Sing Without Shame

Jackson, Kenneth David

doi:10.1075/cll.5

Cited by 43 publications

(7 citation statements)

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“…The following image shows three versions of Jingly Nona with significant melodic matches (in red horizontal parentheses) and attested locations of the song mapped out (music example 13.1). Jackson (1990; correctly demonstrates the presence of "Jingali Nóóna" (a.k.a. "Singele Nona") in the Portuguese Burgher repertoire in 1895, the presence in its text and tune across various parts of the Indian Ocean and in Trincomalee, eastern Sri Lanka, in 1974.…”

Section: The Bail Aspherementioning

confidence: 93%

“…An added twist to this complex trajectory is that the song is, in fact, performed today, notably by the group Burgher Folks, which is mostly made up of younger musicians (Cardoso 2017, slp039_5). Significantly, the words used for the song are based on the Melaka version 26 rather than the similar but different Sri Lankan version as transcribed in Fernando (1895) and recorded and transcribed by Jackson (1990). This "return" of Jingali Nóóna to the Portuguese Burgher repertoire highlights the way that scholarship and recent initiatives appear to have reinvigorated the nodes within the bailasphere leading to present-day exchanges and influence.…”

Section: The Bail Aspherementioning

confidence: 97%

“…CASE STUDY-JINGALI NÓ ÓNA Probably the most well-known illustration of the bailasphere is the song known as "Jingali Nóóna, " which scholars, notably Jackson (1990; and Sarkissian (1995) have treated in some detail (see also Byl and Sykes 2020, 406). The following image shows three versions of Jingly Nona with significant melodic matches (in red horizontal parentheses) and attested locations of the song mapped out (music example 13.1).…”

Section: The Bail Aspherementioning

confidence: 99%

“…Meanwhile, this song is prominent in Macau today and is highly iconic of Maquista creole tradition. A search through the network of folkloric texts shows that around the turn of the twentieth century this particular song-text is present in Diu (Quadros 1907 cited in Cardoso 2018), Sri Lanka (Fernando 1895;Jackson 1990), and as a parody version from Macau (Marques Pereira 1901, 239-43), suggesting the song was The salience of the song in Sri Lanka at the time is evident in its presence as melody and text (being one of the songs included in the Nevill Manuscript compiled in the 1880s and 1890s). The tune is also one of those "quoted" in bars 146-161 of Norbert Rodrigo's 1929arrangement, Ceylonese Dances (reproduced in Ariyaratne 2001, where it is presented along with other káfriinha tunes.…”

Section: The Bail Aspherementioning

confidence: 99%

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Sounding the Indian Ocean: Musical Circulations in the Afro-Asiatic Seascape

2023

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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.

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Section: The Bail Aspherementioning

confidence: 93%

Section: The Bail Aspherementioning

confidence: 97%

Section: The Bail Aspherementioning

confidence: 99%

Section: The Bail Aspherementioning

confidence: 99%

See 2 more Smart Citations

Sounding the Indian Ocean: Musical Circulations in the Afro-Asiatic Seascape

2023

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“…Probably the most well-known illustration of the bailasphere is the song known as "Jingali Nóóna, " which scholars, notably Jackson (1990;2007) and Sarkissian (1995) have treated in some detail (see also Byl and Sykes 2020, 406). The following image shows three versions of Jingly Nona with significant melodic matches (in red horizontal parentheses) and attested locations of the song mapped out (music example 13.1).…”

Section: Case Study-jingali Nó óNamentioning

confidence: 99%

Káfriinha, Kaffringha, and the Bailasphere—Sri Lanka and Beyond

White-Radhakrishnan

2023

Sounding the Indian Ocean: Musical Circulations in the Afro-Asiatic Seascape

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The music begins with the violins of Newton and the youngsters, Angelo and Rushman, as the dancers in each couple turn to each other. Hayed soon beats three beats on the rabáána 2 (frame drum) in a hemiola before launching into the "jungudu-jukkung" 6/8 or 3/2 hemiola rhythm. I am very familiar with this beat.This chapter is based on research conducted on the Documentation of Sri Lanka Portuguese project led by A/Prof. Hugo Cardoso and funded by the Endangered Languages Documentation Programme (ELDP). Massive thanks to the Portuguese Burgher community performers, my research collaborators, and all who gave feedback on earlier versions of this chapter. All errors are my own.

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A History of Afro-Hispanic Language

Lipski¹

2005

196

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The African slave trade, beginning in the fifteenth century, brought African languages into contact with Spanish and Portuguese, resulting in the Africans' gradual acquisition of these languages. In this 2004 book, John Lipski describes the major forms of Afro-Hispanic language found in the Iberian Peninsula and Latin America over the last 500 years. As well as discussing pronunciation, morphology and syntax, he separates legitimate forms of Afro-Hispanic expression from those that result from racist stereotyping, to assess how contact with the African diaspora has had a permanent impact on contemporary Spanish. A principal issue is the possibility that Spanish, in contact with speakers of African languages, may have creolized and restructured - in the Caribbean and perhaps elsewhere - permanently affecting regional and social varieties of Spanish today. The book is accompanied by the largest known anthology of primary Afro-Hispanic texts from Iberia, Latin America, and former Afro-Hispanic contacts in Africa and Asia.

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Sing Without Shame

Cited by 43 publications

References 0 publications

Sounding the Indian Ocean: Musical Circulations in the Afro-Asiatic Seascape

Sounding the Indian Ocean: Musical Circulations in the Afro-Asiatic Seascape

Káfriinha, Kaffringha, and the Bailasphere—Sri Lanka and Beyond

A History of Afro-Hispanic Language

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