Volume 13, Number 1 | Spring/Summer 2017 Society for © Ethnomusicology eventually cameunder control oftheEastIndia Kingdom andthen by theMataram Sultanate, the 8thcentury, andlater subsumed by theMajapahit Kanjuruhan andSinghasari Kingdoms, beginning in 2017). Ethnomusicologist’s Riteof Return” (Rasmussen for the of thethemesfrom my last “President’s Column” on “fieldwork,” riffing abit more personally onsome rereading pastissues.I write with a few reflections Letter from theSEMPresident SEM calls for submission! latest updates and Twitter following uson Facebook by “liking”uson Join your peers Ethnomusicology of the An officialpublication Malang, historically encompassed inthe SEM Newsletter to get the Society for and

enlightened andinspired by simply brilliant,andIhave been Student News the summer 2017issueof asking meto write a greeting for Indonesia. Davin, thank you for Hello from Malang,EastJava, : “Notes from theField~ The { STUDENTNEWS SEM Chapter Meetings; Or, Why thatSix-HourDrive ReallyisWorthIt34 “Shadow intheField”?:Doing MedicalEthnomusicologyinCroatia 40 . Your newsletter is The “Pre-Postmodern” EthnomusicologyofZora NealeHurston 31 SEM Hustle andSwag:Hustle TheIndividualasHipHopEnterprise 44 A Responseto “DecolonizingEthnomusicology”25 Ethnomusicology, Islam,andPolitical Dialogue27 cover imagecreated from issuewith this or Washington for itshillsideorchards. Icompare for itslegacy ofprisoner exile, andtoNew England Malang toBoston,for itsuniversities, to Australia independent resistance.) Onemightcompare and thushasa character ofmulticulturalism and of mountaintravel toandfrom thedestination, for convicts andne’er-do-wells duetothedifficulty have beentoldthatthecity hasalsobeena repository most well-known of which are Bromo andSemero. (I want to visit. Malang issurrounded by mountains, the is thehorseshoeofcoastalEastJava towns thatIalso on theMarineSilk Road, andabouttwo hourseast metropolis, Surabaya, oneofthebusiestportcities city of40universities. It liestwo hourssouthofthe area. LocatedinEastJava, Malang isnow a bustling the coolclimateandproductive agriculture ofthe Company (VOC) andDutchcolonists,eager toenjoy Conducting Cross-Cultural Interviews 42 ETHNOMUSICOLOGY NOW SEM RegionalChapter Updates 10 Letter from theSEMPresident 1 Shadows ENGAGING THROUGHSEM Thoughts from theField20 The Ten Tracks Project 36 POLITICAL DISCOURSE continued on next page . . of Ethnography 47 Student VoicesStudent 13 INTO THEFIELD SEM Reports 6 SEM Reports wordclouds.com Dear SEM23 Our Staff 49

} 1 Letter from the SEM President . . . continued Malang to Jakarta, where I conducted extensive schools) and other institutions of Islamic education research when I lived there for two years in the 1990s and production, to the rhythms of religious piety and with my family. Jakarta regularly sucks me back into learning that demand the praxis of repetition and its polluted, congested, sometimes dangerous, but dedicated commitment to time-consuming rituals nevertheless “happening” vortex. I am here in Malang and exacting rules. These are the kinds of categories for just a few weeks to process and pursue the end of that we are trained, as ethnographers, to identify six months of ethnographic fieldwork supported by a and analyze. They are also the kinds of categories Fulbright fellowship. And, as President of the Society that perform the colonial, classist, first-world-now- for Ethnomusicology, I reflect daily on the blurry globalized frameworks that we as ethnomusicologists boundaries between work and life. inevitably resist and embrace. Since my arrival here in January 2017, I have used This year, I travel alone, and as such am more my time to revisit a great many of the colleagues and vulnerable to prying eyes and invasive questions.

Vol. 13, No. 1 | Spring/Summer 2017 Vol. collaborators who invited my participation during The young man cooking me an egg in the breakfast } earlier stages of my work in Indonesia, research room, a policeman on the street, a stranger in line at that began in 1996 and continued during my first the airport all ask me, without prelude, “Sendirian?”— Fulbright grant in 1999, and with several follow up “Are you alone?” This question, like many other trips in the early 2000s. The interest in my project ice-breakers, comes with its subtext, “Why are you and its academic and musical “products” has led to alone?” Other such uninvited ice-breakers include, more invitations to share, through presentation, “Sudah lama di Indonesia?” (“How long have you been STUDENTNEWS

{ workshops, and musical performance, than I in Indonesia?”) And, “Wah, bisa Bahasa Indonesia!?” ever would have imagined. Such invitations from (“Wow, you can speak Indonesian!?”) Any kind of

SEM Indonesian colleagues have helped me to reinforce focused gathering that I attend includes a spectacular my commitment to a research process that is cadenza of photography with a paparazzi of cell collaborative. phones and a chorus of “minta selfie?” requests. I I move back and forth between the sharp think I have had my picture taken a thousand and academics of the educated elite who speak “my one times since January. Usually, I am thrilled to language,” and the seemingly more un-self-reflexive document the event we have just shared together, hoi polloi—many of them committed, through the and I will miss this ritual when I return to the US. context of the pondok pesantren (Islamic boarding continued on next page . . .

Group photo following a workshop on Arab music at the National Arts Institute in Surakarta, Central Java, Indonesia (Institut Seni Indonesia, ISI Solo). My children, Hansen Millison, on darabukkah, and Luther Millison, violin, both lived in Indonesia when they were very young and when we were here as a family. It was a blast to introduce them—or re-introduce them—to some of my musical and academic colleagues in Jakarta, Solo, and Malang when they visited for 10 days in May. (May 17, 2017.) Photo courtesy of Anne K. Rasmussen ©

Society for Ethnomusicology © 2 Letter from the SEM President . . . continued

Several train stations in Java have organized live music next to the platforms. Since it was Sunday and we couldn’t organize a performance on campus at the National University in Malang, Leo Tanimaju, a faculty member, musical collaborator, and research assistant, suggested we play a couple of sets at the train station. From left to right: Mas Lukki (looks on), Luther Millison (violin), Mas Antok (guitar), Anne (‘ud), Mas Kucing

Vol. 13, No. 1 | Spring/Summer 2017 Vol. (bass), Mas Leo (djembe), Hansen Millison } (darabukkah). (May 14, 2017.) Photo courtesy of Anne K. Rasmussen ©

But sometimes acquiescing to requests for a foto among Indonesia’s prominent religious leaders, of or fielding seemingly nosey questions is myonly tolerance, non-violence, the importance of sustaining STUDENTNEWS

{ interaction with a stranger. I am the “native on and preserving local culture, and the continuous display” (Corbey 1993). This is part of my colonial debate over what exactly is Indonesian Islam. My

SEM privilege, shameful in its basic, naïve simplicity; but assignment is to engage performance, and especially it’s also a station that allows me access and surprising musical and religious performance, as a part of this entree to many of the worlds here that truly interest discussion. Questions about Indonesian Islam seem me. I waver between being an honored guest, who even more relevant today than when I lived here 17 has committed a great deal of my professional career years ago, after the fall of President Suharto in 1998 to studying, writing, teaching, and sharing the good and the turbulent context of reformasi (reformation) news about Indonesian Islamic performance, and politics and crismon (monetary crisis) economics. being that white lady, a ghost of a colonial past. I am overwhelmed daily by the privilege of During my brief six-month stint this semester, “doing fieldwork.” This mandate of our profession, a wave of nativism, racism, xenophobia, populism, this rite of passage, this term of service, one that and hard-line Islamism has effected a socio-political ideally provides the fodder necessary for our tsunami in Jakarta, among the dominant culture and professional success—our proposals, conference population of Java, and by association, throughout papers, classes, dissertations, degrees, jobs, articles, the rest of Indonesia. This Islamic populism, a trend and books—has given me so much more than that parallels populist inclinations in the US and professional recognition, promotion, and the Europe, has most recently been sparked, and then opportunity to be involved in SEM governance. The fueled, by the Javanese gubernatorial campaign, challenge, the honor, and the license to leave my election, and runoff vote. This was combined with back porch to try to develop relationships through the accusation, trial, and conviction, resignation, common bonds, along with the skills appropriate for and imprisonment, of the incumbent governor, survival, are experiences that have immeasurably Ahok, a Christian of Chinese descent, whose general enriched my personhood and expanded my world. demeanor and supposed irreverence toward a Fieldwork in Indonesia, with its demand for “rites of particular Quranic verse fueled the fires of Muslim return” (Rasmussen 2017), is the opportunity for me, extremism. While alarming, religious radical as an outsider, to be close to Islam and to Muslims, extremism in Indonesia (like these tendencies in the coming as I do from a society where Orientalism and US) has been a catalyst for discussions, including continued on next page . . .

Society for Ethnomusicology © 3 Letter from the SEM President . . . continued Vol. 13, No. 1 | Spring/Summer 2017 Vol. }

Emha Ainun Nadjib (Cak Nun) and the eclectic ensemble Kiai Kanjeng have figured into my research and my life since 1999. Their leader, Cak Nun, invited me to go on tour with the STUDENTNEWS { group for a couple of weeks in 2004, and since I arrived in January, I have been able to sit in with the group and be a part of their multifaceted events six times in various cities in Java. SEM Performances typically last from 9 p.m. to 3 a.m. and attract audiences numbering in the thousands! This performance took place in Malang on June 2, 2017. Photo courtesy of Adin/Progress © Used with permission

Islamophobia are deeply inscribed in the identities I have transcribed many, but not all, of the pages in and institutions in which I participate daily. It is two, going on three, precious notebooks, certainly the triumph of making a joke in Bahasa and having indecipherable to anyone but me. Nearly every day I the crowd burst into laughter. It is the excitement think, “now, there’s an article.” Or, “that’s a good video of discovering that the dirt path you are following for my students.” But I am also fully conscious that between two farms is now registered on Google Maps. the full significance of my experience will not make It is the challenge of having to figure out what to eat, it into my class or into my article. This significance how to stay healthy, how to travel around Java and includes the most human moments: the collaborative Sumatra by train, plane, van, taxi, and motorcycle, venture of music making as a fundamental modality and on foot, with adventuresome spontaneity. It is the of expression and as a basic human right; the exercise of learning how to temper a desire to control continuous personal transformation that being time and schedule—how to balance individualness away and alone affords; and the days where the with the inevitable sociability that constitutes frustration of being the “native on display” becomes Indonesian life. the euphoric groove of a rhythm that is “in the In addition to volunteering my time and good pocket.” Such knowledge, created collaboratively with will in multiple acts of “micro-diplomacy,” and in people in context, necessarily resists translation and addition to sharing music collaboratively, I have commodification into the valued products of Western attended, interviewed, collected, and counted. I have academia. made lists and taken pictures. Every day I expand a Since I assumed the SEM Presidency in January document with links to performers, political parties, 2015, I have taken seriously the thunderous appeal and pesantrens to check out later. I have labeled and from students to radically reassess our orientation organized some, but not nearly all, of my media files. continued on next page . . .

Society for Ethnomusicology © 4 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology ———. 2017. “Notes from theField~ The Ethnomusicologist’s RiteofReturn.” Rasmussen, Anne K.2016.“From Tenure Track to ALT-AC: Thinking Forward toward Alternatives for Ethnomusicologists Corbey, Raymond. 1993.“EthnographicShowcases, 1870–1930.” References questions aboutthepursuitofethnomusicology. StudentSEM News communities. administration anditsrippleeffects throughout our alarming policiesanddiscourseofa new political and theSEMBoard this year inreaction tothe statements issuedby theSociety, itsmembers, of SchoolsMusic; other examples includethe ethnomusicology atNASM, theNational Association our field.One example isour advocacy for academic complicity inthecolonialistlegaciesthatundergird values ofSEM, while alsobeing mindfulofour that challenge someofthefundamentalgoals and resistance totheacademicandpoliticalstructures have critiqued,lobbied,andoffered constructive development. At thesametime, we asa Society and roundtables on varied aspectsofprofessional of publicethnomusicology andmultiple workshops as a publichumanity with abundantrepresentation the imaginationandapplicationofethnomusicology Washington DC was explicitly focused onexpanding Rasmussen 2016). To thatend,our 2016meeting in within, alongside,andoutsidetheacademy (see forward toward alternatives for ethnomusicologists to thefield.Ihave encouraged theSociety to . continued Letter from theSEMPresident guidelines, staff information, resource andmore: lists, Check out within, alongside,andoutsidethe Academy.” My senseisthat you, thestudentreadership of SEM Student NewsSEM Student , bothgradsandundergrads,have ethnomusicology.org/group/SemStudentNews ’ pageonSEM'swebsite to findback issues,submission SEM Newsletter

think Cultural Anthropology 50(1):3–4. of a 4-year college experience. I wish allof you the “learning goal” andanitemincludedonthe university portendstooffer itsstudents,bothas a to theranksofglobalcitizenshipthatnow every Without it,Idon’t think Icouldeven begintoascribe made mea smarter andhumbler ethnomusicologist. the problematic baggage thattermcarries,has call toperform ethnographic fieldwork, withallof mother, musician,professor, andhumanbeing. The contexts) hassculptedmy life as woman, wife, an ethnomusicologistinIndonesia (among other humanities, you as we move ethnomusicology toward thepublic research, andgovernance—shrinks, andparticularly professoriate—with itsidealbalanceofteaching, do! Ihopetoassure you that,even asthepure And if you don’t, surely your familiesandfriends Malang, East Java,Malang, East Indonesia President, Societyfor Ethnomusicology Anne K.Rasmussen whenever our pathsmay intersect. you againatSEM2017inDenver or wherever and and outofour “field” and look forward tomeeting best ofluck andreason as you follow your pathsin SEM Newsletter 8(3): 338–69. are doing therightthing.Being

51 (2):3–4,6. ■

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SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology that shouldbeincludedinanupcomingissue,contact usat more active andengagedasanethnomusicologist. Ifyou have announcements,calls,ornew programs of activity. From conferences to publications,thiscolumnprovides updates andinformation onbecoming This columndraws attention to exciting ways you canget involved inSEMandrelated projects andsites By DavinRosenberg (University ofCalifornia, Davis) announcements, conference calls,new initiatives SEM Reports thousands ofpeople who visit theSEM website! in today’s world! A submission will take less thanfive minutesof your timeand willbeof value tothe Send your itemsnow andhelpSEMbuilda forum for theexchange ofinformation onthepower ofmusic Specialist Points ofcontactfor suggestions andquestions: description for eachitemsent. Please submitthrough the activist organizations;andresearch articles. engagement, activism, or advocacy; syllabi, lessonplans,andother educationalmaterial;information on performances, conferences) andother general news; proposals/reports onprojects involving community issues ofsocialconflict, exclusion/inclusion, and justice. They welcome noticesonpublic events (e.g., rallies, an SEM website repository ofmaterialonhow people worldwide are currently using musictoaddress The Society for Ethnomusicology ispleasedtoannouncethe SEM Launches MusicandSocialJusticeResources Response essays are also welcome for consideration for publication by so, or your initialsor “Anonymous” with noinstitutionalaffiliation. Thesignatory listisupdated daily. name using You canread more aboutthestatementon and stimulatesproposals ofconcrete measures thatcan redress institutionalizedinequities. justice. The primary authorsofthisstatementintendittobea living documentthat cultivates discussion to move beyond narrative debates andtoward structuralchange inmusicinstitutions,toward enacting disciplinary concernsthatmusicandsoundscholarspastpresent have identified. It affirmstheneed The statement,along with current signatures, isnow publishedonthe initate renewed conversation andmeaningfulactiontoward inclusivity inthepracticeofethnomusicology. You are invited tosigna statement, written by a subcommitteeappointedby theSEMCouncil,intendedto InterventionDisciplinary for aPractice ofEthnomusicology . this onlineform online form . You may provide your nameandinstitution if you are comfortable doing : 1) Word or PDF files,or 2) website links.Include a one-sentence Sound Matters Stephen Stuempfle blog [email protected] Music andSocialJustice Resources Project , andtake theopportunity tosign your (Website Editor); andthe

Sound Matters Sound Matters blog continued on next page . . . , andbuildson . SEM Program — 6 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology . continued SEM Reports whenever possible. commitment to thecommunities inwhichwe live andwork, wherever localandglobal, and are more public andmore political;to share practices; best andto offerour voices andour inclusivity andtolerance; to disseminate ourresearch, teaching, andactivisminways that within ourown communities,isamandate for usto publicly reaffirm ourlongheld values of haveaftershocks putvulnerable groups atriskboth symbolicallyand,insomecases,visibly, now thanever. future Theuncertain ofthisnew era, where powerful words andtheir In theweeks following ourconference ithasbecomeclearthatourwork ismore important foracademia andtheimportance ourwork inthepublicsphere. development andpublicethnomusicology, ourrecognition underscoring ofachanging of workshops, panels,andfieldtripsinaround Washington DC focused onprofessional the humanexperience inany context orcondition.Meanwhile, anunprecedented number more than1,000 conference reflecting participants, anorientation to musicthatprivileges spirituality, health,memory, are andsocialjustice someoftheissuesthatconcerned just relations, repatriation, classconsciousness,power dynamics,violentconflict,disability, which we work. Political activism,communityengagement,proactive pedagogies,race teachers,and amongourcolleagues,students, andconsultants inthemyriad contexts in refugees—affirmed theSociety’s commitment to inclusivityboth in terms ofourdiscipline and Indigenouspeoplesoftheworld, women, LGBTQIA communities,andmigrants and among others, Americans Muslims,Jews, AfricanAmericans,LatinxNative North a diverse humancommunity. Papers, panels,andpresenters themselves—representing, ethnomusicologists presented theirwork ontherole andpower ofsoundandmusicwithin that were Asistypicalofourmeetings, ofthecampaign. unleashedinthecourse the statements ofxenophobia, Islamophobia, anti-Semitism,misogyny, andhomophobia affirmations ofourcommitment and globally engageddialogueandscholarship, to reject our gatheringandprompted many ofusto deliberately reframe ourpresentations with theU.S.DC, beginningonthedayafter presidential election,anevent thatstunned AnnualMeetingThe 61st oftheSociety for Ethnomusicologyoccurred inWashington SEM Position Statement inResponse to the2016U.S. Presidential Election The original statement posting can be found at The following statement was approved bytheSEMBoard and SEMCouncil in January 2017. https://ethnomusicology.site-ym.com/page/PS_Election continued on next page . .

. 7 SEM Reports . . . continued

Ethnomusicology Translations Ethnomusicology Today

Ethnomusicology Translations is a peer-reviewed, Ethnomusicology Today is an SEM podcast open-access online series operated by SEM for series that represents a growing diversity of the publication of ethnomusicological literature publications embracing digital media formats translated into English. Articles and other in an effort to increase accessibility and literature in any language other than English will public engagement both within and beyond be considered for editorial review, translation, the field of ethnomusicology. Currently and publication. Preference will be given available episodes feature short interviews with to individual articles published in scholarly ethnomusicologists recently published in the journals or books during the past 20 years. journal, Ethnomusicology. As a central online resource, Ethnomusicology

Vol. 13, No. 1 | Spring/Summer 2017 Vol. Translations aims to increase access to the global } Recently, episode 6 featured a discussion with scope of recent music scholarship and advance Juan Diego Diaz Meneses (University of Essex) ethnomusicology as an international field of regarding his article, “Listening with the Body: research and communication. An Aesthetics of Spirit Possession Outside the Ethnomusicology Translations is now into its fifth Terreiro,” which can be found in the Winter 2016 issue and can be accessed at https://scholarworks. issue of Ethnomusicology. In his investigation iu.edu/journals/index.php/emt. The latest of the aesthetics of spiritual possession, Diaz STUDENTNEWS { publication features Sergio Bonanzinga’s Meneses compares the ritualistic practices of “Musical Mourning in Sicily,” translated by Candomblé and the musical performances of SEM Giacomo Valentini. Bonanzinga surveys various Orkestra Rumpilezz to highlight the similarities vocal and instrumental performances connected and differences between spiritual possessions in to the ritual celebration and commemoration the context of Afro-Bahian music. Forthcoming of the dead that are still characterized in Sicily episodes will continue to feature interviews by a manifest syncretism between Christian and stories aimed at engaging a broad audience Church rules and folk customs and beliefs. He examines these “sounds of mourning” in terms interested in contemporary issues in global of both their musical aspects and their social and music studies. symbolic functions, with special attention to the Listen to the podcast via streaming on the changing dynamics between the present day and the recent past. SEM website: http://www.ethnomusicology. org/members/group_content_view. The editors of Ethnomusicology Translations asp?group=156353&id=534562. are currently seeking nominations of ethnomusicological articles representing a Subscribe to Ethnomusicology Today via wide range of languages and geographic areas. iTunes: https://itunes.apple.com/us/podcast/ Ethnomusicologists are encouraged to nominate ethnomusicology-today/id1042087712?mt=2. articles by sending an email to Richard K. Wolf, General Editor, at [email protected]. To submit feedback or suggestions for future edu. See SEM’s website for more details about episodes, please contact Trevor Harvey at nominations and the review process. [email protected].

Keep an eye out for SEM Student News Reports to stay informed on SEM calls, activities, and events of interest to students. SN Reports is periodically released via our social media pages, separate from our Fall/Winter and Spring/Summer issues.

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Society for Ethnomusicology © 8 SEM Reports . . . continued

Sound Matters Sound Matters (soundmattersthesemblog.wordpress.com) is a forum offering content on a variety of subjects related to music, sound, and ethnomusicology. Sound Matters seeks lively and accessible posts that provide stimulating reading for both specialists and general readers, and encourages authors to consider this an opportunity to transcend the boundaries of traditional print with brief writings that may integrate hyperlinks and multimedia examples.

Posts may follow any recognized editorial standards. Specific guidelines for posts are as follows:

• Posts may be up to 1000 words, in English. • Post titles should indicate content as succinctly as possible. • Submissions previously published only on the author’s personal blog will be considered. • Visual illustrations, including musical examples, must be jpg files; sound illustrations must be Vol. 13, No. 1 | Spring/Summer 2017 Vol.

} mp3 files. • Video illustrations must be mp4 files or videos hosted online with embedding codes (e.g., those on YouTube). • Suggestions for tags are welcome; these should be general categories, not personal names or other more specific information. Tags serve two purposes: linking posts on related topics and adding keywords not already in the text. Manuscripts should be submitted to the Editor, Eliot Bates, at [email protected] as email attachments

STUDENTNEWS in Microsoft Word; please include an abstract in the email text. { For more information and editorial guidelines, see the SEM website. SEM

SEM 2017 Annual Meeting in Denver, Colorado

The Society for Ethnomusicology will hold its 62nd Annual Meeting from October 26–29, 2017, at the Denver Marriott City Center Hotel, co-hosted by the University of Denver, the University of Colorado Boulder, and Colorado College. For information about the meeting, online registration, and hotel accommodations, please visit the conference website at:

http://www.indiana.edu/~semhome/2017/

In conjunction with the SEM Annual Meeting, Colorado College and the SEM Indigenous Music Section will present a pre-conference symposium, “Sound Alliances: A Celebration of Indigenous Musics and Cultures,” on October 25 in Colorado Springs.

A preliminary program for the SEM 2017 Annual Meeting will be posted in early August.

SEM offers several types of travel support for its Annual Meeting:

• Annual Meeting Travel Fund – International Awards (conference presenters only). Deadline: July 3, 2017. You can find more information here:http://www.ethnomusicology.org/?Prizes_AnMeetTrav • Annual Meeting Travel Fund – North American Awards (conference presenters only). Deadline: July 3, 2017. You can find more information here:http://www.ethnomusicology.org/?Prizes_AnMeetTravNoA • Diversity Action Program Annual Meeting Subvention Awards. Deadline: July 15, 2017. You can find more information here: https://ethnomusicology.site-ym.com/general/custom.asp?page=ResDiversity_ AM

SEM will post Annual Meeting updates on the conference website on an ongoing basis. We hope that you will join us in Denver, Colorado, and recommend that you make your travel arrangements soon!

Society for Ethnomusicology © 9 SEM Regional Chapter Updates from student representatives

By Davin Rosenberg (UC Davis) and Eugenia Siegel Conte (UC Santa Barbara) The Society for Ethnomusicology’s regional chapters support the work of ethnomusicologists in regions across North America by organizing annual regional conferences in the spring that complement SEM’s annual meeting each fall. Likewise, they encourage networking and the exchange of information throughout the year. For this issue we reached out to student representatives of various SEM regional chapters to ask for summaries of their respective 2017 meetings. Below you will hear from student representatives of the Northern California, Northeast, Midwest, Southwest, and Mid-Atlantic chapters of the society. You can find a list of all of SEM’s regional chapters, along with links to further information for each, at ethnomusicology.org. Additionally, you can hear some of the many opportunities SEM chapter meetings have to offer in Jessica C. Hajek’s article on page 34 of this issue. Vol. 13, No. 1 | Spring/Summer 2017 Vol. } Northern California Chapter (NCCSEM) Davis as the next NCCSEM student representative Lisa Beebe (University of (2018–2019). Other chapter news includes a Northern California, Santa Cruz): The California Graduate Music Colloquium that took annual Northern California place on Saturday, June 3, hosted by Stanford Chapter of the Society for University. The colloquium featured a series of Ethnomusicology meeting was roundtable discussions, workshops, and breakout held on Saturday, February 25, at sessions for graduate students to share ideas, STUDENTNEWS { Stanford University and hosted by research, and resources. For more details, please visit: the Department of Music in the Braun Music Center. stanfordmusicologycolloquium.wordpress.com. SEM A significant number of SEM student members presented their research at the conference, including: Joseph Cadagin, Jeremiah Lockwood, Victoria Saenz, Northeast Chapter (NECSEM) and Max Suechting from Stanford University; Nour Paddy League (Harvard El Rayes and Andrew Snyder from UC Berkeley; University): The Northeast Luis Chávez, Gillian Irwin, and David Roby from Chapter of the Society for UC Davis; Jay M. Arms, Madison Heying, Nelson Ethnomusicology held its Hutchison, Jiyoon Jung, and Mélodie Michel from UC annual meeting on Friday, Santa Cruz. During a fruitful lunchtime roundtable, March 17, and Saturday, March students discussed issues concerning graduate school, 18, at Middlebury College in academia, and the future of the discipline with Middlebury, Vermont. Local arrangements chair faculty panelists Jayson Beaster-Jones of UC Merced, Damascus Kafumbe and outgoing Chapter President Francesa Rivera of the University of San Francisco, Corinna Campbell hosted a successful conference Nicol Hammond of UC Santa Cruz, and Henry Spiller that focused on a wide variety of musical traditions of UC Davis. from all over the world. Veena and Devesh Chandra The chapter awarded the Marnie Dilling prize for opened the meeting with a concert of Hindustani best student presentation to Luis Chávez for his work, music at Robison Hall in Middlebury’s Mahaney “The Figure of Santo Santiago: Memory and Sound in Center for the Arts. The conference proper Mexican Danza.” Other meeting highlights included featured fifteen papers by undergraduates, graduate a screening of the documentary Music of Yarsan: A students, and professors representing ten different Living Tradition (2015) by Partow Hooshmandrad institutions. William Cheng, Assistant Professor of (California State University, Fresno); a performance Music at Dartmouth College, delivered the keynote by the Stanford Middle East Ensemble; and a address, “I, Spy: Violence, Voice, and Queer-Crip performance by “The Book of J” featuring Jewlia Ethics in Online Game Fieldwork,” to a crowd that Eisenberg and Jeremiah Lockwood. At the business included many community members in addition to meeting, members elected Hannah Adamy of UC continued on next page . . .

Society for Ethnomusicology © 10 SEM Regional Chapter Updates . . . continued conference attendees. NECSEM awarded two prizes and the changing concepts of intellectual property for outstanding papers read at this year’s conference: rights. Sayeed Joseph from Skidmore College received the A special thanks to Dr. Jenny Fraser (Oberlin Lise Waxer Prize for Outstanding Undergraduate College), who arranged the event, and the program Student Paper for his presentation entitled “‘We Gon’ committee for organizing such an intellectually Be Alright’: Mental Health and the Blues in Kendrick stimulating discussion about the current state of Lamar’s To Pimp a Butterfly”; and Rujing Huang from the field. In total, the event was attended by 20 Harvard University received the James T. Koetting faculty, 20 students, three independent scholars, Prize for Outstanding Graduate Student Paper for her and one non-profit affiliate. Aliah Ajamoughli from presentation “‘We’ve Got Harmony, Too!’: Reclaiming Indiana University was voted as the new student Music Theory, Performing Chinese-ness.” The representative for MIDSEM. The JaFran Jones meeting also saw the election of new chapter officers Student Paper Prize was awarded to Jessica Hajek

Vol. 13, No. 1 | Spring/Summer 2017 Vol. who will serve two-year terms: Damascus Kafumbe, (University of Illinois at Urbana-Champaign) for } President; Sarah Politz, Secretary; Susan Asai, her paper, “The Capital of Carnival: Advocating for Treasurer; and Payam Yusefi, Student Representative. Alibaba and the Implications for Cultural Policy Next year’s meeting will be held at Wellesley College in Santo Domingo.” Congratulations to all for a in Wellesley, Massachusetts. very successful meeting! Next year’s meeting will be April 19–21, 2018, at Indiana University, held jointly with the annual section meeting of Central STUDENTNEWS

{ Midwest Chapter (MIDSEM) States Anthropological Society (CSAS). See you in Jessica C. Hajek (University Bloomington!

SEM of Illinois at Urbana- Champaign): This year’s MIDSEM chapter meeting Southwest Chapter (SEMSW) was held at Oberlin College Megan Quilliam (University in Oberlin, Ohio, from March of Colorado, Boulder): The 24–26. The meeting featured five annual meeting of the Southwest paper sessions, various workshops, and a roundtable Chapter of the Society for discussion on a range of forward-looking topics Ethnomusicology was held on within the field of ethnomusicology, including April 7 and 8 at the University of “Popular Music and Social Change,” “Activism and Utah in Salt Lake City alongside Public Ethnomusicology,” and “National and Ethnic the regional meetings of both the Society for Music Diplomacy.” Particular highlights of the event Theory (SMT) and the American Musicological included the interactive workshop “YAHOO—Yet Society (AMS). Attendees of the SEMSW meeting Another Hornbostel Organology Oeuvre,” led by enjoyed a program that ranged from punk rock to the distinguished Dr. Roderic Knight. With students the use of African musics in Hollywood films. There and recent graduates in mind, the faculty offered were a total of 14 presentations, including a lecture- a particularly timely workshop on applying to and recital by Dr. Brenda M. Romero from University working at Liberal Arts Colleges. of Colorado, Boulder. In this notable session, Dr. This year’s keynote lecture was “Ways of Hearing: Romero discussed and performed a series of New Decolonizing the Ethnomusicological Archive,” Mexican inditas based on her own research. Dr. by Dr. Aaron Fox of Columbia University. His talk Michael Klein of Temple University gave the Keynote focused on three different examples from his own Address, entitled “Bodies in Motion: Musical Affect work among the collections of field recordings held and the Pleasure of Excess,” to a combined audience at Columbia University. Dr. Fox addressed ethical of SEM, SMT, and AMS members. The Joann W. considerations, the (re)circulation of recorded sound, Kealiinohomoku Award For Excellence was awarded

continued on next page . . .

Society for Ethnomusicology © 11 SEM Regional Chapter Updates . . . continued to Sean Peters (University of North Texas) for his in Columbia.” While the original planned keynote paper entitled “Speaking Through Noise: Punks in was unfortunately cancelled due to unforeseen the Studio and the Importance of the Experiential.” circumstances, a lively discussion on the role of the Our next regional conference will be held at the academic in society, led by Professors Catherine University of Colorado in the spring of 2018. Appert, Ben Harbert, and Kendra Salois, took place instead. The business meeting saw the creation of Mid-Atlantic Chapter (MACSEM) two new awards, one for undergraduate research Kyle Chattleton (University presented at MACSEM conferences, and the other of Virginia): In light of recent a book prize. The first award was named after events, members of the Mid- Professor Lorna McDaniel, founding President of Atlantic Chapter of the Society MACSEM, who recently passed away. Professor

Vol. 13, No. 1 | Spring/Summer 2017 Vol. for Ethnomusicology met for Barbara Hampton generously offered to help create } their annual conference to the book award. Additionally, members suggested discuss the relationship between allowing different presentation formats for the politics and music. The gathering, held at Cornell annual conference that reflected the various stages University from March 11–12, featured enlightening of undergraduate and graduate scholarship and presentations ranging from the affective dimension professional development. These proposals will be of music to the use of music media and venues in instituted at the next annual meeting, the location of STUDENTNEWS

{ constituting communities. The Hewitt Pantaleoni which is yet to be confirmed. Prize for best student paper was awarded to Patricia Overall, the conference was a success thanks

SEM Vergara (University of Maryland at College Park) for in large part to the faculty and students at Cornell her paper, “Listening to ‘Corridos’ and the Politics of University, in addition to the illuminating scholarship

Remembering in Times of War and Multiculturalism presented. ■

SEM Student News Archives

SEM holds an archive of past SEM Student News issues. We have covered many topics, including decolonization, the job market, publishing, health, diaspora, interdisciplinarity, funding, and more.

You can check them all out, along with submission guidelines and resource lists, by visiting our SEM Student News page on the SEM website.

SEM {STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} An official publication An official An official publication An official publication An official publication of the Society for publication of the of the Society for of the Society for of the Society for An official publication DECOLONIZING ETHNOMUSICOLOGY Ethnomusicology Society for Ethnomusicology Ethnomusicology Ethnomusicology of the Society for Letter from the Editor 1 Ethnomusicology MUSIC EDUCATION AND ETHNOMUSICOLOGY MUSIC AND DIASPORA Ethnomusicology FINDING PATHS ON THE JOB MARKET MEDICAL AND COGNITIVE ETHNOMUSICOLOGY ! THE FUNDING ISSUE SEM Reports 2 ! ! Student Voices 5 Welcome! Welcome! Welcome! Welcome! Welcome! A Letter from the Editor 1 A Letter from the Editor 1 ! Thoughts from the Field 11 A Letter from the Editor 1 A Letter from the SEM President 1 ! Letter from the Incoming Editor 1 Dear SEM 14 SEM Reports 2 SEM Reports 2 SEM Reports 2 ! Student Voices 3 Student Voices 3 Student Voices 2 ! SEM Student Union Update 2 Thinking through Decolonizing Ethnomusicology The State of the Field 4 SEM Reports 3 ! New! SEM Reports 2 “Personal-is-Political”: Decolonial Praxis and the Future 17 The State of the Field 5 Dear SEM 6 The State of the Field 4 ! ! Dear SEM 7 The State of the Field 4 ! Decolonizable Spaces in Ethnomusicology 20 Dear SEM 7 ! Money money money money … money! Decolonizing through Sound 21 Diverging Paths, Common Goals 8 Dear SEM 6 ! The State of the Field 3 Thinking about the Job Market An Ethnomusicologist from Mars? 9 Discerning Diaspora 9 Dear SEM 5 Reflecting on the Pulse Nightclub The Ethnomusicology Job Market 9 ! Legitimizing Culture-Specific Learner Practices 11 Diaspora, Globalization, Transnationalism, Oh My! 10 Methodological Divides 8 ! Effective Grant Writing 7 Mad Planet 23 Preparing for Marketability and Success in Academia 12 Disrupting the Paradigm 13 The Fate of Diaspora 12 ! Transference and Creativity in the Job Market 13 If You Have a Cognitive Hammer 10 An Ethnographic Study of PhD Funding 9 After Pulse: Political Movements and the Dance Floor 25 The Renewed Challenges to “Bi-Musicality” 14 The Diaspora Nyunga Nyunga Mbira 13 !

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 ! Confronting Colonial Legacies What Do Ethnomusicologists Do? 11 | Fall/Winter 2015 Volume World Music and Cultural Knowledge 17 Diaspora and Technology 15 “Evidence” and the Clinical/Cultural Divide 12 ! Graduate Student Debt: It’s A Thing 11 “You’ve Never Heard This?” 26 What is a “True Ethnomusicologist” 14 ! Growing the Next Generation of Tango Musicians 19 Towards an Ethnography of the ‘Diaspora’ 17 Cultural Cognition 13 Taking a Leap: In Favor of Student Debt 12 Postcolonial Institutional Ethnography 27 Dissertation Grant Writing 17 ! “Music in Times of Trouble” 18 Harmonizing Ethnomusicology and Music Education: Reflections on Multi-Sited Ethnographies: Medical Humanities in Practice 15 8 | Spring/Summer 2014 Volume ! The Spousal Subvention 13 Join your peers In Search for Decolonialized Perspectives 30 12 | Spring/Summer 2016 Volume 10 | Spring/Summer 2015 Volume Join your peers by Thinking Beyond Your Degree (Dr. Rebecca Dirksen) 20 A Conversation with Patricia Shehan Campbell 20 An Interview with Deborah Wong 18 ! Resources 14 by “liking” us on The Cape Coon Carnival: Photographic Essay 31 ! Facebook and ‘liking’ us on 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 Volume 12, Number 2 | Fall/Winter 2016 12, Number 2 | Fall/Winter Volume Decolonizing the Discipline: A Conversation with Aaron Fox 38 ! following us on Facebook, and get Ethnomusicology Career Affairs: A Resource List 22 ‘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 Twitter to get the Reading, Decolonizing: Some Resources from Many Perspectives 42 the latest updates Our Staff 24 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 latest updates and Our Staff 44 and calls for and calls for calls for submission! submission! and calls for and calls for and calls for Cover Image: “Be a Good Girl” by Tania Willard (Secwepemc Nation)—see page 41 cover image provided by kozzi.com 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! “A” is for Academic, Applied, Alternative . . . Ethnomusicology through Teaching Musical Diasporas, Diasporic Musics A Letter from the SEM President Funding Matters Letter from the Editor Once again, I welcome our readers to a new volume of skill sets. “Applied,” “public sector,” “private sector,” and 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 a letter from the incoming editor Welcome to Volume 12, Number 2, of SEM Student Thus, I hope that you, our colleagues and readers, SEM Student News. In this, my final volume as editor, I other modifiers have been used as alternative or 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 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, 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. Vol. 8 covers a wide array of isolating and self-guided project. Our founding editor, Lauren 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 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. issues important to the student body, the newsletter’s continue to focus solely on training students for the “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 one for our newsletter, society, and field as a whole. against your own work and experiences, and reflect while pursuing higher education: perfect formula for obtaining the completion of Vol. 8. Her time contributors have covered a wide breadth of topics tenure-track job, but a few have broadened their 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 Decolonizing ethnomusicology, as the following on what it means to bring decolonizing knowledges funding. The responses you will find funding, here we can ponder issues spent developing this publication has during my tenure. From research funding to researcher offerings to at least acknowledge divergent paths. For 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 voices advocate, is as pressing a concern and project and praxes into the spaces we negotiate on a daily in this volume from scholars and to consider in your search. made significant strides in voicing health, labor issues to publication, and interdisciplinary many, myself included, the academic job is indeed the 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? as it has ever been—(post)colonialism and its legacies basis. students raise varied questions from Too often students (and scholars) student concerns within, and indeed approaches to music studies, we have focused on the aspiration, but the reality remains that those elusive and 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 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 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 implications of academic budget cuts. potentially belittled by the process of detail, level of professionalism, and 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. 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 From choosing a program of study rejection. But, as you will read in the long hours spent making SEM 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 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 based on financial packages to Dear SEM column, Dr. Anthony Student News what it is are a 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. (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 In the following columns and editorials you will find The larger point here is not to only discuss possible London)—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 contributors to draw attention to the significance Board dedicated to the Pulse nightclub shooting in We hope this volume truly speaks concerns, funding is a complicated as casting many fishing lines. A huge advice and discussions on the ever-growing issue of solutions to the job market crunch, but to think about the 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 of diversity in perspectives and representation. Orlando, Florida. Their issue features a range of beyond borders and opens up matter. Though this is a topic of number of lines may be cast, but once contingent labor within academic and public sector ways these labels inadvertently divide our career 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 Furthermore, it encouraged reflexive critique of reflections on the tragedy and its implications for our conversations for us all to be better discussion among peers, we rarely the “big one” comes in, it makes up work. However, this volume deals as much with the job aspirations and limit our options. We hope that this 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 our positions, roles, actions, responsibilities, and work as ethnomusicologists. Likewise, Ethnomusicology scholars, students, and teachers. * the students of SEM. * market as it does the need to reconsider how we volume can begin discussion anew to reconsider our field 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 relationships within the communities where we are Review/Sounding Board includes three SEM Student For this volume, we focused on the approach the training of ethnomusicologists, and our 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 engaged as graduate students and ethnomusicologists. News editorials on decolonizing ethnomusicology. We 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) conceptions for what we can do with our interdisciplinary 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 continued on next page . . . 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 © 12 Student Voices a student union column

By Ana-María Alarcón-Jiménez (Instituto de Etnomusicología-Música e Dança [INET]; Universidade Nova de Lisboa, Portugal) With contributors and co-editors Joshua Katz-Rosene (City University of New York) and Patricia Vergara (University of Maryland, College Park) “Student Voices” aims to provide a space for ethnomusicology students to voice their thoughts and concerns in relation to SEM Student News’ general topic. The makers of this space, Jessica Getman, Justin R. Hunter, and José Torres (former members of the SEM Student Union's Executive Committee), have worked hard to push this initiative forward. As the author of this column, my role is to find effective ways to open this space to ethnomusicology students’ diverse voices. This column also aims to link Student News with the Student Union (SU). Together, we are striving to collectively construct the SU as an open, available, and caring resource for students. On behalf of all the passionate and hardworking volunteers who make up the SU’s five different committees, I want to invite ethnomusicology students to participate in our Student Union.

Vol. 13, No. 1 | Spring/Summer 2017 Vol. We want to hear about your needs and concerns and to look for new } projects that tackle issues important to you. SU Leadership: Patricia Vergara is finishing her PhD in Ethnomusicology at the University of Maryland, College Park. She was born in Rio Jeremy Reed de Janeiro, Brazil, and currently lives in Washington, DC. Incoming Chair Her dissertation examines the recontextualizations of Mexican Indiana University, Bloomington STUDENTNEWS

{ musical styles in Colombia since the 1930s, particularly the [email protected] contemporary live music scenes of corridos prohibidos and

SEM música norteña colombiana. Her work focuses on how Ana-María Alarcón-Jiménez production, circulation, consumption, and discourses of Mexican-inspired musical Vice Chair practices in Colombia have been impacted by elite discourses about class, race, region, Universidade Nova de Lisboa nation, and music. [email protected]

Liza Munk Joshua Katz-Rosene is finishing his PhD in Ethnomusicology at Secretary/Treasurer the City University of New York’s Graduate Center. A Canadian UC Santa Barbara who grew up in San José, Costa Rica, he now lives in Queens. [email protected] His dissertation documents the development and evolution of

“protest song” in Colombia and investigates how and why the Juan Melendez-Torres term “social song” came to replace the former term in the 1990s. Member-at-Large Cornell University [email protected]

For many of us, doing fieldwork is one of the most exciting parts of developing an ethnomusicological research project. We prepare for fieldwork by framing it in research proposals, outlining questionnaires for different types of interviews, learning languages, making preliminary contacts, plotting the logistics of traveling, and reading, listening, and watching relevant material. Nevertheless, being in “the field” almost always means reshaping, reframing, and adapting to day-to-day sociomusical relationships and circumstances. How have students dealt with these issues, and what impact has this had on their research?

continued on next page . . .

Society for Ethnomusicology © 13 Student Voices . . . continued To approach these questions, we’ve prepared a two-fold text developed collectively in both English and Spanish languages (published in two separate parts, one in this bulletin and one on the SEM Student Union blog). In looking for different ways of presenting the students’ voices, to which this column is committed, we have moved away from the survey/analysis format of our last two editions, and we have chosen to hold more intimate and in-depth conversations. What you are reading here is written as a “we,” for it has been shaped by the ideas of different people, including Student News editor Davin Rosenberg, “Student Voices” column organizer Ana-María Alarcón-Jiménez, and four doctoral students whose dissertations have included fieldwork in Colombia: Patricia Vergara, Joshua Katz-Rosene, Ian Middleton, and Juan Sebastián Rojas. Due to the space available in this bulletin, we have included here Patricia’s and Josh’s part of the conversation in its English language translation (the authorship, thus, reflects this decision). On theSU blog, you will find the Spanish language version of this text, as well as Ian’s and Juan Sebastian’s contributions. Patricia, Josh, and I (Ana-María) video-chatted together. Our conversation developed like an open-ended

Vol. 13, No. 1 | Spring/Summer 2017 Vol. interview where they responded, separately but reflecting on each other’s answers, to the four topics/questions } I had previously proposed to them (delimiting the field, learning in the field, being in the field, and ethics in the field). We communicated via a shared document that we could all edit at any time (Ian, for instance, contributed by refining the questions of the “delimiting the field” section). Patricia, Josh, and I conversed in Spanish and English. I transcribed our conversation and then translated this text into separate English and Spanish versions to allow for smoother reading. Patricia and Josh were involved in editing at all stages of this process. Below is the English version. For the Spanish one, please go to: semstudentunion.wordpress.com/. STUDENTNEWS

{

SEM DELIMITING THE FIELD

Ana-María: Where is your “field”? Did your field change in the course of your fieldwork? If so, how?

Patricia: The way I initially conceptualized my “field” did change a lot from the moment I started fieldwork. During my preliminary research, I primarily had access to music recordings; I was able to do interviews and to participate in social situations that gave me some initial insights on what the meanings of the musics I was researching were for listeners. However, when I started the longer fieldwork period, I was able to focus much more on live performances, and this changed my initial perspective of ...when I started the longer the “field” both temporally and spatially. As I became better acquainted with the participants of my project—mainly fieldwork period, I was musicians and audience members—I learned about the able to focus much more repertories that were played live as well as the musical practices, personal narratives, and listening habits of the participants. on live performances, and Through this, I realized that the music I was researching had a much longer history than I had thought during my preliminary this changed my initial fieldwork. My project focuses on adaptations of Mexican perspective of the “field” both musical styles in Colombia, so from the beginning it had a translocal dimension. But I initially thought I was going to study temporally and spatially. a relatively recent phenomenon. In Colombia, the discourses around this music, the so-called “corridos prohibidos,” constructed them as something new, as a phenomenon that emerged in the late 1980s and 1990s. However, these musical practices are part of a musical continuum whose origins in Colombia date back to the 1940s, which was ignored in academic discourses, and by cultural elites and the music industry. Moreover, in these times, when the logics of multiculturalism in Colombia have a profound impact on what constitutes or does not constitute Colombian continued on next page . . .

Society for Ethnomusicology © 14 Student Voices . . . continued culture, this is one of the spheres of Colombian musical activity that have been left out of what is considered Colombian popular music. As there was no literature available on these musics, my field gradually widened as my research advanced, acquiring a much broader historical dimension. In geographical terms, the terrain also changed. At first, I imagined that I was going to do a classic ethnography as I chose to live in Villavicencio, a medium-sized city in the Colombian Llanos region [in eastern Colombia], a place with a large concentration of live music venues, musicians, and fans with whom I could work. However, it soon became clear to me that the music of my research had not only been moving around through ever-changing means of musical dissemination but also with groups of people constantly forced to relocate because of the multiple forms of violence experienced by Colombian people for decades. So, by including constant trips to rural towns in the Andean regions and to the outskirts of Bogotá to attend live performances and to meet the participants, my work expanded, further emphasizing its multi-sited character.

Vol. 13, No. 1 | Spring/Summer 2017 Vol. } Josh: Well, thinking a little bit in the ten minutes before we started talking, it occurred to me that perhaps for me to establish the “field,” it was more of a temporal than a geographical issue, because my project is mostly historical. It focuses on the history of protest song, and I always thought that I was going to concentrate on the ’60s and ’70s, and maybe also on the ’80s. So establishing the starting point was a challenge, or something I had to define; but when I arrived, I saw that many people were talking about “social song,” and I realized that there was a more contemporary component that I had to discuss in my written work. Practically speaking, my field STUDENTNEWS

{ was mostly in urban settings, in Bogotá especially and in Medellín as well. Another issue is that when one is dealing with a historical phenomenon and there is no longer a current movement, it’s very diffuse, isn’t it? There

SEM are people who are alive, but these people aren’t necessarily in touch anymore; they were acquaintances thirty years ago, but they haven’t talked to each other in decades. There are others who have died. So connecting those threads between people was more or less like establishing my “field.” Also, because it was a historical project, the Biblioteca Nacional and the Luis Angel Arango Library were also important parts of my field, and the library assistants at those institutions were sort of like my collaborators, since I needed their help to be able to do my research. So, that was more or less the “field” for me.

Ana-María: So those networks of people, of musicians, delimited your field?

Josh: For me, yes, there is no doubt. And this is something I’ve wanted to do, to map the networks between people. I don’t know if you’re familiar with “6 Degrees of Kevin Bacon”—it’s a game that says that you can connect every actor to Kevin Bacon with no more than 6 people in between. So, it was obvious that these people were connected, and, in fact, part of my work was to define those connections and the meanings of those connections.

Patricia: For me, too, creating those networks and mapping the connections between people was fundamental. In some cases, I started to make those connections by paying attention to the repertoires chosen by the musicians and their live performance practices, and then asking them about their choices. Hence, connections developed along spatial and temporal lines that allowed me to trace the continuum of musical adaptations that led to that supposedly “new” musical manifestation in Colombia, which in the end is not so new.

Ana-María: And did violence play any kind of role in defining or delimiting your field?

Patricia: Well, in my case, yes. For example, in my study there were performances and repertoires reserved for specific private settings which happened among and were sponsored by drug dealers and emerald smugglers, a

continued on next page . . .

Society for Ethnomusicology © 15 Student Voices . . . continued sphere of activity that also generates a lot of violence in Colombia. Those performances and even the repertoires turned out to be quite inaccessible to me, and I actually realized that that was not really the main part of the story that I wanted to tell. Highlighting the connections between the corridos prohibidos and the underworld and drug trafficking realms would have resultantly reinforced the discourses spread by mass media in Colombia—and in some cases also by academics—that demonize those musics and their participants based on those parallels. I found it more interesting to focus on the other side, on how significant that music is for people who suffer violence, such as peasants in certain regions of Colombia and the populations of the poorest neighborhoods of Bogotá who listen to that music and constitute a good part of the audience. The audiences are actually much broader than detractors depict them to be—they constitute a quite vibrant music scene. I was interested in asking: Why do fans like the music, and what does the music do for them? What is the relationship between the music and their experiences of violence? My project then ended up focusing on forms of structural violence, such as disenfranchisement and social stigmatization, than on more direct physical violence.

Vol. 13, No. 1 | Spring/Summer 2017 Vol. } Josh: In my case, I think violence itself did not delimit either In my case, I think violence itself the field or the people I spoke to, but the legacy of political persecution by violent means definitely affected what people did not delimit either the field or wanted to tell me. And later it affected how I attributed the sources for certain things that people told me in my writing, the people I spoke to, but the since I anonymized some parts. For example, some musicians STUDENTNEWS { legacy of political persecution who had written music for a guerrilla group, even though that information had already been published in a book, were

SEM by violent means definitely still fearful that I would publish that text, so I didn’t cite their affected what people wanted names. And, well, after analyzing some protest songs from the ’70s, I realized that that connection with violence in Colombia to tell me. unfortunately is never far from the surface. I also realized that, in fact, that is a major characteristic of the protest song repertoire of urban militants who had not necessarily joined the guerrillas but who were celebrating guerrilla violence. And there is a link here to Patricia’s work, because some protest songs were in ranchera rhythm, and furthermore, some of the protest songs of the ’70s came from the time of The Violence, with capital letters [La Violencia, a period of widespread political violence in the mid- twentieth century], during which Mexican music was played as well.

LEARNING IN THE FIELD

Ana-María: A. What did you learn about yourself in the field? Did you feel like an outsider/insider/“in-between” in the field? B. Did musical practices transform that distance, or your perception of that distance, in either direction? C. Did you have to re-position yourself politically, socially, etc., in the field?

Josh: Regarding the first part of the question, as a “mono” [a word used in Bogotá to refer to people with blond hair], I did feel a bit like an outsider. This was reflected in the frequent question “so, where are you from?” or with people in the street talking to me in English right away and things like that. And, for example, do you know the app to call taxis, Tappsi? I decided to use a Hispanic name in that app for security reasons. But mainly for me the issue of being an outsider was centered in the fact that I was talking to people who lived in an era, and who participated in movements, that I did not experience, and who understood them in a way that I never would. I mean, I did not live in that era, and I did not live in Colombia. My contribution is that I can bring together the contributions of the multiple actors who participated in the protest song movement, although that won’t reflect continued on next page . . .

Society for Ethnomusicology © 16 Student Voices . . . continued the experiences of specific individuals. And that connects a little with the second part of the question, which is about musical participation. Since I was studying historical cultural and artistic movements, there was no concrete project with which I could participate musically. But I did play with ensembles, a group of zampoñas [panpipes] in Bogotá, and a brass band in Bogotá as well. I felt that although that was not related to my specific project, it did help me to immerse myself in the musical culture of Colombia, and especially of Bogotá. This, in fact, led me to a different form of understanding. So, for instance, a lot of musicians talked about how playing at the León de Greiff Hall, at the Universidad Nacional de Colombia, was electrifying, and if the students [who were part of the audience] liked them, they could be successful. And you know, that sounded interesting, and kind of made sense. But then some of my musician friends who I was playing with and I went to a performance of bullerengue [a dance from the Colombian Caribbean region] at the León de Greiff Hall, and I saw the rowdy young students dancing and, you know, sucking up their culture. From that, I sort of got the feel of what my interlocutors were talking about, so it was helpful in that sense.

Vol. 13, No. 1 | Spring/Summer 2017 Vol. } Patricia: Something I did not expect to happen in the field was that being Brazilian seemed to significantly overshadow my “researcher coming from the US” identity for my collaborators. Perhaps being Brazilian and female in a predominantly male environment made it easier for me to have candid conversations about music and life with, and gain trust from a number of, my collaborators fairly quickly. No one seemed too interested in asking about my university affiliation or the nature of my project, which I felt I had to remind people of periodically for what I believed to be my own ethical stance. I was usually introduced to others by STUDENTNEWS

{ my collaborators as la reportera brasilera (Spanish for “the Brazilian journalist”). It often felt like sexism, that my identity as an academic researcher was not validated. On the other hand, it was advantageous in the sense that it

SEM helped me establish rapport fairly easily. Being an active musician and accordion player also helped me tremendously with establishing rapport and Being an active musician and opening communication. Although I ended up not performing live with any of the groups I worked accordion player also helped me with, I participated often in many exchanges of tremendously with establishing rapport musical ideas and opinions that helped with my “accreditation” among my collaborators. What I and opening communication. Although feel gave me more of an outsider status was the I ended up not performing live with perception of social class difference that a few of my collaborators made fairly explicit, for example, any of the groups I worked with, I by not inviting me to their homes because they felt participated often in many exchanges they were too humble, as they told me. Although this was the case with only a few of my collaborators, it of musical ideas and opinions that was still hard to face that, no matter how I strived to helped with my “accreditation” among present myself as equal, some people’s perception of the socio-economic gap between us established a my collaborators. distance that was difficult to overcome.

BEING IN THE FIELD

Ana-María: What difficulties did you encounter in the field?

Josh: Once I did start talking to people, some of the stuff happened 40 years ago, 50 years ago, and so a lot of the memories, you know, they did not remember or they did not remember completely. And when I was writing, continued on next page . . .

Society for Ethnomusicology © 17 Student Voices . . . continued I had to really cross-reference [people’s memories] with what the archival documents showed. In my case, working with a lot of musicians who had been celebrities—minor celebrities in the media—they had done a lot of interviews. I prepared to do my interviews with them by watching all the interviews they had done before. Then when I went to interview them and asked my first question, they started to tell the exact same stories, like almost word for word, using the same phrases. So that seems to me like they established sort of a standard narrative on aspects of their careers and on their lives.

Ana-María: Patricia, did you have any particular difficulty as a woman in the field? I ask you because in my experience, doing fieldwork in Galicia, Spain, I decided to avoid situations where I felt that there could be a particularly high consumption of alcohol, since I was often alone in the field in contexts where I was the only woman.

Vol. 13, No. 1 | Spring/Summer 2017 Vol. Patricia: Yes, something similar happened to me, because in the musical realm that I investigate there is a lot } of alcohol. There are situations where, in the end, many times everyone is very drunk. There were cases where I had to move away from drunken musicians, which caused me great stress because of the need to maintain professional links with these people who were key to my research. I also had problems when I was invited to play with a corridos group, and I could not do it because the musicians’ girlfriends did not accept that a woman could play with them. Apart from the difficulties of being a woman in my specific field, I had a difficulty similar to Josh’s, which STUDENTNEWS

{ was to put together the historical part of the study, which dates back to the 1930s and the beginnings of the circulation of Mexican norteña music in Colombia, based on oral histories. A significant issue with doing

SEM ethnography based on oral histories in my case was that I had to rely on people’s memories of things that happened up to sixty years ago. My main sources of information for this historical context were record collectors who, differently from Josh’s main collaborators, were not celebrities in the past and were not used to giving interviews, so they didn’t have scripted answers and narratives. On the other hand, they seemed to tell slightly different, or rather more or less (in)complete stories, each time we talked.

ETHICS IN THE FIELD

Ana-María: Was there an ethical aspect that arose, unexpectedly or not, in the field?

Patricia: Many of my collaborators went through traumatic experiences derived from some facet of the Colombian war. Some of them were directly involved in the war, having been members of one or more of the armed groups like the paramilitary forces, the guerrillas, or the illicit drug business in some capacity. Others have very close family members who were involved as well. Brothers, wives, fathers, daughters, sons, some in the army, some in the drug trade. Their affective experiences of the music were clearly intertwined with these experiences of violence. And as we talked about them, they told me their stories of losing loved ones, of losing themselves in the war, difficult stories to tell and to listen to. I struggled with that for a while, you know. What could I tell in public, what would I write in my dissertation? What could go into a conference paper without it being unethical, without making a spectacle out of so much suffering? I did not know how to bring myself to write the stories until I realized that they need to be told for a number of reasons. Because too many times in Colombia, violence is only represented in statistics. My collaborators knew my project and told me their stories so they can be known. One thing I did that helped ease my struggle was to ask them specifically how they felt about it. And finally, there would be no way to explain the significance of these musical practices for participants without telling the stories that they associate with them.

continued on next page . . .

Society for Ethnomusicology © 18 Student Voices . . . continued

Josh: For me it was almost the opposite. I went to do the first part of my fieldwork in 2011, and this was at the end of the Uribe regime and most of the news coming out of Colombia, especially in leftist circles here in North America, was about murdered political activists, murdered union activists or human rights activists, and persecution of those people. And of course that was very real. So I thought that people would be very reluctant to talk about oppositional politics at all, and so when I did my first IRB I said that my consultants would be completely anonymous. But it was very clear after my first interviews that that was not the right way to go. People were quite open, I thought; I felt that a political space had opened somewhat, and I came to think that it was more important to cite the expertise of the people I was speaking to, because ultimately they are the authorities on the topic. So, I changed that after my first visit.

A BRIDGE TO MORE “FIELDS” Vol. 13, No. 1 | Spring/Summer 2017 Vol.

} Josh and Patricia, on this Student News end of the “Student Voices” column, and Ian and Juan Sebastián, on the SU blog’s end of the same, highlight the importance of flexibility and adaptability in the field. Furthermore, as students of ethnomusicology, doing fieldwork demands from us the ability to listen to people listening—to music, to memories, to other people—in the field. I want to invite you now to listen to our other two contributors for this “Student Voices” column, Ian Middleton and Juan Sebastián Rojas, on the Student Union blog. In this bridged-blog post, you can also find Josh’s and Patricia´s Spanish-language version of the conversation printed here. Finally, if you want to be a part of this conversation, you can contribute with your comments at the end STUDENTNEWS { of the post. We, the Student Union blog and Student News, encourage you to make time and be part of the

conversation. ■ SEM

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. We are an intrepid group at different stages in our education, and all ridiculously excited about ethnomusicology. 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 © 19 Thoughts from the Field student impressions, perspectives, and experiences

By Sara Hong-Yeung Pun (Memorial University of Newfoundland) For this installment of “Thoughts from the Field,” I asked contributors to respond to questions concerning pluralism, diversity, and globalization since these themes are all prevalent political topics in today’s media. How can ethnomusicologists promote pluralism, diversity, and understanding? How can we use our work to promote social justice and support minority groups? How can music be used to bring people together while still acknowledging our differences and perhaps even celebrating them? These are all tough questions politicians and citizens attempt to navigate daily in this increasingly globalized and interconnected world. The three contributors below take a deeper look at some of their own experiences regarding what it is like navigating this complex landscape of self, other, and community. In “Identity Controversy in Music: A Stranger at Home!”, Ruth Opara explores her dual role as both an insider and an outsider in her own community and how this widens her perspective. In “Hearing My Chineseness: Listening for Identity through Improvisation,” Jing Xia explores the contradiction of how improvising in music making can both point out

Vol. 13, No. 1 | Spring/Summer 2017 Vol. difference and be a unifying experience. And in “‘What More Can We Do?’ The Ethnomusicologist’s Role } in Advocating for Communities,” Jon Bullock discusses his personal involvement with the Kurdish community and advocates on their behalf. Although these pieces are disparate in content, they all share the theme of relationship. This relationship is between our work, the communities we work with, ourselves, and others. How will we interact? Do we, as ethnomusicologists, have an ethical and moral responsibility to share our work with a broader audience? Besides documenting musical traditions, should we be doing more? In a world with increasing tensions and conflicts over shared and limited resources, can we find a “third way”? STUDENTNEWS { Obiwuruotu members prior to my fieldwork and

SEM Identity Controversy in Music: A Stranger at Home! informed them I was coming. When I got there, I Ruth Opara (University of had become a stranger to them. These women, who Colorado, Boulder): I was mostly did not understand Western education, started born in Amakohia Uratta, Owerri telling me stories from the book Things Fall Apart by North, about thirty-five miles renowened Nigerian author Chinua Achebe. They away from Ihiagwa in Owerri lectured me on how “White” people exploited them West Local Government Area, in colonial Africa. They further educated me on how Imo State, Nigeria. Obiwuruotu the colonial masters and missionaries disrupted the Women’s Dance Group, also from this area, is a group Igbo culture and stole Igbo cultural values to make of married women musicians whose primary aim is money in the West. I patiently listened while feeling to make music to support both themselves and their astonished. After their long lecture, I thanked them community. Their music was played on the radio and asked when I would be able to do the omenaala—a in the 1980s, when I was growing up, and as a result ritual involving a list of things someone presents became very popular in the state. We are all from the to the group before asking them to perform or do Igbo ethnic group, and we speak the same Owerri anything. They gave me the list and asked me to pay a dialect with subtle differences. I am a fan and have handsome fee before I could start my research. Their loved and appreciated their music since I was a child. reason for asking such an extravagant fee was that When I began my music journey, I performed some since I now study in the White man’s land, I too was of their songs in ensembles and private music groups seen as someone who would exploit them. I could not I belonged to. I made friends with some of them and afford the amount they quoted me. I tried negotiating kept their contacts when I came to the United States the price down but to no avail. Although I look like to further my studies in 2010. them and speak the same language, I became a total Going back home to Imo State, Nigeria, for stranger to them. I drove back home in the night fieldwork in the summer of 2016 opened up a and told my dad. He suggested I go again with some new experience for me. I had called some of the continued on next page . . .

Society for Ethnomusicology © 20 Thoughts from the Field . . . continued elders and people who are familiar with my research. complicated by asymmetries in experience, position, Since most of the musicians are Catholics by faith, and culture that I encounter in specific musical I decided to go with a Catholic priest along with contexts. other elders. Eventually, my supportive community When I improvise, I touch my instrument before convinced them of my good intentions, and they I make a sound, and I let my body lead the music; at agreed to collect a smaller fee for the omenaala. the same time, I learn to communicate by observing On the one hand, not giving me “easy” access to my collaborators’ bodily enactments through the group after studying in the United States can be the musical flow. In my opinion, the embodied considered an act of discrimination. This is because interactions of improvisational musicking in I have been considered a “White” person since I multicultural contexts can throw cultural difference have gone to the “White land” to study. Therefore, it into relief. seemed right to tag me as a stranger and discriminate From the first time I heard my Chineseness,

Vol. 13, No. 1 | Spring/Summer 2017 Vol. against me. On the other hand, although most I started listening to the power dynamics that } members of Obiwuruotu Women’s Dance Group are happened during the process of improvisation. not exposed to Western education, they are aware Gradually, I found that there are always shifting of colonialism, slavery, and cultural hegemony that power relations that exist in a delicate balance, in characterizes Africa’s contact with the West (i.e., which musicians have different strengths and power White people). This is their primary reason for trying to give off and give up. Through this balance, I forget “to protect their culture.” I did not feel bad about the my exotic Chinese identity when I improvise with STUDENTNEWS

{ situation, I just had to convince them that I am still a Canadian musicians, and I find a sense of belonging “daughter of the soil” who is in the same business of through improvising in local communities. It is an

SEM “protecting” our culture. interesting and paradoxical process of negotiation between myself and other musicians. Compared to traditional compositions, improvised music Hearing My Chineseness: gives me a more open, free, and innovative space Listening for Identity through Improvisation to communicate with people from different social Jing Xia (Memorial University backgrounds. of Newfoundland): Moving from my native China to St. John’s, Newfoundland, I also “What More Can We Do?” moved into strange new musical The Ethnomusicologist’s Role in Advocating territory. Instead of playing for Communities traditional repertoire on the Jon Bullock (University of guzheng (a 21-string long zither), I began to improvise Chicago): On March 16, 1988, with musicians from a variety of backgrounds under orders from then-president (Indonesian, Iranian, Indo-Canadian, Chinese- Saddam Hussein, the Iraqi Canadian). I now find myself listening for identity military began dropping chemical through improvisation. As an academically trained bombs on the Kurdish village of guzheng player in China, I was nevertheless required Halabja, killing as many as 5,000 to learn Western notation. I experienced both the people in the ensuing attack. On March 16, 2017, current dominance of Western music in China and on the 29th anniversary of the Halabja genocide, the uneven power dynamics of collaborating across the Kurdish Cultural Center of Illinois hosted a Chinese and Western traditions. In St. John’s I am commemoration event in Chicago in memory of all exotic, one of the only guzheng players, but I am also those who died in Saddam’s Anfal campaign. One a new improviser. Improvising in a multicultural of the gentlemen in attendance shared that he had Canadian context has paradoxically made me hear lost his father in the Halabja attack. Another attendee my Chineseness for the first time. This is a feeling continued on next page . . .

Society for Ethnomusicology © 21 Thoughts from the Field . . . continued related the Anfal campaign to contemporary military might look for ways to support and get involved in operations in Turkey and Syria. Frustrated, one of local communities. For example, most recently, the the event’s organizers asked, “What more can we Kurdish Cultural Center here in Chicago hosted a do to get people around the world to realize what’s documentary screening about the Halabja genocide, happening?” Her question was enough to remind me sponsored a Newroz (Kurdish New Year) celebration that we as ethnomusicologists have always had the at a local restaurant, and began offering Kurdish ethical responsibility to do more than just document govend dance lessons. Attending each of these events the musical activities of a particular community. has allowed me to meet more people in the local Especially now, in the age of President Trump, we Kurdish community and to discover new ways of must also advocate for communities, not because offering support. Representatives from the Kurdish they cannot do it for themselves, but because adding Cultural Center have also graciously agreed to allow one more voice just might be enough to finally allow me to organize an interactive workshop dedicated

Vol. 13, No. 1 | Spring/Summer 2017 Vol. others to hear. to highlighting the role of music and musicians } On a practical level, opportunities for me to in Kurdish advocacy efforts. Finally, we should advocate for the broader Kurdish community have attempt to stay aware of broader issues affecting local involved three different forms of advocacy, forms communities. This awareness recently led me to join that I believe are available to any ethnomusicologist an organization that pairs volunteer English tutors interested in getting involved in this type of work. with Syrian refugee children, many of whom are The first is digital advocacy, which might include displaced Kurds. STUDENTNEWS

{ actions as simple as liking, following, or sharing In conclusion, I realize that not every information posted by various individuals or ethnomusicologist will be presented with the same

SEM organizations on social media platforms. In my opportunities to advocate for the communities they own work, I have also used social media to credit study. Nevertheless, I believe that each of us has some and promote the work of Nashville-based Kurdish role to play in promoting diversity and social justice, composer Akram Roj, many of whose compositions and I believe that together our voices really can—and

are available for purchase on iTunes. Secondly, we must—make a difference.■

The Student Union blog is pleased to announce Responding, a new series initiated by Liza Munk (University of California, Santa Barbara). This series focuses on students’ thoughts and reactions to papers and panels they attended at the annual SEM conferences. If you heard a paper that moved you to think or to action, or if you presented a paper that sparked a lively debate, and would like to participate in this series, please contact the SU blog at [email protected].

You can read the inaugural entry written by Heather Strohschein (University of Hawai‘i at Mānoa) where she reflects on SEM 2016 and two papers, Trevor Reed’s “On the Generativity of Letting Culture Die” and Kimberly Marshall’s “Asdzáán Halnè’e: Singing Female Pastors in Navajo Neo-Pentacostalism.”

Society for Ethnomusicology © 22 Dear SEM, A response column by Davin Rosenberg and Eugenia Siegel With this issue’s open-ended theme of “ethnomusicology now,” Conte, with respondents: we took the opportunity to invite professional scholars to reflect Elizabeth A. Clendinning (Wake on ethnomusicology’s and ethnomusicologists’ responsibilities Forest University) and Timothy J. amidst our present political climate. Though we did not offer any specific prompt, we did ask the following individuals to reflect Cooley (University of California, on SEM’s recent statement of inclusivity (see page 7) and, in Santa Barbara). particular, consider how students may put it into practice in the At SEM Student News, we try classroom, the field, and scholarship. to address the most pressing Our hope is that the following thoughtful contributions will serve as inspiration and/or direct models for students issues and diverse research and working scholars alike as we all mindfully engage with fields for our student body and the people whom we encounter day to day, year to year, broader readership. Want to throughout our careers as students, musicians, and scholars. As get advice from our network with any significant discussion, this is one that should not end of peers, colleagues, and Vol. 13, No. 1 | Spring/Summer 2017 Vol. } here. We encourage any and all of our readers to continue mentors? Email your questions to offering their thoughts on these, and future, issues. [email protected].

World Music Ensembles as a Safe Place: music-making activity can not only reinforce musical To Build Inclusive Classroom Spaces, Keep and cultural concepts; it also allows students to focus Making Music on a physical skill, to live in the moment within art. STUDENTNEWS { Elizabeth A. Clendinning: It can reorganize the regular classroom dynamic, Being an ethnomusicologist encourage students to take risks, and see themselves,

SEM is an inherently political act. their classmates, and their material of study in a new Particularly in teaching, the light. subjects, methodology, and The day of the 2016 US presidential election, I theoretical perspectives that taught kecak in my undergraduate world music survey we include constitute core class. Some of my colleagues in ethnomusicology lenses through which our students will view musics might critique this choice. Removed from the and parts of the world that may have previously global social issues that provide more timely and been entirely foreign to them. In the context of a contentious points of debate within musical contexts, liberal arts institution like mine, the introductory Balinese vocal gamelan is more chameleon-esque; world music survey may, in fact, provide most of it can become whatever students need it to be. On my students’ only such encounter. Though always that day, students needed a refuge, and they left the important, these choices are particularly fraught tension that had plagued our divided campus for within our current polarized political climate. How weeks outside the door with their shoes. Suddenly does one encourage inquiry, prompt lively debates, forced to collaborate by chanting and waving their and nurture individual growth in a classroom when arms, they were temporarily spirited away from their some students feel they cannot speak up in any public concerns. They even laughed and shouted “helpful” space on campus, even in class, for fear of being suggestions as I turned a portion of the Ramayana targeted later for their viewpoints? narrative into a one-woman show. I had not heard One solution: when spoken or written dialogue them laugh like that in a long time. becomes too tough, do not overlook opportunities The tensions I had felt at the beginning of class to make music instead. The essays in Performing that day on campus exploded while I was away at Ethnomusicology (Solís 2004) are a great starting the SEM conference in Washington, DC. That night, point to consider how to build a mindful ensemble students ran through dormitory hallways yelling experience, whether as a full course or within the racial slurs. As a result, other students fled to the context of a seminar or lecture. An experiential campus theater and the LGTBQ center, knowing they continued on next page . . .

Society for Ethnomusicology © 23 Dear SEM, . . . continued would be safe there. Amidst this chaos, I received an I was reminded of Rasmussen’s wise words in email from a student. She thanked me, stating that as early April when the British Sociological Association a student of color, my class was one of the few places and BBC Radio 4 announced the winner of the on campus where she felt included and safe. annual Thinking Allowed Ethnography Award. The In ten years’ time, I realize that most of my 2017 award went to Hilary Pilkington for her book, students will have long forgotten the differences Loud and Proud: Passion and Politics in the English between raga and maqam. However, they will Defense League. Based on three years of participant- remember how my class made them feel. I encourage observation among the English Defense League, a us to remember that when the going gets tough, the far-right group often dismissed as Islamophobic tough make music. and racist, Pilkington was praised for her ability to help readers understand EDL activists as human Reference individuals. Even when Pilkington disagrees with and Solis, Ted, ed. 2004. Performing Ethnomusicology: Teaching Vol. 13, No. 1 | Spring/Summer 2017 Vol. dislikes her human subjects, she represents them as } and Representation in World Music Ensembles. Berkeley: people with real lives that deserve contemplation. University of California Press. While most of us do not deliberately choose to embark on musical ethnographies of groups precisely because we disagree with their politics, many of us Respectful Ethnography in Divisive Times nonetheless find ourselves facing research consultants Timothy J. Cooley: What who want to engage us on topics that we find an interesting moment for STUDENTNEWS

{ offensive, harmful, and even hateful. At least this has ethnomusicologists and for been my experience in doing fieldwork in Europe SEM. Like many of you, I SEM and North America. These were people I sought experienced our post-election out for their wisdom, knowledge, and experience, conference in DC as a cathartic and individuals that I grew to respect and even opportunity to mourn the love. What was I to do when they said something I sudden shift in national attitude brought on by the heard as racist, anti-Semitic, sexist, or…? Of course, election earlier that week. When among fellow SEM the response will depend on the context—and members, most of us are comfortable speaking ethnomusicologists are nothing if not good at being out against the xenophobic, homophobic, and contextual. Encouraged by Anne K. Rasmussen’s misogynistic statements and actions of President Position Statement, my resolve is to respond to such Trump and his staff. But how do we engage our situations with love, disagreeing respectfully while research collaborators in the field? SEM has a legacy humbly acknowledging that I too harbor beliefs and of championing the cause of the dispossessed, the behaviors that—perhaps unbeknownst to me—are unheralded, the forgotten—demographics that in misinformed, mistaken, and harmful to others. I many cases supported Trump in the USA, supported pair this with a parallel resolve to use my privileged Brexit in the UK, and were sympathetic to other position as a scholar, teacher, citizen, and person to shifts to the political right around the world in recent seek out and correct these misunderstandings while months. Of course many of our members also work working actively for justice. As Rasmussen notes, our closely with the very communities slandered and work as ethnomusicologists is more important now actively maltreated by the rise of extreme right than ever. ■ politics. As ethnomusicologists, we are well versed

at working with diversity, but the divisiveness of Reference recent global politics increases the need for the SEM Pilkington, Hilary. 2016. Loud and Proud: Passion and Politics membership to, as Anne K. Rasmussen wrote in her in the English Defence League. Manchester: Manchester Post-Election Position Statement, “publicly reaffirm University Press. our long-held values of inclusivity and tolerance.”

Society for Ethnomusicology © 24 A Response to “Decolonizing Ethnomusicology” By Sunaina Keonaona Kale (University of California, Santa Barbara) SEM Student News’ special issue on “Decolonizing Ethnomusicology” expands the way in which decolonization is typically approached in ethnomusicology. The notion of decolonization comes from postcolonial critique and has gained traction in indigenous studies and indigeneity in ethnomusicology in the last five to ten years. It is particularly associated with activism inside and outside the academy. Eve Tuck and K. Wayne Yang argue that decolonization requires actual, structural action, specifically the repatriation of land and transferal of power from settlers to indigenous people and the other minorities that settlers oppress. Tuck and Yang contend that settlers often deploy the term “as a metaphor”; in other words, to ease “settler guilt” by appearing to be anticolonial while not actually changing settler structures (2012, 3). For instance, they argue that white people in the United States sometimes deflect a settler identity by claiming an Vol. 13, No. 1 | Spring/Summer 2017 Vol. } American Indian grandmother. However, this is only a rhetorical move that reinscribes the precedence of blood quantum: these white people can claim an American The articles in “Decolonizing Indian ancestor but remain white and continue to reap the benefits of its privilege (ibid., 11). Ethnomusicology” echo such calls The articles in “Decolonizing Ethnomusicology” for actual shifts in power but move

STUDENTNEWS echo such calls for actual shifts in power but move { them beyond indigeneity and into the realm of them beyond indigeneity and into

SEM ethnomusicology at large. Most of the contributions, especially Solmaz ShakeriFard, Elizabeth Mackinlay, the realm of ethnomusicology at Simran Singh, Luis Chávez and Russell Skelchy, and large. Most of the contributions ... Aaron Fox call for and actually enact such wide-ranging, structural shifts in methodologies and pedagogy. Liz call for and actually enact such Przybylski and Brendan Kibbee recall the ethical intents wide-ranging, structural shifts in of Pauline Oliveros’s “deep listening” through advocating listening/orality/aurality as a decolonial mode of methodologies and pedagogy. research, something that ethnomusicology could contribute to the wider decolonization movement. Gene Lai and Paula Fourie, on the other hand, express an ambivalence toward decolonization, suggesting that it sometimes leaves out subjectivities or cultures that are not resistant to colonialism. I think that this is because decolonization, and its parent discipline indigenous studies, are fundamentally about activism. Activism requires strategic essentialism—erecting borders that define groups of people in order to justify their legal protection, do repatriation, and resist erasure. However, moves in the academy, and in indigenous studies particularly, to consider subjects multiple, both within and among themselves, seem to contradict strategic essentialism. In my own area, Hawaiian music, studies such as Revell Carr’s investigation of the multidirectional relations of Hawaiian popular music, sea chanteys, and minstrelsy, John Troutman’s tracking of the circulation of the steel guitar and its fundamental effects on country music on the mainland, and Jim Tranquada and John King’s history of the ‘ukulele in circulation exemplify this shift to multiplicity. At the same time, these sorts of studies are actually decolonial. They eschew discourses of purity that derive from eugenicist, anthropological predictions that indigenous people and culture are ever vanishing (Teves, Smith, and Raheja 2015, 234). They also foreground indigenous ways of being and knowing, which Pacific Island studies has spearheaded in the past fifteen years or so. Traditional Pacific ontologies or senses of self are multiple, based upon thousands of years of migration history throughout the region (Teaiwa 2001, 343; Lyons and Tengan 2015, 3). Hawaiian notions of

continued on next page . . .

Society for Ethnomusicology © 25 A Response to “Decolonizing Ethnomusicology” . . . continued descent, for example, recognize people as Hawaiian as long as they can trace their ancestry back to Hawaiian land. Blood quantum or whether you were even born or lived in Hawai‘i have no bearing on this. To me, decolonization is typically about identifying and extracting the colonial from oppressed subjectivities and culture, which ultimately produces increasingly purer oppressed subjects and culture (Sailiata 2015, 301), headed toward an imagined utopic “decolonial elsewhere” (Tuck and Yang 2012, 36) where colonialism is completely eradicated. Such aspirations are necessary for political progress, but they also make it difficult for scholars who study culture. How can you be decolonial but remain “true” to the people you research—by Maybe, then, my “decolonial attempting to describe them in their actual multiplicity without reducing them to an essentialist caricature?

Vol. 13, No. 1 | Spring/Summer 2017 Vol. How do you insist that the people you study are purer

} elsewhere” is a place in academia because they are multiple? Maybe, then, my “decolonial where you won’t have to choose elsewhere” is a place in academia where you won’t have to choose one or the other in order to be not-colonial, one or the other in order to be not- where you describe people and music as they are or it is instead of insisting that they be anything (Arvin colonial, where you describe people 2015, 126). Decolonial activists can continue erecting STUDENTNEWS

{ borders in order to achieve the necessary goal of and music as they are or it is instead repatriating land and power, while others (who can also

SEM be decolonial activists themselves) can also consider the of insisting that they be anything. wide range of musics and subjectivities that will always

be inflected with colonialism.■

References Arvin, Maile. 2015. “Analytics of Indigeneity.” In Native Studies Keywords, edited by Stephanie Nohelani Teves, Andrea Smith, and Michelle H. Raheja, 119–29. Tucson: The University of Arizona Press. Carr, James Revell. 2014. Hawaiian Music in Motion: Mariners, Missionaries, and Minstrels. Urbana, Chicago, and Springfield: University of Illinois Press. Lyons, Paul, and Ty P. Kāwika Tengan. 2015. “Introduction: Pacific Currents.” American Quarterly 67 (3): 545–74. Rosenberg, Davin, ed. 2016. “Decolonizing Ethnomusicology.” Special issue, SEM Student News 12 (2). Sailiata, Kirisitina. 2015. “Decolonization.” In Native Studies Keywords, edited by Stephanie Nohelani Teves, Andrea Smith, and Michelle H. Raheja, 301–8. Tucson: The University of Arizona Press. Teaiwa, Teresia. 2001. “L(o)osing the Edge.” The Contemporary Pacific 13 (2): 343–57. Teves, Stephanie Nohelani, Andrea Smith, and Michelle H. Raheja. 2015. “Tradition.” In Native Studies Keywords, edited by Stephanie Nohelani Teves, Andrea Smith, and Michelle H. Raheja, 233–42. Tucson: The University of Arizona Press. Tranquada, Jim, and John King. 2012. The ‘Ukulele: A History. Honolulu: University of Hawai‘i Press. Troutman, John W. 2016. Kīkā Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music. Chapel Hill: The University of North Carolina Press. Tuck, Eve, and K. Wayne Yang. 2012. “Decolonization is Not a Metaphor.” Decolonization: Indigeneity, Education & Society 1 (1): 1–40.

If you would like to write an article in response to this or a previous issue of SEM Student News, or something else in the world of ethnomusicology, please contact the editor at [email protected] to discuss your ideas.

Society for Ethnomusicology © 26 Ethnomusicology, Islam, and Political Dialogue By Brendan Kibbee (City University of New York)

“Intolerance is not a thing of the past, in the last fifteen years. But found themselves in alignment it is very much a thing of the future.” O’Reilly was right about another with fields like ethnic studies Karen Stenner, thing. The project lacked the and postcolonial studies. In The Authoritarian Dynamic (2005) capital to be realized in one of the addition to broadening the world’s most expensive districts. musical canon of college “Yeah, but what about when the The most disappointing thing curricula, ethnomusicologists call to prayer rings out in the about the episode was that it began investigating the musical middle of the 9/11 ceremony.” failed to provoke any meaningful dynamics of power, especially as It was 2010, in a beer garden debate. For me, it was an early they operate through the social lesson in the difficulties of having organization of differences in Vol. 13, No. 1 | Spring/Summer 2017 Vol. just across the Hudson from } downtown Manhattan, and a conversations across political race, gender, religion, and class. conversation with my then-friend lines. Was 2010 really too soon In her article, “Ethnomusicology was heading south. A proposed after 9/11 to address tolerance and Difference,” Deborah Islamic community center at towards Muslims? Why has it Wong (2005) emphasizes the Park Place and Broadway, three- seemingly gotten worse since struggle adopted by a generation hundred yards from where the then? of ethnomusicologists who

STUDENTNEWS embraced social critique as { Twin Towers had stood, was bringing daily protests—men part of the discipline. She The progressive- SEM and women holding placards writes that her introduction to with the word “SHARIA” written conservative cultural studies in 1991 was “like in a bloody font. Conservative confrontation, dubbed discovering guerilla warfare” talk radio was clearly having an “the culture wars,” has (ibid., 263); she describes impact; why else would people shaped face-to-face “battles” that took place in music departments where young think that the community center, interactions and political educators “in the foxholes” fought a sort of YMCA with a Muslim media for much of the angle, would broadcast a call to to gain acceptance for critical past three decades. This prayer over the neighborhood? theory and critical pedagogy “Move it two blocks north” was premise has also shaped (ibid., 266). While some music Bill O’Reilly’s comparatively the development of departments shared conservative moderate—for him—response, ethnomusicology. skepticism about the changes citing the disapproval of 9/11 taking place in the academy (see victims’ families, but why would Rothstein 1991), the culture wars 400 yards be a better “no Muslim The progressive-conservative became a part of our DNA. spaces” zone than 300 yards? confrontation, dubbed “the Critical studies of power and O’Reilly was wrong that culture wars,” has shaped face- difference now have a greater people were simply reacting to to-face interactions and political visibility within ethnomusicology, the “insensitivity” of the center’s media for much of the past and students are eager to address placement. Still this year, similar three decades. This premise has social justice issues through protests accompanied a proposed also shaped the development of musical scholarship. For example, Mosque in Bayonne, New Jersey, ethnomusicology. As academic we might hope to counter the much further from the site of the interest in multicultural Islamophobic tide that helped attacks. In addition, the “Trump perspectives began to to bring us President Donald effect” has brought violence draw fire from the right, Trump by teaching how uneven against Muslims to levels unseen ethnomusicologists increasingly continued on next page . . .

Society for Ethnomusicology © 27 Ethnomusicology, Islam, and Political Dialogue . . . continued colonial encounters shaped loyalty, authority, and sanctity. stable moral order. In a troubling perceptions of Islam, and by These latter values often conflict statement for ethnomusicologists, emphasizing the musical plurality with the moral foundations of Stenner concludes that “all the of mostly-peaceful Muslim the left, for whom the value of available evidence indicates that societies throughout the globe universal justice is paramount. Yet exposure to difference, talking and throughout history. But at a the other values remain deeply about difference, and applauding time when increasing demands integral to most people’s moral difference—the hallmarks of for justice and tolerance within and social worlds. “America First,” liberal democracy—are the universities are so clearly not for example, while potentially surest ways … to guarantee the accepted throughout so much dangerous, is valued by many increased expression of their

Vol. 13, No. 1 | Spring/Summer 2017 Vol. of the country, it is worth asking as an expression of loyalty; and [authoritarians’] predispositions } where and why our efforts are perhaps it should be recognized in manifestly intolerant falling on deaf ears. as such, not only as part of an attitudes and behaviors” (ibid., In regard to Islam, it is analysis of our present politics, 330). From this perspective, clear that terrorism, the threat but especially in classroom the global purview of a field of terrorism, and the latter’s settings where we might seek to like ethnomusicology and its amplification by the media encourage dialogue amongst a orientation toward social critique STUDENTNEWS

{ certainly account for a great politically heterogenous student will tend to aggravate the same deal of the current animus. body. Students need to be made intolerant attitudes that we seek

SEM Beyond fear, however, some comfortable in sharing unpopular to pacify. recent literature suggests that opinions, and those of us leading the current trajectory toward discussions need to be able greater intolerance is closely to show understanding while From this perspective, linked to the way people perceive encouraging critical thought. the global purview difference as a threat to their Haidt argues that moral worlds. To the extent that intolerance is not an innate of a field like ethnomusicologists can influence moral orientation, but rather a ethnomusicology and the narrative on Islam— psychological predisposition that its orientation toward especially through our teaching, occurs when one’s basic moral social critique will tend but also through our advocacy foundations are threatened. to aggravate the same of multiculturalism more As Karen Stenner explains in generally—we may benefit from a The Authoritarian Dynamic, “the intolerant attitudes that better understanding of how ideas experience or perception of we seek to pacify. of morality contribute to the disobedience to group authorities intolerance in our midst. Political … nonconformity to group psychologist Jonathan Haidt norms … lack of consensus in Haidt (2016) claims that, (2016) explains that while liberal group values and beliefs and, in as Muslims have changed the democracy theoretically produces general, diversity and freedom composition of communities citizens with an orientation ‘run amok’ should activate throughout the US and Europe, toward fairness, individual the predisposition [towards they have also brought perceived freedom, and respect for intolerance]” (2005, 17). In other threats (beyond violent difference, thesemoral foundations words, authoritarian tendencies extremism) to the normative exist within a larger “moral flare up when the changing order. He writes, “Islam asks matrix” alongside other less- composition of communities adherents to live in ways that can inherently democratic values like comes as a perceived threat to a continued on next page . . .

Society for Ethnomusicology © 28 Ethnomusicology, Islam, and Political Dialogue . . . continued make assimilation into secular reiterates a mistaken perception normalizing Islam within broader egalitarian Western societies of Islam as a mechanical practice value systems as well. The more difficult compared to other relatively closed to reflection and important thing is not just that groups” (ibid., 51), concluding that debate. Talal Asad (2009) and people learn to accept diversity, the left should insist on a more Charles Hirschkind (2006) have but that they understand how restricted and assimilationist convincingly shown that Muslim Muslim values throughout approach to immigration in ethics emerge not from passive the globe are coherent with order to win over peers with adherence to archaic rules, but their own. While it is tempting conservative moral foundations. from an active engagement to contextualize a classroom There are some noteworthy with the “discursive tradition” discussion on Islam through

Vol. 13, No. 1 | Spring/Summer 2017 Vol. flaws in this conclusion from of the Qu’ran and the Hadiths—a current debates—the “Ground } Haidt. He is best known for his process which produces moral Zero Mosque,” the “Muslim Ban,” advocacy of “viewpoint diversity” orientations as distinct as etc.—finding useful points of in an academic context that Christianity’s liberation and comparison might be a better lacks conservative perspectives, prosperity theologies. way to broach these challenging arguing that universities are Given the rampant conversations. For example, isolating themselves from much misinformation in the national I have recently spoken about STUDENTNEWS

{ of the country by ignoring moral dialogue about Islam, backing my experiences in the Muslim foundations that do not align away from a commitment to majority country of Senegal

SEM with a progressive agenda. But “exposure to difference” in the in relation to an American when Haidt advocates for greater academy hardly seems like phenomenon that conservative assimilationist demands for a viable option, even if it is analyst Arthur Brooks (2017) calls American Muslims, he strangely proven to provoke authoritarian the “dignity deficit,” in which the seems to problematize that same tendencies. There is value, scarcity of decent jobs, coupled value of viewpoint diversity however, in keeping in mind the with a lack of responsibility in within American communities. different “moral foundations” family and community life, leaves And while his beliefs about outlined by Haidt. When many American men increasingly Muslim dispositions may be ethnomusicologists are acting prone to drug abuse and suicide. reflected in certain anecdotal as advocates of tolerance and By showing how young men in situations (e.g., Swedish Muslims’ diversity, we can do so while Senegal face the same pressures requests for gender-separated appealing not only to the moral (to be productively employed in swimming pool hours), social foundation of “justice,” but by a precarious environment), but science literature problematizes mitigate social marginalization his Muslim non-assimilation When ethnomusicologists by finding important roles narrative. As with any immigrant are acting as advocates within musically-oriented group, anecdotes of assimilation Muslim associations, I stress of tolerance and and non-assimilation abound, how important it is to be needed, but in the large-scale metrics, diversity, we can do so leading into a conversation about Muslim assimilation is fairly while appealing not only how valorizing musical and civic consistent with overall immigrant to the moral foundation engagement in all forms could trends dating back to the early of “justice,” but by be part of our approach to the 20th century (see Saunders 2012). normalizing Islam within emerging crisis. Finally, in making a declaration broader value systems The hard fought efforts that “Islam asks adherents” to act as well. of the previous generation of in certain ways, Haidt unwittingly continued on next page . . .

Society for Ethnomusicology © 29 Ethnomusicology, Islam, and Political Dialogue . . . continued ethnomusicologists to open music As the political psychology heard by the people who need to scholarship to cultural difference literature shows us, however, hear them the most. With regards and languages of cultural critique difference presented for the to Islam, we have to be able to resonate strongly with the current sake of showing difference can speak to people with diverse generation of students. Students sometimes obstruct goals of moral foundations, starting with are at the center of new forms encouraging attitudes rooted recognition of similar practices, of activism taking place on in social justice. Even while motivations, and values, and college campuses, and we find critical approaches showing how building slowly towards more ourselves in an environment difference operates in systems of substantial recognition and where many undergraduates in injustice are fundamental to our acceptance of difference and

Vol. 13, No. 1 | Spring/Summer 2017 Vol. our lectures show a strong desire work, in many circumstances, diversity. ■ } to learn about other cultures. our critiques will struggle to be

References Asad, Talal. 2009. “The Idea of an Anthropology of Islam.” Qui Parle 17 (2): 1–30. Brooks, Arthur. 2017. “The Dignity Deficit Reclaiming Americans’ Sense of Purpose.”Foreign Affairs 96 (2): 106–17. Haidt, Jonathan. 2016. “When and Why Nationalism Beats Globalism.” Policy 32 (3): 46–53. STUDENTNEWS { Hirschkind, Charles. 2006. The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics. New York: Columbia University Press. SEM Rothstein, Edward. 1991. “Roll Over Beethoven.” The New Republic 204 (5): 29–34. Saunders, Doug. 2012. The Myth of the Muslim Tide: Do Immigrants Threaten the West? New York: Vintage. Stenner, Karen. 2005. The Authoritarian Dynamic. New York: Cambridge University Press. Wong, Deborah. 2006. “Ethnomusicology and Difference.”Ethnomusicology 50 (2): 259–79.

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Society for Ethnomusicology © 30 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology singer anddancer who could bring theculture ofher “she was noreserved scientist buta raconteur, a it lacked “objectivity” (Szwed 2010, 78). To Lomax, to dismissalsofher research by those who claimed admired thedepthofher research practices,objecting American South,Haiti,and theBahamas.Lomax the peopleshehadpreviously worked with inthe a culturalbroker, introducing Lomax tomany of collecting trips together in which Hurston actedas throughline. Hurston andLomax carriedoutseveral twenty-some years her junior, provides onesuch early days. Her mentorshipof Alan Lomax, who was had someintellectualeffect onthedisciplineinits institution-building ofethnomusicology, shesurely isn’t straightforward. Though she wasn’t partofthe ethnomusicology today. pointing tosomeofthethingsshecanteachusabout first black woman todoethnomusicology before anthropology, I’d like to positionHurston asthe studies, folklore, experimental ethnography, and 1995), who positionHurston asa progenitor ofblack Lynn Bolles(2001),andGracíela Hernández (1993, work ofIrma McClaurin (2012),bellhooks(2014), A. subsequently, ethnomusicology. Following the were mappedontocomparative musicology and, Like folklore andanthropology, thesedistinctions and between theresearcher andtheresearched. distinctions between themodernandprimitive in theacademicmusicdisciplines, which have drawn of “folk cultures,” putting her inanunusualposition simultaneously beena performer anddocumenter other sideofthemicrophone asa recordist. Shehas appears intheLibrary ofCongress’s holdingson the which Hurston appearsasa performer. Hurston also dozen recordings heldattheLibrary ofCongress in the Federal Music Project andisoneofabouttwo ten years later inJacksonville, Florida,aspartof fieldwork inthefallof1929. The recording was made Nassau, intheBahama Islands, where sheconducted time” (1939). The song,Hurston informs us,isfrom no coconutoil / All she want is whiskey brandy allthe “Mama don’t want nopeas,rice / No coconutoil, Zora Neale Hurston’s voice cracklesandswoops: By Kyle DeCoste (ColumbiaUniversity) The “Pre-Postmodern” Ethnomusicology Hurston’s relationship toethnomusicology of ZoraNealeHurston inclusion inthebibliography comesover eight years of essays theprevious year (Patterson 1967).Her was included after being publishedin a volume 1968). Her 1933essay “Spirituals andNeo-Spirituals” section ofthejournal(Hickerson andRosenberg the ongoing “Current Bibliography andDiscography” Morton (Lomax 1950), for example. his work with LeadBelly (Lomax 1993) andJelly Roll her fieldwork, two traitsthatmay have influenced admire Hurston’s literary acuity andthedepthof world ofNegro folk lore” (ibid.).Lomax seemedto sure tasteanda scientist’s love offactintothe whole people vividly tolife. For sheopenedthe way, with only asa recordist who furnishesmaterialfor study. Hurston appearsinthe“Current Bibliography,” but in ethnomusicology. Inlater issuesof thejournal, as notionsoftheprimitive were being questioned included intheethnomusicological bibliography just (Kaplan2002,50).primitive Hurston herself” was and, ontheother, [as] a living example oftheexotic hand, [as] a reporter on‘exotic’ culturalpractices by her anthropological contemporaries“on theone moment. For muchofher career, Hurston was viewed writer andthinker, firstappears inthejournalatthis small coincidencethatHurston, a powerful black of debateinethnomusicology, anditseemslike no terminological discussionsignaleda shifting terrain Though notframedinexplicitly politicalterms,this terminology tobetter converse across disciplines. that ethnomusicologistscarefully consider their “native,” and“tribal” are pejorative, insisting Gillis (1968) indicatedthattermslike “primitive,” In thatissueof Act, which soughttoendhousing discrimination. by Lyndon Johnson’s signing oftheFair Housing with thepresident’s administration,evidenced civil rightshadatleastsomegovernmental clout had bothreached a fever pitch.Unlike thepresent, and the Vietnam War andprotests countering it Martin Luther King Jr. hadjustbeenassassinated in theUS that, tome,seemsmuchlike thepresent. after her deathat a politically tumultuousmoment Hurston firstappearsin Ethnomusicology continued on next page . . Ethnomusicology , editor Frank J. in1968 31

SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology academic fold ofethnomusicology. Though sheisn’t of Eatonville, Florida, wasn’t brought into the who wrote her firstethnography abouther hometown ethnomusicologists, it’s little wonder thatHurston, whom ethnomusicology atall(Nettl isn’t precise about cultural objectivity thatsome wouldn’t consider framing itasa problem ofcross- the 1960s,Nettl notedthetrend, became more commonplacein as “native” ethnomusicologists “non-Western.” Furthermore, the categories of“insider” and made nodistinctionbetween for example, BrunoNettl (1964) and Methods in Ethnomusicology was thatofthe outsider. In role oftheethnomusicologist Western” musics,thedefacto American menstudying “non- discipline ofmostly white, Euro- de-provincialized music.Ina art music, which was perceived astheuniversal, musics were rendered commensurable with “Western” (Merriam 1977).Incomparative musicology, all characterized asthestudy of“non-Western” musics ethnomusicology. and thelack ofuptake ofher scholarship within interesting tothink aboutthissurfacelevel inclusion isn’t citedinany actualarticlesinthejournal),it’s However tokenistic her initialmentionin1968(she . continued The “Pre-Postmodern” Ethnomusicology Given the precarious position of“native” In the1960s,ethnomusicology was largely fundamentals ofour field.(ibid.,69) other cultures thanaboutone’s own, are important principle thatonecanbemore objective about other cultures andstyles with one’s own, andthe ethnomusicology atall,sincetheidea ofcomparing deny thatinvestigation ofone’s own culture is of ethnomusicology, andmany would surely culture. Littlehasbeendoneinthisnewest branch is involved ina study oftheinvestigator’s own [ Field work in which thefieldispartof workers sic ): ] regular andmore or lessconstantenvironment of ZoraNealeHurston Theory , and literary worlds. folkloric, anthropological, her contemporaries across and unafraid to challenge independent inherthinking Hurston was fiercely boundaries. disciplinary perils ofmaintaining strict Hurston canteach usofthe generally understandit,butthatdoesn’t change the Hurston isonthemargins ofthedisciplineas we necessary, disqualify andinvalidate” (1977, 223). individuals inrelation tooneanother and,if distribute along a scale,around a norm,hierarchize “disciplines characterize,classify, specialize;they effects they have onour thought. As Foucault argued, disciplines andthenormativizing andregulatory this isinparta consequenceofhow we frame part ofthehistory ofthedisciplinestrictly defined, thing thatprovides a consistentthroughline isher her wide-ranging opinionsonsocialissues,theone anthropological, andliterary worlds. Throughout challenge her contemporaries across folkloric, independent inher thinking and unafraidto strict disciplinary boundaries.Hurston was fiercely Hurston canteachusoftheperilsmaintaining work canprovide for ethnomusicology today. Firstly, are a couplelessonsthatIthink Hurston andher the scopeofthisalready-too-long editorial,there Fieldwork inEthnomusicology equivalent, of her body of work inrelation toour disciplinary postmodern turn.It’s notmuchofa stretch tothink 1986), oneofthebooksthatsignaledanthropology’s and Politics of Ethnography argues for her inclusionin While a run-downWhile ofHurston’s work isbeyond Shadows in theField: New Perspectives for term even appeared. of ethnomusicology before the fact thatshe was doing someform 2001). bellhooks(2014) even in thediscipline” (McClaurin and dialogicethnographicforms “marks thebeginning ofreflexive which spansliterary genres, literature, her autoethnography, Stockett 2006;hooks2014). Inthis McClaurin 2001;Geller and anthropology (Hernàndez 1995; as a foremother ofblack feminist scholars have turnedtoHurston In thepasttwo decades, (Clifford andMarcus Writing Culture: The Poetics (BarzandCooley 2008). continued on next page . . 32

SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology Szwed, John F. 2010. Patterson, Lindsay, ed.1967. Nettl, Bruno.1964. Merriam, Alan P. 1977. “Definitionsof‘Comparative Musicology’ and‘Ethnomusicology’: AnHistorical-Theoretical Perspective.” McClaurin, Irma.2012.“Zora Neale Hurston: Enigma,Heterodox, andProgenitor ofBlack Studies.” ———. 1993. 1950. Lomax, Alan. Kaplan, Carla,ed.2002. ———. 1967. “Spirituals andNeo-Spirituals.” In ———. 1939. ———. 1938. Hurston, Zora Neale. 1928.“How It Feels toBeColored Me.” hooks, bell.2014.“Saving Black Folk Culture: Zora Neale Hurston as Anthropologist and Writer.” In Hickerson, Joseph C.,andNeil Rosenberg. 1968.“Current Bibliography andDiscography.” Hernández, Gracíela.1995. “Multiple Subjectivities andStrategic Positionality: Zora Neale Hurston’s Experimental Gillis, Frank J. 1968.“From theEditor.” Geller, Pamela L.,andMiranda K.Stockett, eds.2006. Foucault, Michel. 1977. Clifford, James, andGeorge E.Marcus, eds.1986. Bolles, A. Lynn. 2001.“Seeking the Ancestors: Forging a Black Feminist Tradition in Anthropology.” In Barz, Gregory F., and Timothy J. Cooley, eds.2008. References should avoid inclusionthatexists only ata surface effect today. Secondly, Hurston teachesusthat we the conversation. Perhaps her work canstillhave an trajectory ofthedisciplinehadshebeenbrought into whose work couldhave hada significanteffect onthe but rather topointsomeoneoutsidethediscipline ethnomusicology nottoplaceanother labelonher, race or time” (1928). IpositionHurston inrelation to “cosmic Zora” anddeclaring thatshe“belong[s] tono imposition, describing herselfongood days asbeing to BeColored Me,” shebucked any sortofcategorical and socialcategory. Inanessay entitled“How It Feels refusal tobeboxed inby genres inbothher writing . continued The “Pre-Postmodern” Ethnomusicology Ethnomusicology Duell, SloanandPearce. Publishers Co. how.html Cultural Politics California Press. Ethnographies.” In Pennsylvania Press. Angeles: University ofCalifornia Press. Anthropology: Theory, Politics, Praxis, and Poetics New York: Oxford University Press. of ZoraNealeHurston Tell My Horse: Voodoo and Life in Haiti and Jamaica Mama Don’t Want No Peas, No Rice The Land Where theBlues Began . Theory and Method in Ethnomusicology , 135–43.New York: Routledge. Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and “Inventor of Jazz.” 21(2):189–204. Alan Lomax: The Man Who Recorded theWorld Discipline and Punish: The Birth of thePrison Women Writing Culture Zora Neale Hurston: A Life in Letters The Negro in Music and Art Ethnomusicology . New York: Pantheon Books. , editedby RuthBehar andDeborah A. Gordon, 148–65. Berkeley: University of . Library ofCongress. The Negro in Music and Art Writing Culture: The Poetics and Politics of Ethnography , editedby Irma McClaurin, 24–48.New Brunswick: Rutgers University Press. Shadows in theField: New Perspectives for Fieldwork in Ethnomusicology . New York: Publishers Co. Feminist Anthropology: Past, Present, and Future 12(2):iv. . New York: The Free Press. . New York: Anchor Books. http://xroads.virginia.edu/~ma01/grand-jean/hurston/chapters/ . Philadelphia:J. B.LippincottCo. . New York: Penguin. . New York: Vintage Books. and questionthecanons we take for granted. the epistemologicalgrounding ofethnomusicology and her work provide, Ithink itisduetime we shake around thediscipline?Given theinsightsthatHurston present day with other marginalizedscholarsinand to embracethiscritiqueoftokenistic inclusioninthe “objectivity”? More importantly, what would itmean as “native” ethnomusicology thatlacked thedesired today hadher work beenembracedandnotdismissed through fiction.What would thedisciplinelook like the-ground ethnographiesthatexpanded thegenre a visionary inher presentation ofit, weaving close-to- level. Hurston wasn’t only a collector ofdata,butalso https://www.loc.gov/item/flwpa000016/ , editedby Lindsay Patterson, 15–17. New York: Ethnomusicology . Philadephia:University of Yearning: Race,Gender, and Fire!!! . Berkeley andLos Black Feminist 1(1):49–67. 12(2):255–76. 1sted.New York: . ■ . 2nded. 33

SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology • years: the casefor allchapter meetingsor allstudents, what follows are a few ofthegeneral trends I’ve noticedover the of contributing toandattending thesemeetings. Onecaveat isthat, while notevery aspectlistedbelow will be Illinois comestoanend,Ihopeencourage a new generation ofstudentscholarstoreconsider theimportance Domingo, theDominicanRepublic, where Idomy field research. As my timeas a studentatthe University of attended the2012SECSEM(Southeast andCaribbean) chapter meeting that was rather fortuitously heldinSanto now attendeda totaloffour MIDSEMchapter meetings,even when they were notbeing heldascloseby. Ialso decided toattendthisfirstmeeting somewhat on a whim. My impressions ofthemeeting were suchthatIhave 2010 atDePaul University—a mere three-hour drive from theUniversity ofIllinois where I was studying. I meetings over thepastseveral years. Iattendedmy firstMIDSEM(Midwest) chapter meeting inthespring of In thisbriefeditorial,Ioffer someof my own experiences andobservations inattending various chapter work. Yet, thisisneither theonly nor themostimportantbenefitthatthesemeetingsoffer tostudentscholars. More sothantheannualmeetings,chapter meetingsoftenprovide more flexibility intermsof presenting one’s representative. found chapter meetingstobeequally enriching andrewarding asbothanattendee,presenter, andstudent By JessicaC.Hajek(University ofIllinoisatUrbana-Champaign) or, why thatsix-hourdrive really it isworth SEM Chapter Meetings same timeasother activities. place during thelunchhour or were scheduledatthe these kindsofevents that Iattendedinthepasttook activities plannedattheannual conference, several of Colleges. itistruethatthere areWhile student-centric workshop ontheprocess ofapplying toLiberal Arts year’s MIDSEMmeeting offered a Sunday morning roundtables geared toward students.For instance,this meetings oftenoffer primetime workshopsand carpooling, homestays, or splitting an Airbnb. Three, and lodging costscan alsobekept toa minimumby no-cost tolow-cost registration fee for students. Travel budget friendly. The meetingsthemselves offer a Two, meetingsare fairly cost-effective andstudent- classes nor find a sub for theclassesthatItaught. schedule, meaning Ineither hadtoskipmy own of a single weekend. This hasmadeiteasier onmy particularly attractive for studentmembers.One,chapter meetingsare typically scheduledover thecourse Brass tacksandthebottomline: Regional chapter meetingsoffer an excellent forum for master’s anddoctoralstudentstopresent papers. or presenting attheseevents. However, thisneednotnecessarily bethecase.Infact,Ihave regularly fly under theradar ofmany localscholars who are notdirectly involved inplanning I oftenhave greater anticipation for my annualSEMchapter meeting. Yet, chapter meetings musical pathsbeing forged within our discipline. Ilook forwardWhile tothisopportunity, presentations, workshops, andperformances grows inresponse tonew theoretical and the highlightfor many within thefieldofethnomusicology. Each year, thecaliber of It goes without saying thatthe Annual Meeting oftheSociety for Ethnomusicology is

There are many thingsaboutSEMchapter meetingsthatmake them toward students. workshops androundtables geared meetings offerprimetime often and student-budget friendly... Three, meetings are fairly cost-effective weekend... ofasingle course Two, are typicallyscheduledover the One,chaptermembers. meetings attractiveparticularly for student chapter meetings thatmake them There are many thingsaboutSEM continued on next page . . 34 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology attended your localchapter meeting, you probably should. interest inand enthusiasmfor our discipline—alloftheseandmore are reason enoughthat if you have not yet the caseofMIDSEM),familiarizing myself with themusicdepartmentsofnearby universities, andshowing my undergraduate studentsoutsideofmy university, theSunday morning professional development workshops (in overlooked value ofSEMchapter meetings among studentethnomusicologists.Bonding with graduate and • • . continued SEM Chapter Meetings of our area ofspecialty—is essential. colleagues outsideofour homeinstitution—and even outside undergoing theexternal review process for tenure, having ahead, as we may findourselves on a campusinterview or there was a 1:1faculty tostudentattendanceratio.Inlooking MIDSEM meeting hostedatOberlinCollege thispastMarch, at theannualconference. For instance,atthemostrecent the Midwest ona more personallevel thanmay bepossible to beaninvaluable way toreally get toknow scholars within my area. Inparticular, asa graduatestudent,Ihave found this network between myself andother students andscholarsin have lainthegroundwork for a muchmore fully connected only todiscover thatIamnotthe only one vying for time. Alternatively, my experiences atchapter meetings analogous totheIT conceptofa “star network,” where Imay try tosnag five minutestochat withsomeone— conference andconsequently revert toreunion-mode. Idonetwork, inmyWhen experience, ithasbeen attends, Ihave sometimesfound itparticularly imposing toget toknow new peopleatthenational Geography-based networking: to expose yourself toa broader view ofcurrent ethnomusicologicalresearch. my work. For studentsfacing choiceoverload atthenationalconference, chapter meetingscanbea great way paper presentations have offered great perspectives toconsider anddifferent angles from whichtoapproach approaches thatmay have otherwisenotattractedmy attention. Ihave alsofound thatthose who attendmy papers by students,professors, andindependentscholarsfocusing onpartsofthe world or theoretical choose from (perhapstwo concurrent sessions,thoughoftenonly one), Ihave attended a range of excellent at a chapter meeting isoftenperceived as a detractiontoattending,Ibeg todiffer. With fewer panelsto papers tochoosefrom anda lotofsimultaneouspanelscompeting for your attention. Although “lesschoice” also share aninterest inLatin America. This istheconundrumofannualconference—too many good the nationalconference inthepast,Ihave found many inmy audienceare familiar facesofcolleagues who papers thatdeal with Latin America. Not surprisingly, when Ihave alsobeenfortunate enoughtopresent at the theoretical approach, or who’s presenting? Ihave found, for better or worse, thatIamcompelledtosee scanning theprogram andplanning out which panelstoattend—doIchoosebasedonmy area ofthe world, The paradox ofchoice: These ruminationsare not exhaustive; infact,Icouldprobably go onandon,extolling theperhaps You canfindmore information aboutSEM’s various regional chapters here: http://www.ethnomusicology.org/?page=Groups_Chapters When planning aheadforWhen thenationalSEMconference, onerequisite activity is While itisexpected thatone While will network atany conference heor she ■ area. inmy andscholars students between myself andother fully connected network groundwork for amuchmore meetings have lainthe My experiences atchapter

35 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology I alsoran into several problems. Problem #1: one gamelan communitygroups outsideofIndonesia, have consisted by ofperformances two Javanese tourist videos,etc. uploaded by musicians andothers inthefield, share linksto officialmusicvideos, recordings conversation anddebate.) could Participants This may, inandofitself,sparksomeinteresting are not always completely avoidable, however. (The issuesoflegalityandcopyrightperformances. the ideaofsharingmusic,dance,andsound surreptitious way, we hopedto move forward with already posted by other people.Inthissomewhat to shareask participants linksto YouTube videos ofactionanddecided,instead,of thiscourse to numerous potential ethical andlegalramifications our YouTube channel.We realized quickly the we (theSUblog)coulduploadto on playlists toto submitfield askparticipants recordings that number ofdifficulties.Originally, we hadthought in hashingouttheideaswithAna,ran into a movement aswell asmusicalissuesandtheories. to soundand emphasize opportunity a wonderful ideas, resources, andexperiences. Thisseemedlike ethnomusicology together students by sharing One ofthemaingoalsSUblogisto bring that they are writing,thinking,andlearningabout.” spaces audiences, dances,and/orperforming listeners ofthesounds,performers, to aglimpse challenged to create to aplaylist introduce their audiovisual files, Ten Tracks Project are participants research projects. Limited to ten soundand/or to andvisualizeethnomusicology students’ Ten Tracks Project isaninvitation to both listen blog for Union theStudent proposed anideacalledthe Several monthsago,Ana-MaríaAlarcón-Jiménez StrohscheinBy Heather (University ofHawai'i atMānoa) The Ten Tracks Project In puttingtogether my own whichwould list, I was keen to inthisproject participate but, Connect with the SEM Student Union on Union Connect withtheSEM Student . Inherwords, “The Ten Tracks Project Facebook sharing audioandvideoclipsfrom my dissertation the Ten Tracks Project isalittledifferent. Instead of Project. was outofthescopepossibilityfor my Ten Tracks friends andteachers inthisgamelan someday, it a meaningfulproject thatIwould love to dofor my videos into separate songsandpieces.Whilethisis ofbreakingthen hours down andeditingfieldwork onYouTube, videosoftheirperformances post and everyone intheother gamelangroup I work withto for gettingand emailsnecessary permissionfrom to thosevideos.Problem #2:thetime,energy, theirpolicybygo against directing new viewers by me)despite theirwishes,andIdidnot want to several videosofthemonthesite (not putthere postedtheir performances onYouTube. There are gamelan group thatIwork withdoesnot want music isand what itcando. those thatget students thinking andtalking about what different musicsaround the world, my favorite clips are of listening for specificmusical features thatcanidentify undergraduates. So while Idoemphasizetheimportance All ofmy world musicclassesare for non-musicmajor how Iteachandthepurposeofclassesthemselves. musical characteristics. This isa consequencebothof culture, etc.,andleftoutmany thatdemonstratespecific encourage discussiononmusicalissues,ethics,music-as- 1 YouTube. following ten videos are currently available on thoughtful discussionsfor The ourstudents. represent different musiccultures, and facilitate that demonstrate musicalcharacteristics, certain and Iregularly scourYouTube for songsandclips face-to-face world musicclasses.Mycolleagues consistently returned to whenteaching onlineand fieldwork, I focus onmusicandvisualclipsIhave I realize Ihave focused almostexclusively onclipsthat Because ofthesedifficulties, my contribution to 1 andthe Student Union Blog Union Student continued on next page . . 36 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology song. demonstrates thepower offemale powwow singers as well asthepracticalmusicalelementsthatthey addtoa is notmeanttobea slight to women butrather toemphasizetheir roles asmothersandprotectors. This clip the “four circles” ofa powwow andexplains how women standtoencircle thesitting maledrummers. This powwows. Inhisbook, clip highlightssomething thatdoesnotoftengarner a great dealofattention: women’s roles assingers during This track isfrom a powwow inFort Hall,Oregon. theperformingWhile group, MNX,takes “center stage,” the #5 MNX@FtHall2010Women’s Back Up culture. for) demonstrateshow thisparticular musicalartform remains vitally importanttocontemporary Hawaiian plundering ofPolynesian culture. The performance ofthisoli(which Iunfortunately donothave a translation the future and wariness by those who feel thatthemuseum’s vast holdings were only madepossibleby the affection by those who appreciate its work incollecting andpreserving elementsof Polynesian culture for The BishopMuseum holdsanastounding amountofartifactsfrom allover thePacific. It istheobjectofboth of the“guests andfriendsthat comeandbea partofour amazing tributetoHawai‘i anditsculture” (Marzan). the BishopMuseum inHonolulu, HI. The oli was written specifically for the Bishop Museum as well as for all This track isan #4 been a really good catalyst toget studentstalking andthinking about what musicisand what itcando. nineteen seconds(perhapsa double-time version ofthesecondmovement which is2:40long?). This example has was “a littlebitfaster thanthe originaltempo” speaks tothefactthatheonly “played” for oneminuteand garde, twentieth-century American composer with bothattentiveness andhumor. Hiscommentthathis version several levels. It depictsa musicianfrom a very stereotyped genre ofmusicapproaching the work ofanavant- This is YouTuber Edo Animus’ deathmetalcover ofJohn Cage’s #3 JohnCage’s the positive andnegative implicationsof Alan Lomax’s work as well. dancehall in“Hey Mama”), andsoon.Inlater classes,listening to/watching theseclipsledtoanexamination of sources oftheir samples,therelationship ofmodernpopular musictoolder forms (there are alsoelementsof use inthecontext of“Hey Mama,” whether modernartistsandproducers ofpopular musicactually know the prison work songs. This sparked a great dealofdebateintheclassregarding whether “Rosie” was appropriate to students who was struck by thelatter’s useintheformer, as we hadjustbeenlearning aboutfieldhollersand Mama” samplesandloopsthefirstlineof“Rosie.” This was actually brought to my attention by oneof my former is a song released in2015by French DJ andproducer David Guetta,featuring Nicki MinajandBebeRexha. “Hey musical borrowing andsampling.“Rosie” isa fieldholler recorded by AlanLomax inthe1940s,and“Hey Mama” I begin with a pair ofsongsbecausethey work well toinitiateconversations onthecomplex layers involved with #1 “Rosie” . continued The Ten Tracks Project Oli for BishopMuseumHawaiian HallRe-Opening and oli #2 “Hey Mama” (chant) performed by Marques Marzan,anartistandcurrent CulturalResource Specialist at 4 ' 33 " IntertribalNative AmericanMusic

in the United States

4'33" . Ithink thisrendition of , John-Carlos Perea (2013) describes continued on next page . . 4'33" works on works 37 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology re-tune theinstruments, notonly between instruments. These instrumentscanbeplayed by either tapping thescreen or shaking thedevice. You canalso performs “Ricik-Ricik” using theiLandsgamelanapp which allows userstopurchase individual virtual gamelan Gamelatron was invented by Kuffner tobe“the world’s firstfully roboticgamelan orchestra Lambangsari playing “Ricik-Ricik” using mobileapplicationsoftware ontheir iPhonesandiPads. The I return again toa pair ofclips: Aaron Taylor Kuffner’s Gamelatron andthe Japanese gamelanensemble and #8 Gamelatron Zaman Tembaga Suara performing Tembaga includes a sectionontheBaAka andthe song “Makala” inboththefull andshortenededitions. clip toJeff Todd Titon’s (2017) to. Thus thisclipprovides good teaching momentsfor both studentsandteacher. It alsomakes a nicecompanion to thiskindofmusicmay findit very difficult(ifnotimpossiblesometimes) tounderstand what they arelistening soundscape thatisBaAka singing. These commentshelpremind methatstudents who are notusedtolistening my students have commentedonhow thiscliphelpsthemunderstand what isgoing onintherich vocal against 3rhythmic feel, andtheimprovisatory aestheticas well ashow to yodel. Inclassandonlinediscussions, “Makala.” Shebriefly explains what thesong isaboutandthen very clearly breaks down the vocal lines,the2 This clipfeatures ethnomusicologist MichelleKisliuk teaching a mixed group ofadultstudentstheBaAka song #7 BaAka Song:HipDeepScholarMichelleKisliukTeaches Vocal Ensemble sophisticated way. romanticism isbaffled,andthey are ready to explore Native Americanculture in amore nuancedand on Facebook abouttheir infidelity andtheir significantother reading thepost,mostoftheir misconstrued however, expectation isconfounded. studentsrealize thesingers areWhen singing ofa girl/boy posting starts outthe way they expect Native American musictosound. thesingers beginsinging inEnglish, When movement hasledtomany over-generalizations andmisconceptionsamong my students.“Facebook Drama” Native American musicandculture. The associationofNative American drumsandflutes withthe New Age people living inthetwenty-first century. Drama” relates theubiquity ofFacebook andhow ithasbecomea mediumofbothpleasure andcontentionfor with contemporary issues:sung intraditionalstyle andaccompaniedby a communally played drum,“Facebook John-Carlos Perea (2013) thatclearly demonstratesthemeeting ofNative American powwow musicconventions wrote thissong which was released in2012onthealbum Northern Cree. This powwow musicgroup was founded in1982,andhusband/wife teamShaneand Twila Dion Another Native American song Iincludeis“Facebook Drama,” a contemporary round dancesong by thegroup #6 “Facebook Drama” Cree by Northern . continued The Ten Tracks Project other gamelan apps which give themaccess tothefullsuiteofinstruments. They often express mixed feelings and ofgamelanapps, which ensure you canplay gamelan wherever you are. Most studentsfindanddownload gamelan initsmore traditionalroles. We discusstheimplications andpracticalitiesofa gamelanthatplays itself (re)interpret theinstrumentsandmusic.Iusually play theseclipsfor studentsafter introducing Javanese slendro This hasbeena very valuable song for my classesbecause,inmy experience, studentstendtoromanticize Both oftheseclipsdemonstratethedistanceJavanese gamelanhastraveled andthedifferent ways people . #9 “Ricik-Ricik” Played GamelaniLandsiPhone/iPad with App Worlds of Music pelog textbook. David Locke wrote thechapter on African musics,buthe

and slendro Dancerz Groove butalsotoevoke “different moods” within . This isanother song discussedby continued on next page . . .” Lambangsari pelog and 38 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology Locke, David. 2017. “Africa/Ewe, Mande,Dagbamba, Shona,BaAka.” In Titon, Jeff Todd, ed.2017. Perea, John-Carlos. 2013. Kuffner, Aaron Taylor. 2017. “SonicKineticScultpures.” Gamelatron. Accessed 26 April. Ebisuya Inc.2017. “App Detail>>GamelaniLands:Saron barung.” Accessed 26 April. References copyright laws, ethics,anddouble-standards. bands like Enigma, who sampleda Taiwanese Ami recording. The conversations oftenturntointernational from non-Western musicsources. Students are often willing togive Girl Talk a passbutare less forgiving of Gnarls Barkley tunes.Inmy class,Iusethisasa jumping offpoint for discussionsonsampling andborrowing of Girl Talk’s samplesare from American popular artists,buthe does mentionusing someBrazilianremixes of perceptions ofartandmusicalcreation. not pay for. He alsodiscussesthe“nostalgia ofmusicconsumption” as well asthecurrent generation’s changing mashup artistGirl Talk highlightsandexplains hisown motivations for sampling musicthathecredits butdoes butinthecompilation, be interpreted anddiscussedasa meta commentary onsampling inandofitself), video inmy class,this8-minuteeditedcompilation works rather well. The editing isa littleslapdash(which may here: My final videois a compilationofclipsfrom a 2007documentary called #10 GirlTalk Process onthe ofRemixing Culture culture. in loving being abletoplay theinstrumentsontheir phonesbutquestioning their role intheconsumptionof . continued The Ten Tracks Project semstudentunion.wordpress.com blog Union the Student sharing your own ten tracks. Ifyou are interested inthisproject, pleasecontact ethnomusicology to students interact withboth Tracks Project posted onthe article iswritten to asacompanion This article Ana-MaríaAlarcón-Jiménez’s Ten Peoples Series. New York: Oxford University Press. I have found thistobea good way for studentstoseehow onemashupartist works musically. The majority

https://www.youtube.com/watch?v=WEKl5I_Q044 , editedby Jeff Todd Titon, 99–174. 6thed.Boston:Cengage Learning. Intertribal Native American Music in the United States: Experiencing Music, Expressing Culture Worlds of Music: An Introduction totheMusic of theWorld’s Peoples

editors at . ■ [email protected]

Student Union blog Union Student

). Since we rarely have timeto watch a fullhour-long Worlds of Music: An Introduction totheMusic of theWorld’s Student NewsStudent . We encourage all Good CopyBad Copy http://www.148apps.com/app/399339887 andvisittheblogat http://gamelatron.com . 6thed.Boston:Cengage Learning. andtheSUblogin (full documentary . . GlobalMusic

39 . “Shadow in the Field”? doing medical ethnomusiclogy in Croatia

By Andreja Vrekalić (Josip Juraj Strossmayer University of Osijek, Croatia) Doing medical ethnomusicology “Application of music therapy in working with people research in Croatia is quite with developmental disabilities” (Hrvatska udruga challenging work. Uncommon in muzikoterapeuta [HUM] 2017). I discovered that the the global scientific community, Association presents ideas and practices of music medical ethnomusicology is even therapy differently from those at the Academy of rarer in Croatia. This rarity brings Music in Zagreb. continuous questions regarding In Croatia, music and therapeutic experts the need for medical ethnomusicology and its question the efficacy of using music in specifically purpose and meaning for Croatian ethnomusicology medical environments (for examples, see Kiš more generally. 2010; Breitenfeld and Majsec Vrbanić 2011). This During the 2013–2014 academic year, I enrolled skepticism persists because music therapy did not Vol. 13, No. 1 | Spring/Summer 2017 Vol. } in an elective course on the basic principles of music officially exist as an independent study program at therapy at the Academy of Music, University of Croatian universities until 2017. Working against this Zagreb. The year-long course introduced me to music skepticism, CMTA gathers experts from both musical therapy, and I especially appreciated its practicum and therapeutic disciplines—musicians (music in music therapy workshops in a educators), therapists, psychologists, Zagreb hospital. At the same time, and speech therapists—aiming to In Croatia, music and

STUDENTNEWS in a course on ethnomusicology, I develop and spread theoretical { was learning about current trends therapeutic experts and practical knowledge of in the field. I discovered the subfield music therapy and to develop a SEM of medical ethnomusicology and question the efficacy professional identity for music the Society for Ethnomusicology’s of using music in therapists in Croatia. By opposing special interest group, the latter of the discourses on the boundaries of which provides “an opportunity specifically medical music and therapeutic disciplines, and common ground for CMTA’s visibility and viability environments. interdisciplinary work to happen, popularizes and legitimizes the and intends to accommodate therapeutic impacts of music, not ethnomusicological interests that are associated with only in media spaces but also in academia where medicine and the health and benefit of humanity” there is a prevalent perception that practicing music (Chiang 2008, 59). My research guided me toward therapy does not require any specific or additional The Oxford Handbook of Medical Ethnomusicology (Koen skills (Rojko 2002, in Katušić) or that music therapy 2008), wherein Koen, Barz, and Brummel-Smith is a part of regular music education (Svalina 2009). define medical ethnomusicology as a By relying on environmental and ecological understandings, recognizing the social and cultural new field of integrative research and applied factors of clients’ health, striving toward social practice that explores holistically the roles of music equality, and considering cultural contexts, CMTA and sound phenomena and related praxes in any creates an awareness that allows this work to be cultural and clinical context of health and healing. understood and effective. Broadly, these roles and praxes are viewed as being The Down Syndrome Association (DSA) intimately related to and intertwined with the provided my first research encounter with music biological, psychological, social, emotional, and therapy and its effects outside the Academy and spiritual domains of life. (2008, 3–4) CMTA. Central to the DSA’s public and communal During my time in Zagreb (2013–2015) I also activities are music workshops where children and attended lectures run by the Croatian Music Therapy adults with Down syndrome compose and make Association (CMTA), which represents a non- institutional framework through its lectures on the continued on next page . . .

Society for Ethnomusicology © 40 “Shadow in the Field”? . . . continued music together through singing, dancing, and playing the uniqueness of the field, its participants/clients/ musical instruments. School children without informants, and general ethnomusicological interest disabilities and local community members are also in music therapy contexts. Because I was not a music invited to participate in these workshops. therapist who could actively participate, I felt that my Unlike my previous fieldwork experiences, the inability to contribute directly to music therapy was DSA workshops provided a new challenge wherein the main obstacle to me understanding the meaning I was exposed to trust-building processes, not only of my research. In light of this, and the discrepancies with people with Down syndrome, but with other between the CTMA and academia, I asked myself: members of the DSA (mostly parents). I was expected Can research within the domain of medical to be volunteer, supporter, ethnomusicology actually be helper, friend, and fellow set in Croatia? Is my vision of member. Personal fear and Because I was not a music ethnomusicological interest

Vol. 13, No. 1 | Spring/Summer 2017 Vol. doubt preceded my fieldwork, and involvement in music } therapist who could actively particularly the possibility therapy contexts possible in my that my research interests and participate, I felt that my country? What needs to happen desire to conduct participant- to make this research a reality? inability to contribute directly observation in music therapy Music therapy, as a sessions would not be accepted. to music therapy was the main globalized field of practice, However, during this period maintains an ambivalent

STUDENTNEWS obstacle to me understanding

{ of mutual familiarization and perspective toward medical trust-building, I outgrew these the meaning of my research. ethnomusicology. This may

SEM concerns and broke boundaries be for two main reasons. First, in considering the delicacy and the field of global medical exceptionality of the music therapy field. ethnomusicology exhibits some inconsistencies, Members of the DSA are children and adults primarily in terminology, although “health with different possibilities in physical, verbal, ethnomusicology” or “the musicology of localized and music communication. On the one hand, my health practices” (Stige 2008, 165) are acceptable ethnomusicological insight was mostly focused on terms. Second, with fieldwork comes questions observing, which allowed me to query how music of ethics. Ethics are of central importance when helps through these workshops. On the other hand, it comes to music therapy contexts, and studies participation could include spontaneous, mutual characterized by experimentation and openness musicking and mirroring. Even if the event was can disturb these typically strict and predictable strictly planned, each experience depended on the settings as well as the privacy of patients and their group’s momentary state of cohesion and mood. medical treatments. For these reasons, research needs Furthermore, conducting in-depth interviews with to include transparent communication, with no workshop participants and DSA-related individuals experimentation during the research process. Yet, as was not entirely feasible. I could only deeply and Koen, Barz, and Brummel-Smith assert, there regularly speak with parents and music therapists, are rich data and illuminating ethnographic as they were the closest to the children and adults/ research, that when combined, demonstrate clients in the workshops. the need for continued rigorous scientific Underpinning my research was my subconscious experimentation and creative, open-minded desire to help bring medical ethnomusicology to reflection and discourse. The strength of medical Croatia, yet in my fieldwork I had limited discourse ethnomusicology will surely lie in its imaginative with those around me. Reflecting on my involvement responses to health, hope, and healing through the with the DSA, which is two years past, I now realize arts. (2008, 15) how the challenges of pursuing ethnomusicological research in music therapy contexts in Croatia lie in continued on next page . . .

Society for Ethnomusicology © 41 “Shadow in the Field”? . . . continued In Croatia, if the terminological dichotomy and of “a collective of people—including, for instance, ethics of medical ethnomusicology can be unwrapped ethnomusicologists, musicians, community members and the strict boundaries between ethnomusicology or people from other disciplines—who work together and music therapy can be blurred, ethnomusicology toward solving and analyzing a particular problem or “could help in developing a better understanding issue area whose terms are epistemologically defined” of how music therapy actually works” (Stige 2008, (Harrison 2012, 506). From this perspective, I believe 169). Music therapy could contribute toward creating that medical ethnomusicology is realizable and of

the epistemic community as a methodological tool practical value in Croatia. ■

References Breitenfeld, Darko, and Valerija Majsec Vrbanić. 2011. Muzikoterapija: Pomozimo si glazbom. [Music therapy: Let’s help with music.] Zagreb: Music Play. Chiang, May May. 2008. “Research on Music and Healing in Ethnomusicology and Music Therapy.” Master’s thesis, University Vol. 13, No. 1 | Spring/Summer 2017 Vol. } of Maryland. Harrison, Klisala. 2012. “Epistemologies of Applied Ethnomusicology.” Ethnomusicology 56 (3): 505–29. Hrvatska udruga muzikoterapeuta (HUM). [Croatian music therapy association (CMTA).] 2017. “Edukacija.” [Education.] Accessed on 3 June. http://www.muzikoterapeuti.hr/?page_id=54. Katušić, Ana. Unpublished draft. “Muzikoterapija u Hrvatskoj: Razvoj profesionalnog identiteta.” [Music therapy in Croatia: A development of professional identity.] Kiš, Patricia. 2010. “Boli li vas? Depresivni ste? Umorni? Ne brinite. Glazba će vas izliječiti.” [Are you in pain? Depressed? Tired? STUDENTNEWS { Don’t worry. Music will heal you.] Jutarnji list. Accessed on 17 June 2017. http://www.jutarnji.hr/life/boli-vas-depresivni-ste- umorni-ne-brinite.-glazba-ce-vas-izlijeciti/2132955/.

SEM Koen, Benjamin D., ed. 2008. The Oxford Handbook of Medical Ethnomusicology. New York: Oxford University Press. Koen, Benjamin D., Gregory Barz, and Kenneth Brummel-Smith. 2008. “Introduction: Confluence of Consciousness in Music, Medicine, and Culture.” In The Oxford Handbook of Medical Ethnomusicology, edited by Benjamin D. Koen, 3–17. New York: Oxford University Press. Stige, Brynjulf. 2008. “Dancing the Drama and Singing for Life: On Ethnomusicology and Music Therapy.” Nordic Journal of Music Therapy 17 (2): 155–71. Svalina, Vesna. 2009. “Glazboterapija i djeca s posebnim potrebama.” [Music therapy and children with disabilities.] Tonovi: časopis glazbenih i plesnih pedagoga [Music Notes: The Journal of Music Educators and Dance Teachers] 53:144–53.

Conducting Cross-Cultural Interviews By Maria Stankova (New York University)

Many fieldworkers have described interviewing. This realistic help of the interviewee, to obtain insider-outsider challenges perspective is defined by the idea cultural information. A large and problems in conducting that social matter is transparent part of writing on interviewing interviews (for examples, see in people’s actions and words. If is informed by this perception, Herndon 1993; Barz and Cooley you adhere to certain rules for and interviewing methodology 1996; Nettl 2005). Most of interviewing, you are supposed aims at conquering the obstacles the literature concerning the to have access to data manifesting in communication arising insider-outsider issue is based this matter. Likewise, the data from cultural differences. From on realistic presumptions about is considered kept in reserve this perspective, the realistic culture and contact, specifically and autonomous from the problems of interviewing are the way that culture and contact interviewer-interviewee link. The problems of interaction. are perceived as a nexus for interviewer’s objective is, with the continued on next page . . .

Society for Ethnomusicology © 42 Conducting Cross-Cultural Interviews . . . continued When I was doing research comes to cross-cultural contexts. in the conversation, and in our in both Bulgaria and the United If we and our interviewees researcher-subject relationship, States, I realized that I, as the understand each other well, because she did not mind my interviewer, had to establish interviewees are more likely to curiosity. a connection fast so that collaborate with and trust us to Becoming an insider in conversation would go beyond transmit information that may be our respective fields may be respectful talk. I had to create personal and delicate. impossible, and we cannot be an environment in which the welcomed as an insider in every interviewee felt at home and part of a society. Futhermore, safe to share his/her emotions Understanding is the understanding and information and life stories. As interviewers, gathering depend on power our capability to create an result of communication differences and local standards of

Vol. 13, No. 1 | Spring/Summer 2017 Vol. atmosphere of understanding exchange. Not every individual } and established makes information gathering welcomes our curiosity. In easier. It is desirable that we through ongoing daily addition, if understanding causes be honest and open with the stable connections between individuals and communities we participation, especially us and our interlocutors, study and that we take part in when it comes to cross- accompanying assumptions their activities while preserving about exchange and cooperation STUDENTNEWS

{ their autonomy by staying away cultural contexts. between two parties can generate from arguments and quarrels. its own risks. For instance, some

SEM Often times, if our research of my poorer interviewees in requires in-depth interviews, its For instance, in an interview Bulgaria expected me to give success depends upon us creating with one of my main informants, them presents. connections that will help us gain I wanted to ascertain whether Finally, in order to conduct access to an interviewee’s views. the sudden change in her vocal successful interviews, we have to This is usually a difficult task that placement was caused by a have a certain amount of time to is challenging to achieve in a disease or if it was a deliberate achieve community membership. timely manner. Understanding is choice. This question was rather The latter is indispensable in the result of communication and sensitive, and I hesitated a long building rapport and trust with

established through ongoing daily time before I posed it to her. It our interlocutors. ■ participation, especially when it seems I picked the right moment

References Barz, Gregory F., and Timothy J. Cooley, eds. 2008. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. 2nd ed. New York: Oxford University Press. Herndon, Marcia. 1993. “Insiders, Outsiders: Knowing Our Limits, Limiting Our Knowing.” The World of Music 35 (1): 63–80. Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-one Issues and Concepts. 2nd ed. Champaign: University of Illinois Press.

We are currently discussing plans for future issues of SEM Student News, including Volume 13, Number 2. If there are any topics that you want us to address in future issues, please email the editor at [email protected].

Society for Ethnomusicology © 43 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology individuals functionas performances from theseefforts, creating andmarketing their brandsinthepublicandprivate spheres. These here. They are enterprises;they establishandmanage record labels,releasing musicandgarnering commercial constructed through a process ofbranding.Inpracticalterms,individuals function notmerely asmusicians combined andnormalizedbothpreoccupations within a globalcapitalistsystem. hop emerged asa successfulsymbolic instrument that components ofthisexpressive culture; inthe1990s,hip transgression and rhetoricofemancipationare integral imperatives ofglobalcapital” (1994,27).Narratives of “new socialmovements emerging inresponse tothe “images, ideasandicons” ofsignificance which shape cultural practice.” Ephemeral yet hardy, itcarries George Lipsitzstatesthathiphopexists asa “global as well asa spatialscale” (1991,47;cf.Lipsitz1994,27), projection ofa globalcognitive mapping ona social on Fredric Jameson’s conceptionof“theinvention and negotiating one’s way through theseobstacles.Drawing crowded nightclubs,provides a meansoffinding and in thesanctity ofone’s homeandintheabandonof everyday life, music,quietly heard through headphones dominant power structures exist inthe warp and weft of on hiphop. inequality,While disenfranchisement,and avenues for affirmation,empowerment, andeconomicsustainability, strivings whichI explore through thisstudy opportunities andbasicinfrastructure suchashealthcare. Individuals must,outofnecessity, seek alternative resources, andanHIV/AIDS epidemic. This isexacerbated through corruptionanda lack ofemployment on onehand,andtheother, activism andsocialjustice. mythology of hip hopstardom, seemapparently motivated equally by thepursuitofhedonismandgratification and failures oftheir endeavours. Here, preoccupations with style or “swag,” money or “hustle,” andthepop- for establishedsuperstars.Music makers mustfunctionasbrands,or enterprises,shouldering thesuccesses to drive it;localmedia outletsoften require payment tolaunch a new track or video,theonly exceptions being “free-for-all” market. It isdisorganised, with noprotection intheform ofcopyright andnocorporatemachinery evoke theimage ofoneselfinone’s mind. This isbecause,inUganda, themusicindustry is what Itermthe of getting a bandtothe venue, thenegotiating oftransportfees, andthechoiceof what clothes to wear tobest people Imetandgot toknow. interactions involved various reflexive refashioning(s) oftheindividual. I was curiousasto what thismeanttothe through practicesofconsumptionina wider conversation with processes ofcapitalism. Through hiphop,these hip hop.Here, Ifound peopleinteracting with ideasandobjects,forming tactileandemotionalrelationships This articleowes itselftomy field research in Uganda, which serves asthesite for my PhDdissertationon By Simran Singh(Royal Holloway, University ofLondon) reflections onplenitudeencountered inthefieldUganda Hip Hop Hustle andSwag: TheIndividualas Enterprise In Ugandan hiphop, theseconcernsemerge through consumptionandproduction, mediatedand Uganda isanexample ofprofound structural violence characterizedby extreme poverty, deeply contested I heard the word “hustle” constantly, variously usedtodescribetheprocess ofcrafting a song,thebusiness

brands andmost would probably beinagreement with JAY-Z when heraps,“I’m not one’s way through theseobstacles. means offindingandnegotiating of crowded nightclubs,provides a one’s homeandintheabandon headphones inthesanctityof life, music,quietly heard through in thewarp ofeveryday andweft and dominantpower structures exist While inequality, disenfranchisement, continued on next page . .

44 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology recording studios, oftenshackslabeledassuch, withequipment andsound systems for hire. There is a plenitude earlier, paucity marksthestructuralconditionsoneencounters ineveryday life. Instark contrastisa plenitudeof excess, surfeit” (ibid.,14). Plenitude becomesa worthwhile way tounderstandUganda’s hiphopscene. As stated production of value—personal andmaterial—as plenitude,conveyed variously through “abundance, plethora, communication ofmeaning againsta wider socialandeconomiccontext. These are atonce usedtosignala However, viewing musiciansasbrandsallows onetodraw intofocus thosesignsandsymbols deployed inthe is thenotionthatbrandconformity andmusicianrecognition may outweigh genre and style (Taylor 2015). the hyperreal, theseenactmentsare basedonadeptmanipulation andmanagement ofinformation. tangible lead,basedoncompetitive advantage. Supportedby a brandedimage which functionsintherealm of themselves asdeserving ofnoticeandstatuslinkstheseindividuals-as-brands. This isa questionofgaining a imagination, sensory experiences, and visionary approach tochange” (Wheeler 2013,6). The ability topresent emotional process similar tothebranding ofproducts, onethatisdynamic initsinclusionof“anthropology, milieu: economicgainandsocialjustice. The branding oftheindividual ashiphopenterpriseoccursan (Taylor 2015, 15), whose successallows themtolive andrepresent theforms ofattainment valorized inthis and mythologies. Vital tothisculturalfabricofconsumptionare individuals andcelebrities,or “stars, megastars” and lifestyle brands. representing grassroots change; or by celebrating conspicuousconsumptionthrough sponsorshipfrom liquor performances occurring under thepurview ofsocialinitiatives plannedby internationalNGOs; through their musicandpublicimage. previously, themusicindustry isdisorganizedandlacksthecorporatemachinery that would otherwisedrive solely by them.Inthismilieu,their brandisonethey must create for themselves, asthemselves, becauseasstated and present. Inpracticalterms,they mustfunctionasentrepreneurs, with theonusofsuccessor failure carried differentiated through concernssuchasactivism andhedonism,cognizantofthose found inthe genre’s past a businessman;I’m a business,man!” (West 2005),albeitnotquiteonthatscale.InUganda, hiphopisoften . continued Hip Hop Hustle andSwag: TheIndividualas Enterprise marginalization. individuals grapple withspacesof provide uswithways to gaugehow economics. Suchenactmentsthen to circumvent disaster through and art imagination gives theindividualtools site ofproduction ofself,andwhere invocation andevocation becomea framing oftheindividual,where ... from ariseaunique thesequalities Each oftheseaspectsisinformed by copiousconsumptionofmediatedhiphopimagery, itsmusic,media, In Uganda, thisisrealized through enactmentsofthespectacular. For example, intheform ofhiphop overriding genre andsound,isnotnew, andneither individuals grapple with spacesofmarginalization. enactments thenprovide us with ways togauge how circumvent disaster through artandeconomics.Such and where imaginationgives theindividual toolsto and evocation becomea siteofproduction ofself, a uniqueframing oftheindividual, where invocation against Mbembétosay thatfrom thesequalitiesarise enchanted andmysterious universe, I would argue but with itsreality” (ibid.,4). Seeing hiphopasthat caprice coexist notonly with thepossibility ofdisaster the power ofproduction, andin which fantasy and which thepower ofinvocation andevocation replaces signs, amidanenchantedandmysterious universe in the individual, there are entities,captives ofmagical of Achille Mbembé’s (2001)statement:“insteadof The idea thatmusicians canactasbrands, In many ways, Ifound thesereminiscent continued on next page . .

45 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology 2013. Wheeler, Alina. West, Kanye. 2005. “Diamonds From Sierra Leone(Remix),” featuring JAY-Z. Taylor, Timothy D. 2015. 2001. Sen, Amartya. Ramnarine, Tina K.2007. Mbembé, J.-A. 2001. Lipsitz, George. 1994. Jameson, Fredric. 1991. Iwilade, Akin. 2013.“CrisisasOpportunity: Youth, SocialMedia andtheRenegotiation ofPower in Africa.” Holt, DouglasB.2004. Comaroff, Jean, and John L.Comaroff, eds.2001. References instead vitality, creativity, andjoy. imperative asthey simultaneously challenge therupture anddestitutionassociated with suchspaces,revealing musical, social,andeconomic. Viewed againsta backdrop ofprofound inequity suchasinUganda, they are and practicesare potentintheir capacity for individual transformation. These transformations encompassthe turn, emerge “contemporary politicalactivisms andcreative expressions” (Ramnarine2007, 2).Suchprocesses toward meaning andbelonging,allowing individuals tomobilizeandarticulatepresent struggles,from which, in and satisfactionasenterprises,harnessing theimaginationthrough branding processes. Here, we findstrivings discuss comefrom wanting a better life. Individuals negotiate andformulate their own spacesfor gratification capabilities, between our economic wealth andability tolive as we would like.” Simply put,theenactmentsI In dimensions ofexclusion anddisempowerment” (Iwilade 2013, 1058). awareness of“global discoursesofdevelopment anddemocracy and atthesametimeintouch with thelocal ended process ofselfcreation. Localhip hopbrandsemerge from thisprocess ofselfcreation, informed by an relationships with thegenre. Locatedintheseactsofconsumptionare what DouglasHolt (2004) callsanopen- Ultimately, for thoseIencountered inthefield, expressions inandonhiphop focused onindividual subjective rich, culturally informed imaginings” negotiating “structural conditionsandsubjective perceptions” (ibid.,11). choice—challenge a “constitutive relationship ofproduction toconsumption.” We alsofind “complex, poetically that globalcapitalismtakes inlocalcontexts. Here, issuesofconsumption—andindividual preferences and Comaroff (2001, 3), who refer to“theriseofnew forms ofenchantment” in a considerationofthe forms counter thatthey are equally relevant inmy study onhiphopinUganda. This follows from Comaroff and an evocation ofdifferentiated capability in a spaceofmaterialpaucity. meaning through renditions oflifestyle andpersonality thatserve anddeserve theseforms ofplenitude,through representing hiphopinUganda through flows of visualinformation via socialmedia. Thesefurther convey their In harnessing thesecapabilities,individuals create their own plenitudeofsoundandimage, successfully music events. And finally, there is a plenitudeofdigital technologies available through mobiletelephony. of socialspacessuchasnightclubsfor theenjoyment ofmusicintheform oflive performances andrecorded . continued Hip Hop Hustle andSwag: TheIndividualas Enterprise Sons. Studies University Press. While understandingssuch as While Taylor’s and areWheeler’s drawn from spacesofadvanced capitalism,I Development asFreedom 16(8): 1054–68. Development asFreedom On thePostcolony Designing Brand Identity: An Essential Guide for theWholeBranding Team Dangerous Crossroads: Popular Music, Postmodernism and thePoetics of Place. How Brands Become Icons: The Principlesof Cultural Branding Postmodernism, or, The Cultural Logicof LateCapitalism Music and Capitalism: A History of thePresent Beautiful Cosmos:Performance and Belonging in theCaribbean Diaspora , Amartya Sen(2001,13) elucidatesa relationship between “commodities and . Berkeley: University ofCalifornia Press. ■ . Oxford: Oxford Paperbacks. Millennial Capitalism and theCulture of Neoliberalism . Chicago: University ofChicago Press. . Durham,NC: Duke University Press. Late Registration . Boston:Harvard Business SchoolPress. . 4thed.Hoboken, NJ: John Wiley & . London:PlutoPress. . Roc-A-Fella Records. CD. London: Verso. . Durham,NC: Duke Journalof Youth

46 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology Madison, D. Soyini. 2012. Lassiter, Luke Eric.2005. Lane, Cathy, and Angus Carlyle, eds.2013. Barz, Gregory F., and Timothy J. Cooley, eds.2008. General Texts means) and“writingrepresenting.” Hopefully, theseare both familiar andsurprising textual tools. guides, andthentwo thatsplittheethnographic lists process into “conductingfieldwork” (whatever that web for recent themost advicefrom specificfieldsites. Thisbibliography fallsinto three categories: general and-bolts blogsandwebsites thatdealwithethnographic fieldwork. Inthatcase,I recommend surfingthe gravitated toward orchapters compendiums butthere incompendiums, are anincreasing numberofnuts- obsolete. Thisisashorter, denserannotated bibliography inthespiritof“packinglight.” Ingeneral, I decided not to tackle recording technology here, asmany booksthataddress become thesubjectquickly ethnomusicology, anthropology, I andcommunicationstudies. studies, performance soundstudies, what written works shouldbeinthe ethnomusicologist’s toolkit? conducting ethnographic research to question askourselves is, andwriting.Withthisinmind,animportant are exercises, worthwhile andteachers students shouldconsiderconcrete methodological outlines for approach read inwhichstudents ethnographies orrecount theirown fieldwork experiences. Thoughthese mentality, whichadmittedly, ofit.Many classesonethnography ispart adopt a“tales from thefield” and writingethnographies. Many ethnographers are thrown into thefieldwitha“figure itoutas yougo” for ethnomusicologists, yet we receive often littleto noguidanceonthepracticalities ofconducting written genre, ofethnomusicology. Embarkingonfield research is routinely crafted asarite ofpassage Ethnography isoneofthebasicmethodologies andwritten genres, ifnot By HannahAdamy (University ofCalifornia, Davis) bibliographya short for demystifying “thefield” Shadows Decolonizing Check outourcollection ofresource onSEM’s lists website. These include and publishing processes. particularly usefulfor approaching theexperiential dimensionsofethnography through fieldwork, writing, will benefitthenovice andthepracticedfieldworker alike. Her performance-informed perspective is Though Madisonisnotanethnomusicologist,her comprehensive andeasy-to-read guidetoethnography pertinent totheir own work. call for more collaborative ethnography. Many undergraduates,graduates,andfaculty will findhisadvice strategies for collaboration with interlocutors throughout theethnographicprocess, rather thananabstract A necessary text for conducting and writing dialogicethnography. Lassiter provides deliberate,concrete informed soundartanditsrepresentational ethics. Feld’s interview will beofparticular interest toethnomusicologists working through ethnographically- collection ofinterviews with soundartistshighlightsthemurky divisions between Truth and Art. Steven Seeger) to virtual fieldwork (Cooley, Meizel, and Syed). Barz’s chapter on writing fieldnotesis amust-read. ethnomusicologists couldhave ontheir bookshelves. Covers everything from advocacy andfieldwork (A. Ethnomusicology I have apractical compiled resource for list theintrepid ethnographer, whichincludesworks from , . 2nded.New York: Oxford University Press. An excellent compendiumthatallbudding Navigating theJob MarketNavigating of Ethnography The ChicagoGuide toCollaborative Ethnography Critical Ethnography: Method, Ethics, and Performance In theField: The Art of Field Recording Shadows in theField. New Perspectives for Fieldwork in , Music and Diaspora . Chicago: University ofChicago Press. . 2nded. Thousand Oaks, CA:Sage. the . London:Uniformbooks. This research methodology and , andmore. continued on next page . Reading, 47 SEM{STUDENTNEWS} Vol. 13, No. 1 | Spring/Summer 2017 Society for © Ethnomusicology Van Maanen,John. 1988. Rosaldo, Renato. 2013. Pollock, Della.1998.“Performing Writing.” In Nannyonga-Tamusuza, Sylvia, and Andrew N. Weintraub. 2012.“The Audible Future: Reimagining theRole of Conquergood, Dwight.2013.“Beyond the Text: Toward a Performative CulturalPolitics.” Writing andRepresenting Jackson, Jean E.1990. “‘I Am a Fieldnote’: Fieldnotesasa Symbol ofProfessional Identity.” In Faubion, James D., andGeorge E.Marcus, eds.2009. Cerwonka, Allaine, andLiisa H.Malkki.2007. Conducting “Fieldwork” . continued Shadows much a partoftheethnographicprocess asfieldwork. confessional, impressionist) ethnographersmightusetotella story. A good reminder that writing isjustas An older book inthecontext ofthislist,but stillapplicable. Van Maanendissectsthedifferent voices (real, reflect ontrauma, violence,or loss. this useofethnographicsensibility “antropoesia,” which couldbea usefultechniquefor ethnographiesthat wife Michelle (Shelly) fell from a cliffin Mungayang during their fieldwork in thePhilippinesin1981. Hecalls Press. Another lessoninpoetic writing, Rosaldo usesethnographic methodologiestoreflect ontheday his salient essay for reflecting ontheactof writing, myths ofnarcissism, andautoethnography. in using poetic language which intertwineslived experience and reflection onthat experience. Anespecially 73–103. New York: New York University Press. A beautiful essay onperformative writing for thoseinterested legacy, appliedethnomusicology, andthepolitics ofsoundarchives. Sound Archive toMakerere University. An excellent articleondealing with ethnomusicology’s colonial and Weintraub documenttheprocess ofmoving theKlaus Wachsmann Collectionfrom theBritishLibrary Sound Archives andSoundRepatriation inUganda.” Wong in based ethnography. Considering many ethnomusicologistshave madea similar call(including Deborah Press. Challenging thenotionof written text asdefinitive knowledge, Conquergood calls for performance- Performance, Ethnography, Praxis writing inthefield. true beyond anthropology. Her study demystifies why many studentsdonot receive explicit instruction on interviewed anthropologists intheBostonarea, buther considerationoftheintimacy offieldnotesrings ofMakings Anthropology teaching ethnographicfieldwork. adjacent, butitdelves intoapplicabletopics: IRB approval, “failed” ethnographicencounters,anda guidefor Methodina Timeof Transition salient for new fieldworkers andthose who guidethem. theory andempiricalresearch by highlighting therelationship between mentor andmentee.Especially Cerwonka’s fieldwork in Melbourne (November 1994–August 1995). Thisbook addresses thegapbetween Chicago: University ofChicago Press. Consistsoftheemailssentbetween Cerwonka andMalkkiduring Shadows in theField The Day of Shelly’s Death: The Poetry and Ethnography of Grief of Ethnography Tales of theField:On Writing Ethnography , editedby Roger Sanjek,3–33.Ithaca, NY: CornellUniversity Press. Jackson primarily ), thisisa nicecross-disciplinary balance. . New York: CornellUniversity Press. Again, thisbook isethnomusicology- , editedby E.Patrick Johnson, 47–63. Ann Arbor: University of Michigan The Ends of Performance Improvising Theory: Process and Temporality in Ethnographic Fieldwork Fieldwork is Not What It Used toBe: Learning Anthropology’s Ethnomusicology . Chicago: The University ofChicago Press. , editedby Peggy PhelanandJill Lane, 56(2):206–33.Nannyonga-Tamusuza . Durham,NC: Duke University Cultural Struggles: Fieldnotes: The 48 . SEM {STUDENTNEWS} Davin Rosenberg, editor & design/layout Davin is a PhD candidate in ethnomusicology at University of California, Davis. His research focuses on North American flamenco and explores music-making and dancing in the social (re)creation of space and sense of place; groove and performance temporalities; intersensory modalities; and transnational musicocultural flows and interrelationships. His previous work discusses flamenco performance, instruction, and tradition in Phoenix, Arizona. Davin is also an instrument repair technician and plays trumpet and flamenco guitar.

Eugenia Siegel Conte, assistant editor Eugenia is a PhD student in Ethnomusicology at the University of California, Santa Barbara. Vol. 13, No. 1 | Spring/Summer 2017 Vol. } She recently completed her MA in Ethnomusicology at Wesleyan University, researching identity in choral music and performance in Oahu, Hawai'i. Previously, she earned an MA in Music 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 film and television music, world choral traditions, and voice studies. STUDENTNEWS { Heather Strohschein, copy editor

SEM Heather is a PhD candidate in ethnomusicology at the University of Hawai'i at Mānoa. She holds a BA in world music and an MA in ethnomusicology from Bowling Green State University. She is currently entering the final stages of dissertation writing and plans to defend in the fall. Her dissertation research focuses on Javanese gamelan use outside of Indonesia as well as the performance of affinity and community. Heather also serves as a co-editor/co- founder of the SEM Student Union blog and currently teaches online world music courses at the University of Hawai'i West O'ahu and Owens Community College in Ohio.

Ana-Maria Alarcón-Jiménez, sem student union liaison Ana-María currently works as assistant researcher and is a doctoral student at the Universidade Nova de Lisboa. She has researched and studied at the Graduate Center of the City of New York (CUNY), the University of California in San Diego, the University of Arkansas, and the National University of Colombia, among others. She has been awarded full scholarships by all of the above mentioned institutions. Ana-Maria is Vice Chair of the Society for Ethnomusicology Student Union and a contributor to the SEM Student Union Blog.

Sara Hong-Yeung Pun, thoughts from the field columnist Sara is a PhD student at Memorial University of Newfoundland as well as an accredited music therapist and music educator. Sara believes in the transformative effects of music and is an advocate for using music for positive social change. She loves piano, Japanese taiko, Indonesian gamelan, reading, writing, and hiking. Sara is passionate about community music and is an adventure junkie. You can learn more about her at: www.sworldmusic.com.

Society for Ethnomusicology © 49 SEM {STUDENTNEWS} Maria Stankova, contributor Maria is a PhD candidate in Ethnomusicology at New York University. Her dissertation research focuses on globalization, nationalism, and the contemporary dimensions of Bulgarian choral folk singing. She currently sings with two ensembles—Cosmic Voices from Bulgaria and Nusha.

Kyle DeCoste, contributor Kyle is a PhD student in ethnomusicology at Columbia University. He holds a BA in music from Bishop’s University and an MA in musicology from Tulane University. His first published article, “Street Queens: New Orleans Brass Bands and the Problem of Intersectionality,” will Vol. 13, No. 1 | Spring/Summer 2017 Vol. } appear in Ethnomusicology 61 (2).

Simran Singh, contributor Simran is a Reid scholar and recipient of the Overseas Research Award at Royal Holloway, University of London. Her doctoral research explores hip hop in Uganda. She holds an MA STUDENTNEWS { 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 International SEM Relations, following a seven-year career as Creative Director of a branding firm in India.

Brendan Kibbee, conributor Brendan is a PhD candidate at the Graduate Center of the City University of New York and a fellow at the Center for Place, Culture, and Politics. His dissertation project, “Counterpublics and Street Assemblies in Postcolonial Dakar,” focuses on the intersection of music, associational life, politics, and public space in a popular quarter of Dakar, Senegal. Brendan plays Senegalese percussion at the Alvin Ailey Extension and is a jazz pianist. He has taught at CUNY and Rutgers University.

Hannah Adamy, researcher Hannah is a second-year PhD student in Ethnomusicology 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 vocal production as praxis in speaking back to violence. She also composes music for various community theaters in New Jersey.

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 © 50