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Monthly Archives: June 2013

Read Chinelo Okparanta’a story here.

——

.                       Love is always something special to a friend.

What is love if not for children? I can’t tell.                           .

.                       Love is never something shameful to defend.

Barren lands produce no fruit; an empty well.                          .

.                       Spread those arms and let me see inside your soul.

You are all I have, my hope, my joy, my gain.                         .

.                       Sing a song of glory; tell of tales untold.

I release you though you’ll never know my pain.                        .

.                      Speak those words to those who wish to save the world.

Look at me my child, look close and learn from me.                        .

.                       Spread those wings until such ceaseless joys unfurl.

Love is greater when it learns to set love free.                        .

.                       When you fly please take love with you to the sky.

When you leave me to my sorrows let me die.                       .

Mamma og barn

Other responses from:

Kola Tubosun – http://www.ktravula.com/2013/06/no-not-america-but-love-a-review/ and http://nigerianstalk.org/2013/06/20/no-not-america-but-love-a-review/

Beverley Nambozo Nsengiyunva: http://walkingdiplomat.blogspot.com/2013/06/bev-is-blogging-caine-america-by.html

Chika Oduah: https://chikaoduahblog.wordpress.com/2013/06/24/my-thoughts-on-chinelo-okparantas-america/

Veronica Nkwocha: http://veronicankwocha.com/2013/06/24/my-thoughts-on-america-by-chinelo-okparanta/

Aishwarya Subramanian: http://www.practicallymarzipan.com/2013/07/chinelo-okparanta-america.html

Ben Laden: http://uninterpretative.blogspot.no/2013/07/blogging-caine-chinelo-okparantas.html

Lexzy Ochibejivwie (Africa in Words): http://africainwords.com/2013/07/12/blogging-the-caine-prize-thinking-through-chinelo-okparantas-america/

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KMH logo 2011

 

Musikforskning idag 2013, Kungliga Musikhögskolan, Stockholm, 12-14 June

It is four years now since I first attended the annual conference of the Swedish Musicological Society, ‘Musikforskning idag’. (Four years is not long compared to the track records of some of the delegates, I must add, but then, I only arrived in Sweden in 2008, leaving for Norway in 2012.) Nevertheless, this is the first time I have decided to write a review of the conference.*

The conference is a relatively close-knit affair, with most of the delegates already known to each other. It has two keynote speakers, usually one from abroad (nevertheless with some connection to Sweden) and one from ‘home’. It does not particularly aim to attract international delegates (though they are of course welcome); rather it is a chance for Swedish-speaking musicologists to gather together to discuss their year’s work, to share ideas, and, importantly for some, to be able to present and talk about their research in their mother tongue. For while there are isolated papers in English, which is the conference’s second language, the principal language of the conference is of course Swedish.

So much for the background; what about Musikforskning idag 2013? Well, for a start it was the smallest of these conferences which I have attended, despite being held in the capital. Nevertheless, the conference was still large enough to require parallel sessions, so of course I was not able to attend every paper. This, then, is a personal overview of the sessions I attended, with the papers which stood out as being particularly inspiring.

It was a delight that the first paper I heard in full was actually about multimodality. Annika Falthin’s ‘Musikens mening i ständig förändring’ succeeded in being itself a multimodal presentation, with thoughtful and affective use of sound and image within her twenty-minute slot. She discussed the musical meaning in a performance by a group of high-school students. Highlights for me included the idea of youtube as a meaning-maker in itself, the idea of a ‘pojk’ (young male) community on display, that their choice of music might actually have been irritating for the audience, and the social semiotic meaning of body language, song, and music in school.

The session in which I took part was the characteristic mish-mash of ‘old stuff’ in a conference with lots of – to be similarly generalising – ‘new stuff’. Mattias Lundberg was inspiring as ever, with an intelligent and sensitive analysis of recurring melodies in Swedish church music from printed books over three centuries (‘Accentus-sången i den svenska högmässan under 300 år: två av de mest frekvent melodierna i Sverige någonsin’). Johanna Ethernersson Pontara spoke in the same session about the ‘Neobarack i Lars Johan Werles tidliga operor’, in an interesting paper which the discussion showed I was not alone in thinking would benefit from some acknowledgement of the multimodality of opera.

There were two medieval papers in the session. Karin Stronnholm Lagergren introduced us to the manuscript which is the object of her research at KU Leuven: the Torstunamissalet (‘Missalet från Torstuna: En fransk medeltids.handskrifts väg till och användning i en uppländsk sockenkyrka’). She brought to life the use of this medium-sized missal with music, which contains some 150 songs in the Dominican tradition. The other medieval paper was my own, which predictably focused on the multimodality of the manuscripts of Guillaume de Machaut, and I was thankful for the interest shown in the discussion afterwards. It is always a challenge to present the medieval period to those immersed in music of other times, and I was sorry that the lack of internet access meant that I was unable to actually play any music. (Serves me right for relying on youtube, I admit.)

The ‘efter-lunsj koma’, as session chair Karin Eriksson so aptly described it, was saved by Toivo Burlin’s paper ‘Tukkipoika: Some Comments on Recordings of North Swedish Folk Music’. In it, he played us a magical array of recordings, and opened up a world previously unknown to me, but one which I would now like to explore further. Some session-hopping took place for me in the last session of the day, since I was keen to hear Mårten Nerhfors again, and he didn’t disappoint. His paper ‘Shaping the Community Through Song – Idealogy in the Song Collections of Johann Friedrich Reichardt’ was a fascinating overview of Reichardt’s aims with his compositions aimed at breastfeeding mothers, their babies, and at children. Coupled with the ideals of the Enlightenment – Reichardt was a fervent supporter of the French Revolution – the re-reading of his works in the light of his ideology was fascinating indeed. The day ended with Erik Wallrup’s sage discussion on ‘Lyssningsakten i stämdhetens historia’, a philosophical paper which combined Heidegger, Stimmung, mood, and Wallrup’s own term ‘attunement’.

The final day opened with a paper from Lars Berglund which offered an overview of ‘Musikvetenskap och cultural history’. In it, he combined the Anglophone, Francophone and Germanic approaches to ‘cultural history’, and applied them to musicology, particularly as it is practised in Sweden. Following him was Christina Tobeck, whose paper traced the lives and work of two female Swedish pioneers in music and in medicine: Helena Munktell and Karolina Widerström. The final keynote by Cecilia K. Hultberg was symptomatic of one of the strengths in Swedish music research, that of music pedagogy. In her presentation ‘Musikalisk kunskapsbildning ur ett övergripande kulturpsykologiskt perspektiv’ she combined pedagogical, psychological and cultural theories to analyse specific cases of musical learning.

This has been a necessarily brief and personal overview of a conference rich in ideas and fellowship, where works-in-progress stood alongside work of international quality. As one who has not ‘grown up’ in the Swedish system, I am always entranced at how the so-called ‘Jantelov’ works in society, here to good effect. Even more so than in other conferences, there is a strong emphasis on open discussion, with strict timekeeping in order to respect the sanctity of the discussion period. It is a small community in which scholars of all levels are equally welcome, and which seeks to advance knowledge and encourage scholarship at all career stages. I’m looking forward to next year already.

* I would have also live tweeted the conference, were it not for the fact that the internet access for delegates at the venue just did not work. Such is (smartphone-less) life.

Created in response to Elnathan John's 'Bayan Layi'

Created in response to Elnathan John’s ‘Bayan Layi’

I think I’ll let the graphic speak for itself. But of course, please do read the story here.

Other responses from the carnival:

Kola Tubosun: http://nigerianstalk.org/2013/05/19/the-children-of-bayan-layi-a-review/

Veronica Nkwocha: http://veronicankwocha.com/2013/05/22/my-thoughts-on-bayan-layi-by-elnathan-john/

Beverley Nambozo: http://walkingdiplomat.blogspot.com/2013/06/bayan-layis-kuka-tree-review-of-bayan.html

C.E. Hastings: http://africainwords.com/2013/06/17/bayan-layi-blogging-the-caine-prize/http://africainwords.com/2013/06/17/bayan-layi-blogging-the-caine-prize/

Jeffrey Zuckerman: http://www.airshipdaily.com/blog/the-caine-prizes-prehistories-elnathan-johns-bayan-layi

Chika Oduah: http://chikaoduahblog.wordpress.com/2013/06/21/my-thoughts-on-elnathan-johns-bayan-layi/

Aishwarya Subramanian: http://www.practicallymarzipan.com/2013/06/elnathan-john-bayan-layi.html

Ben Laden: http://uninterpretative.blogspot.no/2013/06/blogging-caine-elnathan-johns-bayan-layi.html

Written in response to Abubakar Adam Ibrahim: ‘The Whispering Trees

So your hopes are dashed,
And your mother is gone.
Weep if you will, then,
Keep in with the throng.
You still have your dignity,
You still can be strong
You still have your love
Which has lasted so long.

Come away, O blind man, come to us and play!
We have whispers and laughter, here the wild waters flow.
Come join your family, leave the weary world below,
One time you tried, but she summoned you away.

Oh it’s anger you want, then?
Try that if you will.
Live in your head then,
And struggle uphill.
Imagine they mock you
When they love you still:
Lash out and curse them,
And love sends its bill.

Come away, O blind man, come to us and play!
We have whispers and laughter, here the wild waters flow.
Come join your family, leave the weary world below,
Two times you tried, but she pushed you away.

Come find your dignity,
Let faith bring you peace
Forgive those who hurt you,
Let insight increase
Lay down your burden
Amidst the deceased
Give unto others
Till life grants release.

Come away, O blind man, come to us and play!
We have whispers and laughter, here the wild waters flow.
Come join your family, leave the weary world below,
Three times you’ll try, and the third time you’ll stay.

(OK wrong bit of world but the colours of the polar night are suitably eerie...)

(OK wrong bit of world but the colours of the polar night are suitably eerie…)

This week’s posts on the Caine Prize blog carnival:

This week’s contribution to the ‘Cain Prize carnival’. Written in response to the short story ‘Foreign Aid’ by Pede Hollist, available to download here. Thank you, Pede, for this vivid snapshot of a place and its people, and what happens when the self-made ‘American’ man goes home to keep the promises he made a lifetime ago.

———–

Balogun Bro-yankee is not a nice man
Hands out the money like anyone can
He thinks with his knob and he yells with his gob
Believes in machines and his grand masterplan.

From Wikimedia.org: in public domain.

From Wikimedia.org: in public domain.

Women and kiddies are objects indeed
One is to please and the other breeds greed
Corruption, disruption, destruction, seduction:
They take and they fake but they’re always in need.

But wait: there are some who are not overthrown
Who value their virtue, their knowledge, their own
Skylarks midst loansharks and proud oligarchs –
They may spread their wings but they’ll always fly home.

Imagine a future which might just be bright.
Where friends make amends, whatever their plight
Forget it, you left it, you bet it, regret it:
Minista owns all; your sister was right.

Yet were you surprised to find trouble and strife?
That dollars breed daggers: run for your life.
Homeless and haunted, dumb-ass and daunted,
Return to your lair, to your prison, your wife.

————-

Other members of this week’s carnival procession: