Volume 44 Number 3 May 2010 Metro Center, allowing access to pub- SEM Annual Meeting, lic transportation links throughout the Inside 2010, Los Angeles city (including Metro trains from the 1 SEM Annual Meeting, Los By Tara Browner, Chair, Local Ar- Los Angeles World Airport or Union Angeles rangements Committee Station to the meeting). A local area 1 Weapons of Mass Instruction small-bus transport system known 3 People and Places The Society for Ethnomusicology as DASH gives attendees the oppor- 6 nC2 will hold its 55th annual meeting in tunity to explore downtown LA with 9 BFE Annual Conference Los Angeles, November 11-14, 2010, ease, although quite a few attractions 11 Dan Sheehy named Director of with a pre-conference honoring of are within walking distance, includ- Center for Folklife and Cultural the life and work of Nazir Jaraizbhoy, ing the new Grammy Museum (three Heritage cosponsored by the UCLA Depart- blocks from the hotel), Nokia Theater, 11 Calls for Participation ment of Ethnomusicology and the Los Angeles Theater, and of course 13 Announcements SEM South Asia Performing Arts Walt Disney Concert Hall. Further 14 Conferences Calendar sub-group, on November 10. The afield, but directly down Wilshire Blvd, meeting’s theme is a celebration of is a cluster of museums including the the 50th anniversary of the founding Peterson Automobile Museum, Arts Weapons of Mass In- of the Ethnomusicology Institute and and Crafts Museum, and the famed program at UCLA. While the primary Page Museum, home of the La Brea struction location of the meeting is the Wilshire Tar pits. Finally, one of the metro By Gage Averill, SEM President Grand Hotel in downtown Los Ange- lines leaving from the 7th Street les, the department plans a reception, Center runs directly through central “The Day We Fall Is Not the Day banquet, and evening concert on the Hollywood and ends at Universal We Sink”: Cultural Repatriation in UCLA campus November 13. Studios theme park and CityWalk, a After the Quake Los Angeles in early November venue with restaurants, theaters, and usually has excellent weather, with concerts. In an odd twist of fate, my trip to daytime highs in the mid 70s, and Multicultural from its beginnings, Haiti in mid-January was postponed cool but temperate nights. Rain at this the heritage of Los Angeles can be when the remote broadcast I was time of year is rare, but not unknown. enjoyed through excursions to China- helping to set up from the Port-au- Our hotel, the Wilshire Grand, is lo- town, Koreatown, and Little Tokyo, all Prince Festival for CIUT-FM in cated only a block from the 7th Street Toronto fell apart. I was also intend- Continued on page 8 ing to do preliminary legwork for the repatriation of the in Haiti 1936-37 box set. The repatriation effort had garnered the support of the Green Family Foundation, based in Miami, and had become a Clinton Global Fund project for 2010. But fate intervened, the ground shook, and devastation ensued. In the agonizing weeks after Janu- ary 12, amidst searches for friends, a long line of media interviews, com- memorative events and the pure fran- tic busyness intended to counter the shock and anxiety, I had the chance to wonder what had become of the repatriation project. But each time this thought cropped up, I dismissed the project as trivial in comparison to the needs of the wounded and displaced.

Los Angeles Skyline Continued on page 4 Ethnomusicology Sites Internet Resources The Society for Ethnomusicol- American Folklife Center ogy and the SEM Newsletter The SEM Website http://www.loc.gov/folklife/ http://www.ethnomusicology.org Editor, SEM Newsletter British Forum for Ethnomusicology Henry Spiller The SEM Discussion List: SEM-L Department of Music http://www.bfe.org.uk University of California To subscribe, send email message British Library Sound Archive One Shields Avenue to: [email protected]. Davis, CA 95616, USA http://www.bl.uk/wtm (Tel) 530.757.5791 (Fax) 530.752.0983 EDU. Leave subject line blank. Type (Email) [email protected] the following message: SUBSCRIBE http://cadensa.bl.uk SEM-L yourfirstname yourlastname. 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 SEM Newsletter in Haiti. The threesome began to marranos, or judaising sects) in south People and Places investigate the condition of musi- Italy. He currently is working on the Hugo Zemp is pleased to an- cians in Port-au-Prince following the songs of some marrano Jews from nounce that his total film work of catastrophe and to determine how north Calabria who a few decades fifteen films is on the way to be best to provide support to them in ago moved to Israel. distributed in the USA by Documen- the near future. For more informa- Peter Hoesing is presently finish- tary Educational Resources (DER), tion on Makandal’s ongoing work in ing field research in Uganda as a in Watertown, MA. His latest films on this sphere see (website) http://www. Fulbright-Hays Fellow. West African village music (the four- makandal.org. Greg C. Adams is a musician, film series Masters of the Balafon) Brent V. Buhler is completing his archivist, and researcher studying the and urban music (Siaka, an Afri- Master’s thesis on African American early history and development of the can Musician and An African Brass churches in the Memphis, TN area, banjo (ca. 1620-1870). He holds a Band)—all films reviewed in the jour- including recordings and analysis of BA in Music History from Youngstown nal Ethnomusicology—are available previously undocumented songs and State University (2001) and a MLS on DVD with previously unpublished worship features. from the University of Maryland, extras. The short film Funeral Chants Brita Heimarck reports that College Park (2004). His research in- from the Georgian Caucasus will Boston University is now offering MA cludes fieldwork in West Africa (2006, soon have a study guide on its web and PhD degrees in ethnomusicology 2008), developing a formal work page of DER, and on the same page through its musicology graduate pro- plan as Project Director for the Banjo three other short films with songs gram. For more information, please Sightings Database Project through from Svaneti will soon be available visit (website) http://www.bostoneth- an NEH Digital Humanities Start-Up in YouTube format. His earlier films, no.org or contact Professor Heimarck Grant (2009), and the general study produced by CNRS, will be issued by at (email) [email protected]. of early American blackface min- Documentary Educational Resources Mercedes Dujunco recently strelsy and early banjo performance later this year. For more information, returned from fieldwork in China, practice. In addition to his collab- see Hugo’s filmmaker website at Malaysia, Singapore, and Thai- orative fieldwork with Jola ekonting http://www.der.org/films/filmmakers/ land, supported by a Fulbright Hays players from the Senegambian region hugo-zemp.html. Faculty Abroad research grant. On of West Africa, he also served as an Alejandro L. Madrid (Associ- this six-month trip, she explored the apprentice to noted Malian master ate Professor of Latin American and issues of migrancy and ritual labor ngoni player and griot Cheick Hamala Latino studies, University of Illinois at among ritualists and musicians from Diabate through an 2009 Maryland Chicago) received the Woody Guth- the Chaozhou region in eastern State Arts Council Apprenticeship rie Book Award of the International Guangdong who travel to Southeast award. Greg is currently a gradu- Association for the Study of Popular Asia to perform at funeral rituals. ate student in the Ethnomusicology Music-US Branch for his book Nor-tec Jonathan Shannon was ap- Program at University of Maryland, Rifa! Electronic Dance Music from pointed a John Simon Guggenheim College Park. Tijuana to the World (Oxford Univer- Foundation Fellow for 2009-10 to Yoshitaka Terada reports that sity Press). The Woody Guthrie Book work on a project on Mediterranean the National Museum of Ethnology Award is given by IASPM-US to the musical and culinary circuits. (Osaka, Japan) will renew its music most distinguished English language Zoe C. Sherinian was named gallery for the first time since it was monograph in popular music studies. chair of the ethnomusicology unit in created in 1977. The new gallery, Judith Lynne Hanna was invited the School of Music at the University which opens on March, 2010, will to present the keynote address on of Oklahoma, effective January 2010. focus on four types of instruments: dance at the “Savoirs et performance Leo Cardoso’s Master’s thesis drums, gongs, double-reed aero- spectacular” symposium organized by focuses on visual music, investigating phones, and guitars. In each section, the Groupe de recherche en Sémiolo- links between science, technology, the relationship between sound/music gie du spectacle vivant at the Univer- and experimental art from an anthro- and humans will be demonstrated by sité Libre de Bruxelles on April 23-24, pological perspective. In 2009, He instruments, photos and video clips 2010. Her recent articles include, conducted fieldwork in Los Angeles, that are aired on more than thirty “Dance and Sexuality: Many Moves” where he interacted with software monitors. (Journal of Sex Research 47:1–30, designers, archivists, film scholars, Amelia (Amie) Maciszewski is 2010). and new media artists in order to in the final postproduction phase of In March, 2010, Lois Wilcken, understand the links between sound her new ethnographic film, Disrupted Executive Director of the Brooklyn- and vision through technology within Divas: North Indian Courtesans and based La Troupe Makandal, traveled the field of experimental art, and how Conflicting Pathways. She screened to Port-au-Prince with master drum- groups surrounding visual music a prepublication edit at the Univer- mer Frisner Augustin and drummer organize themselves. sity of Alberta Canadian Centre for Morgan Zwerlein to bring shelter and Piergabriele Mancuso has been Ethnomusicology’s workshop, “Wom- medical relief to a community af- working on the music traditions of fected by the January 12 earthquake “marginal” Jews (i.e., crypto-Jews, Continued on page 8

SEM Newsletter  Weapons of Mass In- All the pictures and news footage didn’t prepare me for the shock of I’d like to give a quick shout struction non-recognition. Hillside neighbor- out to an amazing Lomax team: continued from page 1 hoods in Canapé-Vert no longer Anna Lomax Wood, Kimberly Yet the sight of monuments in ruins, standing, fetid tent cities sprouting on Green, Jeffrey Katz-Nelson, galleries and museums reduced every patch of vacant land, streets Barbara Berge, Louis Carl Saint to rubble along with the visual arts still impassable with rubble, and Jean, Tatiana Magloire, Rob- inside them, and the loss of so many the town of Carrefour looking like ert Becker, Jeffrey Greenberg, theatres, clubs, and music venues— Dresden after the bombing of WWII. Wilele, Warren Russell-Smith, to say nothing of the images on CNN Carrefour was an area where I played Tatiana Wah, Don Fleming, Mat- of traumatized Haitians trying to sing music with a band in an appliance thew Johnson and many others. through the pain of un-anesthetized store, studied drumming in a dense —GA amputations—continued to provoke shantytown by the water’s edge, and around issues of culture and cultural attended scores of concerts in night- of Carrefour Deux Forts, a coastal loss. clubs, and now people were living area to the West of Port-au-Prince, In the meantime, the Green in tin shacks on the median strip of where a daughter of someone Lomax Family Foundation set about making the National Highway #2 with diesel recorded had been located. PBS was public service announcements with trucks roaring by on the dirt road filming our interviews with her and American and European celebrities amidst piles of garbage and debris our visit to the former police station (Sting, Naomi Watts, Ben Stiller, et everywhere. (now a rubble pile) where Alan Lomax al.) featuring the Lomax Haiti record- We held a listening party, panel, had recorded rara bands in 1937. ings as the soundtrack. The Green and concert on our first full day in A center for rara (and Bizango and Foundation and Clinton Global sent Haiti at the Café des Arts in Petion- Kongo societies), Léogane and Car- sets out for fundraising events, for ville, attended by musicians, scholars, refour des Forts had been a wonder- consciousness-raising, and for radio ambassadors, government ministers, ful area in which to live while I was play in Haiti. Increasingly, these and people interested in the arts. Our working with rara bands in the early recordings from the 1930s became a team on the ground in the capital had 1990s. Now every third building was media story of Haitian cultural rich- been filming dancers and singers who down, and it was believed that tens of ness and creativity, of cultural and remembered the songs and dances thousands had perished in the area. political resilience, and of the need that Lomax had recorded, and the Nevertheless, the markets were thriv- for cultural rebuilding in Haiti. And the films brought tears to some eyes. My ing and for those with homes intact, Green Foundation began to rally the old friend, musician and radio per- life appeared to have settled into a team that had worked on the Lomax sonality Joël Widmaïer, spoke of the kind of fractured normalcy. A local project to get busy again on the need to take culture seriously in the Petwo and and a Rada Society held Haiti repatriation project. And so we rebuilding of the nation, to nurture it a dans (informal Vodou ceremony) for assembled together in Haiti in mid- as a resource for survival. us lasting into the early nighttime. At April—old and new friends—to see We headed out to the city of the dans, we played a number of the what could be done. Léogane and its neighboring town songs from the region that had been recorded by Lomax, only to find many in the congregation singing along with the songs, another sign that this collection had resonance with a new generation. Interestingly, the night we left Léogane, we found out that one of our team may have located Francilia (last name unknown), a young singer that Alan had recorded, and whom I had made the subject of one of the albums in the box set. Now about 92 and a convert to Protestantism, she no longer sings Vodou songs. We hope to interview her on our next visit to Léogane and Carrefour Deux Forts. The Lomax Haiti archive, which includes some 1,500 audio record- ings and six films, was the earliest major set of recordings to have been made in Haiti and it was of a size Part of the panel at the Café des Arts, Haiti (l to r): Joël Widmaïer, Gage Averill, that dwarfs other more recent proj- and Anna Lomax Wood (photo: Tatiana Lagloire) ects. What does it mean to have all

 SEM Newsletter of this suddenly available in this next century/millennium? What might its impact be in a country struggling to sustain its population and rebuild af- ter the worst natural disaster in mod- ern human history. In conversations formal and informal with members of ISPAN (Institute de Sauvegarde du Patrimoine National), with the FO- KAL cultural center (The Fondation Connaissance et Liberté / Fondasyon Konesans Ak Libète (FOKAL), with an effort to allow the far-flung diaspora of Haitian cultural as- sets to find their way home the Rector of the Université de The remains of the lovely Cathédrale Ste. Trinité with its famous murals by Quisqueya, and with cultural activists, a Haitian artist, part of a complex that included a school and music school NGOs, and government ministries, (now rebuilding) (photo: Gage Averill) there was an overwhelming sense that the intangible cultural assets of had been kept in individual homes. In Haiti with the safe storage of original Haiti, as recorded and documented recent decades, personal and insti- audiovisual recordings in collections by generations of local and foreign tutional holdings had been subject offshore. Digitalization has made this ethnographers, needed to be made to the everyday effects of a hot and more feasible than ever. available to the Haitian people and alternately dry and wet climate, to However, to locate the many col- brought home (in some form or other) hurricanes and flooding, to political lections held abroad, and to coordi- from repositories abroad. violence and to crime, but now many nate their repatriation to a network But the earthquake was a re- lay crushed under roofs that had of cultural centers, libraries, and minder of all of the hazards that face collapsed. The earthquake has given universities in Haiti will involve sus- any repositories in Haiti. As in New new urgency to the need to find a tained work over a decade or more. It Orleans, many important collections solution that combines easy access in became clear over the course of this last visit to Haiti that the repatriation of the Lomax recordings is a piece of a much larger puzzle that will allow greater access to the history of Haiti’s intangible cultural heritage. And ac- cess is about more than history—it’s about the creative and expressive processes that allow people to make sense of themselves and their world; it’s about being familiar enough with the past to use it as a resource for fashioning the future. A proverb used in a popular Haitian song came back to me in the days following the quake: “Jou-n tonbe se pa jou-n koule” (The day we fall is not the day we sink). We have plans for at least another couple of visits to Haiti to continue to retrace Alan Lomax’s footsteps and to advance the repatriation project, but this will be only the start of a broader and more concerted effort to allow the far-flung diaspora of Haitian cultural Petwo celebrants at a dans in Léogane (photo: Gage Averill) assets to find their way home.

SEM Newsletter  Defining the field—it as essential a part of fieldwork as any. It’s about setting limits, yes—and it can also be our most intimate encounter with ‘reflexivity,’ as subject and object become the selfsame specie. When the field becomes the field, “Chinese” mirrors focusing our gaze on our discipline itself, fieldwork is no longer about collecting data, but “an enabling fiction between observer and observed, knower and known,” and “a way of knowing, a method of critical inquiry, a mode of understanding” (Conquergood 1991). What are the implications of imagining the field as a verb, of reconceptualizing this locus-of-action as, itself, action? [Insert music video à la School House Rock—“I get my thing in action (verb!) / to be, to sing, to field, to live (verb!) / that’s what’s happenin’!”] We know fieldwork is something we do, but the field-as-invention makes us all authors of nothing less than THE FIELD. Knowing about music often implies exam- ining methodology. As this edition’s contributor muses, subject and object may merge with method, making music also a means. Moiré. —Jesse Samba Wheeler

Conquergood, Dwight. 1991. “Rethinking Ethnography: Towards a Critical Cultural Politics.” Communications Monographs 58 (June): 190.

Dorough, Bob. 1974. “Verb: That’s What’s a’Happenin’!”

<< How Musical is Ethnomusicology? Reflections on My Introduction to the Discipline >>

by Ben Dumbauld Phoenix, Arizona, February 2010

If my personal experience as an ethnomusicology student is at all similar to those of students at other institutions, it may be said that one of the evolving themes of the field is its disciplinary diversity. The mix of courses I have taken in the past two years – cultural studies, history, ethnography, music, and anthro- pology – provide stark contrast to my experience as a music performance undergrad, in which the majority of my required courses were in either western music history or theory. Of course, the multidisciplinary aspect of ethnomusicology is one of the initial reasons I chose to pursue the field. Nonetheless, on the cusp of finishing my MA, I find myself confronted with the question: how musical is ethnomusicology, really? I was not confronted with this issue until I began research for my thesis. Originally, I planned on examining the music-making practices within the Chinese community, a decidedly musical analysis of how, when and where Chinese ethnic music is performed in Arizona. But as my initial fieldwork continued, my interest slowly transitioned from an analysis of secular music created by professional musicians into one of sacred music created communally. Soon I became enamored of the idea of studying the musical culture within Chinese Christian churches, but this shift in focus also meant a shift in ethnographic method: interviewing professional musicians about mostly musical matters evolved into a broader approach of understanding music from the viewpoint of the individual congregation member who, but for one hour every Sunday morning, has had no experience making music. I grappled with the fact that while musical performance takes up more than a quarter of every service and almost all congregation members participate in singing, the majority of people I inter- viewed had difficulty discussing with me the service music itself. Out of necessity

 SEM Newsletter then, I developed a two-step ethnographic approach of understanding first the mu- sic being performed at the church (its melodic and harmonic conventions, history, etc.), then the personal histories and ideologies of the congregation’s members. Once I felt I had a good grasp of both of these aspects, I could better understand the role service music played for the people at the church. But understanding the stories and backgrounds of the congregation members meant that my research incorpo- rated just as much, if not more, information on Chinese immigration to Arizona and the history of Christianity within the diaspora as on the history of Chinese hymns. Such a focus eventually resulted in a master’s thesis that (besides the introduc- tion) does not discuss music until the end of the fourth chapter. Consequently, my thesis is less focused on music explicitly and more on the connection between music and individual or group narratives within this specific community. Such analysis became most pronounced when comparing the English and Man- darin services at the church. The differences between these two services go well beyond language: each has a unique set of cultural symbols and conventions that serve its congregations. Musically, this means each congregation draws from a sepa- rate Christian tradition: the Mandarin congregation performs hymns written mostly in Taiwan and China, while the English service performs Christian pop and rock music composed in the United States. Though this choice of cultural conventions separates the two services, church leadership purposely inserts (for lack of a better word) symbols from one congregation into the other to better unify the church as a whole. For instance, certain hymns within the Mandarin service may incorporate a drum set; or, the English service often invites choirs from China to perform (in Mandarin) for their services. Thus, music within these services enables congregation members to not only strengthen both their own identities and histories, but also learn about the experiences of other members of the Chinese diasporic community. Perhaps, then, the most effective way to answer the title question is to re- contexualize it into another, one which asks whether music is the end or the means of ethnomusicological research. That is, should music be the omnipresent subject of our studies, or can is also be used as an ethnographic lens through which to view greater cultural dynamics? Can the analysis (and performance) of music be a research method, just as much as it is a field of research? Personally, I believe both ap- proaches have merit. I wonder, though, as more and more music is studied and cata- logued, if future ethnomusicologists, while ever identifying new forms of music, will find the need to reconceptualize the field by approaching known forms from new directions.

! to Ben Dumbauld, an MA student in the Herbeger College of Design and the Arts, part of Ar- izona State University’s School of Music. He has been researching the role of music in the con- struction of individual and group identity at Chinese Christian churches in Phoenix, Arizona.

SEM Newsletter  SEM 2010 Los Angeles People and Places of the Journal of American Folklore. This fall, Berger will give the keynote continued from page 1 continued from page 3 address at the biennial conference of accessible via the Metro system. Also en Performers as Agents of Change: IASPM-UK/Ireland and will also speak only a few stations away (near Union Perspectives from India,” in March, at the Center for Language, Interac- station), is historic Olvera Street 2010. tion, and Culture at the University of (La Placita Olvera) and El Pueblo Finally, after years of what California, Los Angeles. In addition to de Los Angeles monument, with its seemed like endless civil war and teaching undergraduate courses in own cultural programs and museums fighting, Beirut was quiet, and Caro- popular music and ethnomusicology, celebrating the historic diversity of lyn J. Fulton decided it was safe to Berger will begin teaching classes in cultures in the symbolic heart of the visit her Lebanese “adopted” fam- Texas A&M’s new master’s program city. Those interested in the culture ily members in July, 2009—exactly in performance studies, which admits of the Native Gabrieleño/Tongva forty years after Amin (a naturalized its first class of students in the fall of people might find the collections of US citizen and civil engineer for the 2010. the Southwest Museum and Autry State of Washington) and his beauti- Sidra Lawrence (PhD candidate, Museum of Western Heritage of inter- ful young wife Latife departed Seattle, University of Texas at Austin) has est, and for the truly adventurous soul WA, to return home and fulfill their been awarded one of seven 2010 willing to brave Southern California extended family obligations. Her Woodrow Wilson Women’s Stud- traffic, the Getty Museum awaits on eleven-day trip included an excursion ies Dissertation Fellowships. The the west side of town, in the Brent- to the ancient Roman ruins of Baal- Woodrow Wilson Women’s Studies wood area. beck. She anticipates that future visits program, the only national fellowship The Local Arrangements Com- will allow for more investigation and for doctoral work on issues of women mittee (LAC) is busy planning a opportunities to hear and participate and gender, supports the final year full menu of concert performances in the traditional folk music and danc- of dissertation writing for PhD can- by UCLA and Cal State Northridge ing events. didates in the humanities and social groups to accompany the scholarly Harris M. Berger was recently sciences doing interdisciplinary and program, and is sponsoring two spe- promoted to the rank of full professor original work on these issues. Ms. cial workshops for graduate students, in the Department of Performance Lawrence is currently conducting field one in ethnographic video making Studies at Texas A&M University research in Ghana for her disserta- and the other in field photography. (effective September 1, 2010). Late tion project, De-Sexing the Body: the Additional activities include the pos- last year, Wesleyan University Press Gendering of Dagara Performance sibility of a workshop and evening published his book Stance: Ideas Space, which explores how female performance with the Balinese per- about Emotion, Style, and Meaning musicians in Ghana and Burkina forming group Gamelan Çudamani on for the Study of Expressive Culture. Faso, West Africa complicate simple November 10th at the UCLA campus, Grounded in music but exploring a notions of the connections between and a special tour of the Grammy variety of expressive forms, the book gender, sexuality, and the body Museum for conference attendees. presents a wide ranging new theory through musical performance. For The LAC and the UCLA Depart- of meaning in performance. Berger more inforamtion about the fellowship ment of Ethnomusicology look for- and Giovanna P. Del Negro are now program, see (website) http://www. ward to welcoming you to Los Ange- completing a five year term as editors woodrow.org/. les and the UCLA campus.

Make a pilgrimage to the Hollywood Sign during the SEM Meeting in Los Angeles (photo: Sten Rüdrich)

 SEM Newsletter BFE Annual Confer- ence, Oxford, Eng- land By Ellen Koskoff Recently, I had an opportunity to go to Oxford University’s St. John’s College in Oxford, England, to participate in the British Forum for Ethnomusicology’s (BFE) Annual Conference (April 8-11, 2010). The title of the conference was “Musical Knowledge” and there were a num- ber of ways that musical knowledge was elaborated, constructed, and deconstructed during the confer- ence. Three major themes emerged, each of which was represented by a variety of sessions: (1) Fieldwork and Reflexivity in Knowledge Production; (2) Transmission and Modern Music Bate Instrument Collection, Oxford University (photo: Ellen Koskoff) Pedagogies, and (3) Ethnomusico- logical Knowledge in the Academy. thropology and Music at the Univer- Musical performances were also On the first day of the Confer- sity of New Mexico, who delivered an an important part of the Conference. ence, a plenary session, “Musical inspiring talk on ambient sounds and Included in the programming were: Knowledge, Theory,” addressed the soundscapes, titled “Acoustamolo- (1) Projecto Almagreira: a Portuguese theoretical construction of musical gies.” Many different musical spaces group consisting of guitar, and cello; knowledge. The following people par- were evoked, including Feld’s original the Oxford Gamelan Society—Brit- ticipated: Georgina Born (Cambridge field site among the Kaluli in Papua ain’s longest established gamelan University, UK). Marcello Sorce Keller New Guinea, more recent visits to group, Kyai Madu Laras (Venerable (Mediterranean Institute, Malta); Accra, Ghana, and the countryside Sweet Harmony); Zimbabwean mbira, Suzel Reily (The Queen’s University of Greece (among sheep and cows Middle Eastern musical traditions, of Belfast, UK) and Martin Clayton wearing bells). The talk, delivered and rappers, DJ Rupert and Noel, (Open University, Milton Keynes, UK). in a quintessential Feldian form of from Finland. The Keynote Speaker was Steven expressive poetry both informed and I was amazed by the incredible Feld, Distinguished Professor of An- entranced its listeners. geographic representation of the participants. Here is a representa- tive list of countries (alphabetical listing): Australia; Brazil; (UK, Ireland, Bulgaria, Greece, Italy, Switzerland, Norway, Sweden, Finland) Hong Kong; India; Malaysia; Mongolia; North America (Canada, United States); Palestine; Scandi- navia (Norway, Sweden, Finland); South Africa; and Turkey. One of the most wondrous moments of the Conference was the visit to the Oxford University’s Bate Collection of Musical Instruments, a truly glorious collection of (mainly) western musical instruments, including various harpsi- chords, clavichords, and early piano fortes (see photo above). There were many wonderful papers but my favorite was “Inter- rogating ‘Artistic Research’ of Music,”

St. John’s Dining Hall, Oxford University (photo: Ellen Koskoff) Continued on page 10 SEM Newsletter  BFE, Oxford Christ’s Church, Oxford (photo: Church and its gardens (see picture, Ellen Koskoff) above). All in all, I had a wonder- continued from page 9 ful time and I commend the British delivered by Antti-Ville Karja of the novel (see picture on p. 9). I both Forum for Ethnomusicology for University of Turku, Finland. This was loved it, and thought it was strange. I presenting a delightful Conference of an examination of the new program at was also engaged by the long barbe- enlightening and engaging papers, the Sibelius Academy in Finland that cue pokers that were displayed near concerts, and opportunities to visit teaches and records “folk music.” The the dining room—a sort of reminder with ethno-friends and colleagues. of the power of paper deconstructed notions of “folk” English imperial- music and posited the notion that ism (see photo at conceptions of “folk” at the Sibelius right). Academy were embedded in the On a walk older European models of Herder’s through the center hierarchy, stressing “folk” music in of Oxford’s com- opposition to “art music.” mercial district, I But, lest you think that I spent all became aware not my time listening to papers, I present only of the wonder- my journey through Oxford, which fully English stores proved to be both rewarding and fun. (e.g., Alice’s Place, I am not a Harry Potter fan, but I was where you can buy struck by the verification of the “boy’s all sorts of Alice in school” culture of St. John’s. When Wonderland stuff), I first walked into the dining room, I but also of the thought I had entered a Masterpiece beautiful archi- Theater presentation of a Dickens tecture of Christ’s Barbecue pokers at St. John’s (photo: Ellen Koskoff)

10 SEM Newsletter Dan Sheehy named projects in the folk and traditional arts Calls for Participation across the United States and its ter- Director of Center for ritories. 2010 Sanjo Festival and Folklife and Cultural Dan earned his doctorate in eth- Symposium: Korean Sanjo, Sha- nomusicology from UCLA and was a manism, and Ritual Traditions in Heritage Fulbright-Hays scholar in Veracruz, Asia Mexico. He served as co-editor of By Wayne Clough, Secretary, October 28–29, 2010 Center for Folklife and Cultural the “South America, Mexico, Central Heritage America, and the Caribbean” volume Graduate Center, The City University of the Garland Encyclopedia of World of New York Dan Sheehy, Acting Director of Music. His book Mariachi Music in the Center for Folklife and Cultural America: Experiencing Music, Ex- Deadline: August 20, 2010 Heritage since April 2009, has been pressing Culture was published by The Korean Ministry of Culture, named Director of the Center. Dan Oxford University Press in 2006. In Sports and Tourism proudly announc- has served as Director and curator 1997, the American Folklore Society es the 2010 New York Sanjo Festival of Smithsonian Folkways Recordings honored Dan with the Benjamin A. in collaboration with the Gugak FM since 2000. Under his leadership, Botkin prize, recognizing his impact Broadcasting System in Seoul and Smithsonian Folkways has published on the field of and on the Music Department of the CUNY more than 150 recordings and earned public understanding of folklore. Graduate Center under the direction four Grammy awards and 13 nomina- Dan has served on the boards of of Professor Stephen Blum and Dr. tions, including the 2010 award for the American Folklore Society, the Ju-Yong Ha. The festival will include “Best Tejano Album” for The Texma- Society for Ethnomusicology, the Na- a symposium and concerts with the niacs’ “Borders y Bailes.” He also tional Council for the Traditional Arts, world’s leading Asian and Korean serves as curator of the Folkways the Alliance for California Traditional music scholars and sanjo and sinawi Collection. Prior to joining Folklife, Arts, the Association for Cultural masters of South Korea, recognized Dan served as Director of Folk Equity and the Community Council as National Human Treasures of Ko- and Traditional Arts at the National of WAMU public radio. He is also rean Intangible Cultural Assets. Endowment for the Arts, where he active as a professional musician—he The Festival/Symposium invites supervised the National Heritage Fel- founded Mariachi Los Amigos in abstracts for papers of original schol- lowship awards and grants programs, 1978, the Washington, DC-area’s arship addressing this year’s sympo- which provide financial support for longest-existing mariachi ensemble. sium theme: “Transitions and Trans- formations: From Shamanistic Rituals to Secular Arts and Entertainment in the Music of Korea and Beyond.” We wish to explore the way in which as- pects of the Korean sanjo and sinawi traditions and comparable traditions elsewhere in Asia have developed from ritual origins and assumed new social functions and aesthetic dimen- sions. At the heart of this issue is how master musicians have con- tributed not only to the perpetuation of received tradition, but also to the transformations that result from facing the challenges posed by changing cultural circumstances. The panel will welcome papers that discuss sanjo, sinawi, or other genres/repertoires with ritualistic origins, whether in Korean music or other musical traditions in Asia. The papers should have a comparative approach to the musical and social aspects of the genres examined, taking into account contemporary perspectives. The festival committee will provide lodging (hotel room) for three nights

Dan Sheehy Continued on page 12 SEM Newsletter 11 Calls the theme of the 15th International (CMER) at the University of South continued from page 11 CHIME meeting, to be held in Basel, Florida, Tampa, including empirical, Switzerland, November 24-28, 2010, theoretical, philosophical, psychologi- (October 27, 28, and 29) and per in conjunction with the Swiss festival cal, and ethnographic perspectives diem in Manhattan during the festival. Culturescapes. CHIME is a worldwide in all types of teaching and learning (Presenters must provide for their network of scholars and aficionados contexts. own travel expenses.) of Chinese and East Asian music. Symposium topics include, but are Abstracts of no more than 350 The annual meetings are open to not limited to: words should be submitted to Dr. Ju- interested scholars and students in • definitions, theories, and values of Yong Ha at (email) juyong@hamusic. the realms of musicology, ethnomusi- popular musics worldwide org by Friday, August 20, 2010. The cology, popular culture, anthropology, • qualities of musical expression in abstract should include the title of the and East Asian languages, cultures popular music paper, your name, email, phone num- and religion, but also to anyone else • universal and non-universal as- ber, and academic or professional with a professional or private passion pects of popular music affiliation. for Chinese and East Asian music. • teaching, learning, assessment, Invited participants include: The official language of the meeting and evaluation Hwang Jun-Yon (Seoul National Uni- is English. (Presentations in Chinese • formal and informal aspects of versity), Frederick Lau (University of and in other languages can be ac- popular music pedagogy Hawai’i); Yi Yong-Sik (National Center cepted if speakers provide a written for Korean Traditional Performing • applications of technology in translation of their presentation in popular music pedagogy Arts), Yun Jung-Gang (Gugak FM English in advance.) Broadcasting System); R. Anderson • new initiatives in popular music We invite proposals for individual Sutton (University of Wisconsin— pedagogy research papers, panels, and poster presenta- Madison). Sanjo Masters expected tions. Abstracts of up to 300 words Submissions are invited for spo- to perform include Master Baek for individual (20-minute) papers ken papers, poster presentations, In-Yeong (gayageum), Master Weon and for posters should be sent by and special topic sessions. For more Jang-Hyeon (daegeum), Master Choi email to the Dutch main office of the information, see (website) http://cmer. Jong-Gwan (ajaeng), Master Kim Mu- CHIME Foundation at chime@wxs. arts.usf.edu/content/templates/ Gil (geomungo), Master Hong Ok-Mi nl. For panel proposals we ask for a ?a=909&z=137 or email davidw@usf. (haegeum) and Master Jeong Hwa- short description of the panel topic edu. Yeong (janggo). as well as an individual abstract for The organizing committee plans each panel participant. Abstracts to publish a selection of the papers must have reached us by May 15, Announcements from this symposium in the newly 2010. Possibilities exist for early continued from page 12 launched journal Perspectives on acceptance of papers for those who Korean Music. Guidelines and plans part of Naxos: Drymalias. need confirmation to apply for grant for publication will be discussed at the More than a dance camp, work- applications. As always, we look symposium and will be coordinated shop or seminar, Nisos Naxos is a forward to a lively meeting, includ- by the executive editor of the volume, unique celebration of Greek tradi- ing various recitals and concerts of Dr. R. Anderson Sutton. Submissions tion—twelve days of celebration traditional Chinese music. More news from all participants will be encour- in partnership with the City Hall of on the meeting and on possibilities for aged. Naxos Drymalias and all the villages pre-registration can be found on the of Drymalias. Dance courses and CHIME website at http://home.wxs. meals do not take place in an hotel, 15th International Meeting of nl/~chime. CHIME (European Foundation for but in the heart of the villages, with all Chinese Music Research) Popular Music Pedagogy the village residents, so participants will be able to meet the Naxians, November 24–28, 2010 February 3-5, 2011 dance with them, and share unfor- Basel, Switzerland Center for Music Education Research gettable moments of joy, discovery, (CMER), University of South Florida, happiness. The event provides the Deadline: May 15, 2010 Tampa, FL unique opportunity to learn the fifty How does musical theory in China beautiful dances from all the 30 Cy- Deadline: July 1, 2010 and East Asia differ from musical clads. theory elsewhere in the world? What The Suncoast Music Education To experience memories of are its unique contributions to cul- Research Symposium (SMERS) VIII the 2009 Nisos Naxos festival, ture and to musical performance? will highlight current research and visit (website) http://www.you- How can we meaningfully integrate thought on popular music pedagogy. tube.com/watch?v=XhthF8ZrYzA theory and practice in the (many) The Symposium welcomes interna- and http://www.youtube.com/ cases where theory and performance tional and interdisciplinary presenta- watch?v=t3PGA7blgyw. For more practice clash? These questions form tions which support the mission of the information, visit (website) www. Center for Music Education Research nisiotis.gr.

12 SEM Newsletter folk idioms through the mediums of and Patricia Shehan Campbell. For Announcements music, dance, and scholarship. For registration information, visit (website) African Music and Dance Festival more information on Sankusem, visit http://www.outreach.washington.edu/ (website)www.sankusem.org. ICMC nondegree/ or contact Michiko Sakai June 13–17, 2010 is an independent non-profit center at [email protected]. A celebration of the Arts and Music based in Leavenworth, WA, dedicated of Africa is coming to the Icicle Creek to the advancement of classical mu- Musical Instrument Museum (MIM) Music Center (ICMC) in Leavenworth, sic, the performing arts, and educa- opens in Phoenix,AZ WA, June 13-17, 2010. The Festival tion in a spectacular mountain retreat The Musical Instrument Museum will offer a five-day series of work- setting. For more information, visit (MIM) in Phoenix, AZ, opened on shops, lectures, and performances (website) www.icicle.org. led by Dr. George François and noted April 24, 2010. MIM collects and displays musical instruments from musicologist Kofi Agawu (Princeton Mused 496, UW, Seattle, WA University), among others, and will every country in the world, preserv- feature the works of leading Ghana- June 28–July 2 ing, protecting, and sharing these gifts with future generations. Museum ian composer Nketia performed by Audio, video, print, electronic, and guests enjoy a close encounter with Ghanaian master drummer, com- human resources will be sampled the instruments themselves, en- poser and choreographer Obo Addy, for teaching world music in K-8 hanced by state-of-the art audio and the Okropong Music and Dance En- classrooms. Attention will be given video that bring to life the sounds semble, Ghanaian pianist Dr. George to learning culture through songs, and sights of these instruments as François, esteemed violinist, Rachel stories, movement and dance experi- experienced in their cultures of origin. Barton-Pine, African soprano Mar- ences, and instrumental music on Live performances by internationally garet Ferguson, and the Icicle Creek classroom instruments. Participants renowned artists in MIM’s theatre will Piano Trio: Jennifer Caine, violin, Dr. will be guided in developing cur- give guests an opportunity to hear the Sally Singer, cello, and Dr. Oksana ricular materials from the Smithson- music from every corner of the globe Ezhokina, piano. The Festival will ian Folkways archives that fit the in an intimate, comfortable environ- culminate in a concert on June 17 at needs of their elementary and middle ment with superb acoustics. For more 7:30 PM in the lovely intimate Canyon school students in knowing music information, see (website) www. Wren Recital Hall on the Icicle Creek (and knowing culture through music). themim.org. Music Center campus.Full package Teachers will receive 3 university with on-site board/lodging (based credits and documentation from the on multiple occupancy in cabins) is Smithsonian Institution that certifies Nisos Naxos 2010 $400; partial package without on-site their specialized study in world music July 19–August 1, 2010 board/lodging is $200 pedagogy. Traditional artist-musi- Registration is now open for The African Music and Dance cians, culture-bearers, and teachers “Nisos Naxos 2010,” July 19-August Festival is presented in partnership will form the faculty roster for this 1, 2010, twelve days of celebration, with Sankusem, a non-governmen- workshop, including Shannon Dud- in partnership with the City Hall of tal organization founded in Ghana, ley, Kedmon Mapana, Peter Park, Naxos Drymalias, and all the villages West Africa in 2007 by Dr. George Christopher Roberts, Atesh Sonnen- of the traditionnal and well-preserved François to celebrate and promote born (Smithsonian), Amanda Soto, the contemporary use of African Continued on page 12

yale institute of sacred music announces ISM Fellows in Sacred Music, Worship, and the Arts An opportunity for scholars / religious leaders / artists to join a vibrant interdisciplinary community for one year. Teaching opportunities available. Application deadline: September 20, 2010.

The Yale Institute of Sacred Music is an interdisciplinary graduate center at Yale University. More information at www.yale.edu/ism/fellows or [email protected].

SEM Newsletter 13 Jun 28-Jul 2 more information, see (website) Conferences Calendar Mused 496, University of Wash- www.afsnet.org ington, Seattle WA. For more 2010 information, http://www.outreach. Nov 11-14 washington.edu/nondegree/ 55th Annual Meeting of SEM, May 15-17 Wilshire Grand Hotel, Los Ange- SEM Midwest Chapter Annual July 1-4 les, CA. For more information, Meeting, University of Minnesota, “Musical Translations across the see (website) http://www.indiana. Minneapolis, Minnesota. For more Mediterranean,” 8th Meeting of the edu/~semhome/2010/index.shtml information, see (website) http:// ICTM “Study Group for the Anthro- Nov 18-21 sem-midwest.osu.edu/ pology of Music in Mediterranean Cultures,” University of Malta. For Congress on Research in Dance May 19-22 more information, contact Marcello (CORD) and American Society 44th Annual Association for Re- Sorce Keller at (email) mskeller@ for Theatre Research (ASTR), corded Sound Collections (ARSC) ticino.com The Renaissance Seattle Hotel, Annual Conference, Chateau Seattle, WA. For more informa- Bourbon, 800 Iberville Street, New Jul 19-30 tion, see (website) http://www. Orleans, LA. For more informa- Joint Meeting: ICTM Music and cordance.org/2010-conference tion, see (website) http://www. Minorities Study Group & Applied Nov 24-28 arsc-audio.org/conference/ Ethnomusicology Study Group, Hanoi, Vietnam. For more infor- 15th International Meeting of May 21-23 mation, contact Ursula Hemetek at CHIME (The European Founda- Music and the Moving Image V, (email) [email protected] tion for Chinese Music Research), New York University. For more Basel, Switzerland. For more information, see (website) http:// Jul 29 - Aug 1 information, see (website) http:// steinhardt.nyu.edu/music/scoring/ North American British Music home.wxs.nl/~chime conference/ Studies Association (NABMSA) Fourth Biennial Conference, 2011 May 25-29 Drake University, Des Moines, IA. Institute on the Pedagogies of For more information, see (web- Jan 21-22 World Music Theories, University site) http://www.nabmsa.org Third Biennial Symposium on of Colorado at Boulder. For more Latin American Music, Tucson, information, www.music.org/pwmt. Sep 10-11 AZ. For more information, see html Humanities of the Lesser-Known, (website) http://www.u.arizona. Centre for Languages and Litera- Jun 3-5 edu/~sturman/CLAM/CLAMhome. ture, Lund University, Sweden. For html American Hungarian Educators more information, see (website) Association (AHEA) 35th Annual http://conference.sol.lu.se/en/hlk- Feb 3-5 Conference, University of Szeged, 2010/ Popular Music Pedagogy: Sun- Hungary. For more information, coast Music Education Research see (website) http://ahea.net/ Sep 13-15 Symposium (SMERS) VIII, Center 3rd International Conference of Jun 3-6 for Music Education Research Students of Systematic Musicol- (CMER), University of South Flori- Spaces of Violence, Sites of ogy (SysMus10), Centre for Music Resistance: Music, Media and da, Tampa, FL. For more informa- and Science at the Faculty of Mu- tion: http://cmer.arts.usf.edu/con- Performance, Faculty of Fine Arts. sic, University of Cambridge. For University of Regina. For more tent/templates/?a=909&z=137 or more information, see (website) email [email protected] information see (website) www. http://www.mus.cam.ac.uk/CMS/ iaspm.ca or (website) www.yorku. sysmus10/ Feb 25-27 ca/cstm/memberships.htm Jewish Music and Germany after Sep 30 - Oct 2 Jun 13 the Holocaust, Dickinson College, The Ottoman Past in the Balkan Carlisle, PA. For more information, Acousticity: A Symposium on Present: Music and Mediation, Sound, Space, and Practice, contact (email) DickinsonCollo- Department of Turkish and Mod- [email protected] Grožnjan, Croatia. For more ern Asian Studies, University of information, contact acousticity. Athens, Greece. For more infor- Jul 13-19 [email protected] mation, see (website) http://www. ICTM 41st World Congress, St. Jun 16-19 turkmas.uoa.gr/conf2010 John’s, Newfoundland, Canada. Ideologies and Ethics in the For more information, see (web- Oct 13-16 site) http://www.mun.ca/ictm2011/ Uses and Abuses of Sound, Koli, American Folklore Society 122nd Finland. For more information, Annual Meeting, Hilton Nashville Nov 17-20 see (website) http://www.joensuu. Downtown, Nashville, TN. For 56th Annual Meeting of SEM, fi/soundscapes Philadelphia, PA

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