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date: 22 February 2019

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

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