Sustainability and the Academic World Music Ensemble

2020 ◽  
pp. 179-200
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
World Music ◽  
Tourist Industry ◽  
Academic World ◽  
Cultural Sustainability ◽  
Cultural Contexts ◽  
Equal Footing ◽  
Collaborative Models ◽  
The Arts ◽  
Music Ensembles

The chapter examines the cultural sustainability of American academic gamelan specifically and academic world music ensembles more generally. Gamelan ensembles in North America exist in different cultural contexts than do those in Indonesia; in particular, American gamelans lack the societal reinforcement of the arts derived from Balinese Hindu ceremonies and the tourist industry. Within the American gamelan artistic ecosystem, there are many reasons why ensembles may fail or fade away, including lack of interested students or available teachers (selection), competition for space and resources, performative and pedagogical adaptations necessary for thriving in a new environment, and reciprocity or exchange between the ensemble and its community. Building sustainable gamelan ensembles—and indeed, sustainable non-Western academic ensembles—requires embracing collaborative models of musicianship, teaching, and scholarship that move gamelan from a marginalized position in curricula to sharing equal footing with other types of music in educational settings.

Interlocking Sounds, Interlocking Communities

2020 ◽  
pp. 1-22
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
Music Education ◽  
World Music ◽  
Academic World ◽  
Cultural Contexts ◽  
Music Ensembles ◽  
The Way ◽  
Percussion Orchestra

The chapter introduces Indonesian gamelan (percussion orchestra) and the roles that it has played in college world music education in North America and in the discipline of ethnomusicology. The chapter presents a musical overview of gamelan and its original cultural contexts in Indonesia, including religious ceremonies, tourist audiences, and local entertainment. Then it introduces new contexts that gamelan has come to occupy in North America, including performances on concert stages, at outdoor festivals, in prisons, and, most pertinent to this book, in collegiate music halls. Finally, the chapter introduces the premise of the volume—a biography-based examination of the way academic world music ensembles impact local and transnational educational and musical communities—and the book’s primary goal: that of suggesting ways to construct more sustainable academic music communities.

American Gamelan and the Ethnomusicological Imagination

2020 ◽  
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
Music Education ◽  
Performing Arts ◽  
Music Teachers ◽  
American Music ◽  
World Music ◽  
Music Programs ◽  
Music Ensembles ◽  
College Music

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

scholarly journals ADDRESSING CULTURAL SUSTAINABILITY IN TRAVEL WRITING: READING AND REFLECTING ON WILLIAM DALRYMPLE’S ‘NINE LIVES’.

2017 ◽  
pp. 1-11
Author(s):  
Nidhi Tiwari
Keyword(s):  
Sustainable Development ◽  
Environmental Economic ◽  
Travel Writing ◽  
Social Order ◽  
Future Generations ◽  
Social Dimensions ◽  
Cultural Sustainability ◽  
The Arts ◽  
Is Development ◽  
Brundtland Report

Ever since the focus on cultural diversity and identities acquired prominence globally, there has been a shift in limiting sustainability only to environmental, economic and social dimensions. Culture is more than just the manifestation of culture, for example, ‘the arts’ and should be viewed instead as the ‘whole social order’ (Williams 1983). This naturally leads to an interrogation of the construct of sustainable development. The definition which emerged in the Brundtland Report (WCED 1987) is the widely accepted one and it states, “Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.”

The Recent Internationalization of Brazilian Companies

2012 ◽  
pp. 590-618
Author(s):  
Glauco Arbix ◽  
Luiz Caseiro
Keyword(s):  
North America ◽  
South America ◽  
Equal Footing ◽  
Special Analysis ◽  
Regional Markets ◽  
Advanced Economies ◽  
Productive Structure ◽  
The Creation ◽  
Past Experiences ◽  
A Share

The recent wave of internationalization among Brazilian companies differs from past experiences, in terms of volume, reach, destination and quality. Brazilian multinationals are not restricting their activities solely to regional markets, nor are their first steps entirely directed towards South America. In amount of investment and number of subsidiaries there are signs they prefer assets and activities in advanced markets—including Europe and North America—where they compete on an equal footing with major conglomerates for a share of these markets. Some Brazilian companies have previous internationalization experience, and a significant portion had been prepared and initiated outward growth in the 1990s, after the economy opened up. However, the boom of internationalization that began in 2004 took place in such unusual conditions as to deserve highlight and special analysis. This chapter discusses the recent expansion of Brazilian multinationals as a result of: (1) the functioning of a more responsive and targeted system of financing, (2) transformation of the Brazilian productive structure, which led to the emergence of a group of companies seeking internationalization as a strategy, (3) preference for seeking more advanced economies as a means to expand access to new markets and suppliers, as well as to absorb innovations and technology, (4) the State’s performance in several dimensions, especially in financing the implementation of policies which support the creation of large national groups with a presence in the globalized market.

Setting the Scene

2020 ◽  
pp. 41-54
Author(s):  
Aleysia K. Whitmore
Keyword(s):  
North America ◽  
Music Industry ◽  
World Music ◽  
Historical Overview ◽  
American Industry ◽  
Culture Industries ◽  
The World ◽  
Points Of View

Part I examines the world music industry from the points of view of European and American industry personnel (e.g., booking agents, record labels personnel, tour managers). Chapter 1 contextualizes the world music industry in the larger music and culture industries. Since its birth in 1987, world music has been a vague category. It has encompassed an enormous variety of music: traditional and folk musics, newly composed traditional musics, and vintage and contemporary popular musics. What, then, is “world music”? Where did it come from? After providing a historical overview of world music through its emergence as a genre category in the 1980s and its growth in the ’90s, the chapter examines how culture industries have, in collaboration with consumers, developed a market for, and expectations of, ethnic “others” in Europe and North America.

scholarly journals Science, Fiction and Curriculum Innovation

2004 ◽  
Vol 213 ◽  
pp. 572-577 ◽  
Author(s):  
Mark Brake ◽  
Martin Griffiths
Keyword(s):  
Science Fiction ◽  
Tidal Wave ◽  
Modern World ◽  
Curriculum Innovation ◽  
Academic World ◽  
Fantastic Literature ◽  
The Public ◽  
The Arts ◽  
The University ◽  
Degree Level

The academic world is now becoming so specialized that the advantages of a cross disciplinary education are being lost in the tidal wave of scholarship concentrating upon narrow subject fields whilst displacing the values of connected disciplines from the sciences and humanities. The almost rigorous segregation of science and the arts at degree level is being felt not only within academia, but within society. The more a subject is concentrated, the less profound and applicable it appears to the public who should ultimately be the beneficiaries of such knowledge. In order to achieve a form of parity through which our modern world can be examined, the University of Glamorgan has introduced an innovative degree course aimed at developing a multidisciplinary knowledge of science and the arts via an exploration of the science, history, philosophy, religious, artistic, literary, cultural and social endeavours of the fields of astronomy and fantastic literature.

‘The State of Us’: Challenging State-Led Narratives through Performance during Ireland’s ‘Decade of Centenaries’

2018 ◽  
Vol 6 (1) ◽  
pp. 146-159
Author(s):  
Ciara L. Murphy
Keyword(s):  
The State ◽  
State Funding ◽  
Tourist Industry ◽  
Historical Events ◽  
Easter Rising ◽  
The Arts ◽  
To Come

AbstractIreland is currently at the mid-point of what has been termed The Decade of Centenaries, where citizens, artists, the Irish diaspora, and the tourist industry are encouraged to come together and reflect on the Ireland of one hundred years ago. The years 1912–1922 reflect some of the most significant moments in Ireland’s history, the centerpiece of which is considered to be the 1916 Easter Rising. State-led commemorations of these events have thus far been dominated by narratives around patriotism, nationalism, republicanism, and neoliberalism. There has been little to no state interest in interrogating any significant challenging of the historical events themselves, or indeed any significant exploration of any progress, changes, or diversification that may have emerged since these events. Much of the available state funding in the arts sector has been earmarked for artists to engage specifically with the commemorative schedule, thus restricting the theme of artistic output. This essay analyses how two participatory performances, which took place during the 2016 Dublin Theatre Festival, problematised the state-led narratives and illuminated divergent histories surrounding the 1916 Easter Rising: These Rooms by ANU Productions and CoisCéim Dance Theatre, and It’s Not Over by THEATREclub.

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