<i>POYI!</i>Bamana<i>jeli</i>music, Mali and the blues

Duran, Lucy

doi:10.1080/13696815.2013.792725

Cited by 6 publications

(1 citation statement)

References 13 publications

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“…With Black's remarks on loop, I thought of these listening histories, audible in their production work, 6 and of the ways his words make present the conceptual connections with a wide Afrodiasporic practice of theorizing with/in sound. I thought of West African griot traditions (Durán 2013; Stoller 2010), of jazz as a practice of “saying something” (Monson 2009; Okiji 2017), of Black popular music as a public forum and practice of signifying (Gates [1988] 2014; Neal 1999), about the stories performed through collective practices of whooping, shouting, and speaking in tongues (Crawley 2016), and of stories voiced and danced through sung performance (Okumu 1992; p’Bitek 1986). Conceiving producers as storytellers positions Black, Usaih, Kaunda, and Mellix as part of this transnational genealogy.…”

Section: Remixing Sounded Anthropologymentioning

confidence: 99%

Sampling as ethnographic method/remixing Gulu City

Bitter

2022

American Anthropologist

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This article describes the process of producing Gulu SoundTracks, a digital sonic ethnographic project accessible at gulusoundtracks.org, with four Ugandan music producers based in Gulu. The album comprises eight digital audio tracks that tell stories about Gulu musically through the compositional mixing of field soundscape recordings. Using field recordings as samples opened up sampling as a multimodal method for ethnographic storytelling which entails listening that is “vexed” (Weheliye 2005), archival, multiple, and generative. Pointing to insights from the project's creative process, the author explores sound praxis as a modality for amplifying fruitful connections between ethnographic and Afrodiasporic arts traditions. In conversation with others using sound methods in anthropology, ethnomusicology, and digital sound studies, this article stages a dialogue between sound‐based work, critical treatments of Black and Afrosonic cultural production, and experimental ethnography. Sampling as method centers ethnographic imagination and points to critical possibilities field recording holds for anthropological knowledge production.

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