Israel's heated public debate over the socio-political implications of increasing demographic diversity plays out with special prominence in Tel Aviv, home to large minority citizen populations and a destination for foreign workers and refugees from Asia and Africa. The city's New Central Bus Station, or tachanah merkazit, is a transit hub and commercial complex in which multiple ethnic groups enact aesthetic and cultural dimensions of Israeli urban and national identity in flux. This paper presents a sensory ethnography of the tachanah: sonic and musical expressions of "local" and "global" Israeliness are analyzed against a backdrop of near-constant motion and transit. The somatic and ideological dimensions of movement enable Jewish Israelis, minority citizens and foreigners to assimilate sounds of culture within the tachanah at deeply-felt, personal levels. The tachanah's sonic activity is inherently political, having the potential to impact collective identity and civic reality in Tel Aviv and across Israel. [soundscape, sensory ethnography, migration, ethnicity, Israel]
T he 1990s saw the emergence of a queer musicology that employed the slippages and transgressions of queer experience-those authentic to our experience, and those ascribed to it in sociohistorical discourse-as tools in the construction of a framework for apprehending the sprawling category of "musical meaning." There emerged a queer way of experiencing musical works, structures, and performances and a queer way of identifying music's intersections with social structures of power. Together, these approaches ultimately gave rise to queer forms of relationship with music modeled on relationships between queer people. Musical meanings were found via processes that mirrored the body interactions, affective states, and interpretative practices that shape queer ways of being with other queers and being in the world. 1 More than two decades on, queer musicology's radical interventions retain immense salience, mapping a path through one of our discipline's longeststanding and most complex dilemmas: How might we reconcile immediate, embodied musical experience with hermeneutics, criticism, and analysis? From the beginning, musicology has sought to balance feelings with facts, magic with science, responsive passion with analytical precision in the hope that such balance will afford a clear-eyed perspective on musical truth and musical meaning. Guido Adler's vintage instruction is, after all, directed toward the scholar who is also the "true friend" of music, the scientist who must bring all of his or her
This colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars.
Sarah Hankins shares thoughts on mental illness, arguing that it is a gap in our discourse. Hankins asks us to bear witness to experiences of those who boldly declare that they are “unfit” for the pipeline—“unfit” to survive the pipeline, to have access to the pipeline, and for the so-called promises at the end of the pipeline. Following the work of Black studies, queer of color critique, Black radicalism, Afropessimism, and especially the writings of Stefano Harney and Fred Moten, Hankins’s intervention in this colloquy demands pause in academia’s system of perpetual motion.
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