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Performing EthnomusicologyTeaching and Representation in World Music Ensembles$
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Ted Solis

Print publication date: 2004

Print ISBN-13: 9780520238749

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520238749.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 23 July 2021

What's the “It” that We Learn to Perform?

What's the “It” that We Learn to Perform?

Teaching BaAka Music and Dance

Chapter:
(p.249) Chapter 14 What's the “It” that We Learn to Perform?
Source:
Performing Ethnomusicology
Author(s):

Michelle Kisliuk

Kelly Gross

Publisher:
University of California Press
DOI:10.1525/california/9780520238749.003.0015

This chapter provides an overview of teaching BaAka Music and Dance. It highlights how, at the University of Virginia (UVA), the African Drumming and Dance Ensemble has become a community of performers. It draws attention to the fact that because BaAka performance required a heightened emphasis on immediate socioaesthetic negotiation, the African Drumming and Dance Ensemble offered the opportunity for embodied study of aesthetics and the politics of representation. It illustrates that environment, spatial connection, and the energy flow of the group are crucial to sound. Furthermore, it claims that in order to perform, they must take off with their BaAka style and make it their own, claiming it by creating a new branch of the tradition that in fact defines them musically and socially. This chapter offers a written dialogue exploring certain issues and processes related to BaAka music and dance.

Keywords:   SOAS, University of Virginia, aesthetics, BaAka, socioaesthetic negotiation

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