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(p. 673) Index
(p. 673) Index
Abdollah, Mirza, 283
Abdullah, Jamal, 377
academia: and ancient music, 78, 82–83;
Bastin’s research on blues tradition in Southeast, 104;
and cultural politics, 102–3;
disaffection with impurity of ancient traditions in, 206;
and hyperglobal perspective, 475;
perception of authenticity in, 20;
and postrevival, 105–6;
recent revival studies in, 107–10;
and revival as paradigm, 101–2;
Rosenberg’s experiences in, 96–99;
and Transforming Tradition, 100–101;
Uzbek musical literacy and, 255, 261–62, 269–72, 273. See also conservatories; education; transmission
accordion clubs, Scottish, 560
Aceh, Indonesia: differences in revivals in, 385;
distinguishing features of revival in, 374;
ethnographic research on, 374;
following Helsinki Peace Agreement, 380–81;
posttsunami revival in, 375–80
activism: central to American folk movement, 492, 506;
legitimization and, 4;
Livingston on revival and, 8;
Adler, Guido, 82
Adorno, Theodor, 141
aesthetization, 46
Afghanistan Institute of Music (ANIM), 383–84
Afifuddin, Afeed, 377
Afifuddin, Maulana, 377
African Sketchbook, 655
“African Space Program” tour, 655–56
Aga Khan Trust for Culture in Afghanistan, 384–85
Aghniashvili, Lado (Vladimer), 577
Akbar, Maulana, 377
Alabama Shakes, 668–69
Ala-Könni, Erkka, 401–2
Alburger, Mary Ellen, 560
alienation, 562
Alizadeh, Hossein, 288
allotment, 446–47
Aloe (NGO), 377–78
“Aman Duniaku Aman” (Secure, my world is secure), 380
amateurs: English folk music resurgence and, 497–98;
and foreign singers of Georgian polyphony, 583;
pelimanni revival and, 401–2
American Folklore Society, 95
American Indian Movement, 448–49
American instrumental folk music revival: assessing, 116–19;
Hollow Rock String Band and, 120–22;
scholar-collectors’ experiences in, 122–29
American student movement, 448–49
American Wake, 602
Anatomy of a South African Village, 654
Anchiskhati Choir, 580
ancient music: as departure for experimental improvisation and personal expression, 404–13;
(p. 674)
Anderson, Robert T., 556
Anderson, Tom, 559
de Andrade, Mario, 423
Andreev, Vasiliy, 257
Anglicism, 207
Anglin, Joe, 125
animation, 244–46
An Sain, 148
Anthology of American Folk Music (Smith), 105–6
anthropology, revitalization theories in, 6–7
antiquarians: fifteenth- and sixteenth-century, 6;
apartheid, establishment of, 647–50
Arabov, Ilyos, 264
Araújo, Guilherme, 429
archives: of Afghan music, 382, 383, 386;
of ancient music, 409;
Archives of Folk and Primitive Music, 96;
Berlin Phonogram Archive, 578;
dissemination and, 25;
founded by Herbert Halpert, 96;
of kantele players, 407–8;
Memorial University of Newfoundland Folklore and Language Archive, 97;
and Recommendation on the Safeguarding of Traditional Culture and Folklore, 142;
repertory and, 662;
of runo-song texts, 396;
Archives of Folk and Primitive Music, 96
Aref Ensemble, 292
Arraes, Miguel, 428
arranged folk music (Uzbek): commonalities of, with traditional music, 272–73;
development of, 256–58;
history of, 254–56;
during post-Soviet era, 262–72;
promulgation of, in Uzbekistan, 252;
sound of, 253–54;
State Conservatory as flagship institution for, 259–62
Asch, Verna, 450
Ashrafiy, Muxatar, 261–62
Askew, Kelly, 233
Asplund, Anneli, 406
Association des Ressortissants de Thionck Essyl (ARTE), 239–41
Aubert, Laurent, 456
audio recordings: and authenticity of early music, 83;
of Choctaw music, 304;
of Chris McGregor and Blue Notes, 656–59;
dissemination through, 26;
of Dollar Brand, 655;
learning music through, 123–24;
of South African jazz, 653;
transcription of, 86
authenticity: accepting, of tradition, 125;
of American folk music, 105;
anxiety over loss of, 165;
authority and legitimacy and, 19–24;
and authority over kathak dance, 220;
of ca trù, 163;
debates over, 117;
early music and, 83;
and emergence of Casamançais regionalism, 241;
emotional, 567;
global hybridity and, 223;
Hawaiian search of, 536;
and historical veracity, 286–91;
of Hungarian dance house movement, 197;
in Hungarian folk music, 197;
hybridity and, 223;
importance of, to revival production, 46–47;
improvement of culture through values based on, 61;
invocation and manipulation of, 8;
of Ivana Kupala, 523;
of Korean intangible cultural heritage, 138–39;
of Latvian music, 471;
Livingston on tradition and, 453;
of neo-traditional Senegalese choreography, 229;
and origin fallacy, 118;
person-oriented criteria for, 20–22;
and processes of professionalization, institutionalization, commercialization, and commodification, 63–64;
process-oriented criteria for, 22–23;
and promotion of folk music, 6;
of public folklore, 105;
quality and, 47;
and rejection of revivalist artists, 620;
reproduction as measure of, 14;
revival processes and cultures as, 6;
and sceptic perspective of globalization, 473–74;
sceptics versus transformationalists and, 477–78;
of Skandinieki, 469;
of South African jazz, 661;
theorizing of, 9;
tradition and, 453;
tradition characterized by, 55;
traditions bound to rules governing, 28;
in Uzbek performance, 270;
authority: authenticity and legitimacy and, 19–24;
in “The Birth of Hawai‘i,” 543;
on traditional Native American music, 301
autoexoticism, 633–35
Autonomy Law (1987), 360
Azizboev, Salohiddin, 271
Bacone College, Native music added to curriculum of, 447–48
Bahianos: alternative path of, 428–30;
background of, 427–28;
and emergence of Tropicália movement, 430–32;
Nara Leão and, 418–20;
as revivalists, 422
Ballgame, Choctaw communal songs and dances as part of, 304–5
Barbieri, Gato, 655
Bartók, Béla, 192
Bastin, Bruce, 104
bát âm orchestra, 175
Baumann, Max Peter: on categories of performing musicians, 449;
on fusion processes, 476;
on revival and cycles of change, 393;
on syncretism model of music revivals, 450–51;
on utopias of past and future, 294
bayadères, 208–10
Bealle, John, 108
Béart, Charles, 230
Beck, Ulrich, 473
von Becker, Reinhold, 397
Belfast Harp Festival, 604
du Bellay, Joachim, 74
Benga, Féral, 231
Benjamin, Walter, 44
Berán, István, 197
Bernardini, Jean-François, 29
Bhabha, Homi, 222
bharata natyam, 634
Bigenho, Michelle, 284
“Big Fish, Small Pond: Country Musicians and Their Markets” (Rosenberg), 98–99
Bigolo (Seck), 231
Biko, Steve, 660
Bilaniuk, Laada, 524
Binkley, Thomas, 83
“bird calls,” 445
“Birth of Hawai‘i, The”: configuration of culture in, 539–44;
embedded in Hawaiian culture, 530–31;
grounded in Hawaiian Renaissance, 532–37;
as Hawaiian mainstay, 544–46;
history and making of, 537–39;
significance of, 546–48
Bitka na Neretvi (Battle of Neretva), 330
“Black History, Black Culture” (Soul Vibrations), 368
Blacking, John, 328
block flute, 443–45
blood heritage, 263–64
Blue Eagle, A. C., 447
Bluegrass: A History (Rosenberg), 99
Bohlman, Philip: on embeddedness, 167;
on historicism, 327;
and musical creativity continuum, 454;
on new symbols in revival, 287;
on revival and community, 426;
The Study of Folk Music in the Modern World, 7
braid, of Yulia Tymoshenko, 513
breakdown, of revivals, 28
Briggs, Charles, 7–8
Britain: Georgian singing in, 587–89;
Britons, ancient, 76
broadcasting, Iranian classical music and, 279–80. See also BBC Radio 2;
“Birth of Hawai‘i, The”; Radio Tehran
Brocken, Michael, 500
Brotherhood of Breath, 659
Brunvand, Jan, 563
Bunting, Edward, 604
Burney, Charles, 78
Butt, John, 13
Cajun and Zydeco Dance Music in Northern California (DeWitt), 107
California Choctaw Gathering, 311–12
Camara, Toumani, 242
Cambridge Folk Festival, 500–501
Camden, William, 78
Canada: instrumental folk music revival in, 128;
and Native relations, 446;
revival dialogue in, 109–10
Cape Bretonish, 54
Carlos, Roberto, 431
Carthy, Martin, 479
de la Casas, Bartolomé, 76
ca trù: etymology of, 165–66;
historical ontologies of, 166–70;
revivalist discourse on, 163–65;
(p. 677)
Ca Trù Thăng Long Theater, 174
Cazimero, Roland, 534
cells, 104–5
Center for the Development of Human, Civil, and Autonomy Rights (CEDEHCA), 364
Center for the Preservation and Propagation of Iranian Music, 281–82
CFA (come from away), 109–10
Chandra, Sheila, 590
change: acceptance for, 19;
in art and cultural production, 141;
causes of, 21;
and Choctaw and Chickasaw music revivals, 318;
constructed through revival, 3–4;
consumption and, 105;
as core of modernity, 55;
cycles of, 393;
and development of revival organizations, 556;
economic, in Hungary, 195–96;
effected by Kathaks, 214–15;
and Garifuna revival, 365–66;
to Indian policy, 301;
and kathak dance revival, 206–7;
versus loss, 354;
of Newfoundland’s folk revival, 97;
politics of, 101;
revival and reconstruction as separate from, 223;
of revivalists, 229;
Slobin on, 450;
survival through, 18;
through transmission and dissemination, 25–26;
traditional music revivals as responses to, 562–66;
Chang Sahun, 138
chant, revival of: following independence, 580–83;
foreign involvement in, 574–75;
internationalization of, 583–89;
and musical transformations and cycles of renewal in Soviet era, 578–80;
overview of, 575–76;
revival and, 573–74;
and transnational affinity groups, 589–93;
Charkh, 639–40
Charles, Terence, 367–68
Chateaubriand, François-René, 78
Chi Ch’unsang, 144
Chickasaw Social Songs and Stomp Dances, 312
Chieftains, The, 611
children: arts therapy for, 378–79, 387n3; assimilation of Native, 446;
English folk music workshops and activities for, 502–3;
and Native flute, 445
Choctaw-Chickasaw Dance Songs, Volumes I and II, 309
Choctaw-Chickasaw Heritage Committee, 306–11
Choctaw Gathering, California, 311–12
Ch’oe Insŏ, 151
Ch’oe Sangil, 144
Cho Kongnye, 144–45
Chŏng Chaeguk, 151
Chongmyo (Royal Ancestral Shrine), 149
Chongmyo cheryeak, 149–50
Ch’ŏngsŏnggok, 151–52
Chŏng Yŏnsu, 137
choral singing, Latvian, 470
Choron, Alexandre, 78
choro roda, 62
Chosŏn wangjo kungjung yori, 141
Chu Hà, 171
church revivals, 117
Cissé, Ousmane Noël, 234
Clancy Brothers, 610–11
classicization: and cultural reclamation, 221;
classification, redefined, 103
Clifford, James, 344
Cohen, John, 102
Cohen, Sara, 339
Coloff, John, 445
comfort, music as, 329–30
commercialization: and English folk music, 491, 492–93, 506;
globalization and, 471–72;
hybridity and, 479;
as necessary aspect of revival, 63–64;
process of, 16–18;
Committee for the Revival of Georgian Church Singing, 577–78
common interest groups. See special interest groups
community/communities: defined, 554;
dilemma posed by idea of, 104;
and Georgian polyphony, 589–93;
Internet special interest groups as, 565;
and Irish diaspora, 614;
conga, 368
conservatories: Honarestan-e Ali-ya Musiqi conservatory, 278;
Open Society Georgia Foundation, 580–81;
pelimanni revival and, 401;
Uzbek State Conservatory, 259–62;
Consolidated Amusement trailer. See “Birth of Hawai‘i, The”
constellations, 554
consumption, 105
contra war (1983-1987), 359–60
Convention for the Safeguarding of Intangible Cultural Heritage, 143
Cooke, Peter, 559
cosmopolitan cultural formations, 64–65
Cozad, Belo, 445
Cram Cook, Nilla, 629
Craven, David, 358
creative process: attributing innovation to, 421;
creativity: and American instrumental folk music revival, 116, 123;
authenticity and, 23;
continuum for musical, 454;
kathak dance and, 219;
opportunities for, through transformation, 17;
and pelimanni revival, 402;
and post-revival turn, 29;
preservation and, 152–53;
rationalized, 454–55;
revivalist activities prioritizing, 11;
Reynolds on slowdown of, 668;
and syncretism, 23;
tradition conveyed through, 547;
Croatian revival: and music as comfort and torture, 328–31;
and postwar articulations of traditional music, 335–43;
and post-war tradition-based popular music, 331–35;
spiritual, 236–38
cross-cultural transmission, 26–27
Csoóri, Sándor, 188
Csűrős Banda, 198–99
cultural change: versus cultural loss, 354;
emotional trauma of, 556;
isolation from conditions causing, 20–21;
kathak dance revival and, 206–7;
as motivator of scholar-revivalists, 6;
pelimanni revival and, 400–404;
and preservation of Korean cultural heritage, 140;
revivals as responses to, 562–66;
cultural exchange, kathak dance revival and, 221–22
cultural formations, cosmopolitan, 64–65
cultural heritage. See intangible cultural heritage
culturalization, and Croatian revival, 338
cultural politics: and American folksong revivals, 102–3, 106;
effects of, on American revival studies, 107–10;
impact of, 107–10;
as inherent in revivals, 101–2;
mobilization of folklore in American, 95;
music-dominated festivals as means for advancing, 99;
of Soviet Union, 471
Cultural Property Preservation Law, 136
cultural society, Croatian, 336–38
custom(s): Communist campaign against Uzbek, 267;
and Ivana Kupala revival, 520;
in posttsunami Aceh, 376;
preservation of Croatian, 327–28;
Cutting, Jennifer, 481
cyberspace-based special interest groups, 554
cycle(s): cultural history as, 119–20;
in Finnish folk music, 393;
of music-cultures, 393;
of revival and Georgian polyphony, 576–83;
Dai Bozhe, 519–20
Đại Lâm Linh, 175–76
dainas, 470
dance halls, and Irish diaspora, 609–10
Dance House Festival, 194
Dance House Guild, 194–95
dance house movement, Hungarian: institutionalization of, 194–96;
integration of activism and scholarship into, 192–94;
interethnic and multistate character of, 187–89;
intimate connection of, to dance, 184–87;
as music and dance revival, 184;
music revival fostered by, 196–200;
overview of, 182–84
đàn đáy, 169
Daniel Sorano Theatre, 233
đào nương, 168
Đào Trọng Từ, 164
Dávila, Arlene, 544
de Andrade, Mario, 423
decapitation ceremony, Croatian, 327
decline, musical: in Aceh, 375–81;
in Afghanistan, 382–85;
conclusions on revivals following, 385–87;
following human and natural disasters, 12;
indicators of, 373;
literature on revivals in societies suffering or recovering from, 373–75;
in Sri Lanka, 381
decontextualization: dissemination through, 25;
freedoms provided by, 394;
malleability through, 434;
preservation through, 4;
de Graça, Maria, 418–20
dehumanization, music as tool of, 330–31
de la Casas, Bartolomé, 76
de la Halle, Adam, 89
Đeletovci, 338–40
de Mello, Jack, 537
Densmore, Frances, 446–47
Desmond, Jane C., 621
“Detroit Schottische,” 127
devadasis, 208–10
de Valera, Éamon, 608
development organizations, folk, 502–4
De Vos, George, 563
De Warren, Robert, 634
DeWitt, Mark F., 107
Diatta, Aline Sitoe, 241
“Did Your Mother Come from Ireland” (Kennedy and Carr), 603
Dillion, Quincy (“Quince”), 119
Diouf, Abdou, 238
disasters. See decline, musical
dissemination: of bossa nova, 424;
changes in nature of, 24–27;
of Choctaw communal dance songs, 309;
of English folk music, 501–2;
of fiddling, 126;
of Georgian polyphony, 579;
methods and infrastructure for, 4;
of revived art forms, 219;
of runo-song, 398–99;
of samba-song, 423;
transformation and, 18;
of Uzbek traditional music, 258;
of Zimbabwean popular music, 473
doers, shift from knowers to, 47–51
do Vale, João, 426
Drayton, Michael, 75
Dryden, John, 80
du Bellay, Joachim, 74
Dubliners, The, 611
Dulsori, 147
Dungan, James, 560–61
Dung Linh, 175
Duprat, Rogério, 430
Durkeim, Emile, 556
Dvořák, Antonín, 447
Early Music: defined, 73;
and postindustrial university, 82–83;
revival of, 73–74;
use of term, 81–82
Early Music Movement, 287
economic change: of Choctaws and Chickasaws, 318;
impact of, Hungarian dance house movement, 195–96;
and Senegalese cultural revival project, 237–38;
Edinburgh Strathspey and Reel Society, 560
education: and Casamançais regionalism, 240, 241;
fiddling in Shetland, 559;
“grandparent,” 119–20;
of Indian cultural reformers, 221;
music in American, 69;
and
(p. 681)
rise of postindustrial university, 81–83. See also academia; conservatories; transmission
Edwards, K. D., 450
“Eggs and Marrowbones,” 127
electric folk fusions, 471–72
Elizabeth I, Queen, 608
Engels, Friedrich, 55
English folk music resurgence: competitions and folk development organizations and, 502–6;
festivals and, 495–99;
historical context of, 490–95;
media and, 499–502;
environment of revival, 16–17
epic songs, Romantic nationalist transformation of Finnish, 396–400
“É proibido proibir” (Veloso), 431–32
Erwinsyah, Edy, 379
ethnicity: and adoptive cultural identity, 562–63, 567;
authenticity and, 118;
bolstering, as motivation for revival, 11;
bridging, through Choctaw and Chickasaw dance, 311;
Chetnik and Ustasha nationalistic movements and, 330;
classification by, in Croatia, 340–41;
and Croatian identity, 327;
dance as constitutive of, 621;
and development of Uzbek arranged folk music, 257–58;
and Hungarian dance house movement, 187–92;
hybridity and, 480;
in Ivana Kupala, 522–23;
and Latvian identity, 470;
movement systems constitutive of, 621–22;
as person-oriented criterion for authenticity, 21;
and Senegalese neo-traditional performance, 235;
ethnic purity: as person-oriented criterion for authenticity, 21–22;
ethnomusic, Croatian, 333–35
ethnomusicology: and alterations to Ukrainian tradition, 521;
defined by Study Group for Applied Ethnomusicology of the International Council for Traditional Music, 373;
and history of revival scholarship, 8;
and Hungarian dance house movement, 191;
and political significance of collected musical folklore, 523–26;
and postindustrial university, 82;
views on musical fusion processes in, 471–72
Europe: development of folk music in, 47–50;
Dollar Brand and Bea Benjamin leave for, 649–50;
South African exile to, 646–47;
South African jazz in, 650–52;
thick globalization and revival in, 467–68;
traditional dance music communities in, 556–57. See also Britain; Croatian revival; Finland; Georgian polyphony; Hungarian dance house movement; Ireland; Ivana Kupala, St. John’s Eve (Midsummer’s Eve) (Latvia)
L’Exil d’Alboury (Ndao), 236
“expansive globalization,” 467
experimental improvisation, ancient music as departure for, 404–13
Farhat, Shahin, 286
Fauchet, Claude, 78
Fayaz, Mohammad Reza: on Borumand, 289, 290;
on historical purity, 291;
and influence of Western musicologists, 285–86;
on return to fundamentals of purity, 284;
on revival of Iranian classical music, 281
Feis Ceoil, 607
festivals: American instrumental folk music, 129–30;
Belfast Harp Festival, 604;
Croatian folklore, 341–43;
economic impact of, 496–99;
Finnish folk, 395;
in post-Soviet spaces, 512–13;
and shift from knowers to doers to marketers, 50;
transmission through, 26. See also Cambridge Folk Festival; Ivana Kupala, St. John’s Eve (Midsummer’s Eve) (Latvia); Kaustinen Folk Music Festival
Fiddler Magazine, 129
fiddling. See American instrumental folk music revival; fiddling communities and associations; pelimanni music; Sligo fiddlers
fiddling communities and associations: from eighteenth century on, 559–62;
emergence of, on Internet, 552–55;
Internet, as real communities, 565;
and new steady state phase of cultural revitalization, 555–57
Filene, Benjamin, 8
Finland: ancient music as departure for experimental improvisation and personal expression, 404–13;
pelimanni music and rejuvenation of rural culture, 400–404;
Romantic nationalist transformation of epic songs, 396–400
fishing rituals, Korean, 148
Fishman, Joshua, 669
Flatley, Michael, 612
“Flop-Eared Mule” tune, 127
flute. See Native flute
Flute Songs of the Kiowa and Comanche (Ware), 450
Fodor, Sándor “Neti,” 198
FolkArts England conference, 489
Folk Arts Panel, 449–50
folk development organizations, 502–4
Folk Industry and AFO Conference, 489
Folk Industry and Association of Festival Organisers Conference, 505–6
folklife movement, 105
folklore: collection of Irish, 607;
dance as form of, 624;
development of academic, 564;
documentation of Korean, 137;
ethnomusicology and political significance of collected musical, 523–26;
growth of public, 105;
historical-reconstructional approach of Asian, 137;
preservation of Vietnamese, 162;
primary and secondary, 575;
revival of, 101;
and theory of cultural evolution, 6;
urban folk revivalism and, 563
folklorismus, 564
folk music: American, 448–49;
authenticity and, 21;
and change from tradition to heritage, 52–54;
concept of, 47;
consumption of American, 105;
defining, traditions, 16;
development of, in Europe, 47–50;
early music and, 84–89;
ethnic purity associated with, 11;
folklore and revival of, 95–99;
and heritagization, 53–55;
Irish, 560–61;
issues surrounding contemporary, 102;
Korean, 141;
landscape of, 51–52;
mediaization of, 49;
nineteenth-century collection of, 6;
popularization of, 48;
post-revival, 105–10;
preservation of, 559;
professionalization of, 50;
rebranding contemporary interpretations of, 26;
recontextualization in, archetype, 16–17;
recording of Hungarian, 194;
in regions of former Soviet Union, 474;
and rejuvenation of rural culture, 400–404;
resurgence in English, 28–29;
structural changes in, 51;
as symbol of national identity, 474;
Vietnamese, 165. See also American instrumental folk music revival; arranged folk music (Uzbek); English folk music resurgence; traditional music
Folk Music Movement (Finland), 395
“Folk Music Revival in Europe” (World of Music), 8
folk songs: Georgian, 576, 577, 578, 580, 582–83;
preservation of Korean, 143–45;
Romantic nationalist use of Finnish narrative, 396–400;
Sharp’s definition of, 490
Folksongs and Folk Revival (Guigné), 109
food, preservation of Korean court, 141
foodways, study of, 105
Ford, Henry, 557–58
Ford Foundation teaching program, 173–74
Forsyth, Megan, 54
Forte, Maximilian, 354–55
Frank, Robert, 102
free jazz movement, 647
Freeland, Jane, 360–61
Freire, Paulo, 358
French-Canadian folk songs, 85–89
Frente Única, 430–31
Frisbie, Charlotte, 102
funeral songs, Korean, 140
fusion and fusion processes, 197–98, 471, 476;
Baumann on, 476;
bossa nova and, 423–24;
of choro with jazz and rock, 66;
Finnish music and, 405;
and Hungarian dance house movement, 197–98;
Iranian dance and, 631–632;
and Ivana Kupala revival, 522;
Laurent Aubert on, 456;
Fuzzy Mountain String Band, 121–22
Gaelic Athletic Association, 605–6
Gaelic League, 606–7
Galeano, Eduardo, 358
Gambacc, 241
Garifuna cultural rescue: Afrocreolization and culture loss and, 355–57;
characteristics of, 352–55;
and dialogic space between Creoles and Garifunas, 363–69;
trajectory of, 357–63
Garmarna, 480
Gaultier, Juliette, 88fig.
Gedutis, Susan, 606
Georgian Harmony Association, 589
Georgian polyphony: following independence, 580–83;
foreign involvement in, 574–75;
internationalization of, 583–89;
and musical transformations and cycles of renewal in Soviet era, 578–80;
overview of, 575–76;
revival and, 573–74;
and transnational affinity groups, 589–93;
transnational connections and, 593–95
(p. 684)
Gertze, Johnny, 649
Gibbon, John Murray, 89
Gilliland, Henry, 566
Gillis, Verna, 450
Ginsberg, Allen, 102
“Girl with the Blue Dress On,” 127
globalization: analysis of historical development of, 466–67;
application of perspectives on, 477–82;
combining perspectives on, 482;
commercialization and, 471–72;
defined, 466;
effect of, on Indian performing arts, 206;
and Hungarian dance house movement, 196–97;
hybridity and, 479–82;
hyperglobal perspective, 474–75;
identity bolstering motives linked to, 11;
and Latvian revival, 469–71;
of local products, 46;
post-revival and, 30;
and revival in Europe, 467–68;
of revivals and related movements, 62–63;
sceptic perspective, 473–74;
and shift from tradition to heritage, 54;
“thin globalization,” 467;
as threat to Vietnamese intangible cultural heritage, 162;
transformationalist perspective, 475–77;
Goldblatt, David, 466–67
Goldstein, Kenny, 100
Gonazalez, Clarence, 364
Gone to the Country: The New Lost City Ramblers and the Folk Music Revival (Allen), 109
Good News from Africa (Ibrahim), 656
Gordela, 579
Gore, Georgiana, 622
Gottlunch, Carl Axel, 397
Gow, Niel, 560
Grabar, Oleg, 626
de Graça, Maria, 418–20
Grammy Awards, 459
Grančica, 338–40
Grand Apartheid, 648
grandparent education, 119–20
Green, Archie, 100
groundnut farming, 242
Guava Jam, 533–34
Guigné, Anna Kearney, 109
Guilbert, Yvette, 89
Gulashvili, Malkhaz, 593
Guran, 639fig., 640
Guss, David M., 621
Gwangwa, Jonas, 649
Hahn Man-young, 151
Hahoe mask dance drama, 138
Hainari, O. A., 406–7
hair, of Yulia Tymoshenko, 513
Hall, Stuart, 594
de la Halle, Adam, 89
Hamba Kahle/Confluence, 655
hanbok, 141
Hannerz, Ulf, 594
Harkin, Michael, 350
harp societies, Irish, 561
Hassan, Marzuki, 376
hát chơi, 166–67
hát cô đầu, 166–67
hát nhà tơ, 166–67
hát nhà trò, 167
hat nói, 170
hát thi, 167
Hawaiian, as ethnic group, 531–32
Haynes, Bruce, 84
Held, David, 466–67
Helsinki Peace Agreement (2005), 380–81
Henry, Edwin O., 561–62
Herat, Afghanistan, 382
heritage: American and European usage of, 59n5;
authenticity of Croatian local, 341;
Brazilian, 422;
Canadian, 109;
Chickasaw, 316–17;
and cultural error, 14;
cultural imperialism and, 574;
endangered, 581;
exalting ancient, 11;
history and, 163;
and Iranian dance in diaspora, 636;
and Irish diaspora, 611;
of maqom traditions, 258;
modernity and, 56;
music as, 55;
production of, 56;
protection of, from exploitation, 21;
Uzbek national musical, 255, 256, 263–64. See also Choctaw-Chickasaw Heritage Committee; intangible cultural heritage
heritagization, 53–55
Hernandez, Bharath, 354
Herzog, George, 96
Heywood, J., 491
Higher Institute of Brazilian Studies (ISEB), 425
Highwoods Stringband, 109
Hill, Derek, 626
Hinton, Leanne, 669–70
Historic Cities Program, 385
historization, in revival production, 46
history: of African American musicians, 653;
becoming part of, through revival, 69;
of Berkeley folk scene, 108;
cyclical patterns of cultural, 119–20;
heritage and, 163;
of Hungarian dance house movement, 184–87;
of Hungarian folk music, 197;
of Iranian classical music, 277–80;
musical and choreographic theatre and creation of seductive versions of, 229;
reconfiguring identity and, 27;
reissues and, 103;
of scholars’ involvement in revival processes, 5–6;
of Upland South, 123;
Hodjaeva, Ro’zibi, 272–73
holders, of culture, 137–39
Holladay, Stella, 124
Holland, Jerry, 118
Hommes de la Danse, Les (Huet & Keita), 237
Hsu, Francis L. K., 566
Huet, Michel, 237
hukai pō, 540
hula: position of, before Hawaiian Renaissance, 533;
and reclamation of Hawaiian culture, 535–37;
taught in Hawaiian universities, 534;
Human Cultural Properties, 137
humanness, music and, 330–31
Hungaraton series of Hungarian folk music, 197
Hungarian Academy of Science’s Musicology Institute, 194
Hungarian dance house movement: institutionalization of, 194–96;
integration of activism and scholarship into, 192–94;
interethnic and multistate character of, 187–89;
intimate connection of, to dance, 184–87;
as music and dance revival, 184;
music revival fostered by, 196–200;
overview of, 182–84
Hurricane Katrina, 374
hybridity: authenticity and, 22, 223;
and English folk music resurgence, 493;
financial impact of musical, 481;
Iranian national dance and, 628;
and “new aesthetic,” 16;
hypermedia, 475
identity: adoptive cultural, 562–63, 567;
Bahiano, 428;
bolstering, as motivation for revival, 11;
Chickasaw communal dance songs and, 316–17;
Choctaw communal dance and, 311;
and Croatian revival, 326;
defining Native cultural, 301;
destabilized by moments of crisis, 434;
and development of Uzbek arranged folk music, 257–58;
folk music as symbol of national, 474;
Garifuna, 350–51;
Georgian polyphony and, 579;
globalization as threat to, 470;
Hawaiian, 531–32;
Indian, 207–8;
Iranian dance and, 618;
Ivana Kupala and ethnic, 524;
kathak dance revival and, 222;
movement systems constitutive of, 621–22;
nature of gender, 511;
negotiation of Irish, 603;
preservation of Iranian, 284–85;
reassertion of Choctaw and Chickasaw, 318–19;
revival and reclaiming indigenous cultural, 300;
of revival participants, 511;
and shift in Uzbek nationalism, 262–64;
and South African jazz, 645;
Ilinskaja Pjatnica, 482
improvisation: ancient music as departure for experimental, 404–13;
in art therapy, 378–79;
creativity and, 23;
in Early Music performances, 84;
and Hungarian dance house movement, 184;
in Iranian classical music, 283;
musicking and, 483;
in participatory music, 67;
Stravinsky on, 290
India. See kathak dance and revival
Indian Flute Songs from Comanche Land, 450
Indianists, 447
Indian Removal Act (1830), 303
indigenous resurgence: Forte on, 354–55;
of Korean intangible cultural heritage, 136;
and metaphor as means of understanding processes and dynamics, 63. See also Chickasaw; Choctaw; Garifuna cultural rescue; Native flute
innovation: authenticity and, 23–24;
and Brazilian modernism, 423;
causes of, 435;
and Finnish ancient music, 404;
and Hungarian dance house movement, 199;
importance of, 267;
influences appearing as, 17;
introduced into folklore, 257;
Lönnrot and, 397;
protest bossa nova and, 425;
resistance to, 12;
revival resulting in, 5;
and study of participatory aspects of revivals, 68;
valued by Soviet institutions, 266
(p. 687)
institutionalization: of Early Music, 73–90;
effects of, 45;
of English folk and traditional music, 504;
of Hungarian dance house movement, 194–96;
of Indian classical dance genres, 210–11;
as necessary aspect of revival, 63–64;
process of, 16–18;
transmission through, 27;
intangible cultural heritage: ca trù as, 160, 161–65;
global perspectives on, 142–43;
Korean court music as, 149–52;
Korean folk songs as, 143–45;
Korean percussion bands as, 145–47;
Korean shaman rituals as, 147–49;
preservation of, 135;
intentional fallacy, 118
interculturality, 351
International Center for Georgian Folk Song (ICGFS), 582–83
International Centre for Music Studies (ICMuS), 504
International Council for Traditional Music, 140
internationalism, and Uzbek arranged folk music, 267–69
International Music Conference (1961), 286
International Native American and World Flute Association, 452
International Research Center for Traditional Polyphony, 581–82
Internet: dissemination through, 27;
emergence of fiddling and traditional dance music communities on, 552–55;
English folk music resurgence and, 501–2;
hypermedia and, 475;
impact of, on revival, 551–52;
and Irish music and dance revival, 614;
special interest groups on, as communities, 565;
traditional music organizations on, 556–57
interpretive archaeology, 12–13
Iranian classical music: first revivalist movement in, 280–85;
and historical veracity, 286–91;
implications of revivalist movements in, 294–95;
influence of Western musicologists on, 285–86;
musical modernizers in, 277–80;
second revival movement in, 291–94
Iranian dance: and autoexoticism, 633–35;
and choreophobia, 626–27;
conceptual approaches to, 621–23;
in diaspora, 630–31;
first known performances of, outside Iran, 632–33;
historical and cultural background of, 623–24;
national dance, 627–30;
new vision of, 638–40;
regional folk dance, 624–26;
“revival” and “revivalists” in context of, 619–21;
solo improvised dance, 626;
and state folk dance ensemble model, 635–38
Iranian National Ballet, 629
Iran National Folklore Organization, 630
Ireland: characteristics of Irish music, 603–4;
Georgian singing in, 587–89;
history of emigration from, 600–601;
as homeland, 599–600;
images of, 602;
isolation of, 599;
Irish diaspora: history of, 600–601;
loss through, 601–2;
and perceived life of homeland, 599–600;
performance of Irishness in, 608–14;
revival and, 604–8
Irish Melodies (Moore), 605
Irish tenor, 605
Ivana Kupala, St. John’s Eve (Midsummer’s Eve) (Latvia): ethnomusicology and political significance of, 523–26;
following Ukrainian independence, 517–19;
government sponsorship of, 512–13;
in Kharkiv, 521–23;
in Kyiv, 519–21;
political and social symbolism associated with, 514;
Jackson, Bruce, 84
Jamal, 638–39
James, Simon, 474
Jamo Jamo Arts, 247
Järvelä, Mauno, 404
Jászberény Camp, 194
Jeu de Robin et Marion (de la Halle), 89
Jobin, Tom, 424
jongleurs, 86
Jordania, Joseph, 587
Kangnŭng tanoje, 147
Kangnyŏng mask dance drama, 138
Kang Sanggi, 137–38
Kanté, Facelli, 232
kantele players, 406–8
kaona, 539–40
Kartuli Khoro, 577
Kashgar rubab, 261
Kathakas, 217–19
kathak dance and revival: characteristics of, 220–21, 222;
in context of Indian independence and nationalism, 207–11;
cultural exchange and, 221–22;
description and history of, 211–13;
overview of, 205–7;
roots and histories of, 213–15;
social class and, 220
Kathaks: as authorities of kathak dance, 216, 220;
caste shift of, 214–15;
identity shift of, 222;
as story-tellers, 218
Katrina, Hurricane, 374
Kaustinen Folk Music Festival, 400–401
Kavkasia, 585–86
Keawe, Lia, 542
Kelemen, László, 193
Kéti, Zé, 426
Khaleqi, Ruhollah, 278
Kihune, Heali‘i, 543
Kim, Chongho, 148
Kim, Yong Woo, 144–45
Kimble, Taylor, 123–24
Kim Kŭmhwa, 148
Kim Sŏngjin, 151
Kim Taerye, 148
Kim Yŏlgyu, 147
King Arthur (Dryden), 80
klezmer music, 54
Klymenko, Iryna, 525
knowers, shift of, to doers, 47–51
Koch-e-Kharabat school, 385
Kodály, Zoltán, 192
Kodoba family, 198
Kokil Music College, 384
Korea. See South Korea
Koridze, Pilimon, 578
Koskoff, Ellen, 28
Koutsouba, Maria, 622
Kurdish music, influence of, on Iranian classical music, 292–93
Kürti, László, 189
Kyhälä, Jouko, 412
Kyiv, Ukraine, Ivana Kupala in, 519–21
“Lady of the Lake,” 126
Lake, Ma‘iki Aiu, 534
Lakota flute songs, 445
language revitalization, 669–70
Latvia: adaptation of performance techniques of Russian minorities in, 482;
globalization and revival in, 469–71;
hybridity and, 481
Lê Đức Mao, 168
legitimacy: authenticity and, 8, 28, 45, 223, 301, 394;
authenticity and authority and, 19–24;
and cultural change, 393;
and emergence of Casamançais regionalism, 241;
of English folk music, 507;
of folk orchestral performance as academic pursuit, 270;
in Georgian polyphony, 592;
hybridity and, 16;
of post-colonial elites, 229;
and promotion of revival materials, 26;
of protest bossa nova, 420;
recognition of past as source of, 12;
in revival, 4
Lengyel, László “Türei,” 198–99
Leupp, Francis, 447
Liedes, Anna-Kaisa, 411
Lieurance, Thurlow, 447
Lindberg, Ulf, 20
Linich, Carl, 585–86
List, George, 96
literacy: of Canadian jongleurs, 86;
fetishization of musical, 259;
of Gascogne peasants, 79;
importance of musical, 255;
nostalgia and, 90;
Soviet valorization of, 262;
at University of Tehran, 282;
Uzbek musical, 269–72;
Living Hungarian Folk Music, 197
Livingston, Tamara: on authenticity, 284, 287;
on authenticity and tradition, 453;
on core revivalists, 525;
on ideologies in North America and Western Europe, 9;
on popular culture component of revivals, 451;
on preservation and innovation, 292;
on purpose of revival, 393;
on revival, 280;
on revival and modernity, 283;
and revival as activism, 10;
on revival breakdown, 28;
on revival musics, 608;
on tradition, 446
Lloyd, A. L., 477
localness, 545
Lopez, Frank, 351
loss: following war and natural disasters, 331, 339;
grandparent education and, 119–20;
of Iranian identity, 293;
of Iranian musical tradition, 284;
of Latvian identity, 470;
nostalgia and, 274;
of Ukrainian tradition, 521;
of Vietnamese cultural identity, 162, 165. See also Croatian revival; decline, musical; Garifuna cultural rescue; natural disasters; war
love, as theme in Native flute songs, 457–58
love flute, 445
Lundberg, Dan, 476
Lysloff, Rene T. A., 552
Määtälä, Viljo, 400
MacColl, Ewan, 477
Mackinnon, Niall, 13
Mahalli Dancers, 630
Muktupāvels, Māris, 471
Manding Mousso, la Révolte de la Femme Mandingue (Camara), 242
Mané, Fodé, 247
Martins, Carlos Estevam, 425
Marušić, Dario, 334
Maryna, 515–16
Masekela, Hugh, 649
Mather, Cotton, 117
MBalia, 243
Mbaye, Alioune, 231
McGregor, Chris: on conscious South Africanism, 644;
education of, 648;
on life outside of South Africa, 650;
Medaglia, Júlio, 430
media: English folk music resurgence and, 499–502;
and evolution of musical movements, 434;
and growth of bossa nova, 424;
mediaization, of Swedish folk music scene, 49–50
mediated intimacies, 512
medieval music. See early music
Meeker, Lauren, 165
Meftahi, Ida, 628
Meili, Max, 83
Melnyk, Taras, 525
Melucci, Alberto, 328
Memorial University of Newfoundland Folklore and Language Archive (MUNFLA), 97
memory, and South African jazz, 661–62
Merriam, Alan P., 96
metonymy, 44
Meusare-sare (Working together), 377–78
Meyer, Paul, 650
Mills, Joan, 590
Ministry of Development and Reconstruction (Croatian), 336
minstrel shows, and Irish diaspora, 608–9
Miskitu, 360
mobility, revival and transnational, 246–48
modernity: authenticity and, 287;
effect of, on Indian performing arts, 206;
and Iranian classical music, 277–80;
motion of, 55;
revivals as reaction against and product of, 283;
Moiseyev Dance Company, 635
Mo Manhwa, 137
Moon, Peter, 534
Moore, Thomas, 605
Moray, Jim, 494
Muminova, Mehrihon, 264
Munaf, Sherina, 376
Munro, Ailie, 560
Muravskyi Shliakh, 522
musical literacy, Uzbek, 269–72
music camps, Irish, 612
“musicking,” 483
“Music Revivals: Towards a General Theory” (Livingston), 60, 61–66, 101, 660–61. See also revival model of Tamara Livingston
musiqi-ya ’elmi, 279
Musique ancienne (Landowska), 81
“Muxamassi Nasrulloi,” 271
MySpace, 501
Nadel, Siegfried, 573
Naficy, Hamid, 637–38
Najafi, Najmeh, 633–34
National Academy of Ballet, 629–30
National Ballet, Senegalese, 234–35
National Indian Youth Council, 448–49
nationalism: and compilation of epic poetry, 11, 395, 396–97;
and development of Uzbek arranged folk music, 257–58;
globalization and, 474;
and history of arranged folk versus traditional music in Uzbekistan, 255–56;
and Hungarian dance house movement, 187–89;
kathak dance revival in context of Indian, 207–11;
Latvian, 482;
nostalgia and, 273–74;
shift in Uzbek, 262–64;
and Uzbek folk orchestras as agents for international understanding, 269. See also ethnicity; patriotic songs, Croatian; patriotism, and English folk music resurgence
National Literary Society, 606
Native American Music Awards, 453
Native Americans: Civil Rights movement and, 300–301;
constraints placed on, 300;
music and dance revivals of, 301–2;
Native flute: non-Native involvement with, 459–62;
overview of, 442–43;
during postrevival period, 453–59;
during prerevival period, 446–49;
during revival period, 449–53;
Native flute circles, 456–57
natural disasters: ethnographic research on, 374;
nautch girls, 209–10
Nazemi, Abdollah, 630
Ndao, Cheikh Aliou, 236
Neal, Mary, 491
“Ne dirajte mi ravnicu,” 329
Negra, 368–69
Nelipolviset, 406
Newcastle University, 504
New Criticism, 118
New Living Village Music recordings, 197
New Music Manifesto, 430
New Zealand, Irish immigrants in, 600–601
Nghệ Thuật Ca Trù, 171–72
Ngọc Đại, 175
Ngô Linh Ngọc, 171
NGOs, 377–78
Nguyễn Thị Chúc, 173
Nguyễn Thị Phúc, 170
Nguyễn Văn Ngọc, 170
Nguyễn Xuân Khoát, 170–71
Nicaragua. See Garifuna cultural rescue
Nicaraguan Afro-Garifuna Organization (OAGANIC), 361–62
99 Georgian Songs (Garakanidze), 587–88
non-government organizations, 377–78
Nordstrom, Byron J., 556
nostalgia: and “The Birth of Hawai‘i,” 544;
and Iranian classical music, 284;
and Iranian dance in diaspora, 630;
and mobilization of past, 13;
patriotic Vietnamese, 163;
and preservation of Korean cultural heritage, 136;
and revival in post-Soviet spaces, 511–12;
and Uzbek arranged folk and traditional music, 273–74
notation: publication of, as dissemination, 25–26;
Nova Bossa Velha, Velha Bossa Nova, 418
Novák, Ferenc, 186
Ntshoko, Makay, 649
Nyanyian Tsunami (Tsunami Song), 376–77
Obando Sancho, Victor, 353
objectification: and Iranian classical music, 283;
as necessary aspect of revival, 219;
production of, 45
Observer Effect, 124
Okamura, Jonathan, 545
Old Fiddlers Association, 557
Old-Time Music and Dance (Bealle), 108
Old Time News, 129
omasta päästä, 408
“On Building and Developing a Progressive Vietnamese Culture Rich in National Character” (Vietnamese Communist Party), 162
O’Neil, Francis, 560–61
origin fallacy, 118
Ortega, Daniel, 358
O’Toole, Fintan, 615
Out of Place (Said), 644
outsiders: ethnic, 22;
and Hawaiian culture, 547–48;
legitimacy and, 394;
role of, in revivalist projects, 343–44
“Over the Waterfall,” 127–28
ox decapitation ceremony, Croatian, 327
O’zbek Halq Musiqasi, 258–59
Pachanga, 239
Pacheco, Johnny, 239
Pahlavi, Mohammad Reza, 278
Pak Pyŏngch’ŏn, 148
Palacio, Andy, 359
parallel traditions, 622
Pareles, Jon, 669
Pars National Ballet, 630
Park, Mikyung, 148
Park Chung Hee, 136
Parker, Logan, 305
Parry, C. Hubert H., 491
participation: in choro revival, 62;
consideration for, 60–61;
face-to-face, 64;
motivation for revival, 65;
observation and, 116–31;
significance of, 66–68
participatory music, significance of, 66–68
Pashofa Dance, 313
past: ancient, in “The Birth of Hawai‘i,” 540–41;
appropriation of, to reshape cultural environment, 29;
borrowing from, 394;
Croatian revival and appropriation of, 344–45;
as danger to future of music culture, 668–69;
Georgian polyphony as restoration of, 590;
illusion of continuity between present and, 229;
mobilization of, 12–15;
movement to present from, 119;
nationalism and connection to, 263–64;
presence of, 287;
and present in Croatian folklore, 335;
reconstruction and validation of, in Hawaiian Renaissance, 541;
representations of, 11;
revival as drawing upon, 5;
transferring musical elements from, 4;
Pávai, István, 193
Peacock, Kenneth, 109–10
“Peekaboo Waltz,” 127
percussion bands, preservation of Korean, 145–47
performance: and academic status, 270;
Chickasaw cultural identity through, 316–17;
of Choctaw communal dance songs, 309–10;
goals of, in post-Soviet Uzbekistan, 267–68;
hybridity and, 480–81;
of Irishness in diaspora, 608–14;
of Istrian ethnomusic, 334–35;
as means of discovery for new audiences, 501;
new teaching contexts’ impact on, 173–74;
pelimanni revival and amateur, 401–2;
as representation of music, 49–50;
revival of, as medium of post-colonial elites, 229;
shift from participatory to presentational, 16–17;
“performance approach,” 98–99
Pernambuco, Brazil, 428–29
Perraton, Jonathan, 466–67
personal expression, ancient music as departure for, 404–13
Petrie, George, 561
Pham Duy, 170
Phó Đình Kỳ, 171
Pickens, Bienum, 307
Picts, 76
Pilzer, Joshua, 339
place-based special interest groups, 554
Plains flute, 443–45
politics: authenticity and, 20;
and Casamançais regionalism, 246;
Choctaw and Chickasaw self-determination and, 303;
and English folk music resurgence, 494;
Georgian, 580–81;
Hawaiian assimilation, 535;
and kathak dance revival, 214;
Kaustinen Folk Music Festival funding and, 401;
and protest song movements, 23;
of “revivalist” in United States, 109;
and revival performance in Senegal, 230–37;
Tamil artistic revival and, 381;
Tropicália movement and, 431;
“Politics of Culture: Folk Critique and Transformation in the State of Hungary, The” (Taylor), 188
polyphony. See Georgian polyphony
“Pongjiga,” 145
Popular Center for Culture (CPC), 425–26
popular music, Croatian post-war tradition-based, 331–35. See also bossa nova; protest bossa nova; Tropicália movement
post-processual archaeology, 12–13
post-revival, 28–30;
ca trù and, 176;
choro revival and, 66;
conceptualization of, 9;
defined, 4;
Finnish revival activities in, 395;
folk music and, 105–6;
and Hawaiian culture, 545;
innovation and, 23–24;
Iranian, 295;
and Iranian classical music, 294–95;
and Korean folk culture, 152;
and new steady state phase of cultural revitalization, 555–58;
and notion of continuum, 16;
recent studies, 107–10;
stage following, 666;
understanding development of, culture, 566
(p. 694)
present: dissatisfaction with, as motivation for revival, 3–4, 10–11;
and past in Croatian folklore, 335
preservation: Bernardini on, 29;
of customs, 327–28;
in diaspora, 19;
and global perspectives on intangible cultural heritage, 142–43;
of heritage, 331–32;
of intangible cultural heritage, 135;
of Korean court music, 149–52;
of Korean folk songs, 143–45;
of Korean percussion bands, 145–47;
of Korean shaman rituals, 147–49;
tension between conservation and, 28;
primary ensembles, 575
production(s): artistic, as nonviolent resistance, 426;
authenticity of, 46–47;
emphasis on, 45;
meaning of, 43;
social networks in artistic, 421
product-oriented criteria for authenticity, 20
professionalization: of English folk music, 493, 497, 498–99, 501, 505, 506;
of folk music, 53–54;
of Georgian folk polyphony, 578–79;
of Hungarian dance house groups, 197–98;
as necessary aspect of revival, 63–64;
process of, 16–18;
of Roma musicians, 341;
of Senegalese neo-traditional performance, 237;
and shift from knowers to doers to marketers, 50
Program for the Socialization of Peace and Reintegration of Aceh, 380
promotion: changes in nature of, 24–27;
of Korean intangible cultural heritage, 139–40;
methods and infrastructure for, 4
Proper Distribution, 501–2
psychosocial homeostasis, 566
p’ungmul, 145–46
punk bands, Irish and Irish-diaspora, 613
punta rock, 364
Purcell, Henry, 80
purity: of Chickasaw communal songs and dances, 315;
of Croatian traditional music, 343;
and historical veracity, 286–91;
of Indian performing arts, 208–10;
qarbzadegi, 278
quản giáp, 168
Quitzow, Sulgwynn, 108
radif: authority of, 285, 288, 297n13;
Nazeri on, 294;
second revival movement as reaction against, 295;
Radio Tehran, 279–80
Rădulescu, Speranţa, 191
Raimbergenov, Abdulhamid, 384
Ramazani, Nesta, 628–29
Ramnarine, Tina, 400
Rao, Maya, 217
Rashid, Ali Mohammad, 286
Ras Lila, 214
Ratil, Iozef, 577
rationalized creativity, 454–55
ratôh taloe, 377
re-, 666–68
Recommendation on the Safeguarding of Traditional Culture and Folklore, 142
recontextualization: authenticity balanced by processes of, 591;
brings new demands, 394;
change through, 28;
of Choctaw communal songs and dances, 306;
effects of, 394;
of English folk music, 506–7;
of Hawaiian traditions, 533;
inherent processes of, 63;
legitimization and, 4;
of primary folklore, 574;
of repertories, 301;
in revival, 4;
of South African jazz, 661;
transformation and, 15–19;
recordings. See audio recordings
Red Power Movement, 300–301
Red River Blues (Bastin), 104
Reflections, 654
Regional Dance Group, 364
reissues, 103
religion: application of “revival” in, 117;
and Iranian classical music, 293;
Iranian dance and, 624;
Ivana Kupala and, 514–15;
kathak dance and, 217
renaissance: of English folk arts, 489;
in fiddling, 128;
of Georgian polyphony, 574;
of Indian dance, 212;
in Iranian classical music, 291–94;
of klapa movement, 332;
process of cultural, 223;
of Qajar music, 281;
repertory: Chickasaw, 315, 316, 318;
discontinuation and renewal of, 301;
of English folk music, 490–91;
of Henry Reed, 126–27;
of Hollow Rock String Band, 122;
integration of cultural artifacts into, 119;
memory and, 662;
of Taylor Kimball, 124
restoration: and antiquarian nostalgia, 73, 78–81, 90;
of ethnic purity, 11;
as important cultural phenomenon, 4;
of integrity of present practices, 12;
and kathak dance revival, 207–11;
in Korea, 149–50;
resurgence: in English folk arts, 28–29, 489–90, 494–95, 499–500, 507;
and Garifuna cultural rescue, 352–55;
of interest in Southeastern Indian cultures, 313;
of Iranian national consciousness, 294;
of regionalism, 247;
versus revival, 493–94
reverse language shift, 669
revitalization: of Croatian tunes, 333;
in Hawai‘i, 533;
of Irish music, 607;
of language, 669–70;
revival and, 566;
of Scottish traditional music, 560;
through formation and organizations, 557–58
revival: as activism, 10–12, 350–70, 393–414, 418–36;
authenticity, authority, and legitimacy and, 19–24;
as current in creation and dissolution of musical movements, 421;
as fluid, 229;
meanings of, 116–19;
and mobilization of past and selective use of history, 12–15;
as paradigm, 101–2;
past and understanding of, 43–44;
processes and issues in, 3–4;
as process that stretches space, 246–48;
purpose of, 61;
recontextualization and transformation and, 15–19;
as response to social and cultural change, 562–66;
versus resurgence, 493–94;
scholarship on, 5–8;
separating, from other musical processes, 103–4;
transmission, dissemination, and promotion and, 24–27;
in twenty-first century, 9–10
(p. 696)
revivalists: core revivalists, 65, 525;
in Iranian dance context, 619–21;
and recontextualization and transformation, 15–16;
as transmitters, 25
revival model of Tamara Livingston, 61–66, 660–61. See also Music Revivals: Towards a General Theory” (Livingston)
revival scholarship, 5–8
Reynolds, Simon, 668
Rezvani, Medjid, 629
Rhodes, Willard, 445
Ritual to Confucius, 149
Riverdance, 612–13
Roberston, James Stewart, 560
Robinson, Mary, 613
“Rocking the Babies to Sleep,” 126–27
romancero, 84–86
Romancero du Canada (Barbeau), 85–86
Romania, and ethnic-national identification of Hungarian dance house movement, 188–89
romantic nationalism: Finnish, 394–400, 409, 413;
Irish responses to, 604–5;
as motivator of scholar-revivalists, 6
Ronström, Owe: on authenticity, 24;
on early revivalists, 23;
on improvisation in European folk revivals, 452;
on mobilization of past, 13;
Rosenberg, Neil: on invented traditions, 35n1;
on revival, 116–17;
on revival and antiquarian studies, 78;
Rose Revolution (2003), 581
Round Midnight at the Café Montmartre, 654
Royal Ancestral Shrine (Chongmyo), 149
Rubi, Mahrisal, 379
Ruguma, 364
rural culture, pelimanni music and rejuvenation of, 400–404
salvage ethnography, 354
samba de morro, 424
Sambola, Kensy, 361–62
samullori, 146
Sandinista National Liberation Front (FSLN), 357–60
Sára, Ferenc, 198
Schneider, Marius, 573
scholars: American instrumental folk music revival and, 122–29, 130;
and Hungarian dance house movement, 192–94;
and identification of traditional musical elements, 4;
intellectual trends spurring, 6;
legitimacy and, 19;
and meaning of revival, 619;
scholarship: on British folk music between 1950s and 1970s, 492;
increase in revival, 60;
on Ivana Kupala, 525–26;
and journey of Neil Rosenberg, 94–110;
of medieval antiquity, 74–81;
and postindustrial university, 81–83;
regarding runo-songs, 396–97;
Schools’ Manuscript Collection, 607
Scotland: Irish immigrants in, 600;
revival in, 467;
traditional music revival activities in, 559–60
Sebő, Ferenc: education of, 193;
on founders of Heritage House, 195;
and national character of Hungarian dance house movement, 187
Seck, Assane, 231
secondary ensembles, 575
second folk revival, English, 492–93
Segal, Lewis, 640
Senegalese National Ballet, 234–35
Senegalese neo-traditional performance: development of, during colonial period, 230–33;
and emergence of Casamançais regionalism, 237–46;
as revival genre, 228–29;
role of, in cultural revival and nationalist politics, 233–37;
transnational mobility and, 246–48
set dancing, 606
Sharp, Cecil, 490–92
Shateri, 638
Shelemay, Kay Kaufman, 75
Shetlandising, 54
Shevardnadze, Eduard, 581
Sheyda Ensemble, 292
Shklovsky, Viktor, 666
Shooting Roots, 502–3
Shrewsbury Folk Festival, 498
Sidmouth International Festival, 500
Singer of Tales (Lord), 406
Sinhala-Tamil ethnic conflict, 381
Sizaret, Frederic, 378
Skinner, J. Scott, 560
Sligo fiddlers, 609
Slobin, Mark: on affinity and belonging, 590;
on context, 447;
on kernel group in preservation and change, 450;
on klezmer music, 54;
on perspectives on globalization, 476;
on proliferation of traditional music styles, 568;
Subcultural Sounds: Micromusics of the West, 7;
on transnational transmission, 594
Smith, Harry, 100
social class: and development of Uzbek arranged folk music, 257;
Iranian classical music revival and, 290–91;
and kathak dance revival, 219–20;
and origin of kathak dance, 214–15;
and protest bossa nova, 425;
relationship between revivals and, 64–65;
and Senegalese neo-traditional performance, 236–37;
social networks: in artistic production, 421;
fiddling and traditional dance music communities and, 565;
and Irish music and dance revival, 614;
Sofyan, Teungku, 377
Sŏkchŏn taeje, 149–50
Sonar Senghor, Maurice: as director of Daniel Sorano Theatre, 233;
on L’Exile d’Alboury, 236;
supports Keita, 232
(p. 698)
Sonevytsky, Maria, 523
Soug, 639
South African jazz: of Chris McGregor and Blue Notes, 656–59;
cultural and historical context of, 647–50;
diaspora, transformation, and remembrance and, 652–54;
of Dollar Brand and Bea Benjamin, 654–56;
in Europe and United States, 650–52;
South Korea: court music, 149–52;
folk songs, 143–45;
as model for preservation and revival, 142;
percussion bands, 145–47;
shaman rituals, 147–49;
Soviet Union: Georgian polyphony and revivalist trends under, 578–80;
and Latvian musical authenticity, 471;
space, revival as process stretching, 246–48
Speed, John, 76
spelemannslag, 556–57
spiritual revival, Croatian, 236–38
Sprat, Thomas, 78
Stainer, C., 83
Stainer, J. F. R., 83
Stanton, Gary, 126
Stephenson, Ian, 504
stickball, 304–5
“Stony Point,” 123–24
Storey, John, 491
strategic inauthenticity, 24
strathspey and reel societies, 560
student movement, American, 448–49
Study Group for Applied Ethnomusicology of the International Council for Traditional Music, 373–74
Study of Folklore (Dundes), 95
Study of Folk Music in the Modern World, The (Bohlman), 7
Subcultural Sounds: Micromusics of the West (Slobin), 7
Sufism, 638
Sunday Manoa, The, 533–34
Suny, Ronald Grigor, 258
Swing, Pamela, 559
syncretism: Baumann’s model of purism versus, 16, 23, 277, 334, 449, 450–51, 476;
in colonial context, 222;
synecdoche, 44
Szászcsávás Band, 198
Taech’wait’a, 150–51
Taegŭm chŏngak, 151
“Tajaga Damée” (Watch Over the Peace), 380
Taj Al-Saltana, 626–27
Tālibān, 382–83
Tamil-Sinhala ethnic conflict, 381
Táncháztalálkozó, 194
Tashkent State Conservatory, 260
Tate, Jerod Impichchaachaaha’, 317
tavayafs, 208–10
Taylor, Timothy, 24
Temple Act (1911), 136
“territories of difference,” 353
terrorism, South African laws against, 648
“Texas,” 124–25
Thái Hà Ensemble, 166fig.
Thanh Lâm, 175
Théâtre Africain. See Ballets Africains
“thin globalization,” 467
Thionck Essyl, Senegal, 239–41
Thomas, William, 43
Thompson, Bobbie, 120–21
Thompson, Marko Perković, 332
time: cultural transmission through, 119;
enactment of cultural processes through, 130;
and geographical displacement, 19;
heritage and, 56;
history as change over, 104–5;
rebellion against modern idea of, 14;
revival as process stretching, 32;
tradition and, 52
Topic Records, 493
torture, music as, 330
traditional dance music communities: from eighteenth century on, 559–62;
emergence of, on Internet, 552–55;
in Europe, 556–57;
and grassroots revitalization of traditional music and dance, 557–58;
Internet, as real communities, 565
traditional music: Afghan, 384–85, 386;
and agents of revival, 46–47;
authenticity and, 17;
creative process and, 23;
decline of, 29;
development of, theories, 27;
English, 503–4;
Hawaiian, 533;
heritage and, 52–53;
heritagization and, 53–54;
mindscape of, 51–52;
Norwegian, 556;
organization of, revival activities from eighteenth century on, 559–62;
revival and, 43–44;
and shift from knowers to doers to marketers, 47–51;
shifts and, 45–46;
Slobin on revival of, 568;
social and cultural change and revivals of, 562–66;
Ukrainian, 523;
tradition(s): alterations to Ukrainian, 521;
and “The Birth of Hawai‘i,” 544;
continuity with, 17–18;
defined, 443;
evolution of Croatian, 325;
Feintuch on, 24;
Hawaiian Renaissance and, 534–35;
Hobsbawm on, 12;
in Iranian dance, 619;
Kanahele on revival of, 532–33;
legitimacy and, 19;
manipulation of, 512;
modernization of ancient Uzbek, 265–68;
nationalism and, 263–64;
parallel, 622;
preservation of, 327–28;
reinterpretation and reinvention of, 563–64;
and revival of Senegalese choreography, 228–29;
revival versus, 117–18;
Tran, Nhung Tuyet, 169–70
transformation: of bluegrass music, 96;
ca trù and, 161;
and change to tradition, 28;
in Croatia, 344;
and Korean folk culture, 148–49;
and new steady state phase of cultural revitalization, 555;
of Senegalese neo-traditional performance, 229;
and South African jazz, 652–54;
South African jazz and, 652–54
transmission: authenticity and, 22–23;
changes in nature of, 24–27;
of Choctaw music, 309;
cross-cultural, 26–27;
following war and natural disasters, 374;
and “grandparent education,” 119;
of instrumental folk music, 123–29;
and Ivana Kupala revival, 524;
of kathak dance, 215;
of Latvian music, 470;
methods and infrastructure for, 4;
pelimanni revival and, 403;
Slobin on transnational, 594;
of Uzbek traditional music, 272
Tropicália movement: albums sampling, 437n13;
evolution from bossa nova to, 422–25;
impetus for, 420
“True Picture of a Pict, A” (Hariot), 77fig.
Tsotigh, Terry, 462
Tupí, 76
Turkiston People’s Conservatory, 260
Turner, Rick, 660
Ubiet, Nyak Ina Raseuki, 380
Új Pátria Final Hours series, 199
Ukraine: relationship to Soviet past in, 512–13;
Ukrainian language, 524
Umikashvili, Petre, 594
UNESCO: dissemination through, 27;
Garifuna cultural rescue and, 353;
Hungarian dance house movement’s inscription into, 183;
as mechanism for revival, 162;
and music as heritage, 55;
and preservation of Korean cultural heritage, 142;
Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity, 573;
and recognition of intangible cultural heritage, 177;
United States: bossa nova in, 424;
Dollar Brand and Bea Benjamin in, 654–55;
fiddle revival in, 128;
“old-time” music in, 123;
postsecondary institutions in, 82;
revival dialogue in, 109;
South African jazz in, 650–52
universalism, and Uzbek arranged folk music, 267–69
Universal Silence, 655–56
university, early music and postindustrial, 81–83
University of Hawai‘i at Mānoa, 534
University of the Autonomous Regions of the Atlantic Caribbean Coast of Nicaragua (URACCAN), 361–62
Unsan pyŏlshindae, 147
UPE (record label), 475
Upland South, 123
Uzbekistan: history of arranged folk versus traditional music in, 254–56;
post-Soviet situation in, 262–72;
sound of arranged folk versus traditional music in, 253–54;
Uzbek State Conservatory, 259–62
Uzbek traditional music: codification and standardization of, 258–59;
history of, 254–56;
during post-Soviet era, 262–72;
promulgation of, in Uzbekistan, 252;
sound of, 253–54;
State Conservatory as flagship institution for, 259–62
Varga, István “Kicsi Csipás,” 198
Varga, Zsuzsanna, 198
vaudeville, and Irish diaspora, 608–9
Very Urgent, 657
Vidal, Henri, 231
Vidyarthi, Reba, 217
Vietnam. See ca trù
Village Harmony, 586
Villa-Lobos, Heitor, 423
Villanen, Juho, 405
“Virginians’ Manner of Dancing at their Religious Festivals, The” (Harriot), 79fig.
Vizeli, Balázs, 198
von Becker, Reinhold, 397
vučarenje, 338
wakes, Irish and American, 602
war: baggage of, 332;
music as comfort and torture in, 328–31. See also Aceh, Indonesia; Croatian revival; decline, musical; Sri Lanka, revival in
Watson, Cheryl, 363
Westerholm, Pekka, 411–12
Westernization: and Georgian polyphony, 579, 584;
of Iranian national dance, 627–28;
and Korean folk culture, 139;
and Latvian revival, 469–70;
Wilenz, Sean, 106
Wilgus, D. K., 98
Williams, Raymond, 345
Wilson, Dorothy, 366
“wolf assembly,” 338
Wollenberg, Charles, 107–8
women: in Afghanistan, 382, 383;
in Casamançais performances, 242;
Chickasaw dance regalia for, 315–16;
in Choctaw communal dance songs, 309–10;
and classicization of kathak dance, 216–17;
disenfranchisement of hereditary, 210;
image of Ukrainian, 513;
and Iranian classical music, 293;
Ivana Kupala and reconceptualization of, 517;
and purity of Indian performing arts, 208–10;
and Uzbek traditional music, 261
Worcestre, William, 74
World of Music journal, 8
World’s Columbian Exposition (1893), 447
Yi Pohyŏng, 138–39
“Yongch’ŏn’gŏm,” 145
Young Folk Award, 505
Youth Folk Song Centers, 582
Yu Sangyun, 137
Zakrzhevskaya, X., 266
Zerkula, János, 198
Zerkula Emlék Zenekár, 198
Zlatni dukati, 326
