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Ana Alonso Minutti (U New Mexico): Sounding Protest & Enacting Resilience in the New Mexican Desert

Event Start: 
Friday, November 30, 2018 - 4:00pm
Location: 
701C Dodge Hall (The Center for Ethnomusioclogy)
The Center for Ethnomusicology at Columbia University Presents a Talk by:

Prof. Ana Alonso Minutti (UNM)

Ana Alonso Minutti

(Associate Professor of Music, University of New Mexico)

Sounding Protest & Enacting Resilience in the New Mexican Desert 

Friday, November 30, 2018
4PM-6PM
701C Dodge Hall (The Center for Ethnomusiclogy, Columbia Monringside Campus, Broadway @ 116th St.) 
Free and Open to the Public!



Description: Since 2010, Albuquerque has been the site for the feminist music festival Gatas y Vatas, a platform for cis and trans women, genderqueer, and non-binary performers. Drawing from ethnographic work, in this presentation I explore the ways in which performers from the Gatas y Vatas network embrace a decolonial intersectional position to create counter-hegemonic strategies to disrupt racial, class, and gender normativities. In light of the results of the 2016 election, the 2017 iteration of the festival was centered on the concept of “protest,” and more than forty-five visual artists and performers from the US Southwest and beyond responded to the call. While rooted in a gendered activism, the network challenges the geographic limits imposed by colonization through embracing a level of identification with Hispanic and Indigenous women across the US-Mexico border. I argue that their performances challenge the power dynamics at the border by exposing flows of discriminatory violence across the two nation states. During the presentation I will discuss several sets performed at Gatas y Vatas in the last years, with particular attention to the 2017 festival iteration. While highly personal, the sets reflect the network’s decolonizing efforts to counteract the escalated levels of racism, sexism, and classism of the current US political climate, as felt at the local level. More than a music festival, Gatas y Vatas has become a space for revolutionary social activism and a site for community healing, resiliency, and hope.

Speaker Biography: Ana Alonso Minutti was born and raised in Puebla, México, where she graduated from the Universidad de las Américas. She migrated to the U.S. to pursue graduate studies at the University of California, Davis, where she obtained M.A. and Ph.D. degrees in musicology. Her scholarship focuses on music traditions from Mexico and the US-Mexico border, experimental and avant-garde expressions, intersectionality, religion, and decolonial methodologies. She has presented her work throughout the Americas and Europe, and has published in Argentina, Mexico, and the U.S. Recently, she coedited the volume Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018), and her book Mario Lavista and Musical Cosmopolitanism in Mexico is under contract by Oxford University Press. 

As an extension of her written scholarship, she directed and produced the video documentary Cubos y permutaciones: plástica, música y poesía de vanguardia en México, which was exhibited at the Museo Universitario de Arte Contemporáneo (MUAC) in Mexico City in 2017. Apart from her scholarly work, she has engaged in various composition projects, particularly for vocal ensembles. Her latest piece, Voces del desierto, is to be performed in the multidisciplinary arts project Migrant Songs at Albuquerque’s National Hispanic Cultural Center on March 2019. 

Currently, she is associate professor of music, a faculty affiliate of the Latin American and Iberian Institute, and research associate of the Southwest Hispanic Research Institute at the University of New Mexico.

Film Screening with Ethnomusicologist Gerald Coté: Miroir en Face ("Mirror Image") Friday Nov. 9, 6PM

Event Start: 
Friday, November 9, 2018 - 6:00pm - 8:00pm
Location: 
701C Dodge Hall (The Center for Ethnomusioclogy)
The Center for Ethnomusicology at Columbia University is Pleased to Present a Film Screening of: 

Miroir en Face ("Mirror Image")

Friday Nov. 9, 2018
6PM-8PM  (NOTE TIME CHANGE FROM EARLIER ANNOUNCEMENT)
701C Dodge Hall (The Center for Ethnomusicology, Columbia Morningside Campus, Broadway @ 116th St.) 
Free and Open to the Public!

We will be joined by Canadian Ethnomusicologist 
Gerald Coté (Professeur invité Faculté de musique, université Laval, Québec) who appears in the film) for the screening. 

Film producers: Erica Pomerance and Jacinthe Combary
Film distibutor : Les productions Via le Monde Inc. and Taling Dialo.

Miroir en Face is a documentary film about a trip made by young Cree (Candian First Nations) from James Bay North of Quebec to visit Dogon Country, Mali, Africa. 
in November, 2005.  The documentary focuses on the encounter between these Quebec Aboriginal youth and the Dogon they meet in Bandiagara. 

Biography: Gérald Côté obtained his Ph.D. in ethnomusicology in 1997. He has published several essays including Les 101 Blues du Québec and Processus de création et musique populaire, as well as numerous articles and conferences given in Romania, Brazil, Mexico and Africa. He is the co-director and co-founder of the Acte Sept Ethnomusicological Research Center (CREAS-in french) since 1995, a study center located in Bamako on the traditional practice of Malian music, which led him to spend several stays on the African West Coast. Having been a consultant for many documentaries, he has traveled to more than 40 countries on behalf of various projects celebrating cultural diversity. From 2004 to 2007 he worked on the adaptation of a music program for Cree youths at the James Bay School Board. In 2006, Gérald Côté bring a group of Cree and Inuit students from Chisasibi in Africa for a special encounter with the Malian Dogon. A year after this experience a Canadian producer release a documentary about this exceptional experience.

In 2011, he worked on the design of an international exhibition at the Musée de la civilization in Quebec City on the theme of the musical influence of Africa on the music of the American continents. The success of his latest book Jazz from Inside -for an anthropology of African-American music-, gave him a reissue and was the subject of lectures at the Berklee Colledge of Music in Boston. As a visiting professor at Laval University in Quebec, he continues his research about the link between the social context and de musical aesthetic around the world in a multifactorial and holistic approach.







RPM LIVE: Indigenous Hip Hop at Nublu! (Thursday OCT. 18, 8PM) and Snotty Nose Rez Kids at the Center (WED OCT 17 4PM)

RPM LIve PosterThe Center for Ethnomusicology at Columbia University is proud to consponsor this exciting show at NUBLU on Thursday Oct. 18.  We also invite members of the community to join us for a free pre-show meet and greet and jam with headliner act and Polaris Prize winning First Nations Hip Hop group Snotty Nose Rez Kids (Haisla First Nation, Vancouver, BC, Canada) on WEDNESDAY OCTOBER 17 from 4PM to 6PM in the Center (701C Dodge Hall, Columbia Morningside Campus).  Space will be limited so come on time!  The presentation by SNRK will be facilitated by Indigenous hip-hop scholar (and Columbia College and IRAAS (MA) alumna!) Lauren Amsterdam, and attended by Jarrett Martineau, the head of RPM MEDIA (Toronto).

WHAT: Snotty Nose Rez Kids with Lauren Amsterdam and Jarrett Martineau (RPM)
WHERE: 701C Dodge Hall (Center for Ethnomusicology, Columbia U Morningside Campus)
WHEN: Wednesday Oct. 17, 2018; 4PM-6PM
FREE AND OPEN TO THE PUBLIC
_________________
Revolutions Per Minute, a global Indigenous music platform & label, and brujas, an NYC-based feminist skate collective, join forces to bring you a dope evening of Indigenous and WOC/POC hip-hop + music from across the continent. 

FEATURING:
• Snotty Nose Rez Kids  (BC/CAN)
• CHHOTI MAA (MX/OAK) x Dio Ganhdih (NY)
• ASCXNSION (PDX) 
• No intimate (Brujas/NYC)

Fresh off their recent nomination for the Polaris Music Prize, Canada's most prestigious music award, Haisla Nation hip-hop group Snotty Nose Rez Kids will make their New York debut at RPM Live. Joining the bill with their firepower flows and potent politics are Indigenous rapper CHHOTI MAA from Guanajuato by way of Oakland, alongside Haudenosaunee MC Dio Ganhdih. Portland-based hip-hop artist ASCXNSION will also make her NYC debut. NYC skate crew and culture makers, brujas are representing, and deejay No intimate will hold down the foundation of rhythm & sound. Plus locally-grown herbal treats offered by Herban Cura. Don't sleep.

RPM Live : 012 NYC 
Thursday, October 18
Nublu Classic (62 Avenue C, NY)
Doors: 8pm
Tix: $10/15
Art by @lexx_valdez 

BRUJAS is an urban, free-form, creative and autonomous organization that seeks to build radical political coalition through youth culture. We express community through skateboarding, art and political organizing.

• Snotty Nose Rez Kids
RPM Records artists Snotty Nose Rez Kids (SNRK) are an Indigenous hip hop duo currently based out of Vancouver, BC. Their most recent release The Average Savage was shortlisted for the 2018 Polaris Music Prize, Canada's most prestigious music award. Proudly hailing from the Haisla Nation, SNRK creates music that pays homage to their upbringing on the Rez in Kitimaat Village while also touching upon larger themes related to Indigenous identity, politics and resistance in ways that engage a diverse audience.

• CHHOTI MAA
CHHOTI MAA was born out of a tradition of migrants in Guanajuato and forced by the Mexican post-NAFTA exodus into movement. Her raps have roots in her grandmothers poetic recitation and in Mexican oral tradition. She established herself as a rapper/singer in Richmond VA, but deepened her freestyle & lyrical skills in Trujillo, Peru. She's now based in Oakland and her music deals with decolonial living, migrant swag and reconstructing the womyn temple. CHHOTI MAA is a cultural producer-organizer, educator, bruja, writer and artist. 

• Dio Ganhdih
Dio Ganhdih is a queer indigenous rapper with a heart beat based in Brooklyn, an imagination spun in upstate New York, and a nervous system best suited for the Bay Area. From deep within Mother Nature's beauterus, Dio Ganhdih, otherwise known as Heavily Falling Snow, delivers subhersive and unapologetically raw rhymes. Dio utilizes poetry and lyricism to push cultural resiliency while resisting settler-colonialism and distorting imperialist visions of her native homeland. Her latest EP "Do It Ourselves" was released in 2017.

• ASCXNSION
ASCXNSION is a hip-hop emcee, spoken word poet, visual artist, and producer from Portland, OR, making her NYC debut at RPM Live. Her 2018 EP, Dripping Gold, blends trap beats, dope lyrics, and Indigenous consciousness to electrifying effect.

• No intimate
No Intimate is an NYC-based DJ with a techy, leftfield approach that is heavily influenced by her experimental music studies and arts-accessibility work. In addition to playing at Yaeji’s Curry In No Hurry event series, No Intimate can be heard on the airwaves at the Lot radio, as well as on Jubilee’s most recent Magic City compilation. 


The Columbia Ethnomusicology Phd Program Is Accepting Applicants for 2019 Matriculation

Important notice to prospective PhD program applicants: 
The Columbia Ethnomusicology PhD program admits cohorts in two consecutive years out of each three year period.
 We ARE  admitting a cohort for 2019, and therefore we ARE accepting applications in the fall of 2018.  We will again accept applications next year as well, in Fall 2019, for matriculation in 2020. We will not be accepting applications in 2020. 

Please contact the Area Chair, Prof. Christopher Washburne by email
 
(cjw5@columbia.edu ) with questions about this schedule and about the process of applying, including visiting the program. 

See our "FAQ" for PhD Program Applicants HERE for valuable information.

Congratulations to Dr. Kevin C. Holt!


Dr. Kevin Holt, Profs. Aaron Fox, Kevin Fellezs, Ellie Hisama, Daphne Brooks, and Farah Griffin
The Columbia Ethnomusicology community warmly congratulates our newest PhD, Dr. Kevin C. Holt!

Dr. Holt defended his PhD dissertation, entitled "Get Crunk! The Performative Resistance of Atlanta Hip-Hop Party Music," on Friday, September 14. The dissertation was advised by Prof. Kevin Fellezs.  Dr. Holt's dissertation committee (pictured) included Prof. Ellie Hisama (Columbia); Prof. Aaron Fox (Columbia); Prof. Farah Griffin (Columbia); and Prof. Daphne Brooks (Yale University). Dr. Holt was supported in our program by a prestigious Ford Foundation fellowship as well as the Graduate School of Arts and Sciences; Dr. Holt also earned his MA degree in African-American Studies at Columbia.

Congratulations Dr. Holt!

Prof. Kevin Fellezs Featured in "Columbia College Today" Magazine

Prof. Kevin Fellezs
Congratulations to
Kevin Fellezs, Associate Professor of Music in Ethnomusicology, who is featured in the Summer 2018 issue of Columbia College Today.  He discusses his upbringing, education, musical interests and experiences, professional activity as a scholar, and his teaching at Columbia.

Lunchtime talk: Dr. Shannon Garland (UCLA): "We Demand Love: Musical Affects, Urban Mobility, and Political Expediency in São Pa

Event Start: 
Thursday, October 11, 2018 - 12:00pm
Location: 
701C Dodge Hall (The Center for Ethnomusioclogy)

The Center for Ethnomusicology is please to present a lunchtime colloquium with:

Dr. Shannon Garland 
(Postdoctoral Scholar in Ethnomusicology, University of California at Los Angeles)


"We Demand Love:" Musical Affects, Urban Mobility, and Political Expediency in São Paulo, Brazil. 

Thursday October 11, 2018
12 Noon to 1:30PM 
(lunch to be served)
701C Dodge Hall 
(The Center for Ethnomusicology, Columbia University Morningside Campus, 116th St and Broadway, NY NY)
Free and Open to the Public


In 2011, a minimalist ballad called "Love Doesn’t Exist in São Paulo" became a major hit in São Paulo, Brazil. Written by an underground rapper, Criolo, whose work usually refers to life for the city’s marginalized, the song became especially popular amongst cosmopolitan, middle-class youth, who had begun using “love” to index ideal modes of inhabiting the city. On the eve of the 2012 municipal elections, political activists drew on the popularity of the song to create an all-day music and arts festival headlined by Criolo. Billed as a non-partisan, popular manifestation expressing the need for a São Paulo governed by love, the event also became a sign of popular support for a particular type of city governance which brought a new mayor to power. This article teases out the dynamics of city life that primed listeners to resonate with the song, allowing its conversion into public event and political expedience. It asks how critiques of class and race inequities were elided through the trope of love. This case brings into relief the way in which affects are shaped by desires formed at the local level through global dynamics of cultural consumption and cultural economy, as well as the importance of actors who can drive affective resonance into particular political articulations. 


Shannon Garland
 is a Postdoctoral Fellow in Ethnomusicology at the University of California, Los Angeles. She holds a Ph.D. in ethnomusicology from Columbia University. Examining media circulation, band touring, and live performance in the context of emerging music industry organizations, Dr. Garland's work addresses affect, aesthetics and sociality in the production of differential economies of value. Her book project, For the Love: Independent Music, Affect, and Labor in Brazil and Beyond, traces the interrelationships between cultural finance, social networking, and live performance, to show how aesthetic judgement forms through both global political economy and the intimate politics of social relationships. Dr. Garland serves as the 2017-2019 chair of the Economic Ethnomusicology Special Interest Group within the Society of Ethnomusicology.
 

Prof. Braxton Shelley (Harvard Univ.): Take Me Higher”: “Tuning Up” and the Gospel Imagination (Oct. 19, 2018)

Event Start: 
Friday, October 19, 2018 - 4:00pm
Location: 
701C Dodge Hall (The Center for Ethnomusioclogy)

The Center for Ethnomusicology Presents a Colloquium with:

Prof. Braxton Shelley (Music, Harvard University)

“Take Me Higher”: “Tuning Up” and the Gospel Imagination

Friday October 19, 2018
4:00PM-6:00PM
701C Dodge Hall
(The Center for Ethnomusicology, Columbia University Morningside Campus, 116th St and Broadway, NY NY)
Free and Open to the Public, Reception to Follow

Braxton D. Shelley is an assistant professor in the music department at Harvard University, and the Stanley A. Marks and William H. Marks Assistant Professor at the Radcliffe Institute. He was the 2016 recipient of the Paul A. Pisk Prize from the American Musicological Society.

Shelley completed a PhD in the history and theory of music and a master of divinity at the University of Chicago. He earned a BA in music and history from Duke University. In his doctoral dissertation, “Sermons in Song: Richard Smallwood, the Vamp, and the Gospel Imagination,” Shelley’s analysis of gospel music braids cognitive theory, ritual theory, and preaching with studies of repetition, form, rhythm, and meter.

Prof. Morgan Luker (Reed College): "Matrix Listening: Lessons from the Columbia 'T' Series" (Fri Sept 28)

Event Start: 
Friday, September 28, 2018 - 4:00pm - 6:00pm
Location: 
701C Dodge Hall (The Center for Ethnomusioclogy)


The Center for Ethnomusicology at Columbia University Presents a Colloquium with:

Prof. Morgan Luker (Music, Reed College)

"Matrix Listening: Lessons from the Columbia “T” Series (Argentina, 1912-1923)

Friday September 28th 2018 (note corrected date)
4:00PM-6:00PM

701C Dodge Hall (The Center for Ethnomusicology, Columbia University Morningside Campus, Broadway at 116th St.)
Free and open to the public, reception to follow

A matrix number is a code inscribed in the run out area of gramophone records. They are not relevant to the conventional listening experience and are, in fact, inaudible. Nevertheless, I argue that framing scholarly listening around matrix numbers and other forms of industrial organization can provide valuable insights into directly musical concerns. I make this argument through an examination of the Columbia “T” series, a set of hundreds of 78-rpm discs that the U.S.-based recording company produced for export to Argentina between 1912 and 1923, drawing lessons regarding genre relationality, the materiality of recorded sound, the productivity of recorded sound collections, and listening as a method.

Biography: Morgan Luker is Associate Professor of Music at Reed College. He is the author of The Tango Machine: Musical Culture in the Age of Expediency (University of Chicago Press) and the founding director of Tango for Musicians at Reed College (www.reed.edu/tango). His current research examines the materiality and management of historic sound recordings as objects of knowledge in and about Argentina.

Prof. Luker is also an alumnus of Columbia's PhD program in Ethnomusicology.


“Music and Sound at the Mediterranean Crossroads” -- ICTM Study Group Meets at Dar Souiri, Morocco

The twelfth symposium of the ICTM Study Group Mediterranean Music Studies took place in Essaouira (Morocco), 18-23 June, 2018 on the theme “Music and Sound at the Mediterranean Crossroads.” It was hosted at Dar Souiri by the Association Essaouira-Mogador, and it was supported by the Center for Ethnomusicology at Columbia University, by a Global Humanities Projects Grant from the Division of Humanities in the Arts and Sciences at Columbia University, and by the International Council for Traditional Music. This was the first meeting of the study group held in North Africa.

View the Program Here (PDF)


Co-organized by Prof. Alessandra Ciucci (Department of Music, Columbia University) and vice-Chair of the Study Group) and Ruth Davis (University of Cambridge and Chair of the Study Group), the symposium was generously assisted by André Azoulay (President and Founder of the Association Essaouira-Mogador). In the effort to recognize the diverse ways in which people sound, listen to and perform the Mediterranean, the symposium brought together academics and students working on themes related to music and sound in the Mediterranean, and aimed in particular to create a dialogue and facilitate the exchange of knowledge with scholars from the southern shores of the Mediterranean and the MENA region.

Waiting for the opening procession of the Gnawa and World Music Festival (photo by Sonja Kieser)

Waiting for the opening procession of the Gnawa and World Music Festival (photo by Sonja Kieser)




The 67 participants at the symposium engaged in rich dialogue aiming to provide a different point of entry, through music and sound, to explore burning political questions in the Mediterranen, and envisaging this sea as a laboratory in which music and sound are essential for those who believe that the Mediterranean, Mare Nostrum, or al-Baḥr al-Abyad al-Mutawassiṭ is necessary for the future, rather than a geographic space of a past.
Aissawa Performance at Dar Souiri 2 (Photo by Sonja Kieser)
 
Aissawa Performance at Dar Souiri
(Photo by Sonja Kieser)





Held in conjunction with the Gnawa World Music Festival, the symposium benefitted from an audience that included academics, as well as Moroccans attending the festival who were interested in the diverse themes of the symposium. Two performances of traditional Moroccan music held at Dar Souiri, together with the numerous musical events associated with the Gnawa World Music Festival, enriched the academic debates of the symposium.

Traveling Sounds in Bilad al Sham with Oded Erez, Nadeem Karkabi, Clara Wenz, Abigail Wood and Loab Hammoud (photo by Lhoussain Simour)

Traveling Sounds in Bilad al Sham with Oded Erez, Nadeem Karkabi, Clara Wenz, Abigail Wood and Loab Hammoud (photo by Lhoussain Simour)
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