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"Sylvie Bartram's beloved dog, Mr. Jackson, has lost his bark. The birds have stopped singing. And in the growing silence, her dad has disappeared. Determined to find him, Sylvie and her best friend, kite-flying, tone deaf George, are drawn into the nightmare world of the Songman, a world haunted by the terrifying Woodpecker Man in his swan-powered balloon, a world where nothing can sing and no one can speak. Only Sylvie can save the earth from its terrible voiceless fate."--Dust jacket.
"'With a Fenian fiddle in one ear and an Orange drum in the other', singer Tommy Sands was reared in the foothills of the Mourne Mountains. His family was immersed in folk music - his father played the fiddle, his mother the accordion. Their kitchen was a place where Protestant and Catholic farmers alike would gather to sing at the end of the day's harvesting. During the 1960s and '70s, he was the chief songwriter with The Sands Family, who played wherever they were welcome, from local wakes and weddings to New York's Carnegie Hall. His songs have been recorded by Joan Baez, Dolores Keane, Dick Gaughan and The Dubliners." "The Songman is the story of Sands' journey. He tells of his family's traditional way of life, recalling his mother tying summer sheaves while his father worked the scythe. Here are the turbulent days of the civil rights movement; The Bothy Band brawling in Brittany; encounters with Alan Stivell, Mary O'Hara and Pete Seeger; the 'boyish devilment and humour' of Ian Paisley on his radio show Country Ceili; and a 'defining moment' during the Good Friday Agreement talks, when he organized a moving impromptu performance with children and Lambeg drummers."--BOOK JACKET.
Yi Chung-jun's haunting and disturbing novel is set in the 1950s after the Korean War in the remote south of the country, home of the traditional art of pansori singing, a moving and plangently beautiful style of folk song performed by traveling musicians. The linked stories center on a family of itinerant singers: a boy and his stepfather and half-sister. Believing that his stepfather caused his mother's death, the boy cannot live with the murderous hatred he feels towards him, so he disappears, leaving father and daughter to travel and perform alone. Believing her art can become elevated to the highest standard only by sensory deprivation, the father is said to have blinded the child. Thereafter, she becomes a legendary performer throughout the land. Years later the half-brother arrives in a village and finds his sister in a tavern. He asks her to sing for him, and with his drum accompaniment the two perform pansori songs throughout the night—though never explicitly acknowledging their relationship. So begins an unforgettable chain of events in one of the strangest and most haunting of novels exploring themes such as forgiveness, the redemptive power of art, and modern man's loss of innocence and alienation from traditional values—the values at the heart of Seopyeonje. A magic-realist gem, the novel employs epic myth and fantasy to create a fusion of the real and the fantastic. Yi Chung-jun's story has attained near-mythical status in South Korea, especially with the acclaimed and award-winning film of the novel breaking box-office records on its release in the 1990s.
An important and previously unexplored body of esoteric ritual songs of the Tz’utujil Maya of Santiago Atitlán, Guatemala, the “Songs of the Old Ones” are a central vehicle for the transmission of cultural norms of behavior and beliefs within this group of highland Maya. Ethnomusicologist Linda O’Brien-Rothe began collecting these songs in 1966, and she has amassed the largest, and perhaps the only significant, collection that documents this nearly lost element of highland Maya ritual life. This book presents a representative selection of the more than ninety songs in O’Brien-Rothe’s collection, including musical transcriptions and over two thousand lines presented in Tz’utujil and English translation. (Audio files of the songs can be downloaded from the UT Press website.) Using the words of the “songmen” who perform them, O’Brien-Rothe explores how the songs are intended to move the “Old Ones”—the ancestors or Nawals—to favor the people and cause the earth to labor and bring forth corn. She discusses how the songs give new insights into the complex meaning of dance in Maya cosmology, as well as how they employ poetic devices and designs that place them within the tradition of K’iche’an literature, of which they are an oral form. O’Brien-Rothe identifies continuities between the songs and the K’iche’an origin myth, the Popol Vuh, while also tracing their composition to the late sixteenth and early seventeenth centuries by their similarities with the early chaconas that were played on the Spanish guitarra española, which survives in Santiago Atitlán as a five-string guitar.
Wangga, originating in the Daly region of Australia’s Top End, is one of the most prominent Indigenous genres of public dance-songs. This book is organised around six repertories: four from the Belyuen-based songmen Barrtjap, Muluk, Mandji and Lambudju, and two from the Wadeye-based Walakandha and Ma-yawa wangga groups, the repertories being named after the ancestral song-giving ghosts of the Marri Tjavin and Marri Ammu people respectively. Framing chapters include discussion of the genre’s social history, musical conventions and the five highly endangered languages in which the songs are composed. The core of the book is a compendium of recordings, transcriptions, translations and explanations of over 150 song items. Thanks to permissions from the composers’ families and a variety of archives and recordists, this corpus includes almost every wangga song ever recorded in the Daly region.
Wangga, originating in the Daly region of Australia's Top End, is one of the most prominent Indigenous genres of public dance-songs. This book focuses on the songmen who created and performed the song
The Gift of Song: Performing Exchange in Western Arnhem Land tells the story of the return of physical and digital cultural materials through song and dance. Drawing on extensive, first-person ethnographic fieldwork in western Arnhem Land, Australia, Brown examines how Bininj/Arrarrkpi (Aboriginal people of this region) enact change and innovate their performance practices through ceremonial exchange. As Indigenous communities worldwide confront new social and environmental challenges, this book addresses the questions: How do Indigenous communities come to terms with legacies of taking and collecting? How are cultural materials in digital formats received and ritualised? How do traditional forms of exchange continue to mediate relationships? Combining ethnomusicological analysis and linguistically and historically informed ethnography, this book reveals how multilingualism and musical diversity are maintained through kun-borrk/manyardi, a major genre of Indigenous Australian song and dance. It retheorises the core anthropological concept of ‘exchange’ and enriches understanding of repatriation as a process of re-embedding tangible objects through intangible practices of ceremony and language.
A compelling story full of magic and music. Sylvie Bartram lives alone with Mr. Jackson the dog and her eccentric composer father, who invents strange and wonderful musical instruments. One day she returns from school to find a message left in toothpaste on the bathroom mirror: her father has been kidnapped. Later that night, the house is visited by a terrifying apparition—a half-man, half-creature who is searching for something and will not rest until he has found it. . . . Sylvie uncovers an underground world of magic and evil, and with help from her friends, she must hold off a power that threatens the lives of all beings in the world. The Songman is at large, and is determined to steal music and use it for his own evil ends. . . .
Autobiographical account of author's experience as a member of the Aboriginal Stolen Generation. Bob Randall was seven years old when he was taken away from his family by white authorities. He maps the process of finding his family again, being educated, and establishing a career as an Aboriginal educator and renowned performer. Aboriginal spirituality is woven throughout the account, and Aboriginal principles about responsibilities and connections are explained. Includes colour photos, glossary of Aboriginal words in the text, references and notes, and list of abbreviations. Author is an elder of the Yankunytjatjara people of Central Australia and a registered traditional owner of Uluru.
Music, Dance and the Archive reimagines records of performance cultures from the archive through collaborative and creative research. In this edited volume, Amanda Harris, Linda Barwick and Jakelin Troy bring together performing artists, cultural leaders and interdisciplinary scholars to highlight the limits of archival records of music and dance. Through artistic methods drawn from Indigenous methodologies, dance studies and song practices, the contributors explore modes of re-embodying archival records, renewing song practices, countering colonial narratives and re-presenting performance traditions. The book’s nine chapters are written by song and dance practitioners, curators, music and dance historians, anthropologists, linguists and musicologists, who explore music and dance by Indigenous people from the West, far north and southeast of the Australian continent, and from Aotearoa New Zealand, Taiwan and Turtle Island (North America). Music, Dance and the Archive interrogates historical practices of access to archives by showing how Indigenous performing artists and community members and academic researchers (Indigenous and non-Indigenous) are collaborating to bring life to objects that have been stored in archives. It not only examines colonial archiving practices but also creative and provocative efforts to redefine the role of archives and to bring them into dialogue with contemporary creative work. Through varied contributions the book seeks to destabilise the very definition of “archives” and to imagine the different forms in which cultural knowledge can be held for current and future Indigenous stakeholders. Music, Dance and the Archive highlights the necessity of relationships, Country and creativity in practising song and dance, and in revitalising practices that have gone out of use.