Ethnomusicology eJournal最新文献

{"title":"The Patriotic Fervor of Bharathi at Cross Roads: The Seizure of His National Songs in Madras Presidency 1928-1929","authors":"V. Venkatraman","doi":"10.2139/ssrn.3213276","DOIUrl":"https://doi.org/10.2139/ssrn.3213276","url":null,"abstract":"The banner of Indian National Movement had been held aloft by a galaxy of poet-patriots, prominent among them being Rabindranath Tagore of Bengal and Subramania Bharathi of Tamilnadu. Bharathi is known for his radical views and the concept of nationalism. Bharathi was not only a poet-patriot but also a committed swadeshi enthusiast, who rendered a remarkable contribution by inculcating the efficacy of swadeshi nationalism in the deep hearts of the Indians during the Extremist movement in the Madras Presidency. Bharathi, a great visionary waged a relentless war against the British rule. He was the first Tamil poet to compose songs on national themes which aroused the dormant feelings of the people against the alien rule. The aim of present paper is to bring out the nationalist fervor of Bharathi through his books entitled Swadesa Geethangal (National Songs) parts 1&11, composed by Bharathi, which were published by Pt. Harihara Sharma, a relative of Chellamal Bharathi at the Bharathi Ashram, Triplicane, Madras in 1922. These two books contained the national songs, which were proscribed by the Governments of Burma and Madras between August and September 1928. The sources consulted for writing of this article are the archival evidences collected from the National Archives, New Delhi and the Tamil Nadu Archives, Chennai. It is wonder to say that the order of forfeiture of Bharathi's songs was issued after seven years of the death of Bharathi. Bharathi died on 11th September 1921 in Madras but his songs were banned in 1928 by the Government of Burma. The C.1.D of Burma found the National Songs of Bharathi highly seditious in character and also found these books as the household of the nationalists of Burma. More so, the Government of Burma thought that the National Songs of Bharathi would create the national awakening among the minds of the Tamil speaking population of Burma. Hence, the Government of Burma issued the notification on 7th August 1928 to forfeit the Bharathi's songs on the ground that it contained seditious matter.","PeriodicalId":289187,"journal":{"name":"Ethnomusicology eJournal","volume":"212 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132119145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sonic Jihad — Muslim Hip Hop in the Age of Mass Incarceration","authors":"SpearIt","doi":"10.25148/LAWREV.11.1.15","DOIUrl":"https://doi.org/10.25148/LAWREV.11.1.15","url":null,"abstract":"This essay examines hip hop music as a form of legal criticism. It focuses on the music as critical resistance and “new terrain” for understanding the law, and more specifically, focuses on what prisons mean to Muslim hip hop artists. Losing friends, family, and loved ones to the proverbial belly of the beast has inspired criticism of criminal justice from the earliest days of hip hop culture. In the music, prisons are known by a host of names like “pen,” “bing,” and “clink,” terms that are invoked throughout the lyrics. The most extreme expressions offer violent fantasies of revolution and revenge, painted within a cosmic worldview that likens present conditions to the slave system that first brought African Muslims to America as slaves. The discursive war challenges the notion that the most radical voices in Muslim America are to be found in mosques or other Muslim gatherings. Such a position must contend with this sonic jihad and its aural assault against prisons. These artists arguably represent the most radical Islamic discourse in America today that undoubtedly ranks Muslim rappers among the most cutting-edge critics of mass incarceration.","PeriodicalId":289187,"journal":{"name":"Ethnomusicology eJournal","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114910217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cross-Dressing Across Cultures: Genre and Gender in the Dances of Didik Nini Thowok","authors":"F. Hughes‐Freeland","doi":"10.2139/ssrn.1317146","DOIUrl":"https://doi.org/10.2139/ssrn.1317146","url":null,"abstract":"This paper focuses on two cross-cultural projects involving Didik Nini Thowok, is a cross-gendered and cross-cultural cosmopolitan who is the most popular and successful professional dancer and comedian in Indonesia. Ethnographic accounts of these project and dialogues with some of their performers lead to wider discussions about creative innovation, collaboration, the location of culture in performance, the performance of gender, and the politics of representation. First I analyse the process of transantional collaboration in the creation of Bedhaya Hagoromo (2001), a performance for male cross-dressed dancers which combined the Javanese bedhaya dance with elements from Japanese Noh drama. This collaboration allows an assessment of interculturalism, with its implied relations of cultural domination, and multiculturalism, with its recognition of dialogues between cultural performance practices. Both frameworks reify performance elements as the property of a particular culture; what matters for the performers is the creative collaborative process.Cross-gendered performances also put cultural boundaries to the test while elucidating issues such as aesthetics, appreciation, audiences, play and creative innovation. I analyse performances from an international dance tour of four Asian dancers in which Didik represented Indonesia, 'In Gesture and in Glance. The Female Role Player in Asian Dance and Theatre' (2003) to redress the neglect of theatrical performance in academic accounts of gender cultures and gender reversals. I consider whether this tour reifies cross-dressing as Asian-ness, and whether it assert or subvert stereotypes of 'Asian theatre' by re-examining Asian female impersonation in relation to western drag in terms of theatrical skill and the production of an 'unnatural body' . The Chinese performance in the tour was by a star of yueju opera, normally performed by women, who performed dressed as a man to represent a female cross-dressed performer who represents a man. Concepts such as gender 'doubling' and 'indeterminacy' and neglected forms of female-to-male cross-dressing are being used by Asian scholars to challenge the conventions for the performance of gender roles in everyday life. Didik however uses the concepts 'mystical gender' and 'tranceformation' to situate his own performance practice in relation to academic discourses on cross-gender which are strictly associated with theatrical performance.","PeriodicalId":289187,"journal":{"name":"Ethnomusicology eJournal","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126331113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}