Garth Sheridan | RMIT University (original) (raw)

Papers by Garth Sheridan

Research paper thumbnail of Sheridan - Resistance and Resilience in the Angolan Music Industry

“Hispano- Lusophone” Community Media: Identity, Cultural Politics and Difference, 2018

In the face of the challenges of colonialism, civil war and a dictatorship, resilience, resistanc... more In the face of the challenges of colonialism, civil war and a dictatorship, resilience, resistance and adaptability have remained central themes in Angolan social, cultural and political life over the last fifty years. During the build up to the anti-colonial struggle and within the resistance movement that fought against Portuguese colonial rule, social and support networks were formed. These networks created the foundation for a wave of cultural production that ushered in a golden age of Angolan music and the creation of the music styles collectively known as semba. This music served as a means of expression and way of life for many within the anti-colonial struggle. Musician activists including Urbano de Castro and Carlos Vieira Dias supported their musical innovations and active role in political resistance by performing in the music halls of Luanda’s informal neighborhoods, known as musseques, and releasing records in Angola’s nascent-recorded music industry.
Throughout the establishment of the independent state and subsequent civil war, cultural production, particularly music, became central in the expression of an independent national identity. The disruptions of the war, however, halted the formal recorded music industry and affected patterns of migration, as generations lived overseas for extended periods of time. Through such cyclical patterns of migration, fragmentary cultural identities and accompanying hybrid forms of music, like kizomba, zouk and kuduro developed. The creation of communities around cultural production allowed musicians to support themselves and the sellers in informal markets that have emerged. During the civil war and since it drew to a close in 2002, such communities have provided life-support for many internally displace people living in the capital distributing recorded music among other goods on the street side and in marketplaces.
In this chapter, I highlight the distribution methods and show how reactions to these businesses reinforce social inclusion and exclusion. I argue that the policing of grey market economies by the Angolan state harms the sellers who lose their income (to disastrous consequence) in a state without socialized welfare. I suggest further that this is not in the interest of copyright holders who themselves recognize the importance of roadside and market sellers. In making this argument, I discuss the official channels that exist, and give the context of the history of Angola’s recorded music industry. In the context of attacks on the market and the increasingly international outlook of Angola’s music producers, I follow to discuss emergent digital distribution methods being embraced by some producers and record labels.
Finally, I will present a discussion of contemporary artists, Dog Murras and the collective Batida, who are leading figures in cultural and social realms within Angola and broader Lusophone networks. Dog Murras has been a prominent kizomba and kuduro artist from the 1990s, whose strong political position has seen him fall in and out of favor with members of the political elite. I will discuss his musical production, his role in Angolan civil life and his recent social inclusion projects. In discussing the group Batida and its members, I highlight patterns of disruption and migration that gave rise to the group and point to layers of nostalgia that have added to the group’s unique sound. In discussing their musical production, I highlight their role in contemporary resistance politics, the attacks by the MPLA1 on vocalist Ikonoklasta, and the group’s role in garnering international support for anti-government protestors.

Research paper thumbnail of SHERIDAN G Resistencia y Resiliencia en la industria musical de Angola SPANISH version

“Hispano- Lusophone” Community Media: Identity, Cultural Politics and Difference, 2018

Resistencia y Resiliencia en la industria musical de Angola Frente a los desafíos del colonialism... more Resistencia y Resiliencia en la industria musical de Angola Frente a los desafíos del colonialismo, la guerra civil y la dictadura; la resiliencia, resistencia y adaptabilidad han sido temas centrales en la vida social, cultural y política de Angola a lo largo de los últimos cincuentos años. Durante el proceso de lucha

Research paper thumbnail of Migrações: Music and Migration

Yearbook for Traditional Music, 2014

Research paper thumbnail of Bloomsbury Encyclopedia of Popular Music of the World

Entry written about country music in Ireland.

Research paper thumbnail of Electronic Awakening (Dir. Andrew Johner)

Dancecult Journal of Electronic Dance Music Culture, Oct 24, 2013

Research paper thumbnail of The Globalization of Musics in Transit

The Globalization of Musics in Transit, 2013

This book traces the particularities of music migration and tourism in different global settings,... more This book traces the particularities of music migration and tourism in different global settings, and provides current, even new perspectives for ethnomusicological research on globalizing musics in transit. The dual focus on tourism and migration is central to debates on globalization, and their examination—separately or combined—offers a useful lens on many key questions about where globalization is taking us: questions about identity and heritage, commoditization, historical and cultural representation, hybridity, authenticity and ownership, neoliberalism, inequality, diasporization, the relocation of allegiances, and more. Moreover, for the first time, these two key phenomena—tourism and migration—are studied conjointly, as well as interdisciplinary, in order to derive both parallels and contrasts. While taking diverse perspectives in embracing the contemporary musical landscape, the collection offers a range of research methods and theoretical approaches from ethnomusicology, anthropology, cultural geography, sociology, popular music studies, and media and communication. In so doing, Musics in Transit provides a rich exemplification of the ways that all forms of musical culture are becoming transnational under post-global conditions, sustained by both global markets and musics in transit, and to which both tourists and diasporic cosmopolitans make an important contribution.

Research paper thumbnail of Fruity Batidas: The Technologies and Aesthetics of Kuduro

Dancecult, 2014

The interconnectedness of music technologies, studio innovation and dancing bodies is a key featu... more The interconnectedness of music technologies, studio innovation and dancing bodies is a key feature of electronic music cultures. An emerging scholarship by writers such as Butler and Tjora has bridged these studio and performance spaces, revealing the relationship between machine, music and party. This article considers the centrality of studio and performance technologies and techniques in the developing aesthetics of kuduro, a hybrid musical genre that draws on house, techno, soca and regional styles. I use interviews and observation of studio and performance practices to illustrate shifts within the genre and examine musical examples to highlight transitions. I argue that the increased availability of digital musical technologies in Angola shaped the development of kuduro through the 1990s and into the 2000s. Furthermore, I argue that kuduro producers and performers have developed a range of aesthetic and performative practices that reflect material, technological and social restraints common to life in contemporary Angola. By examining interviews with kuduro practitioners and musical examples, this article sheds new light on the under examined aesthetics of kuduro.

Research paper thumbnail of Electronic Awakening

Research paper thumbnail of Fruity Batidas: The Technologies and Aesthetics of Kuduro.

Dancecult, Jun 2014

The interconnectedness of music technologies, studio innovation and dancing bodies is a key featu... more The interconnectedness of music technologies, studio innovation and dancing bodies is a key feature of electronic music cultures. An emerging scholarship by writers such as Butler and Tjora has bridged these studio and performance spaces, revealing the relationship between machine, music and party. This article considers the centrality of studio and performance technologies and techniques in the developing aesthetics of kuduro. I use interviews and observation of studio and performance practices to illustrate shifts within the genre and examine musical examples to highlight transitions. I argue that the increased availability of digital musical technologies in Angola shaped the development of kuduro through the 1990s and into the 2000s. Furthermore, I argue that kuduro producers and performers have developed a range of aesthetic and performative practices that reflect material, technological and social restraints common to life in contemporary Angola. By examining interviews with kuduro practitioners and musical examples, this article sheds new light on the under examined aesthetics of kuduro.

Research paper thumbnail of Luanda and Lisbon: Kuduro and Musicking in the  diaspora

Hispano-Lusophone Community Media: identity, cultural politics, difference , 2014

This chapter will discuss the development of kuduro within and in the aftermath of the Angolan ci... more This chapter will discuss the development of kuduro within and in the aftermath of the Angolan civil war. The genre’s development will be situated within a global post-colonial context, particularly analyzing cultural flow between Luanda and Lisbon. Kuduro will be viewed as a musical and cultural product with broad social and political implications. I will show how kuduro is both constitutive and reflective of national and transnational identities. I argue that porousness between Angola and Portugal is central to the development and on going practice of kuduro. As Angolan national identity has restructured in the post cold war period, kuduro has become a key outlet for the expression of this new identity and for discussing and resolving tensions. This chapter suggests that development of kuduro in Lisbon is a response to the increasingly cosmopolitan make-up of Portugal and one way of maintaining cultural links to Angola for the diaspora.

Conference Presentations by Garth Sheridan

Research paper thumbnail of From Luanda to Lisboa: Globalization, Hybridity and Identity in Kuduro

Society for Ethnomusicology Conference 2013

An extended version of this paper is forthcoming in an edited collection, contact me via email fo... more An extended version of this paper is forthcoming in an edited collection, contact me via email for a longer version

In recent years a range of new music genres have developed in the global South that fuse regional elements with electronic dance music, creating new hybrid forms. Scholars including Hernandez, Manuel, Marshall and Madrid have discussed the significance of genres such as reggaeton, cumbia sonidera and nortek. However, little attention within ethnomusicology has been paid to kuduro, a genre that developed in Angola during the 1990s, and has subsequently become popular in diaspora communities and beyond. Building on fieldwork conducted in Angola and Portugal, this paper explores the role of cultural and economic processes of globalisation in the development, production and dissemination of kuduro. Specifically, kuduro is framed as a syncretic product, created from fragments of music from North American, Caribbean and African traditions. The importance of Angolan communities in Lisbon will be shown to be central to the genre’s dissemination, initially through street-side distribution of tapes and more recently through file sharing and record labels. Through analysis of musical examples, I illustrate how the genre has succumbed to further hybridization practiced outside of Angola. I argue that kuduro musical culture reflects and builds Angolan national identity, while articulating a response to a globalized postcolonial world. By closely examining kuduro, this project sheds new light on Southern contributions to contemporary global popular and electronic dance music discourses.

Research paper thumbnail of Os processos sincréticos envolvidos em culturas musicais do kuduro

International Conference on Kuduro, May 2012

Research paper thumbnail of Syncretic Practise and Kuduro Musical Cultures

Popular Culture Association of Australia and New Zealand Conference

Research paper thumbnail of Globalisation and Kuduro Musical Cultures

Research paper thumbnail of PhD Completion Seminar

Book Reviews by Garth Sheridan

Research paper thumbnail of Migrações: Music and Migration - Yearbook for Traditional Music

Publication: Yearbook for Traditional Music Author: Sheridan, Garth Date published: January 1, 20... more Publication: Yearbook for Traditional Music
Author: Sheridan, Garth
Date published: January 1, 2014

Côrte-Real, Maria de São Jose. Migrações: Music and Migration. Lisbon: Portuguese Immigration Observatory, 2010. 278 pp. ISSN 1646-8104.

Migrações is a journal published by the Portuguese Immigration Observatory, a government-backed organization initiated to gather and disseminate data and research relating to immigration and public policy in Portugal. The journal covers issues relating to migration within Portugal, its former colonies, the European Union, and to the Portuguese diaspora elsewhere in the world. Migrações is a thematic journal and previous issues have included public health, entrepreneurship, and migration between Portugal and Latin America. Generally published in a free, online-only format, the latest edition, titled "Music and Migration," has been reissued in print form in both Portuguese and English.

Edited by Maria de São José Côrte-Real, this collection engages with themes that emerge through discussion of relationships between the flow of people and music. Broadly considered, the concerns throughout include the role of music in the creation and negotiation of personal and collective identities, hybridity in diaspora, and connections between culture, place, and ethnicity. Côrte-Real argues that these discussions, and the practices to which they relate, can challenge political and physical boundaries while breaking down intercultural and colonial conflicts. Furthermore, she suggests that music encourages the participation of migrant communities in their new countries, and thus serves as a way to extend or develop new cultural references that challenge notions of self-identification and external categorization. While the focus is on Lusophone countries, Côrte-Real includes articles that look beyond this scope. Baily's discussion of Afghan music in Australia, Martínez's exploration of Indo-Pakistani cultural life in Spain, and Christensen's exploration of the reworking of musical expression of Kurdish Berliners provide a wider transnational scope and add further nuance to discussions of cultural hybridity, synchronization, and transculturalism.

Migrações is presented in three sections: "Research," "Good Practices," and "Notes and Opinions." The first section comprises longer format research articles, and forms the bulk of the collection. "Good Practices" presents reports from, and critiques of, cultural organizations, events, and practices. While shorter and lacking the deep analysis of the research articles, this section provides a voice for practitioners, social and cultural workers, and adds context to the research sections. The final section provides a platform for discussion on research and the practicalities and issues of conducting transcultural research and research on migration or hybridity.

Exemplifying the themes, concerns, and theoretical foundations of Migrações is Susan Sardo's article, "Proud to be a Goan: Colonial Memories, Post-Colonial Identities and Music." Sardo reveals the potency of musical forms in critiquing coloniality through a discussion of the evolution of distinctly Goanese styles of music. Sardo argues that in creating genres such as mandó, practitioners were implored by Catholic Portuguese colonialists to use western classical and religious musical vocabularies. Goanese musicians, however, incorporated Kokani language and elements of Indian sonority. The subtle processes of mixing escaped Portuguese colonial consciousness and created space for Goanese cultural and social autonomy. Drawing on the concept of schizophonia as previously employed by Schafer (1977) and Feld (1995), Sardo argues that these styles held subversive and critical meanings for participants that outlived Portuguese colonialism and became central to Goanese collective identity, both in diaspora and under the ongoing occupation by India in the "postcolonial" period.

Migrações situates itself within the dual contexts of ethnomusicology and Lusophone studies, whose research agendas often overlap. Other recent works on Lusophone music deal with the issues of hybridity, postcolonialism, migration, and identity this work also addresses. However, many works on the Portuguese diaspora and Lusophone musical hybridity focus on Africa and South America, while one of Migrações' ' strengths is situating research on these locales alongside others less often studied, as in Côrte-Real's article on fado and citizenship in the United States. Chapters that diverge from a Lusophone context seem a little out of place in the collection, although such works share many of the same themes and concerns as the other articles. The breadth of topics covered makes this work valuable to those who work on transnational music, Portuguese and African diaspora studies, or cultural or identity studies.

References cited

Feld, Steven

1995 "From Schizophonia to Schismogenesis: The Discourses and Practices of World Music and World Beat." In The Traffic in Culture: Refigure Art and Anthropology, ed. George Marcus and Fred Myers, 96-126. Berkeley: University of California Press.

Schafer, R. Murray

1977 The Tuning of the World. New York: Knopf.

GARTH SHERIDAN

Research paper thumbnail of The Globalization of Musics in Transit: Music Migration and Tourism (Simone Krüger and Ruxandra Trandafoiu eds.)

Research paper thumbnail of Electronic Awakening - Review

Encyclopedia by Garth Sheridan

Research paper thumbnail of Bloomsbury Encyclopedia of Popular Music of the World IV - Merengue (Angola)

Research paper thumbnail of Bloomsbury Encyclopedia of Popular Music of the World IV - Kazukuta (Angola)

Research paper thumbnail of Sheridan - Resistance and Resilience in the Angolan Music Industry

“Hispano- Lusophone” Community Media: Identity, Cultural Politics and Difference, 2018

In the face of the challenges of colonialism, civil war and a dictatorship, resilience, resistanc... more In the face of the challenges of colonialism, civil war and a dictatorship, resilience, resistance and adaptability have remained central themes in Angolan social, cultural and political life over the last fifty years. During the build up to the anti-colonial struggle and within the resistance movement that fought against Portuguese colonial rule, social and support networks were formed. These networks created the foundation for a wave of cultural production that ushered in a golden age of Angolan music and the creation of the music styles collectively known as semba. This music served as a means of expression and way of life for many within the anti-colonial struggle. Musician activists including Urbano de Castro and Carlos Vieira Dias supported their musical innovations and active role in political resistance by performing in the music halls of Luanda’s informal neighborhoods, known as musseques, and releasing records in Angola’s nascent-recorded music industry.
Throughout the establishment of the independent state and subsequent civil war, cultural production, particularly music, became central in the expression of an independent national identity. The disruptions of the war, however, halted the formal recorded music industry and affected patterns of migration, as generations lived overseas for extended periods of time. Through such cyclical patterns of migration, fragmentary cultural identities and accompanying hybrid forms of music, like kizomba, zouk and kuduro developed. The creation of communities around cultural production allowed musicians to support themselves and the sellers in informal markets that have emerged. During the civil war and since it drew to a close in 2002, such communities have provided life-support for many internally displace people living in the capital distributing recorded music among other goods on the street side and in marketplaces.
In this chapter, I highlight the distribution methods and show how reactions to these businesses reinforce social inclusion and exclusion. I argue that the policing of grey market economies by the Angolan state harms the sellers who lose their income (to disastrous consequence) in a state without socialized welfare. I suggest further that this is not in the interest of copyright holders who themselves recognize the importance of roadside and market sellers. In making this argument, I discuss the official channels that exist, and give the context of the history of Angola’s recorded music industry. In the context of attacks on the market and the increasingly international outlook of Angola’s music producers, I follow to discuss emergent digital distribution methods being embraced by some producers and record labels.
Finally, I will present a discussion of contemporary artists, Dog Murras and the collective Batida, who are leading figures in cultural and social realms within Angola and broader Lusophone networks. Dog Murras has been a prominent kizomba and kuduro artist from the 1990s, whose strong political position has seen him fall in and out of favor with members of the political elite. I will discuss his musical production, his role in Angolan civil life and his recent social inclusion projects. In discussing the group Batida and its members, I highlight patterns of disruption and migration that gave rise to the group and point to layers of nostalgia that have added to the group’s unique sound. In discussing their musical production, I highlight their role in contemporary resistance politics, the attacks by the MPLA1 on vocalist Ikonoklasta, and the group’s role in garnering international support for anti-government protestors.

Research paper thumbnail of SHERIDAN G Resistencia y Resiliencia en la industria musical de Angola SPANISH version

“Hispano- Lusophone” Community Media: Identity, Cultural Politics and Difference, 2018

Resistencia y Resiliencia en la industria musical de Angola Frente a los desafíos del colonialism... more Resistencia y Resiliencia en la industria musical de Angola Frente a los desafíos del colonialismo, la guerra civil y la dictadura; la resiliencia, resistencia y adaptabilidad han sido temas centrales en la vida social, cultural y política de Angola a lo largo de los últimos cincuentos años. Durante el proceso de lucha

Research paper thumbnail of Migrações: Music and Migration

Yearbook for Traditional Music, 2014

Research paper thumbnail of Bloomsbury Encyclopedia of Popular Music of the World

Entry written about country music in Ireland.

Research paper thumbnail of Electronic Awakening (Dir. Andrew Johner)

Dancecult Journal of Electronic Dance Music Culture, Oct 24, 2013

Research paper thumbnail of The Globalization of Musics in Transit

The Globalization of Musics in Transit, 2013

This book traces the particularities of music migration and tourism in different global settings,... more This book traces the particularities of music migration and tourism in different global settings, and provides current, even new perspectives for ethnomusicological research on globalizing musics in transit. The dual focus on tourism and migration is central to debates on globalization, and their examination—separately or combined—offers a useful lens on many key questions about where globalization is taking us: questions about identity and heritage, commoditization, historical and cultural representation, hybridity, authenticity and ownership, neoliberalism, inequality, diasporization, the relocation of allegiances, and more. Moreover, for the first time, these two key phenomena—tourism and migration—are studied conjointly, as well as interdisciplinary, in order to derive both parallels and contrasts. While taking diverse perspectives in embracing the contemporary musical landscape, the collection offers a range of research methods and theoretical approaches from ethnomusicology, anthropology, cultural geography, sociology, popular music studies, and media and communication. In so doing, Musics in Transit provides a rich exemplification of the ways that all forms of musical culture are becoming transnational under post-global conditions, sustained by both global markets and musics in transit, and to which both tourists and diasporic cosmopolitans make an important contribution.

Research paper thumbnail of Fruity Batidas: The Technologies and Aesthetics of Kuduro

Dancecult, 2014

The interconnectedness of music technologies, studio innovation and dancing bodies is a key featu... more The interconnectedness of music technologies, studio innovation and dancing bodies is a key feature of electronic music cultures. An emerging scholarship by writers such as Butler and Tjora has bridged these studio and performance spaces, revealing the relationship between machine, music and party. This article considers the centrality of studio and performance technologies and techniques in the developing aesthetics of kuduro, a hybrid musical genre that draws on house, techno, soca and regional styles. I use interviews and observation of studio and performance practices to illustrate shifts within the genre and examine musical examples to highlight transitions. I argue that the increased availability of digital musical technologies in Angola shaped the development of kuduro through the 1990s and into the 2000s. Furthermore, I argue that kuduro producers and performers have developed a range of aesthetic and performative practices that reflect material, technological and social restraints common to life in contemporary Angola. By examining interviews with kuduro practitioners and musical examples, this article sheds new light on the under examined aesthetics of kuduro.

Research paper thumbnail of Electronic Awakening

Research paper thumbnail of Fruity Batidas: The Technologies and Aesthetics of Kuduro.

Dancecult, Jun 2014

The interconnectedness of music technologies, studio innovation and dancing bodies is a key featu... more The interconnectedness of music technologies, studio innovation and dancing bodies is a key feature of electronic music cultures. An emerging scholarship by writers such as Butler and Tjora has bridged these studio and performance spaces, revealing the relationship between machine, music and party. This article considers the centrality of studio and performance technologies and techniques in the developing aesthetics of kuduro. I use interviews and observation of studio and performance practices to illustrate shifts within the genre and examine musical examples to highlight transitions. I argue that the increased availability of digital musical technologies in Angola shaped the development of kuduro through the 1990s and into the 2000s. Furthermore, I argue that kuduro producers and performers have developed a range of aesthetic and performative practices that reflect material, technological and social restraints common to life in contemporary Angola. By examining interviews with kuduro practitioners and musical examples, this article sheds new light on the under examined aesthetics of kuduro.

Research paper thumbnail of Luanda and Lisbon: Kuduro and Musicking in the  diaspora

Hispano-Lusophone Community Media: identity, cultural politics, difference , 2014

This chapter will discuss the development of kuduro within and in the aftermath of the Angolan ci... more This chapter will discuss the development of kuduro within and in the aftermath of the Angolan civil war. The genre’s development will be situated within a global post-colonial context, particularly analyzing cultural flow between Luanda and Lisbon. Kuduro will be viewed as a musical and cultural product with broad social and political implications. I will show how kuduro is both constitutive and reflective of national and transnational identities. I argue that porousness between Angola and Portugal is central to the development and on going practice of kuduro. As Angolan national identity has restructured in the post cold war period, kuduro has become a key outlet for the expression of this new identity and for discussing and resolving tensions. This chapter suggests that development of kuduro in Lisbon is a response to the increasingly cosmopolitan make-up of Portugal and one way of maintaining cultural links to Angola for the diaspora.

Research paper thumbnail of From Luanda to Lisboa: Globalization, Hybridity and Identity in Kuduro

Society for Ethnomusicology Conference 2013

An extended version of this paper is forthcoming in an edited collection, contact me via email fo... more An extended version of this paper is forthcoming in an edited collection, contact me via email for a longer version

In recent years a range of new music genres have developed in the global South that fuse regional elements with electronic dance music, creating new hybrid forms. Scholars including Hernandez, Manuel, Marshall and Madrid have discussed the significance of genres such as reggaeton, cumbia sonidera and nortek. However, little attention within ethnomusicology has been paid to kuduro, a genre that developed in Angola during the 1990s, and has subsequently become popular in diaspora communities and beyond. Building on fieldwork conducted in Angola and Portugal, this paper explores the role of cultural and economic processes of globalisation in the development, production and dissemination of kuduro. Specifically, kuduro is framed as a syncretic product, created from fragments of music from North American, Caribbean and African traditions. The importance of Angolan communities in Lisbon will be shown to be central to the genre’s dissemination, initially through street-side distribution of tapes and more recently through file sharing and record labels. Through analysis of musical examples, I illustrate how the genre has succumbed to further hybridization practiced outside of Angola. I argue that kuduro musical culture reflects and builds Angolan national identity, while articulating a response to a globalized postcolonial world. By closely examining kuduro, this project sheds new light on Southern contributions to contemporary global popular and electronic dance music discourses.

Research paper thumbnail of Os processos sincréticos envolvidos em culturas musicais do kuduro

International Conference on Kuduro, May 2012

Research paper thumbnail of Syncretic Practise and Kuduro Musical Cultures

Popular Culture Association of Australia and New Zealand Conference

Research paper thumbnail of Globalisation and Kuduro Musical Cultures

Research paper thumbnail of PhD Completion Seminar

Research paper thumbnail of Migrações: Music and Migration - Yearbook for Traditional Music

Publication: Yearbook for Traditional Music Author: Sheridan, Garth Date published: January 1, 20... more Publication: Yearbook for Traditional Music
Author: Sheridan, Garth
Date published: January 1, 2014

Côrte-Real, Maria de São Jose. Migrações: Music and Migration. Lisbon: Portuguese Immigration Observatory, 2010. 278 pp. ISSN 1646-8104.

Migrações is a journal published by the Portuguese Immigration Observatory, a government-backed organization initiated to gather and disseminate data and research relating to immigration and public policy in Portugal. The journal covers issues relating to migration within Portugal, its former colonies, the European Union, and to the Portuguese diaspora elsewhere in the world. Migrações is a thematic journal and previous issues have included public health, entrepreneurship, and migration between Portugal and Latin America. Generally published in a free, online-only format, the latest edition, titled "Music and Migration," has been reissued in print form in both Portuguese and English.

Edited by Maria de São José Côrte-Real, this collection engages with themes that emerge through discussion of relationships between the flow of people and music. Broadly considered, the concerns throughout include the role of music in the creation and negotiation of personal and collective identities, hybridity in diaspora, and connections between culture, place, and ethnicity. Côrte-Real argues that these discussions, and the practices to which they relate, can challenge political and physical boundaries while breaking down intercultural and colonial conflicts. Furthermore, she suggests that music encourages the participation of migrant communities in their new countries, and thus serves as a way to extend or develop new cultural references that challenge notions of self-identification and external categorization. While the focus is on Lusophone countries, Côrte-Real includes articles that look beyond this scope. Baily's discussion of Afghan music in Australia, Martínez's exploration of Indo-Pakistani cultural life in Spain, and Christensen's exploration of the reworking of musical expression of Kurdish Berliners provide a wider transnational scope and add further nuance to discussions of cultural hybridity, synchronization, and transculturalism.

Migrações is presented in three sections: "Research," "Good Practices," and "Notes and Opinions." The first section comprises longer format research articles, and forms the bulk of the collection. "Good Practices" presents reports from, and critiques of, cultural organizations, events, and practices. While shorter and lacking the deep analysis of the research articles, this section provides a voice for practitioners, social and cultural workers, and adds context to the research sections. The final section provides a platform for discussion on research and the practicalities and issues of conducting transcultural research and research on migration or hybridity.

Exemplifying the themes, concerns, and theoretical foundations of Migrações is Susan Sardo's article, "Proud to be a Goan: Colonial Memories, Post-Colonial Identities and Music." Sardo reveals the potency of musical forms in critiquing coloniality through a discussion of the evolution of distinctly Goanese styles of music. Sardo argues that in creating genres such as mandó, practitioners were implored by Catholic Portuguese colonialists to use western classical and religious musical vocabularies. Goanese musicians, however, incorporated Kokani language and elements of Indian sonority. The subtle processes of mixing escaped Portuguese colonial consciousness and created space for Goanese cultural and social autonomy. Drawing on the concept of schizophonia as previously employed by Schafer (1977) and Feld (1995), Sardo argues that these styles held subversive and critical meanings for participants that outlived Portuguese colonialism and became central to Goanese collective identity, both in diaspora and under the ongoing occupation by India in the "postcolonial" period.

Migrações situates itself within the dual contexts of ethnomusicology and Lusophone studies, whose research agendas often overlap. Other recent works on Lusophone music deal with the issues of hybridity, postcolonialism, migration, and identity this work also addresses. However, many works on the Portuguese diaspora and Lusophone musical hybridity focus on Africa and South America, while one of Migrações' ' strengths is situating research on these locales alongside others less often studied, as in Côrte-Real's article on fado and citizenship in the United States. Chapters that diverge from a Lusophone context seem a little out of place in the collection, although such works share many of the same themes and concerns as the other articles. The breadth of topics covered makes this work valuable to those who work on transnational music, Portuguese and African diaspora studies, or cultural or identity studies.

References cited

Feld, Steven

1995 "From Schizophonia to Schismogenesis: The Discourses and Practices of World Music and World Beat." In The Traffic in Culture: Refigure Art and Anthropology, ed. George Marcus and Fred Myers, 96-126. Berkeley: University of California Press.

Schafer, R. Murray

1977 The Tuning of the World. New York: Knopf.

GARTH SHERIDAN

Research paper thumbnail of The Globalization of Musics in Transit: Music Migration and Tourism (Simone Krüger and Ruxandra Trandafoiu eds.)

Research paper thumbnail of Electronic Awakening - Review

Research paper thumbnail of Bloomsbury Encyclopedia of Popular Music of the World IV - Merengue (Angola)

Research paper thumbnail of Bloomsbury Encyclopedia of Popular Music of the World IV - Kazukuta (Angola)

Research paper thumbnail of Resistencia y Resiliencia en la industria musical de Angola

“Hispano- Lusophone” Community Media: Identity, Cultural Politics and Difference, 2018

Resistencia y Resiliencia en la industria musical de Angola Frente a los desafíos del colonialism... more Resistencia y Resiliencia en la industria musical de Angola Frente a los desafíos del colonialismo, la guerra civil y la dictadura; la resiliencia, resistencia y adaptabilidad han sido temas centrales en la vida social, cultural y política de Angola a lo largo de los últimos cincuentos años. Durante el proceso de lucha