1-4 of 4 results  for:

  • Religion and Music x
  • Traditional, Folk and Indigenous Musics x
  • Music Business, Institutions and Organizations x
Clear all

Article

Paula J. Bishop

Hawaiian hula school in Hilo, Hawaii. Founded in 1953 by Edith Kanaka’ole, the school has been instrumental in the preservation and dissemination of hula and chant practices associated with Pele, the goddess of fire. Knowledge about these traditions was passed down to Kanaka’ole through matrilineal descent for at least seven generations, and she in turn instructed her own daughters, Pualani Kanaka’ole Kanahele and Nalani Kanaka’ole, who inherited the school in 1979 upon their mother’s death.

The style of hula taught and performed by the school, ’aiha’a, is characterized by a bent-knee posture and vigorous movements, a reflection of the energy and power of the volcano goddess. In addition to learning hula, dancers at the school become fully immersed in the culture of Hawaii and hula. They learn the Hawaiian language and how to play the ipu (gourd) and pahu (sharkskin drum), and create their own costumes and props using the traditional materials and practices....

Article

Cedric Dent

Ring shout performers. The group formed in the Bolden community of McIntosh County on the coast of Georgia to promote the survival of the Ring shout —the oldest African American performance tradition in North America. The group performs after church worship services and on special occasions at a local church, Mt. Calvary Baptist. Because of space limitations in the sanctuary, an annex was built behind the church to accommodate performance of the ring shout, which employs call-and-response singing, percussive rhythm, and expressive and formalized dance-like movement in a counter-clockwise ring. Presumed to have died out in the 20th century, the tradition was rediscovered in 1980 when the group consented to perform at the Sea Island Festival on St. Simon’s Island in Glynn County, Georgia. The repertory is often Biblical in nature and consists of a special song type, at one time called a “running spiritual,” and believed to be a precursor to the Negro spiritual. In ...

Article

Terry E. Miller

[bin bādy]

In Cambodia, the primary classical ensemble played at court ceremonies, some Buddhist festivals, to accompany the large shadow theatre, masked drama, and dance drama. Both the ensemble and its name are closely related to similar ensembles in Thailand (piphat) and Laos (sep nyai/piphat). Ensembles vary in size from minimal (five instruments) to large. A basic ensemble consists of ...

Article

Benjamin J. Harbert

A term that refers to both music made by inmates and media representations of music in prisons. Although almost any genre outside the walls has found its way into prison, overrepresentation of certain groups—especially African Americans and men—has influenced the types of music brought to and cultivated in prison. Furthermore, institutional policies have both limited and directed musical activity. Inmates have created and adapted music for a multitude of uses of their own, be it to temporarily escape, form communities, communicate, or contemplate the carceral experience. These uses have also affected the types of music and lyrical themes found in prison. Outside the walls, movies, television, and popular music have often developed narratives or characters, drawing upon and perpetuating stereotypes of prisoners and music making.

Early American prisons instituted solitary confinement and enforced silence. That silence—at least in the literature—broke after the Civil War. Documentation of music in prisons in newspapers, trade journals, folk-song collections, and scholarly works reveals unconnected musical activities sequestered in countless institutions. The mention of music in prisons, however, confirms that American prisoners have been prolific. Music-making in prisons has fallen into three general categories: religious music, work songs, and music programs....