Folklife Center News, Volume XIII Number 4
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Creating a Roadmap for the Future of Music at the Smithsonian
Creating a Roadmap for the Future of Music at the Smithsonian A summary of the main discussion points generated at a two-day conference organized by the Smithsonian Music group, a pan- Institutional committee, with the support of Grand Challenges Consortia Level One funding June 2012 Produced by the Office of Policy and Analysis (OP&A) Contents Acknowledgements .................................................................................................................................. 3 Introduction ................................................................................................................................................ 4 Background ............................................................................................................................................ 4 Conference Participants ..................................................................................................................... 5 Report Structure and Other Conference Records ............................................................................ 7 Key Takeaway ........................................................................................................................................... 8 Smithsonian Music: Locus of Leadership and an Integrated Approach .............................. 8 Conference Proceedings ...................................................................................................................... 10 Remarks from SI Leadership ........................................................................................................ -
Fair Use As Cultural Appropriation
Fair Use as Cultural Appropriation Trevor G. Reed* Over the last four decades, scholars from diverse disciplines have documented a wide variety of cultural appropriations from Indigenous peoples and the harms these have inflicted. Copyright law provides at least some protection against appropriations of Indigenous culture— particularly for copyrightable songs, dances, oral histories, and other forms of Indigenous cultural creativity. But it is admittedly an imperfect fit for combatting cultural appropriation, allowing some publicly beneficial uses of protected works without the consent of the copyright owner under certain exceptions, foremost being copyright’s fair use doctrine. This Article evaluates fair use as a gatekeeping mechanism for unauthorized uses of copyrighted culture, one which empowers courts to sanction or disapprove of cultural appropriations to further copyright’s goal of promoting creative production. DOI: https://doi.org/10.15779/Z38V97ZS35. Copyright © 2021 Trevor G. Reed * Trevor Reed (Hopi) is an Associate Professor of Law at Arizona State University’s Sandra Day O’Connor College of Law. The author thanks June Besek, Bruce Boyden, Christine Haight Farley, Eric Goldman, Rhett Larson, Jake Linford, Jon Kappes, Kali Murray, Guy Rub, Troy Rule, Erin Scharff, Joshua Sellers, Michael Selmi, Justin Weinstein-Tull, and Andrew Woods for their helpful feedback on this project. The author also thanks Qiaoqui (Jo) Li, Elizabeth Murphy, Jillian Bauman, M. Vincent Amato and Isaac Kort-Meade for their research assistance. Early versions of this paper were presented at, and received helpful feedback from, the 2019 Race + IP conference, faculty colloquia at the University of Arizona and University of Washington, the American Association for Law School’s annual meeting, and the American Library Association’s CopyTalk series. -
Swierstra's Francolin Francolinus Swierstrai
abcbul 28-070718.qxp 7/18/2007 2:05 PM Page 175 Swierstra’s Francolin Francolinus swierstrai: a bibliography and summary of specimens Michael S. L. Mills Le Francolin de Swierstra Francolinus swierstrai: bibliographie et catalogue des spécimens. Le Francolin de Swierstra Francolinus swierstrai, endémique aux montagnes de l’Angola occidental, est considérée comme une espèce menacée (avec le statut de ‘Vulnérable’). En l’absence d’obser- vations entre 1971 et 2005, nous connaissons très peu de choses sur cette espèce. Cette note résume l’information disponible, basée sur 19 spécimens récoltés de 1907 à 1971, et présente une bibliographie complète, dans l’espoir d’encourager plus de recherches sur l’espèce. Summary. Swierstra’s Francolin Francolinus swierstrai is the only threatened bird endemic to the montane region of Western Angola. With no sightings between 1971 and August 2005, knowl- edge of this species is very poor. This note presents a summary of available information, based on 19 specimens collected between 1907 and 1971, and provides a complete bibliography, in order to encourage further work on this high-priority species. wierstra’s Francolin Francolinus swierstrai (or SSwierstra’s Spurfowl Pternistis swierstrai) was last recorded in February 1971 (Pinto 1983), until its rediscovery at Mt Moco in August 2005 (Mills & Dean in prep.). This Vulnerable species (BirdLife International 2000, 2004) is the only threatened bird endemic to montane western Angola, an area of critical importance for biodiver- sity conservation (Bibby et al. 1992, Stattersfield et al. 1998). Swierstra’s Francolin has a highly fragmented range of c.18,500 km2 and is suspected, despite the complete lack of sightings for more than 30 years, to have a declining population estimated at 2,500–9,999. -
The Music Hunter's Quarry from a Trotting Horse
Career (Doubleday, 1969), provides an apt description of her profession, since from 1929 to 1979 she was truly a hunter The Music Hunter's Quarry from a of music. She was among those who were Trotting Horse ethnomusicologists long before that word came into use. Exposure to the tapes in the Boulton collection causes one Rick Torgerson to realize that Laura Boulton had seen a number of cultures before they became permanently changed by the technology of the modern world. In 1991 the Laura Boulton Foundation awarded a Because I am a cataloger and not a researcher, I do grant to the Archives of Traditional Music for the purpose not have the luxury of exploring each collection in depth. of hiring a librarian to catalog the sound recordings from Rather, I have the pleasure of surveying the entire the Boulton Collection. The cataloging was to appear in the collection "from a trotting horse." I examine a collection national online union catalog of the Online Computer long enough to be able to describe and summarize what is Library Center, Inc. (OCLC), as well as in Indiana there, and then I must move on to the next collection. University's online catalog, 10. I began work on the Boulton Just as the radio provides the listener the freedom to Collection as cataloger in February of 1992. imagine what is being described, the Laura Boulton tapes The Laura Boulton Collection has been distributed have provided with me with dozens of imaginary voyages among the following institutions: Columbia University, the through time and space, allowing me to witness in part Library of Congress, the Smithsonian Institution, and the those events, people, and scenes that have gone by and will Mathers Museum of World Cultures and the Archives of never be again. -
The Twenty-Third Oxford Conference for the Book, March 2–4, 2016
• WINTER 2016 The Twenty-Third Oxford Conference for the Book, March 2–4, 2016 On March 2–4, the Center will welcome poets, novel- ists, journalists, scholars, and readers from far and wide to Oxford and the University of Mississippi campus during The Twenty-Third the Oxford Conference for the Book. The three-day event, Oxford Conference for the Book which is free and open to the public, includes readings, panel discussions, and lectures by Pulitzer Prize–winning writers, first-time novelists, and distinguished academics. Again this year, Friday’s panels and readings will take place in the main courtroom of the historic Lafayette County courthouse on the Oxford Square. Wednesday’s and Thursday’s events will take place in the auditorium of the Overby Center for Southern Journalism and Politics on the UM campus, and the conference will begin with a lecture and free luncheon, sponsored by the Friends of the Library, in the Faulkner Room in Archives and Special Collections in the J. D. Williams Library, also on the UM campus. Conference panels will explore a wide range of topics, in- cluding Mississippi history; childhood in the South; mem- oir writing; youth, activism, and life in the Mountain South; The University of Mississippi • Oxford, Mississippi poetic responses to Langston Hughes; a cultural and culi- March 2–4, 2016 nary history of the pig; Harper Lee’s To Kill a Mockingbird www.oxfordconferenceforthebook.com and Go Set a Watchman; the Hurricane Katrina crisis; and America’s continuing debate over science and religion. Sponsored by the Center for the Study of Southern Culture, Square Books, Southern Documentary Project, Southern Foodways Alliance, Living Blues, University Museum, Lafayette County Literacy Council, Department of English, J. -
Download Whole Journal
and Audiovisual Archives Internationale Vereinigung der Schall- und audiovisuellen Archive Association Internationale d' Archiv Sonores et Audiovisuelles iasa journal • Journal of the International Association of Sound and Audiovisual Archives IASA • Journal de l'Association Internationale d'Archives Sonores et Audiovisuelles IASA • Zeitschrift der Internationalen Vereinigung der Schall- und audiovisuellen Archive IASA • EI Journal de Asociaci6n Internacional de Archivos Sonoros y Audiovisuales Editor: lise Assmann, The South African Broadcasting Corporation (SABC) Media Libraries, POBox 931,2006 Auckland Park, South Africa. Fax +27 (0 I I) 7144419· eMaikass!!'l~'l111~aJ>~<:9-,-~ Language Editor: Dorothy van Tonder, SABC The IASA Journal is published twice a year and sent to all the members of IASAApplications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are €40 for individual members and € 158 for institutiGlnal members. Back copies of the IASA Journal from 1971 are available on application. Subscription to the current year's issues of the IASA Journal is also available to non members at a cost of £70. Le IASA Journal est publie deux fois I'an et distribue 3 tous les membres de I'association. Veuillez envoyer vos demandes d'adhesion au secretaire dont vous trouverez I'adresse ci-dessous. Les cotisations annuelles se montent actuellement 3 €40 pour les membres individuels et € 158 pour les membres institutionnels. Les anciens numeros (3 partir de 1971 ) du IASA Journal sont disponibles sur demande. Ceux qui ne sont pas membres de I 'Association peuvent s'abonner au IASA Journal pour I'annee en cours au cout de €70. -
Dance of the Holy Ghosts: a Play on Memory: Digital Dramaturgy
dance of the holy ghosts: a play on memory: Digital Dramaturgy By Marcus Gardley Directed by Kwame Kwei-Armah Oct 9–Nov 17, 2013 Oscar Clifton is a Blues man living through his memories of the past, until his estranged grandson Marcus pays a visit. Together, they confront a history of loves, regrets, and missed opportunities. This acclaimed play by Marcus Gardley is a poetic family drama set in the key of Blues—a memory- scape skipping seamlessly across the decades. Meet Marcus Gardley Playwright's Biography Marcus Gardley grew up in the 1980s in Oakland, surrounded by a tight-knit community and raised by parents and grandparents from the South. He recalls, “Growing up in Oakland was really magical. I have family that all lived in the same vicinity; it was a huge community. I grew up in a political environment, but also a spiritual and diverse one. It had a huge effect on me.” Gardley spent his Sundays listening to his father preach, and the Black Church has informed and inspired some of his finest work. Though he started out as a poet, Gardley became captivated by playwriting during his college years at San Francisco State. He went on to Yale School of Drama, where he studied under celebrated playwright Lynn Nottage. Since then, Gardley has had productions at major theaters across the United States, and his work has garnered accolades for its soulful sincerity and lyricism. He currently splits his time between New York City and Providence, Rhode Island, where he teaches playwriting at Brown University. He makes a mean dish of Brussels sprouts and thoroughly enjoys mint juleps. -
Sound Recordings and Dignity Takings: Reflections on the Racialization of Migrants in Contemporary Italy
Chicago-Kent Law Review Volume 92 Issue 3 Dignity Takings and Dignity Restoration Article 14 3-6-2018 Sound Recordings and Dignity Takings: Reflections on the Racialization of Migrants in Contemporary Italy Gianpaolo Chiriacò University of Salento Follow this and additional works at: https://scholarship.kentlaw.iit.edu/cklawreview Part of the Law and Race Commons, and the Property Law and Real Estate Commons Recommended Citation Gianpaolo Chiriacò, Sound Recordings and Dignity Takings: Reflections on the Racialization of Migrants in Contemporary Italy, 92 Chi.-Kent L. Rev. 991 (2018). Available at: https://scholarship.kentlaw.iit.edu/cklawreview/vol92/iss3/14 This Article is brought to you for free and open access by Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in Chicago-Kent Law Review by an authorized editor of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. SOUND RECORDINGS AND DIGNITY TAKINGS: REFLECTIONS ON THE RACIALIZATION OF MIGRANTS IN CONTEMPORARY ITALY GIANPAOLO CHIRIACÒ* I. INTRODUCTION In the field of music, questions related to the nature of collaborative projects may offer some insight on how to apply the concepts of dignity takings and dignity restoration within ethnomusicology. Musical collabora- tion is a space where different individuals and subjectivities share their own artistic practices and products, as well as the musical cultures they repre- sent. The question is, who is going -
Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution. -
African Studies Program
AFRICAN STUDIES NEWSLETTER 2017-2018 INSIDE THIS ISSUE Table of Contents The Director’s Welcome discusses our success in the recent PG. 2 Director’s Welcome Title VI grant competition: the program regained National PG. 4 Student Features Resource Center status and increased the number of Foreign Language and Area Studies fellowships it can award PG. 22 Student Awards for the next four years. Program News begins by honoring PG. 24 Program News recent retirees and celebrating the lives of those recently passed, before it moves to the interdisciplinary graduate PG. 35 ASP by the Numbers seminar, library news, and other activities. We discuss our PG. 36 Outreach students in several sections, including Student Features and Student Awards. Other initiatives are discussed in Events, PG. 38 Feature: Mandela Scholars Outreach and the Feature. We conclude with Student, PG. 42 Events Alumni, Faculty, Emeriti and Staff News. Please explore these sections and others in the pages that follow! PG. 50 Student, Alumni, Faculty, Emeriti and Staff News Director’s Welcome Best wishes for the New Year! 2018 has been another active year for the African Studies Program. The most significant news is the program’s receipt of U.S. Department of Education Title VI funding in 2018-22 as a National Resource Center (NRC) for Africa and as a recipient of Foreign Language and Area Studies (FLAS) fellowships for our students. I was hopeful, when I returned to the director’s position in summer 2015, that the program could address the unprecedented loss of the NRC grant in 2014 with a return to funding in the next cycle. -
Band/Surname First Name Title Label No
BAND/SURNAME FIRST NAME TITLE LABEL NO DVD 13 Featuring Lester Butler Hightone 115 2000 Lbs Of Blues Soul Of A Sinner Own Label 162 4 Jacks Deal With It Eller Soul 177 44s Americana Rip Cat 173 67 Purple Fishes 67 Purple Fishes Doghowl 173 Abel Bill One-Man Band Own Label 156 Abrahams Mick Live In Madrid Indigo 118 Abshire Nathan Pine Grove Blues Swallow 033 Abshire Nathan Pine Grove Blues Ace 084 Abshire Nathan Pine Grove Blues/The Good Times Killin' Me Ace 096 Abshire Nathan The Good Times Killin' Me Sonet 044 Ace Black I Am The Boss Card In Your Hand Arhoolie 100 Ace Johnny Memorial Album Ace 063 Aces Aces And Their Guests Storyville 037 Aces Kings Of The Chicago Blues Vol. 1 Vogue 022 Aces Kings Of The Chicago Blues Vol. 1 Vogue 033 Aces No One Rides For Free El Toro 163 Aces The Crawl Own Label 177 Acey Johnny My Home Li-Jan 173 Adams Arthur Stomp The Floor Delta Groove 163 Adams Faye I'm Goin' To Leave You Mr R & B 090 Adams Johnny After All The Good Is Gone Ariola 068 Adams Johnny After Dark Rounder 079/080 Adams Johnny Christmas In New Orleans Hep Me 068 Adams Johnny From The Heart Rounder 068 Adams Johnny Heart & Soul Vampi 145 Adams Johnny Heart And Soul SSS 068 Adams Johnny I Won't Cry Rounder 098 Adams Johnny Room With A View Of The Blues Demon 082 Adams Johnny Sings Doc Pomus: The Real Me Rounder 097 Adams Johnny Stand By Me Chelsea 068 Adams Johnny The Many Sides Of Johnny Adams Hep Me 068 Adams Johnny The Sweet Country Voice Of Johnny Adams Hep Me 068 Adams Johnny The Tan Nighinggale Charly 068 Adams Johnny Walking On A Tightrope Rounder 089 Adamz & Hayes Doug & Dan Blues Duo Blue Skunk Music 166 Adderly & Watts Nat & Noble Noble And Nat Kingsnake 093 Adegbalola Gaye Bitter Sweet Blues Alligator 124 Adler Jimmy Midnight Rooster Bonedog 170 Adler Jimmy Swing It Around Bonedog 158 Agee Ray Black Night is Gone Mr. -
12-3-19 Auction Ad (All 78'S)
John Tefteller’s World’s Rarest Records Address: P. O. Box 1727, Grants Pass, OR 97528-0200 USA Phone: (541) 476–1326 or (800) 955–1326 • FAX: (541) 476–3523 E-mail: [email protected] • Website: www.tefteller.com Auction closes Tuesday, December 3, 2019 at 7:00 p.m. PT See #23 See #45 All Original 78 rpm Auction! R &B Vocal Groups / Gospel Groups / Blues / R &B / Rock & Roll /Rockabilly / Country / Cajun / Country Gospel Is this the return of Bill Sabis? Not exactly . but close! auctions with numerous genres a few times a year using the same For the past 5 years, I auctioned off approximately 8,000 78’s for long- format. The only difference is that these will be MY records, not Bill’s. time collector Bill Sabis, also known as “His Royal Koolness.” Those So sit back and devour this great list and relive the glory days of auctions ended earlier this year. Bill Sabis’All 78 rpm auctions! However, they were so successful that I am now going to do All 78 rpm Good luck! 15. The Cats And the Fiddle — “Lawdy-Clawdy/ 29. The Crescent City Gospel Singers — 43. The Five Keys — “I Hadn’t Anyone Til You/ Rare and Classic Sighing And Crying” BLUEBIRD 8870 M- “Heavenly Father/Let Us Pray Everyday” Hold Me” ALADDIN 3136 M- MB $50 MB $20 ARCADIA 109 VG- Small edge chip on 44. The Five Keys — “Can’t Keep From Crying/ R &B Vocal Groups / 16. The Cats And the Fiddle — “Part Of Me/ A-side—not into the grooves.