Search Results (25)

Western written travel narratives are a byproduct of the privileging of vision as the primary means of knowledge production, an epistemology often imposed on indigenous peoples through colonial practices. In contrast, indigenous cultures in Brazil have long relied on listening as a central way of engaging with their environment. In the present essay, I examine how listening practices appear in the written accounts produced by members of three foreign river expeditions in Brazil from the 16th to the 20th century. I analyzed travel accounts from Gaspar de Carvajal’s Relación del Nuevo Descubrimiento del Famoso Río Grande (XVI century), Hercules Florence’s Voyage Fluvial du Tieté à l’Amazone (XIX), and Theodore Roosevelt’s In the Jungles of Brazil (XX). To explore what these travelers might have heard, I also collaborated with a sound designer to create a soundscape using actual recordings of local fauna and indigenous chants and music. The results show a variety of listening modes put into practice such as conquest-driven, scientific observation, contemplation, and hunting-focused and aesthetic appreciation. These narratives illustrate how European epistemologies reinforced Western dominance by shaping both colonial encounters and scientific approaches to Brazilian wilderness exploration. Full article

Rock art sites located in areas inhabited by indigenous peoples offer extraordinary opportunities for interpretation using ethnographic analogy. Nonetheless, we must examine the pertinence of a direct historical approach when dealing with sequences of rock art that may extend back several millennia. Recent decades have witnessed increasingly sophisticated ethnographic analyses that reveal the intimate relations between human and non-human entities and the generative role of myth, music, dance, artifacts, and physical settings in the enactment of creative contexts of lowland South America. This literature has led to a reassessment of the meaning of rock art images, the significance of context, and the place of sites in the landscape. In the pictographs found in several rock shelters on the lower Parguaza River of Venezuela, depictions of a wide variety of human and non-human figures offer insight into the relations between predation, propitiation, food, illness, and the different paths to spiritual knowledge that prevail in the myths and practices of local indigenous populations to this day. In this contribution we explore the promise and limits of ethnographic analogy in the study of sites from this area and offer an analysis of the development of the sites through time, with an eye on both disruption and continuity. Full article

Objective: To provide a state of the art on the use, role, and function of music during psychedelic-assisted therapy (PAT) with ayahuasca. Introduction: Ayahuasca is a medicinal brew with psychoactive qualities used by indigenous communities throughout the Amazon region, and music is deemed crucial during ayahuasca experiences. In PAT, music forms part of the set and setting, but it lacks systematization and is poorly explored in the scientific literature. Inclusion criteria: Published literature in English, Spanish, and Portuguese, focusing on conceptualizing, defining, or describing the use, role, and/or function of music in PAT sessions with ayahuasca. Methods: This review follows the JBI methodology for scoping reviews. We will search Web of Science, Scopus, Google Scholar, and PubMed databases without year restrictions, and a hand search of articles will be performed. Two reviewers will assess titles/abstracts, followed by independent reviews of included full texts. An Excel data extraction sheet will be used to tabulate the information. The findings will be presented narratively, including respective tables or figures. If feasible, a potential theoretical framework for the use, role, and function of music during PAT with ayahuasca will be outlined, including implications for future research and clinical practice. Full article

Augmenting the author’s prior research on lyrical code-switching, as presented in Picone, “Artistic Codemixing”, published in 2002, various conceptual frameworks are made explicit, namely the enlistment of multimodal and intertextual approaches for their methodological usefulness in analyzing and interpreting message-making that incorporates lyrical code-switching as one of its components. Conceived as a bipolarity, the rooted (or local) and the transcendent (or global), each having advantages in the negotiation of identity, is also applied to the analysis. New departures include the introduction of the notion of “curated lyrical code-switching” for the purpose of analyzing songs in which multiple performers are assigned lyrics in different languages, as a function of their respective proficiencies, as curated by the person or persons having authorial agency and taking stock of the social semiotics relevant to the anticipated audience. Moving beyond the negotiation of the identity of the code-switching composer or performer, in another new departure, attention is paid to the musical identity of the listener. As a reflection of the breadth of lyrical code-switching, a rich assortment of examples draws from the musical art of Beyoncé, Jon Batiste, Stromae, Shakira, BTS, NewJeans, Indigenous songsmiths, Cajun songsmiths, Latin Pop and Hip-Hop artists, songs composed for international sports events, and other sources. Full article

The Harrist Church in Ivory Coast, West Africa, emerged from the ministry of Liberian William Wadé Harris who baptized between 100,000 and 200,000 people during his eighteen-month evangelistic tour, 1913–1915. This story is full of linguistic complexities and anomalies. Harris himself spoke only English and his own local Liberian Glebo language. He was therefore compelled to work through expatriate English-speaking merchants, knowledgeable of and conversant in local languages, as interpreters and translators in addressing the twelve ethnic groups who heard and accepted his message. Harris encouraged new converts to compose hymns in their own indigenous languages by transforming musical genres embedded in their local musical traditions. Additionally fascinating is that during this early colonial period, the twelve ethnic groups impacted by Harris’s ministry lived in almost total isolation from each other and developed their own hymn traditions for thirty-five years (1914–1949), unaware of the existence of churches and worship patterns in neighboring ethnic districts. Only in 1949 did they suddenly become acquainted with the broader, multi-musical, multilingual reality of the Harrist movement. Since then, individual musicians and choirs from local congregations have gradually begun to sing a few of each other’s songs, though the challenge of becoming a truly multicultural, multiethnic church remains a work in progress. Documentation of these developments include written colonial and early Protestant and Catholic missionary sources and a large number of eye-witness interviews. Primary research methods employed here come from four intersecting disciplines and theoretical frameworks: orality studies, with particular focus on oral sources in constructing historical narrative; religious phenomenology; mission history; and ethnodoxological research. Full article

The global dissemination of Christianity has resulted in diverse singing styles and historical narratives that incorporate different languages and musical traditions. Chinese Christian hymns, in particular, possess distinctive features that reflect the Chinese thinking mode and cultural values, showcasing the interplay between Western hymns and Chinese singing and poetic and cultural traditions within the Chinese historical context. This paper takes Chinese Christian hymnals published between 1807 and 1949 as its object of study. It conducts research on representative hymnals from three historical stages: the emergence, flourishing, and prosperity of hymns, and examines their compilation and publication. Using methods such as historical research, textual criticism, translation studies, and cross-cultural communication, the paper explores the evolution of Chinese Christian hymns. The paper analyzes such aspects of the hymnals as translating and writing strategies, thematic content, linguistic features, editing and formatting, as well as the selection and composition of melodies. It is concluded that the indigenization of Chinese hymns does not involve outright rejection of foreign elements or unquestioning adherence to local traditions, but rather represents a common ground between Chinese and Western languages and vocal traditions, reflecting the characteristic of glocalization. Full article

N’we Jinan, a group of young Indigenous artists who run a mobile production studio and an integrative arts studio, travel to different Indigenous communities, where they support youth in writing and recording music that involves the local community. N’we Jinan employs social media to articulate and protect Indigeneity through the sharing of Indigenous music videos, empowering youth to resist continued colonization. These videos serve to create a sense of connection in Indigenous communities in Turtle Island (Canada) as well as offer a means by which non-Indigenous listeners can learn about contemporary Indigenous cultures. Viewed in conjunction with Nunavut’s Inuit Qaujimajatuqangit and the Northwest Territories’ Dene Kede and Inuuqatigiit, which provide a framework of traditional knowledge, values, and skills specific to Indigenous communities in the Canadian Arctic, the texts implicitly invite non-Indigenous listeners’ engagement in social justice activism as settler allies. The texts invite listening to and viewing the empowering songwriting and recording practices through the lens of social justice and wâhkôhtowin or kinship relations, which involves walking together (Indigenous and settler) in a good way and engaging with Bourdieu’s influential framework of cultural capital. The themes explored in the songs include cultural identity, language, and self-acceptance. The empowering songs of N’we Jinan are place-based articulations of identity that resist coloniality and serve as calls to action, creating embodied videographic, musical, and linguistic partnerships that serve as important articulations of Indigenous identity and which promote the decolonization of reading and listening practices and, by extension, education. Full article

Resulting in pervasive feelings of despair, the culture of incarceration in the U.S. relies on punitive correctional strategies such as solitary confinement to control the behavior of incarcerated individuals. Inevitably, correctional culture which focuses primarily on punishment is dysfunctional, rife with gang violence, drug use, suicide, and violence perpetuated by and against staff. Our dialogic essay is voiced by (a) a currently incarcerated, Native American person who has survived solitary confinement and the spiritual drain of castigating correctional culture; and (b) a music educator who founded a prison choir for both non-incarcerated and incarcerated individuals in an effort to erode and transform some of the revengeful structures of US incarceration. We draw from Indigenous educator, language specialist, and member of the Lil’wat First Nation, Dr. Lorna Williams’ research on Indigenous Knowledge in our efforts to understand the relationships among group singing, spirituality, and our experiences in the Oakdale prison choir. Our dialogue charts a search for spiritual healing in the unsympathetic atmosphere of prison and offers an experience-based account of ways in which group singing can function as a medium of spiritual healing and growth in environments of conflict. Full article

The Misa Criolla by Ariel Ramirez is a symbol of liberation theology in South America. Written between 1963–1964, this musical work is the result of the decisions made on the sacred liturgy at Vatican II and the Indigenous Movements of the 1960s and 1970s. It became popular around the world and helped bring attention to the indigenous poor of South America through its indigenization of the Roman Catholic Mass text and music directly after the Second Vatican Council. The Misa Criolla, however, can only be fully appreciated by understanding its process of localization, from its historical context, theological underpinnings to its musical attributes. From a liberationist perspective, it represents the compromise of the openness, liturgically and theologically, of Vatican II and more conservative movements afterwards through the localization of the Catholic Mass liturgy. Full article

Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant piece in Hip-Hop culture, their artistry has jolted its systemic capitalism and patriarchy to engage intersectionality through a discourse of classism, sexual orientation, and racism while upending White supremacy’s either:or binary. Applying the principles of Womanism, Black female Hip-Hop artists negotiate cultural identity politics as activists to innovatively expand thought on gender performance and produce a fusion of contemporary Blackness for the 21st century. Their artivism builds a safe environment of differences within society using conscious thought, language, and performative methods to defy the White American ethos of sexism, misogyny, and materialism. By garnering a better knowledge of their existence through Indigenous African spirituality, Black women reclaim ownership of their bodies from Western European standards, including race, and gender to challenge Christianity’s meaning of martyrdom. This act of reclamation provides a reformative tool of inclusion and being fluidity through Hip-Hop music and its culture. Full article

The links between spirituality and eudaimonic well-being are examined, beginning with a look at theoretical issues as to whether spirituality is best construed as part of well-being, or as a possible influence on well-being. A brief review of scientific findings from the MIDUS study linking religion and spirituality to well-being and other outcomes is then provided to show recent empirical work on these topics. Suggestions for future work are also provided. The third section is forward-thinking and addresses the power of nature to nurture spirituality and well-being, beginning with a look at how current research has linked nature to human flourishing. Issues of spirituality are rarely mentioned in this literature, despite evidence that nature has long been a source of inspiration in poetry, literature, art, and music. These works reveal that the natural world speaks to the human soul. To explore such ideas, parts of Jungian psychology are revisited: the soul’s longing for poetry, myth, and metaphor; the importance of animism, which sees nature as a field inhabited by spirit; and the devaluing of ancient cultures. The final section considers the wisdom of the indigenous peoples who saw spirit in everything. Their inputs, exemplified with “Two-Eyed Seeing”, offer new visions for thinking about the interplay of spirituality, well-being, and the natural world. Full article

At Turkey’s first national worship conferences in 2011, a passionate debate arose on whether Western music or indigenous Turkish music was most appropriate for worship. Some Turks felt that the Western missionaries were imposing indigenous musics on Turks as a type of “reverse colonization”. They felt that the current Western musical styles were best for worship. One Turk stated, “the saz is being forced down our throats”. Other Turks felt liberated to sing and play songs in traditional Turkish musical styles. The debate at the conference highlights the desire of missionaries and Turks to see renewal in congregational hymnody. Nevertheless, the Western vs. indigenous Turkish music debate reduces complex historical, musical, and liturgical issues into a divisive binarism. Using hymns sung in corporate worship in Turkey as a source, I will analyze here the quantity of musical localization in Turkish Protestant worship seeking to present musical localization as a lens to examine Turkish Christian liturgical identity. Full article

Bible translation and indigenous hymnody have always been important parts of the localization of the Christian faith. In this study, we describe how local songwriters creating songs with lyrics based on translated scriptures play a vital role in the process of localization in Christian communities in Indonesia. We focus primarily on thirty-nine scripture songwriting workshops that we and our colleagues conducted over the past six years in Indonesia, as well as ongoing interactions we had with communities in Ambon and Central Sulawesi. We begin with a literature review to establish the influences which shaped our songwriting workshops and our motivation for conducting them, and then we describe the workshops themselves and the process of musical localization that took place. Throughout the study, we highlight the role of local agency, the importance of fusion genres, and the creation of unique Christian identities through the localization of music. Full article

This article reviews recent (2015–2021) English-language publications that focus on music in/as/about religion (broadly defined)—including world, folk, and indigenous religious traditions. While research related to Euro–American-based Christian music accounts for more publications than any other single tradition examined, this review intentionally foregrounds religions that are not as well represented in this literature, such as Islam, Hinduism, Confucianism, and folk and animistic traditions from around the world. Recurring trends within this literature elucidate important themes therein, four of which are examined in detail: (1) race and ethnicity, (2) gender and sexuality, (3) music therapy (and medical ethnomusicology), and (4) indigenous music. Broadly speaking, recent (2015–2021) publications related to religion, music, and sound reflect growing societal and political interests in diversity and inclusion, yet there remain perspectives, ideas, and ontologies not yet accounted for. The list of references cited at the end of this article represents only those publications cited in the review and a more comprehensive bibliography is available via an open-sourced Zotero group. Full article

Historically, the language of Protestant congregational song in the Philippines was English, which was tied to that nation’s twentieth-century colonial history with the United States. The development of Filipino songs since the 1970s is linked to this legacy, but church musicians have found ways to localize their congregational singing through processes of translation and hybridization. Because translation of hymn texts from English has proven difficult for linguistic reasons, Papuri, a music group that produces original Tagalog-language worship music, bypasses these difficulties while relying heavily on American pop music styles. Word for the World is a Pentecostal congregation that embraces English-language songs as a part of their theology of presence, obviating the need for translation by singing in the original language. Day by Day Ministries, the third case study, is a congregation that translates beyond language texts, preparing indigenous Filipino cultural expressions for urban audiences by composing hybridized songs that merge pre-Hispanic and contemporary forms. Full article