"Dame dame dame, que te voy a dar ... una guayabita de mi guayabal."
Au nom du comité scientifique du colloque international, Patrimoines musicaux : circulation et contacts, qui aura lieu à Montréal (Canada) du 29 octobre au 1er novembre 2009, je vous rappelle que nous acceptons les propositions de communications, d'ateliers et de concerts jusqu'au 18 février 2009.Je vous invite à consulter le site Internet du colloque pour les détails de l'appel à communications.lrmm.musique.umontreal.ca/activites/Colloque2009/Pour tout renseignement supplémentaire, n'hésitez pas à communiquer avec moi.Bien à vous,Marie-Hélène PichetteCoordonnatrice du colloqueLaboratoire de recherche sur les musiques du mondeFaculté de musique - Université de MontréalC.P. 6128, succ. Centre-villeMontréal (Québec)Canada H3C 3J7Téléphone: (514) 343-6921Télécopieur: (514) 343-5727lrmm.musique.umontreal.ca/activites/Colloque2009/
On behalf of the Programme Committee of the international conference, Musical Heritage: Movement and Contacts, in Montréal (Canada) from October 29th to November 1st 2009, I remind you that we are accepting abstract submissions for papers, workshops and concerts until February 18th 2009.Detailed information on the call for papers are available on the conference website.lrmm.musique.umontreal.ca/activites/Colloque2009/ <http://lrmm.musique.umontreal.ca:16080/activites/Colloque2009/>For additionnal information, do not hesitate to contact me.Regards,Marie-Hélène PichetteConference CoordinatorLaboratoire de recherche sur les musiques du mondeFaculté de musique - Université de MontréalC.P. 6128, succ. Centre-villeMontréal (Québec)Canada H3C 3J7Telephone: (514) 343-6921Fax: (514) 343-5727lrmm.musique.umontreal.ca/activites/Colloque2009
BLACK MUSIC, OWNERSHIP, AND VALUERONALD RADANO, UNIVERSITY OF WISCONSIN, MADISON
Respondent: Harald Kisiedu
Friday, January 30, 2009
4PM, 620 Dodge Hall
Ronald Radano balances his teaching between the programs inmusicology and ethnomusicology and the Department of Afro-AmericanStudies at University of Wisconsin, Madison. His primary work is thatof an Americanist with special interests in cultural theory, race,globalization, popular music and the history of North American blackmusic. He is author and editor of three books, /New MusicalFigurations: Anthony Braxton's Cultural Critique/ (1993), /Music andRacial Imagination/ (2000; co-edited with Philip V. Bohlman) and/Lying up a Nation: Race and Black Music/ (2003), all published bythe University of Chicago Press. Currently, he is principally at workon a new book on black music, cultural ownership and aesthetics whilealso launching two secondary projects: the first, a study of theglobal circulation of African-American musical rhythm; the second, acritical meditation on private listening and the crisis of taste.Columbia's Music Colloquia are free and open to the public.Refreshments will be served after the talks.
I am looking for individuals interested in working on a project development team of 10-12 creative persons for a multimedia Global Music Video website. The project would run from mid-February to mid-April (approximately 10-12 weeks). Much of the work will be completed using online collaboration tools, so as to fit within everyone’s schedules.The Project:A music discovery website dedicated to African Diaspora pop music videos. Think MTV meets Putumayo meets iLike. This website exposes people to new music and uses this music to build bridges throughout the African Diaspora and the world. The production of this website will eventually lead to a global internet-television hybrid channel.The website has three main components: an extensive music video library with a dynamic music discovery tool, a community space for user’s web pages, and a blog. Each music video and audio track is complemented by short, lively, articles, background info, and photos and videos of the region that the music comes from – with much of the site’s content contributed by site users in the region.Who we’re looking for:Content Manager – Builds and manages an international network of content providers, acquires content and uploads content to website, validates content, works with project manager and database programmers to organize content.Artist Outreach/PR Associate – Works with online music licensing/legal consultant to produce contracts/agreements, works directly with musicians to secure new contracts, works with content manager to add content to site.Creative Direction Associate – Works with project manager and design team to determine the overall look and feel of website, works with marketing/promotion specialist to integrate the marketing strategy into the site’s design.Marketing/Promotion Specialist – Plans and executes the marketing strategy for the website, performs market data research, evaluates results, works with artistic direction associate.Multimedia Blog Manager – Works with project manager to create blog strategy, brainstorms blog features, helps recruit blog content providers. Familiarity with African Diaspora pop music essential.HTML/CSS/Flash Programmer – Codes HTML, CSS, & Flash elements of the website. In particular, I’m looking for someone who can build a 3D wall, like Cooliris, or at least work with implementing their coding into the site (see for developers).PHP/SQL Programmer – Codes database aspects of site, works with project manager and content manager to set up content organization system. Works specifically to build the dynamic music discovery tool (search engine).Translation/Interpretation Coordinator – Constructs a long-term translation strategy for the site and the site’s content (music/artist info/announcements/articles).Web 2.0/Mobile App Creative Consultant – Researches, brainstorms, and constructs a plan for integrating Web 2.0 concepts and mobile applications into the project. Performs some coding, and works with project manager to recruit specialists.Online Music Licensing/Legal Consultant – Provides legal advice specific to online content, music videos, and song licensing.What you gain by joining this team:• The website we are developing is a live prototype to secure funding. When this funding becomes available, there will be paid website management, maintenance and expansion positions available.• This is a recession! So, until funding is secured for this project, I’m willing to barter my skills or services in exchange for your participation with the project. Contact me for further information.• Possible course credit through NYU’s Graphic Communications Management Program, and a very exciting project to work on for the semester.• Direct experience working as part of a project team, and the ability to network with others in the global media, communications, & new media/web industries.• Contributing important ideas to a big project and an important global cause that will improve the lives of many people.• Building your skills and talents, and tangible experience for your portfolio and CV.• A challenge and a good time!I understand that this may be a hectic time for some of you (it is for me), but please contact me at email@example.com if you are interested in any aspect of this multimedia social change endeavor.About Me:I am a 2nd-year Gallatin MA student with a concentration in Project Design for Global Social Change. My background is in International Affairs, African & Diaspora Studies, Ethnomusicology, and French. I have some experience with web design, and a whole lot of experience with art and the Internet.
Es una música que tiene una raiz en el bambuco de marimba (en la ilustración, nota el bombo y el cununo...), una en bailes españoles como este cumbé de Santiago de Murcía (la introducción es pura papa-con-yuca como un bombo) de más o menos el año 1732, y uno en el bambuco andino.
No es fácil conseguir el bambuco patiano, pero abajo hay dos temas y una entrevista. Existe un CD "Cantaoras" y un libro "El bambuco patiano: Evidencia de lo negro en el bambuco" por Paloma Muñoz también.
The bambuco music of the Patía Valley in Colombia, home of some of southwest Colombia's oldest maroon towns in the slavery days, is historically important, with one foot in the marimba music of the Pacific coast (we can see from the illustration, from a nineteenth century traveller's account, that it shares instruments), one in 17th century Spanish guitar dance music like this cumbé by Santiago de Múrcia from the 1732 Saldívar Codex (the intro is the same 6/8 pattern found both here and in the Pacific bombo drum), and is very similar to the Colombia national folkloric genre called bambuco as well.
It's pretty hard to hear bambuco patiano (there's a CD out there somewhere and a book, hard to find in Colombia even) but below are two bambucos from Patía and an interview with a group leader.
"El solterón" - Las "cantaoras" del Patía
Los Congos es un tema musical compuesto por Elvar Mosquera
Las "Cantaoras" del Patía
Conferencia Día de la Chocoanidad: La Influencia de las Manifestaciones Artistico-Culturales del Pacífico en el Mercado Cultural
Con motivo de la celebracion del dia de la chocoanidad en el espacio academico se realizara una conferencia sobre LA INFLUENCIA DE LAS MANIFESTACIONES ARTISTICO CULTURALES DEL PACIFICO EN EL MERCADO CULTURAL, dictada por LEONIDAS VALENCIA VALENCIA y la participacion del doctor ANTONIO ANDRADES sobre la plataforma cultural en los planes de dfesarrollo.
The other on "The Complex," some kind of structure-agency thing. This one's up on the blog of a grad student at NYU's Department of Social and Cultural Analysis named Marisol Lebron. I don't know her, but I'm deep into her hip-hop academician blog, which in a random sampling takes on hip-hoppa Jim Jones' kinda queer video for "pop champagne", the racial politics of the "Arab/A-rab Money" song , and Beyoncé's blanqueamiento.
Anyhow, the conferences:
I still think music has a lot to say to this whole object thing...
This conference entitled Materialising the Subject: phenomenological and post-ANT objects in the social sciences provides the opportunity for inter-disciplinary and trans-Atlantic debate about some of the most recent theoretical and methodological moves in sociology, anthropology, geography and philosophy. When considered together these moves reveal multiple approaches to a common theoretical concern - the dissolution of the subject/object distinction ? the corollary of which, across the social sciences, is the "turn to ontology" and the consequent effort to radically rework our understanding of what it is (for humans and non-humans) to constitute a world.
Moving beyond the actor-network as an analytical category, which usefully contests the assumption that humans and non-humans are separate entities and that reality is, therefore, objectively given and revealed by science; post-actor-network theory challenges the tendency to reify the form of the network/object as a stable relational configuration (Latour B. 2005, Law J. and Hassard J. 1999). The move now is to explain the emergence and experience of "things", such as diseases, as the fluid outcome of various, often contested, sets of material practices (Mol A. 2003). These practices are understood to be highly specific, spatially distributed assemblages or enactments (Law J. and Mol A. 2001) that gain their stability from perpetual performance. The analytical category, here, becomes "material practice" with distinct methodological implications and the notion of form shifts away from singularity and towards a multiple configuration of more fragile relational elements.
In a parallel "relational" move in social anthropology, one which unsettles the Euro-American concept of the subject as individual, the material practice of exchange takes centre stage in a theory that explains how certain kinds of objects, like gifts, come to substantiate the specific form of sociality through which personhood is distributed (Strathern M. 1988 and 1991). Such an analysis makes possible comparisons and contrasts between different relational forms and notions of the person that objects come to substantiate among various human collectives (Viveiros de Castro 1998b, 2004). This includes a consideration of the effects of new forms of property arising from innovations in the production of socio-technical, subject/object hybrids such as genetically engineered human cells (Strathern M. 1996, J. Edwards 2005).
Having always done what sociologists of science and technology were just beginning to do in the West, anthropologists were praised by actor-network theorists (B. Latour 1993) for attending, in other parts of the world, to the subject/object hybrids that were constitutive of radically different understandings of human and non-human groupings, relations and capacities. Wishing to bring into existence an "anthropology of the modern world", one which treats the subject/object distinction as the foundational myth of modernity and which undermines, therefore, the objective premises of the asymmetry between "the West and the rest", Bruno Latour makes possible new terms of theoretical engagement for an anthropology which is increasingly "at home". At the same time, however, the link is clear and productive with a post-colonial anthropology coming to terms with the paradox engendered by modernity's loss of confidence and the modernising drive of post-colonial nation states.
Arguably, however, the "turn to ontology" relies, for its novelty, on a conceptualisation of epistemology that makes knowledge the outcome of processes of conscious abstraction, theorisation, formalisation, institutionalisation, representation and interpretation. This risks a reproduction of the dichotomies between "knowing" and "doing" and between "mind" and "body" that have already been challenged in phenomenological theories of embodiment and in models of situated learning in cognitive psychology. Indeed, despite the accusation, at the heart of actor network theory (Latour B. 1993, 1999c, 2005), that phenomenology is inadequate to the task of assembling a radical theory of object-centred-sociality, those of a phenomenological persuasion might argue that the insights of actor-network theory are not new to them (Ihde D. 2003); that the notions of 'intentionality, inter-subjectivity and life-world not only pre-empt the conclusions of the actor network theorists but do so in a way that makes the distinction between ontology and epistemology as untenable as the one between subjects and objects or "the social" and "the world".
Railing against the abstract concepts of the philosophers and seeking a new charter for method in the social sciences, sociologists (Law 2004), anthropologists (Henare A, Holbraad M & Wastell S. 2006) and geographers (Thrift 2007) find, in the ethnographic method what looks like common ground a material practice that is a philosophical one too. Clearly, there are lessons to be learned from conversations, across disciplines, about similar objects of analysis and how these objects are constituted and stabilised as "things", with all kinds of historically specific effects.
The objective of the conference is to provide an advanced forum for five in-conversation style debates between world renowned scholars and to make these live conversations accessible a) to a scholarly audience of 50 in the place where the conversations will happen in February 2009 - at the Manchester Museum ? b) to a wider public via an interactive website on which audio files of the conversations will be posted and c) to a wider scholarly audience via publication of the position papers and transcribed conversations.
Inspired by specific scholarly contributions to existing debate, the five conversations will encompass the following questions/themes for on-going discourse:
After Networks: spatio-temporal analytics.
Does it make any Sense to Say that Objects Have Agency?
Is Phenomenology Really an Albatross?
Skilled Practice: cognition as human-artefact-human orientation system.
Not Networks Per Se, but Distributed Enactments?
Click below for the programme
And the other conference:
The ComplexAny conference that includes a quote from The Wire in the call is OK by me.
Program in American Studies Graduate Student Conference
May 2, 2009
The Idea is thus defined as a structure. A structure or an idea is a "complex theme," an internal multiplicity—in other words, a system of multiple, non-localisable connections between different elements which is incarnated in real relations and actual terms.
Gilles Deleuze, Difference and Repetition
We got our thing, but it's just part of the big thing.
Zenobia, "Corner Boys," The Wire Season Four
What are the various "complexes" that inform American Studies, and how can American Studies help us understand the strategies and subjects of "the complex"? From entrenched systems of power to the vagaries of psychological fixation, this conference will foster a conversation on the structures, exchanges, and perceptions (or misperceptions) that continue to shape and reshape American Studies. It will also open a space in which the topics, methodologies, and preoccupations of American Studies can begin to interrogate the "complex" as a mode of cultural formation and connectivity (or the lack thereof). Taking interdisciplinarity itself as a topic for discussion, this conference will use the "complex" to explore the possibilities and limitations of both physical and conceptual boundaries.
Keynote Speaker: Asst. Prof. Mark Goble, English Department, University of California, Berkeley
Please submit a 500-word abstract and your c.v. to Lindsay Reckson and Nika Elder at AMSconference@gmail.com by January 15th, 2009. Papers will be due two weeks prior to the conference for circulation, and should be no longer than 15 minutes.
Possible iterations of the complex might include (but are not limited to):
Freudian and Jungian Complexes; the Military-Industrial Complex; the Panopticon; Markets & Circulation; Globalization; Infrastructure; Conspiracy Theory and Surveillance; Stage Sets and Crime Scenes; Publics and Counter-publics; the Academy, the Church, the Factory; Networking & Collaboration; Canons; Semiotics; Obscurantism; Discourse Networks; Circuits; Interfaces; Cyborgs; Media Theory; the Wire; Systems Theory; Grids; Maps and Blueprints; Collections