Table Of Contenta E PERFORMING GENDER, PLACE,
n d
While ethnomusicologists and anthropologists have long recognized the d i
connections between gender, place, and emotion in musical performance, W te
d
these aspects of performance are seldom analyzed together. Performing Gender, ra b
z y AND EMO TION IN MUSIC
Place, and Emotion in Music is the first book-length study to examine from a e
n M
cross-cultural perspective the interweaving of these aspects during performance. a
g
Drawing on new ethnographic field studies, contributors show how a theoretical o
w
focus on any one of the three implicates the others, creating a nexus of a
n Global Perspectives
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, Edited by
ritual, and staged events?
Through ethnographic case studies, the volume explores issues of Fiona Magowan and Louise Wrazen
emplacement and embodiment in three parts: landscape and emotion; memory
and attachment; and nationalism and indigeneity. Part 1 looks at emplaced
sentiments in Australasia, treating Vietnamese spirit possession, Balinese A P
N E
dance, and land rights in Aboriginal performance. Part 2 addresses memories
D R
of Aboriginal choral singing, belonging in Bavarian music-making, and gender-
F
performativity in Polish song. Part 3 evaluates emotion and fandom around a E O
Korean singer in Japan, and Sámi interconnectivities in traditional and M R
modern musical practices. Beverley Diamond provides a final commentary O M
in the afterword. T I
I N
O
G
“Open this book and you will find how deeply essential the study of gender is in N
music and dance. The pages will turn quickly—and I believe you will be struck G
I
by how the multiple themes elegantly intertwine throughout the book, yet also N E
N
reveal the particulars of diverse genres and settings.”
M D
—tomie hahn, ethnomusicologist and author of
U E
Sensational Knowledge: Embodying Culture
S R
through Japanese Dance
I ,
C
P
Contributors: Beverley Diamond, Fiona Magowan, Jonathan McIntosh, L
Barley Norton, Tina K. Ramnarine, Muriel Swijghuisen Reigersberg, A
C
Sara R. Walmsley-Pledl, Louise Wrazen, Christine R. Yano
E
,
fiona magowan is professor of anthropology at Queen’s University, Belfast.
louise wrazen is associate professor of music at York University.
Cover image: Two young female dancers portray the characters of King Lasem and Princess Langkesari in
a performance of Tari Legong Lasem, April 2004, Ubud, Bali, Indonesia. Photograph by Jonathan McIntosh,
and used by permission.
668 Mt. Hope Avenue, Rochester, NY 14620-2731, USA
P.O. Box 9, Woodbridge, Suffolk IP12 3DF, UK
www.urpress.com
Performing Gender,
Place, and Emotion in Music
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Eastman/Rochester Studies in Ethnomusicology
Ellen Koskoff, Series Editor
Eastman School of Music
(ISSN: 2161-0290)
Burma’s Pop Music Industry:
Creators, Distributors, Censors
Heather MacLachlan
Yorùbá Music in the Twentieth Ce ntury:
Identity, Agency and Performance Practice
Bode Omojola
Javanese Gamelan and the West
Sumarsam
Gender in Chinese Music
Edited by Rachel Harris, Rowan Pease, and Shzr Ee Tan
Performing Gender, Place, and Emotion in Music:
Global Perspectives
Edited by Fiona Magowan and Louise Wrazen
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Performing
Gender, Place, and
Emotion in Music
Global Perspectives
Edited by Fiona Magowan
and Louise Wrazen
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Copyright © 2013 by the Editors and Contributors
All rights reserved. Except as permitted under current legislation, no
part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast, transmitted,
recorded, or reproduced in any form or by any means, without the
prior permission of the copyright owner.
First published 2013
University of Rochester Press
668 Mt. Hope Avenue, Rochester, NY 14620, USA
www.urpress.com
and Boydell & Brewer Limited
PO Box 9, Woodbridge, Suffolk IP12 3DF, UK
www.boydellandbrewer.com
ISBN-13: 978-1-58046-464-2
ISSN: 2161-0290
Library of Congress Cataloging-in-Publication Data
Performing gender, place, and emotion in music : global perspectives / edited
by Fiona Magowan and Louise Wrazen.
pages cm — (Eastman/Rochester studies in ethnomusicology, ISSN 2161-
0290 ; v. 5)
Includes bibliographical references and index.
ISBN 978-1-58046-464-2 (hardcover : alkaline paper) 1. Music—Performance—
Psychological aspects. 2. Gender identity in music. 3. Emotions in music.
I. Magowan, Fiona, editor. II. Wrazen, Louise Josepha, 1956– editor.
III. Series: Eastman/Rochester studies in ethnomusicology ; v. 5.
ML3830.P373 2013
780.9—dc23
2013024098
A catalogue record for this title is available from the British Library.
This publication is printed on acid-free paper.
Printed in the United States of America.
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Contents
Acknowledgments vii
Introduction: Musical Intersections, Embodiments,
and Emplacements 1
Fiona Magowan and Louise Wrazen
Part One: Landscape and Emotion
1 Engendering Emotion and the Environment in
Vietnamese Music and Ritual 17
Barley Norton
2 Gendering Emotional Connections to the Balinese Landscape:
Exploring Children’s Roles in a Barong Performance 38
Jonathan McIntosh
3 Performing Emotion, Embodying Country in
Australian Aboriginal Ritual 63
Fiona Magowan
Part Two: Memory and Attachment
4 Christian Choral Singing in Aboriginal Australia:
Gendered Absence, Emotion, and Place 85
Muriel Swijghuisen Reigersberg
5 Transforming the Singing Body: Exploring Musical Narratives of
Gender and Place in East Bavaria 109
Sara R. Walmsley-Pledl
6 A Place of Her Own: Gendered Singing in Poland’s Tatras 127
Louise Wrazen
Part Three: Nationalism and Indigeneity
7 Singing the Contentions of Place: Korean Singers of the
Heart and Soul of Japan 147
Christine R. Yano
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vi contents
8 “In Our Foremothers’ Arms”: Goddesses, Feminism, and
the Politics of Emotion in Sámi Songs 162
Tina K. Ramnarine
Afterword 185
Beverley Diamond
Selected Bibliography 195
List of Contributors 201
Index 203
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Acknowledgments
This volume has had a long gestation period since its conception. It was orig-
inally inspired by suggestions for a gender and music study group confer-
ence panel at the 2007 International Council of Traditional Music (ICTM)
in Vienna. This evolved into a plenary at this Thirty-Ninth ICTM World
Conference. Contributors to the volume were asked to take up some of the
issues raised in the ensuing conference debate. Since then, these issues have
also been enhanced by complementary perspectives from anthropology, gen-
der studies, musicology, cultural geography, music psychology, and philoso-
phy. Thus, the diversity and richness of the contributions illustrate multiple
ways in which debates around these themes cross over and diverge within and
between disciplines.
As editors, we would like to thank the contributors for their enthusiasm and
lively engagement with the issues, as well as for their patience in the revising
and publishing stages of the volume. Their willingness to stay with the project
across the time frame is testament to the signifi cance of the issues they raise for
ethnomusicology, which speak to changing perspectives around these contem-
porary concerns.
We are very grateful to two anonymous reviewers for their perceptive
comments and to Ellen Koskoff, series editor, and Ryan Peterson, managing
editor, for their support and assistance in the preparation of this volume.
We would like to thank Monique Giroux, Sija Tsai, and Jennifer Taylor for
assistance with editorial details. We also thank Angela Snieder for the prepa-
ration of maps, and Lillian Heinson and James Davis for the conversion of
photographs. The index was compiled by Dave Prout. The cover design was
prepared by David Drummond.
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Introduction
Musical Intersections,
Embodiments, and Emplacements
Fiona Magowan and Louise Wrazen
The following ethnographic accounts of music and dance from Europe,
Southeast Asia, and Australasia examine how performances of gender, place,
and emotion intersect. Ethnomusicology and anthropology have long recog-
nized the connections between these aspects of performance, yet they are sel-
dom analyzed together. Most recent studies have examined music in relation
to either gender, place, or emotion. Instead of addressing each fi eld of inquiry
as an individual lens through which to understand musical practices, our aim is
to explore the ways in which the three elements overlap. Our volume proposes
that the intersections of gender, place, and emotion generate an interplay of
performative issues, rather than discrete, bounded areas of inquiry.
The studies presented here reveal how the gendered practices of music
making are intimately shaped by performers’ emotional engagements with
place. In addition, because places feed into performers’ imaginations, affect-
ing gendered musical meanings and experiences, contributors to this volume
show how these elements of performance—gender, place, and emotion—
intertwine in a “relationship of circularity.”1 “Circularity” in this sense refers
to a multil ayered approach in which each element implicates the others in a
co constitutive relationship. The process is examined from different regions
around the globe, as contributors address two key questions: How are aesthetic,
emotional, and imagined relations between performers and places embodied
musically? And in what ways is the performance of emotion gendered across
quotidian, ritual, and staged events?
The book is divided into three parts, each elaborating on gender, place,
and emotion as interrelated facets of music making. The fi rst part addresses
how gender infl uences performers’ emotional engagements with landscapes;
the second part considers how emotional attachments to place are variously
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