Wednesday, April 22, 2015 - 7:00pm
Columbia University St. Paul's Chapel: 1160 Amsterdam Avenue
"CONCERT SPRITUALS AND THE BLACK SOPRANO" (A RECITAL AND PANEL DISCUSSION)
Wednesday, April 22, 2015
(Concert at 7pm; Panel Discussion at 8pm)
Location: Columbia University St. Paul's Chapel, 1160 Amsterdam Avenue
Free and Open to the Public!
This event is jointly sponsored by:
Music Performance Program
Columbia University Department of Music
Louis Armstrong Jazz Performance Program
Center of Ethnomusicology
Institute of Research in African-American Studies
Institute for Religion, Culture and Public Life
Office of the Core Curriculum
Friday, February 13, 2015 - 9:00am - Saturday, February 14, 2015 - 11:00pm
Event Oval, Diana Center, Barnard College (Enter at 117th/Broadway, accessible by 1 Train to 116th St.)
The Barnard College and Columbia University Blues Symposium will
be a 2-day series of panel discussions and presentations engaging with
the musical origins and cultural importance of the greatest American art
form: the Blues. The Symposium has been organized by a group of Barnard
and Columbia students.
An incredible group of
scholars, musicians, and writers will present on topics like the 12-bar
blues, the collection of blues 78 rpm records, the 1969 Ann Arbor Blues
Festival, and blues empress Bessie Smith. Panelists include Columbia's
own Professor Farah Jasmine Griffin and Professor Bob O'Meally, Yale's Professor Daphne Brooks, as well as "Do Not Sell At Any Price" author and Pitchfork contributing writer Amanda Petrusich, and the Alan Lomax Archive's chief curator Nathan Salsburg.
For the full program, please click here. [6MB PDF file]
The event is free, but ticketed, and scheduled for February 13th and 14th of 2015, in the Event Oval of the Diana Center on Barnard's campus in Morningside Heights.
To register and obtain tickets for specific programs and events please visit the following link (opens in new window).
For further information, please write to: firstname.lastname@example.org.
Thursday, March 5, 2015 - 6:00pm
701C Dodge Hall (Center for Ethnomusicology
The Center for Ethnomusicology presents a talk by PROF. ELIZABETH POVINELLI
(Anthropology and Gender Studies, Columbia University)"The Otherwise in Geontological Power"
Thursday, March 5, 2015
701C Dodge Hall
(Center for Ethnomusicology)FREE AND OPEN TO THE PUBLIC!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)
Wednesday, December 10, 2014 - 1:00pm - 3:00pm
The Center for Ethnomusicology Presents:
701C Dodge Hall, Center for Ethnomusicology, Columbia Morningside Campus
Native American Scholar/Activists Trevor Reed and Robin R. R. Gray Discuss Their Repatriations of Columbia's Laura Boulton Collection to Hopi and Tsimshian Communities
Wednesday, December 10, 1-3PM 701C Dodge Hall (The Center for Ethnomusicology)
This colloquium will feature Trevor Reed (Hopi, current Columbia Ethnomusicology PhD and Columbia Law JD student, reporting on his work repatriating Laura Boulton's 1933 and 1940 Hopi music collections, and Robin R. R. Gray, (Tsimshian, Lax'Kwalaams, Ginaxangiik Tribe, and Mikisew Cree First Nation, Anthropology PhD candidate at U Mass/Amherst), who is working to repatriate Boulton's 1933 Tsimshian (Northwest Coast) recordings, made (like the Hopi 1933 recordings) at the Chicago Century of Progress Exposition.
Reed and Gray are working to redevelop these recordings as assets for contemporary communities (and as the long-alienated cultural property of these communities) descended from the performers on the recordings, at the intersection of ethnomusicology, anthropology, cultural rights activism, archiving, and law. Their work embraces and helps define current critical practice for scholarly and legal activism in accounting for and remediating the exploitation and hoarding of Native American cultural patrimony by collectors, ethnomusicologists, anthropologists, commercial interests, and scholarly and curatorial institutions throughout the 20th century.
To learn more about Trevor Reed's work, visit the Hopi Music Repatriation Project blog here:
Listen to Trevor Reed discuss the project with Hopi Cultural Preservation Office (HCPO)repatriation coordinator, Lee Wayne Lomayestewa:
To learn more about Robin R. R. Gray's work, visit her website here:
Or see a video interview with Robin R. R. Gray here:
IPinCH Conversations / Robin R.R. Gray on Reconciliation and Repatriation
General information on the Center's extensive repatriation efforts can be found here:
Or on video here:
Tuesday, November 25, 2014 - 7:00pm
Book Culture, 536 W 112th St, New York, NY
You are invited to Book Culture
Tuesday, November 25th, at 7pm for the launch of Prof. Ana María Ochoa Gautier's
new book, Aurality: Listening and Knowledge in Nineteenth-Century Colombia,
published by Duke University Press
Tuesday, Nov. 25th, 7:00pmLocation: Book Culture (event link here)
536 W 112th St, New York, NY 10025
Ana Maria Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's groundbreaking work, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.Ana María Ochoa Gautier
is Associate Professor of Music and Director of the Center for Ethnomusicology at Columbia University. She is the author of several books and many articles.
Availability: Coming Soon - Available for Pre-Order Now
Published: Duke University Press - November 21st, 2014
Wednesday, November 19, 2014 - 4:37pm
701C Dodge Hall (Center for Ethnomusicology), Columbia U. Morningside Campus, Broadway @ 116th St.
The Center for Ethnomusicology Presents:
"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
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
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
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.
click image for full sized poster!
Center for Ethnomusicology 2014 Sound & Vision Series
Friday, September 26, 2014 - 9:00am - Saturday, September 27, 2014 - 11:00pm
701C Dodge Hall/Black Box Theater, Barnard College Diana Center
The Center for Ethnomusicology presents a conference and concert: La Voz – VoiceIn Spanish, Portuguese and English
Co-organized with ILAS, LAIC and Barnard Forum for Migration
PLEASE NOTE THAT THERE ARE NO MORE TICKETS AVAILABLE FOR THE SEPT. 27 CONCERT EVENT.
Sept. 26 and September 27, 2014
Center for Ethnomusicology (701C Dodge Hall)
Black Box Theater at Barnard College Diana CenterParticipants:
Juan Carlos Asensio Palacios, Ticio Escobar, Licia Fiol-Matta, Enrique Ignacio Gavilán Domínguez, Anne Levitsky, Cacá Machado, Laura Jordán, Silvia Martínez, Marti Newland, Ana M. Ochoa, Deisi Oliveira Montardo, María Pagán-Mattos, Jesús Rodríguez Velasco, Osvaldo Salerno, Aurélie Vialette, Leonardo Waisman.There will also be a concert related to the conference: Sept. 26, 7.30 pm Blackbox Theater, Barnard,
original compositions by Mexican composer Marcela Rodríguez (Rasgando el Silencio) performed by Lucía Pulido and Jeffrey Zeigler, and Brazilian composer and musicologist, Cacá Machado (Ritmo y Silencio, canciones), Performed by Lucía Pulido and Cacá Machado.
See attached conference program for more information.
Click image for full sized program poster!
Thursday, September 18, 2014 - 12:00pm - 2:00pm
701C Dodge Hall, Center for Ethnomusicology, Columbia University Morningside Campus, 116th St. and Broadway
The Center for Ethnomusicology presents a colloquium on:Indigeneity and Music
featured speakers:Amanda Minks
(University of Oklahoma):"Constructing Culture and Indigeneity on the Caribbean Coast of Nicaragua"Deise Lucy Montardo
(Universidade Federal do Amazonas, Brazil; President. Brazilian Ethnomusicology Association [ABET]):Music and Cosmology in Lowland South America: Guarani and Baniwa cases
Thursday, Sept. 18, 2014
12 noon - 2pm
701C Dodge Hall (The Center for Ethnomusicology)
Columbia University Morningside Campus (B'way and 116th St.)
Free and Open to the Public
Amanda Minks is Associate Professor in the Honors College and is
affiliated with the Department of Anthropology and with the programs in
Native American Studies and Women’s and Gender Studies at OU. She
earned a Ph.D. in Ethnomusicology at Columbia University in 2006, with
research specializations in music-language relations and language
socialization. Her courses focus on music, language, and cultural
politics in the Americas. She also teaches a course with a global focus
on intellectual property and cultural heritage.
Dr. Minks has conducted ethnographic research on the Atlantic coast
of Nicaragua for over ten years. She has examined the aesthetics and
politics of play among Miskitu children living on Corn Island in her
monograph Voices of Play: Miskitu Children's Speech and Song on the Atlantic Coast of Nicaragua (University
of Arizona Press, 2013). She has also written about Miskitu music and
community media in Bilwi, in the northern autonomous region of the
Atlantic coast. Most recently, she has been studying inter-American
cultural policies of the mid-20th century and their impact on
discourses of development in the U.S. and in Latin America.
Dr. Minks has received grants and fellowships from the Mellon
Foundation, the Wenner-Gren Foundation, the Social Science Research
Council, and the Fulbright Institute of International Education, among
others. Her past publications include articles in the journals Pragmatics, Language and Communication, Ethnomusicology, Yearbook for Traditional Music, and Wani, as well as chapters in several edited volumes.
read more »
Monday, September 8, 2014 - 4:10pm
The Center for Ethnomusicology Presents:George Yúdice
(Director, Miami Observatory on Communication and Creative Industries, University of Miami)Vulgar musics and the challenge to the recognition of cultural heritage
Monday, Sept. 8, 2014
4.10 – 6.30pm
701C Dodge Hall (Center for Ethnomusicology)http://works.bepress.com/george_yudice/
George Yúdice received his B.A. (Chemistry) from Hunter College, CUNY; his M.A.
(Spanish) from the University of Illinois, Champaign-Urbana; and his Ph.D. (Romance
Languages) from Princeton University (1977). His teaching includes critical theory,
literary and cultural studies; his courses range from contemporary aesthetics and
politics to urban imaginaries, to film recreations of literary works, Mapping Miami, and
cultural policy in Latin America. He also teaches in the Program in Latin American
Studies and he is director of the Miami Observatory on Communication and Creative
), which tracks work in music, theater, audiovisual, culture-based urban revitalization, cultural networks throughout the Americas, and community-based projects in South Florida