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Livia Jiménez Sedano


This is a brief reflection on the consequences of the commodification of dance cultures from the former colonised world and the ways they are consumed in Europe. Inspired from ten years of fieldwork, the ethnic structuring of postcolonial dance floors in European cities proves an empirical basis to start this line of thought. Instead of promoting respect and interest in the dance forms and the cultural contexts in which these dance forms developed, aficionados tend to consider that these are less evolved, beautiful and interesting than the appropriations they develop in their home countries. As a result, commodification leads to reinforcing previous stereotypes and emic hierarchies of value. The kinetic metaphor of the bodies that scream but cannot listen structures the text and its arguments.

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Playing with Teaching Techniques

Gamelan as a Learning Tool Amongst Children with Learning Impairments in Northern Ireland

Jonathan McIntosh

This article examines gamelan as a community musical tool in Northern Ireland, United Kingdom. In particular, the article demonstrates how traditional pedagogic practices are changed in order to suit the needs of those who learn gamelan. A gamelan is an orchestra that includes metallophones (large glockenspiel-like instruments), gongs and drums. Originating from Southeast Asia, particularly from the Indonesian islands of Java and Bali, gamelan ensembles have long been used in the teaching of ethnomusicology in academic institutions and for purposes of applied ethnomusicology, as a musical tool, in the wider community. In these contexts, a gamelan instructor acts as a 'mediator' (Naughton 1996: 16) in the transmission of gamelan knowledge; mediating not only between the music and the learners, but also between the role of gamelan in its original sociocultural context and its newly adopted milieu. Drawing upon my experiences as a gamelan instructor, in particular, teaching children with visual and hearing impairments, I demonstrate how traditional teaching techniques are adapted to facilitate the learning of gamelan in the Northern Irish context.

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Manijeh Nasrabadi, Maryam Aras, Alexander Djumaev, Sina Zekavat, Mary Elaine Hegland, Rosa Holman, and Amina Tawasil

and 2014 in Tashkent, the capital of Uzbekistan. For North American or Western understandings of gender ethnomusicology, this work is fairly typical, but for musicology in Uzbekistan, it looks to a large extent unusual and new. The gender aspect of

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Destination Museum

A Conversation with Barbara Kirshenblatt-Gimblett

Conal McCarthy

store: I could take history of textiles, ethnomusicology, anthropology, folklore—I was on a roll, I had a whole year taking these marvellous courses. Before I could enrol in my first folklore course, I had to meet the professor, Alan Dundes. It was

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Lamazhaa Chimiza

musicians, Suzukei—as a researcher with worldwide experience who has visited many countries—often notes differences in approach compared to certain cultures in Europe. For example, in the Scandinavian countries since the 1970s, departments of ethnomusicology

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Land, Nation and Tourist

Moral Reckoning in Post-GFC Iceland

Mary Hawkins and Helena Onnudottir

Video and Music Documentary ’, Ethnomusicology Forum 18 , no. 1 : 131 – 151 . 10.1080/17411910902816542 Elliott , A. ( 2015 ), ‘ Geysir Burns Children, “Not Our Fault” Say Land Owners ’, Iceland Review , 19 June . Fassin , D. ( 2012

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Tiziana Soverino, Evgenia Mesaritou, Thomas M. Wilson, Steve Byrne, Dino Vukušić, Fabiana Dimpflmeier, Eva-Maria Walther, and Eva Schwab

ethnomusicology with threads and issues common to all musical genres. Frith encapsulates the lack of unanimity – acknowledged by the editors – around ideas of identity, tradition and politics, indicative of this still-emerging field of study as Scotland

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The Religious Foundations of Capoeira Angola

The Cosmopolitics of an Apparently Non-religious Practice

Sergio González Varela

Resistência ): 42 – 65 . Downey , Greg . 2002 . “ Listening to Capoeira: Phenomenology, Embodiment, and the Materiality of Music .” Ethnomusicology 46 ( 3 ): 487 – 509 . 10.2307/852720 Downey , Greg . 2005 . Learning Capoeira: Lessons in Cunning

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‘Fate Leads the Willing, and Drags the Unwilling’

Eric Werner, Wissenschaft des Judenthums, and the Postwar Reconstruction of Jewish Music Study

Judah M. Cohen

, Folder 30. 52 Including the American Musicological Society, the International Musicological Society, the International Folk Music Council and the Society for Ethnomusicology. 53 Amnon Shiloah, ‘In Memoriam: Alexander L. Ringer (1921–2002)’, Musica

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Mariske Westendorp, Bruno Reinhardt, Reinaldo L. Román, Jon Bialecki, Alexander Agadjanian, Karen Lauterbach, Juan Javier Rivera Andía, Kate Yanina DeConinck, Jack Hunter, Ioannis Kyriakakis, Magdalena Crăciun, Roger Canals, Cristina Rocha, Khyati Tripathi, Dafne Accoroni, and George Wu Bayuga

in material religion, Latin American politics, or ethnomusicology. Roger Canals University of Barcelona OOSTERBAAN, Martijn, Transmitting the Spirit: Religious Conversion, Media, and Urban Violence , 264 pp., notes, bibliography, index