Introduction

2021 ◽  
pp. 1-32
Author(s):  
Jessica Bissett Perea
Keyword(s):  
Ways Of Knowing ◽  
Music History ◽  
American Music ◽  
Indigenous Studies ◽  
Sound Studies ◽  
First Century ◽  
Twenty First Century ◽  
Dominant Narratives ◽  
Ways Of Being

This book argues that Native ways of doing music history requires relational and radical ways of listening to and for the density of Indigeneity. To advance a more Indigenized sound studies and a more sounded Indigenous studies asks researchers to prioritize analytics of density and audibility, and to hear performances of Indigeneity intimately intertwined articulations of Peoples (ways of being), places/spaces (ways of knowing), and projects (ways of doing). When Indigeneity is understood as more than simply the “condition of being Indigenous,” it becomes possible to emphasize structures of Indigeneity and to operationalize Indigenous logics, or what one might call Indigelogics. Indigelogical ways of doing music history are some of many ongoing projects seeking to unsettle and decolonize dominant narratives, and reframe larger debates of race, Indigeneity, power, and representation in twenty-first-century American music historiography. Sound Relations offers Indigenous-led and Indigeneity-centered terms of engagement as pathways to resurgent world-making and more equitable futures for all human and more-than-human kin.

Sound Relations

2021 ◽  
Author(s):  
Jessica Bissett Perea
Keyword(s):  
Hip Hop ◽  
Music History ◽  
American Music ◽  
Indigenous Studies ◽  
Sound Studies ◽  
First Century ◽  
Self Determination ◽  
Musical Life ◽  
Twenty First Century

Sound Relations: Native Ways of Doing Music History in Alaska delves into histories of Inuit musical life in Alaska to amplify the broader significance of sound as integral to Indigenous self-determination and resurgence movements. The book offers relational and radical ways of listening to a vast archive of Inuit presence across a range of genres—from hip hop to Christian hymnody and drumsongs to funk and R&B—to register how a density (not difference) of Indigenous ways of musicking invites readers to listen more critically to and for intersections of music, Indigeneity, and colonialism in the Americas. The research aims to dismantle stereotypical understandings of “Eskimos,” “Indians,” and “Natives” by considering how Indigenous-led and Indigeneity-centered analyses of Native musicking can reframe larger debates of race, Indigeneity, power, and representation in twenty-first-century American music historiography. Instead of proposing singular truths or facts, this book asks readers to consider the existence of multiple simultaneous truths, a density of truths, all of which are culturally constructed, performed, and in some cases politicized and policed. A sound relations approach advances a more Indigenized sound studies and a more sounded Indigenous studies that works to move beyond colonial questions of containment—“who counts as Native” and “who decides”—and colonial questions of measurement—“what exactly is ‘Native’ about Native music”—and toward an aesthetics of self-determination and resurgent world-making.

Twentieth- and Twenty-First-Century Art Music

2015 ◽  
Vol 9 (4) ◽  
pp. 491-496
Author(s):  
LETA E. MILLER
Keyword(s):  
Art Music ◽  
American Music ◽  
First Century ◽  
High Quality ◽  
Twenty First Century

The eight-volume second edition of The Grove Dictionary of American Music is an extraordinary achievement, embodying the contributions of nearly 1500 scholars, many of whom regularly read and publish in the present journal. It was therefore with some trepidation, and a great deal of humility, that I accepted John Koegel's invitation to review the encyclopedia's coverage of twentieth- and twenty-first-century “art music.” The more I delved into this gargantuan task, the more impressed I became with the encyclopedia's scope, the high quality of writing, and the sensitivity to difficult conceptual issues in the field. (And as a side benefit, I learned about a host of people I'd not previously known.)

Invasion of the Child Snatchers: Pedophilic Seduction in New Queer Cinema

2021 ◽  
pp. 458-490
Author(s):  
Ara Osterweil
Keyword(s):  
War On Terror ◽  
First Century ◽  
Independent Cinema ◽  
Queer Cinema ◽  
Aids Crisis ◽  
Twenty First Century ◽  
Dominant Narratives ◽  
Gregg Araki

Beginning in the mid-1990s and continuing through the first decade of the twenty-first century, American independent cinema began to engage the taboo of intergenerational intimacy as its animating provocation and ready-made narrative solution. This chapter analyzes two films associated with the New Queer Cinema that appear to challenge the conservative paradigms of erotic endangerment embodied by these films. By offering portraits of precocious adolescents whose shattering encounters with sexuality defy the norms of pedophilic representation, both L.I.E. (Michael Cuesta, 2001), and Mysterious Skin (Gregg Araki, 2004) mine the potential of queer sexuality to transform dominant narratives of violation into ambiguous dramas of sexual awakening and kinship. Yet, in spite of New Queer Cinema’s promise to offer an alternative to the standard depiction of the monstrous pedophile, these texts fail to embody a genuinely counter-cinema practice, relying instead on a paradigm of “pedo-normativity” developed in the midst of the AIDS crisis and the War on Terror.

Australian Masculinity on the Road

2000 ◽  
Vol 95 (1) ◽  
pp. 227-236
Author(s):  
Philip Butterss
Keyword(s):  
First Century ◽  
The Road ◽  
True Love ◽  
New Form ◽  
Twenty First Century ◽  
On The Road ◽  
Ways Of Being

In an Australia where the old images of masculinity are no longer serviceable, the road provides an ideal site for films wishing to explore ways of being a man at the dawn of the twenty-first century. The Adventures of Priscilla, Queen of the Desert, True Love and Chaos, Doing Time for Patsy Cline and Kiss or Kill critique or destabilise traditional models of masculinity, and use the road as a space where masculinity is free to change. However, as Pamela Robertson (1997: 271) has pointed out, the road movie is ‘a genre obsessed with home’. The closure of all four films involves establishing a new form of home, and in doing so demonstrates how difficult it is to reintegrate credibly the changes experienced on the road into a domestic unit that is fulfilling for all its members.

scholarly journals Twenty-First Century Leadership: A Return to Beauty

2017 ◽  
Vol 27 (2) ◽  
pp. 119-137 ◽  
Author(s):  
Nancy J. Adler ◽  
Andre L. Delbecq
Keyword(s):  
21St Century ◽  
Ways Of Knowing ◽  
First Century ◽  
Reflective Process ◽  
Wisdom Traditions ◽  
Twenty First Century

Highlighting Aristotle’s appreciation that “The soul . . . never thinks without a picture,” this article weaves together art and ideas into an aesthetic encounter with beauty, leadership, and our humanity. It invites reflection based on long-established wisdom traditions as well as drawing on insights from everyday sacred traditions. You are invited not only to engage in reading the words presented on each page but also to stop and to reflect on their meaning. You are offered the power of art to intensify your experience and understanding. The article invites you to enter into a contemplative silence designed to increase your appreciation of your own and others’ humanity while deepening the beauty of your own leadership. Such encounters with art and deep reflection have the power to guide us in rediscovering and creating beauty in our fractured world. Encountering art and wisdom through a deeply reflective process does not dismiss science but, rather, partners with all ways of knowing to go beyond what any one approach can produce on its own. Thus, the overall invitation of the article is to heighten your understanding of yourself, your role, and your aspirations as a 21st-century leader.

Race, Gender, and Propriety in Dominican Commemoration

2018 ◽  
pp. 75-110
Author(s):  
Dixa Ramírez
Keyword(s):  
Twentieth Century ◽  
Women Writers ◽  
First Century ◽  
Julia Alvarez ◽  
Close Reading ◽  
Critical Race ◽  
National Icon ◽  
Twenty First Century ◽  
Dominican Women ◽  
Dominant Narratives

This chapter argues that Salomé Ureña’s canonization through the twentieth century required various forms of ghosting. The first half of the chapter traces her commemoration in sculpture, imagery, and biography to show how her celebration as a national icon relied both on her phenotypical whitening and on the elision of some of the strongest desires expressed in her work. The second half of the chapter examines writings about Ureña by two twenty-first century feminist and diasporic Dominican women writers, Julia Alvarez and Chiqui Vicioso. Through close reading analysis and a black diasporic feminist lens, the chapter proposes that feminist and critical race theories, the increase in Dominican literacy rates, and the growth of a diasporic Dominican community with a different vocabulary of race allow Alvarez’s and Vicioso’s recuperative texts to compete with other dominant narratives. Their portrayals model narratives of belonging in which women and nonwhite subjects can be legible as full subjects with myriad desires.

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