Sounding Out posted a review of David Novak’s Japanoise. The comments regarding the networks of music/sound circulation were quite interesting. Seth Mulliken writes about how Japanoise develops a theory of “feedback” in which the “transnational circulation of materials, ideas, and expressions constitutes a culture itself, one that is not distinct from either the Japanese or the U.S. manifestations of Noise music (17). This a welcome contribution to compositional and intersectional perspectives on cultural exchange.”
Originally posted on Bibliolore:
Taarab’s performers and audiences consider the genre to be a link to Egypt as another powerful place of coastal imagination, but it demonstrably owes more to centuries of exchange across the Indian ocean.
Despite the political agendas that engulfed Zanzibar in the mid-20th century, Swahili musical and urban sensibilities prevailed, and taarab continues to flourish. However, the older style of song text, which thrived on social commentary and improvisation, gave way in the 1950s to songs about the human condition, particularly romantic love songs.
So, what is open data and how can it help cultural heritage organizations?
Today is Open Data Day! As ePSI describes it, the day is a chance for “programmers, data journalists, designers and statisticians from around the world gather to create applications, open up data, create visualizations and publish researches conducted using open public data.” But it’s not just programmers and stats geeks who should be interested. Cultural organizations like museums and archives also have much data to celebrate. More and more often, cultural heritage organizations have made data and content available in digital form to the public without any restrictions.
Why does it matter to your museum or archive? Joris Pekel, writing on the Europeana Professional blog, suggests a few ways that open data can help cultural organizations. For one, open data can help to fulfill your mission by opening up collections to new audiences: “Institutions that publish their material in an open way have seen it being re-used in a variety of new places such as Wikipedia, educational apps and websites, or innovative new apps by the creative industry. This has resulted in millions more views of their collection.” For another, open data can help your institution to connect and contextualize collections while allowing audiences and creators to create their own mashups of material. Europeana has expanded on the possibilities for open metadata in its report, “The Problem of the Yellow Milk Maid.” Pekel also offers a list of potential tools to make use of cultural data. Putting digital versions of materials on social sites, such as photographs on Flickr Commons, has also allowed for the improvement of information about collections through crowdsourced metadata, which I previously described as the “social life of archives.”
Thanks to the generous and passionate outpouring of support for the Javanese gamelan at the University of Michigan, the School of Music, Theater, and Dance has decided to maintain a graudate student who will provide teaching support to the ensemble in the next academic year!
There has still not been a clear statement from the School on whether it truly supports this ensemble, emblematic of international arts performance and cultural exchange, over the long term. The Dean issued a statement that has not addressed the question of the ensemble’s long-term future. The statement also offers an ambiguous (though presumably critical) response to the article that appeared in the campus newspaper.
What Can You Do?
So you want to help? Here’s a few things to do:
- It seems clear that the only way to secure a permanent space and teaching plan for the gamelan at Michigan will be for as many people as possible to contact the Dean directly to voice their perspectives and provide advice on this situation. Also let other administrators and decision-makers (e.g., faculty) at the University know of your concerns.
- You can make a public comment on Facebook at the SoMTD’s post regarding the Dean’s statement at https://www.facebook.com/umichsmtd/posts/10151991335763253.
- If you voice your concerns on social media like Facebook and Twitter, use the #saveUMgamelan hashtag!
- You can still sign the petition!
If you haven’t been following the story to this point, check out my earlier post, which chronicles the petition: Save the UM Gamelan.
This post was updated! Please leave a comment on Facebook!
The University of Michigan gamelan faces an uncertain future, despite its nearly 50-year history of vibrant educational opportunities and performances with many world-renowned artists. While the School of Music, Theater & Dance has just broke ground for a new addition, it can’t seem to find a place in its priorities (nor its facilities) for a permanent commitment to this venerable ensemble! The Michigan Daily has chimed in with this feature story, which offers a good overview of the history of the ensemble, how it arrived in Ann Arbor, and it’s history at the University. Current concerned students have created a petition to gather signatures. If you’re reading this, you can voice your support and sign it, too!
And of course, go to the concert on February 15, 2014 at Stamps Auditorium to show your support!
You can also contact university administrators directly, including the dean of the School of Music, the Provost, and the University President. And of course, go to the concert on February 15, 2014 at Stamps Auditorium to show your support!
Here is some of the social media buzz from the first 48 hours of the petition going live here on storify, and here’s some of the tweets so far:
Update: nearing 2,000 signatures on the petition, in 48 hours.
Nearly 2,000 signatures in 2 days!
Interested in the cultural, ecological, and knowledge potentials of museums? Interested in how museums can bring together and sustain communities? If so, you might be interested in the Ecomuseums conference. The call for papers for Ecomuseums 2014 is now open and will accept submissions until the end of February. Here’s how the conference organizers describe the conference’s focus and roots:
Ecomuseums 2014 – 2nd International Conference on Ecomuseums, Community Museums and Living Communities follows the path established by its first conference and (as the predecessor) aims at gathering scholars, academics and practitioners working in the areas of Ecomuseums and Community Museums all over the world in an event that may contribute to the global discussion and understanding of the ecomuseums and community museums phenomena.
The ecomuseum movement has its origins in late 1960’s France when the roles museums can play in linking people, their heritage expressions and places, as well as affecting social change, were examined. At this time, traditional museum activities, which centered on the collection of heritage to be interpreted by curators and other museum professionals within a museum building, were viewed as both limited and exclusive in approach.
In more recent decades, ecomuseums have been established throughout the world and are guided by a variety of differing aims and objectives. For example, an ecomuseum may resemble a more conventional museum in appearance or, in other cases, an open–air community-controlled heritage project, depending on the place.
It can be considered that this wide range of ecomuseological and community-based museological initiatives demonstrates an international interest in alternative heritage management approaches. For this reason, Ecomuseums 2012 seeks to bring together scholars, researchers, architects and heritage professionals to discuss the commonalities, differences and future of safeguarding practices that are holistic and community oriented in scope.
Conference presentations and panels are accepted from those in any stage of their career or research process, as long as they are somewhat along the following themes:
- Community-based museological approaches: challenges, opportunities, practices
- The evolution and geographical diaspora of ecomuseum practices
- Beyond ecomuseums: Sociomuseology, its theory and practice
- Place, communities and heritage: relationships and ecomuseological interventions
- Nature,culture and communities: making connections through ecomuseology
- The economuseum movement: conserving traditional crafts
- Tourism, environment and sustainability: ecomuseological approaches
- Working with ethnic minorities: community museology and indigenous curation
- Intangible cultural heritage: its significance to local communities and how museums/ecomuseums can assist in safeguarding
- Architecture and spatial planning: ecomuseological and inclusive approaches
- Urban ecomuseums: conceptual issues, challenges and opportunities
- Industrial communities: inclusive approaches to conservation and interpretation of industrial heritage
Individual abstracts are due 28 February 2014 and can be submitted online.
I love the word ecomuseological, don’t you?
There are certainly some interesting creations here!!
Originally posted on Bibliolore:
In the 1860s Johann Baptist Schalkenbach developed a music hall act in which he performed on an amalgamation of instruments, built around a reed harmonium, which he called the Piano-Orchestre Électro-Moteur.
While playing, Schalkenbach would simultaneously create musical, noise, and optical effects via the electromagnetic triggering of circuits connected to objects placed around the hall. Over the decades, the apparatus gradually became more and more spectacular as new features were added.