10 (1/2)

Outstanding Musicians & the Stranger Within.

Reflections on Serb Perceptions of Gypsy Music
Mattijs van de Port

Mattijs van de Port discusses the attribution of musical talent to society's others, more particularly the gypsies in Serpia. The widespread belief that gypsy musicians deliver a more 'soulful' interpretation of Serbian folk music is linked with more generalnotions in Serbian society that present gypsies as 'the stranger within': that-what-one-is-in-spite-of-what-one-ought-to-be. The article shows how gypsy musicians dur-ing musical performances return what was projected onto them, thus allowing an expansion of the Serbian persona to a more complete notion of self. (back)


Nocturnal Ethnographies.

Following Cortazar in the Milongas of Buenos Aires
Marta E. Savigliano

Marta Savigliano takes us with her into the 'milongas' of Buenos Aires and makes the reader experience the tango through her description of the dance. The result is what she dubs a 'nocturnal ethnography': the stuttering and stumbling of the ethnographer's dancing encounter with a strange world, created by the escape from everyday life and the dedication of the other. (back)

Wereldmuziek als antropologische goudmijn

Rob Boonzajer Flaes

Rob Boonzajer Flaes wonders what the anthropologist's contribution to the study of world music could be. He suggests two main approaches. The first concerns thelevel of the world wide system and the processes of translation from global formsto forms adapted to local needs. The second focuses on music traditions separately, with popular culture, the professional musician's practice and creolization as focal points. (back)

The Dancer's Way of Knowing.

Merging Practice and Theory in the Doing and Writing of Ethnography Jill Flanders Crosby

Jill Flanders Crosby, a dancer whose background critically shaped and informed fieldwork experience and data analysis, discusses the unique ethnographic voice that can arise from the dancer's way of knowing and the knowledge that resides in the moving body. She explores how a dancer's ways of discovering and making meaning can influence what is apprehended during fieldwork and how it is analyzed, and its importance and validity for anthropological research. (back)

Rite en realiteit in Stravinski's offerdans.

Le Sacre du Printemps en de grenzen van de verbeelding
Etty Mulder

The shock, dismay and outright fear that was aroused by the premiere of Stravinsky's Sacre du Printemps (and by subsequent generations of listeners) induced Etty Mulder to some reflections on the violent power of this masterpiece and -in what follows from her line of argument -the power of music and dance in general. In her discussion of the forlorn choreographers' attempts to dance Stravinsky's music, Mulder concludes that the Sacre du Printemps refuses to be represented in bodily postures and movement. This composition refuses to be imagined in other terms than itself and confirms a view on music as an autonomous source of meaning. (back)

Sexuality, Greater Mexico and the Song-and-Dance with Hegemony
José E. Limon

Selena was a young and extremely popular singer/performer of working-class, Mexican ancestry though born and raised in the United States. In some part her popularity and her quasi-folk saint status after her death may be explained by her sheer talent and success relative to a socially marginalized community both in Mexico and the United States as well as the tragic manner of her recent death by murder. But, Jose E. Limon argues that her popularity was also created by her culturally nuanced and carefully contained performative sexuality articulated through song but more importantly in the stage costuming of her body and her provocative dancing; a singing and dancing sexuality useful for a community with a tradition of sexual repression even as it also responds to the hegemony of the dominant Anglo society, although in a more fluid manner than the concepts of 'hegemony' and 'counterhegemony' have traditionally allowed. (back)

Highlife en juju. Muzikanten als motor van West-Afrika

Marleen de Witte

Marleen de Witte discusses the role of the West African popular music styles juju and highlife in processes of identity formation and the reproduction of social order. She focuses on musicians as cultural brokers who select and combine various music elements. Highlife musicians mainly contributed to creating class identities and life styles, whereas juju musicians played an important role in the construction of an ethnic Yoruba identity. Contextualizing the musicians' social positions, the author shows why juju musicians use traditional musical elements to a much larger extent than highlife musicians. (back)

Two-Stepping to Glory. Social Dance and the Rhetoric of Social Mobility

Julie Malnig

Julie Malnig explores the phenomenon of the cultural and artistic 'transmission process' of social dance forms within and among different classes and cultural groups in the United States during the 1900s and 1910s. More specifically, she describes and analyzes the 'ragtime era', a period when the country was undergoing tremendous economic, social and cultural changes. The author shows that social dance is not only reflective of cultural practice and behavior, but productive of culture, as well. In particular, she demonstrates the power of dance and musicical forms to embody emerging values and cultural ideals. (back)

Performance and Psychosocial Experience in Kalapalo
Myths About Musical Ritual
Ellen B. Basso

Ellen Basso argues that language and/or symbol oriented approaches are insufficient to clarify Kalapalo ritual performances. Music and dance are the most fundamental aspects of these happenings and therefore sensory and corporeal experiences dominate these events. Even in Kalapalo songs there is no verbal communication since they often consist of unintelligable tone syllables. The author shows how the emphasis on pure musicality over verbal imagery enables the erformers to transcend the boundaries and classifications of language: during the performance the mythical world of ancestral powerful beings can be entered and knowledge can be obtained of 'what we cannot know, what cannot happen to us'. (back)

Spiritual Music and Dance in Pakistan

Hiromi Lorraine Sakata

Music and dance in orthodox Islam are viewed with suspicion and precaution. Hiromi Sakata, however, shows how these activities, through their use in spiritual knowledge and healing within the Sufi tradition, have developed into a vibrant, unifying force that succeeds in countering Pakistan's official orthodox policies. (back)

Contra dancing, pro contradans.

Cultuurpolitiek en ideologie in Nederland, ca. 1918-1955
Rob van Ginkel

The introduction of modern dances like charleston and fox trot in the Netherlands gave rise to opposition from moralists, folklorists and cultural pessimists. As an alternative for these 'dangerous foreign dances' they proposed the (re)invention of folk dances. Their efforts were largely in vain, however. Modern dances did not need outspoken advocates to become part and parcel of popular culture. In his article, Rob van Ginkel describes and analyzes these cultural confrontations within the broader theme of the politicization of Dutch culture between 1918 and 1955. What is striking is that though several folklorists used their folk dance theories in the service of national socialist ideology, some postwar politicians were keen on using similar ideas in their political programs. They perceived folk dances as instrumental to national culture building. (back)