SEM 61st Annual Meeting November 10 – 13, 2016 Washington, D.C. Hosted by Smithsonian Folkway Recordings and The George Washington University Society for Ethnomusicology 61st Annual Meeting, 2016 Individual Presentation and Organized Panel Abstracts SEM 2016 Abstracts Book – Note to Reader The SEM 2016 Abstracts Book is divided into two sections: 1) Individual Presentations, and 2) Organized Sessions. Individual Presentation abstracts are alphabetized by the presenter’s last name, while Organized Session abstracts are alphabetized by the session title. Note that Organized Sessions are designated in the Program Book as “Panel,” “Roundtable,” or “Workshop.” Sessions designated as “Paper Session” or “Mixed Session” do not have a session abstract. To determine the time and location of an Individual Presentation, consult the index of participants at the back of the Program Book. To determine the time and location of an Organized Session, see the session number (e.g., 1A) in the Abstracts Book and consult the program in the Program Book. Individual Presentation Abstracts Pages 1 – 97 Organized Session Abstracts Pages 98 – 118 0 Society for Ethnomusicology 61st Annual Meeting, 2016 Individual Presentation Abstracts David Aarons, University of Washington limitations of Jinta-la-Mvta’s “protest music” by exploring these two modes of Making Reggae Ethiopian: Strategies for Mass Appeal and Sonic socialities produced through sonic responses to the nuclear crisis. I suggest Essences of Ethiopianness that Jinta-la-Mvta evince social precarity not merely as a resulting condition of the disaster that nationalist solidarity of kizuna will remedy. Rather, heard Rastafarians from all over the world who have repatriated to Ethiopia, their in relation to Doreen Massey’s notion of “geographies of responsibility,” their promised land, proclaim themselves as the 83rd tribe of Ethiopia (Bonacci music repositions the sense of precarity as the root of the structural 2015, MacLeod 2014) and use reggae as a primary means of asserting their constraints that warrant social critique in post-Fukushima Japan. presence amidst restricting citizenship laws. In order to engage Ethiopian audiences on a large scale through reggae, Rastafarian and Ethiopian reggae musicians must "Ethiopianize" reggae to appeal to local tastes. Based on Margarethe Adams, Stony Brook University extended ethnographic research, I highlight how reggae musicians use Airing Independence: Time and Mediation in Post-socialist Ethiopian sounds and musical elements such as language, scales, rhythms, Kazakhstani Independence Day Celebrations vocal techniques, and digital post-production techniques to connect with local audiences to varying degrees dependent on the backgrounds and abilities of Recent scholarship on time (Crapanzano 2004; Dawdy 2010; Jameson 2007; the musicians. I interrogate the "semiotic potentials of those sounds in Olma 2007) has proposed shifting the scholarly gaze toward multiple relation to the internal contexts of perceivers" (Turino 2014: 189) to temporalities, non-linear concepts of time, and a cognitive/emotional demonstrate how the interplay between urban musicians and listeners treatment of time. In conversation with such scholarship, this paper socially constructs and mobilizes particular sounds as signifiers of Ethiopia. I investigates Kazakhstan’s relationship to its pasts and asks how lived time of argue that these signifying sounds allows repatriated Rastafarians access to the present articulates with ideologically informed chronology. In my mainstream Ethiopian audiences because of the sounds's associations with discussion of Kazakhstani Independence Day I examine how independence is Teshale's "Geez civilization" that privileges Orthodox Christianity and the positioned ideologically and framed temporally through official channels (state Amharic language (1995). I conclude that these sounds represent perceived television, state-sponsored festivals), presenting utopic visions of a distant essences of Ethiopian music and that their implementation, while facilitating past, and projecting idealist imaginings as a kind of advertisement for cultural recognition for some, further marginalizes other ethnic groups Kazakhstan’s future. While the Soviet past is largely obscured in this Kazakh through the sounds' homogenizing potential. I not only address perceived national holiday, the Soviet legacy nevertheless remains as a ghostly essential elements of Ethiopian music in relation to foreign music, but also presence, persisting in habits of celebration and in hidden but sturdy demonstrate the agency of individuals to manipulate and mobilize sounds that ideological underpinnings. Through an ethnographic study of Kazakhstani produce narratives and counter narratives of the nation. Independence Day concerts on the square, a film aired on Independence Day, and interviews with participants, onlookers, and viewers, I examine the intertwining of temporality and ideology in public culture. I discuss the Marié Abe, Boston University contradictory images of a utopian Eurasianist future in songs depicting a Listening to Geographies of Responsibility in post-Fukushima Japan steppe union between Kazakhstan and Russia, contrasted with a nightmarish mock footage of Kazakh collectivization and starvation. Temporal framing On December 31, 2011, eight months after the devastating M9.0 earthquake, grounds Kazakhstani experience and ideologically tints the postsocialist tsunami, and subsequent nuclear crises in northeast Japan, over 200 celebrity present. I show how the commemorations and celebrations on one day singers took to the stage of the annual music TV program “Kohaku Uta illuminate these contradictory framings. Gassen .” The carefully scripted, five-hour-long show performed national solidarity and elicited support for the disaster-affected regions through the trope of “kizuna “ affective bonds. In the face of fragmented national sociality Hannah Adamy, University of California, Davis after the triple disaster, the rhetoric of kizuna in the music program elicited Sexing Sovereignty: Tanya Tagaq’s Queerly Vocal Interventions not only the material support, but also a sense of nationalist allegiance evoked through the lyrical tropes of hometown, family, and homeland. In stark Punk-Inuit throat singer and Inuk activist Tanya Tagaq received a standing contrast to this performance of “disaster nationalism” were the raucous ovation after she performed at the 2014 Polaris Music Prize Gala at the Banff sounds of Jinta-la-Mvta, one of the most active musical groups participating in Center in Alberta, Canada. Though she presented the songs as “Uja” and the antinuclear street protests. Markedly international in their scope, Jinta- “Umingmak” from her recent album Animism (2014), the performance was la-Mvta’s repertoire spanning tunes from Chile, Ireland, Korea, Okinawa, and almost entirely improvised. Many publications described her performance as East Timor called forth a radically different kind of sociality that haunting, powerful, and even frightening, partly because the names of 1,200 imaginatively forged affective alliances across these locations. Based on missing and murdered Indigenous women in Canada silhouetted Tagaq’s ethnographic and musical analyses, this paper probes the possibilities and writhing, panting, shrieking body. In this paper, I analyze the Polaris 1 Society for Ethnomusicology 61st Annual Meeting, 2016 Individual Presentation Abstracts performance as part of Tagaq’s radical embodied sonic sovereignty, in which without necessarily doing meaningful social justice work to advocate for this she asserts women’s agency in Arctic communities by linking embodied community’s social equality and acceptance. Commercially successful artists experience with the Arctic sonic landscape. I also consider Tagaq’s interviews use their music to target the LGBTQ (lesbian, gay, bisexual, transgender, about Animism and her recent coming out as a survivor of sexual assault. In queer) community as a consuming audience by referencing homonormative doing so, I suggest that Tagaq’s performance-based activism uses a queer logic social and political issues, such as same-sex marriage, and glamorous aspects which destabilizes heteronormative and colonial violences against Indigenous of queer culture, such as drag. These actions promote the artist by aligning women. Through her vocal performances, Tagaq enacts what queer indigenous them with a general trend towards social liberalism in popular music culture, theorist Mark Rifkin calls an “erotics of sovereignty.” Such a practice but does this trendy social justice activism result in any meaningful social legitimizes indigenous place-making as a feeling or embodiment, and grants change for the LGBTQ community? Since the community is often Indigenous women sovereignty in their own bodies. Tagaq enacts this disenfranchised, any exposure from major stars in song is applauded. This sovereignty through sound, queering the relationship between the human and paper focuses on Lady Gaga’s music video “Born This Way” and Macklemore’s the landscape as she claims her body through vocal performance. Thus, Tagaq performance of “Same Love” at the 2014 Grammy Awards show to analyze the uses her voice to perform her body as a site of power, pleasure, and narrative these white, heterosexual, and apparently cis-gendered artists’ survivance. songs construct about an American LGBTQ experience. I examine pushback on social media from queer artists and fans critiquing