Abstract and Keywords
Decolonization is one of the most pressing issues in ethnomusicology for those working with Indigenous peoples, and one that requires taking personal “response-ability” in order to engage epistemologically, methodologically, and ontologically. But what of the “response-ability” of the discipline? If everyone is in agreement that the colonial history pervades past and present practice, is there not a disciplinary need to decolonize, or at least, to begin to dance toward it? Why is it that decolonizing talk in ethnomusicology remains a whispering that many are too afraid to heed? What kind of discipline is ethnomusicology with/out decolonizing talk, and further, is talk alone enough to decolonize? In this chapter the author adopts a critical race theoretical perspective and story-telling writing approach to explore applied ethnomusicology as decolonizing research practice. It is a narrative that speaks to the philosophical, theoretical, and methodological past and present colonial violence in the stories of the discipline.
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