Robert C Lancefield
Datos Biográficos
| ID | 409902 |
|---|---|
| NOMBRE | Robert C Lancefield |
| NOMBRES | Robert C |
| APELLIDO | Lancefield |
| FIRMA | LANCEFIELD R C |
| ORCID | 0000-0001-8758-2469 |
| VERIFICADO | No |
| TOTAL DE OBRAS | 41 |
| TOTAL DE CITAS | 23 |
| TOTAL COMO AUTOR | 1 |
| TOTAL COMO EDITOR | 40 |
| PRIMER AÑO DE PUBLICACIÓN | 1998 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2019 |
| ÍNDICE H | 2 |
Repatriating the Alan Lomax Haitian Recordings in Post-Quake Haiti
Alan Lomax’s Haitian recordings, 1936–1937, rediscovered in the Library of Congress Archives of Folk Culture in 1999, were edited to produce a boxed set in 2009, with the intention of repatriating the set and eventually the entire corpus of 1,500 recordings and six films to Haiti. This chapter charts the process and the problematics of curating the box set as well as repatriating the archives in the face of the massive 2010 earthquake in Haiti. I…
“We Want Our Voices Back”
The term “repatriation” can have different meanings for libraries, museums, and archives. This chapter deals with the important work of “knowledge repatriation” by returning copies of sound recordings to the places from which they originated and explores ethical issues arising from the process. Various repatriation initiatives by Australian institutions as well as specific research projects are explored. Some dilemmas arising for collections mana…
Audiovisual Archives
This chapter provides an account of several audiovisual dissemination activities of the Federal Cylinder Project and the American Folklife Center since the 1970s. Institutional protocols, developed in consultation with tribal advisors, shaped early outreach by the archive to Native communities, as did cooperative efforts with other federal agencies. More recently, as communities and individuals develop their own expertise, the dynamic has sometim…
Radio Afghanistan Archive Project
The repatriation of sound and video recordings is one of the ethnomusicology archivist’s most sacrosanct functions. From reviving forgotten traditions to inspiring new ones, recordings have the potential to make a broad array of meaningful impacts once returned to their places of origin. Beyond repatriating recordings, what should archives do to benefit the countries, cultures, and traditions that have made ethnomusicology’s very existence possib…
Radio Archives and the Art of Persuasion
This chapter builds on sonic repatriation studies to explore the act of regulating the dissemination of songs through radio playlists in Lima, Peru. Using as a case study the broadcasting policies designed by a powerful media corporation, the article shows how marketing specialists have produced a range of class-oriented radio stations seeking to persuade Lima’s audiences to comply with the corporation’s hegemonic discourse, as it becomes manifes…
Repatriating an Egyptian Modernity
This chapter examines Coptic Orthodox music culture through a gendered lens. Specifically, it investigates how the repatriation of Coptic music transcriptions has facilitated women’s song activism in male-dominated contexts. Yet, as women increasingly sound their presence in the Coptic church, they are often complicit in some of the Church’s moral narratives in containing women’s bodies, voices, and comportment in the Orthodox community. While th…
Rethinking Repatriation and Curation in Newfoundland
Since 2004, “Back on Track” has been produced by the Research Centre for Music, Media, and Place at Memorial University, partly in response to public requests for access to the university’s archival collections. It aims to recover historically and culturally significant documents for public use; augment cultural content in the schools; promote and disseminate the culture of the province and beyond to local, national, and international audiences; …
The Politics of Repatriating Civil War Brass Music
This chapter explores how the repatriation of Civil War brass band music participates in contemporary disputes about the deeply contested meaning and ownership of a particularly turbulent moment in American history. Specifically, it questions how the framing of Civil War brass music as a retrievable sonic agent of authenticity facilitates a simplification of the past that negates issues of power and racism that were the root of this war. Such a s…
“Each in Our Own Village”
This article explains the importance of creating sustainable interactions between custodian communities and archives, arguing that an archive is truly sustainable if it promotes and supports forms of sustainable and unmediated interactions and dialogue between its own organization and custodian communities. It first provides an overview of some of the contemporary concerns of cultural custodians as well as the contemporary concerns of archives be…
Cinematic Journeys to the Source
“Cinematic Journeys to the Source: Music Repatriation to Africa in Film” critically explores four documentary films that feature the repatriation of a musician or group of musicians to Africa. More specifically, it asserts that for these artists, their music has created the opportunity for both them and their audience to collectively remember an African past and either consciously or subconsciously is the metaphorical site of repatriation before …
Moving Songs
Repatriation has become almost ubiquitous in ethnomusicological research on Australian Indigenous song. This article provides insights into processes of a repatriation-centered song revitalization project in the Kimberley, northwest Australia. Authored by an ethnomusicologist and two members of the Ngarinyin cultural heritage community, the article provides firsthand accounts of the early phases of a long-term repatriation-centered project referr…
“Where Dead People Walk”
The Quechua community of Q’eros, Peru, is known internationally for their lifestyle steeped in an “Inca” past. While many documentaries, exhibitions, theses, and articles have been published about them, their direct complaint is that they never see these works. In 2010, the ethnomusicologist Holly Wissler digitized and handed over fifty years of audiovisual archives about the Q’eros directly to their communities. This chapter discusses the collec…
Claiming Ka Mate
This chapter unpacks the sociocultural and legal issues surrounding the Māori haka (chant/dance) “Ka Mate” authored by Ngāti Toa chief Te Rauparaha in the 1820s. In Aotearoa New Zealand, this beloved haka has become a symbolic display of biculturalism and is integral to the national imaginary. Historical associations and usages in wartime and sport, particularly rugby, have exacerbated associations with aggression and masculinity with essential m…
Reflections on Reconnections
This chapter explores intersections of human and archival modes of memory in moments of archival repatriation. It recounts two repatriation experiences involving materials from the Indiana University Archives of Traditional Music (ATM)—one in which the author traveled to West Africa to repatriate media recorded in 1934 (around which this chapter is centered), and a second involving Assiniboine sisters from Saskatchewan rediscovering a lost song i…
Reclaiming Ownership of the Indigenous Voice
This chapter discusses the origins, methodology, and preliminary results of the Hopi Music Repatriation Project (HMRP), a community-partnered initiative aimed at securing the return of Hopi ceremonial song recordings and their associated intellectual property rights back to the Hopi Tribe. While scholars have extensively documented the legal and ethical imperatives for the repatriation of Indigenous documentary materials from archives, museums, a…
Yolngu Music, Indigenous “Knowledge Centers” and the Emergence of Archives as Contact Zones
Archival institutions managing Indigenous materials—both state-managed archives and recently created Indigenous “Knowledge Centres”—are examples of “contact zones”: archival materials are products of colonial encounters, and archival management practices are manifestations of forms of governmentality that also include notions of “intangible cultural heritage” and “intellectual property.” This chapter examines new forms of Indigenous empowerment a…
Digital Repatriation
This essay makes two points about digital collections. The first recognizes problems that emerge as archives present indigenous content online. In uploading indigenous songs, speeches, and documents, an archive allows that material to move from a local space with limited access to an international repository with many points of access. This chapter examines conflicts that can occur with this action, including those involving copyright law, fair u…
The Banning of Samoa’s Repatriated Mau Songs
The Samoan Mau nationalistic movement of the 1920s, which led eventually to Independence in 1962, was characterized by group songs many of which were fervent in their support for traditional leadership and scathing in their condemnation of the then New Zealand administration. In the year 2000 copies of Mau songs recorded some fifty years earlier were among musical items repatriated to Samoa to public acclaim and national radio playback, but withi…
Teachers as Agents of the Repatriation of Music and Cultural Heritage
As the movement to repatriate music from archives gathers steam, the question of how to effectively disseminate the music to people in the culture of origin becomes a pressing issue. This chapter argues that K–12 teachers have a distinctive ability to reintroduce archival music, through three major approaches. In “close-by child-songs by children,” teachers design lessons that incorporate field recordings of children’s music from their home cultu…
Pathways toward Open Dialogues about Sonic Heritage
This introduction to the Oxford Handbook of Musical Repatriation serves both as a general representation of the editors’ approach to the Handbook and as a critical analysis in its own right, posing questions and providing nuance to the concepts of heritage, preservation, and archives that emerge within this collection and in the field at large. As access to technologies shifts the preservation, control, and consumption of sonic heritage, the broa…
“The Songs Are Alive”
“The Songs are Alive” recounts the digital repatriation of Frances Densmore’s audio recordings of Ojibwe/Anishinaabe songs that were originally made on wax cylinders in the first decade of the twentieth century and are held by the Library of Congress. Powell, a digital humanities scholar at the University of Pennsylvania, discusses the process of creating a database that converted a huge digital file of undifferentiated songs into individual reco…
Bringing Radio Haiti Home
In a dialogue, the authors—one an audiovisual archivist, the other a scholar-turned-archivist—discuss the challenges of processing the Radio Haiti Archive, the seemingly unusual choice of Duke as custodian of the collection, and the sometimes uneasy balance between the practices of a traditional US academic library and providing true access to audiences in Haiti and in the Haitian diaspora. Wagner and Breaden address the ways in which the Radio H…
Returning Voices
This essay explores repatriation through the emergence of shared listening experiences. It argues that the repatriation of recorded voices is more meaningful and personal than the mere relocation of sound “objects” and more consequential than the transfer of historical media from the shelves of archival collections. The chapter focuses on case examples of repatriation from the Pacific Islands, and especially from the islands of Chuuk State in the…
“Pour préserver la mémoire”
This chapter examines the documentary film El Gusto through an expanded definition of music repatriation. The film captures the reunion of Jewish and Muslim sha‘bī musicians who perform together for the first time since the Algerian War of Independence. Using theories of collective memory, the author explores how the film’s director, Safinez Bousbia, presents this reunion both as a repatriation of individual culture-bearers who embody a tradition…
New Folk Music as Attempted Repatriation in Romania
This chapter looks at cultural policy toward folk music ( muzică populară ) in socialist Romania (1948–1989), covering three areas: first, the state including its intentions and actions; second, ethnomusicologists as researchers of rural peasant music and employees of the state, and, third, the public as reached by state institutions. The article argues that Soviet-induced socialist cultural policy effectively constituted a repatriation of peasan…
The Oxford Handbook of Musical Repatriation
The Oxford Handbook of Musical Repatriation is an edited volume comprising thirty-eight chapters from contributors working in regions all over the world. This collection highlights studies exploring sonic repatriation in its broadest sense in the twentieth and twenty-first centuries. “Sonic” or “musical” repatriation refers primarily to the return of audiovisual archival materials to the communities from which they were initially recorded or coll…
Sharing John Blacking
As ethnomusicological collections become accessible to individuals, communities, and institutions beyond the scope of the original collector, their contents are often repurposed, reimagined, and reinformed. With the growing engagement with repatriation by archives, individuals, and institutions, field recordings, fieldnotes, images, and other supporting materials offer tangible and intangible records of musical performance, context, and historica…
Archives, Repatriation, and the Challenges Ahead
For decades, ethnomusicologists, folklorists, anthropologists, and a variety of cultural institutions such as audiovisual archives and museums have been returning parts of their collections to the communities from which they were originally obtained. Starting with a definition of repatriation, this chapter describes some of the attributes of successful repatriation projects. They usually require a highly motivated individual or group within the c…
Borrowed Power
Sharing John Blacking
As ethnomusicological collections become accessible to individuals, communities, and institutions beyond the scope of the original collector, their contents are often repurposed, reimagined, and reinformed. With the growing engagement with repatriation by archives, individuals, and institutions, field recordings, fieldnotes, images, and other supporting materials offer tangible and intangible records of musical performance, context, and historica…
The Oxford Handbook of Musical Repatriation
The Oxford Handbook of Musical Repatriation is an edited volume comprising thirty-eight chapters from contributors working in regions all over the world. This collection highlights studies exploring sonic repatriation in its broadest sense in the twentieth and twenty-first centuries. “Sonic” or “musical” repatriation refers primarily to the return of audiovisual archival materials to the communities from which they were initially recorded or coll…
Archives, Repatriation, and the Challenges Ahead
For decades, ethnomusicologists, folklorists, anthropologists, and a variety of cultural institutions such as audiovisual archives and museums have been returning parts of their collections to the communities from which they were originally obtained. Starting with a definition of repatriation, this chapter describes some of the attributes of successful repatriation projects. They usually require a highly motivated individual or group within the c…
Repatriating the Alan Lomax Haitian Recordings in Post-Quake Haiti
Alan Lomax’s Haitian recordings, 1936–1937, rediscovered in the Library of Congress Archives of Folk Culture in 1999, were edited to produce a boxed set in 2009, with the intention of repatriating the set and eventually the entire corpus of 1,500 recordings and six films to Haiti. This chapter charts the process and the problematics of curating the box set as well as repatriating the archives in the face of the massive 2010 earthquake in Haiti. I…
“We Want Our Voices Back”
The term “repatriation” can have different meanings for libraries, museums, and archives. This chapter deals with the important work of “knowledge repatriation” by returning copies of sound recordings to the places from which they originated and explores ethical issues arising from the process. Various repatriation initiatives by Australian institutions as well as specific research projects are explored. Some dilemmas arising for collections mana…
Audiovisual Archives
This chapter provides an account of several audiovisual dissemination activities of the Federal Cylinder Project and the American Folklife Center since the 1970s. Institutional protocols, developed in consultation with tribal advisors, shaped early outreach by the archive to Native communities, as did cooperative efforts with other federal agencies. More recently, as communities and individuals develop their own expertise, the dynamic has sometim…
Radio Afghanistan Archive Project
The repatriation of sound and video recordings is one of the ethnomusicology archivist’s most sacrosanct functions. From reviving forgotten traditions to inspiring new ones, recordings have the potential to make a broad array of meaningful impacts once returned to their places of origin. Beyond repatriating recordings, what should archives do to benefit the countries, cultures, and traditions that have made ethnomusicology’s very existence possib…
Radio Archives and the Art of Persuasion
This chapter builds on sonic repatriation studies to explore the act of regulating the dissemination of songs through radio playlists in Lima, Peru. Using as a case study the broadcasting policies designed by a powerful media corporation, the article shows how marketing specialists have produced a range of class-oriented radio stations seeking to persuade Lima’s audiences to comply with the corporation’s hegemonic discourse, as it becomes manifes…
Repatriating an Egyptian Modernity
This chapter examines Coptic Orthodox music culture through a gendered lens. Specifically, it investigates how the repatriation of Coptic music transcriptions has facilitated women’s song activism in male-dominated contexts. Yet, as women increasingly sound their presence in the Coptic church, they are often complicit in some of the Church’s moral narratives in containing women’s bodies, voices, and comportment in the Orthodox community. While th…
Rethinking Repatriation and Curation in Newfoundland
Since 2004, “Back on Track” has been produced by the Research Centre for Music, Media, and Place at Memorial University, partly in response to public requests for access to the university’s archival collections. It aims to recover historically and culturally significant documents for public use; augment cultural content in the schools; promote and disseminate the culture of the province and beyond to local, national, and international audiences; …
The Politics of Repatriating Civil War Brass Music
This chapter explores how the repatriation of Civil War brass band music participates in contemporary disputes about the deeply contested meaning and ownership of a particularly turbulent moment in American history. Specifically, it questions how the framing of Civil War brass music as a retrievable sonic agent of authenticity facilitates a simplification of the past that negates issues of power and racism that were the root of this war. Such a s…
“Each in Our Own Village”
This article explains the importance of creating sustainable interactions between custodian communities and archives, arguing that an archive is truly sustainable if it promotes and supports forms of sustainable and unmediated interactions and dialogue between its own organization and custodian communities. It first provides an overview of some of the contemporary concerns of cultural custodians as well as the contemporary concerns of archives be…
Cinematic Journeys to the Source
“Cinematic Journeys to the Source: Music Repatriation to Africa in Film” critically explores four documentary films that feature the repatriation of a musician or group of musicians to Africa. More specifically, it asserts that for these artists, their music has created the opportunity for both them and their audience to collectively remember an African past and either consciously or subconsciously is the metaphorical site of repatriation before …
Moving Songs
Repatriation has become almost ubiquitous in ethnomusicological research on Australian Indigenous song. This article provides insights into processes of a repatriation-centered song revitalization project in the Kimberley, northwest Australia. Authored by an ethnomusicologist and two members of the Ngarinyin cultural heritage community, the article provides firsthand accounts of the early phases of a long-term repatriation-centered project referr…
“Where Dead People Walk”
The Quechua community of Q’eros, Peru, is known internationally for their lifestyle steeped in an “Inca” past. While many documentaries, exhibitions, theses, and articles have been published about them, their direct complaint is that they never see these works. In 2010, the ethnomusicologist Holly Wissler digitized and handed over fifty years of audiovisual archives about the Q’eros directly to their communities. This chapter discusses the collec…
Claiming Ka Mate
This chapter unpacks the sociocultural and legal issues surrounding the Māori haka (chant/dance) “Ka Mate” authored by Ngāti Toa chief Te Rauparaha in the 1820s. In Aotearoa New Zealand, this beloved haka has become a symbolic display of biculturalism and is integral to the national imaginary. Historical associations and usages in wartime and sport, particularly rugby, have exacerbated associations with aggression and masculinity with essential m…
Reflections on Reconnections
This chapter explores intersections of human and archival modes of memory in moments of archival repatriation. It recounts two repatriation experiences involving materials from the Indiana University Archives of Traditional Music (ATM)—one in which the author traveled to West Africa to repatriate media recorded in 1934 (around which this chapter is centered), and a second involving Assiniboine sisters from Saskatchewan rediscovering a lost song i…
Reclaiming Ownership of the Indigenous Voice
This chapter discusses the origins, methodology, and preliminary results of the Hopi Music Repatriation Project (HMRP), a community-partnered initiative aimed at securing the return of Hopi ceremonial song recordings and their associated intellectual property rights back to the Hopi Tribe. While scholars have extensively documented the legal and ethical imperatives for the repatriation of Indigenous documentary materials from archives, museums, a…
Yolngu Music, Indigenous “Knowledge Centers” and the Emergence of Archives as Contact Zones
Archival institutions managing Indigenous materials—both state-managed archives and recently created Indigenous “Knowledge Centres”—are examples of “contact zones”: archival materials are products of colonial encounters, and archival management practices are manifestations of forms of governmentality that also include notions of “intangible cultural heritage” and “intellectual property.” This chapter examines new forms of Indigenous empowerment a…
Digital Repatriation
This essay makes two points about digital collections. The first recognizes problems that emerge as archives present indigenous content online. In uploading indigenous songs, speeches, and documents, an archive allows that material to move from a local space with limited access to an international repository with many points of access. This chapter examines conflicts that can occur with this action, including those involving copyright law, fair u…
The Banning of Samoa’s Repatriated Mau Songs
The Samoan Mau nationalistic movement of the 1920s, which led eventually to Independence in 1962, was characterized by group songs many of which were fervent in their support for traditional leadership and scathing in their condemnation of the then New Zealand administration. In the year 2000 copies of Mau songs recorded some fifty years earlier were among musical items repatriated to Samoa to public acclaim and national radio playback, but withi…
Teachers as Agents of the Repatriation of Music and Cultural Heritage
As the movement to repatriate music from archives gathers steam, the question of how to effectively disseminate the music to people in the culture of origin becomes a pressing issue. This chapter argues that K–12 teachers have a distinctive ability to reintroduce archival music, through three major approaches. In “close-by child-songs by children,” teachers design lessons that incorporate field recordings of children’s music from their home cultu…
Pathways toward Open Dialogues about Sonic Heritage
This introduction to the Oxford Handbook of Musical Repatriation serves both as a general representation of the editors’ approach to the Handbook and as a critical analysis in its own right, posing questions and providing nuance to the concepts of heritage, preservation, and archives that emerge within this collection and in the field at large. As access to technologies shifts the preservation, control, and consumption of sonic heritage, the broa…
“The Songs Are Alive”
“The Songs are Alive” recounts the digital repatriation of Frances Densmore’s audio recordings of Ojibwe/Anishinaabe songs that were originally made on wax cylinders in the first decade of the twentieth century and are held by the Library of Congress. Powell, a digital humanities scholar at the University of Pennsylvania, discusses the process of creating a database that converted a huge digital file of undifferentiated songs into individual reco…
Sociology (38 obras) · History (32 obras) · Repatriation (29 obras) · Art (28 obras) · Diverse Musicological Studies (28 obras) · Political science (28 obras) · Law (24 obras) · Archaeology (20 obras) · Media studies (19 obras) · Visual arts (19 obras)