Books by Henry Stobart
Music and the Poetics of Production in the Bolivan Andes., 2006
Music and the Poetics of Production in the Bolivian Andes is a musical ethnography of a Quechua s... more Music and the Poetics of Production in the Bolivian Andes is a musical ethnography of a Quechua speaking community of northern Potosí, in the Bolivian Andes. Based on extensive fieldwork, it explores how music permeates the lives of this group of herders and agriculturalists, and how it is deeply interwoven with agricultural and social (re)production. In this harsh highland environment, persuading the earth to bear fruit is a perpetual challenge, and music emerges as an especially critical and dynamic medium; one that provides rich insights into broader social processes and values. Music and dance orchestrate the seasonal transformation of the landscape, coordinate processes of life and death, and articulate relations with outside social groups and the spirit realm.
Through rich and evocative ethnography, the book delves into the powerful meanings ascribed to sound; charts unfamiliar aesthetic territories; suggests how modernity can contribute to indigeneity; and reveals remarkable musical perspectives on llama husbandry and potato cultivation. As we follow the lives, shifting fortunes and musical year of this, in many ways, fragile community, a seasonally shifting array of musical instruments, genres, dances and tunings are introduced. The book is accompanied by an audio CD, photographs, musical transcriptions and explanatory diagrams.
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Edited Volumes by Henry Stobart
Knowledge and Learning in the Andes: Ethnographic Perspectives, 2002
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The New (Ethno)musicologies, 2008
Over the last twenty years a range of radical developments have revolutionised Musicology – leadi... more Over the last twenty years a range of radical developments have revolutionised Musicology – leading certain practitioners to describe their discipline as ‘New’. What has happened to Ethnomusicology during this time? Do its theories, methodologies and values remain rooted in the 1970s and 1980s or has it also transformed? What directions might or should it take in the new millenium?
With contributions from a number of key figures in Ethnomusicology and related disciplines, this volume explores Ethnomusicology’s shifting relationship to other disciplines and to its own ‘mythic’ history, and plots a range of potential developments for its future. It also considers perspectives on Ethnomusicology from ‘inside’ and ‘outside’ the ‘discipline’, and its broader contribution and relevance beyond the academy. In a period of particular dynamism and intense technological change, when Music departments, in the UK at least, are increasingly opening their doors to Ethnomusicologists, and valuing the types of skills and approaches they offer, such reflection is particularly timely. In many respects, this volume also offers a European perspective; one that provides some interesting and refreshing contrasts from the North American discourses and institutional dynamics that have tended to dominate Ethnomusicology since the 1950s.
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The essays in this volume offer rich and diverse perspectives on the encounter between Indigenous... more The essays in this volume offer rich and diverse perspectives on the encounter between Indigenous music and digital technologies. They explore how digital media -- whether on CD, VCD, the Internet, mobile technology, or in the studio -- have transformed and become part of the fabric of Indigenous cultural expression across the globe. Communication technologies have long been tools for nation building and imperial expansion, but these studies reveal how over recent decades digital media have become a creative and political resource for Indigenous peoples, often nurturing cultural revival, assisting activism, and complicating earlier hegemonic power structures. Bringing together the work of scholars and musicians across five continents, the volume addresses timely issues of transnationalism and sovereignty, production and consumption, archives and transmission, subjectivity and ownership, and virtuality and the posthuman.
"Music, Indigeneity, Digital Media" is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century.
Contents
Thomas R. Hilder: Music, Indigeneity, Digital Media: An Introduction 1
1 Shzr Ee Tan: Taiwan’s Aboriginal Music on the Internet 28
2 John-Carlos Perea: Recording Technology, Traditioning, and Urban American Indian Powwow Performance 53
3 Fiorella Montero-Diaz: YouTubing the “Other”: Lima’s Upper Classes and Andean Imaginaries 74
4 Russell Wallace: An Interview with Russell Wallace 95
5 Beverley Diamond: Mixing It Up: A Comparative Approach to Sami Audio Production 106
6 Henry Stobart: Creative Pragmatism: Competency and Aesthetics in Bolivian Indigenous Music Video (VCD) Production 127
7 Linda Barwick: Keepsakes and Surrogates: Hijacking Music Technology at Wadeye (Northwest Australia) 156
8 Thomas R. Hilder: The Politics of Virtuality: Sami Cultural Simulation through Digital Musical Media 176
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Websites by Henry Stobart
International Journal of Heritage Studies, 2022
Abstract: This article charts a yet unsuccessful attempt to have a gender-marked musical expressi... more Abstract: This article charts a yet unsuccessful attempt to have a gender-marked musical expression legally recognised as heritage: ‘women’s singing’ of Potosí, Bolivia. Drawing on interviews and ethnographic fieldwork in Bolivian contexts, the authors read the gender-marked status of this initiative as a symbolic site of intercultural disjunctures. Conflicting gender politics sit at the crux of this difficulty to assemble ‘women's singing’ as a heritage object, contradictions between Bolivia’s persistent neoliberal state in which feminist discourses of gender equality reign within a development apparatus, and a plurinational state that originally emerged from social movements that brought Indigenous concepts into governing practices. Expanding on the topic of gender in heritage studies, this work points to critical applications of intersectionality, and uncovers useful openings that this concept lends to heritage studies in general. Through an intersectional lens, key inconsistencies are revealed between a liberal feminist agenda that focusses on empowering stand-alone women and Indigenous working class women’s mobilisation politics that cannot address gender inequalities without also engaging class and ethnic marginalisation. The case study shows how social justice mobilisations, central to political intersectionality, productively disrupt the compartmentalised approaches to rights that usually operate in bureaucratised governing entities.
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The conundrums of cultural and intellectual property rights, especially when intersecting with in... more The conundrums of cultural and intellectual property rights, especially when intersecting with indigenous rights, continue to puzzle scholars and policy makers around the world. These dilemmas were central to the dialogues of Coroico 2012, a workshop we organized in Bolivia and whose methodologies and conversations are detailed in this website. In addition to reading about these dialogues, we encourage you to download, modify, and reuse the materials we designed and structured for use in Coroico 2012, particularly the agenda, case studies, and related glossary. We share these materials in the hope that they will spark more conversations, local debates, and necessarily distinct responses to these dilemmas.
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Sound and Anthropology: body, environment and human sound making, 2008
https://www.st-andrews.ac.uk/soundanth/work/stobart/
Through examining the stories people told t... more https://www.st-andrews.ac.uk/soundanth/work/stobart/
Through examining the stories people told to explain the origin of the bell stones (rumi campana), found on the hill above their homes in a hamlet in the rural Andes, this paper seeks to explore local conceptualisations of sound. How is sound thought to be generated, contained or communicated? Does the notion of ‘sound’ have a linguistic or ontological equivalent in the local language (Quechua)? These local stories lead us to approach sound as a form of energy, which depends upon a sense of dynamic tension between notions of containment and release - shaped by the metaphor of the body and its cycles of life and death. The emergence of sound from within informs the auditor of the existence of another being, and the sound quality communicates knowledge about, for example, the being’s inner state, needs, and relative power or status. But bodies, like rocks, can – and at times must – hold their silence and store or accumulate energies for future production/expression – where containment and release are closely connected with moral values and the very existence of life. Such values and attitudes to ‘sound’, powerfully shape this Andean community’s interactions with the environment and underscore its musical performance practices.
Access online on Sound and Anthropology website: https://www.st-andrews.ac.uk/soundanth/work/stobart/
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Papers by Henry Stobart
Valuing the Surplus: Perspectives on Julian Horton's Article ‘On the Musicological Necessity of Music Analysis’, Musical Quarterly, 3/i–ii, pp. 62–104.Contributors: Kofi Agawu, Gurminder K. Bhogal, Esther Cavett, Jonathan Dunsby, Julian Horton, Alexandra Monchick, Ian Pace, Henry Stobart and Simo... Music Analysis, Dec 20, 2023
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Pontificia Universidad Católica del Perú, 2001
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Oxford Music Online, 2001
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SIGLEAvailable from British Library Document Supply Centre-DSC:D196709 / BLDSC - British Library ... more SIGLEAvailable from British Library Document Supply Centre-DSC:D196709 / BLDSC - British Library Document Supply CentreGBUnited Kingdo
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The Journal of Latin American and Caribbean Anthropology
In this article, we complicate the notion of sonic return in the context of postmillennial digita... more In this article, we complicate the notion of sonic return in the context of postmillennial digital media technologies that have transformed how Indigenous people of the Bolivian Andes engage self‐reflectively with their own music and dance practices. We take a capacious approach to the notion of the archive and argue that these media interactions, where people make and circulate their own audiovisual materials, represent a space of counterarchival work. We consider our distinct and changing approaches to sound recordings in our respective fieldwork and highlight how media‐making agency has entered the hands of Indigenous actors. Notable here is a striking preference for the audiovisual over the solely audio, a preference that throws into relief the idea of the sound archive and its future. We point to alternative forms of audiovisual curation that may not be shaped to the ends foreign researchers might imagine, but that nevertheless might lead to more decolonized engagements of the ...
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“Andean music” might be defined as the musical expressions of the geographical region encompassed... more “Andean music” might be defined as the musical expressions of the geographical region encompassed by the Andes Mountains. Nonetheless, Andean genres have sometimes undergone important developments outside the region (for example in Lima, Santiago, Buenos Aires, and Paris), or have received important contributions from individuals without Andean heritage. The expression “Andean music” tends primarily to be applied to genres that might be characterized as indigenous or folkloric, or popular genres that incorporate such elements. Research of such music is typically historical or ethnographic in approach. The Andes Mountains pass through Columbia, Argentina, and Chile, but Bolivia, Peru, and Ecuador are commonly identified as the “Andean countries.” In these latter nations, the Andean zone is of special geographical, demographic, and cultural importance. However, even in Bolivia—arguably one of the most Andean countries of the region—only one-third of the country is geographically Andean; the majority of Bolivia’s land area is taken up by the more sparsely populated Eastern “Amazonian” lowlands. While such geographical differences are sometimes accompanied by marked cultural distinctions, a variety of cultural continuities may also be found. Highland/lowland relations have, since the earliest times, been characterized by the exchanges of products and cultural elements between different niches of the region’s vertical ecology. For example, canes and woods used to construct the musical instruments played in the Andean highlands are often derived from tropical lowland areas. The study of Andean music has been notable for its strong historical dimension, informed by archaeological work, accounts of chroniclers following the European invasion (from the 1530s), and other sources. In the first half of the 20th century, studies of Andean music sometimes approached indigenous people and their music as impoverished survivals from an imagined “glorious Inca past,” and until the 1980s few music studies—by national or international scholars—were based on extended field research. More critical perspectives based on extensive ethnographic research, and reacting against structuralism and essentialist approaches, began to appear following the reflexive turn in anthropology of the late 1980s (e.g., Thomas Turino, Raul Romero, Zoila Mendoza). This critical edge was further heightened by the revisionism in Andean anthropology of the 1990s (perhaps best exemplified in the work of Michelle Bigenho and Jonathan Ritter), sparked by Orin Starn’s critique “Missing the Revolution” (1991). Starn accused anthropologists—sometimes unfairly—of idealizing native people as the noble inheritors of pure ancient traditions—lo andino—while failing to notice the rise of Peru’s devastating internal war between Maoist Shining Path guerrillas and the military. Such developments—alongside greater ethnomusicological concern for urban contexts; popular music; mass media; and the rise of indigenous politics, digital media, and piracy—has stimulated new scholarly approaches during the 2000s and 2010s. Among recent research currents, often set against a backdrop of contemporary indigenous politics, are themes such as the explosion in heritage declarations, the escalation of fusions or coproductions between rural and urban middle- and upper-class musicians, and new approaches to material culture.
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Oxford Music Online, 2001
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Puede copiarla, distribuirla y comunicarla públicamente siempre que cite su autor y la revista qu... more Puede copiarla, distribuirla y comunicarla públicamente siempre que cite su autor y la revista que lo publica (TRANS-Revista Transcultural de Música), agregando la dirección URL y/o un enlace a este sitio: www.sibetrans.com/trans. No la utilice para fines comerciales y no haga con ella obra derivada. La licencia completa se puede consu ltar en Resumen El paso del casete de audio analógico al VCD (Video Compact Disc) digital como soporte principal para la música gravada alrededor del año 2003, abrió una nueva era para la producción y el consumo de música en la región de los Andes bolivianos. Esta tecnología digital barata creó nuevos mercados regionales para los pueblos indígenas de bajos ingresos, haciendo impensable para los artistas regionales producir una grabación comercial sin imágenes de vídeo desde entonces. Este artículo explora el carácter de estas imágenes, considerando en particular la tendencia a representar a los músicos y bailarines actuando en paisajes rurales. Traza ...
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Books by Henry Stobart
Through rich and evocative ethnography, the book delves into the powerful meanings ascribed to sound; charts unfamiliar aesthetic territories; suggests how modernity can contribute to indigeneity; and reveals remarkable musical perspectives on llama husbandry and potato cultivation. As we follow the lives, shifting fortunes and musical year of this, in many ways, fragile community, a seasonally shifting array of musical instruments, genres, dances and tunings are introduced. The book is accompanied by an audio CD, photographs, musical transcriptions and explanatory diagrams.
Edited Volumes by Henry Stobart
With contributions from a number of key figures in Ethnomusicology and related disciplines, this volume explores Ethnomusicology’s shifting relationship to other disciplines and to its own ‘mythic’ history, and plots a range of potential developments for its future. It also considers perspectives on Ethnomusicology from ‘inside’ and ‘outside’ the ‘discipline’, and its broader contribution and relevance beyond the academy. In a period of particular dynamism and intense technological change, when Music departments, in the UK at least, are increasingly opening their doors to Ethnomusicologists, and valuing the types of skills and approaches they offer, such reflection is particularly timely. In many respects, this volume also offers a European perspective; one that provides some interesting and refreshing contrasts from the North American discourses and institutional dynamics that have tended to dominate Ethnomusicology since the 1950s.
"Music, Indigeneity, Digital Media" is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century.
Contents
Thomas R. Hilder: Music, Indigeneity, Digital Media: An Introduction 1
1 Shzr Ee Tan: Taiwan’s Aboriginal Music on the Internet 28
2 John-Carlos Perea: Recording Technology, Traditioning, and Urban American Indian Powwow Performance 53
3 Fiorella Montero-Diaz: YouTubing the “Other”: Lima’s Upper Classes and Andean Imaginaries 74
4 Russell Wallace: An Interview with Russell Wallace 95
5 Beverley Diamond: Mixing It Up: A Comparative Approach to Sami Audio Production 106
6 Henry Stobart: Creative Pragmatism: Competency and Aesthetics in Bolivian Indigenous Music Video (VCD) Production 127
7 Linda Barwick: Keepsakes and Surrogates: Hijacking Music Technology at Wadeye (Northwest Australia) 156
8 Thomas R. Hilder: The Politics of Virtuality: Sami Cultural Simulation through Digital Musical Media 176
Websites by Henry Stobart
Through examining the stories people told to explain the origin of the bell stones (rumi campana), found on the hill above their homes in a hamlet in the rural Andes, this paper seeks to explore local conceptualisations of sound. How is sound thought to be generated, contained or communicated? Does the notion of ‘sound’ have a linguistic or ontological equivalent in the local language (Quechua)? These local stories lead us to approach sound as a form of energy, which depends upon a sense of dynamic tension between notions of containment and release - shaped by the metaphor of the body and its cycles of life and death. The emergence of sound from within informs the auditor of the existence of another being, and the sound quality communicates knowledge about, for example, the being’s inner state, needs, and relative power or status. But bodies, like rocks, can – and at times must – hold their silence and store or accumulate energies for future production/expression – where containment and release are closely connected with moral values and the very existence of life. Such values and attitudes to ‘sound’, powerfully shape this Andean community’s interactions with the environment and underscore its musical performance practices.
Access online on Sound and Anthropology website: https://www.st-andrews.ac.uk/soundanth/work/stobart/
Papers by Henry Stobart
Through rich and evocative ethnography, the book delves into the powerful meanings ascribed to sound; charts unfamiliar aesthetic territories; suggests how modernity can contribute to indigeneity; and reveals remarkable musical perspectives on llama husbandry and potato cultivation. As we follow the lives, shifting fortunes and musical year of this, in many ways, fragile community, a seasonally shifting array of musical instruments, genres, dances and tunings are introduced. The book is accompanied by an audio CD, photographs, musical transcriptions and explanatory diagrams.
With contributions from a number of key figures in Ethnomusicology and related disciplines, this volume explores Ethnomusicology’s shifting relationship to other disciplines and to its own ‘mythic’ history, and plots a range of potential developments for its future. It also considers perspectives on Ethnomusicology from ‘inside’ and ‘outside’ the ‘discipline’, and its broader contribution and relevance beyond the academy. In a period of particular dynamism and intense technological change, when Music departments, in the UK at least, are increasingly opening their doors to Ethnomusicologists, and valuing the types of skills and approaches they offer, such reflection is particularly timely. In many respects, this volume also offers a European perspective; one that provides some interesting and refreshing contrasts from the North American discourses and institutional dynamics that have tended to dominate Ethnomusicology since the 1950s.
"Music, Indigeneity, Digital Media" is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century.
Contents
Thomas R. Hilder: Music, Indigeneity, Digital Media: An Introduction 1
1 Shzr Ee Tan: Taiwan’s Aboriginal Music on the Internet 28
2 John-Carlos Perea: Recording Technology, Traditioning, and Urban American Indian Powwow Performance 53
3 Fiorella Montero-Diaz: YouTubing the “Other”: Lima’s Upper Classes and Andean Imaginaries 74
4 Russell Wallace: An Interview with Russell Wallace 95
5 Beverley Diamond: Mixing It Up: A Comparative Approach to Sami Audio Production 106
6 Henry Stobart: Creative Pragmatism: Competency and Aesthetics in Bolivian Indigenous Music Video (VCD) Production 127
7 Linda Barwick: Keepsakes and Surrogates: Hijacking Music Technology at Wadeye (Northwest Australia) 156
8 Thomas R. Hilder: The Politics of Virtuality: Sami Cultural Simulation through Digital Musical Media 176
Through examining the stories people told to explain the origin of the bell stones (rumi campana), found on the hill above their homes in a hamlet in the rural Andes, this paper seeks to explore local conceptualisations of sound. How is sound thought to be generated, contained or communicated? Does the notion of ‘sound’ have a linguistic or ontological equivalent in the local language (Quechua)? These local stories lead us to approach sound as a form of energy, which depends upon a sense of dynamic tension between notions of containment and release - shaped by the metaphor of the body and its cycles of life and death. The emergence of sound from within informs the auditor of the existence of another being, and the sound quality communicates knowledge about, for example, the being’s inner state, needs, and relative power or status. But bodies, like rocks, can – and at times must – hold their silence and store or accumulate energies for future production/expression – where containment and release are closely connected with moral values and the very existence of life. Such values and attitudes to ‘sound’, powerfully shape this Andean community’s interactions with the environment and underscore its musical performance practices.
Access online on Sound and Anthropology website: https://www.st-andrews.ac.uk/soundanth/work/stobart/
Museo Nacional de Etnografía y Folklore (MUSEF), La Paz, Bolivia (18 Junio 2008)
Spanish language transcription of a roundtable entitled "Music Piracy and the Fair Use of Native Music' organized by Henry Stobart and hosted by the Museum of Ethnograophy and Folklore (MUSEF), La Paz, Bolivia on the 18th June 2008.
EXPOSITORES/PONENCIAS
LA PIRATERÍA DISCOGRÁFICA
Ignacio Arce (Director, Derechos de Autor, SENAPI) 6
Miriam de Alvarado (Departamento de Regalias, SOBADAYCOM) 13
Zacarías Bueno (Ejecutivo Nacional, Federatión Nacional de Comerciantes
Minoristas en Audio Visual, Audio Musical y Ramas a Fines) 17
Santiago Quenta Ninachoque (Jefe de la Unidad Patrimonio Inmaterial,
Viceministerio de Cultura) 22
Oscar García (Compositor/Director, PROAUDIO/Docente, Conservatorio de
Música, La Paz - material: ‘música boliviana’) 25
Gregorio Mamani Villacorta (Musico/Director, CEMBOL Tomás Katari) 29
Humberto Mancilla (Pukañawi/Abogado) 36
Bernardo Rozo (Músico/Antropólogo) 41
EL USO JUSTO DE LA MÚSICA NATIVA
Waltér Sánchez (Etnomusicólogo, Universidad Mayor de San Simón,
Cochabamba) 55
Gregorio Mamani Villacorta (Músico/Director CEMBOL Tomás Katari 63
Santiago Quenta Ninachoque (Jefe de la Unidad Patrimonio Inmaterial,
Viceministerio de Cultura) 69
Germán Yucra (Ex-dirigente campesino, Chuquisaca) 74
Oscar Garcia (Compositor/Director, PROAUDIO/Docente, Conservatorio de
Música, La Paz - material: ‘música boliviana’) 79
Elena Echeverría (Departamento Juridico, SOBADAYCOM) 86
Humberto Mancilla (Pukañawi/Abogado) 99
Elvira Espejo (Artista/Comunario de Qaqachaka) y Alvaro Montenegro
(Conservatorio de Música, La Paz)
reconocimiento social, el ejercicio de derechos y responsabilidades ciudadanos y la distinción
que podríamos reconocer, tanto entre las figuras de ‘artista’ y ‘cultor’, cuanto entre las de
‘cultura viva’ y ‘bienes culturales’; distinciones éstas que vale la pena repensar frente al rol que
hoy en día están cumpliendo las instituciones que gestionan los esquemas de Derechos de
Autor y Propiedad Intelectual, hoy vigentes en nuestro país. A partir de ello, si bien busco
puntualizar algunas limitaciones que emergen desde las normas y procedimientos que estos dos
esquemas muestran hoy en día con relación a los pueblos indígena, los datos que presento
sugieren que dichas limitaciones probablemente no son muy distintas a las que enfrentan las
culturas urbanas dentro del territorio nacional. Sobre esa base, haciendo algunos atisbos sobre
lo que sucede en otras partes del planeta, propongo algunas conclusiones y sugerencias que
dirijo tanto a los Consejos Departamentales de Culturas, como también a todos quienes deseen
armar una posible agenda colectiva de trabajo, crítica y constructiva, entorno a estos temas.