Christopher L. Ballengee is an ethnomusicologist based in Poland, where he works as an academic editor and English teacher. He is director of the feature-length documentary film Sweet Tassa: Music of the Indian Caribbean Diaspora (2019) and author of numerous articles on music in Trinidad and Tobago.Cover image: Richard Williams

The essays in this edited volume explore several intersecting terrains associated with the current renaissance of documentary filmmaking occurring globally. They highlight the significance of music and soundscapes in documentary film, showcase the testimonies and interpretations of filmmakers themselves about their art and craft, and focus on a range of issues relevant to current trends in Global South studies. This work is thus a much-needed and welcome addition to documentary film scholarship in the twenty-first century.

• Introduction: Being Heard: Music, Sound, and Documentary Film in the Global SouthChristopher L. BallengeeChapter 1. Helping a Nation to Know Itself: Postcolonial Identity and Sonic Horizons at Films Division India, 1950–1975Rounak MaitiChapter 2. Invisible Architecture, Radical Ethnography: Juan Downey and the Sound of LaughterMichael Newell WitteChapter 3. Drum Making as a Way of Life in South-Central Uganda: A Filmic ApproachDamascus KafumbeChapter 4. Narrating a Revolutionary Life through Song: Personal, Political, and Musical Choices in Making Singing a Great DreamAnna Stirr and Bhakta SyangtanChapter 5. Beyond the Visual: The Use of Sound in Tales from Our ChildhoodRajesh James and Malavika PillaiChapter 6. Lodes of Metal: The Texture and Sound of Memory in Latin American Heavy Metal DocumentariesDaniel Nevárez Araújo and Nelson Varas-DíazChapter 7. Framing the Future: The Take, Nine Queens, and Argentina’s Neoliberal SoundscapesYovanna Pineda and Lucas Izquier

Christopher L. Ballengee is an ethnomusicologist based in Poland, where he works as an academic editor and English teacher. He is director of the feature-length documentary film Sweet Tassa: Music of the Indian Caribbean Diaspora (2019) and author of numerous articles on music in Trinidad and Tobago.Cover image: Richard Williams

The essays in this edited volume explore several intersecting terrains associated with the current renaissance of documentary filmmaking occurring globally. They highlight the significance of music and soundscapes in documentary film, showcase the testimonies and interpretations of filmmakers themselves about their art and craft, and focus on a range of issues relevant to current trends in Global South studies. This work is thus a much-needed and welcome addition to documentary film scholarship in the twenty-first century.

• Introduction: Being Heard: Music, Sound, and Documentary Film in the Global SouthChristopher L. BallengeeChapter 1. Helping a Nation to Know Itself: Postcolonial Identity and Sonic Horizons at Films Division India, 1950–1975Rounak MaitiChapter 2. Invisible Architecture, Radical Ethnography: Juan Downey and the Sound of LaughterMichael Newell WitteChapter 3. Drum Making as a Way of Life in South-Central Uganda: A Filmic ApproachDamascus KafumbeChapter 4. Narrating a Revolutionary Life through Song: Personal, Political, and Musical Choices in Making Singing a Great DreamAnna Stirr and Bhakta SyangtanChapter 5. Beyond the Visual: The Use of Sound in Tales from Our ChildhoodRajesh James and Malavika PillaiChapter 6. Lodes of Metal: The Texture and Sound of Memory in Latin American Heavy Metal DocumentariesDaniel Nevárez Araújo and Nelson Varas-DíazChapter 7. Framing the Future: The Take, Nine Queens, and Argentina’s Neoliberal SoundscapesYovanna Pineda and Lucas Izquier

Christopher L. Ballengee is an ethnomusicologist based in Poland, where he works as an academic editor and English teacher. He is director of the feature-length documentary film Sweet Tassa: Music of the Indian Caribbean Diaspora (2019) and author of numerous articles on music in Trinidad and Tobago.Cover image: Richard Williams

The essays in this edited volume explore several intersecting terrains associated with the current renaissance of documentary filmmaking occurring globally. They highlight the significance of music and soundscapes in documentary film, showcase the testimonies and interpretations of filmmakers themselves about their art and craft, and focus on a range of issues relevant to current trends in Global South studies. This work is thus a much-needed and welcome addition to documentary film scholarship in the twenty-first century.

• Introduction: Being Heard: Music, Sound, and Documentary Film in the Global SouthChristopher L. BallengeeChapter 1. Helping a Nation to Know Itself: Postcolonial Identity and Sonic Horizons at Films Division India, 1950–1975Rounak MaitiChapter 2. Invisible Architecture, Radical Ethnography: Juan Downey and the Sound of LaughterMichael Newell WitteChapter 3. Drum Making as a Way of Life in South-Central Uganda: A Filmic ApproachDamascus KafumbeChapter 4. Narrating a Revolutionary Life through Song: Personal, Political, and Musical Choices in Making Singing a Great DreamAnna Stirr and Bhakta SyangtanChapter 5. Beyond the Visual: The Use of Sound in Tales from Our ChildhoodRajesh James and Malavika PillaiChapter 6. Lodes of Metal: The Texture and Sound of Memory in Latin American Heavy Metal DocumentariesDaniel Nevárez Araújo and Nelson Varas-DíazChapter 7. Framing the Future: The Take, Nine Queens, and Argentina’s Neoliberal SoundscapesYovanna Pineda and Lucas Izquier