‘Give us a voice!’: voice, envoicement, and the politics of ‘world music’ at WOMAD

IF 0.2 1区艺术学 0 MUSIC

Ethnomusicology Forum Pub Date : 2022-05-04 DOI:10.1080/17411912.2022.2117226

James Nissen

引用次数: 3

Abstract

ABSTRACT During the 1990s and 2000s, ‘world music’ became a contentious topic in ethnomusicology, with polarised exchanges of ‘anxious’ and ‘celebratory’ narratives. Recently, this debate has subsided, and many academics and industry actors have discarded the controversial label. However, attempts to simply bury the discourse are futile because the politics of ‘world music’ continues to play out within the industry. The problem with the debate was not necessarily the label itself, but the abstract and generalising narratives which simplified discussion of ‘world music’ production and consumption and excluded the voices of its participants. Applying the concept of ‘envoicement’ to WOMAD, I show that musicians value this festival as a platform for getting their voices — literal and metaphorical — heard. I argue that, by revealing perspectives which problematise past narratives, an ethnographic approach guided by envoicement could help to nuance understandings of the industry and break through the critical deadlock.

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“给我们一个声音!”: WOMAD的声音、鼓励和“世界音乐”的政治

在20世纪90年代和21世纪初，“世界音乐”成为民族音乐学中一个有争议的话题，“焦虑”和“庆祝”叙事的两极分化。最近，这场争论已经平息，许多学者和行业参与者已经放弃了这个有争议的标签。然而，试图简单地埋葬话语是徒劳的，因为“世界音乐”的政治继续在行业中发挥作用。争论的问题不一定是标签本身，而是抽象和概括的叙述，它简化了对“世界音乐”生产和消费的讨论，并排除了参与者的声音。我将“鼓励”的概念应用于WOMAD，表明音乐家们将这个节日视为一个让他们的声音——无论是字面上的还是隐喻上的——被听到的平台。我认为，通过揭示过去叙述中存在问题的观点，以鼓励为指导的民族志方法可以帮助人们对行业的细微理解，并打破关键的僵局。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Ethnomusicology Forum MUSIC-

CiteScore

1.10

自引率

25.00%

发文量

期刊介绍： Articles often emphasise first-hand, sustained engagement with people as music makers, taking the form of ethnographic writing following one or more periods of fieldwork. Typically, ethnographies aim for a broad assessment of the processes and contexts through and within which music is imagined, discussed and made. Ethnography may be synthesised with a variety of analytical, historical and other methodologies, often entering into dialogue with other disciplinary areas such as music psychology, music education, historical musicology, performance studies, critical theory, dance, folklore and linguistics. The field is therefore characterised by its breadth in theory and method, its interdisciplinary nature and its global perspective.