Thursday, October 6, 2016 - 7:00pm - 8:00pm
Faculty House, Columbia University
University Seminars at Columbia University
SEMINAR IN ARABIC STUDIES presents
"Performing Rurality: Music and Migration across the Mediterranean (Morocco-Italy)"
Speaker: Alessandra Ciucci
Columbia University, Department of Music
Thursday, October 6, 2016
Faculty House, 7-8 pm
Alessandra Ciucci is currently Assistant Professor of Music (Ethnomusicology) at Columbia University. She received her PhD in music (ethnomusicology) from The City University of New York at The Graduate Center. Her research interests include: the music of Morocco, North Africa, the Mediterranean, music and gender, sung poetry, and music and migration. Her articles appear in Ethnomusicology, The Yearbook for Traditional Music, The International Journal of Middle East Studies, Mondi Migranti, Cahiers de musiques traditionnelles, in the Sage Encyclopaedia of Ethnomusicology, and in several edited volumes. Ciucci has been a recipient of a Fulbright foreign scholarship grant (Morocco), a fellowship from the Jewish Foundation for the Education of Women, a grant from the American Institute for Maghrib Studies Grant, and a Junior faculty summer research grant for the Humanities and Social Sciences. Dr. Ciucci was a Mellon Post-Doctoral Fellow in the Music Department at Columbia 2008-10.
Professor Ciucci will discuss the sound of a specific notion of the rural (l-‘ǝrubiya) which, through contemporary migration, travels from central Morocco across the Mediterranean to Italy. She ethnographically explores how the sound of such a notion of the rural—as a site of aesthetic behaviors, performative acts, and signifying practices—resonates across borders through ‘abidat rma—a musico-poetic genre performed at private and public celebrations and circulated through cassettes, CDs, DVDs, MP3s, and the Internet in Morocco and abroad. She argues that ‘abidat rma challenges a sonic construction of the Mediterranean which has privileged a Eurocentric mode of listening, rather than that experienced by moving and migrating bodies. To this end, Ciucci explores how Moroccan men from the central regions of Morocco, engaged in the experience and in the imagination of migration across the Mediterranean to Italy, disrupt a seamless narrative of the Mediterranean through the performance of a specific and intimate sense of the rural in sound. She examines how the poetic language, gesture, and sound of ‘abidat rma are imbued with locality, how this sung poetry gives voice to conflicts of transformation, and how it articulates the affective and sonic lives of generations of male Moroccan migrants at a transnational level.
The talk will begin at 7:00 pm. For more information or to register for the pre-talk dinner, write the seminar's rapporteur Sahar Ishtiaque Ullah (firstname.lastname@example.org) no later than Thursday, September 29, 2016.
You are warmly invited to attend a presentation of senior thesis projects completed by graduating Barnard College Music/Ethnomusicology majors Esther Adams, Anna Koeck Ehrman, Jenny Payne, Gen Ambrose, and Delaney Ross.
Featuring five 20-minute oral presentations, the event will occur on
THURSDAY MAY 12
4:15 to 6:15PM
701C Dodge Hall, The Center for Ethnomusicology
Reception to Follow
We are very proud of our thesis-writing students and encourage you to come and hear about their diverse and fascinating research projects.
The presentations will be in the order below; if you are unable to attend the entire event you are welcome to drop in and out.
4:15-4:35PM Esther Adams — "A Naïve Mélange:" Examining Racialized Properties of Sound in Harry Lawrence Freeman’s "Jazz Opera” Voodoo
4:40-5:00PM Anna Koeck Ehrman — The Colonial Legacy of the Ethnomusicological Archive: An Exploration of ILAM’s African Music Repatriation Project
5:05-5:25PM Jenny Payne — Now Let's Get in Formation: the Personal and Political of "Beyoncé feminism"
5:30-5:50PM Genevieve Ambrose — Wizard Rock Heartthrobs: Power, Gender and Economics in Harry Potter Musical Fandom
5:55-6:15PM Delaney Ross — Our Hawai'i: Environmental Protest Music on the Big Island of Hawai’i
For information contact Prof Fox, email@example.com
The Center for Ethnomusicology congratulates PhD student Adam Kielman, who has been awarded the Julie How Fellowship by the Weatherhead East Asian Institute. The award provides support for a year of dissertation write-up to a student in history or the social sciences with a research focus on China.
Mr. Kielman, who is also an alumnus of Columbia College (EALAC major, LAJPP performer) is completing a dissertation on local popular music and politics in China under the sponsorship of Prof. Ana Maria Ochoa.
The Center for Ethnomusicology's project to "repatriate" Native American recordings made by collector Laura Boulton in the 1930s and 40s and purchased by Columbia in the 1960s to their source communities has been featured as part of an extensive radio feature on BBC Radio 3 (UK). The feature includes interviews with Columbia ethnomusicologist Prof. Aaron Fox and former Columbia students Kristina Jacobsen (MA, Music, 2006, now Assistant Professor of Music at the University of New Mexico) and Nanobah Becker (MFA, Film, 2008, now a prominent, Sundance-winning Native American filmmaker). The feature runs for about 45 minutes.
The Center for Ethnomusicology warmly congratulates 2013 PhD program alumnus Dr. Timothy Mangin,
who has just been appointed as a tenure track Assistant Professor of Music at Boston College.
Timothy Mangin is an ethnomusicologist and musician researching the intersection of popular music, race, ethnicity, religion, and cosmopolitanism in West Africa and the African Diaspora. He received his doctorate from Columbia University in 2013 and received fellowships from the Columbia University’s Center for Comparative Literature and Society, St. Lawrence University’s Department of Music, Mellon Foundation, the Foreign Language Areas Studies Program and a Fulbright-Hays Doctoral Research Abroad Program. He taught at Columbia University, New York University, St. Lawrence University, and the City University of New York. An improvisational flutist, Tim founded St. Lawrence University’s Jazz and Improv Ensemble and also studies mbira and is a member of Capoeira Brasil. His writings have appeared in the edited volumes Begegnungen: The World Meets Jazz and Uptown Conversations: The New Jazz Studies as well as reviews in The Yearbook for Traditional Music and Ethnomusicology On-Line. Tim is working on a book examining indigenous cosmopolitanism through the intersection of the Senegalese urban dance music called mbalax and the practice of black, Wolof (the dominant ethnic group), gendered, and Muslim identities. He is also exploring blackness in Senegalese hip hop and the dynamics of improvisation in New York City’s underground hip hop and jazz scene. The Digital Humanities is a key part of Tim’s pedagogy and research that began when he worked at Columbia’s Institute for Research in African American Studies on the Malcolm X Project, under the direction Manning Marable, and further developed with students at The City College of New York.
Dr. Mangin's Columbia PhD dissertation, on Senegalese mbalax, was advised by Prof. George Lewis.
We warmly congratulate Dr. Marceline Saibou, who successfully defended her PhD dissertation on popular music in Togo on Friday, May 13, 2016. Dr. Saibou's dissertation was sponsored by Prof. Aaron Fox, and her committee included Profs. Alessandra Ciucci and George Lewis (Music, Columbia), and distinguished Columbia ethnomusicology alumni Prof. Ryan Skinner (Music and African Studies, OSU) and Prof. Andrew Eisenberg (Music, NYU Abu Dhabi).
Congratulations Dr. Saibou!
Photo from left to right: G. Lewis, A. Ciucci, M. Saibou, A. Fox
We warmly congratulate Dr. Sara Snyder, who successfully defended her dissertation on Cherokee language translational poetics and early childhood immersion education on Friday, May 6, 2016. Her dissertation was sponsored by Prof. Aaron Fox, and her committee included Profs. Bambi Schieffelin (Anthropology, NYU), David Samuels (Music, NYU), Ana Maria Ochoa (Music, Columbia), and CU ethno alumna Prof. Amanda Minks (Anthropology, Oklahoma).
Dr. Snyder has also recently been appointed as a visiting assistant professor of anthropology and sociology at Western Carolina University in 2016-17.
Congratulations Dr. Sara Snyder!
Photo, left to right: D. Samuels, B. Schieffelin, S. Snyder, A. Ochoa, and A. Fox
Thursday, April 28, 2016 - 5:00pm
701C Dodge Hall (The Center for Ethnomusioclogy)
The Spring 2016 Ethnomusicology Colloquium Series Presents:
Cashinahua Song-Images: Reflections on an Amerindan Relational Aesthetics
(Associate Professor at the Federal University of Rio de Janeiro (UFRJ) Graduate Program in Sociology and Anthropology, CNPq (National Council for Scientific and Technological Development) Researcher Coordinator of NAIPE –Center of Amerindian Studies)
April 28, 2016 5:00 pm
701c Dodge Hall
Columbia University Center for Ethnomusicology
Free and Open to the Public
Columbia University Morningside Campus
The Center for Ethnomusicology warmly congratulates PhD alumna Dr. Lauren Flood, who has been appointed as a Mellon Postdoctoral Fellow in the Humanities at the Massachusetts Institute of Technology.
Lauren Flood earned the Ph.D. in Ethnomusicology from Columbia in 2015. She researches sound technologies and experimental instrument building practices in the contexts of the do-it-yourself ethos, maker culture, and popular and experimental music scenes. She held a Whiting Fellowship for her dissertation, “Building and Becoming: DIY Music Technology in New York and Berlin,” with fieldwork supported by the Berlin Program for Advanced German and European Studies and the National Science Foundation. Lauren’s work is situated at the nexus of music, anthropology, sound studies, and science and technology studies. She engages with dialogs on critical organology, creativity and knowledge production, histories and aesthetics of sound and recording practices, vernacular technologies and everydayness, ethics and labor in the music industry, alternative methods in science and technology education, and the contemporary sense of self as mediated through the arts.
At Columbia, she has been a teaching fellow in Music Humanities and Asian Music Humanities, the graduate assistant for the Center for Ethnomusicology, an editorial board member and reviews editor for Current Musicology, and on the organizing committee of the Columbia Music Scholarship Conference. She has presented her work at annual meetings of the Society for Ethnomusicology, the American Anthropological Association, the Society for the Social Studies of Science, and the EMP Pop Conference.
Prior to her graduate studies, Lauren completed her undergraduate degree at Drexel University, with a major in music industry and a minor in anthropology. While living in Philadelphia, she studied and performed as a guitarist, worked in copyrights and licensing, and assisted with research at the University of Pennsylvania Museum of Archaeology and Anthropology. She also completed field schools in Latin American ethnomusicology and archaeology, maintaining a long-standing interest in Mesoamerica and the modern Mayan region.
Dr. Flood's Columbia PhD dissertation was advised by Prof. Ana Maria Ochoa.
Tuesday, March 22, 2016 - 4:00pm
701C Dodge Hall (The Center for Ethnomusioclogy)
The Center for Ethnomusicology announces a talk by:Richard Jankowsky
(Associate Professor of Ethnomusicology, Tufts University)
"Ritual Journeys and Devotional Niches: Ambient Sufism in Tunisia"
Tuesday March 22
701C Dodge Hall (The Center for Ethnomusicology)
Free and Open to the Public
“Ritual Journeys and Devotional Niches: Ambient Sufism in Tunisia”
In Tunisia, trance rituals animated by praise songs to Sufi saints are not exclusive to members of Sufi orders or participants in Sufi ceremonies. Rather, a number of distinct healing and devotional musical traditions co-exist, each associated with particular social and devotional communities. In this paper I bring together four such traditions, those of women, Jews, blacks, and hard-drinking laborers, to demonstrate how each of their musical practices serves as a musical, social, and devotional niche while contributing to a larger ecology of Sufi music that also includes the great variety of Sufi rituals as well as staged concerts.
More specifically, while the musical “journey” (riḥla) through a chain (silsila) of praise songs is a metaphorical image and organizational scheme that is shared by each of these traditions, the nature of the journey and the different destinations along the way musically mark each one as distinctive and representative of the particular histories and devotional itineraries of each ritual community. This paper emphasizes the important role of women and minorities in cultivating Sufi aesthetics, and shows how Sufism resonates throughout Tunisian society via listening publics associated with numerous genres of music—both “sacred” and “secular”—that evoke the spiritual and therapeutic power of music and trance.
Based on ethnographic research between 2009 and 2015, this presentation takes as its starting point the changing politico-religious climate after the Tunisian Revolution of 2011 and the concomitant threats to the survival of musical practices associated with Muslim saints.
Richard Jankowsky (PhD, University of Chicago) is Associate Professor of Ethnomusicology at Tufts University, where he is also Director of the Graduate Program in Music. His book Stambeli: Music, Trance, and Alterity in Tunisia (University of Chicago Press, 2010) received honors from academic societies in ethnomusicology, anthropology, and North African studies. His most recent publications include essays on ritual and the space of betweenness (in Resounding Transcendence: Transitions in Music, Ritual, and Religion, Oxford University Press, 2016) and jazz and the democratic imagination (in Jazz Worlds/World Jazz, University of Chicago Press, 2016), and, as editor, the Middle East and North Africa volume of the Bloomsbury Encyclopedia of Popular Music of the World (2015). His current book project examines the politics and circulation of Sufi ideas and aesthetics through musical routes that rely on, yet transcend, genre distinctions in pre- and post-revolutionary Tunisia.