- List of Contributors
- About the Companion Website
- An Introduction to Music Revival as Concept, Cultural Process, and Medium of Change
- Traditional Music, Heritage Music
- An Expanded Theory for Revivals as Cosmopolitan Participatory Music Making
- Antiquarian Nostalgia and the Institutionalization of Early Music
- A Folklorist’s Exploration of the Revival Metaphor
- A Participant- Documentarian in the American Instrumental Folk Music Revival
- Reviving Korean Identity through Intangible Cultural Heritage
- Music Revival, <i>Ca Trù</i> Ontologies, and Intangible Cultural Heritage in Vietnam
- The Hungarian Dance House Movement and Revival of Transylvanian String Band Music
- National Purity and PostColonial Hybridity in India’s <i>Kathak</i> Dance Revival
- Choreographic Revival, Elite Nationalism, and Postcolonial Appropriation in Senegal
- Revived Musical Practices within Uzbekistan’s Evolving National Project
- Two Revivalist Moments in Iranian Classical Music
- Reclaiming Choctaw and Chickasaw Cultural Identity through Music Revival
- Revivalist Articulations of Traditional Music in War and Postwar Croatia
- Cultural Rescue and Musical Revival among the Nicaraguan Garifuna
- Toward a Methodology for Research into the Revival of Musical Life after War, Natural Disaster, Bans on All Music, or Neglect
- Innovation and Cultural Activism through the Reimagined Pasts of Finnish Music Revivals
- Revival Currents and Innovation on the Path from Protest Bossa to Tropicália
- Bending or Breaking the Native American Flute Tradition?
- Toward an Application of Globalization Paradigms to Modern Folk Music Revivals
- Contemporary English Folk Music and the Folk Industry
- Ivana Kupala (St. John’s Eve) Revivals as Metaphors of Sexual Morality, Fertility, and Contemporary Ukrainian Femininity
- Trailing Images and Culture Branding in Post-Renaissance Hawai‘i
- Grassroots Revitalization of North American and Western European Instrumental Music Traditions from Fiddlers Associations to Cyberspace
- Georgian Polyphony and its Journeys from National Revival to Global Heritage
- Irish Music Revivals Through Generations of Diaspora
- Reviving the Reluctant Art of Iranian Dance in Iran and in the American Diaspora
- Musical Remembrance, Exile, and the Remaking of South African Jazz (1960–1979)
Abstract and Keywords
This article has been commissioned as part of the forthcoming Oxford Handbook of Music Revival edited by Caroline Bithell and Juniper Hill. The external block flute of the indigenous peoples of North America has undergone many layers of cultural transformation since 1879, when the first Indian boarding school opened and the Na-tive flute was no longer part of everyday life. It was not until the late 1960s that the Native flute music revival surfaced, now a public expression of Native American identity. Questions arise, however, as to how far the Native flute can travel and still remain connected to its roots, how “purists” may in fact be involved in the innovation of tradition, and how non-Native performing artists and flute makers raise the issue of crosscultural appropriation. This chapter examines the key roles played by the Native flutists Doc Tate Nevaquaya, R. Carlos Nakai, and Mary Youngblood in the Native flute revival, along with the non-Native flute collector and maker Richard W. Payne, and explores where the Native American flute will go from here.
Keywords: Native American, flute, external block flute, Doc Tate Nevaquaya, R. Carlos Nakai, Mary Youngblood, Richard W. Payne, music revival, Native American identity, innovation of tradi-tion, crosscultural appropriation
Paula Conlon has been studying Native American and world music and dance traditions since the mid-1980s when she wrote her Master's thesis on the Native American flute, followed by a semiotic analysis of 300 Iglulik Inuit drum-dance songs from northern Baffin Island for her doctoral dissertation of 1993. Since moving to Oklahoma in 1996, Conlon has participated in a wide range of Native ceremonials and social gatherings, which she incorporates into her publications, conference presentations, workshops, and classroom teaching. Grounded in extensive personal fieldwork and one-on-one interviews with Native musicians and dancers, Conlon’s publications include articles, book chapters, and entries on Native American flute, Mvskoke (Creek) Stomp Dance, and Southern Plains powwow singing and dancing. Her writings also include articles and entries on various Native composers, performing groups, and music and dance traditions of Northwest Coast, Plains, Eastern Woodlands, and Eastern Arctic peoples. Conlon teaches graduate and undergraduate Native American and world music classes at the University of Oklahoma’s School of Music, along with experiential seminars on Native American music and dance traditions that include sessions with Native performing artists and craftsmen.
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