ANTH398D/2A Meeting 7 (final)

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Slides for week 7 on participation, performance, dance, genres, Kelly Askew's Performing the nation.

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ANTH398D/2A Meeting 7 (final)

  1. 1. ANTH398D - Ethnomusicology Meeting 7 – Participatory October 16, 2007
  2. 2. Business <ul><li>Mid-Semester </li></ul><ul><ul><li>Vocal, heavy, adaptive, deviant, representative, globalized </li></ul></ul><ul><ul><li>Pascal Bujold last week </li></ul></ul><ul><ul><li>Shawn Pitre next week (Jambalaya song) </li></ul></ul><ul><li>Forums </li></ul><ul><li>Music Online </li></ul><ul><ul><li>Blogs </li></ul></ul><ul><ul><li>Podcasts </li></ul></ul>
  3. 3. Music Not Commodity <ul><li>Musicking </li></ul><ul><ul><li>Participation </li></ul></ul><ul><ul><li>Performance </li></ul></ul><ul><ul><li>Playfulness </li></ul></ul><ul><li>Commodities exist </li></ul><ul><ul><li>Business models </li></ul></ul><ul><ul><li>Recording Industry </li></ul></ul>
  4. 4. Sharing Music <ul><li>Blogpost </li></ul><ul><li>Deezer playlist </li></ul><ul><li>“ Numa Numa ” </li></ul>
  5. 5. Dragostea Din Tei (Numa Numa O-Zone Artist Track Stevie Wonder Superstition C+C Music Factory Gonna Make You Sweat Diana Ross I'm Coming Out James Brown Sex Machine Straight No Chaser Moondance (Van Morrison) Kevin Mahogany Still Swingin' Leonard Bernstein Cool Music of the Malinke Dance Of The Hunters Marsudi Raras Kesatriyan Serie
  6. 6. Performing the Nation
  7. 7. Askew Chapter Playlist <ul><li>Punda Wa Tanga (Donkey Of Tanga) p.77 [insults] </li></ul><ul><li>Nimezama (I Am Drowning) p.104 [poetic structure] </li></ul><ul><li>Aliyejaliwa (The Favored One) p.104 </li></ul><ul><li>Pendo Raha Take (The Joy Of Love) p.105 [rhythmic structure, parsing] </li></ul>
  8. 8. Askew Themes <ul><li>Ethnographer </li></ul><ul><li>Maîtres fous </li></ul><ul><li>Evolution genre </li></ul><ul><li>Taarab poetry and communication </li></ul><ul><li>Dance </li></ul><ul><ul><li>Social construct </li></ul></ul>
  9. 9. Social Dimensions <ul><li>Groups </li></ul><ul><ul><li>Economy </li></ul></ul><ul><li>Competitions, how </li></ul><ul><li>Separations </li></ul><ul><ul><li>Gender </li></ul></ul><ul><ul><li>Location </li></ul></ul><ul><ul><li>Socio-economic </li></ul></ul><ul><ul><li>Social control </li></ul></ul><ul><li>Politics, social classes </li></ul><ul><li>What makes a musician ? </li></ul><ul><ul><li>Interchangeability </li></ul></ul>
  10. 10. African Music <ul><li>Africa courses </li></ul><ul><li>World Music/World Beat </li></ul><ul><li>Africa as musical continent </li></ul><ul><li>Otherness </li></ul><ul><li>Tanzania typical? </li></ul>
  11. 11. Musical ethnography <ul><li>Describe a music-culture </li></ul><ul><li>Writing style </li></ul><ul><ul><li>“ Travel” narrative </li></ul></ul><ul><ul><li>Ethnographic present/past </li></ul></ul><ul><ul><li>Intellectual honesty </li></ul></ul><ul><li>Ethnographer’s involvement </li></ul><ul><ul><li>Performing for locals </li></ul></ul><ul><ul><li>Evaluation from locals </li></ul></ul>
  12. 12. Contextualising Askew <ul><li>Dissertation </li></ul><ul><li>Theory </li></ul><ul><ul><li>Bourdieu </li></ul></ul><ul><ul><li>Ranger </li></ul></ul><ul><li>Tanga </li></ul><ul><li>Bus narrative </li></ul><ul><li>Back and forth on history </li></ul><ul><li>Use of musical examples </li></ul>
  13. 13. Historical context <ul><li>Post-Colonialism </li></ul><ul><li>Nationalism </li></ul><ul><ul><li>Nyerere’s ujamaa concept </li></ul></ul><ul><ul><li>Literacy in Swahili </li></ul></ul><ul><ul><li>Socialism </li></ul></ul><ul><ul><li>Regionalism </li></ul></ul><ul><ul><li>Division </li></ul></ul><ul><li>Jean Rouch’s Maîtres fous </li></ul><ul><li>Jennifer Cole’s Forget Colonialism? </li></ul>

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