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Prof. Ana Maria Ochoa to Direct Center (Spring 2017)

Prof. Ana Maria Ochoa

The Center is pleased to announce that beginning in January 2017, Prof. Ana Maria Ochoa will assume the Center's Directorship.

Prof. Ana Maria Ochoa

Carlos Sandroni - ""Mário de Andrade (1893-1945) and the music of Northeastern Brazil" (Mon. Oct. 26, 4pm)

Event Start: 
Monday, October 26, 2015 - 4:00pm
701C Dodge Hall (Center for Ethnomusicology)

The Center for Ethnomusicology Colloquium Series Presents:

Prof. Carlos Sandroni 
(Ethnomusicology, Federal University of Pernambuco [Recife], Brazil) 

"Mário de Andrade (1893-1945) and the music of Northeastern Brazil"

Monday Oct. 26, 2015
701C Dodge Hall (The Center for Ethnomusicology)
Free and Open to the Public


Carlos Sandroni was born in Rio de Janeiro in 1958.  He studied Sociology and Political Sciences in the university of Rio, and guitar in private lessons. He did a doctorate in Musicology in France, at the Université de Tours. His dissertation (finished in 1997) was in the early history of samba, and it was published in Rio in 2001. The early history of Brazilian popular music (roughly, 1880-1940) remains a field of interest.

Sandroni came back to Brazil in 1997 and since then has taught Ethnomusicology at the Federal University of Pernambuco (Recife). The Brazilian Ethnomusicology Association was founded in 2001 and Sandroni was its first president (2001-2004). In 2004, the Brazilian Ministry of Culture hired him to work on the Brazilian nomination for the Intangible Cultural Heritage list of Unesco, samba-de-roda from Bahia. The nomination was accepted by Unesco. Since then he has developed a second important field of research: the impact of the public policies related to Intangible Cultural Heritage on popular musicians and dancers from Northeastern Brazil.

In 2007,Sandroni was a Tinker Visiting Professor at the University of Texas at Austin. In 2008, he was an Associate Researcher at the Center for Ethnomusicology Research in Paris.

Sandroni published an earlier book, on the Brazilian writer-musicologist Mário de Andrade and his work on public culture (São Paulo, 1988). He also co-edited two other volumes with colleagues: one about the samba de roda from Bahia (Brasília, 2007), and another about the public policies on intangible heritage (Recife, 2014).

He has published two collections of field recordings. One is a double CD on traditional music from Pernambuco and the neighbor state of Paraíba (Recife, 2005), and the other is a single CD on samba de roda music (Salvador, 2006).

As a singer, guitarist, and songwriter, Sandroni published in 2014 the CD "Sem regresso."

His current projects are a collection of articles on the history of Brazilian popular music, and a book on the Intangible Heritage Policies in Brazil.

TONIGHT! Prof. Elizabeth Povinelli - "The Otherwise in Geontological Power" (March 5, 6pm)

Event Start: 
Thursday, March 5, 2015 - 6:00pm
701C Dodge Hall (Center for Ethnomusicology
The Center for Ethnomusicology presents a talk by
(Anthropology and Gender Studies, Columbia University)
"The Otherwise in Geontological Power"
Thursday, March 5, 2015
701C Dodge Hall
(Center for Ethnomusicology)

Elizabeth Povinelli is Professor of Anthropology and Gender Studies at COlumbia University.  Her writing has focused on developing a critical theory of late liberalism that would support an anthropology of the otherwise. Her first two books examine the governance of the otherwise in late liberal settler colonies from the perspective of the politics of recognition. Her most recent two books examined the same from the perspective of intimacy, embodiment, and narrative form. Prof. Povinelli's ethnographic analysis is animated by a critical engagement with the traditions of American pragmatism and continental immanent theory.

Click here for a full-sized poster (PDF)

Rolando Peña: How To Be A Latin American Vanguard Artist and Not Die Trying (Nov. 19, 4-6pm)

Event Start: 
Wednesday, November 19, 2014 - 4:37pm
701C Dodge Hall (Center for Ethnomusicology), Columbia U. Morningside Campus, Broadway @ 116th St.

Rolando PeñaThe Center for Ethnomusicology Presents:

Rolando Peña
"How To Be A Latin American Vanguard Artist and Not Die Trying."

Wed. Nov. 19, 4pm-6pm
Center for Ethnomusicology
701C Dodge Hall
Columbia University Morningside Campus
116th and Broadway

Free and open to the public!


click image for full-sized poster!

Rolando Peña is an internationally known multimedia artist who has been involved in theatre, dance, and fine arts since 1958. A student of architecture and design at Universidad Central de Venezuela, he joined the theater faculty of that university in 1963. In 1965 he staged the pioneering multimedia shows Testimonio and Homenaje a Henry Miller with the writer José Ignacio Cabrujas, which featured dance, theater, films, slide projections, and other elements, the first such performances in Caracas.

Supported by a grant from the Venezuelan government, he then moved to New York City to study dance with Martha Graham, Alwin Nicolais, and Merce Cunningham. He was quickly accepted by some of the iconic figures of the day. In 1966 Allen Ginsburg and Timothy Leary joined him for the psychedelic show The Illumination of the Buddha, and the following year he founded and directed the Latin American vanguard group The Foundation for the Totality, which presented exhibitions, happenings, films, publications, and other projects. Soon he became involved with Andy Warhol and his famous Factory: Warhol filmed many of The Foundation for the Totality’s happenings, and Mr. Pena acted in some of Warhol’s films.

Rolando Peña’s own film Diálogo con Ché, which he scripted and acted in and José Soltero directed and shot in New York, was invited to the 1969 Cannes Film Festival, the Berlin Film Festival, and the Cinémathèque Palais Chaillot in Paris. Moving back to multimedia, in 1975 he exhibited Santería at the Bogarin Workshop Gallery in New York, and this same multimedia installation was the opening exhibit at the Annex at the Contemporary Art Museum in Caracas.

But beginning in 1980 he found the theme that became the predominant focus of his subsequent work: crude oil. Mr. Peña uses oil as an expression both of Venezuela and of how Venezuela is perceived internationally. By means of sculpture, graphics, film, and video, and sometimes live performance, he examines the ideas of power, money, and religion through the vehicle of oil and the machinery associated with its extraction.

His initial exhibition on this theme was entitled The Oil Tower, which was mounted in 1980 at the Alternative Museum. He was supported in part during these early years by Fellowships from the Venezuelan National Endowment for the Arts (CONAC) and CAPS in New York, and a grant from the National Art Foundation in Venezuela (FUNDARTE). In 1997 he was chosen to represent Venezuela at the 47th Venice Biennial. His project El Modelo Estándar de la Materia: Tributo al Siglo XX, an interactive multimedia installation, was mounted in 1999 at the Sofía Imber Contemporary Art Museum in Caracas. He presented many video installations with oil as metaphor in the ensuing years, including The Oil Spill, at the 2000 London Biennial; El Modelo Estándar de la Materia, at ExpoHannover in 2000; Spontaneous Symmetry Breaking: God’s Barrel, at Espacio de Arte Contemporáneo El Gallo in Salamanca in 2002, which then travelled to the Instituto Italo Latino-Americano in Rome and the Museo Pinacoteca Amedeo Modigliani in Follonica, Italy, and was revived as a mural for the Andres Bello Catholic University in Caracas in 2008.

Increasingly recognized as an important figure in the art world, several tributes to his work were organized, such as at “Interarte 99” in Valencia, Spain, in 1999; at Feria Internacional de Arte Contemporáneo, at Mercado de Fuencarral in Madrid, organized by the European Association of Young Artists, in 2000; and the lecture series “Arte Ciencia y Tecnología, en la obra de Rolando Peña” presented at the Andrés Bello Catholic University. In addition he served as a Professor of Multimedia at the Ateneo de Caracas in 1972-73; as an invited conferee at a conference on contemporary art at the University of St. Denis in Paris in 1985; as a guest artist at the Instituto Venezolano de Investigaciones from 1998 to 2001; as a guest lecturer at Andrés Bello Catholic University from 1999 to 2007; and as the organizer of special events for the Organización Nelson Garrido (ONG) in Caracas since 2001.

His knowledge of contemporary art has led to his curating several international shows: Les Droits de l’Art at Chapelle de la Salpêtrière, Paris (1989); Pierre Restany Le Coer et la Raison, at Morleix, France (1991); V Muestra Internacional de Video, in Seville, Spain (1991); AU DELA, Observatori 2001, at Segundo Festival Internacional de Arte, in Valencia; and Performance Art (Dialogues-Performance) at ONG in 2007.

During his Guggenheim Fellowship term, Mr. Peña will be working on a new interactive multimedia exhibition entitled Make Oil Green, which adds the topic of global warming to his persistent interest in and exploration of the theme of oil.

Hopi Music Repatriation Project: First Report

Hopi Tribal FlagThe Center for Ethnomusicology holds copies of, and rights to, the Laura Boulton Collection of Traditional Music, consisting of field recordings of folk and traditional musics made around the world by collector Laura Boulton, from the 1930s through the 1960s.  In 1933 and again in 1940, Boulton recorded a total of 129 Hopi songs, ranging from secular to spiritual genres.  (The 1933 recordings were made at the Chicago Century of Progress Exposition; the 1940 recordings at Hopi.)

The Center is committed to repatriating the Boulton recordings, especially those made in indigenous communities.  In addition to projects with Navajo and Iñupiaq music (the latter now funded by the National Science Foundation), we are pleased to announce a new initiative to bring the Hopi songs "back home" to the tribe, as a project in what we call "community-partnered repatriation" -- not just returning recordings and rights, but working in the community to develop contemporary uses for these materials in collaboration with tribal officials, educators, activists, and leaders. 

Trevor Reed Our Hopi Music Repatriation Project is led by Trevor Reed, an MA student in Arts Administration at Columbia University Teachers College, and a member of the Hopi tribe.  This past summer, Mr. Reed spent several weeks at Hopi laying the groundwork for the community-based repatriation of Boulton's recordings.  We are delighted and grateful to have received a research permit from the Hopi tribe for the period from September, 2009 to December, 2010.

Mr. Reed's initial work has been funded by the Center for Ethnomusicology, Teachers College, and the Lynn Reyer Tribal Development Award from the Society for the Preservation of American Indian Culture. 

You can read more about the Hopi Music Repatriation Project and Mr. Reed's summer visit to Hopi (including his visit to the community's high school) on Trevor Reed's HMRP blog.

Center for Ethnomusicology Report, Fall 2008


Prepared by : Ana María Ochoa

I. Fall 2008

1. Events

During the past semester the Center for Ethnomusicology organized a series of events, some in association with other Centers or Associations in the university. These included:

  • Chris Waterman, Dean , School of the Arts, UCLA (Center for Ethnomusicology Colloquium).
  • Denilson Lopes, Communication Studies, UFRJ, Brasil (Center for Ethnomusicology and CSER)
  • The New Evidence 1400-1800 Series and the Center for Ethnomusicology Colloquium co-organized talks by Jaime Lara (Chair of the program of Religion and the Arts at Yale Divinity Schoool) and José Pardo Tomás (Consejo Superior de Investigaciones Científicas, Spain). Special thanks to Giuseppe Gerbino and Susan Boynton for the co-organiztion of these talks.
  • Samuel Araujo, Vincenzo Cambria, Sinesio Jeferson Andrade Silva (Laboratorio de Etnomusicologia,UFRJ) presented at our new lunch-dialogues series.
  • A Master Class with Charles Marshall, Satsuma Biwa Performer, in association with the institute for Medieval Japanese Studies.
  • We also co-sponsored the Fifth Annual Guria Benefit which is hosted annually by Dimensions, the Barnard South Asian Students Association.

The following ensembles were active during the semester in conjunction with the MPP Program:

The Gagaku Ensemble, in association with the Japanese Program.
The Bluegrass Ensemble, Lion in the Grass.
The Brazilian Music Ensemble.

Special thanks to David Novak, Miho Walsh, Louise and Noriyuko Sasaki, Toby King, Adriano Santos and Ole Mathisen for all the work in the ensembles.

Besides this the Center for Ethnomusicology organized a video editing workshop and a grant writing workshop, both taught by Anna Stirr. Other workshops will continue in the Spring.

2. Congratulations, celebrations

Congratulations to Professor Chris Washburne for the publication of his book, Sounding Salsa with Temple University Press.

Congratulations to Elizabeth Keenan and Maurea Landies who received their Ph Ds this Fall.

Congratulations to Matt Sakakeeny who won the Charles Seeger Prize for the most distinguished student paper presented at SEM and Elizabeth Keenan for winning the Wong Tolbert Award for best student paper on the topic of women.

Congratulations to Ryan Skinner for publishing his first his first children's book: Sidikiba's Kora Lesson.

A warm welcome to Julian Albert Luker, son of Morgan Luker and Ruth Wikler-Luker who was born on December 3 at 1.13 am at Meriter hospital in  Madison, Wisconsin.  read more »

Sunset from the Center's Window

Sunset from the Center Window
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