{"title":"Post-Tarab: Music and Affective Politics in the US SWANA Diaspora","authors":"Michael A. Figueroa","doi":"10.5406/21567417.66.2.04","DOIUrl":null,"url":null,"abstract":"\n In this article, I answer Anne K. Rasmussen's call for a “migration of ethnomusicology toward the ‘Diasporic Domestic’” (2019) through an ethnographic study of post-tarab, a postmigrant aesthetic practice among musicians and participants in the Southwest Asian and North African diaspora in the United States. In documenting how this emergent musical vernacular promotes a sense of “diasporic affect” among participants through intersubjective musical encounters, I propose a concentric model that accounts for post-tarab's metacognitive, liminal, and experiential dimensions. Ultimately, I argue that an attention to affective politics presents productive challenges to predominant ethnomusicological models of “culture.”\n","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.6000,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"ETHNOMUSICOLOGY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/21567417.66.2.04","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 1
Abstract
In this article, I answer Anne K. Rasmussen's call for a “migration of ethnomusicology toward the ‘Diasporic Domestic’” (2019) through an ethnographic study of post-tarab, a postmigrant aesthetic practice among musicians and participants in the Southwest Asian and North African diaspora in the United States. In documenting how this emergent musical vernacular promotes a sense of “diasporic affect” among participants through intersubjective musical encounters, I propose a concentric model that accounts for post-tarab's metacognitive, liminal, and experiential dimensions. Ultimately, I argue that an attention to affective politics presents productive challenges to predominant ethnomusicological models of “culture.”
在本文中,我通过对后塔拉布(post-tarab)的民族志研究,回答了安妮·k·拉斯穆森(Anne K. Rasmussen)关于“民族音乐学向‘散居国内’的迁移”(2019)的呼吁。后塔拉布是美国西南亚和北非散居的音乐家和参与者之间的一种后移民审美实践。为了记录这种新兴的音乐方言如何通过主体间的音乐接触促进参与者之间的“流散影响”感,我提出了一个同心模型,该模型可以解释后塔拉布的元认知、阈限和经验维度。最后,我认为对情感政治的关注对主流的“文化”民族音乐学模型提出了富有成效的挑战。
期刊介绍:
As the official journal of the Society for Ethnomusicology, Ethnomusicology is the premier publication in the field. Its scholarly articles represent current theoretical perspectives and research in ethnomusicology and related fields, while playing a central role in expanding the discipline in the United States and abroad. Aimed at a diverse audience of musicologists, anthropologists, folklorists, cultural studies scholars, musicians, and others, this inclusive journal also features book, recording, film, video, and multimedia reviews. Peer-reviewed by the Society’s international membership, Ethnomusicology has been published three times a year since the 1950s.