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The Oxford handbook of musical repatriation
The Oxford Handbook of Musical Repatriation is a significant edited volume that critically explores issues surrounding musical repatriation, chiefly of recordings from audiovisual archives. The Handbook provides a dynamic and richly layered collection of stories and critical questions for anyone engaged or interested in repatriation or archival work. Repatriation often is overtly guided by an ethical mandate to \"return\" something to where it belongs, by such means as working to provide reconnection and Indigenous control and access to cultural materials. Essential as these mandates can be, this remarkable volume reveals dimensions to repatriation beyond those which can be understood as simple acts of \"giving back\" or returning an archive to its \"homeland.\"0Musical repatriation can entail subjective negotiations involving living subjects, intangible elements of cultural heritage, and complex histories, situated in intersecting webs of power relations and manifold other contexts. The forty-eight expert authors of this book's thirty-eight chapters engage with multifaceted aspects of musical repatriation, situating it as a concept encompassing widely ranging modes of cultural work that can be both profoundly interdisciplinary and embedded at the core0of ethnographic and historical scholarship. These authors explore a rich variety of these processes' many streams, making the volume a compelling space for critical analysis of musical repatriation and its wider significance. The Handbook presents these chapters in a way that offers numerous emergent perspectives, depending on one's chosen trajectory through the volume.
Book
Against the Grain Theatre's Messiah/Complex and Indigenous Sovereignty
The COVID-19 pandemic and the intensification of IBPOC (Indigenous, Black, and People of Color) activism during this time have prompted many in the classical music industry to pause and reflect on the ways in which we perpetuate colonialism and racism in our leadership and governance structures, programming, casting practices, performance practices, and treatment of IBPOC artists. This article focuses on Messiah/Complex (2020) by Toronto's Against the Grain Theatre (AtG). All soloists were Indigenous or people of color. Based on conversations with several Indigenous artists involved in this project, this article argues that we need to move from thinking about how to include more Indigenous artists to thinking about how we can create space for Indigenous sovereignty. That is going to involve giving over decision-making power to Indigenous artists at all levels. Messiah/Complex could have made a more decisive move toward sovereignty if it had begun with conversations with IBPOC artists about what they want to say at this moment. The performers should have been able to decide not only what language to perform in but also whether they want to perform Handel's music at all, who they want to collaborate with, and how they want to work together.
Journal Article
Shared Reflections Offered by Listening to Johnny Mbizo Dyani’s Born Under the Heat
Originally written as a lecture-presentation for the 2021 South African Society for Research in Music (SASRIM) conference, this text shares our ongoing collaborative study of Born Under the Heat, an album by Johnny Mbizo Dyani. Our research tracks the record(ings) to mark potential pathways for thinking about networks of sociality and solidarity that underpin the production of such politicised cultural work, as well as how we listen to and/or may read it. We trace how the album, recorded in 1983, was born out of festival-gatherings in Lagos, Gaborone and Amsterdam as well as Dyani’s memories/remembering of home (from Duncan Village to Dorkay House, perhaps) when exiled in Scandinavia. By reiterating literal and symbolic modes of travel which Born Under the Heat took, as an object and as a concept/project, we aim to explore multiple routes and forms archival, repatriation and restitution projects continue to find in the postapartheid present.
Journal Article
A “Centaur” in Music and Genre: G. F. Handel's Parnasso in festa for Princess Anne's Wedding
Parnasso in festa (HWV 73, 1734), George Frideric Handel's festa teatrale , composed for the wedding festivities of his royal pupil Princess Anne, is a neglected piece within his oeuvre, mostly because of its hybrid nature. The fact that a considerable portion of the work was adapted from the Oxford oratorio Athalia ought not to cloud our appreciation of the newly-composed parts, since this appropriation is best understood as an act of Athalia 's “repatriation” to its patrons. As a musical “centaur,” Parnasso shows intriguing multi-layered ambiguities. Was the Janus-faced Handel (Apollo/Orpheus) lamenting the departure of his favorite, or was this a bitter-sweet celebration of an unwanted marriage? Dramatically, the focus falls on Apollo's and Orpheus's loss of their loved ones, but how does this fit together with the massive vocal domain of Carestini (Apollo) and Strada (Clio)? On the vocal side, Carestini was given the most virtuosic numbers, resulting in the musical polarization of the main roles. Anna Maria Strada, as a Muse, represented the pastoral side, while Carlo Scalzi (Orfeo) added plaintive pathetic arias to the palette. Nevertheless, harmonizing points both in Carestini's and Strada's musical style and vocal tone formed a “thread” that helped sew the diverse parts of the Parnasso -centaur together.
Journal Article
African Studies Keyword: The Bush
When Ugandan singer Geoffrey Oryema died in France in 2018 after forty-one years in exile, his wish was to be cremated, repatriated to Uganda, and dispersed on the wind. His wish implied improper burial and ignited a controversy due to varied meanings of the bush. The bush is a keyword with a painful past. Oryema’s experience and Acholi concepts of the bush suggest the bush is partly a discourse, inherited from one generation to the next, about the shifting space between home and wild. For this analysis, Lagace draws on songs, social media, Ugandan and French press, archives, scholarship, and correspondence with Ugandans.
Journal Article
Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course
Canadian institutions of higher education are grappling with decolonization, particularly with how to move beyond decolonial and settler colonial theory and the Truth and Reconciliation Commission of Canada’s Calls to Action to practical and specific strategies for meaningful change in the classroom. To that end, this paper offers a case study of a settler instructor’s process of decolonization in a popular music analysis course and describes a variety of methods for decolonizing course design and classroom activities. A discussion of how to apply and adapt the author’s methods for different courses, programs, and local contexts leads to critical reflection on the impact of these changes on student learning and their efficacy in terms of decolonization itself.
Journal Article
Valuing Whiteness: The Presumed Innocence of Musical Truth
1 In the sections that follow I provide a musicological response to critical race and Indigenous studies scholars Eve Tuck and K. Wayne Yang's influential article \"Decolonization is not a Metaphor\" (2012). While a decade has now passed since the publication of this landmark essay, which launched the journal Decolonization: Indigeneity, Education & Society, their work has not (yet) been taken up by music scholars in a sustained way. In the sections below I would thus like to also take up William Fourie's recent challenge that musicology has been slow to embrace critical decolonial analysis (2020), by outlining how fantasies about musical \"truth\" and \"innocence\" have been perpetuated in the Global North.6 Decolonization and Metaphorization: Sounding Tuck and Yang Tuck and Yang's decolonial critique has been instrumental in shaping the course of interdisciplinary academic literature on decolonization since its publication a decade ago, although it has had a slower uptake in musicology. Tuck and Yang take the bold track of arguing that decolonization-drawing on Frantz Fanon's definition of the word as a chaotic, disruptive, untidy break from the colonial condition (1963)-is not, strictly speaking, possible in academia because the actual act of decolonization is about the repatriation of Indigenous land, and it is counterproductive to metaphorize and conflate the idea of decolonization with other social justice projects.
Journal Article
Performing the South African Archive in REwind: A Cantata for Voice, Tape, and Testimony
‘You can hear everything? You can hear my voice?’ The scratchy recording that opens REwind: A Cantata for Voice, Tape, and Testimony prefigures the questions of memory and performance that underlie Philip Miller's multimedia exploration of testimony from South Africa's Truth and Reconciliation Commission (TRC). In this article, I adapt Diana Taylor's concepts of the archive and the repertoire to questions of musical communication. I posit that Miller's collage of testimonial ‘shards’, images, and historic audio recordings disrupts the TRC's official narrative by replacing the archive's narrative of completion with one comprising deliberately disjointed moments of individual suffering. The result is an audiovisual creation that sutures together disparate elements to reflect the complexity of the South African truth-telling process. I suggest that in performance, Miller's work re-animates the TRC archive, bringing it into the contemporary repertoire where it re-inscribes the experiences of TRC testifiers for contemporary audiences.
Journal Article
Research, records and responsibility
The Pacific and Regional Archive for Digital Sources in Endangered Cultures (PARADISEC) has been on the cutting edge of digital archiving, building a significant historical collection and community of practice engaged in the preservation and accessibility of research materials. Over the ten years of PARADISEC's operation, the repository has grown to represent over 860 languages from across the world, including cultural materials from the Pacific region and South-East Asia, North America, Africa and Europe. With over 5000 hours of audio, the extent of the archival material, as well as the inclusion of a variety of styles such as songs, narratives and elicitation, has resulted in an invaluable resource for researchers and communities alike. PARADISEC's innovation in archival practice allows communities to access original recordings of their own cultural heritage, and provides fieldworkers with a wealth of primary material. Research, Records and Responsibility explores developments in collaborative archiving practice between archives and the communities they serve and represent, incorporating case studies of historical recordings, visual data and material culture. It brings together the work of Australian and international scholars commemorating ten years of PARADISEC, and reflects on the development of research and language archiving.
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