A proliferation of popular music genres flourished in post-independence Nigeria: highlife, jùjú, Afrobeat, and fújì. Originating within Yorùbá Muslim communities, the genres of fújì and Islamic are Islamised dance music genres characterised by their Arabic-influenced vocal style, Yorùbá praise poetry, driving percussion, and aesthetics of incorporation, flexibility, and cultural fusion. Based on analysis of interviews and performances in Ìlọrin in the 2010s, this article argues that the genres of fújì and Islamic allegorise Nigerian unity—an ideology of tolerance, peaceful coexistence, and equity—while exposing the gap between the aspiration for unity and everyday inequities shaped by gender and morality.

This article documents relationships, strategies, and activities involved in developing and carrying out collaborative community-engaged research for reconciliation, based on Indigenous methodologies and research-creation. It documents an example of Indigenous/non-Indigenous collaboration in Unama’ki (also known as Cape Breton, Canada), providing data towards the refinement of models of research designed to foster reconciliation, and contributing to a literature on Indigenous/non-Indigenous collaborations in ethnomusicology and related fields. While revealing some challenges in the process with respect to addressing local needs, it also describes transformations that can be achieved through effective collaboration, including ways in which universities can be involved.

Rāgī faqīrs are devotees who perform Shah Jo Rāg, a musical tradition for singing Sufi poetry at the shrine of poet-mystic Shāh ‘Abdul Latīf Bhiṭṭāī (1689–1752) in Sindh, Pakistan. Focusing on the life experiences of my teacher Manthār Faqīr, I historicise various subject positions that contemporary rāgī faqīrs refer to as faqīr (devotee), fankār (performing artist), kārīgar (skilled artisan), and artist. Through Manthār Faqīr’s performances, I analyse sonic manifestations of his complex subjectivities that at times shift, at times coexist, to demonstrate how he deploys sounded strategies emerging from different subject positions to balance devotion, artistry, legitimacy, and livelihood.

Based on recent ethnographic work, we explore the ways in which transnational cosmopolitan music crosses, creates, and reinscribes borders as it is performed by Palestinian Arab wedding musicians in northern Israel. While Palestinian nationalism and the hard political borders between Israel and its neighbouring states frame immediate questions of identity and mobility, in describing their musical practices, musicians turn to a complex, interleaved series of geographies that highlight past and contemporary processes of musical flow. On one hand, they foreground the continuing relevance of the historic al-Sham region as an area of shared musical practice, identifying with the jabali (“mountain”) musical style of the elevated region that marks the borderlands between today’s Lebanon, Syria, and Israel. On the other hand, they embed this regional style within a series of micro- and macro-geographies, from detailed knowledge of the subtle differences in tempo and style between neighbouring Galilee villages to connections with the wider Arabic-speaking world via old and new media. While recent research on music in the Middle East has often foregrounded the role of music in constructing and reinforcing national identities, this research illustrates how transnational flows continue to shape the experience and imagination of musical borderlands in the region.

浪花節は19世紀末から20世紀半ばに大衆的な人気を誇った日本の音楽的な語りのジャンルである。日本人労働移民によってハワイにもたらされ、後には日本の浪曲師がハワイ巡業を行うようになり、ハワイの日系社会でも人気を確立した。本論はハワイにおける浪花節の盛衰をたどり、移植された音楽ジャンルが日本と日系ディアスポラの文化的架け橋として機能し、いかにハワイ日系人のアイデンティティの支えとなっていたか、また国境を超えた人々と文化の往来を促していたかを明らかにする。また戦争という不可抗力によって、いかに音楽文化の運命が翻弄されうるかを描き出す。

Naniwa-bushi is a genre of Japanese musical storytelling which enjoyed its greatest popularity from the late nineteenth to the mid-twentieth century. Brought to Hawai‘i by Japanese immigrants and later by itinerant Japanese performers, it soon found popularity in the diaspora community. This paper traces the rise and fall of naniwa-bushi in Hawai‘i and demonstrates how a transplanted musical genre functioned as a cultural bridge between Japan and its diaspora, helping immigrants sustain their identity and motivating trans-border flows of performers and culture. It also highlights the powerful impact of war that changed the destiny of a musical culture.

Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los Ángeles

Hoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisis histórico, sugiero que los marcos musicales y culturales que alguna vez sirvieron para unir al México pos-revolucionario han adquirido una nuevo significado para contrarrestar la desaparición del legado indígena mexicano en los Estados Unidos.

Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as “Aztec music.” In this article, I explore how contemporary musicians in Los Angeles, California, draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models. Pairing ethnographic fieldwork with historical analysis, I suggest that musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.

“Vajtim,” mourning, is an expression of women’s grief and cannot be counted in months or years: it is a continued expression of the inner world that for many women can take decades. In this paper, I examine how women have carried and preserved the lament songs of the Southern Albania region from generation to generation. Field research in my hometown, Gjirokastër, reveals how the laments songs are connected from mother to daughter within the families. Using descriptions of lamenting rituals, personal interviews with mourners, and analysis of lyrics and field recordings, I demonstrate how women continue this tradition through generations.

This article considers the nexus that exists between drumming, dancing, and possession within the Pāndavalīlā, and draws on the work of Judith Becker (2004) to interpret the performance of possession as a theatre of transition. Most notably, while drumming effectively inspires possessed states, these are of different kinds and different orders. Performances like those of the Pāndavalīlā rely not only on altered states of consciousness in some form, but also on the performance of those altered states of being. Consequently, a broader focus on the transitional stages of possession as outlined through drumming admits a wider acknowledgement of the different forms and purposes of possession. Critically, drum patterns offer a metaphor for understanding the numerous levels of transition that operate within a Pāndavalīlā.

This article presents a historical overview of traditional music studies in Chile, pointing out some of the main achievements and problems. It describes the origins of traditional music studies through the establishment of the Chilean Folk Society in 1909 and then offers a periodisation of studies during the twentieth century, followed by a critical review of the preference for facts over processes. Finally, it explores the renaissance of traditional music studies during the last 30 years (1990–2020), analysing 123 dissertations about traditional music and the concepts of “tradition” they employ. It concludes that Chilean folk studies have changed from a scientific to a humanistic approach, using the idea of tradition as a comprehensive concept and the idea of folklore as behaviour or performance.