Wept Thoughts: The Voicing of Kaluli Memories

The study of lament forms, including ritual wailing, sung-texted weeping, keen, mourning songs, dirge, and elegy, is complexly located in discourses of the humanities and social sciences. Because lament varieties are reported throughout the world, questions as to the universality or cultural specifi city of their structures and meanings are important and implicitly comparative. Folklorists, philologists, ethnomusicologists, literary scholars, and anthropologists have drawn our attention to a great variety of lament forms. Some researchers have taken a more microanalytic view of the poetics of lament texts, others a more macro-analytic view of the role that laments play in mourning customs (see Ajuwon l981 and Honko l980 for an overview). Some have concentrated on the differences between laments and other verbal and musical genres. But the key factor that situates all of these studies of laments fi rmly in the area of research on oral traditions is the dynamic interplay of individual expression and collective forms and sentiments. Vladimir Propp put this quite forcefully in his essay on "Folklore and Reality" (l984:16-38). There he draws attention to the fact that while formulae and motifs (like the poetic rhetorical question to the deceased) are common in laments, the genre is more clearly defi ned by improvisation, by lack of close variants, and by a certain lack of close similarity despite common motifs. "Each lament contains unique motifs," Propp writes, "for example a kind of biography" (32). This biographical dimension, and its linkages to what Propp termed a "subjective evaluation of reality" (33), speaks to the complex interplay of generic norms and individual creativity in lament, and additionally emphasizes how the analysis of lament texts must necessarily be situated in their socio-historical contexts

Une si douce berceuse pour la “World Music”

RésuméComment la «world music», qui au départ n’intéresse que les universitaires, est-elle devenue un marché d’envergure mondiale? L’article s’intéresse tout d’abord à l’histoire de cette «world music» en tant que discours, raconté selon les tropes de «l’enthousiasme» et de «l’inquiétude». Il l’envisage ensuite comme une zone d’interactions et de contacts, tout autant que comme des pratiques esthétiques et commerciales. Ces dernières sont présentées à travers l’étude d’une berceuse traditionnelle d’abord enregistrée dans les Îles Salomon par des ethnomusicologues, puis reprise par un grand groupe de pop music européen sur un CD vendu à des millions d’exemplaires, et enfin jouée par un important musicien de jazz européen. L’article pose en fait la question suivante : la «world music» est-elle source d’humiliation artistique pour les traditions indigènes ou représente-t-elle l’oportunité d’une nouvelle hybridité ou d’une nouvelle résistance musicale ?AbstractHow has «world music» moved from remote academic interest to global commercial marketplace? The article first concerns this history of «world music» as a discourse, narrated equally by tropes of «celebration» and «anxiety.» It then considers «world music» as a zone of interactions and contacts, as well as aesthetic and business practices. These are represented in a case study of a traditional lullaby first recorded in Solomon Islands by an ethnomusicologist, then sampled on a multi-million selling CD by a major European pop group, and then re-appropriated by a prominent European jazz musician. Finally, the article questions whether «world music» creates more artistic humiliation for indigenous traditions than true possibilities for new musical resistance or hybridity

Una acustemología de la selva tropical

This text has the purpose of giving a voice to a sort of alternating reality, to a kind of resonant sensibility I have found by way of anthropological research of the ecology of language, of music and acoustics. My hope is that when granting spaces to marginalized voices from where they can speak out, scream and sing, therefore anthropology could in certain measure counteract the rooted arrogance of colonial and imperial authority, the same of history written in just one tongue, history with one voice as if unique and possible narrative. https://doi.org/10.22380/2539472X79Este texto tiene por objeto darle voz a un tipo de realidad alterna, a un tipo de sensibilidad sonora que he encontrado a través de la investigación antropológica de una ecología del lenguaje, la música y la acústica. La esperanza es que, al dar a las voces marginadas espacios desde donde hablar, gritar y cantar, la antropología podrá contrarrestar en alguna medida la arraigada arrogancia de la autoridad colonial e imperial, de la historia escrita en una sola lengua, a una sola voz, como una única narrativa posible. https://doi.org/10.22380/2539472X7

Etnomusicologia e Comunicação Visual

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The Time Is Now for Mandatory Liver-Focused Clinical Experiences in Medical School.

The national burden of chronic liver disease is steadily increasing and is only expected to worsen with the ongoing obesity and opioid epidemics fueling growth in the prevalence of nonalcoholic fatty liver disease and a resurgence of new hepatitis C infections. Our letter highlights the disparity between the rising prevalence of chronic liver disease and the proportion of medical students who receive exposure to patients with liver disease as part of their medical education. A more comprehensive survey of clerkship directors is needed to further corroborate this data, which may lead to reforms in medical school curricula to better address the expanding burden of chronic liver disease

Ressoar a antropologia: uma jam session com Steven Feld

sem informação263FUNDAÇÃO DE AMPARO À PESQUISA DO ESTADO DE SÃO PAULO - FAPESP2017/06642-