Sonic Sovereignty: Performing Hopi Authority in Öngtupqa

Reed, Trevor

doi:10.1017/s1752196319000397

Cited by 6 publications

(1 citation statement)

References 21 publications

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“…While works engaging Indigeneity and sound have primarily focused on the dynamics of settler colonialism (Brady 1999;Rath 2003;Tomlinson 2007), a growing body of literature in Indigenous sound studies prioritizes Indigenous epistemologies, theorizing, and praxes regarding sound and the senses. These works engage Indigenous modernities (Levine and Robinson 2019), centre Indigeneity within American music studies (Perea and Solis 2019), theorize sonic sovereignty via performance (Reed 2019) and listening (Tahmahkera 2017), and address ecological stakes of Indigenous sound art (Galloway 2020). Wolfe (1999) and Kēhaulani Kauanui (2016), I understand settler colonialism not as an event but as an ongoing structure.…”

Section: Sensing Resonances Across Space and Timementioning

confidence: 99%

Decolonial Echoes: Voicing and Listening in Rebecca Belmore's Sound Performance

Blake

2021

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Focusing on the Canadian settler context, this article analyzes two of Anishinaabe artist Rebecca Belmore’s interactive works that enact alternatives to colonial understandings of voicing and listening that have centred the human ear and vocal apparatus. In particular, I analyze Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother (1991), where Belmore constructed a large wooden megaphone for participants to speak into and address the land directly, and Wave Sound (2017), where Belmore installed four sculptural listening tubes in Canadian National Park and reserve sites that invited visitors to listen to the land. Through my analysis of these two iterative performances, I examine how the echo functions as a decolonial gesture and multisensorial (re)mapping that can generate alternatives to modernity’s spatial-temporal-sensorial order and unsettle the coloniality of the voice. Engaging critical work in sound studies and Native feminist theories to think about vibration, I propose that voicing and listening can be understood as a set of social relationships between people and space/time.

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Section: Sensing Resonances Across Space and Timementioning

confidence: 99%

Decolonial Echoes: Voicing and Listening in Rebecca Belmore's Sound Performance

Blake

2021

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Opera and Land: Settler Colonialism and the Geopolitics of Music at the Carlisle Indian Industrial School

Baron

2024

J Soc American Mus

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This article examines the politics of music at the Carlisle Indian Industrial School, the flagship federal off-reservation boarding school for the compulsory education of Indigenous children, established in Carlisle, Pennsylvania, in 1879. By examining the music education and performance culture at the Carlisle School, this article considers the role of music both within boarding school discourses of “civilization” and in terms of the larger federal goal of dispossession of Native land. Based on original archival research and engagements with contemporary discourses in Indigenous music and sound studies, the article then considers a nationalistic comic opera titled The Captain of Plymouth performed by Native students at the Carlisle commencement exercises in 1909. It argues ultimately that, although music, dance, and expressive culture were a central concern for federal assimilationist policy, music making at Carlisle provided a groundwork for the emergence of an intertribal social formation that guided musical practices and self-determination movements of the twentieth and twenty-first centuries.

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Hymnic Placemaking: Samson Occom’s Collection and Brothertown Orientations

Dubos

2023

American Literature

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This article traces a long trajectory of hymnic placemaking within the Brothertown Indian Nation from the late eighteenth century to the present day. Since their tribe’s inception, Brothertown people have repurposed the forms and rituals of Christian hymnody in order to maintain connections to ancestral homelands, navigate and interpret unfamiliar terrain, and construct and shape tribal spaces. Samson Occom’s (Mohegan/Brothertown) A Choice Collection of Hymns and Spiritual Songs; Intended for the Edification of Sincere Christians, of all Denominations (1774) cultivated this distinctive mode of placemaking within the Native community that formed at Brothertown, New York. Opening up several key moments in the hymnal’s nearly two-hundred-and-fifty-year history, this article reads the Collection’s figures of place in relation to the embodied engagements it has prompted over time, from the daily travel it motivated across the eighteenth-century town to the hollow square formation Brothertown Indians used in 2018 when performing hymns at Yale. By foregrounding the bodily orientations toward place that are promoted by sung hymn-texts and develop alongside their sustained use, the article demonstrates how sonic expressions continue to supply materials for Indigenous placemaking among Brothertown singers today. This hymn-singing tradition, tied to specific homelands and yet remarkably portable, illuminates the situatedness of Indigenous poetic practice under the conditions of settler colonialism.

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Sonic Sovereignty: Performing Hopi Authority in Öngtupqa

Cited by 6 publications

References 21 publications

Decolonial Echoes: Voicing and Listening in Rebecca Belmore's Sound Performance

Decolonial Echoes: Voicing and Listening in Rebecca Belmore's Sound Performance

Opera and Land: Settler Colonialism and the Geopolitics of Music at the Carlisle Indian Industrial School

Hymnic Placemaking: Samson Occom’s Collection and Brothertown Orientations

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