Investigates the significance of a range of digital technologies in
contemporary Indigenous musical performance, exploring interdisciplinary
issues of music production, representation, and transmission.
The essays in this volume offer rich and diverse perspectives on the
encounter between Indigenous music and digital technologies. They
explore how digital media -- whether on CD, VCD, the Internet, mobile
technology, or in the studio -- have transformed and become part of the
fabric of Indigenous cultural expression across the globe. Communication
technologies have long been tools for nation building and imperial
expansion, but these studies reveal how over recent decades digital
media have become a creative and political resource for Indigenous
peoples, often nurturing cultural revival, assisting activism, and
complicating earlier hegemonic power structures. Bringing together
thework of scholars and musicians across five continents, the volume
addresses timely issues of transnationalism and sovereignty, production
and consumption, archives and transmission, subjectivity and ownership,
and virtuality and the posthuman.
Music, Indigeneity, Digital Media is essential reading for scholars
working on topics in ethnomusicology, Indigeneity, and media studies
while also offering useful resources for Indigenous musicians and
activists. The volume provides new perspectives on Indigenous music,
refreshes and extends debates about digital culture, and points to how
digital media shape what it means to be Indigenous in the twenty-first
century.
Contributors: Linda Barwick, Beverley Diamond, Thomas R. Hilder,
Fiorella Montero-Diaz, John-Carlos Perea, Henry Stobart, Shzr Ee Tan,
Russell Wallace
Thomas R. Hilder is postdoctoral fellow in musicology at the University
of Bergen. Henry Stobart is reader in music at Royal Holloway,
University of London. Shzr Ee Tan is senior lecturer at Royal Holloway,
University of London.
