Performing Gender, Place, and Emotion in Music: Global Perspectives (Eastman/Rochester Studies Ethnomusicology) (Volume 5)

While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, and Emotion in Music is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus one dimension implicates the others, creating a nexus of performative engagement. This process is examined across different regions around the globe, through two key questions: How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events? Through ethnographic case studies, the volume explores issues of emplacement, embodiment, and emotion in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. Part II addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan, and Sami interconnectivities in traditional and modern musical practices. Beverley Diamond provides a thought-provoking commentary in the afterword. Contributors: Beverley Diamond, Fiona Magowan, Jonathan McIntosh, Barley Norton, Tina K. Ramnarine, Muriel Swijghuisen Reigersberg, Sara R. Walmsley-Pledl, Louise Wrazen, Christine Yano. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University. While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, and Emotion in Music is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus one dimension implicates the others, creating a nexus of performative engagement. This process is examined across different regions around the globe, through two key How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events? Through ethnographic case studies, the volume explores issues of emplacement, embodiment, and emotion in three landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. Part II addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan, and Smi interconnectivities in traditional and modern musical practices. Beverley Diamond provides a thought-provoking commentary in the afterword. Beverley Diamond, Fiona Magowan, Jonathan McIntosh, Barley Norton, Tina K. Ramnarine, Muriel Swijghuisen Reigersberg, Sara R. Walmsley-Pledl, Louise Wrazen, Christine Yano. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University. Table of Contents Musical Intersections, Embodiments, and Emplacements - Fiona Magowan and Louise WrazenEngendering Emotion and the Environment in Vietnamese Music and Ritual - Barley NortonGendering Emotional Connections to the Balinese Exploring Children's Roles in a Barong Performance - Jonathan McIntoshPerforming Emotion, Embodying Country in Australian Aboriginal Ritual - Fiona MagowanChristian Choral Singing in Aboriginal Gendered Absence, Emotion, and Place - Muriel Swijghuisen ReigersbergTransforming the Singing Exploring Musical Narratives of Gender and Place in East Bavaria - Sara R. Walmsley-PledlA Place of Her Gendered Singing in Poland's Tatras - Louise WrazenSinging the Contentions of Korean Singers of the Heart and Soul of Japan - Christine Yano"In Our Foremothers' Arms": Goddesses, Feminism, and the Politics of Emotion in Smi Songs - Tina K. RamnarineAfterword - Beverley DiamondSelected BibliographyList of ContributorsIndex Presenting a range of ethnographic case studies from around the globe, this edited collection offers new ways of thinking about the interconnectivity of gender, place, and emotion in musical performance.While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, andEmotion in Music is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus one dimension implicates the others, creating anexus of performative engagement. This process is examined across different regions around the globe, through two key questions: How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events? Through ethnographic case studies, the volume explores issues of emplacement, embodiment, and emotion in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. PartII addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan, and Sámi interconnectivitiesin traditional and modern musical practices. Beverley Diamond provides a thought-provoking commentary in the afterword. Contributors: Beverley Diamond, Fiona Magowan, Jonathan McIntosh, Barley Norton, Tina K. Ramnarine, Muriel Swijghuisen Reigersberg, Sara R. Walmsley-Pledl, Louise Wrazen, Christine Yano. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University. While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, and Emotion in Music is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus on one dimension implicates the others, creating a complex nexus of performative engagement. This process is examined across different regions around the globe, through two key questions: How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events? Through ethnographic case studies, the volume explores issues of emplacement, embodiment, and emotion in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. Part II addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan, and Sámi interconnectivities in traditional and modern musical practices. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University Introduction. Musical intersections, embodiments, and emplacements -- Fiona Magowan and Louise Wrazen -- Landscape and emotion. Engendering emotion and the environment in Vietnamese music and ritual -- Barley Norton Gendering emotional connections to the Balinese landscape : exploring children's roles in a Barong performance -- Jonathan McIntosh Performing emotion, embodying country in Australian aboriginal ritual -- Fiona Magowan Memory and attachment. Christian choral singing in aboriginal Australia : gendered absence, emotion, and place -- Muriel Swijghuisen Reigersberg Transforming the singing body : exploring musical narratives of gender and place in east Bavaria -- Sara R. Walmsley-Pledl A place of her own : gendered singing in Poland's Tatras -- Louise Wrazen Nationalism and indigeneity. Singing the contentions of place : Korean singers of the heart and soul of Japan -- Christine R. Yano "In our foremothers' arms" : goddesses, feminism, and the politics of emotion in Sámi songs -- Tina K. Ramnarine-- Afterword /-- Beverley Diamond. Introduction : Musical Intersections, Embodiments, And Emplacements / Fiona Magowan And Louise Wrazen -- Engendering Emotion And The Environment In Vietnamese Music And Ritual / Barley Norton -- Gendering Emotional Connections To The Balinese Landscape : Exploring Children's Roles In A Barong Performance / Jonathan Mcintosh -- Performing Emotion, Embodying Country In Australian Aboriginal Ritual / Fiona Magowan -- Christian Choral Singing In Aboriginal Australia : Gendered Absence, Emotion, And Place / Muriel Swijghuisen Reigersberg -- Transforming The Singing Body : Exploring Musical Narratives Of Gender And Place In East Bavaria / Sara R. Walmsley-pledl -- A Place Of Her Own : Gendered Singing In Poland's Tatras / Louise Wrazen -- Singing The Contentions Of Place : Korean Singers Of The Heart And Soul Of Japan / Christine R. Yano -- In Our Foremothers' Arms : Goddesses, Feminism, And The Politics Of Emotion In Sámi Songs / Tina K. Ramnarine. Edited By Fiona Magowan And Louise Wrazen. Includes Bibliographical References And Index. Frontcover 1 Contents 6 Acknowledgments 8 Introduction: Musical Intersections, Embodiments, and Emplacements 10 Part One: Landscape and Emotion 24 1 Engendering Emotion and the Environment in Vietnamese Music and Ritual 26 2 Gendering Emotional Connections to the Balinese Landscape: Exploring Children’s Roles in a Barong Performance 47 3 Performing Emotion, Embodying Country in Australian Aboriginal Ritual 72 Part Two: Memory and Attachment 92 4 Christian Choral Singing in Aboriginal Australia: Gendered Absence, Emotion, and Place 94 5 Transforming the Singing Body: Exploring Musical Narratives of Gender and Place in East Bavaria 118 6 A Place of Her Own: Gendered Singing in Poland’s Tatras 136 Part Three: Nationalism and Indigeneity 154 7 Singing the Contentions of Place: Korean Singers of the Heart and Soul of Japan 156 8 “In Our Foremothers’ Arms”: Goddesses, Feminism, and the Politics of Emotion in Sámi Songs 171 Afterword 194 Selected Bibliography 204 List of Contributors 210 Index 212 Backcover 218 While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, and Emotion in Music is the first book-length study to examine the nexus between these three concepts from a cross-cultural perspective. Contributors consider ways in which locally produced musics emerge from and interact with particular structures of feeling while recognizing that the emotional terrains of musical performance are complex local, national, and global domains