Volume 2, Fall 2024

From the Editors

We are proud to present the second volume of the Journal of Audiovisual Ethnomusicology, which continues to explore the dynamic interplay between music, culture, and multimedia. This collection showcases innovative approaches to ethnomusicological research that expand what we can do in print, emphasizing interactive methodologies, the exploration of sensory experiences, and the complex socio-political worlds within which music exists.

Karen Boswall’s film Karingana Wa Karingana showcases the transformative power of screening and exhibition in Mozambique, particularly focusing on how these practices can shape research methodologies and provoke impactful discussions. By engaging with the exhibition of music and film, Boswall connects Mozambique’s revolutionary heritage to its present-day challenges. This film is not merely about collaborative creation of audiovisual ethnography, but significantly about the ways such audiovisual works are presented and received within the community. Boswall’s approach highlights the role of audiovisual ethnomusicology in documenting and actively participating in cultural and political activism through exhibition strategies.

Lorenzo Ferrarini’s Sonic Devotion captures the acoustic battles over sacred spaces during Catholic pilgrimages in Basilicata, Italy. Ferrarini’s piece, a fine example of sonic ethnography, uses field recordings to sensorially present the conflict between vernacular and institutional religious expressions. Through sounds that transcend the visual, this work challenges the boundaries of ethnographic storytelling, pushing the audience to reconsider the relationship between sound, space, and conflict. Ferrarini’s focus on sound presents a compelling case study on the way that aurality factors in contested religious practices.

Yuri Prado’s Open Gasy examines the challenges a Malagasy musician faces navigating the French world music scene, offering critical insights into the personal and artistic struggles within a globalized musical context. This portrayal adds a highly personal perspective to our understanding of international musical interactions, emphasizing how individual musicians adapt their art in cross-cultural settings while confronting issues such as cultural misrepresentation and the complexities of musical authenticity.

Alice Villela and Hidalgo Romero’s Toré provides a visceral experience of crucial spiritual and communal practices, offering insights into its role in indigenous cultural identity and resistance. This film deeply engages with the spiritual dimensions and community bonds formed through ritual music and dance, cinematically conveying the rhythmic interplay and the intense, embodied nature of ceremony. It showcases the ceremonial practices as a profound expression of community resilience, highlighting the cultural significance and ongoing struggles for recognizing and claiming Indigenous land rights.

Meng Ren’s Forbidden Sound reveals aspect of Hip Hop in China, offering a comprehensive examination that starts from its roots to its complex current manifestations. This piece examines the ways in which Hip Hop serves as both a lived experience and a way of examining modes of communication that articulate resistance. By drawing from two years of direct engagement in the Chinese music scene and extensive ethnographic research, Ren brings to light expressive practice often overshadowed by censorship and societal pressures.

Robbie Campbell’s Dyslexic Ways of Thinking illuminates the intersections of music, cognition, and dyslexia by investigating Chopi timbila xylophone music through an interactive website. Campbell’s nonlinear multimedia work challenges us to reconsider traditional academic frameworks by advocating for a broader acceptance of neurodiversity in musical understanding and scholarly practice. This piece embodies the journal’s commitment to pushing the boundaries of how knowledge is conceptualized and valued in ethnomusicology. The featured conversation between Robbie Campbell and William Cheng highlights the depth of scholarly discourse evoked by Campbell’s exploration of music and dyslexia, underlining the importance of dialogue in advancing our understanding of what audiovisual ethnomusicology can do.

Each film and article in this volume contributes to a broader understanding of music’s multisensory and affective dimensions. They explore how music not only shapes but is shaped by the physical and metaphorical spaces in which it is performed and perceived. This volume challenges us to think critically about the roles of filmmakers and scholars, the impact of technology on traditional music forms, and how music continues to serve as a tool for social change and cultural expression. We invite our readers to engage these works, which collectively encourage a deeper appreciation of the power and complexity of music as a social phenomenon. We hope to expand the scope and impact of ethnomusicological scholarship in a world where the audiovisual is increasingly central to understanding human experiences.

We extend thanks to the Society for Ethnomusicology, whose continued support and guidance have been instrumental in enhancing our journal’s reach and impact. Special appreciation goes to SEM Executive Director Stephen Stuempfle and SEM President Tomie Hahn, whose encouragement has been invaluable. Our gratitude also extends to our dedicated editorial team—Isobel Clouter, Rose Satiko Hikiji, Maria Mendonça, and Dario Ranocchiari—whose commitment and meticulous attention to detail and process have been critical to assembling this volume. Their collective efforts ensure that each edition reflects the high standards and innovative spirit of our community. Continued thanks to Eloise Owen for her assistance with web development. And without the time and attention of out peer reviewers, we couldn’t have done this.

Benjamin J. Harbert

Frank Gunderson

JAVEM Co-Editors

Films