Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. STEVEN FELD

Nettl, Bruno

doi:10.1525/ae.1984.11.2.02a00210

Cited by 28 publications

(45 citation statements)

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“…Since the 1980s, several scholars have advocated a research perspective that takes into account the role of senses and emotions in understanding how social worlds are shaped (de Witte 2011 ;Meyer 2009;Howes 2003;Feld 1991;1982;Stoller 1989). Anthropological writings on the senses initially tended to explore specific sensory domains, such as sound, taste, smell, or touch (cf.…”

Section: Pilgrimage As a Sensory Experiencementioning

confidence: 99%

‘Beyond Words’: Moroccan Pilgrims’ Narrations about Their Ineffable Hajj Experiences through Stories about the Senses

Al-Ajarma¹

2023

Narrating the Pilgrimage to Mecca

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Section: Pilgrimage As a Sensory Experiencementioning

confidence: 99%

‘Beyond Words’: Moroccan Pilgrims’ Narrations about Their Ineffable Hajj Experiences through Stories about the Senses

Al-Ajarma¹

2023

Narrating the Pilgrimage to Mecca

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“…Steven Feld (1991Feld ( , 2001 turned anthropological concerns onto multitrack recording with his sound composition work in Papua New Guinea.…”

Section: Remixing Sounded Anthropologymentioning

confidence: 99%

“…Sound recording was, for me, one prong of a research methodology that combined multiple modes of listening drawn from ethnographic and sound‐based methods to study Gulu's urban environment. Sound ethnographers, folklorists, field recordists, and composers have long emphasized the importance of listening, if at times only implicitly (Hurston 2009, 2018; Feld 1987, 1990, 2016; Feld and Brenneis 2004; Lane and Carlyle 2013; Makagon and Neumann 2009; Oliveros 2005; Rodgers 2010; Schafer 1993; Turnbull 1961). Likewise, listening has always been integral to critical ethnographic methods, if not always robustly acknowledged (a point made by Samuels et al.…”

Section: Process As “Vexed Knots” Of Listeningmentioning

confidence: 99%

Sampling as ethnographic method/remixing Gulu City

Bitter

2022

American Anthropologist

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This article describes the process of producing Gulu SoundTracks, a digital sonic ethnographic project accessible at gulusoundtracks.org, with four Ugandan music producers based in Gulu. The album comprises eight digital audio tracks that tell stories about Gulu musically through the compositional mixing of field soundscape recordings. Using field recordings as samples opened up sampling as a multimodal method for ethnographic storytelling which entails listening that is “vexed” (Weheliye 2005), archival, multiple, and generative. Pointing to insights from the project's creative process, the author explores sound praxis as a modality for amplifying fruitful connections between ethnographic and Afrodiasporic arts traditions. In conversation with others using sound methods in anthropology, ethnomusicology, and digital sound studies, this article stages a dialogue between sound‐based work, critical treatments of Black and Afrosonic cultural production, and experimental ethnography. Sampling as method centers ethnographic imagination and points to critical possibilities field recording holds for anthropological knowledge production.

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“…They can also hold information on the management practices and moral principles to safeguard local ecosystems and particular plants or animals (Reyes-García and Fernández-Llamazares this issue; Turner et al 2013a), such as the ancient Mayans practice of using song to transmit knowledge on how to maintain soil fertility (Capra et al 2017;Wells and Mihok 2010). In many Indigenous cultures, certain words, terms, linguistic expressions, and phrases occur only in sung language and not in spoken discourse (e.g., Feld 1990;Miyashita and Shoe 2009;Turpin 2007). Because of this, songs are also an important repository of language (Crate this issue; Grant 2012a; Turpin and Stebbins 2010).…”

Section: Music As Biocultural Diversitymentioning

confidence: 99%

“…Today, sounds of nature continue to inform, infuse, and inspire the music and singing of many different cultural groups across the world (Feld 1990;Levin and Süzükei 2010;Pegg 2001;Petrovic and Ljubinkovic 2011). Both verbal and non-verbal mimicry of natural sounds are common in songs used in shamanic communication with the spirits governing the natural world (Gutiérrez Choquevilca 2011;Hoppál 2002) or to attract animals during hunting (Sarvasy 2016;Welch 2015).…”

Section: Introductionmentioning

confidence: 99%