British Forum for Ethnomusicology 2019 Annual Conference

11-14 April 2019

The Elphinstone Institute MacRobert Building University of Aberdeen AB24 5UA

British Forum for bfe Ethnomusicology ‘Fae the North East’ A Celebration of Traditional Music and Song

Friday, 12 April 2019 8.00 to 11.00 pm

featuring

Joe Aitken Ellie Beaton Kory Buckingham Janice Clark George Davidson Cassie Findlay Geordie Murison Jim Taylor and Special Guest from Northern Canada Thelma Cheechoo

Hosted by Ian Russell The Blue Lamp 121 Gallowgate, Aberdeen AB25 1BU Tickets £10.00 (£8.00 concessions) at the door or call 01224 272996 to reserve a ticket

Celebrating the visit of the British Forum2 for Ethnomusicology to Aberdeen WELCOME FROM THE BFE CHAIR

Welcome to the British Forum for Ethnomusicology 2019 Annual Conference, hosted this year by the University of Aberdeen. I am very grateful to Dr Frances Wilkins, Professor Ian Russell and the rest of the Local Arrangements Committee, who have been working hard behind the scenes to ensure this is a fun and intellectually encouraging exchange. I recall the last time I presented at the BFE conference at Aberdeen in 2004 with pleasure, as it was one of my first presentations at an academic conference. Then, as now, the BFE was an open and very plural ‘big tent’ as an academic subject association, welcoming a diverse range of speakers and topics. That has not changed I’m happy to say, and the programme for this annual conference in 2019 is similarly catholic and stimulating. I very much hope that those of us here actively engage in the presentations, the debate and in positive debate. I also wish to hear from as many of you as possible about what the BFE might do in the coming years, and how we might improve this subject association. To that end, I’d encourage all members to attend the AGM and contribute to our discussions, and I’m especially interested in hearing from members who have views about how we might extend the reach of ethnomusicology beyond the academy. You can reach me at any time by emailing [email protected]. uk. Good luck, and best wishes for the 2019 annual conference.

Dr Simon McKerrell Chair, British Forum for Ethnomusicology

WELCOME TO THE ELPHINSTONE INSTITUTE

On behalf of the Elphinstone Institute at the University of Aberdeen, I would like to extend a very warm welcome to everyone attending the 2019 BFE conference in Aberdeen. It is a great pleasure to host the conference for a second time, and we are excited to be bringing academics and performers together from across the globe to discuss their research and experiences of collaboration in ethnomusicological research and discourse. We would especially like to welcome our keynote speaker, Mellonee Burnim, Professor Emerita at Indiana University, who will be giving her lecture on Friday 12th April, and performers and researchers Thelma Cheechoo and Michael Etherington from the James Bay area of Northern Canada, who will be giving a joint presentation and performances to coincide with the exhibition, Nimitaau|Let’s Dance: Fiddle-Dancing through Scots and Eeyouch Cultures which will be on display in the MacRobert Building for the duration of the conference.

The Elphinstone Institute is a centre for the study of Ethnology, Folklore, and Ethnomusicology at the University of Aberdeen. Established in 1995 in celebration of the quincentenary of the university’s founding, the Institute researches and promotes the culture of the North and North-East of Scotland in context.Using ethnographic methodologies, staff, research fellows, and students research ideas of identity and belonging, meaning and function, drawing on an exceptional heritage of traditional music, song, story, lore and language, alongside the dynamic creativity of those who live and work here today.

Our work is focused on living vernacular culture and the ways in which individuals give expression to contemporary issues of community and identity in both public and private life. We are interested in the dynamics of how traditions and cultures are created, adapted, reinterpreted and renewed, to meet new and challenging circumstances. The interests of the Elphinstone Institute are international as well as local, since the great diaspora of northern Scots stretches around the world, and because many immigrants have chosen Scotland as home.

We look forward to meeting you at BFE 2019!

Dr Frances Wilkins Lecturer in Ethnomusicology, The Elphinstone Institute

2 1 KEYNOTE SPEAKER

MELLONEE BURNIM Professor Emerita, Department of Folklore and Ethnomusicology, Indiana University, USA

Keynote Address Friday 12 April at 16:00 MacRobert Lecture Theatre, MacRobert Building, University of Aberdeen

2 Hidden Musical Transcripts in National Rituals of Mourning and Marriage: A British Royal Wedding, an (African) American Funeral

Abstract

In 2015, the United States mourned the loss of nine innocent victims of a hate crime committed during a week-night Bible Study in Emanuel African Methodist Episcopal (AME) Church in Charleston, South Carolina. Backed by a pulpit filled with AME bishops, and an audience of 5000, most of whom were African American, President Barack Obama delivered a 37-minute eulogy, which he ended with the perennial favorite hymn, “Amazing Grace.” Obama was the ultimate statesman, hardly a musician by any stretch of the imagination. Yet, his musical offering became a focal point of the four-hour service, permanently etched in the minds and hearts of the nation through widespread television coverage and social media. Three years later, an equally poignant national musical exchange occurred during the royal wedding of American Megan Markle and Prince Harry, Duke of Sussex. In a ceremony filled with classical music, choral director Karen Gibson led the 20-voice Kingdom Choir, most of whom were of African descent, in a gospel- inspired arrangement of “Stand By Me,” originally recorded as rhythm and blues in the US in 1961 by Ben E. King. The Kingdom Choir version has now been watched on You Tube several million times, signaling the widespread appeal the song and the ensemble have generated. While the realization of these two compelling, yet disparate musical moments might appear to have been crafted by lone individuals, in actuality, powerful unnamed collectives coalesced prior to and during the actual ritual events, to bring to fruition the multiple meanings embodied in these iconic musical exchanges. This paper will explore those contrasting yet complementary behind-the-scenes, hidden transcripts that informed each of these musical productions, and also contributed to the broad national receptivity they generated.

.

Biography

MELLONEE BURNIM is professor emerita in the Department of Folklore and Ethnomusicology, and retired Director of the Archives of African American Music and Culture at Indiana University-Bloomington, USA. She is a past Director of the Ethnomusicology Institute at IU and has served as chairperson in the Department of African American and African Diaspora Studies. She is a Distinguished Alumnus of the University of North Texas and was selected as the first Distinguished Faculty Fellow in Ethnomusicology and Ritual Studies at the Yale Institute for Sacred Music in 2004. In 2001, Burnim was selected as a Ford Foundation womanist scholar at the Interdenominational Theological Center in Atlanta. She holds the BME (cum laude) in music education from North Texas State University (1971); MM in ethnomusicology from the University of Wisconsin-Madison (1976); and the PhD in ethnomusicology from Indiana University (1980). As an ethnomusicologist with a specialization in African American religious music, Burnim has done fieldwork and led choral music workshops on African American religious music across the United States, as well as in Cuba and Malawi. She is co-editor of African American Music: An Introduction (Routledge 2006), now in its second edition (2015). This text has been widely adopted in universities across the US. In 2016, Burnim co-edited Issues in African American Music: Race, Power, Gender and Representation (Routledge), which includes her research on women in the gospel music tradition and the gospel music industry.

2 3 Conference Team

The conference is being led by Dr Frances Wilkins together with Professor Ian Russell and ably assisted by an excellent team of staff, students and associates of The Elphinstone Institute: Alison Shaman, Jenny Shirreffs, Chris Wright, Pat Ballantyne, Ian Richardson, Mara Barnum, Eleanor Telfer, Rebecca Palomino, Wenqiu Chen, Jim Brown, Eilidh Whiteford and Shannon Stevenson. If you have any questions, you will find members of the team at the conference venue and on the registration and helpdesk in the MacRobert Building, from 11am on Thursday the 11th April.

The conference email is [email protected]

Disabled Facilities There are disabled facilities located on the ground floor of the MacRobert Building, and the building is accessible with a wheelchair. If you have any accessibility needs please contact us in advance and we will do our very best to help: bfeaberdeen2019@ gmail.com.

Printing and Photocopying There are no photocopying or printing facilities available to delegates within the MacRobert Building. These facilities are controlled through the use of a smart card, which will not be available to BFE delegates. If any printing or photocopying is required, please ensure this is done prior to arriving at the conference.

Notes on Programme • Tea and coffee will be provided at each break noted in the programme. A basic lunch will be provided as part of the cost of the conference registration fee, but dinner will not. Water is also available and there is a cafe area inside the conference building which serves food and snacks and will be open on the Thursday and Friday of the conference. Delegates must indicate any dietary requirements upon registration. • Panel presenters should ensure that they agree a format for presentations that enables all panellists equitable presentation accounting for discussion time. • All rooms for panels and sessions are located on the ground floor of the MacRobert Building, Kings College, Aberdeen AB24 5UA • The helpdesk will be located on the ground floor of the MacRobert Building.

Conference Registration Registration desks will be located on the ground floor of the MacRobert Building, University of Aberdeen. Registration will be available from 11am on Thursday the 11th April. The registration fees are as follows:

BFE Members waged £115 BFE Members unwaged £60 Non-BFE Members waged £145 Non-BFE Members unwaged £80 Flat Day Rate £45 Two Day Attendance £90

Pre-Conference Walking Tour On the morning of Thursday 11th April, we have organised a 2-hour walking tour of the campus and Old Aberdeen led by one of our volunteers and MLitt student, Jim Brown, starting at 10:00am. Please meet in the cafe area of the MacRobert Building at 9.50am. There is no charge for the tour.

Coach Tour of Deeside, Conference Dinner and Ceilidh On the Saturday afternoon 13th April, we have organised a coach tour of Deeside, finishing at the Garlogie Village Hall for the conference dinner and informal ceilidh. Please note that you will need to book this separately from registration by emailing [email protected] and pay in cash at the registration desk when you arrive at the conference. There are limited places and the cost is £36 (waged) or £24 (unwaged).

4 Restaurants Close(ish) to the University of Aberdeen

There are not too many places serving evening meals close to campus. Those listed below are all within an easy 20-30 min walk, or easily reached by buses going to/from town. There are many more options in the City Centre. Be aware though that the locals tend to eat early, so many places don’t serve food much after 9pm. Takeaways, and some restaurants serve later.

Heading out of town, towards the River Don

• Brig o Don, 739 King Street AB24 1XZ, 01224 494634. Classic pub food and grill, with cask ales. Vegan and gluten free options. Last food orders 9.45pm. https:// www.greeneking-pubs.co.uk/pubs/aberdeenshire/brig-odon/ • Shish Tandoori, 9 Ellon Road AB23 8EB. 01224 702449. Indian restaurant and take away. Vegetarian, Halal and Gluten Free options. Last (sit in) food orders 9.30pm. http://www.shishtandoori.com/ • Water Margin, 2 Ellon Road, AB23 8EA. 01224 507915. South East Asian restaurant and take away. Last (sit in) food orders 8.30pm. www.watermargin.site

Heading into the City Centre

• The Bobbin, 500 King Street, AB24 495318. 01224 495318. Student-y sports bar very nearby. Serves pub food. Last food orders 10pm. www.social-squirrel.com/thebobbinaberdeen • La Lombarda, 2-8 King Street, AB24 5AX. 01224 640916. Italian restaurant. Last food orders 9.30. www.lalombarda.co.uk • BrewDog, Castlegate, AB. Local beer, classic pub food. Last food orders 10.30pm. • Old Blackfriars, 52 Castle Street, AB11 5BB. Classic pub food. Live folk music. Last food orders 9pm. • Goulash, 17 Adelphi AB11 5BL, 01224 210530. Hungarian restaurant. Last food orders 9.30 pm, Saturdays 10.30 pm. www.goulashrestaurant.co.uk • Café 52, 52 The Green, AB11 6PE. 01224 590094. Last food orders 9.30. www.cafe52onthegreen.co.uk

For numerous further options see Trip Advisor: www.tripadvisor.co.uk

For takeaway food, it might be easiest to order via websites like Just Eat: www.just-eat.co.uk or Deliveroo: deliveroo.co.uk

4 5 Music, particularly drumming and singing, has long held an important role among the people in the Eeyou Istchee region of northern Quebec, where the Eeyouch have inhabited the land for thousands of years. The Eeyouch adopted fiddle music and fiddle-dancing when they met British fur traders from the early 1700s. The Eeyouch fashioned their own form of fiddle music and dance from the traditions of their past and new influences from across the sea. In this exhibition, a first-time collaboration between the Elphinstone Institute and the Aanischaaukamikw Cree Cultural Institute in Quebec, we will explore the music and dancing of the past and present, hear individual stories from Eeyou, Moose Cree, and Scots performers, and take a journey into the world of Eeyou fiddle-dance performance. Nimitaau. Let’s Dance!

studying culture in contex t

6 Thelma Cheechoo and Michael Etherington

Thursday 11 April 2019

18:45-19:30 MacRobert Lecture Theatre

Two Presentations by James Bay Cree and members of Muskegowuk Territory and Eeyou Istchee in Northern Canada, in Connection with the Exhibition, Nimitaau|Let’s Dance: Fiddle-Dancing Through Scots and Eeyou Cultures.

Michael Etherington, Indigenous Relations Consultant

Moving Beyond Rhetoric and Building Meaningful Relationships How do conversations begin when establishing a cross-cultural dialogue with Indigenous peoples? What is the appropriate terminology to use? In what manner am I presenting myself to the community I am building a relationship with? Do I view the community from my own worldview and predetermine who they are without hearing their story? One of many questions asked when engaging with Indigenous communities I have heard over the years. The current narrative is that the public repre- sentation today of Indigenous peoples is rooted within symbolic gestures and rhetoric that does not establish and meaningful or sustainable relationships. Within Canada there is on-going work promoting reconciliation for peace-building and address- ing historical injustices committed through Assimilation policies that still presently continue. This talk will provide insight and perspective on how policy-makers, academic researchers can evaluate their approach in how to establish cross-cultural engagement strategies rooted within perspectives from Canada and fundamentally reflect on these three questions: Who am I? Who are You? Who are We?

Thelma Cheechoo, Singer/Songwriter and Storyteller

TIPACHIMOWIN - Sharing Our Story Tipachimowin: Sharing Our Story interweaves stories of the James Bay Cree and the connection across the oceans with the people of Scotland. In this presentation we will share stories and the influence fiddle music had on the Cree Communities throughout Eeyou Istchee and the Muskegowuk Territory. In history, we heard about the ships that came through the Hudson and James Bay during the fur trade back in the 1600s. During these travels the fur traders brought instruments with them. One instrument that the Cree’s embraced was the fiddle. In this presentation I will share memories and stories of our home- lands and the people of Eeyou Istche and Mushkeogwuk Territory and the fiddle in this region. I doing so, I will also share the connection between the research, by Dr Frances Wilkins, which resulted in the creation of the exhibition, Nimitaau, and my own background as a musician and member of a musical family in Moose Factory, in the south-west of James Bay.

studying culture in contex t

6 7 Session 6D Session Analysis Musical Session 3D Session Diaspora and Music, Collaboration Intercultural Session 4D Session Education Music Session 5D Session 2: Publishing for Your Workshop Career MR027 MR027 MR027

MR029 Session 6C Session and Data Archives Management 7C Session Ideologies 2 (MR029) and Political Music 8C Session Century in 20th Cities in Sonic Cultures Asia: Local (Post)Colonial Global History 029) (MR Session 1C Session from Local Performance: through Perspectives Reciprocity Musicking 3C Session and Performance Practice Research Session 4C Session and Embodiment Music, Drama Social Session 2C Session and Belief Music Session 5C Session Ideologies and Political Music MR029 MR029 MR029 MR055 BREAK BREAK LUNCH BREAK BREAK BREAK LUNCH LUNCH Plus posters Plus Plus posters Plus SEM Ice Cream Social Social Cream SEM Ice Coach Tour of Tour Coach Deeside MacRobert Lecture Theatre Lecture MacRobert Garlogie Hall, Aberdeenshire Garlogie Keynote by Prof. Mellonee Burnim Mellonee Prof. by Keynote AGM (MacRobert Lecture Theatre) Lecture (MacRobert AGM followed by informal by session music followed Arrival Refreshments and Registration Refreshments Arrival Welcome (MacRobert Lecture Theatre) Lecture (MacRobert Welcome The Blue Lamp, Gallowgate, Aberdeen Gallowgate, The Lamp, Blue Conference Dinner and Informal Dinner Conference Ceilidh Session 3B Session Taylor & Francis Wine Reception (MR 055) (MR Reception Wine & Francis Taylor Closing Remarks (MacRobert Lecture Theatre) Lecture (MacRobert Closing Remarks Evening Concert ofEvening North-East Music Scottish Arrival Refreshments and Registration (MR 055) (MR and Registration Refreshments Arrival Arrival Refreshments and Registration (MR 055) (MR and Registration Refreshments Arrival 055) (MR and Registration Refreshments Arrival Approaches in Sound Studies Approaches MacRobert Lecture Theatre MacRobert Lecture Theatre 7B Session Artistic in Composition Decision-Making and Performance 8B Session Three and a researcher’: ‘I’m a musician performers' practice-based to approaches research MacRobert Lecture Theatre MacRobert Lecture Theatre Session 1B Session ofThe Role Performer the and Performativity 6B Session 2: What of Future is the Roundtable Music in Ethnomusicology?Analysis Session 4B Session ofDynamics 2 Collaboration Session 2B Session and ‘Fieldback’ Ethics Fieldwork Session 5B Session for Musical Tools Technological Collaborations Pre-conferece walking tour with Jim Brown (Meet in MacRobet Building Cafe) in MacRobet (Meet Jim Brown with tour walking Pre-conferece Nimitaau Presentations: Thelma Cheechoo and Michael Etherington (MacRobert Lecture Theatre) Lecture (MacRobert Etherington Thelmaand Michael Presentations: Nimitaau Cheechoo MR051 MR051 MR051 6A Session Advocacy: Ethnomusicological Communities with Working MR051 7A Session 2 and ‘Fieldback’ Ethics Fieldwork 8A Session in Methods Ethnomusicological Cross-Disciplinary Contexts Session 3A Session ofDynamics Collaboration Session 1A Session the 1: Rethinking Roundtable Through Moment Decolonial in Practice Music Collaborative Africa South Session 4A Session as Negotiating Fieldwork and Performer Researcher Session 2A Session 1: An Ethnomusicologist Workshop and Historians Among the on Reflections Critical Linguists: Large-Scale and Funding Ethnomusicology Collaborative Session 5A Session Ethnographic Film April April April th th th 09:00-11:00 Thursday 11 10:00-12:00 08:30-09:00 15:30-16:00 16:00-17:00 17:00-18:00 20:00-23:00 Saturday 13 08:30-09:00 09:00-11:00 11:00-11:30 11:30-13:00 13:00-13:30 13:30-19:00 19:00-23:00 Sunday April 14th 09:00-09:30 09:30-11:00 11:00-11:30 11:30-13:00 13:00-13:15 11:00-13:00 12:45-13:00 13:00-15:00 11:00-11:30 11:30-13:00 15:00-15:30 15:30-17:30 14:00-15:30 13:00-14:00 17:30-18:30 Friday 12 18:45-19:30

8 Session 3D Session Diaspora and Music, Collaboration Intercultural 4D Session Education Music 5D Session 2: Publishing for Your Workshop Career Session 6D Session Analysis Musical MR027 MR027 MR027

MR029 1C Session from Local Performance: through Perspectives Reciprocity Musicking 2C Session and Belief Music 3C Session and Performance Practice Research 4C Session and Embodiment Music, Drama Social 5C Session Ideologies and Political Music Session 6C Session and Data Archives Management Session 7C Session 2 (MR029) Ideologies and Political Music Session 8C Session Century in 20th Cities in Sonic Cultures Asia: Local (Post)Colonial Global History 029) (MR MR029 MR029 MR029 MR055 BREAK BREAK LUNCH BREAK BREAK LUNCH BREAK Plus posters Plus Plus posters Plus SEM Ice Cream Social Social Cream SEM Ice Coach Tour of Tour Coach Deeside MacRobert Lecture Theatre Lecture MacRobert Garlogie Hall, Aberdeenshire Garlogie Keynote by Prof. Mellonee Burnim Mellonee Prof. by Keynote AGM (MacRobert Lecture Theatre) Lecture (MacRobert AGM followed by informal by session music followed Arrival Refreshments and Registration Refreshments Arrival Welcome (MacRobert Lecture Theatre) Lecture (MacRobert Welcome The Blue Lamp, Gallowgate, Aberdeen Gallowgate, The Lamp, Blue Conference Dinner and Informal Dinner Conference Ceilidh Session 3B Session Taylor & Francis Wine Reception (MR 055) Reception Wine & Francis Taylor Closing Remarks (MacRobert Lecture Theatre) Lecture (MacRobert Closing Remarks Evening Concert ofEvening North-East Music Scottish Arrival Refreshments and Registration (MR 055) (MR and Registration Refreshments Arrival 055) (MR and Registration Refreshments Arrival Arrival Refreshments and Registration (MR 055) (MR and Registration Refreshments Arrival Approaches in Sound Studies Approaches MacRobert Lecture Theatre 1B Session ofThe Role Performer the and Performativity 2B Session and ‘Fieldback’ Ethics Fieldwork MacRobert Lecture Theatre 6B Session 2: What of Future is the Roundtable Music in Ethnomusicology?Analysis 4B Session ofDynamics 2 Collaboration 5B Session for Musical Tools Technological Collaborations MacRobert Lecture Theatre MacRobert Lecture Theatre Session 7B Session Artistic in Composition Decision-Making and Performance Session 8B Session Three and a researcher’: ‘I’m a musician performers' practice-based to approaches research Pre-conferece walking tour with Jim Brown (Meet in MacRobet Building Cafe) in MacRobet (Meet Jim Brown with tour walking Pre-conferece Nimitaau Presentations: Thelma Cheechoo and Michael Etherington (MacRobert Lecture Theatre) Lecture (MacRobert Etherington Thelmaand Michael Presentations: Nimitaau Cheechoo MR051 1A Session the 1: Rethinking Roundtable Through Moment Decolonial in Practice Music Collaborative Africa South 2A Session 1: An Ethnomusicologist Workshop and Historians Among the on Reflections Critical Linguists: Large-Scale and Funding Ethnomusicology Collaborative MR051 3A Session ofDynamics Collaboration 4A Session as Negotiating Fieldwork and Performer Researcher 5A Session Ethnographic Film MR051 MR051 Session 6A Session Advocacy: Ethnomusicological Communities with Working 7A Session 2 and ‘Fieldback’ Ethics Fieldwork Session 8A Session in Methods Ethnomusicological Cross-Disciplinary Contexts April April April th th th 09:00-11:00 13:30-19:00 19:00-23:00 Sunday April 14th 09:30-11:00 Thursday 11 10:00-12:00 11:00-13:00 12:45-13:00 13:00-15:00 15:00-15:30 15:30-17:30 17:30-18:30 18:45-19:30 Friday 12 08:30-09:00 09:00-11:00 11:00-11:30 11:30-13:00 13:00-14:00 14:00-15:30 15:30-16:00 08:30-09:00 13:00-13:30 09:00-09:30 16:00-17:00 17:00-18:00 20:00-23:00 11:00-11:30 11:30-13:00 11:00-11:30 11:30-13:00 Saturday Saturday 13 13:00-13:15

8 9 Ethics and Aesthetics of Collaborative Field Recording in Thursday 11 April Athens Keith Howard The normal rules do not apply: ethics and rabbit Session 1 holes in researching North Korean music and dance 13:00-15:00 Mathias Kom Remaining an ‘intimate insider’ our place in the Field After Fieldwork 1A Roundtable 1: Rethinking the Decolonial Moment through Tom Wagner Scientology, Swing Music, and the Limits of Collaborative Music Practice in South Africa: Creative ‘Fieldback’ Partnerships and Praxis with the International Library of African Music (MR 051) 2C Music and Belief (MR 029) Chair: Noel Lobley Chair: Mellonee Burnim Boudina McConnachie The collaborative path towards a tertiary William Rees Hofmann Wherever I Look, Oh Friend, There is African music undergraduate curriculum in South Africa None Other: Investigating Two 15th-Century Sufi Song-Texts Elijah Madiba A collaborative approach to revitalisation and in Hindi the repatriating of isiXhosa music recordings archived at the Vivienne Pieters Presbyterianism and Music at the Lovedale International Library of African Music (ILAM) in South Africa Missionary Institute from 1841-1955 Lee Watkins The International Library of African Music Mu Qian From Sufism to Communism—Incarnations of the (ILAM) and the quest for a decolonial approach to music Uyghur Song Imam Hüsäynim heritage research in rural Eastern Cape, South Africa Polina Dessiatnitchenko Performing a ‘Muslim Way of Thinking’: An Ethnomusicologist’s Moment of Alterity 1B The Role of the Performer and Performativity (MacRobert Lecture Theatre) Taylor & Francis Wine Reception Chair: Deirdre Morgan 17:30-18:30 Adrianne Honnold ‘Unacknowledged Ubiquity’: the performer’s MR 055 perspective on the saxophone in popular music The BFE student forum will be taking place during the wine Hadi Milanloo Dancing upon Glasses: Iranian Professional reception in MR051. This will be led by Matt Dicksen, BFE Musicians and (Self-)Censorship Student Representative, and will give students the opportunity Shanika Ranasinghe ‘Who am I and Who are You and Who to talk about BFE and give their views. There will be musical are we?’ Navigating ABBA fan identities through collaborative performances taking place in room MR047 from Elphinstone ethnography Institute students and staff. Sophia Frankford Egyptian sha’bi music and working class masculinities Nimitaau Exhibition Presentations 1C Panel 1: Reciprocity through Performance: Perspectives from 18:45-19:30 Local Musicking (MR 029) MacRobert Lecture Theatre Chair: Ian Russell Michael Etherington Moving Beyond Rhetoric and Building Lorena Avellar de Muniagurria On musicking, politics, and Meaningful Relationships research: some comments from the Carimbó case Thelma Cheechoo TIPACHIMOWIN - Sharing Our Story Renan Moretti Bertho Reciprocity and fieldwork pon the rodas de choro in the interior of the state of São Paulo Rose Satiko Hikiji & Jasper Chalcraft Musicking through Film: Friday 12 April Collaborative Creation with African Diaspora Musicians between Brazil and Mozambique Session 3 Evanthia Patsiaoura Translocal reciprocities? Performing 09:00-11:00 Nigerian Pentecostal musics across and beyond ‘fields’ 3A Dynamics of Collaboration (MR 051) Session 2 Chair: Keith Howard Ruard W Absaroka Musical Agnotology: Exclusion, Non- 15:30-17:30 collaboration, and the Cultural Production of Ignorance Beverley Diamond Collaboration’s Knots and Nots 2A Workshop 1: An Ethnomusicologist Among the Historians Ioannis Tsioulakis Failing collectives: Athenian musicians reflect and Linguists: Critical Reflections on Large-Scale Funding and on their worst performance collaborations Collaborative Ethnomusicology (MR 051) Lea Hagmann Challenging Collaborations: Local Musicians, Chair: Richard David Williams Local Academics and the Scholar From Abroad Katherine Butler Schofield David Lunn 3B Roundtable 2: What is the Future of Music Analysis in Stephen Muir Ethnomusicology? (MacRobert Lecture Theatre) Laura Leante Chair: Byron Dueck The Roundtable will comprise 5 presentations of 10 mins each, 2B Fieldwork Ethics and ‘Fieldback’ (MacRobert Lecture Theatre) followed by a chaired discussion. Chair: Beverley Diamond Laudan Nooshin Tom Western Refugee Voices and the Right to Make Sound: Byron Dueck 10 Chloe Alaghband-Zadeh Identity in North Indian Classical Music: Post-1991 Lara Pearson Kim Tebble Foot-tapping and accordion beats in Creole and Joe Browning Cajun Music in South-West French Louisiana in the 1960s and Sue Miller 70s Pat Ballantyne Dancing Reflections: (Re)interpreting 3C Performance Practice and Research (MR 029) Eighteenth-Century Dance Steps Chair: Cassandra Balosso-Bardin Fay Hield Remediating the mythical: the artist as cultural Session 5 intermediary Iain Richardson ‘For to see the Spray’: interactions between 14:00-15:30 research and performance 5A Ethnographic Film (MR 051) Lori Watson Ethnomusicology meets Artistic Research: Chairs: Rose Satiko Hikiji & Jasper Chalcraft Reflections from an artist/researcher David R. M. Irving and Jenny McCallum The World of Cocos María Battle Becoming a Chilean folk music practitioner: a Malay Music and Dance process of collaborative research, apprenticeship, and working Karen Boswall ‘Fala Minha Irma’ (Speak My partnership Sister): A Collaborative Cinematic Celebration of the Female Creative Voice in Mozambique 3D Music, Diaspora and Intercultural Collaboration (MR 027) Chair: Matthew Machin-Autenrieth 5B Technological Tools for Musical Collaborations (MacRobert Xiao Gao Wacinwa puppet theatre as a musical hybrid of the Lecture Theatre) Chinese diaspora in Indonesia Chair: Ruth Hellier-Tinoco Jan Magne Steinhovden A Displaced Nation: Performances of Estera Jaros Collaborative Ethnomusicology in the Face of Eritrean National Identity in Bergen, Norway Gender, Race and Class Inequalities in Brazil Bronwen Clacherty, Mark Aranha, Cara Stacey, Kristy Stone Ife Raquel Campos Online Musicking Rituals: Memes, Games and and Bilal: An intercultural, practice-based intervention Mourning on Social Media Gabrielle Messeder Tropical(ist) Fantasies: Ziad Rahbani, Fairouz and Lebanese Bossa Nova 5C Music and Politcal Ideologies 1 (MR 029) Chair: Andrew Green Session 4 Ellan Alethia Lincoln-Hyde The Politics of Youth Music in 11:30-13:00 Beijing: A Case Study of Two Contrasting Collaborative Concert Experiences in an Era of ‘Rejuvenation’ 4A Negotiating Fieldwork as Researcher and Performer (MR 051) Lonán Ó Briain Staying Relevant in Post-Socialist Vietnam: An Chair: Lori Watson Ethnography of the VOV Radio Music Ensembles Stephanie Caffrey To do it better or to understand it better? Hamidreza Salehyar Nationalist Islamism, Transnational Reflections on working as both a performer and researcher in Shi’ism, and Rituals of Martyrdom in Iran (read by Hadi the field Milanloo) Sarah-Jane Gibson Wearing both caps: Being researcher and musician in choral practice 5D Workshop 2: Publishing For Your Career (MR 027) Simon McKerrell Ethnomusicological practice research and Constance Ditzel (Routledge/Taylor & Francis) with Simon interdisciplinary research in the UK McKerrell, Rowan Pease and Shzr Ee Tan

4B Dynamics of Collaboration 2 (MacRobert Lecture Theatre) Keynote Lecture Chair: Ruard W Absaroka Noel Lobley Building Pan-African Arts Spaces: creative 16:00-17:00 MacRobert Lecture Theatre collaborations with the Black Power Station Chair: Timothy Cooley Matthew Machin-Autenrieth ‘Ziryab and Us’: Tradition and Mellonee Burnim Hidden Musical Transcripts in National Collaboration in the Interpretation of an Arab-Andalusian Rituals of Mourning and Marriage: A British Royal Wedding, Musical Myth An (African) American Funeral. Marianne-Sarah Saulnier Repossession and ownership: Lifelines as a tool of collaboration in ethnomusicology SEM Ice Cream Social 4C Music, Embodiment and Social Drama (MR 029) 17:00-18:00 Chair: Rachel Harris MR 055 Ruth Hellier-Tinoco Corporeal musical palimpsests: hosted by Timothy Cooley, SEM presdent-elect and Stephen instruments, bodies, breath and trans-temporal memory traces Stuempfle, SEM Executive Director. Ignacio Agrimbau Bernard Woma’s Rite of Passage: Self- consciousness, Social Drama and Politics of Reciprocity in the Upper West Region of Ghana Friday Evening Concert 20:00-23:00 4D Music Education (MR 027) Fae the North East: Traditional Music and Song Chair: Jo Miller The Blue Lamp, Gallowgate, Aberdeen Aditi Krishna Music Education, Technology, and the Politics of £10/8 (concessions and BFE delegates) 10 11 13:30-23:00 Saturday 13 April Tickets booked in advance £36/24 Session 6 09:00-11:00 Sunday 14 April 6A Ethnomusicological Advocacy: Working with Communities Session 7 (MR 051) 09:30-11:00 Chair: Chris Wright Morgan Davies Music and Dance Traditions in ‘Little Scotland’: 7A Fieldwork Ethics and ‘Fieldback’ 2 (MR 051) Sharing Stories with Local Communities in Corby Chair: Simon McKerrell Xabier E. Adrien Revisiting and rethinking a participatory Julia Szivak Budapest, Birmingham, Bombay – tracing music project in Ecuador transnational music careers on a transnational research journey Jo Miller ‘All our Tunes’: collaborative research with a local Andrew Bova Competitive Scottish Pipe Bands: An music organisation in Scotland ethnographic and reflexive analysis of music played at the Boudina McConnachie and Elijah Madiba Through the World Pipe Band Championships eyes of the student: a field-work collaboration project on Nil Basdurak Doing Fieldwork Under a State of Emergency: isiXhosa culture in the Keiskammahoek region of the Eastern Sound, Democracy, and Academic Freedom Cape, South Africa. (Media presentation [presentation of documentaries]) 7B Artistic Decision-Making in Composition and Performance (MacRobert Lecture Theatre) 6B Approaches in Sound Studies (MacRobert Lecture Theatre) Chair: Byron Dueck Chair: Laudan Nooshin Heather Sparling Creation Processes Among Amateur Peter McMurray On Contemporary Islam and Deafness Songwriters of Disaster Songs Victoria Tadros Negotiating the Private: Car Listening Culture Eilidh Whiteford Young Quines an Auld Songs’ and Emirati Values Jim Hickson Examining the Success of Malian Music as World Shzr Ee Tan Megaphones hiding in trees: civic instruction via Music mediated soundscapes in places of natural scenic beauty in China 7C Music and Politcal Ideologies 2 (MR 029) Maisie Sum Wearables in the Field: A New Dimension to Chair: Lonán Ó Briain Ethnomusicology? Andrew Green Music, Truth, Legitimacy and the Informed Citizen in Mexico’s 2018 Elections 6C Archives and Data Management (MR 029) Ian Russell Subversion and Injustice in Song in Nineteenth- Chair: Lee Watkins Century Scotland Fulvia Caruso Sounding migration. Towards an open online Pablo Infante-Amate Sound, Silencing, and the Politics of Social archive of migrants’ musical lives Control in Post-oil Equatorial Guinea Rosie McMahon Archival Excavations in the Manaus Opera House Katie Young Collaborating with Cassettes: Building a Session 8 Postcolonial Sound Archive in Northern Ghana 11:30-13:00 Barbara Alge The role of field partners in research data management 8A Ethnomusicological Methods in Cross-Disciplinary Contexts (MR 051) 6D Musical Analysis (MR 027) Chair: Shzr Ee Tan Chair: Lara Pearson Anaïs Verhulst Ethnographic methods and safeguarding Phil Alexander What can Lefebvre’s Rhythmanalysis give intangible musical heritage: the case of hunting horn music in Ethnomusicology (that it can’t get anywhere else)? Flanders Huang Wan In-between Social Practice and Performing Florian Carl Digital Ethnomusicology, Interdisciplinary Practice: Collaborative Analysis on the Semi-improvisation in Collaboration, and Cultural Sustainability: The Ghana Okinawan Folksong Duet Performance Music Documentation Project Lorenzo Chiarofonte Do Ko Gyi Kyaw: Music Structures, Wanting Wu Seeking Peace through Dance: Embodied Interaction Processes, and Performance Context of a Burmese Experience in Tibetan Circle Dance nat-chin Matthew Warren Notating Deconstruction and the Idea of a 8B Panel 2: ‘I’m a Musician and a Researcher’: Three Performers’ Global Notation System Approaches to Practice-Based Research (MacRobert Lecture Theatre) BFE AGM Chair: David Hughes Hyelim Kim Jazz Notation for Korean Traditional Music 11:30-13:00 Cassandre Balosso-Bardin You are part of the club’: Musicking MacRobert Lecture Theatre in the field from a bagpiper’s perspective Deirdre Morgan ‘I’m Up Next’: Using Performance as a Coach Trip and Dinner/Ceilidh Fieldwork Strategy at Music Festivals 12 uses data from first-person subjective accounts of engagement 8C Panel 3: (Post)Colonial Cities in 20th Century Asia: Local in musical practice, is reflexive in its orientation, and enables Sonic Cultures in Global History (MR 029) auto- ethnography. It may include scholars without academic Chair: Katherine Schofield language skills and engage such themes as intersubjectivity, Richard David Williams ‘There is no modesty or shame in this non-verbal communication, embodiment, or interaction city’: What Bengalis heard in colonial Burma, c.1900 (Cross 2014). This panel assembles current practitioners to Yvonne Liao ‘Sonic Bach’: (Hearing) Musical Institutions in highlight the potential of practice-based research as a varied Post/Colonial Hong Kong set of methodologies. We will begin with a short improvisation James Gabrillo Post/Colonial Singing Contests in Manila and before proceeding to individual papers. The panelists will the Construction of a Philippine Pop Sound present: investigation of the use of notation in intercultural contemporary performance; investigation of how performance Panel Abstracts skills on the bagpipe facilitates access to the field; the use of jew’s harp performance at festivals to explore reflexivity; the employment of a micro-phenomenological approach Panel 1: Reciprocity through Performance: Perspectives from (Petitmengin 2006) to shakuhachi performance. Local Musicking The postmodern shift in ethnomusicology has recognized that Panel 3: (Post)Colonial Cities in 20th Century Asia: Local Sonic processes of scholarly understanding are inseparable from Cultures in Global History the dispositions of both researcher and research participants, In music studies, the writing of global history is closely as they make and discuss music together. By partaking in a (albeit not entirely) linked with the study of colonial cities wide range of performance practices, ethnomusicologists are and their richly complex musical practices. What prospects provided with a unique means of learning from and engaging and challenges are there, then, to rehearse further this global with the people they study: they undertake roles such as music concern without muting the local sonic cultures – real or apprentices or colleagues, producers, activists and audience imagined – that have historically shaped and reshaped musical members, which, in turn, allow for the emergence of special practices, whether in situ or over time? Accordingly, our panel relationships in/of the field. A substantial body of work has will examine and discuss three sonic cultures from the (post) revealed how and why ethnomusicologists actively engage with colonial cities of Rangoon, Hong Kong and Manila in the the ethics of the communities they study and, by so doing, twentieth century. In doing so, we envisage bringing different invite the production of collective accounts of representation, actors, genres and settings into conversation – a dialogue that such as collaborative ethnographies (Grupo Musicultura; will, moreover, allow us to explore local sonic cultures as both Lassiter). In addition, by representing musical traditions and distinct and connected elements in global history. their people through performative writing and technologies, Whilst colonial cities have featured, in music and other forms ethnomusicologists become transmitters of these traditions of historical research, as nodes of international networks – and (Shelemay). In this sense, distinct encounters between in some cases, have been termed ‘cosmopolitan’ due to their researching and researched selves generate and necessitate hybrid communities – the global dimension of such narrative distinct kinds of reciprocal practice and relationships in can potentially flatten the particularities and peculiarities of ethnomusicological research (Titon). This panel is concerned these cities, for example their roots in regional cultures, local with ways in which (musical) performance informs such musical systems and the attendant complexities they present reciprocities, drawing from (trans-)local research settings to evaluating continuity and change. Viewed together, our in which musicking intersects with politics, enjoyment, proposed papers, coupled with the locally global dialogue we film, diaspora and religion. Affiliated with the project ‘Local seek to foster, will triangulate between such forces as Muslim Musicking: New Pathways for Ethnomusicology’, funded by the Bengali lyricists, ‘(post-)European’ musical institutions São Paulo Research Foundation, the panel contributors provide and amateur pop singing contests influenced by (colonial) a unique perspective of local musicking as an analytic tool for American mass entertainment. This expansive but detailed examining types, ethics, and extents of reciprocity in the study purview will make it possible to highlight, too, some shared of people making music. historiographic implications of the sonic cultures to which they contribute. Panel 2: ‘I’m a musician and a researcher’: Three performers’ approaches to practice-based research Music, the subject of our research, is predominantly a creative Roundtable Abstracts practice in real time. Thus, one would assume that research pertaining to the act of musicking (after Small 1998) would be Roundtable 1: Rethinking the Decolonial Moment through central to the field of ethnomusicology. However, only in the Collaborative Music Practice in South Africa: Creative past few decades has practice- based research (PBR) come to Partnerships and Praxis with the International Library of African the fore (Cook 2015). Power asymmetries in academia privilege Music a narrow kind of scholarship, which treats PBR as the step-child In recent years there have been increasing demands for of research as it has historically been ‘perceived as atheoretical’ a decolonised curriculum at universities in South Africa. (Dirksen 2012). This panel challenges this assumption by However, as yet there is little to no clarity or agreement on what demonstrating how practice-based research helps to bridge the a ‘decolonised curriculum’ means in real and practical terms, gap between traditional scholarship in music and musicking especially in the context of most music departments, who, with itself by researching such activities as practice, performance, the support of university management, often still perpetuate a improvisation, composition, music and studio production. PBR curriculum based on Euro-American art musics. These forms can have a variety of targets, but important aspects are that it of music are handsomely subsidised while resources for the 12 13 revival and continuation of African traditional and art music sciences generally. Either or both are often now required to remain scarce. attract grant funding for large-scale projects, such as those The demands for a ‘decolonised’ music archive such as the funded by the AHRC and the European Research Council, International Library of African Music (ILAM) are becoming the last of which also rewards novel methodologies and risk- equally vociferous. ILAM and its founder, Hugh Tracey, came taking. All lovely in theory, but how do we make it work in under the spotlight for his apparent complicity in advancing practice? How should we design and implement large-scale the interests of British colonialism, and his recordings and projects in such a way as to maximise the very real benefits of collection of music instruments were deemed the ill-gained interdisciplinarity, collaboration, and risk-taking to ground- pickings of colonial privilege. Indeed, with these associations breaking research, while minimising the equally real problems in mind, reimagining the archive becomes a matter of urgency. that attend individuals trained to work alone trying to think In this panel, we will discuss how ILAM is shaping alternative thoughts together? This special session brings together models for future collaborations and navigating its way towards Principal Investigators and Postdoctoral Researchers from a new reality. Our presentations deal with music education, the recent ERC and AHRC projects involving ethnomusicology, to repatriation of recordings, music research, music pedagogy, and reflect critically on our experiences of the benefits and pitfalls, artistic collaboration within the context of decolonial praxis the methods and practicalities of running and participating rather than rhetoric. The panel will argue for collaboration as in large-scale funded collaborations, especially those that a vital tool in forging a particular discourse of music which are interdisciplinary. The projects include the first ERC- should ultimately address the demands for a decolonialised funded Starting Grant for music in the UK, MUSTECIO, on music culture at universities in South Africa and beyond. We the ways in which music and dance in India and the Malay further argue that it is through praxis that an epistemology of world were transformed in their transitions to and through music associated with the future of music archives begins to European colonialism; and the AHRC-funded “Performing emerge. the Jewish Archive” project, which explored the hidden archives of Jewish music and theatre and brought them back Roundtable 2: What is the Future of Music Analysis in to life in performance. Collectively, these projects involved Ethnomusicology? ethnomusicologists, musicologists, performers, historians, In the twelve years since the publication of Michael Tenzer’s literary scholars, psychologists, theatre historians, theologians, edited collection, Analytical Studies in World Music and others, working in multiple languages archivally and (2006), the field of world music analysis has been gathering ethnographically, and coming from very—sometimes momentum. This has developed through the creation of radically—different disciplnary and area training. They also a biennial conference (including a conference held jointly included researchers at all career stages from undergraduates with the British Forum for Ethnomusicology in 2014), the to professors, as well as community members and professional establishment of the new peer-reviewed journal Analytical administrators. Such diversity, coupled with the time and Approaches to World Music (now in its fifth volume), and the financial resources supplied by large grants, can produce emergence of a range of new analytical work on world music. extraordinarily rich and genuinely field-changing research, The growth in this area has been fuelled by interest from and we shall share with you our favourite “aha” moments when (largely US-based) music theorists, music analysts and scholars collaboration produced epiphanies that would never have working at the intersections with the hard sciences (including seen the light of day working alone. But interdisciplinarity and those interested in music cognition and perception, as well collaboration can also lead to personal conflicts, intellectual as a variety of computational and statistical approaches to misunderstandings, and practical challenges that need care and analysis). At the same time, music analysis has come to occupy creativity to resolve productively. On top of all that, large grants a relatively marginal position in ethnomusicology and much come with significant financial and personnel management social research on music now relies primarily on ethnography, and accountability processes that are often complex and while the sounds of the music recede into the background. burdensome. This will be a dedicated methodological and This roundtable asks what the future is for music analysis in practical session designed for anyone planning to join or apply ethnomusicology. Taking on board the now well-rehearsed for large-scale multi-person ERC, AHRC, or similar grants; or criticisms of analysis in the discipline, participants consider who already hold or participate in one that is not yet finished. possible ways in which close engagement with musical sound Join with us as we share with you our hard-won, hands-on can be of value to ethnomusicological research. In doing so, experience of the joys and pitfalls—theoretical, methodological, they suggest a range of productive future directions for the practical, and bureaucratic—of our journies towards productive discipline, including approaches that emphasize collaborative interdisciplinary and collaborative ways of working. and dialogic methods, highlight issues of embodiment and affect, and rethink the relationship between “universal” and Workshop 2: Publishing for your Career “local” analytical traditions. A walk-through of the proposal and review process for journals and books presented by publisher, with tips for success and common pitfalls. Panelists representing BFE journal, and Workshop Abstracts two book series – all established authors and senior scholars themselves – will each lend their perspectives. Especially Workshop 1: An Ethnomusicologist Among the Historians and helpful if new in your career, or to become attune to the Linguists: Critical Reflections on Large-Scale Funding and continually changing environment of academic publishing n Collaborative Ethnomusicology the 21st century. Interdisciplinarity and collaboration are increasingly important values in musical research and the humanities and social Individual Abstracts 14 In Alphabetical Order (positive) impact of the intervention in itself, this approach to fieldwork proved able to generate very relevant insights and to Ruard W Absaroka, SOAS unveil latent information otherwise impossible to obtain. Musical Agnotology: Exclusion, Non-collaboration, and the Cultural Production of Ignorance Ignacio Agrimbau, SOAS While epistemology is concerned with theories of knowledge, Bernard Woma’s Rite of Passage: Self-consciousness, Social belief and rationality (how we know), what can be learned Drama and Politics of Reciprocity in the Upper West Region of by studying the spread of ignorance and doubt (the product Ghana of manipulation, misdirection, or misrepresentation The first time I studied with the Ghanaian musician and but also possibly technologically induced information scholar Bernard Woma (1966-2018), in August 2010, he was overload)? Agnotology, defined as the ‘cultural production considering becoming acquainted with the traditional spiritual of ignorance’ (or why we do not know), is a term of relatively practice maintained in his paternal lineage. Having converted recent origination (Proctor and Boal) and an inchoate field of to Catholicism in his youth, and resettled in the United States, study. Attempts have been made to trace agnotology primarily Bernard was not a member of any Dagara bagr society. His in terms of the history of science and technology, or in studies ambition to become initiated was, back then, motivated by of (nefarious) corporate or governmental obfuscation and feelings of belonging, nuanced by his long-term detachment. censorship. Such an approach is expanded by Betancourt’s use Three years later, Bernard participated in the bagr pula (white of ‘agnotologic capitalism,’ as a term of contemporary political bagr) initiation ritual in his native village of Hiineteng, where economy, to describe the systematic production or sustaining he was often hailed as a figure of authority. Having recently of ignorance as a key prop of bubble economies in the digital completed an MA in Ethnomusicology (Indiana University), era. But what can an agnotologic approach contribute to the he conceived his experience as a personal spiritual journey understanding of musical practices. For instance, there are but also as participant-observation research. Aware that I was many theories of musical learning and much scholarly focus on conducting fieldwork in the region, he asked for my assistance the acquisition of musical skill(s), but far less attention is paid to collect data. This elicited mixed feelings among some to barriers to such acquisition or the imperatives that militate villagers, who saw Bernard as a foreigner and questioned his towards musical ignorance (and hence musical exclusion, intentions, bagr society authorities, and myself: I was torn musical inequalities, musical poverty). What constrains between feelings of loyalty and indebtedness towards my ‘legitimate peripheral participation’ (Lave and Wenger 1991) mentor, the demands of my own research, and a troubling and rights of access to musical knowledge? What defines awareness that visitors were typically barred from attending amateur-professional matrices of participation? How is the bagr rituals. In this paper, I chronicle these events to illustrate – boundary work of policing musical genres related to who gets after Bruner (1986) – the narrative performances that underpin to be a ‘cultural omnivore?’ And to what extent can successful collaboration. Building on, among others, Shelemay (1997), ethnomusicological collaborations counteract systemic I also examine the politics of reciprocity through a reflective agnotologic pressures? (re)framing of the liminal experience of fieldwork. Not least, I celebrate Bernard’s legacy, as I come to terms with his loss. Xabier E. Adrien, Royal Holloway Revisiting and Rethinking a Participatory Music Project in Phil Alexander, University of Glasgow Ecuador What can Lefebvre’s Rhythmanalysis Give Ethnomusicology (that Over various periods between 2009 and 2015 I facilitated a it can’t get anywhere else)? participatory music project with 30 indigenous communities of Rhythmanalysis was philosopher Henri Lefebvre’s parting Sicalpa, in Ecuador’s central Highland. The initiative involved gift to the world, a theory of time and space that seeks to indigenous participants documenting their own vernacular comprehend a diversity of lived rhythms simultaneously as it musical traditions, alongside workshops and performance inhabits them. A stylish, beguiling and frustratingly quixotic activities aimed at fostering identity empowerment through concept, rhythmanalysis is often – as cultural historian Ben grass-roots music-making. A selection from the 700 audio Highmore suggests – more a question of “orientation” than recordings and 20 videos created by the project was published systematic method, and certainly Lefebvre himself favours in a book of local songs, including two CDs, for the community the elusive and the sweeping over the prescriptive and the itself. For my PhD research I wanted to critically reflect on this quantifiable. Such fluidity has often appealed to urbanists project, deconstruct it, and uncover aspects - including those and cultural geographers, but ethnomusicology remains related to my own role – of which I had been largely unaware. largely disinterested. This paper, therefore, interrogates what This included gaining an insider perspective regarding what Lefebvre’s ideas might bring to a discipline that is already the initiative had meant to its participants. However, when I intimately concerned with rhythm (and its analysis). How does started fieldwork three years after the project’s completion, I a focus on longer durations, slow/fast time and the embodied found it very difficult to access the kinds of local perceptions practice of everyday life complement or problematize an I sought using traditional ethnographic methods. Moreover, analysis of musical events and their social/cultural relations? there seemed to be little evidence of the initiative’s impact. To explore this, my paper concentrates on a regular Thursday Progressively, nevertheless, a new approach to fieldwork started night folk session in Edinburgh’s well-known Sandy Bell’s to emerge, based on the partnerships built over the years with pub. Using visual and aural data collected over a number of the Sicalpas but also reflecting a significant shift in relationship different evenings, I will explore how a sense of competing from project facilitator to long term local advocate. This and interlocking rhythms (of sound, of movement, of people, involved collaboratively working with – maybe ‘for’ - them in of ‘sessions’…) furthers an understanding of music’s role in a new music revitalisation and promotion effort. Besides the structuring spatiality and temporality. Whilst musicians and 14 15 ethnomusicologists are often implicitly ‘doing’ rhythmanalysis Bagpiper’s Perspective already, are there particular perspectives and insights to be Since Mantle Hood’s 1960 article on the concept of bi- found within Lefebvre’s claim that there is “always something musicality, it is common practice for ethnomusicologists to new and unforeseen that introduces itself into the repetitive”? approach the field with musical practice in mind, considering it as an essential part of the participant-observation methodology. Barbara Alge, University of Frankfurt True bi-musicality, as described by Mantle Hood, is an asset, The Role of Field Partners in Research Data Management although I believe that only securing ‘basic musicianship’ Within the context of actual discussions on research data (1960:58) within a given musical culture in order to be able management in Germany and departing from the presenter’s to carry out sound musicological observations and analysis is experience with ethnographically produced research data, this not enough. Based on individual experiences in the bagpiping paper discusses the importance of taking into account the role world, this paper explores how high-level musicianship and of field partners in managing research data. This role extends musical versatility has proven essential to access the internal from getting permission to do research, over engaging field social mechanisms surrounding music-making. Indeed, partners in the data management to getting permission to although access may seem like a basic element of fieldwork, archive and publish research findings. The paper argues that easily attained through any level of music participation, I argue while research carried out in an ethical manner will become that musicking (in Small’s wider sense of the word) on the every time more important in the increasing networking of same level as local musicians, albeit not necessarily in the exact research and its institutions, the conduct of responsible data same tradition or style, forges a sense of belonging to a wider management might limit the production and publication of community of dedicated musicians and creates a space where research data. Relying on her own research in Europe, South respect, trust and musical intimacy are readily shared. I argue America and Africa, and on information gathered through that being seen as a ‘real’ musician has long-term implications published ethnographies and personal conversations with in the field, including how it impacts research which, rather ethnomusicologists primarily based in Germany, the author than being conceived as a separate activity, develops over discusses the understanding of “responsible data management” time into an accepted and expected behaviour and becomes as well as “successful and unsuccessful collaborations” in an integral part of the musicking experience both for the ethnomusicological research. A close look at best practice researcher and the musicians. suggested by the Position Statement on Ethics of the SEM and the Ethic Statement of the BFE, and set against research Nil Basdurak, University of Toronto policies by German institutions (e.g. funding agencies, archives, Doing Fieldwork Under a State of Emergency: Sound, editors), gives the impulse for a discussion on the challenges Democracy, and Academic Freedom ethnomusicologists might face in the future in terms of On July 15, 2016, a military coup organized by a faction within responsible data management. the Turkish Armed Forces attempted to overthrow the ruling Justice and Development Party of Turkey. The coup attempt Pat Ballantyne, The Elpinstone Institute, University of Aberdeen eventually failed on July 16 after a government-supported Dancing Reflections: (Re)interpreting Eighteenth-Century Dance public resistance. On July 20, president Erdoğan declared a Steps nationwide state of emergency for three months which was In this paper, I will reflect on my experience of interpreting the consecutively extended and finally ended on July 18, 2018. strathspey and reel dance steps described by the eighteenth- Under this two-years-long state of emergency, I conducted century dancing master, Francis Peacock. I will consider the fieldwork in Istanbul for my research, which explores politics problems I faced as both performer and as researcher and how of sonic-spatial (re)production of Istanbul’s neighbourhoods. each stance informed the other. Based on autoethnographic material (Reed-Danahay 1997; The roots of present-day Scottish ‘traditional’ dancing, Young and Manaley 2005) which I produced as a result of whether competitive Highland dancing, Scottish country several unprecedented personal encounters with the Turkish dancing, ceilidh dancing or ‘Scottish’ percussive step dance, police and suspicious strangers during my field work, as well have been shrouded in mystery or in notions of a ‘golden as fieldwork methods—my field recordings and soundwalks past’ that many practitioners take seriously. Researching the (McCartney 2013), I ask how recorded sound as a research historical background can be problematic as some of these method can justify transitional position of an insider researcher assumptions have found their way into the literature and have being both the author and the object of representation through been accepted as fact, in spite of a lack of historical foundation. reflexive narrativity (Ellis and Bochner 2000). I argue that doing The researcher faces further complications in attempting to fieldwork under a state of emergency is not only the application interpret historical dance sources, whether for performance of a research method to collect data but also is an integral and dissemination to a wider audience through lectures part of my process of producing knowledge about deliberative and workshops, or for academic reasons. Audiences can be notions of democracy and lack of freedoms in Turkey. Finally, somewhat taken aback by the findings of the research as these drawing upon literature about illiberal democracies (Wolin findings do not fit with their beliefs or with their general 1994), insider research (Mullings 1999), and academic understanding of the historical context of present-day dances. freedom (Butler 2017), I posit that audio-recordings of such Working as both performer and researcher has helped me to unprecedented encounters tell us about how authoritarianism challenge certain unsubstantiated views and to interpret the operates in docketing some insider researchers as unlawful steps notated by Peacock in the context of their time. others.

Cassandre Balosso-Bardin, University of Lincoln María Batlle, Kings College London ‘You are Part of the Club’: Musicking in the Field from a Becoming a Chilean Folk Music Practitioner: A Process 16 of Collaborative Research, Apprenticeship, and Working between an Anglo/Mozambican researcher, musician and Partnership filmmaker and a group of young Mozambican researchers, In May 2017 I organised a London tour for a renowned Chilean musicians and film-makers. Over an intense six-month period traditional music ensemble named Las Morenitas (1954-). between March and August 2018 audio-visual research was This is a group I have personally known since 2012 and with conducted into Mozambican women’s musical response whom I have been progressively developing an endearing to the challenges they face in their lives. In this muti- relationship that has involved research, music apprenticeship media presentation, I will show clips from the ‘making of’ and mutual working collaborations. In this paper I review documentaries, extracts from interviews with some of those the learning processes I have undergone throughout the past involved and from the finished films of ‘Fala Minha Irma’. The four years of my PhD research, with special attention on my material is intended to be presented in a non-linear, web based relationship with Las Morenitas. I particularly focus on the interactive documentary due for submission in September processes of formal music learning through private folk harp 2019 as part of a practise led PhD supervised across the schools lessons with one of this group’s members, but I also include of Media Film and Music and Global Studies at The University the equally important, albeit more informal, experiences of of Sussex. learning through social interactions such as the developing of friendships and working partnerships between myself Andrew Bova, Royal Conservatoire of Scotland and these practitioners. I ultimately examine the vicissitudes Competitive Scottish Pipe Bands: An ethnographic and reflexive of my learning of technical aspects of this music, such as analysis of music played at the World Pipe Band Championships rhythm, vocal style, and poetic forms, understanding that such The Great Highland Bagpipe sits at the heart of Scotland’s learning cannot be separated from how I have been personally traditional music, widely identified as Scotland’s national involved as an apprentice and friend of my masters –music instrument, and since the mid-1940’s has experienced an practitioners—during this process. Performance has been a increase in popularity, both at home and abroad. A key factor key aspect to such a learning process, which has made me in this development is the role of competitions, considered understand it as a process of becoming, both musically and by many pipers and enthusiasts to be the crux of the art socially, a Chilean traditional music practitioner. The locus form. While there are many pipe band competitions globally of this becoming has been my own self –very importantly throughout the year, the World Pipe Band Championships is including my own body. Autoethnography and collaborative considered chief among them. In the top grade, bands perform ethnography have allowed me to articulate this analysis of two sets of music; these are the older march, strathspey, my learning processes and the social interactions that have and reel set and the newer medley. Some members of the informed it. pipe band community have criticized the format of these competitions, including much of the repertoire, as being Renan Moretti Bertho, University of Campinas (Unicamp) stagnant and requiring change. By studying this competition, Reciprocity and Fieldwork on the rodas de choro in the Interior and competing in it, I have identified a complex relationship of the State of São Paulo between performer and adjudicator which drives the decision Choro is an instrumental genre of Brazilian popular music making process of many competing bands. In this paper I that emerged in Rio de Janeiro in the last decades of the 19th explore the repertoire played in the World Championships, century. Historically this music has been practised in the and my own thoughts and experiences on this as a competitor format of rodas, that is, groups of amateur and professional and researcher. As part of this, I explore my role as participant musicians who join in bars for the pleasure of playing together. observer and how this has not only influenced my research, Currently, these rodas are found in several states and countries, but how my research has shaped my opinions as a competitor, and many have appeared recently in the interior of the state influencing my own decision making processes. Finally, by of São Paulo, in distinct localities within and across the cities synthesizing my experience and interviews with key figures of Araraquara, Campinas, Ribeirão Preto, São Carlos and in the piping community, I identify ways in which the power Tatuí. These rodas are a hybrid between a presentational and relation between performer and adjudicator affects the musical participatory music performance, where social values such as development of the World Pipe Band Championships. respect and responsibility prevail. As a musician I have been involved in rodas for almost a decade. As a researcher I seek to Stephanie Caffrey, Independent Scholar understand the significance of these values to the people I work To Do it Better or to Understand it Better? Reflections on with. Thus, while my concern is oriented toward the collection Working as Both a Performer and Researcher in the Field and interpretation of ethnographic data, my positioning in Abstract: The role of the music producer is multi-faceted and the field includes participation in performance practices entails a myriad of responsibilities, skills and roles. As with through which relationships of friendship, respect, sociability the musicians they may work with, they must develop not and musical learning emerge. This position provides me with only a range of technical skills but also an aesthetic awareness a unique opportunity to share feelings and emotions while I and respond to the demands of an audience or community. am doing fieldwork. In this paper, I seek to demonstrate how While modern music production education offered by my relationships in the field transform my research into a third level institutes has become a popular training path for performative ethnography through engagement and reciprocity. perspective music students, overtaking the traditional studio apprenticeship model in recent years, the understanding Karen Boswall, University of Sussex of the producer as a performer is an area little explored or ‘Fala Minha Irma’ (Speak My Sister): A celebration of the female understood. Students may graduate from their studies with a creative voice in Mozambique (multimedia presentation) limited understanding of what a music producer actually is, ‘Fala Minha Irma’ (Speak My Sister) is a creative collaboration despite learning and honing production skills for several years. 16 17 Zagorski-Thomas (2014) posed a simple yet divisive question funded Graduate School “Performing Sustainability: Cultures for many practitioners of production: is it better to improve and Development in West Africa”. Contextualising the GMDP technique or to improve understanding? His question raises within broader cultural policy and sustainable development the understanding that while the two are essentially opposites, discourses, our paper highlights the main objectives and they are indeed entwined and benefit each other. Coming methodology of the GMDP and critically examines some of the from an analytical production perspective of ethnomusicology, challenges in its implementation. Specifically, we will discuss my paper will discuss my research on the music producer as issues ranging from funding to interdisciplinarity, internal and a creative voice and informative influence on musical trends external communication of the project as well as stakeholder while reflecting on my own experience as a performing artist collaboration, assessing both possibilities and limitations of within the realm of production. Through a focus on selected practice- and policy-oriented ethnomusicological scholarship music producers, I consider how such research can influence in an increasingly neoliberal environment. my own practice and understanding. Fulvia Caruso, Università Di Pavia Raquel Campos, London South Bank University Sounding Migration. Towards an Open Online Archive of Online Musicking Rituals: Memes, Games and Mourning on Migrants Musical Lives Social Media Since 2014 I’m committed, with my students and former The relationship between music and ritual in local contexts students, to an action research about music and migration in an has been widely studied in Ethnomusicology. However, the area between Lombardy and Emilia Romagna, in the centre of enactment of rituals through social media musicking remains the Padana Plain. unexplored. Media circulation rituals are foundational stones The starting assumption is that music is a significant medium of online communication, allowing users to articulate morality not only for shaping a new understanding of a transnational and values. Social media activities can also be considered cultural identity, but also for intervening creatively to shape moral in themselves (MacDonald 2016), but music’s crucial public opinion about cultural, ethnic, and religious diversity role is still unascertained. Using ethnographic case studies in contemporary Italy. In Cremona and its surroundings from my research on social media musicking among Spanish economic migrants, even when in Italy since decades, are migrants in London, I analyse how music rituals are enacted almost invisible and do not enter into the debate about their on social media focusing on three case studies: music memes, role in Italian society. In contemporary discourses concerning music games and mourning practices. Social media acts as a immigration, nationhood, and religion in Europe, immigrants medium to develop parasocial interactions with others and are mostly described as problematic. Through our work we with the supernatural realm, through the circulation and mean to offer a critique to this view. Collecting data through exchange of sacralised music items. Musicking rituals on musical practice, laboratories and human exchanges we are social media help users to establish norms and values of taste, also organizing occasions of restitution to share with Italians affect, and behaviour, sometimes through the use of symbolic the musics we meet. Part of this process is the realization of and imagined elements of visual music media. In addition, a database on line, to make visible the reality of economic in online communication music media becomes a ritualised migrants. Literature about the power of archives in preserving form of vernacular grammar that is used to participate in cultures is huge, less I could find about public on line archives group sociality and to connect the mundane with the eternal. to let people be known, regardless the distinctiveness of the I conclude by arguing that this circulation and exchange of repertoire or the quality of the performances. I’m still reasoning music on social media constitutes an online form of ritualised on how to realize this database on line and would like to share exchange of music commodities and knowledge, in which my thoughts and receive advices on it. users expand and enrich their social lives by sending music into a partially unknown social circle from which they may not Lorenzo Chiarofonte, SOAS receive anything in return. Do Ko Gyi Kyaw: Music Structures, Interaction Processes, and Performance Context of a Burmese nat-chin Florian Carl, University of Cape Coast Ko Gyi Kyaw is one of the most popular nats of the Pantheon of Digital Ethnomusicology, Interdisciplinary Collaboration, and the Thirty-Seven Nats, the local spirits Burmese people worship Cultural Sustainability: The Ghana Music Documentation Project in order to obtain health, wealth, and success. A womaniser The humanities are, in recent years, facing increasing and a drunkard, this powerful spirit is considered the Prince pressure to justify their societal and economic relevance. of nat pwe ceremonies in Central Burma (Myanmar). During At the same time, disciplinary boundaries within academia a ceremony, the hsaing waing music ensemble invites and are becoming more blurred and calls for interdisciplinary welcomes the Prince by playing with even more dynamism collaborations to tackle the most pressing social problems than usual; the ritual participants indulge in the consumption are becoming louder. In this paper, we present the example of alcohol and cigarettes, experiencing possession supported of a digital humanities project that attempts to bridge the gap by the intense sound of spirit songs. Based on a performance between academic disciplines as well as between the academy, of the Kyi Lin Bo Mingala Hsaing Pwe ensemble from Yangon, policy makers and cultural practitioners: The Ghana Music this paper presents a performance analysis of the popular Documentation Project (GMDP). The GMDP is an interactive nat-chin (spirit song) “Do Ko Gyi Kyaw”. The analysis wants to digital platform and database that is being developed by an highlight the melodic and rhythmic structures, as well as the interdisciplinary team of music scholars, social scientists, and interaction processes intervening between singers and hsaing software engineers at the University of Cape Coast, Ghana. waing players during the performance. The paper presents the The GMDP is part of a larger collaborative framework between processes through which hsaing waing musicians performing universities in Germany, Ghana, and Nigeria, the DAAD- this spirit song respond to the presence of a dancing group of 18 possessed human participants, operating shifts in dynamics Islamic aesthetics. and intensity in order to trigger, support, and control the spirit possession. Beverley Diamond, Memorial University Collaboration’s Knots and Nots Morgan Davies, SOAS In Indigenous contexts in which I often work, relationality Music and Dance Traditions in ‘Little Scotland’: Sharing Stories is a central concern. My paper focuses on encounters with Local Communities in Corby where Indigenous friends and advisors conceptualize After the first influx of Glaswegian steel workers into the small relationality, at times as “helping,” as “travelling together rural Northamptonshire village of Corby during the late 1920s, with respect for the land”, as gift giving, as witnessing and as an expatriate Scottish community quickly came to dominate sustained commitment. “Collaboration,” on the other hand the demographic landscape of what subsequently became a is not regarded positively if Indigenous “sovereignty” is not thriving industrial town. Corby has since grown increasingly respected. At worst Settler collaboration with Indigenous diverse, and is now home to many distinct cultural groups. In knowledge keepers (or musicians) may be sought as 2017, local arts organisation Deep Roots Tall Trees instigated a legitimation. Or as Simpson and Smith (2014) identify, two-year project to research, document and share the cultural the relations may be a form of “ethnographic entrapment,” heritage of four of these groups, particularly as expressed presuming that Indigenous “collaborators” will be information through music and dance. The project team subsequently providers who must disclose authentic, traditional knowledge engaged an ethnomusicologist – the author – to advise on to be truly “Indigenous.” Musical collaborations have similarly ethnographic procedures; and this paper reports upon the been examined for the ways they may reinforce stereotypic recently concluded first phase of the project, working with asymmetries of race, class and/or gender (Robinson 2012, the long-established Scottish community. Having first given a Draisey-Collishaw 2017). Both the language of relationality brief historical overview of the two main economic migrations and actual power imbalances in both research and music- of Scottish people into Corby, the paper will highlight some making raise questions about who benefits and what/whose of the music and dance traditions that travelled with these interests are served. How might mutual interests be identified? communities, examining how cultural practices became Are Indigenous initiatives to “awaken” supressed knowledges shaped to suit the needs of Scottish Corbyites. The paper will and “build capacity” congruent with universities looking to present new ethnographic data gathered as part of the ongoing decolonize their curricula? How do different perspectives on community arts project ‘Changing Corby’, discussing the role of the responsibilities of song knowledge coexist? this project in providing a performative, interactive engagement with the local community. Finally, this paper will reflect upon Sophia Frankford, Oxford University the significance of an ethnomusicological contribution to the Egyptian Sha’bi Music and Working Class Masculinities project, commenting upon the delicate position of an external Egyptian sha’bi music is a genre of popular music that emerged researcher being engaged with minority local communities, and in the 1970s in working class areas of Cairo, and continues to with a locally based creative arts team, whilst also exploring the have a pervasive presence around the city. Although listened opportunities that can arise from such collaborations. to by a cross-section of society (sometimes intentionally, sometimes unavoidably as it blasts out of taxis and microbuses), Polina Dessiatnitchenko, Harvard University it is typically performed and produced solely by working Performing a “Muslim Way of Thinking”: An Ethnomusicologist’s class men. Sha’bi music is associated with a particular kind Moment of Alterity of masculinity – one demonised as dangerous and backward Phenomenology aims at an investigation of lived experience by middle- and upper-class Egyptians. ‘These men, their through suspending the “natural attitude,” Edmund Husserl’s minds are different to ours… and their music is not real term for the ordinary and everyday perception of things as music anyway. Why put yourself in this danger?’ one middle- given and taken for granted facts. Despite criticism of the class friend warned me upon learning I was to perform with possibility to eliminate the “natural attitude,” scholars have a sha’bi band. Grounded in ongoing ethnographic research proposed and defended ways to achieve this phenomenological with sha’bi musicians, this paper will explore the intersection reduction that seeks pre-objective ways of being. One of these between music, class and masculinity in Cairo. I argue that methods involves what Thomas Csordas and Jack Kats (2003) sha’bi music offers an excellent lens through which to counter refer to as “the moment of alterity” when an encounter with what anthropologist Farha Ghannam has called a problematic the Other expands one’s horizons towards an understanding “disembodiment”, both in the media and scholarly work, of of subjective experience beyond the “natural attitude.” In this the men of the Middle East’; that is, equating men with ‘mind, presentation I discuss how performance serves as an effective culture, reason, honour and public life, while offering little tool towards the “moment of alterity” in ethnomusicology. (if any) discussion of emotions, feelings, or bodily matters’ To be specific, learning how to play a local instrument allows (2013: 4). Here, I ask: how do sha’bi singers’ performances of one to grasp tacit elements of performance that are central to mawwal, a highly emotional near-weeping improvised vocal experience but that often escape local musicians’ awareness solo, and their interaction with an often very emotionally or articulation. Using my own fieldwork recollections as moved male audience, complicate the common understanding a performer of Azerbaijani mugham on the tar, I provide of men as being far from emotions? What kind of working-class examples of how I gained insight into experiences of masculinity emerges from such performances, and why is it Azerbaijani musicians. I show how the use of silences, the deemed so dangerous by the middle-classes? structuring of temporality, creativity, and the use of particular strings on the instrument all highlight the proximity to a form James Gabrillo, Princeton University of declamatory rhetoric and emotional interpretation rooted in Post/Colonial Singing Contests in Manila and the Construction of 18 19 a Philippine Pop Sound Practice Amateur singing contests have shaped the Philippine music Ethnomusicology “at home” raises interesting questions industry since the twentieth century. They can be traced back regarding reciprocity, exchange and identity. For example, to the bodabil, a theatre tradition that became the dominant differentiating between building professional networks within form of mass entertainment in the colonial port city of Manila one’s own practice versus working out the parameters and during the American occupation of the Philippines from expectations that a researcher may have with a participant the 1910s to the 1950s, as Filipino performers entertained in the field. This was particularly interesting to me upon the American troops and local audiences with musical numbers completion of my PhD, as I have realised that the community that mimicked trends in Western entertainment. Singing choirs within my fieldwork in Northern Ireland often saw (and contests rose to popularity in Manila during the 1980s and some still see) their role as supporting my career as a musician, 1990s, when musical variety programmes on television featured rather than a researcher. Thus, in terms of reciprocity and competitions that focused on parody and kitsch, rewarding exchange, some of the choirs in my research continue to request contestants that humorously adapted the performance styles of help with vocal coaching or performing as a guest artist in foreign artists and playfully distorted the musical ideas of the their events, but are less certain of the benefits I could provide conventional American pop song. Local singers were rewarded the groups as a researcher. As I begin to disseminate my PhD for their comic timing, as they utilised garish costumes and research through academic publications, I have returned to physical gestures to elicit amusement from audiences. I explore choirs to explore and discuss how my research can be used to how this novel musical style, dubbed birit, has since influenced advocate for their needs. This paper examines how I have met the construction of a contemporary popular music industry, with choir singers to discuss potential articles for publication one focused on songs performed principally for their comical and the resultant conversations regarding the benefits of effect. I examine several amateur contestants based in Manila research into choral practice. I contrast this with networking who have gone on to release chart-topping records and build opportunities that have arisen as a result my participation in successful careers emulated by newer and younger acts. the choirs, investigating how reciprocity and exchange have Amateur singing contests not only remain the most popular differed according to whether research participants have seen television genre today, they are also held regularly in towns and me as a researcher or musician. villages across the country as a form of community-building and entertainment. As a result, the once amateur birit style has Andrew Green, University of Glasgow become the foremost sound of mainstream Philippine pop. Music, Truth, Legitimacy and the Informed Citizen in Mexico’s 2018 Elections Xiao Gao, University of Sheffield This paper examines the use of songs during Mexico’s 2018 Wacinwa Puppet Theatre as a Musical Hybrid of the Chinese general elections. Discussing literature from within political Diaspora in Indonesia science on trust and information within democracies, it Wacinwa, a hybrid form of puppet theatre using Chinese highlights the way that music has been adapted to a context traditional stories but performed with a Javanese gamelan, of low trust in the Mexican political and media landscapes. was created by the Chinese diaspora in Indonesia starting in In Mexico, music has often used as a means of providing the 1920s. However, any expression of a Chinese identity was information about current political events. During the 2018 suppressed under President Suharto’s “New Oder” regime election cycle, many songs in favour of political candidates of a (1966-98), which resulted in no performance of wacinwa variety of genres circulated online, communicating information for nearly 40 years. Then, President Susilo posthumously about candidates’ policy proposals; yet in this low-trust context, granted the originator the “Cultural Hero Medal”, bringing songs served mostly to underline politicians’ credibility and wacinwa back into public consciousness. Based on six trustworthiness. In this context music’s role as a purveyor of months of fieldwork in the Chinese Indonesian community, perceived authenticity was both vital and difficult to sustain, this ethnographic study of wacinwa reveals how hybridity since musicians were prone to be accused of “selling out” their has been variously embodied in the process of the genre’s credibility, given the money that political parties were willing initial formation, disappearance and revival and in various to spend on promotional music. Correspondingly, the 2018 aspects of contemporary wacinwa including the puppets, election cycle saw a series of scandals about fraud relating to plot, performance format, and especially music. As a new songs favouring political parties. These trends were marked contribution to the study of musical hybridity, I will use a in the case of a project, funded by the National Electoral new notation method (Andrew Killick’s “global notation”) Institute (INE), to use rap in conjunction with the election to examine how two different kinds of musical instruments debates. Two well-known rappers were hired to create a series (Chinese traditional instruments and Javanese gamelan) are of thirty-second videos using rap to explain concepts to be able to play together despite using different tunings and modes. discussed during the debates. These videos were ostensibly This close musical analysis sheds light on how the national and concerned with creating an informed citizenry capable of cultural identity of Chinese Indonesians has been constructed participating in an electoral system; equally, they targeted a and expressed through a process of musical hybridity. The youth demographic among which INE had especially low development of wacinwa thus becomes a revealing case study in credibility. Negative responses among the hip-hop community, the dynamics of cultural negotiation, acculturation, identity and however, indicated that such an endeavour risked transferring hybridity in the musical culture of a long-established diaspora INE’s lack of credibility onto these participants, highlighting community. (following Charles Tilly) “trust” as a complex set of behaviours marking certain relationships, rather than a quality that could Sarah-Jane Gibson, Queens University Belfast be transferred from one site to another. Wearing Both Caps: Being Researcher and Musician in Choral 20 Lea Hagmann, University of Bern collective memory as re-visions for possible futures. Challenging Collaborations: Local Musicians, Local Academics and the Scholar From Abroad Jim Hickson, Independent Scholar One of the most challenging tasks for ethnomusicologists is Examining the Success of Malian Music as World Music to bridge the gap between the research field and academia. Malian music is ubiquitous in “world music.” Indeed, Malian This becomes ever more complex when - due to political artists consistently appear more often and rank higher in world enthusiasm - the research field and local academia overlap. music record charts than artists of any other nationality. While Such a case can be found in Cornwall, a region which became the concept and industry of world music and the histories recognised as a national Celtic minority within the UK in and workings of Malian music having been examined at 2014. I first came to Cornwall as a lay-musician in 2008 and length in the past, scholarship on the intersection of the two was fascinated by its thriving and welcoming music scene. has been sparse. Drawing on six years’ working experience Driven by my interest in Cornish culture and encouraged by of world music industry, this paper presents compelling local musicians and dancers, I decided in 2013 to write my statistical evidence of the dominance of Malian music in that PhD thesis on the Cornish music and dance revival as part industry. Tuareg essouf band Tinariwen is introduced as a of an interdisciplinary project on authenticity in Switzerland. specific case study to allow exploration into themes including Local Cornish researchers, musicians and dancers were very musical familiarity (and unfamiliarity); branding, imagery supportive of my work and offered me their help. It was only and narrative; and the use of cultural brokers. It investigates two years later that I discovered that my analyses did not show how a group with complex relationships with nationality the results my Cornish collaborators had expected. This raised is constructed as Malian on the world stage, and how their for me a great amount of ethical questions, which, however, music and marketing strategies work with and around such were seen as rather irrelevant by some of my Swiss project team a construction to allow them to obtain their current rank of members. This paper reflects on my personal journey from a world music superstardom. The paper argues that Malian music naïve Celtic enthusiast to an academic deconstructivist and could be considered a “perfect storm” for the world music back to a Cornish music lover and the effects this development markets, with musical, narrative and political forces aligning had on my Cornish informants and academic collaborators. in the optimal manner to facilitate the most effective strategies It questions the etic-emic dichotomy and describes the of marketing towards world music audiences. By studying the narrow path that lies between my personal relationships with dominance of Malian music in “world music,” we can better local musicians and my role as an “independent” academic examine the mechanics of the industry, but also the attitudes researcher. and behaviours of the world music audience and the artistic, industrial and even institutional practices and processes that Ruth Hellier-Tinoco, UC Santa Barbara define “world music” as a whole. Corporeal Musical Palimpsests: Instruments, Bodies, Breath and Trans-Temporal mMemory Traces Fay Hield, University of Sheffield In discussions of performance, repetition, memory and Remediating the Mythical: The Artist as Cultural Intermediary “performing remains,” Rebecca Schneider has noted that “If This paper shares initial findings from Modern Fairies, an the past is never over, or never completed, ‘remains’ might AHRC project researching how material from the storyworld be understood not solely as object or document material, but of British folk-tales can be made relevant to contemporary also as the immaterial labor of bodies engaged in and with audiences via artistic re-mediation. We consider the artists as that incomplete past.” Diana Taylor, in her analyses of cultural ‘cultural intermediaries’ (Bourdieu, 1984) - actors occupying memory, archives and embodied repertoires, has asked, the conceptual space between production and consumption “How does one come to inhabit and envision one’s body as - through examining the artistic process. We explore their coextensive with one’s environment and one’s past, emphasizing interactions with audiences, the arts sector and each other, the porous nature of skin rather than its boundedness?” In surfacing their experience of creating new work. That the this paper I draw on Schneider and Taylor to discuss ideas artists are engaged in rather than being the subject of the of inhabitation and the immaterial labor of bodies in terms research adds an additional layer of complexity as they also of playing musical instruments, singing (and listening) as strive to satisfy the aims of the research. The processes and collaborative trans-temporal practices—practices that are pressures involved with collaborative practice-based research inherently embodied. I introduce the notion of corporeal involving visual, text based and musical performers with both musical palimpsests to consider experiences of trans-temporal creative and research objectives are explored. Our findings connections—across and through time—whereby the musical offer reflective analysis of the self-conceptualisation of artists instruments and bodies of musicians (and listeners) create working as both performer and researcher within the project, multi-layered traces and documents of somatic and sonic and their negotiations of autonomy and creative agency within collective memory. Using ethnographic data drawn from a collaborative process designed to disseminate material collaborative research processes, materials include case studies beyond academia via co-created public performances. of La Máquina (Mexico City) and undergraduate students Closing reflections consider the project’s own form of ‘creative (California). By engaging ideas of palimpsests not only from reciprocity’ with audiences and within the academic and ethnomusicology (Daughtry), but also from dance (Jeyasingh), performance contexts in which the practitioners operate. performance studies (Taylor), theatre (Turner, Nelson), and feminist criticism (Gilbert and Gubar), these discussions Rose Satiko G. Hikiji (University of São Paolo) & Jasper Chalcraft contribute to the field of ethnomusicology by expanding (European University Institute) concepts of multi-layered and embodied musicking experiences Musicking through Film: Collaborative Creation with African that open up understandings of history, knowledge, and Diaspora Musicians between Brazil and Mozambique 20 21 In our research with African musicians in the diaspora, Me,” Whitney Houston’s “I Will Always Love You”, or Katy filmmaking has been our main form of engaging and sharing Perry’s “Last Friday Night”? Does it represent nostalgia, knowledge. Our primary records are film ‘notes’ of the people, Black American culture, kitsch, cool, the lowbrow? Who places and performances we study, but we also create different are the anonymous saxophonists responsible for creating the narratives, some of which result in ethnographic films, others memorable riffs and solos in these songs? This paper aims to in music videos. In this paper, we approach how the creative answer the question of how the saxophone, a polysemous object process of anthropologists and musicians making a film with undeniable cultural relevance, is unacknowledged whilst together relates to anthropological understanding, musical ubiquitous in popular music. This is achieved by investigating production and shared knowledge. We discuss one case in the cultural significance of the saxophone in (mostly) particular, that of Sao Paulo based Mozambican musician, American popular music by interviewing the saxophonists Lenna Bahule, and our work with her as she produced two who perform the solos in the songs we hear on Top 40 radio. shows in both Sao Paulo and Maputo. The film includes This ethnographic approach to exploring the presence of the performances in mainstream cultural venues, musicking saxophone in contemporary popular music is singular in its in varied contexts, including rehearsals, collaboration with scope because of the knowledge of the researcher, a professional a community project in Maputo’s outskirts, and Lenna’s saxophonist with over twenty years of performing experience. grandmother’s farm in Marracuene. Whilst we, anthropologists, The immanent lack of objectivity is embraced here and perform as filmmakers, the filming itself provoked Lenna to the self-reflexivity is accomplished through the addition of perform herself as not just a musician, but also a researcher, autoethnography to the study, thereby analysing data from the an activist and a producer. The collaborative creative processes interviews through the lens of an active participant within the involved were also reciprocated between Lenna and local same milieu. The addition of personal anecdotal evidence and musicians in both cities: musical exchanges, rehearsals, narratives for the purpose of contemplating and connecting the apprenticeship, participation across stages, instrument- personal to the larger cultural landscape of instrumentalists in making, sharing personal cartographies. These varied forms of mainstream music further illustrates the value of performers musicking, some of them provoked by the filmmaking, helped as researchers, and provides an insider’s perspective to highlight the key questions within our film, issues of gender, understanding the significance of the saxophone and its race and identity. embeddedness in popular culture.

William Rees Hofmann, SOAS Keith Howard, SOAS Wherever I Look, Oh Friend, There is None Other: Investigating The Normal Rules Do Not Apply: Ethics and Rabbit Holes in Two 15th-Century Sufi Song-Texts in Hindi Researching North Korean Music and Dance Hindustani classical music is often described as being the A good jigsaw takes a devotee many hours to assemble, while a product of a synthesis between Indian and Persian systems novice will likely only get part way through before abandoning of music. This hypothesis, however, is one that has been the puzzle. Those who write about North Korea routinely point questioned by scholars such as Katherine Schofield (Brown out that they are attempting to read tea-leaves: the available 2006) and Wim van der Meer (2006) for its simplistic approach written data is often contradictory, partial, or incomplete; to musical change. By beginning with this critique, I will some records that ought to exist have disappeared; and some look at two collections of Sufi song-texts in early Hindi, composers, musicians, and even performance styles and and examine what they can tell us about music and culture practices are hazily, if at all remembered. Access to materials in transition. The written discourses of the 14th and 15th is restricted, but tedium sets in when multiple sources reveal century Indian Sufi saints Shaikh Ahmed Khattu Maghribi ‘unalleviated mediocrity and monotony’ (Scalapino and Lee and Shaikh Abdul Quddus Gangohi contain what seems to be 1972). Schedules must be agreed in advance by nameless the earliest verifiable written evidence we have of early Hindi mystical figures; interviews, if permitted, will be supervised, song-texts meant for performance within the Sufi environment. and all research activity is probably monitored. The restrictive The sections in which the early Hindi song-texts appear state apparatus means that potential danger accrues to deal directly with the concept of tawhid, or the Oneness of the North Koreans one works with, but less to the foreign God. While this points to the use of vernacular languages as researcher who will, hopefully, be allowed to leave the country. a method of imparting Persian Sufi ideologies within local In South Korea, collections of northern materials exist, but so contexts, what do the texts say about music itself, and how can does a national security law the interpretation of which limits we ‘hear’ music in manuscripts that don’t contain notation? access and discussions. The temptation is to write ethnography This paper will examine the song-texts themselves, taking into that dehumanizes, depopulating its pages of the people it consideration both musical and extra-musical cues within purports to study. Or, as Frank (2011) argues, to cowardly but the text, to investigate what they tell us about how they were unhelpfully avoid researching North Korea altogether. This being performed. Further, by analysing the contexts in which paper rehearses the ethical dimensions I have had to face – they were produced, these song-texts may also tell us about the questioning notions of collaboration, exchange and reciprocity interaction, and notions of ‘synthesis’, between ‘Persianate’ and – but also controlling the media interest and attention I have vernacular forms of song and poetry. attracted, as I have developed a monograph on North Korean music and dance. Adrianne Honnold, University of Birmingham ‘Unacknowledged Ubiquity’: The Performer’s Perspective on the Pablo Infante-Amate, University of Oxford Saxophone in Popular Music Sound, Silencing, and the Politics of Social Control in Post-oil What does it mean when you hear a saxophone solo or riff Equatorial Guinea in a mainstream hit such as Jason DeRulo’s “Talk Dirty to For decades, the use of censorship and repression has helped 22 to sustain the state in Equatorial Guinea. This is ever more Estera Jaros, Independent Scholar evident in today’s particularly tense historical moment, marked Collaborative Ethnomusicology in the Face of Gender, Race and by a rampant economic crisis following the global oil-price Class Inequalities in Brazil decline, a recent coup attempt, and an internal struggle to gain In this paper, I ask whether ethnomusicologists can overcome political control resulting from an aging president and the vice- the divide between academia and folkloric music cultures we president’s prosecution for corruption in France. Yet, as Enrique study, showing how positionality influences the dynamics Okenve (2009) has pointed out, the Equatoguinean repression of research and our responsibility as researchers. An system is far from being overly powerful and systematic. ethnomusicological study of Afro-Brazilian music cultures in Rather, social control is achieved through big-brother style Brazil will inevitably be marked by difference of gender, race, surveillance, nepotistic redistribution of oil revenues, and the class, and education and a foreign researcher will have to find random and sometimes confusing use of police force. How ways of dealing with a new identity, imposed on him or her does sound regulation contribute to social control? Bringing by the specific socio-political context. Researchers in Bahia, together Ana María Ochoa’s recent ruminations on silence the state with the biggest concentration of Afro-descendants (2015) and political scientist Béatrice Hibou’s finer analysis of in Brazil, are usually white and upper-class. Some are female, state domination “over and beyond the most brutal repression” but with a dramatically different baggage of experiences than (2011, 9), I aim to complicate excessively simplistic accounts most women they study. How can we contest such markers of of the domination and censorship of subversive music in difference in our field research if they aren’t mere stereotypes? authoritarian states and offer a more nuanced understanding Can we improve the situation of participants even though we of the mechanisms and exercise of power. I do so by exploring don’t have as much power as is often thought? Like most Afro- the political aurality of social control, i.e. the political uses and descendant communities in Brazil, samba de roda practitioners, consequences of the state restriction of music and sound in who are the subjects of my research, remain at the lower end order to impose control over the Equatoguinean population. of the socio-economic divide, with little or no opportunity of Drawing on 12 months of fieldwork in the Central African social ascent. Such circumstances significantly increase the petro-state, my paper shifts from the micro-politics of everyday researcher’s responsibility to “give back” to the community but self-repression to the transformation of urban soundscapes, also raise a threat of consolidating the status quo by externally from overt repressive events to the larger technologies of media directing participants’ musical lives and unintentionally censorship. In moments of marked sound absences, silence and reproducing social inequalities within the community. I fear constitute each other. Not so visible but definitely audible, conclude by outlining currents in Brazilian “participative silencing thus emerges as a powerful state technique for social ethnomusicology”, which was developed in response to the control. challenge of the country’s racialised socio-political imbalance, but can nonetheless draw important lessons for other research David R. M. Irving and Jenny McCallum, University of Melbourne settings and broader debates in applied ethnomusicology. The World of Cocos Malay Music and Dance (Film) The Cocos (Keeling) Islands, located halfway between Hyelim Kim, SOAS Perth and Sri Lanka and part of Australia’s Indian Ocean Jazz Notation for Korean Traditional Music Territories, are home to around 400 Cocos Malays and 150 The role of notation in music-making changes when the others. Uninhabited until 1826, the islands became a coconut process involves intercultural music- making (Davies 2001). plantation controlled by the Scottish Clunies-Ross family For example, in respect to jazz, Davies (2001) describes and worked by Malay labourers from 1827 until 1978. In this notation systems as giving flexible solutions depending on the isolated community there arose a unique and distinctive set context of the musical performance. This paper focuses on the of cultural practices, which drew from Malay, Javanese, and interpretation by jazz musicians when interpreting Korean (some) Scottish influences. The rhythms of Cocos Malay traditional musical elements. In jazz practice, the division life involve regular musicking and Islamic religious ritual; between composer (i.e. the written music) and performer on specific occasions, including the week-long celebrations is looser than in other kinds of music, such as European art following Hari Raya (Eid al-Fitr), the birthday of the Prophet music. Flexibility in notation is associated with the use of (Maulud Nabi), and weddings, the community comes together ‘symbols that are meaningful, yet substantively indeterminate’ for festive public performances. This film presents the first (Pressing, 1998: 58), so that the room of interpretation ethnomusicological survey of Cocos Malay music and dance, allows jazz musicians to reshape the conservative values in based on fieldwork conducted in 2015 and 2016 during the different musical traditions. Borrowing methodologies from festivities for Hari Raya. Among the genres presented and ethnographic research, I will reflect on my own empirical discussed in this film are: zikir (remembrance of the Prophet), experience as a Korean traditional musician working with the joget (popular Malaysian dance), nasyid (devotional songs), Australian jazz drummer, Simon Barker. In our collaboration, Scottish reels with Scottish dance music, traditional Cocos symbols have been developed to notate intercultural Malay dance with biola (violin), silat (a martial art), rudat communication between jazz and Korean traditional music. (seated dance) with percussion, and bangsawan (popular This case will show how the notation used for jazz affects theatre). Interviews explore the Cocos Malay biola tradition performance of Korean traditional music and how I, as and projects for its revitalisation, and memories of music and a Korean traditional musician, cope with the use of such dance for the Nuyar (New Year’s Eve) party that was held in the particular notation. house of the Clunies-Ross family until the 1990s. The history and modern-day practice of ‘Scottish dancing’ within this Mathias Kom, The University of Prince Edward Island Malay Muslim community form a major focus of the narrative. Remaining an ‘Intimate Insider’: Our Place in the Field After Fieldwork 22 23 Contemporary ethnomusicologists can draw on a rich pool Hong Kong of methodological and theoretical frameworks to guide ‘Japanese, Chinese and Indians are frequently seen in London collaborative fieldwork. But what happens after the research audiences, but it is not generally known that a taste for ends, the papers are written, the presentations are given? European music is quickly spreading in the Far East . . . The How do we negotiate the “field” after fieldwork? Collaborative untutored populace “responds gloriously” to the classics’ (Hong ethnomusicological research can have long-lasting Kong Daily News, 1927). Such commentary, which goes on consequences, both for our relationships with our participants to associate the ‘classics’ with Bach (and Beethoven), may and for our continued participation in the musics we study. warrant a cautious approach, given its predominantly Anglo- In this paper I draw on my experience as a collaborator, European readership and provenance in an English-language ethnographer, and performer in the small “antifolk” music colonial newspaper. Yet, the very bias here of an Anglo- scenes in New York and Berlin. I explain the intellectual and colonial discourse, in which Bach is said to symbolise a ‘global’ interpersonal fallout of the end of my doctoral research and European phenomenon, raises an important question, too, writing, in terms of my ongoing participation in the scenes, and about the trajectory of that phenomenon in (audibly) colonial how collaborative research continues to shape my relationships, cities such as Hong Kong. Indeed, what becomes locally of including discussions about how to disseminate the findings in Bach – a ‘prized symbol’ – in and across a Crown colony ways that more directly benefit my (ex) participants. Although (1842–1997) and a Special Administrative Region of China these concerns are especially germane in small music scenes, (1997–present)? Accordingly, this paper will situate Bach as a where interpersonal relationships are frequently held up as ‘sonic Bach’ that may or may not accord neatly with the post/ paramount, the conundrum is common: what now? I argue colonial dichotomy. It will, in the process, attempt an historical that although many of us remain “intimate insiders” (Taylor hearing of three identified musical institutions: a members’ club 2011) – participants, collaborators, friends – in our research in the 1930s; Anglican churches in the 1910s and 2010s; and communities long after our research projects have concluded, the ‘minimalist’ City Hall in the 1960s (which had a Victorian we lack the conceptual frameworks and practical tools to predecessor). In playing out a ‘sonic Bach’ across time and negotiate the complex web of issues that can arise. If we are to place, the paper will examine these institutions as particular, be responsible collaborative scholars, committed to meaningful performative environments in which ideas of class and musical participation and the co-production of knowledge, we need to expertise are simultaneously rehearsed and challenged – a local cultivate a more robust discussion around what this looks like sonic culture that at once reinforces and nuances the globality beyond the formal conclusion of a research project. of a (post-)European phenomenon.

Aditi Krishna, Royal Holloway Ellan Alethia Lincoln-Hyde, Peking University Music Education, Technology, and the Politics of Identity in The Politics of Youth Music in Beijing: A Case Study of Two North Indian Classical music: Post-1991 Contrasting Collaborative Concert Experiences in an Era of Hindustani (or North Indian) classical music was traditionally ‘Rejuvenation’ transmitted orally within families or family-based guilds In 2015 the Chinese Premier Li Keqiang stated to domestic called gharanas that upheld a particular style (Neuman, media that China’s youth must ‘rejuvenate’ the arts of China. 1990). However, in the late nineteenth and the early twentieth Since then a wave of newly founded ‘youth’ ensembles has centuries, some of the first institutions for Indian (classical) spread across the country. These groups showcase the talents music emerged and gained dominance amidst the (Hindu) of young musicians while performing to audiences in such nationalist discourse that emphasised the decline of this a way as to ‘educate’ them about ‘traditional’ Chinese music, ‘sacred’ art under the medieval Muslim rule (Bakhle, 2005; but also ‘new music’: Chinese music composed using Western Moro, 2004). This phase continued significantly in the newly- classical structure. This call for a cultural ‘renaissance’ came in independent India with the establishment of more such tandem with President Xi Jinping’s announcement of China’s important music institutions (by the government or private economic rejuvenation through the Belt and Road Initiative; individuals) that transmitted similar values. However, in the the flagship infrastructure project of the Xi presidency. This post-1991 period of globalisation, economic liberalisation, paper will contextualise micro-application of this Li and Xi’s and the privatisation of economy in India, a different stock of rapid and intense ‘rejuvenation’ drive through the lenses of small-scale and residential music schools have mushroomed ethnographic research and auto-ethnographic reflection. I that are largely privately-owned and business-like. Many claim shall examine two concerts, both performed in 2018, which to promote Hindustani classical music as an integral part of the featured Chinese musicians aged 13-30 inspired by this surge Indian ‘heritage’. Also, with technological advancements and in the Chinese creative arts. In the first I acted as production the internet, innovative methods of teaching this art form have manager and narrator for a concert of ‘Traditional’ music developed, though the gharanas still hold key importance in presented with the Oriental Beauty Youth Orchestra. For the learning and teaching. This paper explores the myriad ways this second, I performed with the Peking University Symphony music tradition is taught, learnt and transmitted in these new, Orchestra’s Masters Showcase concert. I shall discuss the small-scale yet diverse schools in the contemporary period in process of collaboration with both groups and the translation the urban setting of Delhi, India. How are the values, traditional of the two concerts’ aims to wider audiences. This shall be concepts and reformist-era ideas associated with this art are achieved by contrasting the experience of the politics involved (re)interpreted, redefined or approached today in the teaching as performer/researcher on both occasions, and the nature of and learning within these schools? the ongoing relationships I now share with, as these groups see it, their ‘personal ethnomusicologist’. Yvonne Liao, Oxford University ‘Sonic Bach’: (Hearing) Musical Institutions in Post/Colonial Noel Lobley, University of Virginia 24 Building Pan-African Arts Spaces: Creative Collaborations with the Black Power Station Elijah Madiba, Rhodes University What do we learn from real and virtual artistic collaborations A Collaborative Approach to Revitalisation and the Repatriating that attempt to bridge the geographic, cultural, communicative of IsiXhosa Music recordings Archived at the International and financial distances between South Africa and the United Library of African Music (ILAM) in South Africa States? What transformative creative and ethnographic events, This paper examines the collaborative implications in the installations and art works can help build decolonized and revitalization of indigenous music within a contemporary post-colonized exchanges and, ultimately, school and university South African setting. In 2013 ILAM commenced with music, arts and performance curricula? Working as an artist, repatriating Hugh Tracey recordings to communities and sound curator and ethnomusicologist, I have been developing the families of performers he had recorded. The main reason interactive sound events and installations for over a decade in for repatriation was to follow the ethical turn adopted by collaboration with South African hip hop and sound artists, museums and archives across the globe. I was part of this dancers, actors and poets. Creative sound work has been project but instead of returning the recordings to the families performed on street corners, in schools, taxis, theatres and of the musicians who live far away I decided to give them to shebeens, and in homes, galleries, classrooms and playgrounds local hip hoppers who were invited to use the recordings in in South Africa, Europe and the United States. In this live Skype their music. With repatriation being the foundation of this conversation with Xhosa hip-hop artist and community activist exchange the paper describes the nature of the relationship Xolile Madinda, together we will showcase and discuss some between an archive and local hip hoppers. Tracks of isiXhosa of our creative collaborations that explore how music, sound music recorded by Hugh Tracey in the 1957 were returned and performance can question and amplify Xhosa narratives to them. Previously they would never have had access to this on identity and heritage ownership, and promote reciprocal type of music. The main question that arises, is, whether or exchanges and sharing of skills and resources crossing not the incorporation of repatriated recordings into their own continents. We will weave conversational themes through compositions may be deemed a viable and meaningful way multi-media clips of African sound art, physical theatre and to initiate collaboration between an archive and musicians in contemporary dance, praise poetry and canvas painting, the community, and if so, on what terms? I will reflect on how presented from the Book’ona in Around Hip-Hop Live Café’s my intervention through repatriation speaks to the nature Black Power Station, a grass-roots Pan-African arts space in of collaboration, as may be discerned in their compositional Makhanda in South Africa’s Eastern Cape. We will conclude choices and in our musical experiences. with discussion of the long-term shared curricula being developed together with a wider interdisciplinary team based in Boudina McConnachie and Elijah Madiba, Rhodes University both South Africa and the US. Through the Eyes of the Student: A Field-Work Collaboration Project on isiXhosa Culture in the Keiskammahoek Region of the Matthew Machin-Autenrieth, University of Cambridge Eastern Cape, South Africa. (Media presentation [presentation of ‘Ziryab and Us’: Tradition and Collaboration in the Interpretation documentaries]) of an Arab-Andalusian Musical Myth Embedded in field -work practice and encouraged by the ease The 9th century figure of Ziryab is often upheld as the with which students cope with technology, this presentation foremost exponent of Arab-Andalusian music, inherited relates the process and presents the products, in documentary from the Iberian Peninsula’s Muslim legacy. But Ziryab is format, of a third-year ethnomusicology field-research module also seen as a musical bridge between the Arab world and offered by Rhodes University in the Eastern Cape of South Europe; a discursive ‘trope’ in which people ‘hear their own Africa. Students and lecturers collaborated with field-workers cultural roots and heritage’ (Shannon 2015: 40). While some from Ntinga Development Centre (NDC) in Keiskammahoek scholars have sought to analyse the historiography of the in the Eastern Cape Province in South Africa to develop Ziryab ‘myth’ (Reynolds 2008; Shannon 2015), there has documentary research projects on various aspects of isiXhosa been little consideration of what Ziryab means for musicians culture and the related traditions. Working in an isolated, today. In this paper, I argue that Ziryab functions as an rural environment, these students developed and nurtured ‘organisational strategy’ (Stanyek 2004) for the structuring relationships with field-workers, community musicians of collaborations between individual musicians and for the and healers whilst learning about recording, sound and negotiation of traditional boundaries in genres from across the interviewing techniques in addition to ethical considerations Mediterranean. Specifically, I draw on ethnographic research and cultural taboos and traditions. The final products are conducted in 2016 with a collaborative project entitled ‘Ziryab an intimate depiction of the students’ experiences of these and Us’. Comprised of French, Israeli, Moroccan and Spanish interactions and add not only a valuable contribution towards musicians, the project encouraged the performers to interpret the development of educational material relating to isiXhosa the legend of Ziryab through the lens of their own individual culture but also to the understanding of the skills expected of a traditions and conceptualisations of musical heritage. Drawing modern ethnomusicologist. on work concerning the study of rehearsal processes (Bayley 2011) and fusion projects (Brinner 2009), I focus on what Cook Boudina McConnachie, Rhodes University has called the ‘anatomy of the encounter’ (2012) – that is, an The Collaborative Path Towards a Tertiary African Music analysis of the intercultural dynamics of a musical event. In so Undergraduate Curriculum in South Africa doing, I explore the aesthetic and performative decisions the The colonial past and globalisation have had a destructive group made, and the contested discursive categories (such as impact on the development of culturally specific music heritage, history and Mediterraneanism) that underpinned education in South Africa and Africa in general (Ng’andu those decisions and the collaborative process as a whole. 2009: 1). The debate on the teaching of African music in South 24 25 African institutions has raged unabated for decades (Omibiyi histories. In stark contrast, the years 1937-1971 have been 1971; Erlmann 1986; Oehrle 1995; Nzewi 2002; Carver 2002; dismissed as years of musical famine at the opera house. Based Herbst 2007) and yet, despite leadership that promotes on fieldwork and archival study conducted at the Teatro in an essentialised notion of African culture, universities around 2017, this paper will explore the events of these supposedly South Africa fail to effectively incorporate South African fallow years from 1937-1971. By framing this exploration traditional and Indigenous musics. In this paper I will describe within an ethnography of the Teatro’s archive, I will also relate it the path and processes towards the development of an to broader reflections on the nature and construction of history inter-university collaborative , traditional music curriculum in the Amazon. Humidity levels in the archive are frequently for undergraduate first year students. This development over 70%, and many of the sources are regularly rearranged. involved close interaction with members of the surrounding Moreover, securing access to the archive is a complex matter, community, a primary stakeholder in the valuing of and the limitations on who can see these materials affects not traditional African music education, and brought their insight only how histories of the Teatro Amazonas can be constructed, into how relationships elsewhere, such as a neighbouring but who can construct them. A detailed examination of the university, could be managed. Highlighting the importance of archive, interlaced with a discussion of a sample of its contents, partnerships with community-based music practitioners in this will offer peepholes into this period of the opera house’s past. development, and the implementation thereof, I will describe the huge impact that these collaborations have made in the lives Rosie McMahon and Pablo Infante-Amate, University of Oxford of our students and will highlight the inequalities and biases The World’s Music at Oxford (poster presentation) that these skilled and highly respected musicians endure. This poster will present insights into a recently developed ethnomusicological project at the University of Oxford: The Simon McKerrell, University of Newcastle World’s Music at Oxford. The project, created in 2016, is run by Ethnomusicological Practice Research and Interdisciplinary graduate students in ethnomusicology and anthropology, and Research in the UK consists of an annual series of global music concerts. It aims to Musical practice and its sonic aspects have re-asserted provide a platform for voices and musical styles rarely heard in their musicological importance in recent years. This new Oxford, and to meld performance with research by giving space re-emergence of sound and practice began in the early to the musicians to explain the characteristics and contexts of music community, spread to the art music community and their music as well as their artistic trajectories. Simultaneously, gradually into the canon of scholarship on popular music the series seeks to build new links between the university and studies. Ethnomusicology, since its inception in the 1950s, the general public: the concerts are open both to students of has however privileged the practice of traditional music, the university and to members of the general public, and are bimusicality and embodied forms of performative knowledge free of charge. Performances have so far included: Javanese as part of the discipline. Arguably however, this focus has Gamelan, Argentine Tango, music from the Arab Renaissance, tended to be a vehicle for the real object of ethnomusicological and a Windrush Anniversary event featuring a panel discussion scholarship—the social life and structure of communities. and calypso music. Our poster will present images from past This paper argues that ethnomusicology, rather than following performances of our series and selected information on some the phenomenological lead from art music, artistic practice of our ensembles. It will also summarise the objectives of the research or sound studies, has a different model for the use project, as given above, arguing for the value of this kind of of musical practice that hinges on the lack of a centrally collaborative project in communicating ethnomusicological agreed canon of musical repertoire. Thus placing emphasis research to a wider audience. Whilst we believe that this is a more firmly on communal performative values and shared valuable method for presenting research, however, we will also symbolic meanings in traditional music around the world. acknowledge the challenges we have faced in instituting and I argue that UK Research Excellence Framework exercises running this project, and the potential problems that might offer ethnomusicologists the opportunity to extend narrower inhere in it. definitions of practice as research and therefore, act as research partners within larger, interdisciplinary mixed methods Peter McMurray, University of Cambridge projects. This however poses a challenge to ethnomusicologists On Contemporary Islam and Deafness in the UK context to move beyond some aspects of relativism Although blind believers have been accepted and played inherent in the methodological foundations of the discipline important roles in Islam since the time of the Prophet and to recognise the different epistemologies of knowledge Muhammad, it is only in recent years that a few Islamic operating across disciplines, and the financial reward for communities around the world have begun to try systematically research impact beyond the academy. to create institutional spaces for deaf Muslims. I consider here the increasing use of sign language interpretation in British Rosie McMahon, University of Oxford and German mosques, especially during liturgical components Archival Excavations in the Manaus Opera House that generally rely heavily on sound (e.g., the khutbah sermon, The Teatro Amazonas is an iconic Belle Époque opera house communal prayers). I am especially interested in efforts in in Brazil’s Amazonian city of Manaus. After opening at the end mosques and Islamic institutions like “Islam for Deaf” in of 1896 amid a welter of affluence, urbanisation, and European Birmingham and the Turkish Şehitlik Mosque in Berlin to immigration, it was swiftly filled with the sounds of Italian make prayers as accessible as possible, despite traditional opera. These opera performances abruptly ceased a decade later demands on participants to listen in a variety of ways (e.g., when the local economy crashed, taking with it the resources in communal prayers, to listen and respond to liturgical to sustain the genre. The Teatro’s first decade (1897-1907) has cues without any accompanying visual cue). Birmingham, in since been assigned a highly privileged status in many local particular, has become a center not only for the practical use 26 of sign language but also for cultivating an associated body of political demands of their at-home and diasporic audience. I theology through fatwas, or Islamic legal pronouncements. argue that such investigation complicates our understanding On a related note, I also reflect on my experiences making of (self-)censorship (Cloonan 2003; Cook and Heilmann audiovisual media (mostly video) about Muslim communities 2013) and challenges the view which categorizes arts as either in Turkey and the Turkish diaspora in Germany in ways that rebellious against or submissive to the state, and is always make them as accessible as possible to deaf users through eager to expand the notion of (self-)censorship to include the transcription processes in post-production. Both cases move efforts of musicians who work “in the vast gray area that lay from an initial assumption of the sonic richness of Islamic between illegal opposition and active promotion of” (Daughtry devotional life to the recognition of the ways in which that 2009: 31) authoritarian states. I posit that viewing professional richness can become a burden for congregants who are unable Iranian musicians’ work as a constant navigation through to hear. In short, Islam is not merely an intensely sonorous numerous obstacles of different nature allows us to go beyond religious tradition; it is also a tradition that grapples with the restricting resistance-subordination duality (Nooshin the tensions between universality and individual practices of 2017) to better grasp the realities of sustaining a musical career sensory piety. whose survival depends on both adapting to the limitations imposed by the state as well as satisfying state’s wide-ranging Gabrielle Messender, City University oppositions. Tropical(ist) Fantasies: Ziad Rahbani, Fairouz and Lebanese Bossa Nova Jo Miller, University of Sheffield The first Lebanese migrants arrived in Brazil in the 1880s, ‘All our Tunes’: Collaborative Research with a Local Music with tens of thousands arriving between then and the 1930s. Organisation in Scotland Today, it is estimated that there are approximately 8-10 million This paper reflects on collaborative research undertaken with citizens of Lebanese descent living in Brazil, and a small a community music group in 2013, when I led the year-long but culturally active Brazilian population in Lebanon, who project ‘All our Tunes’ to explore local music making - past are mostly descendants of the original Lebanese migrants. and present - in Stirling, Scotland. I consider the roles played Colloquially known as the Brasilibanês, they currently number by ethnomusicologists and the other participants, how mutual approximately 17,000. Although many Lebanese artists such as goals were agreed, and issues of boundaries and ownership Wadih al Safi and Najib Hankash spent time living in Brazil, it negotiated. Illustrated by audio-visual examples, I describe wasn’t until the late 1970s compositions of Ziad Rahbani that the evolving methodology of the project, and how a small Brazilian-influenced music reached a broad Lebanese audience. community organisation worked with both local and national From the distinct bossa nova rhythms that frame his 1978 play partners. Ethnographic and archive research generated material ‘Bil Nisbe il Bukra Shu?’, to his arrangements of Antônio Carlos which was later disseminated through a publication, a film, Jobim compositions for his mother, the iconic singer Fairouz, performances and an exhibition. ‘All our Tunes’ involved Ziad developed an idiosyncratic and distinctly Lebanese style of 30-40 musicians of all ages from Riverside Music Project in bossa nova, which continues to influence musicians in Lebanon researching, creating and performing tunes and songs from and across the Arab world. Using findings from recently their local community. Funded by the Heritage Lottery and conducted field research in Beirut, Lebanon, I will trace the the Local Authority, we worked in partnership with local influence of Ziad Rahbani’s Brazilian-inspired work, from practitioners, and also accessed advice and skills from staff his early, civil war-era plays, to his recent collaborations with at Aberdeen University, who assisted with fieldwork training Brazilian musicians based in Beirut. I will examine how the through the AHRC’s ‘Connected Communities’ programme. performance of Brazilian music by both Brazilian and Lebanese I reflect on how the ethos of Riverside Music Project as a performers occupies a unique, ambivalent and sometimes learning organisation impacted on the outcomes of the project, contested space in the cosmopolitan Beiruti musical milieu, and and conclude by suggesting the potential for similar models of how issues of cultural conservatism, exoticism and stereotyping collaborative research. affect and shape the production, performance and reception of Brazilian music and dance in Lebanon. Deirdre Morgan, Simon Fraser University “I’m Up Next”: Using Performance as a Fieldwork Strategy at Hadi Milanloo, University of Toronto Music Festivals Dancing upon Glasses: Iranian Professional Musicians and (Self-) This paper discusses the ways in which performance can be Censorship used as a tool for ethnographic research at music festivals. In the mid-2015, Ajam, a London-based Iranian band active Drawing from multi-sited fieldwork conducted at jew’s both inside and outside Iran, released their rendition of a harp festivals in Europe, I explore the benefits and risks Bakhtiari folk song, Dare Vaz Kon. Despite music video’s of presenting myself as a musician and a researcher to the warm and immediate online reception, a few alterations in communities I worked with. Beyond the obvious advantages the Persian translation of the lyrics raised bitter resentments of using performance as a way to meet other musicians amongst some audience who interpreted this as Ajam’s and set up interviews, getting onstage at festivals was also submission to the Iranian government’s censorship policies. a means of strengthening reflexivity. Performance allowed Analyzing audience’s reaction to this incident on various me to experience what it was like to be onstage in various online platforms and positioning Ajam within the Iranian communities and to understand different audiences and transnational public (Hemmasi 2017), I examine several venues from the perspective of a player. It also allowed me to strategies that bands such as Ajam employ to ensure their deepen my musical understanding and extend my proficiency active presence inside Iran under its unpredictable political on the jew’s harp, which enabled greater analytical depth conditions, while simultaneously satisfying both artistic and during interviews with other players. As a result, discussion of 26 27 playing techniques became a central aspect of the research and This study is part of a larger project on the social, cultural developed into a theme that tied the multi-sited case studies and historical significance of music ensembles affiliated with together. broadcasting institutions in mainland Southeast Asia.

Lorena Avellar de Muniagurria, Universidade de Campinas/ Evanthia Patsiaoura, University of Manchester UNICAMP Translocal Reciprocities? Performing Nigerian Pentecostal On Musicking, Politics, and Research: Some Comments From the Musics Across and Beyond ‘Fields’ Carimbó Case In popular religious movements such as Nigerian In this paper, I draw on an analysis of the relationships Pentecostalism, performance that is centred around music, emerging in my current research on carimbó. Carimbó is sound and body movement, is fundamental for spiritual an integrated form of song, music, and dance typical of the engagement and senses of togetherness to be brought about. state of Pará, northern Brazil. It was recognized as a Brazilian This paper draws from my previous and current research intangible heritage in 2014, after almost 10 years of research among Nigerian Pentecostal congregations in the diaspora, and political mobilization, largely enabled by carimbozeiros’s precisely from Greece, Brazil, and the UK to discuss how activisms. The Campaign Carimbó Patrimônio Cultural relationships of knowledge, exchange and trust between Brasileiro has mobilized groups of different localities, the researcher and her consultants may largely benefit from promoting both carimbó performances and official meetings. performance practices. I focus on the ways in which the ethics Nowadays, the campaign has given rise to an association that of reciprocity relate to the particularities of locality-making in demands to have a say in heritage policies. Therefore, I study migrant research contexts, where distinct power relations and a particular type of carimbó: the ‘traditional’ and heritagized, backgrounds, pertinent to ethnicity, religion and class, are at which takes form in the confluence of two different kinds of stake. What kind of advantages does music performance offer practices: one considered as ‘popular’ and ‘traditional’; and the to the researcher trying to reciprocate the access and insights other associated with ‘activism’ and ‘politics’. As a researcher, provided to her? To what extent do certain performance beyond the musical engagement, I have been asked to perform practices and approaches prove ‘effective’, and to what extent roles that emerge from this confluence, like the heritagized do they require ‘revision’ in the study of translocal religious carimbó does. My research consultants know that a narrative communities across places as distinct as Athens, São Paulo and dispute is at stake, and they consider researchers as allies in this Manchester? Finally, what responsibilities does the scholar take task. In this sense, academic studies have been instrumentalized on producing knowledge from multi-sited fieldwork in ways by carimbozeiros. Thus, doing research includes different that benefit the people studied themselves? I examine these kinds of performance that actually contribute to creating the questions through a twofold analysis of reciprocal performance reality I investigate. By analyzing this fieldwork relationship, I practices during and beyond distinct courses of field research, explore the heritagized carimbó ways of doing, while discussing particularly drawing from: i) my musical contribution to what kind of meanings the carimbó practitioners attribute to Nigerian Pentecostal congregations in Athens, São Paulo and academic research. Manchester; and ii) my endeavours toward disseminating this popular musico-religious tradition to wide audiences. Lonán Ó Briain, Univeristy of Nottingham Staying Relevant in Post-Socialist Vietnam: An Ethnography of Vivienne Pieters, The University of South Africa (UNISA) the VOV Radio Music Ensembles Presbyterianism and Music at the Lovedale Missionary Institute The Voice of Vietnam Radio (VOV) is the national radio from 1841-1955 broadcaster of the Socialist Republic of Vietnam. Originally The Lovedale Missionary Institute was a Presbyterian mission established as a political mouthpiece of the Communist Party, station in the Eastern Cape of South Africa that played an the VOV has curated a set of music ensembles since the 1950s influential role in educating black intellectuals, musicians and that have contributed to shaping musical aesthetics and taste for politicians, in the late nineteenth through to the mid-twentieth the population over the past seven decades. These ensembles century. Lovedale was named after the Glasgow Missionary have gone through a series of transformations in response to Society’s secretary, Rev Dr. John Love of the Anderston Church the needs of the VOV, the Party and, increasingly since the in Glasgow. The Institute ran a primary, middle and high school 1990s, the listeners. The latest major change initiated in 2014 on non-racial grounds. The principals of the Institute sought involved a reorganisation of the ensembles into two distinct to skill and empower black South Africans for careers in the groups: the national or ethnic music ensemble (nhóm nhạc dân public service, and as teachers in their own communities. In tộc), comprised of traditional instruments and folk singers, and this paper I will focus on the philosophy of music education at the new music ensemble (nhóm nhạc mới), which performs Lovedale under the Rev William Govan (1841-1870), regarding Vietnamese songs composed for choir and chamber orchestra. the influence of the black composer Tiyo Soga (1829-1871). This paper examines how the traditional music group functions Soga’s talent came to notice as a herd boy, and he was soon on a daily basis. Data is drawn from ten months of fieldwork at enrolled at Lovedale. He later received a Scottish education the VOV studios in Hanoi between June 2016 and April 2017, and became immersed in the cultural life in Edinburgh. Soga interviews with current and former members of the ensemble, became the first ordained African minister and the first black and archival documents and recordings. The research attempts Presbyterian Xhosa pioneer missionary among Africans on to understand how musicians, composers, producers and his return to South Africa. He was comfortable with African administrators are keeping their socialist- and communist- tradition as well as religious and tribal structures and was very themed musical outputs relevant in contemporary Vietnam. concerned with the quality of life of his own people. Soga was a Ethnographic research is employed as a means of investigating prolific hymn-writer whose works were published in the Xhosa the production practices and processes in the recording studio. Hymn Book, Incwadi Yama-Culo Ase-Rabe published by the

28 Lovedale Press. Iain Richardson, Robert Gordon University Mu Qian, SOAS ‘For to See the Spray’: Interactions Between Research and From Sufism to Communism—Incarnations of the Uyghur Song Performance Imam Hüsäynim ‘To make sense of… ballad narratives, we are required to Imam Hüsäynim, a traditional song about the martyrdom of “fill in the gaps” in order to create meaning for ourselves’ – the Shia Imam Husayn ibn Ali, has been popular among the McFadyen, 2012. To what extent might the narrative of song Uyghur Sufis in Khotan, an oasis town in Xinjiang or Chinese performance inform or influence the process of researching Central Asia. People perform it in the dastan epic, mäshräp its origins? I will present my experience of performing and gathering, and localised samāʿ ritual. How did a song about a researching the song ‘When first I went to Caledonia’. This Shia Imam become popular among the Uyghur Sufis? Bellér- song tells a story of settlers in Cape Breton island, Nova Hann contends that the martyrdom of Hasan and Husayn in Scotia, Canada. The ‘Caledonia’ of the title is not Scotland, Xinjiang’s popular tradition are “symbols of Islam in general but rather a coal mine near the town of Sydney. Interpretation rather than of Shi‘ism specifically” (Bellér-Hann 2008:236). I in a performance context can lead the performer to a deeper argue that the song is also an interesting complement of the examination of the text. Hints of a historical background mazars (tombs and shrines) of nine of the twelve Shia Imams emerge, including tantalising references which may speak of found in Khotan (although none of them was buried there), a famine and a migration from Cape Breton to New Zealand and a marker of the identity of local people, who have a culture in the late 19th Century. Performing the song leads me to of mazar veneration which also exists among Shia Muslims. examine one rather curious line, ‘I went down to their big The usage of the song is not limited to the Sufi community, but harbour, just on purpose for to see the spray’. Could this refer to has been expanded to drastically different contexts in recent the brigantine, The Spray, which carried Scottish Presbyterian decades. In the 1990s, it was adapted as the theme song of migrants from Cape Breton to Waipu, New Zealand? In this a comedy film, with lyrics about drinking alcohol. In 2016, presentation I will trace the history of this song and address the local government also made it into a propaganda song to the influence of performance narrative on historical enquiry. promote the area’s image. Why has this particular song been Might the performer’s narrative give new insights into historical appropriated in these various ways, and what are the dynamics investigation, or might it suggest connections that have little among its different incarnations? Based on ethnographic substance? research in Khotan, this presentation will discuss the factors that determine the meanings of Imam Hüsäynim, and the Ian Russell, The Elphinstone Institute, University of Aberdeen broader issue of repertoire crossover. Subversion and Injustice in Song in Nineteenth-Century Scotland In this paper I want to re-visit the theme of truth and fact in Shanika Ranasinghe, Royal Holloway song, identified by Herbert Halpert in his seminal 1937 article. ‘Who am I and Who are You and Who are We?’: Navigating ABBA Since historical ballads were first recorded in oral tradition, Fan Identities Through Collaborative Ethnography tension has existed between the event as recounted in song Academic analysis and the knowledge it produces rely on and the documented facts of the incident to which that song many different terms to describe social formations that refers. Twentieth-century folksong scholars have widened this revolve around activities such as music listening; what is less dialectic on the nature of truth in a song text to encompass clear is how people have been consulted in the theoretical other key factors, especially historical-geographical context and framing and usage of words used to refer to them. Building performance as a means of understanding a song’s function upon the burgeoning awareness for dialogic methods within and its meaning, thereby acknowledging the importance of ethnography (Clifford 1988; Lassiter 2005), this paper draws the extra-textual information that certain singers attach to upon my collaborative ethnographic work with fans of the pop particular songs. Atkinson (2002) describes this process as group ABBA, demonstrating how popular music fans respond an accretion of meaning. Whether we are discussing song to words used to represent them in scholarly literature and in relation to historicity (Buchan 1968, Pickering 1997), discussion. Keen to conceptualise ABBA fandom in terms ‘truthful songs’ (Dunn 1980), ‘true-to-life’ songs (Russell 1977), that ABBA super-fans find both accessible and accurate, I moral truth in songs (Buchan 1968, Andersen 1991), ‘lived embarked upon a collaborative ethnographic project with reality’ (Porter 1986), or the construction of the past in the them, as part of my broader PhD research on ABBA fandom. I present (Jackson 2007), there is a need to privilege the singer’s actively sought super-fan opinions on terms and theories such testimony and practice over the scholar’s hypothesising. This as ‘jitterbugs’ (Adorno 1938/1941); ‘public sphere’ (Habermas paper discusses a murder ballad, which, like the ballad of 1962); ‘subcultures’ (Hebdige 1979); ‘art worlds’ (Becker 1983); ‘McCaffery’, is believed by singers to convey a potential for ‘imagined communities’ (Anderson 1985); ‘scenes’ (Straw destabilisation. This belief emanates from the problematic 1991); ‘club cultures’ (Thornton 1995); ‘tribes’ and ‘neo-tribes’ nature of the song’s subject and meaning, denotative and (Maffesoli 1996); ‘publics’ and ‘counterpublics’ (Warner 2002), connotative, as, for instance, a taboo breaker or that which is and ‘cult fandom’ (Hills 2002). What started out as a somewhat- ideologically unacceptable to the hegemony. When Stanley naïve project soon grew into something much deeper: a Robertson, from a Gypsy-Traveller background, sang ‘Green questioning of my own status as an ABBA fan; my status as an the Ganger’ at the Grant Arms in Monymusk in Aberdeenshire, ABBA fan researcher, and a demystification of ABBA fandom Scotland, in 2004, he touched on just such a raw nerve. communities more generally. This paper explores the process The notorious 1840 Glasgow Railway Murder, to which the I went through, as well as the potential of such collaborative song relates, with its undertones of insurrection, racism, work to examine wider issues pertaining not only to discrete sectarianism, and summary justice, still resonates today ethnographic projects, but to ethnomusicology overall. through scholarly articles and documentary dramatization.

28 29 Just as the performance of ‘McCaffery’ was perceived as of actors in a given cultural context. I will also show that the undermining the authority of the military establishment, so a use of lifeline interviews goes beyond the methodological data rendition of ‘Green the Ganger’ might provide the flashpoint collection tool: it allows the analysis of data in situ, in complete for unrest among Irish migratory workers in the construction collaboration with the informant. It will be shown that sharing industry. This paper reflects on the power and nature of truth in the analytical power, from an ethical point of view, prevents such songs in the light of the performer and his/her audience. against cultural appropriation, but also allows ownership and repossession from the informant’s perspective. Hamidreza Salehyar, University of Toronto Nationalist Islamism, Transnational Shi’ism, and Rituals of Mara Shea, The Elphinstone Institute, University of Aberdeen Martyrdom in Iran A Newly-Discovered Collection of 19th-Century Fiddle Tunes Since the 1979 revolution, Shia Muharram mourning rituals (poster presentation) have been politicized to provide mass support for the Iranian Robert Dawson was a Scottish violinist and teacher in state’s policies and actions. Inspired by the martyrdom of Aberdeenshire in the mid-nineteenth century. In 1850, he the Prophet Muhammad’s grandson Hussein in the Battle of began a collection of fiddle tunes that he copied into a small Karbala in 680 AD, these religious rituals have been sometimes notebook. Between 1850 and 1860, he had included about employed to glorify the presence of Iran’s military personnel in 200 Scottish reels, jigs, and strathspeys. One of his students the recent Syrian War (2011-present), representing them as the around 1855 was James Thomson. In 1865, James died at guardians of Shia holy shrines in Syria. While such narratives age 19. Apparently, Dawson had given James his notebook; seem to diverge from nationalist discourses and promote the it was not discovered until recently by Thomson family idea of an imagined transnational Shia community beyond descendants. The notebook, now digitised, preserves Dawson’s current national borders, my paper investigates how a complex collection of fiddle tunes drawn from the ‘golden age of relationship between secular nationalism and sacred Shia Scottish music’, as well as other Scottish tunes with no known symbols is articulated through these musical-religious rituals. composer. Questions for analysis are: a) Is Dawson’s collection Focusing on an adaptation of a well-known nationalist song, representative of a mid-nineteenth-century fiddle repertoire composed during the Constitutional Revolution of 1906-11, in Aberdeenshire? b) Are there ‘new’, previously unpublished into a Muharram ritual performance, my paper examines how tunes in Dawson’s collection? c) What kinds of tunes are adopting the nationalist song’s melodic patterns and lexical included? (jigs, strathspeys, reels; choice of composers?) d) elements enables the religious performer to attribute nationalist Was the book used as a notebook for himself, or as a teaching meanings and sentiments to religious concepts, symbols, and tool, to pass on a ‘best of’ repertoire to his students? e) Did he histories. Recalling elements of national consciousness, the simply copy tunes from other collections, or did he learn by religious performer intertwines Shia narratives of heroism ear from local musicians he may have encountered like Joseph and suffering with memories of the nation’s resistance against Lowe, Willie Blair, Peter Milne? By looking at the organisation imperialist invasions and interventions. Associating the Shia of Dawson’s notebook, comparing the tunes he selected with shrines in Syria with the Iranian homeland makes the Syrian those in other collections available at the time, can we see a war a defensive national war in which protecting the shrines common repertoire? Comparing Dawson’s collection with is a religious and national responsibility shared by all Shia- contemporaneous publications by William Christie, Isaac Iranian citizens. Despite their transnational claims, Islamist Cooper, Joseph Lowe, William Marshall, and the Gow family agendas have been often nurtured and reinforced by nationalist may help answer some of these questions. Along with some sentiments and narratives. brief historical context about Dawson’s notebook, the poster will show sample pages from it, highlighting his organisation of Marianne-Sarah Saulnier, Université de Montréal tunes, choice of bowings, and variations from the same tunes in Repossession and Ownership: Lifelines as a Tool of Collaboration other collections. in Ethnomusicology Grounded in recent fieldwork (2017/18), this paper presents Heather Sparling, Cape Breton University lifeline interviews in an ethnomusicological context, more Creation Processes Among Amateur Songwriters of Disaster specifically with the Kalbeliyas, a Gypsy community of snake Songs charmers in Northern India, a profession outlawed by the One of the more unexpected facets of my collection of 500+ Wildlife Protection Act of 1972. The usage of animals now Atlantic Canadian disaster songs is the fact that the majority are illegal, the cobra is now personified by female dancers. In relatively recent compositions. When I interviewed songwriters India, access to the public sphere has been historically the about why they had created their songs, I also asked how they prerogative of men, confining women in the artistic fields had written their songs. I was fascinated by the array of answers into one-dimensional roles often associated with sexuality. I received. Some songs were diligently developed and edited In this context, the reality of the female Kalbeliya as the sole over time while others emerged almost instantaneously. Some provider is paradoxical. Though this complex social, political were written in the hours or days after a tragedy while others and historical context, I aim to demonstrate how the use of didn’t appear for months or even years. Sometimes lyrics came the lifeline generates innovative data and creates a relationship first, other times the melody or chord pattern came first. In of trust and collaboration, allowing the informant to actively this paper, drawing on ethnographic interviews with more participate in the analytical process. The first part of this paper than a dozen songwriters from across the US and Canada, I will present the qualitative advantages to the data generated will analyze the methods that amateur songwriters use to write in this (Kalbeliya) context. We will see that this tool makes it songs. Scholarly literature on songwriting tends to exist in possible to link historical, political and social facts to several four areas: psychological literature on creativity; music therapy life stories at the same time, and even create a typical profile (songwriting in or as therapy); music education (songwriting in

30 the curriculum); and popular music studies. The latter tends to several musicians. The audience responded with handclapping focus on commercial songwriters, with most literature focusing and dance, altogether performing an attractive celebration. on the songwriting of individual artists rather than on broader The other event included little music, only a stripped-down understandings and patterns of songwriting. There is little performance by a single man playing the traditional lyre, krar, scholarship on the composition processes of amateur or “folk” and singing old Eritrean songs while people were eating and musicians. My paper is indebted to Finnegan’s The Hidden talking. What roles did music and musicians play in these Musicians (1989), which focuses on amateur and everyday performances? How were musical expressions, or lack of music-making in an English town. But whereas Finnegan music, serving two very different purposes and motivations focuses on music-making in the sense of performance, I focus for commemorating the national day? My findings show a on music-making in the sense of composing. clear coherence between the music performed and the political viewpoints of the people involved. Musical performance Bronwen Clacherty, Mark Aranha, Cara Stacey and Kristy Stone during national day celebrations “away”, seems to be complexly Ife and Bilal: An intercultural, practice-based intervention related to the different political relationships between people in This presentation reflects on an artistic production created displacement and the national government back “home”. between 2017 and 2018 as part of a Mellon-funded, inter- institutional research project titled: ‘Recentring Afro-Asia: Shannon Le Ying Stevenson, University of Aberdeen Musical and human migrations in the pre-colonial period Transition to Secondary: Exploring Musical Composition 700-1500 AD’ (University of Cape Town, University of the Through Culture (poster presentation) Western Cape, University of the Witwatersrand, Ambedkar Traditionally, music in education is designed towards Western University Delhi). The production is titled “Ife and Bilal” and Classical theory due to its dominance in music culture. This is an intercultural, interdisciplinary collaboration between method does not allow for creative use within a short amount artists from South Africa, India, and Turkey. It explores ancient of time. It may also further the notion that music is an exclusive oceanic connections through a live improvised creation using subject and only for those with talent or ability. In response to sound and visuals that echo the past with the present. In the this issue, a variety of different music methods aim to be more interconnected world of the Indian Ocean a thousand years creative and to allow music learning to be more accessible. My ago, water was the conduit that carried people, ideas, and fourth-year project incorporates and adapts Drake Music’s sounds between Africa and Asia. The story of Ife and Bilal Figurenotes system of notation to teach Primary Sevens revisits that world, where journeys were unpredictable and at to compose music in a short amount of time. This poster the mercy of the forces of nature. Knowledge, collaboration and presentation will give a more detailed insight into the project. improvisation were key to survival, and our process embraces Thus, demonstrating how music and composition have been these elements, moving away from the literal and towards used to enable the pupils to explore culture. themes from the littoral, using historically-informed media in experimental ways to convey a narrative. Maisie Sum, University of Waterloo Resisting nostalgic or stereotypical representations of a past, Wearables in the Field: A New Dimension to Ethnomusicology? we draw inspiration from 10th Century Arabic, African and With the advent of wearable technology, a door to other contemporaneous enquiries into astronomy, astrology, previously unimaginable possibilities opens up for the field optics, geometry and alchemy. The performed visuals explore of ethnomusicology. No longer is studying the wonders of the material aspects of water, sound, metal and light. Here, the human brain and body across cultures confined to the science and art work together with music to locate unseen lab. Music studies concerned with either emotion, health, currents of history and star maps of fate and fortune. We aim and cognition have been concentrated in Europe and North to reflect on the experimental process of creating “Ife and Bilal” America, with many of the participants being undergraduate as artist-researchers, pushing at the boundaries of this broader students in the psychology program. There have been efforts to decolonial epistemological endeavour. broaden the pool of participants beyond university to other age groups and cultures through the use of tools such as Amazon’s Jan Magne Steinhovden University of Bergen Mechanical Turk that reaches a global audience, questionnaires A Displaced Nation: Performances of Eritrean National Identity that employ non-verbal stimuli (Peretz et al. 2013), and the in Bergen, Norway translations of questionnaires into other languages such as Since the 1990s, ethnomusicologists have explored the Goldsmiths Musical Sophistication Index which measures relationship between music and national identity. Ethnographic the musicality of the general population (Müllensiefen et al. studies in various settings have mainly focused on national 2014). The invention of unobtrusive non-invasive sensors that identity performed through music by a majority population measure human body response introduces a new dimension living at “home”, within the nation of origin. This paper focuses to fieldwork for ethnomusicologists. It is now possible to on the performance of national identity through music by complement the information gathered through traditional minority groups “away” – people who have left their place methods of observations and conversations with physiological of origin, and perform their national belonging in a context data gathered directly as people (such as the performers, of displacement. Through participant observation and semi- dancers, and/or listeners) are experiencing music in real structured interviews carried out in Bergen, Norway, I have time. This paper explores ways in which wearables may be explored two different expressions of Independence Day (May integrated into music studies in the field, examines the kinds 24), the Eritrean national day celebrated in commemoration of information that can be gathered and analyses that can be of Eritrea’s independence from Ethiopia in 1991. At one event, performed, and considers their value to cross-cultural studies. music seemed to play a major role, conveyed through recorded music and live performances by an orchestra consisting of Julia Szivak, Birmingham City University 30 31 Budapest, Birmingham, Bombay – Tracing Transnational Music ‘organic’ elements as on deliberately-engineered and broadcast Careers on a Transnational Research Journey ‘artificial’ sounds. Loudspeakers are hidden in trees and rocks. Although recent scholarship on the ethnography of popular Broadcasting ambient sounds throughout the course of the music has reinstated the status of the ‘insider’ researcher and day, they send signals ranging from Chinese classical music to acknowledged the advantages the position can bring (Bennett spoken descriptions of local objects of interest, to exhortations 2003), some researchers still end up investigating scenes which to walk in an orderly fashion, to religions chants. Sometimes, consider them as ‘outsiders.’ I, a white, middle-class Hungarian the broadcasts are presented in overt articulations in invocation woman, who looks at the transnational links between the of public service announcements or tourist information music industries of South Asian diasporic locations and the posts. Based on multi-sited fieldwork in Northern, Eastern Indian homeland as part of a PhD programme in Birmingham, and Southern China, this paper considers such mediated very much belong to this group. My research, focusing on the soundscapes along four axes of analysis. First, I contextualise relationship between British Asian artists and the Bollywood such sonic ‘atmospheres’ within surveillance culture in China music industry, has taken me to a variety of locations, including and civic instruction through public address. Second, I rustic Punjabi melas in the Midlands and the glamorous world examine them within a longer, well-known history of Taoist of the Bollywood music industry. However, regardless of the philosophy that positions man in relationship to the cosmos location, my nationality, ethnicity, gender and occupation through a perspective of ‘artifice’ embedded in oppositional casts me as an outsider to the scenes I research. These factors, co-existence with ‘nature’. Third, I explore these articulations and my personal experiences have a profound impact on the as multisensorial experiences found in ecotouristic brands. ways I conceptualise my findings, therefore it is important that Finally, I critique these sonic mediations in interaction with I address these issues (Bhardwa 2013: 41). The process of re- perceived ‘natural’ sounds within broader theorizations of constructing my identity as a racialised, engendered researcher, ecomusicology developed by Guy (2009) and Rees (2016), who is prompted to prove her merit in performance-like coming to conclusions on national vs local acoustic ecologies of interview situations, made me question the assumption that the ‘natural’ Chinese world. the position of the ‘outsider’ can be neutral and lead to greater objectivity. In this paper I discuss how the ‘ethnographic Kim Tebble, Independent Researcher discomfort and awkwardness’ (Hume and Mulcock 2014) Foot-tapping and Accordion beats in Creole and Cajun Music in of being in a liminal position vis-a-vis my interviewees have South-West French Louisiana in the 1960s and 70s shaped my positionality and the research data produced. Creole accordion and fiddle players Alphonse Ardoin and Canray Fontenot, Cajun accordionist Nathan Abshire, and Victoria Tadros, SOAS Cajun fiddler Dewey Balfa, all achieved recognition during Negotiating the Private: Car Listening Culture and Emirati Values the 1960s folk revival, before Cajun music became more The public and the private spheres are imbued with an standardised in the 1980s. These four French- speaking assumed duality, with scholars like Habermas arguing that the master-musicians – two black Louisiana Creoles and two white private sphere affords a sense of autonomy not experienced Cajuns – performed together and influenced each others’ in the public. However, practices that contradict this binary music. They were featured in many documentary films, three construction of autonomy are under- theorised, particularly of which I draw on for this presentation: Delta Blues (Lomax, in regards to the Islamic Middle East and the wider discussion 1966), Dedans le Sud de la Louisiane (Bruneau 1972) and Blues of ethical listening behaviours. This paper addresses how de Balfa (Aginski, 1983). I shall discuss in the context of the spaces like the private car in the Arabian Gulf act as a mobile evolution of Creole and Cajun music the foot-tapped patterns extension of the private within the public, whereby conservative in the above films, and show how they enabled these musicians Islamic ethics and hyper-modern influences are negotiated. to achieve an effective rural swing feel. I shall demonstrate on Specifically, I position the car as central to Emirati musical a single-row diatonic button accordion the three main musical listening behaviour and a space in which Emiratis balance forms shared by the above musicians, a two-step, a waltz, and the traditional with the modern through contrasting musical a blues. As a performer and researcher of Creole and Cajun aesthetics. I argue that the car provides autonomy, which music for thirty years, I have come to appreciate the importance unlike alternative private spheres, facilitates the expression of the foot-tapped beats evident in these films, while Ryan of contemporary values through listening praxis, whilst Brasseaux’ 2009 book, Cajun Breakdown, has been particularly retaining traditional expectations at home and in public. In helpful more recently in understanding the influence of earlier conclusion, by closely examining the role of listening and the Swing-era rhythms on the Cajun music of the 1960s and 70s. car within Emirati society, my paper reveals an overlooked Although this work is not collaborative as such, I shall explain aspect of contemporary musical practices within the United how this rhythmic approach to Creole and Cajun music has Arab Emirates, as well as the role sound has in negotiating helped me work with other musicians who are learning the contrasting Emirati values. style in the creation of the Edinburgh Festival Fringe show ‘Bonnie Bayou’ in 2018. Shrz Ee Tan, Royal Holloway Megaphones Hiding in Trees: Civic Instruction Via Mediated Ioannis Tsioulakis, Queens University Belfast Soundscapes in Places of Natural Scenic Beauty in China Failing Collectives: Athenian Musicians Reflect on their Worst Places of ‘scenic beauty’ in China – national parks, panda Performance Collaborations enclosures, holy mountains, private gardens – have been Accounts of failure, unsuccessful collaborations, and sites where encounters with nature have been constructed performance occasions that musicians would rather erase from through idealisations of particular ecologies. Often, in these their memory, rarely appear in ethnomusicological analyses environments, the sonic design of space predicates as much on of music groups. Musical practice (and its ethnographic 32 observation), however, is full of occasions of failing collectives. measures. Fieldworkers and musicians observe and discuss them constantly, albeit often ‘off the (ethnographic) record’. This Tom Wagner, Royal Holloway paper will argue that a study of failing collaborations can Scientology, Swing Music, and the Limits of ‘Fieldback’ contribute to a nuanced understanding of a range of critical The Jive Aces, ‘Britain’s hardest working swing band’, routinely ethnomusicological issues, including aesthetics, power appear in support of the Church of Scientology’s ‘Say No inequalities, professional antagonisms, and performativity. to Drugs, Say Yes to Life’ campaign. Like the church itself, In order to seek viable employment and income, professional this campaign has met controversy: the Aces attest to its musicians in the Athenian music industry tend to cross effectiveness having undergone it themselves while critics claim over diverse genres of music, thus collaborating with that the program is based on discredited pseudo-science or a instrumentalists with whom they share very little in terms tool for recruitment to the church. This paper discusses the of creative aesthetic, influences, or educational background. difficulties I encountered whilst writing up my findings from Moreover, musical scenes are terrains were different classes the ethnographic work at ‘Say No to Drugs’ events around of professionals engage in constant antagonisms of power. Britain. Although Scientology has a history of engaging As a result, in an effort to financially and creatively survive academics, it does so with an agenda of using that work to within the local music industry, musicians form collectives that legitimize its beliefs and activities. For researchers, the price often turn out to be asymmetrical or incompatible. Drawing of access is often granting the church a chance to respond on ethnographic observation and in-depth interviews with to drafts of research outputs. While this kind of ‘fieldback’ is professional musicians in Athens since 2005, this presentation illuminating in many contexts, this context muddies the waters will address the following questions: of academic integrity. How much autonomy should be traded (a) How do musicians discuss ‘failure’ in their accounts of for access? How does a researcher balance a duty of care to one’s musical performance? informants with a responsibility to report dissenting views, (b) What can an examination of failing collectives contribute to especially when religion is involved? And how does this play an analysis of power dynamics among musicians? out in the ‘publish or perish’ environment of academia? (c) How do aesthetic and social considerations affect the evaluation of musical collaboration? Huang Wan, Shanghai Conservatory of Music (d) What is the role of the ethnographer in detecting, In-between Social Practice and Performing Practice: representing, and theorising such moments of unsuccessful Collaborative Analysis on the Semi-improvisation in Okinawan collaborative music-making? Folksong Duet Performance Ryukyuan min’yō, or Okinawan folksong, has a form of duet Anaïs Verhulst, CEMPER, Centre for Music and Performing Arts performance, which is accompanied by sanshin (stringed Heritage lute), taiko (drum), sanba (percussion instrument), yubi-bue Ethnographic Methods and Safeguarding Intangible Musical (finger whistling), and chorus hayashi (interjecting shouts, Heritage: The Case of Hunting Horn Music in Flanders or kakegoe). Ryukyuan min’yō duet is often performed in There is a ‘potential disconnect between [UNESCO] and the intimate and informal setting such as private gathering or disparate small communities scattered throughout the globe min’yō izakaya, a type of informal pub, and is characterised targeted by its efforts and affected by its decisions’ (Foster by a lively interaction involving both musicians and listeners, and Gilma, eds. 2015); official recognition and subsequent using to some extend vocal, gestural or bodily hints. This safeguarding efforts do not always reflect the values and needs duet performance thus comprises composed part prescribed of the community. Safeguarding intangible cultural heritage, by kunkunshi (traditional Ryukyuan music notation) and however, should precede, or indeed be independent of, such improvisational part determined by the interaction between recognitions, starting ‘on the ground’, with the community musicians, or between musician and audience (similar case- whose members decide for themselves what is important study see Clayton 2007). Based on practice-based research and and what measures are appropriate. As an ethnomusicologist collaboration with performers (2015-18), this study examines working in the Flemish heritage sector, I examined the Rinshō Kadekaru, Seijin Noborikawa, and Ooshiro Mizako, importance of ethnographic research to achieve this goal. focusing on their vocal, gestural or bodily hints that inform Inspired by Schippers and Grant’s Sustainable Futures for Music academic analysis into understanding meanings hidden in this Cultures project (2016), I developed a method consisting of genre. I argue that, firstly, this semi-improvisation is the result ethnographic interviews, focus groups, and field research to be of interaction between musicians and audience who engage used when accompanying communities who wish to look after in music decisions, including the length of prelude, the role as their musical heritage. This paper presents this method and leading or subordinating voice and sanshin, the melodic pattern discusses how it was used in the collaboration with the Flemish of accompanying sanshin, the responsibility as hayashi, and members of the Benelux Jachthoornfederatie (Benelux Hunting the timing of yubi-bue during climax. Besides, social hierarchy, Horn Federation) in their process of seeing ‘the musical art of master-apprentice relationship, gender and generation playing the hunting horn’ recognised on the Flemish Inventory differences of musicians can also be heard during their musical of Intangible Cultural Heritage. The involvement of a wide interaction that guide their musical creativity. range of stakeholders ensures that their opinions are heard and taken into account in the process of mapping and safeguarding Mathew Warren, Durham University the tradition and, ultimately, applying for its recognition. The Notating Deconstruction and the Idea of a Global Notation collaboration between the researcher—a heritage worker—and System the community helps to discover the values its members attach Andrew Killick launched his new system of Global Notation in to their cultural heritage, towards appropriate safeguarding a series of talks and a dedicated website last year. The system,

32 33 designed to give ethnomusicologists a system of common Faculties (2012) moves beyond common debates of practice- notation across cultures and times, is the latest in a line of such led, practice-based and practice-as research in the arts, to the proposals for replacing or modifying western staff notation as more confident standpoint of artistic research. Documented the lingua franca of our discipline. Here, I re-examine what artistic practices transform into exposed artistic research. a notational system does and how it necessarily structures Academia transforms into a reflexive domain in which non- our understandings of music. I argue that no system can be discursive knowledge forms, unconventional research methods, free of such structural impositions and that, therefore, works and enhanced modes of presentation have a place. (Borgdorff of notation are necessarily discursive objects and that the 2012: 240) My traditional music research incorporates the acceptance of a notation as neutral and passive towards our new practice of innovative, beyond-tune composition by understanding of music is fallacious. Traditional musicians. I position this practice as central to my In light of this, I propose and explore the potential for notation, research: as method; as devised intervention; and as artefact for as a structuring entity, to also be a de-structuring one. Drawing interrogation. Fieldwork, including the extended techniques on my fieldwork, I look at how notation has been used as a ‘self-participant fieldwork’ (Watson, 2013) and ‘fieldback’ tool to deconstruct the categories of evaluation which are (Tokumaru, 2006), has been the method that has woven my encoded in us, in part, by our use of notation and advocate ethnography, practice and critical reflection together; that that acceptance of Killick notation, tempered by a healthy has forged and maintained vital connections between myself deconstructive attitude towards notation is the best disciplinary and my music, the tradition and my evolving research. It has way forward. also been one of the acts that have bound members of the community together in a deeper understanding of themselves Lee Watkins, Rhodes University and their activities in relation to each other. These connections The International Library of African Music (ILAM) and the Quest are part of a collective consciousness that is still emerging. for a Decolonial Approach to Music Heritage Research in Rural Eastern Cape, South Africa Tom Western, University of Oxford In 2011 I was approached by the Ntinga Development Centre Refugee Voices and the Right to Make Sound: Ethics and (NDC) in Keiskammahoek, South Africa, to start conducting Aesthetics of Collaborative Field Recording in Athens research on the music heritage of the area. The area is vast and The technoprivilege that characterised previous eras of sound it would have been impossible for a lone researcher such as recording in ethnomusicology has given way to what Anna myself to initiate and complete the task. The NDC is a social Schultz (2014) terms an ‘unbound digital era’. The ethnographer movement which focuses on heritage development, early no longer stands out as the one who records; aural authorship childhood development (ECD), and food sovereignty, among is unsettled. This stimulates what George Marcus (2010) others. Its structure comprises an executive, co-ordinators calls an ‘aesthetic of collaborative knowledge projects of for the various portfolios, and a team of fieldworkers, each uncertain closure’. And such thinking feeds into recent citizen representing one of the 24 villages in the area. As most rural recording projects, wherein sounds are documented and communities in South Africa consider themselves fodder for places are made collectively and collaboratively. It matters the careers of researchers, collaboration between researchers what stories tell stories. This paper reports on a collaborative and communities may have a tarnished past so how does one field recording project in Athens, Greece. In a Europe of convince a community of one’s seemingly noble intentions? closed borders, Athens develops new sound cultures, built by Since our collaboration follows as a result of a request, does it superdiverse communities formed in transit and in waiting. necessarily absolve one from perpetuating the inequities of the The city becomes a living sound archive – voicing encounters, past? How may this collaboration be conducted on the most solidarities, tensions. I follow three ideas emerging from the ethical terms? In this paper I describe how the relationship sound lab at the refugee centre where I work. First, how sound between the NDC and the music department at Rhodes is used to assert belonging, revealing citizenship as something University, and now the International Library of African Music iterative and turbulent, performed and protested. Second, (ILAM) as well, is negotiated and produced. This relationship how people affected by displacement analyse and articulate questions the extent to which research on music heritage may their own situation, challenging humanitarian uses of ‘refugee determine the efficacy of collaborations between the privileged voices’ which emphasise victimhood to stimulate sympathy. and less privileged. As evidenced in this relationship, this paper And third, what Angela Impey (2016) calls the ‘strategic proposes collaboration as a way forward for archival practice collaborations’ necessary for ethnomusicology to become and music research in the context of the ‘developing’ world. activism. Collaborative sensory ethnography can disrupt The paper reports on the experience with the NDC, examining dominant narratives of ‘refugee crisis’. But it also requires what closely the value of participatory research in the music heritage Donna Haraway (2014) calls the ‘emotional, intellectual and of a rural district. material skill to destabilise our own stories – to retell them with other stories’. The paper thus ends with reflections on the ethics Lori Watson, University of Edinburgh and aesthetics of collaborative field recording. Ethnomusicology meets Artistic Research: Reflections from an Artist/Researcher Eilidh Whiteford, University of Aberdeen In this paper, I reflect on my experiences as an artist/researcher ‘Young Quines an Auld Songs’ engaging with my immediate musical community, with This paper asks why young women singers in Scotland continue particular emphasis on fieldwork, reflexivity and ‘lenses’. to sing traditional ballads, often with disturbing and/or archaic Practice is now generally accepted as a method of study across themes. Drawing on fieldwork with ‘millennial’ singers for many disciplines, and not just as an object of study as has whom unaccompanied traditional ballads form a foundational previously been the case. Henk Borgdorff’s The Conflict of the part of their repertoire, it explores their musical formation 34 and family backgrounds, their changing relationships to their harmony. In this article, my purpose is to explore the role musical and cultural heritage, and what they find meaningful Tibetan Circle Dance plays in helping people feel embodied and relevant in these old songs. It also explores my own peace in a religious context. Circle Dance is commonly danced ‘participant-observer’ status as a singer and interpreter of among Tibetan refugees after social or ceremonial events and is the ballads, asking to what extent the issues and concerns of also danced by non-Tibetan Buddhists in the Buddhist Centre academic ethnomusicologists resonate or overlap with the in River City. The paper is based on participant-observation, concerns of singers and audiences. Influential commentators involving my own embodied experience dancing with both have noted increasing generic porosity and eclecticism Tibetans and non-Tibetans on separate occasions, and in folk and traditional music emerging from Scotland, interviewing amongst both groups. I argue that the process of accompanied by a trend towards greater mass-mediation, and engagement in Tibetan Circle Dance facilitates the emergence enhanced commercial opportunities. The paper considers of feelings of embodied peace. I explore this emergence the implications of these processes for singers’ performance through three intertwined threads. The first is through moral practices and repertoires, contrasting contributors’ individual satisfaction resulting from following a leader in the correct approaches. While folk and traditional music have often been social behaviour appropriate in the context. The second thread implicated in discourses of Scottish nationhood and accounts is embodied escapism: through involvement in the dance, of nation-building, many of the traditional ballads that form dancers are lifted out of their everyday concerns and problems the backbone of the repertoires of these young singers address through engagement with others in shared bodily action. The unsettling themes of murder, sexual violence, exploitative third thread is immersion in the sacred: through participation working practices, and the breakdown of family or community in the dance, dancers have a transcendent experience of relationships; they depict ruptures in the social fabric that are becoming part of a sacred order which includes them and all hard to mend. The paper argues that a more nuanced account of the cosmos, each in their rightful place. Finally, I extend the of the intersectionality of gender, nation, language and culture discussion to question whether the embodied experience of troubles the notion of music as a socially cohesive force in a sacred dance may transform perceptions of reality. contemporary Scottish context. Katie Young, Royal Holloway Richard David Williams, SOAS Collaborating with Cassettes: Building a Postcolonial Sound ‘There is No Modesty or Shame in This City’: What Bengalis Archive in Northern Ghana Heard in Colonial Burma, c.1900 On a cattle herding trip to northern Nigeria in 1979, a young This paper considers the works of Muslim Bengali lyricists man named Alidu from Tamale, Ghana stopped at a market living and writing in colonial Rangoon (Yangon). In 1896, in Benin City. Amidst the regular items for sale that day, he Ahmad Kabir “Islamabadi” printed a short tract that satirized stumbled across a new item: a portable cassette player and how the Burmese celebrated marriages, and lamented the loss recorder. On a whim, Alidu purchased this new technology of Islamic values in a city bent on frivolity. In 1903, Nazir Ali and brought it back with him to Tamale. Over the years, published two collections of songs and poems about love and he chased important historical moments through sound, longing in colonial Burma, embellished with descriptions of recording street musicians, story tellers, conversations, and the sounds of Rangoon and Mandalay. These works document live radio broadcasts. In his words, he “recorded everything,” street music, Islamic sound arts and the entrancing melodies of even jumping into the backs of trucks to capture spontaneous courtesans, deploying recited genres (such as ghazal and paýār) songs amongst passengers. Such materials were largely under and lyrics to capture an echo of the colonial urban soundscape. the radar of the censorship boards of postcolonial political As objects, these works were manufactured as short pamphlets, regimes, and feature musical genres beyond the scope of printed with letters running left-to-right, but pages right-to-left. ethnomusicological scholarship at that time. By the early 1980s, This was a very specific publishing practice, stemming from the Tamale developed a community of recordists like Alidu, who multiple streams of tradition flowing in these Bengali Muslims’ now maintain large personal collections of live recorded music hinterland. (Notably, one of these books – now in the British and events on cassette in the backs of their market shops and Library – was “restored” by a curator unfamiliar with this in storage bins. These recordings are “not for sale” and only for practice, and the central portion of the book’s pages have now “record keeping.” Preservation has become an issue in recent been fixed upside-down). These works gesture to a local Bengali years, as tapes begin to deteriorate, and are discarded when history of Burmese cities, underpinned by larger Indian Ocean recordists pass away. This presentation explores my engagement networks between Europe, Islamabad, Bengal and Rangoon. with cassette collectors, collaborating on a project to build a This paper considers how these authors positioned themselves postcolonial sound archive in Tamale. I detail the “politics of in their imagined geographies, and how their sense of locality preservation,” when funding bodies, collection owners, and and network influenced the way they heard the music and the broader public have conflicting views on how collections sounds of colonial Burma, and shaped the ways in which they should be maintained and accessed. responded, re-sounding through song, lyric and print.

Wanting Wu, Queens University Belfast Seeking Peace through Dance: Embodied Experience in Tibetan Circle Dance Peace is a term with multiple meanings. This is particularly true in the context of Tibetan Buddhism, in which peace can include everything from political settlement to personal

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