The Ishumar Guitar: Emergence, Circulation and Evolution from Diasporic Performances to the World Scene

Belalimat, Nadia

doi:10.5040/9780755610914.ch-011

Cited by 14 publications

(7 citation statements)

References 4 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Many musicians who call themselves ishumar now have never experienced conflict, but the musical style is popular and has provoked much interest from Western media and researchers alike, who have participated in constructing a romantic and rebellious backstory for this new age of Tuareg musicians. According to Nadia Belalimat, a longtime researcher on ishumar music, in 2010 over fifteen Tuareg guitar bands were linked to world music production circuits (Belalimat, 2010). The guitar remains the main way Tuareg musicians can disseminate their messages of peace and Tuareg nationalism to foreign audiences.…”

Section: Modernity and The Guitar Tradition And The Tendémentioning

confidence: 99%

“…These men might have worked as migrant labourers, or left the desert to find work in Europe. Their mobility, like that of the guitar, is often categorized as "modern" and global in nature (Belalimat, 2010).…”

Section: Modernity and The Guitar Tradition And The Tendémentioning

confidence: 99%

“…The excitement and discourse of modernity that surrounds the guitar is in large part encouraged and spread thanks to the scholarship on it (Amico, 2014;Belalimat, 2010;Lecocq, 2010;Montague, 2014;Rasmussen 2006;Schneider, 2014). As mentioned, many researchers have studied ishumar music describing it as new, urban and fundamentally growing out of and away from the traditional rhythms of tendé drumming (Genthon, 2012;Belalimat, 1996;Kohl, 2007).…”

Section: Modernity and The Guitar Tradition And The Tendémentioning

confidence: 99%

“…In the 1970s and 1980s, commercial discourses romanticised the Tuareg rebels. Tinariwen's music is described by one scholar as a "cult of the rebellion of all youth in exile" (Belalimat, 2010). Tuareg musicians were "fighting for peace" and this designation helped sell albums to folks in the West who wanted to show solidarity through their purchasing power (Rasmussen, 2017;White, 2012).…”

Section: Co-producing "Desert Blues"mentioning

confidence: 99%

“…With the creation of the Festival of the Desert outside Timbuktu in 2001, Tinariwen soon gained an international following, their music marketed as "rebel" music and proponents of the "original" blues, a problematic moniker created arguably to make the group seem more relatable to Western audiences. Tinariwen were ishumar guitar players, former rebels in the fight for independence from Mali (Rasmussen, 2017;Belalimat, 2010;Boas & Torheim, 2013). Tinariwen means "deserts" and the desert has played an important role in their song lyrics and in their overall marketing strategy.…”

Section: Co-producing "Desert Blues"mentioning

confidence: 99%

See 4 more Smart Citations

The Sound of Home: Tuareg Women’s Tendé Drumming in France and Belgium

Bider¹

View full text Add to dashboard Cite

This thesis combines anthropological and ethnomusicological theories and methods to analyze how tendé drumming evokes contested and contradictory notions of home and identity for Tuareg women. Using data obtained during fieldwork in France and Belgium, I investigate how the tendé's place-making capacities and its relationship to Tuareg women's normative social roles have been disrupted, leading to ongoing debates as to whether to replicate, adjust, or put aside tendé drumming in Europe in the face of these disruptions. In the context of radical change, it is possible to recognize the anxiety migrants face when they are forced to evaluate old ways of constructing Tuareg identity and decide if they are viable in a new place. I use the concept of imperfect translation to describe the fragmented way the practices and meanings embedded in the tendé drum are moved into a diaspora context.

show abstract

Section: Modernity and The Guitar Tradition And The Tendémentioning

confidence: 99%

Section: Modernity and The Guitar Tradition And The Tendémentioning

confidence: 99%