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170 pages

English

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Music is powerful and transformational, but can it spur actual social change?

A strong collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orientation, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossroads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members' professional spheres. Activist scholars who contribute to this volume illuminate possible pathways and directions to support musical diversity and representation.

At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world.

Preface, by Andrew G. Snyder and Katelyn E. Best
Acknowledgments
Introduction: Pathways toward a Justice-Oriented Ethnomusicology, by David A. McDonald
Part I: Truth Telling and Listening Lovingly
1. Diversity on Repeat: The Deceptive Cadence of Social Domination in Ethnomusicology, by Kyra D. Gaunt
2. Social Justice and My Work as a Music Scholar, Teacher, and Artist, by Steven Loza
3. Punk and Politics and Transforming Musical Academe, by Brenda M. Romero
4. Going Forward with Vigilance: American Indian Music is Always There, by Charlotte W. Heth
5. Deliver Me from Danger, Èşù-Elgbára! Musical Offerings in Social Justice, by Paul Austerlitz
Part II: Radical Inclusivity
6. Ethnocentrism 2.0: Hearing-Centrism, Inclusivity, and Musical Expression in Deaf Culture, by Katelyn E. Best
7. Pink Menno Hymn Sings: Queerness, Inclusivity, and the Mennonite Church, by Katie J. Graber
8. Unsettling Euro-American Conceptions of Race in the Egyptian Independent Music Scene, by Darci Sprengel
9. Reclaiming Nanook of the North, Tanya Tagaq's Sonic and Performative Counterpoints to Inuit Stereotypes, by Ho Chak Law
10. "If I Could Go Back in Time": Rethinking Popular Culture, Social Justice, and the Compassionate Gaze in Palestine, by David A. McDonald
Part III: Coalition Building
11. Promoting Social Justice through Traditional Irish Music: A New Model for Applied Research, by Alexandria Carrico
12. The Sonic Politics of Interracial Coalitions, by Susan M. Asai
13. "¡Vamos a Pelear en la Guerra!": Musical Manifestations of Coalition Building in the South Texas Chicano Movement, by Erin E. Bauer
Part IV: Direct Action
14. "Music is Liberation": The Brass Liberation Orchestra and Direct Action, by Andrew G. Snyder
15. Ecological Frictions and Borderless Futures: Art and Activism on a Sailing Ship, by Rebekah E. Moore
16. Raising the Imperative for Direct Action, by Susan M. Asai
17. Circling Back on Direct Action: On Difference and Representation, by Brenda M. Romero
List of Contributors
Index

Sujets

Minority Studies

Political Advocacy

Political Process

POLITICAL SCIENCE

MUSIC

Multiple signal classification

Ethnomusicology

Peace

Activism

Paix

Informations

Publié par	Indiana University Press
Date de parution	07 février 2023
Nombre de lectures	0
EAN13	9780253064790
Langue	English
Poids de l'ouvrage	1 Mo

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AT THE CROSSROADS OF MUSIC AND SOCIAL JUSTICE
ACTIVIST ENCOUNTERS IN FOLKLORE AND ETHNOMUSICOLOGY
David A. McDonald, editor
AT THE CROSSROADS
OF MUSIC AND
SOCIAL JUSTICE

EDITED BY BRENDA M. ROMERO,
SUSAN M. ASAI, DAVID A. MCDONALD,
ANDREW G. SNYDER, AND
KATELYN E. BEST
INDIANA UNIVERSITY PRESS
This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.org
2022 by Indiana University Press
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
First Printing 2022
Cataloging information is available from the Library of Congress.
ISBN 978-0-253-06476-9 (hardcover)
ISBN 978-0-253-06477-6 (paperback)
ISBN 978-0-253-06478-3 (e-book)
In memory of
bell hooks (1952-2021)
and
David Rolfe Graeber (1961-2020)
CONTENTS
Preface / Andrew G. Snyder and Katelyn E. Best
Acknowledgments
Introduction: Pathways toward a Justice-Oriented Ethnomusicology / David A. McDonald
PART I: Truth Telling and Listening Lovingly
1. Diversity on Repeat: The Deceptive Cadence of Social Domination in Ethnomusicology / Kyra D. Gaunt
2. Social Justice and My Work as a Music Scholar, Teacher, and Artist / Steven Loza
3. Punk and Politics and Transforming Musical Academe / Brenda M. Romero
4. Going Forward with Vigilance: American Indian Music Is Always There / Charlotte W. Heth
5. Deliver Me from Danger, -El gb ra! Musical Offerings in Social Justice / Paul Austerlitz
PART II: Radical Inclusivity
6. Ethnocentrism 2.0: Hearing-Centrism, Inclusivity, and Musical Expression in Deaf Culture / Katelyn E. Best
7. Pink Menno Hymn Sings: Queerness, Inclusivity, and the Mennonite Church / Katie J. Graber
8. Unsettling Euro-American Conceptions of Race in the Egyptian Independent Music Scene / Darci Sprengel
9. Reclaiming Nanook of the North , Tanya Tagaq s Sonic and Performative Counterpoints to Inuit Stereotypes / Ho Chak Law
10. If I Could Go Back in Time : Rethinking Popular Culture, Social Justice, and the Compassionate Gaze in Palestine / David A. McDonald
PART III: Coalition Building
11. Promoting Social Justice through Irish Traditional Music: A New Model for Applied Research / Alexandria Carrico
12. The Sonic Politics of Interracial Coalitions / Susan M. Asai
13. Vamos a Pelear en la Guerra! : Musical Manifestations of Coalition Building in the South Texas Chicano Movement / Erin E. Bauer
PART IV: Direct Action
14. Music Is Liberation : The Brass Liberation Orchestra and Direct Action / Andrew G. Snyder
15. Ecological Frictions and Borderless Futures: Art and Activism on a Sailing Ship / Rebekah E. Moore
16. Raising the Imperative for Direct Action / Susan M. Asai
17. Circling Back on Direct Action: On Difference and Representation / Brenda M. Romero
List of Contributors
Index
PREFACE
ANDREW G. SNYDER AND KATELYN E. BEST
AT THE CROSSROADS OF MUSIC AND SOCIAL JUSTICE aims to promote a justice-oriented ethnomusicology, one that puts ethics at the forefront of the concerns of researchers, teachers, and practitioners of the world s diverse musical practices. The book seeks to amplify critical perspectives and methods that contribute to conscious engagement with social justice in all aspects of ethnomusicological life. Emerging from the Society for Ethnomusicology s (SEM) Crossroads Section for Difference and Representation, the book s varied chapters offer research at the crossroads of music and social justice, intersecting further with a diversity of social categories-including race, class, ethnicity, gender, sexuality, and disability-in ways that highlight the challenges facing marginalized communities and identities as well as those communities creative responses. As such, the volume is designed to be a reading source for social justice-oriented curricula and to be an example of research with real-world impact.
The topics featured in At the Crossroads of Music and Social Justice portray the music making of myriad individuals, communities, and social movements as tools to transform oppressive social and political conditions, seeking to be inclusive and creative in approaches to research and writing. This book is divided into four sections that represent a sequence of political actions beginning with genuine listening to marginalized perspectives and leading ultimately to political transformation. Further explained in the introduction, these consist of Truth Telling and Listening Lovingly, Radical Inclusivity, Coalition Building, and Direct Action. The chapters within these sections represent a range of theoretical frameworks meant to interrogate the successes and limitations of music s efficacy in empowering marginalized communities.
This book emerged as the result of the Crossroads Section s inaugural prize for best papers on music and social justice at the 2018 SEM conference in Albuquerque, New Mexico, initiated by Brenda M. Romero and Susan M. Asai. The three prize winners-David A. McDonald, Katelyn E. Best, and Andrew G. Snyder-joined Romero and Asai as editors of this volume, which would feature chapters based on the other presentations submitted for the prizes. McDonald, who won top prize, was also asked to write the introduction, and it deftly provides a conceptual mapping for the organization and stakes of the book. Based on the collaborative work of the editors and authors, the book offers ethnographic chapters focusing on cases from around the world that show musicians and communities critically theorizing the ethical value and possibilities of their artistic work.
In addition to these more traditional ethnographies, the editors invited six established ethnomusicologists, mostly scholars of marginalized communities who have supported the Crossroads Section through leadership and advocacy, to reflect upon their concerns with the intersections of music and social justice throughout their careers. In these autoethnographies-texts connecting autobiographic documentation with larger cultural and political contexts-the scholars narrate their experiences as ethnomusicologists, illuminating challenges and barriers to their professional development, sense of worth, and participation in their home institutions as well as within the SEM body. The personal stories reveal structural racism and expose attitudes and organizational structures that must be reconfigured to establish greater equity and inclusion. These chapters function as a reminder that issues of social justice are not relegated to a space on the outside, divorced from everyday life and experience. Rather, they are pervasive problems living within every space we inhabit that are often left unnoticed by those unaffected by them. If we fail to reflect critically on our own environments, we effectively Other our own sites of research, positioning them as objects of study, instead of cultural sites for critical engagement and action.
We hope that this mix of genre, format, length, and voice featured in this volume reflect the plurality of experiences and passions of the authors themselves as the volume aims to break down traditional barriers through its design and structure. Indeed, we conceive of these as the book s diversity of tactics.
Some of the debates that are highlighted in these pages-including the precarious work of marginalized scholars, the racist legacies that continue to structure our field, and the efficacy of socially engaged research-speak specifically to the critical juncture of the field of ethnomusicology at a moment when the world confronts an acute series of crises. We expect that the volume will, therefore, prove particularly interesting to ethnomusicologists, the SEM community, those interested in music and social justice, and teachers of undergraduate courses on those topics. But the challenges ethnomusicology confronts can also be understood as case studies that illuminate much broader issues in the contemporary academy and the broader social and political world in which we live, and we hope that the book will appeal beyond music studies. Indeed, the current upheaval in the Society for Ethnomusicology in which this volume is born was well articulated by Dr. Danielle Brown at the height of the uprisings in the summer of 2020 in her essay titled Open Letter on Racism in Music Studies, Especially Ethnomusicology and Music Education, which is frequently referenced in the book.
Following Dr. Brown s lead, we believe that, as ethnomusicologists, we should be working to remove the need for the clarifier justice-oriented ethnomusicology, as this ethical exigency should already be embedded within our practices, shape the currents of our thoughts, and guide the course of our actions in every aspect of ethnomusicological life. The fact that we need to raise awareness to issues of social justice, and to even classify a category as such, calls attention to the continuing existence of ostensibly apolitical approaches to research and writing that relegate justice-oriented action to specific sites, times, or spaces. The challenge is to reevaluate and reenvision what music in search of justice looks and sounds like and to probe the extent of musicians roles as agents for political and social change. To this end, it is the sincere hope of all the editors that At the Crossroads of Music and Social Justice be a contribution to the ongoing development of justice-oriented curricula and scholarship.
ACKNOWLEDGMENTS
WE WOULD LIKE TO EXP