- 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. This chapter addresses the revival of musical life in places recovering from natural or humanmade disasters such as earthquakes or wars. It argues that every such revival has distinctive attributes based on the local culture and on local artists’ responses to the situation that has necessitated the revival. Scholars need to take these factors into account when developing a research methodology. Through three case studies—posttsunami, postconflict Aceh; posttsunami, postconflict Sri Lanka; and post-Taliban Afghanistan—this chapter explores the ways artists have engaged in reconciliation or recovery efforts, using the arts to help overcome trauma, restore morale, and maintain peace. It also examines the nature of the arts education systems that have been established to cater for the needs of victims of all ages. The chapter concludes by outlining a preliminary methodology for research into musical revivals following major catastrophes, bans, or neglect.
Margaret Kartomi studied music and arts at the University of Adelaide and undertook her doctorate at Humboldt University in Berlin. She has served twice as national president of the Musicological Society of Australia, was director-at-large of the International Musicological Society from 1993–2003, and is professor of music at Monash University. Her publications include over one hundred journal articles and six authored books covering ethnomusicology, Indonesian musics of Sumatra and Java, musical instruments, and youth orchestras. She is on the editorial board of Chicago Studies in Ethnomusicology, Ethnomusicology Forum, Journalof Musicological Research, and Wacana Seni. In 1982 she was elected a Fellow of the Australian Academy of the Humanities and a Corresponding Member of the American Musicological Society in 2001. She was honored for services to Southeast Asian music by the awards of AM (Member of the Order of Australia) in 1991 and the Australian Centenary Medal in 2003.
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