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A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Sounding the Indian Ocean is the first volume to integrate the fields of ethnomusicology and Indian Ocean studies. Drawing on historical and ethnographic approaches, the book explores what music reveals about mobility, diaspora, colonialism, religious networks, media, and performance. Collectively, the chapters examine different ways the Indian Ocean might be “heard” outside of a reliance on colonial archives and elite textual traditions, integrating methods from music and sound studies into the history and anthropology of the region. Challenging the area studies paradigm—which has long cast Africa, the Middle East, and Asia as separate musical cultures—the book shows how music both forms and crosses boundaries in the Indian Ocean world.
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Sounding Islam provides a provocative account of the sonic dimensions of religion, combining perspectives from the anthropology of media and sound studies, as well as drawing on neo-phenomenological approaches to atmospheres. Using long-term ethnographic research on devotional Islam in Mauritius, Patrick Eisenlohr explores how the voice, as a site of divine manifestation, becomes refracted in media practices that have become integral parts of religious traditions. At the core of Eisenlohr’s concern is the interplay of voice, media, affect, and listeners’ religious experiences. Sounding Islam sheds new light on a key dimension of religion, the sonic incitement of sensations that are often difficult to translate into language.
Publisher Description
For much of the twentieth century, Europe dominated global attention. Two world wars were won and lost on its battle fields, and the great ideological struggles of the Cold War were played out in its cities. The Atlantic Ocean was the locus of international power. This is no longer the case, as bestselling author Robert D. Kaplan deftly proves in Monsoon. He shows how the rise of India, Pakistan, China, Indonesia, Burma and Oman, among others, represents a crucial shift in the global balance of power. It is in 'Monsoon Asia' that the fight for democracy, energy independence and religious freedom will be lost or won. It is here that European interests are being replaced by Chinese and Indian influences, and where the often tense dialogue is taking place between Islam and the West. It is towards this region that global powers need to shift their focus if they are to remain dominant in the new century.
Initial results of a continuing study to analyze and summarize the acoustically significant characteristics of the vertical sound-speed structure in the Indian Ocean are presented for purposes of acoustic model inputs and future exercise planning in the region. Data displays cover the western Indian Ocean west of 75 degrees E and north of 20 degrees S. Hydrocast data with computed sound speeds at standard depths provide the basic information to define areas of the Indian Ocean that are reasonably homogeneous with regard to sound-speed properties and can be summarized by a single profile for each season. Seasonal data presentations of bottom conjugate depth (the shallow conjugate of the bottom sound speed) and depth excess (water depth below the deep conjugate of the near-surface sound-speed maximum) indicate the primarily bottom-limited situation in the western Indian Ocean and identify the restricted areas of the Somali Basin with convergence-zone propagation potential. The upper-layer characteristics of layer depth, in-layer gradient, and below-layer gradient are displayed seasonally in contour format based on sound-speed-converted BT and XBT temperature data. Emphasis is placed on the significant effects of the seasonal monsoons, and in particular the strong SW Monsoon, on the near-surface structure. Results based on the two data sources are presented separately and some comparisons are made.
The ocean has always been the harbinger of strangers to new shores. Migrations by sea have transformed modern conceptions of mobility and belonging, disrupting notions of how to write about movement, memory and displaced histories. Sea Log is a memory theater of repressive hauntings based on urban artifacts across a maritime archive of Dutch and Portuguese colonial pillage. Colonial incursions from the sea, and the postcolonial aftershocks of these violent sea histories, lie largely forgotten for most formerly colonized coastal communities around the world. Offering a feminist log of sea journeys from the Malabar Coast of South India, through the Atlantic to the North Sea, May Joseph writes a navigational history of postcolonial coastal displacements. Excavating Dutch, Portuguese, Arab, Asian and African influences along the Malabar Coast, Joseph unearths the undertow of colonialism’s ruins. In Sea Log, the Bosphorus, the Tagus and the Amstel find coherence alongside the Arabian Sea and the Indian Ocean. Written in a clear and direct style, this volume will appeal to historians of transnational communities, as well as students and scholars of cultural studies, anthropology of space, area studies, maritime history and postcolonial studies.
Sounds of Other Shores takes an ethnographic ear to the history of transoceanic stylistic appropriation in the Swahili taarab music of the Kenyan coast. Swahili taarab, a form of sung poetry that emerged as East Africa's first mass-mediated popular music in the 1930s, is a famously cosmopolitan form, rich in audible influences from across the Indian Ocean. But the variants of the genre that emerged in the Kenyan coastal city of Mombasa during the twentieth century feature particularly dramatic, even flamboyant, appropriations of Indian and Arab sonic gestures and styles. Combining oral history, interpretive ethnography, and musical analysis, Sounds of Other Shores explores how Swahili-speaking Muslims in twentieth-century Mombasa derived pleasure and meaning from acts of transoceanic musical appropriation, arguing that these acts served as ways of reflecting on and mediating the complexities and contradictions associated with being "Swahili" in colonial and postcolonial Kenya. The result is a musical anthropology of Kenyan Swahili subjectivity that reframes longstanding questions about Swahili identity while contributing to broader discussions about identity and citizenship in Africa and the Indian Ocean world.