Musics in Motion – serie

Transforming Vòdún examines how musicians from the West African Republic of Benin transform Benin’s cultural traditions, especially the ancestral spiritual practice of vòdún and its musical repertoires, as part of the process of healing postcolonial trauma through music and ritual. Based on fieldwork in Benin, France, and New York City, Sarah Politz uses historical ethnography, music analysis, and participant observation to examine three case studies of brass band and jazz musicians from Benin. The multi-sited nature of this study highlights the importance of mobility, and diasporic connections in musicians’ professional lives, while grounding these connections in the particularities of the African continent, its histories, its people, and its present.

For three centuries, the former Portuguese colony of Macau served as the gateway into mainland China and the locale for the development of an Asian Catholic culture that encompassed distinctive musical practices and styles. Macau and Catholic Music Across the Sino-Western Divide draws extensively upon historical documents in Chinese and Portuguese for a polylingual approach to Catholic sacred music. Jen-yen Chen follows this music from the sixteenth century through the twentieth by reading literary accounts of sound, primary source documents, and musical notation to examine the impacts of linguistic, political, and cultural divides and the ways sounds have traveled across these divides. Chen covers Chinese responses to Western sounds in Macau and southern China, illuminating the strategies for the use of sounds and musicking adopted by Jesuit missionaries; and the complexities of identity formation negotiated by Macau Catholics who confront exceptionalist historical discourses of Chinese or Portuguese “greatness.” Drawing from sound studies and musicological methods, Chen argues that Chinese descriptions of Catholic sounds in Macau, including the ringing of church bells, the playing of the organ, and choral singing, illuminate spatial, sonic, and ideological mobilities that reconfigure Chinese and European identities. Macau and Catholic Music Across the Sino-Western Divide also extends to contemporary times to explore how present day members of Macau’s Catholic community position themselves in relation to the historical narratives often told about their city, cultivating a rich individuality of identity that refuses conformity to fixed notions of Asianness or Westernness.

Transforming Vòdún examines how musicians from the West African Republic of Benin transform Benin’s cultural traditions, especially the ancestral spiritual practice of vòdún and its musical repertoires, as part of the process of healing postcolonial trauma through music and ritual. Based on fieldwork in Benin, France, and New York City, Sarah Politz uses historical ethnography, music analysis, and participant observation to examine three case studies of brass band and jazz musicians from Benin. The multi-sited nature of this study highlights the importance of mobility, and diasporic connections in musicians’ professional lives, while grounding these connections in the particularities of the African continent, its histories, its people, and its present.

For three centuries, the former Portuguese colony of Macau served as the gateway into mainland China and the locale for the development of an Asian Catholic culture that encompassed distinctive musical practices and styles. Macau and Catholic Music Across the Sino-Western Divide draws extensively upon historical documents in Chinese and Portuguese for a polylingual approach to Catholic sacred music. Jen-yen Chen follows this music from the sixteenth century through the twentieth by reading literary accounts of sound, primary source documents, and musical notation to examine the impacts of linguistic, political, and cultural divides and the ways sounds have traveled across these divides. Chen covers Chinese responses to Western sounds in Macau and southern China, illuminating the strategies for the use of sounds and musicking adopted by Jesuit missionaries; and the complexities of identity formation negotiated by Macau Catholics who confront exceptionalist historical discourses of Chinese or Portuguese “greatness.” Drawing from sound studies and musicological methods, Chen argues that Chinese descriptions of Catholic sounds in Macau, including the ringing of church bells, the playing of the organ, and choral singing, illuminate spatial, sonic, and ideological mobilities that reconfigure Chinese and European identities. Macau and Catholic Music Across the Sino-Western Divide also extends to contemporary times to explore how present day members of Macau’s Catholic community position themselves in relation to the historical narratives often told about their city, cultivating a rich individuality of identity that refuses conformity to fixed notions of Asianness or Westernness.