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Musical labor associations in Sukuma...

Gunderson, Frank D.

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Musical labor associations in Sukumaland, Tanzania: History and practice.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Musical labor associations in Sukumaland, Tanzania: History and practice./
作者:	Gunderson, Frank D.
面頁冊數:	448 p.
附註:	Source: Dissertation Abstracts International, Volume: 60-06, Section: A, page: 1820.
Contained By:	Dissertation Abstracts International60-06A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9934517
ISBN:	9780599351264

Musical labor associations in Sukumaland, Tanzania: History and practice.
Gunderson, Frank D.

Musical labor associations in Sukumaland, Tanzania: History and practice. - 448 p.

Source: Dissertation Abstracts International, Volume: 60-06, Section: A, page: 1820.

Thesis (Ph.D.)--Wesleyan University, 1999.

This dissertation examines the recurring domains of "musical labor," "music and competition," and ancestral song composition in northwestern Tanzania. These domains are most prominent in the case of the Sukuma people, whether in the specialized ritual-labor music of their elephant, snake, and porcupine-hunting associations that flourished in the pre-colonial era, in their nineteenth century long-distance porter associations, or in their farmer-musician guilds that have actively borrowed their musical repertoire from prior-existing labor associations during the twentieth century.

ISBN: 9780599351264Subjects--Topical Terms:

735016
Anthropology, Cultural.

Musical labor associations in Sukumaland, Tanzania: History and practice.
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245 1 0 $a Musical labor associations in Sukumaland, Tanzania: History and practice.
300 $a 448 p.
500 $a Source: Dissertation Abstracts International, Volume: 60-06, Section: A, page: 1820.
500 $a Adviser: Gage Averill.
502 $a Thesis (Ph.D.)--Wesleyan University, 1999.
520 $a This dissertation examines the recurring domains of "musical labor," "music and competition," and ancestral song composition in northwestern Tanzania. These domains are most prominent in the case of the Sukuma people, whether in the specialized ritual-labor music of their elephant, snake, and porcupine-hunting associations that flourished in the pre-colonial era, in their nineteenth century long-distance porter associations, or in their farmer-musician guilds that have actively borrowed their musical repertoire from prior-existing labor associations during the twentieth century.
520 $a Music performance at labor sites not only lightens the work load and transforms work into play, but also creates a dynamic and heightened group consciousness, as well as an environment where everyday village discourse and political commentary are encouraged, enjoyed, and reflected upon. Labor practice and song are brought together in the leisure time forum of post-harvest dance competitions, where the farmers' festive labor groups compete for prizes of cattle as well as for prestige, as part of a dyadic competitive system. The pageantry, spectacle, and scandalous behavior of musical labor group composers in these dance competitions draws potential new recruits and future employers toward the side of the winning group. For this reason "songs with muscle," which are revealed in dreams to composers by their deceased ancestors ( masamva), are the most desired songs.
520 $a I argue that musical labor, ancestor-inspired song composition, and post-harvest song competitions are primary cultural activities that serve as synechdochic models of how one should think and act in regards to local historical events, creativity and cosmological understanding, heroism, individuality, and in the development and maintenance of a work ethic. All Sukuma music labor groups have a fluid propensity for transmission and exchange of common "re-constellated cultural elements" and "transposable dispositions." Musical labor enacted in Sukumaland creates shared "maps of experience" which open up the intellectual, emotional and moral life of the region more clearly and dramatically than any other source. Based on archival research, oral history fieldwork, participant observation, and performance, this research provides new insight into the study of music and work in Africa, presenting evidence that prior theories about work song as "genre" need to be reappraised.
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