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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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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

Documentary ’, Ethnomusicology Forum 18 , no. 1 : 131 – 151 . Elliott , A. ( 2015 ), ‘ Geysir Burns Children, “Not Our Fault” Say Land Owners ’, Iceland Review , 19 June . Fassin , D. ( 2012 ), ‘ Introduction: Toward a Critical Moral Anthropology

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The Religious Foundations of Capoeira Angola

The Cosmopolitics of an Apparently Non-religious Practice

Sergio González Varela

Music .” Ethnomusicology 46 ( 3 ): 487 – 509 . Downey , Greg . 2005 . Learning Capoeira: Lessons in Cunning from an Afro-Brazilian Art . Oxford : Oxford University Press . Downey , Greg . 2008 . “ Scaffolding Imitation in Capoeira: Physical

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Conceptualizing Compassion in Communication for Communication

Emotional Experience in Islamic Sermons (Bengali waʿẓ maḥfils)

Max Stille

’a Majlis,” Ethnomusicology 25, no. 1 (1981): 47. 109 DHS:KTT. For a detailed analysis see Carla Petievich and Max Stille, “Emotions in Performance: Poetry and Preaching,” in “Feeling Communities,” special issue 2017, Indian Economic & Social History

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Portrait

J. D. Y. Peel

Marloes Janson, Wale Adebanwi, David Pratten, Ruth Marshall, Stephan Palmié, Amanda Villepastour and J. D. Y. Peel

Edited by Richard Fardon and Ramon Sarró

-conference spontaneously materialized among his graduate students, academic colleagues, friends, and friends of friends. Although I can find no trace of the event online, the first time I met John was perhaps as early as 2000, soon after I started my PhD in ethnomusicology