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Archive for the 'Workshop Announcements' Category

January 14: Rehanna Kheshgi

Our first workshop meeting of the quarter, this Thursday, Jan 14, features Doctoral Candidate in Ethnomusicology Rehanna Kheshgi. She will be presenting her paper “Performing Youthful Desires: The Gabhoru Body as Creative Force in Assam, India.“ The abstract for this paper is posted below.

 

We will meet in our regular place at our regular time: Thursday, Jan 14, 4:30-6:00pm in Godspeed Hall, Room 205. As always, our workshop is open to the public, and all are welcome.

 

Abstract:
Recent studies of popular culture, globalization, and gender in South Asia have recognized the importance of critically engaging with youth culture as a site for debating social values and shaping subjectivities. But few move beyond cosmopolitan centers to incorporate experiences of young people in rural areas. In this talk, I follow a group of young performers from the village courtyard to the proscenium stage, exploring their participation in fertility rituals for agricultural prosperity and aestheticized competitions associated with the springtime bihu festival celebrated in the northeastern Indian state of Assam. Bihu festival songs narrate romantic encounters between women and men, offering a set of stock characters for young people to take on through performance. Intimate and illicit encounters that happen during bihu inspire a shared romantic drama that unfolds in village courtyards, on festival stages, and on television screens across the state of Assam. I argue that the blurring of onstage and offstage personas creates opportunities for young performers to experiment with socially determined boundaries of gender and sexuality, but this freedom also constitutes a context in which young women (gabhoru) are especially vulnerable to threats of bodily harm.

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Winter Quarter 2016 Schedule

Happy New Year! We are pleased to announce our presenters for the winter quarter (see below). Please note that all workshops, unless otherwise indicated, will be held on Thursdays at 4:30pm in Rm. 205, Goodspeed Hall (1010 E 59th St., Chicago, IL 60637).

 

Winter Quarter Schedule:

 

January 14: UofC graduate student Rehanna Kheshgi

“Performing Youthful Desires: The Gabhoru Body as Creative Force in Assam, India”

 

January 21: UofC graduate student Will Buckingham

“The Louisiana Décima and the Isleño Heritage Revival”

 

February 4: UofC graduate student Genevieve Dempsey

“‘There in the Sky is Santa Maria’: The Sound of Gender in Afro-Brazilian Sacred Rituals”

 

Also of interest to EthNoise! attendees: Jewish Studies Workshop on Feb 8, 4:30-6:00:

Mili Leitner (UofC graduate student) presents “Reviving a Mythical Past: Understanding the Klezmer Revival Movement Through Its Album Art”

 

February 11: Edwin Seroussi (Emanuel Alexandre Professor of Musicology at The Hebrew University of Jerusalem)

 

February 18: Inna Naroditskya (Professor of Musicology at Northwestern University)

 

March 3: Nadine Hubbs (Associate Professor of Women’s Studies and Music Theory at the University of Michigan)

Special session in collaboration with the Music History/Theory Workshop. Location: Logan Center, Rm. 801 (day and time are the same as usual)

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October 29: Lynn Hooker

Join us on 10/29 at 4:30pm in Rm. 205, Goodspeed Hall. Lynn Hooker, Associate Professor of Hungarian Studies at Indiana University, will introduce her paper (download paper here using listserv-circulated password). Laura Turner, Graduate Student in Ethnomusicology at the University of Chicago, will serve as discussant.

 

“Hungarian Gypsy Musicians as Laborers in the Twentieth and Twenty-First Centuries”
Abstract:

With a few exceptions, the common understanding of Hungary’s Gypsy music tends to emphasize its “traditional” aspects, highlighting its “pastness” (Appadurai, Korom, and Mills 1991: 21). This understanding resonates with a genre heavily weighted with nostalgia, which Budapest journalist Imre Déri defined in 1912 around “the old patriarchal relationship between the Gypsies and the gentlemen-merry-makers” that he already saw as receding into the past (Sárosi 2012: 104). Two important problems arise from this approach: it obscures the role of actual musicians in the music they play, dismissing them as mere “tradition bearers” (Bohlman 1988: 71-72); and it ignores the ways that “the problem of pastness itself changes as the modes of cultural reproduction change” over the course of the twentieth century–“as traditions become mass-produced, as cultural artifacts become commodified, as intimate performances become available to large audiences” (Appadurai, Korom, and Mills 1991: 22). According to some Hungarian tradition-based narratives, these changes constitute decline, yet despite the many dramatic social and economic changes of the period, Gypsy music thrived in the twentieth century until its collapse in the aftermath of the change of regime.

This presentation examines Hungarian Gypsy music through a different lens: instead of tradition, it revolves around the issue of musicians’ labor. Documents and personal interviews with musicians reveal some of the tensions over how their performance was commodified, whether in the intimate “traditional” setting of a restaurant or private event or in the new contexts of the stage, recording, or broadcast. It also touches on some of the performance ramifications of new institutional frameworks and audience expectations in the twentieth century, from the rise of radio and film through the transformations wrought by state socialism to the decline of the industry since 1989.

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MONDAY October 19: Zoe Sherinian (Film Screening)

Our next workshop meeting will be a special session: a documentary film screening with Zoe Sherinian (Associate Professor of Ethnomusicology, University of Oklahoma). Please note that this session will be held on Monday October 19 at 1:30pm in Rm. 103, Foster Hall: 1130 E 59th St., Chicago IL, 60637.

 

Professor Sherinian will be screening her ethnomusicological documentary, This is a Music!: Reclaiming an Untouchable Drum

 

Please find a trailer for the film here

 

Zoe Sherinian is Associate Professor of Ethnomusicology at the University of Oklahoma. She has published the book, Tamil Folk Music as Dalit Liberation Theology (Indian Univ. Press 2014) as well as articles on the indigenization of Christianity in Ethnomusicology(2007), The World of Music (2005), and Women and Music (2005) and activist ethnomusicology in the Oxford Handbook of Applied Ethnomusicology (2015). Sherinian has produced and directed two documentary films This is A Music: Reclaiming an Untouchable Drum (2011), on the changing status of Dalit (outcaste) drummers in India, and a second one Sakthi Vibrations (2015) on the use of Tamil folk arts to develop self-esteem in young Dalit women at the Sakthi Folk Cultural Centre (2015). She is presently writing a book entitled Drumming Our Liberation: The Spiritual, Cultural, and Sonic Power of the Parai Drum.  She is also an active musician who performs and conducts trainings in the parai drum and plays the mrdangam and jazz drumset.

 

 

This ethnomusicological documentary is about the psychological and economic transformation of a group of untouchable (outcaste) parai frame drummers from a village near Paramagudi, Tamil Nadu, South India. The internal shift in the self-perception that these drummers undergo includes three interwoven threads of musical identity: the identity of the drum, of the music they play, and of the status of the drummers.

 

Through the lens of rarely filmed folk performances and the experience of an American female ethnomusicologist who comes to study with the group Kurinji Malar, we see a group of nine drummers trying to eke out a living while negotiating ongoing caste discrimination in their village. The Hindu caste system constructs parai drummers and their drum as polluted because they play for funerals. As they have professionalized, however, they have reconstructed their performance as “music” and their identity as “worldly.” The film also explores the economic options of these musicians as laborers. Two of the best drummers are tempted to at least limit their “drumset” performances to auspicious festival occasions because they are able to make enough money and gain social status as construction workers. Other members who work as field laborers or shepherd goats are completely dependant on drumming to supplement their income.

 

The narrative of this film focuses on the cultural debate among these drummers over whether they should reclaim the term parai (associated by many with the drummer’s “degraded” caste name Paraiyar) or they should continue to use the English term “drumset,” which carries middleclass status. When the drummers get an opportunity to go to the large cosmopolitan city of Chennai to participate in the Chennai Sangamam folk festival, they experience very different treatment at the hands of both the festival organizers and the multi-caste, multi-class urban audience. On their way to the festival they are shocked to find the extensive use of the term “parai attam or parai dance” in all of the festival advertisement. One of the drummers asks, “Why do they still associate us with the ‘Paraiyan’ caste? Why won’t they let us walk freely in society?” When we interview them soon after they arrive and then at the end of their week in Chennai, we see, however, that their overwhelmingly positive reception has greatly shifted their self-perception and value of village based folk artists. Further, they decide to (re)embrace of the term “parai.” It becomes clear that experiencing this appreciation helps the Kurinji Malar drummers reinforce a sense of pride in their drumming as valued music where as previously it was easy for them to internalize these practices as degraded. The question then becomes, can they sustain these changes back in the village?

 

This film shows that the consideration to change how parai drummers identify their art reflects the process of changing self-identity through musical performance possible for those still considered by many as “untouchables.” However, this case ultimately shows that complete change in presentation of self in the village context is difficult because of the economic dependence of outcaste drummers on the village middle castes who continue to practice castism. Woven throughout the film are dynamic and rare examples of village folk dances like karagattam, kummi and oiylattam, oppari funeral lament, and drumming as well as the voices of the drummers and local activists, who tell the story of the process of working for the economic and social liberation of the oppressed Dalits of India through developing the folk arts.

 

http://www.aems.illinois.edu/publications/enewsletters/newsandreviews_summerfall2013.html

http://www.aems.illinois.edu/publications/filmreviews/thisisamusic.html

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October 15: Philip Bohlman and Travis Jackson

This week we are most excited to welcome Philip V. Bohlman (Mary Werkman Distinguished Service Professor of Music and the Humanities in the College, University of Chicago) and Travis A. Jackson (Associate Professor of Music and the Humanities, University of Chicago). Rather than presenting works in progress, this session will be a step back, examining the workshop process itself and discussing topics including:
  • making use of workshops as a scholar
  • developing academic projects
  • ethical issues within ethnographic music research
  • and, of course, any topics that arise during our question-and-answer period
The session will take place Thursday October 15 at 4:30 pm in Goodspeed 205
As always, there will be snacks, drinks, and stimulating conversation.

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October 8: Fieldwork Panel

Dear EthNoise! enthusiasts,

You are invited to join us for the first EthNoise! workshop meeting of the year: Thursday October 8 at 4:30 pm in Goodspeed 205. We’re excited to welcome Will Buckingham, Mili Leitner, Laura Turner, and Maria Welch, all current University of Chicago grad students who will be presenting reflections on their recent fieldwork. Our discussion will range from the specific research experiences of these four students to broader issues related to scholarly fieldwork. Apropos to EthNoise’s workshop spirit, we will discuss the relationship between field research, writing, and the development of academic research projects.

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Autumn Quarter 2015 Schedule

Welcome back to a new academic year! We are pleased to announce our presenters for the autumn quarter (see below). Please note that all workshops, unless otherwise indicated, will be held on Thursdays at 4:30pm in Rm. 205, Goodspeed Hall (1010 E 59th St., Chicago, IL 60637).

 

Autumn Quarter Schedule:

October 8: Fieldwork Panel, featuring reports on pre-dissertation fieldwork by graduate students in the Department of Music.

 

October 15: Philip V. Bohlman (Mary Werkman Distinguished Service Professor of Music and the Humanities in the College, University of Chicago) and Travis A. Jackson (Associate Professor of Music and the Humanities, University of Chicago) — in conversation: making use of workshops, developing academic projects, and considering issues within ethnographic music research

 

Monday, October 19 (special session*): Zoe Sherinian (Associate Professor of Musicology, University of Oklahoma)
*Please note that this session will be held on Monday October 19 at 1:30pm in Rm. 103, Foster Hall: 1130 E 59th St., Chicago IL, 60637.

 

October 29: Lynn Hooker (Associate Professor, Central Eurasian Studies, Indiana University) — “Gypsy Music as Labor in Twentieth-Century Hungary: Transforming an Industry, Transforming Lives”

 

November 12: Society for Ethnomusicology (SEM) presentations – Joe Maurer, Mili Leitner, and Thalea Stokes (PhD students in Ethnomusicology, University of Chicago)

 

November 19: Society for Ethnomusicology (SEM) presentations – Will Faber, Mike Allemana, and Ameera Nimjee (PhD students in Ethnomusicology, University of Chicago)

 

 

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EthNoise! coming announcements for 2015-2016

Welcome to EthNoise!: The Music, Language, and Culture Workshop.

EthNoise! is a student-run workshop based in the Department of Music which provides a forum for graduate students and guest speakers to present and discuss ongoing research. We meet on Thursday afternoons from 4:30-6pm approximately every other week during the quarter.

A few updates for the coming academic year 2015-2016:

The new student coordinators are Michael Allemana (allemana@uchicago.edu), Joseph Maurer (jmmaurer@uchicago.edu), and Ameera Nimjee (ameeran@uchicago.edu).

Please send us an email with any questions or interests regarding the workshop–especially if you’re interested in attending, presenting, or participating as a respondent to a paper.

The fall quarter schedule will be coming later this summer!

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April 30 – Margaret Walker at EthNoise!

Please join us on Thursday, April 30 for a workshop co-sponsored by SASI (South Asian Sound Initiatives): Margaret Walker will give a talk entitled “From Salaam to Pranaam: The Sanskritization of North Indian Dance.” Please find an abstract below.

In preparation for the discussion, Margaret encourages us to read in advance her recent chapter in The Oxford Handbook of Musical Revival. (Please check your email for the password and link or email nchana@uchicago.edu).

As always, we will meet from 4:30-6pm in Goodspeed 205. Our workshop is open to the public and all are welcome.

 

From Salaam to Pranaam: The Sanskritization of North Indian Dance

There is an unquestioned and widely disseminated understanding about the performing arts of India. Ancient, devotional, sacred, they have, in spite of various foreign influences, global dispersion, and individual creativity, remained faithful to their roots in Hindu ritual. Recent research in a number of classical dances tells a different story, however, showing this accepted history to be a creation of the 20th-century national revival, when music and dance were gentrified and Sanskritized so they could be detached from their roots in the 18th and 19th-centuries and accepted by the rising middle class as national treasures. My research has specifically focused on investigating this type of revisionist history in the dance genre now called kathak, the classical dance of North India. While the reading I’ve suggested covers the larger socio-historical context of the revival, my presentation will focus further on some of the actual changes in repertoire and performance practice that took place as kathak moved into the public arena as new, ancient marker of Independent and bourgeois Indian identity.

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April 23 – Lauren Eldridge at EthNoise!

Please join us on Thursday, April 23 for a presentation and discussion with Lauren Eldridge. The talk is entitled “Racing Genre: Choral Performances of an Authentic Haiti.” Please find an abstract below.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public and all are welcome.

 

Racing Genre: Choral Performances of an Authentic Haiti

Art music composed by people of Haitian descent has a long legacy throughout the diaspora, but several recent performances have recently fired the imaginations of listeners, challenging them to consider their relationship to Haiti. This presentation examines the performative tensions that arise within these spaces, and in the discursive zone between two mutually constitutive genres: mizik klasik and foklò. Highlighting the role of these genres in two performances of “N’ap Debat,” a choral composition by Sydney Guillaume that holds as its subject the 2010 earthquake in Haiti, I argue that musicians and their audiences are engaging in complex contests of meaning regarding the authenticity of the music and the identities of those present. They are, in this sense, both “racing” against genre and “racing” the actual genres by deploying an array of social strategies to recompose both nation and self. Mizik klasik (roughly, “classical music”) encompasses Western European-style art music. Foklò denotes a wide range of expressive practices that include depictions of Haitian history and Vodou. Since the early twentieth century, composers of mizik klasik have incorporated references to foklò into their work. Meanwhile, the principal patrons of foklò have been cultural elites trained in mizik klasik. The performances reviewed in this presentation, one in Michigan and one in Mirebalais, challenge auditors toward more nuanced understandings of authenticity. By racing (against) genre, musicians and their audiences take part in a performance at the crossroads of group identity and self.

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