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- W2617457560 startingPage "157" @default.
- W2617457560 abstract "Ethnomusicological institutions transform traditional Zimbabwean musics into what is practiced in North America and understood by thousands as “Shona music.” This process produces a false narrative within North America of endangered and scarce traditional Zimbabwean musical practices, and these ends serve neocolonial imaginings of the need and right for white stewardship over and charity towards traditional Zimbabwean music(ians). Such a history strikingly reflects dominant and reductive North American settler conceptions of the wilderness, national parks and Indigenous peoples as ecologically vulnerable and in need of protection. Though this process has also fostered a worthy musical bond between Africans and North Americans, it has come at the expense of unfettered economic, artistic and political agency for Zimbabwean musicians and instrument builders who transact their traditional musics internationally. Working towards an anti-oppressive, ethnographic, ecocritical and ecomusicological approach to interpreting the phenomenon of North American Zimbabwean music, this article addresses the proposal that North America could be an archive for scarce authentic traditional Zimbabwean musics." @default.
- W2617457560 created "2017-06-05" @default.
- W2617457560 creator A5025352879 @default.
- W2617457560 date "2017-04-01" @default.
- W2617457560 modified "2023-09-24" @default.
- W2617457560 title "The Sole Mbira: An Ecomusicological Critique of Singularity and North American Zimbabwean Music" @default.
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- W2617457560 doi "https://doi.org/10.3138/topia.37.157" @default.
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