Tuesday, January 24, 2017 - 5:00pm - 7:00pm
701C Dodge Hall (The Center for Ethnomusioclogy)
The Center for Ethnomusicology presents a talk by:
Prof. Ryan Skinner
(Associate Professor, School of Music and Department of African and African-American Studies, The Ohio State University)
"Walking, Talking, Re-membering: An Afro-Swedish Critique of Being-in-the-world."
Tuesday, January 24, 2 017
701C Dodge Hall (The Center for Ethnomusicology)
Columbia University Morningside Campus (Broadway and 116th St.)
In this lecture, Ryan Skinner will examine the existential grounds and limits of an embodied and intersubjective being-in-the-world, in walking dialogue with the remembrances of Afro-Swedish subjects. To walk, wander, and roam in Sweden, particularly through the abundant green spaces that intrude upon and surround nearly every town and city, is a biopolitical act. It is a sign of personal vitality, healthfulness, and a kind of being-with others predicated on a regular, self-conscious, and often solitary being-toward nature. Yet, for many non-white Africa-descended Swedes, such an imagined community of salubrious and, for the most part, anonymous walkers is largely just that, a socially constructed fiction that perforce (which is to say "by force") excludes them; an abstraction of urban planning that encumbers their movements, creating anomalous spaces of stasis and immobility; a caesura in the biopolitical field that indexes their black lives as matter out of place, beyond both culture and nature. If the phenomenological axiom of being-in-the-world posits a dialogic and corporeal co-presence of mutually constitutive subjectivities, then the perambulatory culture of Afro-Swedes suggests a state of exception—a breach in the intersubjective field—one which Afro-Swedish subjects critically address through doubly conscious re-membering, recollecting the histories of violence that set them apart, and distinguish their struggle.
Ryan Skinner is Associate Professor of ethnomusicology in the School of Music and the Department of African American and African Studies at The Ohio State University. Dr. Skinner’s research focuses on popular culture, ethics, cultural politics, public piety, intellectual property, and new social movements and modes of identification in Africa and its diasporas. He is the author of Bamako Sounds: The Afropolitan Ethics of Malian Music (University of Minnesota Press, 2015), and a children’s book, Sidikiba’s Kora Lesson (Beaver’s Pond Press, 2008). He is also an accomplished kora (21-stringed West African harp) player.
The Center for Ethnomusicology is delighted to congratulate PhD program alumna Dr. Sara Snyder, who has been appointed as a tenure-track Assistant Professor in the Department of Anthropology and Sociology and as Director of the Cherokee Language Program at Western Carolina University. Dr. Snyder defended her dissertation, "Poetics, Performance, and Translation in Eastern Cherokee Language Revitalization," advised by Prof. Fox, in May, 2016. She has held the position to which she has now been appointed in a visiting capacity during 2016-17. Congratulations, Professor Snyder!
The Center for Ethnomusicology congratulates our newest PhD alumnus, Dr. Adam Kielman! Dr. Kielman, who also holds his undergraduate degree in East Asian Studies from Columbia, defended his dissertation, Zou Qilai!: Musical Subjectivity, Mobility, and Sonic Infrastructures in Postsocialist China, on Dec. 1, 2016. His dissertation, abstracted below, was advised by Prof. Ana Maria Ochoa, and his committee included Profs. Chris Washburne, Kevin Fellezs, Fred Lau (U Hawai'i), and Timothy Oakes (U Colorado/Boulder).
We also warmly congratulate Dr. Kielman on his acceptance of an Assistant Professorship in Music at the Chinese University of Hong Kong, which he will begin in January, 2017.
Congratulations to Adam!
Adam Kielman: Zou Qilai!: Musical Subjectivity, Mobility, and Sonic Infrastructures in Postsocialist China
This dissertation is an ethnography centered around two bands based in Guangzhou and their relationships with one of China’s largest record companies. Bridging ethnomusicology, popular music studies, cultural geography, media studies, vocal anthropology, and the anthropology of infrastructure, it examines emergent forms of musical creativity and modes of circulation as they relate to shifts in concepts of self, space, publics, and state instigated by China’s political and economic reforms. Chapter One discusses a long history of state-sponsored cartographic musical anthologies, as well as Confucian and Maoist ways of understanding the relationships between place, person, and music. These discussions provide a context for understanding contemporary musical cosmopolitanisms that both build upon and disrupt these histories; they also provoke a rethinking of ethnomusicological and related linguistic theorizations about music, place, and subjectivity. Through biographies of seven musicians working in present-day Guangzhou, Chapter Two outlines a concept of “musical subjectivity” that looks to the intersection of personal histories, national histories, and creativity as a means of exploring the role of individual agency and expressive culture in broader cultural shifts.Chapter Three focuses on the intertwining of actual corporeal mobilities and vicarious musical mobilities, and explores relationships between circulations of global popular musics, emergent forms of musical creativity, and an evolving geography of contemporary China. Chapter Four extends these concerns to a discussion of media systems in China, and outlines an approach to “sonic infrastructures” that puts sound studies in dialogue with the anthropology of infrastructure in order to understand how evolving modes of musical circulation and the listening practices associated with them are connected to economic, political, and cultural spatialities. Finally, Chapter Five examines the intersecting aesthetic and political implications of popular music sung in local languages (fangyan) by focusing on contemporary forms of articulation between music, language, listening, and place. Taken together, these chapters explore musical cosmopolitanisms as knowledge-making processes that are reconfiguring notions of self, state, publics, and space in contemporary China.
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.
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.
The Department of Music and the Center for Ethnomusicology warmly congratulate our Class of 2015 Graduates! We wish you all every success on the road ahead!
Yeana Lee (Departmental Honors)
Mitchell Veith (Departmental Honors)
SCHOOL OF GENERAL STUDIES (Music Majors)
Audrey Amsellem (Departmental Honors)
BARNARD COLLEGE (Music Majors)
Courtney Craig (Ethnomusicology)
Sophie Lewis (Ethnomusicology)
Cecile Urmenyhazi (Ethnomusicology)
GRADUATE STUDENTS (GSAS)
Shannon Garland (Ethnomusicology)
Melissa Gonzalez (Ethnomusicology)
Jonathan “Toby” King (Ethnomusicology)
Martha Newland (Ethnomusicology)
DMA in Composition
Sophia “Zosha” di Castri
The Center for Ethnomusicology warmly congratulates our alumnus Dr. Nicholas (Niko) Higgins, (PhD, Ethnomusicology, 2013), who has been appointed to a (renewable) Guest Faculty position at Sarah Lawrence College.
Dr. Higgins' PhD dissertation is entitled "Confusion in the Karnatic Capital: Fusion in Chennai, India." It was advised by Prof. Christopher Washburne. Dr. Higgins has previously taught at Columbia University and at The New School.
The Center for Ethnomusicology congratulates 2009 Columbia Ethnomusicology PhD alumnus Dr. Andrew Eisenberg,
who has been appointed Assistant Professor of Music at New York University's Abu Dhabi campus!
Andrew J. Eisenberg is Assistant Professor of Music at NYU Abu Dhabi. He was Visiting Assistant Professor of Music and
Anthropology at Bard College in 2013-14, and at NYUAD in 2014-15. Between 2011 and 2013, he served as
Postdoctoral Research Associate in charge of the Kenya portion of the
ERC Music and Digitisation Programme, while also holding a junior
research fellowship at St. Catherine's College, Oxford. He earned a PhD
in ethnomusicology from Columbia University in 2009, with a dissertation
on vocal expression, emplacement and citizenship among marginalized
Muslims of Kenya's 'Swahili coast'. A book based on his dissertation is
slated for completion in 2014. Its working title is Sound and
Citizenship: Voice, Place, and Belonging on Kenya's 'Swahili Coast'.
has published articles and chapters in the journal Africa, The New
Encyclopedia of Africa (Scribner), Anthropology News, and the volume
Music, Sound and Space: Transformations of Public and Private Experience
(ed. Georgina Born, Cambridge University Press). He is currently
writing three articles for the Music and Digitisation Project. Based on a
year of fieldwork in Nairobi, they examine how Kenya's music recording
industry has been, and continues to be, transformed by the digital
revolution, the liberalisation of mass media and telecommunications, and
intellectual property rights reform.
Andrew has previously held visiting posts
at Northwestern University and Stony Brook University, where he has
taught courses in African and African American music, and
ethnomusicological theory and method
Monday, March 23, 2015 - 12:00pm
701C Dodge Hall (Center for Ethnomusicology)
The Center for Ethnomusicology Graduate Colloquium Series Presents:
Prof. David Novak
(University of California at Santa Barbara, & Columbia Ethnomusicology PhD Alumnus)
"Music, protest,and the politics of festival in Japan's nuclear village"
Monday March 23, 2015
701C Dodge Hall (Center for Ethnousicology)
Free and Open to the Public
David Novak is Associate Professor of Music and Co-Director of the Center for the Interdisciplinary Study of Music at the University of California, Santa Barbara. He is the author of Japanoise: Music at the Edge of Ciruclation (Duke Univ. Press, 2013). He holds the PhD in Ethnomusicology from Columbia University. His work explores cultural and political formations through the ethnography of popular music, and examines how the circulation of global media becomes central to processes of social and epistemological transformation. His interests include globalization of popular music, remediation, protest culture, and social practices of listening. His current project focuses on the politics of sound in urban Japan, particularly in the impact of noise regulations on homeless and migrant labor communities in South Osaka, and on the role of music, sound, and noise in the antinuclear movement in post-3.11 Japan.
Prof. Adriana Helbig
The Center for Ethnomusicology congratulates Adriana N. Helbig, Associate Professor of Music at The University of Pittsburgh, and a 2005 alumna of the Columbia Ethnomusicology PhD program, on the publication of her book Hip Hop Ukraine: Music, Race, and African Migration (2014, Indiana University Press).
In Hip Hop Ukraine,
Prof. Helbig enters a world of urban music and dance competitions, hip hop parties, and recording studio culture to explore unique sites of interracial encounters among African students, African immigrants, and local populations in eastern Ukraine. Adriana N. Helbig combines ethnographic research with music, media, and policy analysis to examine how localized forms of hip hop create social and political spaces where an interracial youth culture can speak to issues of human rights and racial equality. She maps the complex trajectories of musical influence—African, Soviet, American—to show how hip hop has become a site of social protest in post-socialist society and a vehicle for social change."
Biography: Prof. Adriana Helbig is Associate Professor of Music and an affiliated faculty member in Cultural Studies, Women's Studies, Global Studies, and the Center for Russian and East European Studies at the University of Pittsburgh. She teaches courses on global hip-hop, world music, music, gender, and sexuality, music and technology, and cultural policy. She is also founder and director of the Carpathian Music Ensemble, a student performance group that specializes in the music of Eastern Europe, including Jewish klezmer and Gypsy music. Her research has been funded through grants and research fellowships from the National Endowment for the Humanities, American Councils for International Education, IREX, and Fulbright. She has held a research fellowship at the Kennan Institute for Advanced Russian Studies at the Woodrow Wilson International Center for Scholars in Washington DC and was an inaugural research fellow at the Humanities Center at the University of Pittsburgh. Her articles on Romani (Gypsy) music, postsocialist cultural policy, music and piracy, music, race, and migration, and global hip-hop have appeared in edited collections and journals such as The Yearbook for Traditional Music, Current Musicology, and Popular Music. She is the coauthor, with Oksana Buranbaeva and Vanja Mladineo, of The Culture and Customs of Ukraine (Greenwood Press, 2009).
Prof. Helbig completed her Columbia PhD in Ethnomusicology in 2005, with a dissertation entitled "Play for Me, Old Gypsy”: Music as Political Resource in the Romani Rights Movement in Ukraine, advised by Prof. Ana Maria Ochoa.
Prof. Helbig's Personal Website
Prof. Helbig's Faculty Page at the University of Pittsburgh.
Order Hip Hop Ukraine on Amazon.com
Other ordering options available through The University of Indiana Press.