa classicdemonstrationofthelure of theexplanatory continued on next page . . 57 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology . continued Analogies of Political Structure (Lewis 2008), whose membersreject theconnectionof African-American musictoany particular rhythmic or for politics.Moreno andSteingo citetheexample ofthe Association for the Advancement ofCreative Musicians genres ofmusic,however, donothave inherent significance enacts divisions within thoseexperiences. Specific forms or identifies certainsensory experiences asproper toitselfand community” (489), insofar as,like society asa whole, music that musicdoesindeedserve as“a modelofthepolitical regimes andtheir particular applicationtomusic,noting Jairo Moreno andGavin Steingo (2012)elucidate Rancière’s regime, andtheaestheticregime. Inanilluminating essay, so far, namely theethical representative regime, thepoeticor historical schemeof“regimes ofart”: there have beenthree that isshared andexclusive parts” (12).SecondisRancière’s at a given historicalmoment,both“something common self-evident factsofsenseperception” which establishes, of thesensible” (le partage du sensible),thatis,a “system of pillars ofhisthought.Firstisidea ofthe“distribution Distribution of theSensible, Rancière (2004) sumsuptwo functionalism or Marxistculturalanalysis. invested inmapping socialstructures ontomusicalstructures, even without theguiding orthodoxy ofstructural articulate andare theresult ofsocialcoordination andunity” (217). To besure, there isstillmuchscholarly energy all interlocking practicesinparticipatory music,” Turino writes, formal structures like call-and-response “both with the“call-and-response” structures ofsomegospel songsusedduring theCivil Rightsmovement. “Like Life terms asthesignificantstructures ofsocialandpoliticallife. A representative passage in Turino’s Music asSocial which promise anoverarching framework for interpreting thesignsatplay inmusicalperformance onequal the development ofsemiotictheoriesover thepastthree decades by Thomas Turino (2008;1999) andothers, of racialsegregation intheUnited States (Davenport 2010; Von Eschen2004;Monson 2007).Ialsoskimover writing participate. of usdoingethnomusicological intellectual lineage inwhichall inparticular,art, pointsto an on theaesthetic regime of to investigate. Rather, hiswork musical practice we happen political aesthetics fitwhatever lies not makinghis insimply ethnomusicology, Ipropose, Rancière’s significance for (2008,190–219) contraststhe useofunisonchoralsinging inNazi Germany—among other practices— Enter Jacques Rancière. InThe Politics of Aesthetics: The inEthnomusicologicalWriting writing participate.Rancière (2009, 9) seesineighteenth-and intellectual lineage in which all of usdoing ethnomusicological work onthe aesthetic regime ofart, in particular, pointstoan whatever musicalpractice we happentoinvestigate. Rather, his I propose, liesnotinsimply making hispoliticalaestheticsfit intellectual milieu.Rancière’s significance for ethnomusicology, sensible andare of limitedusefulnessoutsidetheEuro-American theories are toobound upina Western distributionofthe an argumentcouldeasily bemadethatRancière’s aesthetic (2016), hisstudy ofSouth African popular musicandmusicians, Steingo drawsWhile onRancière for ’s Promise 2012, 491–92). the power tocatalyze a shiftinpoliticallife (Moreno and Steingo radical equality which, ina process Rancière dubsdissensus,has formal aspects.Inthis way, the AACM assertstheprincipleof significance for politics. however, donot have inherent Specific forms orgenres ofmusic, divisions withinthoseexperiences. as proper to itselfandenacts experiences sensory certain as awhole,musicidentifies 2012, 489),insofar as,like society community” (Moreno andSteingo as “amodelofthepolitical . musicdoesindeedserve continued on next page . . 58 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Manuel, Peter. 2002.“Modernity andMusical Structure: Neo-Marxist Perspectives onSong Form andIts Successors.” InMusic Society for © Ethnomusicology ——— 1968. Lomax, Alan. Lewis, George. 2008.A Power Stronger than Itself: The AACM and American Experimental Music. Chicago: University ofChicago Krasin, Boris.(1918) 2012.“The Tasks oftheMusic Section.” InMusic and Soviet Power, 1917-1932, editedby Marina Frolova- Keil, Charles. 1979. Tiv Song. Chicago: University ofChicago Press. Herder, Johann Gottfried,andPhilip V. Bohlman. 2017. Song Loves theMasses: Herder on Music and Nationalism. Berkeley: Helbig, Adriana, Nino Tsitsishvili, andErica Haskell. 2008.“Managing Musical Diversity within Frameworks of Western Frolova-Walker, Marina.1998.“‘Nationalist inForm, SocialistinContent’: Musical Nation-Building intheSoviet .” Feld, Steven. 1984.“SoundStructure asSocialStructure.” Ethnomusicology 28(3): 383–409. Dirks, Nicholas. 2015. Autobiography of an Archive: A Scholar’s Passage toIndia. New York: Columbia University Press. Davenport, Lisa E.2010. Jazz Diplomacy:Promoting America in theCold War Era. Jackson: University Press ofMississippi. Connor, Steven. 2016.“Choralities.” Twentieth-Century Music 13(1):3–23. Canetti, Elias.1963.Crowds andNew Power. York: Viking. Buchanan, Donna.2006.Performing Democracy: Bulgarian Music and Musicians in Transit. Chicago: University ofChicago Press. Bell, David M.2014.“Improvisation as Anarchist Organization.” Ephemera: Theory and Politics in 14(4): Organization 1009–30. Averill, Gage. 2003.“CantometricsandCulturalEquity: The Academic Years.” InAlan Lomax:Selected Writings 1934-1997,edited References writings. 2. 1. Endnotes of resemblance toseeour politicsplaying outinsound. Volk or Lomax’s culture areas, we may stillbedrawn by theplay we putbetween our fieldandthe reductive framesof Herder’s made ethnomusicology possible.However muchdistance,then, real way, suchattentionto“anonymous” or everyday music social, religious, andpoliticalcharacter ofa people.Ina very 2017, 5),establishedthe idea thatmusiccouldreflect thetrue for thehistory ofethnomusicology” (Herder andBohlman Herder’s folk-song collections,long considered “foundational consideration, a decisive break from therepresentative regime. This istheelevation oftheanonymous toa placeofaesthetic of artastheexpression ofan“anonymous collective power.” importantly for us—Johann GottfriedHerder, thecelebration early-nineteenth-century writers like Vico, Schelling,and— . continued Analogies of Political Structure and Marx: Ideas, Practice, Politics , editedby Regula Burckhardt Qureshi, 45–62.London:Routledge. Press. Walker andJonathan Walker, 15–18. Woodbridge, UK:Boydell. University ofCalifornia Press. Development Aid: Views from Ukraine,Georgia,andBosnia andHerzegovina.” Yearbookfor TraditionalMusic 40:46–59. Journal of the American Musicological Society 51(2):331–71. by Ronald D. Cohen, 230–44.New York: Routledge. For aninsightfuloverview ofthisperiodLomax’s work, seeGage Averill’s (2003) essay for a selectionofLomax’s For theseandother early metaphors, seeSaccaro-Battisti (1983). . 1976.: An Approach tothe Anthropology of Music. Berkeley: University ofCalifornia Media ExtensionCenter. Folk Song Style and Culture. Washington, D.C.: American Association for the Advancement of Science. inEthnomusicologicalWriting playing outinsound. resemblance to seeourpolitics bedrawnmay still by theplayof Volk orLomax’s culture areas, we the reductive frames ofHerder’s we putbetween ourfieldand However muchdistance, then, continued on next page . . 59 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Von Eschen,Penny M.2004.Satchmo Blows Up theWorld: Jazz Ambassadors Play the Cold War. Cambridge, MA:Harvard University Turino, Thomas. 1999. “SignsofImagination,Identity, andExperience: A Peircian Semiotic Theory for Music.” Ethnomusicology Steingo, Gavin. 2016.Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa. Chicago: University ofChicago Press. Šmidchens, Guntis.2014.The Power of Song: Nonviolent National Culture in theBaltic Singing Revolution. Seattle:University of Small, Christopher. 1998.Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press. Saccaro-Battisti, Giuseppa.1983.“Changing Metaphors ofPolitical Structures.” Journal of theHistory of Ideas 44(1):31–54. has often beendeemednon-politicalinWesternhas often contexts, popularmusicshave, for example, as served understandings ofcommunitiesandtheirmusicalcultures. Forexample, whilemainstream popularmusic more. extended to onethnicity, studies genderrelations, cultural politicsinpeople’s dailymusicalpractices, and through dailylife practices, andre-defining musicasculture, consideringmusicandpoliticshas scholarship on politicalanddissidentmusicalutterances. Byreconsidering thepoliticalaspower relationships reiterated Society for © Ethnomusicology Associates inNegro Folk Education. politics in America through African American musics.SeeLocke, Alain. 1936. The Negro and His Music. Washington,D.C.: 2. musical modesandharmony. crucial togovernance. He mentionsmusicas partofeducationandprovides a detailedanalysis ofmusicalaffect intermsof 1. ————————— ethnomusicology from inthe1950s,scholars, Aristotle inPolitics oftheinterrelationshipThe study between politicsandmusicisnot anew one.Longbefore theriseof By Wangcaixuan (Rosa)Zhang(University ofPittsburgh) An Annotated Bibliography Politics &Music ——— ——— Rancière, Jacques. 2004.The Politics of Aesthetics: The Distribution of theSensible. Translated with anintroduction by Gabriel Qureshi, Regula Burckhardt. 2002.“Mode ofProduction andMusical Production: Is HindustaniMusic Feudal?” InMusic and Nettl, Bruno.(1983) 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana: University ofIllinoisPress. Moreno, Jairo, andGavin Steingo. 2012.“Rancière’s EqualMusic.” Contemporary Music Review 31(5–6): 487–505. Monson, Ingrid.2007. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. New York: Oxford University Press. Merriam, Alan P. 1964.The Anthropology of Music. Evanston, IL:Northwestern University Press. McLeod, Norma. 1974. “EthnomusicologicalResearch and Anthropology.” Annual Review of Anthropology 3:99–115. . continued Analogies of Political Structure (1936), Press. 43 (2):221–55. Washington Press. Rockhill. London:Continuum. Marx: Ideas, Practice, Politics, editedby Regula Burckhardt Qureshi, 81–105. London:Routledge. Such developments provide inscholarship apathtoward gainingmore fresh perspectives and Alain Locke, an American writer, philosopher, educator, as well asanactivist oftheHarlemRenaissance, explores racial Aristotle, inhisPolitics , especially book VIII, discussestheinfluencesofmusic to one’s charactersandethos, which are . 2008.Music asSocial Life: The Politics of Participation. Chicago: University ofChicago Press. . 2009. Aesthetics and Its Discontents . Translated by Steven Corcoran. Cambridge, UK:Polity. 2 hadbeenexploring thetopic. However, thescopeofthisresearch was limited andfocused largely inEthnomusicologicalWriting 1 to AlainLocke inTheNegro andHisMusic continued on next page . 60 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 pre-revolutionary Iran. You canfindamore extensive bibliography atsemsn.com. songs, war andtrauma, nationalismandpropaganda, colonization,cultural politics,andgenderstudies. I have includedsources dealingwithanextensive ofkeywords, list includingstate protest andcensorship, bibliography couldofferaninteresting yet fundamental introduction to the topic of“politicsandmusic,” andscholars’ abidingenthusiasmtowardof scholarship thetopic. Withahopethatthisfollowing annotated understanding ofhow musicandpoliticsintersect inpeople’s everyday lives. Society for © Ethnomusicology Ethnomusicology 57(1):57–87. 4. Program. 3. ————————— Jones, Andrew F. 1992.Like a Knife: Ideology and Genre in Contemporary ChinesePopular Music. Ithaca, NY: East Asia Hutchinson, Sydney. 2016.Tigers of a Different Stripe: Performing Gender in Dominican Music. Chicago: University Hall, Patricia. 2018.The Oxford Handbook of Music Censorship . New York: Oxford University Press. Organizedby Gilman, Lisa.2016.My Music, My War: The Listening Habits of U.S. Troops in Iraq and Afghanistan. Middletown, CT: Bohlman, Philip Vilas. 2011.Focus: Music, Nationalism, and theMaking of the New Europe. New York: Routledge. Selected Annotated Bibiliography propaganda songsinChinaduringthe 1990s, . continued Politics &Music Program, Cornell University. This isthefirst extensive study onChinesepopular musicandcontemporary female, revealing richambiguities aboutgender relations intheDominicanRepublic. probes intothe complex nexus ofclass,race,andmusicthatproblematizes thebinary between maleand into her fieldwork, asparticipantobserver, researcher, and a merengue típicomusicianherself,thisbook fascinating ethnographic accountofDominicanfemale musicians.By incorporating different positionalities that, unlike other genres, involves women as instrumentalistsandeven bandleaders,Hutchinson offers a of Chicago Press. Through thestudy ofmerengue típico,a traditional music oftheDominicanRepublic and politics. music isanessentialagent ofpower andresilience. It will bea valuable guidefor allresearch regarding music periods, andperspectives onindividual composersandartists,thishandbook wonderfully illustrateshow censorship around the world with thirty individual articles.Focusing on various genres ofmusic, time and transitional—The Oxford Handbook of Music Censorship offers a comprehensive introduction tomusic nature ofcensorship—religious, racial,andsexual—and forms ofgovernment—democratic, totalitarian, the study ofmusiclistening. on gender, community, trauma,as well aspolitics,itisa convincing book offering insightson war through dealing with fear and violence during wars in Afghanistan and Iraq.Providing perspectives from scholarship music inthecontext of war. The author investigates how thelistening habitsofUS soldiershadanimpacton Wesleyan University Press. My Music, My War isanethnographicaccountabouthow soldiersuseandlistento positive andnegative influencesthismightentail. contributed totheshapeofculturalpoliticsandpolitical environments among European countriesand what between musicandnationbuilding,demonstrating how theusage ofmusictoadvance political agendas Through fieldwork andhistoricalaccountsallaround Europe, Bohlman examines theinterrelationship Speaking from my own experience incompleting thiscolumn,Iwas overwhelmed by thelarge volume See Farzaneh Hemmasi. 2013.“Intimating Dissent: Popular Song,Poetry, andPolitics inPre-Revolutionary Iran.” See Andrew F. Jones. 1992.Like a Knife: Ideology and Genre in Contemporary ChinesePopular Music. Ithaca: Cornell East Asia 4 Assuch,we to have explore opportunity deepenour politicalmusickingto further 3 and,insomecases,beenusedfor intimatingdissentin continued on next page . 61 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology . continued Politics &Music Weintraub, Andrew N., andBartBarendregt, eds.2017. Vamping theStage: Female Voices of Asian Modernities. Taylor, Timothy D. 2007. Beyond Exoticism: Western Music and theWorld. Durham,NC: Duke University Press. Rollefson, J. Griffith.2017. Flip the Script: European Hip-Hop and thePolitics of Postcoloniality. Chicago: University of Peddie, Ian,ed.2012.Music and Protest . Farnham: Ashgate. Consisting ofsomethebestscholarshipon Lipsitz, George. 1994.Dangerous Crossroads: Popular Music, Postmodernism and thePoeticsLondon: Verso. of Place . the online versions of our resource available lists, atsemsn.com. [email protected]. We willbehappy to addcitations andresources to Did we misssomething? Contact uswithyour at commentsandsuggestions view oftheascendency of women, represented by female performers, ina wider socialcontext. anthropology, Asian studies,cultural studies,ethnomusicology, andfilmstudies,thisbook presents a holistic a cutting-edge study of women, modernity, andpopular musicin Asia. By incorporating perspectives from challenged, andrewrote narratives ofgender normsacross fourteen individual essays, Vamping theStage is Honolulu: University ofHawai'i Press. Exploring how women’s voices in Asian popular musicsupported, context. non-Western music was presented andinterpreted in Western music within a broad culturalandhistorical Beyond Exoticism focuses onthemusicalmanifestations ofcolonialismandimperialism,studying how from andrelating themselves tothe dominantculture. Londoners toperform a “double consciousness” inpostcolonialEurope, both differentiating themselves investigates how hip-hop’s appropriation by SenegaleseParisians, Turkish Berliners,andSouth Asian select recordings andother media,as well asethnographicaccountsofhip-hopcommunities,Rollefson regarding raceandrepression, among immigrants from former coloniesinEurope. Through analyzing Chicago Press. This book examines theuseofhip-hop,created by African Americans toaddress concerns science. various contexts through perspectives from music scholarship,culturalstudies,anthropology, andpolitical environmentalism, class,identity andthehistory ofprotest music,thisbook presents musicandprotest in specific topic.Covering a widerange of genres as well as geographical areas andtopics,suchas revolutions, music andprotest, thisedited volume will bea great entry pointfor researchers who are interested inthis manifests inmusicunder globalizationandneoliberalization. such unequalpower relationships between ethnicgroups. This book addresses theanxiety over ethnicity that forms inpostmodern society and,more importantly, how someofthemusicalfusionsalsoserved tochange the Americas— Lipsitzdiscusseshow power relationships manifested injuxtapositionsof various musical andNew Orleans;, bhangra, andjujuinLondon;zoukrap,jazzEurope, Africa, and Chicano punk inLos Angeles; Indigenous rock in Australia; chansonQuebecoisinMontreal; swamp popin Focusing ona great range ofmusicalfusions—Puerto RicanbugalúinNew York; Algerian rai collection ofphotographs various musiciansindifferent musicscenesisalso a highlightofthisbook. the interrelationships between musicandpolitics, andgenre andideologies incontemporary . The versus “unofficial” binariesintheChinesepopular musicscene, Jones offers aninsightfulunderstanding of point inChinesehistory (right after Tiananmen Square protests of1989). By pointing outthe “official” music sceneanddiscusseshow musicreflected andcontextualized different ideologies around acritical China. Drawing from hisfieldwork experience inBeijing inthesummer of1990, Jones dives intothe rock inParis; 62 SEM {STUDENTNEWS} Davin Vidigal Rosenberg, Editor & Design/Layout Davin is a PhD candidate in ethnomusicology at University of California, Davis. His research focuses on flamenco in the Americas wherein he explores musicking spaces and senses of place, groove as a sociomusical process, and intersensory modalities. For his dissertation project, “Grooving into Place,” he is collaborating with Arizonan flamenco practitioners to explore the social and sensory experiences of local flamenco. Davin is also a repair technician and enjoys playing and flamenco guitar.

Eugenia Siegel Conte, Assistant Editor Eugenia is a PhD student in ethnomusicology at the University of California, Santa Barbara. She completed an MA in ethnomusicology at Wesleyan University, researching identity in choral music and performance in Oahu, Hawai'i. Previously, she earned an MA in music Vol. 14, No. 1 | Spring/Summer 2018 Vol. } research at Truman State University, focusing on gender and sexuality in Benjamin Britten's opera The Turn of the Screw. She is currently interested in voice studies and sound studies and how they may be applied to choral musical practice.

Heather Strohschein, Outgoing Copy Editor Heather is a recent PhD ethnomusicology graduate from the University of Hawai'i at Mānoa. She holds a BA in world music and an MA in ethnomusicology from Bowling Green State University. STUDENTNEWS { Her dissertation focuses on Javanese gamelan use outside of Indonesia as well as the performance of affinity and community. Heather also currently teaches online and face-to-face world music courses SEM at the University of Hawai'i West O'ahu, Bowling Green State University, and Owens Community College. This is Heather’s final issue as copy editor of Student News. She would like to thank colleagues and friends, particularly Davin Rosenberg and Gen Conte, for a wonderful three years! Katherine Morics, Incoming Copy Editor Katherine is an MA/PhD student in ethnomusicology at the University of California, Santa Barbara. She holds a BA in music, with an emphasis in ethnomusicology, from Reed College, where she completed an ethnographic thesis examining music education in underserved public schools. She is currently interested in local music scenes in cities along the Mexico/ United States border.

Hannah Adamy, “Thoughts from the Field” Columnist Hannah is a PhD student in ethnomusicology and a graduate student researcher in community engagement at the University of California, Davis. She received her MA in performance studies from Texas A&M University, where she studied processes of heteronormativity in Euro-classical vocal pedagogy. Her current research focuses on regional music scenes in the California Central Valley and the creation of exclusive musicking spaces. She currently volunteers with Girls Rock Sacramento as a band coach and is embarking on a research project in collaboration with them. Diego Pani, Media Columnist Diego is a PhD student in ethnomusicology at Memorial University of Newfoundland. His research focuses on media as learning devices among young generations of musicians, and the roles of audio and video materials in the vernacular traditions of Sardinia. Diego also produces documentary films, web documentaries, and photo reportages. Besides his academic work, he sings in the rock ‘n’ roll band King Howl and manages Talk About Records, a DIY specializing in , rock ‘n’ roll, and punk musics.

Society for Ethnomusicology © 63 SEM {STUDENTNEWS} Kevin Sliwoski, SEM Student Union Liaison & “Student Voices” Columnist Kevin is a PhD candidate in ethnomusicology at the University of California, Riverside, with research interests in sound studies, the US Military, and jazz history. His dissertation addresses sound, music, and infrastructure at former US Naval Base, Subic Bay, in the during the 1960s. Kevin holds Masters degrees in United States history and musicology from the University of Oxford. He earned a Bachelor of Arts in music from the University of Hartford.

Simran Singh, Contributor Simran recently completed her PhD at Royal Holloway, University of London. Her doctoral research explores hip-hop in Uganda, and combines post-modern scholarship on popular music, media, and cultural studies and perspectives from post-colonial studies. She holds an Vol. 14, No. 1 | Spring/Summer 2018 Vol. } MA with distinction in media and international development from the University in East Anglia and has served as Visiting Tutor in the departments of Music, and Politics and , following a seven-year career as Creative Director of a branding firm in India.

Jon Bullock, Contributor Jon is a PhD student in ethnomusicology at the University of Chicago. He holds a BA in religion and an MA in ethnomusicology. Jon’s research interests include constructions of STUDENTNEWS { time and place in contemporary Kurdish music, with a focus on the interstices of music and nationalism, modernity, and global migration/diaspora. He has also written about music SEM and religion, including music censorship within the Christian church, and various sonic phenomena within Islamic performative and theological traditions.

Brian Fairley, Contributor Brian is a first-year PhD student in ethnomusicology at New York University, pursuing research on practices of the voice and media archaeology in the Republic of Georgia and among theater ensembles in the Polish physical theater tradition. He received his MA from Wesleyan University in 2017, with a thesis entitled “The Gurian Trio Song: Memory, Media, and Improvisation in a Georgian Folk Genre.” Brian is also a pianist, dramaturg, and member of Gamelan Kusuma Laras in New York.

Wangcaixuan (Rosa) Zhang, Researcher Rosa is a PhD student in ethnomusicology at the University of Pittsburgh. She holds a BA in music from Emory University and an MA in ethnomusicology from the Chinese University of Hong Kong, where she completed her Master’s thesis entitled “Buddha’s Songs: Musical Practices in Taiwanese Buddhist Renaissance.” Rosa’s primary interest is Chinese popular music and the rise of various singing contest reality shows. She is currently investigating how reality shows construct a “Voice of China” and a narrative of the “Chinese Dream.”

Solmaz Shakerifard, Social Media Manager Solmaz is a PhD student in ethnomusicology at the University of Washington, Seattle. Her research interest lies at the intersection of ethnomusicology and music education, with special focus on the pedagogy of Iranian classical music, the interactions of this musical tradition with those of Euro-American musics, and the socio-political contexts of musical change and continuity. She has been an active community music organizer in Seattle. She is currently an assistant at the University of Washington’s ethnomusicology archives.

Society for Ethnomusicology © 64 Appendix “Baile de Favela” and Its Sounding Transgressions

Lyrics to MC João’s “Baile de Favela” (Favela Dance). Transcription and English translation by Andressa Gonçalves Vidigal Rosenberg.

Ela veio quente, e hoje eu tô fervendo [x2] She came up to me hot, and today I am boiling [x2]

Quer desafiar, não to entendendo [She] wants to challenge [me], I’m not understanding

Mexeu com o R7 vai voltar com a xota ardendo (vai) Messed around with R7 you will go back with your pussy on fire (go)

Que o Helipa, é baile de favela That Helipa is a funk dance Vol. 14, No. 1 | Spring/Summer 2018 Vol. } Que a Marconi, é baile de favela That Marconi is a funk dance

E a São Rafael, é baile de favela And São Rafael is a funk dance

E os menor preparado pra foder com a xota dela (vai) The under-aged are ready to fuck with her pussy (go) STUDENTNEWS

{ [The funk goes on to name other funk dances and then repeats from the beginning] SEM

Lyrics to “Escola de Luta” (School of Struggle). Transcription and English translation by Andressa Gonçalves Vidigal Rosenberg.

[Brief opening dialogue]

Salve, Salve, Martelo! Whazzup, Martelo!

E, aí, Foice? Firme, mano? Wazzup Sickle? All good, bro?

Não, né, tio? Cê é loko, Alckimin aí fudendo com os No way, mang! Alckmin is there fucking with the estudantes . . . students, dude . . .

Cê é loko, ouvi dizer né, mano, vai fechar uma pá de escola, Yeah, I heard he’s going to close a bunch of schools, aí, o cara fecha escola e abre cela; tô nem entendendo, the dude closes schools and opens cells; I don’t tio. even understand, man.

Mas é isso, eu ouvi dizer que os estudantes tão organizado, But that’s it, and I heard the students are all né, não? organized, no?

continued on next page . . .

Society for Ethnomusicology © 65 Appendix “Baile de Favela” and Its Sounding Transgressions

Lyrics to “Escola de Luta” (School of Struggle) continued . . .

[Song begins]

O estado veio quente, nóis já tá fervendo [x2] The state came up hot, we are already boiling

Quer desafiar, não tô entendendo [They] wanted to challenge [us], I don’t understand

Mexeu com estudante vocês vão sair perdendo Mess around with the students, you will end up losing

Por que? O Fernão é escola de luta Why!? The Fernão is school of fight/struggle Vol. 14, No. 1 | Spring/Summer 2018 Vol. } Andronico é escola de luta Andronico is school of fight/struggle

Ana Rosa é escola de luta Ana Rosa is school of fight/struggle

Fica preparado que se fecha nóis ocupa Be prepared because if you close it we will occupy! STUDENTNEWS

{ Vai, vai! Go, go!

SEM [The funk goes on to list all the schools that up to the time of the recording were successfully occupied by the students]

[Closing commentary]

Estudande tudo zica, mano! Essa é uma luta autônoma The students are making a stink, man! This is an organizada. Nóis tem que incentivar essa porra, tio. autonomous and organized struggle. We have to encourage this shit, man.

É isso, é nóis por nóis, né, mano? Porque tá fudendo pro That’s it, we have to fend for ourselves, right, man? nosso lado, se nóis não se organizar, mano, cê é loko, Because shit is going down on our end, and if we tio! Mas é isso, o recado é esse! Né, não? Pá cada escola ain’t organized, man, are you crazy, man! But que ele fechá, nóis vai ocupá é duas. that is the message! Isn’t it? For each school he closes, we are going to occupy two.

Cê é loko? Não podemo deixa os companheiro pá trás não. Are you crazy? We cannot leave our comrades Cê é loko? Nenhuma escola a menos! behind. You’re crazy? Not even one less school!

É isso, nenhuma escola a menos, carrrrralho! That’s it, not even one less school, shiiiiit!

Society for Ethnomusicology © 66 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology cash rules everything around me hod schogsogt Wu-Tang Clan ollawei, desistraurig konns a ned weidageh und so ja/yo, ischam’mi Rengschbuag gibts a beiunsin von da Lobby unddes nur desoane Politikerohle woin des sog i für den Anbau undHobby huanalegalisiert werd und Mari(e/ä) - und zwar fir Ohle Wohnungen organisian dann dadi ja/yo, deskon i firn Biagamoasta wia was mim Maniac wos islosmim Wolli Wolli, ifrog mi Verse 1(Maniac) was wor desfir a Story (e/ä)? Wolli, Wolli Wolli(e/ä), Wolli [x2] Chorus ey, ey, ey gangstershit Wolli, Wolli Intro *Anglicism/foreign word expression; slang/Mundart (alternative spelling/pronunciation/word). Transcription andtranslations by Fabio Dick. Lyrics &Maniac’s to “W Liquid Glocal Politics inBavarian SlangRap:“Wolli” by &Maniac Liquid Appendix mei liaba Scholli(e/ä) [x3] Bavarian olli.” cash rules everything around me hat schongesagt Wu-Tang Clan allerweil (immer), dasisttraurig kann esauchnicht weitergehen und so ja/yo, ichschämemich Regensburg gibt esauchbeiunsin von der Lobby unddas nur dasEine Politkeralle wollen das sage ich für den Anbau undHobby legalisiert huana wird und Mari- fürundzwar Alle Wohnungen organisieren dann täte(würde) ich ja/yo, daskannich für (als) Bürgermeister wie wäre esmit demManiac was istlosmit dem Wolli Wolli, ichfrage mich was war dasfür eineStory ? Wolli, Wolli meinlieber Scholli/Kumpel [x3] Wolli, Wolli ey, ey, ey gangstershit Wolli, Wolli German cash ruleseverything around me already (once) said Wu-Tang Clan all thetime,thatissosad it can’t continuelike this and yes/yo, Ifeel ashamed Regensburg even exist here in and thiskindoflobby does only after onething politicians are always I amsaying (telling you) for cultivation andhobby juana gets legalized and mari- for everyone indeed organize apartment I would then yes/yo, Icoulddothat as mayor what aboutManiac what isgoing on with (you) Wolli Wolli, I’m asking myself what kindofstory was this? Wolli, Wolli Wolli, Wolli ey, ey, ey gangstershit Wolli, Wolli my dear pal/bro [x3] continued on next page . . English 67 SEM{STUDENTNEWS} Vol. 14, No. 1 | Spring/Summer 2018 Society for © Ethnomusicology Outro [x2] Chorus vo da SPD, Bua ausm Fenster Gangzeichen durch deiGengd duch und fohrd mitseimBMW und dreht durch wird da OB zumOG Rengschbuag ja/yo, Wolli, beiunsin am Klo(a) Koks schnupfa wos fia die Jugend doa undned Spendengeida domuassma vo diesogenannten kanntst moi wos obdrugga wenns wieda draussnbist don’t drop thesoapsugar ja/yo, Wolli jede hodanPreis, Digga erinnert mianNuttn es geht nimma peinlicher i moanechtfast und beimHansSchaidinger bei dir, am Volker Tretzel Wolli, laft geil, Digga mit a bisslmehr Speicha und a Smartphone fir a neisstudio derft reicha so a hoibemille die sanechtdeier Wei meiHobby unemeiPulli Cash leiha? Wolli, konnst dumia Verse) 2(Liquid [x2] Chorus Lyrics &Maniac’s to “Wolli” Liquid continued. Glocal Politics inBavarian SlangRap:“Wolli” by &Maniac Liquid Appendix Bavarian von der SPD, Bub aus demFenster Gangzeichen durch deineGegend durch und fährtmitseinemBMW und dreht durch wird der OB zumOG Regensburg ja/yo, Wolli, beiunsin am KloKoks schnupfen was für dieJugend tunundnicht Spendengeldern da mussman von densogenannten könntest dumal was abdrücken wenn du wieder draussenbist don’t drop thesoapsugar ja/yo, Wolli jede hateinenPreis, Dicker erinnert michanNutten es geht nichtmehr peinlicher ich meineechtfast und beiHansSchaidinger bei dir, dem Volker Tretzel Wolli, läuft geil, Dicker mit einbisschenmehr Speicher und einSmartphone für eineneuesStudio dürfte reichen so einehalbeMillion die sindechtteuer weil meinHobby undmeinPulli Cash leihen? Wolli, kannstdumir German sign(s) oftheSPD, boy out ofthe window gang through yourneighbourhood and drives with hisBMW and isgoing crazy the mayor becomestheOG Regensburg yes/yo, Wollie, here in cocaine onthetoilet the youth insteadofdoing away - you have tosupport of theso-calleddonations you couldgive somemoney when you get out don’t drop thesoapsugar yes/yo, Wolli everyone hasher price,homie it reminds meof whores can’t beeven more embarrassing I amalmostthinking this and HansSchaidinger foryou, VolkerTretzel Wolli, it’s going great, homie with a bitmore memory and a smartphone for a (recording) studio could (would) beenough about halfa million they are really expensive my hobby andmy pullover me somecash?Because Wolli, can you borrow English 68