Anya Shatilova | Wesleyan University (original) (raw)
I specialize in the emergence of the national orchestra in late Imperial Russia and its transnational dissemination to the United States. I also have a profound interest in the ethnographic study of Finno-Ugric music traditions in St. Petersburg, Russia. My theoretical and disciplinary interests encompass organology, decolonial studies, queer theory, thing theory, and the environmental humanities.
Supervisors: Su Zheng, Mark Slobin, Siada Daukeyeva, and Roman Utkin
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Papers by Anya Shatilova
Folklorica, Journal of the Slavic, East European, and Eurasian Folkore Association, 2023
This article presents two case studies examining the musical groups Talomerkit and Ingervala in t... more This article presents two case studies examining the musical groups Talomerkit and Ingervala in the context of the late Soviet and post-Soviet reawakening of Finno-Ugric culture in St. Petersburg, Russia. Coming from different ethnic backgrounds, these two groups demonstrate different ways of engaging with local Finno-Ugric traditions. While Talomerkit uses a so-called tradition-based approach with minimal alteration of primary material, Ingervala looks for alternative stylistic choices through electric instruments and electronic sounds. Based on my fieldwork done in June 2018 and May 2019, I present ethnographic observations about Talomerkit and Ingervala’s musical activities and focus on issues related to the repatriation of Finno-Ugric musical heritage to a local community in St. Petersburg after the interruption of these traditional musical practices during the Soviet period. By using ethnomusicological approaches of decolonization, my aim is to foreground the voices of artists and activists who engage with the legacy of a small, non-Slavic Finno-Ugric population indigenous to the lands of present-day St. Petersburg and Leningrad Oblast. I argue that those autochthonous perspectives are instrumental in challenging the cultural discourse in Anglophone Russian music studies, which predominantly focuses on musical knowledge production through the lens of the Slavic population.
Digital Icons: Studies in Russian, Eurasian and Central European New Media, 2021
What does it mean to listen to an ethnic identity online and what are the digital tools that ethn... more What does it mean to listen to an ethnic identity online and what are the digital tools that ethnic minority groups use to become 'the listened-to' within the dominant society? In this article, using the concept of listening as an auditory and non-auditory experience, I explore digitally mediated music traditions of Finno-Ugrians living in St. Petersburg. Based on the ethnography of two case studies-a volunteer-run cultural organization The Centre for the Indigenous Peoples of the St. Petersburg Region and the metal band Second to Sun-this article investigates how Finno-Ugric ethnic identity is manifested through music and digital auditory engagement. I argue that the notion of listening as 'making an effort to hear something' in the context of this article is instrumental in understanding how Finno-Ugric self-expression and knowledge production is achieved in a digital space, specifically a social media platform VKontakte and music streaming services such as Bandcamp.
Folklorica, Journal of the Slavic, East European, and Eurasian Folkore Association, 2023
This article presents two case studies examining the musical groups Talomerkit and Ingervala in t... more This article presents two case studies examining the musical groups Talomerkit and Ingervala in the context of the late Soviet and post-Soviet reawakening of Finno-Ugric culture in St. Petersburg, Russia. Coming from different ethnic backgrounds, these two groups demonstrate different ways of engaging with local Finno-Ugric traditions. While Talomerkit uses a so-called tradition-based approach with minimal alteration of primary material, Ingervala looks for alternative stylistic choices through electric instruments and electronic sounds. Based on my fieldwork done in June 2018 and May 2019, I present ethnographic observations about Talomerkit and Ingervala’s musical activities and focus on issues related to the repatriation of Finno-Ugric musical heritage to a local community in St. Petersburg after the interruption of these traditional musical practices during the Soviet period. By using ethnomusicological approaches of decolonization, my aim is to foreground the voices of artists and activists who engage with the legacy of a small, non-Slavic Finno-Ugric population indigenous to the lands of present-day St. Petersburg and Leningrad Oblast. I argue that those autochthonous perspectives are instrumental in challenging the cultural discourse in Anglophone Russian music studies, which predominantly focuses on musical knowledge production through the lens of the Slavic population.
Digital Icons: Studies in Russian, Eurasian and Central European New Media, 2021
What does it mean to listen to an ethnic identity online and what are the digital tools that ethn... more What does it mean to listen to an ethnic identity online and what are the digital tools that ethnic minority groups use to become 'the listened-to' within the dominant society? In this article, using the concept of listening as an auditory and non-auditory experience, I explore digitally mediated music traditions of Finno-Ugrians living in St. Petersburg. Based on the ethnography of two case studies-a volunteer-run cultural organization The Centre for the Indigenous Peoples of the St. Petersburg Region and the metal band Second to Sun-this article investigates how Finno-Ugric ethnic identity is manifested through music and digital auditory engagement. I argue that the notion of listening as 'making an effort to hear something' in the context of this article is instrumental in understanding how Finno-Ugric self-expression and knowledge production is achieved in a digital space, specifically a social media platform VKontakte and music streaming services such as Bandcamp.