CELEBRATING THE INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC Reflections on the First Seven Decades ICTM CELEBRATING THE INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC Reflections on the First Seven Decades Edited by Svanibor Pettan, Naila Ceribašić, and Don Niles Ljubljana University of Ljubljana Press and International Council for Traditional Music 2022 Celebrating the International Council for Traditional Music Reflections on the First Seven Decades Editors: Svanibor Pettan, Naila Ceribašić, Don Niles Reviewers: Timothy Rice and Xiao Mei Cover: Scenes from the 45th ICTM World Conference in Bangkok, Thailand, 2019 (photos courtesy of the Faculty of Fine and Applied Arts, Chulalongkorn University) Published by: University of Ljubljana Press and International Council for Traditional Music Issued by: Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana Press, Faculty of Arts) For the publisher: Gregor Majdič, rector of the University of Ljubljana; Svanibor Pettan, president of the International Council for Traditional Music For the issuer: Mojca Schlamberger Brezar, dean of the Faculty of Arts, University of Ljubljana Design: Jure Preglau, Svanibor Pettan, Naila Ceribašić, Don Niles Layout: Don Niles Printed by: Birografika Bori d.o.o. Ljubljana, 2022 First Edition Number of copies printed: 400 Price: 49.90 EUR This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License (except photographies). Please visit our Online Gallery on: https://ictmusic.org/publications/annniversary-publication/gallery. First e-edition. Digital copy of the book is available on: https://e-knjige.ff.uni-lj.si/ DOI: 10.4312/978-961-7128-39-0 Kataložna zapisa o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani Tiskana knjiga / Printed book COBISS.SI-ID=108722947 ISBN 978-961-7128-44-4 (Založba Univerze v Ljubljani) E-knjiga / E-book COBISS.SI-ID=108668931 ISBN 978-961-7128-39-0 (Založba Univerze v Ljubljani, PDF) This volume is dedicated to those contributors, our dear ICTM friends and colleagues, who did not live long enough to witness its publication: Peter Cooke Adrienne L. Kaeppler Bruno Nettl Selena Rakočević Barbara B. Smith Trần Quang Hải CONTENTS Preface Svanibor Pettan xiii Introduction Svanibor Pettan, Naila Ceribašić, and Don Niles xv Abbreviations xix ORIGINS AND OPERATIONS 1 Origins and Operations: Introductory Note 3 The Origins and Establishment of the International Folk Music Council Don Niles 5 Maud Karpeles: Her Contribution to Dance Research and to the Council Catherine E. Foley, Theresa Jill Buckland, Elsie Ivancich Dunin, Liz Mellish, Jeanette Mollenhauer, Derek Schofield, Stephanie Smith, Daniela Stavělová, and Ivona Opetcheska-Tatarchevska 20 The Council’s By-laws: From Provisional Constitution to Statutes, Memoranda, and Guidelines Don Niles 33 The World Network Svanibor Pettan 40 Meditating on Ideology in the History of IFMC/ICTM Bruno Nettl 46 The Council, the USSR, and the Issue of Political and Ideological Boundaries Razia Sultanova 51 ICTM Archive Stephen Wild, Kim Woo, and Lee Anne Proberts 60 GOVERNANCE 65 Governance: Introductory Note 67 Presidents 69 Ralph Vaughan Williams: IFMC President, 1947–1958 Don Niles 71 viii Contents Jaap Kunst: IFMC President, 1959–1960 Wim van Zanten 76 Zoltán Kodály: IFMC President, 1961–1967 Pál Richter 79 Willard Rhodes: IFMC President, 1967–1973 Anthony Seeger 83 Klaus Wachsmann: IFMC President, 1973–1977 Anthony Seeger 85 Poul Rovsing Olsen: IFMC/ICTM President, 1977–1982 Peter Cooke 88 Erich Stockmann: ICTM President, 1982–1997 Krister Malm 91 Anthony Seeger: ICTM President, 1997–1999 Anthony Seeger 95 Krister Malm: ICTM President, 1999–2005 Krister Malm 99 Adrienne L. Kaeppler: ICTM President, 2005–2013 Adrienne L. Kaeppler 104 Salwa El-Shawan Castelo-Branco: ICTM President, 2013–2021 Salwa El-Shawan Castelo-Branco 107 Executive Boards 111 An Overview of the IFMC/ICTM Executive Board Carlos Yoder 113 Secretariats 119 The Secretariat under Maud Karpeles: London, UK, 1947–1963 Jeanette Mollenhauer 121 The Secretariat under Robin Band, Barbara Krader, Felicia Stallman, Christian Ejlers, and Connie Matthews: London, UK, and Copenhagen, Denmark, 1963–1969 Don Niles and Carlos Yoder 126 The Secretariat under Graham George: Kingston, Canada, 1969–1980 Beverley Diamond 138 The Secretariat under Dieter Christensen: New York, USA, 1981–2001 Salwa El-Shawan Castelo-Branco 143 The Secretariat under Anthony Seeger: Los Angeles, USA, 2001–2005 Anthony Seeger 150 The Secretariat under Stephen Wild: Canberra, Australia, 2006–2011 Stephen Wild 154 The Secretariat under Svanibor Pettan: Ljubljana, Slovenia, 2011–2017 Svanibor Pettan 158 The Secretariat under Ursula Hemetek: Vienna, Austria, 2017–2021 Ursula Hemetek 162 Contents ix SCHOLARLY EVENTS 167 Scholarly Events: Introductory Note 169 World Conferences, General Assemblies, and Festivals Ursula Hemetek and Krister Malm 171 Symposia Don Niles 191 Colloquia Ricardo D. Trimillos 193 Fora Svanibor Pettan 201 STUDY GROUPS 207 Study Groups: Introductory Note 209 ICTM Study Groups: Origins and Issues Don Niles 211 Current 225 ICTM Study Group on African Musics Patricia Opondo 227 ICTM Study Group on Applied Ethnomusicology Huib Schippers 234 ICTM Study Group on Audiovisual Ethnomusicology Enrique Cámara de Landa and Leonardo D’Amico 239 ICTM Study Group on Ethnochoreology Elsie Ivancich Dunin and Catherine E. Foley 245 ICTM Study Group on Global History of Music Razia Sultanova 261 ICTM Study Group on Historical Sources Susanne Ziegler and Ingrid Åkesson 263 ICTM Study Group on Iconography of the Performing Arts Zdravko Blažeković 270 ICTM Study Group on Maqām Alexander Djumaev 277 ICTM Study Group on Mediterranean Music Studies Ruth F. Davis 284 ICTM Study Group on Multipart Music Ardian Ahmedaja 291 ICTM Study Group on Music and Allied Arts of Greater South Asia Richard K. Wolf 298 x Contents ICTM Study Group on Music and Dance in Latin America and the Caribbean Marita Fornaro Bordolli 300 ICTM Study Group on Music and Dance in Southeastern Europe Velika Stojkova Serafimovska 302 ICTM Study Group on Music and Dance of Oceania Barbara B. Smith, Brian Diettrich, and Kirsty Gillespie 310 ICTM Study Group on Music and Dance of the Slavic World Ulrich Morgenstern 317 ICTM Study Group on Music and Minorities Ursula Hemetek 322 ICTM Study Group on Music Archaeology Arnd Adje Both 329 ICTM Study Group on Music, Education and Social Inclusion Sara Selleri 336 ICTM Study Group on Music, Gender, and Sexuality Barbara L. Hampton 339 ICTM Study Group on Music in the Arab World Scheherazade Q. Hassan 348 ICTM Study Group on Music of the Turkic-speaking World Razia Sultanova 356 ICTM Study Group on Musical Instruments Gisa Jähnichen 363 ICTM Study Group on Musics of East Asia Ying-fen Wang, Terauchi Naoko, and Helen Rees 369 ICTM Study Group on Performing Arts of Southeast Asia Wayland Quintero and Patricia Matusky 377 ICTM Study Group on Sound, Movement, and the Sciences Kendra Stepputat, Lara Pearson, and Rafael Caro Repetto 383 Discontinued 385 Committee on Radio/Television and Sound/Film Archives Krister Malm 387 Some Reflections Concerning the Study Group on Analysis and Systematization of Folk Music and Other Early Study Groups Oskár Elschek 392 ICTM Study Group on Computer Aided Research Ewa Dahlig-Turek 396 PUBLICATIONS AND EXPERTISE 399 Publications and Expertise: Introductory Note 401 Contents xi The Council’s Journal Don Niles 403 The Bulletin Ursula Hemetek and Carlos Yoder 415 Other Council Publications Don Niles 420 ICTM, UNESCO, and Scholarly Expertise in the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage Wim van Zanten 428 LISTENING AND LOOKING AHEAD 439 ICTM and Its Members: Views from Around the World Kirsty Gillespie, Daniel Kodzo Avorgbedor, María Gabriela López-Yánez, Mohd Anis Md Nor, Jennifer C. Post, and Selena Rakočević 441 Contributors 453 Index of People 463 Preface Dear readers, Before you is the result of dedicated work that has spanned several years, a work of love and appreciation for the major international organization dedicated to the study of music and dance, and for its members from more than one hundred and twenty countries and regions worldwide. ICTM continues to bring us together to share research-based knowledge and contribute to a better understanding, not only of sounds and movements, but also of the world in which we live. Through the various types of scholarly meetings, publications, and communications within organizational units, such as the World Network and the ever-growing study-group circles, ICTM also enriches and strengthens our theoretical and methodological toolkits, and enables us to improve the quality of our research, publications, and our pedagogical and other types of professional engagement. A resulting social network is often characterized, not only by collegiality, but also by friendly relationships that span our entire careers. Indeed, it would be difficult to imagine the lives of ethnomusicologists and ethnochoreologists without the professional and human benefits offered by this truly international organization. This book is ambitious in its scope, encompassing numerous chapters and relying on the voices of more than one hundred scholars of different backgrounds, ages, genders, research interests, and schools of taught. It is a unique source of knowledge gathered over seven decades in different parts of the world, with much new written and visual information to help us learn from the past for the present and future of the Council. Working on this book provided the editors and authors with a unique opportunity for mutually beneficial communication. The search for missing data or for a deeper understanding of the situations or people described sometimes required multiple contacts with living eyewitnesses both inside and outside the Council’s membership roster. All of these efforts paid off in every way. The editors’ newly discovered detective skills and the multiple advantages resulting from the pooling of personal strengths have resulted in a representative publication that has all the prerequisites to become a standard item in many university and other libraries. At the same time, thanks to University of Ljubljana Press, the publication is legally a freely accessible online resource for researchers, teachers, and other users around the world, regardless of local financial circumstances and possibilities. To provide even more, this book is accompanied by an online gallery where additional photo documentation for specific chapters can be found. This gallery is intended as an open repository that can be constantly enriched with new visual material. Therefore, I would like to encourage all readers, ICTM members, and those who hopefully will become members, to contribute to the enrichment of the gallery by sending selected visual material to the Secretariat, which is then responsible for sending them to us. Six of our distinguished colleagues who contributed their expertise to this book did not live long enough to see its publication. Five of them—Peter Cooke, Adrienne L. Kaeppler, Bruno Nettl, Selena Rakočević, and Barbara B. Smith—wrote or substantially contributed to chapters, while Trần Quang Hải provided items from his rich photo collection. This book helps keep our deceased fellow contributors alive in our fondest memories. I hope you enjoy reading Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades and are inspired and encouraged to actively participate in the continued flourishing of ICTM and the promotion of peace, respect, and understanding in the world. Svanibor Pettan ICTM President Ljubljana, Slovenia May 2022 Introduction Svanibor Pettan, Naila Ceribašić, and Don Niles It has been a long journey to complete this book. Talks nary outline of such a publication, and discussed it with about it had intensively started hand in hand with the Don Niles, the chair of the committee. By March 2018, 44th ICTM World Conference in Limerick in July Naila Ceribašić joined the editorial team, and the pro-2017. One of the conference themes then marked the posal was welcomed by the Executive Board. 70th anniversary of the Council, resulting in five “cele- The planned structure of the book has not changed bratory roundtables,” which addressed its past, present, much from its early stage in the spring of 2018 to its and future; more specifically, the contribution of Maud final form. It follows the logic of the Council’s organiza-Karpeles to dance research and the Council, the rela- tion, its building blocks, and the logic of historiographic tions of the Council with UNESCO, the connection presentation. Two out of six major sections are com-of Soviet musicologists with the Council, the contribu- posed of chapters dealing with the Council’s origins and tion of the ICTM Study Group on Ethnochoreology to operations, and its governance (presidents, Executive the study of dance, and the perspectives of the Council Boards, and secretariats) in historical sequence, fol-in the twenty-first century as seen by its current and lowed by three sections delineating, again in historical former presidents and secretaries general. A dozen sequence and alphabetical equality, the Council’s main additional papers and panels examined specific events, forms of activities and their results, namely its scholarly individuals, concepts, and/or processes in the history of events, study groups (current and discontinued), and the organization, its impact and localization in different publications and expertise. The last section provides an countries and regions (Germany, FYR Macedonia, and open-ended conclusion, presenting the views of sixty Taiwan), and its challenges (e.g., due to climate change, ICTM members from around the world, coordinated in view of decolonization of ethnomusicology and eth-by six regional contributors, on the impact of ICTM nochoreology). During the conference, attendees could and desirable improvements to it. Each chapter con-also examine extensive historical material included in cerns the period up until the end of 2020, with rare the slideshow “IFMC/ICTM through images.”1 Some exceptions, such as extending it to include the end of of these presentations were subsequently developed into the term of the secretary general and president in 2021. the chapters of this book. Some more recent updates appear only in introductory Following the conference, the Executive Board’s notes to major sections. Committee on ICTM’s 70th Anniversary—which had The great majority of our colleagues whom we been established in 2014 and which drafted the anni-approached with a request to contribute specific versary theme for the Limerick conference—discussed chapters, enthusiastically accepted our invitation. The for some time how to proceed with some sort of pub-IFMC/ICTM Bulletin s have proved to be the key, lication. Suggestions ranged from the publication of invaluable resource in reconstructing the past of the research into specific aspects of ICTM, based on papers Council. Some authors additionally relied on material (or a part of papers) presented at the conference, to a from the ICTM Archive in Canberra, including the biographical reference book of ICTM, to a comprehen-minutes of Board meetings in chapters dealing with sive and systematic overview of the first seven decades governance, and pictorial material used in various of the Council respective of its structure. The latter pos-sections of the volume. On the other hand, the sibility has prevailed. Instrumental in its advocacy was volume benefitted greatly from many authors’ personal Svanibor Pettan, who in December 2017 did a prelimi-involvement in the subjects described; the chapters on presidents and secretariats, as well as study groups, 1 In addition, during the conference a video, commissioned by have been written, whenever possible, by the key actors the Secretariat and edited by Mark Dawson, was made as part of the celebration of the anniversary. It is available at https:// themselves (former and current presidents, secretaries youtu.be/KppBa6iNkVE. general, chairs and/or other prominent members of In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, xv–xviii. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. xvi Svanibor Pettan, Naila Ceribašić, and Don Niles the study groups). In general, the value of one’s own of this often in two or three, or even more rounds), and experience and involvement in the topics examined, the finalization of chapters (with Niles trying to stan-along with oral history where appropriate, was used as dardize different Englishes, but without losing the indi-much as possible. viduality of authors, and coordinating layout, trialling a In order to make the publication a balanced whole, we number of design solutions and making content correc-as editors posed a series of standard rules. Apart from tions beyond usual procedure and after usual deadlines the general framework, they pertained to the length in the production of such types of publications).2 The of chapters in different sections and subsections of the process of making this publication turned out to be in volume, their titles, the number of illustrations that itself a celebration of the Council, in terms of nurturing may accompany them (while additional illustrations the culture of dialogue and mutual understanding, and are available in the Online Gallery), the use of a parin spurring documentation and/or inventorying within ticular manual of style (generally, the Chicago Manual the Council’s organizational units, from study groups, of Style) and the style of referencing (the one used in to the Secretariat, to the digitization of material depos-the Yearbook for Traditional Music, yet with some dif- ited in the ICTM Archive. ferences and use of abbreviations when referring to the A favourable arrangement with the publisher, the Bulletin and the minutes of the EB meetings), the use, University of Ljubljana Press, added to a good feel-whenever possible, of today’s standard vocabulary (e.g., ing about the whole project. As the press is located at the term “symposium” for scholarly events of the study Pettan’s university and he had worked with them on a groups) and today’s standard of counting events (per-number of projects, a good working relationship was taining in particular to study-group symposia), the use quickly established, and we drew on the expertise of of alphabetical order in listings, the use of the names staff there to come up with a template for the produc-of countries from the period concerned, the standard tion of the volume. The electronic version of the vol-for dates, the selected standard spelling, the standard ume will be available to the readership for free with the for capitalization (names of organizational units, such publication of the physical volume (at https://e-knjige. as study group, and functions, such as president, are ff.uni-lj.si/znanstvena-zalozba), while the price of the generally treated as descriptive and thus not with capi-printed version will be affordable in many parts of the tal letters, except when the name of the study group is world. Additional pictorial material related to individ-given in full or the title precedes the name of the per- ual chapters is available in the Online Gallery on the son), the standard for captions, the use of abbreviations, ICTM website (https://ictmusic.org/publications/ the listing of people featured in photos (consistently annniversary-publication/gallery). from left to right), etc. In comparison to the existing literature, this is by far the Initial invitations for contributions were sent out to most ambitious project on the history of the Council, prospective authors in April 2018, with a 1 October and more in-depth than in the case of many compara-deadline for submissions, envisioning that the volume ble organizations. The first contribution on this history could be finalized by the time of the world conference was Maud Karpeles’s article reflecting on the growth of in Bangkok in July 2019. The plan, however, proved the Council during its first two decades (1969), addi-to be unrealistic. The process of writing and editing in tionally encouraged probably by the first shift of the some cases has prolonged its completion well beyond Secretariat outside of Europe and the changes in the initial expectations. With a total of sixty-five contribu-Council’s journal. The twenty-fifth anniversary (1972) tors, who were often irreplaceable as actors in the devel- opments they describe, along with challenges brought 2 We have also found out that we function quite well as a by the pandemic, we realized that the volume might detective team, yet often with some comedic overtones. For be finalized not earlier than for the subsequent world instance, when we received a photo of Jaap Kunst and a group conference in Lisbon, which due to the pandemic was of people, dated in 1951, we assumed it could have been taken postponed from 2021 to 2022, and serendipitously is in Opatija, the town where the 1951 IFMC conference took place. To confirm this assumption, Ceribašić and Pettan con- also the 75th anniversary of the Council. tacted a number of their acquaintances from Opatija, inquir- ing if their elders could identify if the building behind the A collegial and friendly atmosphere, even cheerful group existed in Opatija in the 1950s. No clear evidence was despite delays from the initial plan, has permeated our detected. But then Niles, inquiring for other reasons on the exchanges with the authors (carried out by Pettan), website of the English Folk Dance and Song Society discovered and the division of labour between the three co-editors that their Cecil Sharp House (https://www.efdss.org/cecil- sharp-house) looked very similar to the building in the earlier (with Ceribašić serving as the first reader in our con-photo. After checking with staff there, it was confirmed that it veyor belt, as we called it, Niles as second, Pettan as is one and the same building, preserved intact from the 1950s third, followed by solidification in our comments and until today. Kunst and the group posed for the photo not in Opatija, but in London. And, by implication, the occasion was remarks, and communication back to the authors; all not the 1951 conference meeting but that in 1952. This photo is figure 2 in the chapter on Kunst as president. Introduction xvii was marked with an article in the Yearbook on the first much appreciate your insights into various aspects of secretary and first president (Haywood 1972), and two the Council and your patience in bringing everything very important historical contributions by Karpeles in together. Each chapter provides insider knowledge and the Bulletin, including minutes of the 1947 conference understanding, contributing to our shared celebration at which IFMC was established (Karpeles 1972b) and of the Council. various notes on the Council’s early years (Karpeles Salwa El-Shawan Castelo-Branco was ICTM president 1972a). The 40th and the 50th anniversaries of the when the anniversary celebrations took place in Limerick Council provoked reflections on its accomplishments and very much supported the idea of a publication after and perspectives in the form of conference presentations those events. She was joined in this by the secretary gen-and their subsequent publication: Erich Stockmann’s eral at that time, Ursula Hemetek. Executive Assistant opening address at the conference in Berlin in 1987 Carlos Yoder helped us in several instances to access (Stockmann 1988), Bruno Nettl’s keynote address at requested materials. Jeanette Mollenhauer supplied the conference in Nitra in 1997 (Nettl 1998), and a us with the specific documents during her visit to the plenary session at the same conference (“ICTM and the ICTM Archive in 2021. Matevž Rudolf, Jure Preglau, future,” chaired by Anthony Seeger). Commemorative Eva Vrbnjak, and Polona Šubelj were our contacts from content appeared again at the 2011 world conference the University of Ljubljana Press, and we express grat-with a special exhibition on Maud Karpeles, her field- itude to them for their support, advice, and expertise. work in Newfoundland in 1929–1930, and her con- We extend our gratitude to the reviewers, Timothy Rice tribution to the Council. Apart from these occasions, and Xiao Mei, who personify the internationality of the Council has seldom been the source for academic our organization. Thanks to their encouraging reviews, research. The topic of its relationship with the Society we applied for financial support from the Slovenian for Ethnomusicology and American ethnomusicology Research Agency and received necessary funds, thus was stimulating for several authors (Christensen 1988, building upon the previous fundraising campaign from Nettl 1988, Pettan 2021; partly also Wild 2008); other 2017, in which ICTM members provided assistance for authors considered some of the Council’s key personal-this publication. ities and concepts (Stockmann 1983, 1985; Cowdery 2009); and others focussed on the collaborations and Finally, we wholeheartedly thank our families for their impact of the Council on scholarship in national and patience, understanding, and support during our pas-regional contexts (e.g., Bezić 1988; Ceribašić 2009; sionate immersion in this project. Pettan 2015, 2017, 2020; Wang 2018).3 To conclude, this book comprehensively and system- atically covers the first seven decades of the Council’s References cited existence. It reflects our editorial perspectives, as seen in Bezić, Jerko. 1988. “Međunarodni savjet za traditionalnu muziku aspects of organization and the selected topics. We hope i razvoj etnomuzikologije u Jugoslaviji od 1947. do 1986. godine” [International Council for Traditional Music and the that it will serve as a firm basis for other publications development of ethnomusicology in Yugoslavia from 1947 to dedicated to the Council in the decades to come. 1986]. Zbornik Matice srpske za scenske umetnosti i muziku 3: 259–263. Ceribašić, Naila. 2009. “Izazovi tradicije: Tradicijska glazba i hrvatska etnomuzikologija” [Challenges of tradition: Acknowledgements Traditional music and Croatian ethnomusicology]. In Glazba prijelaza: Svečani zbornik za Evu Sedak / Music of Transition: A book this large owes its existence to many people. Essays in Honour of Eva Sedak, edited by Nikša Gligo, Dalibor Davidović, and Nada Bezić, 69–78. Zagreb: ArTresor naklada Authors have acknowledged assistance in their own – Hrvatska radiotelevizija, Hrvatski radio. chapters. Here we would like to thank those whose sup- Christensen, Dieter. 1988. “The International Folk Music Council port for the project as a whole has been essential to its and ‘The Americans’: On the Effects of Stereotypes on the Institutionalization of Ethnomusicology.” YTM 20: 11–18. successful completion. First and foremost, our greatest Cowdery, James R. 2009. “Kategorie or Wertidee? The Early Years of gratitude goes to all the contributors to this volume. the International Folk Music Council.” In Music’s Intellectual We have enjoyed collaborating with you and very History, edited by Zdravko Blažeković and Barbara Dobbs Mackenzie, 805–11. RILM Perspectives, 1. New York: Répertoire International de Littérature Musicale. Haywood, Charles. 1972. “Ralph Vaughan Williams and Maud 3 We assume that this last type of study might be much more Karpeles.” YIFMC 4: 5–8. numerous than represented here (and here represented thanks Karpeles, Maud. 1969. “The International Folk Music Council— to the direct knowledge of two of the editors), and that the Twenty-One Years.” YIFMC 1: 14–32. lack of a global reach of such studies has probably been caused ———. 1972a. “Jottings from the Early Years.” BIFMC 41 (Oct): by the use of local languages and publishers. An emphasis on 27–33. the Council “on the ground” or “in the field,” in line with the ———. 1972b. “Report of the International Conference on Folk importance currently given to the decolonization of music and Song and Folk Dance.” BIFMC 41 (Oct): 6–26. dance studies, might serve as a basis for some future anniver- sary publications. xviii Svanibor Pettan, Naila Ceribašić, and Don Niles Nettl, Bruno. 1988. “The IFMC/ICTM and the Development of Ethnomusicology in the United States.” YTM 20: 19–25. ———. 1998. “Arrows and Circles: An Anniversary Talk About Fifty Years of ICTM and the Study of Traditional Music.” YTM 30: 1–11. Pettan, Svanibor. 2015. “International Council for Traditional Music (ICTM), the Caucasus, and the Turkic-speaking World.” In Space of Mugham / Muğam alemi, edited by Suraya Ağayeva, 306–320. Baku: Şerq-Qerb / East-West. ———. 2017. “ICTM in Slovenija, ICTM v Sloveniji” [ICTM and Slovenia, ICTM in Slovenia]. Glasba v šoli in vrtcu 20/1–2: 69–73. ———. 2020. “Slavic Musics, ICTM, and the Inter-Slavic Relations within National Spaces: (Trans)cultural Dynamics in Slovenia after the Year 1991.” In Tradition and Transition, edited by Sonja Zdravkova-Džeparovska, 141–155. Skopje: ICTM National Committee of Macedonia. ———. 2021. “International Council for Traditional Music and Society for Ethnomusicology: A Reflection through Two Complementary Lenses.” In Transforming Ethnomusicology; vol. 1: Methodologies, Institutional Structures, and Policies, edited by Beverley Diamond and Salwa El-Shawan Castelo- Branco, 43–58. New York: Oxford University Press. Stockmann, Erich. 1983. “Zoltán Kodály und der International Folk Music Council.” Studia Musicologica Academiae Scientiarum Hungaricae 25, fasc. 1/4: 5–13. ———. 1985. “Zoltán Kodály and the International Folk Music Council.” YTM 17: 1–7. ———. 1988. “The International Folk Music Council / International Council for Traditional Music: Forty Years.” YTM 20: 1–10. Wang, Ying-fen. 2018. “IFMC, Masu Genjiro, Kurosawa Takatomo, and Their Recordings of Taiwanese Music.” YTM 50: 71–90. Wild, Stephen. 2008. “Ethnomusicology Down Under: A Distinctive Voice in the Antipodes?” Ethnomusicology 50/2: 345–352. Abbreviations AC Advisory Committee BICTM Bulletin of the International Council for Traditional Music BIFMC Bulletin of the International Folk Music Council Board Executive Board of IFMC/ICTM Bulletin BIFMC and/or BICTM Council IFMC and/or ICTM EB Executive Board EFDSS English Folk Dance and Song Society FRG Federal Republic of Germany (or West Germany) FYR Macedonia the former Yugoslav Republic of Macedonia, also abbreviated FYROM; North Macedonia since February 2019 GDR German Democratic Republic (or East Germany) ICH intangible cultural heritage ICTM International Council for Traditional Music IFMC International Folk Music Council IMC International Music Council JIFMC Journal of the International Folk Music Council LAC Local Arrangements Committee MEA ICTM Study Group on Musics of East Asia MESI ICTM Study Group on Music, Education and Social Inclusion PASEA ICTM Study Group on Performing Arts of Southeast Asia pers. comm. personal communication SG Study Group VWML Vaughan Williams Memorial Library, London Yearbook YIFMC and/or YTM YIFMC Yearbook of the International Folk Music Council YTM Yearbook for Traditional Music ORIGINS AND OPERATIONS Origins and Operations: Introductory Note The first chapters in this volume concern the origins of the Council and its foundation, the statutes that govern its operation, ideological concerns over time, and the establishment and maintenance of an archive of historical materials. The origins of the Council are intimately intertwined with that of its founder, long-serving secretary, and honorary president, Maud Karpeles, whose varied contributions are highlighted in a series of vignettes of her scholarly activities. The Council’s existence and activities have been and continue to be outlined in a series of rules, statutes, memoranda, and guidelines. At the General Assembly held online in 2021, members voted on the most-recent modifica-tions to these statutes, and even considered a change in name of the organization itself. The highly international nature of the Council has been one of its distinguishing features since its establishment and continues to be of great importance. This has also coloured various ideological issues that the Council has dealt with during its existence. Finally, a wealth of historical documents concerning the Council and its activities is available in the ICTM Archive at the National Library of Australia. The Origins and Establishment of the International Folk Music Council Don Niles The origins of the Council have often been told through element in all these organizations and related events is the perspective of Maud Karpeles (1885–1976). This Karpeles. is partly because she has by far written the most about My treatment of origins acknowledges these relation-the subject, but also because it is quite clear that she ships, but also emphasizes Karpeles’s increasing interwas indeed the key person in its establishment; even she national activities through folk dance/music festivals. acknowledged that she was “in some measure responsi- Such festivals frequently spawned new international ble for its birth” (Karpeles 1969:14). While there were organizations. As Karpeles’s involvements and con-certainly many other people involved in various roles, tacts increased, and her administrative, diplomatic, it is Karpeles who seems to have brought everything and organizational abilities developed, her enthusiasm, together. As such, this account also relies on her commitment, and skills often led to her appointment essential sources, supplemented wherever possible by as an honorary secretary of such international festivals other information.1 and organizations. It was this combination of events, Celebrating twenty-one years since the founding of opportunities, and extraordinary efforts that led to the the Council (its “coming of age”), Karpeles (1969:14) founding of the IFMC in 1947. observed that the English Folk Dance and Song Society, and the British National Committee on Folk Arts could be considered the grandparents of the IFMC. If so, the English Folk Dance and Song Society International (Advisory) Folk Dance Council would by implication be the IFMC’s parent. Yet the common The English Folk Dance and Song Society was established in 1932 with the merger of the Folk-Song Society and the English Folk Dance Society. Ralph Vaughan 1 This chapter owes much to the records located in ICTM Williams neatly distinguished between these two prede- Archive at the National Library of Australia in Canberra and the Vaughan Williams Memorial Library of the English Folk cessor organizations: Dance and Song Society in London. Karpeles’s autobiography whereas the Folk Song Society existed to preserve is an essential source, and I appreciate the permission and assis- English folk music through the publication of material tance of Vicky Wilson, librarian at the latter library, to enable exactly as it had been collected, the English Folk Dance me to download it from the web and make it more easily acces- sible to interested researchers. Jeanette Mollenhauer bravely Society set out by instruction and demonstration to located and copied other materials at both libraries. The ICTM give back to the people of England their heritage of folk Secretariat has been ordering selected scans from the ICTM dances that were all but forgotten. (Vaughan Williams Archive since 2016. I appreciate the assistance of the National 1958:109) Library of Australia staff in copying various materials upon request, and the Secretariat for supporting such research. Marc- The Folk-Song Society was founded in London in June Antoine Camp generously shared details of Swiss individuals 1898. Its journal ( Journal of the Folk-Song Society or Folk and other aspects relating to the 1948 Basel conference, and Song Journal, 1899–1931) initially printed proceedings Ursula Hemetek and Lisbet Torp helped me find informa- tion that otherwise left me befuddled. My co-editors for this of annual meetings, but by 1901 began to focus on the volume, Naila Ceribašić and Svanibor Pettan, helped my publication of orally transmitted “traditional songs” presentation and style here significantly; I am honoured to that had not been published previously. Their interest collaborate with such scholars and friends who share a passion extended beyond England to Scotland, Ireland, and the for the Council. My status as honorary associate professor at the Australian National University enabled me to electronically Isle of Man (ibid.:109). access many journals that otherwise would not have been avail- able to me. The Institute of Papua New Guinea Studies has Maud Karpeles and her younger sister, Helen Karpeles supported my involvement in ICTM activities for many years, (1887–1976), had first come across folk songs and and the encouragement of Steven Enomb Kilanda, executive dances in 1909 at a festival in Stratford-upon-Avon. director of the National Cultural Commission, to complete They subsequently formed a folk-dance club which this undertaking was essential. My sincere thanks to all. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 5–19. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 6 Don Niles gave demonstrations illustrating Cecil Sharp’s lectures. abroad, such as to festivals in the Netherlands, Belgium, This was to be the nucleus of what would become the Basque region of France, Denmark, the USA, Canada, English Folk Dance Society. By 1911, Maud Karpeles and the 1928 congress in Prague. Karpeles was also had become Sharp’s assistant. increasingly involved in organizational aspects of local, The English Folk Dance Society was founded by Cecil regional, national, and international events, undoubt-Sharp (1859–1924) in 1911, and was more concerned edly developing skills that would give her consider-with practical rather than academic activities; as such able confidence to diplomatically manage and organ-they were not initially focussed on publication, but ize future festivals and conferences, such as those that on promoting dances collected by Sharp and others would ultimately be associated with and lead to the through classes, vacation schools, displays, lectures, and founding of IFMC (Howes 1935a:3; Karpeles 1969:14; the training of teachers (Vaughan Williams 1958:109– [1976]:106, 119, 136–137a; Pakenham 2011:187). 110). Following Sharp’s death in 1924, the Society Karpeles had a long association with the Society that was led by Douglas Kennedy,2 the husband of Helen could have been much longer: from 1911 when she Karpeles. Festivals began to be organized by the Society, helped found the Society until 1936 when she submit-especially the annual All-England Festival, first held ted her resignation from its National Executive followin 1925 in London (Croft 1927:13–14). A folk-dance ing a bitter dispute over the copyright of Sharp’s collec-group from abroad was frequently invited to participate tions of folk dances, which she oversaw as his literary in such festivals, but the Society’s major involvement executor. While she subsequently maintained an ordi-abroad was at the International Congress of Popular nary membership and interest in the Society, relation-Arts, held in Prague in 1928 (see below) (Karpeles ships never improved (Karpeles [1976]:203–205; Boyes 1969:14–15). 2001:184–185). Boyes explores numerous factors in Their journal, The English Folk Dance Society’s Journal this deteriorating relationship and Karpeles’s near era- (1914–1915), was followed by the Journal of the English sure from the English Folk Revival, concluding that Folk Dance Society (1927–1931). Cecil Sharp House in creating a caricature [of Karpeles] that denies her in London was opened on 24 June 1930 and served achievements and in writing this lively, principled and as the headquarters of the Society and its successor, as able woman out of its history, the English Folk Revival has both destroyed and lost much that is of value. it does today. In 1958, its library became the Vaughan (Boyes 2001:192) Williams Memorial Library. In 1931, Kennedy invited the Folk-Song Society to merge with the English Folk Dance Society to form International Congress of Popular Arts the English Folk Dance and Song Society.3 This was (Prague, 1928) accepted, and the merger took place on 1 March 1932. Their Journal of the English Folk Dance and Song Society The International Congress of Popular Arts (Congrès (1932–1964) was succeeded by the Folk Music Journal des arts populaires) was convoked by the Assembly of (1965–present). the League of Nations on the recommendation of the The English Folk Dance and Song Society would be Commission internationale de coopération intellectuelle the co-host of the International Folk Dance Festival (International committee of intellectual co-operation).5 and Conference in 1935 (discussed below). Karpeles’s The congress was held in Prague, 7–13 October 1928. involvement with the English Folk Dance Society and Thirty-one nations participated from Europe, Asia, its successor exposed her to international gatherings North America, and South America. Maud Karpeles focussed on dance, such as when foreign teams were attended as part of the largest national contingent, a invited to perform at the Albert Hall (since 1927),4 fifty-member delegation from the United Kingdom and when the Society’s Demonstration Team travelled (primarily consisting of members of the English Folk Dance Society), but lacking an official government rep-2 Kennedy would later serve on the IFMC Executive Board for resentative. Karpeles and other members of this delega- almost three decades from its establishment. tion presented six papers in the music and dance sec- 3 The pros and cons of the merger from the point of view of the tions of the congress. Aside from the performances by smaller Folk Song Society can be found in a report on a special general meeting that took place in 1931 (Folk Song Society English musicians and dancers, the only other perfor- 1931). When some feared that the scientific study of song mances were by Javanese dancers (English Folk Dance might be overwhelmed by the “larger and more boisterous dance faction,” Karpeles “insisted that a proper understanding of folk music depended on a mixture of practice and scholar- ship” (Pakenham 2011:195). and were resumed after the war in 1948 (in Schofield and 4 After the first Albert Hall festival, it became the tradition Shuldam-Shaw 1948:159). to invite dance groups from abroad (Pakenham 2011:187). 5 This committee existed from 1922 to 1946, after which its role According to Schofield, such festivals continued until 1939 was taken over by UNESCO. Origins and Establishment of the International Folk Music Council 7 Society 1928; Karpeles 1969:14–15; [1976]:138–139; BRITISH NATIONAL COMMITTEE ON FOLK ARTS Rogan 2007:10–12). As Karpeles was appointed the Great Britain repre- This congress created the Commission internationale sentative for CIAP, it was her responsibility to form a des arts populaires (CIAP) (International commission committee in her own country. Karpeles established the of folk arts),6 and Karpeles was appointed as representa-British National Committee on Folk Arts8 in 1928 with tive for Great Britain.7 Such representatives were invited Harold Peake (Society of Antiquities) as chair (Howes to set up national committees in their home countries. 1935a:4; Karpeles 1949b:3; [1976]:140). This led to the establishment of the British National Committee on Folk Arts (English Folk Dance Society Although this committee compiled a register of museum 1928; Karpeles 1969:15; [1976]:139–140). exhibits of folk arts,9 it was not involved in any other major activities and did not re-emerge after World War COMMISSION INTERNATIONALE DES ARTS POPULAIRES II. Its co-sponsorship of the International Folk Dance Festival and Conference in 1935 with the English Folk At its first assembly (Rome, October 1929), CIAP was Dance and Song Society was “largely as a silent part-reorganized to try to distance itself from the League of ner” (Karpeles 1969:15). Nevertheless, because of the Nations. At the second meeting (Antwerp, 1930), it importance of this collaboration to the eventual estab-was decided to establish a Folk Music Bureau to work lishment of IFMC and probably because of its links back directly with the Institute of Intellectual Co-operation. to CIAP, Karpeles still considered the committee to be Under the supervision of Hungarian composer and eth-one of the Council’s grandparents (Karpeles 1969:14) nomusicologist László Lajtha, a two-volume bibliogra- and acknowledged that it “helped to pave the way for phy on folk songs was produced (Institut international important developments in international folk-music de coopération intellectuelle 1934; 1939), but Karpeles relations” (Karpeles [1976]:140). As Great Britain’s rep-felt it was “concerned rather more with scientific aspects resentative to CIAP, Karpeles attended a CIAP confer-than with the artistic or popular aspect of the subject” ence in Geneva in November 1945, her first trip abroad (Karpeles 1972:11). Lajtha would later be present at the following the conclusion of the war, where she met IFMC founding; he served on the first IFMC Executive Samuel Baud-Bovy, and renewed acquaintances with Board and for many years thereafter. Karpeles’s involve-Louis Witzig and Constantin Brăiloiu, all noted music ment in international festivals, the 1928 congress, and and dance researchers of the time. other international events and organizations, widened her contacts with individuals who had similar inter- ests, many of whom would take part in the founding International Folk Dance Festival and of IFMC. Conference (London, 1935) CIAP was concerned with all music and folk art, cer- tainly one of the reasons Karpeles was very interested in The executive committee of the English Folk Dance IFMC developing an association with CIAP early on. and Song Society began to think of organizing an inter-This is discussed in more detail in the section below on national festival. After choosing the summer of 1935 the establishment of IFMC. as the best time to host such an event, the Society’s International Subcommittee, which had existed since 1930, began to formulate plans on 1 January 1933. Such a large international festival had never been attempted.10 In order to control the size of the 1935 event somewhat, it was decided early on to limit dance 6 The report on the congress by the English Folk Dance Society groups to those from Europe (Howes 1935a:3; Karpeles uses the English title “International Commission of Popular 1969:14; [1976]:119, 136–137a, 185). Arts” (1928:50), hence translating arts populaires as ‘popular arts’. For some speakers, this is a particularly sensitive, political subject, so I have preferred to translate this phrase as ‘folk arts’. Cf. the discussion by Rogan (2007:23, n. 31). 8 Karpeles (1969:14–15) erroneously calls this the British 7 In 1936, CIAP became the Commission internationale des National Committee of Folk Arts. arts et traditions populaires (International commission of folk 9 Cadbury (2009:115) notes a questionnaire being sent out arts and traditions). The name was changed again in 1964 by the Committee “for the help of museum curators in the to Société internationale d’ethnologie et de folklore (SIEF; preparation of a catalogue of Folk Arts and Crafts in British International society for ethnology and folklore), as it remains Museums,” but “these efforts appear to have been fruitless.” known today (Karpeles 1969:15, n. 2; Rogan 2015; 2008). Presumably the results of this research were never published. Further information about the origins of CIAP/SIEF, the 10 Dunin (2014:199–200) observes that the United Kingdom political and academic scene at the time, and its activities is was not the only country to organize folk-dance festivals in this presented by Rogan (2007) and in some of his other writings, period. For example, Yugoslavia and the USA had also done and on the organization’s website (https://www.siefhome.org/ so, in the 1930s, but the 1935 event was “the largest ‘interna- about/history.shtml). tional’ (European) dance festival with associated conference.” 8 Don Niles Discussions had progressed significantly so that on 15 the event in London, however, an international dance November 1933, the British National Committee on jury evaluated performances and awarded certificates Folk Arts considered a formal approach from the Society ( Ehrenurkunden) to those groups that best expressed to jointly host the event (British National Committee the tradition and essence of folk dance in their per-on Folk Arts 1933). Maud Karpeles was a member of formances. Members of the jury included Constantin both committees. Brăiloiu, Maud Karpeles, Douglas Kennedy, László A large general committee was established by both Lajtha, and Poul Lorenzen: apart from Romanian ethno-organizations to oversee the management of the festival. musicologist Brăiloiu, the others would form part of the This committee then in turn appointed a smaller execu-first Board as secretary, two members, and a vice presi- tive committee of twenty members that was to meet for dent. A further, important difference from the London the first time on 16 May 1934.11 Queen Mary (wife of event was that no accompanying academic conference King George V) became patron, and many other titled took place in Vienna. Instead, the judges displayed their notables, both from the UK and representing foreign knowledge in evaluating the performances.15 Karpeles countries, held official positions. Lady (later, Baroness) learned much from such a spectacular event, and even Ampthill, president of the EFDSS, a close friend of managed to publicize there the planned festival for the queen and well known for her charity work, was London (Karpeles [1976]:186). appointed chair, while Karpeles was appointed honor- The International Folk Dance Festival and Conference16 ary secretary; but much of the real work in organizing took place in London, 14–20 July 1935, held under the such an event was the responsibility of Karpeles and her auspices of the English Folk Dance and Song Society team. John Myres,12 Ralph Vaughan-Williams,13 and and the British National Committee on Folk Arts Douglas Kennedy were also on the committee. Myres (Karpeles 1949b:3). Although spectacular performances would become president of the International (Advisory) took place in London halls and parks (figure 1), this was Folk Dance Council that hosted a conference in 1947 much more than a large festival: it was also an oppor-establishing IFMC, and the latter two men would tunity to present research on music and dance during become president and Board member, respectively, of the conference. While Karpeles was honorary secretary the first IFMC Executive Board, twelve years after this for the festival, the honorary conference secretary was festival (Howes 1935a:3–4; 1935b:143–145, app. A; Violet Alford (Howes 1935a:144). Karpeles [1976]:185–187). A timetable of events is provided by Howes (1935b:146– In order to learn more about hosting such an interna- 147, app. B). Except for the opening couple of days, tional festival, Karpeles attended the Internationales most days began with a session of conference papers at Volkstanztreffen (International folk-dance meeting), a 09:45, followed by excursions or public performances competition of national folk-dance groups, which took from about 14:30, and evening public performances at place in Vienna, 9–16 June 1934. In addition to groups 20:30 at the Royal Albert Hall. from many parts of Austria,14 there were participants Invitations for dance groups were sent to all European from Bulgaria, Denmark, India, Latvia, Lithuania, the countries and the USA. About 515 dancers from sev-Netherlands, Poland, Romania, Sweden, and Ukraine. enteen countries (Austria, Bulgaria, Denmark, France, Spectacular outdoor performances were high points, Germany, Hungary, Italy, Latvia, Lithuania, the just as would occur in London in 1935. In contrast to Netherlands, Norway, Poland, Romania, Spain, Sweden, 11 See correspondence from Karpeles (27 Apr 1934) asking that the agenda for the 16 May meeting be circulated (Vaughan 15 Preceding and overlapping the Internationales Volkstanztreffen Williams Memorial Library, Maud Karpeles Manuscript was the Internationaler Tanzwettbewerb (International dance Collection, MK/7/65). competition), which focussed on classical and modern dance, and was judged by a different jury of experts, 27 May – 16 12 While Myres (1869–1954) is best known as a British archae- June. These events were part of the Wiener Festwochen, a ologist for his work in Cyprus, Crete, and Zimbabwe, his cultural festival that continues today. The 1934 dance meet- interests were eclectic and included lengthy, senior involve- ing and competition were embedded in the cultural policy ments with the Folk-Lore Society and the English Folk Dance of the Austrian totalitarian government that took power in and Song Society (see, e.g., E. O. J. 1954; R. M. D. 1954; 1933–1934. Magdalena Puchberger very kindly shared her Mavrogordato 1955). knowledge of the events in Vienna and relevant documents 13 For an overview of the long association between Karpeles and from the Archiv Österreichisches Museum für Volkskunde Vaughan Williams, see Haywood (1972). (Direktionsakten, 20/1934, Mappe IVTT). 14 Including Austrians performing German dances. Germany had 16 The name of this event varies between sources: International withdrawn from the League of Nations, which was the main Folk Dance Festival (Karpeles 1949b:3), International sponsor of the event. Such a solution to enable German dances (European) Folk Dance Festival (Howes 1935a), International would not offend the sponsors and also corresponded to the (European) Folk Dance Conference and Festival (Karpeles intentions of the Austrian government (Johler and Puchberger 1969:14), etc. Lacking evidence as to the primacy of one name 2013:78). Much additional information about the sociohistor- over the other, here I follow Vaughan Williams (1958:110) in ical context of the Volkstanztreffen is presented by Johler and using “International Folk Dance Festival and Conference,” as it Puchberger (2013:70–82). seems to best reflect the nature of the event itself. Origins and Establishment of the International Folk Music Council 9 Figure 1. Maud Karpeles (centre) watching the 1935 performances with Douglas Kennedy (in white hat). Some of the Romanian călușari dancers are at the right (photo courtesy of Vaughan Williams Memorial Library, English Folk Dance and Song Society). Switzerland, USSR) participated, with about another along with one film with sound. Four other papers were 300 from the host country itself. Estonia, Finland, submitted, but not read (based on the information in Greece, and the Irish Free State accepted invitations, Howes 1935b). Aside from the nations represented by but had to withdraw a few weeks before the festival. the various dance groups, countries such as Canada, Belgium, Czechoslovakia, Iceland, USA, and Yugoslavia Egypt, India, and the USA were also represented by were unable to send dancers (Howes 1935a:6; Karpeles delegates and participated in the conference, thereby 1969:15).17 Howes remarked on the spectacle and the significantly extending the international character of optimism he felt at the Albert Hall performances: the event well beyond Europe. The standard-bearers advanced to the centre—and here All conference papers plus the subsequent discussions one cannot forbear to mention the indefinable thoughts were published in the 1935 Journal of the English Folk and feelings that surged through the mind as the eye beheld the flags of the new autocracies of Right and Dance and Song Society, edited by Frank Howes (1935a) Left mingling with the democratic emblems of Powers (figure 2). Some of the participants would later become both great and small, the Hammer and Sickle, the members of the first, provisional Board of IFMC twelve Union Jack and the Swastika floating amicably together years later: Douglas Kennedy, Ole Mørk Sandvik, Louise in the arena of the Albert Hall—and round them the Witzig, along with Karpeles as honorary secretary. whole company reinforced by a hundred English danc- ers danced Sellenger’s Round. At that one dare hope According to Karpeles (1969:15; [1976]:192), Curt that the tune otherwise called “The Beginning of the Sachs, who presented a paper at the conference (Sachs World” might be there and then the New Beginning of 1935), remarked some twenty years later that “the con-a New World. (Howes 1935a:12) ference with its accompanying festival had done more The conference took place mostly at Cecil Sharp House, for the cause of folk music than any other single event.” headquarters of the English Folk Dance and Song Vaughan Williams would also observe: Society, but with one session at Phoenix Theatre. During Perhaps only the joint [English Folk Dance and Song] the conference, under the presidency of John Myres, Society could have brought about such a successful thirteen papers were presented (some with lantern blending of study, organisation and exciting enter- slides, one with film, and one with a live performance), tainment as the International Folk Dance Festival and Conference held in London in July, 1935, an event that 17 A good, overall account of the event is given by Karpeles in her had far-reaching effects, not the least being the found- autobiography ([1976]:185–192). 10 Don Niles (ICTM Archive MS 10017, series 4, folder 94; also see Karpeles 1949b:4; 1969:16) The first objective from 1933 has become the third for IFMC,18 and the third objective from 1933 has become the second for IFMC. Finally, the second objective from 1933 has become more forceful by expansion as the first for IFMC: instead of just demonstrating value, the Council is now meant to be active in the preser- vation, dissemination, and practice of folk music from throughout the world. In the case of all three objectives, however, “folk-dance(s)” has become “folk music,” undoubtedly linked to the IFMC Board’s view that the term “folk music” includes folk song and folk dance, as originally stated in the provisional constitution.19 Somehow the folk music = folk song + folk dance equa- tion became predominant in the years between 1935 and 1947, but apparently not enough to change the name of the 1947 conference; that is, it did not become the “International Conference on Folk Music.” Such a change would only eventuate with the founding of IFMC. The establishment of the IFMC is discussed in further detail below. The 1935 festival and conference were highly success- Figure 2. Cover of the 1935 Journal of the English Folk ful, so much so that at the final session the future was Dance and Song Society. considered. John Myres, as chair, remarked that on 19 July, the penultimate day of the conference, representa- ing of the International Folk Music Council in 1948. tives from a number of countries submitted various res- (Vaughan Williams 1958:110) olutions, especially that a committee of not more than one correspondent from each country be established Here Vaughan Williams highlights the academic to confer with other international organizations. This research interests of the original Folk-Song Society com-committee would encourage the exchange of informa- bining with the practical aims of the original English tion and make enquiries about having another festival. Folk Dance Society, both contributing to the success It was also requested that Maud Karpeles be invited to of the event. And he also saw the very real connection be secretary (later, honorary secretary) of the commit-between this festival and the eventual founding of the tee. After further discussion, the proposals were slightly IFMC, albeit in 1947, rather than 1948. modified to include Myres as president and remov- The relation between this festival–conference and the ing the limit on a single correspondent per country. future IFMC is even more striking when the objec- Thirty correspondents from nineteen countries agreed tives of the two are compared. The objectives of the to serve on this body. Although apparently not named 1935 event, as defined by the organizing committee as such at the time, this committee was eventually in 1933, were: called the International (Advisory) Folk Dance Council (1) to promote understanding and friendship between ([Conference participants] 1935:114–115; I(A)FDC nations through the common interest of folk-dance; 1947:2; Karpeles 1949b:3; 1969:15–16; 1972:7). (2) to demonstrate the value of folk-dance in the social life of to-day; (3) to further the comparative study of folk-dances. 18 For the 1935 event, Karpeles was “much affected at the sight (Howes 1935a:3) of German and French groups embracing and exchanging While the “objects” of the IFMC as originally laid down … bouquets, all memory of the last conflict forgotten and apparently unconscious of any shadow of coming events” in its provisional constitution (sect. 2(a)–(c)) were: (Pakenham 2011:200). Twelve years later, Stockmann observed (a) to assist in the preservation, dissemination and that this third objective for IFMC was “in recognition of the practice of the folk music of all countries; painful fact that the Second World War had created deep rifts between nations and peoples” (Stockmann 1988:2). (b) to further the comparative study of folk music; 19 A copy in English and French can be found in the ICTM (c) to promote understanding and friendship between Archive (MS 10017, series 4, folder 94). Also see the discus- nations through the common interest of folk music. sion of this understanding when possible alterations to the constitution are considered in the BIFMC (1, Oct 1948:9). Origins and Establishment of the International Folk Music Council 11 INTERNATIONAL (ADVISORY) FOLK DANCE COUNCIL wards, Sir John Maud,22 a senior UK government offi- As expressed at the 1935 festival and conference, it cial in education who had also been at the UNESCO was apparently the intention that future festivals be conference, encouraged Karpeles to take the initiative held every four years, and their organization was one herself. She went ahead as she saw fit and later wrote: of the tasks of the International (Advisory) Folk Dance “from that time onward the best part of my life has been Council (I(A)FDC). A festival organized in Stockholm devoted to the international aspect of folk music” (I(A) by Svenska Ungdomsringen för Bygdekultur FDC 1947:2; Karpeles 1972:8; [1976]:215; Pakenham 20 (Swedish youth association for folk culture) in 1–6 August 1939— 2011:222). as it turned out, one month before the German invasion To discuss the potential future of the I(A)FDC and of Poland and the start of World War II—was planned other questions, a conference in London was planned as the next in the series.21 Ultimately the organizers for September 1947, to be organized by I(A)FDC, with withdrew I(A)FDC from such a collaboration: there Karpeles as the main organizer in her role as honorary had been objections raised from Germany because the secretary. Myres was listed as president on the letter-Council operated from England. Nevertheless, eleven head used to organize the event, but Karpeles would countries participated and all went smoothly despite announce his resignation at the start of the conference “underground tensions” (Karpeles [1976]:193). After (I(A)FDC 1947:2; Karpeles 1972:7). This very much that, World War II prevented international folk-dance seemed to be Karpeles’s event. She invited many who activities. The members of I(A)FDC did not have a sec-had attended the 1935 conference and other folk- ond meeting and never adopted a formal constitution. song and folk-dance experts, while national delegates “It was not until after the War that the seeds that had were contacted through the foreign office (Karpeles been sown at the 1935 Festival bore fruit in the forma- [1976]:215–216). tion of the International Folk Music Council” (Karpeles [1976]:193). After a “troubled peace” emerged following the war and International Conference on Folk Song contacts were resumed, questions arose as to whether and Folk Dance (London, 1947) I(A)FDC should be re-established, and, if so, what should be its concerns and relations with other inter- The International Conference on Folk Song and Folk national organizations (Karpeles 1949b:3; 1969:16). Dance23 was convened during 22–27 September 1947 As an observer, Karpeles attended the first general con- by the International (Advisory) Folk Dance Council at ference of the United Nations Educational, Scientific, the Belgian Institute in London.24 The purpose of the and Cultural Organization (UNESCO), held in Paris conference was to address questions about the future of (20 November – 10 December 1946), and initially that Council and possible future international festivals hoped that UNESCO would take on the responsibil-and conferences (Karpeles 1949b:3). The conference ity of promoting folk music and dance, perhaps by ini- tially convening a conference of folk-music experts. It 22 Later, John Primatt Redcliffe-Maud, Baron Redcliffe-Maud, was unable to do this; Karpeles was disappointed with GCB, CBE (1906–1982). He was permanent secretary to the Ministry of Education, 1945–1952, primarily under Prime their initial lack of interest and slow pace of action, Minister Clement Attlee. Maud subsequently made an address although UNESCO did offer to send an observer if the at the 1952 IFMC conference in London ( JIFMC 5, 1953:6). I(A)FDC were to organize such an event. Shortly after- 23 Contrary to Schofield’s assertion, this was not quite yet the “first meeting of the Conference of the International Folk Music Council” (in Schofield and Shuldam-Shaw 1948:159). 24 Stockmann (1988:1) comments on the difficulties partici- pants would have faced in travelling to London at this time: 20 Founded in 1920 as the Svenska Folkdansringen (Swedish devastation from war was still widespread, few functioning folk dance association), they changed their name to Svenska railway lines, minimal financial resources, uncertain out- Ungdomsringen för Bygdekultur in 1922, but reverted to the comes, etc.: “So most of them came to London with the firm original name in 2005. While their primary initial focus was determination to found an international organization for folk dance, today it includes all aspects of folk culture, such traditional music, which they regarded as being of vital impor- as music, crafts, costumes, customs, etc. Perhaps most notably tance.” Stockmann also reflects on the establishment of the they are responsible for organizing the Zorn Trials, at which Gesellschaft für vergleichende Musikwissenschaft (Society for excellence in Swedish folk music is rewarded with a medal and comparative musicology) in Berlin in the 1930s. Beginning as title (Svenska Folkdansringen 2016; Wikipedia Contributors a national organization, in 1933 it absorbed members of the 2019). American Society for Comparative Musicology and elected 21 Karpeles did much preliminary work in the organization Charles Seeger as vice chair in order to establish it as an inter- of the festival, and visited Stockholm in 1938 (Karpeles national society and try to save it from Nazi control. Despite [1976]:193). Correspondence on I(A)FDC letterhead from relocating the society to New York, and the efforts of Seeger Karpeles (23 Apr 1938) in the Vaughan Williams Memorial and others to maintain it, they were in vain: “the time was not Library immediately follows this visit and suggests subjects for yet ripe for it. It was only after the war that a truly interna- the International Folk Dance Festival to be held there (Maud tional organization could be formed” (ibid.:3). Of course, that Karpeles Manuscript Collection, MK/7/93). organization was the IFMC. 12 Don Niles Conference sessions were two hours in length. After the opening of the conference on the morning of 22 September, the conference began with a session in the afternoon (14:00–16:00). It continued with two-hour morning sessions (10:00–12:00) on 23–24 September, and with morning and afternoon sessions on 25–26 September (10:00–12:00, 14:00–16:00). The rest of the time was divided between numerous receptions at Cecil Sharp House and Hampton Court, a tea, and an excursion to Oxford on the final day. At 20:15 on the evenings of 23 and 25 September, del- egates at Cecil Sharp House demonstrated music of their respective countries on gramophone records and through live performances (Argentina, Dominican Republic, Finland, France, Italy, Norway, Palestine, UK, and USA) (I(A)FDC 1947:15). These sessions were open to the general public for an entrance fee of two shillings and sixpence (figure 3)—note that the countries listed in the illustration differ from those in the proceedings sighted earlier. There appear to have been no other academic presentations or performances. Delegates from twenty-eight countries attended,27 mostly appointed by their respective governments. UNESCO was represented by Vanett Lawler, head of the Arts and Letters section. Other observers were from the British Council and the Ministry of Education. Vaughan Williams was invited to be chair by Karpeles, with Steuart Wilson as vice chair (Swinson et al. 1947:94–95; Karpeles 1949b:3; 1969:16). Figure 3. Announcement of open sessions for the playing of gramophone recordings and lectures in THE ESTABLISHMENT OF THE INTERNATIONAL FOLK association with the 1947 International Conference on Folk MUSIC COUNCIL Song and Folk Dance, held in London (ICTM Archive MS 10017, series 4, folder 94). The conference opened at 10:30 on 22 September 1947. After the chair’s opening address (item 1) and was supported by a small fund held by the English various apologies for absence (item 2), Karpeles as Folk Dance and Song Society, representing profits from honorary secretary recounted the events that led to the 1935 festival and conference, supplemented by the conference (item 3), as have been overviewed and £ 100 from the society and the same amount from an expanded upon in the sections above. Item 4a in the anonymous donor, later revealed by Karpeles as Patrick report was “Formation of an International Folk Music Shuldham Shaw25 (Karpeles 1969:17). The main record (Dance and Song) Council.” Steuart Wilson then took of what transpired at this conference is in a report over as chair. After a break for lunch at 12:00, the con- (I(A)FDC 1947), which was almost entirely reprinted ference resumed at 14:00. Before the end of the session verbatim as Karpeles (1972).26 at 16:00, Wilson proposed “that an International Folk Music Council be formed.” The resolution was “carried 25 Shuldham-Shaw (1917–1977) was a very active composer, by a show of hands” (figure 4), and the day’s session was choreographer, researcher, and teacher of folk song and dance (Plant 2017). Note that his contribution would have been made when he was thirty years old; £ 100 in 1947 is equivalent Williams Memorial Library (amongst uncatalogued materials to c. GBP 3,990 in 2018 (http://inflation.iamkate.com/). donated by Peter Kennedy) similarly lacks these appendixes. 26 I know of two copies of the original report: in the New York 27 While no list of attendees is available in the proceedings, from Public Library, and the Vaughan Williams Memorial Library the reports available and Swinson et al. (1947:94–95), it is pos- of the English Folk Dance and Song Society. Three appendixes sible to identify twenty-six of the countries/regions: Argentina, (A–C) are mentioned on the contents page (I(A)FDC 1947:ii), Australia, Basque region (Pays-Basque), Belgium, Brazil, noting delegates, apologies for absence, and the provisional Canada, Czechoslovakia, Denmark, Finland, France, Greece, constitution. The New York Public Library catalogue record Hungary, Italy, the Netherlands, New Zealand, Norway, notes these, but they are missing from the document and are Palestine, Portugal, Romania, Switzerland, Turkey, Uganda, not reproduced in Karpeles (1972). The copy in the Vaughan UK, USA, West Indies, and Yugoslavia. Origins and Establishment of the International Folk Music Council 13 Returning to the events of 1947, it is interesting to compare (1) an undated “draft agenda,” circulated by Karpeles sometime before the conference, (2) the “agenda,” presumably post-dating the draft (both in ICTM Archive MS 10017, series 4, folder 94), and (3) the two available reports of the proceedings (I(A)FDC 1947; Karpeles 1972), which apparently reflect what actually transpired. While the published accounts differ in relatively minor ways from the “agenda,” the most noteworthy difference of the “draft agenda” from the others is the total absence of any item considering the formation of IFMC (cf. figures 5 and 6). Instead the election of vice chairmen is followed directly by a consideration of a draft constitution, without any new organization being established. This could suggest that at this point, the constitution might have been originally intended for a redefined I(A)FDC. Unfortunately, this remains unclear from the sources available. The greater significance of the founding of the IFMC at that time was perhaps seen more clearly decades later: When the International Folk Music Council was founded, the world was still stunned by the ravages of Figure 4. Minutes noting the establishment of IFMC on a war fought with unprecedented cruelty. Politically, 22 September 1947 (I(A)FDC 1947:5). the situation remained fluid nearly everywhere, while musical scholars found that many of their documentary adjourned (I(A)FDC 1947:1–5; Karpeles 1972:6–12). sources had either been destroyed or had become tem- porarily inaccessible. (Ringer 1969:5) The IFMC had been founded. In keeping with the goals of UNESCO, the IFMC From the proceedings available, it is not clear when the aimed, above all, at rebuilding the bridges across inter- awkward addition of “(Dance and Song)” was removed national boundaries, physical as well as conceptual, that from the name of the organization, even though it is for so long remained in ruin. (Christensen 1988:12) included in the agenda item quoted and also in some reports of the event (e.g., Swinson et al. 1947:94–95). IFMC’S RELATIONS TO OTHER ORGANIZATIONS AND PRACTICAL MATTERS It is already absent from the provisional constitution. However, at the 1948 Basel conference, it was proposed The establishment of the IFMC is briefly recounted to re-insert the parenthetical expression, thus creat-above. While it happened on the first day of the con- ing the “International Folk Music (Dance and Song) ference, it was not quite as straightforward as suggested. Council.” Karpeles explained that the reason for this In this section, I provide more detail on how this deci-reinsertion would be because the public “sometimes sion was reached, and the discussions and decisions of assumed that dance was not a form of music.” But the the remaining days that focussed on various operational Executive Board thought that instead of a “somewhat and practical details of the newly created Council (also awkward” name, it would be better to educate the pub-see Karpeles [1976]:215–219). lic through the activities of the Council ( BIFMC 1, Oct While item 4a of the conference report concerned the 1948:9). As a result, the name remained “International possible formation of an International Folk Music Folk Music Council” in the subsequently ratified con- (Dance and Song) Council, immediately following this stitution, but with the explanatory “it is understood heading, without any discussion, is item 4b: “The rela-that the term ‘Folk Music’ includes Folk Song and Folk tionship of the proposed Council with the International Dance” immediately following the statement of the Commission on Folk Arts and Folklore (C.I.A.P.).”28 name. Karpeles continued to explain this all-encom- Karpeles explained that the proposed IFMC would passing definition in other publications as well (e.g., differ from the existing International (Advisory) Folk Karpeles 1965b:311). Indeed, this clarifying definition appeared in all revisions to the IFMC’s constitution/ rules until the change of name to International Council for Traditional Music in 1981. 28 The item numbers in this section refer to the only known reports for this conference (I(A)FDC 1947:3; Karpeles 1972:8). 14 Don Niles Figure 5. Draft agenda for the 1947 conference (ICTM Archive MS 10017, series 4, folder 94). Dance Council29 that had organized the conference and would automatically replace it. The IFMC would include all branches of folk music (i.e., song and dance), have a formal constitution, and be more international. Although not excluded from dealing with folk music (here, meaning folk song), the existing I(A)FDC did not do so specifically, because there already was a Folk Music Bureau in CIAP, as noted above. Nevertheless, Figure 6. Agenda for the 1947 conference many I(A)FDC correspondents felt it impossible to (ICTM Archive MS 10017, series 4, folder 94). separate dance and song. Karpeles said that if IFMC were formed, it should establish a close relationship with CIAP; but, she also suggested it might be best music and dance. Indeed, CIAP was holding its first to first seek the opinions of participants as to whether post-war conference during the following week in an international folk music council should be estab-Paris.30 Debate followed, but this amendment was only lished, and then to consider its relationship with CIAP. supported by Marinus and Elizabeth Burchenal (USA), Consequently, the chair, Steuart Wilson, asked whether a leading authority on folk dance and founder of the they should vote on the establishment of an interna-American Folk Dance Society. tional folk music council first or have a preliminary dis- In contrast, requests for immediate action on the vote cussion about its potential relationships with CIAP. regarding IFMC were made by many others, namely: Albert Marinus (Belgium) had deep involvements with Renato Almeida (Brazil), Arnold Bake (the Netherlands), CIAP before and after this event, and at the time was Edric Connor (West Indies), William Stanley Gwynn a vice president of CIAP. He asked the conference to Williams (UK), Douglas Kennedy (UK), Poul Lorenzen make no decision on the founding of IFMC. Instead, (Denmark), Claudie Marcel-Dubois (France), Ahmed he felt it should be recommended to CIAP that they Adnan Saygun (Turkey), Doreen Senior (UK), Klavs widen their constitution to better accommodate folk Vedel (Denmark),31 and Klaus Wachsmann (Uganda). 29 Sometimes shortened to International Folk Dance Council 30 A report on this October 1947 meeting appears in the “Notes (e.g., I(A)FDC 1947; Karpeles 1965b; 1972). Nevertheless, a and News” section of the first JIFMC (1949:53–54). council that is advisory (even parenthetically) would seem to 31 Klavs Vedel participated in the London conference as a del- be more limited in its activities than one not so designated. egate of the Dansk Folkemindesamling (Danish archives of I use the full, official title here, just as it appears on their folklore). Although not an employee there, he was a key indi- letterhead. vidual in the Foreningen til Folkedansens Fremme (Association Origins and Establishment of the International Folk Music Council 15 A vote on the amendment to make no decision on Discussion about commercial disc recordings of folk IFMC was taken, but only two were in favour (presum-music (item 10) revealed many sources that required ably, Marinus and Burchenal), hence it was not carried. exploration. A bureau of information regarding folk The chair immediately moved the proposal to establish music and dance was suggested (item 11) and remained IFMC. This was carried by a show of hands. The meet-open to future consideration.33 Lively, informative dis- ing then adjourned. cussions were held on the collection of folk music and But when the conference reconvened the very next dance (item 12), and it was agreed to consider the com-morning (23 September) at 10:00, Steuart Wilson, the pilation of a manual detailing them. The promotion of chair who had led the previous proceedings, proposed the practice of folk music was considered in different that IFMC seek affiliation with CIAP. This was carried countries (item 13). The establishment of international unanimously (I(A)FDC 1947:4–5; Karpeles 1972:11– archives of folk music was discussed (item 14), par- 13). Karpeles was then still the CIAP representative ticularly in relation to the proposal regarding a bureau for Great Britain. It seems that CIAP and its intended of information. activities were at that time important to her and others The collection and revival of folk music (item 15) and in the newly formed IFMC and to its future.32 the classification of folk tunes (item 16) were briefly Over the following few days, initial practical issues relat- noted. It was reported that the Executive Board ing to the Council were sorted out. A draft constitution (item 17) proposed to have the next meeting of the (item 5) was prepared, adopted, and would be presented General Conference during the first fortnight of for ratification at the next conference. Financial projec-September 1948, probably to be held in Paris, and tions (item 6) were made of £ 600 for the upcoming that the first festival with conference should be held year. The names of provisional officers and Executive in September 1949.34 Board members were read and elected by the conference At the final session (item 18), Vaughan Williams, now (item 7). As it was felt that Karpeles was best qualified, as IFMC president, congratulated participants, particu-participants proposed that she be honorary secretary. larly Karpeles in gathering everyone together and organ-And, for the sake of convenience during this forma- izing the proceedings so well. He further thanked the tive stage, it was thought best for the officers to all be hosts, sponsors, and other organizers. Poul Lorenzen, chosen from the same country, the United Kingdom. now IFMC vice president, thanked Vaughan Williams The individual members comprising the Board and the for setting the right spirit from the start. With this, Secretariat are discussed in the following section. the conference was concluded (I(A)FDC 1947:5–14; Relations with UNESCO were also discussed, calling Karpeles 1972:13–26). upon Vanett Lawler to explain in what way such coop- Pending ratification of the constitution by the member- eration would be possible (item 8). Lawler stressed that ship, no major activities took place during the first year UNESCO would facilitate the work of IFMC wher-of IFMC’s existence. Instead, the Secretariat concen- ever possible, and suggested that they could approach trated on building-up the organization and establish-UNESCO for financial and other assistance. She also ing contacts. While 140 music experts from thirty-five recommended further cooperation with other interna-countries were appointed as correspondents (defined tional organizations. The question of IFMC’s possible below), the main work focussed on preparations for involvement with festivals was discussed (item 9), in the the first meeting of its General Conference (Karpeles end recommending that further information about per-1949b:4), as detailed below. formance groups needed to be collected. THE FIRST IFMC EXECUTIVE BOARD AND OFFICERS, 1947–1948 The first Executive Board and officers were the following: for the advancement of folk dancing) in Denmark, which had a close connection to the archives. Vedel later co-edited a President: Ralph Vaughan Williams (UK) volume on Danish folk dance (Holm and Vedel 1946). While Vice presidents: Poul Lorenzen (Denmark) my sources only refer to a “Mr. Vedel (Denmark)” (I(A)FDC Albert Marinus (Belgium) 1947:5, 12; Karpeles 1972:11, 23), Jens Henrik Koudal and Secretary: Maud Karpeles (UK) Marie Martens from the Dansk Folkemindesamling were able Treasurer: William Stanley Gwynn Williams to supply these further details. I very much appreciate their expert assistance. (UK) 32 While explicit affiliation with CIAP is not mentioned as a goal in the provisional constitution, it does appear in early amend- 33 In a report on the founding of the Council, Dean-Smith ments and subsequent revisions (e.g., BIFMC 1, Oct 1948:10; (1947:iv) focussed on the exchange of journals and informa- 5, Nov 1951:22). Yet despite this initially desired association, tion between participating countries. Karpeles later observed that “although the Council was for a 34 The first conference did take place in September 1948, but time affiliated to C.I.A.P. the co-operation between the two in Basel. The first festival plus conference was indeed held in organizations has never been very close” ([1976]:220). September 1949 in Venice. 16 Don Niles Board: Renato Almeida (Brazil) French ethnomusicologist Claudie Marcel-Dubois Natko Devčić (Yugoslavia) (1913–1989) would serve on the Board as an ordi- Duncan Emrich (USA) nary member and later a vice president until 1987, an Douglas Kennedy (UK) László Lajtha (Hungary) extraordinary period of four decades. She would become Claudie Marcel-Dubois (France) the first honorary member of the Council. Greek com- Petro Petridis (Greece) poser Petro Petridis (1892–1977) served on the Board Ole Mørk Sandvik (Norway) until 1951. After being on the Board as an ordinary Ahmed Adnan Saygun (Turkey) member, Norwegian ethnomusicologist and educator Klaus P. Wachsmann (Uganda)35 Louise Witzig (Switzerland) Ole Mørk Sandvik (1875–1976) became vice president (I(A)FDC 1947:7; Karpeles 1972:16) until 1968, living to be 101 years old. Ahmed Adnan Saygun (1907–1991) was a Turkish composer and eth- English composer Ralph Vaughan Williams (1872– nomusicologist who served on the Board until 1962. 1958) was long interested in English folk music and Klaus Wachsmann (1907–1984) was a German/British was a close friend of Karpeles’s. At 75 years of age, he ethnomusicologist well known for his work in Uganda. was the oldest member of the first Board. He served Initially serving as an ordinary member, he later became as IFMC president until his death (see the chapter on vice president, and finally president (1973–1977) (see him in this volume). Poul Lorenzen (1886–1981) was chapter on him as president in the present volume). a folklorist and performer of Danish folk songs, serving Swiss folklorist and dance ethnologist Louise Witzig as vice president until 1951. Belgian folklorist Albert (1901–1969) attended the 1935 London conference Marinus (1887–1979) was a fervent supporter of CIAP, and festival, was an organizer of the Basel meeting, and attending the Prague congress in 1928, later becom-a Board member until 1956. ing CIAP Board member and vice president (Rogan 2007:8, 13). While initially preferring IFMC activities The first Board meeting was held on 26 September 1947, to be subsumed under CIAP, he served as IFMC vice the penultimate day of the conference. It was attended president until 1962. by Petridis (who chaired), Devčić, Emrich, Karpeles, Marcel-Dubois, Saygun, Wachsmann, Williams, and Although today the Secretariat is separate from the Witzig. Only three items are recorded in the minutes Board, in 1947, the secretary and treasurer were consid- (EB minutes, 1st meeting, 26 Sep 1947). ered officers, just like the president and vice president. Maud Karpeles is described in many sections of the The individuals detailed above as Board members are present book. She was 61 when IFMC was founded and those listed in the proceedings of the 1947 meeting. All would serve it as honorary secretary and then honorary of them were officially elected to the Board at the 1948 president until her death, almost three decades later. Basel conference, but there are four other individuals William Stanley Gwynn Williams (1896–1978) was who could be considered as part of the first Board. For involved in Welsh and British folk music as a musician, the sake of completeness, I list them here in alphabetical composer, editor, lecturer, etc. He was IFMC treasurer order: until 1967. [Board]: Antoine E. Cherbuliez de Sprecher (Switzerland) Brazilian musicologist and folklorist Renato Almeida Jaap Kunst (the Netherlands) (1895–1981) served on the IFMC Executive Board Solon Michaelides (Cyprus) until 1964. At 33, Yugoslav (Croatian) composer Natko Artur Santos (Portugal) Devčić (1914–1997) was the youngest member of the Portuguese ethnomusicologist Artur Santos (1914– provisional Board, serving until 1953. He was also 1987) is listed as being one of the provisional Board mem-the last surviving member. Folklorist Duncan Emrich bers by Karpeles in the first JIFMC (Karpeles 1949b:3) (1908–1977) was head of the Archive of Folk Song at and her autobiography (Karpeles [1976]:218), and as the Library of Congress when he attended the 1947 being “re-elected” at the 1948 conference ( BIFMC 1, conference. He served on the Board until 1953. Douglas Oct 1948:11), but does not appear in the proceedings Kennedy (1893–1988) had a long, fruitful involvement from the 1947 meeting (I(A)FDC 1947:7; Karpeles with the English Folk Dance and Song Society and, 1972:16), although he was in attendance. Santos served after Cecil Sharp, was probably the most influential on the Board until 1951. person in the revival movement. He was married to Helen Karpeles, Maud’s sister, and served on the Board Cypriot composer and ethnomusicologist Solon until 1976. Hungarian composer, ethnomusicologist, Michaelides (1905–1979) was co-opted to the Board and conductor László Lajtha (1892–1963) was on the at the second part of their second Board meeting on Board until 1962. 16 September 1948 (EB minutes, 2nd meeting, 11 and 16 Sep 1948:§17), and this was reported to the General Conference on the following day ( BIFMC 1, 35 Later listed as from “East Africa” (e.g., JIFMC 1, 1949:i). Origins and Establishment of the International Folk Music Council 17 Oct 1948:17). He then attended the third Board meet- Switzerland, where there were resources, in contrast to ing, held on 19 September 1948, immediately after the many other parts of Europe that were severely damaged Basel conference (EB minutes, 3rd meeting, 19 Sep by the war. And Witzig herself was an invaluable and 1948) and served on the Board until 1968. resourceful person who could organize such an event Swiss musicologist Antoine E. Cherbuliez de Sprecher36 quickly. Numerous obstacles were also overcome, (1888–1964) was the chair of the first conference in such as obtaining passes for German scholars who Basel. He was nominated as a vice president of the were supposed to attend the conference in Basel dur-Council during the second part of second Board meet- ing the day, but sleep overnight in a neighbouring ing on 16 September (EB minutes, 2nd meeting, 11 town (Camp 2017). and 16 Sep 1948:§16), which he was attending as an At Council world conferences today, academic presenta-observer. His nomination was announced to the con- tions predominate, mostly in a number of parallel ses- ference and agreed to on the following day ( BIFMC 1, sions, and one separate, plenary session is devoted to a Oct 1948:18). He then attended the third Board meet-meeting of the General Assembly of Members at which ing on 19 September (EB minutes, 3rd meeting, 19 Sep the Board discusses the work of the Council, its activi-1948), serving as vice president until 1964. ties, announcements are made, voting of those present Finally, Dutch ethnomusicologist Jaap Kunst (1891– conducted on various issues, election results made pub- 1960) was co-opted to the Board at the third Board lic, etc. In 1948, things were done a bit differently, and meeting, 19 September 1948 (EB minutes, 3rd meet-terminology was also not quite the same as today. ing, 19 Sep 1948:§27). He was a Board member, then According to the provisional constitution in effect at the president in 1959 and served as such until his death the time (ICTM Archive MS 10017, series 4, folder 94), following year (see chapter on him as president in the the membership of the Council consisted of (§4): present volume). 1. delegates (representatives appointed by govern- All of these individuals are listed as Board members in the ments, national committees, or learned societies; first JIFMC from 1949 (p. i). each delegation having one vote) (§5) 2. correspondents38 (experts and representatives of folk-music organizations appointed by the Executive Board; may attend meetings of the First meeting of the IFMC General General Conference, but do not vote) (§6) Conference (Basel, 1948) 3. subscribers (persons who wish to further the work of Council, pay a minimum fee as determined by The first meeting of the IFMC General Conference the General Conference; entitled to privileges as was held in Basel, 13–18 September 1948, at the invi- determined by Executive Board) (§7) tation of the Société suisse des traditions populaires But the membership of the General Conference con- (Swiss society of folk traditions) and the Fédération des sisted of delegates and correspondents (§9), with the costumes suisses (Swiss costume federation).37 Louise latter unable to vote on any matters. Subscribers were Witzig, whom Karpeles had known at least since the apparently not part of the General Conference. 1935 festival and conference, played an essential role in convincing the board of the Fédération des costumes Throughout the Basel event, one or two academic pres-suisses to co-host the conference and meet most of the entations often began a morning or afternoon session, costs. While the Fédération was mostly concerned with with the rest of the time being devoted to announce-bringing together active dancers, the partnership with ments, discussion of Board matters, the Secretariat’s the Société suisse des traditions populaires was essential concerns, future projects, etc. There were no simulta-because it was an academic society (Camp 2017). neous sessions. Only eleven such papers were present- ed.39 There were also four presentations in the evenings, As host for this first conference, Switzerland appears to which were open to the public. Additionally, seven have been chosen for quite practical reasons. Although papers were presented but not read,40 and two reports the conference was originally planned for Paris, this did not eventuate. In January 1948, Witzig received a request from IFMC to organize the conference in 38 Christensen (1988:13) defines correspondents as “personages of distinction who would carry on the constitutional work of the IFMC.” 36 Although generally referred to as Cherbuliez de Sprecher (or 39 See Cowdery (2009) for a discussion of one paper presented Cherbuliez-de Sprecher) in Council publications and reports, at this conference and the subsequent debate it ignited over Karpeles (1965a) wrote “Cherbuliez-von Sprecher” in an the next six years concerning the nature of authenticity in folk obituary. music. 37 Aside from the reports in IFMC publications, see the per- 40 Presumably “read” means actually read aloud by someone, spective by Shuldam-Shaw (in Schofield and Shuldam-Shaw while “presented, but not read” suggests that copies of the 1948:161–162). paper were available, but not read aloud. 18 Don Niles on folk-music activities were made. Karpeles would lished a Bulletin. A journal of conference proceedings remark in retrospect that and reviews would follow in March 1949, and a second the first conference at Basel … seems to have been one conference would be held six months later in Venice, of the most delightful … Though a full program, it was this time in conjunction with a festival. Certainly, “the not so overcharged as some of our later conferences, International Folk Music Council may be said to have and there seemed plenty of time for the members to passed the provisional and experimental stage and to enjoy each other’s company. (Karpeles 1969:20) have become an established organization with contin- The business matters discussed at the conference were uing liabilities” (ibid.). published in the first Bulletin of the International Folk Perhaps even more importantly, “through the com-Music Council in October 1948; and many, but not mon interest of folk music,” the IFMC success-all, of the academic presentations were published in fully met “to promote understanding and friend-the first Journal of the International Folk Music Council ship between nations,” in total accordance with its in March 1949. now-approved constitution. The Basel conference was attended by about forty-six delegates from seventeen countries: Canada, Cyprus, Czechoslovakia, Denmark, Finland, Germany, Hungary, Conclusion Iceland, Italy, the Netherlands, Norway, Spain, Sweden, Switzerland, Turkey, the UK, and the West Indies.41 The founding of the International Folk Music Council UNESCO was represented by Brazilian folklorist and was certainly the result of a shared concern over the musicologist Luiz Heitor Corrêa de Azevedo (1905– state of folk music and dance, yet it was also driven by 1992), who had succeeded Vanett Lawler as head of increased participation at international festivals and the Arts and Letters section.42 The provisional consti-conferences that highlighted the need for an organiza- tution was amended and adopted, and the Executive tion that would enable such events to take place more Board was re-elected, as described above. Various other regularly and have activities that were not limited to matters concerning the Council were announced and one-off gatherings. It was also apparently felt that exist-occasionally discussed, including possible future publi- ing organizations were inadequate for such purposes or cations. The Council received and accepted invitations limited in some ways. for a festival to be held in September 1949 in Italy, and In the preceding decades, Maud Karpeles participated for a conference to be held in Montreal in August 1950. in numerous international events, making acquaint-The Board was also to further consider an invitation ances that would support her to establish the IFMC. for a festival in Trinidad in 1952.43 The Board also met She also acquired the administrative and organization before and during the conference for its second meeting skills to enable her to ensure successful, fruitful activ- (11 and 16 September 1948), and after it for its third ities and support the growth of the Council into the (19 September 1948). future. While she could not have done this by herself, Further elaborating on a list of early Council accom- one wonders if it could have happened without her. plishments prepared by Karpeles (1949a:1), by the end of 1948, the Council had held an international conference in Basel, adopted a constitution, elected References cited an Executive Board that had three meetings, and pub- Boyes, Georgina. 2001. “‘The Lady That Is with You…’: Maud Pauline Karpeles (1885–1976) and the Folk Revival.” In Step 41 In her capacity as regional representative for United Kingdom Change: New Views on Traditional Dance, edited by Georgina of the African Music Society, Karpeles reported briefly on the Boyes, 170–195. London: Francis Boutle. Basel conference, noting that “unhappily no one from Africa” British National Committee on Folk Arts. 1933. “[Agenda took part (Karpeles et al. 1949:4). This is followed by an edi- and minutes of 15 November 1933 meeting].” Wellcome tor’s note giving background on the founding of IFMC, adding Historical Medical Museum and Library. AHMM/CO/ that the Society’s honorary secretary (Hugh Tracey) had been Chr/K/13. 6 pp. appointed as an IFMC correspondent on behalf of the African Cadbury, Tabitha. 2009. “Home and Away: What Was ‘Folklore’ Music Society, and that IFMC was being kept informed of at Cambridge?” Journal of Museum Ethnography 22 (Dec): their work (ibid.:4–5). 102–109. 42 IFMC is already reported as an international non-govern- Camp, Marc-Antoine. 2017. “The Basle Conference of 1948.” mental organization approved by UNESCO for “consultative Paper presented at the 2017 World Conference of the ICTM, arrangements” in the “Notes and News” section of the first Limerick, Ireland. JIFMC (1, 1949:53). Christensen, Dieter. 1988. “The International Folk Music Council 43 The second conference and a festival did indeed take place in and ‘The Americans’: On the Effects of Stereotypes on the Venice, 7–11 September 1949. But Bloomington, USA, hosted Institutionalization of Ethnomusicology.” YTM 20: 11–18. the third conference, 17–21 July 1950, after Montreal had to [Conference participants]. 1935. “[Conclusion of the conference].” withdraw their offer, and the 1952 conference was in London, Journal of the English Folk Dance and Song Society 2: 108–117. without a festival. Ultimately, there was no involvement with Cowdery, James R. 2009. “Kategorie or Wertidee? The Early Years of the Trinidad event as proposed. the International Folk Music Council.” In Music’s Intellectual Origins and Establishment of the International Folk Music Council 19 History, edited by Zdravko Blažeković and Barbara Dobbs Karpeles, Maud, Herbert Pepper, James McHarg, Filiberto Mackenzie, 805–811. 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Foley, Theresa Jill Buckland, Elsie Ivancich Dunin, Liz Mellish, Jeanette Mollenhauer, Derek Schofield, Stephanie Smith, Daniela Stavělová, and Ivona Opetcheska-Tatarchevska Introduction Maud Karpeles, 1885–1912 The seventieth anniversary of the ICTM provided an Maud Pauline Karpeles was born into a privileged mid-opportunity for scholars in the ICTM’s Study Group on dle-class lifestyle in London in 1885. Both parents, Ethnochoreology to revisit the role played by folk music although atheist, were of German Jewish inheritance, and dance researcher Maud Karpeles in the establishment her father a tea merchant, and her mother, the daughter of the IFMC, later the ICTM. An anniversary round-of a rich banking family, whence their wealth princi- table was coordinated by ethnochoreologist Catherine pally derived. In common with girls of her background Foley and included presentations by ethnochoreolo-and class, Karpeles was home tutored before later gists from Europe, the United States, and Australia attending a single-sex boarding school which offered (Buckland, Dunin, Mellish, Mollenhauer, Opetcheska-limited academic instruction. She left the school, flu- Tatarchevska, Schofield, Smith, and Stavělová) (figure 1). ent in German and an accomplished pianist, to further The roundtable was presented at the ICTM’s 44th World her musical expertise by studying in Berlin. Here, while Conference at the University of Limerick on Saturday, hosted by her father’s socially influential relations, she 15 July 2017. This chapter is based on the roundtable encountered artistic circles, including visits to family presentations of these ethnochoreologists. The authors receptions from eminent musicians, theatre designer argue that Karpeles’s role in the establishment of the Gordon Craig, and radical dancer Isadora Duncan. IFMC was significant, and without Karpeles and her Karpeles realized, however, that her own musical apti-vision, the IFMC may not have come into existence. It tude was insufficient to pursue a career as a classical was the founding by Karpeles of the International Folk concert pianist (Pakenham 2011). Dance Council during the International Dance Festival Following her return to London in 1906, Karpeles in London in 1935—with Karpeles as secretary— brought together her left-wing sentiments (such as, which laid the foundation for the post-Second World becoming a member of the Fabian Society), her phil-War establishment of the IFMC in 1947, with again anthropic interests, and a love of the performing arts in Karpeles as secretary. Using archival and bibliographic volunteer work with disadvantaged children. In tandem research, the authors examine Karpeles’s work and with the social work of the late nineteenth century, the research on dance in specific parts of the world lead-University Settlement Movement, the role of the arts ing up to the founding of the International Folk Dance in ameliorating the lives of disabled children was gain-Council and the International Folk Music Council, and ing a high profile, especially through the Guild of Play, her continued efforts advancing the work of the IFMC a club for urban children. It included a repertoire of up to the time of her death in 1976. In recognition of songs, games, and dances that sought to renew “Merrie her contribution, Karpeles served as honorary president England” through the country’s youngest citizens of the IFMC from 1963 until her death in 1976. A brief (Buckland 2014). Karpeles persuaded her younger sis-biographical background to Maud Karpeles will first be ter, Helen, to join her as a volunteer teacher at the Guild presented. of Play in Canning Town in the east end of London. As a result of theatrical interests, both sisters regu- larly attended the Stratford-upon-Avon Shakespeare Festival, where in 1909 they watched a folk-song and dance competition. The panel of adjudicators included In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 20–32. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Maud Karpeles: Her Contribution to Dance Research and to the Council 21 Figure 1. Members of the ICTM Study Group on Ethnochoreology who presented at the Maud Karpeles Anniversary Roundtable at the ICTM’s 44th World Conference at the University of Limerick, Ireland on 15 July 2017: ( front row) Stephanie Smith, Theresa Jill Buckland, Catherine E. Foley, Daniela Stavělová, Elsie Ivancich Dunin, and Liz Mellish; ( back row) Derek Schofield, Ivona Opetcheska-Tatarchevska, and Jeanette Mollenhauer (photo courtesy of Derek Schofield). pioneers of the Edwardian English Folk Revival, Cecil Maud Karpeles, Cecil Sharp, and English Sharp and Mary Neal. Later that year, as part of his goal dance in the United States, 1915–1918 to realize the recent inclusion of English folk dancing into the national educational syllabus, Sharp instituted Maud Karpeles spent time in the United States between London-based classes in morris dancing, which both 1915 and 1918 working with Cecil Sharp, who was sisters joined. Initially Karpeles learned the dances pri-there to make a living with lectures and teaching engage- marily in order to augment the repertoire at the Guild ments; the money from which could be sent home to of Play, but soon discovered a talent for dancing. So, she his family during the First World War. began a life-long pivotal role in performing, researching, In March 1915, Sharp founded the English Folk Dance and promoting folk music, dance, and song. Karpeles Society American Branch, establishing an organization became a founding member, together with Sharp and to promote English dance in the United States. Maud others, of the English Folk Dance Society in 1911 Karpeles first came to the United States in June 1915, to (Schofield 1986). assist Sharp with teaching in the first summer schools of A kinora film reel of 1912, photographs, and written the new organization, 1915–1917. Their teaching was testimony from witnesses of her dancing all undera major impetus in the revival of English dance in the line her grace, flow, energy, musicality, and light- United States in the twentieth century. ness (Heaney 1983; see figure 2). Although no doubt instructed in dance forms as a young girl of her social THE “RUNNING SET” class, Karpeles’s dancing experience up to the point when she encountered English folk dancing appears Sharp and Karpeles made collecting trips in the southern minimal. The impact of her morris dancing, however, Appalachians during 1916–1918. Their Appalachian clearly resulted in a visceral response for some onlook-diary entries illuminate various challenges and accom- ers: composer Ralph Vaughan Williams recollected that plishments in their travels. “Maud’s dancing was so beautiful that it made him cry” One of their most important discoveries was the (Pakenham 2011:23). so-called “Running Set” at Pine Mountain Settlement School in Kentucky. On 31 August 1917, Karpeles writes in her diary: “After supper went to Miss de Long’s 22 Catherine E. Foley et al. Figure 2. Maud Karpeles dancing a solo morris jig. Photograph taken from the kinora film reel in 1912 (photo courtesy of the English Folk Dance and Song Society). house. Saw some set running—most interesting. Has This is a great relief to me to know that the dance is at great possibilities” (Karpeles 1917). Karpeles used a cor- last on paper. This dance is as valuable a piece of work rect local name for the dance: set running. Sharp writes as anything that I have done in the mountains. I may in his diary for 31 August: get some more figures to add but I do not think there is anything else to learn about it. (Sharp 1917) In the evening we go to Miss de Longs and see a Running Set. This must be carefully noted some day. It In December 1917, Sharp described the “Running Set” is a fine dance and may serve to throw light on some of that they saw at Pine Mountain as follows: the older seventeenth and eighteenth cent[ury] dances. It was danced one evening after dark on the porch of (Sharp 1917) one of the largest houses of the Pine Mountain School They watched the dancing in dim light and were not able with only one dim lantern to light up the scene. But to note the figures. They went on to Hindman Settlement the moon streamed fitfully in lighting up the moun- tain peaks in the background and, casting its myste- School, where Karpeles writes on 18 September: rious light over the proceedings, seemed to exaggerate After supper we went to a dance which Mr. Bradley had the wildness and the break-neck speed of the dancers arranged for us. Had to walk 1½ miles in dark along as they whirled through the mazes of the dance. There very muddy road. Mr. Sharp tumbled into mud hole was no music, only the stamping and clapping of the and lost shoe. Dance was an interesting experience but onlookers, but when one of the emotional crises of the actual dancing was no good. The girls did not know dance was reached … the air seemed literally to pulsate the dance and took little interest. The men were too with the rhythm of the “patters” and the tramp of the fiddled with whisky to be much good, and there was no dancers’ feet, while, over and above it all, penetrating one to call. In addition, this small room was filled with through the din, floated the even, falsetto tones of the onlookers. I danced and had to pull my partner around, Caller, calmly and unexcitedly reciting his directions. as his head was swimming. (Karpeles 1917) (Sharp and Karpeles 1918 [1985]:14–15) On 2 October in Hyden, Karpeles notes: The description of the dance was published in The Mr. Lewis escorted us to a house in the town, where Country Dance Book, Part V. They concluded: they had arranged a “running set” for us. Just 4 couples. we are led to infer that the Running Set represents a Not good dancers, but good enough for us to be able to stage in the development of the Country-dance ear- take down the figures. (Karpeles 1917) lier than that of the dances in The English Dancing Master—at any rate in the form in which they are there Sharp writes on 8 October in Hyden: recorded. (ibid:10) Maud Karpeles: Her Contribution to Dance Research and to the Council 23 Their work provides documentation of living folk song of interest is perhaps not surprising because his central and dance traditions in the early part of the twentieth thesis was that these English dances were distinctly century in the United States, the significance of which English. cannot be overestimated. However, their collecting Alford wrote about her visits to the French Basque had its blind spots. Sharp was looking for survivals of country (Alford 1925, 1926), leading to a group of English song, and he assumed that most of the people English dancers, including Karpeles, visiting a festival in in the mountains were of English, Lowland Scots, and Bayonne in April 1927. Sharp’s successor as director of Ulster Scots origin. He was not interested in collecting the English Folk Dance Society (EFDS) and, from 1932, and noting everything he came across from people that the English Folk Dance and Song Society (EFDSS), did not fit this ethnic profile. Douglas Kennedy, and his wife Helen (Maud’s sister) Phil Jamison has analysed Sharp’s interpretation of the wrote of that trip, “as Violet Alford had long foretold, running set in his 2015 book on Appalachian dance. the English Morris men found their Pyrenean coun-Jamison concludes: ter-parts” (H. Kennedy and D. N. Kennedy 1961:4). The dances that Cecil Sharp called the “Running Set” Basque dancers were invited to London later that year, were not, as he believed, an ancient, unadulterated and English dancers visited San Sebastian in 1929, with form of English country dance but represented a more a reciprocal visit to London in 1930, performing at the recent American hybrid that developed from diverse January festival of the EFDS in London’s Albert Hall. roots in the American South during the nineteenth century. While some of the dance figures may have Before 1935, European dance groups had visited Britain come from the English country dances, these American in 1927 (the Netherlands and French Basques), 1929 dances clearly show a greater debt to the Scots-Irish, (Denmark), 1930 (Spanish Basques), 1931 (France), French, Native American, and African-American dances. (Jamison 2015:74) 1932 (Spain), 1933 (Norway), and 1934 (Portugal). And English dancers performed in Europe in 1924 (the The importance and value of Sharp’s and Karpeles’s Netherlands and Belgium), 1926 (the Netherlands), early twentieth century song and dance fieldwork in 1927 (French Basques), 1928 (Czechoslovakia and America remains. Karpeles’s role in this work has been Austria), 1929 (Spanish Basques), 1931 (Denmark), historically underestimated, and prepared her for her and 1932 and 1933 (the Netherlands) (Pakenham future fieldwork and collecting activities. As Malcolm 2011). Karpeles would have taken part in most, if not Taylor suggests, all of these visits to Europe. Kennedy may have been there is no doubt from reading her Appalachian dia- the director of the EFDS, but Karpeles was a senior and ries and the corresponding parts of her autobiography respected person in the society who had had the clos-that her time in America with Cecil Sharp was the most est connection with Sharp, and who was now collecting important passage of her life, and that Sharp was her inspiration. What does not stand out from the pages is and publishing in her own right (Karpeles 1928, 1930, that Maud’s own presence was a key ingredient in the 1931, 1933; Schofield 2015). endeavour. (Taylor 2011:viii) Maud Karpeles was indeed a key ingredient, and she continued to extend her music and dance research and Karpeles and researchers outside of activities to other parts of the world. England In her autobiography, Karpeles states: “It was at Bayonne Maud Karpeles, 1924–1935 that I first met Dr. František Pospíšil, the famous Czech expert on the Sword Dance, who had the greatest admi- Cecil Sharp (1859–1924) had shown little interest in ration for Cecil Sharp’s work” (Karpeles [1976]:136). folk dance from continental Europe, and during his The following year, in September 1928, Pospíšil was lifetime, there were no visits by European dance groups invited as a late entry to the 50th Jubilee Congress of to England. Perhaps because of her family background, the Folk-Lore Society in London, where he showed his Maud Karpeles was more open to European culture. films. Karpeles attended the congress, representing the English Folk Dance Society, and was therefore exposed The person who alerted Karpeles to European folk to Korčula Island’s sword dances through Pospíšil’s films. dances was Violet Alford (D. N. Kennedy 1971; In the same year, the Executive Board of the English Armstrong 1973). In 1923 Alford made comparisons Folk Dance Society invited Pospíšil as one of the first between the English morris, sword, and country dances, (of only three) Foreign Corresponding Members. He and dances from Spain, France, and the Basque country continued to be listed until 1935, by which time there (Alford 1923). She had tried to interest Sharp in the were six additional foreign correspondents. This was an Basque dances, but later said that Sharp’s response made her feel like an “upstart” (Alford 1956:125). Sharp’s lack 24 Catherine E. Foley et al. early stage of involving academic-level researchers from alists, and there was a preference for groups that would outside of England for comparative dance studies. show dances of a “ritual or ceremonial character,” rather A further opportunity arose which gave Karpeles her than social dances (EFDSS 1933). first position on an international body, introducing The festival lasted a week in July 1935, and included her to dance and music scholars and enthusiasts from government receptions, concerts in the open air and many parts of the world, especially Europe. The League in the Albert Hall, and a conference at which leading of Nations was set up to maintain world peace, and in dance scholars from across Europe and beyond pre-1922 established a commission for intellectual co-op- sented papers and debated (Howes 1935). eration. From this came a desire by European ethnol- Dance groups came from Austria, Bulgaria, Denmark, ogists and folklorists to create a platform for the com- France, Germany, Hungary, Italy, Latvia, Lithuania, parative study of folk culture and methodology. The the Netherlands, Norway, Poland, Romania, Spain, League of Nations was reluctant to give its support Sweden, Switzerland, Soviet Union, and the UK. because it feared that the study of folklore would lead Kennedy directed the performances, Alford was con-to political claims, especially regarding disputed territo- ference secretary, and Karpeles was the overall festival ries (Rogan 2004:290). Nevertheless, an international secretary. One commentator wrote of her “extraordi-congress was held in Prague in 1928, which established nary combination of business ability, untiring zeal and the Commission internationale des arts populaires organizing genius” (Batchelor 1935:245). (CIAP). The programme in Prague was split into sec- tions including museums, costumes, music and song, Karpeles had found her niche. She was increasingly, and dance and drama. The event attracted scholars, however, coming into conflict with Kennedy, her broth-artists, conservators, promoters, and government offi- er-in-law, over the direction of the folk-dance revival. cials. Amongst Britain’s representatives were Karpeles He wanted to move the revival on to reflect changing and Kennedy, and when national commissions were social conditions, whereas she wanted to remain true established, Karpeles had the enthusiasm and reputa-to Sharp’s legacy. The European folk dancers and schol- tion to become the UK secretary. The work of CIAP ars had visited London and been reminded of Sharp’s was severely hampered by internal argument, distrust achievements. She had found the context for her contin-of CIAP by the League of Nations, and mounting ten- uing devotion to his work—in an international setting. sion within Europe. CIAP re-emerged after the Second There were further visits of European dance groups to World War as part of UNESCO, and eventually became London, and in January 1939, seven European groups SIEF, International Society for Ethnology and Folklore attended the annual Royal Albert Hall Festival— (Rogan 2004). from Yugoslavia, Romania, Lithuania, France, the Netherlands, Norway, and Denmark. Meanwhile, Karpeles visited the International Folklore Congress in The 1935 International Festival in Paris in August 1937. London In the face of inactivity from CIAP, but with a contin- uing desire by European ethnologists and folklorists for In 1933, the English Folk Dance and Song Society co-operation, new organizations were established. Folk (EFDSS), prompted by Karpeles, proposed an interna-dance was no exception, and in the final session of the tional folk dance festival in London. Her plan identi- 1935 festival, an International Folk Dance Council was fied three objectives which, almost word-for-word, were formed, with Karpeles as secretary. It was under this published in the festival handbook: organization that an International Folk Dance Festival (1) To promote understanding and friendship between in Stockholm, Sweden, was arranged for August 1939. nations through the common interest of folk-dance; In spite of the international tension in the run-up to (2) To demonstrate the value of folk-dance in the social the outbreak of the Second World War, the festival life of today; went ahead, with a group of English dancers and a (3) To further the comparative study of folk-dances. presentation from Karpeles called “The Functions of (EFDSS 1935:3) the International Folk Dance Council with special ref- Karpeles had considerable success in mobilizing sup- erence to the Compilation of a Record of Folk Dance port amongst the political, social, and artistic elite in Material” (International Folk Dance Council 1939). Britain. Invitations to dance groups were issued by the Karpeles’s aspirations, however, had to wait until after British Foreign Office, through national committees of the Second World War. CIAP, foreign corresponding members of EFDSS, and through personal contacts. The emphasis in the invita- tions was for “traditional dancers” as opposed to reviv- Maud Karpeles: Her Contribution to Dance Research and to the Council 25 The 1935 international festival in Karpeles recounts that she considered the Romanian London and the Romanian călușari călușari dance to be the most memorable performance of the entire festival as the “vast audiences were thrilled One of the invitations to participate in the 1935 festi- and transported by the sense of mystery and magic val in London was addressed to the Romanian Institute which the dance evoked” (ibid.:189). She expressed her of Folklore in Bucharest. An exchange of letters fol-appreciation of the călușari in a letter to the press direc- lowed between Karpeles, Romanian diplomats based in tor for the Romanian ministry, dated 2 August 1935, London, and the Romanian academics, Romulus Vuia saying that their “dance and music ... is a perfect work and Constantin Brăiloiu, regarding the selection of the of art that I will never forget, of which I am privileged group who would participate in the festival (Pașcalău to have experienced” (Pașcalău 1988:492). She also 1988:492). The invitation requested that the dancers lamented, later, that a film was not made of their per-selected for the festival should be, if possible, villag- formance (Pakenham 2011:201). ers, and certainly not professionals (Brauner 1979:19). According to Harry Brauner, an ethnomusicologist based at the Bucharest Institute of Folklore, Brăiloiu A busman’s holiday in Yugoslavia and Vuia immediately thought of the călușari dancers and invited three possible groups to Bucharest where a Although an invitation was sent to Yugoslavia for a formal selection took place (ibid.:44).1 dance group to participate in the 1935 International Meanwhile Karpeles sent her friend, Philip Thornton, Folk Dance Festival in London, none was able to handle a musicologist and multi-linguist, to Bucharest to the travel cost and time commitment. However, in the take part in the selection process. Brauner, whom following year, Maud Karpeles travelled to Yugoslavia Thornton had previously met earlier in 1935 while he and wrote about her trip, “A Busman’s Holiday in was researching music in Romania with Bartók (Nalder Yugoslavia,” published in the English Folk Dance Society 1993:5), mentions that Thornton had already travelled News (Karpeles 1936) . Three photographs of sword-to other countries to check potential groups for the dance groups were published in her article: Rusalija festival (Brauner 1979:44), thus revealing Karpeles’s group from Miravci village in southern Macedonia, involvement in the quality control and selection of the and Moreška and Kumpanjija groups on Korčula groups to be invited. Island in Croatia. The selection of the călușari groups took place in Karpeles had continued her own sword-dance docu-the courtyard of the Society of Composers in central mentation in England, but her experience with Cecil Bucharest. Brăiloiu, Brauner, and Thornton were pres-Sharp did not go beyond English-based song and ent. Brauner reports that there was fierce competition dance materials in England and in the United States. between the three groups as “the young men were It was through František Pospíšil, whom she had met fighting … for this unthinkable opportunity; a journey in 1927 and whose films about Korčula Island’s sword never dreamed of over land and sea” (ibid.). Finally, the dances he had shown at the 1928 Jubilee Congress in group of young men from the village of Pădureți, Argeș London, that in large part led her to observe sword County, was selected to travel to London. dancing in Yugoslavia. The story of their journey has become a legend both There is known correspondence from sisters Ljubica in Romania and in the UK, especially their consterna-and Danica Janković, dance researchers in Belgrade, tion during their first rehearsal when they realized that with the English Folk Dance and Song Society by 1934, they did not have the fresh garlic (and wormwood) that by which time they had published their first volume of they attach to their ritual flag, as they believed these Narodne igre (Folk dances). The personal meeting of the were essential to give them their supernatural powers. sisters with Karpeles, her nephew John Kennedy, and As Karpeles recounts in her autobiography, a “mes-Philip Thornton took place in Belgrade in April 1936, senger was sent post-haste to Soho and returned with at the beginning of the “busman’s holiday.” The sisters the garlic before the rehearsal had finished” (Karpeles had helped Karpeles, Kennedy, and Thornton with [1976]:191), thus avoiding a major catastrophe. an Easter holiday itinerary into Macedonia. On this trip, Karpeles visited Rashtak village (in Skopje’s Black 1 The călușari are a troop of male dancers, always an uneven Mountain region, northern Macedonia) and Miravci number, bound together by an oath, who perform a healing village (near Gevgelija, a town in southern Macedonia). ritual by dancing in villages in southern Romania, around Whitsuntide. The călușari continue to practise their ritual For the “busman’s holiday,” Karpeles arranged to each Whitsuntide in certain villages in southern Romania, observe both sword-dance groups that Pospíšil had and locals still hold a strong belief in the ability of the magical powers of the călușari to drive away evil spirits, although now- filmed on Korčula Island in 1924. After Pospíšil, who adays the călușari is often better known as a spectacular perfor- filmed sword dances for comparative studies, Karpeles mance dance. 26 Catherine E. Foley et al. was the first to write in English about Korčula sword its publication in 1939 in English Dance and Song dances from personal observation. She writes compar- (Janković 1939b). atively in her 1936 article that the kumpanija 2 in the In the course of the six years following Karpeles’s visit town of Blato is to Macedonia, and two years following Rusalia’s per- not only very spectacular, but of great ethnographic formance in London, there were still newspaper arti-interest, for it has figures and movements in common cles published in Macedonia with reference to Maud with several of our English dances and, as far as I can remember them, with the Sword Dances of Fenestrelle Karpeles. For example, in the daily newspaper Vardar (Italy) and Santander (Spain). (Karpeles 1936:410) (1936), there is a fieldwork report from the Janković sisters in Macedonia entitled: “The touristic-economic In 2017, additional correspondence and local data significance of the old traditional dances.” A subhead-were uncovered in Blato’s Kumpanjija Group archive of ing, “Foreigners are delighted with our folk games,” materials that were related to both Pospíšil (1922 and speaks to Karpeles’s great interest in promoting the tra-1924) and Karpeles (1936) in their visits to Korčula ditional dances of Macedonia. Karpeles had recorded Island. There is an interesting reference to Karpeles in a a film of some of these dances in the field and from a handwritten journal: statement of the Janković sisters in Vardar, we learn that Karpeles the whole time wrote about what she was Karpeles intended to revisit the Balkans and to present watching, as well as notes of the bagpiper, while the rest her field materials (film and visual) at scientific meet-of the English took photographs.3 (Viteško Udruženje Kumpanjija–Blato 1936, Blato Kumpanjija’s journal of ings. She also intended inviting the Janković sisters to meetings; translation by Dunin) lecture on “old fashioned” dances in England ( Vardar 1936). Karpeles’s visit to the Balkans in 1936 illustrated In 1936, Karpeles applies her fieldwork techniques her developing interest and new understandings of with note-taking and music notation, along with foldance beyond England, which brought an international low-up correspondence with the leaders of sword-dance dance perspective into her work. In addition, the visit groups in Miravci and on Korčula Island in Croatia. demonstrated her interest in expanding and unifying The sensibility and interest of Maud Karpeles in the an international network of collaborators and scholars late 1920s about non-English sword dances, leads her in the field of folk dance, which would find an aca-to come to the Balkans with enthusiasm and to visit demic and performative home with the founding of the deliberately chosen places in Macedonia and Croatia, International Folk Music Council in 1947. in which sword dances were danced in their social con- texts. In her article, there are detailed descriptions of the costumes and dance patterns of the Rusalija, and of “ad infinitum” dancing of the male chain dances in the Karpeles and the formation of the mountain village of Rashtak, concluding that she was International Folk Music Council seeing the finest dancing in an exceptionally festive and hospitable atmosphere. Maud Karpeles accumulated much experience in observing and documenting choreo-musical traditions On Maud Karpeles’s invitation, the Rusalians from amongst disparate cultural groups. Thus, she was well-Miravci village were guests of the International Folk equipped to play a pivotal role in the formation of an Festival and the Imperial Institute in London in 1939. international organization for dance and music research. Members of the Imperial Institute expressed the organ- In 1946, Karpeles attended a meeting of UNESCO in izers’ and performers’ enthusiasm and the London audi- the hope that they would initiate the formation of such ence’s enchantment and fascination with the Rusalian an organization, but in the absence of any action on dancers, who refused the money reward (in sterling), their part, she realized the inauguration of a scholarly which was offered to them after their performance at association was a task to which she would need to direct the Imperial Institute. Continuing a correspondence, attention. She had met numerous like-minded scholars, Danica Janković sent her manuscript “Rusalje from and had maintained communication with them over Southern Serbia (Roussalia)” to Karpeles, who arranged many years. So, in 1947, she sent invitations to “those who had attended the 1935 conference and to other folk music experts with whom I was in touch, while 2 The dance is variously spelled kumpanija or kumpanjija in the through the medium of the Foreign Office governments sources cited here, so these variations are followed when dis- were invited to appoint delegates to attend” (Karpeles cussing the relevant articles. [1976]:215–216). Thus, the International Conference 3 Her drum and bagpipe music notation for Blato’s kumpanija sword dance [see Karpeles’s drum and bagpipe music notation on Folk Song and Folk Dance was organized in London, in the Online Gallery] is located in the Vaughan Williams 22–27 September 1947. The conference was funded for Memorial Library’s Maud Karpeles Collection in London, and the most part by profits from the 1935 International until 2017, aside from her busman’s article (Karpeles 1936), it was the only known tangible evidence of her visit to Blato. Folk Dance Festival held in London. Maud Karpeles: Her Contribution to Dance Research and to the Council 27 Attendees at the meeting drafted a constitution for the pers. comm., 1957; ICTM Archive MS 10017, series fledgling organization, which was to be known as the 4, folder 89)5 International Folk Music Council (IFMC),4 and the aims of the Council were (1) To assist in the preservation, dissemination and Twelfth annual conference of the IFMC practice of the folk music of all countries. in Sinaia (1959) (2) To further the comparative study of folk music. In 1959, the twelfth annual conference of the IFMC (3) To promote understanding and friendship between nations through the common interest of folk music took place in Romania, and Karpeles, as secretary gen- (Karpeles 1949:4). eral, was in charge of the organization. This was the first IFMC conference attended by delegates from all social- The English composer Ralph Vaughan Williams— ist states. Karpeles was delighted with the large turn- who had been appointed president of the English Folk out, of over 100 delegates from twenty-six countries, Dance and Song Society in 1932—was elected presi-including for the first time representatives from states dent (1947–1958) of the newly founded organization, of the USSR, Mongolia, and Vietnam (Pop 1959:89), and Maud Karpeles was elected secretary (1947–1963). and the discussions were speeded up by simultaneous And, although “Dance” had been in the earlier title of translation into five languages (Pakenham 2011:239). the pre-World War II organization, it was replaced by According to Pakenham, Karpeles “was in her element,” “Music” in the title of the new organization, possibly she never forgot the Sinaia conference (ibid.). The venue reflecting the majority interest of those present and for the conference was the former royal palace in Sinaia, their assumption that dance could be encompassed situated in the picturesque foothills of the Carpathian under music. Mountains where, as Karpeles comments, they “were given luxurious hospitality. I had a marvellous suite with a marble-tiled bathroom attached” (Karpeles Karpeles’s advocacy for dance within the [1976]:246). In her report after the conference, she IFMC praised the organization by the Romanian hosts, and stressed that this had been “one of the most successful Karpeles, however, never forgot her interest in dance, events held under the Council’s aegis” (United States and was determined that choreological research should Embassy (Romania) 1971:84). not be neglected by the organization. For many years, Karpeles had been, in her letters, engaging in discus- sions with fellow dance scholars about a variety of sali- Karpeles and the Dance Commission ent topics, such as dance notation (Karpeles to Juana Cristoloveanu, pers. comm., 1958; ICTM Archive MS By 1960, the Executive Board had validated Karpeles’s 10017, series 4, folder 120) and the scope of dance gen-desire, writing to Council members that scholars whose res and events which should be included in the Council’s focus was on dance rather than music should also be research agenda (Karpeles to Gertrude Kurath, pers. allowed to have an equally active role in organizational comm., 1960; ICTM Archive MS 10017, series 4, activities. In that same year, the General Assembly of folder 123). One scholar who shared Karpeles’s passion the IFMC agreed to establish a Dance Commission for dance studies, and with whom she corresponded fre- ( BIFMC 18, Sep 1960:11). As was her custom, Karpeles quently about formalizing the study of dance within the (figure 3) was instrumental in the recruitment of a group Council, was the German academic, Felix Hoerburger. of international scholars who would be able to guide In a letter to Hoerburger, she expressed her belief that the Commission in both academic and administrative dance research fields, and the ICTM Archive contains correspondence is an aspect of our work which should be dealt with … sent by Karpeles to researchers such as Willard Rhodes I feel it is not much good having a general discussion (USA), Douglas Kennedy (UK), Donal O’Sullivan on a subject by people who have not made a special (Ireland), Otto Andersson (Finland), Andreas study of it. It might be the best plan to have one or two papers on the subject and then appoint a small com- Reischeck (Austria), Roger Pinon (Belgium), Salvador mission to make further study. However, I shall be glad de Barandiaran (Spain), Suiho Matsumiya (Japan), and to have your views on this. (Karpeles to Hoerburger, many others. However, her chief confidante and collaborator continued to be Felix Hoerburger, and the two 4 The change of name from International Folk Music Council 5 See chapter “ICTM Study Group on Ethnochoreology” by (IFMC) to International Council for Traditional Music Dunin and Foley in this volume for a history of the study (ICTM) did not occur until after Karpeles’s death. group. 28 Catherine E. Foley et al. Figure 3. Maud Karpeles at her desk (photo courtesy of the English Folk Dance and Song Society). continued to discuss, by letter, various procedural mat- IFMC membership, but the endorsement for this open ters relating to the Commission. membership took several years and meetings to imple- The first official meeting of the Dance Commission was ment. In fact, it was not until 1979 that the meetings held in July 1962 in Czechoslovakia, and one prob-became truly open, demonstrated by invitations to the lem became evident immediately: the commission had last working meeting held in East Germany of the oth-been established as a discrete entity of carefully selected erwise closed Terminology Group and the next IFMC scholars who had been invited to participate, thus effec- conference held in Norway in 1979, with an expanded tively closing the door to discussion for anyone outside number of Scandinavian and international dance par-of the group. Once more, Karpeles took swift action, ticipants (see the chapter “ICTM Study Group on writing to the Executive Board in November 1962 Ethnochoreology” by Dunin and Foley in this volume). to suggest that “it would be better to discontinue the Commission as a closed body and instead to hold at our next Conference a meeting for the discussion of Karpeles as an IFMC ambassador in practical matters which will be open to all interested Czechoslovakia members” (Karpeles pers. comm. to the Executive Board 1962; ICTM Archive MS 10017, series 4, folder Maud Karpeles played a significant diplomatic role 71). She also wrote to Felix Hoerburger expressing her between East and West while serving the IFMC. concern that some nations had proposed overly large This was made manifest in the Council’s preparation numbers of delegates to the commission, while other for the fifteenth IFMC conference in Gottwaldow, nations had not responded to her request for repre-Czechoslovakia, in 1962, with Karpeles as secretary. sentatives. She argued that open meetings would be Karpeles was also a member of the programme com-likely to ameliorate this situation and allow for a more mittee for the conference. Gottwaldow was formerly, equitable arrangement to be provided to all interested and now again, called Zlín, where Tomáš Baťa had scholars (Dance Commission minutes, 5 and 7 Aug established a shoemaking company that had achieved 1963; ICTM Archive MS 10017, series 4, folder 71). In a worldwide reputation. This 1962 conference was 1964, the IFMC’s Executive Board encouraged a wider important for the cooperation or integration of Czech Maud Karpeles: Her Contribution to Dance Research and to the Council 29 ethnochoreologists into the international dance research Being a member of the programme committee, Karpeles scene during the period of the Cold War, when coop-did not present a paper at the conference, but played eration with the capitalist world was extremely limited an important role in the preparatory “diplomacy” prior due to the political restrictions of the Communist state to the conference. In 1960, Karpeles, in her capac-and its ideological pressure. It was the period of the Iron ity as secretary of the IFMC, had written a letter to Curtain between Eastern and Western countries, and Vladimír Karbusický about the date of the conference. organizing such a conference was not an easy task due She informed him about the members of the Executive to the political situation. Board and appreciated the nomination of Karel Vetterl The city of Gottwaldov had been transformed into a as chair of the national committee. state-owned enterprise after the Communist coup in Karbusický was a member of the Committee for Folklore 1948, and while the city was renamed after the first Studies in Music that was active during the preparation Communist president, Klement Gottwald, it became of the IFMC conference in 1962. The committee had a showcase for the achievements of the new socialist been founded in 1959 and consisted of researchers from society. It is something of a paradox that an interna-the Institute of Ethnography in Prague and Brno, and tional conference composed, among others, of par- from other organizations: Czechoslovak Radio, Culture ticipants from behind the Iron Curtain could be held House of Prague, Institute for Folk Culture in Strážnice, at this place. The hosting of the fifteenth IFMC con-and Institute for Musicology in Bratislava. Members of ference in Gottwaldow was therefore something unu- the committee were active as local organizers for the sual in socialist Czechoslovakia, where the totalitarian IFMC conference. regime reduced contact with the capitalist world to a Conference participants were offered a wide range minimum, and those rare visitors from capitalist coun-of social events. Of special note was the visit to the tries were frequently under close supervision by the International Folklore Festival in Strážnice, presenting secret police. This may be the reason why—considering folk culture in the framework of socialist propaganda that the best place to hide is in plain sight—the city of (Krist and Pavlicová 2015). Gottwaldov was the right place to show the proclaimed internationalism that was part of the official policy of An important occurrence for the further development the day. The second reason was undoubtedly the fact of international cooperation between the politically that folklore at that time was valued as a political and divided East and West in the field of ethnomusicology, ideological tool, and this is why the conference dealing as well as ethnochoreology, was the foundation of the with this topic was accepted and promoted by the estab-Study Group on Ethnochoreology, where the Eastern lishment (Bonuš 1951; Kopecký 1951; Jírový 2005). bloc was already represented by a considerable number of researchers. During its meeting in Gottwaldov in The importance of the IFMC Conference in 1962 for 1962, the IFMC Executive Board, with Karpeles as sec-the local regime was mentioned in several journals and retary, initiated the foundation of IFMC study groups, daily newspapers ( ČTK Agency 1962a, 1962b, 1962c, national committees, and the Dance Committee. As 1962d; Večerní Praha 1962a, 1962b). Attention was dance folklore served political propaganda goals, and mainly drawn to the huge number of participants: 150 the folklore revival movement in former Czechoslovakia from twenty-three countries, in addition to 100 partici-enjoyed official state support (Stavělová 2017; Pavlicová pants from Czechoslovakia, who were folklorists, teach- and Uhlíková 2018), the fact that folk dance became ers, and culture workers. Karpeles played a significant the subject of international research was in line with role in the preparatory diplomacy required for the fif-official ideology and positively judged by the authori- teenth IFMC conference. The event made it possible ties. Today, we have to take into consideration that this for ethnochoreologists to make and maintain contacts ambivalent meaning of traditional music and dance culin the folk music and dance fields of research between ture (“folklore”) was extremely important for the further East and West. The press mostly reported about Soviet cooperation of Czech researchers with IFMC. One of and American participants, as it was convenient for the the advantages offered by the conference in Gottwaldov ideology of the day. Those conference presentations that in 1962 was the possibility for many Eastern research-dealt with dance folklore were mainly appreciated for ers to attend the meeting; furthermore, it was for many their practical demonstrations. There was also an exhi-of them an important starting point for cooperation bition of books and music records about traditional within an international context. culture organized by the local museum in Gottwaldov. However, no reference is made in any of these local The Czech National Committee of the IFMC, com-sources to the IFMC secretary and member of the pro- posed of members of the former Committee for Folklore gramme committee for the conference, Maud Karpeles. Studies in Music and local organizers of the 1962 IFMC conference, had its first meeting in 1963. For ethno- choreologists Hannah Laudova and Eva Kröschlova, 30 Catherine E. Foley et al. their membership in the Dance Committee meant that Karpeles’s legacy they could become permanent members of IFMC and, later, ICTM. In August 1964, the IFMC conference in Hungary featured a meeting of the invited members of the Folk Indeed, it was this crucial starting point that later enabled Dance Committee. However, as the IFMC Executive Laudova and Kröschlova’s participation in the activities Board advocated for the scheduling of open access ses-of the Study Group on Ethnochoreology despite politi- sions dedicated to dance research at future IFMC con- cal lack of freedom and repression after 1968. The con- ferences ( BIFMC 23, April 1963: 3), there was also a ference in Gottwaldov, dealing with music and dance conference session about dance for any interested schol-folklore, was considered by the political leadership of ars ( BIFMC 26, Oct 1964:13), a pattern that eventu-Czechoslovakia to be an acceptable way of developing ally became normative at Council conferences. As dis-further research cooperation in this area with the West cussed previously, it was not, however, until 1979, that during the Cold War in the second half of the twentieth the meetings became truly open. Since 1964, the group century. The continuity of research opened the door for known then as the Folk Dance Committee has under-the next generation of ethnomusicologists and ethno- gone numerous revisions in respect to both name and choreologists from the former Czechoslovakia, enabling scope, eventually becoming what is, today, known as them to join the ICTM organization immediately after the ICTM Study Group on Ethnochoreology.6 the Velvet Revolution in 1989. Karpeles continued to actively engage with the IFMC throughout the rest of her life, attending a Board meet- The 1962 Festival of the Balkan and ing in Warsaw in August 1976, only two months before her death ( BIFMC 51, Nov 1977:17). Her contri- Adriatic Countries bution to the Council as a whole (see the chapter by The 1962 Festival of the Balkan and Adriatic Countries Mollenhauer in this volume), and to the furthering of was the first regional festival to be held under the aus-dance research within the activities of the Council, is pices of the IFMC. It was held in Bucharest between without equal, yet for Maud Karpeles, it was a commit-27 July and 4 August 1962, only a few weeks after the ment which was “the source of so much pleasure” in her IFMC conference in Czechoslovakia, and was accom-life (Karpeles [1976]:257). panied by an informal conference. It was organized by the IFMC Romanian National Committee in liaison with Karpeles who was involved from the early plan- Conclusion ning stages of this festival. Correspondence held in the ICTM Archive between Karpeles and the Romanian Maud Karpeles played a pivotal role in establishing the organizers reveals the use of her network of IFMC con-International Folk Music Council (IFMC) in 1947, tacts that she had built up over the preceding years in having previously assisted in founding the International selection of groups (Karpeles and Virgil Ioanid, pers. Folk Dance Council (IFDC) in London in 1935 at comm., 1962; ICTM Archive MS 10017, series 4, the International Folk Dance Festival. The objectives folder 120). She also travelled to Bucharest to partici-of the IFDC were carried over into the later establish- pate together with other IFMC colleagues (Pakenham ment of the IFMC, and one could argue that the roots 2011:224), although she had previously said in her of the IFMC were established in 1935 with Karpeles letters that she was not sure if her health would allow as its visionary. Karpeles continued with her involve-her to go (letter from Karpeles to Virgil Ioanid, 12 Feb ment in all aspects of the Council’s work for the rest of 1962; ICTM Archive MS 10017, series 4, folder 120). her life. She was, for example, the first Bulletin editor and the first Journal editor. She was a strong advocate Karpeles recounts that of the ethos of the Council and, as was illustrated in there were some splendid performances from many this chapter, she endeavoured to develop the work of regions of Romania and neighbouring countries. I was the Council in countries right across Europe, East and particularly glad to see once again the Kumpanija dance West, and further afield. This included her involvement from Korcula, Yugoslavia which had lost none of its in organizing meetings including conferences and writ-dramatic quality since I saw it 26 years ago in its native heath. (Karpeles [1976]:254) ing numerous letters to individuals, organizations, and government officials; many of her letters are located in She reported in the next IFMC Bulletin that “the the ICTM Archive in Canberra, Australia. Rumanian National Committee … has every reason to be proud of its achievement and the parent body has every reason to be grateful to the Rumanian Committee 6 The evolution of the study group’s name and scope may be for the splendid way in which it has furthered the found in the IFMC Bulletin s, 1964–1977, and in the chap- ter on the history of the Study Group on Ethnochoreology objects of the Council” ( BIFMC 22, Oct 1962:28–29). (Dunin and Foley) in this volume. Maud Karpeles: Her Contribution to Dance Research and to the Council 31 Karpeles was honoured by the IFMC by being appointed Batchelor, Arthur. 1935. “A Concept of Europe.” English Folk honorary president of the Council from 1963–1976 Dance Society News 4/8: 245–252. (the year she died). She has also been honoured by the Bonuš, František 1951. “Podstata a úkoly nové práce tanečních souborů” [Essence and tasks of the new work of folklore Council by the establishment of the Maud Karpeles ensembles]. Lidová tvořivost 2/1: 11–15. Fund, a fund for ICTM members for activities that sup- Brauner, Harry. 1979. Să auzi iarba cum creș te. Bucharest: Editura port the mission and aims of the Council.7 Upon her Eminescu. Buckland, Theresa Jill. 2014. “Pioneering England’s Dances among death, Klaus Wachsmann (1977:11) said she was the Late Victorian Youth: On the Early Work of Mary Neal and “soul and the spirit” of the Council from its beginning, Grace Kimmins.” In (Re)Searching the Field: Festschrift in and Willard Rhodes noted that Karpeles Honour of Egil Bakka, edited by Anne Margrete Fiskvik and Marit Stranden, 319–330. Bergen: Fagbokforlaget. supplied the imagination, vision, mental and physical ČTK Agency. 1962a. “Lidová píseň a tanec námětem světového energy and force to launch successfully the IFMC and vědeckého shromáždění” [Folk songs and dance discussed by guide its growth and development. She was a gifted international congress]. ČTK Agency (14 Jul): 3. organizer and administrator and enjoyed the collabo- ———. 1962b. “Mezinárodní folkloristické sněmování končí” ration and respect of an international coterie of distin- [International folklore conference is over]. ČTK Agency (20 guished scholars and musicians. But it was her human- Jul): 2. ———. 1962c. “O folkloru na nejvyšší úrovni” [Top experts meet ity and philosophy that marked the character and work to discuss folklore]. Večerní Praha – Rudé právo (13 Jul): 2. of the Council. (Rhodes 1977:284) ———. 1962d. “Světový folklor po patnácté a v Československu” Using archival and bibliographic research, the scholars [Czechoslovakia hosts 15th world folklore conference]. ČTK Agency (14 Jul): 4. of this chapter conclude that Maud Karpeles’s role in EFDSS. See English Folk Dance and Song Society the establishment and development of the IFDC in English Folk Dance and Song Society. 1933. Minute Book, 1935 and the IFMC in 1947 was a hugely significant International Sub-Committee, English Folk Dance and Song Society. Minute 2(v) for meeting held on 7 November 1933. one. Her dance/music research interests along with VWML. international correspondence and an impressive net- ———. 1935. International (European) Folk Dance Festival: work of connections led to the post–Second World War Handbook. London: English Folk Dance and Song Society. founding of the IFMC. Karpeles pressed for the inclu- (VWML, AS11). Heaney, Mike. 1983. “Two Films from the Past.” English Dance sion of dance research within the work of the Council, and Song 45/3: 20–21. and today it is visibly present, particularly with the Howes, Frank. 1935. Ed. Journal of the English Folk Dance and ICTM’s Study Group on Ethnochoreology and other Song Society 2. IFDC. See International Folk Dance Council ICTM study groups that have both a music and dance International Folk Dance Council. 1939. Programme: The Third remit, for example, the Study Groups on Music and International Folk Dance Festival. Stockholm, Sweden, 1–6 Dance of Oceania and Music and Dance in Latin August 1939 (VWML, AS11). Jamison, Phil. 2015. Hoedowns, Reels, and Frolics. Urbana: America and the Caribbean. Dance research is, there- University of Illinois Press. fore, strongly represented in the work of the Council Janković, Danica S. [Yankovitch, Danitza S.]. 1939b. “The today and, considering the importance of the estab-Roussalia dances.” English Dance and Song 3/5: 87. lishment of the International Folk Dance Council in Janković, Ljubica S. [Јанковић, Љубица С.], and Danica S. Janković [Даница С. Јанковић]. 1934. Народне игре 1935 for the founding of the International Folk Music [Narodne igre / Folk dances] 1. Beograd: [authors]. Council in 1947, it might be timely to re-introduce the Jírový, Zdeněk. 2005. Osvětou k svobodě [Enlightenment for word “Dance” back into the name of the Council. This freedom]. Praha: NIPOS. Karpeles, Maud. 1917. Appalachian diary. Maud Karpeles would acknowledge the inspiration and historical roots Manuscript Collection, VWML, MK/3/226. https://www. of the Council and Maud Karpeles’s life-long commit- vwml.org/archives-catalogue/MK (accessed 31 Aug 2018). ment to the Council and to music and dance research ———. 1928. “Some Fragments of Sword-Dance Plays.” Journal of the English Folk Dance Society 2/2: 35–48. and scholarship. ———. 1930. The Lancashire Morris Dance Containing a Description of the Royton Morris Dance. London: Novello. ———. 1931. Twelve Traditional Country Dances. London: Novello. References cited ———. 1933. “Upton-on-Severn Morris Dances.” Journal of the Alford, Violet. 1923. Peeps at English Folk-Dances. London: A. and English Folk Dance and Song Society 1/2: 101–103. C. Black. ———. 1936. “ ‘A Busman’s Holiday’ in Yugoslavia.” English Folk ———. 1925. “Morris Men in a Museum.” English Folk Dance Dance Society News 4, part 13 (47): 404–411. Society News 9: 268–271. ———. 1949. “The International Folk Music Council: Its ———. 1926. “The Folk Dances of the Basques.” English Folk Formation and Progress.” JIFMC 1: 3–4. Dance Society News 11: 358–364; English Folk Dance Society ———. [1976]. “Autobiography.” 284 pp. English Folk Dance News 12: 390–394. and Song Society, Maud Karpeles Manuscript Collection, ———. 1956. The Singing of the Travels. London: Max Parrish. VWML, MK/7/185. http://www.vwml.org/record/ Armstrong, Lucile. 1973. “Violet Alford, Her Life and Work: A MK/7/185. Tribute.” Folklore 84: 104–110. Kennedy, Douglas N. 1971. “Violet Alford: An Appreciation.” Folklore 82: 344–350. Kennedy, Helen, and Douglas N. Kennedy. 1961. A Jubilee History: Folk Dance and Song 1911–1961. London: English 7 See http://ictmusic.org/financial-assistance/ Folk Dance and Song Society. maud-karpeles-fund. 32 Catherine E. Foley et al. Kopecký, Václav. 1951. “O lidové umělecké tvořivosti” [About ———. 1962b. “O folkloru na nejvyšší úrovni” [Top experts meet folk artistic creativity]. Ze Soběslavského kulturně osvětového to discuss folklore]. Večerní Praha (13 Jul): 2. plánu.” Lidová tvořivost 2: 1. Viteško Udruženje Kumpanjija–Blato [Chivalrous Group Krist, Jan, and Martina Pavlicová. 2015. Národní ústav lidové Kumpanjija–Blato]. 1936. V. U. Kumpanjija Blato Litopis kultury a Mezinárodní folklorní festival ve Strážnici [National 3: 111. Blato, Korčula island, Croatia: Chivalrous Group institute of folk culture and International folklore festival in Kumpanjija. (Uncatalogued material; hand-written journal of Strážnice]. (K 60. výročí založení ústavu a 70. výročí konání scheduled group meetings). festivalu). Národopisná revue 25: 278–291. Wachsmann, Klaus. 1976. “In Memoriam: Maud Karpeles (1885– Nalder, Maria E. 1993. “Philip Thornton 6th August 1910 – 30th 1976).” YIFMC 8: 9–11. November 1992.” SIFD [Society for International Folk Dance] News: 5–7. Pakenham, Simona. 2011. Singing and Dancing Wherever She Goes: A Life of Maud Karpeles. London: English Folk Dance and Song Society. Pașcalău, Gheorghe. 1988. “Din relațile cultural dintre România și Marea Britanie (1929–1939).” Revista de istorie (Bucharest) 41/1: 480–498. Pavlicová, Martina, and Lucie Uhlíková. 2018. “ ‘Něco za něco …’: Folklorní hnutí v českých zemích ve světle totalitární kulturní politiky” [“Quid pro quo”: Czech folklore revival movement in light of totalitarian cultural policy]. Český lid 105: 177–197. Pop, Mihai. 1959. “Conferința international de folclor de la Sinaia.” Revista de folclor (Bucharest) 4/3–4: 89–94. Rhodes, Willard. 1977. “Maud Karpeles, 1885–1976.” Ethnomusicology 21 (May): 283–288. Rogan, Bjarne. 2004. “The Prague Congress (1928), CIAP and the League of Nations: A Short History of la Commission Internationale des Arts Populaires (CIAP) from its Inception until World War II.” In Everyday Life and Cultural Patterns: International Festschrift for Elle Vunder, Studies in Folk Culture, volume 3, edited by Ene Kõresaar and Art Leete, 284–302. Tartu. Schofield, Derek. 1986. “ ‘Revival of the Folk Dance: An Artistic Movement’: The Background to the Founding of the English Folk Dance Society in 1911.” Folk Music Journal 5/2: 215–219. ———. 2015. “Maud Karpeles and Her Folk Song Collecting.” In Proceedings of the English Folk Dance and Song Society Folk Song Conference 2013, edited by David Atkinson and Steve Roud, 37–47. [Lansdale, Pennsylvania]: Camsco Music. Sharp, Cecil J. 1917. Appalachian diary. Cecil Sharp Manuscript Collection, VWML, CJS1/7/2/3. https://www.vwml.org/ topics/sharp-diaries/sharpdiary1917 (accessed 31 Aug 2018). Sharp, Cecil J., and Maud Karpeles. 1918. The Country Dance Book, Part V Containing the Running Set. London: Novello and Company (facsimile reprint: Carshalton, Surrey: H. Styles, 1985). Stavělová, Daniela. 2017. “Zítra se bude tančit všude, aneb jak jsme se protancovali ke svobodě. Dichotomie tzv. folklorního hnutí druhé poloviny 20. století” [Tomorrow, people will be dancing everywhere or how did we dance towards freedom: Dichotomy of the Folklore Revival Movement of the second half of the 20th century]. Český lid 104: 411–432. Tanović, Stevan [Тановић, Стеван]. 1941. “Играчи из Гевгелије лако су се сналазили у милионском граду на Темзи” [The dancers from Gevgelija region coped easily in the city of millions on the River Thames]. Глас Jуга [Glas juga / Voice from the south] (Skoplje) (17 Jan): 4. Taylor, Malcolm. 2011. “Introduction.” In Singing and Dancing Wherever She Goes: A Life of Maud Karpeles, by Simona Pakenham, vii–ix. London: English Folk Dance and Song Society. United States Embassy (Romania). 1971. Romania, vol. 22, issue 23. U.S. Department of Commerce, International Trade Administration. Vardar (newspaper). 1936. “Туристичко-економски значај старих традиционалних плесова” [The touristic-economic significance of the old traditional dances]. Вардар [Vardar] 863 (8 Jul): 1–2. Večerní Praha. 1962a. “Lidová hudební tvorba očima vědy” [Folk music as seen by researchers]. Večerní Praha (24 Jul): 5. The Council’s By-laws: From Provisional Constitution to Statutes, Memoranda, and Guidelines Don Niles The Council, like most organizations, has by-laws that 1. 1947 Provisional Constitution in English and define such things as its purpose, activities, member- French (ICTM Archive MS 10017, series 4, folder ship, governance, and how to go about altering these 94) by-laws.1 The Council has called such by-laws its 2. 1948 Constitution (ICTM Archive MS 10017, Constitution, Rules, and most recently, Statutes. These series 1.1, folder 1) are supplemented by various memoranda and guide- 3. 1951 Amended Statutes ( BIFMC 5, Nov lines, which all serve to provide guidance on various 1951:22–25) aspects of the Council and its work. 4. 1957 Rules ( BIFMC 12, Sep 1957:21–24) This chapter considers all of these documents. It ini- 5. 1963 Rules (ICTM Archive MS 10017, series 1.1, tially considers the Council’s main by-laws, followed folder 1) by its supplemental ones. Rather than examining each 6. 1971 Rules ( BIFMC 39, Oct 1971:15–18; BIFMC version of these by-laws in turn, I consider the main 50, Apr 1977:14–17) themes common to all of them, and how these have 7. 1979 Rules ( BIFMC 55, Oct 1979:17–21) evolved through time. 8. 1981 Rules ( BICTM 59, Oct 1981:19–22; also see The 1947 Provisional Constitution established a basic BIFMC 58, Apr 1981:22–31, which summarizes framework that was followed quite closely in all subse- proposed changes to the Rules by President Poul Rovsing Olsen and then compares the existing quent variations, but with inevitable changes of order, Rules to the proposed Rules on facing pages) as well as the deletion and addition of sections. 9. 1984 Rules ( BICTM 64, Apr 1984:11–14) The name of the main by-laws governing the Council 10. 1992 Rules ( BICTM 81, Oct 1992:25–28) has changed over time. A Provisional Constitution (1947) gave way to a Constitution when ratified at the 11. 2004 Rules3 ( BICTM 104, Apr 2004:20–25; also see BICTM 101, Oct 2002:12–20, which explains first IFMC conference (1948; figure 1). Subsequently, proposed changes by President Krister Malm and they have been called Amended Statutes (1951), Rules then prints the suggested revisions/additions in (1957), and finally and presently Statutes (2017). italics and omissions with strikethrough) One of the challenges of writing this chapter has been 12. 2013 Rules (ICTM Secretariat) locating complete versions of these documents after 13. 2017 Statutes (from website at the time)4 amendments have been approved. Sometimes they were printed in the Bulletin, sometimes as separate docu- For proposed changes to these documents, Bulletin s are ments; today, of course, they appear on the ICTM web- a very useful source of information. I have not consid- site.2 Some, unfortunately, are presently unlocatable. ered any changes that took place after 2020, the cut-off date for most chapters in this book. The complete versions of Council by-laws available to me are: 1 I sincerely appreciate the preliminary thoughts about this sub- 3 Actually called “ICTM Rules (The Constitution),” see also this ject by Carlos Yoder and the photos by Jeanette Mollenhauer formulation in draft form ( BICTM 101, Oct 2002:15). The of various essential items from the ICTM Archive that made parenthetic addition appears to have been dropped in subse- this contribution possible. I especially acknowledge the quent revisions. encouragement of Naila Ceribašić and Svanibor Pettan for me 4 The Statutes were “aimed at replacing its outdated predecessor to tackle this chapter at all, and their most helpful comments and at better reflecting the needs of a modern international after I took up that challenge. scholarly society” (Pettan 2017:3). Also see, Castelo-Branco 2 http://ictmusic.org/statutes-ictm. (2017:5) for background to their creation. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 33–39. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 34 Don Niles dixes are available (International (Advisory) Folk Dance Council 1947:6; Karpeles 1972:13–14). Pending rati- fication of the Constitution, no major activities were undertaken during the Council’s first year of existence (Karpeles 1949:4), except for the Basel conference, 13–18 September 1948. On 13 September 1948, the first day of the first confer- ence in Basel, a number of proposed alterations to this Provisional Constitution were considered. Most substan- tial amongst these was an additional section concerning the planned relation of the Council to the International Commission on Folk Arts and Folk Lore (CIAP), dis- cussed below. Subsequently, the amended Provisional Constitution was adopted as the Constitution of the Council ( BIFMC 1, Oct 1948:9–10). Name and purpose The name proposed in the Provisional Constitution was the International Folk Music Council, along with the explanatory statement: It is understood that the term “Folk Music” includes Folk Song and Folk Dance. (Provisional Constitution 1947:§1) At the first conference (1948), the Executive Board Figure 1. 1948 Constitution of the IFMC (ICTM Archive MS 10017, series 1.1, folder 1). proposed that the name be modified to International Folk Music (Dance and Song) Council and the state- Provisional Constitution ment of explanation be deleted. This “somewhat awk- ward” title was suggested because “the public sometimes A draft agenda for the International Conference on assumed that dance was not a form of music.” However, Folk Song and Folk Dance, 22–27 September 1947, in the Board ultimately agreed that it would be better to London lists “Consideration of draft Constitution” as keep the simpler name and educate the public through the fourth item (ICTM Archive MS 10017, series 4, the Council’s activities ( BIFMC 1, Oct 1948:9). This folder 94). The draft or Provisional Constitution I have name and a version of the explanation that folk music consulted is in English and French. What appears to was to be interpreted as including folk music and dance be the actual agenda used during the conference lists remained as the first section of the Council’s by-laws “Consideration of draft Constitution” as the sixth item until the Council’s change of name in 1981. (ibid.). In the minutes of that 1947 conference, section The change of name from International Folk Music 5 concerns the draft Constitution which was presented Council to International Council for Traditional Music on 23 September 1947, the day after the establishment was explained by President Rovsing Olsen as necessary of IFMC. A subcommittee of five participants to con-because the Council had long been concerned with “all sider it was also established (International (Advisory) kinds of traditional music, not just folk music,” and the Folk Dance Council 1947:5–6; Karpeles 1972:13). existing name discouraged potential members who did The following day, Karpeles reported that the subcom- not consider their interests to be folk music. The pro- mittee had met for four hours on the previous day posed name would “give the most precise description and had focussed on the English version; the French currently possible of the field covered by our Council” would be considered later. Discussion took place over ( BIFMC 58, Apr 1981:22). This change was voted on amendments, wordings, etc., with the Provisional and approved by the General Assembly in Seoul on Constitution unanimously adopted and ready to go 27 August 1981. The Rules then identified the name for ratification at the conference to be held in 1948.5 as ICTM, which was formerly known as IFMC (1981 The draft Constitution is supposed to be in appendix Rules:§1). This section has remained intact since that C of the minutes from that conference, but no appen-time. 5 Also see (Karpeles [1976]:217–218). The Council’s By-laws: From Provisional Constitution to Statutes, Memoranda, and Guidelines 35 Sections on the purpose, object, objective, or mission shifted away from festivals. Even though conferences at explain the main focus of the Council. Beginning with this time were annual events, the 1963 Rules stipulated the 1947 Provisional Constitution, these have included that conferences be held not less than every three years the “preservation, dissemination, and practice” of and more frequently if possible. This wording remained folk music of all countries, comparative study of folk until the 2017 Statutes, where world conferences (first music, and promotion of understanding and friendship so-called in the 2004 Rules) are defined as being held between the common interest of folk music (§2); they biennially (§10.1). continued until the 1971 Rules (§2), when only the first International festivals were major activities recom-of these remained. But in 1992, these core objects were mended with a separate section from the Provisional explained to embrace “traditional music, including folk, Constitution (§13) through the 1979 Rules (§10), popular, classical and urban music, and dance, of all but the Council only organized four such festivals in countries” (§2). The next major change only occurred collaboration with conferences (1949, 1953, 1955, and with the 2017 Statutes, where the Council’s mission 1962). Although initially recommended to be held every continued previous concerns, but also emphasized the three years, by 1963, festivals were to be held “from bringing together of a wide range of scholars, performers, time to time as opportunity offers” (§13). Conferences individuals, and institutions “in pursuit of equality, still frequently coincide with festivals, but the latter are social participation, human rights, and sustainability not organized by the Council itself. in the performing arts.” Furthermore, dissemination and exchange of work and ideas, and collaboration with Other activities were expanded on through time. For other organizations was emphasized (§2). the first time in the 2004 Rules, separate sections on study groups (§6) and colloquia (§12) were included, The functions or main activities of the Council were although both activities had been underway for decades. spelled out from the beginning. From 1947, these Fora were first mentioned in the 2017 Statutes (§10.4), included festivals, conferences, dissemination of although the first forum was held in 2015. information, folk-music surveys, archives, presentations and performances, and promotion through the media In the 2017 Statutes, world conferences, study-group (§3). Only in 1957 did this include the issuance of symposia, colloquia, and fora are all discussed under a printed materials, along with records and films (§3b– section on scholarly meetings (§10), while a separate sec- c). The 1979 Rules also noted the formation of study tion on study groups outlines their main operations (§6). groups (§3c). Subsequent changes were relatively One amendment to the 1947 Provisional Constitution minor, such as the 2004 addition of new forms of that was adopted in 1948 was the inclusion of sec-publications and websites (§3b), but also the addi- tion 2 concerning “affiliation with the International tion of national and regional committees (§3c). With Commission on Folk Arts and Folk Lore (CIAP).” Such the 2017 Statutes, activities were noted, but explained an affiliation was already discussed at the 1947 meetin more detail elsewhere in the Statutes, such as the ing that established IFMC, and it was felt “there was World Network, study groups, conferences, symposia, complete agreement in principle as to the desirability of colloquia, fora, publications, and collaboration with affiliation.” Indeed, the CIAP secretary proposed that other organizations (§3). “the Council should accept the guidance of CIAP in all matters of scientific concern,” but the Board felt uneasy with this and adopted a general statement of desired Activities and linkages affiliation and an invitation to CIAP to appoint a rep- resentative to the Council ( BIFMC 1, Oct 1948:10). Although the main Council functions and activities That the Council felt such an affiliation of considerable are summarized early in the by-laws, later sections give importance is evident in placing this as the second sec-more details. The organization of conferences has been tion in the 1948 Constitution. However, it was appara part of Council activities from the 1947 Provisional ently included without the full support of CIAP, as in Constitution: “a conference on the artistic, social and the printed version of the Constitution, this section has scientific aspects of the subject shall normally form part an asterisk stating “subject to ratification by the Bureau of the Festival programme” (§14a). At this time, the of CIAP.” This entire section on CIAP was deleted in the importance of festivals to the work of the Council was 1957 Rules after such an affiliation was never realized. apparent and actually preceded the section on confer- ences. But even the Provisional Constitution allowed In addition to this explicit wish to link with CIAP in additional conferences to be organized “as occasion the Provisional Constitution onwards, at the same time demands” (§14b). In 1963, the section on conferences a section notes the Council’s desire for cooperation with (§12) was placed before that on festivals (§13), with the other international organizations concerned with “folk latter to be held “from time to time.” The focus had art,” to which the Council may seek affiliation (1947 Provisional Constitution:§12). The subject matter 36 Don Niles was expanded to “folk art and allied subjects” (1957 Governance Rules:§11), but the section was completely removed in the 1963 Rules. This section refers generally to the management of the Council and how it is governed. The Provisional Constitution noted that management was vested in Membership the General Conference and the Executive Board (§8). Subsequent sections detail that the General Conference Three types of members were outlined in the 1947 consists of delegates and correspondents, who should Provisional Constitution, which was adopted in 1948 meet at least every three years, with the possibility of (1948 Constitution:§5). Delegates were representatives extraordinary meetings, and the responsibility of elect-appointed by governments, national committees, or ing the Council’s officers and Executive Board (§9). The learned societies. Although a delegation could consist of right to vote would vary through time and gradually several members from a country, they would have only become more inclusive. one vote (§6). Correspondents were experts and repre- In 1947, the Board consisted of the officers and ten sentatives of folk-music organizations appointed by the members, all of whom were delegates or correspond-Executive Board, but did not vote in that capacity (§7). ents. Nominations to the Board could be made by the And subscribers were those who paid a subscription Board itself or any delegates and sent to the Secretary. fee, with their entitlements to be determined by the Board members, including officers, had terms of three Board (§8). The 1951 Amended Statutes refer to affili-years, but were eligible for re-election. Additionally, ated national committees, instead of delegates, and goes up to three members could be co-opted to the Board into considerable detail about such committees, the from among delegates and correspondents. The Board appointment of liaison officers by the Board if no such should meet at least once a year at a place and time committees exist, how such affiliations take place, their determined by them. Vacancies arising from a death tasks, and that they should pay an annual subscription or resignation could be filled by Board appointments. fee to the Council, to be determined by the committee The powers of the Board are delegated to them by the and Board (§6). Indeed, Karpeles considered the main General Conference, who elects them, and Board mem-object of the amendments at this time was bers should exercise their powers “as a whole and not to make provision for the affiliation of National as representatives of their respective delegations” (§10). Committees. This was not merely a matter of machin- Officers were the president, secretary, treasurer, and vice ery, but something that was essential to the life of the presidents, with the number of the latter unspecified. If Council, for without some measure of decentralisation no treasurer was appointed, this task was to be taken on the Council could not effectively carry out the many tasks that awaited it. ( BIFMC 5, Nov 1951:11) by the secretary. Finally, officers are ex officio members of all subcommittees (§11). The 1957 Rules refer to ordinary members, instead of subscribers (§7), and the 1963 Rules add a new cate- In the 1948 Constitution, this organization was gener- gory of corporate subscribers (§8), such as government ally accepted, except that the number of Board mem-departments, radio organizations, and institutions, bers was increased from ten to twelve (§11a; also see who pay a fee. In the 1979 Rules, the membership sec-BIFMC 1, Oct 1948:9). tion (§4) now lists members in a variety of categories: The 1951 Amended Statutes retain the section title life, individual, married couples, student, and institu- “General Conference,” but within this section the term tion, along with corporate subscribers; while affiliated used is “General Assembly” (§10), which is the term national committees remain in a separate section (§5). adopted for the section in 1957 (§9) and used until Subsequent revisions continue to tweak the member-today. Furthermore, in 1951, the General Assembly is ship categories, such as adding honorary memberships defined as consisting of members of the Council who are for those who have made outstanding contributions to part of national delegations, with each delegation hav-the work of the Council, supporting members to assist ing one vote. In 1957, the General Assembly consisted others (1984:§4), and emeritus members (2014:§4). of members of the Council, and individual members Such categories remained relatively constant even in the could propose resolutions and take part in discussions, 2017 Statutes. but could only vote as part of national delegations, The role of national committees continued to be further which would have one vote; Board members, however, refined and, in 2004, regional committees were added were entitled to vote individually (§9). In 1963, such to accommodate areas larger or smaller than national national delegations would have one vote for every ten ones (§5). The 2017 Statutes include national commit-members present at the meeting, up to a maximum of tees, regional committees, and liaison officers under the fifty votes (§10). In 1971, the number of votes from a name World Network (§5). national delegation could be a maximum of five (§10), perhaps correcting the previous maximum of fifty. Only The Council’s By-laws: From Provisional Constitution to Statutes, Memoranda, and Guidelines 37 in the 1979 Rules, were individual members finally are eligible for re-election only once. Furthermore, the given the right to vote (§7b), and this has remained the number of co-opted members was raised to three (§8). case until the present. This number of members and the length of their terms As noted above, the 1948 Constitution adopted the of office continued in the 2017 Statutes (§7.2), but membership of the Board as the officers (maximally, with much greater definition of the roles of president president, vice president(s), treasurer, secretary), twelve (§7.3), vice presidents (§7.4), secretary general (§7.5), members, and up to three co-opted members, all with and the establishment of an executive group, consisting terms up to three years (1948 Constitution:§10–11). of the president, two vice presidents, and secretary gen-The 1951 Amended Statutes explicitly state that officers eral (§7.6). and members of the Board are elected by the General Although the term “secretary” had been used since the Assembly and their terms last only from one General 1947 Provisional Constitution, this position had been Assembly to the next, but they are eligible for re-elec-called “secretary general” since 1972, but does not tion (§11). Since General Assemblies were held almost appear in the Council by-laws until the 2004 Rules,7 every year at that time, the length of appointment was where it is noted that the Board may appoint a secretary one year. In the 1957 Rules, the officers and only four general, treasurer, and other executive officers, but that of the twelve members of the Board are meant to retire such executive officers may not also be members of the at each General Assembly, with this staggering allowing Board (§8k; also see, BICTM 101, Oct 2002:13). As more continuity between Boards (§10). It also meant noted above, the role of the secretary general was first appointments of three years. In the 1963 Rules, the sec-detailed in the 2017 Statutes (§7.5). retary is no longer a member of the Executive Board, up Nominating to become a member of the Board and to five members can be co-opted, the Board is given the the election itself are the final issues I consider in this authority to appoint paid and unpaid executive officers section. From the 1947 Provisional Constitution, it to assist in the work of the Council, it appoints its own was clear that nominations would be sent to the sec-chair, and can appoint subcommittees or commissions retary in writing, so that they could be considered at as necessary (§11). The 1971 Rules note that the Board the General Conference/Assembly, who would elect can appoint an honorary president (see also BIFMC 24, them (§10). But by the 1951 Amended Statutes, it Oct 1963:8), who shall also be a member of the Board was specified that nominations could be made by the (§11). This was undertaken to accommodate Maud Executive Board itself, an affiliated national committee, Karpeles after her retirement as secretary (1963), but or two correspondents of different countries (§11). In was removed from the 1981 Rules, five years after her the 1971 Rules, the election is specified to be by postal death. Instead, President Rovsing Olsen suggested that ballot and to take place in the three months preceding it would be of each General Assembly, with the results announced at greater practical interest for the Council to be able to the General Assembly (§11). bestow Honorary Membership on a particularly dedi- cated individual. ( BIFMC 58, Apr 1981:22) However, major changes to the nomination procedure occurred in the 2004 Rules: nominations for all the Since 1969, conferences and General Assemblies have positions on the Board were to be made through been held biennially, so appointments for Board mem-a Nomination Committee (§8), consisting of two bers became six years, instead of the previous three. members appointed by the newly created Assembly For the first time, the 1981 Rules specified the maxi-of National and Regional Representatives and one mum number of vice presidents to serve on the Board member by the Board. This committee would nominate as three6 (§9) and named the non-officer Board mem-at least two, but no more than three candidates for each bers as “Ordinary Members”; but in the 1992 Rules, vacant seat on the Board (§10). The assembly consists the number of vice presidents decreased to two and the of one official delegate from each national and regional number of ordinary members to nine. The officers and committee, liaison officers, plus the president and three of the nine ordinary members were to retire at each secretary general. Meetings of the assembly normally Ordinary Meeting of the General Assembly, and the take place at world conferences and are chaired by the number of co-opted members was reduced to no more than two (§8). Terms of office were revised in the 2004 7 The proposed alteration in 1977 to use the term “Secretary-Rules: officers until the second General Assembly after General” was apparently not adopted ( BIFMC 50, Apr their term has begun (hence, generally four years), while 1977:19). The BIFMC (51, Nov 1977:20–21) reports on var- ordinary members until the third General Assembly ious alterations to the Rules following the General Assembly (usually six years). Both officers and ordinary members at the Honolulu world conference in 1977, but does not note whether the sections with the use of this term were approved. However, it was also proposed that all past presidents would 6 Prior to this time, the number of vice presidents varied consid- become life members of the Board ( BIFMC 50, Apr 1977:18), erably. According to the listing of Board members in JIFMC s but at least that proposal was not carried ( BIFMC 55, Oct and YIFMC s, the most was five (1962, 1976). 1979:16). In short, the situation is unclear. 38 Don Niles Figure 2. Postal ballot for altering ICTM Rules, due to be returned to the Secretariat by 1 June 2012 (ICTM Secretariat). ICTM president (§9). This change was justified by Changing the by-laws President Malm because the previous practice resulted in most, if not all, nominations coming only from the Provisions for changing the Council’s by-laws have been Board ( BICTM 101, Oct 2002:14). The 2014 Rules included since the 1947 Provisional Constitution, where allowed electronic ballots in addition to postal ones the approval of a majority of those present and voting (§8). This procedure has continued into the 2017 at a General Conference was required and ample notice Statutes (§§7.2, 8, 9). of such a vote to alter the Constitution must be given to secretary so that it can be included in the agenda for the meeting (§16). This procedure was adopted in the 1948 Finance Constitution (§17). In the 1957 Rules, the number of votes required for All Council by-laws have maintained a section concern- change was increased to a “two-thirds’ majority of the ing finance. The 1947 Provisional Constitution noted members present at the General Assembly and entitled funding by delegations, individual subscriptions, dona-to vote.” This was presumably done to make changing tions, and endowments, with a statement of accounts to the by-laws a more serious business, more challeng-be presented by the Board to the General Conference, ing to achieve than with just a majority. It is further now called General Assembly (§15). Similar wording specified that any proposed alteration must be received remained, but with slight changes omitting delegations, by the secretary not less than three months before the and including national committees (1951 Amended meeting at which the proposal is to be made and the Statutes:§16), and then grants (1979 Rules:§11). In the secretary will then give no less than one month’s notice 1984 Rules, a clause was added concerned with the dis-of such a proposal to the members (§15). In the 1981 tribution of any assets to “one or more national or inter- Rules, an approval by a two-third’s majority at a General national organizations having similar ends” in the event Assembly must then be ratified by a simple majority of of the Council’s dissolution (§10c). The section in the votes in a postal ballot from members in good stand-2017 Statutes also assigns responsibility over the prepa- ing. This ballot must be conducted within nine months ration of a budget to the secretary general, and identifies of the General Assembly and allow 120 days between the Council as a non-profit organization (§11). the sending out of ballots and the close of the ballot- ing period (see also figure 2). The amendments become valid within six months of their ratification (§12). This The Council’s By-laws: From Provisional Constitution to Statutes, Memoranda, and Guidelines 39 change in procedure was justified to the membership by nominations and elections (2014), and organization of President Rovsing Olsen: fora (2018). Our Council is an international organization with bien- Similarly, guidelines have been created for the: pro- nial Conferences, and therefore General Assemblies, gramme committee of world conferences (2010), ter-held in different parts of the world. It is obvious that the composition of the membership in attendance at minology (2011), submission to the Bulletin (2013), the different General Assemblies is dependent to quite a honorary membership (2014), publication (2014), and high degree on the location of each Conference. It does submission to the Yearbook (n.d). not seem right that major decisions in relation to the Rules of our Council should depend mainly on geog- raphy. On the other hand, it seems normal to keep the General Assembly as the form for discussion of even- Conclusion tual alterations to our Rules. The proposal offered here reconciles the two conflicting considerations. ( BIFMC The 2017 Statutes and accompanying memoranda and 58, Apr 1981:23) guidelines are the most recent form of a set of by-laws This was the procedure continued in the 2017 Statutes, for the Council that originated in 1947. They define although with the additional allowance for electronic what the Council is, what it does, and how it operates. ballots and notice that changes become effective imme- They reflect its current activities and structures, yet also diately upon ratification and must be published as soon allow for countless developments in its future. as possible (§12). References cited Other by-laws Castelo-Branco, Salwa El-Shawan. 2017. “Message from the President.” BICTM 135 (Oct): 5–6. The main by-laws of the Council are supplemented by International (Advisory) Folk Dance Council. 1947. “International Conference on Folk Song and Folk Dance Convened by a variety of individual memoranda and guidelines.8 The the International (Advisory) Folk Dance Council, London, reason for establishing memoranda in addition to the 22–27 September, 1947; Report.” ii, 15 pp. New York Public main by-laws of the Council was explained by President Library *MG p.v. 308. https://nypl.bibliocommons.com/ item/show/12278598052907_international_conference_on_ Malm in his introduction to proposed changes to the folk_song_and_folk_dance#bib_info. [appears to be same as existing Rules: Karpeles 1972]. Karpeles, Maud. 1949. “The International Folk Music Council: Its A new item is that the new rules will be supplemented Formation and Progress.” JIFMC 1 (Mar): 3–4. by a set of memoranda where details for procedures ———. 1972. “Report of the International Conference on Folk are spelled out. This is actually a development of an Song and Folk Dance.” BIFMC 41 (Oct): 6–26. already existing praxis established in the 1990s with ———. [1976]. “Autobiography.” 284 pp. English Folk Dance the “Memorandum on the Organization of ICTM and Song Society, Vaughan Williams Memorial Library, Colloquia.” The process of changing the rules is quite Maud Karpeles Manuscript Collection, MK/7/185. Accessible cumbersome (and should be so), while the memoranda online: http://www.vwml.org/record/MK/7/185. dealing with details can be changed more easily (but Pettan, Svanibor. 2017. “Message from the Secretary General.” not too easily). ( BICTM 101, Oct 2002:13) BICTM 134 (Apr): 2–3. Individual memoranda and guidelines in general are mentioned in the Council’s main by-laws. Memoranda provide details of various aspects in the working of the Council that are only stipulated generally in the main by-laws; guidelines concern matters not covered else- where. Both memoranda and guidelines are created by the Board, and both can also be updated by the Board, except for the memorandum on the procedural rules of the Board itself, which must be ratified by the General Assembly (2004 Rules:§8i). In chronological order, with their date of creation in parentheses, memoranda exist on the: organization of world conferences (1985), organization of colloquia (1987), national and regional committees (2005), study groups (2005), procedural rules of the Board (2011), 8 http://ictmusic.org/memoranda. The World Network Svanibor Pettan The term “world network” has two basic meanings in resents. The Executive Board may expel representatives the context of the Council.1 In the narrow sense, it is an who do not comply with the Statutes or are inactive. organizational category, a pillar that gives our scholarly organization its international character and indicates its global presence. In the broader sense, it is an affective A diachronic perspective meeting place that facilitates the ongoing acquisition and exchange of new knowledge through face-to-face Looking to the United Nations, an international orga-communication and provides a sense of a much-needed nization founded in 1945 on the ashes of World War II community for music and dance researchers. The World by fifty-one countries dedicated to maintaining inter-Network is an ever-evolving concept that allows for sus- national cooperation and peace, and to its specialized tained growth in the Council’s membership and pro- agency for education, science, and culture known as vides new opportunities for further development, pre- UNESCO, Maud Karpeles understood not only what sented later in this chapter. In 2018, ICTM had 1,344 kind of organization the world of music and dance individual members in 129 countries and regions. scholarship needed, but also how to achieve its interna-About one fifth of them were from the USA, while the tional reach. “Interested in international affairs, finan-other countries and regions in the “top ten,” ordered cially independent, and aware of the potential of music according the the number of members, included Japan, and dance in transcending political boundaries, she Germany, Australia, UK, Austria, Italy, China, Canada, revived and promoted the idea of the International Folk and Taiwan. Dance Council,” which was the direct predecessor of The ICTM Statutes define the World Network as a sys- the IFMC and in which she had the role of “honorable tem of national and regional representatives who are secretary” (Pettan 2021:44).2 expected to spread knowledge about the Council’s Two years later, in 1947, Maud Karpeles was instrumen-activities and to further its mission in their respective tal in founding the International Folk Music Council, countries or regions. As much as possible, they act as in which from the beginning the countries of “corre-links between the Council and individual members. spondents” and “delegates” were considered important (§5c) as a sign of the Council’s global reach and inclusive- These representatives may be individuals (one “liaison ness. Thus, in the Council’s Bulletin s, the listed names officer” per country or region) or organized groups, of individuals are usually followed by an indication of either pre-existing or newly formed, composed of at their nationalities. It was considered important to indi-least three ICTM members. Under the procedure set cate from how many and which countries delegates forth in the relevant memorandum, such an organized came to attend an IFMC meeting. group may be recognized by the Executive Board either In the first Bulletin of the International Folk Music as a national committee if it represents a state recog-Council, the “Report on the first meeting of the General nized by the United Nations, or as a regional committee Conference held in Basle, Switzerland, in September if it represents “an area that is commonly acknowledged 1948” notes that the event was attended by “delega-as a geographical or political region.” Each representa- tions” from seventeen countries and regions, plus a rep- tive to the ICTM World Network, whether as a liaison resentative from UNESCO (as an “observer”), and that officer or as chair of a national or regional committee, “140 Correspondents, representing 35 countries have is expected to inform Council members in the ICTM been appointed by the Board” ( BIFMC 1, Oct 1948:3– Bulletin of relevant news from the area he or she rep- 1 I appreciate the comments of my co-editors, Naila Ceribašić 2 See also Niles and Yoder (2015) and the chapters in this vol- and Don Niles, on an earlier draft of this chapter. ume on the origins and of the Council, and on Maud Karpeles. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 40–45. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. The World Network 41 4, 7–8). Likewise, “a directory of folk music organisa- page, while from October 1976 to April 2011, lists of tions is being compiled. A questionnaire has been sent committees were preceded by lists of liaison officers on to 136 organisations in 31 different countries … So far, the previous page. The number of committees increased replies have been received from 18 countries (represent-from five in 1960 to thirty-six in 2011. ing 32 organisations)” ( BIFMC 1, Oct 1948:8). In 2001, newly elected Council President Krister Malm The background to the appearance of the “National established a Rules Committee in which he, Egil Bakka, Committees” is explained in the second Bulletin: Anthony Seeger, and Tsukada Kenichi addressed neces- THE HON. SECRETARY explained that when the sary revisions to the constitutional document. One of question of National Committees had been discussed the outcomes relevant to the current issue is the inclu-at the inaugural conference no provision for their sion of “regional committees.” In the words of Malm, affiliation had been made in the Constitution. The Executive Board was of the opinion that the formation A new organizational category of “Regional of National Committees was to be encouraged, espe- Committees” is proposed in new Rule 5. This was in cially to act as agents for the Council in their respec- response to questions from our members in East Africa tive countries, for only in this way could the dangers who wanted to form a regional body since they are too of decentralisation be overcome. The Board therefore few to form National Committees. The question was recommended the gradual formation and recognition also raised once before when John Blacking started the of National Committees, but advised leaving the ques- European Seminar in Ethnomusicology (ESEM). We tion of constitutional affiliation to a later stage. The think that “Regional Committees” can enhance the use- Conference approved the Board’s decision. ( BIFMC 2, fulness of ICTM in certain regions. (Malm 2002:13) Nov 1949:13–14) In addition, new Rule 9 proposes an assembly of The fifth Bulletin, which appeared two years later, national and regional representatives based on the contained a wealth of information about national experience of the meetings of national representatives committees. The Amended Statutes provided that (Malm 2002:14). Malm’s explanation of the thorough membership should consist of “(a) Representatives revision is followed by the text of the Rules with the of Affiliated National Committees, where such exist; proposed changes ( BICTM 101, Oct 2002:15–20). (b) Correspondents; and (c) Subscribers.” Statute 6 “Liaison officers” were removed from the title of Rule detailed affiliated national committees in nine points 5 and became replaced with “Regional Committees.” In reminiscent of today’s definition. Statute 7 defines addition, section 5b clarified that “the Executive Board correspondents as “experts and representatives of folk shall prepare and approve a Memorandum on National music organisations,” while statute 8 defines subscribers and Regional Committees,” while section 5c included as persons “who wish to further the objectives of the the previously mentioned statement in slightly adapted Council.” National committees, “consisting of represen-form: “In countries or regions in which no National or tatives of folk music organisations, scholars, and others Regional Committee exists, the Executive Board may who are in sympathy with the objectives of the Council appoint Liaison Officers” ( BICTM 101, Oct 2002:16). shall be eligible for affiliation on application.” Section In contrast to the proposed changes, evidence from this 8b, which is worded similarly to the current Statutes, period shows that there were more liaison officers than can be interpreted to favour national committees over national committees, while regional committees did not individual representatives: “In countries in which no yet exist or were not yet operational. For example, in Affiliated National Committee exists, the Executive the first half of 2001 there were 34 liaison officers and Board may appoint Liaison Officers from among the 24 national committees ( BICTM 98, Apr 2001), while Council’s Correspondents.” This wording also makes in the second half of 2002 there were 31 liaison officers clear that the Council recognizes the existence of places and 28 national committees ( BICTM 101, Oct 2002). where there is no organized music and dance research, What is the cause of this dynamic? Austria, Cyprus, and that it has an interest in being represented there Spain, and Vietnam moved in the expected direction as well. Statute 10 is also significant, with the General by replacing their previous mode of representation with Assembly consisting of national delegations composed liaison officers to national committees, while Israel of members of the Council ( BIFMC 5, 1951:23–24). joined the network with a liaison officer. In 1957, the Amended Statutes were renamed Rules, The first appearance of the term “world network” with some notable changes relevant to the topic at hand. coincides with the Secretariat’s move from Australia In Rule 4, the third membership category was changed to Slovenia in 2011 and the start of publication of the from “subscribers” to “ordinary members” ( BIFMC Bulletin of the ICTM in electronic form ( BICTM 119, Sep 1957:21), while Rule 12 elaborated on General Oct 2011). A note from the Bulletin’s new executive Assemblies and the roles of national representatives. assistant and editor, Carlos Yoder, explains the change as follows: From the September 1960 issue to the April 1976 issue, Bulletin s listed national committees on the last cover 42 Svanibor Pettan The back cover of the Bulletin used to contain a list other colleagues on the most suitable candidates. Such of ICTM National and Regional Representatives. Now a strategy proved preferable to the earlier expectation that the idea of a “back cover” doesn’t apply anymore, that potential candidates would contact the Secretariat those two pages have been combined into one new section entitled ICTM World Network. (Yoder 2011:4) and express interest in representing a country or region. In this way, the Council was able to attract many new Minutes of the Executive Board from the 108th members and enthusiastic representatives, some of Ordinary Meeting, held in Shanghai on 27 June whom were previously unaware of the Council and the 2012, contain the first mention of the “ICTM World mutual benefits associated with membership and rep-Network” in an Executive Board context. Interestingly, resentation. During the term of the Vienna Secretariat there was no recorded discussion on the adoption of (2017–2021), agreements were introduced to be signed the new term, although the change was not only ter-between the future liaison officers and ICTM, clarifying minological. Indeed, all three options—liaison officers, the rights and obligations of both parties. national committees, and regional committees—were combined under a single heading. The earlier expecta- It is clear that further quantitative and qualitative tion that the liaison officers listed on the penultimate growth of the World Network can be achieved in two page of the Bulletin would give prominence to organized main directions: (a) by identifying “missing” countries scholarly activities in their countries or regions and seek and regions and asking members to help find the opti-committee recognition that would result in their coun- mal candidates, and (b) by contacting current liaison tries or regions visibly moving to the last, more presti- officers to see if they would consider establishing com- gious page of the Bulletin simply no longer existed. On mittees in their countries or regions. the other hand, the World Network has succeeded in So far, the Statutes provide for four types of ICTM balancing the three modes of representation, not just scholarly meetings, namely world conferences, study-visually, within a single framework. group symposia, colloquia, and fora. In practice, there is a fifth type of meeting, namely joint meetings of national or regional committees. A synchronic perspective For a long time, official contacts between committees were limited to the biennial meetings of the chairs or Where does the World Network stand now, and what representatives of national and regional committees at can be done to further improve it? This section presents the assemblies of national and regional representatives selected cases and suggests possible new directions. held at world conferences. Together with the liaison In the diachronic section, I discussed the importance officers representing the countries of the regions with-attached to countries, which, with varying intensity, out committees, they briefly shared the latest devel-remain a characteristic feature of the Council today. opments at their locations. But then, in 2008, the Older ICTM members will remember the enthusiastic Austrian National Committee called colleagues from habit of Dieter Christensen (secretary general during neighbouring Slovenia to a joint meeting in Seggau, a the period 1981–2001), who may have inherited it from castle near the border with Slovenia. The success of this his predecessors in the Council, of providing relevant rather modest initial event ( BICTM 115, Oct 2009:51) figures at the General Assemblies of the world confer-encouraged more ambitious follow-up events with ever ences on how many participants from how many coun- greater participation. In 2011, Vienna hosted the joint tries were present at the event. In the last two decades, meeting of the national committees of Austria, Croatia, this kind of evidence seems to be either less present at Slovakia, and Slovenia;3 in 2013, Mals/Malles Venosta the assemblies or sometimes absent altogether. On the hosted the joint meeting of the national committees other hand, countries and regions, rightly seen as hall-of Italy, Austria, and Switzerland ( BICTM 123, Oct. marks of internationality, continue to be present on the 2013:30); in 2014, Pulfero (Udine) hosted the joint Council’s website on the governance (including those meeting of Italy, Austria, and Slovenia;4 in 2015, Lucerne on the Executive Board, Secretariat, and history of hosted the joint meeting of Switzerland, Austria, and IFMC/ICTM governance) and World Network pages, Germany;5 in 2016, Budapest hosted the joint meeting as well as in the Bulletin. of Hungary and Austria,6 and more. Separately, in 2015 During the Secretariat’s tenure in Ljubljana (2011– the French and British national committees, the Société 2017), the number of national and regional represen- tatives, especially liaison officers, grew from 75 to 127 3 https://www.yumpu.com/en/document/read/17996823/ countries and regions. This was the result of a system- joint-meeting-of-the-austrian-national-committee-in-the-ictm-. atic active search based on analyzes of the situation in 4 https://ictmusic.org/world-network/italy-national-committee/ the “missing” countries and regions around the world joint-meeting-2014. and consultations with informed ICTM members and 5 https://www.mdw.ac.at/ive/verzeichnis-publikationen/. 6 https://www.mdw.ac.at/ive/verzeichnis-publikationen/. The World Network 43 Figure 1. Joint meeting of the national committees of Italy, Austria, and Slovenia in Italy. Pulfero (Udine), 2014 (photo courtesy of Svanibor Pettan). française d’ethnomusicologie and the British Forum or regional committees within ICTM, the Society for for Ethnomusicology, respectively, held their joint Ethnomusicology being a good example. There are, meeting ( BICTM 129, Oct 2015:17–18). In 2018, the however, committees that wish to have their publica-Slovenian National Committee hosted an experimental tions recognized as ICTM publications, with Germany scholarly meeting entitled “Minority sounds in national standing out as the only systematically documented contexts as seen by ICTM national and regional repre-example. An unusual example is the book Vienna and sentatives,” which highlighted another way to benefit the Balkans (Peycheva and Rodel 2008), initiated by the from the World Network (more in Klebe 2018). Bulgarian National Committee and containing selected Several of these meetings took place in border regions, papers from a world conference (figure 2). allowing participants to experience and better under- The Council has considerable historical depth in terms stand the agendas associated with intercultural pro- of its own publications, as one can see from its web- cesses related to music and dance practices, as well as site page entitled “Books by or in collaboration with the benefits of scholarly collaboration across political IFMC/ICTM.” The list considers publications by (a) boundaries. The inclusion of joint meetings of national IFMC/ICTM, (b) IFMC/ICTM study groups, and (c) and regional committees in the Statutes would encour-IFMC/ICTM national committees. Section (c), which age such gatherings in other parts of the world, far from is limited to Germany, adds weight to the statement in the European area (figure 1). the introduction to the page, “We realize that there are The next issue concerns publications. The first associa- many inadequacies in this listing and probably many tions when one thinks of the Council’s publications are omissions, too. Help us improve it by sending correc-the Yearbook for Traditional Music and the Bulletin of the tions, additions, and images to the Secretariat.”7 Here I ICTM, with the important extension to the proceedings can only repeat this appeal. of the study groups, the proceedings of the colloquia, Another point concerns the Statutes. No matter how and the publications emanating from the fora. But that thorough, the revisions of the Council’s most important is not all! document have failed to reflect and equalize the reality There is no reason to consider as Council publications of national and regional representation, characterized the well-known and accessible publications of active independent societies that are also recognized as national 7 http://ictmusic.org/publications/ books-by-or-in-collaboration-with-ifmc-ictm. 44 Svanibor Pettan ing activities in Latin America and Oceania, additional efforts should be made to include new countries and regions in Sub-Saharan Africa and Southwest Asia. The growth of the World Network has never been moti- vated by quantification, nor should it be. It is about inclusiveness, about the desire for the Council to be a truly global association that serves scholarship and peace, and brings people together by encouraging their ongoing and active participation. In the seven decades that the Council has existed, more than five hundred representatives have contributed to international and intercultural dialogue. Some of the countries they rep- resented no longer exist today (USSR, Czechoslovakia, Yugoslavia, German Democractic Republic), but these scholars have left a strong mark by transcending the Iron Curtain and other political, economic, and social boundaries and connecting the global East and West, North and South. There are several examples of scholars representing the countries of their research and/or cho- sen residence rather than their countries of birth, and there have been scholars representing different countries or regions consecutively or even at the same time. There are several examples of scholars from more eco- nomically advantaged countries supporting the par- Figure 2. Cover of the book Vienna and the Balkans ticipation of colleagues from lower-wage countries in (Sofia, 2008). Council activities. There are several examples where the by a numerical preponderance of liaison officers over committees. In the context of the Assembly of National and Regional Representatives, they have equal status, but this status is not reflected in the Memorandum on National and Regional Committees; an adjustment from “Committees” to “Representatives” would open the space for a better reflection of reality. Also, a page listing all past and present national representatives will soon enrich the ICTM website. Conclusion The World Network display on the ICTM website pro- vides quick and easy access to information on whether a particular country or region is represented, in which of the three ways, and by whom. If there is a representa- tive, either a liaison officer or committee chair, he or she is expected to help connect scholars in his or her area to the global arena embodied by ICTM and to connect interested ICTM members from abroad with colleagues and scholarly resources in his or her country or region. Although a look at the world map and the number of participating countries and regions clearly indicates that ICTM is successfully serving music and dance scholars in the global world, there are areas where we can and Figure 3. Items from various world conferences should do more. While we view with a smile the increas- (photo by Svanibor Pettan). The World Network 45 friendship and collegiality developed in the Council has lasted a lifetime. Finally, the Council has established several funds to support the participation of its mem- bers in the growing variety of scholarly gatherings. All of this is a testament to the love and appreciation for and within this scholarly community, its aims and ide- als. Figure 3 symbolically illustrates the positive senti- ments and creativity in producing not only programme booklets and books of abstracts for the world confer- ences, but also mementos ranging from ICTM pen- cils, to water containers, to ICTM T-shirts and towels. There is no question that the World Network will con- tinue to benefit the world of music and dance scholar- ship. The fact that the prospects for Earth look bleaker than we would wish should provide us with additional motivation based on knowledge, understanding, skills, and experience to strengthen the World Network and to seek new ways to make our shared efforts more efficient and far-reaching. References cited Klebe, Dorit. 2018. “Minority Sounds in National Contexts as Seen by ICTM National and Regional Representatives.” BICTM 138 (Oct): 46–48. Malm, Krister. 2002. “Revised ICTM Rules: An Introduction from the President.” BICTM 101 (Oct): 12–14. Niles, Don, and Carlos Yoder. 2015. “From IFMC to ICTM to What? Considering the Council’s Past While Moving into the Future.” Panel discussion at the 43rd World Conference of the International Council for Traditional Music, Astana, Kazakhstan, 18 July. Pettan, Svanibor. 2021. “The International Council for Traditional Music and Society for Ethnomusicology: A Reflection through Two Complementary Lenses.” In Transforming Ethnomusicology; vol. 1: Methodologies, Institutional Structures, and Policies, edited by Beverley Diamond and Salwa El-Shawan Castelo-Branco, 43–58. New York: Oxford University Press. Peycheva, Lozanka, and Angela Rodel. 2008. Vienna and the Balkans: Papers from the 39th World Conference of the ICTM, Vienna 2007. Sofia: Bulgarian Academy of Sciences. Yoder, Carlos. 2011. “A New Bulletin.” BICTM 119 (Oct): 4. Meditating on Ideology in the History of IFMC/ICTM Bruno Nettl Most scholarly organizations, particularly those con- The early period cerned with the arts and humanities, do not officially subscribe to a stated ideology outside their loyalty to IFMC began European—its first meeting in Basel, scholarly principles. They may occasionally state their 1948, was populated by European scholars, and this concerns with such ideals as fairness, human equality, or early period may be characterized by a need to find its freedom of thought concerning their research, but one place, in part by defining itself and its subject matter. rarely finds them extolling, in their official descriptions Even early on, a friendly intellectual conflict seemed to of themselves, an ideology governing their activities. In emerge between domination by one of two perspectives. the programmes of their conventions, and even more, One was concern with “folk” music as an essentially in their publications, which are, after all, the face they European concept, suggested by the election to the present to the world, one can sometimes find evidence presidency of Ralph Vaughan Williams, a great com-of attitudes that suggest the liberal, or the conservative, poser who was very concerned with maintaining and or concern with the aesthetic, or the ethical, or the then using authentic British folk music in the art music national. For organizations such as the ICTM, which tradition, and by intellectual leadership by traditional-are concerned with an international—supranational— ist scholars such as Walter Wiora, who quickly became phenomenon such as music, and which consist of mem- influential in IFMC matters, and in whose career dis- bers from virtually all of the world’s nations, a stated or cussion of “authenticity” played a major role. The sec-implied ideology is even harder to identify. They rarely ond perspective was maintained by (then still European) answer the question, “what kind of people are we?” scholars who wished to include other geographic areas, Given these caveats, and attempting to respond with illustrated in vol. 1 of the Journal of the IFMC by articles appropriate modesty to an invitation to write on this by Arnold Bake on India and Jaap Kunst on Indonesia. subject, I wish here to meditate briefly on the basis of Interestingly, scholars from Eastern Europe began early my own experiences of the ICTM and its predecessor, on to play major roles at meetings and in the Council’s the IFMC, and of a sampling of volumes of its Yearbook international communication with “national commit-and the predecessor Journal. tees,” but this type of participation then declined for a time. Looking forward, it did not take long for the view The history of ICTM—beginning just after World War that we were concerned with all music of the world’s II—has been affected substantially by many develop-cultures to dominate, something that caused the con- ments in the world—political issues such as the “Cold cept of “folk” to become problematic quite early in the War,” by major but more localized events such as the Council’s history. Questions arose (often by implica-partitions of the Indian subcontinent, the Vietnam war, tion): Was it a concept really appropriate to all of the and the gradual decolonization; by increased contact world, or was it something European scholars were among peoples, the result of everything from jet travel imposing on cultures elsewhere? Should we look at the to the Internet; by crises such as climate change; by a world’s musics as units, each of which has “folk” and growing sense, in the world’s educated populations, “art” musics and other categories that were recognized of a degree of cultural egalitarianism. But in an interin Europe, or should we see each culture as having its national organization of scholars and artists, taking own musical taxonomy? I think eventually the second specific positions can be difficult. Still, early on, one of these has won out, in the management of ICTM and senses the beginnings of what later came to be known as in the world of ethnomusicology at large; but perhaps “applied ethnomusicology,” the desire for IFMC to help not absolutely. the world’s musicians. In the first few years of IFMC history, it’s easy to sense the development of both directions—folk music versus In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 46–50. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Mediating on Ideology in the History of IFMC/ICTM 47 Figure 1. Hotel Moskva, the venue of the 1962 IFMC conference, in Gottwaldov, Czechoslovakia. The sign welcomes IFMC members in English, Russian, French, German, and Czech (photo from ICTM Archive). world music. The 1950 meeting in USA, and the 1954 the lack of agreement on what properly belonged in its meeting in Brazil, with programmes emphasizing purview and proposed to editorialize on a definition in musics of both areas respectively, indicate the interest my first issue. President Klaus Wachsmann wisely dis-of the central group of Europeans to widen the horizon. suaded me, saying something like “this would only raise Scholars from a wide variety of nations participated, a storm of argument and unpleasantness. The way we and I believe the central group of Western Europeans have been managing this organization is by letting all were eager to welcome others, thus accepting a greater members live with their own definitions.” And looking variety of concepts and approaches to scholarship, and back, it was an issue for scholars early in the twentieth exhibiting an ideology of breadth and tolerance. At century, as illustrated by the hundreds of conceptions the same time, during the first years, there was much cited in Julian von Pulikowski’s (1933) classic book. discussion about its central aims. In vol. 2 of the Journal, Maud Karpeles (1950) refers to three principal objects: assisting in the study and (emphatically) in the The late 1960s practice of folk music, furthering comparative study, and promoting friendship among nations. And in vol. The period beginning around 1968 was one of significant 7, which contains proceedings of the meeting in São change in the governance, location, and publication pro-Paulo, we find a definition of folk music formulated by gramme of the IFMC. I am not sure whether the follow-Karpeles (1955) which was to become for some time at ing observations reflect conscious intent, but it seems to least informally the guide for the IFMC, along with a me that increasingly there is some conflict between con-resolution adopting a definition (IFMC 1955), which tents of Journal and Yearbook resulting from the desire to was—interestingly—passed by a vote of eight to one, publish papers presented at the previous conference; the with three abstentions. Significantly, these twelve votes need to provide representation of the musics of different represented not individuals but countries, reminding parts of the world, and by scholars from different areas; that the organization was originally composed of and selection of what seems to the editor as the most several constituencies—individuals, members grouped significant research, selecting the best articles, whatever by countries, national committees, and representatives source and subject. This diversity of approaches contin-of governments. Gradually it was to become, in its ues, though it was eventually mitigated by the reduction fundamental nature, essentially an organization of of conferences to every other year. individuals. Statements purporting to represent the view of the Yet the question of defining was not easily resolved. organization and that can be interpreted as ideological Looking ahead a few years, to my short term as editor of were published in the first volume of the Yearbook, by the the Yearbook (1974–1976), I was uncomfortable with new editor, Alexander Ringer and by General Secretary 48 Bruno Nettl Karpeles (1969), in whose very comprehensive essay musicology, but many? Is it fair to continue maintainI note the following observations: The Council is still ing that ethnomusicology began in Vienna, or Berlin concerned with “folk music” as something one needs to or Amsterdam, or New York—and then gradually define, contrasting it with other kinds of music, particu-moved into the rest of the world where scholars began larly popular music, against which it must be defended. to work in ways derived from these origins? Or should The Council sees (saw) itself as a scholarly organization, we consider that each musical culture develops its own but the criteria of “pure” scholarship for presentation ethnomusicology? I don’t believe that the ICTM grap-and publication are mitigated by the importance of giv- pled with this issue explicitly. Vol. 15 of the Yearbook, ing voice to many nations and cultures, and the partici- from this first 1981 meeting in East Asia, sheds a bit of pation of the various national committees. In 1968 there light. Eight essays are by East Asian authors of whom were ten of these—five in Eastern Europe, those being three carried out their graduate studies in the USA and deemed particularly important as a way for individuals Canada, and the rest were trained in Japan or Korea. in these nations to participate, given certain political For one thing, this issue presents ethnomusicology handicaps. But in this period, I have the feeling that get-not as a field in which one studies a music strange to ting people everywhere to participate was more import- one’s own background; scholars wrote about their own ant than assessing the nature and attitudes of this partic- music. And evaluation of some of these articles might ipation. Throughout Maud Karpeles’s 1969 report one require criteria different from those typically held by notes the continued emphasis on encouraging the prac-outsiders but, rather, they seem parallel to research done tice of folk music and dance, on the use of folk music by European scholars on European music. in education, and on collecting and preserving (without Examining the Yearbook in the late 1980s reveals two interpretation) as principal activities of scholars. characteristics—results, I believe, of very gradual 1968 saw a major development in the character of change—that relate issues of ideology. Vol. 20 (1988), IFMC—the definitive move from an almost exclusively celebrating the fortieth anniversary of the IFMC/ European centre. Moving the secretariat to USA was ICTM, contains several articles that examine its his-considered (eventually it went to Canada); and the jour- tory. By this point, the Yearbook, if not the ICTM itself, nal was for a long period edited in USA. I don’t know has changed its focus to the field of ethnomusicology whether the following applies to the organization as a as a whole. An article by Christensen (1988) suggests whole, but the newly established Yearbook clearly became that one abiding theme of discussion was the relation-something like a general scholarly journal, and as far as I ship of the Council as an organization to its American can tell, the Council was at that point becoming—even membership and to its rival, SEM. Perhaps like other more than previously—taken over by academics. international organizations, some in the leadership of I perceive something of a turning point in the early ICTM feared that moving its main offices and its edito-1980s, centring on the conference of 1981 in Seoul, rial apparatus to the USA at a time when this nation was the first to take place in East Asia, and Yearbook no. 15 perhaps at its zenith of political power, and obviously (1983) whose contents are explicitly centered on East on the verge of immense changes in Eastern Europe and Asian musics, with guest editors Hahn Man-young and the Soviet Union, would wreak changes that could result Tokumaru Yoshihiko. The notion that this is an organi-in the total de-emphasis of aspects of its original ideol- zation dealing with “folk” music in some sense, avoid- ogy—emphasis on “folk music,” an essentially human- ing classical traditions, is gone. And indeed, no one istic approach, and encouragement of an amateur class seemed to talk about the classification of music along of scholars and performers. Instead, there would be a those lines, having perhaps recognized that each culture more social-science oriented direction, evidence of the has its own taxonomy of music, more or (often) less kind of competitive academic existence characteris-comparable to the European. tic of American academia, and a lot more of “theory.” ICTM might be swallowed by its American “national committee”, which in fact was the SEM. (A good many who feared these results were themselves Americans.) In From the 1980s on the end, ICTM did, for a period, become more of an This period may be characterized ideologically by the American-centered institution, although no one actu-concept of expansion in various senses, significantly by ally set out to make it so. its name change from “folk” to “traditional” in 1981. In By this time, conferences being held biennially, alter-an international organization of scholars in the arts and nate issues of the Yearbook reflected the emphases of humanities, questions involving nationalism or regiona conference and providing venue or general contents alism may arise: Given that each society has its own or special topics such as dance. But the relationship of music and its own system of ideas about music, does conference and Yearbook declined otherwise as well. this mean that there is not one musicology or ethno- Thus vol. 21 (1989) is introduced by in the editor’s Mediating on Ideology in the History of IFMC/ICTM 49 preface with the statement, “the essays in this volume but in which ethnomusicology as specifically practised were selected to reflect a larger range of interests and in the West was a relatively new development. Devoting concerns than … the biennial conference volumes usu-issues of the Journal/Yearbook to “new” areas may be ally permit” (Christensen 1989:ix). Three or four of seen as an expression of ideology. One such issue to be the articles set out to make theoretical statements of noted is Yearbook 22 (1990), resulting in part from a broad significance, and those articles examining specific conference in Austria which contains a number of arti-musical cultures or repertories do so by looking at them cles by scholars from the Soviet Union who had been through a methodological lens—the refugee experience, especially invited to the conference and by others, issues of identity, revivals, and one way an ethnomusi-including Barbara Krader (1990) about Soviet scholar- cologist might look at Western art music. Although we ship. I interpret this as a gesture of welcome to a world are still presented largely with shortened (or expanded) area that had been neglected by ICTM, and perhaps as versions of conference presentations, this is very differ-a kind of anticipation of major changes about to occur ent from the kinds of work offered in earlier volumes. in the Soviet Union and Eastern Europe. Much more Thus, Journal vol. 10 (1958), giving contents of the recently, the need for scholars—though not necessarily Copenhagen conference of 1957, exhibits traditional their organizations—to take positions in political and approaches to melodic and modal analysis applied to social issues became more prominent in ICTM publi-eight European and three Asian, African, and Native cations (e.g. Harrison 2013; Rice 2014). American repertories. Vol. 22 (1990) tries to expand the concepts under pur- Now this kind of change reflects, of course, things that view of the ICTM by taking account of different— happened in world music research generally. But ICTM Soviet—approaches to terminology (Krader 1990). could have followed other alternatives: for example, Expansion is evident also, for example in vol. 32 (2000), moving from the type of content provided in vol. 10, devoted in part to the programme of the 1999 con-descriptive study of repertories, to something like the ference in Hiroshima. There is hardly anything about analytical approaches recently developed by Michael music that anyone could label as “folk.” Most articles Tenzer (Tenzer and Roeder 2011) and others. Instead, are about art music traditions, and one is explicitly a it did move to a perspective in which an anthropolog-biography of a Korean scholar of the 15h century. There ical approaches hold sway, where all repertories—folk, is much about modernity, motion, government control; classical, popular and more—are included, and instead and about the issue of research as a national or a multi-of showing how a generally accepted approach to analy- cultural activity. sis can illuminate the music of any people, the processes Finally, do these remarks about aspects of our history of history and culture change in one society can lead indicate identifiable ideologies, to which we have subto a general theoretical understanding about the way scribed? I suggest three—that over the years we have music works in the world, and how these processes can been egalitarian, expansionist, but also conservative: be explicated. 1. I believe that as an organization, particularly as exhibited in our major publication, we have been guided by concerns with an egalitarian approach By way of conclusion to the world’s musics, seeing ethnomusicology—as does the profession as a whole—as egalitarian in its As an international organization, I believe ICTM did essence (see Myers 1992:17); not—I recapitulate—take formal positions in regard 2. We have had concern—to various degree—with to political and social developments in the world; cer- the concept of authenticity, that is, with the study tainly not in its programme of scholarly publication. and preservation of music that truly represents its There do seem to be exceptions: the concern with refu- culture (however this may be determined). And gees and poverty (vol. 45), the attitude of inclusiveness; we have been guided—a conservative view of all proper research—by a search for truth as deter- the desire to expand the number of peoples and kinds mined by evidence. We have been non-judgmental of music with which we are concerned; and the ques- in our approach to music and to the world’s cul- tion of whether to permit Kurt Waldheim, president of tures, occasionally perhaps turning a blind eye to Austria but with a shady past in the Nazi era, to address events that ought to have roused our disapproval. the 1989 meeting. Adding areas in the world by locat- We have had some concern with the notion of doing people—musicians, mainly—some good; ing conferences in new places where the conventional Western European wisdom would have had it, there was 3. Perhaps most clearly, we have been expansionist— no music scholarship: starting with North America in adding, to our original European core, scholars and conference venues from the nations of the 1950 and Brazil a few years later and moving eventually world, adding musics from everywhere, going far to nations, largely in Asia, that have long traditions of beyond what the word “tradition” conventionally music scholarship and of collecting traditional music, means, making room in the Yearbook for work on 50 Bruno Nettl literally all types of music and surely beyond the word “folk” that was our original raison d’être. References cited Christensen, Dieter. 1988. “The International Folk Music Council and ‘The Americans’: On the Effects of Stereotypes on the Institutionalization of Ethnomusicology.” YTM 20: 11–18. ———. 1989. Ed. “Editor’s Preface.” YTM 21: ix–x. Harrison, Klisala. 2013. “The Relationship of Poverty to Music.” YTM 45: 1–12. IFMC.1955. “Resolution: Definition of Folk Music.” JIFMC 7: 23. [Karpeles, Maud]. 1950. “Editorial: Some Reflections on the Venice Festival and Congress.” JIFMC 2: 1–2. Karpeles, Maud. 1955. “Definition of Folk Music.” JIFMC 7: 6–7. ———. 1969 “The International Folk Music Council: Twenty- One Years.” YTM 1: 14–32. Krader, Barbara. 1990. “Recent Achievements in Soviet Ethnomusicology, with Remarks on Russian Terminology.” YTM 22: 1–16. Myers, Helen. 1992. Ethnomusicology: An Introduction. New York: Norton. Pulikowski, Julian von. 1933. Geschichte des Begriffes Volkslied im musikalischen Schrifttum. Heidelberg: Winter. Rice, Timothy. 2014. “Ethnomusicology in Times of Trouble.” YTM 46: 191–209. Tenzer, Michael, and John Roeder. 2011. Eds. Analytical and Cross- Cultural Studies in World Music. Oxford: Oxford University Press. The Council, the USSR, and the Issue of Political and Ideological Boundaries Razia Sultanova Behind the Iron Curtain: From first bution also mentions that ICTM received an issue of the mention to involvement in the Council’s Information Bulletin (Moscow 1961) containing infor- activities mation about the highly valuable survey of folk-music recordings held by the Phonogramm-Archive of the Although we know what the IFMC/ICTM and the Institute of Russian Literature of the USSR Academy USSR are as separate phenomena, so far there has been of Sciences branch in Leningrad, and also an article by no study on their connections during the Cold War that Viktor Vinogradov. In the next IFMC Bulletin, there was marked the period between 1947 and 1991 in global evidence that three of the most senior Soviet musicolo-politics. This chapter is a first attempt to study the gists from the Union of the Soviet Composers took part dynamics of relationship between the Council and the in the IFMC world conference on 13–21 July 1962 in USSR, with the Iron Curtain in between contributing to Gottwaldov, Czechoslovakia: Viktor Beliaev (Belaiev)1 ideological differences and disciplinary specifics. Based (1896–1953), Evgenyi Gippius (1903–1985), and on the IFMC/ICTM Bulletin s, which proved to be an the editor-in-chief of the series “Music of the Peoples excellent source for this task, as well as other sources, of Asia and Africa” (in Russian), Viktor Vinogradov this chapter highlights social and professional commu- (1899–1992) ( BIFMC 22, Oct 1962:8). nications between the Council and the Soviet Union All international connections between IFMC and the and demonstrates the Council’s success in connecting USSR started from that time, that is, from the 1960s, scholars across political and ideological boundaries. when the Soviet Union made its first professional steps If, at the beginning of the establishment of the IFMC, towards music organizations outside of the country. At the USSR was experiencing difficulties with rebuild-that time, Bulletin s introduced an interesting attempt ing the country after World War II and had very lit- at general coverage of all the most essential publications tle chance to be connected to international organiza- on folk music in the USSR, mentioning for instance, tions, the situation crucially changed after Stalin’s death “the Information Bulletins issued by the Foreign (1953), opening the “Thaw” (Оттепель) period of Commission of the Union of Composers of the USSR” the mid-1950s to the mid-1960s, initiated by Nikita ( BIFMC 25, Apr 1964:8), in a way heralding the work Khrushchev (1894–1971). The Thaw period caused of the Soviet musicologists in the USSR. Many substan-unprecedented social, cultural, and economic trans- tial volumes of folk-music studies were noted, namely: formations in the Soviet Union, with relaxed censor- History of the Working Class Reflected in Folk Songs and ship of the arts and some liberalization, during which Revolutionary Anthems by Y. Gippius and D. Shirayeva Russian composers, performers, and listeners of music (2 vols.); Lithuanian Folk Songs by J. Chyurlionite; experienced a newfound openness in musical expression Sutaring by Z. Slaviunas (a treatise on Lithuanian folk which stimulated the flow of international connections. canons); a work on Latvian folk songs by E. Melngailis; Consequently, the country started to build its relation-an investigation of Estonian folk songs and melodies by ships with the outside world, and Western scholars, G. Tampere (3 vols.); two collections of folk songs by composers, and musicians had their first opportunity Belorussian folklorists G. Tsitovich and G. Shirma; a to visit the USSR, the “closed” country behind the treatise on Georgian folk songs by G. Chkhikvadze (3 Iron Curtain. vols.); T. Aroshidze’s collection of Georgian work songs (500 songs); a study of the melodic styles of Russian folk One of them, Gerald Seaman from Liverpool University, music by Y. Gippius; and the eight-volume collection of noted the Soviet Union’s folk-song collection at Pushkin House in Leningrad in the IFMC Bulletin ( BIFMC 21, 1 Where the spelling of names in published sources differ Apr 1962:11). An editorial note attached to the contri-from present practice, the original printed forms are given in parentheses. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 51–59. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 52 Razia Sultanova Musical Culture of Azerbaijan, Armenia and Georgia, which was an attempt to systematize the history of Transcaucasian musical cultures (Beliaev 1963) ( BIFMC 27, Apr 1965:10). The next step brought real changes to the relationship between Soviet scholars and foreign ethnomusicologists. The Bulletin reported the first possible research trips to the USSR by foreign scholars, such as Rudolf Vig, who worked for a short time in the USSR among the Romani people, and László Vikár, who spent two months in the Mari and Chuvash Autonomous Soviet Socialist Republics. Another trip was undertaken by Philip Kutev, chair of the Bulgarian Union of Composers, who visited Moscow “to sign the treaty of co-oper- ation between the Union of Composers of the USSR and Bulgaria” ( BIFMC 34, Mar 1969:13). The same Bulletin also mentions the article “Disputes Regarding Genres” by the USSR scholar Izaly Zemtsovsky (even- tually published as Zemtsovsky 1983). An essential bibliography including publications by Soviet scholars appeared in A Select Bibliography of European Folk Music (Vetterl 1966), published in co-op- eration with the International Folk Music Council. It was edited by Karel Vetterl (Czechoslovakia), and Figure 1. Correspondence from Viktor Beliaev and his co-edited by Erik Dal (Denmark), Laurence Picken wife to Maud Karpeles (ICTM Archive). (UK), and Erich Stockmann (GDR). The bibliography attempted Uzbek folk songs, edited by Ilyas Akbarov and Yunus to list the most useful publications, both books and Rajabi2 ( BIFMC 25, Apr 1964:8). For the first time, the articles, and especially those of a scholarly nature, that Bulletin listed for its readers in the West the most essen- bear on the folk music of particular European coun- tial works by Soviet musicologists of the time. tries, including the whole territory of Turkey in the South and of Greenland in the North. The largest item In the following issue of the Bulletin, we see information consists of entries from the European part of the USSR, on the 17th world conference, held 17–25 August 1964 summarised … for the first time here. ( BIFMC 37, Oct in Budapest, Hungary. Among the 250 delegates at the 1970:10) conference, there were also two USSR scholars—Viktor We can clearly see that during the initial stage of coop-Beliaev (accompanied by his wife; figure 1) and Viktor eration between the Council and the USSR music Vinogradov—as the representatives of the Union of the authorities the focus was predominantly placed on folk-Soviet Composers ( BIFMC 26, Oct 1964:9). loric studies carried out by Soviet researchers, as well The next Bulletin introduced the international meeting as the relevant bibliography together with some initial of foreign composers together with Soviet composers face-to-face contacts. as a joint meeting of Hungarian and Soviet compos- Information on the next, bolder stage of that collabo- ers and musicologists, who met in Moscow at the end ration comes from a report on the General Assembly of of December 1963. The Council’s president, Zoltán the International Music Council, which took place in Kodály, who led the Hungarian delegation, wrote that: Moscow, 4–6 October 1971. IFMC was represented by When I came to know Russian music I decided that Luiz Heitor Corrêa de Azevedo, who reported: that was the road we should follow in order that our The meetings were excellently organized, with every voice should be heard. ( BIFMC 27, Apr 1965:10) facility, by the Union of Composers of the USSR. Amongst the new books in the bibliographical sec- Eleven international member organisations and thir- tion was listed the second volume of Beliaev’s Essays on ty-two national committees were represented at the General Assembly, with the members of the Executive the History of Music of the Peoples of the USSR entitled Committee and seven individual members. ( BIFMC 40, Apr 1972:4–5) 2 Akbarov (1909–1999) was the editor of the ten-volume Uzbek One of the most impressive facts was to find among the Folk Music (1959). Rajabi (1897–1976) recorded and tran- organizers of that General Assembly two outstanding scribed six volumes of Shashmakam (1975). The Council, the USSR, and the Issue of Political and Ideological Boundaries 53 music figures, mammoths of twentieth-century Soviet in the Audio-visual Media (IMDT) seminar, “Cultural music: Mstislav Rostropovich and Dmitri Shostakovich, behaviour of youth (Asia),” we read that the leading who were elected as IMC Executive Committee mem-expert from the USSR on Indian arts, bers. As it will also be seen later, participation of IFMC Prof. Kotovskaya6 … spoke about the reactions of in the events of the IMC was important for the involve- youth in their countries to the audio-visual media, ment of USSR scholars in the activities of IFMC. especially television and music programmes. ( BIFMC 47, Oct 1975:37) In 1968, the IFMC national subscription for the USSR was reduced to less than £5 due to the modest wages of Soviet musicians ( BIFMC 33, Oct 1968:16). Following the IMC General Assembly in Moscow, the Steadily growing connections attitude towards the IFMC changed. Soviet cultural As one can see from the information above, the 1971 authorities considered the IFMC to be an esteemed IMC General Assembly in Moscow was a turning point international, professional organization for music in the relationship between the IFMC and scholars from scholars, thus the most famous Soviet musicologists, the USSR. Following that event, cooperation became arts critics, composers, and performers were delighted closer and more active. The Baghdad International to be involved with it. Music Conference was held 17–27 November 1975 at Gradually more and more events in the Soviet Union the Cultural Centre of Baghdad. A Soviet scholar work-related to music were announced in the Bulletin s, for ing on the Arab world, Isabella Eolian (Eoljan) (1928– example, the 1973 jubilee of the Russian folk-music 1996), delivered the paper “Certain trends in the music expert Anna Rudneva (1903–1983): of Arab peoples” ( BIFMC 48, Apr 1976:13). Director of the Bureau of Folk Music of the Moscow Additional reports were offered in subsequent Bulletin s. Conservatory celebrates this year her 70th birthday. For example, in his report on the activities of the IFMC Mme Rudneva has been working in the Bureau since the late 1930s, beginning as an assistant to Professor National Committee of the German Democratic Klyment Kvitka.3 Her own major collecting has been in Republic, Erich Stockmann noted that a working ses-southwest Russia in the Kursk region, on which she has sion concerning folk-music instruments was held in published studies and a collection of transcriptions.4 Moscow in 1974. Stockmann continued “working on She has directed for several years the field collections of the Handbook of European Folk Musical Instruments the Bureau. Another major interest has been the direction of folk choruses, on which she has written text- within the framework of the Study Group on Folk books, and frequently advises. In addition, she finds Musical Instruments which he heads” ( BIFMC 49, Oct time to serve on many scholarly boards and committees. 1976:14). In relation to these handbooks, the report In the recently activized [ sic] Folklore Commission of also mentioned a journey with an opportunity to begin the Union of Composers of the USSR, Mme Rudneva work on the volume on the music of Soviet Union “to is one of the two vice-presidents. ( BIFMC 43, Oct Moscow in 1974, sponsored by the GDR National 1973:35) Committee, to attend a working session on research Later, there is information on the fourth conference of into folk musical instruments in the Soviet Union” and the Study Group Concerned with Research and Editing during a visit to Moscow and Leningrad in 1974 J. of Historical Sources of Folk Music before 1800 (the Elsner gathered information on the latest results in present Study Group on Historical Sources), which Soviet folklore research and conducted bibliographi- took place on 7–11 April 1975 in Kazimierz Dolny cal work and studies of material on Arab music. These (Poland), hosted by the Institute of Art of the Polish studies were followed up during a three-week stay in Academy of Sciences. Among the several dozen partic- Moscow, Baku and Tashkent in 1976. Agreements were reached on joint publications dealing with the maqam ipants, papers were presented by Soviet musicologists problem and mediaeval Arab treatises on music, on Evgenyi Gippius5 and Vyacheslav Shchurov (1937– which concentrated work has been going on in the 2020). In addition to their successful participation, Soviet Union in recent years. ( BIFMC 49, Oct 1976:14) Gippius invited the group to held its next meeting in At the time, the Council received an invitation from a 1977 in USSR, but the invitation was “declined with Turkish colleague for the rostrum to be held during a gratitude” ( BIFMC 47, Oct 1975:29). festival in Istanbul in June 1977. The theme of the ros- In the same Bulletin issue, in the report on the trum was to be “Relations and interaction of folk music International Institute for Music, Dance and Theatre of East and West” ( BIFMC 50, Apr 1977:11). This same Bulletin also contains information about 3 Kvitka (1880–1953) was a Ukrainian musicologist and a rostrum held in Budva, Yugoslavia, to which ethnographer. 4 See Rudneva (1975). 5 Consistently misspelled “Sippius” in the report in the BIFMC 6 Kotovskaya (1925–1993) was director of the leading Soviet (47, Oct 1975:29). centre for the study of arts, the State Institute of Arts. 54 Razia Sultanova broadcasting organizations from twenty countries, for organizing such an event was Fayzullah Karomatov including the USSR, participated. Recordings from the (1925–2002), one of the most internationally recog-rostrum were accompanied by a summary of the text nized leaders of the USSR music community. in English, French, German, and Russian, made by the The Second Samarkand Symposium on “Traditional Yugoslav National Broadcaster (ibid.). music of Central Asia and the Middle East in the USSR experts participated in two international, ethno- present time” was held 7–14 October 1983, and was musicological seminars in Czechoslovakia. The seventh organized by the Union of Composers of the USSR seminar (6–10 September 1976) was held in Donovaly, in conjunction with the IMC. Ethnomusicologists in cooperation with the subcommittee on music folk-and musicians from more than twenty countries par- lore of the international committee for research on ticipated. ICTM was represented by Erich Stockmann Carpathian culture. The theme was “Shepherd music (president), Salah el-Mahdi (vice president), and Dieter and dance culture in the Carpathians and the Balkans” Christensen (secretary general). IMC was represented ( BIFMC 51, Nov 1977:30). The eighth seminar, “The by its secretary general-elect, Vladimir Stepanek: “The editing of folk songs, instrumental music, and dances,” Symposium brightened the prospects for closer coop-took place 13–17 June 1977 in Smolenice Castle, the eration with musicians and musicologists in the Soviet home of the Slovak Academy of Sciences. Union” ( BICTM 63, Oct 1983:7). The interest of Western scholars (and not just of ethno- In another report, Izaly Zemtsovsky (Izalij Zemcovskij) musicologists) in the Muslim republics of the USSR, from Leningrad, USSR, is noted as attending a meet-and particularly in Central Asia, was at the forefront ing of the Study Group on Research and Editing of during the Cold War. This area was considered the Historical Sources of Folk Music, held in Medulin, “weakest point” of the Soviet Union due to the strains Yugoslavia ( BIFMC 56, Apr 1980:5). On sadder implicit in the relationship between Russian commu-news, the death in the USSR of the president of the nism and the Islamic secularizing of cultural national-International Association of Music Libraries, a French ism, as expressed in fundamental works by Alexandre scholar of Russian origin, Vladimir Fedorov (1901– Bennigsen and Hélène Carrère d’Encausse.7 In a sense, 1979), is also mentioned (ibid.:36). ethnomusicologists were catching up with and follow- ing the same trends. Breakthrough: Perestroika, glasnost, and The ICTM “Symposium on traditional music in Asian countries: Its inheritance and development” was held the collapse of the USSR in Pyongyang, the capital of the Democratic Peoples’ It is well known that perestroika was a political move- Republic of Korea, 13–15 October 1983, in conjunction ment for reformation within the Communist Party of with the 6th Asian Music Rostrum of the International the Soviet Union during the mid-1980s. It is widely Music Council/UNESCO. Delegates from thirteen associated with Soviet leader Mikhail Gorbachev and countries and international organizations, including his glasnost (“openness”) policy reform. The literal the USSR, presented and discussed twenty-four papers, meaning of perestroika is “restructuring,” referring to and established contacts for the future exchange of ideas the restructuring of the Soviet political and economic and experiences in the field of musicological research system in an attempt to end the Brezhnev Stagnation ( BICTM 63, Oct 1983:8; 65). Period. Perestroika lasted from 1985 until 1991, when A detailed report from that symposium, although here the USSR collapsed. called “Traditional music in Asian countries: History The IFMC was renamed the ICTM in 1981. In 1983, and development” ( BICTM 65, Oct 1984:9), men-the ICTM Bulletin contains an announcement about tioned the Tajik scholar Asliddin Nizamov (USSR), the Second Samarkand Symposium ( BICTM 63, Oct who delivered the address “Specific features of tradi-1983:7). This event was of considerable importance! tional musical legacy of peoples of Central Asia and problems of its development,” with a special emphasis The First Samarkand Symposium, “Sharq Taronalari” on the Tajik shashmakom: in 1978, was not mentioned at all in the Bulletin s, per- haps because it was “the first bird” breaking through his paper was particularly thought-provoking since it reflected well, for the Central Asian Soviet republics, the Iron Curtain to get international scholars to visit the processes of music preservation, reconstruction the USSR republic of Uzbekistan (figure 2). The Second and adaptation under the guidance of cultural policies Samarkand Symposium in Uzbekistan in 1984, how- to which the concept of “development” in the general ever, became a destination for foreign musicologists wanting to visit the historically famous Silk Road cit- 7 For example, Bennigsen and Wimbush (1976, 1985, 1986), ies of Samarkand, Bukhara, and Khiva. The key figure Bennigsen and Broxup (1983), and Carrère d’Enchausse (1965, 1966). The Council, the USSR, and the Issue of Political and Ideological Boundaries 55 Figure 2. The First Samarkand Symposium. Uzbek musicologists with the Indian delegation (Kadyr Kamilov, Ziyadulla Nasullayev, Narayana Menon, Rustam Abdullayev, Leonid Yusupov, Alexander Djumaev, Emani Sankara Sastry, Miss Kalyani, and Madras A. Kaynnan); Uzbek musicians playing karnay, two-metre long copper-brass trumpets, illustrating the extreme importance of the event. Samarkand, 1978 (photos by Dmitry Mikhailov). theme of the Symposium referred. ( BICTM 65, Oct Estonia) chaired a session on 3 August ( BICTM 66, Apr 1984:11) 1985:16). Isabella Eolian (USSR) searched more broadly for com- Visits abroad for Soviet ICTM members had increased monalities among “professional” music traditions of significantly, so that a participant named Slabutich West and Central Asia, in her paper, “Some universal from Ukraine (USSR) at the 16th International principles of music of the Middle and Near East”: Festival of Mediterranean Folklore in Murcia, Spain She pointed to oral music making and performance (9–11 September 1983), might begin to look common practice and to the unity of the creative process, where ( BICTM 64, Apr 1984:23). However, while the names the musician appears simultaneously in the roles of the of some Soviet scholars started to appear at ICTM composer, performer, and sometimes also of the poet. Another common trait is the occurrence of complex events, there is no evidence of their regular participa-forms that incorporate play, instrumental dancing and tion. Furthermore, no reports or announcements and musical entertainment forms with poetry, vocal and no liaison officers or national committees from the instrumental music, dance and pantomime being “on USSR are mentioned, just very occasionally the names a par.” (ibid.:12) of individuals at ICTM events. In subsequent Bulletin s, we can find important infor- An Asian Music Symposium was held 5–8 July 1984 mation about the 28th ICTM World Conference to at the Research Archives for Japanese Music, Ueno be hosted by the ICTM Swedish National Committee Gakuen College in Tokyo. Organized by the Japanese in 1985, suggesting in a preliminary itinerary that the Committee of the UNESCO World History of Music, large group of participants should undertake a visit to the symposium was attended by international guests the USSR: including one from Moscow, Vsevolod Zaderatsky, The Conference will begin on July 30, 1985, in head of the musicology and arts criticism committee Stockholm, then, on August 4, move by chartered at the Union of the Soviet Composers of the USSR ship to Helsinki/Finland and on August 6 by bus to ( BICTM 67, Oct 1985:23). Leningrad/USSR, where the Closing Ceremony will take place on August 8. Joint return from Leningrad In the same Bulletin, there is another announcement is by bus to Helsinki and chartered ship to Stockholm, on a completely new experience related to perform-where we shall arrive on the morning of August 9, ers. Following Tunisia’s concern for openness to other 1985. ( BICTM 64, Apr 1984:3) cultures, a particular effort was made during 1985 to The ICTM meeting calendar reminded readers of the encourage the exchanges of musical groups between same itinerary (ibid.:27). Krister Malm confirms that countries. As a result, Tunisian musicians and ensem-such a plan was successfully realized (Pettan 2014:100). bles visited many countries and participated in inter-Some scholars from the Soviet Baltic states were also national festivals, such as those in the USSR, Canada, involved in the world conference: Ingrid Rüütel (USSR-France, and Italy ( BICTM 67, Oct 1985:26). 56 Razia Sultanova In the preliminary programme for the 29th ICTM panel on Current Research and Directions in Soviet World Conference in Berlin in 1987, we find the Musicology. ( BICTM 74, Apr 1989:4) name of Givani (Giovani) Mikhailov (USSR) present- A “Soviet Day” was specially arranged and organized ing the paper “On the problem of system terminology by Margarita Mazo and Barbara Krader, and dedicated elaboration according to the main types and kinds of to the subject of “Contemporary research in the Soviet world music,” and another USSR member, Fayzullah musicology,” presented by the delegation of Rimma Karomatov, presenting a paper in German, “Die musi-Kosachova, Givani Mikhailov, Eduard Alekseev, and kalische Folkloristik in den Republiken Mittelasiens” Tamila Djani-Zade from Moscow; Vyacheslav (Victor) ( BICTM 70, Apr 1987:12, 13). Shchurov from Kiev, and Izaly (Izalij) Zemtsovsky from The Third Samarkand Symposium was held 1–7 October Leningrad; Otonazar Matyakubov and Aleksander 1987, four years after the previous one. Generously Djumaev from Tashkent; Arnold Klotinsh from Riga; arranged and sponsored by the USSR Union of and Asiya Muhambetova from Alma Ata (Djumaev Composers, this significant event assembled the interna-1990:127, n. 1).8 Other participants in the panel tional community of musicologists and musicians “once included Barbara Krader (West Berlin), Margarita more in the ancient city of Samarkand in Uzbekistan to Mazo (USA), Harold Powers (USA), and two Western discuss the musical traditions of Central and West Asia scholars who studied music of the Soviet Union at ... and to enjoy a series of evening concerts” ( BICTM Tashkent State conservatory: Angelika Jung (GDR) 71, Oct 1987:8). ICTM was officially represented by and Theodore Lewin (USA). In the USSR, all arrange-Erich Stockmann (president) and Dieter Christensen ments were made through the Union of Composers in (secretary general). Other ICTM members who par-Moscow, as it was the ICTM National Committee for ticipated were John Blacking, Ludwik Bielawski, Anna the USSR, which also supported the representation of Czekanowska, Jürgen Elsner, and Bálint Sárosi (ibid.; Soviet musical scholarship at the conference ( BICTM Djumaev 1990:127, n. 1). 74, Apr 1989:4). In a way, the world conference in Austria was a gesture by ICTM to welcome the USSR The inside cover of the October 1988 Bulletin lists that had previously been rather neglected, and perhaps study groups and their chairs, including the co-chairs as a kind of anticipation of major changes about to for the Study Group on Maqām: Jürgen Elsner (GDR) occur in the Soviet Union. and Fayzullah Karomatov (USSR) ( BICTM 73, Oct 1988). The approval of the new study group by the The warm atmosphere, generous hospitality, and the ICTM Executive Board and the appointment of Elsner sincere kind attention and respect towards the Soviet and Karomatov as co-chairs is noted inside (ibid.:8). delegation were the main impressions of USSR parThe study group held its first meeting from 28 June ticipants. For the first time, many representatives of to 2 July 1988 in Berlin, GDR. A detailed report by various schools of Soviet ethnomusicology visited an Harold Powers appears in the Yearbook for Traditional ICTM conference and presented papers, which was Music (1988). rather unusual for Soviet colleagues; they felt pride as USSR participants and in the success of their country’s In 1988, the Union of Composers of the USSR joined scholarship (Shchurov 1990:128, n. 1). Soviet partici-the Council as the National Committee for the Soviet pants were very impressed with the practical skills of the Union. Tikhon Khrennikov, president of the Union, Western scholars, who could not only deliver papers, served as the first president of the national committee but also play the instruments they had studied and par- ( BICTM 73, Oct 1988:7–8). The committee was con- ticipate in evening music-performance activities. Soviet firmed by the Executive Board at its 69th meeting on scholars were also surprised at the level of technical 14–16 May 1988, in Czopak, Hungary (ibid.:11). This equipment used by Western ethnomusicologists. They provided a real boost to the appearance of delegations noticed differences in the Western education system from the USSR, and invitations to attend some global compared to the Soviet one, where conservatories had events multiplied. no subjects such as ethnology, sociology, cultural stud- Soviet scholars came to Schladming, Austria, to partic- ies, or anthropology in their curriculum, but only music ipate in the 30th ICTM World Conference on 23–30 theory and practice. Such observations left the mem-July 1989: bers of the Soviet delegation with the hope that they The Schladming Conference will see, for the first would soon be able to see some changes for the best in time in the history of the Council, a strong presence their own education system and profession (Shchurov of scholars from the Soviet Union. With the help of 1990:129, n. 1). Austrian authorities, international exchange agree- ments, and thanks to the generosity of several ICTM members, the ICTM has been able to invite ten col- 8 Barbara Krader was for decades instrumental in introducing leagues from the Soviet Union to … contribute to a publications and research from Eastern Europe to the West. More about her can be found at https://www.ethnomusicology. org/page/SF_Memorials_Krader. The Council, the USSR, and the Issue of Political and Ideological Boundaries 57 When the USSR opened its borders for professional ing to the foreground more openly as things opened communications, it was indeed a remarkable change and up with the progressive indigenisation of scholarship in break through the Iron Curtain. And, for the first time, the 1970s. (Slobin 1997:28) someone from the USSR was listed among the mem- Therefore, an inner controversial policy was also an bers of the ICTM Executive Board. At the 29th General explanation for the rare appearance of publications by Assembly of the ICTM on 28 July 1989, held during Soviet ethnomusicologists in the Council’s journal. the Schladming conference, the Board announced it had co-opted Izaly Zemtsovsky (Zemtsovski) (USSR) ( BICTM 75, Oct 1989:3). Zemtsovsky would serve on The post-Soviet stage: The 43rd ICTM the Board until 1993. World Conference in Kazakhstan and The fourth meeting of the Study Group on Iconography other developments was announced to take place on 23–30 September 1990 in Bukhara, USSR, concerning the topic “The music in The 43rd ICTM World Conference, held in Astana, the visual arts of Central Asia before 1700,” organized Kazakhstan, in 2015, fully displayed the historical role by Fayzullah Karomatov and sponsored by the Unions of ICTM in crossing political and ideological bounda-of Composers of the USSR and Uzbekistan ( BICTM ries as a powerful non-governmental scholarly organi-76, Apr 1990:27; 77, Oct 1990:12). zation in formal consultative relations with UNESCO. An ICTM Colloquium was announced for 1993 in The decision to hold this world conference in Astana Khiva, Uzbekistan (USSR), with the theme “Migrations was announced during the 41st ICTM world confer-of musical ideas – Central Asia.” Dieter Christensen was ence held in Shanghai in 2013. As one of the most programme chair and Otanazar Matyakubov local orga-important international conferences held in the field of nizer ( BICTM 77, Oct 1990:24). traditional music, the world conference took place in a Beginning with the Bulletin of April 1992, Board mem- Turkic-speaking country for the first time in the history ber Zemtsovsky is no longer listed as representing the of the ICTM. I was privileged to be appointed a pro-USSR, but only Russia ( BICTM 80, Apr 1992: inside gramme co-chair for the conference, in collaboration front cover). Indeed, after the collapse of the USSR in with Timothy Rice. 1991, ICTM members from the former Soviet Union The conference was a high-profile event, with dep-began to be replaced by other colleagues from post-So- uty prime minister delivering a speech at the opening viet countries. ceremony. In her greetings, ICTM President Salwa The ICTM Study Group on Maqām met on 23–28 El-Shawan Castelo-Branco stressed that this was the March 1992 concerning the theme, “Regional tradi-first time an ICTM world conference was being held tions of maqām in history and at the present time,” in a country of Central Asia. She noted that the ICTM with an emphasis on the maqām-traditions of the strongly contributes to the establishment of new ties Uighurs, Tajiks, Uzbeks, and Turkmens ( BICTM 80, among countries and peoples through music and dance, Apr 1992:8). thus also considerably strengthening intercultural rela- tions. TÜRKSOY’s secretary general, Düsen Kaseinov, Very few publications concerning the USSR appeared commented that the International Organization of in the Council journal. Some that did appear were: Turkic Culture (TÜRKSOY) will always support Beliaev (1969), Krader (1970, 1990), and Kosacheva conferences and events that gather experts and scholars (1990). There were various reasons for this, from pure working in the fields of music, musicology, and music ideological issues within the country’s inner policy, education and welcomed distinguished scholars from the when the Soviet publications were expected to reflect whole world to Kazakhstan. The host of the conference on the state official code system (Zemtsovsky and and rector of the Kazak National University of Arts, Kunanbaeva 1997:3), to some pure scholarly contradic-Aiman Mussakhajayeva, stressed that the conference tions. According to Mark Slobin, one of them was would be an unprecedented event, paving the way for the strong regional divisions in scholarly orienta- further activities to explore the roots of Kazakh national tion that existed behind the facade of dictated pol- art and to introduce it to the world.9 icy. For example, the Baltic states of Estonia, Latvia, and Lithuania retained strong intellectual ties to the The 43rd World Conference in Astana gathered 640 Germanic school of folklore studies, while the Russian senior scholars from 70 countries, becoming the biggest scholars were more apt to be influenced by the work event in ICTM history at that time. Throughout the of Boris Asaf’iev, the great twentieth-century Russian music theorist. Central Asians, while strongly under the conference, participants attended diverse sessions spell of Russian theory and methodology, nevertheless had their kinship to Middle Eastern and Indian sources and practice always in the back of their minds, mov- 9 https://www.turksoy.org/en/news/2015/07/16/43rd-world- conference-of-the-ictm-held-in-astana. 58 Razia Sultanova and took part in sightseeing tours outside of Astana. tries, Belarus (Galina Tavlai), Estonia (Žanna Pärtlas), It was nearly a quarter of century after the collapse of Latvia (Anda Beitane), Russia (Olga A. Pashina), and the Soviet Union before an ICTM world conference Ukraine (Olha Kolomyyets). would be hosted in a republic of the former USSR: The four ICTM study groups that bring together Kazakhstan. This was a significant step forward in most members from the ethnically diverse former relations between ICTM and the region of the former Soviet lands include Maqām (co-founded by Jürgen USSR. Many ICTM members who previously had Elsner and Fayzulla Karomatov; chaired by Alexander no chance to visit the USSR when it was “behind Djumaev), Multipart Music (founded and chaired the iron wall” came to Kazakhstan for their thirst by Ardian Ahmedaja), Music of the Turkic-speaking to see a country that was closed to foreigners for 70 World (founded by me and Dorit Klebe; chaired ini-years. Thirteen parallel paper sessions, and regularly tially by me and then co-chaired by Galina Sychenko running concerts and receptions all happened thanks and Kanykei Mukhtarova), and Music and Dance of to support of UNESCO, the Kazakh government, and the Slavic World (which resulted from Svanibor Pettan’s TÜRKSOY, which was there from the very beginning cooperation with the founding chair, Elena Shishkina, of that initiative. Many participants were impressed by and Rimantas Sliužinskas in the context of the annual the high scholarly quality of that conference. festivals with symposia, “Voices of the Golden Steppe,” ICTM Secretary General Svanibor Pettan observed: organized by Shishkina in Astrakhan, Russia; chaired by For the first time in the history of the Council, our larg- Ulrich Morgenstern). est scholarly gathering took place in Central Asia, in the former Soviet Union, and in a (secular) country where Islam is the predominant religion. Such an endeavour would not have been possible without extensive plan- A personal note as a postscript ning and coordinated cooperation by dedicated indi- viduals … It was an exciting experience and great honour to go through the IFMC/ICTM Bulletin s, reflecting on the I would like to emphasize the essentially important cooperation with the Local Arrangements Committee presence of the USSR in ICTM history. Living in the at the Kazakh National University of Arts (KazNUA), USSR and being cut off from the rest of the world where our key contacts for two years were Saida meant that scholars were limited in connections with Yelemanova (LAC Co-Chair) and Fatima Nurlybayeva the Council, a leading international music scholarly (special liaison for day‐to‐day ICTM affairs). Razia organization that provided an international network Sultanova, in addition to co-chairing the Programme Committee with Timothy Rice, deserves gratitude for (Strohm 2018). From my personal experience, the her crucial contributions as cultural consultant thanks first event with the involvement of ICTM members to to both her origin and expertise in Central Asia. Düsen be held in a place very distant from central Moscow Kasseinov, Secretary General of TÜRKSOY, supported officials—Central Asia—was the third International our shared efforts at all times. ( BICTM 129, Oct Tribune of Asia, held in Almaty, Kazakhstan (October 2015:2) 1973), and organized by UNESCO. At that time, I was Prior to, at the time of, and subsequent to the world a student at the Tashkent College of Music. Our profes-conference in Astana, the ICTM Secretariat made sors took part in this event and shared the titles of the systematic efforts to find national representatives presentations, some of which were rather unusual and for all countries that emerged from what was the even instilled a degree of fear in us: for example, “Sufi Soviet Union. In 2011, at the end of the mandate music of Bengal,” “Religious aspects of Indian raga,” etc. of the Secretariat in Canberra, ICTM had liaison Later, in 1978, the First International Symposium held officers in Azerbaijan (Sanubar Baghirova), Belarus in the USSR in Samarkand called “Sharq taronalari” (Elena Maratovna-Gorokhovik), Kazakhstan (Saule (Oriental tunes) was organized under the initiative of Utegalieva), Latvia (Martin Boiko), Russia (Alexandar Fayzullah Karomatov, with the participation of many Romodin), Ukraine (Olena Murzina), and Uzbekistan ICTM members from all over the world. (Alexander Djumaev), as well as national commit- One can imagine how enthusiastic and curious we were tees in Estonia (Ingrid Rüütel, chair) and Lithuania as Tashkent Conservatory students, when, for the first (Rimantas Sliužinskas, chair). In the period up to 2017, time in our lives, we were allowed to participate even the Secretariat in Ljubljana, with my invited assistance, just as listeners! World famous ethnomusicologists enriched the ICTM World Network by national rep-like John Blacking, Dieter Christensen, Jürgen Elsner, resentatives of Armenia (Tatvik Shakhulyan), Georgia Habib Touma, and many others arrived to take part. (Joseph Jordania), Kyrgizstan (Kanykei Mukhtarova), We, the young students, were excited to such extent, Moldova (Diana Bunea), Tajikistan (Faroghat Azizi), that once I was even detained by police after Habib and Turkmenistan (Shakhym Gullyev). New scholars Hasan Touma’s presentation, because I publicly asked came to represent several of the earlier present coun-questions about what publications on rhythm of maqām The Council, the USSR, and the Issue of Political and Ideological Boundaries 59 existed abroad. The interrogation at the local police sta- Music in the Former Soviet Union and Eastern Europe, edited tion went: “How dare you, Sultanova, a Soviet student, by James Porter, 28–31. Los Angeles: UCLA Department of openly ask questions addressed to a foreigner-scholar at Ethnomusicology. Strohm, Reinhard. 2018. “Tradition, Heritage, History: A View on this international Sharq taronalari symposium?! Shame Language.” Musicological Brain Food 2: 1–10. on you!” Luckily, I was promptly released, after it was Vetterl, Karel. 1966. Ed. A Select Bibliography of European Folk discovered that my father held a high position in the Music. Prague: Institute for Ethnography and Folklore of the Czechoslovak Academy of Sciences, in co-operation with the Republican Police in Tashkent. International Folk Music Council. Those days are gone, and today in the 21st century, Zemtsovsky, Izaly. 1983. “K teorii zhanra v muzykal’nom fol’klore” [On the theory of genre in musical folklore]. Sovetskaya our colleagues-scholars from the former USSR are free muzyka [Soviet music] 4: 61–65. to host international conferences, seminars, and mas- Zemtsovsky, Izaly, and Alma Kunanbaeva. 1997. “Communism terclasses, and to publish their articles in the Yearbook and Folklore.” In Folklore and Traditional Music in the Former Soviet Union and Eastern Europe, edited by James Porter, for Traditional Music or other journals. Nevertheless, it 3–23. Los Angeles: UCLA Department of Ethnomusicology. took a long time of changes, adjustments, and learning the new experience. References cited Akbarov, Ilyas. 1959. Uzbekskaya narodnaya myzika [Uzbek folk music]. 10 vols. Tashkent: Gafur Gulyam. Beliaev, Viktor M. 1963. Ocherki po istorii muzyki narodov SSSR. Vypusk 2: Muzykal’naya kul’tura Azerbaidzana, Armenii i Gruzii [Essays on the history of music of the peoples of the USSR, vol. 2: Musical culture of Azerbaijan, Armenia, and Georgia]. Moscow: Muzika. ———. 1969. “The Russian Protiazhnaia ‘Prolonged’ Folk Song.” YIFMC 1: 165–175. Trans. Barbara Krader. Bennigsen, Alexandre, and Marie Broxup. 1983. The Islamic Threat to the Soviet State. London: Croom Helm. Bennigsen, Alexandre, and S. Enders Wimbush. 1976. Muslim National Communism in the Soviet Union: A Revolutionary Strategy for the Colonial World. Chicago: University of Chicago Press. ———. 1985. Mystics and Commissars: Sufism in the Soviet Union. London: Hurst. ———. 1986. Muslims of the Soviet Empire: A Guide. London: Hurst. Carrère d’Enchausse, Hélène. 1965. Le marxisme et l’Asie, 1853– 1964. Paris: Armand Colin. ———. 1966. Réforme et révolution chez les musulmans de l’Empire russe: Bukhara 1867–1924. Paris: Presses de la Fondation Nationale des Sciences Politiques. Djumaev, Alexander. 1990. “Forum tradizionnoi muziki” [Forum of traditional music]. Sovetskaya muzyka [Soviet music] 1: 127. Kosacheva, Rimma.1990. “Traditional Music in the Context of the Socio-political Development in the USSR.” YTM 22: 17–19. Krader, Barbara. 1970. “Folk Music in Soviet Russia: Some Recent Publications.” YIFMC 2: 148–154. ———. 1990. “Recent Achievements in Soviet Ethnomusicology, with Remarks on Russian Terminology.” YTM 22: 1–16. Pettan, Svanibor. 2014. “International Council for Traditional Music (ICTM) and the Slavic-speaking World.” Pax sonoris 8: 97–103. Powers, Harold. 1988. “First Meeting of the ICTM Study Group on Maqam.” YTM 20: 199–218. Rajabi, Yunus. 1975. Shashmakam. 6 vols. Tashkent: Gafur Gulyam. Rudneva, Anna V. 1975. Kurskie tanki i karagody. Tanochnye i karagodnye pesni i instrumental’nye tanzeval’nye piesy [Kursk’s tank s and karagody: Tank and karagod songs and instrumental dance pieces]. Moscow: Sovetskiy kompozitor. Shchurov, Vyacheslav. 1990. “Forum tradizionnoi muziki” [Forum of traditional music]. Sovetskaya muzyka [Soviet music] 1: 128–129. Slobin, Mark. 1997. “Thoughts on Zemtsovsky’s and Kunanbaeva’s ‘Communism and Folklore.’ ” In Folklore and Traditional ICTM Archive Stephen Wild, Kim Woo, and Lee Anne Proberts History After the Secretariat was transferred to the Australian National University (ANU) in 2006, the records were The ICTM Archive, currently housed at the National dispatched from UCLA to the NLA. At the expense of Library of Australia (Canberra, Australia) consists the ICTM, a cataloguer was employed by the NLA to of Council records since its inception in 1947 as the organize the material for user access. A summary and International Folk Music Council (IFMC) in London. the catalogue were placed on the NLA website under the These records previously passed from one Secretariat catalogue title of “Records of the International Council to the next. At the time of writing, the records in the for Traditional Music, 1948–2009 [manuscript].”2 ICTM Archive end at 2005, the end of the Secretariat at the University of California, Los Angeles (UCLA).1 The Archive was launched at the NLA by the president of the ICTM, Adrienne Kaeppler, in February 2008 on The records resided at the Department of Music, the occasion of a regional conference of the UNESCO Columbia University (New York, USA), from 1981 to programme “Memory of the World.” The launch was 2001, when Dieter Christensen was secretary general. accompanied by an exhibition of the Archive high-Following the sudden resignation of Christensen as sec- lights, including a letter from Ralph Vaughn Williams, retary general at the world conference in 2001, one of explaining his non-attendance at a world conference the urgent tasks of the new secretary general, Anthony due to his impending visit to Antarctica. Seeger, was to negotiate the release and effect the trans- portation of these unorganized records from Columbia At the end of the Canberra Secretariat (2011), Wild University to UCLA. made a second deposit of material to the Archive. This material consisted of the records of the UCLA Secretariat The Council then began to cast around for a perma- (2001–2005), and included records of the evaluations nent location for the records as a permanent archive. of recommendations for the Masterpieces of the Oral It eschewed the United States as a country where the and Intangible Heritage of Humanity—a precursor to Archive could be established on the grounds that, as a the Intangible Cultural Heritage Convention—con-world organization whose membership resided substan- ducted by ICTM for UNESCO. These masterpieces tially outside the United States, and more of its activi- were incorporated into the Representative List of the ties occur outside the United States, it was more appro- 2003 Convention 2003. Subsequent records of the priate for the Archive to reside elsewhere. ICTM may be added to the Archive. In 2005, Stephen Wild approached the National Library of Australia (NLA) as a possible repository. The initial approach to the manuscript librarian was rejected, but Access and use a second approach in the same year to the curator of music of the NLA, Robyn Holmes, proved fruitful. The Archive is composed of two parts: MS 10017 and Holmes convened a meeting between the director gen-MS Acc11.158. The first part consists of records up eral of the NLA, Jan Fullerton; Seeger, who was visiting to 2001 (to the end of the period of the Columbia Australia; Wild; and the acting manuscript librarian. University Secretariat); and MS Acc11.158 consists of Fullerton accepted the proposal for the Archive to be records from the period 2001–2005 (the period of the established in the NLA. A contributing factor may have UCLA Secretariat). been that the ICTM Secretariat was due to move to In general, the contents of the Archive are open for Canberra in 2006. research purposes, and permission is required from 1 Documentation from 2006 on is digitalized and for the most 2 The collection’s catalogue record is located at https://catalogue. part accessible on demand from the Secretariat. nla.gov.au/Record/3661782. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 60–63. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Archive 61 ICTM for publication. The exception to this is the Series 3. Papers relating to UNESCO and International contents of box 1 under MS Acc11.158, which has Music Council, 1960–1998 been placed under embargo until 2033. These are the Series 4. International Council for Traditional Music records of the evaluations of recommendations for the files from the 1960s, 1948–1990 Masterpieces of the Oral and Intangible Heritage of Series 5. Records and correspondence, 1969–2001 Humanity referred to in the previous section. Series 6. Financial records, 1969–1999 All records are part of the Special Collections of the Series 7. Memberships files and records, 1950–1996 National Library. Access is provided by the library in a Series 8. Papers relating to publications of the dedicated reading room. No digital access is available, International Council for Traditional Music and pub- as the cost of digitization of the physical records was licity, 1949–1995 determined to be prohibitive. As Special Collections are housed off-site, advance notice to the National Library Each series refers to subject classifications, not to the is needed for access. actual files and boxes. File numbers in series 1, 2, and 3 are sequential within each series. Note that in the con- tainer list, the column heading of folders/pieces refers to file numbers mentioned under the series classifications. Content For example, “Secretary’s reports, 1972–1974 (File 4)” The Archive collection is housed in a total of 104 boxes, may be located from the container list as residing in box of which the original deposit constitutes 98 boxes. The 51; while “Correspondence [group and separate files second deposit, covering the UCLA Secretariat (2001– labelled] VA – VZ and Vaughan Williams, 1949–1967 2005), constitutes the remaining six boxes. (File 211)” is in box 50. The collection includes office files; Executive Board, Some files are identified by sub-series numbers in addi-UNESCO, and International Music Council papers, tion to file numbers; therefore, the associated box num-committees, and liaison-officer supporting papers; bers can only be found by including the sub-series num-legal papers relating to governance and administration; bers. For example, “Executive Board meetings minutes, financial records; correspondence and other papers 1986–1987 (Sub-series 1.5, File 15)” is found in box 2. relating to the colloquia and conferences held in various In summary, the material in the second deposit, MS countries over the life of the Council. The office files Acc11.158, for the period 2001–2005, is similar to comprise the major part of the collection and include MS 10017 in content classification. However, the series administration and financial records, and files relating are unnumbered: to Council publications. Publications, sound record- Series. Records and ICH/Masterpieces Program ings, and conference proceedings do not form part of Series. UNESCO General; Participation Program this collection. Series. Executive Board, General Assembly, Publishing Catalogued under the title of “Records of the Series. Secretariat Papers International Council for Traditional Music, 1948– 2009 [manuscript],” the Archive records are organ- Series. Conference, Colloquia. Study Groups, National ized by way of series and files. The list of contents is and Regional Committees easily accessible through the finding aid, “Guide to Series. Financial Records the Records of International Council for Traditional As noted above, the Archive is physically stored offsite. Music” on the NLA webpage.3 The files are placed in Therefore, users need to request to examine individual boxes numbered according to the container list in the boxes related to selected material before visiting the table of contents. Each file is given a descriptive title, NLA, so that these files could be delivered to the Special e.g., “Status of International Council for Traditional Reading Room. Music, 1990–2001.” The first deposit, MS 10017, has been classified into eight series by the NLA. Each series represents a sub- Highlights of contents ject, as follows (quoted directly from the NLA website): We do not intend to write a history of the Council, but, Series 1. Papers relating to the Executive Board of the International Council for Traditional Music, rather, just to describe some highlights of the contents 1951–2001 which may interest readers. Series 2. National Committees and Liaison Officers papers and correspondence, 1951–2001 DOCUMENTS RELATING TO MAUD KARPELES Among the documents there is a typed script of a 3 Presently found at: https://nla.gov.au/nla.obj-415329506/ findingaid. broadcast by Frank Howes in tribute to the IFMC 62 Stephen Wild, Kim Woo, and Lee Anne Proberts Figure 1. Extract from the Radio Programme “Music Magazine,” Sunday, 7 November 1965, “Karpeles on her 80th Birthday: A Tribute by Frank Howes,” with photograph of Maud Karpeles. founder and honorary president, Maud Karpeles, on a yearbook. Ringer was the editor of the first two issues her eightieth birthday (see figure 1). This was part of of the Yearbook of the International Folk Music Council, the the radio programme “Music Magazine,” broad-which began publication in 1969. cast on 7 November 1965 on BBC Network 3. Frank Howes sings praises of Karpeles’s qualities as a scholar/ CORRESPONDENCE BETWEEN T. G. H. STREHLOW AND researcher, saying “in her, art, scholarship and tenacity MAUD KARPELES are equally blended.” Also included in that tribute is A number of letters exchanged between T. G. H. an account of Karpeles’s tireless involvement in Cecil Strehlow and Karpeles also exist in the Archive. They Sharp’s research on English folk dance and survivals concern the publication of an article on Australian of English folk songs in the Appalachian Mountains, Aboriginal music by Strehlow following the invitation USA. The tribute highlights her involvement in the of Karpeles. Strehlow was an early specialist on Central International Festival of Folk Dance (London, 1935), Australian Aboriginal music. He grew up in a Central as well as her role in the beginnings of IFMC. Australian Aboriginal mission and was fluent in the Aboriginal language Arrernte (also called Aranda). Two DOCUMENTS RELATING TO ZOLTÁN KODÁLY of his books were Aranda Traditions (1947) and Songs There is a letter dated 20 January 1960 from Karpeles to of Central Australia (1971). His first research assistant Zoltán Kodály thanking him for accepting the position was Catherine Ellis, another well-known Australian of president of IFMC. The letter mentions increasing ethnomusicologist. subscription costs, not for individual members, but for national committees, and also notes a grant from the Ralph Vaughn Williams Trust. The finances of the Conclusion IFMC are said to be in fine condition. The ICTM Archive in its current form contains records LETTER FROM ALEXANDER RINGER collected, often unsystematically, by each Secretariat and passed on to the next. There was never an archive This letter of 14 March 1968 raises concerns about the policy, and undoubtedly, there are many gaps in the commitment of the IFMC Board to the proposed new record. Eventually this collection grew so large that it journal publication, referred to by Alexander Ringer as became imperative to preserve it properly. Despite the ICTM Archive 63 undoubtedly incomplete record, the Archive is a vast repository for the history of the Council. Enterprising historians will find it a rich source of documentation for the history of IFMC/ICTM, as has been the case for writing a number of the chapters in this volume. There needs to be an archive policy to ensure a sys- tematic and comprehensive collection and safekeeping of material documenting the history of the Council from its very beginnings onwards. Such a policy might include the digitization of subsequent contributions to the Archive, a call for significant historical documents to be held by the current Secretariat for inclusion in its final deposit, and the establishment of a fund dedicated to the digitization of the current records. Such a policy should require that at the conclusion of each Secretariat, the records passed on to it by the pre- vious Secretariat be deposited in the Archive in a timely manner. It must be noted here that the National Library of Australia will not accept individual or only a handful of documents, but instead requires a substantial deposit at any one time. Hence the need for each Secretariat to maintain carefully all documents regarding the organi- zation’s activities during its period of responsibility, and to organize the records in an accessible manner. References cited Strehlow, T. G. H. 1947. Aranda Traditions. Melbourne: Melbourne University Press. ———, 1971. Songs of Central Australia. Sydney: Angus and Robertson. GOVERNANCE Governance: Introductory Note The governance of the Council is in the hands of elected Executive Board members, working in close collaboration with a secretary general, appointed by the Board, who is responsible for the day-to-day operations of the Council through the Secretariat. The following chapters are devoted to the eleven men and women who have served the Council as presidents up until 2020, as well as the twelve individuals who have headed the Secretariat, a position now known as secretary general. World conferences are the usual occasions for General Assemblies, where the members present vote on important matters. But, as General Assemblies are also intimately tied to the terms of office for Board members, they can also be held separately from world conferences. This happened in 2021, when the planned world conference could not take place because of the COVID-19 pandemic, and was postponed until 2022; nevertheless, the General Assembly did take place online to enable continuity in the terms of office of all Board members. At that General Assembly, ICTM members elected to the Executive Board a new president (Svanibor Pettan), vice president (Tan Sooi Beng), and three ordinary members (Silvia Citro, Kendra Stepputat, and Jasmina Talam). The Board also co-opted two members (Daniel Kodzo Avorgbedor and João Soeiro de Carvalho) and appointed a new secretary general (Lee Tong Soon). Another chapter also considers the membership of Executive Boards over the years and the committees the Board has established to assist in its work. Presidents Ralph Vaughan Williams: IFMC President, 1947–1958 Don Niles The October 1972 Bulletin of the International Folk presidents today, Vaughan Williams’s relation was Music Council celebrates the twenty-fifth anniversary indeed more inspirational. of the founding of the Council. It includes a transcript of a report on the 1947 conference at which it was founded (pp. 6–26), miscellaneous “jottings” on the Friendship with Karpeles Council from 1947 to 1963 (pp. 27–33), and a mes- sage from the president, Willard Rhodes (pp. 33–34).1 In 1903, Ralph Vaughan Williams (1872–1958) started Sandwiched between these is a notice acknowledging collecting English folk songs, three months after Cecil the centenary of the birth of Ralph Vaughan Williams: Sharp (1859–1924); eight years later, both would be on Ralph Vaughan Williams a committee of the English Folk Dance Society (EFDS) 1st President of the IFMC 1947–1958 with Maud Karpeles (Pakenham 2011:29). Vaughan October 12th, 1972, is the hundredth anniversary of Williams would collect more than 800 songs, singing the birth of Ralph Vaughan Williams, and celebra-games, and dance tunes, mostly before 1910. Although tions of this event are being held not only in England some were recorded with a phonograph, the majority but in many other countries. We, the members of the were written down. One issue of the Journal of the Folk International Folk Music Council, remember with spe-Song Society (vol. 2/8, 1906) was devoted to songs he cial pride and gratitude that this great musician was our President from the foundation of the Council in 1947 had collected (Wikipedia Contributors 2020c). until his death on August 26th, 1958. The common interest between Vaughan Williams and He presided at the inaugural meeting of the Council Karpeles was English folk song, but he was also known and during the nine years of his Presidency he was a to admire Karpeles’s dancing and musicianship, par-constant help and source of inspiration. ( BIFMC 41, ticularly her opinion of his compositions. Karpeles Oct 1972:26) collaborated extensively with Sharp, and after his Indeed, Vaughan Williams served as IFMC presi- death in 1924, Vaughan Williams constantly provided dent from the establishment of the Council on 24 encouragement for her and worked hard for the EFDS September 1947 until his death on 26 August 1958, (Pakenham 2011:152–153; Haywood 1972). almost eleven years.2 At 75 years of age, he was the sec- There were a number of published, musical collab- ond oldest president at the beginning of his presidency orations between Vaughan Williams and Karpeles, (bettered only by Zoltán Kodály who was 79), and the sometimes also involving Sharp. For example, Twelve oldest president at the end (85 years old). The length Traditional Country Dances were “collected and described of his term was exceeded only by Erich Stockmann by M. Karpeles,” with “pianoforte arrangements by R. V. (1982–1997). Yet, rather than the direct involvement Williams in collaboration with M. Karpeles” (Karpeles in Council affairs that we take for granted in Council and R. Vaughan Williams 1931; also see Pakenham 2011:166). And tunes from English Folk-Songs from the Southern Appalachian (Sharp and Karpeles 1932) 1 I appreciate the materials and information supplied by were later harmonized by Vaughan Williams in the Nicholas Wall and Malcolm Barr-Hamilton from the Vaughan Nine English Folk Songs from the Southern Appalachian Williams Library, English Folk Dance and Song Society. Suggestions from Naila Ceribašić and Svanibor Pettan greatly Mountains (Sharp, Karpeles, and R. Vaughan Williams helped me refine my text and boosted my confidence to write 1967; also see Haywood 1972:6). about our first president. Access to JSTOR through my posi- tion at the Australian National University has been essential. Throughout his career, English folk song remained an As always, I am very grateful for the ongoing support from the important part of his work, not through imitation, but Institute of Papua New Guinea Studies. to help give substance to his vision (Karpeles 1958:122): 2 How the centenary notice calculates only nine years is unclear. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 71–75. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 72 Don Niles his direct encounter with what seemed to him an to Karpeles read the apologies for absence and give her expression of the deepest aspirations of England’s com-report outlining the reason for the conference, but right mon people struck with the force almost of a religious before discussion about the formation of the IFMC, conversion. Although its actual stylistic impact on his own music has been exaggerated, as a philosophical and Vaughan Williams left and the vice chair, Steuart emotional touchstone of artistic authenticity folk-song Wilson, took over. It was still the morning session. The was crucial to Vaughan Williams’s developing views of actual discussion about the establishment of IFMC and national identity, community, and the social mission of the vote itself were chaired by Wilson. the composer. (Frogley 2009) Vaughan Williams would later re-appear to chair ses- Vaughan Williams wrote about the English Folk Dance sions (or parts thereof) on 24 and 26 September, and and Song Society (EFDSS) (R. Vaughan Williams on the latter date also provided the closing speech 1958b) and served as its president from 1932 until his (Karpeles 1972:6–8, 17–18, 26). death.3 An article by Vaughan Williams celebrating the sixtieth anniversary of the society appears in the same Although it is not clear when it took place, Karpeles issue of their journal as Karpeles’s obituary for him (R. recalled one incident with Vaughan Williams as chair: Vaughan Williams 1958a). Once constitutional matters were out of the way (and it might be mentioned that at this point Dr. Vaughan Yet, it was not just Vaughan Williams’s interest in Williams asked from the Chair: “Now has any one got folk song that drew Karpeles to him. Her biographer anything more they want to say? I hope they haven’t.” observed that Applause), the Conference passed eagerly to the discus- she had a deep devotion to Vaughan Williams, but sion of a multitude of plans for the future, many of there she was one of an army, for he fatally attracted which have been, or are being, carried out, while others nearly every female who came in contact with him. alas have fallen by the wayside. (Karpeles [1976]:218) (Pakenham 2011:184) Ursula Vaughan Williams recalled the same incident Karpeles also developed a long-lasting friendship and noted that her future husband with Ursula Wood (1911–2007), who would become was obviously not feeling like being there, for he opened Vaughan Williams’s second wife in February 1953 the proceedings … fiercely … Ralph was very glad (ibid.:210–211). Indeed, the two of them spoke in the when Steuart resumed his chair; so possibly were the delegates, for under Steuart’s less severe rule some of the morning on the day of Karpeles’s death; Ursula Vaughan meetings were very entertaining. And Maud Karpeles, Williams wrote Karpeles’s obituary in the London Times inventor of the Council as well as its Secretary, kept (ibid.:256). the many foreign visitors busy and happy. (U. Vaughan Williams 1964:277) Following the deaths of Edward Elgar, Frederick Delius, and Gustav Holst, all in 1934, Vaughan Williams came The final session of the conference ended with friendly to be regarded as a leading figure in British music, com-words from Poul Lorenzen: posing many songs, instrumental works, choral works, Mr. Lorenzen (Denmark) in proposing a vote of thanks and symphonies (Frogley 2009; Wikipedia Contributors to Dr. Vaughan Williams said that he had given the 2020a). Demands on his time became greater, but his right spirit to the Conference from the very beginning friendship with Karpeles remained strong throughout. and they would remember him always as a good friend. (Karpeles 1972:26) Karpeles drew on this to involve Vaughan Williams in the founding of the Council and her ongoing efforts to Parkenham bluntly observes that while Vaughan legitimize it. Williams was Karpeles’s obvious choice for chair, his life was very busy, so he really only agreed because he was “always anxious to oblige her” (Pakenham 2011:223). Involvement with IFMC Indeed, obliging Karpeles seemed to be the glue that held Vaughan Williams to his IFMC presidency. It While Vaughan Williams was chair at the 1947 was certainly not through his participation in Council International Conference on Folk Song and Folk Dance events. in London, at which the IFMC was established, he In more than a decade as president, Vaughan Williams actually appears to have been absent from most con- (figure 1) only attended one IFMC conference: the ference activities. At the initial morning session on 22 1952 conference in London.4 Thus, he could give September at 10:30, he accepted the invitation from Karpeles to be chair, gave an opening address, listened 4 Announcements of his inability to attend appear for the following conferences: 1948 ( BIFMC 1, Oct 1948:5); 1949 3 While some sources date his presidency from 1932 (e.g., ( BIFMC 2, Nov 1949:2); 1950 ( JIFMC 1951:5); 1951 English Folk Dance and Song Society 2020; Frogley 2009; ( BIFMC 5, Nov 1951:7); 1953 ( BIFMC 7, Sep 1953:11); Wikipedia Contributors 2020a); others note 1946, after 1954 ( BIFMC 8, Jan 1955:4); 1955 ( BIFMC 9, Oct 1955:7); the resignation of Dowager Lady Ampthill (e.g., Karpeles 1956 ( BIFMC 10, Oct 1956:6); 1957 ( BIFMC 12, Sep 1958:121; Wikipedia Contributors 2020c). 1957:5); 1958 ( BIFMC 14, Oct 1958:6). President Ralph Vaughan Williams, 1947–1958 73 Figure 1. Ralph Vaughan Williams and Douglas Kennedy (in the back) presenting a badge to the squire of the Morris Ring. Late 1950s (photo courtesy of Vaughan Williams Memorial Library, English Folk Dance and Song Society). the address of welcome in person on 14 July 1952 of the Antarctic (1948), and subsequently reworked this (R. Vaughan Williams 1953; also see BIFMC 6, Sep into his seventh symphony, dubbed Sinfonia antar-1952:4; Pakenham 2011:229–230). Correspondence tica (1949–1952).6 The latter was first performed in from Vaughan Williams to Karpeles prior to all other 1953, well before the 1955 comment above (Wikipedia conferences contains brief messages that he asks to Contributors 2020b), hence it is not sure what the note relay to participants, such as this for the 1953 confer-refers to, although it may be simply dismissive of the ence in Biarritz: idea of going to Oslo. Please give my kindest greetings to all my friends at At the London conference he did attend, Vaughan Biarritz: among whom I venture to include all who Williams noted the are present at the Conference. I am sorry I cannot be present but I have already committed myself to another distinct cleavage between the true folk song composed engagement in England. (13 Jun 1953; ICTM Archive by the people and the popular song composed for the MS 10017, series 4, folder 211) people. It is the former with which this Council has to deal. (R. Vaughan Williams 1953:7) There are other such messages to be read prior to the conferences in Venice (1949), Bloomington (1950), He further expanded on his thoughts regarding the Opatija (1951), and São Paulo (1954).5 The letter con-work of the Council: cerning Opatija (figure 2) is one of the few examples Our duty then is twofold. Only that which is genu- available where Vaughan Williams uses IFMC letterhead. inely traditional must be preserved, and all that must be recorded in our libraries and museums; but only that One of the most intriguing letters about his inability which has the germs of great art must be let loose on to attend an IFMC conference comes from 17 January the simple-minded public whom we invite to sample 1955, concerning the Oslo conference to be held in our wares. (ibid.:8) mid-year: His Folk Songs of the Four Seasons: Cantata for Women’s Dearest Maud, So sorry, can’t manage Oslo, am due Voices with Orchestra or Piano (1949) was performed at at the South Pole. Love, (ICTM Archive MS 10017, the same London conference (Karpeles et al. 1959:3). series 4, folder 211) Vaughan Williams also never attended any Executive It is very doubtful that Vaughan Williams actually went Board meetings, even those associated with the 1952 to the South Pole, although he had scored the film Scott London conference at which he gave the opening address. 5 Letters from Vaughan Williams to Karpeles (23 Aug 1949, 26 6 In a paper considering some of the compositions of early Board Jun 1950, 27 Aug 1951, and Jul 1954; ICTM Archive MS members, Torp (2017) focusses on Vaughan Williams’s sixth 10017, series 4, folder 211). symphony, composed in 1944–1947. 74 Don Niles spoken introduction, while Douglas Kennedy gave spo- ken commentary and written notes on each item in a four-page booklet. After a number of delays, the disc was released by Westminster Recording Company in 1954 (Westminster WL 5334 1954) ( BIFMC 8, Jan 1955:8, 10; 9, Oct 1955:11). Vaughan Williams also wrote an introduction to Norman Fraser’s International Catalogue of Recorded Folk Music (1954), a publication supported by the Council. Vaughan Williams died on 26 August 1958, a few months short of his eighty-sixth birthday. Karpeles wrote in her autobiography: For me, his death was one of the great sorrows of my life. For many years in fact ever since Cecil Sharp’s death I had become dependent on him. I used to pour out to him all my hopes and fears concerning folk music and many other matters. He was always a patient and sym- pathetic listener and I derived great comfort from him. (Karpeles [1976]:245–246) Obituaries in the 1959 JIFMC by the editor (Maud Karpeles),8 Zoltán Kodály, and Steuart Wilson describe some of Vaughan Williams’s work as a composer and his other accomplishments; only an extract from a letter Figure 2. Letter from Vaughan Williams to Karpeles (27 by Danica S. Janković in Belgrade directly refers to his August 1951), expressing the former’s inability to attend involvement with IFMC: the 1951 IFMC conference in Opatija, Yugoslavia (ICTM Archive MS 10017, series 4, folder 211). We think that all members of the IFMC will join you in the sorrow for a man of wisdom, of understanding, of unprejudiced erudition and of a human concern in the affairs and welfare of our Council. To have had such But at the time, the president did not chair Board meet- a man as the head of our organization means not only ings, instead the chair was elected by members.7 an honour, but also a really happy circumstance. For Five vice presidents served during Vaughan Williams’s his moral support and his other generous assistance all those wishing prosperity to the IFMC ought to be presidency: Poul Lorenzen (Denmark, 1947–1951); grateful to him. (Karpeles et al. 1959:4) Albert Marinus (Belgium, 1947–1962); Antoine-Elysée Cherbuliez de Sprecher (Switzerland, 1948–1964); On 19 September 1958, at a crowded memorial ser-Ole Mørk Sandvik (Norway, 1954–1968), and Marius vice, Karpeles was part of a select group of six mourners Barbeau (Canada, 1958–1969). All of them quite reg-to witness Vaughan Williams’s ashes being interred in ularly participated in conferences and Executive Board the north choir aisle of Westminster Abbey, near the meetings; they were certainly much more involved in burial plots of English composer Henry Purcell (1659– Council affairs than the president. 1695) and Charles Villiers Stanford (1852–1924), Irish composer, musician, and Vaughan Williams’s teacher Vaughan Williams did, however, contribute to the (Haywood 1972:8; Karpeles [1976]:246). occasional IFMC publication. For example, Karpeles wrote to him on 17 September 1953 about recording an introduction to a disc of music that was made at the 1953 conference and festival in Biarritz, France, Conclusions and Pamplona, Spain (ICTM Archive MS 10017, series The long, mutual affection between Vaughan Williams 4, folder 211). Vaughan Williams provided a general, and Karpeles motivated most of his involvement in the Council. In a collection of 5,088 letters by Vaughan 7 The first Council president to attend an Executive Board meet- Williams, 144 are correspondence between him and ing was Zoltán Kodály in Gottwaldov, Czechoslovakia (EB Karpeles, 1925–1958. But only two of these have minutes, 28th meeting, 21 Jul 1962). Yet, even then, someone any mention of the IFMC.9 Stockmann observes that else was elected as chair, in this case, Willard Rhodes. Rhodes Vaughan Williams’s ultimately served four years as chair (1962–1966); then, as IFMC president, he continued to chair Board meetings until the end of his term (1967–1973). Presumably, this established 8 Although unsigned, it is certainly by Karpeles, as editor and his the precedent of the president chairing Board meetings, but it close friend. was only with the ICTM Statutes (2017) that it was codified. 9 http://www.vaughanwilliams.uk/ (accessed 22 Jun 2020). President Ralph Vaughan Williams, 1947–1958 75 name helped the new association gain the recognition Maud Karpeles Manuscript Collection, MK/7/185. Accessible so badly needed in the beginning. Vaughan Williams, online: http://www.vwml.org/record/MK/7/185. however, limited himself to moral support and did not Karpeles, Maud, Zoltán Kodály, Danica S. Janković, and Steuart participate in the activities of the Council, so that he Wilson. 1959. “Ralph Vaughan Williams, O.M.” JIFMC 11: can justly be called an honorary president. (Stockmann 3–5. 1985:2) Karpeles, Maud, and Ralph Vaughan Williams. 1931. Twelve Country Dances. London: Novello, for the English Folk Dance This is essentially the view also shared by Simona Society. Pakenham, friend and biographer of both Vaughan Pakenham, Simona. 2011. Singing and Dancing Wherever She Goes: A Life of Maud Karpeles. London: English Folk Dance and Williams and Karpeles: Song Society. Vaughan Williams had taken on the presidency of the Sharp, Cecil, and Maud Karpeles. 1932. English Folk-Songs from the Southern Appalachians. London: Oxford University Press. IFMC out of affection for Maud, as he had supported Sharp, Cecil, Maud Karpeles, and Ralph Vaughan Williams. all her projects since the death of Sharp. But the truth is 1967. Nine English Folk Songs from the Southern Appalachian that he had no real interest in international folk dance, Mountains. London: Oxford University Press. was totally out of patience with the internal quarrels Stockmann, Erich. 1985. “Zoltán Kodály and the International that had always rent the EFDSS, and was profoundly Folk Music Council.” YTM 17: 1–7. relieved that, with nine out of ten IFMC conferences Torp, Jörgen. 2017. “Music Composition and Dance Studies: held in foreign countries, where he had not the time Some Aspects of the Work of the IFMC 1947 Founding to go, his role was more or less that of a figurehead. Members.” Paper presented at the World Conference of (Pakenham 2011:230) the International Council for Traditional Music, Limerick, Ireland, 13–19 July. But whether he is considered an honorary president or Vaughan Williams, Ralph. 1953. “Opening Session Address.” a figurehead should not diminish acknowledgement JIFMC 5: 7–8. ———. 1958a. “The Diamond Jubilee of the Folk Song Society.” of Vaughan Williams’s important contribution to the Journal of the English Folk Dance and Song Society 8/3 (Dec): fledgling Council. The Executive Board recognized this: 123–124. ———. 1958b. “The English Folk Dance and Song Society.” In his lifelong work for the preservation and dissemina- Ethnomusicology 2 (Sep): 108–112. tion of folk music as well as his enshrinement of it in Vaughan Williams, Ursula. 1964. R. V. W.: A Biography of Ralph his own compositions, he nobly served those aims for Vaughan Williams. London: Oxford University Press. which the Council was founded twelve years ago. We Wikipedia Contributors. 2020a. “Ralph Vaughan Williams.” may be happy that the Council had the leadership of Wikipedia: The Free Encyclopedia. https://en.wikipedia.org/ this great man during the initial years of its existence. wiki/Ralph_Vaughan_Williams (accessed 18 Jun 2020). (EB minutes, 22nd meeting, 10–11 Aug 1959:app. A) ———. 2020b. “Sinfonia antartica.” Wikipedia: The Free Encyclopedia. https://en.wikipedia.org/wiki/Sinfonia_antartica Karpeles and the other members of the Executive (accessed 18 Jun 2020). Board looked after the activities of the Council, while ———. 2020c. “Vaughan Williams and English Folk Music.” Wikipedia: The Free Encyclopedia. https://en.wikipedia.org/ Vaughan Williams’s reputation as a respected and dis- wiki/Vaughan_Williams_and_English_folk_music (accessed tinguished composer brought positive attention, seri-18 Jun 2020). ousness, prestige, and legitimacy to the Council from its very beginning, qualities that probably no one else could have managed so immediately and effectively. The long, close friendship between Karpeles and Vaughan Williams firmly helped establish the IFMC. References cited English Folk Dance and Song Society. 2020. “Our History.” English Folk Dance and Song Society. https://www.efdss.org/ about-us/our-history (accessed 10 Jul 2020). Fraser, Norman. 1954. Ed. International Catalogue of Recorded Folk Music. Archives de la musique enregistrée, C 4. Oxford: Oxford University Press. Frogley, Alain. 2009. “Williams, Ralph Vaughan (1872–1958).” Oxford Dictionary of National Biography (online) (accessed 21 Jun 2020). Haywood, Charles. 1972. “Ralph Vaughan Williams and Maud Karpeles.” YIFMC 4: 5–8. Karpeles, Maud. 1958. “Ralph Vaughan Williams, O.M., October 12, 1872 – August 26, 1958.” Journal of the English Folk Dance and Song Society 8/3 (Dec): 121–122. ———. 1972. “Report of the International Conference on Folk Song and Folk Dance.” BIFMC 41 (Oct): 6–26. ———. [1976]. “Autobiography.” 284 pp. English Folk Dance and Song Society, Vaughan Williams Memorial Library, Jaap Kunst: IFMC President, 1959–1960 Wim van Zanten Jaap Kunst (12 August 1891 – 7 December 1960) was a and a manual for collectors of folk music; (2) organiz-Dutch (ethno)musicologist who became involved in the ing conferences, radio broadcasting, and festivals; and work of the International Folk Music Council (IFMC) (3) taking serious attention of the musics of the world, right from its start. He was member of its Executive also outside Europe and the US. The 1959 third and Board (1949–1958) and president for the last sixteen “much enlarged” edition of Musicologica (first edition months of his life. published as Kunst 1950) shows this interest. It was From 1919 to 1934, Kunst lived in Indonesia (Dutch published under the auspices of the International Folk East Indies), and during that time he recorded and Music Council and, in his preface to this edition, Kunst published important works on music and dance in (1959a:vii) wrote that he owed “many thanks to many several parts of Indonesia. For a larger group of music people, in the first place to Miss Maud Karpeles, hon. researchers, his name is connected to the 1950 pub- secr. of the Intern. Folk Music Council.” lication Musicologica: A Study of the Nature of Ethno- Wang (2018:72) explains how important the 1953 musicology, Its Problems, Methods and Representative IFMC conference was for the Japanese ethnomusi-Personalities (reprinted in Kunst 1994:88–146). It was cologists Masu and Kurosawa: their presentation of the first time that the field of study was described in a Taiwanese music “caught the attention of Arnold Bake, major publication as “ethno-musicology,” later spelled André Schaeffner, Jaap Kunst, Paul Collier and others.” as ethnomusicology. After first IFMC president Vaughan Williams suddenly Hence, when the IFMC was established, Jaap Kunst died on 26 August 1958, the IFMC General Assembly (figure 1) was already well-known to people interested elected Kunst as its second president at its meeting in in music and dance worldwide. Kunst was co-opted Sinaia, Romania, on 15 August 1959. Jaap Kunst had as member of the Executive Board at its meeting of apologized for not being able to attend this meeting September 1948 (EB minutes, 3rd meeting, 19 Sep ( BIFMC 14, Oct 1959:5). One year later, he apologized 1948:§27) and re-elected in June 1954 (ibid.:14th again for not being able to attend the General Assembly meeting, 1–2 June 1954:§149). During the period in Vienna on 26 July 1960, and he sent the membership 1947–1963, the IFMC was mainly run by its (honora letter explaining why he could not be present: ary) secretary, Maud Karpeles. She was assisted by the Dear friends and colleagues, members of the Board and the Vice Presidents Marius Barbeau (1958–1969), Antoine-Elysée Cherbuliez Needless to tell you how deeply I regret not to be among you at this moment. But in life, we are not quite (1948–1964), Poul Lorenzen (1947–1951), Albert master of our doings, although sometimes we may have Marinus (1947–1962), and Ole Mørk Sandvik (1954– that feeling. Not long after you had done me the hon- 1968). Kunst attended most of the EB meetings (figure our of choosing me as your president, I had to undergo 2), like several other Board members who were gener- a serious operation that bereft me of my voice. From ally on the EB for a long time, such as Arnold Adriaan that operation I still have not quite recovered and so I had to abstain from attending our congress. In my Bake, Douglas Kennedy, Claudie Marcel-Dubois, and thoughts, however, I am with you and send you all Klaus Wachsmann. The first IFMC president, Vaughan good wishes for a very successful conference. ( BIFMC Williams, had been a purely ceremonial president, and 18, Sep 1960:5) he never attended a meeting of the Executive Board. On 16 May 1959 Kunst and his wife, Katy, left the The work of the Board during the first decade of the Netherlands for a private journey to Australia, that IFMC was very much in line with the interests of also included lectures at universities and museums. Kunst, for example: (1) publishing anthologies of inter- Unfortunately, this journey had to be interrupted national folk songs, a catalogue of recorded folk music, because Jaap Kunst, who had always been healthy, In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 76–78. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. President Jaap Kunst, 1959–1960 77 sible.” See also the book by Kunst’s granddaughter, Clara Brinkgreve (2009:131–210), for the important role played by Kunst’s wife, Katy Kunst-van Wely, in the ethnomusicological work of Jaap Kunst. Kunst himself quoted from Irene Sachs’s letter to him, when describing the tremendous support of his wife for his work: “Katy, whom Heaven must have created on spe- cial order for you.” He also expressed his gratitude for the official recognition of his scientific work by being elected member of the Royal Netherlands Academy of Arts and Sciences (KNAW) in May 1958, president of the IFMC in August 1959, and honorary president of the Society for Ethnomusicology in December 1959 (Kunst 1960: naschrift). More information on aspects of Jaap Kunst’s profes- sional life may, for instance, be found in publications by Marjolijn van Roon (1993, 1995a, 1995b), Ernst L. Heins (2013), and Wim van Zanten (2014).1 Figure 1. Jaap Kunst, presumably in Amsterdam, around 1950 (photo courtesy of Clara Brinkgreve). References cited Bake, Arnold A. 1961. “Levensbericht J. Kunst.” Jaarboek, 1960– 1961: 327–335. [Amsterdam: Huygens Institute – Royal fell seriously ill (Kunst 1959b:94–95; 1960: naschrift; Netherlands Academy of Arts and Sciences (KNAW)]. Proosdij-ten Have and Roon 1992:12). His friend and Brinkgreve, Clara. 2009. Met Indië verbonden: Een verhaal van vier fellow Board member, Arnold Bake, mentioned that generaties 1849–1949. Zutphen: Walburg. Heins, Ernst L. 2013. “Kunst, Jakob (1891–1960).” In Biografisch Kunst expected to reach the age of ninety, and that he Woordenboek van Nederland. https://resources.huygens.knaw. thought he still had about ten years left for his work in nl/bwn1880-2000/lemmata/bwn5/kunst. Updated 12 Nov the field of ethnomusicology (Bake 1961:334). 2013. Kunst, Jaap. 1950. Musicologica: A Study of the Nature of Things went differently. Soon after his election as presi- Ethno-musicology, Its Problems, Methods and Representative dent in July 1959, it became clear to Kunst that he was Personalities. Amsterdam: Koninklijke Vereeniging Indisch Instituut. seriously ill, and he offered his resignation to the Board ———. 1959a. Ethnomusicology: A Study of Its Nature, Its in November 1959. However, Problems, Methods and Representative Personalities to Which Is Added a Bibliography. The Hague: Nijhoff. the Secretary, at the wish of members of the Board ———. 1959b. “Een reis naar Australië (15 Mei – 28 Augustus expressed by correspondence, had urged Dr. Kunst to 1959).” Amsterdam: unpublished manuscript. 116+2 pp. remain as President at any rate until after the meeting ———. 1960. “Proeve van een autobiografie + naschrift.” of the 1960 General Assembly. Dr. Kunst had agreed to Amsterdam: unpublished manuscript. 39+2 pp. do so and had offered to retire at the time that it best ———. 1994. Indonesian Music and Dance: Traditional Music and suited the Council. (EB minutes, 23rd meeting, 23–24 Its Interaction with the West; a Compilation of Articles (1934– July 1960:§263) 1952) Originally Published in Dutch, with Biographical Essays by Ernst Heins, Elisabeth den Otter, and Felix van Lamsweerde. The “serious operation” in 1959 mentioned in the letter Amsterdam: Royal Tropical Institute and University of to the General Assembly meeting in Vienna on 26 July Amsterdam. Proosdij-ten Have, Loekie M. van, and Marjolijn J. van Roon. 1960 had been necessary because Kunst suffered from 1992. Jaap Kunst Correspondence 1920–1940: An Annotated throat cancer; he died a few months after writing this Index. Amsterdam: [privately published by authors]. letter. At its 25th meeting in Quebec, Canada, 27–28 Roon, Marjolijn van. 1993. “From Bandung to Berlin: The August 1961, the Board expressed its deep sorrow over Correspondence between Jaap Kunst and Erich Moritz von Hornbostel, 1923 to 1936.” In Oideion: The Performing Arts the death of Kunst and added: “As a great scholar, an World-wide, edited by Wim van Zanten, 19–36. Centre of indefatigable worker and a most lovable man, his loss Non-Western Studies, in co-operation with the Nederlandse will be felt by all who knew him, both personally and Vereniging voor Etnomusicologic “Arnold Bake,” 14. Leiden: Leiden University. through his work” ( BIFMC 20, Jan 1962:9). ———. 1995a. “Ethnomusicology in the Netherlands: The In his memorial message, Bake (1961:328, 331) also Pioneers.” In “Ethnomusicology in the Netherlands: Present wrote about Kunst: “He had great luck, namely in hav- 1 Unfortunately, due to the COVID-19 pandemic, it was not ing a wife who shared his love and enthusiasm and who, possible for me to consult the Jaap Kunst collection in the from the moment of their marriage in 1921 until the archives of the University of Amsterdam Library in May–July 2020. I had to rely on the mentioned publications and the end of his life, did everything to make his work pos- ICTM Archive in Canberra. 78 Wim van Zanten Figure 2. Erik Dal (?), Arnold Adriaan Bake and his wife Cornelia, Matts Arnberg, Katy and Jaap Kunst, P. Rajaratnam (?), in front of Cecil Sharp House. London 1952 (photo courtesy of Clara Brinkgreve). Situation and Traces of the Past,” edited by Wim van Zanten and Marjolijn van Roon, special issue, Oideion: The Performing Arts World-wide 2, 1–26. Centre of Non-Western Studies Publications, 35. Leiden: Leiden University. ———. 1995b. “Jaap Kunst, Government Musicologist: An Unusual Incident in the Colonial Political History of the Netherlands East Indies.” In “Ethnomusicology in the Netherlands: Present Situation and Traces of the Past,” edited by Wim van Zanten and Marjolijn van Roon, special issue, Oideion: The Performing Arts World-wide 2, 63–83. Centre of Non-Western Studies Publications, 35. Leiden: Leiden University. Wang Ying-fen. 2018. “IFMC, Masu Genjiro, Kurosawa Takatomo, and Their Recordings of Taiwanese Music.” YTM 50: 71–90. Zanten, Wim van. 2014. “Encounters in the Context of Inspiring Sundanese Music and Problematic Theories.” In Recollecting Resonances: Indonesian-Dutch Musical Encounters, edited by Bart Barendregt and Els Bogaerts, 203–230. Leiden: Brill. http://booksandjournals.brillonline.com/content/ books/9789004258594. (translated into Indonesian, 2016). Zoltán Kodály: IFMC President, 1961–1967 Pál Richter The International Folk Music Council elected Zoltán archiving and processing the huge amount of collected Kodály (16 December 1882 – 6 March 1967) as its material, bringing together researchers previously active third president in 1961, fourteen years after its foundin this field, and involving young people and newcom- ing. Although Kodály was involved at the beginning ers. He was able to do all the above in line with his of the Council, warmly welcomed its establishment, specific social aspirations and educational goals. His and assured it of his support, except for chairing the primary objective was to launch and assure the contin-Council’s Hungarian National Committee, he did not uous publication of the complete edition of Hungarian take an official role in its workings at an international folk songs in the series A Magyar Népzene Tára / Corpus level until he was elected president. Rather, the mem-Musicae Popularis Hungaricae (CMPH) , the creation of ber of the Executive Board from Hungary was initially which had been decided decades earlier by Kodály and László Lajtha (1947–1962). Kodály did not attend the Bartók. Volume 1 of the series, presenting children’s organization’s inaugural London meeting in September games, appeared in 1951. The Folk Music Research 1947, despite repeated invitations from Maud Karpeles, Group then started operating officially in 1953, under who—as the main organizer of the event and sub-Kodály’s leadership and within the framework of the sequently the first secretary of the Council—wrote Hungarian Academy of Sciences. soul-stirring letters, imploring him to come (ICTM At the same time, the training of ethnomusicologists Archive MS 10017, series 4, folder 122). In a handwrit-began at the Liszt Academy of Music. Thus, Kodály ten letter dated 19 September 1947, in which Kodály first established the institutional base of Hungarian sent final apologies for his absence, he nevertheless folk-music research, which made possible significant made a proposal about the draft agenda of the inaugural participation in the international scholarly domain. meeting he had received earlier: Moreover, he was able to accomplish all this at a time I would add nevertheless a suggestion to No. 10(c) when Hungary was experiencing one of the darkest peri-Agenda. It seems [to] me most important to work out ods of its history: a Soviet-style Bolshevik dictatorship, for each country (i.e., linguistic territory) some guide to facilitate the survey of the whole material. I mean accompanied by the personality cult of the Communist some melodico-rhythmical index, examples of which leader. Hungarian society was isolated from the outside we find in Finnish publications, including all published world and forced to live within its borders, both psy- (and manuscript) material. (Kodály 2002:322–323; chologically and physically. Travel was impossible, even also in ICTM Archive MS 10017, series 4, folder 122) for international celebrities like Kodály. On the other At that time, it is understandable that Kodály did not hand, it was precisely his notoriety, authority, and rep-wish to commit his scholarly and research capabilities utation that protected him and his colleagues from the to international affairs, regardless of his reputation, aggressive tendencies of the regime. renown, and his unparalleled experience and knowl- As chair of IFMC’s Hungarian National Committee, edge as a folk-music researcher (figure 1). He held the Kodály could constantly monitor IFMC scholarly events, position of president of the Hungarian Academy of be kept informed about new research programmes and Sciences from 1946 until the Communist takeover in recent publications, and keep in touch with IFMC 1949 and—following Bartók’s death and the terrible Secretary Maud Karpeles, to whom he regularly sent the devastations of World War II—it was his duty to restart latest publications of the Budapest Folk Music Research Hungarian folk-music research. Group. His authority, reputation, and esteem are well Kodály was finally given the opportunity to take illustrated by the fact that, following the death of the Hungarian folk-music research to a higher level of insti-Council’s first president, Ralph Vaughan Williams, tutionalization by preserving the results acquired so far, Karpeles asked Kodály to write the eulogy on behalf of the organization. Kodály sent a short contribution in In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 79–82. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 80 Pál Richter Figure 1. Setting-up the phonograph: Zoltán Kodály. Budapest, c. 1957 (photo courtesy of the Kodály Archívum Budapest). his letter of reply, aware of the fact that his pen was I found your letter a little cryptic but I believe I am driven more by personal confession than by compliance right in thinking that you will accept the Presidency of with the requested genre (Karpeles et al. 1959:4). the IFMC, although you do so reluctantly. When IFMC’s second president, Jaap Kunst, passed I have already looked around the world and there is not a horse to be found although perhaps in two or three away in December 1960, Karpeles invited Kodály to be years time some colts may have grown up; so, to con- president, but he politely avoided the task, rightly refer- tinue the metaphor of the proverb, we are asking you ring to his age and state of health, and spicing his letter to accept the role of the “ass,” who is, after all, a very with a Hungarian proverb: honoured animal. (Karpeles to Kodály, 20 Jan 1961;2 ICTM Archive MS 10017, series 4, folder 122) I would wish to the IFMC a younger, more active and less moribund president. (If I should be superstitious In the end, Kodály accepted the proposal, and his health I must refuse: it is to insure an early death.) … Now also improved. During their pre-conference meeting in I ask you once more to look around the world for a Québec, the Executive Board noted that Kodály had more suitable person. If you find nobody then let us consented to be nominated as president (EB minutes, use a Hungarian proverb: “If lacks a horse an ass [i.e., a donkey] will do it.” (Kodály to Karpeles, 10 Jan 1961;1 25th meeting, 27–28 Aug 1961:§304). At the General Kodály 2002:375; ICTM Archive MS 10017, series 4, Assembly on 30 August 1961, ratification of his nom-folder 122) ination was carried with acclamation ( BIFMC 20, Jan However, it seems that by this time, Karpeles had been 1962:8). He would hold the post until his death. in informal consultation with the Council’s leadership Thus, during the last years of his life and as the head and had already decided to insist on the nomination of of the most prestigious international and professional Kodály as president: forum, Kodály was given the opportunity to look after, promote, and influence the cause of folk song and folk music in a way he viewed as ideal. This was a cause that 1 In the beginning of the typewritten letter with Kodály’s sig- nature, the month is incorrectly written as December; it was 2 On the typewritten copy of the letter in the ICTM Archive, actually January (cf. Stockmann 1983:8). the year is incorrectly written as 1960. President Zoltán Kodály, 1961–1967 81 Figure 2. Interview on Hungarian TV about the IFMC conference in Budapest in 1964. Willard Rhodes (EB member), Viktor Beliaev (ICTM member from the USSR), János Sebestyén (reporter), Kodály, Pál Járdányi (ICTM member from Hungary) (photo by Edit Molnár; courtesy of the Kodály Archívum Budapest). he personally considered important from an artistic and a larger UNESCO programme, featuring the music of a scientific perspective, but also from a moral and social the East and the West, and the same issue was discussed standpoint that included its benefits to society. in relation to folk music and folk songs. The opening During his presidency, the history of study groups began address was given by Kodály (Kodály 1964; see the orig- (two of them were founded in 1962, and two others inal, longer version in Percy 1964:199–202).4 Last but in 1964 and 1966),3 and five IFMC conferences were not least, the most important topics at the Budapest organized, one every year, except in 1965. It was a great conference (figure 2) were musically based systemati-achievement that Hungarian delegate(s) also took part zation, as well as the relationship between folk music in these events each time, and Kodály himself attended and music history (Stockman 1983:10–11; 1985:4–5). three conferences: Gottwaldov (1962), Jerusalem Kodály envisioned international folk-music research as a (1963), and Budapest (1964). The themes of these con-network of individual national research workshops. The ferences, the formulation of which the president also basic research work that the members of this network played a role, were strongly connected to the main tasks would carry out is shown by his account of the 1962 and objectives of Hungarian folk-music research. In plans of the Hungarian research group he led (although Gottwaldov, one of the conference themes was the anal-the same subject was also partly referred to in his letter ysis of vocal and instrumental styles, and for the first addressed to Karpeles in 1947 and quoted above): time, migration and folk dance, as well as folk dances To summarize the rationale dealing with the research and their music, appeared among the themes. The topics: the two main activities the Group [i.e., the Folk Jerusalem conference was organized in connection with Music Research Group of the Hungarian Academy of Sciences] are the publication of the volumes in the CMPH series … and the creation of the European Folk 3 In 1962: the Study Group on Folk Musical Instruments, and the Study Group on Folk Dance Terminology (in the early 1970s, it was renamed as the Study Group on Ethnochoreology); in 1965: the Study Group on Analysis and Systematization of Folk Music; in 1966: the Study Group on 4 During the conference, Kodály’s lyrical play Székely fonó (The Historical Sources (Stockman 1983:9, 11–12; 1985:3–5). Transylvanian spinning-room) was also performed in Hebrew. 82 Pál Richter Song Catalogue.5 … these two topics will also provide ———. 2002. Letters—in English, French, German, Italian, a basis for the extensive historical research, because only Latin. Edited by Dezső Legánÿ and Dénes Legánÿ. Budapest: in the possession of our systematized and published Argumentum – Kodály Archívum. folksong-material, of a thoroughly acquired knowledge Percy, M. Young. 1964. Zoltán Kodály, a Hungarian Musician. and classification of the material of others, further, by London: Ernest Benn Limited. exploring the written historical [source] material can Rajeczky, Benjamin. 1964. Ed. Hungarian Folk Music. LP disc. Presented at the Budapest conference of the IFMC. Budapest: we undertake the scientific elaboration of the changes, Qualiton LPX 1187. interactions, and history of folk musics and of the Stockmann, Erich. 1983. “Zoltán Kodály und der International interrelationship between folk music and art music. Folk Music Council.” Studia Musicologica Academiae (Archives of the Institute for Musicology, Budapest, Scientiarum Hungaricae 25, fasc. 1/4: 5–13. RCH: 1962_13_23_NZKCS) ———. 1985. “Zoltán Kodály and the International Folk Music Council.” YTM 17: 1–7. In addition to systematizing, analyzing, and comparing music, as well as conducting historical research, Kodály had another important programme that was in perfect alignment with the plans of the IFMC: the publication of as many high-quality recordings of original folk music as possible. In accordance with this plan, a series of LP recordings was prepared for the 1964 Budapest confer- ence in order to provide an overview of Hungarian folk music (Rajeczky 1964).6 This work was continued by the UNESCO record series,7 which was also initiated around the same time. For Kodály, it was important to publish full-length con- ference presentations, not only abbreviated summaries, which was then the practice in the Council’s Journal. In the case of the 1964 Budapest conference, he made sure that the written versions of the papers were pub- lished in accordance with the editorial principles of the Budapest-based international specialist journal Studia Musicologica Academiae Scientiarum Hungaricae and published in the 1965 issue of that journal . It was during Kodály’s presidency that the study of the social background of music, including folk music, began to become increasingly important for research, alongside the typical historical and musical approach. This was a development that was to open a new chapter in the history of the discipline, by then already desig- nated as “ethnomusicology.” References cited Karpeles, Maud, Zoltán Kodály, Danica S. Janković, and Steuart Wilson. 1959. “Ralph Vaughan Williams, O.M.” JIFMC 11: 3–5. Kodály, Zoltán. 1964. “Address by Zoltán Kodály at the Opening Ceremony.” JIFMC 16: 4–5. 5 In fact, preparations for the so-called Europe Catalogue were also encouraged by the IFMC. The plans for the catalogue, as well as the results achieved to date, were presented at the 1964 conference in Budapest. Some working processes were already planned to be carried out by computer, and experiments were conducted in this direction (Archives of the Institute for Musicology, Budapest, RCH: 705_1963_09_20). 6 A film was also made about the Budapest conference, which was broadcast by NDR Television (Hamburg) in November 1964. 7 UNESCO Collection of Traditional Music of the World (1961–2003). Willard Rhodes: IFMC President, 1967–1973 Anthony Seeger Willard Rhodes (1901–1992; figures 1–2) had many talents and a very broad experience with many kinds of music. He was a pianist, music educator, opera con- ductor, and impresario; an intrepid field researcher who recorded US Native Americans, as well as in Africa and India; and founder of the graduate programme in ethnomusicology at Columbia University in New York City, USA. Important for his term as IFMC president was his experience creating organizations together with others, among them the American Opera Company in New York City and, especially, the Society for Ethnomusicology, of which he was elected the first president at its founding meeting in 1956 (McAllester 1993:255). His address at that meeting, “On the sub- ject of ethnomusicology” (Rhodes 1956), is notable for his insistence on the inclusion of popular music and dance as important subjects of study in the new field. Rhodes’s broad interests in music and dance probably led to his involvement in the IFMC. In a brief obit- uary, Dieter Christensen characterized his presidency as follows: He had assumed the presidency of the Council at its perhaps most difficult period. The moves of ICTM headquarters from London to Copenhagen and from there to Canada fell into Willard Rhodes’ aegis, as did the Edinburgh Conference with its hot post-1968 tur- moils in which Willard Rhodes, white bearded and with his burgundy coat, stood like a rock. The strength of his personality calmed the Council, as for so many years it had steadied all those he had touched. (Christensen Figure 1. Willard Rhodes at the 15th IFMC World 1992:xiii). Conference in Gottwaldov, Czechoslovakia, 18 July 1962 Correspondence in the ICTM Archive at the National (photo courtesy of Joy Rhodes Cooper; as published in Christensen 1992:xiii). Library of Australia reveals how close the IFMC was to going out of business in 1966.1 In a letter to Rhodes, Maud Karpeles reported that the Advisory Committee recommend to the Executive Board that the IFMC be had indicated that if the IFMC appeared to have dissolved (Karpeles 1966). Membership was declining, less than 1,500 pounds for 1967, it would probably and there were insufficient funds for publication and conferences. Shortly before her letter, Rhodes had 1 I am very grateful to Stephen Wild and Kim Woo for send- ing scans of letters to me from the ICTM Archive at the written to the Advisory Committee from a hotel in National Library of Australia, and to Maureen Russell at the India: “It is plainly evident that we must extricate UCLA Ethnomusicology Archives for sending me the Rhodes ourselves from the embarrassing financial situation in Collection Finding Aid and enabling me to access the mas- sive (ten boxes) of now digitized documentation of Willard which we find ourselves.” He suggested applying to Rhodes’s field recordings. foundations in the USA and the UK, and recommended In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 83–84. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 84 Anthony Seeger Figure 2. Executive Board at the General Assembly at world conference: John Blacking, Erich Stockmann (vice president), Charles Haywood, Claudie Marcel-Dubois (vice president), Willard Rhodes (vice president), Klaus Wachsmann (president), Graham George (secretary general), Tjot George (executive assistant). Honolulu, 1977 (photo courtesy of Barbara B. Smith). that the Beatles should be “touched” for a sizeable McAllester, David P. 1993. “Obituary: Willard Rhodes 1901– contribution. “We must act on the firm belief that 1992.” Ethnomusicology 37/2: 251–262. the Council will survive the present crisis. I REFUSE Rhodes, Willard. 1956. “On the Subject of Ethnomusicology.” Ethno-Musicology 1/7: 1–9. TO BELIEVE OTHERWISE” (Rhodes 1966; upper ———. 1966. Letter from Willard Rhodes to the Advisory case in the original). He insisted that there should be Committee of the ICTM, 15 May 1966. ICTM Archive, a conference in Edinburgh in 1969. That conference National Library of Australia. ———. 1969. “A Word from the President.” BIFMC 35 (Oct): 3. seems to have reinvigorated the organization. Rhodes described the lively debates to which Christensen refers above, but in a positive sense: “It was heartening to learn of the serious interest and deep concern of our younger members” (Rhodes 1969). By the end of Rhodes’s presidency, IFMC membership had risen to 1,025 from 420 in July 1967. Grants had been obtained from organizations in the UK, Denmark, Canada, and the USA. Both members and non-mem- bers had made significant donations to the Council. The shifts of the headquarters from London to Copenhagen and then to Canada were challenging, but completed. The Journal of the IFMC was renamed Yearbook of the IFMC and instituted new publication policies under the editorship of Alexander Ringer at the University of Illinois, USA. Rhodes was repeatedly thanked for his contributions to the IFMC and given a standing ova- tion when he stepped down from the presidency on 30 July 1973 and turned the responsibility over to Klaus Wachsmann. References cited Christensen, Dieter. 1992. “Willard Rhodes 1901–1992.” YTM 24: xii–xiii. Karpeles, Maud. 1966. Letter from Maud Karpeles to Willard Rhodes, 24 May 1966. ICTM Archive, National Library of Australia. Klaus Wachsmann: IFMC President, 1973–1977 Anthony Seeger Klaus P. Wachsmann (1907–1984; figure 1)1 was a founding member of the IFMC and played an impor- tant role in its transformation from a largely European organization to a more international one associated with the field of ethnomusicology.2 At the 1947 International Conference on Folk Song and Folk Dance in London, Wachsmann spoke in favour of the establishment of the IFMC, and was appointed as a member of the initial, provisional Executive Board. He was re-elected to the Board at the first conference in 1948, and continued in this capacity until elected as vice president in 1970, and then as president in 1973. He was also a member of the important Advisory Committee in London, 1959– 1967. During his time of service with the Council, he was identified as representing first Uganda, then the UK, and then the US, the result of his varied professional career. He was a quiet and modest person, with a dry wit and a diplomatic approach to people and organizations. Wachsmann’s life epitomized developments in twenti- eth-century musicology, the military conflicts in Europe, and colonialism (see De Vale 1985). He studied musi- cology at the University of Berlin with Friedrich Blume and Arnold Schering, and comparative musicology with Erich von Hornbostel and Curt Sachs (1930–1932). Even though he was raised a Lutheran (and later became an Episcopalian), his Jewish background meant that he Figure 1. Klaus Wachsmann, unknown date (photo could not continue his studies in Germany in 1933. He courtesy of Erika Wachsmann). moved to Switzerland and completed his training with a dissertation on pre-Gregorian chant at the University training in Bantu languages and linguistics. They then of Fribourg. Returning to Germany after Fribourg, moved to Uganda in 1937, where they lived for twenty Wachsmann and his future wife, Eva Buttenburg, fled years. He began working in the Educational Office of Germany for the UK in 1936, where he completed the Protestant Missions in Uganda and then became a curator at the Uganda Museum in Kampala in 1948– 1 Figure 1 was supplied by Erika Wachsmann, Klaus Wachsmann’s cousin and a professional photographer. 1957. It was in 1949–1954 that he travelled throughout 2 The author is indebted to several published sources on the country, making audio recordings. From 1963 to Wachsmann by De Vale (1985), Morgan (2001), and Seeger 1968, he was exposed to new ideas about ethnomusi- and Wade (1977), and to some vivid and insightful reflec- cology from Mantle Hood and the faculty and students tions on how he was able to preside over a change in Council at the Institute of Ethnomusicology at the University while minimizing conflicts among its members provided by Ricardo D. Trimillos (2020). I visited Wachsmann in the early of California, Los Angeles (UCLA) in the US, before 1970s when my grandfather, Charles Seeger, stayed with him moving to Northwestern University and in 1975 retir- in Evanston, Illinois. This was before my involvement in the ing to the UK. He served as president of the Society for Council, and our enjoyable discussions never touched on the IFMC. I only joined the Council in 1981, after his presidency. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 85–87. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 86 Anthony Seeger Figure 2. Klaus Wachsmann at the time he was IFMC president, with Charles Seeger and Anthony Seeger at the Society for Ethnomusicology annual meeting. Philadelphia, 1976 (photo by William Malm, courtesty of the Society for Ethnomusicology). Ethnomusicology from 1967 to 1969, and in 1973 he IFMC during the Cold War years walked a fine political became president of the IFMC (figure 2). line between the putatively democratic “West” and the This biography is relevant to his service to the IFMC putatively socialist Soviet bloc. Trimillos suggests that because Wachsmann was very experienced and sen-the public perception of Wachsmann as British (or at sitive to many of the issues the organization was fac- least European) gave Wachsmann’s voice more credibil- ing. He had been a refugee, a historical musicologist, ity than if he had been American or perceived to be a music educator, a museum curator and collector, and American. He also had a consensual leadership style: a university professor with experience in five countries During the meetings Wachsmann chaired, he listened on three continents. He was trained in comparative intently to each intervention, waited for other partic- musicology but participated in the shaping of ethno- ipants to give responses, and on occasion toward the end of a discussion—or as a signal that he was bringing musicology in the USA. Ricardo Trimillos suggests that discussion to a close— would offer a penetrating query Wachsmann’s experiences as a German Jew driven out or observation. He always worked for consensus, rather by the Nazi regime put him in a “neutral” position for than taking a vote in the American way. If there seemed other European nationals whose countries had been to be no consensus in the offing (there were occasional victimized by the Nazi expansion of World War II. vociferous exchanges!) he would give his signature quiet Although of German background and quite willing to smile, shrug, and say “right—we can come back to this later.” Following this public protocol, Klaus would then speak German, he carried none of the Third Reich bag- engage in a number of informal consultations with gage to complicate relationships with other Europeans different “factions” to fashion compromise, so by the (Trimillos 2020). next formal meeting a consensus was usually in place. (Trimillos 2020) Trimillos writes that Wachsmann was an effective leader during the Cold War period in which European col- This kind of consensus-building was an important pro- leagues were politically and geographically divided by cess for the IFMC and later the ICTM, as the Council Soviet and Western political tensions, as well as theo-included people of many backgrounds, and constantly retical differences. Because of his long association with confronted sensitive diplomatic and political issues. the Council, he was trusted by the senior members. Not enough attention has been given to the use During the four years of his presidency of the IFMC, of language in the IFMC/ICTM Executive Board many of the challenges were infrastructural. As an inter-meetings. Trimillos provides an important insight to national and UNESCO-associated organization, the President Klaus Wachsmann, 1973–1977 87 the significance of Wachsmann’s fluency in English and German during his time in the Council: Wachsmann’s ability and willingness to speak German as well as English was an important part of his effective- ness. Not all German Jews in the post-War period were willing to speak German, even if it were a lingua franca. Most of the Eastern European colleagues came from the German intellectual tradition and German, rather than English or Russian, was one of the languages most of them had in common. Oftentimes Board discussions, both formal and informal, were partly in German, which for some Eastern European colleagues was a more comfortable conversational language. German was often the default language for earnest discussions, especially those regarding infrastructure and the inter- national logistics of the organization. (Trimillos 2020) Wachsmann’s installation as the president of the IFMC, succeeding Willard Rhodes was reported laconically in the October 1973 Bulletin: Professor Wachsmann, in taking the chair, remarked phlegmatically: “I understand this position is for two years”. As a member since the beginning of the organ- isation’s activities he expressed himself well aware of its difficulties but equally confident in its abilities. The meeting then adjourned. ( BIFMC 43, Oct 1973:11). The Council faced a number of challenges during his term, including a deficit budget, a delayed ballot mail- ing, and a changing intellectual climate. The report on the 1975 IFMC conference in Regensburg includes a statement on the form and aims of work within the IFMC presented by several members of the Council. It states that the increasing emphasis on music in its context requires greater attention of researchers to issues of ethics ( BIFMC 48, Apr 1976:10–11). In a president’s message to the IFMC, Wachsmann applauded the contributions of study groups to the Council (Wachsmann 1976). During Wachsmann’s four-year tenure, changes were made to the IFMC Rules; the Council held its first meeting in the Pacific region, in Honolulu, Hawai‘i; and Wachsmann gave a memorial tribute to Maud Karpeles, a central figure in the IFMC until her death at the age of ninety in 1976. Wachsmann’s diplomacy, collaborative style, linguistic skills, and sense of humour helped to keep the IFMC functioning, even as it con- tinued to change. References cited De Vale, Sue Carole. 1985. “ ‘Intrusions’: A Remembrance of Klaus Wachsmann (1907–1984).” Ethnomusicology 29/2: 272–282. Morgan, Paula. 2001. “Klaus P. Wachsmann.” Grove Online. Revised by Sue Carole De Vale. https://doi.org/10.1093/ gmo/9781561592630.article.29748. Seeger, Charles, and Bonnie Wade. 1977. Eds. Essays for a Humanist: An Offering to Klaus Wachsmann. Spring Valley, NY: Town House Press. Trimillos, Ricardo D. 2020. Email to Anthony Seeger, 30 Jul 2020. Wachsmann, Klaus. 1976. “President’s Message on I.F.M.C. Study Groups.” BIFMC 48 (Apr): 5. Poul Rovsing Olsen: IFMC/ICTM President, 1977–1982 Peter Cooke When Poul Rovsing Olsen (1922–1982) was appointed president of the International Folk Music Council in 1977, he had already been a member of the Council for over three decades. He brought with him a wealth of experience. He was a composer of considerable merit, receiving his initial musical training at the University of Copenhagen. Having developed a strong interest in composition, he then studied with Nadia Boulanger and Olivier Messiaen in Paris. He had also studied for a second degree in law and, from 1949, worked at the Ministry of Education where he was involved in draft- ing the Danish Copyright Act. However, an interest in non-Western music had led him to explore musi- cal traditions in the Arabian Gulf, Egypt, Turkey, and Greenland. In each case, he recorded and subsequently published representative samples of the traditional music of these regions. During the years leading up to his presidential appoint- ment (taking over from Klaus Wachsmann), he had proved himself a willing and highly useful member of the Executive Board. As Keeper of the Danish Folklore Archives (Dansk Folkemindesamling), he took on the responsibility for the care of the IFMC’s own archives (figure 1). Rovsing Olsen served as treasurer when the IFMC Secretariat was located in Copenhagen, 1967– 1968. He was co-opted to a number of committees, such as the Membership Committee; another to con- sider rule changes regarding verification of the Council’s accounts; and yet another to investigate the practicality Figure 1. Poul Rovsing Olsen in his office at the Danish of producing field recordings made by members of the Folklore Archives, 1967 (photo courtesy of the Danish Folklore Archives). IFMC. In 1971 he was asked to join the small commit- tee investigating ways and means of updating and con- tinuing the hugely important bibliography, created by nominated for the presidency of the Council to suc-Jaap Kunst and published in his ground-breaking book ceed Klaus Wachsmann, who was due to retire in Ethno-musicology. Kunst had died in 1960, and the bib-August 1977. liography clearly needed updating and expanding to include citations of more recent research publications, At the 53rd meeting of the Executive Board, held in as well as to make it available on a continuing basis. August 1977, Kishibe Shigeo, known for his detailed research into music of the Chinese Sui and Tang dynas- Given his decades of membership in the IFMC and ties, had observed that the Council’s work was heavily the usefulness of his wide knowledge and experience, based in the Western world. Rovsing Olsen’s own expe-it was little surprise that in 1975, at a Board meeting riences in researching and collecting in the Middle East in Regensburg, Poul Rovsing Olsen was unanimously In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 88–90. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. President Poul Rovsing Olsen, 1977–1982 89 changed to the International Council for Traditional Music (EB minutes, 57th meeting, 1–4 Jul 1980:§938). When the change of name was eventually achieved, Rovsing Olsen (figure 2) wrote in a short piece entitled “Summing Up the Conference”: We hope to have found a name which, much better than the original one, explains what our Council stands for in the world of scholarship—and in the world of international organizations. The IFMC has been con- cerned, from its beginnings, with all kinds of tradi- tional music, not only with “folk music”. This has not always been understood by outsiders. (Rovsing Olsen 1983; orig. written in 1981) Other pressing needs of the time were for the Board to give advice and to rationalize the degree of supervision necessary relating to numerous new national commit- tees and study groups, which were forming in many parts of the world outside Europe and needed guidance and some tactful control. The Board was also finding difficulty in cooperating with the OCORA record com- pany over plans to publish recordings resulting from the research of the Council’s members. At this time, too, the Council wanted to establish more fruitful contacts and relationships with the International Music Council and with the Society for Ethnomusicology in the US. All these issues called for resourcefulness and tact from the president. Figure 2. Poul Rovsing Olsen, 1978 (photo by Zofia Kruszona). The Council’s three vice presidents were given useful parts to play with regard to these issues. Claudie Marcel and India led him to agree that the Council is “much Dubois—one of the IFMC’s founding members in too much Western,” and to ask for suggestions as to how 1947—still served from time to time as a vice president the 1979 conference might help to remedy this, for the and was asked to help maintain fruitful contacts with geographical scope of the Council’s work was widening the Council’s national committees. Erich Stockmann, fast. (EB minutes, 53rd meeting, 18 Aug 1977:§849). another active, long-time member of the Council, had recently been in contact with the International Music This was also a period when members of the IFMC were Council on behalf of the IFMC in an attempt to estab-considering the usefulness of the term “folk music,” not lish better working contacts and was asked to continue just because it formed part of the Council’s title, though exploring such possibilities. He was also asked to serve as it had also become clear that the name of the Council interim chair at the meeting following Rovsing Olsen’s was in itself some hindrance to its attempts to strengthen death and was later nominated as Council president. links with other international organizations. The term Trần Văn Khê was the third vice president to serve with was considered irrelevant to scholars in many parts of Rovsing Olsen. Although he was born in Vietnam, he the world. In Rovsing Olsen’s own institution—the spent much of his working career based in France, but Danish Folklore Archives—“folk music” was already a maintained useful contacts with numerous Asian musi-questionable term. I recall his close colleague, Thorkild cal institutions and scholars. All three vice presidents Knudsen, confronting me in 1969, microphone in had good relationships with the president. hand, at the Edinburgh School of Scottish Studies, with the words, “Tell me, Peter, who are ‘the folk’?” However, It was a shock to the Board and to members everywhere it was not until the Board met in Dresden in 1978 that to learn at its meeting on 6 July 1982 in Dolna Krupa, a proposal for a name change was put forward by Dieter Czechoslovakia, that President Poul Rovsing Olsen had Christensen, one which led to “vigorous, serious and succumbed to a brief, but incurable, illness just four far-reaching discussion” (EB minutes, 54th meeting, days earlier. Despite serving for just less than five years 18–21 Aug 1978:§883). Members were clearly divided as president, this genial scholar had made a huge con-about this proposal, and it was only later in Tunis in tribution during a very difficult period in the history of 1980 that the Board voted by a narrow majority to rec-the Council. ommend to the General Assembly that the name be 90 Peter Cooke References cited Kunst, Jaap. 1955. Ethno-musicology: A Study of Its Nature, Its Problems, Methods, and Representative Personalities to Which Is Added a Bibliography. 2nd ed. The Hague: Nijhoff. Rovsing Olsen, Poul. 1983. “Summing Up the Conference.” YTM 15: xviii. Erich Stockmann: ICTM President, 1982–1997 Krister Malm Erich Stockmann and his wife, Doris, became involved gists from Eastern Europe and Swedish colleagues dur-with the IFMC in the 1950s. Erich was present at the ing the Cold War. It was comparably easy for scholars IFMC Conferences in Oslo (1955) and Copenhagen from Eastern Europe to get permission to travel to (1957) (figure 1, from Vargyas Lajos Archívum). Erich Sweden, since Sweden was a neutral country, a strong and Doris lived in East Berlin, German Democratic opponent to the Vietnam War, and also gave a signif-Republic, and due to the policies of the GDR govern- icant amount of aid to Cuba. It was also easy to travel ment, Erich and Doris could not travel to the West at the between Stockholm and East Berlin. A daily train ran same time. One of them had to remain in the GDR. This between the cities. One embarked the train in the late was, of course, an obstacle to participation in Council afternoon, slept in a wagon with beds, and arrived the events. Many times, Doris had to support Erich by stay-next morning in the other city. Furthermore, Erich and ing home. Ernst Emsheimer had similar experiences. Ernst was Erich was working at the Humboldt University in East from Leningrad and worked at the Soviet Academy of Berlin. Due to his refusal to become a member of the Sciences in the 1930s. In 1936, he was tipped off by a Communist Party, he faced a lot of difficulties at the friend that he was on Stalin’s death list. He had con-university. In 1966, he lost his job for a number of years nections in Sweden and managed to escape to Sweden and had to suffer endless bureaucratic harassments. with his family. Ethnomusicologist Jan Ling, professor Only in 1983 did he become a professor at the GDR at Gothenburg University, was a student of Ernst’s and Academy of Sciences, and he was the only professor met Erich in the 1960s through Ernst. Jan wrote his at the Academy that didn’t belong to the Communist PhD dissertation on the Swedish folk instrument nyck-Party. Most likely, the fact that he became ICTM elharpa (keyed fiddle), and Erich and I were evaluators. president in 1982 played a role in his appointment as Jan later became the chair of the Sweden–Soviet Union professor. He also became vice president of the GDR Friendship Association, a tactical move that further Music Council and, after 1989, also vice president of facilitated the visits of scholars from behind the Iron the united German Music Council. This was a very Curtain. I succeeded Ernst Emsheimer as director of important role, since the German Federal Republic had the Music Museum in Stockholm, and thus the pub-no ministry of culture, and all government subsidies for lication of Studia Instrumentorum Musicae Popularis by music activities (operas, orchestras, etc.) were distrib-the museum could continue. uted by the Music Council. In 1963, Erich became a member of the IFMC Executive In 1962, Erich formed the IFMC Study Group on Board, replacing Arnold A. Bake who had died. In Folk Musical Instruments (figure 2). This was an effort the same year, he became chair of the new Planning to consolidate his project Handbook of European Folk Committee, later re-named Steering Committee, which Musical Instruments that he had started with Ernst was to propose new rules for the Council, among Emsheimer in Stockholm, Sweden. The study group its various tasks. In 1965, Erich also became chair published the papers from their meetings in the series of the Committee on Comparative and Historical Studia Instrumentorum Musicae Popularis, with Erich Ethnomusicology, with three sub-groups: Historical and Ernst Emsheimer as editors. The series was pub-Research on African Music, the Systematization of Folk lished by the Music Museum in Stockholm, where Songs, and Research into Historical Sources (European Emsheimer was director. This study group is still active Folk Music). The last group later became the Study and is one of the oldest in ICTM. Group on Historical Sources, with Doris Stockmann as chair. In 1975, Erich became vice president of IFMC Here I will make a little detour to explain the special and, in 1980, co-editor of the Yearbook. He also served relationship between Erich and other ethnomusicolo-as co-ordinator of study groups. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 91–94. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 92 Krister Malm Figure 1. Lajos Vargyas and Erich Stockmann. Berlin, 1957 (photo courtesy of Vargyas Lajos Archívum, licensed under CC BY-NC-SA 4.0). On 6 July 1982, Erich was appointed president by When he became president in 1982, Erich asked me the Executive Board after the death of Poul Rovsing to arrange the 1985 conference in Stockholm. He also Olsen four days earlier. Erich was fifty-six years old. told me that he planned to have the 1987 conference At the 1983 conference, he was elected president by in East Berlin and also the 1989 conference in Eastern the General Assembly. The first problem he had to Europe or nearby. One reason for this was that it would deal with was the aggressive opposition, mainly from help him contain criticism from the East European East European members, to the change of name of the colleagues regarding the change of the Council’s name Council from International Folk Music Council to and prevent them from leaving the Council for the International Council for Traditional Music at the 1981 European Seminar in Ethnomusicology which had been conference in Seoul, South Korea. He dealt with this in founded in 1981 by John Blacking. his usual gentle and non-aggressive way. In his speech to The 1987 conference hosted by Erich in East Berlin was the General Assembly, he defended the change of name a big success. More papers were presented than in any and concluded that: previous conference. Inspired by the possibilities opened In the world of music, our new name is leading to a up by glasnost, many members from East Europe were better understanding of our goals, capabilities, and able to attend. A lot of young ethnomusicologists also potential functions. We find the ICTM surrounded by new expectations and tasks that constitute a chal- attended the conference. The influential East European lenge for the whole membership and particularly for member Oskár Elschek and his wife, Alica, arrived from the Executive Board. Our place among the interna-Bratislava driving their old Volkswagen, which would tional music organisations in the UNESCO family is not had been possible a few years earlier. Oskár and being redefined. The rôle of the ICTM in a variety of Olive Lewin from Jamaica were elected vice presidents. UNESCO-related projects is now under discussion, and the ICTM must rise to these new tasks. ( BICTM Claudie Marcel-Dubois resigned as vice president and 63, Oct 1983:11) was elected the first honorary member of ICTM. It was decided that ICTM should have only two vice presi- Poul Rovsing Olsen stated in Korea at the 26th Conference: “The International Council for Traditional dents, not three or more as was the rule before this Music is an open-minded, non-dogmatic organiza-conference. All these decisions display Erich’s talent for tion.” Let us keep it that way. (ibid.:12) tactical thinking. President Erich Stockmann, 1982–1997 93 Figure 2. Erich Stockmann (first from the right) at the 6th symposium of the Study Group on Musical Instruments. Kazimierz Dolny, 1977 (photo courtesy of Julijan Strajnar). In the Bulletin, the report from the 1987 conference other meetings in Wiepersdorf Castle, outside Berlin. starts: New national committees and study groups were formed. The 29th Conference of the ICTM, held from 30 It was a period of intense ICTM activity, propelled by July to 6 August, 1987, in Berlin (GDR), attracted Erich and Secretary General Dieter Christensen. 240 registered participants from forty countries. In a departure from long established policy, the Programme In 1992, Erich was elected to the Executive Committee Committee under Professor Erich Stockmann sched-of International Music Council in a bid from the IMC uled 90 papers in addition to audio-visual presentations to prevent ICTM from leaving the IMC. Erich diplo-and other events, which increased the opportunities matically accepted the post, but ICTM still left IMC for the growing number of working groups within the and went on with efforts to establish direct relations Council to present their results to the general membership. The ICTM Study Groups on Ethnochoreology, on with UNESCO. Iconography, on Music and Gender, and on Computer In 1993, Erich organized another successful con-Aided Research took advantage and organized their ference in Berlin. From 1994 and onwards, Erich’s own conference sessions. Conspicuous and most welcome was the active partici- pation of younger and young members in all aspects of Such events would be undertaken in collaboration with host the conference, and their contribution to the overcom- countries and the IMC. The 6th Asian Music Rostrum was held in Pyongyang, Democratic Republic of North Korea, ing of language and other barriers. ( BICTM 71, Oct 13–15 October 1983, and ICTM organized its first such 1987:3) symposium there, “Traditional music in Asian countries: Its During the years 1984–1991 many colloquia, symposia, inheritance and development.” A lengthy report on the event appeared in BICTM 65 (Oct 1984:9–13). Another sympo- and rostra took place.1 Erich organized colloquia and sium was planned for the next rostrum to be held in Ulan Bator, Mongolia, in 1985 ( BIFMC 66, Apr 1985:5), but the Executive Board later withdrew ICTM’s name from the event 1 At its 1983 General Assembly in Stockholm, the International because of lack of communication ( BIFMC 67, Oct 1985:15). Music Council charged ICTM with organizing scholarly Although ICTM was willing to organize future symposia at symposia in conjunction with IMC’s radio/television rostra. rostra, these do not appear to have eventuated. 94 Krister Malm health slowly deteriorated, and he became less active. However, he still participated in many ICTM events. He announced in 1995 that he was going to resign as president in 1997. When the 1997 conference took place in Nitra, Slovakia, Erich could not attend due to illness. Secretary General Dieter Christensen was also ill and could not attend the General Assembly. Thus, as one of two vice presidents, I had to compose the presi- dent’s report and present it to the General Assembly. A lot had been achieved, and the report was quite long. At the end of my report I said: I want to conclude by thanking Erich Stockmann for all the hard work he has put in for the ICTM over the years. I could go on at length enumerating crucial events and instances where Erich has held the rudder in firm hands and steered the Council away from threat- ening shoals. I will, however, not do this since I know that most of you are very aware of the great importance of Erich Stockmann to the ICTM. He has a moral sta- tus that we all should envy. All these years he has with a good measure of diplomatic skill managed to be faith- ful to truly democratic ideals and internationalism with STASI agents, and I’m sure also CIA agents, snooping around the corner. Even if he now steps down as pres- ident of the Council, we hope that he will still take part in our activities for many years to come. I suggest that we give Erich a standing ovation. [Acclamation]. ( BITCM 91, Oct 1997:15) Erich finished his term as president on 27 July 1997, when Anthony Seeger was elected president. Erich’s fifteen-year term was the longest of any Council presi- dent. He died in 2003 at the age of 77. Reference cited Vargyas Lajos Archívum. https://www.vargyaslajos.hu/picts/gal1/ index.html (accessed 12 Jun 2021). Anthony Seeger: ICTM President, 1997–1999 Anthony Seeger I always saw my term as ICTM president as a transitional the world and because I thought the activities of the one. I took office at the 34th ICTM World Conference Council to be very valuable. We held one long meetin Nitra, Slovakia, on the 50th anniversary of the ing every year, one that met before and after the world founding of the IFMC (figure 1), and passed the pres-conference, and the other that met in the intervening idency to Krister Malm at the 35th World Conference year, often in association with a conference or event in in Hiroshima. I would later take on the responsibilities which some of the Board members could participate. of the ICTM secretary general in 2001, but that narra- With a term of six years, renewable once, the Board tive appears in the section on secretaries general. This provided stability for a group that only met once a year. section presents a brief outline of my involvement with The president and vice presidents had two-year terms, the ICTM prior to my election as president, a short dis-though there was no limit on the number of years they cussion of the roles of the Executive Board, president, could serve. Erich Stockmann had been president for and secretary general at that time, and a description of five years and Dieter secretary general for six, when I some of the activities during my presidency. joined the Board. I have been a member of the ICTM since 1982. Like Two things struck me immediately when I joined the many members, I joined because I wanted to participate Board. The first was how small the total budget of the in a nearby world conference. In my case it was the 1983 ICTM was, around USD 62,700. It was run on what conference at Columbia University, where the recently in US English we call “a shoestring”—very little money. appointed ICTM secretary general, Dieter Christensen, The small budget could accomplish a lot because the was a professor. I thought the conference a great suc-Board members were volunteers, and the secretary gen- cess intellectually and socially. But I had no intention eral also did not charge for his work. His wife, Nerthus, of renewing my membership because I thought I could received a very low payment for her hard work. They not attend more distant world conferences and because literally managed most of the business of the ICTM on I was already an active member of several other pro-the dining room table of their faculty apartment in New fessional organizations in anthropology, folklore, and York City. The Yearbook for Traditional Music, Bulletin s, ethnomusicology. Nerthus Christensen, Dieter’s wife and directories were self-published and mailed from the and secretary treasurer of the ICTM, kept sending me ICTM offices, which is much less expensive than using renewal notices, encouraging me to continue my mem-a commercial publisher, but required the editor do to bership, as I am sure she did many others. I believe it all the copyediting and proofreading, negotiate with a was after the third reminder that I gave in and I have printer, and make arrangements with the mail service. been a member ever since. In their review of their twenty Yet the main ways to increase the size of the budget years of service as secretary general (N. Christensen were to raise membership dues, which the Board was and D. Christensen 2001), they wrote that the 1983 reluctant to do because membership was already expen-world conference led to a large surge in membership. sive in many currencies, or to increase the number of I am sure they worked hard to keep the new members. members—though each new membership also incurred Dieter, then the editor of the ICTM journal, Yearbook expenses. There was very little money available for new for Traditional Music, later invited me to assume the role initiatives, unless they could be funded through an out-of book review editor. I accepted and served from 1986 side source, of which the UNESCO series of recordings to 1992. I was elected to the ICTM Executive Board in was one. An impediment to joining the Board was that 1987 and served on it for ten years prior to my election members were expected to pay their own transportation as president and two years after my term. to the meetings every year in places always distant for I enjoyed serving on the Executive Board because some members. Internet access was still quite limited, it included interesting scholars from many parts of though I asked those who could not attend the 1998 In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 95–98. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 96 Anthony Seeger Erich and Dieter were a nice complement to one another at the Board meetings. Erich was genial and thoughtful, often moving toward compromise when there were disagreements. Dieter often had actions he wanted the Board to agree to. He would get frus- trated when his ideas weren’t adopted. Erich was based in East Germany, and Dieter in the United States, an important balance during the Cold War and an impor- tant reason the ICTM could be active on both sides of what was then called the Iron Curtain. During the ten years I served on it, the ICTM Executive Board dealt with its regular agenda, but some of us on the Board felt that some changes in procedures and organiza- tion would be desirable for the ICTM. The election of officers was one area where there was sometimes con- flict within the Board. This is not surprising, since hir- ing and promotion in academic departments can also be contentious. The ICTM did not have a nomination committee until the twenty-first century. Instead, the Board would prepare a slate of nominations for each election. It would propose one nominee for each of the offices to be filled. It was possible for any two members of different national committees or countries to make additional nominations, but they almost never did. As a result, the membership was usually presented with a single slate of candidates to approve. This appeared to some Board members to be undemocratic and contrib- uting to an undesirable image of the Board as a small, self-perpetuating in-group. In addition to creating a Figure 1. Anthony Seeger addressing the General slate of nominees, the Board could invite (co-opt) up Assembly of the 34th ICTM World Conference in Slovakia. to two additional members without an election. Local Nitra, June 1997 (photo courtesy of Anthony Seeger). arrangements chairs of future world conferences were often co-opted, as well as scholars from parts of the Board meeting to remain close to their telephones for world that were underrepresented on the ICTM Board. a certain number of hours. I had negotiated a large I experienced the internal dynamics of a nomina-travel budget from my employer and could manage tion personally at the 1994 Board meeting. Erich the expense, but without strong institutional support Stockmann, who had been president for fifteen years, or government support, commitment to a six-year term was in ill health and decided he would resign so that on the Board meant a major financial investment. a new president could be elected in 1997. The 1996 The second thing that impressed me was how little Board meeting was held in the castle of Smolenice in change there was to the agenda of each meeting. The Slovakia. Krister Malm (figure 2), then serving as a vice agenda involved reviewing the activities of the Council, president, was unable to attend, but his name had been including the activities of the national committees and mentioned as a good replacement for Erich Stockmann. liaison officers, the activities of each study group, appli- When we reached the point in the meeting where we cations for new study groups and colloquia, selecting would decide on our nominations, we adjourned to take the programme-committee members and preparing a a break. Erich came up to me in a hallway and asked me slate of nominees for the biennial elections. Information if I would do him a favour. It was always difficult to about Council activities was provided at considerable refuse Erich a favour, so I asked what it was. He asked length by the secretary general, while the president me not to decline if I were nominated as the Board’s chaired the meeting and called for advice and decisions. candidate for president. I responded that I would agree Every two years, at the world conference, the General to his request, but that I thought Krister would be a Assembly of the ICTM would hear a report from the much better president than I, and that I would vote president, a report from the Executive Board, learn the for him. To my immense surprise, I was nominated results of the election for officers and other Board mem-and received the most votes and was put on the bal- bers, and could raise questions if they wished to. lot as the Board’s nominee for president; with Krister President Anthony Seeger, 1997–1999 97 Figure 2. Krister Malm and Anthony Seeger at the ICTM world conference in Sheffield, 2005 (photo by Trần Quang Hải). Malm (Sweden) and Salwa El-Shawan Castelo-Branco When I drove down to Dieter’s lovely summer home (Portugal) as vice presidents; and Marianne Bröcker in the mountains of western Massachusetts, with a few (Germany), Allan Marett (Australia), and Wim van initiatives I thought it would be good for the ICTM Zanten (the Netherlands) as nominees for the Board. to pursue, he told me that the ICTM president is (Both Malm and Castelo-Branco would eventually just a figurehead, and that the secretary general is the serve very active terms as president). person who really mattered for the ICTM. This may The next morning, when I joined Dieter and Nerthus have been a legacy from the era of Maud Karpeles, for breakfast, his first words, spoken in an angry tone of who pretty much dominated the early presidents. He voice, were: “You should have refused the nomination.” stressed that it was very different from the Society for He thought Krister would have been a better choice— Ethnomusicology (SEM), which (at that time) had no as did I. Krister was a good friend and we had spent a professional manager and thus required much more of lot of time together. But I also believed that free vot-its presidents (I was already aware of this since I had ing and multiple candidates were a normal process. I been elected to the SEM Executive Board in 1986– never told Dieter about my promise to Erich. But our 1988 and served as its president in 1992–1994). My relationship remained somewhat strained for the dura-meetings with Dieter were socially congenial, but pro- tion of my two-year term. After the Board meeting, fessionally tense, and the Board meetings were tense as Dieter approached Krister about a possible nomination well, though we did all the normal things—prepared for through two members in different countries in order to the 1997 world conference in Hiroshima, Japan, mon-have at least two nominees for president for the mem- itored study groups and colloquia, and followed the bership to choose between, but Krister refused. Dieter normal agenda. Dieter was also a good mentor to me. I was used to having a president on the other side of both became much more familiar with budgetary and pub-the Atlantic Ocean and the Iron Curtain (which in lication details of the ICTM. He took me with him to 1996 was falling). He was accustomed to doing most of Paris for a meeting of UNESCO NGOs and introduced the work and planning of the ICTM himself along with me to the UNESCO Intangible Heritage Office. The Nerthus. I think he was justifiably concerned about hav-relationships I forged with Noriko Aikawa and others in ing both the president and the secretary general of an that office were very important and led to my represent-international organization based in the United States. ing the ICTM in several initiatives as the president and I think he was also insecure about what changes would later secretary general of the ICTM, which was then come about after fifteen years with Erich Stockmann, a Non-Governmental Organization (NGO) “in formal especially since I was part of a group of Board members consultative relations” with UNESCO. This meant that critical of some long-standing procedures. if UNESCO wanted an NGO’s opinion on anything having to do with traditional music, it could ask the ICTM to provide it, and the ICTM would respond. I 98 Anthony Seeger became involved in the preparative phases to the crea- the Council and to help to understand the directions tion of the 2003 UNESCO convention on intangible the organization has taken after my term ended. cultural heritage. At its 1998 meeting the Board nominated Krister Malm I also encouraged the Board to reflect on the structure for president, and I was nominated as a Board mem-of the Council. I sent an email to them that said: ber. He assumed the presidency in Hiroshima in 1999. Given the changes in technology, professional activ- During my term as president, the ICTM continued its ities and institutional support, what might we need regular business and I laid some of the groundwork for to change to have an effectively run organization? It the active presidents that followed me and for the kind is much more important for us to think about what of collegial collaboration that has characterized the rela-the ideal organization would be, and then make that happen, than to try to replicate what has been done for tionship between ICTM presidents and secretaries gen-nearly two decades without careful consideration as to eral since 2001. whether it is the one that will best serve us in the next decade. I asked them to come to the 1998 meeting prepared Reference cited to discuss what kinds of organizational structures they Christensen, Nerthus, and Dieter Christensen. 2001. “20 Years were familiar with elsewhere that worked well and that ICTM in New York.” BICTM 98 (Apr): 25–26. we might wish to consider for the Council, how we might increase the use the Internet to benefit commu- nication and Council activities, and whether there were any kinds of meetings, in addition to the colloquia, study groups, and world conferences, that we should be considering. In the coming years, future ICTM presi- dents would spearhead important rewrites of the ICTM “Rules,” the Internet became a vital centre for ICTM communications, and in 2015 the ICTM began a series of fora designed to provide an environment conducive to overcoming disciplinary and other barriers that often interfere with the recognition and appreciation of dif- fering systems of thought. This is why I consider my presidency to have been transitional—I started conver- sations that were completed and enacted by later presi- dents and secretaries general. In early 1998 it seemed to me that one of the most important things I could contribute to the ICTM would be to serve only one term. It was important to demon- strate that the officers of the ICTM did not always serve long terms, but that they could rotate regularly and democratically. My decision was further prompted by my father’s illness and an anticipated job change, both of which would demand my time. My final act as president of the ICTM was my President’s Report to the 34th General Assembly at the 1999 World Conference in Hiroshima, Japan. I sug- gested that “between the lines [of the Bulletin s] lie the adventures of our intellectual lives” ( BICTM 95, Oct 1999:20). I also called for an activist ethnomusicology that would address the horrors of war, ethnic and reli- gious conflicts, and displacements of large populations that continue to afflict us and the musicians and com- munities whose performances we study and admire. This essay has tried to take you between the lines of the Bulletin s to look at some of the human dilemmas and efforts that have always been part of the governance of Krister Malm: ICTM President, 1999–2005 Krister Malm I became a member of the ICTM Executive Board in harpa (keyed fiddle). The reports of the Study Group on 1983 at the conference at Columbia University, New Folk Musical Instruments had been published since the York, where Erich Stockmann was elected president (he inception of the Study Group by the Music Museum in had previously been acting president since the death of Stockholm where I had been a member of the museum Poul Rovsing Olsen). Before 1983 my participation in board in the 1970s and in 1983 had become the direc-the activities of the IFMC/ICTM had been rather spo- tor. The reports were edited jointly by Erich and my radic. I had attended a couple of conferences since I predecessor at the museum, Ernst Emsheimer. Thus, became a member in 1965. I was recruited by Maud Erich was quite often in Sweden. Erich asked me if I Karpeles at the meeting of the IFMC Radio and Record could organize a conference in Stockholm. I secured the Library Committee in Stockholm, but I’m afraid I support of the Swedish Royal Academy of Music and didn’t pay my dues every year. I presented a conference could say yes to Erich’s request shortly before the 1983 paper the first time at the 1971 Conference in Jamaica conference. After I had been elected a Board member, in a session chaired by Charles Seeger who had visited Erich invited me to his hotel room and gave me some me in Sweden in 1968 to study the equipment at the kind of advice on how to behave as an ICTM Board laboratory for analysis of sound which I was in charge member (with dignity, properly dressed, etc.) and how of at Uppsala University. to deal with the secretary general (be patient, don’t con- In Jamaica, I also for the first time got acquainted with front him in EB meetings, talk to him privately, and IFMC “politics.” I was invited by Poul Rovsing Olsen, have good, logical arguments). later IFMC/ICTM president, to an evening meeting I met Dieter Christensen for the first time at the 1983 in a restaurant. Actually, I was not very happy about conference and we had a very efficient cooperation in this since I had planned to join a jam session organ-organizing the 1985 conference with me as programme ized by Richard Waterman (Chris Waterman’s father) chair. During the 1985 conference I was approached who was an excellent bass player, but I felt I had to go by a delegation of mainly North American participants to the meeting. There were around ten people in the who tried to convince me that I should make an offer restaurant. It turned out that the agenda was how to to host the Secretariat in Stockholm and become secre-make Maud Karpeles agree to a change of the name of tary general. I immediately refused to do so. I thought, the Council, which was something Poul had proposed and I still think, that Dieter and Nerthus Christensen when the Secretariat was hosted for a couple of years managed the Secretariat in an excellent way during their in Copenhagen (1967–1969). Poul, who spent a lot of twenty years in office. time in France, ordered a bottle of wine. I was working During the following years as Board member, and from in Trinidad at the time, and I advised Poul that Jamaica 1995 as vice president, I had quite a few tasks. I was the was rum and beer country. Poul got his wine, said it liaison to Jeunesses Musicales and Mediacult in Vienna. tasted awful, and sent the bottle out to get a better wine. In 1989 I became chair of the ICTM Commission on Two big guys came and asked us to leave the restaurant Copyright and Ownership in Traditional Music and or else … Well, we left and found another place and Dance with Kurt Blaukopf (Austria), Olive Lewin Poul ordered beer. But the agenda of the meeting was (Jamaica), Mwesa Mapoma (Zambia/Gabon), Salwa somehow forgotten. El-Shawan Castelo-Branco (Egypt/Portugal), and The reason for my election to the Board in 1983 was Ricardo Trimillos (USA) as members. This commis-that the ICTM conference in 1985 was due to take place sion distributed a questionnaire with the Bulletin and in Stockholm, Sweden. I had known Erich Stockmann received replies from twenty-nine countries forming the since 1967. We met when we both were evaluators when basis of a report to the Board which was later fed into Jan Ling defended his PhD thesis on the Swedish nyckel-the processes going on at the time regarding intangible In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 99–103. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 100 Krister Malm I was also very active in the dispute with International Music Council (IMC) regarding the project “Music in the life of man.” This project started in 1980, but made very little progress. In 1988, ICTM proposed a change of the name to “Universe of music,” which was accepted. In 1993, at an IMC meeting in Paris, Dieter and I voiced our opinion that the project was gravely mismanaged, wasting UNESCO funds. Later we were proven right since nothing was published. This conflict resulted in ICTM leaving the IMC and the subsequent process resulting in ICTM getting status as an inde- pendent organization in formal consultative relations with UNESCO in 1997. I did quite a lot of lobbying to achieve this. The new status enabled ICTM to apply for support from UNESCO for projects, such as meet- ings and publications. This status was later renewed and reinforced during my time as president. As Anthony Seeger relates in his essay on his term as president, Dieter Christensen wanted me to become president in 1997, when Tony was elected. Dieter and I had our disputes but we had generally worked very well and efficiently together. When Tony said he would not stand for re-election in 1999, I agreed with Dieter’s Figure 1. Krister Malm at the 2005 world conference in Sheffield (photo by Trần Quang Hải). wish and was elected president at the conference in Hiroshima, Japan, in 1999. I wanted to continue the momentum for a more democratic Council that cultural heritage in UNESCO and traditional cultural Anthony Seeger had started. I quote from the minutes expressions (formerly called expressions of folklore) in of the General Assembly in Hiroshima: the World Intellectual Property Organization (WIPO). President Krister Malm takes the chair with words of Especially important was a meeting organized jointly thanks for the outgoing president Anthony Seeger and by UNESCO and WIPO in Phuket, Thailand, in April the departing Board members for the work they did for 1997. There were representatives of some 130 gov- the Council. [Acclamation] ernments and NGOs present at the meeting. Shubha He then addresses one issue of concern to him: the elec- Chaudhury, Sherylle Mills, and I were the ICTM del- tion procedures. He says that although the governing egates. We made our input and the meeting resulted instrument of the Council, the Rules, provide for nom- inations from the membership and national commit- in the Phuket “Plan of action,” where areas of action tees, this opportunity almost never was used, and with were divided between UNESCO and WIPO. This plan that the necessity of a multiple slate to be put before the formed the base for, inter alia, UNESCO’s ensuing membership-at-large to vote on. work with safeguarding intangible cultural heritage. To correct this situation, Malm discussed election Lisbet Torp and I were appointed to organize a meet- procedures at yesterday’s meeting of ICTM National ing of national representatives during the 1991 con- Representatives (i.e. national committees – NC, and liaison officers – LO) where the participants nominated ference in Hong Kong. The task was to “develop a Don Niles (LO Papua New Guinea), Svanibor Pettan body of representatives of National Committees and (LO Slovenia) and Kwon Oh-sung (president of the Liaison Officers into a permanent deliberative organ NC Korea) to work together with the Board in revising of the Council.” This was successfully achieved. I was the election procedures to make the process more dem- programme chair for the 1993 conference and the ocratic. The committee will prepare a proposal for the next General Assembly in Rio de Janeiro 2001. two colloquia held in Sweden in the 1990s, and also an ICTM seminar at World Music Expo (WOMEX) Before President Malm hands the chair back to in Stockholm in 1998. Furthermore, two sessions were Anthony Seeger to lead the session to its end, he thanks the membership for his election and promises to do his organized at the big UNESCO conference “The power best for the aims of the Council, which should take into of culture” in Stockholm in 1998 with Anthony Seeger, consideration not only research but also the accept- Ricardo Trimillos, Dan Lundberg, Owe Ronström, and ance of responsibilities on the international scene. me as participants. [Acclamation]. ( BICTM 95, Oct 1999:23–24) President Krister Malm, 1999–2005 101 Figure 2. Jane Moulin, Jonathan Stock, Kelly Salloum, Svanibor Pettan, Krister Malm, Alma Zubović, and Jane Sugarman. ICTM world conference, Sheffield, 2005 (photo by Trần Quang Hải). The Executive Board appointed an Election Review After decisions regarding the 2001 conference in Rio Committee with me as chair and Board members de Janeiro, we reached the point on the Board agenda Lumkile Lalendle, Allan Marett, and Anthony Seeger, regarding the proposal from the Election Review and National Representatives Kwon Oh-sung, Don Committee and the meeting became rather chaotic. Niles, and Svanibor Pettan. Since there were some Dieter opposed the proposal vigorously and said that tensions, I also started to improve relations with sis-he had lost all confidence in me. He also announced ter organizations, especially the European Seminar that he would retire from his position as a professor at in Ethnomusicology (ESEM) and the International Columbia University in 2005 and that, therefore, the Association for the Study of Popular Music (IASPM). ICTM Secretariat would have to relocate. Furthermore, Before the Board meeting in Bucharest in June 2000, he would step down as general editor of the Yearbook the Election Review Committee presented a proposal to for Traditional Music after volume 33 (2001) and also as introduce a nomination committee with some members editor of the UNESCO Collection of Traditional Music. appointed by the Board and some by the Meeting of Agenda items became mixed up. Board members were National Representatives. I sent the proposal to Dieter confused. A search committee for a general editor of the via email. I got a reply from Dieter that I interpreted as Yearbook was appointed. There was an attempt to nom-an okay. Before the start of the Board meeting, Dieter inate a candidate for president, but in a way that was told me that I had to scrap the proposal. He said that rejected at the subsequent Board meeting and no more the Meeting of National Representatives could not han-decisions could be made. dle appointment of members to a nomination commit- A second Board meeting for the year was proposed by tee. Since Lisbet Torp and I had called the meetings of Dieter and took place in Berlin in September 2000. national representatives every conference starting from Two of the Board members who had supported me in 1991 and reported in the Bulletin from these meetings, Bucharest could not attend this meeting. The Board I was convinced that the national representatives were nominated Salwa El-Shawan Castelo-Branco as pres-quite capable of handling this task. Thus, I told Dieter I idential candidate. This was done in a peculiar way would not scrap the proposal from the Election Review where abstention from voting was registered as a nay Committee, but go forward and present it to the Board vote which caused more conflict. It appears that the for approval. Dieter got very angry. minutes of this Board meeting only exist in draft form; apparently no final version was ever created. Lisbet Torp and Stephen Wild nominated me as presidential can- 102 Krister Malm didate. So, ironically now, there were two presidential The new Rules were adopted by the General Assembly candidates, just as the Election Review Committee had of ICTM members at the conference held in 2004. proposed. The evaluation of candidates to UNESCO’s list of When the election result that I had been re-elected as Masterpieces of the Oral and Intangible Heritage of president was announced in the General Assembly at Humanity and the sometimes very cumbersome work the 2001 conference in Rio de Janeiro, Brazil, Dieter with the UNESCO record series was handled exceland Nerthus Christensen quite dramatically resigned as lently by Secretary General Anthony Seeger and Kelly secretary general and executive secretary with immedi-Salloum in the Secretariat. Wim van Zanten also helped ate effect. Knowing Dieter, I suspected that something out with contacts with UNESCO regarding the draft-like this could happen and had prepared two options ing of the 2003 Convention for the Safeguarding of the for a new Secretariat. Within twenty-four hours after Intangible Cultural Heritage. the resignations of the secretary general and executive In 2003, the International Music Council’s new presi-secretary, the Board decided to accept an offer from dent, Einar Solbu, presented the “Many musics action University of California, Los Angeles (UCLA), to host programme.” This meant a break with the previous the Secretariat with Anthony Seeger as the new secretary hegemony of Western art music in IMC which was general and Timothy Rice as acting treasurer. Members caused by the dominance of representatives of Western of the Executive Board also took on parts of the tasks art music (among others, the many “fan clubs” such previously performed by the secretary general. This as the Chopin Society, Schubert Society, etc.), which decision could be made so quickly since all the relevant together with the conflict regarding the “Universe of decision makers from UCLA were present at the confer-Music” project were the main reasons for ICTM leav- ence in Rio. UCLA also later contributed a substantial ing IMC a decade earlier and successfully seeking inde-sum of money towards the running of the Secretariat, pendent status in UNESCO, a status that was renewed which was a new type of funding for the ICTM. I am and enforced in 2003. I met with Einar Solbu and con-very grateful to UCLA, especially the then Dean of the gratulated him for the new direction of IMC. School of the Arts and Architecture Daniel Neuman, then Department of Ethnomusicology Chair Timothy The 2003 conference was due to take place in two Rice, and foremost, Anthony Seeger, who all did a great Chinese cities, Fuzhou and Quanzhou, in July 2003. In service to the ICTM by taking on the responsibility to 2002 there was Board meeting in Fuzhou and, among bail the ICTM out of the dilemma that arose in the other things, the Board looked at the premises for the General Assembly meeting in Rio. I am also grateful to conference. They were fine in Fuzhou, but when we Stephen Wild, who accepted to replace Dieter as editor came to Quanzhou, we were taken to an empty field of the Yearbook. outside the city. We were told that when our confer- ence was due to take place there would be a brand-new The Board in Rio also appointed a Rules committee, university in this field with state-of-the-art equipment! consisting of Egil Bakka, Tsukada Kenichi, Anthony Due to the outbreak of SARS (Severe acute respiratory Seeger, and myself to work out a proposal for new syndrome) in China, the conference was postponed ICTM rules. My wish was to at least get the prepara-until January 2004, and then there was indeed a new tion of new rules underway. A proposal for new rules university on the field. was presented in Bulletin 101 (Oct 2002:15–20). They included a number of changes, for example: In October 2004, a UNESCO conference on integrated • a nomination committee with three members, approaches for safeguarding tangible and intangible cul-two appointed by the Assembly of National and tural heritage took place in Nara, Japan. This meeting Regional Representatives and one by the Executive was prompted by the need to establish an organizational Board structure within UNESCO in order to handle issues • introduction of transparent motion and voting regarding the 2003 Convention for the Safeguarding of procedures the Intangible Cultural Heritage. The number of partic- • new terms for officers and members of the Board ipants was around thirty, which meant that round-table type of discussions could take place involving all par- • regulation of the role of the secretary general and the treasurer (the secretary general was not even ticipants. Adrienne Kaeppler, Wim van Zanten, and I, mentioned in the old rules) all members of the ICTM Executive Board, were very • study groups and colloquia written into the rules active participants in the meeting. The discussions were (not mentioned in the old rules) lively both in the formal sessions and during meals and evenings. The Nara conference resulted in a policy docu- • introduction of regional bodies ment which was named the “Yamoto Declaration,” after • memoranda as appendices to supplement the main the region where Nara is situated. body of rules. President Krister Malm, 1999–2005 103 In 2005, the ICTM elections for the first time were held according to the new rules with candidates appointed by a nomination committee. I had decided not to run for re-election, since I thought twenty-two years of involvement in the running of ICTM was enough. I also retired from my work as general director of the Swedish National Collections of Music the same year and thus lost my institutional base and the funding that went with it. I think ICTM has had and continues to have very important roles to play both inside the community of scholars and as a player in international cultural pol- itics. I have continued to attend conferences and other meetings, mostly together with my wife, Anna, and I hope to be able to do so for many more years. Adrienne L. Kaeppler: ICTM President, 2005–2013 Adrienne L. Kaeppler My first association with the IFMC was the 20th World as such testified to the four years of seeking and finding Conference in Edinburgh, UK (1969), when I gave a new stability on the executive level, led by Krister Malm paper on Tongan dance and met Anna Czekanowska, as president and Anthony Seeger as secretary general. It with whom I became very friendly and visited her in came as a total surprise when I found myself nominated Poland. Before that my music associations were with for president and even more so when I was elected at the Society for Ethnomusicology (SEM), where I was the 38th World Conference in Sheffield, UK (2005). on the Board and vice president. I found SEM to be It turned out that I became the first female president too provincially American, and was happy to find more (if we do not include the title of honorary president internationally interested people in IFMC. However, as given to the Council’s founder, Maud Karpeles) and the I lived in Hawai‘i, it was difficult to attend conferences first “dance person” in that role (again, with Karpeles very often. The 22nd World Conference in Bayonne, in mind also here). My great hope for my presidency France (1973), was particularly important to me; was to make the Council more international and less this is when I met Anca Giurchescu, and we became Eurocentric. international colleagues, along with others interested My first emphasis was on study groups. In my opin-in dance.1 I found to my disappointment, however, ion, they are the lifeblood of our Council and par-that when I inquired about joining what was then the ticularly important for research and interpersonal IFMC Study Group on Terminology of Choreology, I relationships. My involvement in the Study Group on was told that this was a very closed group, not open Ethnochoreology and the Study Group on the Music to the general membership. In fact, I did not join the and Dance of Oceania gave me perspectives on how study group until 1990, when openness was already various study groups operated, and how any prob-instituted. The study group used to be predominantly lems could be immediately handled during the next Eurocentric, with researchers studying the dances (and Executive Board meeting. During the eight years of usually music) of their own areas and countries. On the my presidency, I was very pleased that the study groups other hand, the world conferences were occasionally prospered and expanded, the Study Group on Musics of taking place outside of Europe, such as for instance in East Asia being just one of several inspiring examples. Honolulu, Hawaii, USA (1977), Seoul, Korea (1981), New York, USA (1983), Kowloon, Hong Kong (1991), I want to note here that in my opinion being president and Canberra, Australia (1995), and I always had is not nearly as difficult as being secretary general, and appreciation of such a wider scope. At the 35th World it is most important how the two understand each other Conference in Hiroshima, Japan (1999), I was co-opted and work together. My mandate, extended for additional to the Executive Board. Being a Board member was four years at the 40th World Conference in Durban, definitely an eye-opener to me when I was quickly South Africa (2009), was especially satisfying, as it ena-made aware of the internal tensions between individ- bled me to work with two secretaries general. My term uals and countries. overlapped most of the time with Stephen Wild as sec- retary general (2005–2011), a fellow Oceania-specialist There was a turmoil in that period, which I understood of approximately the same generation as myself, whom as disagreements within the EB, including the two prin-I knew well from earlier on. Stephen and I worked cipal authorities—president and secretary general. I was together well in all respects, and I had the opportunity not aligned with any of the involved parties and did to visit him in Australia several times during our man-not take sides. At the 36th World Conference in Rio dates. A particularly important issue was the permanent de Janeiro, Brazil (2001), I became vice president and housing of the ICTM Archive at the National Library 1 More on this is provided in the chapter on the Study Group on Ethnocoreology in this volume by Dunin and Foley. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 104–106. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. President Adrienne L. Kaeppler, 2005–2013 105 Figure 1. Lee Anne Proberts, Stephen Wild, Carlos Yoder, Adrienne Kaeppler, and Svanibor Pettan. St. John’s, July 2011 (photo courtesy of Svanibor Pettan). of Australia in Canberra.2 Svanibor Pettan, who was in ICTM was overridden, and that our travels to such secretary general for the last two years of my mandate diverse conference locations were worthwhile and ben- (2011–2013) introduced many novelties and further efited the Council. contributed to our shared wish for further internation- Vice presidents during various periods of my two man- alization of the Council (figure 1). dates were Allan Marett, Wim van Zanten, Svanibor As the world conferences are especially important for Pettan, Salwa El-Shawan Castelo-Branco, and Stephen global reach and inclusion of as many cultures as pos-Wild. Although vice presidents do not always have spe- sible, I will note that during my eight years as presi- cific duties, Wim van Zanten was especially helpful in dent, the four world conferences were held on four dealing with the many interactions with UNESCO. continents: Europe (Vienna, Austria, 2007), Africa Vice presidents seldom need to take over the duties (Durban, South Africa, 2009), North America (St. of the president, especially during a Board meeting; John’s, Newfoundland, Canada, 2011), and Asia however, this did happen during my term in office. I (Shanghai, China, 2013). Organizing the conference in was particularly grateful to Allan Marett and Wim van Durban was challenging in several respects, but through Zanten who presided over the 2006 Board meeting in the joint efforts with Secretary General Stephen Wild, Ljubljana, Slovenia, in September 2006, when I trav-Programme Chair Wim van Zanten, and the local elled to Tonga to take part in the funeral ceremonies of arrangements committee, in which Executive Board King Tupou IV. member Patricia Opondo had an important role, we Publications during this period went well, primarily testified to a very successful event. Preparations for the because it was our good fortune to have Don Niles as 43rd World Conference in Astana (present-day Nur-general editor of the Yearbook for Traditional Music Sultan), Kazakhstan, also started under my presidency, and the excellent reviews team consisting of Margaret and I remember the first meetings with the general sec-Sarkissian (audio) and Frederick Lau (books), comple- retary of TÜRKSOY, Dusen Kaseinov, and with many mented by the appointment of the first website reviews other dignitaries, in 2012, which were marked by the editor, Suzel Reily. The electronic-only publication very active involvement of Svanibor Pettan and Razia of the Bulletin was managed after the move of the Sultanova (figure 2). The increasing number of study Secretariat from Canberra to Ljubljana in 2011. groups held its symposia world-wide and four colloquia took place during these eight years in USA (2006), UK Other improvements include online renewal of (2009), Australia (2011), and Portugal (2011). I am memberships and electronic voting. It feels good happy to note that the historical Eurocentric emphasis to realize that colleagues from various parts of the world, regardless of ethnicity, religious affiliations, age, 2 For more, see the chapter on the ICTM Archive in this volume political views, or health conditions find themselves by Wild, Woo, and Proberts. 106 Adrienne L. Kaeppler Figure 2. Timothy Rice, Salwa El-Shawan Castelo-Branco, Stephen Wild, Adrienne Kaeppler, Razia Sultanova, Düsen Kaseinov, and Svanibor Pettan. Shanghai, June 2012 (photo courtesy of Svanibor Pettan). comfortable at ICTM. I am particularly happy that during my mandate, the international reach of ICTM was enlarged with Razia Sultanova on the Board, and our first conference in the large expanse of what used to be the Soviet Union taking place in Astana. Finally, I want to note that being president of ICTM for eight years was a great honour, and so were my previous services as vice president and Board member. Salwa El-Shawan Castelo-Branco: ICTM President, 2013–2021 Salwa El-Shawan Castelo-Branco I was elected ICTM president for two terms, at the 42nd sented areas such as Africa, the Middle East, and Latin ICTM conference held in Shanghai in 2013, and at the America, and to attract more young scholars and stu-44th conference in Limerick in 2017. These elections dents. I also supported the consolidation and expansion culminated my engagement with the Council over four of study groups, as well as cooperation with national decades. As a graduate student at Columbia University and international scholarly societies, and transnational in New York (1973–1979) and later as assistant pro-organizations, such as UNESCO and WIPO. fessor at New York University (1979–1982), Dieter In my service to the Council, I was guided by prin-Christensen (my advisor at Columbia University’s doc- ciples of professional ethics, the ideals of democracy, toral programme in ethnomusicology, then an ICTM transparency, and shared responsibility. I would like to Board member) encouraged me to give my first paper emphasize that the developments described below were at the 25th IFMC Conference in Oslo, in 1979, and the result of team work and close cooperation with the later to engage in the Council’s activities. Since my Secretariat and the Executive Board in a friendly, colle-appointment in 1982 as associate professor at the Nova gial, and constructive atmosphere. Our shared goal was University of Lisbon, Portugal, I became involved in to make the ICTM an inclusive, representative, demo-many of ICTM’s scholarly activities and its govern- cratic, and transparent international scholarly organiza- ance.1 Thus, when I took office as president, I was quite tion that spearheads debate on current issues in music familiar with the Council’s workings, needs, and poten-and dance research (figure 1). tial. Following Anthony Seeger’s legacy as president (1997–1999), I considered my new responsibility as a mandate from the membership and an opportunity to serve the Council. I set several priorities, some figured Executive Board committees in my position statements published in the Bulletin One of my first tasks was to improve the ICTM’s gov- ( BICTM 122, Apr 2013:11; 134, Apr 2017:13–14), ernance by engaging EB members in accomplishing its others emerged as I listened to the membership and mission. Although this approach was common in other worked closely with the Board and the Secretariat. scholarly organizations, it was not part of the Council’s One of my goals was to stimulate debate on how the practice. At the first EB meeting that I chaired, I sug-ICTM can best contribute to promoting respect for gested that “different responsibilities of the Council cultural diversity, social justice, dialogue, peace, and should be distributed among Executive Board members, a sustainable future. These fundamental values that to leverage the EB’s expertise, and to help the Secretariat anchor ICTM’s work were introduced in the Council’s with its day-to-day tasks” (EB minutes, 110th meeting, mission statement in the revised Statutes approved in 18 Jul 2013:§5887). Towards this end, I proposed the 2017 (see below). They have also continued to be the formation of Executive Board Committees, each focus-subject of discussion in ICTM’s scholarly meetings and ing on one of the Council’s concerns. These commit-publications. Another goal was to increase the Council’s tees have become a structural feature of ICTM’s gover-membership and activities, especially in under-repre- nance and are included in the Council’s Statutes2 and in a dedicated memorandum.3 As the ICTM sought to 1 Liaison officer and chair of the National Committee of Portugal expand its activities and outreach, the number of EB (1982–1997, 1997–2021), Board member (1986–2001), committees increased, from ten in 2013 to twenty-one vice president (1997–2001, 2009–2013); programme-com- mittee chair of the 41st ICTM World Conference (2011), programme-committee member of the 28th (1985) and 31st (1991) World Conferences; chair of the 6th and 22nd ICTM Colloquia (1986 and 2011) held in Portugal, YTM’s record 2 https://www.ictmusic.org/statutes-ictm. review editor (1985–1991) and co-editor (2012). 3 https://www.ictmusic.org/memoranda/eb-committees. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 107–110. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 108 Salwa El-Shawan Castelo-Branco Figure 1. Break during 115th EB meeting: ( front row) Xiao Mei, Marie Agatha Ozah, Salwa El-Shawan Castelo-Branco, Razia Sultanova, Catherine Foley; ( back row) Carlos Yoder, J. Lawrence Witzleben, Terada Yoshitaka, Svanibor Pettan, Jonathan Stock, Tan Sooi Beng, Kati Szego, Naila Ceribašić, Don Niles, Samuel Araújo. Limerick, 11 July 2017 (photo by Trần Quang Hải). in 2021.4 In less than a decade, EB committees con- to replace the existing EB Committee for Terminology tributed substantially to the efficiency of the Council’s with a new Committee for the Revision of the ICTM operations and to its activities and outreach. The follow- Rules, Mission, and Terminology” (EB minutes, 113th ing examples are indicative: (a) the Ethics Committee, EB meeting, 18 Jul 2015:§§6321–6322). The new com-chaired by Jonathan Stock, prepared the “Declaration mittee consisted of Naila Ceribašić, Ursula Hemetek, of ethical principles and professional integrity”;5 (b) Don Niles, Marie Agatha Ozah, Anthony Seeger, the Committee for the Revision of the ICTM Statutes, Razia Sultanova, and myself as chair. I suggested that Memoranda, Guidelines, and Terminology that I we change the title of ICTM’s policy document from chaired, proposed a substantial revision of ICTM’s Rules to Statutes, a term that seemed more adequate Rules (see below); (c) the Survey Committee that I also for denoting this document’s function as a policy and chaired, analyzed two membership surveys conducted regulating instrument. The revised Statutes reflected in 2018 and 2020 (see below); (d) the Committee on the Council’s mission, governing structure, and activi-ICTM Dialogues, chaired by Tan Sooi Beng, launched ties, emphasizing, for the first time, its commitment to a year-long online platform of scholarly exchange titled social responsibility, human rights, and the sustainabil- “ICTM Dialogues: Towards Decolonization of Music ity of the performing arts. The committee and the EB and Dance Studies.”6 also considered the Council’s name change, including the possibility of removing the ideologically laden term “traditional.” Three possible names were discussed: (1) Statutes and name International Council for Traditional Music and Dance; (2) International Council for Traditions of Music and One of my priorities was to update ICTM’s rules, mem- Dance; and (3) International Council for Music and oranda, and guidelines so as to reflect and guide the Dance Traditions (EB minutes, 114th EB meeting, Council’s mission, policies, management, and activities, 29 Jun 2016:§§6550–6551). Taking into account the and to promote a debate on a possible name change. At complex issues involved, the EB decided to propose the the 113th EB meeting, held in Astana in 2015, I called new Statutes for approval and to continue discussing attention to the fact that the existing rules and mem-the name change. During my second mandate (2017– oranda “did not properly reflect at all levels the ways 2021), further amendments were made to the Statutes. by which the Council operates, in particular regarding Most importantly, a reduction in the length of the man-the work of the Secretariat … [and] called for a motion dates of Board members, from six to four years, a measure that aims at promoting a more participative and 4 https://www.ictmusic.org/ democratic governance (EB minutes, 118th EB meet- list-ictm-executive-board-committees. ing, 10 Jul 2019:§§7170–7171). 5 https://www.ictmusic.org/documents/ethics. 6 http://ictmusic.org/dialogues2021. President Salwa El-Shawan Castelo-Branco, 2013–2021 109 Figure 2. Britta Sweers (president of ESEM), Salwa El-Shawan Castelo- Branco (president of ICTM), Beverley Diamond (president of SEM), and Anne Rasmussen (president-elect of SEM). Limerick, September 2015 (photo courtesy of Anne Rasmussen). Taking into account the responses to the membership ing of the European Seminar in Ethnomusicology over-surveys conducted in 2018 and 2020, the EB decided lapped with the forum for one day on which the three to launch an online vote concerning the Council’s organizations met. Chaired by Beverley Diamond, then name, in conjunction with the General Assembly held SEM’s president and myself, twenty-five scholars and in July 2021, proposing three options: “(a) to rename public sector activists met to discuss how to transform the Council to the International Council for Traditional ethnomusicological praxis through activism and com-Music and Dance (ICTMD); (b) to rename the Council munity participation (figure 2). to the International Council for Music and Dance The second forum was held in 2017 and jointly Traditions (ICMDT); and (c) to keep the current name organized by ICTM, the International Musicological (ICTM). Since none of the proposals obtained a two-Society (IMS), and the International Association of thirds majority vote, the Council’s name could not be Music Libraries, Archives and Documentation Centres changed (see BICTM 146, Apr 2021:7; Minutes of the (IAML). Sponsored and hosted by the New York 45th Ordinary Meeting of the GA, item 17) and a new University Abu Dhabi (United Arab Emirates) and EB committee on the name of the Council, chaired by organized by Virginia Danielson, the forum addressed Catherine Foley, was appointed to continue working on “Music as cultural heritage: Problems of historiography, this issue. ethnography, ethics, and preservation.” The third ICTM forum, chaired by Svanibor Pettan, Cooperation with national and Jonathan Stock, and Zhang Boyu and hosted by the Central Conservatory of Music in Beijing, China, in international scholarly organizations 2018, was jointly organized by ICTM, IMS, IAML, I pursued regular collaboration between the ICTM ISME (International Society for Music Education), and other national and international scholarly soci-IASPM (International Association for the Study of eties primarily through joint meetings, named fora.8 Popular Music), and the Society for Traditional Music The first forum was jointly organized by the ICTM of China. The Forum addressed “Approaches to research and the Society for Ethnomusicology (SEM) in 2015 on music and dance in the Internet era.” and hosted by the Irish World Academy of Music and Collaboration with sister societies has also been extended Dance of the University of Limerick.9 The annual meet-to ICTM conferences. The 43rd World Conference, held in Astana in 2015, included a roundtable entitled 7 https://www.ictmusic.org/documents/minutes/ “ICTM and its sister societies,” with representatives minutes-45th-ictm-general-assembly-2021-online. from ICTM, IMS, IASPM, and WDA (World Dance 8 http://www.ictmusic.org/memoranda/organization-ictm-fora. Alliance). In 2020, I proposed the inclusion in ICTM’s 9 http://ictmusic.org/past-fora. 110 Salwa El-Shawan Castelo-Branco 46th conference (Lisbon, July 2022) of a joint plenary Hemetek), and the Executive Secretary (Carlos Yoder) session with IMS, and a joint IMS/ICTM plenary for their collaboration, commitment, and friendship. I session at IMS’s quinquennial conference (Athens, am sure that the ICTM will keep growing, guided by August 2022). the capable new leadership. I will of course continue my engagement with the Council as an active mem- ber of this wonderful global community of music and Membership surveys dance scholars. Two anonymous surveys of ICTM members were conducted online in 2018 and 2020 through an elec- Reference cited tronic platform. The surveys were designed jointly by Diamond, Beverley, and Salwa El-Shawan Castelo-Branco. 2021. the Secretariat, and the Executive Board. A special EB Eds. Transforming Ethnomusicology; vol. 1: Methodologies, Committee that I chaired analyzed the results. The Institutional Structures and Policies; vol. 2: Political, Social and two surveys aimed at gaining a fuller understanding Ecological Issues. New York: Oxford University Press. of ICTM’s membership’s profile, diversity, and per- spectives on the Council’s activities, governance, fees, funding, and a possible name change. Both surveys were successful with participation rates of 24% and 34%, respectively.10 Other developments During my two mandates as president, the ICTM expanded its membership and activities. Prior to the pandemic, the number of ICTM members rose stead- ily, from 1058 in 2013 to 1380 in 2019; the World Network (liaison officers, and national and regional rep- resentatives) was incremented; the Barbara Smith and Maud Karpeles funds supported more ICTM members to participate in the Council’s scholarly meetings; eight new study groups were formed; five colloquia were organized; and four world conferences were success- fully held in Shanghai (2013), Astana (2015), Limerick (2017), and Bangkok (2019). The website covered more ground than ever, the Bulletin (edited by Carlos Yoder) moved from two to three issues a year, and the Yearbook for Traditional Music has been published by Cambridge University Press since 2019 and will move to two issues a year in 2022, thereby consolidating its position as a flagship international periodical. Final considerations It was an honour to serve as ICTM president. My two mandates were very exciting and gratifying. I am thank- ful to the members for their trust and to my colleagues on the EB, the Executive Group (Vice Presidents Stephen Wild, Don Niles, Razia Sultanova, and Svanibor Pettan), the Secretaries General (Svanibor Pettan and Ursula 10 The 2018 survey is available at: https://www.ictmusic.org/ sites/default/files/documents/other/2019-05-11%20-%20sur- vey%20analysis%20complete.pdf. The 2020 survey at: https:// www.ictmusic.org/sites/default/files/documents/other/2021- 07-27%20-%20analysis%202020%20ictm%20survey.pdf. Executive Boards An Overview of the IFMC/ICTM Executive Board Carlos Yoder Introduction The first Executive Board of the International Folk Music Council was appointed for a period of one Since its foundation on 22 September 1947, the organ- year on 24 September 1947, during the International ization known today as the International Council for Conference on Folk Song and Folk Dance (London, Traditional Music has been governed by an Executive 22–27 September 1947). The Board was formed by Board consisting of a president, at least two vice presi-five officers (president, secretary, treasurer, and two dents, and a variable number of ordinary members. The vice presidents), and eleven ordinary members. The main duty of the Executive Board has been to decide on president, secretary, and treasurer were all based in the policies that would further the Council’s mission; while United Kingdom, because it was agreed that (a) Maud the responsibility of implementing those decisions, run-Karpeles would need to be the secretary, and she was ning day-to-day operations, and communicating with based in London; and that (b) these “principal officers” the Council’s members, subscribers, partners, and affili- should be able to communicate closely during the first ates remained with the Secretariat. year of the Council (Karpeles 1972:15). I was appointed executive assistant of the ICTM Of these original fourteen EB members, eleven were Secretariat in July 2011, and soon after became very based in Europe (Belgium, Denmark, France, Greece, interested in the history of the Council. This article, Hungary, Norway, Switzerland, Turkey, the UK, and which expands on the paper “From IFMC to ICTM Yugoslavia), one in Africa (Uganda), one in North to what? Considering the Council’s past while mov-America (USA), and one in South America (Brazil) ing into the future,” co-presented with Don Niles (figure 1). at the 43rd ICTM World Conference (July 2015, Astana, Kazakhstan), attempts to provide an overview One of the cornerstones of the Council from its begin-of how the composition of the Executive Board and nings has been its commitment to be “a bond among Secretariat has changed over the course of the history peoples of different cultures.” While the first Board of the Council. was, not surprisingly, overwhelmingly European in its constituency, it is quite remarkable that only two years after the end of the Second World War, the Board included members from both sides of the politically The Executive Board divided Europe, from Africa, and from both North and South America. It would take more than twenty years, REGIONAL BREAKDOWN however, before the Board would be enriched with the The composition, terms of office, and means of acces- voices of members from outside those four regions.2 sion to the Executive Board (EB) have greatly evolved By contrast, the Council’s EB is, at the time of writing, over time. The current ICTM Statutes stipulate formed by a president, two vice presidents, nine elected that the EB is formed by “a President and two Vice Presidents (Officers), and nine Ordinary Members, all of whom are elected by the membership” (ICTM 2017 1951:22–25) and section 11 of the 1971 Rules ( BIFMC 29, Oct 1971:15–18). For the sake of consistency, the statistics Statues:§7.2b). Additionally, the EB can co-opt up to featured in this article adhere to the current definition of the three additional members for a maximum of two con- Executive Board, and therefore treat presidents, vice presidents, secutive two-year periods.1 and EB members as one group, and secretaries general and their assistants as another. 2 West Asia (Israel) in 1969; Central America and the Caribbean 1 From 1947 to 1971, the Rules defined officers as being the (Jamaica) in 1970; East Asia (Japan) in 1977; South Asia president, vice presidents, treasurer, and secretary; e.g., see (India) in 1981; Southeast Asia (Philippines) in 1984, and the section 11 of 1951 Amended Statutes ( BIFMC 5, Nov Oceania (Australia) in 1989. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 113–117. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 114 Carlos Yoder Europe 78.6% IFMC Executive Board 1947 North America Africa 7.1% 7.1% South America 7.1% Figure 1. IFMC Executive Board, 1947. North America 21.4% Europe 35.7% ICTM Executive Board Oceania 2020 14.3% South America 7.1% Africa Asia 7.1% 14.3% Figure 2. ICTM Executive Board, 2020. ordinary members, and two (out of three possible) Council’s EB has been European (59.3%), while the co-opted ordinary members. Of these fourteen people, second largest constituency has been North American five are based in Europe (Croatia, Ireland, Portugal, (15.6%),4 more than twice the size of the next one, Slovenia), three in North America (Canada, USA), two Africa (6.5%). in Oceania (New Zealand, Papua New Guinea), one in However, figure 3 samples the whole history of the Africa (Nigeria), one in South America (Argentina), and Council’s EB, and therefore fails to illustrate the consid-two in Southeast Asia (Malaysia, Singapore) (figure 2). erable diversification of the constituency of the Board This remarkable increase in diversity did not happen since 2005. overnight. As shown by figure 3, if we aggregate the years Up to 2004, the Rules of the Council mandated that of service of all 139 EB members from 1947 to 2020, nominations to the EB could be submitted by the Board and we group them by the world region each identified itself, by affiliated national committees, or by two indi-with,3 a majority of the historical constituency of the used to categorize reviews in the Yearbook for Traditional Music. 3 As reported in the Bulletin of the IFMC/ICTM. The regions 4 It should be noted that the USA is the country with the largest chosen for analyzing the constituency of the EB match those number of ICTM members (Pettan 2021). An Overview of the IFMC/ICTM Executive Board 115 Europe 59.3% IFMC/ICTM Executive Board 1947–2020 (aggregated) East Asia 4.6% Central Asia 0.1% North America Central America & the Caribbean 15.6% 2.0% Africa 6.5% Oceania West Asia 3.5% 1% Southeast Asia South America 2.5% 3.6% South Asia 0.9% Figure 3. IFMC/ICTM Executive Board, 1947–2020 (aggregated). Europe 63.3% IFMC/ICTM Executive Board 1947–2004 (pre–open elections, aggregated) East Asia 4.3% Central America & the Carribean 2.5% North America 14.2% Africa 6.8% Oceania West Asia 1.7% 1.7% South Asia 1.2% Southeast Asia 0.9% South America 3.4% Figure 4. IFMC/ICTM Executive Board, 1947–2004 (aggregated). vidual members residing in different countries. In the a Nomination Committee and related mechanisms to vast majority of cases, however, no nominations were ensure that all ICTM members would be allowed to received from outside the Board, and only one candi-participate in the election of officers and EB members. date was produced for each vacant position, so “the new The new Rules were adopted the following September, slate for the Board, nominated by the Board, was auto-after a ratification was conducted via a postal ballot,5 matically accepted” (Niles 2005), seldom involving the and the first modern ICTM elections were held in 2005. membership. Figure 4 shows that the EB’s constituency was, up to 5 I believe this meticulous process of democratization can be 2004, still very concentrated in Europe and North traced back to the 91st EB meeting, held in Rio de Janeiro America, even though the number of Board members on 11 July 2001, during which a subcommittee to revise from the other parts of the world had increased (see n. 2). the ICTM Rules was appointed, formed by Krister Malm, Anthony Seeger, Tsukada Kenichi, and Egil Bakka. The work On Wednesday, 7 January 2004, the 36th General of this subcommittee, together with the first Nomination Assembly of ICTM unanimously approved new Rules Committee (formed by Don Niles, Marianne Bröcker, and Allan Marett), has been in no small part responsible for the that, among other long-awaited changes, established wide diversity observable on the EB today. 116 Carlos Yoder Europe 44.7% East Asia 7.1% ICTM Executive Board Central Asia 2005–2020 0.5% (post–open elections, aggregated) Africa 4.6% Southeast Asia 8.1% North America 19.8% South America 4.6% Oceania 10.7% Figure 5. ICTM Executive Board, 2005–2020 (aggregated). Figure 5 illustrates how the year 2005 would be a water- Special-purpose EB committees shed moment in the Council’s history. After 2005, the constituency of the EB became markedly more diverse, On 23 August 1957, a meeting of IFMC correspond-reducing the historical majority of European voices on ents7 was held during the 10th IFMC conference in the Board for the first time since 1947. It was also in Copenhagen, Denmark, to “consider the policy, pro-2005 when a woman, Adrienne L Kaeppler, was elected gramme and administration of the Council” ( BIFMC president for the first time. 12, Sep 1957:13). The report from that meeting included the following resolution: GENDER DISTRIBUTION That in view of the pressing need of the Secretariat for more active support of the Council and in order to give While only two women were part of the original IFMC more members well-defined opportunities of service, Executive Board in 1947, in 2020 we can observe the Executive Board be authorized to appoint commit- a majority of women serving on Executive Board tees to whom the Secretary can delegate the responsi- (figure 6). bility for ( a) the search for new sources of finance; ( b) editorial work; ( c) the preparation of conferences and From 1947 to 2020, 104 EB members have been male festivals; ( d) any other activity which in the opinion of (75%) and 35 female (25%). This severe inequality was the Secretary could usefully be undertaken by a com- somewhat offset by several key people, both on and off mittee, such as the increase of membership, publicity, the Board; I will mention only two. First, the Council liaison with other organizations, etc. ( BIFMC 12, Sep 1957:14) was the brainchild of a remarkable 61-year-old woman, Maud Karpeles,6 who was not only IFMC’s first secre- The resolution was discussed, amended, and carried tary and later honorary president, but also the editor of during the 9th meeting of the General Assembly on 26 both the Journal and Bulletin, the main force behind August 1957, and in turn the EB approved it on its the organization of the early IFMC conferences, and so following meeting (EB minutes, 19th meeting, 28 Aug much more. Simply put, without her no Council would 1957:§226). exist today. Second, the person to serve the longest Shortly after, the EB began to establish smaller, semi-au-on the Executive Board was Claudie Marcel-Dubois tonomous, special-purpose bodies that would assist and (1947–1987), who was also the Council’s first female advise both the EB and the Secretariat.8 Since 1958, vice president and its first honorary member. The complete list of all former and current EB mem- 7 Correspondents were experts and representatives of folk-music bers, including their countries of residence and terms organizations appointed by the Executive Board, but without of their office, is available on the ICTM website (http:// voting rights (also see the chapter on by-laws). www.ictmusic.org/governance/history). 8 An early EB “sub-committee” had been appointed two years earlier, in 1955, to examine the issue of copyright of folk music in different countries. It produced the “Statement on the copy- 6 Or “our inimitable Maud,” as she was described in a note right on folk music,” which was presented at the same meeting acknowledging her ninetieth birthday ( BIFMC 47, Oct of the General Assembly where the resolution about EB com- 1975:1). mittees was adopted. An Overview of the IFMC/ICTM Executive Board 117 Figure 6. Executive Board meeting: (from top left, winding around the table to the right): Marie Agatha Ozah, Catherine Foley, Ursula Hemetek (secretary general), Carlos Yoder (executive assistant), Svanibor Pettan (vice president), Salwa El-Shawan Castelo-Branco (president), Razia Sultanova (vice president), Don Niles, Tan Sooi Beng, Naila Ceribašić. Limerick, 2017 (photo by Terada Yoshitaka). these special-purpose committees have been appointed References cited by the EB to oversee specific processes (e.g., the tran- Karpeles, Maud. 1972. “Report of the International Conference on sition of the Secretariat in the 1960s; the securing of a Folk Song and Folk Dance.” BIFMC 41 (Oct): 6–26. commercial publisher for the Yearbook in the 2010s) or Niles, Don. 2005. “ICTM Executive Board Election 2005.” to more effectively address particular topics (e.g., study BICTM 106 (April): 43–50. Niles, Don, and Carlos Yoder 2015. “From IFMC to ICTM to groups) and/or draft policy (e.g., ethics). The commit- What? Considering the Council’s Past While Moving into tees are formed by both members and non-members of the Future.” Paper presented at the 43rd ICTM World the Executive Board. Conference, July 2015, Astana, Kazakhstan. Pettan, Svanibor. 2021. “The International Council for Traditional An exhaustive list of special-purpose EB committees Music and Society for Ethnomusicology: A Reflection in the history of the Council is planned for the ICTM through Two Complementary Lenses.” In Transforming Ethnomusicology. Vol. 1: Methodologies, Institutional Structures website. Some early EB committees developed into per- amd Policies, edited by Beverley Diamond and Salwa manent structural units of the Council (as in the case El-Shawan Castelo-Branco, 43–58. New York: Oxford of today’s Study Group on Ethnochoreology; see a sep- University Press. arate chapter on it), while many ceased to exist because the goal for which they were founded was achieved (as in the case of several advisory committees, a planning committee in the 1960s, a committee on the revision of dues established in 1969, etc.), or because the subject developed within the purview of other organizations (as in the case of the Committee on Radio/Television and Sound/Film Archives; see a separate chapter on it). A new era of the EB committees started in 2013, under the presidency of Salwa El-Shawan Castelo-Branco, and is discussed in her chapter on that period. The list of currently active committees is available at http://www. ictmusic.org/list-ictm-executive-board-committees. Secretariats The Secretariat under Maud Karpeles: London, UK, 1947–1963 Jeanette Mollenhauer “I was appointed Hon. Secretary.” Maud Karpeles was an act of faith in many respects, and particularly as ([1976]:218) wrote this brief statement concerning regards finance” (Karpeles [1976]:218). her selection in 1947 as the inaugural secretary of the In 1948, the Council consisted of “140 Correspondents International Folk Music Council (IFMC). It was not representing 35 countries” and the subscription fee the first time she had acted as an organizational secre-was £1 per annum ( BIFMC 1, Oct 1948:7, 13). In tary; she had assumed that role for both the committee the Council’s infancy and with other costs to be met, for the London International Folk Dance Festival in such as producing a Journal, there were no funds avail-1935 and of the International (Advisory) Folk Dance able for a secretarial salary. Karpeles worked without Council (Karpeles 1969:15), but it was the secretary-financial remuneration for seven years (EB minutes, ship of the IFMC which was to be her longest and most 13th meeting, 1–2 Jun 1954: §152), using an inher-significant. Karpeles’s vision had already catalyzed the itance from her maternal grandfather, the banker Henry formation of the IFMC, and her period as secretary was Lewis Raphael, to meet her living expenses (Pakenham marked by passion, determination, self-sacrifice, and 2011:1). From 1954, a small annual honorarium was an enduring desire to nurture an organization of global awarded, although this was still unable to adequately influence in the fields of music and dance. recompense Karpeles for the time she devoted to IFMC Much information about further aspects of Maud business (ibid.:236). The honorarium was £400 per Karpeles’s life and work may be gleaned from other annum, whereas the salary offered to her successor, chapters in this volume. Here, in writing about the Robin Band, was £1000 (EB minutes, 29th meeting, years during which Karpeles was secretary, my aim is to 4–5 Aug 1963:§363); by 1963, the membership num-highlight the disparate facets of the role and to under- bered 866 and although the proposed new subscription score the remarkable achievements of Karpeles as the was only £2, the Council’s financial status was more sta-first person to hold that office. Sources include IFMC ble, due to various donations and grants ( BIFMC 24, Oct Bulletins, minutes of meetings of the IFMC Executive 1963:10, 13, 16). Board, materials in the ICTM Archive curated by the An additional burden for Karpeles was that, for a National Library of Australia (Canberra), Karpeles’s period of eighteen years, “the IFMC office had con-autobiographical notes, and a published biography. Her sisted of a room in my flat (wherever it happened to secretarial work is presented as, first, administration of be)” (Karpeles [1976]:256). Several addresses are listed the organization, followed by the ancillary duties of in IFMC Bulletin s during that time, including 26 liaising with other associations and producing publica- Warwick Road, London SW5; 12 Clorane Gardens, tions that furthered the scope of the IFMC. London NW3 (both in BIFMC 2, Nov 1949:26); and 35 Princess Court Queensway, London W2 ( BIFMC 22, Oct 1962:32). It is not surprising, then, that the General administration “time involved in securing and moving into new prem- ises” was cited by Karpeles as one of the major difficul- One of the most important features of Karpeles’s time as ties she faced during her time as secretary (EB minutes, secretary was the onerous nature of her administrative 22nd meeting, 10-11 Aug 1959:app. C). environment. Most notably, the position was unpaid, and this was reflected in her original title of “Honorary Although Karpeles spent much of her time working Secretary” ( BIFMC 1, Oct 1948:1). This situation alone, her output was remarkable. Around 3,000 letters stemmed from the lean financial capacity of the IFMC were sent out from the Secretariat in a twelve-month in those early years. Indeed, “the creation of the IFMC period in 1962–1963, the equivalent of eight letters for every day of that year (EB minutes, 18th meeting, 22 In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 121–125. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 122 Jeanette Mollenhauer Aug 1957:app. B, §x). Yet, Karpeles notes that “for 15 years, except for a shorthand typist I had been working practically single-handed” ([1976]:255). The assistance of Norman Fraser had been secured in 1952, but after a year he was forced to resign due to personal finan- cial problems (EB minutes, 11th meeting, 8 Jul 1953: §130). Klaus Wachsmann also helped for a short time (EB minutes, 20th meeting, 27 Jul 1958:app. A, §vii), Figure 1. The Karpeles salutation, letter to members of but otherwise the work fell solely to Karpeles. the Executive Board, 27 November 1962 (ICTM Archive MS 10017, series 4, folder 69). In spite of these difficulties, Karpeles was a methodi- cal keeper of records, ensuring that relevant topics were dealt with in a meticulous and effective fashion. In the Music Council (UNESCO) at which she campaigned inaugural report of the Executive Board, as presented by for financial support for the IFMC. In 1952, Karpeles Karpeles to the delegates at the 1948 IFMC Conference attended the Third General Assembly of that Council in Basel, it was noted that the Secretariat had been and secured three separate grants of US$500 towards involved in “building up the organisation, establish-various IFMC project costs. Two further endowments of ing contacts, and in preparing for the first meeting of US$500 were made following Karpeles’s attendance at a the General Conference” ( BIFMC 1, Oct 1948:7). At subsequent meeting in 1954 ( BIFMC 9, Oct 1955:11). the same conference, during a debate about proposed The campaign to secure funding was a long-term project amendments to the IFMC’s Provisional Constitution, and, in 1962, Karpeles argued for even greater sponsor-it was Karpeles who coordinated the discussion, refer- ship from the International Music Council, suggesting ring to her minutes from the 1947 meeting in London. that an appeal to UNESCO for increased financial sup-She also augmented the efficiency of those talks by port should be mounted ( BIFMC 22, Oct 1962: 14). reminding delegates that some matters had already been Indeed, her quest to secure extraneous financial support resolved at that London assembly and pointing out that for the IFMC lasted for many years. reiterative discourse on those topics was superfluous. Karpeles’s contribution as secretary also extended to The need for recruitment and the concomitant receipt oversight of various IFMC publications. In 1948, she of annual fees was always at the forefront of Karpeles’s compiled a Directory of Folk Music Organisations and a mind, motivating her to “plea for increased member-Manual for Collectors which was made available to all ship, saying it was impossible to carry on the many IFMC members ( BIFMC 1, Oct 1948:16). In the same important undertakings of the Council with such a low year, it was decided that the Council should publish membership” ( BIFMC 6, Sep 1952:12). This evangeli-both a Journal and a Bulletin (figure 2), so “Maud cheer- cal drive to encourage scholars to commit to member- fully undertook to edit these and contributed a lengthy ship of, and participation in, the activities of the IFMC editorial to the first of them” (Pakenham 2011:224).2 is also evident in her catalogue of correspondence. For Several proposed alterations to the structure of the example, Karpeles wrote to Juana Cristoloveanu (New Bulletin were proposed in 1957, including a change to York) on 19 March 1958. After the main topic of twice-yearly production. Karpeles not only shouldered dance notation had been addressed, Karpeles reminded the extra work, but unfailingly reminded IFMC mem-Cristoloveanu that her IFMC subscription was due bers to contribute items about their research, activi-and informed her that, for her convenience, it could be ties of other organizations, and announcements about paid by International Money Order.1 While the ICTM courses, conferences, and festivals ( BIFMC 11, Mar Archive contains mostly unsigned copies of such corre-1957:1). spondence, the originals would have borne her signa- Karpeles’s secretarial records contain many references ture, as shown in figure 1. to other documents that related to the Council’s aca- demic aims. For example, in 1952, much time at the IFMC conference was devoted to discussing a report, Ancillary activities compiled and circulated by Karpeles, about the “signif- icance of folk music in the general cultural life of the The duties of the IFMC secretary also included inter- present day,” which was “based on contributions which actions with other organizations, a task that Karpeles I had received from 35 members resident in 16 different undertook with characteristic diligence. A particular countries” (Karpeles [1976]:233). Such a combination focus was her attendance at meetings of the International 2 Dieter Christensen (secretary general, 1981–2001) is the only 1 Personal correspondence to Juana Cristoloveanu (ICTM other individual who has held the position of secretary, while Archive MS 10017, series 4, folder 120). also editing both the Journal and the Bulletin. Secretariat under Maud Karpeles, 1947–1963 123 Personal sacrifices The role of secretary meant that Karpeles had less time to devote to her own scholarly enterprises; she desired more time for “song collecting and to free herself from the more irksome duties that being Honorary Secretary of the IFMC involved” (Pakenham 2011:233). Although always conscientious, the personal toll was also significant. Karpeles was 61 when she began her tenure. During a visit to the USA in 1961 at the age of 76, she suffered a heart attack, yet upon her even- tual return to England, she continued to act as IFMC secretary (ibid.:241). IFMC obligations also intruded into her personal life; in reference to the death of her good friend Frank Etherington in 1962, Karpeles ([1976]:241) lamented that her “absorption with the affairs of the IFMC left me but little time for personal sorrows.” Indeed, from the time Karpeles initiated the formation of the IFMC, “her autobiography almost ceases to include any domestic detail and becomes a history of the International Folk Music Council” (Pakenham 2011:222). Karpeles had indicated as early as 1952 that she no longer felt she was able to continue as secretary (EB minutes, 9th meeting, 13 Jul 1952:§102), but she man- aged to persist for another eleven years. Over the years that followed, her plea for relief from the position was reiterated several times. In 1953, she told her fellow Figure 2. Cover of the inaugural BIFMC 1 Board members that both her health and financial cir- (October 1948). cumstances were poor (EB minutes, 11th meeting, 8 July 1953:§130), while in 1954 she once again directed the Board’s attention to her financial difficulties, and it of scholarly rigour and attention to administrative detail was at this meeting that the decision to pay her an hon-was formidable, and served to fortify the international orarium was made (EB minutes, 13th meeting, 1 and reputation of the IFMC. 2 June 1954:§152). By 1959, Karpeles was citing her Admittedly, it should be acknowledged that not every- advanced age as the primary reason for retiring as secre- body agreed with Karpeles’s approach to some matters tary, as she was then 74 (EB minutes 22nd meeting, 10 of IFMC administration. Karpeles ([1976]:225) admits and 11 August 1959:app. C). Yet, Karpeles managed to that there was some “heated correspondence” about continue in the role for several more years. the definition of “folk” during the 1949 conference in Eventually, the services of Robin Band were secured in Venice. The 1952 conference held at Cecil Sharp House 1962 and he was eased into the secretarial role through in London was another time during which tensions Karpeles’s ongoing supervision, until she felt that Band surfaced, mainly because of a conflict between Karpeles was ready to independently assume the role of executive and the English Folk Dance and Song Society, at whose secretary ( BIFMC 22, Oct 1962:9–10). Band would property the conference was being held. Her biographer also have benefited from the vast number of “immac-observes that during this meeting, “Maud must have ulate papers” that had been compiled by Karpeles, come into contact with her growing number of ene-mainly so that the activities of the Council would be mies” (Pakenham 2011:229). Nevertheless, her deter- documented, but which had also been prepared “for her mination, enthusiasm and attention to detail served the successors to take up” and follow her example of rigour Council very well, both during her time as secretary and and dedication (Pakenham 2011:245).3 in the years that followed. 3 Hundreds of these papers are found in the 98 boxes that form the “Records of the International Council for Traditional Music” (National Library of Australia, Canberra, MS 10017). 124 Jeanette Mollenhauer Retirement as secretary At the time of her official retirement as secretary at the 1963 conference in Jerusalem, the IFMC President Zoltán Kodály and his wife gave a “Presentation Volume,” a cheque and some flowers to Karpeles ( BIFMC 24, Oct 1963:15). Luis Heitor Corrêa de Azevedo, representing the director general of UNESCO and who had been present at the first IFMC conference in 1948, observed that Karpeles’s “tactfulness and her wisdom in conducting the business of the International Folk Music Council won over the trust of everybody” (ibid.:1, translated from French). Indeed, as well noted by Douglas Kennedy ten years previously, the IFMC had been “nursed by Miss Karpeles from small begin- nings” ( BIFMC 7, Sep 1953:19), and this nurture was particularly evident in the broad spectrum of activities Figure 3. Maud Karpeles in August 1975 while that Maud Karpeles undertook while holding the posi- interviewing Kenneth Loveless tion of honorary secretary. (still courtesy of Don Niles, from video at https://www. youtube.com/watch?v=sqiBas3CbnI). The final IFMC Executive Board meeting that Karpeles Karpeles as honorary president attended was the 51st, held in Warsaw in August 1976. Although her term as secretary was behind her, Karpeles Fifty-one EB meetings had featured the presence and continued as honorary president of the IFMC, later insight of Maud Karpeles in relation to the adminis-ICTM ( BIFMC 24, Oct 1963:2) until she passed tration and functioning of the Council she had con-away in 1976 and some commentary about this con- tributed to since its inception, and all of this happened tribution should also be recorded here. From the during the final phase of her life, from the age of 61. first Bulletin after her retirement as secretary, she was An obituary about Maud Karpeles appeared in the accorded a place immediately below that of the elected London newspaper, The Times, in October 1976, writ-president in the listing of Board members, and given ten by Ursula Vaughan Williams (1976), a fitting choice her full title of “Dr. Maud Karpeles, O.B.E.”4 ( BIFMC as Ursula’s late husband, Ralph Vaughan Williams, 24, Oct 1963:37). Karpeles continued to attend meet-had been the inaugural president of the IFMC and ings of the Executive Board (e.g., see BIFMC 28, Jul had worked very closely with Karpeles in managing 1966:3 and BIFMC 47, Oct 1975:18) and maintained the Council’s affairs. In the article, Ursula Vaughan an active consultative role with various officers of the Williams notes that Karpeles had attended another Council. For example, she wrote a letter on 25 January organizational meeting at Cecil Sharp House, London, 1969 to Connie Matthews, IFMC executive secretary only two nights before she passed away; thus, her whole at the time, in which Karpeles discussed various admin-life was characterized by determination and whole- istrative concerns about the next Council conference, hearted commitment to the work of studying music provided expenditure details for the film catalogue and dance. Inside the front cover of the first IFMC that was being produced, requested a rough copy of Bulletin published after her death, Karpeles was given the Council’s financial statement, and offered opinions the highest listing among the office bearers, with the about matters arising from the previous meeting of the words “Honorary President and Founder” above her IFMC Advisory Council.5 Karpeles was also active in name. On the first page of that same Bulletin, a short a project that had been nurtured since the earliest tribute ends with these words: days of the IFMC, namely, a group devoted to dance To the Secretariat, whose members had the privilege research, the development of which is provided else- and joy to be counted among her friends, falls the first where in this volume.6 of the Council’s opportunities to say, for themselves and a thousand others, farewell. ( BIFMC 49, Oct 1976:1) It is fitting that the Secretariat was the first part of the 4 Member of the Order of the British Empire, a civic award IFMC to be able to say farewell to Maud Karpeles bestowed by Queen Elizabeth II of the United Kingdom. (shown towards the end of her life in figure 3), the 5 Personal correspondence to Connie Matthews (ICTM Archive woman who had first held the position of secretary of MS 10017, series 4, folder 120). the International Folk Music Council. 6 This group is now the ICTM Study Group on Ethnochoreology. Secretariat under Maud Karpeles, 1947–1963 125 References cited Karpeles, Maud. 1969. “The International Folk Music Council—Twenty-One Years.” YIFMC 1: 14–32. ———. [1976]. “Autobiography.” 284 pp. English Folk Dance and Song Society, Vaughan Williams Memorial Library, Maud Karpeles Manuscript Collection, MK/7/185. Accessible online: http://www.vwml.org/ record/MK/7/185. Pakenham, Simona. 2011. Singing and Dancing Wherever She Goes: A Life of Maud Karpeles. London: English Folk Dance and Song Society. Vaughan Williams, Ursula. 1976. “Dr. Maud Karpeles: Folk Music and Dance Revival.” The Times (2 Oct): 14. The Secretariat under Robin Band, Barbara Krader, Felicia Stallman, Christian Ejlers, and Connie Matthews: London, UK, and Copenhagen, Denmark, 1963–1969 Don Niles and Carlos Yoder At the General Assembly of IFMC members in London, before moving out of London for the first time Jerusalem on 9 August 1963, Maud Karpeles retired as in its history; and the person in charge of the Secretariat secretary of the International Folk Music Council, the would change four times. organization that she had helped found in 1947.1 She The period from Karpeles’s retirement (1963) until the received a “Presentation Volume,” with messages and relocation of the Secretariat to Canada (1969) were some three hundred signatures from thirty-five coun-challenging times for the Council. In addition to trying tries, cheques, and other gifts in recognition of her out- to maintain its scholarly activities, three intertwined ele- standing contribution to the Council. Karpeles was also ments were a constant concern: (1) finding someone to made honorary president of the Council ( BIFMC 24, be responsible for the running of the Secretariat, called Oct 1963:1) . variously the secretary, executive secretary, or, today, In his message in the presentation volume, IFMC secretary general;3 (2) the location of the Secretariat President Zoltán Kodály hoped that Karpeles would itself; and (3) the financial challenges that affected the continue to “play a leading part in the life and activi-first two issues and that threatened the existence of the ties of the Council for many years to come,” and also Council. wished that she “may never see the decline of her most Figure 1 graphs revenues, expenditures, and the result-cherished creation, the IFMC” (ibid.:2). Karpeles cer- ing bank balance for the first twenty-one years in the tainly continued to play a very key role in the Council history of the Council, as reported in the Bulletin s.4 The until her death thirteen years later, but she would also difference between revenues (blue line) and expendi-witness a serious decline of her most cherished creation. tures (red line) is directly reflected in the balance (orange While the membership had increased slightly from the column) underneath. previous year, Karpeles already noted in her report to The 1960s were tumultuous for the Council, and not the General Assembly that year: only financially. The Executive Board finally accepted It is no longer possible to carry on the work of the Maud Karpeles’s resignation in August 1963, and a sta-Council on a more or less voluntary basis as in the past. ble successor for both her and the Secretariat would not Salaried officers have to be appointed and costs are mounting in other directions. Moreover, there are spe- cial difficulties inherent in the task of raising funds for sake of simplicity and to show the connection with the present an international organization, for most of the national day, we usually write Secretariat. bodies are themselves struggling to maintain their own 3 In the credits for the Bulletin, Karpeles was initially listed as activities. ( BIFMC 24, Oct 1963:10) honorary secretary until BIFMC 10 (Oct 1956), when she is called secretary until her retirement; she is then listed as hon- When Karpeles’s successor took over the task of the day- orary president (from BIFMC 22, Oct 1962) until her death, to-day running of the Council, he assumed responsi- when she is listed as honorary president and founder (from BIFMC 49, Oct 1976). This continued in the following issue, bility for an organization that would face increasingly but in BIFMC 51 (Nov 1977), she is listed only as founder, dire financial difficulties. Over the next few years, a practice that would continue until BICTM 65 (Oct 1984), the Secretariat2 would move to two new locations in after which her name was removed. Her successors responsi- ble for the day-to-day running of the Secretariat considered here were called executive secretary or, occasionally, secretary. 1 We very much appreciate the efforts of Jeanette Mollenhauer To simplify things in this contribution, they will generally be in locating and copying relevant documents in the ICTM called executive secretaries. Archive at the National Library of Australia in Canberra, and 4 We did not use information reported elsewhere (e.g., presented the suggestions of Naila Ceribašić to improve this chapter. at meetings of the Executive Board or General Assembly), as 2 In many of the documents of the time, what we now call the those materials are not always public and sometimes conflict Secretariat is often called the headquarters of the Council. For the with what was reported in the Bulletin s. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 126–137. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Secretariat under Band, Krader, Stallman, Ejlers, Matthews, 1963–1969 127 Figure 1. Financial situation of the IFMC Secretariat, 1948–1968. be found until September 1969, when the Secretariat the Secretariat moved out of London to immediately moved to Kingston, Canada. before the move to Canada. While our search for these The ever-increasing costs (caused by moving the minutes continues, the Bulletin s have remained one London office several times, hiring part-time assistants, of the primary sources for this chapter, supplemented etc.) were not matched by revenues, especially after wherever possible by any other relevant documents we 1961, causing severe challenges for the operation of the have been able to locate, particularly available minutes Council. Despite such challenges, the Secretariat still from Executive Board (EB) and Advisory Committee managed to organize world conferences (including the (AC) meetings. The graph in figure 1 does not extend first in Africa in 1966); produce Bulletin s, JIFMC s, and beyond 1968 because of complications of reporting other publications; and carry on doing their work as finances that appear in the Bulletin in a different for-best as they could manage. None of these normal activ- mat and currency. ities is detailed here; further information can be found in other chapters in this publication. We have not been able to definitely establish why the Growing financial concerns and finding Executive Board decided to move the Secretariat to a successor to Karpeles Denmark, an expensive country at the time, when the funds in the bank were nearly exhausted (only £331 Already in 1952, Karpeles had said that the Council’s at the end of 1967), but some factors that probably financial situation was causing her great anxiety, with played a role include the relative short distance of the funds barely covering her expenses. She considered move, the Secretariat remaining in Europe and being that while she would be able to work for an additional easily accessible from London, and local support. Such year or two, it would prove difficult to find someone a short, temporary move was preparation to the much who would work in an honorary capacity (EB min-larger one that eventually took place to North America, utes, 9th meeting, 13 Jul 1952:§102). The issue resur-where the Secretariat would remain for the next thirty- faced at later meetings, with Karpeles adding concerns six years. about her health (e.g., EB minutes, 11th meeting, 8 Jul 1953:§130). Researching this period is particularly challenging because we lack the minutes from key Executive Board meetings from 1967–1969, that is, from the time 128 Don Niles and Carlos Yoder In December 1959, IFMC’s Advisory Committee5 sug- fidence in him and paid tribute to the work done by gested drawing up a budget of administration costs after Karpeles ( BIFMC 22, Oct 1962:9). Karpeles said Band Karpeles’s retirement (AC minutes, 1st meeting, 3 Dec was learning quickly, but felt it would be unfair to him 1959:§5). Between 1961 and 1962, it was generally for her to resign at this point; instead, she would con-agreed that the Secretariat should remain in London, tinue for another year (ibid.:10). It was noted that the if possible. At the same time, a number of potential Council was fortunate to have his services, and that replacements for Karpeles were discussed, but it was he would “gradually take over from her [Karpeles] the thought to be particularly difficult to find someone, entire administrative work of the council” (ibid.:12). because the position was unsalaried (AC minutes, 3rd From the start of Band’s employment until Karpeles’s meeting, 13 Apr 1961:§25). Karpeles was asked to stay retirement on 9 August 1963, he worked with her to on until the end of 1962 while attempts continued to learn the running of the Council. Karpeles’s biographer find a suitable replacement (EB minutes, 25th meeting, remarked: 27–28 Aug 1961:§312). Towards the end of this year [1962] some relief for Prior to the fourth meeting of the Advisory Committee, Maud’s heavy burden of paperwork arrived in the shape Karpeles prepared a memorandum on this and other of Robin Band, who was appointed part-time secretary urgent matters. She agreed to stay on until the end of to the IFMC. She began to see some hope, at last, of 1962 because no suitable candidate could be found; resigning the post she had held for nearly eighteen however, her health was not good and she preferred years. (Pakenham 2011:244) to leave earlier. She suggested advertising the position, Although Band would be the first paid executive sec-transferring the Secretariat to another country (perhaps retary,8 other paid staff did assist at the Secretariat; for the USA), or for the Council to focus its work on the example, an unnamed stenographer/typist who worked journal and less on other activities to save costs.6 from 20 February 1961 until the end of April 1963 (AC minutes, 7th meeting, 13 Dec 1962:§54c; 8th meeting, When the Advisory Committee met on 16 November 3 Apr 1963:§67b). 1961, Karpeles was asked to approach a number of peo- ple to serve as administrative secretary (AC minutes, After Karpeles’s retirement, the Advisory Committee 4th meeting, 16 Nov 1961:§30). recommended to the Executive Board that Band be appointed on a full-time basis at £1,000 per year, An extraordinary meeting of the committee was held with additional bonuses of up to £500 per year; nev-on 23 March 1962 to interview a short list of candi- ertheless, because of the uncertainty over the Council’s dates. They unanimously decided to recommend the future, they were concerned that he had offered to give appointment of Robin W. I. Band as executive secre-up all other work (AC minutes, 8th meeting, 3 Apr tary7 on a part-time basis at a salary of £800 per annum. 1963:§69). The Executive Board agreed to his fulltime He accepted the appointment starting on 9 April (AC appointment, which would be reviewed quarterly by minutes, 5th meeting, 26 Apr 1962:§34). Ratification the Advisory Committee. They also expressed concern took place at the Board meeting before the confer-that he was “without specialised knowledge of the sub- ence in Gottwaldov, Czechoslovakia (EB minutes, ject” (EB minutes, 29th meeting, 4–5 Aug 1963:§363). 27th meeting, 12–13 July 1962:§329). Band was from Although not clear from these minutes, subsequent dis-Sutton, part of Greater London, and had an MA degree cussions would reveal that the Board’s concern appeared ( BIFMC 22, Oct 1962:7, inside back cover). to be over his lack of knowledge about folk music. Only Band was introduced at the General Assembly on 19 shortly after Band officially replaced Karpeles, it appears July 1962, where he thanked the Council for their con-his days were already numbered. 5 At this time, the Advisory Committee consisted of members living in or near London. Their job was to advise the secretary, Robin W. I. Band, London, 1963–1965 make recommendations to the Executive Board, supervise finances, act on the Board’s behalf in urgent matters, etc. It After fourteen months learning to run the Secretariat existed from 3 December 1959 to 18 May 1967, and was chaired by Gilmour Jenkins ( BIFMC 30, Apr 1967:5–6). from Karpeles, Band took over from her upon her Jenkins (1894–1981) was a civil servant particularly involved retirement, 9 August 1963. Yet, even at their meet- in maritime shipping, but outside of official work, his main ing immediately preceding this change, the Board interest was music; and just like Karpeles, he was a close friend of Ralph Vaughan Williams and his second wife, Ursula. was “apprehensive of the effect on the Council of the 6 “Memorandum to members of the Advisory Committee to be long-term appointment of a secretary without special- considered at the meeting on November 16th 1961, at 2.15 p.m,” 3 pp., 30 Oct 1961. 8 Karpeles was officially unpaid, but did receive an occasional 7 Throughout his appointment, Band was called executive sec- honorarium of £400 per annum, beginning in 1954 (EB retary, even when he was learning the job from Karpeles, who minutes, 13th meeting, 1–2 Jun 1954:§152) and continuing was called secretary. sporadically until her retirement. Secretariat under Band, Krader, Stallman, Ejlers, Matthews, 1963–1969 129 ised knowledge of the subject” and agreed to review his Although Band remained executive secretary, both he appointment quarterly (EB minutes, 29th meeting, 4–5 and Krader attended the Board meeting immediately Aug 1963:§363). after the Budapest conference. Band said he had hoped Five months later, there were already indications of to discuss matters further with the Board, but this diminishing satisfaction with Band for his lack of “spe-was not possible. Band then offered his services to the cialised knowledge.” The Advisory Committee consid- Council following his termination (i.e., after 31 August ered the possibility of hiring a part-time musicologist, 1965) for £100 per year, to work three afternoons a although at this stage there was no mention of such a week while Krader was in the US, and one afternoon a person taking over from Band. The only person in mind week while she was in London. While Krader appreci-was Erich Stockmann (German Democratic Republic),9 ated the offer, she felt unable to accept it and passed the but it was impossible to get a visa for him to reside in question on to the Advisory Committee (EB minutes, the UK. Band continued to consult with Karpeles on 32nd meeting, 25 Aug 1964:§416). matters of policy. The Council had had such a difficult At the General Assembly meeting in Budapest, 25 year that he offered to revert from full-time to part-time August 1964, just over a year after Karpeles’s retirement, work from 1 February 1964, supplementing his income Band was thanked for his services to the Council. It was with other part-time work elsewhere. With Karpeles’s announced that Krader would take over from him in endorsement, the Committee agreed. At the same time, May 1965 ( BIFMC 26, Oct 1964:15). they also agreed to continued part-time secretarial work At the next meeting of the Advisory Committee, Donal from Band’s wife, who was further thanked for trans-O’Sullivan placed on record his disagreement in hir- lating from Russian for no charge (AC minutes, 10th ing Krader, since she could only be in London half the meeting, 10 Jan 1964:§§94, 97a). year. It was also revealed that Krader was now expected Continued attempts to find a musicologist were to arrive in June 1965, rather than May. Even though reported at the committee’s next meeting. The curricu-Band had secured a part-time teaching post at the time, lum vitae of Stockmann was reconsidered, but also that he felt he could carry on until Krader’s arrival, especially of Barbara Krader. As Krader had to reside for half the since there would not be a world conference to organize year in the USA, the committee thought her employin 1965. Band proposed to work Monday and Saturday ment would be impractical; consequently, they made no mornings during school terms, be always available by recommendation (AC minutes, 11th meeting, 28 May phone, and come in at 16:00 if something urgent would 1964:§99b). However, matters accelerated considera-arise. Mrs. A. Berg, a part-time assistant for many years, bly in the three months leading up to the Board meet- could also work two-and-a-half days a week, and Band ing in Budapest. thought this would suffice. The committee agreed to let An Executive Board subcommittee was established to Band continue as executive secretary until Krader took interview Krader during the 1964 Budapest conference over (AC minutes, 12th meeting, 16 Dec 1964:§109b). and report back. Although Band reminded the Board In April 1965, the BIFMC announced that the of the Advisory Committee’s opinion that appointing Secretariat had been working under “great difficulties” Krader would be impractical, the subcommittee inter- for some months and apologized to members for any viewed Krader; the Board unanimously decided to inconvenience. In the same issue, members were told accept the subcommittee’s recommendation to offer that Krader would be starting in June. She was described Krader the post of secretary from May 1965, at a salary as “well known to members for her work in folk music.” of £1,000 per year. She would work full-time for the Band wished Krader and the IFMC “every success in Council, but live six months in London and six months the years to come,” and said how much he enjoyed in the US.10 Band would continue until 31 August 1965 his association with the Council. Finally, Jane Skillen, and be given at least two months holiday in recognition previously with the British Broadcasting Corporation of his devoted service to the Council (EB minutes, 31st (1951–1962), would begin work at the end of May as meeting, 16–17 Aug 1964:§407). assistant secretary ( BIFMC 27, Apr 1965:1). This was the last Bulletin in which Band would be listed as exec- utive secretary. 9 For some of Stockmann’s many later involvements with the Krader was appointed on 1 June 1965.11 As secretary, Council, see the chapter on him as president (1982–1997) in she attended with Band (still executive secretary) and this book. Skillen (assistant secretary), an Advisory Committee 10 Although it is not clear, Krader might have travelled to the USA to be with her husband at the University of Syracuse in meeting (AC minutes, 13th meeting, 10 June New York; she used this affiliation when writing an obituary of Zoltán Kodály (Krader 1967). We appreciate information from 11 Document dated 18 April 1966 in the ICTM Archive (MS Susanne Ziegler and Cyril Levitt on this and various other 10017, series 4, folder 123 “Krader”). Band apparently contin- matters concerning Krader. ued as executive secretary until the end of his contract. 130 Don Niles and Carlos Yoder 1965:§116). Band and Berg had maintained operations at the Secretariat since January, despite some loss of efficiency. The committee thanked Band for his services to the Council for three years during a difficult period (ibid.:§§118b, 126c). Band’s term heading the Secretariat was finishing; Krader’s was about to begin. At the same meeting, Karpeles noted that the Secretariat would have to move at the end of October 1965 as her lease was being terminated. A number of possible homes for the Secretariat were mentioned—British Institute of Recorded Sound, English Folk Dance and Song Society, London University, and Royal Anthropological Institute—but no recommendation could be made at the time, and Krader was asked to continue exploring possibilities. The Council thanked Karpeles for hosting the Council for the past three years (ibid.:§118c).12 Barbara Krader, London, 1965–1966 Barbara Lattimer (1922–2006) was born in the USA and spent 1948–1949 at Prague University. She is listed as a participant of the 1950 IFMC conference in Bloomington, USA, and is found in the famous group Figure 2. Barbara Krader with folklorist Tvrtko Čubelić photo from that event amongst many European schol- at a symposium celebrating the centenary of the birth ars ( JIFMC 1951:4, photo following p. 5).13 In 1953, of ethnomusicologist Vinko Žganec. Čakovec, Croatia, October 1990 (photo courtesy of Institut za etnologiju i she married Lawrence Krader, a social anthropologist, folkloristiku, Zagreb). particularly known for his work with Central Asian nomadic peoples. Her PhD dissertation on Serbian peasant wedding ritual songs was submitted in 1955 executive secretary (EB minutes, 33rd meeting, 14–17 at Radcliffe College. By 1965, when she became sec- Jul 1965:§429a). Karpeles reminded the Board that she retary at the IFMC Secretariat in London, she had had been seeking a new home for the Secretariat since already worked in the Slavonic division at the Library of 1963, when rental charges were raised by £350. The Congress, lectured at various universities, and published Board asked Krader to investigate further (§434). articles in Ethnomusicology (such as, Krader 1963). When the Advisory Committee met two months later, Krader apparently first contributed to the JIFMC in it requested the treasurer, William Stanley Gwynn 1954, in a review of an English book on Bulgarian Williams,15 to take a much more active role during the music, where only her initials appear, as was the tra-Council’s financial troubles (AC minutes, 14th meet- dition at the time. From then until the late 1960s, she ing, 23 Sep 1965:§129c). In comparison with her pre-reviewed many books, folksong collections, articles, and decessor, Krader certainly appeared to be much more pamphlets, written in a wide variety of languages, such involved in such meetings and in Council activities, as Czech, French, German, Russian, Serbo-Croatian, including attending two study-group meetings (§135). Slovak, and Slovenian. Her academic credentials were Presumably, this was the kind of increased scholarly considerable (figure 2). involvement that the Executive Board had desired. 14 At Krader’s first Executive Board meeting, the Board Since 1962, the Bulletin had appeared regularly in April agreed that her title should be changed from secretary to and October, but the October 1965 was delayed until July 1966, fifteen months since the previous issue. By the next meeting of the Advisory Committee, the situ- 12 In her autobiography, however, Karpeles observes: “For the ation had become dire. Krader was absent, presumably first 18 years the I.F.M.C. office consisted of a room in my flat (wherever it happened to be)” (Karpeles [1976]: 256), which would be 1947–1965. 15 Gwynn Williams was treasurer from the beginnings of the 13 For a clearer, larger photo with everyone identified, see Council until it moved to Denmark in 1967. At the time, the Cowdery (2009:806). treasurer was an elected member of the Board, who did the 14 Christensen (1988:15) considers Krader “the first scholar in work for free and was not considered a part of the Secretariat. the post” of executive secretary, apparently not appreciating Today, looking after Council finances is part of the job of the Karpeles’s activities as scholarly. Secretariat’s staff. Secretariat under Band, Krader, Stallman, Ejlers, Matthews, 1963–1969 131 still in the USA where she had been since November At their pre-conference meeting in Legon, Ghana, 1965, so Skillen represented the Secretariat. There was the Executive Board considered a future home for the no response from Treasurer Gwynn Williams to an Secretariat, with German possibilities in Regensburg, earlier request for him to become more active in the Freiburg im Breisgau, and Berlin. An offer was also Council’s work (AC minutes, 15th meeting, 21 Apr received from Alexander Ringer at the University of 1966:§139d). The Secretariat would move to the Royal Illinois, which the Board considered preferable to the Anthropological Institute’s building at the end of April others.17 In Illinois, Ringer and Bruno Nettl would (§140). One member of the committee, S. J. Saunders, be in charge of Council administration, with a trans-forecast that the Council’s funds would be exhausted by fer taking place in 1967 for a period of three to five the end of the year (§141b). years. The University of Illinois Press was interested But the greatest surprise in the minutes of that meet- in possibly publishing the journal, and this would be ing was that Krader had announced her resignation. explored. The Board agreed that the provisional offer Although the Advisory Committee’s chair thought it from Illinois be accepted in principle, subject to further difficult to begin considering a successor until “it was agreement. The transfer would take place no later than known if the Council was to continue to exist,” Karpeles September 1967. A committee to negotiate the transfer pressed them to contemplate possibilities. After ponder-was established, as was a steering committee of Board ing dividing the work or running the Secretariat with members (EB minutes, 34th meeting, 25–26 and 30 a small group of professionals, Karpeles suggested that Jul 1966:§455b). consideration be given to moving the Secretariat to The Board was also updated on the resignation of another country, possibly the USA. The committee felt Krader, effective from the end of October 1966, and that this was not a good option, and preferred London to Skillen, the assistant secretary, would leave at the end of remain its home. UNESCO would be approached for September. Karpeles reported the possibility of hiring assistance (§142). Felicia Stallman as executive secretary (§§455c, 457a). On 5 May 1966, Krader wrote to IFMC President At their post-conference meeting, the Board was told Zoltán Kodály, including a copy of the official resigna-Stallman had only recently retired from twelve years as tion letter she had written to Willard Rhodes.16 In his executive secretary with the International Federation of reply dated 18 May 1966, Kodály regretted her deci-University Women. She had also worked with the Royal sion, but understood it. He agreed that her “qualities Anthropological Institute and had assisted Karpeles and activity deserve a much higher salary than our poor during her organization of the 1935 International Folk Council can offer.” On 14 June, Krader thanked Kodály Dance Festival and Conference. The Board authorized for his understanding, noting that he and Rhodes were the Advisory Committee to make an appointment (EB the only ones to see her resignation as a matter of “cold minutes, 35th meeting, 3 Aug 1966:§§468a, 468d). financial need (which it is),” rather than a “dishonoura- At her final Advisory Committee meeting, Krader, ble act of deserting a post at a crucial and difficult time,” along with Skillen, reported that there would be no as seen by others (ICTM Archive MS 10017, series 4, funds by the end of 1967 (AC minutes, 17th meeting, folder 122). 13 Sep 1966:§154). The Illinois offer now suggested The grim situation regarding the future of the Council that financial matters would be looked after in London was apparent at the next Advisory Committee meet-by the treasurer. The committee agreed with the Board ing. While the chair, Krader, and Karpeles would meet to provisionally accept the Illinois offer to take place no at the beginning of July to make a recommendation later than September 1967. Karpeles stated the fear that on the Council’s future (AC, 16th meeting, 19 May moving the Secretariat to the USA would destroy its 1966:§150), they also agreed that “the Council should international character and that the Council might lose not give the impression to members and others that it interest in Europe, particularly Eastern Europe. Then she was about to close down” (§148). In spite of this exhor-introduced a new twist: the Dansk Folkemindesamling tation, the Bulletin announced to members that “this (Danish folklore archives) had stated that they might may be the final year of the International Folk Music be able to accommodate the Council in “a few years’ Council,” warning that if expenditures continued as time,” so it might be possible to continue the Secretariat predicted “the Council will run out of money before in London until then. The Danish offer would be kept the end of 1966” ( BIFMC 28, Jul 1966:1). under consideration (§155b). Krader then announced that the Executive Board had agreed that Stallman should succeed her and had autho- 16 Presumably, Krader wrote to Rhodes since he was chair of the rized the Board to make Stallman’s appointment at Executive Board. In contrast to today, where the Council pres- ident presides over such meetings, in earlier times the chair of 17 Many of these and subsequent events are summarized by Board meetings was elected by its members. Christensen (1988:15–17). 132 Don Niles and Carlos Yoder £1,000 per annum (§156). In the November Bulletin, it 1966:1). Once again, a non-academic was in charge of was noted that Krader had resigned for personal reasons the Secretariat. ( BIFMC 29, Nov 1966:1). On 10–11 January 1967 in London, Karpeles met After leaving the Secretariat, among many other accom- with Alexander Ringer to discuss his offer to take over plishments, Krader translated articles from German the Secretariat. His position would be called executive and Russian into English for the JIFMC and YIFMC, director, and would require a part-time personal assis-and served as book-review editor for the YIFMC, tant and part-time secretary. Ringer’s decision would be 1978–1979. She taught at universities in New York and dependent upon him receiving the assistance that he felt Berlin, was the first female president of the Society for was necessary. While previously suggested as assistant Ethnomusicology, and worked as a professional trans-director, Bruno Nettl would not accept any such posi- lator, indeed “much of her bibliography … consists of tion, although he expressed interest in possibly editing writings meant to explain European scholars and schol-the journal.21 Ringer would also be meeting with IFMC arship to Americans, and vice versa” (Slobin 2005). For President Kodály in Budapest, and might be able to further information on Krader, see Morgan (2001), attend the Board meeting to be held after the IFMC Slobin (2005), and Levitt (2018). conference in Ostend, Belgium (AC minutes, 18th meeting, 18 Jan 1967:appendix).22 The Advisory Committee met a week after Karpeles’s Felicia Stallman, London, 1966–1967 meeting with Ringer. Stallman’s appointment as exec- utive secretary was announced (AC minutes, 18th Sophia Felicia Stallman was born in 1899 in Dorking, meeting, 18 Jan 1967:§164a). A special appeal had UK. She attended St. Hugh’s College, University of increased income from subscriptions and donations, Oxford, from which received her MA, 1925–1926.18 and the committee felt that the Secretariat could con-Stallman assisted in the organization of the Congrès tinue at its present location for some months (§§165a, international des sciences anthropologiques et eth-165b). Karpeles reported on her meeting with Ringer, nologiques in London in 1934 (Howes 1935:4). As but also noted that Copenhagen “seemed ready to noted by Karpeles, she was also secretary to the executive receive the Council, but was waiting on approval and committee for the 1935 festival ( Journal of the English support from the Government.” The committee felt Folk Dance and Song Society 2, 1935:app. A, 145). that if definite offers were received from both, they Stallman was assistant secretary at the Royal would probably recommend Copenhagen; but if only Anthropological Institute of Great Britain and Ireland, one offer was made, they would likely accept it because May 1942 – 1 July 1952.19 During her subsequent of the Council’s financial situation. Definite news was twelve years as executive secretary of the International expected from both within a few weeks, so the commit-Federation of University Women (IFUW), she attended tee had to be ready to consider them (§166). Karpeles the twelfth session of the UN Commission on the Status reported that Robin Band, former executive secretary, of Women in 1958 (United Nations 1958:2), and was would be happy to work an afternoon per week for the a participant in a discussion about women’s education Council “on an expenses basis” (§173b). in the Commonwealth (Gwilliam 1963:826). Stallman It was three months before the committee met again. is listed in the Education Directory (US Department of This time, Stallman was accompanied by Connie Health, Education, and Welfare 1966:119). She retired Matthews, who replaced Skillen as assistant secre-from IFUW in 1965 because she had reached the man- tary when she left on 3 February 1967 (AC minutes, datory retirement age.20 19th meeting, 6 Apr 1967:§180a; BIFMC 31, Nov Her appointment as IFMC executive secretary on 1 1967:10). And Band was working one half-day a week November 1966 was announced in the same Bulletin (§180b). Hence, at this moment in time, the Secretariat that noted Krader’s departure ( BIFMC 29, Nov accommodated two former executive secretaries (Karpeles, Band), the present one (Stallman), and a 18 We very much appreciate the assistance of Vicky Barnecutt future one (Matthews). Once again, the committee and Rebekah Hayes in locating this early information about considered the offers from Copenhagen and Illinois, Stallman at Surrey History Centre (n.d.:117, no. 311) and St. Hugh’s College ([1926]:10). Thanks are also due to Rachelle concluding that Illinois better relieved the Council of Saltzman for information about her interviews with Stallman. many of its financial burdens and, hence, it offered a 19 https://www.therai.org.uk/archives-and-manuscripts/ archive-contents/lectures-a152. Stallmann left this position 21 Although not at that time, Nettl did eventually serve as editor because of difficulty in attending work regularly as she was of the YIFMC, 1974–1976. looking after her elderly mother (email from Sarah Walpole, 31 22 The appendix is called “Notes on meeting with Professor Jul 2020). Alexander Ringer in London, January 10 and 11, 1967,” con- 20 Letter from Meribeth E. Cameron, 2 September 1966 (ICTM sisting of two pages, written by Karpeles, dated 12 January Archive MS 10017, series 4, folder 201 “Stallman”). 1965. Secretariat under Band, Krader, Stallman, Ejlers, Matthews, 1963–1969 133 more attractive future. They decided to ratify the deci- and Nils Schiørring (chair of Advisory Committee)— sion that the Board had made back in Ghana (1966): all from Denmark—are listed amongst Board members. to accept the invitation from Illinois to take over the Page 1 of that BIFMC mentions the relocation notice sent Secretariat in September 1967 (§182). by Stallman, but further announces that the Secretariat In the April Bulletin, the third new address for the “will” move to Copenhagen on 15 September 1967, Secretariat in a year was announced, noting that it was Stallman “will” finish her employment as executive seca very small office, but was all that could be afforded. retary upon the move, and Matthews “will” continue as And Skillen’s replacement, Matthews, with experience assistant secretary in her post in Copenhagen. Note the and business training, was also announced to the mem-future tense of these announcements, even though the bership ( BIFMC 30, Apr 1967:2; 31, Nov 1967:1). Bulletin is from November, two months after the move At the final meeting of the London Advisory had taken place. Presumably this issue was prepared Committee, with Stallman and Matthews, it was noted well in advance of the issue date. that the Executive Board had approved the Illinois offer. In the same issue, the report from the Board men-While one more offer had been received,23 the commit- tions the proposals from University of Illinois and tee felt that the one from Illinois should be accepted Dansk Folkemindesamling.25 But after long delibera-and Denmark notified accordingly (AC minutes, 20th tions, the Board decided to accept the proposal from meeting, 18 May 1967:§188). Also discussed were costs Copenhagen. It noted Stallman’s replacement in Ejlers, for the move, Ringer’s travel plans, and the imminent and that Matthews would go to Copenhagen as assis-closing of the London office (§§189a, 189b). It was tant secretary ( BIFMC 31, Nov 1967:10–11). Karpeles noted that this was the final meeting, and thanks were would later recall that she spent three weeks putting files extended to the chair, Gilmour Jenkins (§194a). in order before they were transferred to Copenhagen, But there was a twist in these plans. Using materials and destroyed anything of an “ephemeral” nature (EB referenced in Christensen (1988:16–17) that were not minutes, 38th–39th meetings, 1–3 Aug 1968:§491). available to us, in June 1967, Karpeles, Ringer, and Stallman was interviewed in 1986 concerning her activ-several Board members met in Berlin, with a dramatic ities before and during Great Britain’s 1926 General result: the organizational scheme proposed by Ringer Strike (Saltzman 2012:7, 11, 120–122), but we have was now deemed impracticable. His insistence that the been unable to find further information about her. financial side of the Secretariat remain in London was the main sticking point. Although the Illinois offer had been accepted in principle, it was ultimately declined. Christian Ejlers, Copenhagen, Stallman wrote to the provost of the university to announce this decision on 22 June 1967. Christensen 1967–1968 (1988:17) concludes that the “gracious and generous Christian Ejlers (b. 1935; figure 3) completed his Danes had been persuaded to accept the Council, after Candidate of Law degree in 1961 and began working all, if only for a year and a half,”24 although he does not at Gyldendal, Denmark’s largest publishing house in cite documents that precisely support this claim. 1962. Intending to start his own firm in Copenhagen, In September, Stallman sent a letter to all IFMC mem- he went to London in 1967 to seek publishing con- bers announcing the move to Copenhagen and the tacts. A friend of his, ethnomusicologist Andreas appointment of Christian Ejlers as executive secre-Fridolin Weis Bentzon, somehow knew that the IFMC tary, effective 15 September 1967 (ICTM Archive MS Secretariat would be moving to Copenhagen and that 10017, series 4, folder 94). The front cover of BIFMC they needed an administrator. He encouraged Ejlers to 31 (Nov 1967) bears the Secretariat’s new address at apply. Ejlers met with Karpeles, but his appointment the Danish Folk Archives; inside the back cover, Ejlers had to be approved by the IFMC Executive Board, so he (executive secretary), Poul Rovsing Olsen (treasurer), flew from London to Ostend, Belgium, where the 19th IFMC conference was to take place, 28 July–3 August 1967. As is the custom today, the Board met before and after the conference, and must have approved his 23 There was a tentative expression of interest for hosting the secretariat in Canada from Graham George: “I don’t know appointment.26 Ejlers then returned to Copenhagen whether we can swing it from Canada’s side. But I certainly don’t want to sit quietly and let the IFMC slide into disas- ter, when maybe Canada could help!” (letter from George to 25 Ringer was able to attend the Board meeting at some point, Karpeles, 20 Jan 1967; ICTM Archive MS 10017, series 4, and Poul Rovsing Olsen from the Dansk Folkemindesamling folder 120). Of course, this offer would eventually be taken up attended by invitation ( BIFMC 33, Oct 1968:4). in 1969. 26 Minutes are unavailable for these Board meetings, but there 24 Note that the Secretariat was located in Copenhagen for is a brief curriculum vitae from Ejlers, dated 24 July 1967 exactly two years: 15 September 1967 – 15 September 1969. (ICTM Archive MS 10017, series 4, folder 75 “Ejlers”). 134 Don Niles and Carlos Yoder professor at the Dansk Biblioteksskole (Danish School of Librarianship). Board minutes simply note that Ejlers had secured another job. Matthews was appointed as executive secretary until the end of 1969 (ibid.:§497b). In November 1967, two months after his departure, Ejlers started his own successful publishing firm, Christian Ejlers’ Forlag. In 2008, it combined with two other publishing houses.28 Throughout the Secretariat’s time in Copenhagen, Poul Rovsing Olsen served as treasurer. He would later serve on the Executive Board (1970–1977), and as president (1977–1982) until his death. While president, he over- saw another crucial transition, when IFMC became ICTM in 1981. Connie Matthews, Copenhagen, 1968–1969 Constance Evadine Smith (1943–1993), usually called Connie, was born in Jamaica. Although information on her early life is particularly scanty, it appears that Figure 3. Christian Ejlers, 1975 (photo by H. H. she married Tony Matthews as a young adult, adopted Tholstrup, courtesy of Christian Ejlers). his surname, and had a daughter with him. She report- edly went to England and earned a bachelor’s degree, followed by a master’s degree in psychology in Austria. to begin his job, but also arranged concerts there for a Presumably her marriage ended by this time.29 Kathakali group that had performed for participants on the last day of the Ostend conference. Connie Matthews began working as assistant secretary with the IFMC Secretariat in London on 3 February Ejlers would be executive secretary for less than a 1967, when Stallman was executive secretary. When year, from 15 September 196727 until 1 September the Secretariat moved to Copenhagen on 15 September 1968, when Matthews took his place ( BIFMC 33, Oct 1967, she worked there as assistant secretary under 1968:1). His IFMC job enabled him to be an admin-Ejlers. Upon Ejlers’s resignation on 1 September istrator and also continue his interest in publishing. 1968, Matthews was appointed executive secretary. At Documents in the ICTM Archive show that Ejlers cor-twenty-five years of age, she appears to be the young- responded frequently with Karpeles on many matters est person ever to hold this position. She would con-concerning IFMC affairs (ICTM Archive MS 10007, tinue in this capacity until the Secretariat left Europe series 4, folder 120). At the last Board meeting before his to be established under Graham George in Kingston, departure, Ejlers and Matthews left the room while the Canada, on 15 September 1969, exactly two years after Board discussed new homes for the Council. Of three the Secretariat’s move to Copenhagen (figure 4). offers, that from Graham George at Queen’s University in Kingston, Canada, appeared most promising, and it would be further explored. If all was in order, the move there would be at the end of 1969, and George would 28 Because of the absence of some key Board minutes, Advisory become executive secretary (EB minutes, 38th–39th Committee minutes, and much else from the period that the meetings, 1–3 Aug 1968:§§497a, 502; BIFMC 35, Oct Secretariat was in Copenhagen, only limited information sup- plements that which appears in Bulletin s. What information 1969:13–14). we do have was located and copied for us by Lene Halskov Hansen, project researcher at the Dansk Folkemindesamling in As recalled by Ejlers, a minor disagreement with the June–July 2020. She also put us in touch with Christian Ejlers, Board led to his departure, but Eric Dal, an Executive who recalled events over fifty years ago (emails from Ejlers, July Board member, helped him secure a position as assistant 2020; Wikipedia Contributors 2020b). We are much indebted to them both. 29 The information in this section about Matthews’s early life has 27 Because of preparations in Copenhagen before the transfer benefitted greatly from an unpublished article by Robyn C. from London, the Advisory Committee subsequently moved Spencer (n.d.). We appreciate her sharing it with us. And we Ejlers’s date of appointment forward to 15 August 1967 (EB are greatly indebted to Robert Wade for allowing us to use his minutes, 38th–39th meetings, 1–3 Aug 1968: app. B). photo of Matthews in figure 4. Secretariat under Band, Krader, Stallman, Ejlers, Matthews, 1963–1969 135 Figure 4. Connie Matthews in Copenhagen, probably early July 1969 (photo by Robert Wade). Reporting in BIFMC 33 (Oct 1968:3), Matthews noted Council would have to leave Denmark (AC minutes, a decrease in membership at the end of 1967. If there 14 Apr 1969:§4). was not a considerable increase in membership, the Later on the same day, she wrote to Karpeles, enclosing Council would be unable to survive. On 28 October a copy of her letter of resignation to Rhodes (unavaila-1968, she wrote confidentially to IFMC President ble to us): Willard Rhodes about unexpected overspending (see figure 1). With the absence of the treasurer, Rovsing I, more than anybody else, realise the difficulty the Olsen, as well, she commented: IFMC will be placed in but I am afraid due to an accu- mulation of personal reasons which I would prefer not I would probably be very much on my own during to write about, I find it necessary to leave Europe. This the next year. This I had accepted but now I am also time I am afraid there really are no other alternatives faced with this new problem which I had no idea would open to me. recur. (ICTM Archive MS 10017, series 4, folder 120) I have discussed this matter (not my personal reasons) But then at the first Advisory Committee meeting of in general with the Advisory Committee and the min- 1969, Matthews said that she would definitely be leav- utes of that meeting will be circulated to Board mem- ing IFMC by the end of September 1969 to further bers later this week. I really do feel rather badly but as I said before there is no other alternative. (ICTM her studies in the USA (AC minutes, 3 Jan 1969:§6). Archive MS 10017, series 4, folder 120) While nothing further was heard about the possible move to Canada, the Advisory Committee noted that Two weeks later, the Committee learned that Karpeles the Council would have to move from Copenhagen by had informed the Secretariat by phone that George would about January 1970 (AC minutes, 24 Jan 1969:§4). be willing to take over the Secretariat in September, but if his grant application was not approved, he would try On 14 April 1969, Matthews told the Advisory to run it “on a shoe-string” until the end of the year (AC Committee again that she would be leaving at the end minutes, 28 Apr 1969:§2a). It appears that Matthews’s of September, but this time said it was for personal rea-September departure, coupled with those of other key sons. They understood her position, but also noted that people in Copenhagen and the eventual lack of finan-a number of members of the Committee were also plan- cial support, helped determine the date for the move of ning on leaving, so they would have to find a replace- the Secretariat to Canada. ment for Matthews after September; in any case, the 136 Don Niles and Carlos Yoder The Board next met in Edinburgh, just prior to the she helped organize a two-week visit in March 1969 IFMC conference there. George’s appointment would by Bobby Seale (BPP co-founder) and Raymond Masai take effect in September, as soon as Council files Hewitt (BPP minister of education) to Sweden, Norway, arrived in Kingston. George was then invited to join Finland, and Denmark. After Seale and Hewitt returned the Board members (EB minutes, 40th meeting, 5–6 to the USA, Matthews was praised for her organiza-Aug 1969:§608b). And at the General Assembly meet- tional efforts (Bloom and Martin 2016:313), and in ing on 9 August, the Board announced their decision to May was made the BPP International Coordinator, the membership, noting that the stay in Copenhagen authorized to mobilize to carry out demonstrations was always foreseen to be for a limited time. The Board of support, raise funds, and inform the peoples of thanked the Dansk Folkemindesamling for their sup- Scandinavia about poor black and oppressed peoples’ port and various Danish bodies for grants during the revolutionary struggle from the Panthers’ vanguard past two years, and also expressed appreciation to position. (Klimke 2011:118) Matthews “for the invaluable services she has rendered Working with supportive groups in Scandinavia, she for the Council, first in London and for the past two organized May Day workers’ demonstrations on 1 May years in Denmark” ( BIFMC 35, Oct 1969:13–14). 1969 and passed out BPP literature (Bloom and Martin At the Board meeting following the conference, Karpeles 2016: 313). In July–August 1969, she joined the BPP spoke of her concern about the discontinuity that would delegation to attend the Pan-African Cultural Festival arise when the Secretariat moved to Canada. To assist, in Algiers (Cleaver 1998:228). Between March and she offered to visit Canada soon to assist George. The September, she also featured in various articles in The Board agreed to this proposal (EB minutes, 41st meet-Black Panther newspaper. All these activities took place ing, 13 Aug 1969:§636c). The president and the Board while she was executive secretary of IFMC.32 once again expressed their appreciation to Matthews, After her IFMC employment had finished, Matthews and wished her every success in her new undertakings continued work with the BPP in Europe, but also trav- (ibid.:§636d). elled for the first time to the USA, where she became On 26 August 1969, a couple weeks after the personal secretary of co-founder Huey Newton. She Edinburgh conference, Karpeles wrote to Matthews, married Michael Cetewayo Tabor in 1970. When remarking “hope you’re still alive. I’m feeling rotten Tabor failed to appear for trial in February 1971, he and unable to do much” (ICTM Archive MS 10017, and Matthews were denounced by Newton as “enemies series 4, folder 120). On 28 August 1969, Matthews of the people,” and Matthews was accused of taking wrote to Karpeles, following their earlier phone call, various valuable BPP records with her. In the follow-discussing various administrative matters, and men- ing month, they appeared in Algiers, joining up with tioning future travel to the USA and the possibility of Eldridge Cleaver and his wife, Kathleen ( The Black travelling to Canada. She then notes: “I think this will Panther, 13 Feb 1971; Cleaver 1998:238; Bloom and be my last letter but I will keep in touch. / Very kind Martin 2016:361–362). regards. / Yours,” (ibid.). On the same day, Matthews When disagreements erupted between the Algerian wrote a reference letter for Chakée Kirkiacharian,30 BPP chapter and that in the USA, Matthews and Tabor who had worked as assistant to the executive secretary settled in Lusaka, Zambia, in 1972. Matthews later from 1 October 1968 until, presumably, 15 September worked in Lusaka as secretary for Hage Geingob, direc-1969 (ibid.). Matthews was winding up her work in tor of the UN Institute for Namibia, who would later the Secretariat for the official move in less than three become prime minister of Namibia. Tabor became a weeks. Matthews’s term finished when the Secretariat writer and radio personality. After Matthews and Tabor moved to Canada on 15 September 1969. divorced, she returned to Jamaica, where she died of But what were Matthews’s “personal reasons” (a change cancer in 1993 (Spencer 2011). from the original desire to study in the US) that she did not write about, but that led to her resignation? From at least January 1969, Matthews had become increasingly Conclusions involved with the Black Panthers Party (BPP),31 and During the period 1963 to 1969, the Secretariat had three different addresses in London, before moving to 30 Also spelled Shake Kiryasharian ( BIFMC 35, Oct 1969:18) and Kirkyasharian (letter from Matthews to Karpeles, 15 Oct Copenhagen. During this six-year period, there were 1968, ICTM Archive MS 10017, series 4, folder 120). five different executive secretaries: Band served almost 31 A “revolutionary socialist political organization founded by … Bobby Seale (Chairman) and Huey Newton (Minister of 32 Such coverage also continued after she ceased being IFMC Defense)” on 15 October 1966 in Oakland, California. It was executive secretary; for example, there is an interview with her active in the USA, 1966–1982, with international chapters in ( The Black Panther, 18 Oct 1969), and an interview by her different parts of the world (Wikipedia Contributors 2020a). with Angela Davis (ibid., 1 Nov 1969). Secretariat under Band, Krader, Stallman, Ejlers, Matthews, 1963–1969 137 two years; Krader just short of one-and-a-half years; Saltzman, Rachelle H. 2012. A Lark for the Sake of Their Country: Ejlers and Matthews about a year each; and Stallman The 1926 General Strike Volunteers in Folklore and Memory. about ten months—much shorter lengths than at any Manchester: Manchester University Press. Slobin, Mark. 2005. “Barbara Krader.” SEM Newsletter 39/2 (Mar): other time in the history of the Council. 6. Also: https://www.ethnomusicology.org/general/custom. asp?page=SF_Memorials_Krader. At the end of the period discussed here, the Secretariat Spencer, Robyn D. 2011. “Conny Mathews [ sic].” The Black moved to Canada, with the hope that Graham George Panther: Special Commemorative Issue (Oct): 5. would be able to save the Council. The Council’s tur- ———. “ ‘The Struggle Is a World Struggle’: Connie Matthews bulent period of uncertainty in Europe appeared to be and Black Transnational Activism in the Era of Black Power.” 19 pp. Unpublished draft paper. over. George would change his administrative title from St. Hugh’s College. [1926]. St. Hugh’s College, Oxford, honorary executive secretary to secretary general, which 1925–6. Oxford. https://issuu.com/sthughscollegeoxford/ survives to this day.33 Further details about him and his docs/r-1-1-1925. Surrey History Centre. n.d. “Dorking Poor Law Union Vaccination successors are found in the remaining chapters about Registers 1889–1909 SHC ref BG2/63/1-4.” 229 pp. https:// the Secretariat. www.surreycc.gov.uk/__data/assets/pdf_file/0008/182096/ BG2_63_1-4-Dorking-Poor-Law-Union-vaccination- registers-1889-1909.pdf. United Nations. 1958. Commission on the Status of Women: Report References cited of the Twelfth Session (17 March – 3 April 1958). United Nations Economic and Social Council, Official Records, 26th Bloom, Joshua, and Waldo E. Martin, Jr. 2016. Black against Session, Supplement 7. [N.p.]. Empire: The History and Politics of the Black Panther Party. US Department of Health, Education, and Welfare. 1966. Berkeley: University of California Press. Education Directory, 1965–1966, Part 4: Education Christensen, Dieter. 1988. “The International Folk Music Council Associations. Washington: US Government Printing Office. and ‘The Americans’: On the Effects of Stereotypes on the Wikipedia Contributors. 2020a. “Black Panther Party.” Wikipedia: Institutionalization of Ethnomusicology.” YTM 20: 11–18. The Free Encyclopedia. https://en.wikipedia.org/wiki/Black_ Cleaver, Kathleen Neal. 1998. “Back to Africa: The Evolution of Panther_Party (accessed 10 Jun 2020). the International Section of the Black Panther Party (1969– ———. 2020b. “Christian Ejlers.” Wikipedia: The Free 1972).” In The Black Panther Party Reconsidered, edited by Encyclopedia. https://da.wikipedia.org/wiki/Christian_Ejlers Charles E. Jones, 211–254. Baltimore: Black Classic Press. (accessed 13 Jun 2020). Cowdery, James R. 2009. “Kategorie or Wertidee? The Early Years of ———. 2020c. “Connie Matthews.” Wikipedia: The Free the International Folk Music Council.” In Music’s Intellectual Encyclopedia. https://en.wikipedia.org/wiki/Connie_Matthews History, edited by Zdravko Blažeković and Barbara Dobbs (accessed 10 Jun 2020). Mackenzie, 805–811. RILM Perspectives, 1. New York: Répertoire International de Littérature Musicale. Gwilliam, Freda H. 1963. “Education for Women in Contemporary Society in the Commonwealth.” Journal of the Royal Society of Arts 111 (Sep): 814–827. Howes, Frank. 1935. “The International (European) Folk Dance Festival.” Journal of the English Folk Dance and Song Society 2: 1–16. Karpeles, Maud. [1976]. “Autobiography.” 284 pp. English Folk Dance and Song Society, Vaughan Williams Memorial Library, Maud Karpeles Manuscript Collection, MK/7/185. Accessible online: http://www.vwml.org/record/MK/7/185. Klimke, Martin. 2011. The Other Alliance: Student Protest in West Germany and the United States in the Global Sixties. Princeton: Princeton University Press. Krader, Barbara. 1963. “Soviet Research on Russian Folk Music since World War II.” Ethnomusicology 7/3 (Sep): 252–61. ———. 1967. “Kodály Zoltán.” Ethnomusicology 11/3 (Sep): 386. Levitt, Cyril. 2018. “Preface: Lawrence Krader—a Personal Retrospective in Memoriam.” In Beyond the Juxtaposition of Nature and Culture: Lawrence Krader, Interdisciplinarity, and the Concept of the Human Being, edited by Cyril Levitt and Sabine Sander, vii–xvii. History and Philosophy of Science, 5. New York: Peter Lang. Morgan, Paula. 2001. “Krader [née Lattimer], Barbara.” In Grove Music Online. https://doi.org/10.1093/gmo/9781561592630. article.15454. Pakenham, Simona. 2011. Singing and Dancing Wherever She Goes: A Life of Maud Karpeles. London: English Folk Dance and Song Society. 33 In 1969, Graham George was initially called honorary execu- tive secretary, but later requested the title secretary general, in conformity with other international organizations (EB min- utes, 45th meeting, 2–4 Aug 1972:§713). The Secretariat under Graham George: Kingston, Canada, 1969–1980 Beverley Diamond The Secretariat of the International Folk Music Council Hindemith (for whom his second son is named) at Yale was based in Kingston, Ontario, Canada, when Graham University. George (1912–1993) became honorary executive secre- His miscellaneous molding experiences include three tary from 1969 to 1970 and then secretary general from years as an architectural draftsman, active service with 1971 to 1980. Born in the UK to an English family, the Canadian Army Overseas, and studies in philos- Graham George (figure 1) moved, first to Ottawa, and ophy. As musician, he claims competence in church, school and university, inclining to suppose that his then Montreal in 1928. The Montreal years undoubt- chief usefulness may be in the area of analysis, musical edly gave him a grounding in French, which proved and aesthetic … useful during his ICTM service. Following World War My wife, the dear dedicatee [of George 1970], says all II, he married Tjot Kosten, whom he had met in the the dates should come out because they make it look as Netherlands, and he accepted a position at Queen’s if I’m applying for a job! And that I ought to mention University in Kingston, where he remained for the rest that I got three prizes for composition (1938, 1943, of his life.1 He was the inaugural department head of 1947). But since they were, internationally speaking, the School of Music at Queen’s University. Tjot (figure unimportant prizes I think it better not to put them in, especially since my effectiveness as a composer is irrel- 2) would become his assistant as ICTM secretary gen- evant to my abilities as an analyst. (But the 1938 one eral, although her training as a singer at the Amsterdam brought me $500 smackers when I was a young buck). Conservatory probably did not prepare her particu- When I knew almost nothing about composition I got larly well for that job. I know that she found it ardu- paid handsomely for it. Now that I know something, I ous. She had command of several European languages, don’t. (Graham George Fonds, R14399, box 2, folder however, which proved to be useful for international 85) communications. While always acknowledging that he was not an Graham George was a rather soft-spoken person, albeit ethnomusicologist, he described himself first and with a sardonic wit, but also a man with ambitious aspi-foremost as a theorist. I suggest, however, that, like rations. His own self-portrait (written originally when several early IFMC presidents (including founding he published his first book) is indicative: president Ralph Vaughan Williams, Zoltán Kodály, as well as Poul Rovsing Olsen who were composers, as well GG was trained under Dr. Alfred Whitehead in as scholars), composition was his primary professional Montreal, receiving the degrees of Bachelor of Music in 1936 and Doctor of Music in 1939, both from love. Since he was also an organist and choir master, it is the University of Toronto at a period when Sir Ernest not surprising that he wrote many works for organ and MacMillan and Dr. Healey Willan were the chief exam-choir. However, his compositional output also includes iners. He became a Fellow of the (now Royal) Canadian ballets, operas, and other works for larger instrumental College of Organists in 1936. Much later he submitted ensembles. Two of his three operas, as well as a ballet, with finite groans and infinite gratitude to the cruel were performed in full-scale productions. His style rebirth of advanced studies in composition with Paul was more indebted to Whitehead than Hindemith. As a theorist, he wrote two books: the aforementioned 1 I knew Graham George as a colleague at Queen’s University, Tonality and Musical Structure (1970) , an academically although his career was near its end when mine was just oriented study of late tonal works that use what he beginning. The Georges graciously invited me to their elegant called “progressive tonality,” and the other a pedagogical home in Kingston and to the country log cabin that they built themselves (probably with some help from their sons), when text, Twelve Note Tonal Counterpoint (1976). His artistic President Poul Rovsing Olsen visited early in his term as pres- leadership in the community was extensive: he founded ident of ICTM in 1978. Both Graham and Tjot enjoyed the and conducted the New Symphony Association of travels that ICTM required of the secretary general, and their home exhibited artwork and objects from the many places they Kingston and the Kingston Choral Society, as well as had opportunity to visit. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 138–142. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Secretariat under Graham George, 1969–1980 139 encouraged him to study Inuit music, which they both felt had been sadly neglected. While Graham wrote an article (George 1962) and gave conference papers on the Salish songs, he was never able to pursue his intent to study Inuit music. Graham George described the move of the Secretariat to Canada as follows: The move of the International Folk Music Council’s sec- retariat to Queen’s, with myself as Honorary Executive Secretary, came about because this twenty-year-old organisation (of great international cultural impor- tance, as I have realised more and more in handling it) was running fast down the slope of financial disaster because of excessive expenditure on salaries. (Getting folk music organisations out of financial messes seems to be becoming a habit of mine, my three-year presi- dency of the Canadian Folk Music Society having orig- inated the same way.) … In the sense of advantage [to my university] I think there is some in that I have this close contact with ethnomusicologists the world over.3 Figure 1. Graham George He served with three IFMC presidents: Willard Rhodes (photo courtesy of the Canadian Music Centre). (1967–1973), Klaus Wachsmann (1973–1977), and Poul Rovsing Olsen (1977–1982). other organizations in communities within an easy Under the watch of Graham and Tjot George, the commute from his home base. Council grew. On 30 June 1969, the year he assumed His interest in folk music undoubtedly was encouraged responsibility for the Secretariat, paid membership was by Marius Barbeau. who served as vice president of the 462 ( BIFMC 35, Oct 1969:14). Membership fees rose IFMC, and founded (with IFMC’s encouragement) during this twelve-year period, from $12 to $20. On the Canadian Folk Music Society in 1956, serving as 31 May 1980, during the last year of Graham George’s its first president (1957–1963). Graham George was term as secretary general, the number of members and the third president (1965–1968), although he ceased subscribers was 1,248, and there was a healthy bank to be involved with the Canadian organization shortly balance ( BIFMC 57, Oct 1980:6). This report seems thereafter, perhaps because the IFMC took all his atten-inconsistent with what the Christensens reported after tion. Barbeau engaged George in the organization of the Secretariat moved to New York a year later (see the international conference of the IFMC in Quebec Seeger in this volume). City in 1961, although—alluding to the unilateral deci- Graham George oversaw world conferences in sion-making that Marius preferred—Graham would Kingston, Jamaica; Bayonne, France; Regensburg, later remark that “no one, I think, will deny that it was Germany; Honolulu, USA; Oslo, Norway; and, to in truth ‘his conference’ ” (Graham George Fonds, box a large extent, Seoul, Korea. The ambience of confer-1, folder 1). He later expanded on the strong leaders ences in this period varied, as it still does, depending within the IFMC: on the country where they take place, but the relative Readers who knew Maud Karpeles well knew that intimacy and interaction with the local population set it took a strong man to get his own way against her the conferences of this period apart from the large-scale wishes, and I should guess that Zoltán Kodály and events of the twenty-first century. The sociality can be Marius Barbeau were the only ones who did. They were three people of great qualities and they more than sensed in an extended series of reports that President respected each other.2 Willard Rhodes commissioned on the Jamaica confer- ence ( BIFMC 39, Oct 1971). Each of the sections in In an obituary for Marius Barbeau that Graham George this report are signed, except for one titled “The Fun wrote for the YIFMC (1969), he notes that “all IFMC We Had in Jamaica” (pp. 25–28), a section probably conferences are ‘special,’ but the Québec conference written by George, since he refers to his female travel-was special even among the specials” (George 1969:13). ling companion and mentions Canada. George played Barbeau also engaged Graham George to transcribe a particularly significant role in 1973 when the IFMC songs from Salish (First Nations) singers, and he conference that had been planned for San Sebastian, 2 While obviously intended for publication, the document available for viewing was handwritten (Graham George Fonds, box 3 Letter to Dean Ronald Watts, Queen’s University, 1970 1, folder 2). (Graham George Fonds, box 9, folder 2019). 140 Beverley Diamond generous funding. Radio programmes were thought to be a valuable educational tool of the Council and under a programme named Rostrum, “biennial presentation of short sound-recordings” were produced in differ- ent countries “to demonstrate and discuss the latest developments in the countries concerned” (Daems and Kuijer 1977:27). At the same time, the IFMC was ahead of its “compet- itors” in some regards. Unlike the SEM, for instance, IFMC was already much more nationally, linguistically, and ethnically diverse because they encouraged the crea- tion of national committees as affiliates. Even the Board meetings in the 1970s6 were multilingual (unlike the English-only meetings of the first decade of the twen- ty-first century when I was a member). The Executive Figure 2. Tjot and Graham George, Premiere of his opera Evangeline, 1948 Board was hardly a male preserve, including strong (photo courtesy of the Kingston Whig Standard). women (Honorary President Maud Karpeles, Claudie Marcel-Dubois, and Olive Lewin to name three of the most important), even if it would not be until 2017 Spain, was cancelled at the last minute. He worked that another woman would be appointed as secretary tirelessly to relocate the world conference to Bayonne, general. At the same time, “Honorary” was added to France, with only weeks to spare. Graham’s title—perhaps to give him more status than The Secretariat oversaw the printing of the Yearbook s, his predecessors who were mostly women—and it was but also collated and often wrote material for the bian-deemed acceptable that he relegated much of the work nual Bulletin s.4 Graham and Tjot greatly expanded the to his wife as his assistant. Indeed, she worked full-time information published in the Bulletin s, working hard while, by his own admission, he worked “a fair amount to get more national committees, liaison officers, and whenever I feel like it, and I don’t get paid.”7 study groups to write reports and providing more trans- Other debates that concerned the IFMC leadership parency about Board meetings and finances. While during the period of the Graham George Secretariat the Executive Board remained the authority on most foreshadowed changes that would occur in the follow-matters, the move to provide more information to the ing years. The boundaries of genres and styles, and old membership was arguably a small step toward a more assumptions about what scholarship should aim to do democratic organization that would finally emerge with were at the core of many discussions. Although the the election of executive and Board members in the IFMC matriarch Maud Karpeles had long argued that twenty-first century.5 folk music is a living process, not static but characterized During the 1970s, issues of concern related to the place not only by continuity but by variation and commu-of IFMC in the larger world of scholarly music organ- nity selectivity, debates about authenticity were heated izations. The International Music Council (established during this period. Some members of the Executive by and affiliated with UNESCO since 1949) and the Board observed that the concept of folk music differed American-based Society for Ethnomusicology (SEM) across languages, but they generally upheld distinctions were at the top of the list of the “competing” associa-between folk music, art music, and popular music, even tions, all established post–World War II and all striving if some observed that classical music from Asia in par-to be globally representative and broadly relevant. IFMC ticular was studied by many members and that such in the 1970s had a close relationship with national things as religious music often crossed the boundaries. media organizations, some of which contributed quite A suggestion was made already in 1979 to change the name of the society to reference “traditional music,” 4 This history would be very difficult to write without the rather than “folk music” ( BIFMC 55, Oct 1979:15– Bulletin s. All Bulletin s are available online on the ICTM 16)—a suggestion that came to fruition early in the website (http://ictmusic.org/publications/bulletin-ictm/ term of the next secretary general. Dance was already past-issues). a central subject for many of the Council’s members. 5 In the 1970s, there was a mechanism for national committees, study groups, or ordinary members to nominate individuals for the Executive Board, but this rarely happened until the end of the Dieter Christensen Secretariat. The Board, further, had 6 Graham George taped some Board meetings (Graham George (and has) the authority to co-opt additional members, often to Fonds). ensure diversity or to have an active Board member from the 7 Draft letter (no recipient indicated) (Graham George Fonds, country where the next world conference would take place. box 2, folder 6). Secretariat under Graham George, 1969–1980 141 IFMC study groups of the 1970s were concerned elected to ask him to resign.10 On 22 September 1980, with such matters as preservation and the systemati-President Poul Rovsing Olsen wrote: zation of analytical approaches (among other topics). The Executive Board has for some time been preoccu- But there were also proponents of a broader spectrum pied by the question of the position of the IFMC within of music-making, studies of socialization, and projects the world of international scholarship. You know as that spoke to the needs of specific locales and historical we do of the threats against us coming from the SEM contexts. John Blacking wrote in 1975 in the Bulletin in and the IMC, among others … We have arrived at the strong terms about different perspectives on the aims of conclusion that under these circumstances we need an ethnomusicologist as our Secretary General … It is scholarly work: with the deepest regret that the Board must ask you to some European scholars see their own work as musi- resign. (Graham George Fonds, box 3, folder 96) cological and that of the Americans as more anthropo- Rovsing Olsen wrote a separate, private letter to logical, as if anthropology were chiefly concerned with programme notes about the social context of the music. Graham and Tjot, a letter that implied he did not per- (Blacking 1975:22) sonally agree with the Board’s decision. In this private letter he said: Blacking emphasized that structures of music are equal concerns for anthropologists. An equally strong The enclosed official letter has been written very reluc- “Statement of form and aims of work within the IFMC,” tantly. The words may seem cold and cruel … I will never forget how nicely you took over the job as SG in signed by Rokus de Groot (the Netherlands), Gord 1969 at another quite difficult moment in the life of Bauman (German Federal Republic), and Jan-Peter the IFMC. So thank you. (Graham George Fonds, box Blom (Norway), appeared in the following year, urging 3, folder 96) more consideration of “international political relations, Graham responded by questioning why Rovsing Olsen national and ethnic power-structures and world econ-had described the SEM and IMC as “threats.” Mostly, omy” ( BIFMC 48, Apr 1976:4–5). More profoundly however, Graham felt betrayed because no one had “disruptive” of the colonialist norms, were comments warned him that there were concerns about his work for about divergent social histories. Foreshadowing the the society. The request for resignation came “out of the post-colonial concerns in the twenty-first century, blue.” “There is always frank talk—between gentlemen,” Executive Board member Olive Lewin (Jamaica), for he wrote to Rovsing Olsen on 16 December 1980. instance, argued at one Board meeting for the need for oral history as a corrective to the inaccurate histories of Many IFMC members wrote to Graham George slavery and the Christian suppression of folk religion expressing their dismay about this turn of events, in her country. Historical inaccuracies were perpetuated expressing concern about the international ill effect on by collectors, among others, she observed.8 Analysis the Council. In his letter to Graham, Oskár Elschek was less important, she contended, than collecting with said that he had elsewhere written the following: a view to revitalizing interest and intergenerational I know the IFMC more or less detailed almost 20 years knowledge transfer. She urged that action must be done and I think he was in the period the best secretary gen- quickly before more elders die.9 Interventions such as eral we had. He brought much order into the admin- istrative and financial situation of the IFMC and had Olive Lewin’s did lead to more emphasis on educa- beside these also a generous handling of the internal tional initiatives. But there was reluctance even to allow and external problems of our society. (Graham George membership input about the themes at conferences, or Fonds, box 8, folder 96) indeed to allow too many themes, presumably in case Graham responded to each letter of support in a sim-the full complexity of social experience and the inequi- ilar way, not denying the anger he felt but exhibiting ties of cultural imperialism were unleashed. a graciousness as well. In one such letter, for instance, The end of the Graham George Secretariat was regret- he observed: tably acrimonious. Without consultation with Graham, What I objected to was that the change [of Secretary a Board vote was taken and by a slim margin, they General] was discussed in Tunis without consulting me … We have had so many expressions of regret that things were done as they were. We shall remember our time with the IFMC, involving so many fascinating fac- tors and the making of so many far-flung relationships, with the utmost pleasure and satisfaction. (Graham 8 Her very passionate interjection was accessed on the tape George Fonds, box 8, folder 96) recording of the Board meeting on 12–13 August 1975 (National Archives of Canada, Tape 395 327-T5-432). Her comments on this matter were not recorded in the minutes of 10 Although I am aware of no evidence about this, I suspect that the meeting. some early signs of memory loss that would be later diagnosed 9 Executive Board meeting in Regensberg, 1975 (Graham as Alzheimer’s disease might have been already making his George Fonds, tape 395327-T5-432). Also see EB minutes, duties increasingly more difficult for him and less reliable for meeting 49, 12–13 1975:§771. the IFMC. 142 Beverley Diamond In BIFMC 58 (Apr 1981:3), President Rovsing Olsen expressed the Council’s “gratitude for the long and unselfish service” of Graham George. References cited Blacking, John. 1975. “Summary of the Conference: A Personal View of the 23rd IFMC Conference.” BIFMC 47 (Oct): 21–23. Daems, Hendrik, and Henk Kuijer. 1977. “Report of the Committee on Radiotelevision and Sound/Film Archives.” BIFMC 51 (Nov): 22–27. George, Graham. 1962. “Songs of the Salish Indians of British Columbia.” JIFMC 14: 22–29. ———. 1969. “In Memoriam: Marius Barbeau.” YIFMC 1: 10–13. ———. 1970. Tonality and Musical Structure. New York: Praeger. ———. 1976. Twelve Note Tonal Counterpoint. Oakville: Harmuse Publications. Graham George Fonds. MUS197. National Archives of Canada. The Secretariat under Dieter Christensen: New York, USA, 1981–2001 Salwa El-Shawan Castelo-Branco Dieter Christensen (1932–2017) made a seminal con- 2009), I witnessed his engagement with the Council tribution to ethnomusicology as a scholar, teacher, and shared many moments of work and conviviality archivist, and ICTM’s secretary general. A member of with the Christensens in which the Council was invari-the IFMC/ICTM since the 1960s, he chaired the pro- ably a topic of discussion. I also consulted documentary gramme committee of IFMC’s 20th Conference held sources such as the ICTM Bulletin s, and the minutes in 1969 at the School of Scottish Studies in Edinburgh, of Executive Board meetings. Finally, the interview I United Kingdom. A year later, he was co-opted and conducted with Dieter at his home in Berlin on 28–29 later elected to the Executive Board, on which he January 2015 was also an invaluable source.1 served from 1970 to 1991. In 1975, he chaired the programme committee of the 23rd IFMC Conference held at the University of Regensburg in the Federal A biographical sketch Republic of Germany. In 1981, he was appointed sec- retary general, an office that he held for twenty years. Dieter Christensen was born in Berlin where he studied He was also editor of the Yearbook for Traditional Music the cello at the Staatliche Hochschule für Musik (1950– from 1982 to 2000. 1953), and comparative musicology, historical musicol- Throughout the two decades in which he served as ogy and anthropology at the Freie Universität Berlin secretary general, the ICTM was central in the lives of (1952–1957), where he earned his doctorate in 1957 both Dieter and his wife Nerthus (née Karger, 1932– with a dissertation on music in Papua New Guinea 2003), trained in anthropology and library science, who (Christensen 1957). As a boy, he lived through World served as the Council’s executive secretary from 1981 War II and its aftermath. At the age of eleven, his parents to 2001. Driven by idealism and a firm conviction of sent him alone to Dresden, a city that was “believed to ICTM’s important mission in furthering music and be the culture treasure that no one would dare to attack dance research, and in developing dialogue between or destroy” (interview, 29 Jan 2015). His experience in scholars throughout the world, but especially in coun-war-torn Germany informed one of his priorities for the tries that were divided by ideological differences and/ ICTM, namely to facilitate dialogue and collaboration or political strife, the Christensens worked tirelessly to with colleagues across the “Iron Curtain.” Following serve the ICTM, developing personal and professional his PhD, his professional career was launched at the relationships with scholars in many parts of the world. Phonogramm-Archiv of the Museum für Völkerkunde Under Christensen’s leadership, the IFMC/ICTM was in Berlin, where he held the posts of research assistant to transformed from an essentially European organiza-his professor Kurt Reinhard, curator, and later director tion primarily concerned with folk music collecting, (1958–1971). Recalling this initial phase of his profes-documentation, and preservation into one of the most sional career, Dieter commented that he “enjoyed work-prominent international organizations in music and ing with the recordings, including the old wax cylindance research with a wide outreach and a robust finan- ders” (interview, 29 Jan 2015). At the same time, he cial situation. maintained his connection to academia through his post as adjunct lecturer in ethnomusicology and anthropol- The following retrospective on Dieter Christensen’s ogy at the Freie Universität Berlin (1962–1970). The engagement with the IFMC/ICTM draws on my expe-knowledge and experience that he had acquired at the rience as a Board member (1986–2001) and vice pres- Berlin Phonogramm-Archiv were instrumental in the ident (1997–2001) during the period that Christensen next phase of his career at Columbia University’s music served as secretary general. In addition, as his former student, co-fieldworker in Oman, and co-author of the 1 Some of this interview was published, see Castelo-Branco resulting monograph (Christensen and Castelo-Branco (2015). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 143–149. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 144 Salwa El-Shawan Castelo-Branco Figure 1. Nerthus Karger and Dieter Christensen during fieldwork in Macedonia, Yugoslavia. Klepa, summer 1956 (photo courtesy of Velika Stojkova Serafimovska). department where he founded and directed a sound Engagement with the IFMC archive. From the late 1960s, Christensen was increas- ingly involved with the Society for Ethnomusicology, Dieter Christensen’s proactivity and vision for the where he served as a member of the Council from 1967 IFMC were already evident when he acted as chair of to 1981, and the chair of the Publications Committee the 20th IFMC conference held in Edinburgh in 1969. from 1968 to 1972. In 1970, he was invited as visit- A motion setting a new norm for the organization of ing professor to Wesleyan University and Columbia the IFMC’s conferences was proposed by twenty-two University where he was asked to evaluate the Laura delegates, amended by Christensen, and carried by Boulton Collection of Liturgical and Traditional Music a majority vote at the Extraordinary Meeting of the and to advise the faculty in the early stages of a new General Assembly held in conjunction with the con-PhD programme in ethnomusicology. In 1971 he ference. The motion empowered the programme com-accepted a tenured position at Columbia University as mittee to define the conference themes and formats associate professor of music, director of the then Center which, up to then, had been set by the Executive Board. for Studies in Ethnomusicology (presently Center for Christensen’s amendment read as follows: Ethnomusicology), and curator of the Laura Boulton The undersigned move that the Programme Committee collection. In 1975, he was promoted to full professor, be empowered to devise topics for the themes and to a post that he held until his retirement to Germany in consider new concepts in the organisational format of 2002. Trained in comparative musicology, Christensen the forthcoming Conference in consultation with the Executive Board. ( BIFMC 35, Oct 1969:34) became increasingly engaged with the anthropological orientation of ethnomusicology in the United States, In the interview I conducted with Dieter in January which characterized the ethnomusicology programme at 2015, he shared his perspective on the IFMC and his Columbia University that he headed for over thirty years. vision for the ICTM: Since his early student days, Christensen was an inde- SECB: How was the IFMC at the time you joined? fatigable fieldworker having carried out field research, DC: The IFMC at that time was an international in many cases jointly with Nerthus Christensen, among organization and it had some history to it. But the the Sami in northern Norway, in Macedonia (figure 1), standing of the IFMC in the musicological world was comparatively low. This was because it had a strong Bosnia and Herzegovina, Mexico, Oman (figure 2), as connection with folk music collecting and folk music well as among Kurdish communities in Turkey, Western research through Maud Karpeles in England and other Iran, and the Kurdish diaspora in Berlin, especially fol- countries in Europe, especially Switzerland and south- lowing his move back to his native city in 2002. ern Germany. The collecting of folk music was still an Secretariat under Dieter Christensen, 1981–2001 145 Figure 2. Dieter Christensen conducting fieldwork in Oman, probably in the late 1980s (photo courtesy of Carolyn Christensen). issue. It was a matter of interest in particular after World sations); Musical instruments and change (historical, War II when of course things had changed considera-social, aesthetic, organological); Recent trends in the bly through migrants coming in from Eastern Europe study of orally transmitted music” ( BIFMC 46, Apr and so on. The whole scene had become mixed up and people became concerned with preserving the original 1975:3). The conference’s focus on some of the then folk … And, I began to think about the state, status current issues was referred to by John Blacking in his and perspectives of an ICTM as a global organization. “Summary of the Conference” as “stimulating and wide There were some issues that were quite apparent: one ranging [tackling] … important theoretical issues as was the lack of support from the German musicologi-well as providing new factual information on a variety cal side, the old fashioned musicological side. Secondly was the question of the relationship to SEM with the of musical traditions” ( BIFMC 47, Oct 1975:21). somewhat different orientation where the professional engagement of SEM in American academic musicology played an important role. (interview, 29 Jan 2015) Dieter Christensen as ICTM’s secretary Christensen’s perception of the IFMC expressed in this general interview, and in other conversations, was shared by other scholars on both sides of the Atlantic. For exam- Christensen was appointed by the Executive Board as ple, in response to Bruno Nettl’s interrogation to Alan the IFMC’s secretary general starting 1 January 1981, Merriam as to why the goals that were set by SEM’s succeeding Graham George who had resigned after hav-founders could not be accomplished by the IFMC, ing managed the Secretariat from 1969 to 1980. The Merriam’s reply Secretariat moved from Queen’s University in Kingston, involved his perception of the IFMC as specifically Canada, to Columbia University in New York, USA, interested in music alone; the notion that folk-music where it remained until 2001. The announcement was scholars were interested in only a small segment of made in the IFMC’s April 1981 Bulletin by the then the music of any society; and the idea that the IFMC president, Poul Rovsing Olsen: included a substantial practical component, that is, was in large measure a society of folksingers and dancers. Professor Graham George has resigned as our Secretary (Nettl 2010:143) General and Professor Dieter Christensen—as requested by the Executive Board—has accepted to The scholarly orientation that Christensen envi- take over from January 1, 1981 … I welcome Professor sioned for the Council was already evident in the Dieter Christensen as our new Secretary General. There three main themes of IFMC’s 23rd conference held in seems no doubt that the IFMC will benefit from his Regensburg in 1975 of which he was programme chair: dynamic personality, his talent for administration, not to speak of his high-ranking scholarship in the field of “Improvisation: idea and practice (concepts and reali- ethnomusicology. ( BIFMC 58, Apr 1981:3) 146 Salwa El-Shawan Castelo-Branco Dieter Christensen served as secretary general with four for the whole membership and particularly for the ICTM presidents: Poul Rovsing Olsen (1977–1982), Executive Board. Our place among the international Erich Stockman (1982–1997), Anthony Seeger (1997– music organizations in the UNESCO family is being 1999), and Krister Malm (1999–2005). Particularly redefined. The role of the ICTM in a variety of UNESCO-related projects is now under discussion, important for the Council’s development was Dieter’s and the ICTM must rise to these new tasks ( BICTM friendship, intellectual respect, and collaboration with 63, Oct 1983:11). Erich Stockmann, president of the ICTM for most of In hindsight, Christensen interrogated the concept of Christensen’s term as secretary general. In 1981 Nerthus “tradition” and its use in the Council’s name: Christensen was appointed as executive secretary, receiving a very modest salary. The Christensens worked as a DC: What is tradition? … Indeed, I regretted when team, devoting much of their time and energy to run- it was too late that I had not proposed “International Council for Musical Traditions,” not “Traditional ning the Council. Music.” But this was too late. For years, I considered Christensen’s main goal for the Council was to “trans- whether I should have that changed again to “musical form the IFMC into a global organization with scien- traditions,” but it was not practical. (interview, 29 Jan 2015)2 tific goals, away from the limitations that come with the concept of folk music” (interview, 29 Jan 2015). One of the initiatives launched by Christensen a few He also saw the Council as an organization of profes-months following his appointment as secretary general sional scholars, steering away from the “broader and that widened the scope of the Council’s activities, and not always so academic orientation” (Nettl 2010:156) focussed scholarly debate on current issues in music that characterized the early years of the IFMC. He research, was a series of regular ICTM colloquia which worked towards these goals by widening the scope of ideally were to take place every other year, in alternation the Council’s activities, focusing scholarly debate on with the biannual ICTM conferences. These scholarly current themes in music research, and expanding the meetings were conceived to include a small number Council’s membership and outreach in Europe, North of invited specialists to debate a current issue in music America, and beyond. A crucial step in the transfor-and dance research. The first colloquium was held in mation of the IFMC was the name change which was May 1981 in Kołobrzeg, Poland, at the invitation of the being considered since the 1970s. Christensen initi-Institute of Musicology of the University of Warsaw. It ated the debate at the 54th EB meeting in Dresden “in focussed on “Music and the language mode,” a theme view of the irrelevance of the term ‘folk music’ to many that had been debated in music research since the aspects of non-European traditional music with which 1960s. Christensen headed the programme committee the Council is concerned” (EB minutes, 54th meeting, and Anna Czekanowska ran the local arrangements. The 18–21 Aug 1978:§866). The proposal “engendered vig-colloquium had forty-five participants from fourteen orous, serious and far-reaching discussion” (ibid.:§883). countries ( BICTM 61, Oct 1982:17). It was described Two years later, at its 57th meeting in Tunis, the Board as an “undeniable success, an example to be followed” voted with a narrow majority to recommend to the ( BICTM 59, Oct 1981:8), pointing out that the “depth General Assembly to change the Council’s name to the of understanding achieved during [the] discussions, International Council for Traditional Music (EB min-across all barriers of language competency and scholarly utes, 57th meeting, 1–4 Jul 1980:§938). The historical ideologies, has encouraged the Board to establish such name-change as well as other alterations to the rules IFMC colloquia, each devoted to a specific theme and were adopted by the majority of the General Assembly attended by a limited number of invited specialists, as that was held in conjunction with the 26th IFMC con-a regular item on the IFMC meeting calendar” (ibid.:8, ference in Seoul, Korea, on 27 August 1981 ( BIFMC 14). Revised versions of the papers presented at the col-58, Apr 1981:22–31). As a consequence of the Council’s loquium by Steven Feld, Jean-Jacques Nattiez, Doris name-change, the Yearbook of the International Folk Stockman, and John Blacking were published in vol-Music Council was renamed Yearbook for Traditional umes 13 and 14 of the Yearbook for Traditional Music. Music, starting with volume 13, published in 1981. Following the success of the first colloquium, colloquia The name change engendered opposition, especially became a regular ICTM activity. During Christensen’s from scholars from Eastern Europe where the term mandate, sixteen colloquia were organized in different “folk music” carried considerable ideological weight. In parts of the world on current topics, many resulting in response to this opposition, the ICTM’s president, Erich key publications. In most colloquia, Christensen played Stockman, underlined the advantages of the new name: a central role in proposing themes, programme and local arrangement chairs, and inviting scholars. In the world of music, our new name is leading to a better understanding of our goals, capabilities, and potential functions. We find the ICTM surrounded by new expectations and tasks that constitute a challenge 2 A similar debate concerning the adequacy of the Council’s current name had been ongoing for several years. Secretariat under Dieter Christensen, 1981–2001 147 Christensen’s “long-term vision” and his role in stew- UNESCO/IMC Rostra of traditional music; the devel- arding “the transition to the ICTM as a professional opment of an exchange and information service for organization of ethnomusicologists and dance ethnolo- broadcasting organisations (International Broadcasting gists” (Ricardo Trimillos, email, 10 Feb 2022) were also Exchange for Traditional Music – IBEXTM), and the compilation of a comprehensive directory and inven- accomplished through ICTM’s conferences in which tory of archival resources on traditional music for the he was proactive in proposing to the Board confer- UNESCO Music in the Life of Man project (World ence venues, themes, as well as programme and local Inventory of Recorded Traditional Music WIRTM). arrangements chairs. The first ICTM conference with ( BICTM 63, Oct 1983:7) him as secretary general was held in August 1983 at Music in the Life of Man (MLM) was a large-scale pro-Columbia University, Christensen’s home institution, ject that was carried out through IMC and sponsored by with Columbia professors Adelaida Reyes Schramm UNESCO. Spearheaded by the American musicologist and Philip Schuyler as programme and local arrange-Barry Brook, it aimed at publishing a comprehensive ments committee chairs, respectively. A landmark con- history of the world’s musical cultures in approximately ference attended by three hundred delegates from thir- ten volumes authored by local scholars. MLM aimed at ty-nine countries ( BICTM 63, Oct 1983:9), the main radically changing the existing knowledge on music his-theme was “Music in urban environments,” reflecting tory by “establishing a continuum and a connectedness the growth of urban ethnomusicology pioneered by between Western art music and all other musics – and Adelaida Reyes in the 1970s. As she pointed out in between all music and the life of man” (Brook and Bain the “editors preface” of volume 16 of the Yearbook for 1985:113). It was launched in 1980, and the ICTM Traditional Music where several papers that had been was one of three scholarly organizations responsible delivered at the conference were published, “the confor the project, the other two being the International ference was an occasion to raise questions about the Musicological Society and the International Association Council’s new role; as [the] 27th [conference], it was a of Music Libraries. Christensen represented the ICTM celebration of the Council’s established status” (Reyes on MLM’s Board of Directors and several ICTM mem-Schramm 1984:viii). Furthermore, the papers published bers were appointed as “regional coordinators” and in the 1984 YTM deal with “certain areas of concern authors ( BICTM 63, Oct 1983:11). In 1988, following that have been previously peripheral if not extraneous: the ICTM’s proposal, the project’s name was changed music in and of complex societies …; technology as it to A Universe of Music – A History, and the Council affects how and what we study …; the music of urban became a co-sponsor of the project (see Malm’s chap-and urbanized populations …; the processes by which ter on his presidency and BICTM 74, Apr 1989:5). music communicates and is communicated through However, the publication was stalemated, due to mis-changing physical and mental landscapes” (ibid.). The management, leading the ICTM to withdraw from the 1983 world conference reflected the Council’s broad project in 1993 ( BICTM 83, Oct 1993:10) and to a notion of “tradition” and its new emphasis on current conflict between ICTM and IMC that resulted in the issues and contemporary expressive practices. Council leaving the IMC in 1994 (EB minutes, 78th Christensen regarded ICTM’s cooperation with meeting, 25–26 Jun 1994:§2052; see also Malm’s UNESCO as strategic to the Council’s positioning and chapter on his presidency in this volume). A year later, its development as an international organization. When ICTM was granted UNESCO’s “C status” and thus he took office as secretary general in 1981, ICTM’s could cooperate with UNESCO independently of relations with UNESCO were conducted through the IMC (EB minutes, 79th and 80th EB meeting, 3–4 International Music Council (IMC), a non-govern- Jun 1995:§2154), and in 1997 the Council was admit- mental organization constituted in 1949, of which the ted as an NGO in formal consultative relations with IFMC was a founding member, as an advisory body UNESCO, a status that it still maintains. Krister Malm, on music matters.3 During the two decades in which then an ICTM vice president, recalls that he himself Christensen was in office as secretary general, ICTM “did quite a lot of lobbying to achieve this” status which cooperated with UNESCO on several projects, pro-enabled the ICTM to apply for UNESCO funding for grammes, and publications. In September 1983, he rep- projects, publications, and meetings (see Malm’s chap- resented the ICTM on IMC’s General Assembly held in ter on his presidency in this volume; see also BICTM Stockholm where IMC 91, Oct 1997:7). expanded the responsibilities of the ICTM within In addition to the MLM, the ICTM worked with the network of cooperative ventures that the IMC UNESCO on other projects, a cooperation that was maintains. These expanded responsibilities concern facilitated by the productive professional relationship the organisation of symposia in conjunction with all that Christensen developed with Noriko Aikawa-Faure. Former director of UNESCO’s Intangible Cultural 3 http://www.imc-cim.org/about-imc-separator/rela- Heritage unit, she was responsible for the ICH pro- tions-with-unesco.html. 148 Salwa El-Shawan Castelo-Branco gramme since 1993 and was directly involved in the Since the 1970s, ICTM attracted more scholars and stu-development of the Proclamation of the Masterpieces dents based in North American institutions as members of the Oral and Intangible Heritage of Humanity pro-and participants in the Council’s management, as the gramme and the 2003 Convention for the Safeguarding Council moved “to an essentially professional organi-of the Intangible Cultural Heritage (Aikawa-Faure zation” (Nettl 2010:144), offering a broad and diverse 2009). ICTM’s relationship with UNESCO was also international perspective on music and dance research. facilitated by his understanding of “the Gothic bureau- Intellectual property, especially as it concerns “tradi- cracy of UNESCO and [his] skill in steering the IFMC/ tional music” was also one of Christensen’s and the ICTM away from the benign control of the International Board’s concerns. In fact, the ICTM spearheaded the Music Council and carving out a unique relationship for debate on issues of ownership and copyright in ethno-it as a body ‘in consultation with UNESCO’ ” (Ricardo musicology (Diamond and Castelo-Branco 2021:12). Trimillos, email, 10 Feb 2022). A “Statement on copyright in folk music” was pub- On behalf of the ICTM, Christensen also coordinated lished in the Bulletin of the IFMC ( BIFMC 12, Sep the eliciting, evaluating, and editing of materials for 1957:25–27), recommending that the laws of copyright release on the UNESCO Collection of Traditional be applied to folk music. Two years after Christensen Music of the World series of audio recordings between took office as secretary general, at the 62nd meeting of 1994 and 2001 ( BICTM 85, 1994:24–25). He also the Executive Board held in New York in August 1983, coordinated the evaluation of applications to the he introduced for discussion at Board meetings several UNESCO’s Masterpieces of the Oral and Intangible tasks that had not been undertaken by other organi-Heritage of Humanity in 2001, a responsibility that zations and that the ICTM should pursue, including was continued by Anthony Seeger, Christensen’s suc-acting as a “pressure group to bring issues of intellectual cessor as secretary general, in the 2003 and 2005 edi- property in oral tradition and traditional music to move tions (Seeger 2009).4 As Diamond and Castelo-Branco again, since UNESCO/governmental attempts are now point out (2021:10), several ICTM members contrib-stalemated” (EB minutes, 62nd meeting, 13 and 15 uted to the debates leading to the configuration of the Aug 1983:§1082). In 1989, an ICTM Commission on 2003 Convention (UNESCO 2003), including the Copyright and Ownership in Traditional Music and discussion of the terminology used in the Convention. Dance was appointed by the Board at its 71st meeting The involvement of the ICTM with UNESCO’s 2003 with Krister Malm as its chair. The Commission was Convention and other programmes has continued to be formed taking into account the interest of WIPO and of great importance up to the present. UNESCO in addressing copyright for different forms of Another of Christensen’s concerns was the Council’s “folklore” and the work leading up to UNESCO’s 1989 positioning vis-à-vis ethnomusicology and its pro- Recommendation on the Safeguarding of Traditional fessional organizations in North America, especially Culture and Folklore ( BICTM 75, Oct 1989:5; Krister the Society for Ethnomusicology. In a seminal article Malm, email, 8 Jun 2018). It was charged with con-published in YTM’s volume 20 marking the Council’s ducting a “complete survey of concepts regarding own-fortieth anniversary, he reviewed IFMC’s historical rela- ership in traditional music and dance as well as customs tionship to “the Americans,” which in the past were related to these concepts in different ethnic groups. The “perceived as a threat to the Council, and should never commission will also compile information on existing have been” (Christensen 1988:17). The closing para-legislation and other practices concerning copyright graph of the article eloquently and succinctly describes for traditional music and dance in different countries” his perspective on the relationship between ICTM and ( BICTM 75, Oct 1989:5). The results were envisioned SEM, which are “as a source of information to governments, institu- tions, organizations etc. which are going to implement both unique in their roles and they complement each other: SEM as the regional organization in North UNESCO’s recommendation on the safeguarding of America that represents the interests of professional folklore and/or legislate on copyright for traditional academic ethnomusicologists in the USA and Canada, music and dance … and to contribute to increasing and at the same time serves the field of ethnomusi-resources for traditional music and dance out of copy- cology worldwide through its publications; and the right money” (ibid.). The Commission distributed a ICTM, as the international organization in the domain questionnaire with the ICTM’s Bulletin 76, published of traditional music, including ethnomusicology that serves scholarship with an emphasis on the mutual in April 1990, and received replies from twenty-nine recognition and understanding of diverse inquiring countries. A report based on the results was conveyed minds. (Christensen 1988:17) to UNESCO (see Malm’s chapter on his presidency). Music, ownership, and rights was also one of the themes of the world conference that was held in Canberra, Australia, in 1995 ( BICTM 84, Apr 1994:4); articles by 4 https://ich.unesco.org/en/proclamation-of-masterpieces-00103. Secretariat under Dieter Christensen, 1981–2001 149 Hugo Zemp, Sherylle Mills, and Anthony Seeger focus- Brook, Barry S., and David Bain. 1985. “World Music, World ing on the same theme were published in the Yearbook History, and the Music in the Life of Man Project.” The World for Traditional Music 28 (1996). of Music 27/1: 111–115. Castelo-Branco, Salwa El-Shawan. 2015. “Interview with Dieter Dieter and Nerthus Christensen served the ICTM Christensen.” BICTM 128 (Apr): 4–6. Christensen, Dieter. 1957. Die Musik der Kâte und Sialum. Berlin: organizationally and intellectually in many more ways Freie Universität Berlin. that can be enumerated in this chapter. Membership ———. 1988. “The International Folk Music Council and development and the expansion of the ICTM’s World ‘The Americans’: On the Effects of Stereotypes on the Network were of paramount concern. Membership Institutionalization of Ethnomusicology.” YTM 20: 11–18. Christensen, Dieter, and Salwa El-Shawan Castelo-Branco. 2009. increased in all categories from the 934 members Traditional Arts and Society in Sohar, Sultanate of Oman. reported in 1981/1982 ( BICTM 63, Oct 1983:12) to Berlin: VWB Verlag für Wissenschaft und Bildung. the 1,427 members listed in 1999 ( BICTM 95, Oct Diamond, Beverley, and Salwa El-Shawan Castelo-Branco. 2021. “Ethnomusicological Praxis: An Introduction.” 1999:13). Communication with the membership was In Transforming Ethnomusicology; vol. 1: Methodologies, maintained regularly through the Bulletin, published Institutional Structures, and Policies, edited by Beverley twice a year (April and October). A membership direc- Diamond and Salwa El-Shawan Castelo-Branco, 1– 24. New York: Oxford University Press. tory (initially a list) was launched in 1982 and pub- Nettl, Bruno. 2010. Nettl’s Elephant: On the History of lished and updated regularly ( BICTM 51, Oct 1982:4). Ethnomusicology. Urbana: Illinois University Press. ICTM’s first website was launched in 1997 through Reyes Schramm, Adelaida. 1984. “[Editor’s preface].” YTM 16: Columbia University’s Center of Ethnomusicology viii-ix. (part of the “Editors’ Prefaces” by Adelaida Reyes Schramm and Dieter Christensen, YTM 16: viii–x.) ( BICTM 91, Oct 1997:9). Liaison officers increased Seeger, Anthony. 2009. “Lessons Learned from the ICTM (NGO) from 33 in 1983 to 41 in 1999, and national com-Evaluation of Nominations for UNESCO’s Masterpieces of mittees from 18 in 1983 to 21 in 1999 ( BICTM 63, the Oral and Intangible Heritage of Humanity, 2001–5.” In Intangible Heritage, edited by Laurajane Smith and Natsuko Oct 1983; BICTM 95, Oct 1999, front and back cov- Akagawa, 112–128. New York: Routledge. ers). The growth and intellectual vitality of the ICTM UNESCO. 2003. Convention for the Safeguarding of the Intangible is also reflected in the increase in study groups and in Cultural Heritage. https://ich.unesco.org/en/convention. their diverse orientations: from five in 1983 (Analysis and Systematization of Folk Music; Ethnochoreology; Historical Sources of Folk Music; Music Archaeology; Interview Music of Oceania) to twelve in 1999 (in addition to the Interview with Dieter Christensen, Berlin, 28–29 January 2015. aforementioned five, the following study groups were founded: Anthropology of Music in Mediterranean Cultures; Computer Aided Research; Maqām; Music and Gender; Music and Minorities; Music of the Arab World) (ibid.). Much more can be said about the Secretariat under Dieter Christensen which ended with his and Nerthus Christensen’s dramatic resignation at the General Assembly held at the 36th World Conference in Rio de Janeiro in 2001 (see chapters by Anthony Seeger on his service as secretary general, and Krister Malm on his presidency). While Dieter Christensen could sometimes be uncompromising, his sharp intellect, his enthusiasm for the intellectual endeavour, his commitment to the ICTM, and his ever-present sense of humour were stimulating to many of those who worked with him. He made a major contribution to the ICTM’s scholarly orientation, international presence, and impact. References cited Aikawa-Faure, Noriko. 2009. “From the Proclamation of Masterpieces to the Convention for the Safeguarding of the Intangible Cultural Heritage.” In Intangible Heritage, edited by Laurajane Smith and Natsuko Akagawa, 13–44. New York: Routledge. The Secretariat under Anthony Seeger: Los Angeles, USA, 2001–2005 Anthony Seeger Who says there is no drama in academic societies? years he was assisted by a repeatedly re-elected ICTM For any younger scholars who may eventually become president, Erich Stockmann of the German Democratic involved in the administration of university depart-Republic (formerly often referred to as East Germany), ments and professional organizations, it is important thus enhancing the ability of the ICTM to transcend to know that conflict is not unusual. Strong personal-the divide created by the Cold War. ities are probably important for organizations, espe- If there was one danger in this centralization of activi- cially when all parties are convinced of the importance ties in the hands of a single secretary general for twenty of an organization. years, it was what is sometimes called “founder’s syn- In the April 2001 Bulletin, after the preliminary pro- drome.” Among other traits described for this is that the gramme for the 2001 world conference in Rio de organization becomes identified with the founder and Janeiro, Brazil, there appears an article on the twenty that the founder so identifies him- or herself with the years of the ICTM Secretariat in New York City. Signed organization that suggestions for changes are perceived by then Secretary General Dieter Christensen and his as personal attacks. While Dieter was not an ICTM wife and assistant, Nerthus Christensen, the short essay founder, he transformed it and ran its operations for recounts how the ICTM found itself in a difficult sit-many years. It was difficult for him to delegate to others, uation around 1980, when the ICTM Executive Board and his relations with some members of the Executive asked Dieter Christensen to host the secretariat at Board and some people who left or never joined the Columbia University in New York City. ICTM were at time contentious. According to the article, membership had declined to In the same article from the April 2001 Bulletin, Dieter about 800, the publication of the Yearbook was years had announced that he would retire from Columbia behind, and the Council was technically bankrupt (N. University in 2004 and that the Secretariat would Christensen and D. Christensen 2001:25). The 1980 need to move before then. But in an angry speech budget figures presented in the Bulletin ( BICTM 59, at the 2001 General Assembly in Rio de Janeiro, he Oct 1981:13–18) show a deficit of US$9,981 and lower announced his immediate resignation and threw a membership numbers than those provided by the previ-bundle of keys on the table. Everyone present was ous Secretary General Graham George. stunned, and most of us were deeply saddened by this By dint of prodigious effort and devotion to the ICTM, sudden end to his participation in the ICTM. The Dieter was able to return the Council to solvency, Executive Board members were totally unprepared for recruit new members, embark on new endeavours like such an immediate transition. (This moment has also the ICTM colloquia, and as editor of the Yearbook, been mentioned in Malm and Hemetek’s essay on con-he maintained the journal as a very important and ferences and General Assemblies, and in Malm’s chap-highly regarded publication that appeared on time. He ter on his presidency). also assumed the editorship of the UNESCO series I had been elected president of the ICTM in 1997– of recordings, under a contract of the ICTM and the 1999, had served on the Executive Board for twelve Intangible Heritage Office of UNESCO. He simultane-years, and had been the programme chair for the Rio de ously served as a voting member of the Executive Board Janeiro world conference. As a result, I knew the organ-for several terms. For two decades he coordinated the ization fairly well. I knew there would be a lot of work world conferences, managed memberships, organized to do to move the Secretariat and to manage all of its meetings of the Executive Board, and published and operations and that the ICTM budget was too small to mailed the ICTM Yearbook s, Bulletin s, and other publi-support an assistant. Nerthus Christensen had worked cations on a very small budget. During fifteen of those for little money and no benefits. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 150–153. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Secretariat under Anthony Seeger, 2001–2005 151 Figure 1. Anthony Seeger and his assistant and ICTM treasurer, Kelly Salloum, traveling to the 37th ICTM World Conference in Fuzhou and Quanzhou. Los Angeles, January 2004 (photo courtesy of Anthony Seeger). The evening following Dieter’s resignation, I met on a table weren’t the real keys to the offices, but rather a beach in Copacabana with the dean of the College of the dramatic prop and could not at first open the door. I Arts and Architecture at the University of California, arrived in New York City to pack up the office on 9 Los Angeles (UCLA), ethnomusicologist Dan Neuman, October 2001, not long after the attack on the World and ethnomusicologist Timothy Rice, the chair of Trade Center. A former student of mine living in New the UCLA Department of Ethnomusicology, where York, Christen Amigo, and I packed the accumulated I worked as professor. They were both attending the papers of twenty years of the Secretariat in one day. conference and recognized that some swift action was We boxed the contents of many file drawers, consoli-needed. They agreed to provide special funding to pay dated dozens of boxes of back issues of the Yearbook, a half-time administrative assistant for the Secretariat, and arranged for everything to be shipped to California. to provide office space for it in the Ethnomusicology Everything we left behind was discarded. I only hope we Department at UCLA, and to allow me to teach one didn’t miss anything important. less course each year in order to manage the duties of It was clear to me that my job as secretary general was secretary general. The ICTM is greatly in their debt for to keep the ICTM functioning by preparing, printing, their comprehension of the situation and quick action and distributing the publications, collecting the dues, taken to seek a resolution. The next day I presented to and managing the finances of the Council. I also needed the Board an offer to host the Secretariat in Los Angeles. to prepare for the next world conference, in Fuzhou and The Board received three other offers (from Hong Kong, Quanzhou, China, and take steps for an orderly and Portugal, and Norway), but the relative ease of transi-successful transfer of the Secretariat to another location tion within the same country, and the funding and space (preferably in another country) in a few years. I knew I I had already arranged were convincing. I was suddenly, would probably publish fewer books and need to change and unexpectedly, secretary general. I resigned my seat some of my plans, but I thought—and still think—the on the Executive Board, because I thought it a conflict ICTM was more important than my personal career of interest to be a member of the board that appoints plans. I was a good friend of ICTM President Krister the secretary general. Malm, as well as of many members of the Executive Every secretary general must move the offices of the Board. Working harmoniously together we were able to ICTM to his or her institution and find ways to continue navigate the ICTM through the occasionally difficult the Council’s work in a new place. My job was quite transition. I also learned a lot being secretary general that difficult. Dieter forbade me to talk to his wife, Nerthus, I could have learned in no other way. about anything. He informed me that I must move I was extremely fortunate to be able to hire Kelly the contents of two rooms out of Columbia University Salloum, a scholar, composer, performer, and adminis-space by 31 July (later extended until September). And trator, as my ICTM assistant (figure 1). She had been the I discovered that the keys he had thrown down on the best-organized teaching assistant I ever had at UCLA, 152 Anthony Seeger Figure 2. Jonathan Stock, chair of the local arrangements committee, and Anthony Seeger. Sheffield, 2005 (photo by Svanibor Pettan). from which she held an MA in ethnomusicology; and • Set up banking and facilitated payments by credit she was willing to take on the joint duties of ICTM card. Administrative Assistant (managing publications, mem- • Answered hundreds of questions from members bership, and eventually treasurer) and the Department and subscribers who were confused by changes of of Ethnomusicology Publications Coordinator. She was address after twenty years in one location. admired by the Board for returning emails at night and • Established a formal, 501(c)(4) non-profit status for on weekends, and for the depth of her preparation for the ICTM in California and set up bank accounts. Board meetings and practical advice. We had a small This is a designation for a social welfare group that but well laid-out space in the Music Building, but the is exempted from certain taxes in the USA. boxes from New York completely filled it. We sent most • Established an agreement with JSTOR to make of them to storage and kept only the recent files and back issues of the Yearbook available, thus relieving the Secretariat of the necessity of keeping all the a few copies of each volume of the Yearbook to sell as back issues. needed. Kelly then set about mastering the databases for membership and mailing, establishing the ICTM • With the intervention of Stephen Wild, arranged for the National Library of Australia to house the as a non-profit organization in the State of California, official papers of the ICTM, which previously had opening bank accounts, and trouble-shooting innumer- moved with the Secretariat. able issues that arose which we were forbidden to ask World conferences: the last incumbent about. This slowed the publications that year (see BICTM 99, Oct 2001:2). The ongoing • Finalized the details of the 37th World Conference in Fuzhou and Quanzhou China. operations of the ICTM were in her hands, leaving me free to firm up external relations, visit conference sites, • Oversaw the rescheduling of that conference from 2003 to 2004, which had to be delayed due to the and the rest. SARS epidemic. Among the accomplishments of this period were: • Arranged for 38th World Conference in 2005 to be • Moved the ICTM website and email addresses to a held in Sheffield, UK (figure 2). UCLA address, improved and integrated the mem- • Arranged for 39th World Conference in 2007 to be bership and subscription databases, and put more invited to Vienna. ICTM information online, including Bulletin s. Secretariat under Anthony Seeger, 2001–2005 153 Activities with UNESCO: is where the engaged debates and the intellectual efforts • I travelled frequently to Paris for meetings of vari- of all of us will be the most productive. ous kinds at the UNESCO headquarters. I found that the presence of the ICTM secretary general was important to ICTM interests at those meetings, quite apart from what I was able to contribute. References cited • I served as editor of the UNESCO series of record- Christensen, Nerthus, and Dieter Christensen. 2001. “20 Years ings until passing it to Wim van Zanten. While we ICTM in New York.” BICTM 98 (Apr): 25–26. Seeger, Anthony. 2009. “Lessons Learned from the ICTM (NGO) had contracts to prepare new projects, UNESCO Evaluation of Nominations for the UNESCO Masterpieces of was unable to get its distributor to continue pub- the Oral and Intangible Heritage of Humanity, 2001–5.” In lishing them in view of changes in the record Intangible Heritage, edited by Laurajane Smith and Natusko industry. I sought to try to resolve the backlog of Akagawa, 112–128. London: Routledge. unpublished projects that had been approved by the ICTM, but this was only resolved many years later, when Smithsonian Folkways Recordings began to distribute the UNESCO recordings. • The Intangible Heritage Office asked the ICTM to undertake the “technical and scientific review” of nominations for the Masterpieces of the Oral and Intangible Heritage of Humanity project in 2001, 2003, and 2005. This was a very large pro- ject, begun before the creation of what became the UNESCO 2003 Convention on the Safeguarding of the Intangible Cultural Heritage, and took a lot of the Secretariat’s time along with student assis- tants. It is described in Seeger (2009). One of my most important contributions to the ICTM, I believed, would be to establish an organized and colle- gial transition of the Secretariat to another location and another secretary general. We discussed the issue in an Executive Board meeting, but no one sprang forward to offer their services. I travelled to Ljubljana, Slovenia, to visit Svanibor Pettan, who didn’t think he and his insti- tution were ready to host the Secretariat, but left open the possibility of doing it in the future. I also travelled to Canberra, Australia, and met with Stephen Wild, who had been editing the Yearbook and had served on the Executive Board and as vice president. After consult- ing with officials at the Australian National University where he worked, Stephen offered to host the Secretariat in Australia and the Board concurred. By the end of 2005 there wasn’t much to send to the new Secretariat. Almost everything required to run the ICTM was on computer files in commonly available software programmes. We recycled most of the back issues of the Yearbook and Bulletin. We shipped the his- torical papers to Australia for deposit in the National Library of Australia, and in January 2006, Stephen took over for the next five-and-a-half years, following which Svanibor Pettan served for six years before passing it to Ursula Hemetek, in Austria, in 2017. These transitions have been well-planned and efficiently done, so that the membership and the activities of the Council were improved with each move. Now our conflicts can move to the academic arena, where we can debate and argue ideas in our study groups, colloquia, symposia, fora, and world conferences. That The Secretariat under Stephen Wild: Canberra, Australia, 2006–2011 Stephen Wild In 2005, on the suggestion of Anthony Seeger, then sec- Hawai‘i. The first award was made for the Vienna world retary general of the ICTM, I proposed to the Australian conference. Several subsequent donations to the fund National University (ANU), where I was graduate con- (by Adrienne Kaeppler, Wim van Zanten, and myself) venor of the music programme in the School of Music, were received during the Canberra Secretariat. to take over the Secretariat from UCLA. This proposal At the Ljubljana meeting, the new secretariat flagged was favourably received on condition that I take on the directions in which it proposed to take the organiza-extra administrative duties. The university agreed to tion, in particular, taking advantage of the new technol-provide a travel allowance which enabled me to travel ogy in the digital era. Some of the new directions were: abroad twice a year on ICTM business. An invitation by the university to host the ICTM Secretariat was pre- 1. Establishment of online membership subscrip- sented to and accepted by the Executive Board at its tions and renewals; meeting following the world conference in Sheffield, 2. Establishment of a new website, which incorpo- 2005. Initially offered for three years, the ANU hosting rated the Membership Directory; was extended by another two-and-a-half years in 2009. 3. Provision for electronic voting in elections; The Secretariat was transferred from UCLA to ANU in 4. Publication of the Bulletin in digital form only. January 2006. It was launched by the vice chancellor These measures have saved the organization much time of the university, Ian Chubb, and was accompanied by and money. Another significant event at this Board performances of traditional music and reported by local meeting was the recognition of Taiwan as the first and national media. Lee Anne Proberts, an employee of regional committee. This solution to the problem of the university was appointed executive assistant. recognising a Taiwanese committee was suggested by The Secretariat was allocated an office within the ANU Jonathan Stock and later accepted by Wang Yaohua, School of Music. In addition to the travel allowance then chair of the Chinese National Committee. and the office space, the university absorbed the cost A symposium titled “Ethnomusicology and ethno-of routine telephone, postal and internet services, and choreology in education: Issues in applied scholarship” provided accounting services for ICTM’s finances free was held after this Board meeting. It formed the basis of charge. of the recognition of a new Study Group on Applied The Canberra Secretariat facilitated six Executive Board Ethnomusicology by the Executive Board in the follow-meetings and three world conferences (Vienna 2007, ing year. Durban 2009, St John’s 2011). Executive Board meet- The 39th World Conference was held in Vienna, at the ings were held in association with each world confer- University of Music and Performing Arts, 4–11 July ence, and in various places in the intervening years. 2007. The programme chair was Vice President Wim The first Board meeting was held in Ljubljana, Slovenia, van Zanten. The chair of the local arrangements comin September 2006. At this meeting, the proposal for mittee was Gerlinde Haid. the Barbara Barnard Smith Travel Award and its associ- Three new ICTM honorary members were elected at ated seeding fund was accepted by the Board. The fund the General Assembly that year: Dieter Christensen was established to assist a person whose participation (secretary general, 1981–2001), Anthony Seeger (pres-in a world conference would contribute significantly to ident, 1997–1999; secretary general, 2001–2005), and the conference programme and the recipient’s profes-Krister Malm (president, 1999–2005). sional career. Barbara Smith’s generous donation was The next Executive Board meeting was held in facilitated by Adrienne Kaeppler, president of ICTM Canberra, in February 2008. High on the agenda were and a former student of Smith’s at the University of In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 154–157. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Secretariat under Stephen Wild, 2006–2011 155 Figure 1. The ICTM Archive being launched at the National Library of Australia. Marcello Sorce Keller, Allan Marett, Aaron Corn, Svanibor Pettan, Joe Gumbula, Steve Wanta Jampijinpa Patrick, Stephen Wild, Carole Johnson, Adrienne Kaeppler. Canberra, 2008 (photo courtesy of Svanibor Pettan). the arrangements for the next world conference, in Library Jan Fullerton, NLA Music Curator Robyn South Africa. At the time there was a sense of crisis Holmes, the Acting Manuscript Librarian, and myself. about the viability of the conference. It had become Over thirty cartons of records were sent from UCLA to apparent that the local arrangements committee had the NLA, and ICTM paid for their cataloguing. The difficulty defining lines of responsibility and ensur- substantial catalogue which resulted is accessible on the ing adequate funding for the conference. These were NLA website.1 At the end of the Canberra Secretariat in discussed at length, and the Board agreed to press on 2011, I catalogued and deposited a second tranche of with the commitment. The problems were sufficiently documents into the ICTM Archive. These consisted of resolved to clear the path during my visit to Durban the records of the UCLA Secretariat. later in that year. Of crucial importance was the guar- The 40th world conference was held at the University of antee of the vice chancellor of the host university to KwaZulu-Natal in Durban, South Africa, 1–8 July 2009 provide sufficient funds for the conference. (figure 2). Due to illness of the original appointee, Wim Associated with the Executive Board meeting were a van Zanten took over at a late stage as programme chair, symposium on intangible cultural heritage (ICH) and a at short notice. The local arrangements committee was public lecture on this subject by Wim van Zanten, ICTM chaired by Ntombfikile Mazibuko, assisted by Patricia representative on ICH matters. Several Executive Board Opondo, ICTM Executive Board member. members and other ICTM members were also speakers An unforgettable part of the conference was the indig-at the Memory of the World Regional Conference at enous performances organized by Opondo. There was the National Library of Australia (NLA). also an exhibition of African musical instruments. The Also associated with this conference was the launching keynote address was delivered by Andrew Tracey, son of of the new ICTM Archive hosted by NLA by ICTM pioneer ethnomusicologist Hugh Tracey, reminding us President Adrienne Kaeppler (figure 1). The library of their key role in the study of African music, and the mounted an exhibition of selected items from the establishment of the International Library of African archive, highlighting a letter from our first president, Music. Ralph Vaughn Williams. The next Executive Board meetings were held at The establishment of the ICTM Archive was agreed to Memorial University, St John’s, Canada, in 2010 and in 2005 at a meeting between then Secretary General 2011. Also held in association with the 2010 Executive Anthony Seeger, Director General of the National 1 https://nla.gov.au/nla.obj-415329506/findingaid. 156 Stephen Wild Figure 2. Stephen Wild, Adrienne Kaeppler, and Lee Anne Proberts in South Africa for the world converence. Durban, 2009 (photo courtesy of Lee Anne Proberts). Board meeting was the symposium on music, dance, 6. Multipart Music (2009), and place at the university. 7. Performing Arts of Southeast Asia (2009), Another key event in 2010 was the transfer of the 8. African Musics (2011). Yearbook institutional subscriptions management to Colloquia held during the Canberra Secretariat JSTOR, a not-for-profit organization based in New period were: York. Under the new agreement called the Current Scholarship Program, finalized by me in New York on 1. “Emerging musical identities: View from across the way to St John’s, JSTOR would also provide elec- the Atlantic,” Wesleyan University, Middletown, USA, May 2006; tronic access to current issues of the Yearbook. This was endorsed by the Executive Board at its 2010 meeting. 2. “Indigenous music and dance as cultural prop- erty,” University of Toronto, Canada, May 2008; The 41st world conference was held at Memorial 3. “Musical exodus: Al-Andalus and its Jewish dias- University, 13–19 July 2011. The programme chair poras,” Corpus Christi College, Cambridge, UK, was Salwa El-Shawan Castelo-Branco, with Beverley July 2008; Diamond and Kati Szego as co-chairs of the local 4. “One common thread: A colloquium on the musi- arrangements committee. Among the highlights of cal expression of loss and bereavement,” Australian the conference was an exhibition on the research of National University, National Library of Australia, Maud Karpeles, founding secretary of the Council, on and National Folk Festival, Canberra, April 2011. traditional music and dance of Newfoundland. Other Six new national/regional committees were recog-highlights of the conference were the presence of a large nized: Taiwan (2006), Croatia (2007), India (2007), African delegation and an African performance troupe Australia/New Zealand (2011), Brazil (2011), and FYR brought by Patricia Opondo. Macedonia (2011). As of October 2011, there were a During the Canberra Secretariat, study groups flour- total of thirty-eight national and regional committees. ished and multiplied. New study groups recognized Seven countries joined the ranks of liaison officers were as follows: between 2006 and 2011: Azerbaijan, Belgium, 1. East Asian Historical Musical Sources (2006), Denmark, Ivory Coast, Laos, South Africa, and Sri 2. Musics of East Asia (2006), Lanka. As of October 2011, the number of countries in the liaison-officer network was thirty-seven. 3. Music of the Turkic-speaking World (2006), 4. Applied Ethnomusicology (2007), A final note in this account of the Canberra Secretariat concerns the Council’s finances. During this time the 5. Music and Dance in Southeastern Europe (2008), Secretariat under Stephen Wild, 2006–2011 157 global financial crisis of 2008–2009 occurred, and membership renewals declined significantly in these two years. Although spending remained within the approved budget, I reported an operational deficit of about 10% for 2008 at the General Assembly in 2009. A further decline in revenue occurred in 2009. The situation had stabilized by the time of the 2011 General Assembly. Although the financial cushion of about one year’s revenue and expenditure had been somewhat depleted, the Council’s financial liquidity was never in danger, and we were able to hand over to the next Secretariat (Ljubljana) with a modest capital base. This was despite the ANU’s unexpected requirement that ICTM bear the cost of the executive assistant’s substantial severance payment according to Australian employment law. The Secretariat under Svanibor Pettan: Ljubljana, Slovenia, 2011–2017 Svanibor Pettan In the first half of 2011, the process of moving the last but not least, the members of ICTM and other sister Secretariat from Australia to Slovenia was reaching societies and institutions. its final phase.1 Australia had been its safe home for Notions of respectful friendship and supportive collegi-five-and-a-half years, and the stay of the ICTM office ality, so characteristic of ICTM, have enabled creative was financially supported by the Australian National cooperation and consequently allowed the attainment University as the hosting institution. Slovenia, on the of several new heights in the period 2011–2017. They other hand, was to be the youngest and the smallest can be summarized in the following twenty points: country to host the Secretariat in the Council’s history, English was not the official language, and institutional 1. The Council’s membership increased by more than financial support was not assured. President Adrienne 55%, from 900 members and subscribers in 2011 to more than 1,400 in 2017. At the same time, thanks Kaeppler and Secretary General Stephen Wild, who were to intensified activities in non-conference years, the in charge of the operation on behalf of the Executive previous difference in membership figures between Board, could only trust my decades-long dedication to conference and non-conference years was substan- the Council’s legacy and my plan on how to organize tially reduced. the efficient functioning of the ICTM office under con- 2. The systematic search for active national and regional siderably different circumstances. The plan was based representatives in all continents resulted in the growth on my intense consultations with the newly-selected of the ICTM World Network from 75 members in candidate for the assisting position, Carlos Yoder (figure 2011 to 127 in 2017. Also, the appointment of new representatives for existing countries and regions 1), whom I knew previously, and with my colleagues at invigorated communication and cooperation. the Department of Musicology at the Faculty of Arts of 3. Three world conferences (Shanghai, Astana, Limerick), the University of Ljubljana, led by Chair Leon Stefanija, three colloquia (Portel, Nanterre, Shanghai), fifty-six whose support was firm and unconditional. study-group symposia on all continents, and two fora Here I wish to express gratitude to three more individ- (Limerick, Abu Dhabi) testify to the Council’s vibrant activities during these six years. uals, whose support in various ways enabled the envi- sioned Secretariat in Ljubljana to get a chance and prove 4. The 43rd ICTM World Conference in Astana, its operational capabilities: Rector of the University of Kazakhstan (2015), was the first in Central Asia, in the territories of the former Soviet Union, and in a Ljubljana Radovan Stanislav Pejovnik, First Lady of country with a majority Muslim population. Slovenia Barbara Miklič Türk, and my wife, Lasanthi 5. The list of ICTM study groups was enriched by four Manaranjanie Kalinga Dona. Today, from the temporal new ones, with foci on African musics, audiovisual distance of a decade, I believe that the visions and changes ethnomusicology, music and allied arts of Greater that materialized during the Secretariat’s six years in South Asia, and musics of the Slavic world. Some Ljubljana have fulfilled expectations and opened several older study groups were revitalized. avenues for the further flourishing of the Council. These 6. The Secretariat began to provide study groups with resulted from close cooperation with the president, vice optional assistance in organizing their elections, in presidents, Executive Board members, general and guest order to add transparency to the process and conse- editors of the Yearbook, the editorial team of the Bulletin, quently strengthen the study groups. national and regional representatives, study groups, local 7. The Assembly of Study Group Chairs became a arrangement committees, programme committees, and new type of gathering in the context of world con- ferences, comparable to the Assembly of National Representatives. 8. Fora emerged as a new type of ICTM scholarly gath- 1 I gratefully acknowledge that this chapter benefited from the suggestions made by fellow co-editors Naila Ceribašić and Don ering, in addition to world conferences, study-group Niles. symposia, and colloquia. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 158–161. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Secretariat under Svanibor Pettan, 2011–2017 159 Figure 1. While serving as ICTM secretary general and executive assistant, Pettan and Yoder also served as president and secretary of the Cultural and Ethnomusicological Society Folk Slovenia (the ICTM Slovenian National Committee), bringing together the best international and national practices. This photograph was taken after one of four memorable concerts that celebrated the coming of ICTM to Slovenia, the fully improvised musical event titled “Trần Quang Hải and friends” : Goran Krmac, Carlos Yoder, Trần Quang Hải, Svanibor Pettan, Janez Dovč, Boštjan Gombač. Ljubljana, 26 August 2011 (photo courtesy of Imago Sloveniae). 9. As far as cooperation with UNESCO is concerned, (WDA), and more. The Council’s cooperation with the Council has been successful in its role as an NGO Répertoire International de Littérature Musicale in the ICH-evaluation processes, and in getting grants (RILM) was improved at several levels. to support participation for its world conferences in Astana and Limerick. 14. Brochures carrying basic information about the Council have been translated from English to several 10. New funds were established to support the partici- other languages—Arabic, Chinese, French, Russian, pation of members in ICTM’s scholarly gatherings: and Spanish—and made available to the public for besides the Barbara Barnard Smith Travel Award, better international communication. since 2014 there are also the Maud Karpeles Fund and Young Scholars Fund. 15. The ICTM website became the central repository of information about the Council, including new sec- 11. Six issues of the Yearbook for Traditional Music were tions with historical data, a new membership direc- produced at a printing house in Ljubljana that ena- tory, and more. bled superb technical quality at a lower price com- pared to its predecessors. 16. The ICTM email list or listserv and social media became important communication tools, and a Latin 12. In October 2011, the Bulletin of the ICTM became an American email list became important for Spanish‐ exclusively online publication, while in 2014, a third and Portuguese‐speaking members. issue (January) was added to the standard two (April and October). In total, sixteen Bulletin s were created 17. The Executive Group, consisting of the president, vice in this period. presidents, and the secretary general, became formal- ized as the operational core of the Executive Board. 13. Systematic efforts have been made towards coop- erating with sister societies, such as (in alphabet- 18. Since 2013, the Executive Board has improved its effi- ical order) the European Music Council (EMC), ciency by carrying out specific tasks through topical- European Seminar in Ethnomusicology (ESEM), ly-defined committees. International Association of Music Libraries, Archives 19. Memoranda and guidelines were updated and and Documentation Centres (IAML), International enriched with several new items. Association for the Study of Popular Music (IASPM), 20. For quite a long time, the Council’s constitutional International Music Council (IMC), International document—the Rules—has been in force, subject Musicological Society (IMS), International to occasional changes and updates. In 2016, the Society for Music Education (ISME), Society for Executive Group in collaboration with the respective Ethnomusicology (SEM), World Dance Alliance EB committee, and then the Executive Board created 160 Svanibor Pettan a new constitutional document named the Statutes, As secretary general, I felt honoured and privileged which replaced its outdated predecessor and enabled to be in a position to contribute to our shared path, better serving of the needs of a modern international building on the legacies of respected predecessors and scholarly society. The new document was approved at the General Assembly in Limerick, Ireland, in 2017. on inspiration from current collaborators, especially from colleagues in the Executive Board, headed by The credo of my service in the role of secretary gen- Adrienne Kaeppler and Salwa El-Shawan Castelo- eral was rooted in the remembrance that the Council Branco as presidents, and Stephen Wild, Don Niles, and was established in the aftermath of World War II and Razia Sultanova as vice presidents. Special appreciation had the firmly expressed intention to contribute to the goes to my multitalented and efficient “right hand,” betterment of the world. The final part of the ICTM’s Executive Assistant Carlos Yoder. Knowing my successor website presentation states that it “acts as a bond among as secretary general, Ursula Hemetek, and her academic peoples of different cultures and thus contributes to the environment for several decades, I felt fully comfortable peace of humankind.” My aim was to promote engaged about the Secretariat’s move to the University of Music scholarship and networking on a worldwide scale, and and Performing Arts in Vienna, Austria, in 2017. The to enable the Council, proud of its rich history of over-continuation of service of the executive assistant assured coming political, economic, and other divides in the the continuity of operations and contributed to the next past decades, to further develop and refine its poten-four successful years in the life of the Council. tials in terms of theory, method, and examples of good praxis (figure 2). Let me complete this overview with a few not wide- ly-known experiences from the period in which the Secretariat was at home in Ljubljana. ICTM members remember Astana (nowadays Nur- Sultan), the site of the 2015 world conference, in its pleasant summertime period. But, preparations for the conference required Razia Sultanova and me to experi- ence its winter temperatures, as well. After hearing my complaint about –29 degrees Celsius, Razia replied: “Good that you arrived today; yesterday it was –39 degrees.” Conferences in new places often bring spe- cific challenges; intense work with the local hosts and EB members in Astana was an amazing experience, a new landmark of cooperation and adjustability. I gladly testify that the students from the Kazakh National University of Arts still keep coming for a semester study exchange to Ljubljana, demonstrating that the ICTM conference truly contributed to building new bridges. Work on the Bulletin counted among the great plea- sures of the period. Due to my rich traveling schedules, I recall several situations in which the three of us were in mutually distant time zones (for instance, Don Niles in Papua New Guinea, Carlos Yoder in Slovenia, me in Cuba), but this never became an obstacle that our enthusiasm wasn’t able to overcome. In 2013, despite her terminal illness, Marianne Bröcker hosted a symposium of the Study Group on Musical Instruments in Bamberg, Germany. I felt it might be the last chance for the ICTM to thank Marianne for her varied and significant contributions over many Figure 2. At the completion of the six-year term years. Encouraged by the Board, I travelled to Bamberg of the Secretariat in Ljubljana, several individuals who significantly contributed to the flourishing of the Council and delivered her in person a newly created certificate were presented with traditionally ornamented gingerbread of honorary membership, the Council’s highest recog- hearts. The smile of Barbara Barnard Smith who received nition. She was very happy to receive it. Three weeks such a heart in Hawai‘i provides a gentle reminder about later, Marianne passed away, continuing to live in our the great potential of the Council in terms of love, respect, and intergenerational cooperation. Honolulu, 2017 good memories. (photo courtesy of Kirk Sullivan). Secretariat under Svanibor Pettan, 2011–2017 161 My favourite collective brainstorming within the Council was certainly the one in Limerick in 2016, when first the Executive Group and then the Executive Board were involved in creation of the Statutes. Salwa El-Shawan Castelo Branco bravely led the process, with significant contributions of Naila Ceribašić, Don Niles, and others. The resulting document created an excellent basis for the functioning of our favourite scholarly society. The Secretariat under Ursula Hemetek: Vienna, Austria, 2017–2021 Ursula Hemetek I was appointed secretary general of ICTM by the of ICTM. Since 2013, Executive Board Committees Executive Board in June 2016, and assumed this role have been installed to share responsibilities on many during the closing ceremony of the 44th ICTM World issues. The secretary general is responsible for the oper-Conference in Limerick, July 2017. Since then the ations of the Secretariat, as well as for the implemen-Secretariat has been located at the Department of Folk tation of these decisions. Therefore, there is a strong Music Research and Ethnomusicology of the University involvement of the Secretariat in many of these deci-of Music and Performing Arts Vienna. The rector of sions as well, because the Secretariat is responsible for the university, Ulrike Sych, extended a warm welcome managing the Council’s finances. to ICTM twice: at the aforementioned conference in Limerick and during a welcome symposium organized DEMOCRACY AND TRANSPARENCY IN ICTM in Vienna in September 2017. The university contrib- uted to the ICTM budget in terms of infrastructure and The new Statutes were ratified on 11 December 2017, by covering the travel expenses of the secretary general. and published on the website. It is important to note that the role of the Secretariat is mentioned and defined The transition from Ljubljana to Vienna was smooth in the Statutes for the first time. These Statutes very and without costs. This was possible because of struc-much further transparency. tural changes that had taken place during the mandate of my predecessor, Svanibor Pettan, namely, to secure A step towards increasing the involvement of the mem-the independence of the Council as an international bership into decision-making was taken by means of NGO registered in Slovenia. Th e fact that all ICTM a “General survey of ICTM members,” launched on paperwork (related to the NGO, bank accounts, 6 November 2018, for the first time in the history of PayPal, digitized documents, etc.) was separate from ICTM. A second survey was conducted in November the University of Ljubljana made all the difference, and 2020, in which 351 of the 1,070 eligible participants kept options open. Therefore, we were able to move responded to the questions. One of the results of the the Secretariat’s office to Vienna, with the paperwork second survey was the decision to let the membership remaining in Slovenia. This means that Carlos Yoder, vote in the General Assembly 2021 on a possible name the executive assistant since 2011, could continue his change of ICTM after forty years. work and contribute his rich experience (figure 1). Elections were held twice during my mandate, in For the official opening of the Secretariat, an interna- 2019 and 2021. Participation in the elections strongly tional symposium featuring invited papers was organ- increased, due in no small part to implementing a ized by the Department and the University: “Musics third-party, online-only election platform. In the 2019 matter! Ethnomusicology and its socio-political rele- elections, 49% of eligible voters participated, while in vance today” (28–30 September 2017). The articles the previous election (2017) only 38% had done so. In from the symposium were published in an edited vol-2021, the percentage of participation increased again to ume titled Ethnomusicology Matters: Influencing Social more than 55% and Political Realities (Hemetek, Kölbl, and Sağlam ETHICS AND DECOLONIZATION 2019). The “Declaration of ethical principles and professional integrity,” adopted by the Council and published in Development of the Council the website in July 2019, offers a reference point for ICTM members and for all who work with us and who All of the following achievements were decided by the encounter our work. Additionally, a lively discussion Executive Board (EB), as the EB is the governing body about decolonization of the discipline started following In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 162–165. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Secretariat under Ursula Hemetek, 2017–2021 163 STUDY GROUPS As study groups are the most active bodies in ICTM, a new way for supporting them was established to assist participants in study-group symposia. The Secretariat liaised over the course of three months with the EB Committee concerning the Maud Karpeles, Young Scholars, and Other Funds, regarding the possi- bility of funding participation in the symposia. Such assistance was first applied to the Study-Group-in-the- Making on Music and Dance in Latin America and the Caribbean (Salto, Uruguay, May 2018), the Study Group on Mediterranean Music Studies (Essaouira, Morocco, June 2018), and the Study Group on African Musics (Legon, Ghana, August 2018). It was decided that a total of sixteen people would be funded to attend the Salto symposium, five for the Essaouira symposium, and two for the Legon symposium. From this experi- ence, the Secretariat and the EB Committee for Funds created a proposal to establish a biennial Study Group Allowance, which was approved by the Executive Board at its 2018 meeting; it was launched in 2019. Due to the pandemic, study-group symposia stopped or were held online from March 2020, so the last sympo- sium funded by the allowance was that of the Study Figure 1. Ursula Hemetek and Carlos Yoder in front of Group on Music and Dance in Latin America and the the library of the University of Music and Perfroming Arts Caribbean, held in Chiapas, Mexico, in March 2020. Vienna on 19 February 2020, the last in-person meeting before the pandemic (photo by Carlos Yoder). The situation improved in 2021, therefore, an applica- tion to assist the symposium of the Study Group on activities of the Black Lives Matter movement. The out- Mediterranean Music Studies, to be held in September come was an “ICTM statement and activities in view 2021 in Morocco, was approved by the EB Committee of decolonization of music and dance studies.” A new for Funds. format of scholarly discourse in ICTM was created in Two new study groups were established in 2018: on order to contribute to these goals: the ICTM Dialogues Music and Dance in Latin America and the Caribbean; (discussed below). and on Sound, Movement, and the Sciences. A Study Group on Global History of Music followed in 2019, PUBLICATIONS and a Study Group on Indigenous Music and Dance in 2021. The Yearbook for Traditional Music began being pub- lished on our behalf by an academic publisher in 2019. The Secretariat facilitated the running of electronic The transition was prepared in collaboration with the elections for the following study groups: Music and responsible EB committee, and the contract was signed Dance of Oceania (2017); Ethnochoreology (2018); on 26 June 2018 with Cambridge University Press. Music and Dance of the Slavic World (2018); Historical Since then, two volumes have been published by CUP, Sources (2018); Sound, Movement, and the Sciences and this has turned out to be a very successful partner- (2019); Music, Gender, and Sexuality (2019); Music ship. A transition to publishing two volumes per year and Dance in Latin America and the Caribbean (2020); was intensively discussed, and finally approved, by the Performing Arts of Southeast Asia (2021); and Music EB for the future. and Minorities (2021). A new EB committee for ICTM Publications was WORLD NETWORK appointed to work with study groups and other ICTM entities in their production of publications that are to The World Network is essential for ICTM’s interna-carry the ICTM logo. tional representation, and the quality of this network A new section was added to the ICTM Bulletin, enti- has to be under constant evaluation. In 2019 a formal tled “Secretariat and Executive Board,” which includes agreement of representation between liaison officers a message from the president and from EB committees. and the Council was created, that both the secretary 164 Ursula Hemetek general and all newly appointed representatives must Experience has shown that this works very well, and sign before a liaison officer is appointed for three years. the ICTM Dialogues seem to be setting a precedent As of June 2021, the Council is officially represented for further scholarly meetings in ethnomusicology. in 120 countries or regions (see more at https://www. ictmusic.org/world-network). WORLD CONFERENCES The Secretariat is very much involved in the prepara- FORA AND COLLOQUIA, AND DIALOGUES AS A NEW tion of world conferences. The first and eventually FORMAT only one for the Vienna Secretariat was the 45th world The 3rd ICTM Forum “Approaches to research on music conference in Bangkok in July 2019. To assist in the and dance in the Internet era” was held in collaboration preliminary stages of world-conference planning, the with the Society for Ethnomusicology; the International Secretariat created protocols outlining the technical and Musicological Society; the International Association of content requirements for successfully holding meetings Music Libraries, Archives and Documentation Centres; such as the opening ceremony, the General Assembly of the International Association for the Study of Popular members, and closing ceremony. It also provided tech-Music; and the Society for Traditional Music of China nical assistance for the world-conference programme on 11–14 July 2018 at the Central Conservatory of committee concerning the evaluation of proposals. Music, Beijing, China. The world conference in Bangkok proved to be the larg- The 25th colloquium was held from 29 November to est in the history of ICTM and was extraordinary in 1 December 2018 at the Shanghai Conservatory of every respect. Lisbon was approved as the location for Music, Shanghai, China on the topic “Double reeds of the 2021 world conference. Due to the outbreak of the the Silk Road: The interaction of theory and practice pandemic in February 2020, the decision was taken to from antiquity to contemporary performance.” postpone the world conference to 2022, but to still hold the subsequent one in 2023. This decision changed The 26th colloquium was held on 9–12 October 2019 the whole calendar of ICTM-events and also affected at the Centre for Sound Communities, Cape Breton, study groups. The EB decided to only hold the General Canada, on the topic “Songs and stories of migration Assembly and the elections in 2021. and encounter.” The 27th colloquium was held on 28–30 December UNESCO 2020 at the Shanghai Conservatory of Music, Shanghai, China, and online due to the COVID-19 outbreak. The Council’s relationship with UNESCO has been The topic of the colloquium was “Drums and Drum managed by EB member Naila Ceribašić for many Ensembles of the Silk Road.” years. In 2017, a new EB committee was formed to deal with UNESCO matters, chaired by Naila and joined by A new format for interactions was also developed: Salwa El-Shawan Castelo-Branco, Marie Agatha Ozah, “ICTM dialogues 2021: Towards decolonization of and Svanibor Pettan. music and dance studies.” This format is held exclu- sively online and is very innovative in several aspects. It FINANCES AND MEMBERSHIP DEVELOPMENT is curated by Tan Sooi Beng and a programme commit- tee. The twenty-four events throughout 2021 started in As shown by figure 2, the first three years of my ten-January and aim at the following: ure as secretary general (2017–2019) were marked by a steady increase in the numbers of both paid and com- (1) critically rethinking theories and methods that have been imposed by hegemonic powers and too plimentary memberships. often accepted as “universal”; and (2) recognizing and empowering Indigenous and other local epistemol- ogies and ontologies. Decolonizing approaches aim Paid Complimentary to decentre power hierarchies such as those between Year memberships memberships Total researcher/researched, academic/non-academic, univer- 2017 1,139 53 1,192 sity/community, theory/practice, centre/periphery, and 2018 1,231 73 1,304 Global North/South. Decolonizing approaches also 2019 1,321 59 1,380 urge researchers to engage with relations of power and 2020 1,046 67 1,113 socio-political issues such as race and ethnicity, class, and gender and sexuality … Can we develop new col- Figure 2. Number of paid and complimentary ICTM laborative forms of knowledge production and artistic memberships during 2017–2020. creation that will engage culture bearers in research and in teaching and learning about music and dance? (https://www.ictmusic.org/dialogues2021) The COVID-19 pandemic had a tremendous effect on every aspect of the Council’s operations, among Secretariat under Ursula Hemetek, 2017–2021 165 them the reversal of the upward trend in membership for Carlos and me but also for EB and Committee meet-numbers in 2020. However, I am content that despite ings with members from all parts of the world (figure the high number of cancellations and postponements 4). We all have learned to bridge distances, be it 500 or of scholarly events originally scheduled for 2020, the 5,000 kilometres, via digital media. Face-to-face meet-Council managed to keep its expenditures to a mini- ings have turned into online meetings. Like it or not, mum, resulting in a positive, if smaller, yearly balance this is a fact, and all of us involved in ICTM have had to (see figure 3). learn much during this period. ICTM has survived this crisis, thanks to its membership and to the dedication Total Total Total of every single Board member. According to the ICTM Year revenues (€) expenditures (€) balance (€) Statutes, it is quite clear that the secretary general is not 2017 91,810.33 78,128.41 +13,681.92 the decision maker. Close cooperation with the EB is 2018 85,354.56 73,290.67 +12,063.89 crucial for the work of the Secretariat. 2019 93,864.96 74,940.29 +18,924.67 2020 70,315.92 62,468.74 +7,847.18 I am grateful to have been able to learn a lot during these four years, for example, concerning diplomacy, Figure 3. Revenues, expenditures, and balance during financial operations, and international affairs. I pass 2017–2020. on the Secretariat to my successor Lee Tong Soon in good shape. Carlos Yoder will continue in his position as executive assistant, which will guarantee continu- In conclusion ity of the Secretariat’s operations and another smooth After my four years as secretary general, I can say that transition. It has been an honour to serve the ICTM I was fortunate to inherit the Council in a very good as secretary general, and I certainly noticed that it is shape. The Secretariat was so well-organized that it a time-consuming responsibility. But serving an insti-would not have made sense to change the whole proce- tution like ICTM is worth all the energy that must be dure by building up new structures. To continue work- invested. ing with the previous executive assistant proved to be a wise decision. The geographical distance between the location of the Secretariat and the executive assistant, Reference cited only 500 kilometres, proved to be no problem at all. Hemetek, Ursula, Marko Kölbl, and Hande Sağlam. 2019. Eds. Later, when the pandemic changed everything, Zoom Ethnomusicology Matters: Influencing Social and Political became our main means of communication, not only Realities. Wien: Böhlau. Figure 4. Virtual meeting of the Executive Board in September 2020, the new reality of meetings during the pandemic. ( top row) Don Niles (vice president), Carlos Yoder (executive assistant), J. Lawrence Witzleben, Tan Sooi Beng; ( 2nd row) Catherine Foley, Salwa El-Shawan Castelo-Branco (president), Naila Ceribašić, Marie Agatha Ozah; ( 3rd row) Silvia Citro, Brian Diettrich, Louise Wrazen, Ursula Hemetek (secretary general); ( bottom row) Lee Tong Soon, Svanibor Pettan (vice president), João Soeiro de Carvalho, Marcia Ostashewski (photo by Carlos Yoder). SCHOLARLY EVENTS Scholarly Events: Introductory Note The four chapters in this section concern the main scholarly gatherings of the Council. World conferences are today biennial events, involving the largest number of current members and those joining in order to participate. Beginning as annual events, over the years world conferences have evolved into events with multiple parallel sessions, a variety of formats for presentations and exchanges, and intertwined with rich programmes of music and dance performances. Out of the past forty-five world conferences that have taken place from 1948 to 2021, 26 have taken place in Europe, 8 in Asia, 6 in North America, 2 in Africa, 2 in South America, and 1 in Oceania. The 46th World Conference will take place in Lisbon, Portugal, in 2022. Symposia are the scholarly meetings of study groups and are much more thoroughly detailed in the section devoted to study groups. Colloquia are focussed on a particular theme and involve invited participants. Fora, the most recent ICTM scholarly event, are collaborative events between a limited number of participants from the Council and its sister societies. World Conferences, General Assemblies, and Festivals Ursula Hemetek and Krister Malm After its founding in 1947 and until 2019, the 1947, with delegates from twenty-eight countries.2 The International Folk Music Council / International meeting was convened by the International (Advisory) Council for Traditional Music has held forty-five world Folk Dance Council which had been founded at a meet-conferences. Typically, a conference programme includes ing in London in 1935, but by 1947 had almost ceased scholarly papers, roundtables and workshops, a meet-to exist. A vice president of the Commission interna- ing of the membership called the General Assembly, as tionale des arts et traditions (CIAP), Albert Marinus, well as performances. Until 1962, a number of festivals opposed the formation of IFMC, and said that folk of traditional music and dance were organized by the music could be included in the domain of CIAP. His Council and held in conjunction with the conferences. motion was not carried, and the IFMC was formed with In this essay, Krister Malm has written about confer- the stipulation that IFMC should be affiliated to CIAP. ences, General Assemblies, and festivals that took place The aims of IFMC adopted at this first conference were: 1947–1987, and Ursula Hemetek about those that took 1. to assist in the preservation, dissemination and place 1989–2019. The sources for this report are mainly practice of the folk music of all countries; the IFMC/ICTM Bulletin s, which are all available on 2. to further the comparative study of folk music; the ICTM website, supplemented by our personal and memories, of course, as we were participants in many of 3. to promote understanding and friendship between the events. Further information can be found in issues nations through the common interest of folk of the Council’s journal that published proceedings or music. (Karpeles 1965:308) papers from these conferences. These have been indi- These aims very much reflect the issues regarding folk cated below, where appropriate. Lists of participants music in Europe at the time. The third point was and reports from the General Assembly also frequently prompted by the recent World War II and the sub-appear in the Bulletin s following such conferences. sequent division of Europe into East and West. The Finally, the ICTM website is constantly being updated Council was later to have a role in bridging the gap to provide additional material from and information between East and West by holding conferences and hav-about world conferences.1 ing members on both sides of the Iron Curtain. The event we are calling a “world conference” here has Officers and Board members were appointed at the been known by a variety of names: general conference, 1947 conference. Already from the start, Maud Karpeles congress, conference, international conference, and was the decisive person of the organization. This is finally world conference. The latter name has appar-illustrated by the opening remark by Ralph Vaughan ently only been used since the 1991 event. Details can Williams at the conference: be found in relevant Bulletin s. He [Vaughan Williams] said that he had not been elected as Chairman but with the permission of those present he accepted the invitation of the Hon. Secretary, 1947: London, UK, founding conference Miss Maud Karpeles, to take the Chair. It was agreed by acclamation that he should do so. (Karpeles 1972:6)3 The International Folk Music Council (IFMC) was founded at the International Conference on Folk Song 2 Further information about this conference can be found in and Folk Dance in London, held 22–27 September various chapters within the present volume, particularly, “The Origins and Establishment of the International Folk Music Council” and “Maud Karpeles: Her Contribution to Dance Research and the Council.” 3 This Bulletin, issued to celebrate the 25th anniversary of 1 Including programmes, books of abstracts, videos, etc. (http:// IFMC, also contains a number of quotes from previous IFMC ictmusic.org/past-world-conferences). Bulletin s. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 171–190. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 172 Ursula Hemetek and Krister Malm Until 1967, IFMC conferences were held every year The proposal to add “dance” to the name of the Council with the exception of 1965. Beginning in 1967, con-has been put forward several times later. Proceedings ferences have generally been held every other year, in from the conference are published in JIFMC 1 (1949). odd-numbered years. Edric Connor from Trinidad invited IFMC to hold the next conference in Trinidad. However, this invitation was not accepted by the delegates. It would not be until 1948: Basel, Switzerland 1971 that a conference was held in the Caribbean. The first “Meeting of the General Conference” was held in Basel, Switzerland, 13–18 September 1948, at the invitation of the Société suisse des traditions 1949: Venice, Italy populaires and the Fédération des costumes suisses. The second conference was held in Venice in conjunc-Forty-seven delegates participated. They came from tion with the International Folk Music Festival and Canada, Cyprus, Czechoslovakia, Denmark, Finland, Congress at the invitation of Ente nazionale assistenza Federal Republic of Germany, Hungary, Iceland, Italy, lavoratori – Comitato italiano arti e tradizioni popolari, the Netherlands, Norway, Spain, Sweden, Switzerland, 7–11 September 1949. This was the first time a festival Trinidad, Turkey, and the UK. Luiz Heitor Corrêa de was organized by the IFMC. Azevedo from Brazil represented UNESCO at this con- ference and many subsequent ones as well. A total of 131 delegates from Austria, Belgium, Canada, Cyprus, Denmark, France, French Equatorial Africa, Eleven papers were read and another seven papers were Federal Republic of Germany, Indonesia, Ireland, presented, but not read. The papers were in English, Israel, Italy, the Netherlands, Norway, Spain, Sweden, French, and German. Switzerland, Turkey, UK, and USA took part in the Officers and Board members were all re-elected. conference. IFMC then had a total of 189 members, of Maud Karpeles reported, inter alia, that 140 corre- which 55 were “correspondents.” Not all of the confer- spondents, representing thirty-five countries, had been ence participants were individual members, but rather appointed by the Board. These correspondents were rep-represented institutional members. During the confer- resentatives of folk-music organizations as well as indi- ence, twenty-nine papers were read in English, French, vidual experts. The countries and regions represented and many in Italian. were: Africa, Austria, Belgium, Brazil, Bulgaria, Canada, For the festival, there were performers from Austria, Chile, China,4 Cyprus, Czechoslovakia, Denmark, El Belgium, Canada, Denmark, France, Federal Republic Salvador, Ireland, Finland, France, Germany, Greece, of Germany, Indonesia, Ireland, Israel, Italy, the Hungary, Iceland, Italy, the Netherlands, New Zealand, Netherlands, Norway, Spain, Sweden, Switzerland, Norway, Palestine, Poland, Portugal, Romania, Spain, Turkey, UK, and USA. Sweden, Switzerland, Turkey, UK, USA, West Indies, Maud Karpeles reported that the IFMC now was and Yugoslavia. included among the international non-governmental There was a heated discussion regarding the affiliation organizations approved by UNESCO for consulta-to CIAP and the constitution of the Council, especially tive arrangements. Furthermore, it had the honour of as regards the name: being one of four international organizations invited ARTICLE 1. Proposed Alteration: – Add “(Dance and to serve on the committee for the establishment of an Song)” after “Folk Music” and delete second sentence. International Music Council. She also reported that Miss Karpeles said the reason of the proposed alteration there was pressure from the Commission internationale was that members of the public sometimes assumed that des arts et traditions (CIAP) that IMFC should become dance was not a form of music. The Executive Board an organization affiliated to them, as had been decided had however agreed that rather than adopt a somewhat in the inaugural conference in 1947. Maud Karpeles awkward title it would be better to try and educate reported that “the question of the affiliation of the the public by means of the Council’s activities. It was therefore now proposed that Article 1 should remain Council will be referred to the Bureau of ClAP in due as stated in the Provisional Constitution. ( BIFMC 1, course” ( BIFMC 2, Nov 1949:12). Such an affiliation Oct 1948:9) never took place. The formation of national committees had been dis- cussed at the inaugural conference, but no provision for their affiliation had been made in the constitution. The 4 From the founding of the United Nations in 1945 until 1971, Executive Board was of the opinion that the formation the Republic of China was the sole representative of China in that body. In 1971, however, the People’s Republic of China of national committees was to be encouraged, espe- took over this role. cially to act as agents for the Council in their respec- World Conferences, General Assemblies, and Festivals 173 Figure 1. From the 1950 Bloomington conference: ( seated) Adnan Saygun, Mrs. Saygun, Sigurd Erixon, Reidar Christiansen (?), Walter Anderson, Maud Karpeles, and Otto Andersson; ( standing) unknown (photo courtesy of Indiana University Archives, Bloomington; identifications by Bruno Nettl). tive countries, for only in this way could the dangers is reproduced with full identification of individuals by of decentralization be overcome. The Board, therefore, Cowdery (2009:806). recommended the gradual formation and recognition of national committees, but advised leaving the ques- tion of constitutional affiliation to a later stage. 1951: Opatija, Yugoslavia Proceedings from the conference are published in JIFMC 2 (1950). The fourth conference was held in Opatija, Yugoslavia, 8–14 September, 1951 in conjunction with the Yugoslav Folk Music Festival, which actually was not organized by IFMC, in contrast to other festivals in this period 1950: Bloomington, USA that were held in conjunction with some conferences The third conference was held in Bloomington, Indiana, (cf. BIFMC 5, Nov 1951). There were participants USA, 17–21 July 1950 (figure 1). There were fewer from Austria, Belgium, Cyprus, Ceylon, Denmark, participants compared to the conference in Venice. France, Federal Republic of Germany, India, Israel, There are only a few lines about the Bloomington con-the Netherlands, Pakistan, Switzerland, UK, USA, ference in BIFMC 4 (Jan 1951), which has only four and Yugoslavia. The majority were from the UK and pages for the whole issue. In contrast to all other world Yugoslavia. The membership had now grown to 308 conferences, no General Assembly was held during members. this conference, hence subsequent General Assemblies For the first time there were themes suggested for are numbered one less than the number of the confer-papers at the conference. The suggested themes were: ence at which they are taking place: for example, the The style and technique of traditional singers, danc-25th General Assembly took place at the 26th world ers, and instrumentalists (Analysis of the essential ele-conference. ments; Their reproduction in the revival of folk music); This was the first conference held outside Europe and Eastern and Western aspects of European folk music; had originally been planned for Montreal ( BIFMC 2, Migration of folk-themes (historical and geographical); Nov 1949:26). Authenticity in folk music; The interdependence of folk music and art forms. Proceedings from the conference appear in JIFMC 3 (1951), along with a photo and list of participants, The Netherlands National Committee was recognized programme, etc. The photo depicting all participants as the first affiliated national committee. The decision 174 Ursula Hemetek and Krister Malm was made to establish what was later to become the delegates attended the conference, and 400 performers radio committee. from fifteen countries participated in the festival. Four Proceedings from the conference appear in JIFMC public performances were given in Biarritz, and two in 4 (1952). Pamplona. In addition, special performances of Basque dancers were arranged for the members in both cities. The Council’s finances had been in a bad shape, but had 1952: London, UK now improved: On August 31st, 1952, the Council was faced with a The fifth conference took place at Cecil Sharp House, debit balance of £2 8s. 3d. By December 31st, 1952, London, UK, 14–19 July 1952. It was attended by this was changed to a credit balance of £87 18s. 6d., 170 delegates and members from forty-nine coun- and on June 1st, 1953, the balance stood at £172. This tries: Argentina, Australia, Austria, Belgium, Brazil, happy change in the Council’s financial position is due Bulgaria, Canada, Ceylon, Chile, China, Cuba, Cyprus, very largely to the generosity of the broadcasting organ- izations which have contributed a total of £437. The Czechoslovakia, Denmark, East Africa, Egypt, Finland, immediate financial crisis has been overcome, but there France, French Equatorial Africa, Federal Republic of is no ground for complacency. As the Council grows Germany, Greece, Hungary, Iceland, India, Indonesia, in prestige and importance, it is bound to take on new Ireland, Israel, Italy, Japan, Mexico, the Netherlands, commitments, all of which mean added expenditure. New Zealand, Norway, Pakistan, Persia, Peru, Poland, The need for additional subscriptions is therefore still very urgent. ( BIFMC 7, Sep 1953:16) Portugal, South Africa, Spain, Sweden, Switzerland, Trinidad, Turkey, UK, USA, Uruguay, Venezuela, and Later in the General Assembly meeting, Yugoslavia. Twenty-one broadcasting organizations Miss KARPELES estimated that there might be a credit were represented. The main theme of the conference balance of £100 at the end of the year provided that was the significance of folk music (song, dance, and all anticipated subscriptions were paid. She said that instrumental music) in the cultural life of the present although there was an improvement in the finances, the position was still critical. The Council could not day, with particular reference to its role in education afford to pay an organizing secretary and she would be and recreation. There was also a focus on African music, unable to continue to carry the increased burden of the and a statement in support of the preservation of it was Council’s activities. (ibid.:19) adopted. This resulted in a decision later in an Executive The conference also adopted the following definition of Board meeting that Maud Karpeles should receive “folk music”: an honorarium. Folk Music is music that has been submitted to the pro- Proceedings from the conference are published in JIFMC cess of oral transmission. It is the product of evolution 6 (1954). Wang (2018) considers the importance of this and is dependent on the circumstances of continuity, conference in relation to the study of Taiwanese music. variations and selection. ( BIFMC 6, Sep 1952:5) The concept of “liaison officers” was launched. Liaison officers from the following countries were appointed: 1954: São Paulo, Brazil Belgium (Albert Marinus), Cyprus (Solon Michaelides), Denmark (Erik Dal), Ireland (Donal O’Sullivan), The seventh conference took place in São Paulo, Israel (Edith Gerson-Kiwi), Japan (Genjiro Masu), Brazil, 16–22 August 1954. Only twenty-six members Switzerland (Antoine E. Cherbuliez de Sprecher), USA attended, including seventeen from Latin America. (Charles Seeger), and Yugoslavia (Zoran Palčok). Renato Almeida pointed out the difficulty of transfer- This was the only conference that President Ralph ring money from one country to another to pay the Vaughan Williams attended during his term, 1947– membership fee. 1958. Proceedings from the conference are published in JIFMC 5 (1953). The first volume of the International Folk Song Book containing 183 songs from all countries of Europe had been compiled under the editorship of Maud Karpeles and was awaiting publication. The melodies of the songs 1953: Biarritz, France, and Pamplona, were given with the original text and verse translations Spain in English. The sixth conference was held in conjunction with the The Secretary reported on various suggestions that had been offered by members of the Council. In general the IFMC Second International Festival in Biarritz, France, view had been expressed that Festival and Conference and Pamplona, Spain, 9–15 July 1953. It was the first should be better co-ordinated. The most important conference to be held in two countries. More than 200 concrete suggestions were: World Conferences, General Assemblies, and Festivals 175 (i) That festival programmes should be more selective It was also reported that the Board had appointed a and shorter, and that programme notes should be subcommittee to examine the question of “copyright in available. folk music,” which mainly concerned the rights of the (ii) That festivals should serve to promote the compar- recorder/collector. ative study of folk music and that there should be greater discrimination in the selection of groups. A resolution regarding “the rapid disappearance of tra- ( BIFMC 8, Jan 1955:11) ditional songs, dances and instrumental music” was for- In previous conferences, there had been criticism regard- mulated and adopted. Proceedings from the conference ing the “authenticity” of performances in the festivals. are published in JIFMC 8 (1956). It was also suggested that papers should be more serious in character and should be more strictly selected and that more time should be given to discussion on given 1956: Trossingen and Stuttgart, Federal themes. Proceedings from the conference are published Republic of Germany in JIFMC 7 (1955). The ninth conference was held in Trossingen and Stuttgart, Federal Republic of Germany, 25–31 July 1956. Some eighty people participated. Seven paper 1955: Oslo, Norway sessions took place with nineteen papers including papers by Joseph Hanson Nketia from the Gold Coast The eighth conference was held in Oslo, Norway, and Abdel Rahman Sami from Egypt. 29 June – 5 July 1955 in conjunction with the third International Festival (cf. BIFMC 9, Oct 1955). There The international broadcast programmes organized by were 127 “members of the Conference” from twen-the Radio Committee continued. The subject of the ty-one countries, most of them from Europe, some third programme was to be songs and instrumental from USA, but none from Latin America, Asia, or music connected with marriage ceremonies. The Board Africa. Groups of dancers, singers, and musicians from acknowledged with gratitude the continued support of fourteen countries participated in the festival perfor-radio organizations, of which eighteen were corporate mances. Apart from the General Assembly meeting, subscribers. there were five paper sessions and three meetings of the The Westminster Recording Company had agreed to Radio Committee, at which papers were also read. issue a 12-inch long-playing record consisting of selec- The following members were elected to form the tions from the music performed at the Oslo festival. A Executive Board: Ralph Vaughan Williams (president); 16 mm sound film of the festival was made by Norsk Antoine E. Cherbuliez de Sprecher, Albert Marinus, and Film A/S, and a copy was presented to the Council. Ole Mørk Sandvik (vice presidents); William Stanley The “Oslo resolution” concerning the preservation Gwynn Williams (treasurer); Maud Karpeles (honor-of folk music had been sent to UNESCO and to all ary secretary); Renato Almeida, Douglas N. Kennedy, national governments. UNESCO’s reply was evasive: Egon Kraus, Jaap Kunst, Laszlo Lajtha, Claudie Marcel-This reply together with the resolution was commu- Dubois, Solon Michaelides, Ahmed Adnan Saygun, nicated to all National Commissions of Unesco with Charles Seeger, Klaus P. Wachsmann, Louise Witzig, the suggestion that they request Unesco to place on the and Vinko Žganec (members). Giorgio Nataletti and Agenda of its next General Conference Walter Wiora were co-opted to the Executive Board. (1) Confirmation of its approval of the Oslo It was reported that the recording of the Biarritz– resolution. Pamplona festival performances had, after some (2) Assistance to the International Folk Music Council delay, been issued on a record from the Westminster in carrying out a world-wide survey of folk music Recording Company. Also, that Karpeles represented in order the IFMC at the General Assembly of the International (a) to find out which regions are in most urgent Music Council. The IMC Assembly had agreed to con- need of technical or other expert assistance in tinue its grant of $500 towards the cost of the Journal the collection of material; and to make a second and final grant of $500 towards (b) to pool information with regard to existing a second volume of the International Folk Song series, material; Folk Songs of the Americas. (c) to facilitate the exchange of such material. ( BIFMC 10, Oct 1956:11) The secretary reported that the Council had been crit- icised for holding its international festivals at too fre- quent intervals. It was agreed that there should be three years between festivals. 176 Ursula Hemetek and Krister Malm Proceedings from the conference are published in Exposition universelle et internationale that took place JIFMC 9 (1957). in Brussels. However, the IFMC withdrew from this festival due to disagreements regarding the choice of participating countries. 1957: Copenhagen, Denmark It was reported that the sale of Folk Songs of Europe now had reached a thousand copies. A revised edition of The tenth conference took place in Copenhagen, Manual for Folk Music Collectors had been published, Denmark, 22–27 August 1957. There were around and supplements to the International Catalogue of sixty participants, almost all from Europe, except three Recorded Folk Music were compiled. from the USA (Bruno Nettl, Willard Rhodes, and John D. Robb). This conference was originally scheduled to A resolution regarding African music proposed by Hugh be held in Budapest, but due to problems caused by Tracey from South Africa, and a resolution regard-the Hungarian uprising against the Stalinist kind of ing “The study, demonstration and dissemination of government and domestic policies imposed by Soviet folk music traditions,” proposed by Tom Nabeta from Union in the autumn of 1956, it had to be moved to Uganda, were both approved. Copenhagen at the very last moment. The result was a Proceedings from the conference appear in JIFMC reduced programme. 11 (1959). Four sessions were devoted to meetings of correspond- ents at which eight papers were read, and a discussion on the policy of IFMC was held. There were two gen- 1959: Sinaia and Bucharest, Romania eral sessions at which records with commentary and a film were presented. The twelfth conference took place in Sinaia and Bucharest, Romania, 11–17 August 1959.5 Around In the General Assembly, it was reported that there a hundred delegates participated, most of them from were now 571 members and four national commit-Europe, but also some from North America and even tees (Federal Republic of Germany, Hungary, the from Vietnam and Mongolia (cf. BIFMC 16, Oct Netherlands, and Yugoslavia). The Assembly adopted 1959). Among them, quite a few represented broad-a statement on copyright in folk music aimed at casting organizations, who were members of the Radio improved protection of the rights of the collector. Committee and, through their fees, contributed much A resolution was put forward by the folk-dance to the assets of IFMC. The Radio Committee had a organizations of the four Scandinavian countries, meeting during the conference. requesting IFMC The death of the president Ralph Vaughan Williams (i) To pay more attention to the folk dance aspect of had earlier been reported in the Bulletin, and it was its work; noted that the Council had suffered an irreparable loss. (ii) To control more strictly the dance groups offered Jaap Kunst was elected as new president. However, he for the festival performances, since too many of was not present at the conference. The following mem-the groups hitherto shown have had too much to do with theatrical and stage performance and bers were elected to the Executive Board: president, too little with genuine tradition. ( BIFMC 12, Sep Jaap Kunst (the Netherlands); vice presidents, Marius 1957:12) Barbeau (Canada), Antoine E. Cherbuliez de Sprecher (Switzerland), Albert Marinus (Belgium), and Ole The chairman, “in summing up the discussion, said that Mørk Sandvik (Norway); treasurer, William Stanley the Council should do its utmost to get rid of undesir-Gwynn Williams (UK); secretary, Maud Karpeles (UK); able elements and that the Executive Board would take and members, Renato Almeida (Brazil), Arnold A. Bake note of the resolution” (ibid.:13). (the Netherlands and UK), Samuel P. Bayard (USA), Proceedings from the conference appear in JIFMC Erik Dal (Denmark), Douglas Kennedy (UK), Egon 10 (1958). Kraus (Federal Republic of Germany), Laszlo Lajtha (Hungary), Claudie Marcel-Dubois (France), Solon Michaelides (Greece), J. H. Kwabena Nketia (Ghana), 1958: Liège, Belgium Donal O’Sullivan (Ireland), Willard Rhodes (USA), Ahmed Adnan Saygun (Turkey), Klaus P. Wachsmann The eleventh conference was held in Liège, Belgium, 28 (UK), Walter Wiora (Federal Republic of Germany), July – 2 August 1958, with about eighty participants and Vinko Žganec (Yugoslavia). (cf. BIFMC 14, Oct 1958). The Radio Committee had a meeting during the conference. Originally it 5 The conference was followed by “whole-day expeditions” was planned to hold a festival in cooperation with the from Sinaia on 18–19 August, and a stay in Bucharest, 19–21 August ( JIFMC 12, 1960:8). World Conferences, General Assemblies, and Festivals 177 Members of the Radio Committee were Matts Arnberg years old, was now elected president, but could also not (Sweden), Gaston Brenta (Belgium), Lise Caldagues attend the conference. Five vice presidents were elected (France), Hermann Josef Dahmen (Federal Republic of or re-elected: Marius Barbeau (Canada), Antoine E. Germany), Maud Karpeles (UK), Jerzy Kołaczkowski Cherbuliez de Sprecher (Switzerland), Albert Marinus (Poland), Claudie Marcel-Dubois (France), Solon (Belgium), Donal O’Sullivan (Ireland), and Ole Mørk Michaelides (Greece), Giorgio Nataletti (Italy), Jaideva Sandvik (Norway). Singh (India), Marie Slocombe (UK, secretary), Fela For a couple of years there had been the possibility of Sowande (Nigeria), Josip Stojanović (Yugoslavia), and being a joint member of IFMC and the Society for Ovidiu Varga (Romania). Ethnomusicology. It was reported that there were now There was a discussion on “new folk songs” prompted 170 such joint members. by papers from Romanian delegates. “Miss Karpeles The Secretary reported that the manuscript of “Folk could not agree with Mr. Pop that in a class society folk Songs of the Americas,” containing 150 songs (70 from songs necessarily reflected the struggle against the ruling North America, and 80 from South America), had been classes” (Karpeles 1960:50). delivered to the publisher. In Sinaia, there were several performances by Romanian At the invitation of the International Music Council, folk performers “unspoiled by radio or television the IFMC had submitted proposals for cooperation appearances” (Picken 1959:15). Proceedings from the with UNESCO in furthering its major East/West proj-conference appear in JIFMC 12 (1960). ect. The Board hoped to be able to cooperate in this project by means of radio programmes. Azevedo said that UNESCO would be prepared to give some small 1960: Vienna, Austria financial aid towards the cost of compiling these pro- grammes. He also said that UNESCO expected to The thirteenth conference was held in Vienna, 24–28 publish a new series of folk-music records, and that the July 1960. About 140 delegates were present, all from International Folk Music Council would be invited to Europe and North America ( BIFMC 18, Sep 1960). cooperate in this venture ( BIFMC 20, Jan 1962:12–13). Due to illness, the president, Jaap Kunst, could not attend the conference. IFMC now had 803 members Proceedings from the conference were published in and six national committees (Canada, Federal Republic JIFMC 14 (1962). of Germany, Hungary, the Netherlands, Romania, and Yugoslavia). The Board had appointed a small advisory commit- 1962: Gottwaldow, Czechoslovakia tee, consisting of the president and treasurer and other The fifteenth conference was held in Gottwaldow, members of the Board residing in or near London: Czechoslovakia, 13–21 July 1962. About 220 mem-Arnold Bake, Douglas Kennedy, Donal O’Sullivan, and bers from twenty-four countries attended, including Klaus P. Wachsmann, together with Gilmour Jenkins President Zoltán Kodály (cf. BIFMC 22, Oct 1962). and Laurence Picken. Its terms of reference were to On the two opening days of the conference, the partic-advise the Secretary and to make recommendations to ipants attended the Folklore Festival of the Balkan and the Board. Adriatic Countries, held under the auspices of IFMC, in At the meeting of the Radio Committee, a discussion the small town of Strážnice. This festival was an annual on the preservation of folk music took place. event, but in celebration of the IFMC conference, it was There was a decision to create a Folk Dance Commission, extended to include ensembles from Finland, France, a reconstitution of the Radio Committee was made, and Germany, Hungary, Italy, Poland, Romania, Sweden, resolutions regarding the roles of radio organizations and USSR. The IFMC Folk Dance Commission held and folk-music research were adopted. Proceedings its first meeting during the conference. There was also from the conference appear in JIFMC 13 (1961). a meeting of national committees and liaison officers (formerly called “correspondents”). Maud Karpeles announced that she was going to resign 1961: Quebec, Canada as secretary and her successor, Robin W. I. Band, was introduced. Karpeles had attended a meeting of the The fourteenth conference took place in Quebec, International Music Council. The financial difficulties Canada, 28 August – 3 September 1961. More than 200 of the voluntary international organizations concerned delegates attended, most of them from North America. had been stressed by her. She had urged that more of Jaap Kunst was now deceased without having been able their activities should be sponsored by the International to attend a conference as president. Zoltán Kodály, 79 178 Ursula Hemetek and Krister Malm Music Council, and that they should form the basis of participated, including seventy from Hungary (cf. an appeal to UNESCO for an increased grant. BIFMC 26, Oct 1964). As might be expected, Zoltán The Board reported that it regrets that the holding of Kodály participated. This was the first time a president international festivals has had to fall into the back-had attended two conferences. As in previous confer- ground. Such festivals were expensive and difficult ences, the General Assembly was not chaired by the to organize, and their usefulness was to some extent president, but by an elected chair, in this case, Willard diminished on account of the great number of festivals Rhodes. The Radio and Record Library Committee and now being held by other agencies. the Folk Dance Committee (as it was re-named) met during the conference. Both also had meetings open The Radio Commission had been dissolved and a to all conference participants. The Radio and Record Radio and Record Library Committee had been Library Committee held a discussion on “Folk music formed, including thirty-one radio organizations and in educational broadcasting.” A Study Group on the twelve folklore institutions with record libraries of folk Systematization of Folk Songs was tentatively formed. music. This committee held its first meeting during the conference. It was reported that Barbara Krader had been appointed as new secretary. Furthermore, the Board had decided to After the conference, a Folklore Festival of the Balkan experiment with the holding of conferences biennially, and Adriatic Countries was held 27 July – 4 August, instead of annually. Amongst other things, this would under the auspices of the IFMC in Bucharest, Romania. mean that in the years when there was no conference, The participating groups were from Albania, Bulgaria, the journal could consist of special articles. Cyprus, Greece, Yugoslavia, and many regions of Romania, a total of over 350 performers. A planning committee consisting of Maud Karpeles (convener), Peter Crossley-Holland, Willard Rhodes, Proceedings from the conference were published in and Erich Stockmann was formed to look into future JIFMC 15 (1963). policies of IFMC. A resolution was adopted to request UNESCO to assist the Council in compiling and publishing a catalogue of 1963: Jerusalem, Israel films of authentic folk music, song, and dance. The sixteenth conference took place in Jerusalem, Israel, Proceedings from the conference were published in 5–12 August 1963,6 with some 120 participants (cf. Studia Musicologica Academiae Scientiarum Hungaricae BIFMC 24, Oct 1963). Meetings with papers of the Folk 7/1–4 (1965); only reviews appeared in JIFMC Dance Commission and the Radio and Record Library 17 (1965). Committee were held during the conference. There were later some complaints that many papers read at the conference were not directly concerned with folk music. 1966: Legon, Ghana National committees of Bulgaria, Czechoslovakia, and the USA were affiliated to IFMC. The eighteenth conference was held in Legon, Ghana, A main feature of the conference was many votes of 26 July – 3 August 1966.7 There were some ninety par-thanks to the resigning honorary secretary, Maud ticipants, including thirty from ten African countries. Karpeles, who now was appointed honorary president There were two meetings of the Committee on Radio-with a permanent seat on the Board. Zoltán Kodály was Television and Sound/Film Archives (a new, augmented present and was re-elected as president. name). An amusing incident during the discussions was Proceedings from the conference were published in when Corneel Mertens (Belgian Radio), asked whether JIFMC 16 (1964). broadcasting jazz programmes on Ghana’s radio did not influence the taste of villagers. George Akrofi of Radio Ghana replied that jazz was played when villag- ers were asleep. 1964: Budapest, Hungary Willard Rhodes reported that the Council was consid- The seventeenth conference was held in Budapest, ering the possibility of moving its headquarters from Hungary, 17–25 August 1964. Around 200 people London. If an offer came from an institute with com-patible interests, which included financial support to 6 While BIFMC 24 (Oct 1963:8) notes the dates as 5–12 August, the programme published in JIFMC 16 (1964:6–7) only lists activities on 6–9 August. Perhaps arrival dates, reg- 7 This conference is sometimes incorrectly listed as being in istration, concerts, post-conference activities, etc., account for 1965, e.g., Karpeles (1969:20, 23, 32), Stockmann (1988:7). the other days. World Conferences, General Assemblies, and Festivals 179 cover office space, secretarial help, and administration, on collaboration in fieldwork between radio-television such an offer would be given serious consideration. and specialized scholars. It was announced that Barabara Krader had opted to Plans were reported for a conference in Tokyo, Japan, in resign as executive secretary and that IFMC had secured 1968, but these plans were later abandoned. the services of Felicia Stallman as new secretary. She was Proceedings from the conference appear in JIFMC 20 an old friend of Maud Karpeles’s, who had assisted in (1968), the last issue of that journal. the organization of the international folk dance confer- ence in London (1935). The next conference in Ostend, Belgium, was 1969: Edinburgh, Scotland announced. New procedures were launched such as forms for application for accommodation and reg- The twentieth conference was held in Edinburgh, istration. Previously, the themes of conferences had Scotland, 6–13 August 1969, with some 180 partici-been very tentative. Now, themes were announced in pants. This was also the first meeting in the biennial the Bulletin. They were: The concept and practice of schedule. The Secretariat had been moved to Queen’s folk music, including dance, in the twentieth century; University (Kingston, Ontario, Canada), with Graham Techniques in the study of folk music; Performing George as the new executive secretary. The conference styles in folk song, instrumental music and dance; had a total of six plenary sessions for reading and dis-with the instruction that “communications on theme cussing papers. There were now 544 members. There three should consist of the presentation of recordings were nine sessions with papers, recordings, and films. and films, together with short explanatory comments” There also was a meeting of the Radio-Television and ( BIFMC 29, Nov 1966:[ii]). It is likely that this “new Sound/Film Archives Committee. order” was introduced by Barbara Krader. There were motions in the General Assembly to the Proceedings from the conference were published in effect that the General Assembly rather than the JIFMC 19 (1967). Executive Board should appoint the programme com- mittee, and that this committee should also determine themes for conference papers. Nevertheless, in a com- 1967: Ostend, Belgium promise proposed by Dieter Christensen—chair of the programme committee for this conference—it was The nineteenth conference took place in Ostend, decided that the Board should continue to appoint the Belgium, 28 July – 3 August 1967. There were c. 120 programme committee, and that this committee should participants (cf. BIFMC 31, Nov 1967). President decide the themes “in consultation with the Executive Zoltán Kodály had died, and Honorary President Maud Board” ( BIFMC 35, Oct 1969:34). Karpeles announced that Willard Rhodes had been Another area of discussion was the necessity of pay-appointed as the new president, a decision ratified by ing attention to the needs of young people. It was the Assembly. felt that changes in the organization of conferences The Secretariat of the Council was moving from London were needed. After intensive discussion, a number of to the Danish Folklore Archives in Copenhagen. Christian motions were adopted: Ejlers had been appointed the new executive secretary (a) That [the] Programme Committee be instructed to (he would be succeeded by Connie Matthews in 1968), solicit student papers for the next Conference … and Poul Rovsing Olsen as new treasurer. The Advisory (b) That a Committee be appointed to study revi-Committee continued with slightly altered terms of ref- sion of the dues of the IFMC, to establish other erence and with its members drawn from Denmark. The classes of membership (with special reference to new members were Nils Schiørring (chair), Eric Dal, students) and for the present the Executive Board Torkild Knudsen, and Poul Rovsing Olsen. The Planning be empowered to institute this arrangement as the Committee had been discontinued and replaced by the General Assembly would not meet for another two years … Steering Committee, with the duty to advise on policy and programme. Erich Stockmann was the chair, with (c) That the Executive Board instruct the Programme members Poul Rovsing Olsen and Klaus Wachsmann. Committee to rearrange the activities and format of the next Conference so that a substantial part of The committee also had the power to co-opt. The Folk the programme is devoted to workshops, seminars, Dance Committee was discontinued. panels and a number of other activities. ( BIFMC Maud Karpeles reported on the project to produce an 35, Oct 1969:18) Anthology of Records of Authentic Folk Music with the There was also a discussion on the work and aims of support of UNESCO and under the general editorship the IFMC opened by Maud Karpeles, with Alexander of Peter Crossley-Holland. There was also a discussion Ringer and Erik Dal as panel discussants. 180 Ursula Hemetek and Krister Malm Erich Stockmann announced that the report from the The real heroine of that frantic week, as I pointed out second meeting of the Study Group for Folk Music in Bayonne, was Dr. Claudie Marcel-Dubois, to whom Instruments, entitled Studia Instrumentorum Musicae I phoned as our senior vice-president, residing in the Popularis I containing fifteen articles, had recently chief city of the country nearest to San Sebastian, who on July 6th replied by cable that I should phone been published. to Monsieur Pagola, secretary of the Musée Basque in Bayonne. I did, and the crisis was over—though not without continuing inconvenience to our intending 1971: Kingston, Jamaica participants, of whom those who had registered in San Sebastian hotels had received those now famous—but truly infamous—cables from COFEX-CAT, starting: The 21st conference was held in Kingston, Jamaica, “Agreed with Mr. Graham IFMC postponed …” 27 August – 3 September 1971, with around a ([George] 1973:23). hundred participants. This shows that Maud Karpeles, 88 at the time, and There were three themes: Folk music and dance in Claudie Marcel-Dubois still made up the backbone education; The process of acculturation in folk music of IFMC. and dance; and Electronic equipment and computer, accompanied also by some workshops. Twenty-two The themes were: The role of folk music in education; papers were presented, more than half on the accul-Urban popular music and its relation to traditional folk turation theme. For the first time, there were a few music; Vocal styles; and Spanish folk music: Its world-parallel sessions. wide diffusion. Twenty papers were presented and there were three film sessions. The Radio-Television and A first was also the report on the fun had by participants Sound/Film Archives Committee held a meeting. in Jamaica, most likely written by Honorary Executive Secretary Graham George. This report starts: For the first time there were more than a thousand paid-up members of the Council. “Somebody should write about all the fun we had,” said the Honorary President. “All right, Maud—you do it,” Klaus P. Wachsmann was elected as president to suc-said the President. “No,” said the Honorary President. ceed Willard Rhodes. Maud Karpeles, “remarking that “You refuse the President?” said the President. “Yes,” she knows better than anyone what work is involved said the Honorary President. (Laughter). in the presidency, paid tribute to Professor Rhodes as And so it came about that another Honorary func- a worthy successor to Vaughan Williams, Kunst and tionary sat down one evening, in another Kingston, to Kodaly” ( BIFMC 43, Oct 1973:11). The other mem-recall, with nostalgic pleasure and affection, all the fun, bers of the Board were now: honorary president: Maud he had. ( BIFMC 39, Oct 1971:25–26) Karpeles (UK); vice presidents: Claudie Marcel-Dubois Selected papers from the conference appear in YIFMC (France), Willard Rhodes (USA), Walter Wiora (Federal 3 (1971). Republic of Germany); treasurer: T. H. R. Parkinson; secretary general: Graham George (Canada); ordi- nary members: Tiberiu Alexandru (Romania), Luiz 1973: Bayonne, France Heitor Corrêa de Azevedo (Brazil), Dieter Christensen (USA), Peter Crossley-Holland (UK), Oskár Elschek The 22nd conference was planned to be held in San (Czechoslovakia), Akin Euba (Nigeria), Edith Gerson-Sebastian, Spain, but due to poor preparations had to Kiwi (Israel), Charles Haywood (USA), Nazir Ali be moved with only three weeks’ notice to Bayonne, Jairazbhoy (Canada), Douglas Kennedy (UK), Egon France, where it was held as planned, 26 July – 1 August Kraus (Federal Republic of Germany), Olive Lewin 1973, with some eighty participants from twenty-seven (Jamaica), Salah el-Mahdi (Tunisia), Poul Rovsing countries. There were more than fifty additional regis-Olsen (Denmark), Radmila Petrović (Yugoslavia), and trations, which were cancelled because of the sudden Benjámin Rajeczky (Hungary). change of place. In BIFMC 43 (Oct 1973), Secretary Selected papers from the conference appear in YIFMC General Graham George wrote a report: 5 (1973). on Tuesday, July 3rd—the day after Canada’s national holiday, when no office opens and no post moves for three days—a cable was received at the secretariat from Dr. Karpeles, who had it from a friend in Scotland, 1975: Regensburg, Federal Republic of who had it from friends in Spain, that cancellation Germany of the San Sebastian conference had been announced in some Spanish newspapers. A letter from the San Sebastian authorities, confirming this, was received that The 23rd conference took place in Regensburg, Federal afternoon … Republic of Germany, 14–21 August 1975, with some 210 participants. For the first time, the full programme World Conferences, General Assemblies, and Festivals 181 was announced in advance in the BIFMC 46 (Apr Selected papers from the conference were published 1975). The Radio-Television and Sound/Film Archives in YIFMC 9 (1977), but the next five issues of the Committee held a meeting during the conference. Council’s journal would focus on articles not deriving Themes were: Improvisation: Idea and practice (con- from world conferences. cepts and realizations); Musical instruments and change (historical, social, aesthetic, organological); and Recent trends in the study of orally transmitted music. There 1979: Oslo, Norway were twelve paper and roundtable sessions and also workshops and recordings/film sessions. The 25th conference was held in Oslo, Norway, 28 July – 4 August 1979, with approximately 160 participants. John Blacking wrote in a commentary to the conference: Themes were: Cooperation between local researchers Parts of Bruno Nettl’s valuable key-paper on “The and those from abroad and the methodological and State of Research in Orally Transmitted Music” were ethical problems involved; Social, aesthetic, and phys-very well reflected in the discussions. The Conference iological factors in vocal technique: Problems of typol-brought into the open contrasts between folk-mu- sic study and ethnomusicology; between a concern ogy and terminology; The value of intensive study of for the ethnography of areas and theoretical issues; individual folk musicians; and Methodology, analysis, between European (and especially East European and description. and German) and American scholarship; between the reading of European and American scholars and their At the beginning of the General Assembly, President occasional lack of familiarity with each others’ work. Poul Rovsing Olsen stated: In this respect, I would suggest that the IFMC might Our Council is the International Folk Music Council, consider a regular publication of abstracts in English or and Folk Music is a term which has served us well in French, and Spanish, of papers printed in Hungarian, Europe for a couple of centuries. But the IFMC does Rumanian, Polish, etc. (Blacking 1975:22) not—and should not—restrict itself to folk music. Selected papers from the conference appear in YIFMC We are just as concerned with—for example—Korean 7 (1975). and Japanese Court music or Arab and Indian classi- cal music as we are with folk-music. And furthermore there are organisations in African as well as Asian countries hesitating to collaborate with us because of 1977: Honolulu, USA our name. If you don’t consider your national music a folk music it is difficult to understand why you should The 24th conference took place in Honolulu, Hawaii, have anything to do with an international organisation apparently focused on folk music. So our name is mis- USA, 13–18 August 1977, with some 170 participants. leading and creates misunderstandings which are not to Themes were Folk music and dance in education and our advantage. socialisation; Music: Change, innovation and accultur- On the other hand, even if it is perfectly possible for ation; Music and dance in national and ethnic identity; our Council to change its name to—for instance—the and The interrelations between folk music and other International Council of Traditional Music we should forms of music. The programme had twelve paper not forget that it may prove problematic to change the sessions, four roundtables, seven workshops, and six name of a well-established institution, known in the audiovisual sessions. There also was a display of pub- world as the IFMC for more than 30 years. ( BIFMC 55, Oct 1979:15–16) lished and recorded materials, including items featuring local traditions. A new kind of event announced was a symposium, later renamed colloquium, on “Music and language modes” For the first time, Maud Karpeles was not present at in Poland. a conference. She had attended a Board meeting in Warsaw in August 1976, and died shortly afterwards on 1 October. A memorial tribute was made by retir- ing President Klaus P. Wachsmann during the General 1981: Seoul, Republic of Korea Assembly meeting. Poul Rovsing Olsen was elected as The 26th conference took place in Seoul, Republic of president. He stressed that “IFMC is international—not Korea, 25 August – 1 September 1981. a westernised, or Anglo-Saxon or British or American organisation—and that he would work to ensure that The themes for papers were Ritual music of Buddhism, it remains so” ( BIFMC 51, Nov 1977:21). This was the Confucianism and Taoism; Ornamentation as concept first step leading to the change of name of the Council. and musical function; Folk music in rites (funeral, marriage, puberty, etc.); Problems of methodology and There were now sixteen national committees and seven- ethnomusicology; and Research in ethnochoreology. teen liaison officers. Themes for roundtables were Interaction and inter- dependence of music, dance, drama, recitation and 182 Ursula Hemetek and Krister Malm visual arts; Teaching improvisation in music classes; 1985: Stockholm, Sweden, and Helsinki, Transformations of vocal music into instrumental Finland music; and Children’s song: Old and new (cf. BIFMC 58, Apr 1981). The 28th conference of the ICTM began on 30 July It was announced that Dieter Christensen had been 1985, in Stockholm, Sweden, then on 4 August moved appointed as secretary general, and the secretariat had by ferry overnight to Helsinki, Finland, with paper ses-moved to Columbia University, New York, USA. For sions in Helsinki on 5–7 August. Although not noted the first time, there were nominations made by Council in the preliminary programme published in BICTM 66 members of candidates to the Board, instead of just (Apr 1985:13–20), the original plan was to continue nominations from the Board. the conference in Leningrad, Soviet Union. However, this was not possible due to political complications, After a discussion that had been going on for three and the conference was closed on 7 August in Helsinki. years, the name of the Council was now changed to The same day, some participants returned to Stockholm International Council for Traditional Music on 27 by ferry while others continued by chartered bus to August (Olsen 1981:2). Two new categories of mem-Leningrad, where an informal paper session was held bership were introduced: honorary members and sup- on 8 August, although this was not listed in the pro- porting members ( BICTM 59, Oct 1981:3). gramme accompanying papers published from the Selected papers from the conference appear in the YTM conference ( YTM 18, 1986:xi–xvii). Thus, official and 15 (1983), after a hiatus from such a practice. informal paper sessions took place in three different countries. Krister Malm was the chair of both the pro- gramme committee and the local arrangements com- 1983: New York, USA mittee. There were some 120 participants. The themes for the conference were: The formation of The 27th conference was held in New York, USA, 8–15 musical traditions (The roles of children and youth; August 1983. There was an emphasis on performance Physical and biological aspects; Interaction with workshops featuring practical instruction in a particular commercial, technological and institutional systems; style or technique of performance, lecture-demonstra-Musical tools—change and revival); and, Traditional tions of music and dance, as well as research workshops music and dance around the Baltic Sea. Papers on these titled “Tools for field and laboratory.” themes were presented in twenty-six paper sessions. Poul Rovsing Olsen had died in 1982, and Erich It was reported that quite a few colloquia had taken Stockmann (German Democratic Republic) was elected place and were planned. Selected papers from the world president, with Salah el-Mahdi (Tunisia) and Trần Văn conference appear in the YTM 18 (1986). Khê (Vietnam) as new vice presidents, while Claudie Marcel-Dubois (France) was re-elected as vice president. Other ordinary members elected to the Board were Lee Hye-ku (Korea), Olive Lewin (Jamaica), Krister Malm 1987: Berlin, German Democratic (Sweden), and Tokumaru Yoshihiko (Japan). Later the Republic Board co-opted Ranganayaki Ayyangar (India), Meki The 29th conference was held in Berlin, German Nzewi (Nigeria), and Ricardo Trimillos (USA). Thus, Democratic Republic, 30 July – 6 August 1987, with the previous dominance of European scholars on the 240 participants (cf. BICTM 70, Apr 1987; 71, Oct Board was broken. There was a change of the rules, 1987). Themes were: Traditional music and cultural allowing ordinary members of the Board to be eligible identity; and Forty years IFMC/ICTM, and the devel-for immediate re-election only once. opment of ethnomusicology. There was a meeting of representatives of broadcasting There were thirty paper sessions with ninety papers, organizations during the conference. However, at its four audiovisual sessions and some workshops. A new meeting during the conference, the Board dissolved feature was the inclusion in the conference programme the Committee on Radio-Television and Sound/Film of a meeting of liaison officers and representatives of Archives “as no longer congruent with ICTM objectives national committees, as well as meetings of four study and policies” ( BICTM 63, Oct 1983:20). groups. The host, Erich Stockmann, was re-elected pres- Selected papers from the conference appear in the YTM ident, and Oskár Elschek (Czechoslovakia) and Olive 16 (1984). Lewin (Jamaica) were elected vice presidents. Claudie Marcel-Dubois ended her term as vice president. She had been on the Board since the beginning of the Council and was the last person representing the Maud World Conferences, General Assemblies, and Festivals 183 Karpeles era. Until this conference, the Council used to Suppan—was dissolved, and Emil Lubej was installed have between three and five vice presidents, but from as liaison officer. But in spite of this incident, the con-now onwards there were only two. ference was a successful scholarly meeting with many Liaison persons were appointed to the Fédération inter- social, musical activities going on. And the Council national des jeunesses musicales (Salwa El-Shawan was still growing: the number of members as of 19 July Castelo-Branco, Krister Malm, and Bálint Sárosi); to 1989, stood at 1,215. Mediacult in Vienna (Krister Malm); the International A new, very important ICTM commission was installed, Music Council project, “Music in the life of man” chaired by Krister Malm: Commission on Copyright (Dieter Christensen); and Répertoire international and Ownership in Traditional Music and Dance. In the d’iconographie musicale (RIDIM) (Tilman Seebass, papers, issues of gender and iconography, of comput-Erich Stockmann, and Tsuge Gen’ichi). er-aided research and dance, all drawn from the work of Conspicuous was the active participation of young the established ICTM study groups, blended with pre-members in all aspects of the conference and also in sentations of regional or national research. The full days bridging the gap between continents, and Eastern and of panels with Hungarian and with Soviet scholars were Western Europe. Selected papers from the conference certainly among the high points of the conference. As appear in the YTM 20 (1988). Dieter Christensen put it so well in his report: “Groups of scholars engrossed in the discussion of esoteric topic, exuberance in many languages, snow-topped mountains in mid-summer, conviviality and heart-warming music 1989: Schladming, Austria in smoky inns, old friends and new faces—pleasant The 30th ICTM World Conference was held in memories of the Schladming conference” (1989:13). Schladming, Austria, 23–30 July 1989, with 240 pre- Selected papers were published in YTM 22 (1990). senters, approximately 400 participants (figures from local organizers) from thirty-seven countries. Languages of presentation were English and German. 1991: Hong Kong This conference is unfortunately associated in the ICTM community with its “scandal” (e.g., see The 31st ICTM World Conference was held in Hong Yurchenco 2003). Wolfgang Suppan, chair of the local Kong, 3–9 July 1991. In addition, there was a post-con-arrangements committee—at that time called local ference from 11–14 July, where selected scholars gath-programme chair—had invited the president of the ered in Guangzhou (China) for an “International Republic of Austria for the opening ceremony. As this symposium on Chinese traditional music” to discuss person was Kurt Waldheim—figuring on blacklists of issues related to the study of Chinese traditional music. many countries at that time due to his engagement Official languages were Chinese and English. during the Nazi regime—there was severe disapproval The attendance of Chinese colleagues seemed to be by the Board, as well as by delegates. Secretary General crucial in order to exchange ideas and actually there Dieter Christensen resigned during the conference and were twenty-seven presenters from China. In Dieter more than half of the audience left the room when Christensen’s opinion, the conference was a milestone Waldheim gave his opening speech. During the General in the development of the ICTM because of the mutual Assembly, as well as during the Board meeting, the inci-exchange between colleagues from China and other dent was heavily criticized by Board members as well parts of the world. as delegates. Christensen explained that when he was An important decision concerning governance of the informed about the invitation to Waldheim, it was too Council had been taken in 1990 that was announced late to find another location for the conference. That is in the Bulletin: why he resigned (only for the time of the conference). The report of the Board meeting says: The Executive Board has resolved to put before the next General Assembly in Hong Kong a proposal to In an extensive review of the just concluded confer- reduce the size of the Executive Board to a maximum ence and its preparatory procedures, the Board resolved of 16 (President, no more than two Vice Presidents, to register strongest disapproval of some of the prac- nine Ordinary Board Members, no more than two tices implemented by Programme Chairman Professor Coopted Board Members, two appointed Executive Suppan, and to seek ways and means of assuring Officers); and further, for the establishment of a per- compliance with ICTM policies and procedures in manent deliberative organ of the Council consisting the preparation of future meetings. ( BICTM 75, Oct of national representatives, i.e., delegates of ICTM 1989:15) National Committees and Liaison Officers. ( BICTM As another consequence, the Austrian National 77, Oct 1990:9) Committee—at that time chaired by Wolfgang 184 Ursula Hemetek and Krister Malm Therefore, for the first time, a meeting of national repre- Catherine Ellis was chosen as the keynote speaker, and sentatives was held at this world conference. Since then, many papers covered the topic. The social programme national representation has grown considerably, and a highlighted Aboriginal art, Aboriginal politics, tra-time slot for their meetings has become standard prac- ditional ceremonies, and popular music. It under- tice since then. lined how close the cooperation between scholars and The local organizers offered a tremendous social pro- Aboriginal musicians was, and what applied ethnomu- gramme, including musical events and sightseeing. sicology can achieve. Those were the times when travelling long distances was At the General Assembly, the second honorary mem-not as common as in more recent decades. Therefore, ber of the ICTM was elected: Alice Moyle. Another many took the opportunity to see other nearby parts of issue seemed to have been important. In the minutes the world after the conference. of the General Assembly, the UNESCO Collection of Selected papers were published in YTM 24 (1992). Traditional Music is mentioned: the ICTM has been requested by UNESCO to assume full responsibility for the new releases of compact discs for the UNESCO Collection of Traditional Music. The 1993: Berlin, Germany ICTM, to repeat, has now assumed full editorial respon- sibility for the new releases of UNESCO’s CDs, and we The 32nd ICTM World Conference took place in have scheduled during this conference several meetings Berlin, 16–22 June 1993. Official languages were to look into details. ( BICTM 86, Apr 1995:12) English and German, and the conference was attended Selected papers were published in YTM 27 (1995), due by 347 participants from forty-eight countries. The host to the different time of year when the conference took was the International Institute for Traditional Music, place (January). chaired by Max Peter Baumann. It was certainly a special situation due to the only recent unification of two “Berlins,” and in many papers and 1997: Nitra, Slovakia informal talks it was felt that the unification had not yet manifested in the minds of many colleagues. The The 34th ICTM World Conference took place in Nitra, conference was held at a museum which caused some Slovakia, 25 June – 1 July 1997. Oskár Elschek served problems in providing the spaces for presentations, but as local arrangements chair. Official languages were had a certain charm. Delegates sat in the middle of English, French, and German, and the conference was exhibitions when listening to papers. attended by 140 colleagues from forty-one countries. It is noteworthy that at the General Assembly in Berlin, The location in Nitra still had the charm of post-Soviet the ICTM passed a resolution on cultural diversity. One times and so had the technical facilities. I suppose the quote from this resolution says: dramatic moment when Bruno Nettl started his key- We consider it a basic human right for people to express note address and the big poster behind him fell down themselves according to their own culture, including will be well remembered by those who witnessed it. The by means of music, dance, and other performing arts. location also provided many opportunities for informal In the “International Year of the World’s Indigenous talks as meals were served in the conference building, Peoples” we would like to stress that all voices should and the social programme was extraordinary rich. be heard. ( BICTM 83, Oct 1993:12) A very crucial decision was taken in Nitra concerning Selected papers were published in YTM 26 (1994). the governance of the ICTM. Long-term President Erich Stockmann, who had been president for fourteen years, resigned at this conference, and Anthony Seeger 1995: Canberra, Australia was newly elected. This election marked a change in gov- erning policies of the ICTM. Anthony Seeger only held The 33rd ICTM World Conference was held in the position for two years and was followed by Krister Canberra, Australia, 5–11 January 1995. Stephen Malm in 1999. The president began to change more Wild was the head of the LAC, and he hosted the con-often, as well as Board member’s positions: definitely ference at the Canberra School of Music / Australian steps towards greater democracy. As a further sign of National University. There were 248 attendees from this development, the newly elected president, Anthony forty-two countries. Seeger, asked the members’ opinions about the Council. The conference language was English only. It was a He posed questions at the closing ceremony, and also conference that really showed impressively to the world asked members to send him comments. of ethnomusicology one of the prominent topics of scholars in Australia: Aboriginal music. Quite logically, World Conferences, General Assemblies, and Festivals 185 Noteworthy in the president’s report, given by Vice The university where the conference took place was President Krister Malm, is that the ICTM had received located in the middle of the city, and participants stayed recognition as a non-governmental organization in for-in hotels in town. So, everyone got a feeling of the city mal consultative relations with UNESCO ( BICTM 81, during the days, by using public transport and trying all Oct 1997:15). types of restaurants. Selected papers were published in YTM 30 (1998). From The General Assembly was one of the most dramatic this year onwards, selected, peer-reviewed papers always ones in the history of ICTM. For the first time, there were published in the YTM one year after the conference were two candidates for the president’s position. When (except for 2004, as noted below). From 2001 onwards, the votes were announced and Krister Malm was the general editors were Stephen Wild, Don Niles, Kati elected, Secretary General Dieter Christensen immedi-Szego, and Lee Tong Soon. For the publication of confer- ately announced his resignation in a very dramatic way. ence papers, guest editors were appointed. This was unexpected, and, therefore, the Board had to find a person to replace him within a few days. Anthony Seeger finally agreed to take over as secretary general, 1999: Hiroshima, Japan which was, of course, not an easy task. After more than twenty years the Secretariat was transferred. The new The 35th ICTM World Conference was held in address was to be at the University of California, Los Hiroshima, Japan, 19–25 August 1999, and Tsuge Angeles (UCLA). Gen’ichi functioned as chair of the LAC. The official languages were English, French, and Japanese. There were 270 participants from forty-two countries. 2004: Fuzhou and Quanzhou, China The conference location—Hiroshima University—was reached by shuttle buses every day. Although the uni- The 37th ICTM World Conference was held in Fuzhou versity was located in the middle of a beautiful green and Quanzhou, China, 4–11 January 2004. The orig-landscape, it was rather far away from the hotels. In the inal planned dates of 15–22 July 2003 had to be post-history of ICTM, it was probably the most punctual poned because of outbreak of SARS, which had serious world conference because every single session started effects on conference participation. The co-chairs of the on time. Wonderful concerts and workshops featuring LAC were Wang Yaohua and Tsao Penyeh. Official lan-Japanese and other traditional musics held at the uni- guages were English, French, and Chinese, and there versity added to the good atmosphere. were 300 participants from more than thirty countries. At the General Assembly, Krister Malm was elected As there were two locations for the conference, the president, as Anthony Seeger had decided to resign after transportation of delegates was quite a challenge, and only two years. In his inauguration speech, Malm men-made even more complicated because of military restric- tions democracy in the ICTM: tions. This was the second time that an ICTM world conference was hosted in this area of the world, and it He then addresses one issue of concern to him: the elec- tion procedures. He says that although the governing definitely added to communication and understanding instrument of the Council, the Rules, provide for nom-between scholars, especially from China and colleagues inations from the membership and national commit- from other parts of the world. tees, this opportunity almost never was used, and with that the necessity of a multiple slate to be put before Discussion about changes in the rules of ICTM had been the membership-at-large to vote on. ( BICTM 95, Oct going on before, but these were approved at the General 1999:23–24) Assembly in Fuzhou. These changes mainly concerned the introduction of a Nomination Committee with one The Board worked on this issue in the following years, member appointed by the Board and two members which lead to a more democratic election process appointed by the Assembly of National Representatives in 2001. in order to further transparency and democracy. Some ICTM bodies that had existed previously, but had not been mentioned in the rules, were also formal- 2001: Rio de Janeiro, Brazil ized, such as the Assembly of National and Regional Representatives and the Nomination Committee. The 36th ICTM World Conference was held in Rio de Janeiro, Brazil, 4–11 July 2001. The chair of the LAC Selected papers were published in YTM 36 (2004). was Samuel Araújo. Official languages were English and Portuguese. Three hundred participants came from over forty countries, with a quarter of participants from Brazil. 186 Ursula Hemetek and Krister Malm Figure 2. From the 39th World Conference. The conference organizing team is in the front row: Ursula Hemetek, Maria Walcher, Gerlinde Haid, Regina Allgayer-Kaufmann, Christiane Fennesz-Juhasz, Birgit Hübener. Vienna, 2007 (photo courtesy of Ursula Hemetek). 2005: Sheffield, UK 2007: Vienna, Austria The 38th ICTM World Conference was held in The 39th ICTM World Conference took place in Sheffield, UK, 3–10 August 2005. The chair of the LAC Vienna, 4–11 July 2007 (figure 2). The chair of the was Jonathan Stock, and the only official language was LAC was Gerlinde Haid. Five hundred participants English. There were about 250 participants. from more than sixty countries made it the largest The programme for the first time featured the theme world conference in the history of ICTM up to that applied ethnomusicology, which had a great impact on point. The official languages were English and German, following discourses within the ICTM. but actually no papers were read in German. The loca- tion was the University of Music and Performing Arts In Sheffield, the results of the first election according to Vienna, with a very nice campus and a marquee on the new rules—with more than one candidate for vacant grounds to serve meals for the participants. The orga-positions—were announced. The process was explained nizing committee was a women-only team, probably for by the convener of the nomination’s committee, Don the first time in the history of ICTM world conferences. Niles, during the General Assembly: The team involved all ethnomusicological institutions for the first time in its history … the ICTM member- of Vienna. ship at large has nominated all the candidates itself and has provided choices for every position. This election The local arrangements committee was well aware of did more than just elect new members of the Board; it the previous world conference in Austria in 1989, and also established a new way of doing so for the future. remembered the scandal. Therefore, every possible influ- ( BICTM 107, Oct 2005:11) ence of official Austrian politics was strictly avoided. The Krister Malm’s term as president and Anthony Seeger’s committee was able to raise funds in order to support the as secretary general concluded. The newly elected pres-participation of members from Eastern and Southeastern ident was Adrienne Kaeppler—the first female presi- Europe. The Barbara Smith Travel Award—which was dent of the ICTM—and the new secretary general was awarded by the programme committee for the first Stephen Wild. The Secretariat moved to Canberra. time—also was focussed on that region. In the report of the Austrian National Committee, we find a summary that addresses an important reason for organizing world conferences: World Conferences, General Assemblies, and Festivals 187 For Austrian ethnomusicology, this World Conference conference and also numerous concerts, all of them very was a great stimulus, because bringing the ethnomu-well attended. sicological world to one’s doorstep means inspiration, personal and institutional contacts, and many ideas for At the closing ceremony, Svanibor Pettan was intro-future projects that hopefully will be realized. (Hemetek duced as the new secretary general. After a long time, and Huebener 2007:14) the Secretariat moved to Europe again, and Pettan pre- sented Ljubljana, Slovenia, as the new location for the Secretariat. With the new secretary general, many fun- 2009: Durban, South Africa damental changes in the operations were implemented in the years to follow. A very important one can be seen The 40th ICTM World Conference was held in from BICTM 119 (Oct 2011): the first solely online Durban, South Africa, 1–8 July 2009 at the University issue, and appearing in a new format with new con-of KwaZulu-Natal. Chair of the LAC was Fikile NM tents. From this time up to the present, Carlos Yoder, Mazibuko, but Patricia Opondo functioned as a liaison the executive assistant, functions as Bulletin editor, with to the Board. There were more than 200 participants. the responsible committee also consisting of Don Niles The only conference language was English. and Svanibor Pettan (followed by Ursula Hemetek in For only the second time, the ICTM moved to the 2017 and Lee Tong Soon in 2021). African continent with a world conference which was certainly a challenge, but with a highly positive effect on communications between African scholars and col- 2013: Shanghai, China leagues from other parts of the world. The situation concerning the submissions and evaluations of abstracts The 42nd ICTM World Conference was held in turned out to be complicated, as the chair of the pro-Shanghai, China, 11–17 July 2013. The LAC was gramme committee had to withdraw at a rather late co-chaired by Xiao Mei and Yang Yan-di. The Shanghai moment. Wim van Zanten took over and did a heroic Conservatory of Music was the host institution and offi-job. Due to his and the Secretariat’s efforts, it finally cial languages were English and Chinese. There actually worked: it was a remarkable conference, also due to the were quite a few sessions in Chinese that were translated impressive social programme. simultaneously into English. With 500 delegates from fifty-six countries, this was again a very large confer- At the General Assembly, the re-election of Adrienne ence. The venue was located in the middle of the city, Kaeppler as president was announced. The chair of so everyone could easily enjoy the beauties and attrac-the LAC expressed his perspective on the event in tions of Shanghai. The concert programme during this the Bulletin: conference was extraordinary rich and impressive. Xiao In the final analysis and assessment, I would like to Mei, co-chair of LAC, drew the following conclusion believe that the Durban World Conference had given from the experience: South Africa and Africa a quantum leap into the ICTM: we are ready to share our wealth of experi- Hosting the 42nd World Conference of the International ence and expertise with the 41st World Conference. Council for Traditional Music has not only given inspi- (Mazibuko 2009:12) ration and new perspectives to Chinese local music research and the work of protecting contemporary tra- ditional culture; it has also further promoted academic dialogue and exchange between experts and scholars 2011: St. John’s, Canada from different regions of the world. (Xiao 2013:10) The 41st ICTM World Conference was held in St. During the General Assembly, the newly elected presi-John’s, Newfoundland, Canada, 13–19 July 2011. The dent was announced: Salwa El-Shawan Castelo-Branco. co-chairs of the LAC were Beverley Diamond and Kati At the Executive Board meeting, the decision was taken Szego. Conference languages were English and French, to publish the Bulletin three times a year, instead of two. but only very few presentations were actually given in A new format of ICTM events was installed: ICTM French. There were more than 500 participants. fora, involving different thematically related societies, held in conjunction with these. Svanibor Pettan writes As one of the conference themes was “Indigenous about the attempt to bring together the most influ-modernities,” a certain focus was laid on that topic, and ential societies in ethnomusicology, the Society for also because the research traditions in the region sug-Ethnomusicology and ICTM for the first time: gested this. The conference was located on the campus of Memorial University of Newfoundland at a certain The agreement about a new attempt got its crucial impetus during the 42nd ICTM World Conference in distance from the centre of the small town. Therefore, Shanghai, where Beverley Diamond, Salwa El-Shawan meals were served in a marquee, again a centre of com- Castelo-Branco and I discussed the possibility at sev- munication. Many workshops were offered during the eral informal meetings. A smaller event with a limited 188 Ursula Hemetek and Krister Malm number of sharply-selected presentations proved to be this event. One of the themes was dedicated to the the winning recipe. Credit for the thematic shaping of history of ICTM, and several very informative panels the Forum is to be given to Samuel Araújo and Gage raised the awareness of how the past shapes the present Averill. (Pettan 2015:3) and the future. There were many musical events and workshops during the conference that highlighted the aims of the Irish World Academy of Music and Dance 2015: Astana, Kazakhstan as host institution, a university mainly dedicated to The 43rd ICTM World Conference was held in the performance and study of Irish music and dance. Astana, Kazakhstan, 16–22 July 2015. Co-chairs For the first time, an official video was produced, also of the LAC were Aiman Mussakhajayeva and Saida marking the 70th anniversary with footage from the Yelemanova. Conference languages were English and conference. Russian, and there were nearly 600 participants from During the General Assembly, Castelo-Branco intro-seventy countries. duced a proposal for new Statutes for the ICTM, For the first time in its history, the ICTM held a world explaining that following a thorough evaluation of conference in Central Asia, in one of the former Soviet the existing Rules of the ICTM, a specially-appointed Republics. The strategy to connect to ethnomusicolo-Executive Board Committee had produced a draft to gists in this region of the world by such an event was bring the constitutional document of the Council up successful. Razia Sultanova and Timothy Rice (proto date with current practices.8 These were approved gramme co-chairs) report: and are to be seen as a milestone in the governance of ICTM. Kazakhstan was represented in the programme by the largest group of participants (80), and another large Salwa El-Shawan Castelo-Branco was re-elected contingent of scholars from the former Soviet Union as president. joined the meeting as well. With up to thirteen par- allel sessions, a plenary session each day, performance At the closing ceremony, Ursula Hemetek was intro-workshops, and films in virtually every session, and a duced as the new secretary general of the ICTM. The rich programme of concerts each evening, the confer-Secretariat moved to Vienna, while the executive assis- ence was a milestone in the study of world music and tant, Carlos Yoder, remained in Slovenia. In her inau-culture. We were very glad to participate in the plan- guration speech, Hemetek underlined her goals for the ning of such an enjoyable and stimulating conference in Astana. (Rice and Sultanova 2015:9) years to come: “I envision three main points that are important in my interpretation of the function of secre- Unexpected problems that arose were efficiently solved: tary general: historical awareness, democracy and trans-due to technical problems, the Secretariat had to collect parency, and political engagement” (Hemetek 2017:2). the registration fees for the local organizer, and Board members handled the registration desks. One new tool of democracy was immediately installed. In the Board meeting following the conference, a new At this conference, the inaugural meeting of study body was recognized: “I am particularly pleased with group chairs took place, a new body within the ICTM. the recognition of the new Students and Early Career Also during the General Assembly, a new means of gov-Researchers Group, and would like to take this oppor- ernance was announced that had the purpose of shar- tunity to extend a warm welcome to all its members” ing responsibilities: “The importance of special-purpose (Castelo-Branco 2017:6). Executive Board Committees (e.g., 70th Anniversary of ICTM, Bulletin, Colloquia, Sister Societies, study groups, among others), an innovation introduced by ICTM President Castelo-Branco in 2013, was 2019: Bangkok, Thailand explained” ( BICTM 129, Oct 2015:13). The 45th ICTM World Conference at Chulalongkorn University in Bangkok, Thailand (11–17 July 2019) was the first in the history of ICTM to be held in Southeast 2017: Limerick, Ireland Asia. Dean Bussakorn Binson, co-chair of the LAC writes in her report in the Bulletin: The 44th ICTM World Conference was held in It was one of the largest ever held in the Council’s his- Limerick, Ireland, 13–19 July 2017, and the co-chairs tory, with more than 1,000 participants coming from of the LAC were Catherine Foley and Colin Quigley. 76 countries … The news on HRH Princess Maha There were 650 delegates from seventy countries. For Chakri Sirindhorn attending the conference’s Opening the first time, this ICTM event was held in Ireland. Ceremony was released on royal news channels in This conference marked the 70th anniversary of the ICTM, and the programme impressively highlighted 8 Available at: http://www.ictmusic.org/documents/minutes/ minutes-43rd-ictm-general-assembly-2017-limerick-ireland. World Conferences, General Assemblies, and Festivals 189 Thailand, while the Public Broadcasting Service (Thai Closing words PBS), media partner of the conference, also broadcast all evening concerts. ( BICTM 141, Oct 2019:11) We have tried to give an overview of the history of The attendance of the Princess definitely was a highlight, IFMC/ICTM by focussing on the most important but a challenge as well, as ICTM delegates mostly events of the Council through all these years: world were not used to following the royal protocol. A very conferences, General Assemblies, and festivals, the latter rich social programme was offered by the organizers, arranged until 1962 These events show very clearly the including concerts every evening and even at lunch changes in terms of knowledge production and devel-time. From the reactions of delegates, one can conclude opment of the discipline, but also concern operations that it was one of the most enjoyable ICTM world of the Council and its policies. As there were General conferences The scholarly programme included eleven Assemblies at nearly every conference, we can see the parallel sessions and programme co-chairs Tan Sooi changes when reading the minutes, and we have tried Beng and Keith Howard reported that there were 961 to highlight the most important ones. What can also individual presentations: “We believe this number to be be seen in this chapter is the enormous growth of the the largest to date in the history of ICTM” ( BICTM Council. The first conference was attended by 47 dele-141, Oct 2019:12). gates, the most recent one by 1,000. The 44th General Assembly of Members, the 15th There are two documents that mark the beginning as Assembly of National and Regional Representatives, well as present times, from 1947 to 2017. They say a and the 3rd Assembly of Study Group Chairs were held lot about the state of the discipline at these points in during the conference. Election results were announced history: the aims of IFMC as stated in 1947, and the during the General Assembly; for the first time, nearly ones written in the statutes that were approved by the half of the members participated in the election, which General Assembly in 2017.11 It is interesting to compare showed that the process of further democratization was them. successful. The secretary general further related how Whereas in 1947, the concern is mainly the “preser-the “First general survey of ICTM members” had been vation and dissemination of folk music” and the fur-conducted in November–December 2018, and how the thering of comparative study, the scope has broadened results had been communicated on 15 May 2019. She considerably since then, as we can see from the 2017 also reported that the membership had continued to mission statement: “To promote research, documenta-grow, reaching a new record in July 2019 (1,194 paid tion, safeguarding, and sustainability of music, dance, members, 204 paid institutional subscribers, and 59 and related performing arts, taking into account the complimentary members).9 diversity of cultural practices, past and present, and The new Study Group Allowance, that would support scholarly traditions worldwide.” The wish to “promote participation in study-group symposia during 2020, understanding and friendship between nations through was announced during the 3rd Assembly of Study the common interest in folk music,” as highlighted in Group Chairs.10 1947, has changed into: “To bring together music and dance scholars, as well as artists, cultural activists, policy It is important to note that the YTM 2019, featuring makers, and other individuals, collectives, and institu-articles that derived from presentations during the con- tions in pursuit of equality, social participation, human ference, was published for the first time with Cambridge rights, and sustainability in the performing arts.” The University Press, as the Board had approved the transi-former “friendship” has become “collaboration”: “To tion in 2018. collaborate with national, regional, and international The 46th World Conference, scheduled to take place scholarly, educational, cultural, and other organizations in 2021 in Lisbon, Portugal, had to be postponed to and institutions.” 2022 due to the COVID-19 pandemic. The General The parade of world conferences as presented here sheds Assembly took place in an online manner in 2021. light on the reasons for such changes and developments. References cited Blacking, John. 1975. “Summary of the Conference: A Personal View of the 23rd IFMC Conference.” BIFMC 47 (Oct): 9 Minutes of General Assembly available at: 21–23. https://www.ictmusic.org/documents/minutes/ minutes-44th-ictm-general-assembly-2019-bangkok-thailand. 10 Unfortunately, due to the COVID-19 crisis, nearly all of the 11 The Rules are listed by Karpeles (1965:308); the Statutes can planned symposia had to be postponed or were cancelled in be found at: http://ictmusic.org/statutes-ictm. Also see the 2020. chapter on by-laws in this volume. 190 Ursula Hemetek and Krister Malm Castelo-Branco, Salwa El-Shawan. 2017. “Message from the President.” BICTM 135 (Oct):5–6. Christensen, Dieter. 1989. “Looking Back at Schladming.” BICTM 75 (Oct): 13–14. Cowdery, James R. 2009. “Kategorie or Wertidee? The Early Years of the International Folk Music Council.” In Music’s Intellectual History, edited by Zdravko Blažeković and Barbara Dobbs Mackenzie, 805–811. RILM Perspectives, 1. New York: Répertoire International de Littérature Musicale. [George, Graham]. 1973. “Bayonne 1973.” BIFMC 43 (Oct): 23–25. Hemetek, Ursula. 2017. “Message from the Secretary General.” BICTM 135 (Oct): 2–5. Hemetek, Ursula, and Birgit Huebener. 2007. “Report of the Austrian National Committee.” BICTM 111 (Oct): 13–14. Karpeles, Maud. 1960. Ed. “Discussion on Papers by S. Dragoi, M. Pop and J. Chlíbec.” JIFMC 12: 50–52. ———. 1965. “The International Folk Music Council.” Journal of the Folklore Institute 2/3: 308–313. ———. 1972. “Report of the International Conference on Folk Song and Folk Dance.” BIFMC 41 (Oct): 6–26. Mazibuko, Fikile NM. 2009. “Executive Report: Professor Fikile NM Mazibuko, Chairperson of the ICTM Local Arrangements Committee, the 40th International Council for Traditional Music (ICTM).” BICTM 115 (Oct): 9–12. Olsen, Poul Rovsing. 1981. “From the President.” BICTM 59 (Oct): 2. Pettan, Svanibor. 2015. “Message from the Secretary General.” BICTM 129 (Oct): 2–4. Picken, Laurence. 1959. “Music on the Palace Terrace.” BIFMC 16 (Oct): 15. (First published in The Times, 1 Sep 1959). Rice, Timothy, and Razia Sultanova. 2015. “Programme Committee Report.” BICTM 129 (Oct): 9–11. Wang, Ying-fen, 2018. “IFMC, Masu Genjiro, Kurosawa Takatomo, and Their Recordings of Taiwanese Music.” YTM 50: 71–90. Xiao Mei. 2013. “Local Arrangements Committee Report.” BICTM 123 (Oct): 9–10. Yurchenco, Henrietta. 2003. La vuelta al mundo en 80 años: Memorias. Trans. Henrietta Yurchenco and Antonio Saborit. Antropología Social, 60. [Mexico]: Comisión Nacional para el Desarrollo de los Pueblos Indígenas [orig.: Around the World in 80 Years: A Memoir; A Musical Odyssey. Point Richmond, CA: Music Research Institute, MRI Press, 2002]. Symposia Don Niles Aside from the Council’s world conferences, the schol- ferences (i.e., even-numbered years), or very irregularly, arly events that involve the most ICTM members must particularly if members are in scattered, distant locations. certainly be study-group symposia. The term “symposium” is now the standardized way of Ever since the establishment of the first study groups, referring to such a scholarly gathering for a study group, members have been gathering in meetings to discuss but before the issuance of the “Terminology for Study their common interests. While early meetings often Groups and National/Regional Committees” in 2011, focussed more on discussion, rather than formal pres-there were a variety of names used, probably the most entations, symposia today are overwhelmingly con- frequent being simply “meeting.” cerned with the presentation of prepared papers and Originally held during world conferences, such events discussion about them, although invariably mixed with eventually became separate from them, and were com-business meetings, performances, excursions, publica- monly reported on in the Bulletin. Because of their tion displays, etc. The formal presentations often end importance to the work of the Council, the Secretariat up published in an edited volume of proceedings or in recent years sought ways to financially support par-long abstracts. ticipation in symposia. After trialling such assistance in Symposia today may take place quite regularly, often 2018, a Study Group Allowance was approved by the biennially in years during which there are no world conFigure 1. Participants of the international online symposium “Music – religion – spirituality,” hosted by the University of Ljubljana, ZRC SAZU, and other partners, which enabled recognition of the most recent study group so far on Sacred and Spiritual Sounds and Practices. Ljubljana and online, August 2021 (photo by Mojca Kovačič). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 191–192. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 192 Don Niles Board in the same year and launched in 2019 ( BICTM 147, Oct 2021:8). Symposia have always been in-person events, but all that would change dramatically in 2020. In the January 2020 BICTM, the secretary general and president both announced that twenty symposia would be held that year ( BICTM 142, Jan 2020:2, 3). The first sympo- sium of 2020—that of the Study Group on Music and Dance in Latin America and the Caribbean in Mexico, 9–13 March 2020 ( BICTM 143, Apr 2020:2)—was the last in-person symposium before the COVID-19 pan- demic forced the cancellation or postponement of all the others.1 As it became clear that the pandemic was not going to allow in-person gatherings soon, other formats for sym- posia were considered. The first online symposium was the seventh symposium of the Study Group on Applied Ethnomusicology, 26–29 August 2020,2 and other study groups followed suit. While video conferencing opened up such events to a much greater number of participants, scheduling these very international events became challenging indeed because of time-zone differ- ences. Nevertheless, the rewards remain significant for all participants. The first hybrid conference, combining in-person and online participation, was the 23rd symposium of the ICTM Study Group on Musical Instruments, hosted in Colombo, Sri Lanka, 24–27 March 2021. Since the last in-person symposium in March 2020, all symposia have either been online or hybrid (figure 1); as of the time of writing, there have been no solely in-person symposia. Much further information about symposia is found in this volume in the chapters on the origins of study groups and particularly in the chapters concerning indi- vidual study groups. 1 A complete list of ICTM events rescheduled because of the pandemic can be found at https://www.ictmusic.org/story/ ictm-activities-rescheduled-due-covid-19-pandemic. 2 I appreciate the essential assistance of Carlos Yoder in clarifying the information about symposia held from March 2020 to date. Colloquia Ricardo D. Trimillos This chapter presents an overview of ICTM colloquia, The goals of colloquia their nature and significance—and the nexus of these two aspects—during the past four decades. Recognizing The online description of colloquia articulated by its global purview, ICTM has been sensitive to the ICTM serves as a useful point of departure for this over-diverse interests, conceptualizations, modes of interac- view discussion: tion, and social and political milieus in which individ- ICTM colloquia are small scholarly meetings typi- ual members or groups of members function. Further, cally involving 20 to 30 invited ICTM members who its association with UNESCO involves layers of com- have conducted research on the Colloquium’s theme. plexity and diversity. The organization has developed a Initially launched by Dieter Christensen (Secretary General of the Council from 1981 to 2001), Colloquia variety of projects1 to respond to the different needs and aim at furthering the exchange of ideas and dialogue circumstances of the worldwide ethnomusicological among specialists from different parts of the world, community.2 Among them is the colloquium, founded as well as gaining and disseminating new insights on in 1981 with its first iteration in Kołobrzeg, Poland. themes that are relevant to music and dance research. The colloquium as project involves a small gathering of These scholarly meetings are designed to provide an environment conducive to the appreciation of different invited specialists, curated by its organizers and hosts. systems of thought and ideas. Sometimes they are asso- Curation understands a high degree of control on ciated with festivals and conferences, allowing dialogue selecting the theme and the participants. Papers from with other participants and with the public. Papers are each meeting are usually published as proceedings, often circulated in advance to provide ample time for although not all have done so.3 Like the beginnings of discussion. (http://www.ictmusic.org/past-colloquia) the ICTM itself, the locus for the colloquium has been This discussion considers the colloquium as institution Europe; this area4 has been the site for the majority of and its value to the field, including and beyond the meetings. ICTM has organized 28 colloquia5 on all five ICTM goals of “exchange of ideas and dialogue among continents and in two major ocean areas (see http:// specialists,” “new insights on themes that are relevant,” www.ictmusic.org/past-colloquia). and “the appreciation of different systems of thoughts and ideas.” I arrange the discussion in three parts, 1 For this discussion, I use the term “project” to denote a named beginning with the three ICTM goals. In the second entity within ICTM. Other projects include the aforemen- section I look beyond these immediate goals and con- tioned world conferences, study groups, fora, national commit- sider the outcomes and the value of its performativity, tees, country liaison officers (World Network), the Yearbook for Traditional Music, and the Bulletin of the ICTM. admittedly from a personal perspective. The third and 2 ICTM has always recognized and included dance in research concluding portion offers a profile of the colloquium and advocacy. In some cultures and genres, it is inseparable project as an international exercise. In addition to doc- from music performance. As used here, the term “ethnomusi- uments and print sources, I draw upon my own experi- cology” includes the study of dance. ence as participant in various colloquia and upon obser- 3 Publications from colloquia are noted in the link http://www. ictmusic.org/past-colloquia. vations shared by colleagues. The illustrative materials 4 For this discussion, the term “area” refers to aggregate and mul- are idiosyncratic and personal. tinational groupings such as Europe or Asia. The terms “coun- try” and “nation” denote a political entity (past or present) and EXCHANGE OF IDEAS AMONG SPECIALISTS its putative cultural heritage(s). The terms “region” and “subre- gion” specify locales and their populations that are in some way For specialists working with the same subject, the collo- contrastive to nation, e.g., ethnic enclaves or minority groups. quium format encourages exchange at a higher level of 5 The colloquium “Indigenous music and dance as cultural prop- sophistication and discussion in more detail than can erty,” organized at the University of Toronto in May 2008, was inadvertently omitted from the ICTM webpage. For purposes occur in a world conference. As example, I discuss the of this discussion, it is referenced as 19a. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 193–200. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 194 Ricardo D. Trimillos fifth colloquium held in Jamaica in 1986, “Traditional I remember Steven Feld in the presentation “The met-music and tourism.” The invited participants included aphors of Kaluli musical theory” at the 1981 meeting government officials in tourism and practitioners from in Kołobrzeg, Poland, introduced his notions of indig-the local tourist industry in addition to scholar-special- enous musical theory in an international setting.7 The ists. The presence of bureaucrats and performers gener- paper was followed in 1982 by his publication Sound ated a broader context for the academic presentations and Sentiment, now a classic in ethnomusicological liter-and their reception. Non-academic participants intro- ature. Some of the insights he presented were new to the duced a “reality check” for the academics (and in at least North American colleagues present, including myself. one case, some hasty revising). Given the backgrounds However, his ideas were more unfamiliar and challengin tourism and the performing arts of the seventeen ing to European colleagues, and even more so for those invited participants, discussions were highly theoret-from Eastern Europe who had been isolated from post- ical. For example, discussants were already conversant war developments outside the socialist orbit. Feld found with the conceptual frameworks invoked by Béhague his interaction with these international colleagues stimon Brazil and by Stillman on Tahiti. ulating, an observation he shared with me in Kołobrzeg The global nature of tourism was evident in the range of and acknowledged in his Yearbook for Traditional Music geocultural areas featured in Jamaica. Understandably, article: “I am grateful … to the participants [of the first the Caribbean received much attention. Five areas were ICTM colloquium] for their thoughtful questions and represented: the Caribbean (Alén, Brown, Millington-comments” (Feld 1984:45). Robertson, Lewin, Wilcken, Williams), the Americas That first colloquium organized by Anna Czekanowska (Béhague), Asia (Hahn, Sanger, Trimillos), Europe in Poland was an opportunity for mutual exchange (Malm and Wallis, Suppan), and the Pacific (Kaeppler, and encountering unfamiliar approaches. It offered Marion, Stillman, Van Zile). Although Africa was not an a productive place and a safe space for both sides of area for any presentation, it was referenced by three— the then current political binary. For Eastern European Béhague on Brazil, Williams on Jamaica, and Malm and ethnomusicologists, it was an encounter with emerging Wallis on the issue of global mediatization. In relation innovations in methodology and theory from a rapidly to selection of specialists, a present criticism frequently post-modernizing North American ethnomusicology. raised in academe is the lack of diversity among par- For Western European and North American colleagues, ticipants and spokespersons. Diversity enriched the it afforded insight into methodologies and working quality of exchange at the 1986 Jamaica meeting. In conditions within a socialist and governmental form of terms of gender, there was a close balance of females applied ethnomusicology. During the intervening years (nine) and males (eight). Perhaps more significant for leading up to and immediately following the fall of the the current conversations on diversity, eight among the Berlin Wall in 1989, the seven ICTM colloquia of that seventeen presenters represented native voices and nine era were a means for scholarly exchange and currency were persons of colour.6 The selection of participants among colleagues in socialist and democratic countries for the Jamaica colloquium anticipated by four decades (Poland 1981, German Democratic Republic 1984, the current call for increased indigenous and minority Portugal 1986, Czechoslovakia 1988, Sweden 1990, scholar participation. Germany 1991, and Slovakia 1994). In addition to concentrating upon a single theme, the NEW INSIGHTS colloquium project offers an opportunity for self-reflec- By gathering researchers from different nations and tion and self-critique which can lead to new insights methodological orientations into a setting that is both about our field. Two papers in the 1986 sixth collo-intimate and intensive, the colloquium offers a ready quium held in Portugal were in this mode—“Some platform for presenting new or at least unfamiliar problems in the study of Goan music” (Neuman) and research ideas and for facilitating dialogue that gener- “Towards an interdisciplinary method for the study ates new insights. Gisa Jähnichen points out, “People of Portuguese traditional music and its cross-cul-who never met before got into contact and exchanged tural roots” (Neto). Both examined ethnomusicology data right away … The [2020 Shanghai] colloquium as a method of enquiry. Subsequently, self-reflection was very focused on the outcomes” (pers. comm., 21 became the theme for the twelfth colloquium in 1991 Feb 2022). in Mainz, “Ethnomusicology and historical musicology: Thematic and methodological convergences.” It was an occasion to grapple with identities and approaches of 6 Native voices included Alén, Béhague, Brown, Hahn, Lewin, cognate fields and their sometimes troubled histories. Millington-Roberts, Suppan, and Williams. Stillman and Trimillos are not included as native voices although they are minorities of colour. Neither identifies as native to the culture 7 A print version of the article appeared in the Yearbook for each spoke about. Traditional Music in 1984 (Feld 1984). Colloquia 195 Critiquing relevance for ethnomusicology and dance The significance of the Portugal colloquium went ethnology in the twentieth century was the theme for beyond ethnomusicology with implications for studies the eighth colloquium “Documentation of music and of culture writ large. By setting the fifteenth century as dance in the South Pacific and its use in the living tra-baseline, the sixth colloquium indirectly problematizes dition” (my emphasis) in 1988. Additional aspects of the broader argument that the phenomenon of globali-this event deserve mention. Its area of focus (the Pacific) zation is not recent. Presentations addressed globaliza-and its venue (Australia) marked a shift away from a tion de longue durée: “A música sacra no contexto da European-North American orbit. Its topic anticipated expansão portuguesa na África e na Ásia e o seu sig-developments in applied ethnomusicology that were nificado à luz das actuais, tendéncias litúrgico-music-to emerge in the twenty-first century. Finally, the word ais” (Bispo) and “Presence and absence of Portuguese dance appeared in the theme title.8 musical elements in Indonesia” (Seebass). As a contri- bution to these larger and more general concerns of APPRECIATION OF DIFFERENT SYSTEMS OF THOUGHT globalization, the claim for globalization as a recent AND IDEAS development better characterises the various modes of The ICTM colloquium offers a productive site for discourse emerging in the last few decades rather than exchange with colleagues from other fields of research. the process itself. As illustration, I comment on the sixth colloquium held These contemporary conceptualizations and recent in Lisbon in 1986, “Cross-cultural processes in music: approaches to globalization also animated the sixteenth The role of Portugal in the world’s music since the 15th colloquium in 1999, “Música en España y música century / Portugal e o mundo: Processos interculturais española: Identidades y procesos transculturales / na música.” It included specialists from music history, Musics in and from Spain: Identities and transcultural music theory, and anthropology, in addition to ethno-processes” held in Oviedo, Spain. Postmodern theory musicology, bringing diverse perspectives and contrast- was invoked in such presentations as “Transculturación, ing methodological approaches together to consider a globalización y músicas de hoy” (Martí), “La hibri-shared interest in musical provenance.9 The intention to dación transcultural como clave de la formación del present “different systems of thought” was furthered by Nuevo Flamenco …” (Steingress), and “The charango language diversity; papers were presented in Portuguese, as transcultural icon of Andean music” (Baumann). English, and French. The multilingual nature of the Each colloquium brought different systems of thought conference enhanced contrastive approaches and diverse to bear on a specific theme. epistemologies—at least differently nuanced ones, In terms of its stated goals, the colloquium project for example, as reflected in Brazilian and continental has contributed to ICTM’s development, growth, Portuguese. As a personal observation, the availability and reach through 28 moments of intensive consider-of more than one language of conveyance provides a ation of a single aspect of the field. These moments of degree of cultural and psychological diversity. high specificity complement the wider, comprehensive There was also an appreciation of contrasting approaches. sweep of the field characteristic of the biennial world The papers “The Portuguese 17th century vilancico: A conference and the Yearbook for Traditional Music. The cross-cultural phenomenon” (Nery), “La ballade por-world conference attracts hundreds of attendees, but tugaise: Une chanson populaire de la Meditteranée” inevitably limits the number and intensity of personal (Caufriez), and “Sistema modal e sistema tonal na can-interaction as well as the amounts of new knowledge toria do Nordeste (Brasil)” (Travassos) reflect histor- absorbed during the encounter. Similarly the Yearbook ically-oriented studies while others, such as “Singing endeavours to represent the field in broad strokes, lim-the stranger’s songs: Brazilian Indians and music of iting the length of any one intervention and selecting Portuguese derivation in the twentieth century” (Seeger) contributions that serve the interests of a greater num-and “Samba de viola—Observações sobre elementos ber of members. luso-africanos num género musical da Bahia (Brasil)” The colloquium thus privileges scholarly depth while (de Oliveira Pinto) foreground the ethnographic. the world conference and the Yearbook for Traditional Music steward breadth. As such it shares features with the study group, which has a longer history in ICTM 8 Dance was also included in the title for the thirteenth collo- (see section on study groups in this volume). However, quium held in Georgetown, Cayman Islands, in 1992: “Music the colloquium is a single event of invited specialists and dance and the lore of the sea: Crosscultural processes with a specifically delimited focus, while the study in music” and colloquium 19a held in Toronto in 2008, “Indigenous music and dance as cultural property.” group is an ongoing project of self-selected participants 9 Organizing dialogue between related disciplines and peer with an expectation of continuity. organizations was the impetus for the ICTM forum, a new project begun in 2015. 196 Ricardo D. Trimillos Outcomes beyond ICTM goals ited contact with the West and few opportunities to travel abroad. The colloquium evidences other accomplishments and values beyond those of the ICTM statement. I A host institution receives benefit and value from the view these additional benefits as arising from the per-presence of the conference and contact with its spe- formativity of the endeavour. The project is a means cialist scholars. This was the experience for the NOVA for exercising organizational responsibility, initiative, University of Lisbon, organizers for the 1986 meeting and agency. As a structure, the colloquium is a space in Portugal. Salwa el-Shawan Castelo-Branco relates: for realizing scholarly exchange on a modest scale. It is [The colloquium] contributed to positioning the an opportunity for performing leadership by colleagues, Musicology Department and myself as a young scholar scholarly institutions, or governmental bodies that within an international network of institutions and scholars, and initiated a dialogue between colleagues might not have sufficient resources to host and mount that, in some cases, continues up to the present ... The a major world conference.10 The accomplishments fall colloquium also inspired several students at the NOVA into the domains of the institutional, the personal, and University to carry out field research in territories that the international. were subject to Portuguese colonial rule in Africa and Asia ... The colloquium also marked the beginning of THE INSTITUTIONAL an ongoing collaboration between the ICTM and the Institute of Ethnomusicology—Center for Studies in An individual colloquium may generate ancillary out- Music and Dance, based at the NOVA University of comes beneficial to the format itself, to the field, or to Lisbon. (pers. comm., 2 Mar 2022) the institution involved. Related to format, the focus THE PERSONAL is upon discussion rather than exposition, so that the bulk of a session consists of dialogue and critique, as I There are also outcomes at the personal level. The collo-experienced with the 1984 colloquium in Wiepersdorf, quium enacts an interpersonal host-guest relationship, German Democratic Republic. The dynamics of dis-which is universal and familiar, but one with varia- cussion and exchange were also subject to international tions for the international and multicultural context of modes of performativity. The interventions and debates ICTM. The host—a colleague, a scholarly institution, often resorted to more than one language for a speaker and/or a governmental unit—is responsible for select-to refine a point or for another participant to under- ing participants, extending invitations, and providing stand a particular detail. I recall in the first colloquium hospitality, including food, lodging, and events such in Poland a discussion on the various understandas receptions and performances. As noted previously, ings of “metaphor” as reaction to Feld’s presentation hosting a colloquium is less financially demanding than began in English, progressed to French and German organizing a world conference, and thus enables col-with (presumed) clarifications in Polish and Czech. leagues to perform leadership within their own abilities Conversation continued in after-hour informal gath-and resources. The invited participant acts “the good erings at the lodge. guest.” Expectations include active and engaged partici- The second colloquium in Wiepersdorf, German pation for the entire schedule of activities and duration Democratic Republic, like the first, enabled scholars of the meeting, as well as maintaining a general level from the West to meet with their counterparts from of politesse understood by most. This contrasts with socialist countries. Addressing the theme “Music and the world conference, where “session hopping” is an the language mode,” the spirited and wide-ranging expected and accepted practice. exchanges were carried on in a number of languages, Of course ethnomusicologists as “good guests” are gen-including English, French, German, and Russian. The erally sensitive to differences and changes in social cus-multilingual exchanges gave a sharper focus to the tom or modes of behaviour. A recent example of the problematic of verbalizing about music, an aspect of latter concerns smoking, which in the immediate post-performativity (to invoke a postmodern notion). One war years was a naturalized component of social inter-outcome from the 1994 meeting in Slovakia was the action, particularly among males. Presently in North confirmation of a change in national identity. The America and elsewhere, smoking is prohibited in pub-1994 Smolenice colloquium marked new relationships lic buildings, so this mode of informal interaction and and potentials for the recently-formed independent (often) gender bonding is no longer a part of general Slovakia, whose ethnomusicologists during the pre-conference culture, and if allowed at all, is restricted to 1989 conditions of the first nine colloquia, had lim- a designated, separated space with undertones of the unacceptable and the marginal. Smoker colleagues have readily adjusted to these restrictions of time and place, leading to a conference subculture with its own folk- 10 Although in the Caribbean, Jamaica did host the 21st world conference in 1971, fifteen years before the fifth colloquium. ways. Cultural-religious dietary practices are a second Colloquia 197 aspect of guest-host performativity. Dietary restrictions lating major research interests. A survey of theme titles present a challenge for hosts, who may wish to feature takes into account synchronic and diachronic features a local or traditional cuisine, for example, that includes that contribute to a gestalt presumably significant and pork or beef. In such circumstances, performativity timely for the ICTM membership. In the interests of devolves upon both the good host and the good guest. efficiency and brevity, I cite only the ordinal number and year of the colloquium referenced. Specific details THE INTERNATIONAL concerning titles, venue, etc., are available at http:// www.ictmusic.org/past-colloquia. The colloquium project is able to respond readily to changing circumstances. As a small, controlled gathering THEMES with a pre-designated theme, it is nimbler than a world conference in accommodating change, such as those in Although characterizing a colloquium by a single cat-Europe after 1989 or the “pivot to Asia” at the begin- egory of interest flattens out the complexity and mul- ning of the twenty-first century. The changes in Europe tivalent nature of each one, its theme title nevertheless were clearly reflected in the 1994 Slovakia meeting (pre-projects the principal thrust and establishes its public viously mentioned) and implicit in the presentations identity. As such, titles serve as a useful barometer for and participants invited for the 1991 Mainz gathering a topic’s current traction in the field. Seven colloquia and the 2004 meeting in Limerick. The ICTM has been addressed a specific methodological aspect of ethnomu-proactive with a presence in Asia well before the “pivot sicology, including verbal behaviour about music (1st to Asia”; in 1981 the 26th world conference was held in 1981, 2nd 1984, 4th 1985), aspects of documentation South Korea. Shanghai’s examination of a shared heri- (7th 1988, 8th 1988), relation to cognate fields (12th tage of material culture in Asia reflects current transna- 1991), and challenges of social empowerment (11th tional interests. Its three colloquia—“Plucked lutes of 1990). The global circulation of music was a primary the Silk Road ...” in 2016, “Double reeds of the Silk focus for six meetings (3rd 1984, 5th 1986, 6th 1986, Road ...” in 2028, and “Drums and drum ensembles 9th 1988, 13th 1992, 20th 2008). For six meetings the of the Silk Road” in 2020—addressed those interests. theme was music and identity formation—in the con-The conceit of the Silk Road references time predating text of areas (10th 1990, 14th 1994, 17th 2004, 19th nation and time looking beyond nation. The three meet-2006), transnational entities (15th 1999), and countries ings constitute a pan-Asian and comparative gaze on (16th 1999). Attention to song and vocal performance material culture across a multi-national area. Shanghai were the focus of four meetings (21st 2011, 22nd 2011, was also responsive to the “pivot to Asia” in terms of 23rd 2015, 26th 2019). Organology as a category was language. For the three meetings simultaneous transla-addressed in three colloquia (24th 2016, 25th 2018, tion was available in English, Mandarin, and Russian. 27th 2020). Conflict was the focus for one meeting I find the colloquium as a place and space for perform- (18th 2004), as was cultural property (19th-a 2008). ing the international and the multicultural. While all From a diachronic viewpoint, two categories exhibit participants have knowledge and experience with the longevity over the four decades: methodology and specific topic or theme, they come from backgrounds the global circulation of music. Focus on song and on and different biases informed by such variables as coun-organology, in contrast, are fairly recent and their col- try, political ideology, religion, cultural modes of inter- loquia occur more closely grouped in time. For exam- action, and varying abilities to communicate in the lan- ple, the three on organology took place within five years guages available. The strength of the colloquium (when (2016–2020) (see figure 1). While consulting thematic skilfully curated) is to assemble a small but diverse categories for world conferences would further contex-group of knowledgeable individuals in a single venue— tualize the field, the categories generated for colloquia the place—with sufficient time for informal as well better reflect “grass roots” interests, that is, ones that as formal discussion that is respectful and open—the emerge from individuals and hosting institutions rather space. As Terada Yoshitaka notes, “The [double reeds than from the ICTM as organization. of the Silk Road] colloquium was small enough in size to have only one session at a time so that all the par- AREAS ticipants shared the same information and discussion” (pers. comm., 28 Feb 2022). Nation and area as survey categories reflect a structural feature of the ICTM and reinforce its relationship with UNESCO. In Europe and elsewhere national gov- ernmental agencies have supported or otherwise been The colloquium profile engaged with ICTM. Colloquium themes have gen- In this third and final part, I shift to a more quantitative erally followed the practice of framing culture within narrative, turning attention to the theme title as articu-nation and geocultural area. 198 Ricardo D. Trimillos Figure 1. Participants and auditors at the 25th Colloquium. Shanghai, 2018 (photo courtesy of Xiao Mei). Although commentary at the level of specific nation is colloquium as scholarly exercise enhances a nation’s not included, the various titles grouped by area provide profile and standing within the international commu-a general picture of geocultural interest. Asia as area is nity as already noted for the 1986 Lisbon meeting. Not referenced in five theme titles; four are transnational surprising given the origins and locus of the organiza- (17th 2004, 24th 2016, 25th 2018, 27th 2020) and tion, Europe has been the site of 13 of the 28 collo-one specifies nation (4th 1985). The area of Europe is quia spanning the entire four decades of colloquium referenced in six titles; three are transnational in pur-activity. Country participation in Europe exhibits a view (3rd 1984, 14th 1994, 22nd 2011), two involve wide geographic distribution; some countries have nation (6th 1986, 16th 1999) and one focusses upon organized more than one colloquium (in addition to a subregion (20th 2008). Two additional colloquium world conferences). The list of present-day European titles address other areas: the Caribbean (9th 1988) and countries (in alphabetical order) include France (23rd the South Pacific (8th 1988). The balance of the meet-2015), Germany (2nd 1984, 12th 1991), Ireland (17th ing titles does not specify area or nation (1st 1981, 2nd 2004), Poland (1st 1981), Portugal (6th 1986, 21st 1984, 5th 1986, 7th 1988, 10th 1990, 11th 1990, 12th 2011), Slovakia (7th 1988, 14th 1994), Spain (16th 1991, 13th 1992, 15th 1999, 18th 2004, 19th 2006, 1999), Sweden (10th 1990, 15th 1999), and the United 19th-a 2008, 21st 2011, 23rd 2015, 26th 2019).11 Kingdom (20th 2008). Although the aspects of country and area continue to The remaining 15 meetings expand the colloquium be significant for cultures under study, as previously reach worldwide. Four gatherings were held in North observed, some recent themes reflect a current trend America: Canada (19th-a 2008, 26th 2019) and the toward transnational and post-national framing. United States (17th 2004, 19th 2006). Meetings in Asia took place in China (24th 2016, 25th 2018, 27th HOST COUNTRIES 2020) and Japan (4th 1985). In South America, Brazil Countries which host meetings further inform the hosted a single colloquium (11th 1990). Tunisia (3rd nature of the “international” for the ICTM. Although 1984) organized the only colloquium on the African the motivations, circumstances, and limitations for a continent. Two island areas also participated. In the country’s decision to organize an event may differ, the Caribbean, meeting sites included the Cayman Islands (13th 1992), Cuba (9th 1988), and Jamaica (5th 1986). 11 The colloquium title “Traditional music and tourism” did not In the Pacific area two colloquia were held in Australia reference area; however the title of the subsequently published (8th 1988, 21st 2011). volume of papers marked its Caribbean Jamaican locus by including patois in its title, Come Mek Me Hol’ Yu Han’: The Impact of Tourism on Traditional Music (Kaeppler 1988). See figure 2. Colloquia 199 ings volume. Through publication the various colloquia have generated benefit for the wider ethnomusicological community, beyond the immediate and exclusive group of invited participants. Conclusion As an international project, the colloquium has had a presence on every continent and in two of the three major ocean areas. Its distribution contributes to the global presence of the ICTM and adds another dimen- sion to its nature as an international organization. The variety of themes selected reflect the diversity and nature of research interests as well as its ability to respond to changes both internal and external to ethnomusicology. It has presented opportunities for leadership, advocacy, tabling new ideas, and facilitating productive encoun- ters. Its format has provided an intimate and personal dimension to scholarly exchange, and it confirms the micro-level as an effective mode of knowledge dissem- ination. Finally, its structure and functions serve as complement and enhancement to other projects within the ICTM, including the world conference and the Yearbook for Traditional Music. References cited Abeyá, Jaume Ayats. 1999. “Los grupos de Música Tradicional en Figure 2. Cover of the proceedings of the 5th Catalunya o la construcción de una identiddad alternativa.” Colloquium (Kaeppler 1988). Presentation at the 16th ICTM Colloquium in Oviedo, Spain. PUBLICATIONS Alén, Olavo Rodríguez. 1986. “Man Is Still for Man the Thing that Most Excites Curiosity.” Presentation at the 5th ICTM Productive and personally meaningful as the small and Colloquium in Kingston and Newcastle, Jamaica. Asensio Llamas, Susana, and Josep Martí. 2004. Eds. TRANS 8: in-person format of the colloquium may be, publica- Música en España y música española: Identidades y procesos tion offers the possibility for longevity and wide dissem- transculturales. ination of its deliberations. The colloquium project has Baumann, Max Peter. 1994. “Folk Music Revival: Concepts Between Regression and Emancipation.” Presentation at the made significant contributions in this regard (see figure 14th ICTM Colloquium in Smolenice, Slovakia. 2). Although not required, as of this writing fourteen ———. 1999. “The Charango as Transcultural Icon of Andean colloquia (50%) have addressed longevity and shared Music.” Presentation at the 16th ICTM Colloquium in Oviedo, Spain. knowledge through publication. Eleven generated inde- Béhague, Gerard. 1986. “The Effect of Tourism on Afro-Bahian pendent volumes: 4th 1985 (Tokumaru and Yamaguti Traditional Music in Salvador, Bahia (Brazil).” Presentation 1986); 5th 1986 (Kaeppler 1988); 6th 1986 (Castelo- at the 5th ICTM Colloquium in Kingston and Newcastle, Branco 1996); 12th 1991 (Mahling, Münch, and Jamaica. Bispo, António Alexandre. 1986. “A música sacra no contexto da Stockmann 1997); 17th 2004 (Wolf 2009); 18th 2004 expansão portuguesa na África e na Ásia e o seu significado à (O’Connell and Castelo-Branco 2010); 20th 2008 luz das actuais, tendéncias litúrgico-musicais.” Presentation at (Davis 2015); 21st 2011 (Corn et al. 2013); 24th 2016 the 6th ICTM Colloquium in Lisbon, Portugal. Bröcker, Marianne. 1994. “Folk Dance Revival in Germany.” (Witzleben and Xiao 2019); 25th 2018 (Jähnichen and Presentation at the 14th ICTM Colloquium in Smolenice, Terada 2019); 27th 2020 (Xiao and Jähnichen 2021). Slovakia. Three used existing journals or publication series as Brown, Marco. 1986. “Caribbean Tourism: an Overview.” Presentation at the 5th ICTM Colloquium in Kingston and conveyance: 8th 1988 (Moyle 1992); 14th 1994 (Fujie Newcastle, Jamaica. 1996); 16th 1999 (Asensio Llamas and Martí 2004). Castelo-Branco, Salwa El-Shawan. 1996. Ed. Portugal e o mundo: Previously noted, Steven Feld published a revised ver-O encontro de culturas na música / Portugal and the World: The sion of his presentation from the 1981 colloquium in Encounter of Cultures in Music. Lisbon: Dom Quixote. Poland (Feld 1984), for which there was no proceed- 200 Ricardo D. Trimillos Caufriez, Anne. 1986. “La ballade portugaise: Une chanson Sanger, Annette. 1986. “Blessing or Blight? The Effects of populaire de la meditteranée.” Presentation at the 6th ICTM Touristic Dance-Drama on Village-Life in Singapadu, Bali.” Colloquium in Lisbon, Portugal. Presentation at the 5th ICTM Colloquium in Kingston and Corn, Aaron, Ruth Lee Martin, Diane Roy, and Stephen Wild. Newcastle, Jamaica. 2013. Eds. One Common Thread: The Musical World of Seebass, Tilman. 1986. “Presence and Absence of Portuguese Lament. Canberra: ANU E-Press, Australian National Musical Elements in Indonesia.” Presentation at the 6th University. ICTM Colloquium in Lisbon, Portugal. de Oliveira Pinto, Tiago. 1986. “Samba de viola—Observações Seeger, Anthony. 1986. “Singing the Stranger’s Songs: Brazilian sobre elementos luso-africanos num género musical da Bahia Indians and Music of Portuguese Derivation in the Twentieth (Brasil).” Presentation at the 6th ICTM Colloquium in Century.” Presentation at the 6th ICTM Colloquium in Lisbon, Portugal. Lisbon, Portugal. Davis, Ruth F. 2015. Ed. Musical Exodus: Al-Andalus and Its Jewish Steingress, Gerhard. 1999. “La hibridación transcultural como Diasporas. Lanham: Rowman & Littlefield Publishers. clave de la formación del Nuevo Flamenco (aspectos histórico- Feld, Steven. 1981. “The Metaphors of Kaluli Musical Theory.” sociológicos, analíticos y comparativos).” Presentation at the Presentation at the 1st ICTM Colloquium in Kołobrzeg, 16th ICTM Colloquium in Oviedo, Spain. Poland. Stillman, Amy K. 1986. “Images and Realities: Visitors’ Responses ———. 1982. Sound and Sentiment: Birds, Weeping, Poetics, to Tahitian Music and Dance.” Presentation at the 5th ICTM and Song in Kaluli Expression. Philadelphia: University of Colloquium in Kingston and Newcastle, Jamaica. Pennsylvania Press. Suppan, Wolfgang. 1986. “Folkmusic and Tourism in Austria.” ———. 1984. “’Flow Like a Waterfall’: The Metaphors of Kaluli Presentation at the 5th ICTM Colloquium in Kingston and Musical Theory.” YTM 13: 22–47. Newcastle, Jamaica. Fujie, Linda. 1996. Ed. Folk Music Revival in Europe. Special issue, Tokumaru, Yoshihiko, and Osamu Yamaguti. 1986. Eds. The Oral World of Music 38/3. and the Literate in Music. Tokyo: Academia Music Ltd. Hahn Man-young. 1986. “Folklore and Tourism in Korea.” Travassos, Elizabeth. 1986. “Sistema modal e sistema tonal na Presentation at the 5th ICTM Colloquium in Kingston and cantoria do Nordeste (Brasil).” Presentation at the 6th ICTM Newcastle, Jamaica. Colloquium in Lisbon, Portugal. Jähnichen, Gisa, and Yoshitaka Terada. 2019. Eds. Double Reeds Trimillos, Ricardo D. 1986. “Aesthetic Change in Philippine along the Great Silk Road. Berlin: Logos. Performing Arts in Cross-Cultural Contexts.” Presentation Kaeppler, Adrienne L. 1986. “Pacific Festivals and the Promotion at the 5th ICTM Colloquium in Kingston and Newcastle, of Identity, Politics, and Tourism.” Presentation at the 5th Jamaica. ICTM Colloquium in Kingston and Newcastle, Jamaica. Van Zile, Judy. 1986. “Tourism and Japanese Bon-Dancing in ———. 1988. Ed. Come Mek Me Hol’ Yu Han’: The Impact of Hawai‘i.” Presentation at the 5th ICTM Colloquium in Tourism on Traditional Music. Kingston: Jamaica Memory Kingston and Newcastle, Jamaica. Bank. Wilcken, Lois. 1986. “Hosts, Guests, and Sacred Souvenirs: The Lewin, Olive. 1986. “Banana Boat Song Forever?” Presentation Tourist-Drum as a Measure of Intergroup Understanding at the 5th ICTM Colloquium in Kingston and Newcastle, in Haiti.” Presentation at the 5th ICTM Colloquium in Jamaica. Kingston and Newcastle, Jamaica. Mahling, Christoph-Hellmut, Stephan Münch, and Erich Williams, Stephanie. 1986. “Yellow Bird—Ai Zuzuwah: Stagnation Stockmann. 1997. Eds, Ethnomusikologie und historische or Growth.” Presentation at the 5th ICTM Colloquium in Musikwissenschaft—gemeinsame Ziele, gleiche Methoden? / Kingston and Newcastle, Jamaica. Ethnomusicology and Historical Musicology: Common Goals, Witzleben, J. Lawrence, and Xiao Mei. 2019. Eds. Plucked Lutes of Shared Methodologies? Tutzing: Hans Schneider. the Silk Road. Shanghai: Shanghai Conservatory of Music. Malm, Krister, and Roger Wallis. 1986. “What’s Good for Wolf, Richard. 2009. Ed. Theorizing the Local: Music, Practice and Business …: Some Changes in Traditional Music Generated Experience in South Asia and Beyond. London and New York: by Tourism.” Presentation at the 5th ICTM Colloquium in Oxford University Press. Kingston and Newcastle, Jamaica. Xiao Mei, and Gisa Jähnichen. 2021. Eds. Drums and Drum Marion, Virginia. 1986. “Kiribati Adaptation of Dance for the Ensembles along the Great Silk Road. Berlin: Logos. Third South Pacific Arts Festival.” Presentation at the 5th ICTM Colloquium in Kingston and Newcastle, Jamaica. Martí, Josep. 1999. “Transculturación, globalización y músicas de hoy.” Presentation at the 16th ICTM Colloquium in Oviedo, Spain. Millington-Robertson, Janice. 1986. “Traditional Music: Its Place in Caribbean Tourism.” Presentation at the 5th ICTM Colloquium in Kingston and Newcastle, Jamaica. Moyle, Alice M. 1992. Ed. Music and Dance of Aboriginal Australia and the South Pacific: The Effects of Documentation on the Living Tradition. Oceania Monographs series No. 41. Sydney: University of Sydney. Nery, Rui Viera. 1986. “The Portuguese 17th Century Vilancico: A Cross-cultural Phenomenon.” Presentation at the 6th ICTM Colloquium in Lisbon, Portugal. Neto, João Pereira. 1986. “Towards an Interdisciplinary Method for the Study of Portuguese Traditional Music and its Cross- Cultural Roots: An Anthropological View.” Presentation at the 6th ICTM Colloquium in Lisbon, Portugal. Neuman, Daniel. 1986. “Some Problems in the Study of Goan Music.” Presentation at the 6th ICTM Colloquium in Lisbon, Portugal. O’Connell, John, and Salwa El-Shawan Castelo-Branco. 2010. Eds. Music and Conflict. Urbana: Illinois University Press. Fora Svanibor Pettan The forum is the most recent of the four types of schol- Council may establish co-operation with interna-arly meetings that gradually emerged throughout the tional organisations concerned with folk art and may decades of the Council’s existence, following the world seek affiliation with such organisations” ( BIFMC 5, conference, study-group symposium, and colloquium.1 Nov 1951:25). Indeed, it became affiliated with the Minutes of the Executive Board meetings refer to it as International Music Council (IMC) for some time, such for the first time as late as 2016 (EB minutes, 114th contributing scholarly symposia “in conjunction with” meeting, 28 Jun 2016:§6447). Non-existent in earlier the IMC’s gatherings named Radio/Television Rostra. versions of the Council’s by-laws, it was incorporated in IMC, established in 1949 by UNESCO, is the largest the thoroughly revised Statutes, ratified by the General global network of organizations and institutions in the Assembly of Members in 2017. Statute 10.4 defines it field of music.3 As an example of their cooperation, as an event “organized by the ICTM in collaboration the 6th Asian Music Rostrum was held in Pyongyang, with other national, regional, and international schol- Democratic Republic of North Korea, 13–15 October arly organizations on a theme of common concern.” 1983, and ICTM organized its first such symposium The “Memorandum on the Organization of ICTM there, “Traditional music in Asian countries: Its inheri-Fora” specifies that tance and development.” A lengthy anonymous report it is designed to provide an environment conducive to on the event appeared in BICTM 65 (Oct 1984:9–13).4 overcoming disciplinary and other barriers that often Other relevant relations in this context, considered or interfere with the recognition and appreciation of differing systems of thought … A Forum is proposed by materialized, included the International Commission ICTM members after consultations with members of on Folk Arts and Folk Lore (CIAP; see Don Niles’s chap-the envisioned participating scholarly organizations and ter on the Council’s by-laws in this volume), Répertoire is subject to approval by the ICTM Executive Board.2 International de Littérature Musicale (RILM; see later in this article), Society for Ethnomusicology (Pettan 2021), and the United Nations Educational, Scientific History of the idea and Cultural Organization (UNESCO; see Wim van Zanten’s chapter in this volume). Even though the forum became formalized as a stand- The events directly leading to the establishment of fora ard ICTM event as late as the second decade of the started in 2013. After the ICTM world conference in twenty-first century, the notion about the benefits of Shanghai, China, in July 2013, Beverley Diamond, cooperation with sister societies emerged already in who would become president of the Society for the Council’s formative years. Appendix C – Point 13, Ethnomusicology (SEM) a few months later, informed titled “Relationship with International Organisations,” Salwa El-Shawan Castelo-Branco, the newly-elected in the amended original constitution reads, as: “The president of the ICTM, and me as secretary general since 2011, about the wish of bringing together in a 1 I would like thank Naila Ceribašić and Don Niles for their helpful comments on an initial draft of this chapter. single scholarly gathering the two leading associations 2 In the past of the Council, the term “forum” was used and understood as a type of presentation at its world conferences and sometimes also at its other types of scholarly meetings, 3 The International Music Council’s website suggests that usually together with the term “roundtable,” e.g., forum/ “through its members and their networks, IMC has direct roundtable. “Forum/Roundtable sessions provide opportuni- access to over 1000 organisations in some 150 countries and ties for participants to discuss a subject with each other and to 600 million persons eager to develop and share knowledge with members of the audience” ( BICTM Oct 2011:15). The and experience on diverse aspects of musical life” (https://www. programme of the 43rd World Conference in Astana in 2015 imc-cim.org). is the last one where such a notion of the term “forum” can be 4 I am grateful to co-editor Don Niles for bringing this evidence found. to my attention. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 201–205. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 202 Svanibor Pettan of ethnomusicologists. The two presidents led this plan tional arena” at the SEM annual meeting in Pittsburgh. to the first forum in 2015, which is presented later in The participants were Salwa El-Shawan Castelo-Branco, this chapter. Marie Agatha Ozah, Margaret Sarkisian, and John In October 2013, while teaching a term at the Tainan Lawrence Witzleben. National University of the Arts in Taiwan, I took the In July 2015, I organized and chaired the roundta-opportunity to attend the 2nd Biennial Conference of ble “ICTM and its sister societies” at the 43rd ICTM the East Asian Regional Association of the International World Conference in Astana, Kazakhstan. The partic-Musicological Society (IMSEA) in the capital Taipei. ipants were: Zdravko Blažeković for the International There I had fruitful conversations with the International Association of Music Libraries, Archives and Musicological Society (IMS) executives: President Documentation Centres (IAML), Goffredo Plastino for Dinko Fabris, Vice Presidents Malena Kuss and Ryuichi the International Association for the Study of Popular Higuchi, and Secretary General Dorothea Baumann. Music (IASPM), Tatjana Marković for the International The idea about the Council’s continuous shared events Musicological Society (IMS), Donald DeVito for the with different sister societies received a strong impetus International Society for Music Education (ISME), and there ( BICTM 124, Jan 2014:4). Urmimala Sharkar Munsi for the World Dance Alliance In November 2013, Huib Schippers hosted a multi-so- (WDA). The idea of bringing together representatives ciety conference at the Griffith University in Brisbane, of a larger number of societies inspired the third forum, Australia. ICTM President Castelo-Branco and I were presented below. there, and we took the opportunity to discuss further It is important to note that the growing interest for the idea of shared meetings with various societies. cooperation among sister societies was reflected in the Particularly fruitful were the conversations with the agendas for ICTM Executive Board meetings, where executives of the International Music Council (IMC), “Relations with international organizations” became a President Frans de Ruiter and Secretary General Silja standard item in 2016. In the same year, an Executive Fischer, and of the European Music Council (EMC), Board Committee “for liaisoning with national and President Stef Coninx and Secretary General Simone international organizations” was formed. Its first chair Dudt ( BICTM 124, Jan 2014:4). was Salwa El-Shawan Castelo-Branco, with Ursula In March 2014 I was invited to represent ICTM at the Hemetek and me as members. conference “Latin America and the canon,” organized by the International Musicological Society Regional Association for Latin America and the Caribbean The first three fora in Havana, Cuba. This provided an opportunity for making plans for a joint event with the International The 1st Forum took place on 13–16 September 2015 Musicological Society (President Fabris, Vice President at the Irish World Academy of Music and Dance of the Kuss) and the International Association of Music University of Limerick, Ireland. The originally envi-Libraries, Archives, and Documentation Centers sioned participating sister societies were the ICTM and (President Barbara Dobbs Mackenzie, member Zdravko the SEM. Immediately after the forum, the European Blažeković). The plan of a joint scholarly event with Seminar in Ethnomusicology (ESEM) was to have these two societies led to the second forum in 2017, its symposium at the same venue, so the forum was which is presented later in this chapter ( BICTM 125, enriched by a shared day with ESEM as the third sister Apr 2014:2–3). society. The event was co-chaired by the presidents of ICTM and SEM Salwa El-Shawan Castelo-Branco and As senior executives of Répertoire International de Beverley Diamond, respectively, later joined by ESEM Littérature Musicale (RILM), Barbara Dobbs Mackenzie President Britta Sweers. It was co-hosted by Colin and Zdravko Blažeković continuosly supported cooper-Quigley and Aileen Dillane. The theme “Transforming ation among IAML, ICTM, and IMS, the three societies ethnomusicological praxis through activism and com-whose representatives form the advisory body of RILM munity engagement” was defined by Samuel Araújo known as Commission mixte. Thanks to them and to and Gage Averill. The organizers selected and invited the presence of the executives of all four “R-projects” 56 presenters from 15 countries on all continents. at the conference in Cuba, communication was estab- lished also with Répertoire International des Sources It is probably not common knowledge that this was not Musicales (RISM), Répertoire International de la Presse the first attempt to bring ICTM and SEM together for Musicale (RIPM), and Répertoire International d’Ico-a single conference event. According to the oral histo- nographie Musicale (RIdIM). ries in both societies, differences in duration, accommo- dation standards, and even parts of the year in which In November 2014, I organized and chaired the roundta- ICTM world conferences and SEM annual meetings ble “ICTM and SEM: Ethnomusicology in the interna- Fora 203 Figure 1. Participants of the 2nd Forum. Abu Dhabi, 15 March 2017 (photo courtesy of Svanibor Pettan). take place were among the obstacles encountered in the The 2nd Forum took place on 13–16 March 2017 past. Organizing a special event in 2015 proved to be a at the New York University Abu Dhabi (NYUAD) in winning formula. Initially envisioned as a smaller event Abu Dhabi, United Arab Emirates. The participating with a limited number of sharply-focussed presenta-sister societies were the ICTM, IAML, and IMS. The tions, with no call for papers, it proved to be a major event was co-chaired by the presidents of the three and memorable gathering: the first in a series named societies Salwa El-Shawan Castelo-Branco, Barbara fora that ICTM decided to define and maintain. Dobbs Mackenzie, and Dinko Fabris, respectively. The The event was announced as follows: principal host was Virginia Danielson, ethnomusicol- ogist and director of NYUAD’s library, who at that This first collaboration between the two largest aca- demic organizations for ethnomusicology endeavours time represented ICTM at Répertoire International to bring some of the finest thinkers and social activists de Littérature Musicale (RILM) and chaired the within the global academy of music scholars together Commission Mixte, RILM’s advisory body consisting with public sector actors/advocates/activists who under-of ICTM, IAML, and IMS representatives. The theme stand the relevance of sound and movement studies in was “Music as cultural heritage: Problems of historiog-addressing social, political and environmental issues of raphy, ethnography, ethics, and preservation.” Each urgent importance. ( BICTM 126, Oct 2014:14) society selected its own presenters, contributing to the An event with high expectations, the forum raised total of thirty from fourteen countries on four conti-considerable interest in the participating societies and nents (Africa, Asia, Europe, North America). Figure 1 ethnomusicological circles in general. Detailed reviews shows many of the active participants. were published in both the SEM Newsletter (Diamond This forum succeeded in bringing together scholars, 2015) and the Bulletin of the ICTM (Sorce Keller performers, librarians, and heritage practitioners, who 2016). The forum’s homepage is http://www.ictmusic. reported on and demonstrated various disciplinary per- org/joint-sem-ictm-forum-2015. spectives from different parts of the globe on the safe- The most comprehensive outcome of this event is the guarding of music as cultural heritage in the twenty-first resulting edited publication in two volumes under century. Specialists active in the Gulf region and in the the title Transforming Ethnomusicology (Diamond and Middle East enriched the forum with valuable local Castelo-Branco 2021). perspectives. The Council’s report was published in the Bulletin of the ICTM (Pettan 2017). IAML’s report is 204 Svanibor Pettan Figure 2. A scene from the final roundable of the 3rd Forum: Jonathan Stock (moderator) and representatives of the six participating societies. Beijing, 14 July 2018 (photo by Svanibor Pettan). available at https://www.iaml.info/de/news/iaml-up- active participants from forty countries on all conti- date-iaml-ictm-ims-joint-conference-abu-dhabi. The nents. Figure 2 depicts the final roundtable, chaired by homepage of this forum is not available any more. Jonathan Stock. The 3rd Forum took place on 11–14 July 2018 at the This forum provided a well-structured encouragement Central Conservatory of Music (CCOM) in Beijing, for leaving the comfort zones of our respective societies China. The participating sister societies were ICTM, and their specific disciplinary foci and joining forces in the International Association for the Study of Popular exploring worldwide theoretical, methodological, and Music (IASPM), International Association of Music practical challenges that affect our research on music Libraries, Archives and Documentation Centres and dance in the era marked by the Internet. A report (IAML), the International Musicological Society written by Zhao Jioandi was published in the Bulletin of (IMS), Society for Ethnomusicology (SEM), and the ICTM (Zhao 2018). The homepage of this forum is Association for Traditional Music in China (ATMC). http://www.ictmusic.org/3rd-ictm-forum-approaches- The three co-chairs (Zhang Boyu, Jonathan Stock, and research-music-and-dance-internet-era. myself) were assisted by a committee composed of Razia Sultanova and Xiao Mei (ICTM), Silvia Martinez (IASPM), Stanislaw Hrabia (IAML), Frans Wiering Conclusion (IMS), Gregory Barz (SEM), and Qiao Jianzhong (ATMC).5 The hosts were the CCOM President Yu The results of the ICTM Survey from 2019 show that Feng and Zhang Boyu. The theme was “Approaches to members accepted and recognized the fora as an addi-research on music and dance in the Internet era.” This tional valuable type of scholarly meetings. All three fora forum, for which each of the six participating scholarly that have taken place so far testify to a considerable societies selected up to twenty presenters, was obviously enthusiasm among the participants and the shared wish the largest one so far, involving more than a hundred for continuation. The last report of Salwa El-Shawan Castelo-Branco in her capacity of the chair of EB 5 At the forum, IASPM was represented by Dean Vuletic, IMS Committee for Liaison with National and International by Egberto Bermúdez, and SEM by Huib Schippers. Fora 205 Organizations from 2020 ends with the following rec- ommendation: “This committee should continue and intensify its work with national and international orga- nizations.” While inheriting the chairmanship from her, the committee is further strengthened by the addition of Marcia Ostashewski and Tan Sooi Beng. The COVID-19 pandemic started in the period of major planning of new shared events featuring ICTM and its sister societies. While waiting for the end of the pandemic to organize the next forum, some societies continue to cooperate on a smaller scale, but in import- ant new ways. For instance, IMS agreed to prepare a shared roundtable for the ICTM world conference in Lisbon, and ICTM will prepare a shared roundtable for the IMS’s quinquennial congress in Athens, both sched- uled for 2022. References cited Diamond, Beverley. 2015. “President’s Report. Historic Meeting: The SEM-ICTM Forum.” SEM Newsletter 49/4: 3, 10–11. Diamond, Beverley, and Salwa El-Shawan Castelo-Branco. 2021. Eds. Transforming Ethnomusicology; vol. 1: Methodologies, Institutional Structures and Policies; vol. 2: Political, Social & Ecological Issues. New York: Oxford University Press. Pettan, Svanibor. 2017. “2nd ICTM Forum.” BICTM 135 (Oct): 53–54. ———. 2021. “The International Council for Traditional Music and Society for Ethnomusicology: A Reflection Through Two Complementary Lenses.” In Transforming Ethnomusicology; vol. 1: Methodologies, Institutional Structures, and Policies, edited by Beverley Diamond and Salwa El-Shawan Castelo- Branco, 43–58. New York: Oxford University Press. Sorce Keller, Marcello. 2016. “ ’Infinities’ of a Higher Order.” BICTM 130 (Jan): 32–34. Zhao, Jiandi. 2018. “3rd ICTM Forum.” BICTM 138 (Oct): 44–46. STUDY GROUPS Study Groups: Introductory Note The following chapters concern current and discontinued study groups, and their precursors. Following the 2020 deadline for materials in the main body of this volume, two additional study groups were approved by the ICTM Executive Board as study-groups-in-the-making, and they subsequently held preparatory scholarly events. They were then approved by the Executive Board as study groups: the Study Group on Indigenous Music and Dance (approved in June 2021) and the Study Group on Sacred and Spiritual Sounds and Practices (approved in December 2021). They join the twenty-five current study groups discussed in this section and are already planning their first symposia as approved study groups. The COVID-19 pandemic greatly affected study-group symposia planned for 2020, but 2021 saw many symposia take place again, online and in hybrid form, clearly demonstrating the ongoing importance of study groups to the work of the Council. ICTM Study Groups: Origins and Issues Don Niles In his preface to a publication by the ICTM Study symposia are often published, but other publications Group on Applied Ethnomusicology, Secretary General not linked to symposia may also be produced, such as Stephen Wild observed that “study groups are the life-Festschrifts celebrating the accomplishments of schol- blood of the ICTM” (Wild 2010:ix). Anyone familiar ars. World conferences today provide opportunities with the Council today would hardly disagree, with for study groups to display their publications and hold diverse study groups busy organizing symposia, pub-business meetings to attract new members and discuss lishing books, discussing their activities at world confer- their activities, but symposia themselves are not held ences, and being open to all ICTM members. Yet, study at world conferences. Their steady growth, particularly groups have not always existed within the Council and from the 1980s, can be seen in figure 1.3 A noticeable have a rather uncertain origin, and some have had a increase in groups with a geographic focus is evident in limited lifespan. 2006, when their numbers jumped from 25% to 40% Here I explore the origins of study groups, a discussion of all study groups. Since then, the percentage has been that is not as straightforward as might be expected, par-between 38% and 48%.4 ticularly because their naming has not always been so But the importance of study groups to the future of the and their ancestors are seldom recognized today. Council was already clear to some members at an early date. In 1966, just four years after the generally accepted date for the establishment of the first study groups, What is a study group? there were six study groups. In a report prepared in his capacity as chair of the Planning Committee (and chair Study groups consist of Council members with a shared of one of those first groups), Erich Stockmann presci-interest on research subjects that may be of a general, ently saw the future of the Council in study groups: broadly universal nature, or that are tied to specific Special attention is to be given to the committees and geographic regions. Thus, Pettan (2014:98) differenti- study groups for whose work the IFMC forms the ates between study groups that have a topical focus and appropriate organizing frame. In recent years they have those that have a geographic one. The latter are a more developed remarkably active and successful work. It has recent development. Of the twenty-five study groups in been clearly shown that many members of the IFMC existence at the end of 2020, eleven are geographically welcome just this kind of co-operation and are disposed to collaborate to the best of their ability … oriented. While the first such group—the Study Group on Historical Research on African Music—was short lived (1965–1968), the 1979 establishment of what is presently called the Study Group on Music and Dance of the term “symposium” well predates this formalization, such gatherings were often simply called “meetings.” of Oceania led to many other study groups focussing on 3 As an indication of their importance to the Council’s future, a geographic regions.1 proposed reconstitution of the Board included that the chairs Members of study groups gather in regular or occasional of the four study groups existing at the time (including that for the Committee on Radio/Television and Sound/Film Archive) scholarly meetings, now called symposia,2 to present be made ex officio members of the Board ( BIFMC 37, Oct papers on subjects of mutual interest. Proceedings from 1970:15). However, such a change was not carried out. 4 The grouping of study groups with one focus or the other is fairly straightforward; but note that those concerning the Arab, 1 Pettan (2014) presents a detailed justification for starting a Slavic, and Turkic worlds focus on geographic areas where study group concerning Slavic music and dance. This group speakers of those languages predominate. However, while the was established in 2015. study group on maqām suggests a particular geographic region, 2 The use of “symposium” was only formalized in the it is concerned with a specific type of musical structure within “Terminology for Study Groups and National/Regional that region, hence I consider it topical. For discussion of these Committees,” ratified by the Board in July 2011. While the use differences, I appreciate discussion with Svanibor Pettan. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 211–224. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 212 Don Niles Figure 1. The number of study goups existing per year (1960–2020) in blue; those with a geographic focus in orange. It should be stressed that these groups are working suc- In the 1960s, dissatisfaction with the activities of the cessfully without any financial support from the IFMC. Council began to grow, particularly because of the few Their activity has received interest and support from opportunities for intensive discussion and collabora- ethnomusicological research institutes … The activity tion, and also because of the lack of continuity in the of the Committees and Study Groups must become the treatment of central research problems. Study Groups focal point of the work of the IFMC in the next few were then created to handle subdisciplines of folk years. (“Report of the Planning Committee on the situ- music research and to attempt to solve particular schol- ation of the IFMC,” 10 Jul 1966:2–3) arly problems. (Stockmann 1976:13) Yet, I suggest that the desire to have greater “opportuni- ties for intensive discussion and collaboration” on cer- The first study groups tain subjects than could be provided by conferences was evidenced more than a decade earlier, with the estab- Deciding which was the first study group is not a simple lishment of the Radio Commission.6 task. For example, according to the website of the Study Group on Ethnochoreology,5 it is. And, in an article The director of the “Folk Music Department” at Radio by Erich Stockmann, those for ethnochoreology and Zagreb7 prepared a proposal that recommended the for musical instruments can both claim to be the first establishment of a “special commission”8 of the Council (Stockmann 1983:9; 1985:3–4). Yet, by 1970, when to focus on folk music and broadcasting. The Board “Chairmen of Study Groups” were listed for the first considered this request at their pre-conference meeting time on the inner covers of Bulletin s, there were three in Opatija, Yugoslavia, in 1951. Enthusiastically (using their most-recent names): historical sources, approving it, the Board decided to place it before musical instruments, and analysis and systematization the General Assembly of members (EB minutes, 7th of folk music ( BIFMC 37, Oct 1970:inside back cover). meeting, 6–7 Sep 1951:§94). And, as will be shown below, other sources have slightly different listings. In some ways, all of these sources are 6 For similar ideas about the origins of study groups and inval-correct, since much has to do with how “study group” uable descriptions of this period in the life of the Council, see is defined and how strictly the use of that name is Elschek’s chapter in the present volume. enforced; but, it could also be argued that all of these 7 Presumably Nikola Sabljar, “Director of the Section for Popular Music of Radio-Zagreb,” ( BIFMC 5, Nov 1951:5). sources are actually wrong. 8 Misreported by Karpeles more than twenty later as recom- Stockmann has observed that mending the establishment of a “committee,” rather than a “commission” (Karpeles 1972:27)—perhaps reflecting that even Karpeles could get the terms confused. Karpeles’s auto- biography and her biography note the importance of this commission as well, although observing that the resolution 5 http://www.ictmusic.org/group/ethnochoreology?page=1 was not to be implemented until 1952 (Karpeles [1976]:232; (accessed 20 Jan 2021). Pakenham 2011:227–228, 230). ICTM Study Groups: Origins and Issues 213 During the conference, Paul Collaer (director, Belgian one (e.g., BIFMC 37, Oct 1970:15). Nevertheless, like National Radio Broadcasting, Brussels) presented a study groups, it held meetings at which papers were paper that concluded by noting his station’s highly suc-presented and the Bulletin frequently featured lengthy cessful bimonthly programme on different musics of overviews of these meetings, somewhat akin to proceed-the world. Listeners wanted such activities to extend to ings. While participants may not have reported on any other stations, and Collaer hoped to organize coordi-research (such as what usually happens at study-group nated international broadcasts. This radio station had symposia), they discussed issues regarding the broad-begun systematic recording of Belgian musical tradi- cast of folk music, overviews of music from particular tions, which was extending to the Belgian Congo as regions, and challenges of presentation—all activities of well (Collaer 1952). Following Collaer’s presentation, relevance to the interests of the Council, at least during the resolution from Radio Zagreb was presented at much of its existence. Perhaps the most striking dif-the closing session of the conference on 13 September ference from study groups today is that participants at 1951. The resolution would promote the kind of work Radio Committee meetings represented organizations. outlined by Collaer, as well as assist in the exchange of Further support for the relevance of the Radio recordings and organize conferences “for the discus-Committee to any discussion of study groups will be sion of matters concerning folk music in radio perfor- given in the section on the origins of the Study Group mances”; the resolution was agreed to by conference on Ethnochoreology below, but first another diversion participants ( BIFMC 5, Nov 1951:16). And so, the first on terminology. special grouping within the IFMC devoted to a specific area of interest was established. TERMINOLOGICAL FLUIDITY At the 1952 conference in London, it was strongly rec- ommended that a committee (or sub-committee) be As noted in the discussion above, the group concerned established to follow through on the activities outlined with broadcasting was originally proposed as a commis-the previous year. The Board then adopted further res- sion, but later renamed as a committee. Yet, these terms olutions and proposed a membership that would lead do not seem to be clearly differentiated in any Council to its establishment (EB minutes, 10th meeting, 20 Jul documents available to me; although as will be shown 1952:§117; BIFMC 6, Sep 1952:7–8). below, the difference in name is exploited when the Folk Dance Commission is replaced by a Folk Dance From an initial Radio Commission (1951) and then Committee with a different approach to membership. Radio (Sub-)Committee (1952), other names were adopted as the need expanded—Radio and Record When reading Board documents of the 1960s, it is clear Library Committee (1961), and, finally, a Radio/ that a “bureau” consists of the executives of a commis- Television and Sound/Film Archives Committee sion or a committee, for example, the chair, secretary, (1966)—establishing it as an essential group within the member representing the Executive Board, etc. (e.g., Council. When there were many challenges to the con-EB minutes, 23rd meeting, 23–24 Jul 1960:app. D). tinued existence of the Council, Karpeles would note And, other divisions of a commission or committee are that the most important work of the IFMC was its jour-occasionally called sections, subgroups, groups, and nal and the Radio Committee, and these must be kept study groups. There is considerable fluidity in such going, with even increased activities for the committee usage and a lack of a consistent hierarchy; hence, not (AC minutes, 15th meeting, 21 Apr 1966:§142). too much can be read into a particular usage without understanding its context, and sometimes that is not But people, times, and organizations change, and the presently possible. Board decided to dissolve the committee as “no lon- ger congruent with ICTM objectives and policies” That the terminology even became confusing for Board (EB minutes, 62nd meeting, 13, 15 Aug 1983:§1084; members is evident in their recommendation that a dis-BICTM 63, Oct 1983:20).9 tinction be made between committees and study groups (EB minutes, 33rd meeting, 14–17 Jul 1965:§439d). It While I argue that the Radio Committee must be con- does not appear that such a distinction was ever formal- sidered a precursor to study groups, it never became ized or included in the minutes. a study group, even though it sometimes got grouped with them and was even occasionally mistakenly called FOLK DANCE COMMISSION  STUDY GROUP ON ETHNOCHOREOLOGY (1960–PRESENT) 9 Indeed, its importance grew considerably so that a brochure The first mention of any specific group within IFMC to for the committee raised the Board’s concern because it inac- focus on dance appears to be from 1959,10 immediately curately suggested that the committee was an independent body within IFMC (EB minutes, 38th–39th meetings, 1–3 Aug 1968:§499). Also see the chapter on the committee in the 10 However, at least as early as 1957, Karpeles was communicat- present volume. ing with Felix Hoerburger about the possibility of a commis- 214 Don Niles after a reconsideration of the previously established While the topics the two groups would be expected Radio Commission.11 In their first meeting, the to comment on are more detailed for the Radio Advisory Committee minutes report: Committee, there is little else of difference between the 6. FORMATION OF A RADIO COMMISSION two proposals. The bulk of Radio Committee members The Secretary’s proposals were considered and certain would be representatives of radio organizations that are alterations were recommended, including the use of corporate subscribers13 of the Council; while for the the term “committee” instead of “commission.” For Folk Dance Commission, they would be representatives details of the proposed constitution of the committee of folk-dance organizations, appointed by the Board as amended (see Appendix A). in consultation with the national committee or liaison 7. FORMATION OF A DANCE COMMISSION officer in the country concerned. Considering the sim- Provisionally agreed to recommend that a dance com- ilarity of the structure and activities of the two groups, mission be formed somewhat on the lines of the Radio any difference between a commission and a committee Committee but that the matter should be given fur-is befuddled. The Council agreed to the proposals (EB ther consideration (see Appendix B). (AC minutes, 1st minutes, 23rd meeting, 23–24 Jul 1960:§282). The meeting, 3 Dec 1959:§7) potential creation of “ad hoc working parties” in both While only the appendix concerning the Radio proposals is significant, as this might also have encour-Commission is available in those minutes, the Advisory aged the establishment of study groups as we know Committee later decided that the establishment of a them today. Dance Commission should be decided by the Board At the post-conference Board meeting in Vienna, it was (AC minutes, 2nd meeting, 5 Apr 1960:§12c). As such, noted that the General Assembly had asked for the Folk appendixes about both commissions are attached to Dance Commission to also include “individual experts” documents for the Executive Board when they met a in its composition, not just representatives of organiza-few months later in Vienna. They are almost certainly tions. The Board hoped that Felix Hoerburger (Federal what would have been presented in 1959. Republic of Germany) would take an active part in the The documents are strikingly similar. The main differ- work of the Commission (EB minutes, 24th meeting, ence is that one concerns the “reconstitution” of the 28 Jul 1960:§295).14 “Radio Committee” (EB minutes, 23rd meeting, 23–24 The Secretariat subsequently wrote to twenty-four Jul 1960:app. C), while the other concerns the “formanational committees and liaison officers seeking rec- tion” of a “Folk Dance Commission” (ibid.:app. D); ommendations for membership in the commission, that is, the former is for a group already in existence, but only seven replies were received. Hoerburger was while the latter is for the establishment of a new group. asked to introduce discussion on the commission at the Otherwise, both proposals establish groups that: Québec conference in 1961 (AC minutes, 3rd meeting, 1. consist of representatives of relevant organiza- 13 Apr 1961:§20b). He complied (Hoerburger 1962) tions, two members appointed by the Board, and and, after the conference, the Board agreed that a small the Board’s secretary and treasurer as ex officio members; group including him would make preparations for the first meeting of the commission at the 1962 confer- 2. make recommendations to the Board on matters ence in Gottwaldov (EB minutes, 26th meeting, 3 Sep of their areas of concern; 1961:§319). 3. meet at least once a year; Consequently, this first meeting of the Folk Dance 4. have a bureau of chair, secretary, and possibly one other member, in addition to one member Commission took place on 18 July 1962,15 and the appointed by the Board; Board reviewed a report on it immediately following the conference on 21 July.16 A bureau of Hoerburger (chair), 5. may appoint “ad hoc working parties” as occasion demands.12 13 An important source of income for the Council. 14 Dunin (2014:202) quotes a letter that Karpeles circulated internationally, promoting the Folk Dance Commission as a remedy to the relative neglect of dance in Council activities sion concerning dance (see chapter in this volume by Foley (letter from Karpeles, Feb 1961, ICTM Archive). et al. on Karpeles’s contribution to dance research and the 15 The printed conference programme and Giurschescu Council). (2005:253) specify 17 July 1962; however, a report on the 11 Further invaluable information by an insider to many events meeting ( BIFMC 22, Oct 1962:23) and the EB minutes (28th in the history of the Study Group on Ethnochoreology, and meeting, 21 Jul 1962:§351) list 18 July 1962. A copy of the a slightly different interpretation of some aspects, is given by programme, apparently annotated by Karpeles, notes the meet- Giurchescu (2005; 2007; 2014). ing taking place on the latter date (ICTM Archive MS 10017, 12 Slightly revised versions of both documents appear in BIFMC series 4, folder 33). This is the date used here. 18 (Sep 1960:18–19), reflecting some changes from discus- 16 Quite a full report of this first meeting is published in sion at the General Assembly and the post-conference Board BIFMC 22 (Oct 1962:23–27). The meeting was also noted by meeting. Yurchenco (1962). ICTM Study Groups: Origins and Issues 215 Roger Pinon (Belgium; secretary), Vera Proca-Ciortea business meeting, held 5 August, and its “sectional (Romania), and Douglas Kennedy (UK, EB represen-meeting of the dance (open to all IFMC members)” tative) was established. Of the projects proposed—sur- (figure 2), on 7 August, appeared in the following veying folk-dance activities, formulating a terminology, Bulletin. Although two out of the four bureau members and establishing a film archive—“the Board thought could not be there, sixty Council members attended it would be advisable for the questions of the survey from eight European countries, as well as Ghana, Israel, and of terminology to be considered first by a small and the USA. The four-page report is primarily filled group” (EB minutes, 28th meeting, 21 Jul 1962:§351), with updates on various activities and four abstracts both topics previously proposed by Hoerburger in the of papers, but the very first item in the report notes Bulletin (1962). Karpeles announcing that the Board had been asked While there is no mention of a “study group” per to enlarge the membership of the commission because se at all, the “small group” focussing on terminol-it was not “sufficiently representative.” The Board fur- ogy would later become the Study Group on Dance ther proposed that meetings for the discussion of dance Terminology. The group included two members each should be open to all members; hence the commission from Czechoslovakia, Hungary, and Romania, reflective would be terminated and a small committee appointed both of the importance of such work in these countries, which would be responsible to the Board. Regulations but also the special circumstances for researchers in were approved by those present and subsequently by socialist nations, who were sometimes hindered by offi-the General Assembly ( BIFMC 24, Oct 1963:21–24; cials from participation in Council events (Giurchescu see also BIFMC 26, Oct 1964:13). 2005:253; 2014:304, n. 3). At this same Board meet- The first Bulletin of 1964 announced that there would ing after the Gottwaldov conference, two other groups, be a meeting of the Folk Dance Committee for com-called “study groups” were born. See the sections on the mittee members only at the Budapest conference in Study Groups on Folk Music Instruments and on Folk August 1964. But there would also be roundtable dis-Song Texts below. cussions on dance open to all conference participants Although the initial reports on the Folk Dance ( BIFMC 25, Apr 1964:1). For the first time, the secre-Commission meeting were very positive and encour- tary of the Folk Dance Committee, Pinon, is listed on aging, discontent was raised a couple months later in the back inside cover, along with Board and Secretariat the Advisory Committee. Karpeles noted that there was members, the chair of the Advisory Committee, and the dissatisfaction with the composition of the commission secretary of the Radio and Record Library Committee. and perplexity over the election of the bureau. She sug- No “study groups” are included at this time. gested that perhaps the commission could be consid- At their pre-conference meeting, the Board agreed to ered to have done its job by electing a bureau and other the appointment of Hoerburger (chair), Pinon (sec-tasks. The Advisory Committee agreed to recommend retary), and Kennedy as members of the Folk Dance to the Board that at the next conference, Committee for two years, and noted the committee’s instead of a Commission there should be special meet- co-option of Vera Proca-Ciortea (Romania) and Ernő ings for practical matters concerning dance, open to Pesovár (Hungary) (EB minutes, 31st meeting, 16–17 all members interested, and that appointments to Aug 1964:§397a). There is no mention of any study the Bureau should, in future, be made by the Board group associated with dance, but elsewhere the minutes although members could be asked to make recommendations. (AC minutes, 6th meeting, 4 Oct 1962:§48) note those for folk-song texts and musical instruments. Opening it up to “all members interested” was crucial The conference programme lists a folk-dance session on to the future of the group, whatever it would be called, the afternoon of 21 August 1964, with presentations by and is certainly a distinguishing feature of present-day Hoerburger, Proca-Ciortea, and Pesovár ( JIFMC 17, pt. study groups in contrast to the Radio Committee of the 1, 1965:4); only Hoerburger’s discussion of the folk-time. The next Advisory Committee meeting reported dance survey was subsequently published (Hoerburger that all four members of the commission’s bureau had 1965). While this session was open to all members, a agreed (AC minutes, 7th meeting, 13 Dec 1962:§59). meeting for just the committee, along with Karpeles and Wilhelmina D. Scheepers (the Netherlands) took The Bulletin reported on all these proposed changes place on 19 August. and that such “special meetings,” open to all members, would be held at the 1963 conference in Jerusalem, The committee saw one of its main activities as: where changes in the constitution of the Folk Dance the formation of Study Groups (such a group had Commission would be considered, as well as their sur- already been formed to study the problem of dance ter- vey, dance terminology research, etc. ( BIFMC 23, Apr minology and was working actively under the leader- ship of Mrs. Proca-Ciortea). ( BIFMC 26, Oct 1964:17) 1963:3–4). A report of the Folk Dance Commission’s 216 Don Niles Figure 2. Programme from 1963 world conference in Jerusalem, with annotations apparently by Maud Karpeles. On 7 August, note the “sectional meeting of the dance (open to all IFMC members)” at the same time as the meeting of the Radio Committee (ICTM Archive MS 10017, series 4, folder 33). Apparently for the first time, a “study group” (explicitly Terminology is listed under the Folk Dance Committee named as such) was mentioned as being a subsection of ( BIFMC 30, Apr 1967:5). But then, in the report of the the Folk Dance Committee. Many more details on the Board for 1966–1967, as published in the Bulletin: history and work of the study group can be found in The Board has decided to discontinue this Committee this volume, but I will conclude this section noting a but to re-appoint the Group on Dance Terminology. few issues germane to my general discussion. Study Groups on specific subjects will be set up as occa- sion may arise. ( BIFMC 31, Nov 1967:12)17 Over the next three years, terminological fluidity con- tinued, with the study group also occasionally being The Study Group on Dance Terminology was now free called a group or subgroup, but always seen as part of any association with a committee. of the Folk Dance Committee. The study group held The activities of this study group are reported with other its first three conferences in 1965: Getlow, German study groups in the next BIFMC (32, Apr 1968:3–5) Democratic Republic (January); Strážnice and Veselý, and in subsequent minutes of the EB (e.g., EB minutes, Czechoslovakia (July); Celje and Velenje, Yugoslavia 38th–39th meetings, 1–3 Aug 1968:§501). Yet, when (September). A public session at the latter meeting study-group chairs started to be listed in the inside was attended by Executive Secretary Barbara Krader. covers of Bulletin s (beginning with BIFMC 37, Oct Up to fifteen participants took part in each conference 1970), it is absent, only to be included three years later ( BIFMC 28, Jul 1966:22). Many more conferences as the Study Group on Terminology of Choreology, would follow: “between 1962 and 1967 the activities initially spaced apart from other chairs ( BIFMC 42, of the Subgroup on Terminology overpowered the Folk Apr 1973), but included with them thereafter. A major Dance Committee” (Giurchescu 2007:14, n. 13). report on their work regarding the structure and form In a very useful overview of committees and study groups in the Bulletin, the Study Group on Dance 17 Unfortunately, Board minutes from the 1967 meetings are not available to me. ICTM Study Groups: Origins and Issues 217 of folk dance was published the following year (IFMC But later at the same meeting, the Folk Dance Study Group for Folk Dance Terminology 1974). Commission was considered and the Board advised that While awaiting the answer to a query from the Board a “small group” with focussed activities be formed (EB about the name of the study group (EB minutes, 51st minutes, 28th meeting, 21 Jul 1962:§351), as described meeting, 23 Aug 1976:§806), the Study Group on above; this would eventually become a study group. Analysis of Folk Dance was listed in BIFMC 49 (Oct Hence at this one meeting in 1962, it can be claimed 1976:inner front cover). Proca-Ciortea advised the that the Board established three study groups, even Board that the correct name was the Study Group on though none of them is fully named as such. Ethnochoreology (EB minutes, 52nd meeting, 11–12 Stockmann had prepared the research proposal for Aug 1977:§835).18 And so it remains. a group on musical instruments that was ultimately approved by the Board in 1962, and he also sub- STUDY GROUP ON FOLK MUSIC INSTRUMENTS  STUDY GROUP ON MUSICAL INSTRUMENTS sequently acknowledged the important support of (1962–PRESENT) President Zoltán Kodály in the process (Stockmann 1983:9; 1985:3–4). Stockmann, as chair of the study In contrast to the quite complicated prehistory of the group, continued to organize activities well, and the Study Group on Ethnochoreology, those for the Study 1964 conference in Budapest enabled Kodály to con-Groups on Musical Instruments and Folk Song Texts are tinue his support as president and as organizer: the considerably simpler, since there were no pre-existing study group met twice during the conference ( JIFMC commissions or committees concerning these subjects. 17, pt.1, 1965:4). The last day of the fifteenth IFMC conference in Stockmann supplied regular reports to the Board on Gottwaldov, 21 July 1962, took place in the Hotel the activities of the study group, clarifying at one point Moskva, the venue for entire conference. The Executive that it “had been formed not to carry out research, Board also met and established the first IFMC study but to organize special meetings, [such] as, … the groups that were explicitly named as such. According two held in Budapest … It … hoped to continue in to the minutes of that meeting, §349 concerned future this manner” (EB minutes, 33rd meeting, 14–17 Jul conferences. After considering possible venues for con-1965:§439b). The Board’s satisfaction with the study ferences in 1963–1965, the minutes record: group and Stockmann’s chairing of it resulted in the (d) Appointment of Study Groups terms of both constantly being extended. Undoubtedly The CHAIRMAN tabled a recommendation which this was surely helped by the rich publications resulting had been made to him by Professor PINON, Dr. from the study group. VARGYAS and Dr. DAL concerning the formation of a working group of song text study. It was agreed, on Although referred to from the beginning as the Study the motion of Professor LAJTHA, that the formation Group on Folk Music Instruments, Board minutes from of this group be approved and that Dr. Dal should be 1975 use Study Group on Folk Musical Instruments for appointed Chairman with Professor Pinon and Dr. the first time (EB minutes, 49th meeting, 12–13 Aug Vargyas as members of the Committee. 1975:§782), and this was subsequently reflected in its It was also agreed that there should be a similar group listing in the Bulletin as well ( BIFMC 47, Oct 1975:inside to study instruments with Dr. Erich Stockmann as back cover). Board minutes later confirmed the name as Chairman and Dr. Picken and Mr. Elschek as members. SG on Folk Music Instruments (EB minutes, 51st meet- Appointments to the Committees of these two groups ing, 23 Aug 1976:§806), only to have this corrected at would be for one year, subject to renewal. (EB minutes, the next meeting as SG on Folk Musical Instruments 28th meeting, 21 Jul 1962:§349d) (EB minutes, 52nd meeting, 11–12 Aug 1977:§830). While the heading clearly refers to “study groups,” the This latter name continued until the change to the pres-text only notes a “working group” or simply “group.” ent SG on Musical Instruments in 2015 (EB minutes, (Also note that in usage at this time, “committees” 112th meeting, 14–15 Jul 2015:§6167). appear to be the executives of the group, such as the Much further information on this study group can be chair and members. However, it also appears that these found in the chapter on it in the present volume and groups only consist of such members.) Nevertheless, the articles by Stockmann (1976) and Michel (1991). Board clearly established the Study Group on Folk Song Texts and the Study Group on Folk Music Instruments STUDY GROUP ON FOLK SONG TEXTS (1962–1967) at this time, although their full names as such are not formally spelled out in the minutes. The other study group established by the Board with that for musical instruments in 1962 was “a working group of song text study,” recommended to Willard Rhodes as chair of the meeting by Roger Pinon 18 Giurchescu (2005:260, n. 4) notes 1978. 218 Don Niles (Belgium), Lajos Vargyas (Hungary), and Erik Dal work of this Study Group was not a direct concern (Denmark). The Board approved the recommendation of the IFMC,” but if the group wanted to leave the and noted that Dal should be chair, with Pinon and Council, they had to formally request it (EB minutes, Vargyas as members of the committee of other officers. 34th meeting, 25–26, 30 Jul 1966:§462a). Appointments to the committee would be for one year, The Bulletin reported that the group’s “continuance, subject to renewal (EB minutes, 28th meeting, 21 Jul as a group in IFMC is under consideration” ( BIFMC 1962:§349d). 30, Apr 1967:7). The next issue noted that the “Study Dal’s report as chair of the Study Group on Folk Song Group on Folk Texts” had indeed met in September Texts19 was presented at the next Board meeting, and 1966 in Freiburg im Breisgau. They decided to ask the Board noted that the theme of the first roundtable that it be “dissolved as an IFMC Group,” and its work session in 1964 would be “A type index of the European merged with that of SIEF. The Board approved this pro-ballad,” to be chaired by Vargyas (EB minutes, 29th posal ( BIFMC 31, Nov 1967:13).21 It thus became the meeting, 4–5 Aug 1963:§349d). While it doesn’t first study group to be discontinued, thereby straddling appear that such a roundtable took place, “Methods of the next section. classification and lexicographical arrangements of tunes in folk music collections” was one of the two main themes of that conference. Dal continued as chair and Study groups that no longer exist three study-group meetings were held during the 1964 Budapest conference, with a detailed report written by Individual study groups are not permanent fixtures of Pinon (1965) on their activities and plans, particularly the Council. Some are established, serve their purpose, the indexing of European ballads that appear in at least and then are discontinued by recommendation of the two different linguistic areas. The Board reappointed members themselves or by the Board when it observes the study group for another two years (EB minutes, long periods of inactivity; and some study groups are 31st meeting, 16–17 Aug 1964:§§389b, 399; 32nd established, but never quite get going, and are subse-meeting, 25 Aug 1964:§418; Anonymous 1965:4). quently discontinued. This section primarily overviews A year later, the Board noted that D. K. Wilgus (USA) study groups that have been discontinued, but begins had been co-opted, and that a plan had been developed with a former committee that resulted in three study by Pinon to compile a type index of European ballad groups, one of which still exists. texts, but little was accomplished. Dal had to resign as chair because of other work, but would remain in the COMMITTEE FOR COMPARATIVE AND HISTORICAL ETHNOMUSICOLOGY, AND ITS STUDY GROUPS group. Karpeles hoped a chair could be found who had a (1965–1968) supportive organization. There were only four members of the study group, and their work was encouraged by In 1964, the Board considered a letter from Walter research centres in Germany, Sweden, and the USA. Wiora (Federal Republic of Germany) suggesting the Barbara Krader, executive secretary, was asked to write formation of a “Study Group for comparative and histo them, asking what they had done and their plans torical ethnomusicology.” The Board agreed and asked for the future (EB minutes, 33rd meeting, 14–17 Jul Board member Erich Stockmann to be secretary of a 1965:§439a; Pinon 1965). committee with Wiora, as chair, and Rhodes to explore By the following year, the attitude towards the study this matter and report to the Board (EB minutes, 32nd group had changed significantly. Krader reported meeting, 25 Aug 1964:§413). Stockmann was already individual members of the group had been invited to chair of the Study Group on Folk Musical Instruments. meet at Freiburg im Breisgau20 in autumn 1966, but At the next Board meeting a year later, Stockmann pro-without consulting the Council. It was also suggested posed the formation of a “committee or study group” that the group become a committee of the International on comparative and historical ethnomusicology, with Society for Ethnology and Folklore (SIEF), which had three subgroups. After discussion, the Board agreed to been established in September 1964 and grew out of the following subgroups and members (EB minutes, the earlier Commission des arts et traditions populaires 33rd meeting, 14–17 Jul 1965:§439c): (CIAP), an organization of considerable importance 1. historical research on African music, with Paul to the early days of IFMC. The Board agreed that “the Collaer (Belgium), Klaus Wachsmann (UK), J. H. Kwabena Nketia (Ghana), Gilbert Rouget (France), and Walter Wiora (Federal Republic of 19 The name of this group varies in the documents available, but Germany) this seems the most correct and complete. 20 The home of the Deutsches Volksliedarchiv, Wolfgang Suppan’s institution; however, it is not clear what this meeting was or 21 Owing to the unavailability of Board minutes from 1967, I am whether Suppan was involved. unable to give more details of this dissolution. ICTM Study Groups: Origins and Issues 219 2. publication of the oldest written evidence and (30, Apr 1967:6) gives a brief history of the “Committee reports on European folk music from earliest times on22 Comparative and Historical Ethnomusicology” up to sixteenth century, with Benjamin Rajeczky and its three “sub-groups” (not called study groups): (Hungary), Wolfgang Suppan (Austria), and Roger Pinon (Belgium) 1. Historical Research on African Music 3. cataloguing and systematization of folk melodies, 2. Research into Historical Sources (European Folk with Karel Vetterl (Czechoslovakia), Pál Járdányi Music) (Hungary), and Jan Stęszewski (Poland); planning 3. The Systematization of Folk Songs meeting in September. In the next BIFMC (31, Nov 1967:12–13), the three sub- The Board recommended the establishment of this groups of this committee are again called study groups: “study group” for a year, and that members should meet at the 1966 conference in Ghana to take stock. 1. Study Group on Historical Research in African Stockmann is thanked for his efforts (EB minutes, Music (Nketia, chair): met recently in Berlin; will collect material for publication on problems in the 33rd meeting, 14–17 Jul 1965:§439c). The minutes field include this discussion under the section for study 2. Study Group on Research into Historical Sources groups (§439), but the subsection lists the name of the (Rajeczky, chair): first meeting to be held in entity as Committee for Comparative and Historical Freiburg im Breisgau, 13–18 November 1967 Ethnomusicology (§439c). Again, terminological fluid- 3. Study Group on Systematization of Folk Songs ity is apparent; but there were three subdivisions under (Vetterl, chair): second meeting held in Vienna, this committee/study group. 21–26 November 1966; next in Radziejowice, Poland, 24–28 October 1967; followed by Study Groups on Historical Research in African Music Stockholm (1965–1968), Research into Historical Sources (1965–), and Nevertheless, at the next Board meeting, the Board Systematization of Folk Songs (1965–2005) received reports from the groups on historical sources and on systematization; they were both extended for A year later, the minutes again have a division called another three years. But as there was no evidence that Study Groups, under which the Committee for the group on African music had been active, it was Historical and Comparative Ethnomusicology is listed. discontinued. Furthermore, at Stockmann’s request, Now, however, under the committee are listed three the Committee on Comparative and Historical study groups (using the ordering above): Ethnomusicology itself was discontinued (EB minutes, 1. Study Group on the History of African Music: 38th–39th meetings, 1–3 Aug 1968:§501). Board proposes Nketia serve as chair, with Collaer, Rouget, and Wachsmann as other members. The remaining study groups had essentially become The present chair, Collaer, was to be thanked for independent of any committee. For further information chairing during the first year, but explained that on group no. 2, see the chapter on the ICTM Study Nketia was appointed because he was at an African Group on Historical Sources, and articles by Suppan university; (1991) and Ziegler (2010); for more on group no. 3, see 2. Study Group on Historical Sources: first meeting the chapter on the ICTM Study Group on Analysis and to be held in 1967; Systematization of Folk Music and Other Early Study 3. Study Group on Classification of Folk Songs: met Groups, and articles by Elschek (1976) and Elschek and in 1965, and those papers to be published in 1967; Mikušová (1991). next meeting in November 1966. After Stockmann’s report, the Board agreed that the STUDY GROUP ON COMPUTER AIDED RESEARCH three study groups should continue, and Stockmann (1987–2010) be chair of the committee overseeing them for another See the chapter on this study group in the present year. Wachsmann recommended that “comparative” be volume. dropped from the name of the committee (EB min- utes, 34th meeting, 25–26, and 30 Jul 1966:§462c). Elsewhere in the same minutes, reference is made to the “Sub-Committee for Historical Research on African Music,” and that they had taken no action since a meeting in Berlin (ibid.:§452c). It was hoped that the full committee would meet at the 1967 conference in 22 In the Bulletin s, “on” is used in the name of the committee, while “for” is used in Board minutes. It is not known whether Ostend ( BIFMC 29, Nov 1966:[v]). the Board changed the name of the committee or this is a typo. Similar variation is found in the name of some of the sub- Despite Wachsmann’s plea to remove “comparative,” an groups, e.g., that concerning African music is sometimes listed overview of “Committees and Study Groups” in BIFMC as Historical Research on African Music, sometimes in African Music; hence, the variation in my overview above. 220 Don Niles STUDY GROUP ON EAST ASIAN HISTORICAL SOURCES agreed to check on the study group’s meeting during (2006–2013) the conference and discuss its possible merger with At its 99th meeting in Ljubljana, the Executive Board another group (EB minutes, 109th meeting, 9–10 Jul approved the new Study Group on Musics of East Asia 2013:§5727–5728). Only four people were reported (EB minutes, 99th meeting, 22–23 Sep 2006:§4982). to be at the study-group meeting; the Board asked Allan Marett (Australia) then reported that a number of the secretary general to write to the chair, stating that scholars at the 2004 world conference expressed inter-they had decided to close the study group and recom- est in forming a Study Group on East Asian Musical mended that its members join as a subgroup the Study Sources. Zhao Weiping (China) had hosted an interGroup on Musics of East Asia or Historical Sources of national symposium in Shanghai, 3–6 November Traditional Music (EB minutes, 110th meeting, 18 Jul 2005, at which such a study group was proposed, and 2013:§5837–5839). Marett was elected interim chair. The Board asked if it The Study Group on East Asian Historical Sources was could be a subgroup of another study group, such as last listed in BICTM 122 (Apr 2013:95). The follow-that for Musics of East Asian or for Historical Sources, ing year, Secretary General Svanibor Pettan reported but Marett stressed that they needed to establish them-that “the former Study Group on East Asian Historical selves separately before joining another group as a Musical Sources will continue its activities as a Sub-minority subgroup. The Board approved its formation study Group within the larger Study Group on Musics (ibid.:§4983).23 of East Asia” ( BICTM 124, Jan 2014:4). This move was In BICTM 110 (Apr 2007), the new group is noted in later confirmed to the Board (EB minutes, 111th meet-the secretary general’s report (p. 4) and listed for the ing, 4–7 Jul 2014:§6003). first time with all the other study groups on the inside front cover; Marett is listed as chair. The group is noted as being “active” at the following Board meeting (EB Study groups that were never minutes, 101st meeting, 11 Jul 2007:§5074), and its established formation was noted in the following BICTM (111, Oct 2007:6). But in the secretary general’s report to the Those interested in certain topics occasionally bring Board, Wild notes that the status of the study group ideas to the Executive Board for study groups, but “is yet to be fully resolved and we will discuss that they never quite coalescedas intended. Some are even under the agenda item on Study Groups” (EB minutes, established in principle, but then final requirements are 102nd meeting, 16–17 Feb 2008:§5086). That subse-never fully met. quent discussion, if it did take place, was not included Examples of potential topics for study groups include in the minutes. the following, listed according to years they are men- The group continued to be listed in the Bulletin, but tioned in Board minutes: with no other reports of its activities there or in Board 1970: history of forms of popular music (EB min- minutes. Zhao Weiping replaced Marett as chair on utes, 42nd meeting, 2–4 Sep 1970:§658) the inside front cover of BICTM 118 (Apr 2011). The 1971: terminology of folk music (EB minutes, 44th Board expected that there might be some activity from meeting, 4 Sep 1971:§689) the group at the 2013 Shanghai conference (EB min- 1975–1976: European art and folk song (EB min- utes, 107th meeting, 20 Jul 2011:§5354), but a year utes, 50th meeting, 22 Aug 1975:§797; 51st meeting, later the Board suggested that the Secretariat write to 23 Aug 1976:§806*) the chair to ask about its plans; if this proved to be 1983: lullabies and work songs, particularly focussed unsuccessful, the Board was to consider closing it (EB on Southeast Asia (EB minutes, 61st meeting, 7–8 minutes, 108th meeting, 27–28 Jun 2012:§5589). Aug 1983:§§1040, 1080) A few months later, Zhao presented the study group’s 1990–1993: children’s folklore in music and epic 2011 report in the BICTM (119, Oct 2012:50–51). traditions (EB minutes, 72nd meeting, 3–6 Jun 1990:§1612; 75th meeting, 10–13 Jun 1992:§1802; He wrote of possible collaborations at a 2013 confer- 76th meeting, 14–15 Jun 1993:§1896) ence in Japan, publications by himself and Terauchi Naoko, and materials donated by Marett to a research 1997–1999: archiving (EB minutes, 83rd meet- ing, 1 Jul 1997:§2400; 85th meeting, 17–18 Aug centre in Shanghai. 1999:§3004) Yet this apparently did little to assuage the Board’s con- 1999–2004: Eastern and Southern Africa (EB cerns. Before the Shanghai world conference, the Board minutes, 86th meeting, 25 Aug 1999:§3049; 89th 23 Additional information incorporated above is from: https:// www.ictmusic.org/group/99/post/background. ICTM Study Groups: Origins and Issues 221 meeting, 3 Jul 2001:§3286; 94th meeting, 3–11 Jan recommend this at the upcoming conference in Oslo 2004:§3909n)24 in 1979 (EB minutes, 52nd meeting, 11–12 Aug But some are discussed for longer periods of time or 1977:§835; BIFMC 51, Nov 1977:13, 20). Vikár sub-seemed to have more potential before being dropped. sequently expressed disappointment over the slow prog-Two of these are discussed here. ress in establishing this study group, but the Board sug- gested that they start by organizing a conference, from PROPOSED STUDY GROUP ON FOLK MUSIC IN which the group could emerge (EB minutes, 54th meet- EDUCATION (1974–1997) ing, 18–21 Aug 1978:§863). At the 1973 conference in Bayonne, a number of mem- The 1979 conference had six presentations on the topic, bers requested formal recognition of a Study Group or spread over two sessions, and one of Vikár’s presenta-Committee on Folk Music in Education to function tions explicitly concerned plans for the study group along the lines of the Radio and Television Committee. ( BIFMC 54, Apr 1979:9). Yet, the discussions during They felt the Council was uninterested in the subject the conference were apparently ambiguous, with only and elected Michael Cass-Beggs (president, Canadian a small number of people enthusiastic about the for-Folk Music Society) as chair to pursue this with the mation of a study group; hence, Vikár said it was best Executive Board. The Board noted that the subject had not to recognize it at this time (EB minutes, 56th meet-certainly not been neglected; rather it had been stressed ing, 3 Aug 1979:§909). The BIFMC (55, Oct 1979:23) in the Council from the very beginning. While the announced that the study group was “set aside” for Board did not wish to formally establish such a group the time being and is not mentioned further in the at present, it encouraged them to participate in discus-Bulletin. In the following year, the Board agreed that sions at the 1975 conference in Regensburg (EB min- such a study group would probably better be a matter utes, 48th meeting, 26–28 Aug 1974:§753; BIFMC 43, for ISME, than IFMC (EB minutes, 57th meeting, 1–4 Oct 1973:11; 45, Oct 1974:15–17). Jul 1980:§921). At the 1975 conference, a special meeting on folk music Yet concern over the absence of a study group was in education was scheduled in the morning, followed by not permanently stifled by any means. Between 1993 a roundtable in the afternoon ( BIFMC 46, Apr 1975:3, and 1997, the desirability of a study group concern-9; 48, Apr 1976:4). Yet, the Board was already discuss- ing music education and, now, traditional music was ing the possibility of linking up with other international raised often (e.g., EB minutes, 76th meeting, 14–15 organizations on this topic (EB minutes, 49th meeting, Jun 1993:§1896; 79th meeting, 3–4 Jan 1995:§2141; 12–13 Aug 1975:§773). 81st meeting, 12–14 Jun 1996:§2236; 82nd meeting, 23–24 Jun 1997:§2320). Nevertheless, it would not be During the Board meetings in 1976, there were different until 2017 that the Study Group on Music, Education ideas on how to proceed in relation to this group. John and Social Inclusiveness would be approved. Blacking (UK) proposed that Laszlo Vikár (Hungary) be asked to be chair, but Ernst Klusen (Germany) was PROPOSED STUDY GROUP ON INTERRELATIONS installed instead. However, this resulted in dissatisfac- BETWEEN ARCHAIC RITUAL AND FOLK MUSIC tion amongst members whose interest was primary (1975–1979) education, because Klusen’s focus was secondary edu- cation. The Board suggested that Vikár and Klusen ICTM Vice President Walter Wiora (Federal Republic should work things out and inform the Board. But of Germany) chaired a special interdisciplinary session at Karpeles suggested that there should be consultation the 1975 conference in Regensburg: “Musik und Lied im with the International Society for Music Education Volkston als gemeinsames Thema der Musikgeschichte (ISME), while others thought it was time to establish und Volksmusikforschung” (Music and song in such a study group (EB minutes, 50th meeting, 22 Aug folk style as a common theme in music history and 1976:§§789, 803; 51st meeting, 23 Aug 1976:§806). folk-music research) ( BIFMC 47, Oct 1975:16). At the post-conference Board meeting, he presented a resolu- Vikár informed the Board that he preferred that the tion from that session that proposed the establishment study group not be recognized yet; rather, he would of two new study groups on: (a) “interrelations between archaic ritual and folk music,” with Edith Gerson-Kiwi 24 Between 2013 and 2015, there was discussion about establish- (Israel) and Benjamin Rajeczky (Hungary) as chairs; (b) ing a study group on Indigenous and post-colonial music and dance (e.g., EB minutes, 110th meeting, 18 Jul 2013:§5840; “European art song and folk song,” to be prepared by 111th meeting, 4–7 Jul 2014:§§6009–6101; 112th meeting, Kurt Gudewill, Heinrich W. Schwab, and W. Steinbech 14–15 Jul 2015: §§6170–6171). Interest in such a group was (all from the Federal Republic of Germany). The Board rekindled a few years later, and at the end of 2020, the Study- “approved in principle” their establishment (EB min- Group-in-the-Making for Music and Dance in Indigenous and Postcolonial Contexts held a scholarly conference in Taiwan utes, 50th meeting, 22 Aug 1975:§797). which will lead to its formal recognition. 222 Don Niles The Board was informed the following year that both Subsequent changes specify that study groups “exam-Gerson-Kiwi and Rajeczky felt the 1977 International ine particular aspects of folk music” ( BIFMC 55, Oct Musicological Society (IMS) Congress in Berkeley 1979:17, §3c). By the revisions proposed in 2002, would be an opportunity to meet with other scholars ICTM President Krister Malm wrote that to gauge the practicality of such a study group, and Study Groups and Colloquia are recognized in the Wiora made a similar observation regarding the group proposed rules. The Study Group is a very important on European art song and folk song25 (EB minutes, organizational category within the ICTM. There have 51st meeting, 23 Aug 1976:§806). Despite this hesi- been many questions from members about how to get tancy, later in the meeting the Study Group on Archaic Study Groups established, how they are run etc. These Ritual and Folk Music was formally accepted by the matters will hopefully be clarified by writing the Study Groups into the rules and by working out a memoran- Board, with Gerson-Kiwi and Rajeczky as co-chairs dum on Study Groups. ( BICTM 101, Oct 2002:13) (ibid.:§822). This approval was noted in the Bulletin a few months later ( BIFMC 49, Oct 1976:13). This group Consequently, the proposed changes provide details of is not mentioned again in the Bulletin; the approval how a study group is established, plans for the Board seems to have been premature. to create a relevant memorandum, the responsibility of the study group for managing their own internal The following year, minutes refer to the study group as affairs, etc. These changes were approved and came being “in process of formation,” and that Gerson-Kiwi into effect in 2004 ( BICTM 105, Oct 2004:4). Further had suggested a possible joint IFMC/IMS study group details on the establishment and workings of study be formed (EB minutes, 52nd meeting, 11–12 Aug groups were provided by the “Memorandum on ICTM 1977:§835). Nevertheless, in 1978, little or no prog- Study Groups,” first prepared in August 2005 and ress had been made towards the formation of the study revised numerous times subsequently. Most recently, group, despite efforts at the IMS meeting. Wolfgang the ICTM Statutes give the most detailed discussion Suppan (Austria) tried to organize a conference on the of study groups and their activities (e.g., §§6, 10.2) in subject in Graz (EB minutes, 54th meeting, 18–21 Aug any Council by-laws. These were ratified by the mem-1978:§863). bership by the end of 2017. In 1979, Gerson-Kiwi said there was now interest in Nevertheless, much about study groups remains open, forming such a study group under both IFMC and IMS, so that each group can meet and organize themselves with herself and Rajeczky. While Stockmann welcomed as they feel appropriate. The Statues and memorandum cooperation between the organizations, the study group exist to guide them—after all they are part of ICTM— should be an IFMC organization; he also requested clar- but also allow them considerable freedoms in relation ification on the Council’s policy toward study groups to their organization, executive positions, frequency of (EB minutes, 56th meeting, 3 Aug 1979:§906).26 I can symposia or elections, publications, etc. Consequently, find no further mention of this group in any source. some study groups have constitutions or by-laws, while some have none. Some study groups have sub-study groups, but most do not. Some groups have sympo- Governance of study groups sia regularly, while others would love to, but cannot. Names of study groups change as the need arises, and STUDY GROUPS IN COUNCIL BY-LAWS sometimes the momentum driving the maintenance of a study group will dwindle, and the Board will discon- The 1971 IFMC Rules reference study groups in tinue it. IFMC functions: 3b. the publication of a journal, a bulletin of informa- STUDY GROUP COORDINATOR tion and other books and pamphlets on folk music: the formation of study groups to examine particular aspects In 1979, President Poul Rovsing told the Board that of folk music. ( BIFMC 39, Oct 1971:15) he had asked Erich Stockmann to act as a liaison between the study groups and to represent them to the And as a function of the Board: Board (EB minutes, 55th meeting, 27 Jul 1979:§888). 11i. The Executive Board may appoint such commit- Stockmann was an obvious choice: he was chair of tees and study groups as may be desirable. (ibid.:18)27 one of the first study groups in 1962 and had been a member of the Board since 1964. He successfully 25 This group is not mentioned further. 26 The group is misidentified as the “Study Group on Music in Asian Regions” in the 1979 minutes, but subsequently cor- Committees and Commissions as may be desirable” ( BIFMC rected (EB minutes, 57th meeting, 1–4 Jul 1980:§916). 30, Apr 1967:5), but I cannot locate this in the Rules pub- 27 Of relevance also is an apparently earlier passage from some lished in earlier Bulletin s. The next Bulletin also observes that Rules or other official document predating those from 1971: “Study Groups on specific subjects will be set up as occasion the Board has the responsibility and right to appoint “such may arise” ( BIFMC 31, Nov 1967:12). ICTM Study Groups: Origins and Issues 223 chaired the Committee for Comparative and Historical Conclusions Ethnomusicology (1965–1968), which led to the estab- lishment of three study groups. Hence, Stockmann was Although the following statement by Stockmann was intimately involved with many aspects of study groups. written with only the first study groups from 1962 in At the time of Rovsing Olsen’s statement, there were mind, they ring very true today: four study groups in existence. Stockmann would con-With the establishment of these study groups, the tinue to serve as what would be called Coordinator basis was created within the IFMC for the continuous for Study Groups, even while president (1982–1997), international cooperation of specialists in realization of during which time the number of groups grew to thir- concrete projects and the solution of specific problems. (Stockmann 1985:4; see also, Stockmann 1983:9–10) teen. After Stockmann’s retirement, the Board sug- gested asking Tilman Seebass to take on this role (EB Today study groups are an essential part of Council minutes, 85th meeting, 22–24 Jun 1998:§2434). At activities, still enabling the ongoing collaboration of the time, Seebass was chair of the Study Group on scholars to focus on particular subjects outside of world Iconography. His acceptance, along with his establish-conferences. There is no question that they are the life- ment of a much-expanded webpage for study groups, blood of the Council. was announced in the BICTM (94, Apr 1999:22). But in 2005, following Seebass’s recommendations based on the changing nature of his task (EB minutes, 97th meet- References cited ing, 2 Aug 2005:§§4905–4908), the Board decided to Collaer, Paul. 1952. “Importance des musiques ethniques dans la abolish the position of coordinator (EB minutes, 98th culture musicale contemporaire.” JIFMC 4: 56–59. meeting, 10 Aug 2005:§4948). Dunin, Elsie Ivancich. 2014. “Emergence of Ethnochoreology Internationally: The Janković Sisters, Maud Karpeles, and Perhaps one of Seebass’s most lasting contributions to Gertrude Kurath.” Muzikologija / Musicology (Institute of study groups was a meeting during world conferences Musicology of the Serbian Academy of Sciences and Arts, Beograd) 17: 197–217. for study-group chairs. He chaired the first such “special Elschek, Oskár. 1976. “Zum Gegenwärtigen Stand der meeting” at the 1999 world conference in Hiroshima Volksliedanalyse und Volksliedklassifikation: Ein ( BICTM 94, Apr 1999:4).28 Another was held during Forschungsbericht der Study Group for Analysis and the 2005 conference in Sheffield ( BICTM 106, Apr Systematization of Folk Music der I.F.M.C.” YIFMC 8: 21–34. 2005:31). Such meetings seem to have been forgotten Elschek, Oskár, and Lýdia Mikušová. 1991. “Publications, Studies when the Board decided to make meetings of chairs and Activities of the ICTM Study Group on Analysis and a regular occurrence (EB minutes, 110th meeting, 18 Systematisation of Folk Music.” YTM 23: 181–189. Giurchescu, Anca. 2005. “History of the ICTM Study Group Jul 2013:§5823), but chaired by the president, a vice on Ethnochoreology.” In Dance and Society: Dancer as a president, or the secretary general. Secretary General Cultural Performer, edited by Elsie Ivancich Dunin, Anne von Svanibor Pettan subsequently announced that in 2015: Bibra Wharton, and László Felföldi, 252–262. Bibliotheca Traditionis Europae. Budapest: Académia Kiadó, European the Astana World Conference will feature the first Folk Institute. Assembly of Study Group Representatives. This ———. 2007. “A Historical Perspective on the Analysis of Dance meeting, comparable to the existing Assembly of Structure in the International Folk Music Council (IFMC) National/Regional Representatives, is expected to bring / International Council for Traditional Music (ICTM).” closer together our twenty Study Groups, enable their In Dance Structures: Perspectives on the Analysis of Human representatives to share their positive and negative Movement, edited by Adrienne L. Kaeppler and Elsie Ivancich Dunin, 3–18. Budapest: Akadémiai Kiadó. experiences, propose changes, and plan joint activities” ———. 2014. “A Short History of the ICTM Study Group on ( BICTM 128, Apr 2015:3) Ethnochoreology.” In Dance, Place, Festival: 27th Symposium Although open to those besides chairs to increase par- of the International Council for Traditional Music (ICTM) Study Group on Ethnochoreology 2012, edited by Elsie Ivancich ticipation, the idea certainly owes much to Seebass. Dunin and Catherine E. Foley, 297–306. Limerick: ICTM Following the election of Salwa El-Shawan Castelo- Study Group on Ethnochoreology and the Irish World Academy of Music and Dance, University of Limerick. Branco as president and replacing the idea of a study- Hoerburger, Felix. 1962. “Proposals for the Work of the IFMC group coordinator, the Board established a number Dance Commission.” JIFMC 14: 161–162. of Executive Board Committees, including one for ———. 1965. “The Seventeenth Annual Conference Held in Budapest: Folk Dance Survey.” JIFMC 17, pt. 1: 7–8. study groups (EB minutes, 110th meeting, 18 Jul IFMC Study Group for Folk Dance Terminology. 1974. 2013:§§5888, 5904). “Foundations for the Analysis of the Structure and Form of Folk Dance: A Syllabus.” YIFMC 6: 115–135. Translated by William C. Reynolds. Karpeles, Maud. 1972. “Jottings from the Early Years.” BIFMC 41 (October): 27–33. 28 Indeed, many years earlier, Karpeles had expressed the wish ———. [1976]. “Autobiography.” 284 pp. English Folk Dance that the Council must continue to have meetings every year and Song Society, Vaughan Williams Memorial Library, “at which the study groups, the Radio Committee, and others Maud Karpeles Manuscript Collection, MK/7/185. Accessible could come together … to keep up the interest of members” online: http://www.vwml.org/record/MK/7/185. (AC minutes, 14th meeting, 23 Sep 1965:§131c). 224 Don Niles Michel, Andreas. 1991. “Publications and Activities of the ICTM Study Group on Folk Musical Instruments.” YTM 23: 172–181. Pakenham, Simona. 2011. Singing and Dancing Wherever She Goes: A Life of Maud Karpeles. London: English Folk Dance and Song Society. Pettan, Svanibor. 2014. “International Council for Traditional Music (ICTM) and the Slavic-speaking World.” Pax sonoris 8: 97–103. Pinon, Roger. 1965. “The Seventeenth Annual Conference Held in Budapest: Groupe de Travail pour l’Étude textuelle des chansons.” JIFMC 17, pt. 1: 9–10. Stockmann, Erich. 1976. “The Study Group on Folk Musical Instruments: Its Achievements in Fifteen Years of Activity.” YIFMC 8: 13–20. Translated by Barbara Krader. ———. 1983. “Zoltán Kodály und der International Folk Music Council.” Studia Musicologica Academiae Scientiarum Hungaricae 25, fasc. 1/4: 5–13. ———. 1985. “Zoltán Kodály and the International Folk Music Council.” YTM 17: 1–7. Suppan, Wolfgang. 1991. “Publications and Activities of the ICTM Study Group on Historical Sources of Folk Music 1967–1988.” YTM 23: 189–194. Wild, Stephen. 2010. “Preface.” In Applied EthnomusicoIogy: Historical and Contemporary Approaches, edited by Klisala Harrison, Elizabeth Mackinlay, and Svanibor Pettan, ix–x. Newcastle upon Tyne: Oxford Scholar’s Publishing. Yurchenco, Henrietta. 1962. “Fifteenth Conference of the International Folk Music Council.” The World of Music 4/5 (October): 99. Ziegler, Susanne. 2010. “Historical Sources in the History of Ethnomusicology—a Critical Review.” In Historical Sources and Source Criticism: Proceedings from the 17th International Conference in Stockholm, Sweden May 21–25, 2008, edited by Doris Stockmann and Susanne Ziegler, 15–30. Skrifter utgivna av Svenkst visarkiv, 29. Stockholm: Svenskt Visarkiv. Current ICTM Study Group on African Musics Patricia Opondo Mission statement and organization of EXECUTIVE COMMITTEE, 2011–2015 the study group The founding members of the executive committee According to its mission statement, in 2011–2015 were: Patricia Opondo (chair), Robert Chanunkah (vice chair), Alvin Petersen (secretary), The key function of the African Musics Study Group Rose Omollo Ongati, and Marie Agatha Ozah. (AMSG) is to research, promote, preserve, dissem- inate, and protect African musics and dance in all The initial four years presented a steep learning curve their aspects, functions and geographical locations, in for the study group; there was so much to do and not Africa and in the diaspora. (http://ictmusic.org/group/ enough resources, sub-committee structures, and poor african-musics) communication especially with executive-committee members being in countries with erratic internet con- nections, and some even with frequent power inter- Historical developments of the study ruptions, thus even email communication proved to be group and its leadership unsatisfactory. This meant that any meaningful meet- ings could only take place every two years at world con- In July 2009, the University of KwaZulu-Natal, ferences and, even then, it wasn’t guaranteed, as some Durban, South Africa hosted the 40th ICTM World members couldn’t afford international travel. Another Conference. The ICTM Executive Board encouraged problem that stood in our way was that no institution Patricia Opondo who was then serving her final term on came forward with an offer to host our first symposium. the Board, to use the occasion to hold a meeting with Once again, we faced challenges in fundraising or lack researchers of African musics, in view of establishing of institutional support in various home institutions or a Study Group on African Musics. She asked an elder even having no strong local committee structure with and the longest serving ICTM African member present, committed individuals who could come together to Mwesa Mapoma, ICTM Liaison Officer for Zambia, to volunteer to serve on a local arrangements committee. chair the meeting. The interim leadership nominated Therefore, in 2015 Patricia Opondo, who was serving were Patricia Opondo (chair), Robert Chanunkah (vice the final year of her term as chair, thought that an inno-chair), Mandy Carver (treasurer), Alvin Petersen (sec- vative way around this was to link a study-group sym- retary), Rose Omolo-Ongati, and Marie Agatha Ozah, posium with an annual festival already in place at her in an attempt to have a continent-wide representation. home institution (University of KwaZulu-Natal) and At the 41st World Conference in St. John’s, under her direction. Newfoundland, Canada, in 2011, the Executive From 29 September to 4 October 2015, the University Committee had several meetings to prepare all the docu-of KwaZulu-Natal African Music Project hosted the ments required including a draft constitution compiled study group’s inaugural symposium, which dovetailed under the leadership of Vice Chair Robert Chanunkah. with the tenth anniversary celebrations of the African The members present at the business meeting endorsed Cultural Calabash, a folklife event held on the campus. the documents tabled by the committee, and we for- mally requested the ICTM Executive Board to recog- The year 2015 saw remarkable growth for the ICTM Study Group on African Musics. The ICTM Secretariat nize the ICTM Study Group on African Musics. The conducted successful online elections for the new Board approved the study group at its meeting on 20 Executive Committee (EXCO); at the Business Meeting July 2011.1 However, in conformity with the naming of all other study 1 It was recognized as the African Musics Study Group, and groups, its name was changed to the Study Group on African hence its acronym, AMSG, which one can still encounter. Musics (SGAM). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 227–233. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 228 Patricia Opondo in Astana we were able to finalize changes to the draft There were delegates from music departments of all the constitution, and we proudly have a constitution in major South Africa universities—University of Cape place. The Treasurer vacancy was finally filled and a Town, University of Witswatersrand, University of Publications Coordinator post established. (Opondo 2016:30) Pretoria, Northwest University, University of KwaZulu- Natal—all of which include teaching and research in NEW OFFICIALS African music and ethnomusicology. The symposium also attracted artists and researchers from Botswana, Following the online elections in June 2015, the follow- Cape Verde, Ghana, Kenya, Mozambique, Nigeria, ing were elected into office: Patricia Opondo (chair), Sierra Leone, South Africa, Uganda, Zimbabwe, and Amanda Villepastour (vice chair), and George Worlasi from outside of Africa: Germany, Hungary, Portugal, Kwasi Dor (secretary). Turkey, and the USA. Then, during the study-group’s business meeting in The celebrations of the African Cultural Calabash Astana in July 2015, the following were elected to the Festival marked the tenth anniversary of this annual following positions, thereby completing the executive folklife event, curated and produced by the Applied committee that served the Study Group on African Ethnomusicology section in the School of Arts – African Musics from July 2015 to June 2019: Elina Seye (pub-Music and Dance (AMD) division: lications coordinator), Sylvia Bruinders (treasurer), and This pan-African show came at the backdrop of xeno- Alvin Petersen (website administrator). phobic disturbances, and provided a renewed apprecia- The executive committee for the period 2019–2023 tion of pan-African unity in diversity by featuring art- consists of Sylvie Le Bomin (chair), Patricia Opondo ists such as Tomeletsi Sereetsi (Botswana), ZviriMudeze (Zimbabwe), Jembeken (Mozambique/South Africa/ (vice chair), Ana Flávia Miguel (secretary), Cara Stacey USA), Zippy Okoth (Kenya), Ngalanga Ensemble (webmaster), and Susanne Fürniss (publications). (Mozambique/South Africa), and Praise Zinhuku (Zimbabwe). South Africa was represented by Madosini, the grande Study-group activities dame of Xhosa Umrube and Uhadi bows, and by other South African bow researcher-performers such as Dave Dargie, and Cara Stacey. UKZN’s [University SYMPOSIA of KwaZulu-Natal’s] own Bro. Clement Sithole performed on an old Zulu indigenous instrument, The inaugural symposium in Durban, South Africa, in the umakhweyana gourd-resonated bow, and UKZN 2015, which brought together close to a hundred aca- postgraduate student Nozuko Nguqu proved to be a demics, artists, and documentary filmmakers with an Maskandi star in her own right. We bestowed a Lifetime interest in Africa and the diaspora, had three themes: Achievement Award to UKZN’s umakhweyana bow teacher, Bro. Clement Sithole in recognition of his African bows, fiddles, harps, guitars; Packaging herit- contributions in preserving this instrument which age; African diasporic cultures. The keynote speaker was he learnt at the feet of [the late] Princess Constance J. H. Kwabena Nketia, and the special guest speaker Magogo, the mother of Honorable Mangosuthu was Dave Dargie. J. H. Kwabena Nketia, Ghanaian Buthelezi. (Opondo 2016:31)2 ethnomusicologist and composer, is considered Africa’s The second symposium (figure 1) featured the theme premier musicologist. He left an amazing legacy, span- “African music scholarship in the twenty-first cen- ning decades, and was one of the most published and tury: Challenges and directions” and was hosted by best-known authorities in the world on African music the Department of Music, School of Performing Arts, and aesthetics. Dave Dargie, a prolific senior researcher University of Ghana, Legon, 9–12 August 2018. The of African bows, mainly of the Xhosa in South Africa, programme committee included Daniel Avorgbedor presented a paper that opened the symposium and (chair), George Dor, Sylvie LeBomin, Birgitta Johnson, addressed one of the key themes. and Patricia Opondo. The symposium was held over three days. The pro- The Local Arrangements Committee, formed by gramme committee included Patricia Opondo (chair), Adwoa Arhine, Hilarius Wuaku, Eric Sunu Doe, and Eduardo Lichuge, Ana Flávia Miguel, Rose Ongati, Michael Ohene-Okantah Jr, and chaired by the head Marie Agatha Ozah, and Jorge Ribeiro. The local of the Department of Music, Joshua Amuah, did an outstanding job in hosting the symposium, especially arrangements committee included Patricia Opondo in providing a fine selection of local musics and dance, (chair), Thabile Buthelezi, Jose Alberto Chemane, and hosting two workshops. The Abibigromma Theatre Innocent Mutero, Nhlakanipho Ngcobo, Nozuko Company, directed by Hilarius Wuaku, gave a rousing Nguqu, Lindani Phumlomo, Lebogang Sejamoholo, welcome as delegates entered the Institute of African and Thulile Zama. 2 For further information, visit http://culturalcalabash.ukzn. ac.za/. ICTM Study Group on African Musics 229 Figure 1. 2nd ICTM SGAM Symposium hosted by the University of Ghana. Legon, 9-12 August 2018 (photo courtesy of the University of Ghana). Studies. Osei Kwame Korankye then gave a memora- • Interdisciplinarity and African music historiogra- ble performance on the seperewa harp. The first evening phies in critical perspective concert featured the Ghana Dance Ensemble, directed by Moses Nii Dortey, and the closing was a wonderful • New analytical approaches to contemporary performance by the Legon Palm Wine Band, directed African art music traditions. by Eric Sunu Doe. There was the generous sharing of The proceedings were officially opened by Kofi palm wine and all present had a taste of the local brew Agyekum, acting dean of the School of Performing as the band got the audience to their feet until late into the night. The Lapaz Community Youth Choir, Arts. V. Kofi Agawu (Hughes-Rogers Professor of Music directed by Ben Amakye-Boateng, and the Department at Princeton University) delivered the keynote address, of Music’s Pop Ensemble, directed by Kofi Kodonu “Appropriate theory.” Agawu encouraged us to reflect Labayile, performed at the closing concert on the last upon what kind of theory is applicable for Africa, and night. (Opondo 2018:26) outlined “the importance of three related scholarly/cre- The symposium attracted broad interest and the four ative practices: contrapuntal reading, transcription, and days included presentations by 70–80 speakers, 22 pan-the composition of art music.” He concluded that “an els, two key concert nights, two workshops, a round- appropriate theory is not a single theory, nor does it fol- table discussion on copyright and publishing, as well low conventional standards of coherence, rather, it seeks as a special presentation by RILM. Speakers presented advantage for Africa and African people” (Opondo research from nineteen African countries: Benin, 2018:25). Cape Verde, Côte d’Ivoire, Ethiopia, Ghana, Guinea, The symposium attracted four generations of Africanist Kenya, Malawi, Mali, Morocco, Mozambique, Nigeria, scholars from the world over. Highlights included a Seychelles, Sierra Leone, South Africa, Swaziland, memorial session for Bernard Woma, which paid spe- Tanzania, Togo, and Zimbabwe. It was exciting to wit- cial tribute to his worldwide contribution and included a performance by students whom Woma taught in ness the growth and ICTM presence in more African China. Significant in this session was the paper by countries, as well as engage with speakers who focus Zhang Boyu “Musicking the Soul,” titled after a book on African diasporic collaborations and exchanges in Zhang had recently published and dedicated to the Brazil, Colombia, Cuba, Ecuador, Finland, Guyana, memory of Kimasi Browne, who died in January 2017 Peru, Portugal, Puerto Rico, and the USA. and was the inspiration for the book. Another impor- tant highlight was the session “Meeting the Elders,” led The symposium was organized around the following by Lester Monts and including the emeritus and sen- sub-themes: ior professors JH Kwabena Nketia, Jacqueline Cogdell DjeDje, Eddie Meadows, John Collins, Kofi Agawu, • African and Afro-diasporic collaborations and Egberto Bermudez, and Leslie Gay. The elders were exchanges mentors to many, and their writings form the corner- • Representations on the Francophone presence in stone of most postgraduate seminars on African musics. African music scholarship The session provided a unique opportunity for dele- gates to meet and engage with the elders. • Music education: Philosophies, pedagogies of African music 230 Patricia Opondo On the evening following the SGAM Business the restrictive Google Groups, and aligned them with Meeting, Zdravko Blažeković’s presentation “RILM other study-group pages hosted on the ICTM website. and African Music” discussed the scope, depth, and This new set-up makes it easier for us to share infor-interdisciplinary coverage and representation of African music and dance traditions with an emphasis on cur- mation. In 2015, the ICTM Secretariat also set up a rent challenges, uneven coverage of geo-cultural areas listserv for us, which was the best news, and ultimately and genres, and called for volunteer submissions and a breakthrough for SGAM membership. The address is national representatives. He also spoke on the place of stg-african-musics@ictm.org. RILM in enhancing the scholarly study of and publica- tions on African musics. He presented a special award To remain in contact with colleagues after symposia and to Daniel Avorgbedor for initiating bibliographic world conferences, we encourage those interested to be coverage of African publications in RILM. (Opondo part of SGAM’s listserv, to follow news on our website 2018:25)3 and also to contribute towards our social media pages. The third symposium with the central theme “Dialogue of African musics and cultures through space and time” SGAM BRANCH ACTIVITIES was planned for 23–26 September 2020 at the Eduardo We currently have two branches of the study group, one Mondlane University in Maputo, Mozambique. in the US and another in the UK, and encourage other Specific sub-themes, listed in the call for papers, regions interested in forming branches to discuss this included the Lusophone presence in African musics; with the study-group vice-chair. Inventories, descriptions, uses and cross-cultural stud- ies on traditional musical instruments; Music from the The US branch was established in 2013, instigated by Swahili world: At the crossroads of Arab and sub-Saha-Marie Agatha Ozah, who convened a meeting at the ran musics; Influence of traditional musics in modern 42nd ICTM World Conference in Shanghai, China. genres; and Discussion on the construction of scientific Nine scholars met and established the North American projects and/or teaching programmes. Unfortunately, Subsection of the African Musics Study Group due to the COVID pandemic, the symposium was (NASAMSG-ICTM), aiming to “share strategies and postponed to 2022. develop positive frameworks toward African and African diaspora music education in North American contexts.” PUBLICATIONS The branch also seeks to increase research activities and collaboration (Ozah, Kafumbe, and Tang 2014). Our inaugural publication, Studies in African Musical Heritage, will be published by Cambridge Scholars The inaugural symposium, “Pedagogy and performance Publishing in 2022. The collection includes seven-of African and African American musics in higher edu- teen chapters and is co-edited by Elina Seye and cation: Experiences and challenges,” was organized by Patricia Opondo. Marie Agatha Ozah together with Jean Kidula and Damascus Kafumbe, and hosted by Marie Agatha Ozah Articles related to the Ghana symposium will appear in a at the Mary Pappert School of Music and co-sponsored special issue of African Music: Journal of the International by the Mary Pappert School of Music, the Center for Library of African Music, as well as in two other journals African Studies, and the Honors College Duquesne currently under negotiation. One journal is expected to University, Pittsburgh, Pennsylvania, on 17 July 2014. publish a cluster of papers dealing with African music Twelve papers were presented, followed by an evening theory, composition, and aesthetics, while the focus of concert by Umoja African Dance Company, directed by the other one will be education and pedagogy. Anicet M. Mundundu (figure 2). The keynote address was delivered by David Locke, professor of music LISTSERV, WEBSITE, SOCIAL MEDIA PAGES and ethnomusicology at Tufts University. At the busi- One of the biggest challenges that plagued our study ness meeting, Marie Agatha Ozah (chair), Damascus group in its initial four years, was poor communication Kafumbe (chair), and Patricia Tang (secretary) assumed as a consequence the great distance between members branch leadership. spread throughout the African continent and diaspora. The UK branch was instigated by Amanda Villepastour In 2015, with the assistance of Carlos Yoder, executive (Cardiff University) and ratified in Astana in 2015.4 assistant of ICTM in the Secretariat’s office, we finally Although ethnomusicology’s beginnings in the UK had two breakthroughs from our previous communica- were established by a strong contingent of Africanists tion challenges, making it easier for dialogue amongst including A. M. Jones, Anthony King, and later John our members. We moved the study-group’s pages out of Blacking and Peter Cooke, an African study group had never emerged alongside other regionally focussed 3 The full symposium programme can be found at: https://www. ictmusic.org/group/african-musics and http://afmusgroup. 4 Amanda Villepastour contributed to this chapter by writing beaconpros.com/. the section on the UK branch of the SGAM. ICTM Study Group on African Musics 231 Figure 2. Participants of the inaugural symposium of NASAMSG: ( front row) Elie Kihonia, Patricia Opondo, Jean Kidula, Kenan Foley, Damascus Kafumbe, David Locke, Marie Agatha Ozah, Kimasi Browne, Anicet Mundundu; ( back row) Eric Charry, Patty Tang, Roberta King, George Dor. Duquesne University, Pittsburgh, 17 July 2014 (photo courtesy of Patricia Opondo). organizations in Britain. Since it was the UK chapter determining the mission of SGAM-UK and the form of of IFMC (formed in 1973) that provided the first and its meetings. Dutiro, who had decades of international only platform for African music scholars to converge experience as a performer, teacher, and PhD candidate, alongside other ethnomusicologists, the ICTM’s provoked an animated discussion by declaring, “African SGAM seemed an appropriate platform for Britain’s academics can be the most colonial!” He explained that first African music study group. his experiences in academic settings outside of Africa The inaugural SGAM-UK meeting (December 2016, have been the most rewarding as “the voice of perform-SOAS, London) was planned by an interim committee ers is missing in African academia.” formed by Peter Cooke, Trevor Wiggins (both SOAS The discussion turned to how the UK group could research associates), Sara McGuinness (University of facilitate equal participation of academic, performance, West London), Zé Kouyaté (performer and PhD can-and creative work in its activities and visible outcomes, didate), and Amanda Villepastour (both at Cardiff and how British ethnomusicologists can continue to University). On the day, the discussion was led by navigate the colonial inheritance of the nation’s instia panel, which included four internationally distin- tutions in their struggle to hire African scholars and guished African performers, who have all taught and musicians, and create equitable conditions, obtain studied in academic settings (figure 3). visas for visiting performers, raise funding for African Zimbabwean mbira master Chartwell Dutiro led a cer- students to study in the UK, and mobilize UK-based emonial opening through song, after which the conver- students to Africa for immersive learning that benefits sation between the panel and around forty attendees those who teach them. (comprising students, academics, musicians, DJs, and A year later in November 2017, Amanda Bayley fur-teachers) revolved around the UK’s distinctive envi- thered SGAM-UK’s mission to facilitate conversations ronment, how the group could best serve the diverse between artists and academics through convening the interests of its potential members, and how African second SGAM symposium, “Filming African music: An performers can share leadership roles with academics in interdisciplinary study day.” The programme included 232 Patricia Opondo Figure 3. Panel at the first SGAM-UK meeting: Sara McGuinness (West London University), Bernard Woma (Ghana/US), Amanda Villepastour (Cardiff University), Landing Mané (Senegal/UK), Charwell Dutiro (Zimbabwe/UK), Dele Sosimi (Nigeria/ UK). Bath Spa University, 18 November 2017 (photo by Trevor Wiggins). academic papers, films, performances, and an evening ous but fruitful discussion, and the study-group’s con-of African-British collaborations, featuring among oth- stitution was further refined. ers, Dutiro.5 The following SGAM-UK symposium in The Astana world conference presentations can be sum-March 2020 was convened by Villepastour at Cardiff marized as follows: University with the theme: “Issues of pedagogy and transmission in African music in the UK.” An after- 1. Two Africa specific panels: “Performance, power noon workshop and discussion was led by Senegalese and identity: Case studies from Ghana” and “Tradition and modernity in African music” drummer/dancer Landing Mané and his musicians, and Finnish ethnomusicologist Elina Seye, followed by an 2. A roundtable discussion on the topic “African musics in higher education: Experiences and evening concert. challenges” SGAM-UK has established a core membership, ideol- 3. A film session with two ethnographic filmmakers, ogy, and set of aims. Having started as a cooperative one from Ivory Coast and the other from South comprising people from contrasting work cultures (i.e., Africa academics alongside freelance musicians), at the time 4. An exciting workshop session of writing, the group is still led by the original interim 5. Papers integrated with other panels, providing committee, which is in the process of developing a suit- comparative, global perspectives. able mission statement and constitution. This broad participation certainly marks growth in our participation at world conferences, with a simi- PARTICIPATION AT ICTM WORLD CONFERENCES AND BUSINESS MEETINGS lar significant number of attendees at the 44th world conference in Limerick in July 2017. We thank ICTM Following the approval of the study group in 2011, and host institutions for all the sponsored delegates in 2013 at the 42nd world conference in Shanghai, and contributions made towards travel and subsidised China, we were very fortunate that the host institution membership fees. This support is extremely valuable, offered extensive support to ten African scholars. The especially for members from soft-currency African 43rd world conference hosted in 2015 by the Kazakh countries, who previously may never have been able to National University of Arts, Astana, Kazakhstan, had attend a world conference. just under thirty presentations on Africa, the largest to During the 2017 business meeting in Limerick, the date. A vibrant business meeting saw us through a tedi-constitution went through further ratification and finally in 2018 through the leadership and direction of SGAM Vice Chair Amanda Villepastour, we now have a 5 One week before his death in September 2019, Dutiro was solid document in place that went to final vote in 2018. awarded an honorary PhD by Bath Spa University. ICTM Study Group on African Musics 233 We have managed to streamline many things and refer to the constitution for guidance on matters such as elec- tions and voting, as well as duties of officers and respon- sibilities of subcommittees. Conclusion: Reflections on challenges and growth over the past ten years From what started off as a relatively small number of interested individuals, and a structure without a con- stitution and common framework for operational mat- ters, the Study Group on African Musics has found creative solutions around funding and communication challenges which today enable the members to com- municate easily through the listserv. There is a website hosted by ICTM for the study group; all are able to submit materials on the social media pages. We held our inaugural symposium in South Africa (2015), the second in Ghana (2018), and planned the third one in Mozambique (2020), rotating the hosts through regions around Africa. This has provided a forum for local scholars to converge and be acquainted with the work of ICTM, and later events can be further strength- ened by the work of strong and active liaison officers in the countries in those regions. So together, these breakthroughs have pushed us forward to be an active and vibrant study group that currently has hosted two international symposia and has moved forward with the publication projects. The two branches in the US and the UK provide the opportunity to bring together colleagues in the diaspora for the exchange of ideas. In 2019, we got the third generation of executives with a solid constitution and management structure, so those continuing with the baton have a sure footing going forward. We also look forward to another ICTM world conference being hosted by an institution in Africa, as well as the proliferation of SGAM branches throughout the world. References cited Opondo, Patricia A. 2016. “Reports from ICTM Study Groups: African Musics.” BICTM 130 (Jan): 30–31. ———. 2018. “Reports from ICTM Study Groups: African Musics.” BICTM 138 (Oct): 25–27. Ozah, Marie Agatha, Damascus Kafumbe, and Patricia Tang. 2014. “North American Subsection of the African Music Study Group of the International Council for Traditional Music (NASAMSG-ICTM).” Bi-annual report for the SGAM Exco Meeting, 2014. ICTM Study Group on Applied Ethnomusicology Huib Schippers Introduction justice. Another issue—particularly in the selection of papers—has been whether research on initiatives for When the Executive Board approved the Study Group change count as applied, or if the focus and methodol-on Applied Ethnomusicology after the 39th ICTM ogy of the research itself is the defining factor. Most of World Conference in Vienna in 2007, it was not so the study group members lean towards the latter. much the creation of a new subdiscipline, but rather the recognition and validation of approaches that a good To some extent, applied ethnomusicology has defined number of ethnomusicologists had already been prac-itself informally by the nature of the papers at the study- tising for decades. In addition, it was a logical response group symposia and the ensuing publications. There to applied work and discourse in sister disciplines, par-are several clear categories that have emerged over the ticularly anthropology. Ethnomusicological journals years, including music and social change (e.g., music had already started exploring the merits of regarding and disadvantaged communities; music and power applied work as a discrete part of our discipline over the structures; music during conflict and in post-conflict preceding twenty-five years, perhaps most pointedly in environments); music and communities (e.g., music the contributions by Daniel Sheehy and Jeff Todd Titon and minorities, revitalizing community engagement in Ethnomusicology (1992). Meanwhile, various aspects with performance; music in prisons); music, health, and foci of applied work had become a recurring topic and wellbeing (e.g., music for healing; music for peo-for papers and panels at both ICTM and the Society for ple with disabilities); music and the environment; and Ethnomusicology (SEM). music sustainability (e.g., music education; revivals of traditions; and cultural ecosystems). Beginnings Symposia As Svanibor Pettan and Klisala Harrison, the founding executives of the study group, describe in a volume that Each of the symposia of the study group so far has had a emanated from the first study-group symposium in very different setting, which inspired diverse participa-Ljubljana in 2008, forty-four members of ICTM gath- tion, foci, and outcomes. Two were organized in combi- ered in Vienna to collaboratively formulate a working nation with other study groups: in Hanoi (2010) with definition for its area of focus: Music and Minorities; and in Beijing (2018) with the nascent Music, Education and Social Inclusion. In addi- APPLIED ETHNOMUSICOLOGY is the approach guided by principles of social responsibility, which tion, there was the combined ICTM/SEM forum on extends the usual academic goal of broadening and applied ethnomusicology in Limerick, Ireland (2015), deepening knowledge and understanding toward solv-which was technically not a study group activity, but ing concrete problems and toward working both inside worth mentioning both as an indication of the impor-and beyond typical academic contexts. (Harrison, tance the two organizations attach to the topic, and as Mackinlay, and Pettan 2010:1) an important forum on practice and theory of applied Like most definitions, these words have sparked debate ethnomusicology from the perspective of the two larg-at and in between each of the study-group symposia est ethnomusicological organizations in the English-over the past twelve years. Their broadness has invited speaking world. comments that pretty much all ethnomusicologi- The Ljubljana symposium (2008) was hosted by cal work can be considered applied, leading some to Svanibor Pettan at the Slovene Ethnographic Museum argue for narrower boundaries in the definition, with and drew over thirty scholars from sixteen countries a demonstrable focus on public good and/or social (figure 1). It revolved around three principal themes: In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 234–238. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Applied Ethnomusicology 235 Figure 1. The first symposium of the study group. Ljubljana, 2008 (photo by Svanibor Pettan). History of the idea and understandings of applied eth- and ideas of Vietnamese musicians and scholars was one nomusicology in world-wide contexts; Presentation and of the most valuable takeaways from this symposium. evaluation of individual projects, with emphasis on the- The University of Nicosia (Cyprus) hosted the third ory and method; and Applied ethnomusicology in sit- symposium of the study group (2012), with Panikos uations of conflict. In addition to formal presentations, Giorgoudes as local organizing committee chair. Forty the meeting used three “talking circles,” on endangered scholars from five continents gathered and furthered musics, music therapy, and music in conflict respec-the discussion on theoretical approaches to applied tively. Key outcomes of these discussions included calls ethnomusicology, with papers on politics and practices for training programmes for emerging applied ethno-of applied ethnomusicology in relation to social activ- musicologists, a better understanding of the potential of ism, censorship, and state control; disability and music; technology for our work, and the call for a handbook of and music and conflict. Led by scholars like Klisala applied ethnomusicology. A full account of this meet-Harrison and Samuel Araújo, “this symposium marked ing can be found in Harrison, Mackinlay, and Pettan the development towards a more theoretical reflection (2010:3–11). on applied ethnomusicology,” as the study group report In Hanoi (2010), we were hosted by Lê Văn Toàn and observes (Harrison and Sweers 2012:49). the Vietnamese Institute for Musicology in their brand- The University of Fort Hare (2014) offered fifty partic- new building in the suburbs of the Vietnamese capital. ipants from six continents a variety of settings to bring This was a very rich setting to learn about a country across some of the key achievements and challenges that was actively embracing safeguarding the diverse in South Africa, which included a tour of the famed sound cultures of its Viet majority and fifty-three eth-International Library of African Music, established by nic minorities, inspired by UNESCO’s Convention for Hugh Tracey, and the chance to attend the National the Safeguarding of the Intangible Cultural Heritage Arts Festival in Grahamstown. Hosted by Bernhard (2003). The papers focussed on history and workings of Bleibinger, the programme focussed on applied eth-applied ethnomusicology; performing arts and ecology; nomusicology and institutions/formal organizations; and performing arts in dialogue, advocacy, and educa-applied work and digital media; and activism. In addi- tion. The event was enriched by sharing the stage with tion, there were practical—applied—workshops for the the ICTM Study Group on Music and Minorities in a participants. A full report of the gathering was pub-joint symposium. In addition to papers and discussions lished in the Bulletin (Harrison, Sweers, and Bleibinger aiming to further understanding of the scope, goals, 2015). and methods (to paraphrase Adler 1885) of applied eth- nomusicology, the extensive contact with the practices The Cape Breton symposium (2016) was hosted by the newly established Centre for Sound Communities 236 Huib Schippers Figure 2. 7th symposium of the study group, held online in August 2020 (photo by Wei-Ya Lin). headed by Marcia Ostashewski, and coincided with the event virtually, it was decided to proceed fully digi-iconic festival Celtic Sounds in Sydney, Nova Scotia, tal-only (figure 2). Marc-Antoine Camp and his teams Canada. It also saw the launch of the project “Global at the Lucerne University of Applied Sciences and Arts musics—Local connections.” The themes of the confer-created a smooth digital infrastructure in the run-up to ence were music, labour and exchange; research meth- and during the meeting, which gave participants the odology for the 21st century; and intangible cultural opportunity to share thoughts and discuss papers on heritage in contemporary societies, which included the theme of “Performing, engaging, knowing.” This keynotes on culturally responsive methodology and focus, which in addition to providing space for the the bureaucracy of intangible cultural heritage (see the recurring topics of the applied ethnomusicology study-report by Seeger et al. 2017). group symposia, provided space to explore similarities, The symposium in Beijing (2018), hosted by Zhang differences and synergies with another strongly emerg-Boyu of Central Conservatory of Music, continued pre- ing trend in music research, which is generally referred dominantly on the theme of music sustainability, which to as “artistic research,” but could equally be seen as was fascinating as China is leading the world in terms applied musicology, with musical knowledge and doing of investment and organization of music as intangible at the core of the research design (e.g. Impett 2017). cultural heritage. It was also the largest of the study- While the informal meetings over coffee, lunch, drinks group symposia to date, with over one hundred partic- and dinner were sorely missed, the digital format did ipants. This study-group symposium was the first part allow the study group to have wide participation, with of an ambitious triptych, continuing with symposia on large panels from particularly Latin America and Africa, digital ethnomusicology and music of the Silk Road. It addressing some of the ongoing concerns of the study also joined forces with the new Study Group on Music, group with equity and access. Education and Social Inclusion, with many papers effortlessly bridging the two study groups. Perhaps the most salient feature of this gathering was the instant Publications and projects translation of all presentations and PowerPoint illus- trations between English and Mandarin, allowing par- A number of publications emerged directly from the ticipants from both language areas to engage in the study-group symposia, including the special issue work and underlying approaches of colleagues usually on applied ethnomusicology in the Slovene journal “behind the language barrier.” Muzikološki zbornik—Musicological Annual, edited by Svanibor Pettan (2008); the Cambridge Scholars Like so many gatherings in 2020, the 7th symposium Press volume Applied Ethnomusicology: Historical and of the study group was affected by COVID-19. After Contemporary Approaches, edited by Klisala Harrison, fierce discussions on postponing or conducting the ICTM Study Group on Applied Ethnomusicology 237 Elizabeth Mackinlay, and Svanibor Pettan (2010); and Futures a themed issue of the Finnish journal COLLeGIUM, “ Applied ethnomusicology in institutional policy and As the study group is well into its second decade, a practice,” edited by Klisala Harrison (2016). A publica-number of strands of discussion have emerged as ongo- tion with Central Conservatory of Music Press resulted ing areas of attention: approach and method; ethics; from the 2018 symposium: Applied Ethnomusicology: relationship to power; and the place of applied ethno-Practices, Policies and Challenges (Schippers, Lin, and musicology in the wider discipline. Zhang 2022). There have also been discussions on Method may well be the most distinguishing feature of establishing a peer-reviewed journal devoted to applied applied ethnomusicology, and one of the aspects that ethnomusicology, but these have not been actioned yet. sets it apart from two earlier main stages of ethnomusi- Numerous other publications were the direct or indi- cological practice, although all three stages can co-exist. rect result of presentations and discussions at the study- If the first stage (say from Adler 1885) was character- group symposia. Most prominent among these is the ized by a considerable distance between researcher and Oxford Handbook of Applied Ethnomusicology, edited “subjects,” and a key feature of the second stage (let’s by study-group founder Svanibor Pettan and Jeff Todd say since Merriam 1964) was ethnographic fieldwork Titon (2015), with articles by various study-group with primarily academic goals, applied ethnomusicol-members, including Zhang Boyu, Klisala Harrison, ogy may well signify a third stage, where the research Svanibor Pettan, Huib Schippers, Britta Sweers, and methodology is developed much more with and for the Jeff Todd Titon. In addition, Klisala Harrison pub-communities we work with. lished a range of articles on applied ethnomusicology, Directly related to this is the issue of ethics, which and various other members continue to publish on emerged as a theme in all the symposia, meetings, and their specific work or projects across a wide number of publications associated with the study group. While we scholarly publications. have had robust discussions on the ethics of our disci- Arguably, many examples of applied scholarship in our pline before, particularly in relation to fieldwork (e.g., discipline have benefitted from the discussions, interac-Barz and Cooley 2008), responsibilities intensify when tions, and connections facilitated by the study group. we emphatically remove ourselves from the guiding As an example, a major project on music sustainabil-principle which Deborah Wong (2008) humorously ity was developed in parallel with the study group over associated with Star Trek’s first directive: “Do not inter-ten years. I remember having first discussions on the fere.” While most of us have come to accept that our project with Anthony Seeger in Vienna in 2007, then presence as a researcher in any community is inevita-leading a talking circle in Ljubljana on the topic in bly an influence on the music and the community, this 2008, and doing a plenary panel with Keith Howard multiplies when we choose to be an applied researcher. and Anthony Seeger at the world conference in Durban Successful outcomes may improve the lives of musicians in 2009, with many constructive critical questions from and communities, but failure may have negative effects the floor. This was around the time that the Australian on people and their culture. With that awareness comes Research Council approved funding for an AUD 5 mil-considerable responsibility. lion collaborative research project, “Sustainable futures A recurring theme related to this has been the rela-for music cultures,” which ran from 2009 to 2014. tionship of musicians, communities, and researchers With its ambitious scope (nine research teams docu- to power structures, which inevitably underlies a great menting the “cultural ecosystem” of nine traditions as deal of applied ethnomusicology, as it actively deals diverse as Western opera and Aboriginal song tradi-with impact on musicians and communities. I have tions), the project presented a number of important been surprised at the contrast between the nuanced challenges, such as (1) a return to questions regarding perceptions we as ethnomusicologists have of the peo-the merit and ethics of comparative approaches (which, ple whose music we study, and the tendency towards from Vergleichende Musikwissenschaft to cantometrics, sweeping generalizations on institutions and power. In had not had a great run in our discipline); and (2) com-applied ethnomusicology, it is increasingly important to plex ethical considerations about emphatically aiming understand power structures—whether they be public to “empower communities to forge musical futures on authorities, large cultural organizations, NGOs, or cor-their own terms” (Schippers and Grant 2016). The dia- porate structures including media—as forces impact- logues at and in-between study-group symposia helped ing music practices that can be understood, negotiated address the many dilemmas that come with a project of with, and even changed. A key success factor in this is that scope and complexity, and the outcomes arguing to see the people that serve and define these structures for considering music practices in well-defined “cultural as individuals with particular world views, aspirations, ecosystems” (ibid.) have been very well received. motivations, responsibilities, dreams, and disappoint- 238 Huib Schippers ments, just as we approach the other people we work Schippers, Huib, Wei-ya Lin, and Boyu Zhang. 2022. Eds. Applied with (Schippers 2021). Ethnomusicology: Practices, Policies and Challenges. Beijing: Central Conservatory of Music Press. In that way, whether we consider applied ethnomusicol- Seeger, Anthony, Adriana Helbig, Klisala Harrison, and Marcia ogy as a new subdiscipline or merely a refinement in a Ostashewski. 2017. “Applied Ethnomusicology: Programme; Business Meeting; Local Arrangements.” BICTM 133 (Jan): variety of approaches, it widens the scope of our work in 29–31. [Report of the 5th symposium of the study group]. challenging and stimulating ways. Many consider study Sheehy, Daniel. 1992. “A Few Notions about Philosophy and groups as the heart of the ICTM. It is truly a pleasure to Strategy in Applied Ethnomusicology.” Ethnomusicology 36/3: serve on a study group that has such an exciting agenda 323–336. Titon, Jeff Todd. 1992. “Music, the Public Interest, and the of new methodologies, ranges of outcomes, and dilem- Practice of Ethnomusicology.” Ethnomusicology 36/3: mas, inviting creative scholarship that will continue to 315–322. help us refine the inner and outer workings of our dis- UNESCO. 2003. Convention for the Safeguarding of the Intangible Cultural Heritage. http://portal.unesco.org/en/ cipline, and enable us to truly give back to the musics, ev.php-URL_ID=17716&URL_DO=DO_TOPIC&URL_ musicians, and communities that inspire us. SECTION=201.html. Wong, Deborah. 2008. Personal communication. In: Twelve Voices on Music Sustainability (video). Brisbane: Queensland Conservatorium Research Centre. Acknowledgement I owe much of the memory of the early symposia to the thoughts and writings of my predecessors as chairs of the Study Group on Applied Ethnomusicology, Svanibor Pettan and Klisala Harrison, its vice chairs, Samuel Araújo and Adriana Helbig, and especially sec- retaries Britta Sweers and Wei-ya Lin. References cited Adler, Guido. 1885. “Umfang, Methode und Ziel der Musikwissenschaft.” Vierteljahrschrift für Musikwissenschaft 1: 5–20. Barz, Gregory F., and Timothy J. Cooley. 2008. Eds. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. New York: Oxford University Press. Harrison, Klisala. 2016. Ed. “Applied Ethnomusicology in Institutional Policy and Practice.” Special issue, Collegium 21. [Themed issue of the journal]. Harrison, Klisala, Elizabeth Mackinlay, and Svanibor Pettan. 2010. Eds. Applied Ethnomusicology: Historical and Contemporary Approaches. Newcastle upon Tyne: Cambridge Scholars Press. Harrison, Klisala, and Britta Sweers. 2012. “Applied Ethnomusicology: Report on the 3rd Biannual Symposium and 5th General Assembly of the ICTM Study Group on Applied Ethnomusicology.” BICTM 121 (Oct): 49–50. Harrison, Klisala, Britta Sweers, and Bernhard Bleibinger. 2015. “Applied Ethnomusicology.” BICTM 127 (Jan): 22–24. Impett, Jonathan. 2017. Ed. Artistic Research in Music: Discipline and Resistance. Leuven: Leuven University Press. Merriam, Alan P. 1964. The Anthropology of Music. Bloomington: Northwestern University Press. Pettan, Svanibor. 2008. Ed. “Aplikativna etnomuzikologija / Applied Ethnomusicology.” Special issue, Muzikološki zbornik / Musicological Annual 44/1. [Themed issue of the journal]. Pettan, Svanibor, and Jeff Todd Titon. 2015. Eds. Oxford Handbook of Applied Ethnomusicology. New York: Oxford University Press. Schippers, Huib. 2021. “The Meeting Room as Fieldwork Site: Toward an Ethnography of Power.” In Voices of the Field: Pathways in Public Ethnomusicology, edited by Leon F. García Corona and Kathleen Wiens, 33-47. New York: Oxford University Press. Schippers, Huib, and Catherine Grant. 2016. Eds. Sustainable Futures for Music Cultures: An Ecological Approach. New York: Oxford University Press. ICTM Study Group on Audiovisual Ethnomusicology Enrique Cámara de Landa and Leonardo D’Amico The visual dimension of music making: becomes essential to achieve an in-depth knowledge of A new challenge for ethnomusicology music in traditional cultures. Today, audiovisual technologies have offered a decisive The subject of audiovisual ethnomusicology is ethno- contribution to restore the sensitive unity in the rep- musicological film. Although it is a developing concept, resentation of events characterized by a multisensory audiovisual ethnomusicology is recognized as a very effi-nature. The sound film as a moving picture with syn- cient way to represent music through audiovisual means chronized soundtrack is crucial in ethnomusicological by depicting the lives of musicians, analyzing musical studies as it gives visibility to the “actors” of the musical structures, and providing an ethnographic approach phenomenon in a direct way, whereas a purely written to musical performance. The use of audiovisual media description is unable to convey the visual dimension of has been very helpful in ethnomusicological research, the experience. Therefore, visualizing a musical event as as well as in education and dissemination activities. a performance, through the audiovisual representation, Audiovisual tools have been demonstrated to be valuable becomes necessary and complementary to the sound for enhancing and communicating ethnomusicological recording and the written text. This is particularly clear knowledge, preserving musical systems and cultures, as in cases where it allows the audience to “see” some con-well as for being a vehicle of cultural transmission and textual aspects of music making, for which the literal revitalization of styles and musical repertoires, and as a description and musical notation are insufficient to record of musical change in a diachronic perspective. allow an adequate representation as a dynamic process Ethnomusicological film is able to record the “sound of musical action and interaction. space” (as a physical-acoustic space and as sociocultural Audiovisual representation of traditional music has space) in which music makers and music users act and many advantages, but it also has some limits: film interact as actors of the musical communication in a cannot contain all the information that a written eth-peculiar sociocultural context. Film can document both nography can convey beyond what can be deduced the aural and visual dimensions of musical performance from a “reading” of the visuals. The film presents clear and has the capability to show things, people, and advantages in representing a musical experience “alive” events in their physical and temporal context; all such in its own context, but it cannot portray the “unseen” features related to contextualization can best be com- information of certain events that are hardly conveyed municated and represented by audiovisual means. This through sounding images. expression is intended to integrate two components: aural perception and visual communication. The term Indeed, there is an intertextual dialogue between the audio beside visual is a significant factor that discrim-filming process and the more conventional forms of inates and differentiates the domain of what we can ethnographic investigations. Both in ethnology and define as “audiovisual ethnomusicology” from other ethnomusicology, there is a convergence in consider-scientific domains related to visualizing music, such as ing film ethnography as complementary, and not as a musical semiology and musical iconography. In fact, replacement of the written ethnography: “film and writ-while musical notation and musical pictures (including ten texts should be mutually illuminating; the written still photographs) are silent or mute representations of text enhances our understanding of what we see, and a musical experience, the sounding image, as a moving the visual image makes what we read more comprehen-picture with synchronous sound, allows us to document sible and meaningful” (Baily 1989:16). Nevertheless, or convey a significant amount of useful information the belief that audiovisual recording has not yet reached related to a musical performance that, in many cases, full authority or scientific legitimacy equal to written text, still persists. Despite recent technological developIn Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 239–244. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 240 Enrique Cámara de Landa and Leonardo D’Amico ments having imposed an increasing use of the media in logical films, since at that time most of them were shot ethnomusicological research and dissemination, docu-in 16 mm (hence, limited to theatrical distributions mentary film is not fully considered a legitimate form of and some schools, universities and non-profit organi-musical ethnography, since academic language remains zations). Besides the dissemination purposes, these fes-still anchored mostly to writing. tivals have stimulated the production of documentary The main question advanced by the ethno-filmmaker films on traditional music. (i.e., ethnomusicologist-filmmaker)—and that encour- It must be also pointed out that in 2004, a conference aged the creation of a “pool” of scholars involved in entitled “Image in ethnomusicology,” organized by the filmmaking to debate this issue—is: can film convey ICTM Italian National Committee, focussed on the ethnomusicological knowledge that a written mono-use of audiovisual documentation in ethnomusicol- graph cannot? Or, in other words, how and in what way ogy, was held in Florence on the occasion of the 22nd can moving and sounding images teach us about a musi-Ethnomusicological Film Festival. cal culture? In 2010, the Music Department and the research group Miradas Sonoras at the University of Valladolid orga- nized MusiCam, a series of commented screenings of Beginnings at the Ethnomusicological documentary films and audiovisual materials related to Film Festival and MusiCam ethnomusicological research, on the initiative of three PhD students: Salvatore Rossano (who proposed the The process that led to the constitution of a study group name MusiCam—Music + Camera—for the event), focussed on ethnomusicological film is the result of a Matías Isolabella, and Raquel Jiménez. The goal was to convergence of two different, but complementary, expe-encourage reflection on the use of video as a research riences: the Ethnomusicological Film Festival in Italy, and dissemination tool, as well as to engage students and MusiCam in Spain. in a discussion on the potential for knowledge afforded The creation of the first film festival exclusively devoted by the new technologies and the ways in which the sev-to the ethnomusicological documentaries represents eral audiovisual languages can be used (and sometimes a milestone in the history of audiovisual ethnomusi-manipulated) in order to convey specific conceptions of cology. In 1983, in fact, the FLOG1 Center for Folk music and musicians from diverse cultures. Traditions of Florence, in collaboration with the Through the critical viewing of relevant films and schol-Maison des Cultures du Monde in Paris, promoted the arly literature, the organizers of MusiCam attempted first Ethnomusicological Film Festival (Rassegna del to acquaint course attendees with scholarly ethnomu-Film Etnomusicale in Italy, and Festival du Film des sicological documentation work, as well as to develop Musiques du Monde in France). In 1984, the ethno-specific contents in the field of visual ethnomusicology musicological film festival became itinerant: it was also by arranging the participation of some researchers who organized by the Ateliers d’Ethnomusicologie of Geneva have produced films in their respective areas of study. as the Festival du Film des Musiques du Monde, and in In this way, students were given the opportunity to London by the Commonwealth Arts Center Cinema as take part in discussions with outstanding practitioners the World Music Film Festival. of ethnomusicological documentation around issues The three European cultural centres—Maison des concerning aesthetics, documentation itself, concep-Cultures du Monde, FLOG Center for Folk Traditions, tual tools, and technical aspects. The first MusiCam and Ateliers d’Ethnomusicologie—were already well-featured the participation—in the form of lectures and known in the production and organization of concerts screenings—of scholars Jaume Ayats, Enrique Cámara and performances of traditional music and dance from de Landa, Leonardo D’Amico, Mónica de la Fuente, around the world. The decision to establish a film fes-Giovanni Giuriati, Rubén López Cano, Bernard Lortat- tival devoted entirely to the ethnomusicological docu- Jacob, Susana Moreno Fernández, and Grazia Tuzi. mentaries was aimed at providing viewers with a more The initiative’s success led its promoters to organize a complete knowledge of musical cultures. Film, in fact, second MusiCam in 2011, featuring contributions by can implement all visual details about the social and culMário Correia, Leonardo D’Amico, Héctor Goyena, tural contexts of a musical tradition, thereby avoiding and Marco Lutzu. In 2012, lectures (again illustrated the problems of staging such traditions, with resulting with audiovisual materials and films) were delivered by consequences such as the de-contextualization of tra-Fabio Calzia, Leonardo D’Amico, Marco Lutzu, Ignazio ditional music performances. These festivals have had Macchiarella, Nicola Scaldaferri, and Manuel Velasco (a an important role in the dissemination of ethnomusico-member of the Samaki Wanne Collective). The orga- nizers (Enrique Cámara de Landa, Matías Isolabella, Raquel Jiménez, Salvatore Rossano, and Grazia Tuzi) 1 Fondazione Lavoratori Officine Galileo. ICTM Study Group on Applied Ethnomusicology 241 Feld (1976), Hugo Zemp (1988), and Artur Simon (1989). In the late 1980s, the problematic relationship between ethnomusicological research and audiovisual representation of music-making in traditional cultures became a topic of interest debated in the scholarly com- munity at several international conferences. In 1988, the ICTM colloquium on “Methods and techniques of film and video-recording in ethnomusicological research” was held in Czechoslovakia: “The purpose of this colloquium was to bring together a number of eth- nomusicologists with a commitment to the use of film and video for scholarly purposes, in order to survey and scan what has been done so far” (Baily 1988:193). The conference was attended by influential European ethno- musicologists who were using the audiovisual medium in their research: Oskár Elschek, Gerhard Kubik, Hugo Zemp, John Baily, and Artur Simon, among others.2 Matters related to an ethnomusicological analysis of filmmaking have been addressed by Zemp (1989; 1990a); the issue of ethics, as well as representation and authority in the production and reception in the ethnomusicological film, were addressed by Zemp (1990b), Titon (1992), Dornfeld (1992), and Wissler (2009); Giuriati (2015) and Scaldaferri (2015) have dealt with new trends in the use of audiovisual tech- nology in ethnomusicology; and Harbert (2018) laid the foundation for the study and practice of Figure 1. Poster of MusiCam 2014, “International conference on visual ethnomusicology.” Valladolid 2014. “ciné-ethnomusicology.” In the same years, two books on ethnomusicological films were published in Italy: Vedere la musica: Film e video nello studio dei com- portamenti musicali (2010) by Giorgio Adamo, and also took part in this third MusiCam, although their Filmare la musica: Il documentario e l’etnomusicologia contributions did not include film screenings. The 2013 visiva (2012) by Leonardo D’Amico, later followed MusiCam featured audiovisual and film screenings, as by a more detailed and comprehensive study on the well as commentaries by Ivan Días, Matías Isolabella, same subject in Audiovisual Ethnomusicology: Filming Emiliano Migliorini, and Paolo Vinati. During this Musical Cultures (D’Amico 2020). MusiCam, the participants decided to submit a proposal to the ICTM for the creation of a study group dedicated to audiovisual ethnomusicology and thus, following the procedure, the fifth MusiCamin 2014 (figure 1) took The constitution of the ICTM Study the form of an international conference. Most of the Group on Audiovisual Ethnomusicology: contents of this event were subsequently published by Its symposia and proceedings the University of Valladolid in the book Ethnomusicology and Audiovisual Communication: Selected Papers from the The idea to create a new ICTM study group focussed MusiCam 2014 Symposium, edited by Enrique Cámara on the use of audiovisual means in ethnomusicol-de Landa, Leonardo D’Amico, Matías Isolabella, and ogy and the ethnomusicological film was born at the Terada Yoshitaka (2016). 3rd MusiCam in Valladolid (2012), during an infor- mal meeting between Leonardo D’Amico, Enrique Cámara de Landa, and Matías Isolabella. Afterwards, The scholarly debate on filmmaking in during the 42nd ICTM World Conference in Shanghai (2013), Leonardo D’Amico, Yves Defrance, and Terada ethnomusicology Yoshitaka decided to send a first informal request to The different theoretical and methodological 2 In 1989, the journal The World of Music published a special approaches of representation of traditional musical issue on the subject “Film and video in ethnomusicology,” practices through film have been examined by Steven which contains some of the participants’ presentations given at the ICTM colloquium. 242 Enrique Cámara de Landa and Leonardo D’Amico ICTM President Salwa El-Shawan Castelo-Branco During its first business meeting, held during the and Secretary General Svanibor Pettan to establish an 43rd ICTM World Conference in Astana in 2015, the ICTM study group concerning visual or audiovisual newly formed study group received an invitation from ethnomusicology. The idea began to take shape during the University of Ljubljana, Slovenia, to hold the first the MusiCam 2014 International Conference on Visual symposium. A governing body was established with Ethnomusicology held in Valladolid by the Study-Leonardo D’Amico as chair, Yves Defrance as vice chair, Group-in-the-Making. Following this conference, and Matías Isolabella as secretary. The theme of the 1st Leonardo D’Amico submitted a request for official symposium of the ICTM Study Group on Audiovisual recognition, along with the mission statement, to the Ethnomusicology (Ljubljana, 24–27 August 2016) was ICTM Executive Board. It was accepted with a formal “Sounds and visions: Current directions in audiovisual letter dated 30 April 2015. ethnomusicology.” There were also accompanying con- According to the mission statement written by certs, screenings, and workshops. The three sections Leonardo D’Amico and Terada Yoshitaka, the Study of the symposium aimed to offer some insights into Group on Audiovisual Ethnomusicology investigates the main theoretical and methodological approaches the potentials of audiovisual media in a wide range of adopted by ethno-filmmakers, to compare and share ethnomusicological activities: research, preservation, experiences about different strategies for archiving and and dissemination. preserving audiovisual recordings as cultural heritage, and to present new research, as well as to take stock of 1. Research the current directions in ethnomusicological film pro- Audiovisual recording has already been considered an duction. Selected papers from the Ljubljana symposium indispensable tool in fieldwork and many ethnomusi-were published in Ethnomusicology in the Audiovisual cologists collect audiovisual footage as a tool for analy- Time, edited by Yu Hui, Leonardo D’Amico, and Yves sis and some produce films for sharing research results with colleagues, students and the general audience. The Defrance (2018). study group will investigate how ethnomusicologists The 2nd symposium was held in Lisbon, 27–30 June have used this media in their research, and how the use 2018, hosted by the Ethnomusicology Institute – Center of this media has affected and/or changed their perceptions of music, the method of data gathering, and the for Studies in Music and Dance of the Universidade rapport with the people and community under study. Nova de Lisboa. The symposium, under the general It will explore the ethics and methodology of using theme “Theories and methods in audiovisual ethnomu-audiovisual media including filmmaking and post-pro- sicology,” aimed to provide a scholarly venue to reflect duction applications. widely on the use of audiovisual media as a research 2. Preservation/invigoration tool in ethnomusicology (figure 2). At the same time, Many music and dance traditions are facing extinction the symposium was an occasion for exploring new ways due to various reasons. [Although] [a]udiovisual tech-of preserving and disseminating ethnomusicological nologies have been used to record music and dance tra- knowledge and fostering debates on the emerging field ditions all over the world, reflections on philosophical, of audiovisual ethnomusicology. ethical, methodological and technical aspects of such efforts have not been sufficient. The study group will The two symposia have provided an excellent opportu-discuss why we need to preserve traditions to begin nity for discussion about the use of audiovisual means with, what type of preservation has been done and how, as valuable tools for research and the preservation of what role audiovisual media can play to foster, preserve, musical systems and cultures, as a vehicle of cultural reinvigorate, or even to revive disappearing or atten-uated traditions. The group will also seek innovative transmission and revitalization of styles and musical projects to utilize historical audiovisual documents for repertoires, and as a record of musical change in a dia-the same purpose. chronic perspective. 3. Dissemination Since 2018, the ICTM Study Group on Audiovisual The research findings in ethnomusicology have been Ethnomusicology has established a permanent collab-shared primarily in the form of written text with the oration with the Intercultural Institute of Comparative audiovisual as a supplement or illustration, while the Music Studies (IISMC) of the Fondazione Giorgio audiovisual media are generally regarded as better Cini, Venice, for the project “Eyes on music: Projects equipped to record/document music and dance. The on visual ethnomusicology .” Every year, the IISMC study group will identify the major problems of the tex- tual representation of music and dance and explore the offers a research scholarship dedicated to the memory ways in which audiovisual can be effective as primary of Diego Carpitella for the production of an audiovi-media to share research findings.3 sual film of ethnomusicological interest. The grow- ing interest in filmmaking in ethnomusicology is also demonstrated by the recent ICTM Film Prize, awarded annually for an exceptional film or video that contrib- 3 http://ictmusic.org/group/audiovisual-ethnomusicology. ICTM Study Group on Applied Ethnomusicology 243 Figure 2. Participants at the 2nd symposium of the ICTM Study Group on Audiovisual Ethnomusicology. Lisbon, 2018 (photo by Iñigo Sánchez). utes significantly to the ICTM mission: “To promote ern ethnomusicology is oriented mainly to study the research, documentation, safeguarding, and sustainabil-process of music-making through musical performance ity of music, dance, and related performing arts, taking in the contemporary “mediascape” (Appadurai 1990). into account the diversity of cultural practices, past and This study group aims to implement a reflection on present, and scholarly traditions worldwide.” visual communication in ethnomusicology and issues concerning the history, approaches, problems, and state of ethnomusicological film studies. Audiovisual ethnomusicology in the contemporary “mediascape” References cited Audiovisual ethnomusicology is being configured as an emerging branch of ethnomusicology, intended Adamo, Giorgi. 2010. Vedere la musica: Film e video nello studio dei comportamenti musicali. Lucca: LIM. to study the audiovisual representations of musical Appadurai, Arjun. 1990. “Disjuncture and Difference in the cultures through any audiovisual medium (but par-Global Cultural Economy.” Theory, Culture and Society 7: ticularly in film), within the disciplinary framework 295–310. Baily, John. 1988. “Report on the 7th ICTM Colloquium of ethnomusicology. “Methods and Techniques of Film and Videorecording in The growing interest in the audiovisual dimension of Ethnomusicology.” YTM 20: 193–198. ———. 1989. “Filmmaking as Musical Ethnography.” The World musical performance practice and the use of film as a of Music 31/3: 3–20. medium of presentation and research in ethnomusicol- Cámara de Landa, Enrique, Leonardo D’Amico, Matías Nicolas ogy is related to the increasingly wide use of visual eth- Isolabella, and Terada Yoshitaka. 2016. Eds. Ethnomusicology and Audiovisual Communication. Valladolid: University of nographic methods of research and representation, and Valladolid. to technological development of modern visual tools D’Amico, Leonardo. 2012. Filmare la musica: Il documentario e used today in field research. At the same time, postmod-l’etnomusicologia visiva. Roma: Carocci. 244 Enrique Cámara de Landa and Leonardo D’Amico ———. 2020. Audiovisual Ethnomusicology: Filming Musical Cultures. Bern: Peter Lang. Dornfeld, Barry. 1992. “Representation and Authority in Ethnographic Film/Video: Reception.” Ethnomusicology 36/1: 95–98. Feld, Steven. 1976. “Ethnomusicology and Visual Communication.” Ethnomusicology 20/2: 293–325. Giuriati, Giovanni. 2015. “New Trends in the Use of Audiovisual (and Audio) Technology in Contemporary Ethnomusicology.” In Musical Listening in the Age of Technological Reproduction, edited by Gianmario Borio, 345–355. Farnham: Ashgate. Harbert, Benjamin. 2018. Follow Me Down: Portraits of Louisiana Prison Musicians, colour video. Films Media Group. 97 min. Scaldaferri, Nicola. 2015. “Audiovisual Ethnography: New Paths for Research and Representation in Ethnomusicology.” In Musical Listening in the Age of Technological Reproduction, edited by Gianmario Borio, 373–392. Farnham: Ashgate. Simon, Artur. 1989. “The Eye of the Camera: On the Documentation and Interpretation of Music Cultures by Audiovisual Media.” The World of Music 31/3: 38–55. Titon, Jeff Todd. 1992. “Representation and Authority in Ethnographic Film/Video: Production.” Ethnomusicology 36/1: 89–94. Yu, Hui, Leonardo D’Amico, and Yves Defrance. 2018. Eds. Ethnomusicology in the Audiovisual Time. Hangzhou: Zhejiang University Press. Wissler, Holly. 2009. “Grief-Singing and the Camera: The Challenges and Ethics of Documentary Production in an Indigenous Andean Community.” Ethnomusicology Forum 18/1: 37–53. Zemp, Hugo. 1988. “Filming Music and Looking at Music Film.” Ethnomusicology 32/3: 393–427. ———. 1989. “Filming Voice Technique: The Making of ‘The Song of Harmonics.’” The World of Music 31/3: 56–83. ———. 1990a. “Visualizing Music Structure through Animation: The Making of the Film ‘Head Voice, Chest Voice.’” Visual Anthropology 3/1: 65–79. ———. 1990b. “Ethical Issues in Ethnomusicological Filmmaking.” Visual Anthropology 3/1: 49–64. ICTM Study Group on Ethnochoreology Elsie Ivancich Dunin and Catherine E. Foley Comprehensive histories of the Study Group on understanding that “Folk Music” encompassed the Ethnochoreology were written by Anca Giurchescu inclusion of dance and song. The events in the period (2005; 2014) for symposia of the study group cele-from 1947 to 1960 show that dances and studies of brating its fortieth anniversary, held in 2002 in Szeged, dances were integrated into the activities of the earliest Hungary, and its fiftieth anniversary, held in 2012 in IFMC conferences. Festivals of music and dance accom-Limerick, Ireland. In this chapter, however, rather than panied many of the early conferences and according to marking 1962 as the beginning of the study group, we Karpeles, “the festivals also serve a scientific purpose in mark 2017 as the seventieth anniversary of events in that they provide scholars with demonstrations of living a continuum of “dance” within the International Folk folk music which might not otherwise be readily avail-Music Council / International Council for Traditional able to them” (Karpeles 1957:17). Music (IFMC/ICTM). Our research draws from the The more notable of these festivals were the 1st Folk above histories, relevant literature, the IFMC/ICTM Dance and Song Festival coinciding with the 2nd Bulletin s, correspondence in the ICTM Archive in IFMC Congress2 in Venice, Italy, in 1949; the 4th Canberra, Australia,1 and our own personal expe-IFMC Conference with a national festival held in riences and exchanges with colleagues in the Study Opatija, Yugoslavia in 1951; a performance of English Group on Ethnochoreology. folk dances presented at the 5th IFMC Conference The establishment years of the IFMC began with dance in London, UK, in 1952; the 6th IFMC Conference persons long associated with the English Folk Dance held in conjunction with the 2nd International Folk and Song Society (EFDSS), such as the pivotal founder Dance and Song Festival in the Basque country in Maud Karpeles, along with Douglas Kennedy, director Biarritz, France, and Pamplona, Spain, in 1953;3 the of the EFDSS from 1924. Both served in IFMC execu-8th IFMC Conference with the 3rd International tive positions from 1947 into the 1960s. They embodied Folk Dance and Song Festival held in Oslo, Norway experience of an institutionalized model of the EFDSS in 1955; a regional festival in Sinaia, Romania, occur-in the 1930s with an outreach to invite scholars as ring with the 12th IFMC Conference in 1959; and the “foreign corresponding members” to form an advisory 15th IFMC Conference in Gottwaldov coinciding with group that would promote comparative dance studies the 4th International Folk Dance and Song Festival in (see chapter on “Maud Karpeles: Her Contribution to Gottwaldov, Czechoslovakia in 1962. It is at this conDance Research and the Council” by Foley et al. in this ference/festival in 1962 that the anticipated Folk Dance volume). As IFMC’s honorary secretary until retirement Commission, announced in 1960 by Felix Hoerburger, in 1963, Karpeles had maintained correspondence with was realized.4 However, the Folk Dance Commission all music and dance members of the Council. Among key dance researchers were Felix Hoerburger (Federal 2 Note that the 1949 event was called a “congress”; subsequently Republic of Germany), Roger Pinon (Belgium), sisters the term was usually “conference” or “international confer- Danica and Ljubica Janković (Serbia, Yugoslavia), and ence,” with “world conference” becoming standard only in 1991. Gertrude Kurath (USA) (Dunin 2014). 3 According to Wang, Kurosawa stated that “twenty countries Although founded in 1947 with a proposed title participated in the Festival, including those from Europe “International Folk Music (Dance and Song) Council,” (Andorra, Belgium, Britain, Finland, France, Germany, Holland, Ireland, Italy, North Ireland, Norway, Scotland, the parentheses in the title were dropped, with an Sweden, Spain, Switzerland, and Yugoslavia), the United States, and Asia (Indonesia, Japan, Turkey)” (Wang 2018:77). 4 See the chapter on “Maud Karpeles: Her Contribution to 1 We thank our colleague, Jeanette Mollenhauer, for her assis- Dance Research and the Council” by Foley et al. in this vol- tance in accessing materials for us in the ICTM Archive in ume for further information on Karpeles and the early history Canberra, Australia. of the Council. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 245–260. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 246 Elsie Ivancich Dunin and Catherine E. Foley was not a beginning marker for the current Study Europe for comparative studies, and was also interested Group on Ethnochoreology—as celebrated in our for-in native American dance forms in the southwestern tieth and fiftieth anniversaries—but a trial step to bring area of the USA. He is the earliest anthropologist to use back greater awareness of dance into the conferences film for comparative dance studies and also to suggest beyond what was observed through the festivals. “an attempt to note choreography of the South-West In 1950, the IFMC held its third conference in the Indians by means of kinetographs after the manner of USA at Bloomington, Indiana, the first IFMC meet-Rud. V. Laban” (Pospíšil 1932:240). The Laban system ing outside Europe. Four papers with dance topics in was endorsed in 1940 by the Dance Notation Bureau the USA were presented: Gertrude Kurath presented on (DNB) in New York City to preserve choreographies Iroquois Indian rites; Elizabeth Burchenal presented on and to collaborate with dance companies to reconstruct regional types and origins of folk dances in the USA; dance works. By the 1950s, the Laban system had been Sarah Gertrude Knott presented on the National Folk introduced into academic dance curricula in the USA, Festival in the United States; and Olcutt Sanders pre-and notated theatrical dances could be contracted from sented on the Texas cowboy square dance. It was a rare the DNB for reconstruction by faculty and students for opportunity for these dance scholars, along with Maud public performance.5 Karpeles, to meet and to share ideas and time together. Working in isolation, dance researchers from many Although correspondence with Maud Karpeles contin-countries had developed unique notation systems ued among them during the rest of the 1950s, and in rooted primarily in their own dance culture. For exam-relation to the subject of a “dance commission,” most ple, the sisters Ljubica and Danica Janković developed a dance researchers in the USA or Canada did not attend system in Serbia in the 1930s, and they used it in their IFMC conferences or meetings in Europe until the eight volumes of Narodne igre (Folk dances), the first 1970s due to the high cost of trans-Atlantic ship travel volume of which was published in Belgrade in 1934. combined with many necessary days of travel time, and Notation systems were also created by other research-vice versa for travellers from Europe to North America. ers to describe dances in their own countries and were Lists later compiled by Karpeles of potential member-usually referred to by their creators’ names. For exam- ship of the “dance commission” were names located ple, there was the Jelena Dopuđa system in Bosnia primarily in more accessible “Western” European coun-and Herzegovina (1951); the Vinko Žganec and Ivan tries, thus confining the membership from a truly inter- Ivančan systems in Croatia (1950, 1951); and the Živko national perspective. Firfov system in Macedonia (1953). In 1955, these, The active dance researchers in Eastern Europe of the along with the Laban system6 utilized in Yugoslavia post–Second World War socialist Soviet block of coun-were reviewed at a National Folklore Congress meet- tries were restricted for political reasons to travel beyond ing, held in Bjelašnica, Bosnia and Herzegovina of their borders into Western Europe. However, the first the Socialist Federal Republic of Yugoslavia (Dopuđa Eastern European Soviet bloc country to host an IFMC 1958). The general consensus at the 1955 meeting was conference was Romania in Sinaia and Bucharest in the acceptance of the Knust Kinetography-Laban sys-1959, followed by Gottwaldow in Czechoslovakia in tem,7 and thereafter, it was proposed that researched 1962, and by Budapest in Hungary in 1964. Therefore, a working interrelationship within the Eastern bloc was 5 Choreographies were contracted as would be a play or musical facilitated by IFMC conferences. Based on her overall in a theatre, or a music composition contracted for a concert. As a university student in 1956, Elsie Ivancich performed the knowledge of the membership and close awareness of lead role of the Eldress in a reconstructed Laban score of The the Council’s calendar, Karpeles’s correspondence in the Shakers, a 1931 work by modern dance choreographer Doris ICTM Archive in Canberra reveals her strategizing the Humphrey. The theatrical performance with a full cast took timing of how and when to announce the “dance com- place at the University of California, Los Angeles. mission” at the conference in Vienna in 1960. 6 Each notation system, such as the Laban system, was referred to by the creator’s surname. 7 Albrecht Knust was a German choreographer, dancer, and collaborator with Laban in developing the notation system Dance-notation systems and beginnings that was originally introduced in 1928. By 1948 Knust pub- lished his improvements as Laban Kinetography. In the 1940s of the Dance Commission the most commonly used term in the USA and England was Labanotation, but in Germany and other parts of Europe Rudolf von Laban introduced his graphic-based nota- where German was a common second language, the system was known as Kinetography Laban. During the 1955 national tion system at a dance congress in Essen, Germany, folklore meeting in Yugoslavia, multiple terms were used to in 1928. Attending this presentation was František identify the “Laban system”: Labanotation (Labanotacija), Pospíšil, an anthropologist from Brno, Czechoslovakia. Kinetography (kinetografija), Laban’s Kinetography, or Knust’s During the 1920s, Pospíšil filmed sword dances in Laban Kinetography. By 1959 (and continuing into the pres- ent), the International Council of Kinetography Laban (ICKL) was founded in England to clarify and standardize this singular ICTM Study Group on Ethnochoreology 247 dances be published in that system (see Dunin and but makes possible the writing down of any corporeal Ruyter 1981:2). Within Yugoslavia, this was a signif- movement. (Hoerburger 1959:73) icant step towards utilizing a graphic system that was Unfortunately, with “dance” not visible in the name of not reliant upon differing Slavic languages and written the IFMC, dance appeared to dance scholars to be less scripts within one country. important than music and song within the organiza- Anca Giurchescu, however, in her forty-year anniversary tion. To rectify this perceived omission, the establish-documentation of the study group (2005) lists different ment of a “commission” was a topic of discussion in systems created subsequently in the Eastern European Maud Karpeles’s correspondence (relevant documen-Soviet bloc of countries. This indicates that many dance tation preserved in the ICTM Archive). Ongoing cor-researchers / collectors / choreographers at the time respondence between Karpeles and Hoerburger in the were producing their own methods for documenting late 1950s was centred on forming a larger international and describing movement for their own local dances in group, referred to as a Dance Commission or Folk their own languages with rudimentary graphic indica-Dance Commission. By May 1960, Karpeles had sent tions such as arrows, stick figures, timing of stepping letters to dance researchers and organizations in Europe with the music, and handholds of groups. Usually the and the USA requesting comments on the formation of method describing the movement was also identified by such a commission. She also suggested to Hoerburger the name of the creator. For example, Kiril Haralampiev that he take on a chair position at the IFMC confer-devised a method to record his own Bulgarian choreog- ence in Vienna in July 1960 to introduce the proposal raphies in 1956; Štefan Tóth devised another method for the formal establishment of a Dance Commission. to document Slovak dances in 1956; while in their Hoerburger agreed and made the announcement at 1958 co-authored book in Bulgaria, Raina Katzarova the conference, after which there was much exchange used her system to describe her collected dances, and of correspondence. In February 1961, Karpeles circu-Kiril Djenev used his system to describe his Bulgarian lated another letter internationally to dance researchers choreographies. Vera Proca-Ciortea co-devised the known to her, institutionalized folk-dance organiza- “Romanotation” system in Romania in 1956. This was tions, and research centres. The letter states: a shorthand system for describing dances in Romania The Executive Board has long been aware that folk (Giurchescu 2005:252). Due to Felix Hoerburger’s dance, both as regards its study and its practice, has insistence, a conference on dance notation was organ- played a relatively minor role in the Council’s pro- ized by the Institut für Deutsche Volkskunde in gramme as compared with folk song. To remedy this situation the General Assembly decided at its meeting Dresden (German Democratic Republic), in 1957. held in Vienna on July 24, 1960, to set up a Folk Dance Most of the papers presented discussed Labanotation, Commission. (Karpeles circular letter February 1961; while Vera Proca-Ciortea demonstrated the Romanian ICTM Archive MS 10007, series 4, file 69) shorthand notation. At this meeting, it was also agreed In the proceedings of the IFMC conference in Québec, that Labanotation should become the common system Canada, in 1961, tasks of the IFMC Dance (Folk of notation in folk dance research (Reynolds 1988:3). Dance) Commission were further clarified: (1) to define Therefore, unrelated to one another, two conferences the concept of “folk dance,” ensuring that all should be in Europe, one held in Bosnia and Herzegovina of the referring to the same thing; (2) to survey the situation Socialist Federal Republic of Yugoslavia in 1955, and the in countries by means of a questionnaire; (3) to prepare other in Dresden of the German Democratic Republic a guidebook with specialists, monographs, and select in 1957 affirmed the use of Kinetography-Laban as a bibliographies; (4) to disseminate a universally accepted common notation system for dance research. dance notation (Laban notation); and (5) to prepare Already active in the Federal Republic of Germany in a large-scale bibliography and folk dance handbook 1957 and 1958, a Folk Dance Study Group, led by Felix (Hoerburger 1962:161–162). Hoerburger, coordinated the collection, practise, and The inaugural meeting of the Folk Dance Commission study of folk dance ( BIFMC 17, Apr 1960:6). In 1959, was held at the next IFMC conference in Gottwaldov, Hoerburger again proposed the use of Kinetography-Czechoslovakia, in July 1962. Largely based on the Laban for documenting dances and any corporeal 1961 proposals, the agenda was prepared by Hoerburger movement: and Karpeles, and sixteen countries were represented: I believe that amongst the existing dance notations the Austria, Belgium, Bulgaria, Czechoslovakia, Denmark, Kinetography (Labanotation) developed by Rudolf von Finland, France, FRG, Hungary, Israel, the Netherlands, Laban offers a solution. This system is not restricted to one particular national or historical style of dancing, Poland, Romania, the UK, the USA, and Yugoslavia. The scholars from these representative countries had notation system. Thereafter in Yugoslavia and other European been invited to participate in the meeting, thus mak- countries, the “Laban system” was generally referred to as ing it an exclusive or closed group. Appointed by the Kinetography-Laban. 248 Elsie Ivancich Dunin and Catherine E. Foley IFMC’s Executive Board, the Dance Commission was In 1967, the IFMC Executive Board discontinued to consist of representatives of dance organizations, the Folk Dance Committee, but reappointed the institutions, and individuals. To coordinate activities, Terminology Group with again a changed name: Study the commission internally appointed its own bureau of Group on Dance (Choreology) Terminology, continu-officers, the first of whom were Felix Hoerburger (chair; ing under the leadership of Vera Proca-Ciortea ( BIFMC FRG), Roger Pinon (secretary; Belgium), Vera Proca- 31, Nov 1967:26). Ciortea (Romania), and Douglas Kennedy (UK) as a For the 1972 Bulletin of the International Folk Music representative of the Executive Board ( BIFMC 22, Oct Council, which marked the twenty-fifth anniversary 1962:16, 23–27). The commission was empowered to of the IFMC, the Study Group on the Terminology of appoint working groups, which is how a smaller Folk Choreology (“Folk Dance” was no longer in its title) Dance Terminology Group came into existence in 1963 reported that its work over ten years was by corre- (see below). spondence and periodical meetings. Its last meeting Although Karpeles retired from her honorary secre- in Wiepersdorf, in the German Democratic Republic tary position in 1963—a position that had kept her (East Germany) in 1972, brought to a close a phase of in correspondence with all IFMC members—she was identifying the development of choreology as a science. awarded an IFMC honorary president position for life According to Giurchescu, “dance structural units had on the Executive Board ( BIFMC 24, Oct 1963:1–2). been defined and hierarchically organised, composi-Therefore, with her knowledge and experience, she con- tional rules and dance form-models were established, tinued to recommend on all matters related to the study and the structural relationship between dance and music and practice of folk dance at the following IFMC con-illuminated” (Giurchescu 2005:256). This resulted in ferences and meetings as well as determinations on ad the production of the “Syllabus der Volkstanzanalyse” hoc groups. (Syllabus for folk-dance analysis). In the 1972 Bulletin The Dance Commission, with its proposed invited it was stated that the next step for the study group was members strategy, was very short-lived. Changes in the translation of the “Syllabus der Volkstanzanalyse” the constitution of the Folk Dance Commission were into eight languages ( BIFMC 41, Oct 1972:44–45). proposed at the IFMC conference held in Jerusalem in The English language version of the syllabus became 1963: available in the 1974 YIFMC (IFMC Study Group for Folk Dance Terminology 1974), translated by William The former Dance Commission was thought to be not sufficiently representative. Accordingly, the Board C. Reynolds.9 decided that meetings for the discussion of matters In 1976, the study group title was Analysis of Folk relating to the dance should be open to all members. In Dance ( BIFMC 49, Oct 1976). At the tenth working 1963 the Dance Commission was terminated: the Folk Dance Committee takes the place of the Commission’s meeting of the European ethnochoreologists held in Bureau. ( BIFMC 26, Oct 1964:13) Zaborów, Poland, in 1976, led by Grażyna Dąbrowska, the theme was directed to the classification of European Also, at the same conference, “Premises for a Folk Dance folk dances and their group and solo formations. In con-Terminology” was presented by the Romanian dance trast to earlier work gatherings, each participant was to scholar Vera Proca-Ciortea ( BIFMC 24, Oct 1963:22– prepare his/her paper on dance form for publication in 23), a follow-up from Hoerburger’s Commission pro- German, and the next meeting in 1979 was to be open posal in 1961 on the need to define “folk dance.” At to participants from USSR, Scandinavia, and Western the 1964 world conference, held in Budapest, the newly Europe ( BIFMC 51, Nov 1977:32–33). named Folk Dance Committee proposed “the forma- tion of Study Groups (such a group had already been By April 1977, the name of the closed group was formed to study the problem of dance terminology changed to Study Group on Ethnochoreology, chaired and was working actively under the leadership of Mrs. by Proca-Ciortea, and this name has continued to Proca-Ciortea)” ( BIFMC 26, Oct 1964:17). the present. The history and metamorphosis of name changes for this dance research group have reflected After 1964, IFMC world conferences were generally no different moments in its history. Beginning in the late longer annual, but biennial. Nevertheless, the IFMC 1950s, Maud Karpeles’s ideal was to include dance Dance Committee’s Subgroup on Dance Terminology researchers more fully within the IFMC by the establish- (again a name change), remained active with meetings in ment of a Folk Dance Commission (sometimes short-1965 and 1966, held in East Germany, Czechoslovakia, and Slovenia and Macedonia in Yugoslavia ( BIFMC 28, Jul 1966:22).8 September 1965 in Celje and Velenje, Slovenia (Yugoslavia); September 1966 in Dojran, Macedonia (Yugoslavia); and January 1967 in Potsdam, East Germany. 8 11–17 January 1965 in Geltow, German Democratic 9 This Yearbook volume, officially from 1974, was actually pub- Republic; 12–14 July 1965 in Strážnice, Czechoslovakia; 6–13 lished in 1975. ICTM Study Group on Ethnochoreology 249 ened to Dance Commission or simply Commission in Bayonne, France, in 1973, there was a face-to-face correspondence during the 1950s). This was not for-meeting between the American anthropologist Adrienne mally introduced until 1960, with Felix Hoerburger Kaeppler, Vera Proca-Ciortea, and Anca Giurchescu. as chair. The commission with an internal bureau of Kaeppler presented her paper “Theory and method four invited members was replaced by the Folk Dance for the structural analysis of the Tonga dance system Committee, followed by a closed subgroup on Folk by applying a linguistic model” at the conference (see Dance Terminology, chaired by Vera Proca-Ciortea in Kaeppler 1972), and Proca-Ciortea and Giurchescu 1963. In 1967, this smaller group was renamed the were there as representatives of the Study Group on Study Group on the Terminology of Choreology. This Terminology of Choreology working on dance structure name remained until 1972, with a short-term change and form analysis. In their first discussion, Kaeppler to Study Group on Analysis of Folk Dance. A fledgling and Giurchescu realized that in spite of the differences Study Group on Ethnochoreology in 1977—accessible between the dance cultures they studied and between by invitation only and with a closed membership—had the theoretical perspectives they adopted, basic ideas been encouraged by Karpeles and the IFMC Executive and even the use of terms were similar. This realization Board to open to a wider IFMC membership since led to productive interchanges in the development of 1963 (see above). It was not, however, until 1979 that the study group after 1988. the meetings became truly open. Through Executive Board encouragement from 1979 into the mid-1980s, there was an expansion of member- ship within the Study Group on Ethnochoreology. At Membership growth and change the IFMC’s 25th conference in Oslo, Norway, in 1979, members of the Northern Association for Folk Dance From its inception in 1963, the small Terminology Research joined with Egil Bakka and Jan Peter Blom Group was exclusively Eastern and Central European from Norway; Roderyk Lange (originally from Poland) with members who held professional positions in from the British Channel Islands; Irene and Juno state-supported dance research, folk-dance performance Sjøberg from Sweden; Kari Bergholm and Pirkko Liisa ensembles, and ethnological institutes in Bulgaria, Rausmaa from Finland; Sigridur Valgeirsdottir from Czechoslovakia, East Germany, Hungary, Poland, and Iceland; and Henning and Ida Urup from Denmark. Romania. Furthermore, the Eastern European model for research was the collection of a dance product that The year 1979, with enlarged Scandinavian par-was representative of national identity (Giurchescu and ticipation in the IFMC, was also the year that two Torp 1991), so that the restricted Terminology Group, other persons independently settled in Denmark with hundreds of collected dances, had a common and became important to study-group history. One interest to study the structure of their dance material. was Anca Giurchescu, who defected with her family from Romania to Copenhagen, Denmark.10 Without All members of the Terminology Group were fluent Romanian archives and her original files and materi-in their national languages with German or French as als, Giurchescu nevertheless learned another language, second or third languages. German was the most com-continued with field research in Denmark, and con- mon language emanating from the pre–Second World tributed to the Council. The other person to move to War educational systems. As a skilled dancer, researcher, Denmark was William (Bill) C. Reynolds, an American notator, organizer, fluent in German, and known to recreational folk dancer and student during the turbu-Felix Hoerburger since the 1950s, Vera Proca-Ciortea lent years of the 1960s at the University of California, was well qualified to be recognized in the leadership Berkeley. After being introduced to a dance-notation role of this select closed group, serving twenty years as system at the university, Reynolds came to Europe to chair from 1963 through to 1983. However, due to per-learn more about Kinetography-Laban. As he was flu- sonal circumstances, she could not attend the last two ent in German, Reynolds became the translator of the working sessions during her tenure. In 1976, the meet-above-mentioned 1972 “Syllabus of the Study Group ing was organized by Grażyna Dąbrowska in Zaborów, for Folk Dance Terminology” (1974). Continuing with Poland ( BIFMC 51, Nov 1977:32–33). In 1979, the his passion for folk dance and notation, he was invited meeting was organized by Rosemarie Ehm-Shulz in East by Albert Knust to edit the English language text of Germany ( BIFMC 56, Apr 1980:7–9). This last work-his Dictionary of the Kinetography Laban published in ing session was opened to a wider membership in accor- 1979. Reynolds married a Danish folk dancer in 1980 dance with the earlier recommendation of Karpeles and and settled in Denmark, continuing his research on the IFMC Executive Board. At the beginning of the 1970s, both European and American structural linguistics and semiotics influenced studies in dance. At the IFMC’s 22nd conference in 10 Before defecting, Giurchescu worked professionally at the Institute of Ethnography and Folklore in Bucharest, Romania. 250 Elsie Ivancich Dunin and Catherine E. Foley human-movement analysis, and interacting with other rather independently. At the end of the 1986 meeting in Scandinavian dancers and researchers into the 1980s. Neubrandemburg, it was decided that future activities of the study group would be organized by Ehm-Schulz as chair with two additional co-chairs: Lange (British Study-group expansion from the 1980s Channel Islands) and Torp (Denmark). They were to begin a planning process toward the next study-group The year 1981 became a major time marker: “Folk Music” gathering that was to take place after the 29th ICTM was replaced with “Traditional Music” in the Council’s World Conference. new name—International Council for Traditional The 29th ICTM World Conference in East Berlin in Music (still without “dance” in its title). In addition, 1987 became a turning point towards an open Study the functions of the ICTM’s Secretariat office moved to Group on Ethnochoreology. With personal encourage-Columbia University (New York City), where the office ment to many dance researchers by Giurchescu, the remained until the move to the University of California, meeting was attended by twenty-five dance research-Los Angeles, in 2001. In the 1980s, air travel across long ers from thirteen countries, presenting sixteen papers. distances and between continents had become com- With the anticipation of a meeting in Copenhagen the monplace, but correspondence and communication following year, there was much informal discussion needs continued with a paper-trail postal-system. The among the dance researchers about future directions, 27th ICTM World Conference was hosted at Columbia research topics, length of meetings, comparative stud-University, New York, in 1983, and would have been ies, experiences, coordinating languages, and more. an opportune time to involve the active dance research- Ongoing communication between international meet- ers in the USA and Canada with those of the ICTM, ings was problematic, and William C. Reynolds, liv-but the Study Group on Ethnochoreology with Proca- ing in Denmark, offered to put together a newsletter Ciortea as chair was inactive in 1983. In the USA, dance before the Copenhagen meeting, with a first issue at the research had been growing with the American Folklore beginning of 1988. Elsie Ivancich Dunin volunteered Society, attracting dance-research presentations from to gather recent bibliography by current members to the 1960s. The Committee on Research in Dance, later include in each newsletter. But this suggestion was renamed Congress on Research in Dance (CORD), not realistic: the first issue of the newsletter became an held a seminal anthropology and dance conference in eight-page document, and including a bibliography as 1972; the conference was co-chaired by Allegra Fuller well was considered too costly to send by postal mail. Snyder and Joann Kealiinohomoku. A joint meeting of CORD with the Society for Ethnomusicology was held in San Francisco in 1974, while Cross-Cultural Dance Resources (CCDR) was founded by Kealiinohomoku The 1988 study group establishes in 1982, and her seminal article, “An Anthropologist governance and rules of order Looks at Ballet as a Form of Ethnic Dance,” originally published in 1970, was reprinted in 1983. From 1960 to 1988, the leadership and governance of the dance contingent of the Council was passed from However, with Scandinavian scholars expanding the generation to generation rather loosely. From 1960 to dance membership of the Council at the 25th ICTM 1966, the Folk Dance Commission was chaired by Felix World Conference in Oslo in 1979, the previously Hoerburger (FRG). From 1962 to 1983, the closed closed-group association was changing. Inheriting the Folk Dance Terminology Group, with varying names, Eastern European folk-dance terminology group from was chaired by Vera Proca-Ciortea (Romania). From Proca-Ciortea in 1983, Rosemarie Ehm-Shulz from East 1983 to 1986, the Study Group on Ethnochoreology Germany attended the 28th ICTM World Conference in was chaired by Rosemarie Ehm-Schulz (East Germany); 1985, which was jointly hosted in Stockholm, Sweden, and from 1986 to 1988, a ruling board was created and Helsinki, Finland. Ehm-Shulz was encouraged by with three members: Ehm-Schulz as chair, and Roderyk Lisbet Torp and other Scandinavian scholars to plan a Lange and Lisbet Torp as co-chairs (see appendix 1). study-group meeting in her city of Neubrandemburg At the study group’s 15th symposium in Copenhagen, (GDR) in 1986, with an open membership and a range Denmark, in 1988 (figure 1), there was another shift in of topics. Nine researchers from six countries attended the governance, with Torp becoming chair and Ehm-the meeting. The paper, “Trends of contemporary folk Schulz co-chairing with Lange. All three agreed to step dance research,” presented by Roderyk Lange, was sig-down and stand for ordinary election when a care- nificant because since his defection from Poland to the fully thought-out constitution had been put together British Channel Islands in 1967, almost twenty years by an ad hoc committee made up of Elsie Ivancich earlier, he had continued with research, writing, notat-Dunin (Croatia/USA), Judy Van Zile (USA), and Anca ing, and editing his own journal— Dance Studies— Giurchescu (Denmark). ICTM Study Group on Ethnochoreology 251 Figure 1. ICTM Study Group on Ethnochoreology symposium in Copenhagen, 1988 (photo by Jerry Bergman, courtesy of Lisbet Torp). This threesome—Dunin, Van Zile, and Giurchescu— ences (see appendix 2).11 Study-group members pres- was concerned about recommending by-laws support- ent papers in the framework of symposia themes, of ing a rotating leadership with three officers: chair, vice- which there are usually two.12 Roundtables dedicated chair, and secretary. Each officer would be elected for a to ethnochoreology have also been organized at world four-year term, with the option of being re-elected for conferences (for example, Hiroshima in 1999, Rio de a second four-year term. The timing of the terms of the Janeiro in 2001, and Limerick in 2017), aiming to bring three officers would be staggered, so that every two years together dance scholars from all over the world and to there was election or re-election of one or two of the improve the mutual exchange of knowledge and expe-officers. Hence, the total governing board would consist rience. Study-group members have also presented indi-of the three elected officers; the newsletter editor, also vidual papers, led dance workshops, and coordinated elected for four years, but with an unlimited number of panels for presentation at ICTM world conferences. terms; and a biennial symposium chair who would serve Furthermore, the study group generally holds business until the completion of proceedings after the sympo-meetings at biennial symposia and world conferences. sium. The overall meetings were to be guided by Robert’s Rules of Order. The ad hoc committee presented the by-laws at the study group’s symposium in Budapest, Sub-study groups Hungary, in 1990, for a vote of approval, and Lisbet Torp became the first chair, beginning a four-year term. An important feature of the study group was initiated A formal study-group election took place at the next at the symposium in Budapest, Hungary, in 1990. This symposium in Nafplion, Greece, in 1992, with Torp initiative was the creation of sub-study groups: research (Denmark) continuing her four-year term as chair groups, which focus on specific areas of interest and rel-of the study group, and Egil Bakka elected as vice- evance to the membership of the study group. These chair. After Torp completed her second term in 1998, groups have since played an important role within the Giurchescu was elected chair and served two terms study group, and usually correspond and meet between from 1998 to 2006; then László Felföldi (Hungary) was biennial symposia. Each sub-study group is organized elected chair and served from 2006 to 2014; and then by a leader with any number of participants, and with an Catherine Foley (Ireland) was elected chair serving two open time frame for length and frequency of meetings. terms from 2014 to 2022 (see appendix 1 for a full list Announcements and reports of sub-study group activi-of elected study-group officers). After twenty-six years, ties are presented at business meetings held during sym-revised study-group by-laws were approved at the 30th posia. These are also published in the ICTM Bulletin s. symposium in Szeged, Hungary, in 2018. The earliest proposed sub-study groups were: Dance Since 1988, symposia of the Study Group on 11 Appendix 2 consists of a list of locations where Study Group Ethnochoreology have been regularly organized every on Ethnochoreology symposia have taken place and a list of second year, in alternation with ICTM world confer- publications by the study group. 12 One theme is generally selected by the membership at business meetings during symposia, while the second theme is generally selected by the hosting institution. 252 Elsie Ivancich Dunin and Catherine E. Foley Structure Analysis; Field Research Theory and Methods; ber 24 (2004) was completed by Elsie Ivancich Dunin in Dance Revivals; Dance Iconography; and Dance and time for the study group’s symposium in Monghidoro, Film. Other sub-study groups have included Dance– Italy, in 2004. Music Relationships; Dance in the Muslim World; and Rather than continuing communications within the Dance, Migration, and Diaspora. Currently, in 2020, study group with a hard-copy newsletter, delivered by there are five sub-study groups within the Study Group postal service (which took up to a week and longer on Ethnochoreology: Nineteenth Century Round for trans-Atlantic delivery), the Study Group Board14 Dances (Egil Bakka, secretary); Field Research Theory accepted the suggestion to change to an email list, since, and Methods (Daniela Stavělová, secretary); Dance by the early twenty-first century, many of the members and Ritual (Chi-fang Chao, secretary); Movement had adapted their lives to the Internet and World Wide Analysis (Siri Maeland and János Fügedi, co-secretar-Web. By 2003, most (but not all) of the communications ies); and Dance, Gender, and Power Relations (Linnea with each member was by email. Working as an archi-Helmersson and Cornelia Gruber, co-secretaries). vist in the Center for Folklife and Cultural Heritage at Some research results from sub-study groups have been the Smithsonian Institution, where Adrienne Kaeppler presented in the form of roundtables, as projects, or as also worked as curator of Oceanic Ethnology, Stephanie experiences during symposia meetings, and are therefore Smith offered to set up an online ETNOKOR email recorded in symposia proceedings. The working results list, which has continued to serve the communication of some sub-study groups have been substantial enough needs of the study group since 2004. to be published in book form, such as the studies of In 2013, Placida Staro set up a closed group Facebook the Sub-study Group on Dance Structure Analysis, the account for members of the ICTM Study Group on Sub-study Group on Dance Iconography, and the Sub-Ethnochoreology. Here announcements of meetings, study Group on Nineteenth Century Round Dances photographs, and additional audiovisual media can be (see a publications list in appendix 2). readily shared by the membership. In addition, the ICTM website and the Bulletin con- Study-group proceedings and tinue to be primary sources of information for all ICTM members and its study groups. publications A record of the study group’s symposium in Copenhagen, Denmark, in 1988, was made in the form of proceed- Birth of the publication: Dance ings edited by Lisbet Torp and, importantly, this set a Research: Published or Publicly Presented model as a record for each subsequent study-group sym- by Members of the Study Group on posium. A record of the full meeting continued to be produced in a consistent format and with English edi- Ethnochoreology torial support for presentations by those whose primary During the 1980s, it became clear to Reynolds and language was not English. Usually, funding for these Dunin that a compiled listing of bibliographies—one proceedings was made available from the country and of the objectives in the Dance Commission’s proposals research institution that sponsored the symposium.13 in 1962—would take too much space in the Newsletter, The ICTM Dance Newsletter for Research in Traditional and that the amount of material might warrant its own Dance began in January 1988 and continued for six-separate publication. In 1987, the year of the ICTM’s teen years, thanks to the dedicated work of William C. world conference in East Berlin, Germany, Dunin was Reynolds as editor. Two issues a year were prepared in completing a reference-format system for dance with Denmark. In general, the content comprised reports on Carol de Alaiza at UCLA, referred to as the DdA system activities of the study group and sub-study groups, pre- (short for D unin d e A laiza). Both Dunin and de Alaiza sentations of new members, institutions, current bibli- were dance researchers with field experiences, where ography, abstracts of doctoral dissertations, reports and knowledge about dancers, dancing, and dances was announcements of conferences, book reviews, personal accumulated by participant observation, interviewing, news, and upcoming events. Reynolds, unfortunately, and analyzing body movement. Both also had experi-did not live to see the last issue, but in his honour, num- ence researching materials in several languages in other 13 The proceedings as a full record of the symposium programmes 14 The Study Group Board generally consists of the elected chair, from the 26th, 27th, and 28th symposia held in Třešt, Czech vice chair, and secretary together with a publications officer, Republic (2010), Limerick, Ireland (2012), and Korčula, and two ex-officio members made up of the chair of the Croatia (2014), respectively, were reviewed and accepted into organizing committee of a symposium (until the symposium the international Web of Science Thomson Reuters Conference proceedings have been published) and the chair of the next Proceedings Citation Index. symposium. ICTM Study Group on Ethnochoreology 253 countries, where referencing and library-catalogue with an editor or manager, who took responsibility for information differed in format from that generally used the published and publicly presented listings. in the USA. Referencing style formats recommended in classes in California universities or by publishers of scholarly writ- ICTM Yearbooks ings tended to relegate field-gathered or body-learned knowledge to footnotes, rather than as knowledge cited Although individual members of the study group have alongside published works in the geographical and cul-published articles in various volumes of the Yearbook for tural areas of investigation. A university dance student’s Traditional Music, two issues—volume 23 (1991) and knowledge about dancing was not only from the pub-volume 33 (2001) —were dedicated to dance studies. lished written form, but was also acquired from a wide Anca Giurchescu, Adrienne Kaeppler, and Lisbet Torp range of dancing resources in classrooms, studios, work-were guest editors of the first issue, while the second shops, performances, films, art galleries, lectures, and was edited by Kaeppler. Articles were drawn from oral other direct experiences. presentations in biennial symposia, and which had been recorded in Proceedings. Organizers of symposia, who With the initiation of the student-organized UCLA had put together their proceedings, made recommenDance Ethnology Journal in 1977, de Alaiza and Dunin dations of papers to be included in the Yearbook. The pursued an in-depth overview and comparison of ref-authors in the 2001 Yearbook came from thirteen coun- erencing systems that would be appropriate to recom- tries with a wide variety of theoretical and methodo- mend as a style format for dance-research writings. logical approaches, and interestingly a majority of the Not being satisfied with existing systems, they instead authors did not use English as their primary language. created a reference citation with six basic fields of information that was consistent for any type of textual referencing, as well as for sources of knowledge from experiential contexts or oral communication, and put Language and international into an internationally friendly format that does not membership growth use abbreviations. At the fortieth-year anniversary event in Szeged, By 1987–1988, Dunin was ready to test and evaluate Hungary, in 2002 (figure 2), Lisbet Torp recalled the the six-field format style of the DdA Reference Format issue of language in the early days of the study group: for Dance. She compiled an international array of pub-I remind you of the severe language problems that we lished and publicly presented research by members of were striving to overcome in the late 1980s and for sev- the newly reformed Study Group on Ethnochoreology. eral years to come. The working language of the pio- Rather than requesting members to figure out the sys- neers had been German and partly French. With the tem, Dunin simply suggested that all send their own list- opening of the Study Group to scholars from all over ings in the format they were accustomed to, and Dunin the world, many of whom felt more comfortable com- municating in English and most of whom had very lit- applied their information into the DdA six-field format. tle or no knowledge of German, it took the will power The 1991, 1995, and 1999 editions of the Dance Research and efforts of everybody to bridge the language barrier volumes included over 2,500 listings from members in and to keep the Study Group together. thirty countries. With more advanced electronic spread- Some of our older colleagues threw themselves into sheet programs, subsequent issues included an index of English language studies at a mature age, such as geographical and subject keywords. After fourteen years Grażyna Dąbrowska. Others, such as Helene Eriksen and into the beginning of the twenty-first century with spent hours and hours interpreting back and forth from the 2003 volume compiled by Tvrtko Zebec (Croatia), English, German and Slavic languages, even working overnight with the pronunciation of colleagues before most study-group members had become connected to they presented their papers to the rest of us. (Torp the Internet, as also evidenced by the ETNOKOR email 2005:276) list being established in 2004. Zebec recommended that the study-group bibliography be transferred to an In organizing the fortieth anniversary event in 2002, online system with a platform already in place at the Lisbet Torp brought together early members of the Institute of Ethnology and Folklore Research in Zagreb. study group from Eastern Europe: Anca Giurchescu, In this way, study-group members could enter their Eva Kröschlová, Grażyna Dąbrowska, Roderyk Lange, own listings and search for any listings via author names and Sunni Bloland (an American dance researcher, on or keywords. Although functioning, the online system scholarship in Romania in 1967 to learn Romanian has not been utilized by members as fully as the printed dances). Torp also invited thoughts by the next gen-copies that had deadlines for submission and contact erations (beginning in the 1980s) of the study group, representing a greater international membership: Judy Van Zile (USA), Marianne Bröcker (Germany), Mohd 254 Elsie Ivancich Dunin and Catherine E. Foley Figure 2. ICTM Study Group on Ethnochoreology, 22nd symposium. Szeged, 2002 (photo by Kurt Larsen, courtesy of Lisbet Torp). Anis Md Nor (Malaysia), and Tvrtko Zebec (Croatia) The study group and developments (see Torp 2005). of university programmes in the For the fiftieth anniversary of the study group, organ- fields of ethnochoreology and dance ized by Catherine Foley at the University of Limerick anthropology in Ireland, July 2012, the older generation of Eastern European members of the study group were again The 1990s onwards witnessed an increase in member-invited to participate in the symposium; these included ship in the study group. New members, coming from Grażyna Dąbrowska, Anca Giurchescu, Anna Ilieva, Eva Western Europe, Canada, the USA, and Asia–Pacific Kröschlová, Roderyk Lange, and Anna Shtarbanova. were introduced to the study group by existing mem-However, Anca Giurchescu was the only one able bers. Some of these new study-group members held to make the journey at the time. The symposium in doctorates in ethnochoreology or related fields, and con-Limerick, which lasted one week, attracted nearly a hun- tributed to the establishment of master’s programmes in dred members from twenty-five nations/regions includ- ethnochoreology and dance anthropology at numerous ing Bulgaria, Canada, China, Croatia, Czech Republic, universities.15 For example, Mohd Anis Md Nor estab-Denmark, Finland, France, Germany, Greece, Hungary, lished an ethnochoreology programme in Malaysia at India, Ireland, Italy, Malaysia, the Netherlands, Norway, the University of Malaya in 1990, offering BA and MA Romania, Serbia, Slovenia, Sweden, Taiwan, Turkey, the programmes; Catherine Foley established an MA ethn-UK, and the USA (figure 3). The symposium was indeed ochoreology programme at the University of Limerick international, and included formal paper presentations in Ireland in 1996, the first master’s programme in eth-based on two themes: 38 individual papers and one nochoreology at any university in Europe; Georgiana roundtable concerned the theme of dance and place; Gore established an MA in dance anthropology at the and 18 individual papers were presented on the theme Université Blaise Pascal, Clermont Ferrand, in France in of dance and festival. There were no parallel sessions, a 2001; Andrée Grau established an MA in dance anthro-feature of the study-group symposia that provided the pology at the University of Roehampton in London in opportunity for delegates to hear and to engage in all paper presentations as well as other programmed events 15 Prior to the establishment of master’s programmes in ethno-such as dance-film sharings, dance workshops, excur- choreology / dance anthropology at a number of universities sions, sub-study group meetings, and a business meet- from the 1990s, study group members participating in the ing. A publication of the proceedings was made avail- formalised 1988 symposium, Allegra Snyder and Elsie Ivancich Dunin at the University of California, Los Angeles (UCLA), able in Dance, Place, Festival (Dunin and Foley 2014). and Judy van Zile at the University of Hawai’i at Manoa, had already developed courses and curricula in Dance Ethnology in the USA during the 1970s. ICTM Study Group on Ethnochoreology 255 Figure 3. ICTM Study Group on Ethnochoreology, 27th symposium. University of Limerick, 2012 (photo courtesy of Catherine Foley). 2005; and an Erasmus funded MA Choreomundus: Presently the Study Group on Ethnochoreology is one International Masters in Dance Knowledge, Practice, of the oldest and largest study groups in the ICTM, and Heritage was established collaboratively by Egil with 243 members from 53 countries/regions.17 It is Bakka, László Felföldi, Georgiana Gore, and Andrée also an important professional network for scholars— Grau in 2013 between their four universities. All the mature and novice—in the field of ethnochoreology.18 above master’s programmes continue at present, and The spirit of the initial group, however, continues. Anca undergraduate teaching in these fields in these universi-Giurchescu, in her fiftieth anniversary account of the ties, and others, also exists. study group in Dance, Place, Festival (Dunin and Foley There has also been an increase in doctoral studies in 2014) stated: ethnochoreology and dance anthropology in the last We succeeded to maintain the atmosphere and the twenty years, and these have contributed to dance, cul- working style we prized so much: relaxed, open, col- tural, and societal knowledge, and to academic develop- laborative, never competitive. Scientific probity, intel- lectual generosity and mutual respect are qualities that ments in these fields. In the IFMC’s “Report of the Folk I believe will always characterise the Study Group on Dance Commission” in 1962, a stated goal was: “To Ethnochoreology. (Giurchescu 2014:304) join efforts for raising the study of dance at an academic Currently, ethnochoreologists within the study group level in as many countries as possible” (Hoerburger no longer confine themselves solely to studies related 1962:22). The above developments in ethnochoreology to structural analysis of dance and human movement.19 are evidence of advances in the field; the Study Group on Ethnochoreology provided, and continues to provide, in 1999; by Georgiana Gore at the Université Blaise Pascal, an important professional network for scholars to meet, Clermont Ferrand, France, in 2001. to share knowledge, and to potentially collaborate.16 17 As of July 2020, the 53 representative countries/regions of the membership of the Study Group on Ethnochoreology 16 An example of the collaborative nature of the membership are: Argentina, Armenia, Australia, Austria, Belgium, Brazil, of the study group in advancing the field was the “New Bulgaria, Canada, China, Croatia, Czech Republic, Denmark, Ethnochoreologists” Erasmus funded, ten-day intensive Ecuador, Estonia, Faroe Islands, Finland, France, Georgia, seminars held in Trondheim, Norway between 2003 and Germany, Greece, Guadeloupe, Hungary, India, Indonesia, 2013. The seminars brought students in Europe together to Ireland, Italy, Japan, Kazakhstan, Korea, Lebanon, Lithuania, share and learn from invited ethnochoreologists who were Malaysia, Malta, Mexico, the Netherlands, New Zealand, teaching university programmes in the field and were mem- North Macedonia, Norway, the Philippines, Poland, Portugal, bers of the study group. The collaborating and participating Republic of Korea, Romania, Russia, Serbia, Singapore, universities included: University of Szeged, Hungary; De Slovenia, Sweden, Switzerland, Taiwan, Turkey, Uganda, the Montford University, UK; Roehampton University, UK; UK, and the USA. University of Limerick, Ireland; University de Blaise-Pascal 18 Further information on the ICTM’s Study Group on Clermont Ferrand, France; University of Gothenberg, Sweden; Ethnochoreology, including an application for membership, the Lithuanian Academy of Music, Vilnius, Lithuania; the is available on the study group’s website: http://ictmusic.org/ Academy of Performing Arts, Prague, Czech Republic; the group/ethnochoreology. University of Athens, Greece; and Ege University, Izmir, 19 As was recommended by Felix Hoerburger and others in the Turkey. Also, prior to 2003, a “Young Ethnochoreologists” 1950s, Labanotation has been used by a number of ethno- seminar was hosted by László Felföldi in Budapest, Hungary, choreologists and dance anthropologists in their research. For in 1997; by Theresa Buckland in the University of Surrey, UK, example, see Kaeppler and Dunin’s Dance Structures (2007), an 256 Elsie Ivancich Dunin and Catherine E. Foley Figure 4. Some participants of the ICTM’s Study Group on Ethnochoreology during the virtual roundtable on “Ethnochoreology in a time of physical / social distancing.” July 2020 (photo courtesy of Selena Rakočević). They also embrace epistemological and methodolog- The members of the study group are holders of a more ical developments in the field, and focus on issues than seventy-year old history within the Council, con-and concerns in diverse communities of dance prac- structed through the efforts of many individuals who tice. These issues may include identity formation and endeavoured to make the field of dance visible within embodiment; colonialism, decolonization, and postco-international scholarly discourses and institutions. This lonialism; tourism, festivals, and cosmopolitanism; the endeavour continues, as is made evident in a statement anthropology of the senses; power and the politics of by Catherine Foley as a candidate in the ICTM’s 2017 knowledge; dance and change; applied ethnochoreol- Executive Board elections: ogy, and more. In 2020, due to the COVID-19 pan- I will endeavour to enhance the work of the ICTM and demic, the 31st symposium at Klaipeda, Lithuania, to represent dance on the [executive] board towards was postponed to July 2021. Taking advantage of tech- strengthening its visibility within the organisation, its nological advancements, and using Microsoft Teams, study groups, and … related international organisa- an online roundtable meeting addressing the theme tions. (Catherine Foley, BICTM 134, Apr 2017:9) “Ethnochoreology in a time of physical / social dis- tancing” took place on 20–21 July 2020, with tech- nical support from the Faculty of Music, University of References cited Arts in Belgrade, Serbia (figure 4). The study group also Dopuđa, Jelena. 1958. “Problemi kinetografije.” Rad Kongresa experienced its first-ever online business meeting on 21 folklorista Jugoslavije na Bjelašnici 1955. i u Puli 1952: 11–34. July 2020. The Study Group on Ethnochoreology thus Zagreb: Saveza udruženja folklorista Jugoslavije. Dunin, Elsie Ivancich. 2014. “Emergence of Ethnochoreology continues to adapt and to engage with issues of social Internationally: The Janković Sisters, Maud Karpeles and and cultural significance and to develop its professional Gertrude Kurath.” Muzikologija (Institute of Musicology network and field internationally. of the Serbian Academy of Sciences and Arts, Belgrade) 17: 197–216. Dunin, Elsie Ivancich, and Catherine E. Foley. 2014. Eds. Dance, edited volume with contributions from Egil Bakka, Theresa Jill Place, Festival: 27th Symposium of the International Council Buckland, László Felföldi, Catherine E. Foley, Anca Giurchescu, for Traditional Music (ICTM) Study Group on Ethnochoreology Frank Hall, Adrienne L. Kaeppler, Maria Koutsouba, Eva 2012. Limerick: ICTM Study Group on Ethnochoreology Kröschlová, Irene Loutzaki, Andriy Nahachewsky, Mats and the Irish World Academy of Music and Dance, University Nilsson, Mohd Anis Md Nor, Arzu Öztürkmen, Lisbet Torp, of Limerick. and Judy Van Zile. ICTM Study Group on Ethnochoreology 257 Dunin, Elsie Ivancich, and Nancy Lee Chalfa Ruyter. 1981. Kaeppler, Adrienne. 1972. “Method and Theory in Analyzing Yugoslav Dance: An Introduction and List of Sources Available in Dance Structure with an Analysis of Tongan Dance.” United States Libraries. Palo Alto: Ragusan Press. Ethnomusicology 16/2: 173–217. Giurchescu, Anca. 2005. “History of the ICTM Study Group Kaeppler, Adrienne, and Elsie Ivancich Dunin, 2007. Eds. Dance on Ethnochoreology.” In Dance and Society, Dancer as a Structures: Perspectives on the Analysis of Human Movement. Cultural Performer: 22nd Symposium of the ICTM Study Budapest: Akadémiai Kiadó. Group on Ethnochoreology, Szeged, Hungary, 2002, edited by Karpeles, Maud. 1957. “The International Folk Music Council: Its Elsie Ivancich Dunin, Anne von Bibra Wharton, and László Aims and Activities.” Ethnomusicology 1/9: 15–19. Felföldi, 252–266. Budapest: Akadémiai Kiadó, European Kealiinohomoku, Joann. 1983. “An Anthropologist Looks at Folklore Institute. Ballet as a Form of Ethnic Dance.” In What Is Dance?, ———. 2007. “A Historical Perspective on the Analysis of Dance edited by Roger Copeland and Marshall Cohen, 533–549. Structure in the International Folk Music Council (IFMC) Oxford: Oxford University Press. [Originally published in / International Council for Traditional Music (ICTM).” 1969–1970]. In Dance Structures: Perspectives on the Analysis of Human Pospíšil, František. 1932. Ethnological Material from the South-West Movement, edited by Adrienne L. Kaeppler and Elsie Ivancich of the U. S. A. Brno: Pospíšil. Dunin, 3–18. Budapest: Akadémiai Kiadó. Reynolds, William C. 1988. “Dance in the ICTM.” ICTM Dance ———. 2014. “A Short History of the ICTM Study Group on Newsletter for Research in Traditional Dance 1/1: 3. Ethnochoreology.” In Dance, Place, Festival: 27th Symposium Torp, Lisbet. 2005. “Fortieth Anniversary of the ICTM Study of the International Council for Traditional Music (ICTM) Group on Ethnochoreology.” In Dance and Society, Dancer Study Group on Ethnochoreology 2012, edited by Elsie Ivancich as a Cultural Performer: 22nd Symposium of the ICTM Study Dunin and Catherine E. Foley, 297–306. Limerick: ICTM Group on Ethnochoreology, Szeged, Hungary, 2002, edited by Study Group on Ethnochoreology and the Irish World Elsie Ivancich Dunin, Anne von Bibra Wharton, and László Academy of Music and Dance, University of Limerick. Felföldi, 251–278. Budapest: Akadémiai Kiadó, European Giurchescu, Anca, and Lisbet Torp. 1991. “Theory and Methods in Folklore Institute. Dance Research: A European Approach to the Holistic Study Wang, Ying-Fen. 2018. “IFMC, Masu Genjiro, Kurosawa of Dance.” YTM 23: 1–10. Takatoma, and Their Recordings of Taiwanese Music.” YTM Hoerburger, Felix. 1959. “The Study of Folk Dance and the Need 50: 71–90. for a Uniform Method of Notation.” JIFMC 11: 71–73. ———. 1962. “Proposals for the Work of the IFMC Dance Commission.” JIFMC 14: 161–162. IFMC Study Group for Folk Dance Terminology. 1974. “Foundations for the Analysis of the Structure and Form of Folk Dance: A Syllabus.” YIFMC 6: 115–135. Translated by William C. Reynolds. Appendix 1: Study Group Roles, 1960–2020 symposium organizer / chair vice-chair secretary programme chair communications dance research Folk Dance Felix Roger Pinon Commission, Hoerburger (secretary), 1960–1966 Douglas Kennedy, Vera Proca-Ciortea Folk Dance Vera Terminology Proca-Ciortea Group, 1962–1983 1976 Grażyna Dąbrowska 1979 Rosemarie Ehm-Shulz Study Group, Rosemarie 1983–1986 Ehm-Shulz 1986–1988 Rosemarie Roderyk Ehm-Shulz Lange, Lisbet Torp Study Group Lisbet Torp Rosemarie Lisbet Torp / Newsletter edi- Dance Research on Ethno- Ehm-Shulz, Anca Giurchescu tor: William C. compiler: Elsie choreology, Roderyk Reynolds (1988) Ivancich Dunin 1988 Lange (1989) 258 Elsie Ivancich Dunin and Catherine E. Foley 1990 Lisbet Torp László Felföldi / William C. Anca Giurchescu, Reynolds Lisbet Torp 1992 Lisbet Torp Egil Bakka Anca Irene Loutzaki / William C. Elsie Ivancich Giurchescu Lisbet Torp Reynolds; Dunin (1991) associate edi- tor: Andriy Nahachewsky 1994 Lisbet Torp Egil Bakka Anca Grażyna William C. Giurchescu Dąbrowska / Reynolds; Anca Giurchescu, associate edi- Lisbet Torp tor: Andriy Nahachewsky 1996 Lisbet Torp Egil Bakka Anca Daniela Stavělová William C. Elsie Ivancich Giurchescu / Theresa Reynolds Dunin (1995) Buckland, Egil Bakka 1998 Anca Egil Bakka Theresa Arzu Özturkmen William C. Giurchescu Buckland / Irene Loutzaki Reynolds 2000 Anca Elsie Theresa Elsie Ivancich William C. Elsie Ivancich Giurchescu Ivancich Buckland Dunin/ Marianne Reynolds Dunin, Tvrtko Dunin Bröcker Zebec (1999) 2002 Anca Elsie Theresa László Felföldi William C. Giurchescu Ivancich Buckland / Elsie Ivancich Reynolds Dunin Dunin, Georgiana Gore 2004 Anca Theresa Tvrtko Zebec Placida Staro / William C. Tvrtko Zebec, Giurchescu Buckland Barbara Sparti, Reynolds; Elsie Iva Niemčić Helene Eriksen Ivancich Dunin (2003) 2006 László Theresa Tvrtko Zebec Csilla Könczei / ETNOKOR Felföldi Buckland Anca Giurchescu Stephanie Smith 2008 László Theresa Tvrtko Zebec Mohd Anis Md Stephanie Smith Felföldi Buckland Nor, Hanafi Hussin / Mohd Anis Md Nor 2010 László Theresa Anne von Daniela Stavělová Stephanie Smith Felföldi Buckland Bibra Wharton / Irene Loutzaki 2012 László Placida Staro Anne von Catherine Foley / Stephanie Smith Elsie Ivancich Felföldi Bibra Wharton Colin Quigley Dunin 2014 Catherine Placida Staro Anne von Elsie Ivancich Stephanie Smith Elsie Ivancich Foley Bibra Wharton Dunin / Irene Dunin Loutzaki 2016 Catherine Placida Staro Anne von Kendra Stepputat Stephanie Smith Elsie Ivancich Foley Bibra Wharton / Mohd Anis Md Dunin Nor 2018 Catherine Placida Staro Andriy Sándor Varga / Stephanie Smith Tvrtko Zebec Foley Nahachewsky Georgiana Gore, Daniela Stavělová 2020 Catherine Siri Maeland Andriy Dalia Stephanie Smith Tvrtko Zebec Foley Nahachewsky Urbanavičienė / Selena Rakočević, Anne von Bibra Wharton ICTM Study Group on Ethnochoreology 259 Appendix 2: A list of the Study Group 1994: 18th symposium, Skierniewice, Poland on Ethnochoreology symposia Grażyna Dąbrowska, organizer; Anca Giurchescu and Lisbet Torp, programme co-chairs and meetings (including available Ritual and ritual dances in contemporary societies – based on information on names of organizers, case studies; Dance and music relationship programme chairs, and symposia 1996: 19th symposium, Třešt, Czech Republic themes) Daniela Stavělová, organizer; Theresa Buckland and Egil Bakka, programme co-chairs 1960: 1st meeting, Vienna, Austria Dance and style; Children and traditional dancing Felix Hoerburger, organizer 1998: 20th symposium, Istanbul, Turkey 1962: 2nd meeting, Gottwaldov, Czechoslovakia Arzu Özturkmen, organizer; Irene Loutzaki, programme chair 1964: 3rd meeting, Budapest, Hungary Traditional dance and its historical sources; Creative process in 1965: 4th meeting, Geltow, GDR dance: Improvisation and composition Kurt Peterman, organizer 2000: 21st symposium, Korčula, Croatia 1965: 5th meeting, Strážnice, Czechoslovakia Elsie Ivancich Dunin, organizer; Marianne Bröcker, pro- gramme chair 1965: 6th meeting, Celje, Slovenia, Yugoslavia Sword dances and related calendrical dance events; Revival: 1966: 7th meeting, Dojran, Macedonia, Yugoslavia Reconstruction, revitalization Vera Proca-Ciortea, organizer 2002: 22nd symposium, Szeged, Hungary 1967: 8th meeting, Potsdam, GDR László Felföldi, organizer; Elsie Ivancich Dunin and Georgi- Vera Proca-Ciortea, organizer ana Gore, programme co-chairs Dance and society; Re-appraising our past, moving into the 1972: 9th meeting, Wiepersdorf, GDR future: Research on dance and society; The dancer as a cultural Vera Proca-Ciortea, organizer performer 1976: 10th meeting, Zaborów, Poland 2004: 23rd symposium, Monghidoro, Italy Grazyna Dabrowska, organizer Barbara Sparti and Placida Staro, co-organizers; Placida 1979: 11th meeting, Neustrelitz, GDR Staro, programme chair Erich Stockmann, organizer Invisible and visible in dance; Crossing identity boundaries 1980: 12th meeting, Stockholm, Sweden 2006: 24th symposium, Cluj, Romania Old couple dance forms of Europe; Classification of dances Csilla Könczei with committee, organizers; Anca Giurchescu, programme chair 1985: 13th meeting, Stocklolm, Sweden / Helsinki, From field to text; Dance and space Finland Rosemarie-Ehm-Shulz, organizer 2008: 25th symposium, Kuala Lumpur, Malaysia Mohd Anis Md Nor and Hanafi Hussin, co-organizers; 1986: 14th meeting, Neubrandenburg, GDR Mohd Anis Md Nor, programme chair Rosemarie-Ehm-Shulz, organizer Transmitting dance as cultural heritage; Dance and religion Problems and methods of dance research today 2010: 26th symposium, Třešt, Czech Republic 1988: 15th symposium, Copenhagen, Denmark20 Daniela Stavělová, organizer; Irene Loutzaki, programme Lisbet Torp, organizer and programme chair chair The dance event: A complex cultural phenomenon Dance, gender, and meanings; Contemporizing traditional 1990: 16th symposium, Budapest, Hungary dance László Felföldi, organizer; László Felföldi and Anca Gi- 2012: 27th symposium, Limerick, Ireland urchescu, programme co-chairs Catherine Foley, organizer; Colin Quigley, programme chair Dance transmission and diffusion; Implement dances Dance and place; Dance and festival 1992: 17th symposium, Nafplion, Greece 2014: 28th symposium, Korčula, Croatia Irene Loutzaki, organizer; Lisbet Torp, programme chair Elsie Ivancich Dunin, organizer; Irene Loutzaki, programme Dance in its socio-political aspects; Dance and costume chair Dance and narratives; Dance as intangible and tangible cultur- al heritage 2016: 29th symposium, Graz, Austria Kendra Steppatut, organizer; Mohd Anis Md Nor, pro- 20 The 1988 symposium was the first formal and open sympo- gramme chair sium with proceedings. The format of this symposium contin- Dance and the senses; Dancing and dance cultures in urban ues into the present with the biennial symposia. The previous contexts meetings of the study group had differing titles and occurred in a less regular and structured manner. 260 Elsie Ivancich Dunin and Catherine E. Foley 2018: 30th symposium, Szeged, Hungary Zebec, Tvrtko. 2003. Compiler and ed. Dance Research: Published Sándor Vargo, organizer; Georgiana Gore and Daniela or Publicly Presented by Members of the Study Group on Stavělová, programme co-chairs Ethnochoreology. Iva Niemčić, assistant editor. Zagreb: Dance and politics; Dance and age International Council for Traditional Music; Institute of Ethnology and Folklore Research. In July 2020 a Virtual Roundtable was held due to the Kaeppler, Adrienne, and Elsie Ivancich Dunin. 2007. Eds. postponement of the 31st symposium Dance Structures: Perspectives on the Analysis of Human Movement. Budapest: Akadémiai Kiadó. (Articles by Egil Selena Rakočević and Anne von Bibra Wharton, co-organiz- Bakka, Theresa Jill Buckland, László Felföldi, Catherine E. ers Foley, Anca Giurchescu, Frank Hall, Adrienne L. Kaeppler, Ethnochoreology in a time of physical/social distancing Maria Koutsouba, Eva Kröschlová, Irene Loutzaki, Andriy Technological support was received from the Faculty of Nahachewsky, Mats Nillson, Mohd Anis Md Nor, Arzu Music, University of Arts in Belgrade, Serbia. Öztürkmen, Lisbet Torp, and Judy Van Zile). Sparti, Barbara, and Judy Van Zile. 2011. Eds. Imaging Dance: The first online business meeting of the study group also Visual Representations of Dancers and Dancing. Hildesheim: took place on 21 July 2020. Elections occurred using an Georg Olms Verlag. (A result of research by the Sub-study online platform designed specifically for elections. Group on Iconography; articles by Elsie Ivancich Dunin, 2021: 31st symposium, Klaipėda, Lithuania László Felföldi, Nancy G. Heller, Adrienne L. Kaeppler, Irene Loutzaki, Arzu Öztürkmen, Barbara Sparti, and Judy Van (due to the COVID-19 pandemic, the symposium had to be Zile). postponed from 2020 to 2021) Dunin, Elsie Ivancich, and László Felföldi. 2011. Compilers and Dalia Urbanavičienė, organizer; Selena Rakočević and Anne eds. DVD ICTM International Council for Traditional Music von Bibra Wharton, programme co-chairs Study Group on Ethnochoreology Proceedings 1988–2008. Dance and economy; Dance transmission Hungary: “Heritage Culture” Educational E-Library. Stavělová, Daniela. 2013. “Vlčnovská jízda králů pohledem současného výzkumu (experimentu) / The Ride of the Kings from the Point of View of Contemporary Research (Experiment).” Národopisná revue 2013/1: 3–14. Study-group publications Stavělová, Daniela. 2015. “The Ride of the Kings in Vlčnov from (chronologically listed; symposia the Perspective of Contemporary Research.” Národopisná revue 2015/5: 47–64. (A result of the research of the Sub-study proceedings are not included) Group on Field Research Theory and Methods). Mellish, Liz, and Selena Rakočević. 2015. Eds. Dance, Field IFMC Study Group for Folk Dance Terminology. 1974. Research, and Intercultural Perspectives: The Easter Customs “Foundation for the Analysis of the Structure and Form of in the Village of Svinita. Pančevo, Serbia: Kulturni Centar Folk Dance: A Syllabus.” YIFMC 6: 115–135. Translated by Pančeva. (A result of the research of the Sub-study Group William C. Reynolds. on Field Research, Theory, and Methods; articles by Anca Dąbrowska, Grażyna, and Kurt Petermann. 1983. Eds. Analyse Giurchescu, Nick Green, Liz Mellish, Selena Rakočević, and und Klassifikation von Volkstänzen [Analysis and classification Sara K. Schneider; foreword by Elsie Ivancich Dunin). of folk-dances]. Warsaw: Polish Academy of Science, Art Bakka, Egil, Theresa Jill Buckland, Helena Saarikoski, and Anne Institute of Warsaw. (Conference report of the 10th working von Bibra Wharton. 2020. Eds. Waltzing through Europe: meeting of the International Folk Music Council Study Attitudes towards Couple Dances in the Long Nineteenth- Group for Folkdance Terminology held in Zaborów, Poland.) Century (A result of the research of the Sub-study Group Reynolds, William C. 1988–2004. Ed. ICTM Dance Newsletter for on 19th Century Round Dances; contributing authors: Research in Traditional Dance. Egtved, Denmark: Study Group Egil Bakka, Theresa Jill Buckland, László Felföldi, Dorota on Ethnochoreology. Gremlicová, Sille Kapper, Ivana Katarinčić, Rebeka Kunej, Iva Dunin, Elsie Ivancich. 1989, 1991, 1993. Compiler and ed. Dance Niemčić, Mats Nilsson, Helena Saarikoski, Daniela Stavělová, Research: Published or Publicly Presented by Members of the Jörgen Torp, Anne von Bibra Wharton, and Tvrtko Zebec.) Study Group on Ethnochoreology. Los Angeles: International Open Book Publishers. https://www.openbookpublishers. Council for Traditional Music; UCLA Department of Dance. com/product/995. Kaeppler, Adrienne, Anca Giurchescu, and Lisbet Torp. 1991. Guest eds. YTM 23. (Special issue on dance including articles by Egil Bakka, Theresa Jill Buckland, Elsie Ivancich Dunin, Anca Giurchescu, Andrée Grau, Adrienne Kaeppler, Owe Ronström, Tilman Seebass, and Lisbet Torp). Dunin, Elsie Ivancich. 1995. Compiler and ed. Dance Research: Published or Publicly Presented by Members of the Study Group on Ethnochoreology. Zagreb: International Council for Traditional Music; Institute of Ethnology and Folklore Research. Dunin, Elsie Ivancich, and Tvrtko Zebec. 1999. Compilers and eds. Dance Research: Published or Publicly Presented by Members of the Study Group on Ethnochoreology. Zagreb: International Council for Traditional Music; Institute of Ethnology and Folklore Research. Kaeppler, Adrienne. 2001. Guest ed. YTM 33. (Special issue on dance with articles by Egil Bakka, Marianne Bröcker, Theresa Jill Buckland, Elsie Ivancich Dunin, László Felföldi, Anca Giurchescu, Georgiana Gore, Andrée Grau, Anna Ilieva, Adrienne L. Kaeppler, Irene Loutzaki, Andriy Nahachewsky, Mohd Anis Md Nor, Arzu Öztürkmen, and Colin Quigley). ICTM Study Group on Global History of Music Razia Sultanova Historical studies of music have almost always restricted group will bring together researchers from around the themselves to specific geographically or culturally defined world to share and develop their research, to contrib-areas, but music is pursued in relation to the music of ute to the gradual shift away from a Eurocentric and other areas and cultures, resulting in a global network nationalistic history of music towards one that meets of cross-cultural relationships largely neglected by con-the challenges of globalization. ventional musical historiography. The Study Group on On 15 March 2019, our Study-Group-in-the-Making Global History of Music aims to trace such an approach held an international, one-day symposium on the subto continue this work, bringing together musicologists ject “Modernization of musical traditions: Global per-and ethnomusicologists in an attempt to add value to spectives,” hosted at the invitation of Salwa El-Shawan work currently underway in both disciplines, and to get Castelo-Branco at the Instituto de Etnomusicologia out of Euro- and US-centric approaches. Additionally, – Centro de Estudos em Música e Dança of the Nova it will provide a space for historical musicologists within University of Lisbon (figure 1). Presentations were ICTM, which would be an additional advantage. delivered by five musicologists and seven ethnomusicol- The mission of the ICTM Study Group on Global ogists. Although coming from different continents and History of Music is to encourage, promote and support countries, and representing distinct training systems, scholars and performers investigating music in a global they were united by a mutual interest in the histori-context. We are concerned not only with previously cal study of music. Particularly valuable contributions neglected musical traditions, but also with how music to our symposium were the three keynote papers by and related sound genres have intersected cross-cultur-Nicholas Cook, David Erving, and Keith Howard. ally and become entangled with each other. The study Figure 1. ICTM Study-Group-in-the-Making on Global History of Music symposium. Lisbon, 2019 (photo by Razia Sultanova). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 261–262. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 262 Razia Sultanova My report on the Lisbon symposium was unanimously supported by the members of the Executive Board at their 118th meeting on 10 July 2019 in Bangkok, lead- ing to the establishment of the new ICTM Study Group on Global History of Music. The Sichuan Conservatory of Music in Chengdu, China, has invited our study group to have its first symposium online over three days in May 2021. As the main subject of the symposium is “Mobility and transcultura in music and performance in global civilizations,” we are delighted that our two keynote presentations will be delivered by Tan Sooi Beng (Universiti Sains Malaysia) and Edwin Seroussi (The Hebrew University of Jerusalem). Executives of the study group are Razia Sultanova (UK, chair), Xiao Mei (China, vice chair), and Margaret Walker (Canada, secretary). ICTM Study Group on Historical Sources Susanne Ziegler and Ingrid Åkesson Introduction History of the Study Group on Historical During its more than fifty-year history, the Study Sources, symposia, publications Group on Historical Sources, one of the oldest study The idea of bringing together colleagues who would groups in ICTM, has organized twenty-two symposia devote their efforts exclusively to the study of histor-in different European countries, and has been active in ical sources came into discussion in 1964, during world conferences and publishing. Since its first meet-the 17th IFMC World Conference in Budapest. In ing in 1967, when the study group was designated as 1965, a Committee on Comparative and Historical the Studiengruppe zur Erforschung und Edition älterer Ethnomusicology was founded, headed by Erich Volksmusikquellen vor 1800 (Study group concerned Stockmann, with the following three subgroups: with research and editing of historical sources of folk music before 1800) within the International Folk • Historical research on African music Music Council (IFMC), the subject matter, as well as • Research into historical sources (European folk the background and interest of the membership, has music) changed substantially. In general, the history of the • The systematization of folk songs. study group clearly reveals the shift in focus from folk In 1967, these subgroups were officially recognized music in Europe to traditional music worldwide, a shift as study groups; the Study Group on Research into that became evident with the change of the name of the Historical Sources is the only one which has sur-Council itself in 1981. Today, we can observe a growing vived until today and is now the Study Group on interest in historical studies worldwide, and historical Historical Sources.1 studies form a substantial part in the daily work of eth- nomusicologists. The study of manifold kinds of histor- The first meeting of the Studiengruppe zur Erforschung ical sources in ethnomusicology has gained worldwide und Edition älterer Volksmusikquellen vor 1800 took interest, thanks to the UNESCO programme “Memory place in Freiburg im Breisgau, Germany, in November of the World” and programme on intangible cultural 1967. This meeting was initiated by a group of musi-heritage. Hence, ways to meet the demand for historical cologists who were specialized in European folk music, sources of different musical cultures, and discussions on namely Walter Wiora (FRG), at that time also an EB questions of availability, access, publication, and dis- member of the IFMC, Benjamin Rajeczky (Hungary), semination are still among the tasks of the study group. and Wolfgang Suppan (Austria). Their primary aim was to set up a systematic study of available written doc- The history of the study group has already been uments of folk music in Europe. The material, deriv-described several times: by Wolfgang Suppan (1991a), ing from different sources, would be prepared and Hartmut Braun (1994), Doris Stockmann (1994), and Susanne Ziegler (2010b). In this chapter, we summarize the activities for more than half a century, with refer- 1 Until 1997, the study group has been named differently and inconsistently, in German, as well as in English, depending on ences to these earlier studies; we will consider what has the author. Within the study group, German was long the offi- been achieved and what has been difficult, and likewise cial language, with English only being used in IFMC/ICTM present our thoughts about the tasks and goals of the material. The German title “Studiengruppe zur Erforschung und Edition älterer Volksmusikquellen vor 1800” was later study group on its way to the future. changed: “vor 1800” was omitted, as well as “Edition,” and “älterer” changed to “historischer” (cf. Braun 1994:15). Seldom has the full title been used; rather mostly an abbreviated form. Since 1997, the English version, Study Group on Historical Sources of Traditional Music, was officially recognized and is now valid in the abbreviated form Study Group on Historical Sources. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 263–269. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 264 Susanne Ziegler and Ingrid Åkesson edited in order to enable historically oriented research. historian and folk music scholar; and Wolfgang Suppan, Meetings in Czechoslovakia (1970),2 Hungary (1972),3 Austrian musicologist, and vice chair of the study group and Poland (1975)4 followed. From 1978 to 1986, (1967–1988). Rajeczky and Suppan organized regular conference proceedings were published in German study-group meetings in different European countries under the general title Historische Volksmusikforschung and published papers given at these meetings. One of (Historical research in folk music) within the series the disadvantages at the time was the predominant use Musikethnologische Sammelbände, edited by Suppan of German language in conferences and publications, so and others. A bibliography of all papers published until that participants who could not speak German had no 1988 can be found in Suppan (1991a, 1991b). chance of involvement. Among the main topics at the first meeting were less- In the 1980s, the focus of research shifted from cen- er-known verbal sources from the Middle Ages, such tral Europe to the periphery. The meeting in Cyprus as law texts and materials that were other than music, (1982) concentrated on two topics: historical sources the continuity of historical processes from comparing enlightening the relationship between the Orient written sources with examples of living oral tradition, and the Occident, and ethnic music in the Eastern and the intermingling of folk song and spiritual song. Mediterranean. The papers were published in Interdisciplinary work was sought and successfully Mauerhofer (1985) and Suppan (1986). achieved; the meetings were regularly attended by par- In the mid-1980s, ethnomusicology in Europe under- ticipants from other related fields of study, such as music went a substantial shift. Musicology-oriented compara-history, literature, history, jurisprudence, and dance. tive musicology became outdated, and European univer- In general, the initial meetings of the study group sities adopted the discipline of ethnomusicology, with its exclusively dealt with European folk music. However, Anglo-American-based profile, and a stress on social and at the 5th meeting in Seggau in 1977, two non-Eu-conceptual aspects, in addition to the music itself. ropean colleagues from Japan participated for the first Time for change had also come for the study group. time, but did not deliver papers. Only one paper went After a six-year break, a study-group symposium was beyond Europe, presenting ethnohistorical sources on held in Sweden in 1988. It concentrated on three the music of Ethiopia (Baumann 1978). In the final topics: “Music in the North,” “Ballad melodies,” and discussion of the next meeting in Medulin, Yugoslavia, “Itineraries.” Unfortunately, the papers were not pub-in 1979, the participants agreed to focus their efforts lished. New chairs were elected: Doris Stockmann, on the time before 1800; on the other hand, they fur-renowned German ethnomusicologist (figure 1), and ther agreed that later and contemporary traditions Hartmut Braun of the Deutsches Volksliedarchiv in should be studied. Freiburg. A comprehensive survey of the activities of the Papers from both meetings were published: those study group up to 1988 was given by Stockmann and from Seggau in Suppan and Mauerhofer (1978), and Braun at a study-group meeting during the ICTM world those from Medulin in Mauerhofer and Bezić (1981). conference in Schladming, Austria, in 1989. Braun With very few exceptions, there was no doubt and reported on the history of the study group, including no discussion that the material to be studied should detailed information about former study-group meet-be European folk music. The official German name ings, and Stockmann defined topics and perspectives of the group, Studiengruppe zur Erforschung und for the future. Both papers were read in German and Edition historischer Volksmusikquellen, did not change later published (Braun 1994; Stockmann 1994). until 1988. After 1976, it was used in an abbreviated The next symposium of the study group, chaired form: Studiengruppe zur Erforschung historischer by Stockmann and Braun, was held in Göttingen, Volksmusikquellen (Study group on historical sources of Germany, in 1991 and concentrated on two topics: folk music). Not surprisingly, non-European colleagues “Epos and musical narration in Europe and outside of did not engage with this group. The leading figures at Europe: Historical sources and living traditions” and “A that time were music historians, rather than ethnomu-critical view of historical sources on folk music.” Due sicologists: Walter Wiora, German music historian and to the broad nature of the first topic, Doris Stockmann initiator of the study group; Benjamin Rajeczky, chair succeeded in recruiting not only specialists in European of the study group (1967–1988), a Hungarian music folk music, but also several ethnomusicologists who offered papers on non-European music (cf. Stockmann 2 Twelve papers were published in “Benjamin Rajeczky Septugenario sacrum,” Studia Musicologica Academiae and Erler 1994). It was the first time in the work of Scientiarum Hungaricae 13 (1971): 177–306. the study group that regions outside of Europe were 3 Sixteen papers were published in Studia Musicologica Academiae included and that historical sources were largely com- Scientiarum Hungaricae 15 (1973): 3–320. pared with living traditions. 4 The papers were published in Bielawski, Mauerhofer, and Suppan (1979). ICTM Study Group on Historical Sources 265 Figure 1. Doris Stockmann (1929–2006), chair of the ICTM Study Group on Historical Sources from 1988 to 2000. Innsbruck, May 2000 (photo by Susanne Ziegler). By opening up the meeting to specialists outside of of the mother organization.5 In Dion, Hartmut Braun Europe, who all happened to be ethnomusicologists, resigned, and Rudolf Brandl, professor of ethnomusi-a separation between the disciplines of folkloristics cology at Göttingen University, was elected as vice chair. and ethnomusicology became apparent. Therefore, The 13th meeting in Innsbruck in 2000 concentrated on it became more and more difficult to find topics that “Change of style in traditional music” and “Laments.” would be appropriate for a broader circle of partici- Doris Stockmann retired from chairing the study group, pants. The topics of the meeting in Copenhagen in and Susanne Ziegler (Germany) took over this responsi-1995 included “Traditional music between urban and bility, from 2000 until 2002 with Rudolf Brandl, from rural communities” and “Music and working.” Both 2002 until 2010 with Bjørn Aksdal (Norway), and from topics again opened the horizon for papers on non-Eu-2010 until 2018 with Ingrid Åkesson (Sweden). A pub- ropean music, including Africa (Andreas Meyer), lication of the meetings in Dion (1997) and Innsbruck Yemen (Jürgen Elsner), Turkey (Ursula Reinhard), and (2000) was ready for printing, but due to lack of financial the Republic of Georgia (Ziegler). It became evident support, it could not be published in this form; it is only that the group’s interest was shifting to new regions, available on CD-ROM (Stockmann and Ziegler 2004). away from European folk music towards non-Euro- pean countries. The proceedings of the 11th meeting A change of chairs in a study group is always a chal-in Copenhagen were the first to be published in English lenge. After 2000, the membership changed, as older (Stockmann and Koudal 1997). colleagues stopped participating and new members entered the group. English was accepted as the only The next meeting, held in Dion, Greece, in 1997, conference language, and more colleagues from outside focussed again on music of the East Mediterranean, Europe took part in the biennial meetings. In addition, but due to organizational problems, no colleagues from the focus of interest shifted; the former concentration non-EU countries were able to attend the meeting. In on folk music in Europe gave way to a broader under-Dion, historical sound recordings were recognized as standing of historical concerns in ethnomusicology. Due new kinds of historical sources within the scope of the to Ziegler’s work in the Berlin Phonogramm-Archiv study group, thanks to the increasing research and pub-and contacts with colleagues working on similar mate- lishing activities in the Vienna and Berlin Phonogramm- rial, the audio aspect of historical sources became ever Archives. Members also agreed on renaming the study more prominent. Thus, one topic at subsequent sympo-group from “Study Group on Historical Sources of sia was always devoted to historical sound recordings, Folk Music” to “Study Group on Historical Sources which interested many colleagues, but was less relevant of Traditional Music,” thus following the general line 5 The IFMC changed its name to International Council for Traditional Music in 1981. 266 Susanne Ziegler and Ingrid Åkesson for others. Several years were necessary to rebuild the of Science and especially the Phonogrammarchiv: group, but through the efforts of engaged colleagues, “Multidisciplinary approaches to the study of histori-it was possible to organize study-group symposia every cal sources of traditional music.” This topic attracted a two years. Unfortunately, no reports were published number of participants, a couple of them using musical between 2002 and 2006. sources within disciplines other than ethnomusicology. In September 2002, the study group met in Münster, The cross-disciplinary nature of historical source mate-Germany. One of the topics was devoted to historical rial, which has already been a focus of the study group recordings, the other to the role of musicians in a histor-at earlier meetings, is thus an asset for introducing ical perspective. For the first time, two colleagues from wider perspectives into our study group, and into eth-Africa were among the twenty participants. The 15th nomusicological discussion in general. To some extent, study-group meeting took place in Seggau, Austria, in the symposia have therefore been open to individual 2004. Again, historical recordings were in focus: com-participants outside the ICTM, which turned out to be mercial versus archival recordings and their heterogene- beneficial for the discussions. ity were discussed in twelve papers. Eight papers dealt The other topic in Vienna was “Historical sources and with the relationship between instrumental and vocal contemporary fieldwork in ethnomusicology—rela-interpretation in historical perspective. tionship, dialogue, mutual benefit.” Here, the inten- The next symposium was arranged in Berlin in 2006, tion was to further stimulate discussion between eth-providing insight into the various activities of the Berlin nomusicologists concentrating on fieldwork, those Phonogramm-Archiv. Twenty-five participants from working in archives and collections, and those who do Europe, but also from Argentina and Israel, took part, both kinds of work. Both topics resulted in lively and and historical sources were discussed in a broad spec-constructive discussions. trum. The first topic—“Preventing the ‘loss’ of tradi- In 2014, the study-group symposium was hosted by the tion”—offered the chance to discuss the role of archives Instituto de Etnomusicologia – Centro de Estudos em as a source for reconstruction and revitalization. The Música e Dança of the University of Aveiro in Portugal. second topic—“Repertoires and their characteris- This university institution contains a music archive; tics”—addressed the interchange and mutual influences thus, it exceeds the boundary between these two kinds between traditional music and the record industry in of institutions. In contrast to earlier meetings, the orga-respect to repertoire. nizers decided to focus the discussion on one topic only: The 2008 symposium was held at the Centre for Swedish “Individual memory—collective history: Historical Folk Music and Jazz Research in Stockholm. The topic sources as an interface and meeting-point.” The inten-was “Historical sources and source criticism,” which was tion was to open up aspects such as cultural heritage, discussed from several viewpoints. Proceedings with the challenges and possibilities on the Internet, and the same title were edited by Susanne Ziegler and published potential dialogues between different individual culin cooperation with the Centre in 2010 (Ziegler 2010a). tural memories and expressions from different times and places. A great number of participants attended, a The 18th symposium was arranged in 2010 in Vilnius couple of panels were organized, and there was plenty by the Lithuanian Academy of Music and Theatre. The of discussion. topic was “Methodological approaches to historical sources in ethnomusicology.” The discussions of this A selection of peer-reviewed articles, based on re-writ-topic included multidisciplinary perspectives, which is ten papers from the Vienna and Aveiro symposia, were understandable in a group focusing on different kinds edited and published by the joint efforts of Susanne of historical source material, from antiquity up to sound Ziegler, Ingrid Åkesson, Gerda Lechleitner (host for recordings just a few years old. Ingrid Åkesson (local the Vienna symposium), and Susana Sardo (host for organizer for the Stockholm symposium) was elected the Aveiro symposium). The book was published in co-chair after Bjørn Aksdal, and stayed on until 2018. 2017 in hardback and as an e-book: Historical Sources Working at the Centre for Swedish Folk Music and of Ethnomusicology in Contemporary Debate. The topics Jazz Research, an institution situated at the crossroads of these two symposia had in common a focus on dia-between ethnomusicology, folklore studies / ethnology, logue, interface, and multidisciplinary perspectives, so vernacular literature, and cultural studies, her schol-it was appropriate to collect articles from both symposia arly profile includes cross-disciplinary work, as well as in the same publication. a problematizing approach to traditional and archival In 2016, Susanne Fürniss at the National Centre for material. Scientific Research (CNRS), Musée de l’Homme in Continuing discussions of multidisciplinary work Paris, invited the study group (figure 2). Two partly resulted in one of the two topics for the Vienna sym-overlapping topics were chosen, one with a concentrated posium in 2012, hosted by the Austrian Academy scope (“Evaluation of historical sound recordings”) and ICTM Study Group on Historical Sources 267 Figure 2. Participants of the 21st symposium of the ICTM Study Group on Historical Sources: ( front row) Baia Zhuzhunadze (Georgia), Hande Sağlam (Austria), Vanessa Paloma Elbaz (France/Morocco), Ingrid Åkesson (Sweden), Susanne Fürniss (France); ( 2nd row) Janika Oras (Estonia), Rastko Jakovljević (USA), Drago Kunej (Slovenia), Pál Richter (Hungary), Gerda Lechleitner (Austria), Anja Brunner (Austria), Judith Haug (Germany), Matthias Boström (Sweden); ( 3rd row) Pargon Siritipa (Thailand/Spain), Miriam Rovsing Olsen (France), Jean Lambert (France), Franz Lechleitner (Austria), Tala Jarjour (USA), Jörg Sapper (Germany); ( back row) Pedro Aragão (Brazil), Shai Burstyn (Israel), Rémy Jadinon (Belgium), Estelle Delavennat (France), Susanne Ziegler (Germany), Kisito Essele (France/Cameroon), Olga Velichkina (France), Jérémy Gardent (France). Paris, March 2016 (photo courtesy of Susanne Ziegler). one more open (“The study of history through oral and new topics and perspectives at future study-group sym-written sources on music”). Both topics were well in posia. The study-group symposium planned to take accordance with the work of the hosting institution, as place in May 2020 in Almaty, Kazakhstan, unfortu-well as of many members of the study group. A scholarly nately had to be cancelled because of the COVID-19 committee made a selection among the great number pandemic. The programme committee, consisting of of contributed abstracts; still, the symposium included Gerda Lechleitner (Austria), Susana Sardo (Portugal), many participants. The programme allowed good time and Miguel A. García (Argentina), with Lera Nedlina for constructive and friendly discussions. from the Kurmangazy Kazakh National Conservatory Upon invitation of the Musicological Institute of the as local organizer, proposed two topics: “Innovative Hungarian Academy of Sciences, the 2018 symposium approaches to sources for ethnomusicological research” took place in Budapest. The only, but broad, topic and “What does the archive store?” The symposium has was “The inside and the outside, or who is the Other? been postponed until November 2021. Different perspectives on historical sources of ethno- The study group has also been present at various ICTM musicology.” The symposium was like coming back world conferences, for example in Stockholm/Helsinki to the roots of our study group, and again folk music (1985), East Berlin (1987), Schladming (1989), Berlin was present in many papers, mostly without much (1993), Rio de Janeiro (2001), Sheffield (2005), problematization. Also, problems of dominance and Vienna (2007), Durban (2009), St. John’s (2011), imbalance in the relationship between, for example, and Limerick (2017). In Sheffield in 2005, Ziegler European collectors and musicians from colonized areas organized a panel entitled “The ICTM Study Group were touched upon only in a few papers. Thus, several on Historical Sources of Traditional Music: History of the organizers’ proposals were not present in the and presence,” with papers given by herself, Gerda discussion. Elections were held and Gerda Lechleitner Lechleitner, Mathias Boström, Kendra Stepputat, and (Austria) was elected the new chair and Susana Sardo Ardian Ahmedaja. In Vienna in 2007, the title of the (Portugal) co-chair. There will henceforth be room for panel was “The Memory of the World and the role of 268 Susanne Ziegler and Ingrid Åkesson historical sources for the world’s musical traditions”; the Baltic States, North and South America, Israel, Gerda Lechleitner, Miguel A. García, Gila Flam, and and the Iberian Peninsula, thus redirecting the for-Susanne Ziegler presented their current research on that mer focus on Central, Northern, and Southeastern topic. In Limerick in 2017, Ingrid Åkesson organized a Europe. Topics have been formulated with the intent panel, related to historical source material, with the title to open up for more diverse paper presentations, and “Real-life or virtual affinity—Community and legacy more facets of historical research have been discussed. created through singing,” with papers given by herself, European folk music is no longer exclusively the focus Janika Oras, and Taive Särg. of the study group; other themes have gained a prom- ICTM world conferences have offered the possibility inent place in our discussions. Some of these contrast to provide insight in the ongoing discussion about archival sources and fieldwork, archives as creations of historical sources. Many colleagues have become historical fieldwork, the revitalization of archival mate-interested and joined the group. In general, preference rial in current performance, issues concerning the dig-has always been given to organizing regular symposia itization of archives, and broader aspects of historical in order to facilitate contacts between colleagues and sources of music. The changes that took place between to foster discussion among those interested in historical 2000 and 2018 correspond with a general change source material. We have succeeded in organizing sym-within ethnomusicology. In Germany, the birth-place posia every two years, but have not always been able of the study group, as well as in many other countries, to publish conference proceedings or peer-reviewed numerous colleagues study urban or popular music, edited books. migration, the music of minorities, music in diaspora, etc. Traditional music is studied from new perspectives and with the use of new theories. Archivists focus on digitization and accessibility, but they also problema- Summary and perspectives tize cultural heritage and ask new questions concerning A survey of the membership during the years 2000– the perspectives of collectors versus performers, what 2018 shows that it has fluctuated. A few members may kinds of material is lacking in collections, etc. The be regarded as the hard core, but most of the partici-nature, value, and use of historical sources of music pants in our symposia only attend intermittently, if the must continue to be discussed as a global topic, from topics are interesting for their current work (including different perspectives and with the application of con-occasional participants from other disciplines, as men- temporary theories and methods. tioned above). In academia generally, fewer people con- tinue to participate in the same group for a long time, as projects tend to dominate our work. The Study Group References cited on Historical Sources is—like several other groups, such Baumann, Max Peter. 1978. “Ethnohistorische Quellen zur Musik as the groups studying musical instruments, minorities, Äthiopiens aus schriftlichen Zeugnissen von 1500 bis 1800.” applied ethnomusicology, audiovisual issues, music In Historische Volksmusikforschung: Kongress-Bericht Seggau 1977, edited by Wolfgang Suppan and Alois Mauerhofer, archaeology, education, etc.—based on thematic issues, 19–50. Musikethnologische Sammelbände, 2. Graz: while other study groups give preference to regional Akademische Drucks- und Verlagsanstalt. studies. However, historical studies can be discussed as Bielawski, Ludwik, Alois Mauerhofer, and Wolfgang Suppan. 1979. Eds. Historische Volksmusikforschung: Bericht über well in a regional context.6 Regional music traditions, die 4. Arbeitstagung der Studiengruppe zur Erforschung und on the other hand, are considered important in many Edition historischer Volksmusikquellen im International Folk of the “new” nations, such as the republics formed on Music Council vom 7. bis 12. April 1975 in Kazimierz Dolny. the territory of former Yugoslavia and the former Soviet Kraków: Polskie Wydawnictwo Muzyczne. Braun, Hartmut. 1994. “Zur Geschichte der Studiengruppe zur Union. They all show interest in their specific historical Erforschung historischer Volksmusikquellen.” In Historische sources, which are often kept outside of the respective Volksmusikforschung, edited by Doris Stockmann and Annette countries in other places, such as the archives in Berlin, Erler, 15–22. Orbis Musicarum, 10. Göttingen: Edition Re. Mauerhofer, Alois. 1985. Ed. Historische Volksmusikforschung— Vienna, London, St. Petersburg, and several in the Tagungsbericht Limassol 1982: Referate der 7. Tagung der United States. So, searching for historical sources and Studiengruppe zur Erforschung und Edition historischer possibly creating one’s own “national archive” is a goal Volksmusikquellen des International Council for Traditional Music/UNESCO. Musikethnologische Sammelbände, 7. Graz: of great importance for recently independent nations. Akademische Verlagsanstalt. Looking back at the history of the study group in more Mauerhofer, Alois, and Jerko Bezić. 1981. Eds. Historische Volksmusikforschung—Kongress-Bericht Medulin 1979: recent years, we have seen an increased international Referate der 6. Sitzung der Studiengruppe zur Erforschung und representation, including France and the British Isles, Edition historischer Volksmusikquellen. Musikethnologische Sammelbände, 5. Graz: Akademische Verlagsanstalt. 6 The Study Group on East Asian Historical Musical Sources was Stockmann, Doris. 1994. “Arbeitsperspektiven der Study founded in 2006, but there was no contact between the two Group on Historical Sources of Folk Music.” In Historische groups. It has since been discontinued. ICTM Study Group on Historical Sources 269 Volksmusikforschung, edited by Doris Stockmann and Annette edited by Wolfgang Suppan, 285–292. Musikethnologische Erler, 9–13. Orbis Musicarum, 10. Göttingen: Edition Re. Sammelbände. 12. Tutzing: Hans Schneider. Stockmann, Doris, and Annette Erler. 1994. Eds. Historische Suppan, Wolfgang, and Alois Mauerhofer. 1978. Eds. Historische Volksmusikforschung: Studiengruppe zur Erforschung historischer Volksmusikforschung—Kongress-Bericht Seggau 1977: Referate Volksmusikquellen im ICTM—Beiträge der 10. Arbeitstagung der 5. Sitzung der Studiengruppe zur Erforschung und in Göttingen 1991. Orbis Musicarum, 10. Göttingen: Edition Edition historischer Volksmusikquellen. Musikethnologische Re. Sammelbände, 2. Graz: Akademische Druck- u. Stockmann, Doris, and Jens Henrik Koudal. 1997. Eds. Historical Verlagsanstalt. Studies on Folk and Traditional Music: ICTM Study Group Ziegler, Susanne. 2010a. Ed. Historical Sources and Source on Historical Sources of Folk Music. Copenhagen Report 1995. Criticism: Proceedings of the 17. Meeting of the ICTM Study Copenhagen: Museum Tusculanum Press. Group on Historical Sources of Traditional Music held in Stockmann, Doris, and Susanne Ziegler. 2004. Eds. Historische Stockholm, Sweden, May 2008. Skrifter från Svenskt Visarkiv, Forschungen zu traditioneller Musik: Sammelbände der Study 29. Stockholm: Svenskt Visarkiv. Group on Historical Sources of Traditional Music im ICTM. ———. 2010b. “Historical Sources in the History of Beiträge der 12. und 13. Arbeitstagung in Dion 1997 und Ethnomusicology—a Critical Review.” In Historical Sources Innsbruck 2000. 448 pp. (on CD-ROM). and Source Criticism: Proceedings from the 17th International Suppan, Wolfgang. 1986. Ed. Musikethnologische Sammelbände 8. Conference in Stockholm, Sweden May 21–25, 2008, edited by ———. 1991a. “Publications and Activities of the ICTM Study Doris Stockmann and Susanne Ziegler, 15–30. Skrifter från Group on Historical Sources of Folk Music.” YTM 23: Svenkst visarkiv, 29. Stockholm: Svenskt Visarkiv. 189–194. Ziegler, Susanne, Ingrid Åkesson, Gerda Lechleitner, and Susana ———.1991b. Ed. “Verzeichnis der Tagungen und der Sardo. 2017. Eds. Historical Sources of Ethnomusicology in gedruckten Referate der Historischen Studiengruppe im Contemporary Debate. Newcastle-upon-Tyne: Cambridge International Council for Traditional Music, 1967–1988.” Scholars Publishing. In Schladminger Gespräche zum Thema Musik und Tourismus, Appendix: List of ICTM Study Group on Historical Sources symposia no. year place publication 1 1967 Freiburg im Breisgau (FRG) (no publication) 2 1970 Brno (Czechoslovakia) Studia Musicologica Academiae Scientiarum Hungaricae 13 (1971): 177–295 3 1972 Sárospatak (Hungary) Studia Musicologica Academiae Scientiarum Hungaricae 15 (1973): 3–320 4 1975 Kazimierz Dolny (Poland) Bielawski, Mauerhofer, and Suppan 1979 5 1977 Seggau (Austria) Suppan and Mauerhofer 1978 6 1979 Medulin (Yugoslavia) Mauerhofer and Bezić 1981 7 1982 Limassol (Cyprus) Mauerhofer 1985; Suppan 1986 8 1988 Göteborg (Sweden) (no publication) 9 1989 Schladming (Austria) (papers by Doris Stockmann and Hartmut Braun appear in Stockmann and Erler 1994) 10 1991 Göttingen (Germany) Stockmann and Erler 1994 11 1995 Copenhagen (Denmark) Stockmann and Koudal 1997 12 1997 Dion (Greece) Stockmann and Ziegler 2004 13 2000 Innsbruck (Austria) Stockmann and Ziegler 2004 14 2002 Münster (Germany) (not published) 15 2004 Seggau (Austria) (no publication) 16 2006 Berlin (Germany) (no publication) 17 2008 Stockholm (Sweden) Ziegler 2010 18 2010 Vilnius (Lithuania) (no publication) 19 2012 Vienna (Austria) Ziegler et al. 2017 (joint publication for Vienna and Aveiro) 20 2014 Aveiro (Portugal) Ziegler et al. 2017 (joint publication for Vienna and Aveiro) 21 2016 Paris (France) (no publication) 22 2018 Budapest (Hungary) (forthcoming) 23 2021 Almaty (Kazakhstan) (postponed from 2020) ICTM Study Group on Iconography of the Performing Arts Zdravko Blažeković Images of musical instruments and music-making have and the Comité international pour les musées et col-been used in research of music history since the time of lections d’instruments et de musique (CIMCIM)—was the Renaissance painters and antiquarians who were try-to provide complete and easy bibliographic insight into ing to understand and revive music of classical antiquity. the vast resources of music iconography around the And yet, it was only in the 1970s that music iconogra-world. This initiative was part of his grand vision to phy significantly advanced as a discipline in its method- bring together documentation [for music research] via ology and application in music scholarship. One reason an international network of data banks, operated by for such a late development was the technical difficulty computers in conjunction with ultra-microforms, video of working with images. When we look back in time, screens, and advanced audio systems, all transmitted it is easy to find among writings of the eighteenth-cen- by satellite. [This knowledge base] would encompass tury music historians references about their desire and recorded sound, printed and manuscript music, liter- ature about music, musical iconography, materials for need to study images. But without finding aids for the music education, and would be concerned with art control of images and easy access to them in published music, folk music, and popular music in all genres and reproductions, it was hard, if not impossible, to do their media, in all periods and countries. (Brook 1978) meaningful comparative research, not to mention the Brook understood that although visual sources cannot prohibitive expense if authors wanted to include them supply information about music itself, they do provide with their published articles. an invaluable account about music-making as a social Ernst Ludwig Gerber listed in the appendix to his Neues activity and its music experience among certain groups, historisch-biographisches Lexikon der Tonkünstler over six including extinct traditions. As people visually repre-hundred portraits of musicians meant to supplement the sented their activities and expressed their beliefs since biographical entries presented on the preceding pages of the earliest times, the range of themes and contexts the lexicon (Gerber 1812–1814). But what good was in which images can document music activities of the this list to his readers when he was unable to reproduce past is endlessly broad. They provide clues about the individual portraits? In 1906, the German musicologist morphology of musical instruments and their dissemi-Hugo Leichtentritt (1874–1951) published an article nation; performance practice and instrumental playing asking in its title “Was lehren uns die Bildwerke des techniques; contexts of performance, including perfor-14.–17. Jahrhunderts über die Instrumentalmusik ihrer mance space, audience, and reception; combination Zeit?” (What do paintings from the 14th to 17th cen-of performing forces, in particular repertoires or social turies teach us about the instrumental music of their functions; biographical information on musicians and time?) (Leichentritt 1906). His narrative about pictures their likenesses; social, commercial, and intellectual is accompanied with no reproductions, and we won-history of music; as well as, the role of music in asso- der today if there is anything that Leichentritt’s readers ciated performing arts such as dance and music thea-could have learned from described pictures that they tre. As dance is a kinetic art, visual sources rarely pro-were not able to see along with the text. vide information about succession of movements, but they can inform about a single dance position; physi- The situation regarding accessibility of music-related cal expression of the dancer; dancer’s portrayal; props visual material started changing in a forceful way when used and costume worn during the performance; and American musicologist Barry S. Brook (1918–1997) ini-location, context, audience, and symbolism of dance tiated in 1971 the Répertoire International d’Iconogra- performance. phie Musicale (RIdIM). The goal of RIdIM—established under the auspices of the International Musicological The 1970s was an extremely important period for the Society (IMS); the International Association of Music development of the research of iconographic sources. Libraries, Archives and Information Centres (IAML); Along with the initiation of the cataloguing of images In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 270–276. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Iconography of the Performing Arts 271 made under the auspices of the RIdIM and its host institution, the Research Center for Music Iconography (RCMI) of the City University of New York Graduate Center, Brook organized in New York eight conferences on music iconography.1 He was convinced that with- out a scholarly interpretation of images, it would be impossible to produce viable cataloguing entries; and in return, without well-organized and exhaustive cata- logues, scholars cannot have easy access to these sources. These conferences were relatively small, but every year they brought together the key scholars working with visual sources in music history. This was the place where the discipline started taking its shape through discussions on methodological issues. Also, during the 1970s, some ground-breaking monographs on music Figure 1. Tilman Seebass and Nicoletta Guidobaldi. iconography came out within only a few years of each Ravenna, 2006 (photo courtesy of Nicoletta Guidobaldi). other, thereby establishing the discipline in a number of European countries (Kos 1972; Kuret 1973; Seebass nography. In many ways the ICTM study group under 1973; Geiser 1974; Hammerstein 1974; Mirimonde his leadership was the key catalyst and medium that 1974, 1975–1977; Leppert 1977; Chailley 1978). facilitated advancements in the research of music ico- In the early 1980s, Brook’s engagement with the research nography. Seebass received his doctorate in 1970 from of visual sources for music history gradually declined, the Universität Basel with a thesis about the Utrecht and the Research Center for Music Iconography stopped Psalter (Seebass 1973). After graduation, he under-organizing RIdIM’s conferences after 1980. The only took ethnomusicological fieldwork on Athos (Greece), two of RIdIM’s conferences organized during the 1980s in Indonesia (Bali and Lombok), and in Tyrol, which were held in Mainz in 1982 and Paris in 1987. gave him insights into research methodology of both historical musicology and ethnomusicology. In the field of music iconography, he has written on topics concern- From 1985 to 2001 ing Greek antiquity, medieval music instruments and illustrations of music theory, representations of Italian To eliminate the void that came about by not having folk music in paintings by Léopold Robert, iconogra-regular scholarly meetings, Tilman Seebass—helped by phy of dance, and symbolism in paintings by Titian Erich Stockmann and Dieter Christensen—established and Giorgione. Discussions of methodology of icono-in 1985 the ICTM Study Group on Music Iconography graphic research are inherent in all these studies, as well (of Traditional Music) with a mission to advance the as in his important general articles on music iconogra-research of visual sources relevant for music history, phy written for The New Grove (Seebass 2001) and for performance practice, musical life, and organology. The Die Musik in Geschichte und Gegenwart (Seebass 1997). first vice chair of the group was Tsuge Gen’ichi 柘植 From 1977 through 1993, he was professor at Duke 元一 from Japan, and its secretary was Onno Mensink University in Durham, North Carolina (USA), and from the Netherlands, who organized the group’s first from 1993 until his retirement in 2007, professor and symposium in 1986 at the Gemeentemuseum in The head of the musicological department at the Universität Hague. For a short time at the very beginning, the Innsbruck (figure 1). After leaving ICTM in the mid-group had in its name the qualifier marking its focus 2000s, he shifted his interests to the International on “traditional music.” Already with first symposium Musicological Society (IMS), which elected him vice of the new study group, Seebass broadened the circle president (2002–2007) and subsequently president of scholars from the earlier RIdIM’s network, bringing (2007–2012). into the loop ethnomusicologists and also attracting During Seebass’s leadership, the Study Group on Music younger scholars that were succeeding the generation of Iconography held the following symposia: RIdIM’s founders. 1. Methods in musical iconography. The Hague, the During the 1990s and early 2000s, Seebass was the key Netherlands, 10–13 June 1986; person organizing the research network in music ico- 2. North-Mediterranean folk music in the visual arts. Orta San Giulio, Italy, 24–29 May 1988; 1 Programmes and abstracts of the most important conferences 3. The spirit of Greek music in the visual arts of antiq- on music iconography, beginning in 1973, are available at http://www.musiciconography.org/conferences/ (accessed 12 uity. Thessaloniki, Greece, 21–25 May 1990; Apr 2020). 272 Zdravko Blažeković 4. Music in the visual arts of Central Asia before And indeed, in his paper “The RIdIM card and musical 1700. Bukhara, Uzbekistan, 24–29 September iconography of nonwestern cultures” (Seebass 1979b), 1990; Seebass demonstrated his suggestions for changes in 5. Image and reality in the presentation of musical RIdIM cataloguing. Concurrently, Brook introduced processions, 1660–1775. Bad Köstritz, Germany, these changes at the IAML meeting in Salzburg. 5–9 August 1993; Obviously, the implementation of Seebass’s suggestions 6. Music images and the Bible. Jerusalem and Ramat into the RIdIM cataloguing rules in 1979 was not the Gan, Israel, 29 December 1994 – 3 January 1995; end of his interest in these issues, and he continued 7. Myth and reality in dance pictures. Innsbruck, the development of the cataloguing methods in order Austria, 13–18 June 1995; to accommodate different aspects of representations 8. Music and dance in pictures of popular and courtly appearing in traditional visual arts and non-Western art. feasts (Southern Europe, 1500–1750). Sedano At the end of the report about the study group’s meeting (Burgos), Spain, 15–20 May 1996; in The Hague, Seebass added a note saying that 9. Music and images of music in the Mediterranean world, 300 BC – AD 300. Dion and Thessaloniki, during the meeting, Prof. Couprie (Leiden), Dr. Greece, 15–20 September 1998; [Magda] Kyrova and Dr. [Onno] Mensink agreed to develop a system of description for images with musical 10. L’iconografia musicale: Mito e storia. Bologna, content, on a world-wide basis. They will choose 100 Italy, 10 March 2001. sample pictures and describe them according to both the RIdIM and the revised ICONCLASS system. First The need for the accessibility of images and their schol- drafts of the descriptions are to be sent to the steering arly control, which gave birth to RIdIM, also influenced committee of the Study Group and other interested the early discussions in the study group’s symposia. scholars for critique and suggestions in late Spring Seebass invited the art historian Leendert D. Couprie 1987. (Libin 1986) (b. 1938) of the Universiteit Leiden to The Hague sym- This report was discussed in the study group’s meeting posium. Couprie was on the team of Henri van der at the 1987 ICTM World Conference in Berlin. In the Vaal (1910–1972), who since the 1950s was develop-discussion chaired by Seebass, Couprie, Terence Ford, ing ICONCLASS, a classification system designed for Monika Holl, Kyrova, and Gunji Sumi 郡司 すみ were iconography represented in Western art. In his report participants. Eventually, ICONCLASS was rejected about the symposium, Laurence Libin mentioned that because it dealt with historical subjects in Western one evening of the symposium was devoted to discus-art without sufficient references to music and musical sion of iconographic documentation, and computer instruments around the world. The study group here application and software for indexing (Libin 1986). provided in the most direct way, the intellectual space The discussions concerning cataloguing were a contin- for a discussion about methods for indexing visual uation of Seebass’s earlier interest to refine the RIdIM sources relevant for studies of music and supported cataloguing system. When Barry Brook and his team activities of RIdIM. developed RIdIM’s first cataloguing system in the early Being on the crossroad between history studies, art his-1970s, the advising experts were predominantly inter- tory, sociology, anthropology, ethno/musicology, dance ested in Western painting, sculpture, and applied arts. studies, archaeology, classical philology, and many other The early cataloguing practice soon demonstrated that disciplines, methodological principles of iconographic traditional arts and artistic media, which provided infor-research cannot be merely transferred from any of these mation about traditional musics from around the world, disciplines, but rather, they have to be developed on were not adequately considered in these discussions. their own, always in a relation to the investigated sub-Therefore, at the 1979 RCMI/RIdIM conference in New ject, the medium of the work, and the cultural context York, Seebass led a roundtable session dedicated to the in which the object had been produced. As each study representation of music in the visual arts of non-West-group’s symposium moved from one geographic area to ern cultures (Kopp 1979). About ten days later, he sent another, the general themes of the symposia changed a letter to Timothy Rice, the chair of the programme according to the local iconographic material. In Orta San committee that year for the meeting of the Society for Giulio, the focus was dedicated to Mediterranean folk Ethnomusicology, which was planned for Montréal (10– music; in Thessaloniki, to Greek antiquity; in Bukhara, 14 October 1979). Seebass wrote to Rice: to Central Asian art from before 1700; in Innsbruck, I made some suggestions, how to improve the system, to issues of realism in representations. The first meeting and Barry Brook and I think now that it is time to get a in 1986 was dedicated generally to methods in musical wider circle of ethnomusicologists involved and discuss iconography. Later on, with thematic and geographic the problem. We wonder if the SEM would be ready to schedule a seminar or round table dealing with this shifts, each symposium shed light on an application of topic at the Montreal congress. (Seebass 1979a) different research methods that came out from the stud- ied material. This approach significantly strengthened ICTM Study Group on Iconography of the Performing Arts 273 the discipline, often bringing into the network music Although Seebass did not officially step down from the scholars who were otherwise not working with visual leadership of the study group until the world conference sources. The study group has on occasions also collabo-in Sheffield (2005), the study group became dormant rated with other ICTM study groups. The 1994–1995 after the 2001 symposium in Bologna. In an email of symposium in Jerusalem and Ramat Gan—examining 15 April 2005, Seebass notified study-group members biblical topics concerning artefacts from Israel, Syria, and ICTM members with iconographic interests that Asia Minor, Mesopotamia, and Egypt—was organized he was stepping down as the chair and “unless a suc-together with the Study Group on Music Archaeology; cessor is found … we will terminate the STG. Despite and the 1995 symposium in Innsbruck—examining several attempts I have not been able to find a successor images of dance—with the subgroup on dance iconog-myself, so please communicate among each other and raphy of the Study Group on Ethnochoreology. with me on this matter.” Seebass left the ICTM soon In his 1995 report about the study group’s activities, afterwards, and in 2006 established a new Study Group Seebass said: “What surprised me at the meetings of for Music Iconography operating within the framework Jerusalem and Innsbruck was, that there still seems to of the International Musicological Society. be undiminished need for methodological guidance” (Seebass 1995). However, the same report indicates that participation in the study group’s symposia was by invi- From 2012 to the present tations that were sent to “those colleagues of whom we assume on the basis of their publications that they are Without Tilman Seebass’s successor, the study group interested, and particularly those who have not been at was dormant through the 2000s, until Svanibor Pettan, our recent meetings” (ibid.). Inviting to symposia spe-at that time a vice president of ICTM, suggested during cialists on specific topics who otherwise were not work- the 2009 world conference in Durban that I take its ing with iconographic sources may have been a reason leadership and revive its symposia. By that time, the old for the constant need to return to methodological dis-network of scholars has disintegrated, and it was neces- cussion, but this practice also provided an opportunity sary to restart the organization from the ground up. My to further refine the methodology with each new topic. immediate thought was that the group should become Participation in the symposia by invitation ensured more global regarding its topics, symposia locations, learned discussions, but at the same time created a sense and the involvement of participants. Except for meet-of study group’s exclusivity, excluding younger people ings in Bukhara in 1990 and Jerusalem in 1994–1995, and scholars from outside of Europe who might not be the old study group held all its meetings in Europe, and studying the topic of the conference. To compensate its focus concerned mainly music represented in the for closing the participation at the symposia to invited Western art. The first decision in that direction was to guests, the study group organized at world conferences change the name to Study Group on Iconography of in Berlin (1987), Schladming (1989), Madrid (IMS, the Performing Arts, as many Asian traditions perceive 1992), and Nitra (1997) open sessions in which pres-music in a symbiosis with dance and theatre. Also, dance entations were limited to five minutes, each discussing and traditional music theatre prominently feature in one or two images. research subjects from the entire network of the ICTM. The Executive Board approved this change of name at its Throughout this period, the study group has never pro- meeting in St. John’s, Canada, in the summer of 2011. duced symposia proceedings. Only selected papers were Such a global mission of the group in many ways influ-individually published in Imago Musicae: International ences the choice of topics for the symposia. It is always Yearbook of Musical Iconography, which Barry Brook, beneficial to focus the discussion on a specific and pre-at the time president of RIdIM, had founded in 1984 cisely defined topic. But then, many scholars work-as the “official organ of the International Repertory of ing on unrelated subjects and in different geographic Musical Iconography,” and appointed Seebass as its edi-regions are excluded from participation. Therefore, it tor. With the founding of the Study Group on Music is important to balance the symposium’s framework to Iconography, ICTM also became nominally involved accommodate a wide spectrum of participants and, at with RIdIM and from 1987 through 1992 had three the same time, provide common discussion points. The liaison officers representing the Council (Tilman other challenge for this study group is attracting art his-Seebass, Erich Stockmann, and Tsuge Gen’ichi). From tory scholars who normally do not belong to the ethno/ 1990 through 2005, the masthead of Imago Musicae musicological network. The presence of such heteroge-indicated that the yearbook was published under the neity of expertise and research methodology is critically joint auspices of RIdIM and ICTM. The three ICTM important for the advancement of the discipline, but it liaison officers also served for a period of time on the is generally difficult to achieve. Since the study group’s journal’s editorial board. revival, seven symposia have been organized: 274 Zdravko Blažeković Figure 2. Participants of the study group’s 11th symposium. Yungang Grottoes near Datong, Shanxi Province, October 2012 (photo courtesy of Zdravko Blažeković). 11. Images of music making and cultural exchanges organization of the symposium were Li Mei 李玫 of between the East and the West. China Conservatory the Music Research Institute at the Chinese National of Music, Beijing, 26–31 October 2012; Academy of Arts and Liu Yong 刘勇, professor at the 12. Neoclassical reverberations of discovering antiq- China Conservatory of Music. This was the first con- uity. Istituto per i Beni Musicali in Piemonte ference in China exclusively dedicated to the research and Archivio di Stato di Torino, Turin, Italy, 6–9 October 2014; of visual sources for music (figure 2). As a consequence, the Research Group for Music Iconography 音乐图像 13. Decoration of performance space: Meaning and 学分会 was founded in 2013 within the Society for ideology. Fondazione Georgio Cini, Venice, 16–20 May 2016; Chinese Music History 中国音乐史学会 (Li Peijian and Dong Xin 2014). 14. Images of music-making and its trans-cultural exchanges. Xi’an Conservatory of Music, Xi’an, The Chinese Research Group used to organize its con-China, 27–31 October 2016; ferences biennially, but now does so annually, and it 15. Iberian music crossroads through the ages: Music- publishes proceedings (Li Rongyou 2013, 2016). Four making in its transcultural exchange. Societat years after the first symposium in Beijing, the study Catalana de Musicologia and Institut d’Estudios group returned for its second meeting in China, held Catalans, Barcelona, 17–19 October 2018; jointly with the Chinese Research Group. Chinese 16. Music in popular theater and ritual. Universidad scholarship is generally more descriptive than interpre-de la Republica Uruguay, Salto, 23–26 October tive, sources are rarely presented in their historical con-2019; text, and access to Western literature on the methodol- 17. Objects and images of music in public and private ogy of research is limited. The study of visual sources for art museums. Centro de Estudos de Sociologia e music in China now has a very prosperous future, but Estética Musical (CESEM), Universidade NOVA de Lisboa, Lisbon and Alpiarça, because of because of linguistic difficulties, the conference of the COVID-19 postponed to 7–9 October 2021. Chinese Research Group hosted exclusively local schol- ars, which was not beneficial to the exchange of ideas The first symposium, held at the China Conservatory and research methods. This still makes the organization of Music 中国音乐学院, is particularly import-of joint meetings attracting scholars from Europe and ant because it significantly advanced the discipline in North America a necessity. China (Blažeković 2013). The central forces in the ICTM Study Group on Iconography of the Performing Arts 275 Figure 3. Participants of the study group’s 15th symposium. Palau de la Música Catalana in Barcelona, October 2018 (photo courtesy of Zdravko Blažeković). The symposium in Turin (2014) focussed on the Conclusion eighteenth-century advances in archaeology—particu- larly the discoveries of Herculaneum (1738), Pompeii The influence that the study group exercised on the (1748), and Stabiae (1749)—and their reflections on research of visual sources for music history and traditions research and representation of classical antiquity in since its founding is significant. When it was formed Italy, which not only overwhelmed the European trav-in 1986, research on music iconography was sporadic, ellers at the time, who were on their Grand Tours with mainly focussed on representations of music-making in its history, beauty, and monuments, but for several cen-Western art and depictions of instruments. During the turies also served as the key mediator of the knowledge first period of the study group, under the leadership of about ancient Greek culture and arts. The symposium Tilman Seebass (1985–2001), its network of scholars in Venice (2016) put light on theatrical architecture, advanced the research methodology and broadened the addressing the dynamics occurring between the per-scope of the research to sources for folk-music practices, formance, the spectators, and the theatrical space. The dance traditions, depictions discovered in archaeologi-symposium in Barcelona (2018) looked into globali- cal excavations, and music of the Mediterranean antiq- zation attempts initiated from the Iberian Peninsula. uity. Now in its second period, the goal is to advance Home of Spanish, Catalan, Portuguese, Basque, and the research of sources in Asia and Latin America that Galician peoples, the peninsula has been both con-were not included in the network until the most recent quered by powers coming from elsewhere and, by gen- times. Each geographic area has different kinds of visual erating its own forces, exploring and conquering regions sources and artistic media, and the study group’s sym-and cultures from South America and the Caribbean to posia make possible the development of the specific the Philippines, India, Malacca, and Macao (figure 3). methodological practices they require. Concerning past Proceedings with selected papers presented at the sym-efforts, through the activities of its study group con- posia of the study group, held since 2012, have been cerned with the study of visual sources, ICTM must published in Music in Art: The International Journal for get credit for providing a stable and continuous schol-Music Iconography (Blažeković 2013, 2015, 2017). arly context for the advancement of the discipline and its methodologies, and creating an intellectual space in which scholars have an opportunity to test and develop their ideas. 276 Zdravko Blažeković References cited ———. 1979b. “The RIdIM Card and Musical Iconography of Nonwestern Cultures.” Manuscript in the archives of Blažeković, Zdravko. 2013. Ed. “Images of Music-making and the Research Center for Music Iconography, The Graduate Cultural Exchange between the East and the West.” Music in Center, City University of New York. Art 38/1–2: 5–168. ———. 1995. “Study Group: Iconography.” BICTM 87: 13–14. ———. 2015. Ed. “Neoclassical Reverberations of Discovering ———. 1997. “Musikikonographie.” In Die Musik in Geschichte Antiquity.” Music in Art 40/1–2: 5–272. und Gegenwart: Personenteil, edited by Ludwig Finscher, vol. ———. 2017. Ed. “Decoration of Performance Space: Meaning 6, 1319–1343. Kassel: Barenreiter; Stuttgart: Metzler. and Ideology.” Music in Art 42/1–2: 5–251. ———. 2001. “Iconography.” In The New Grove Dictionary of Brook, Barry S. 1978. Master Plan for the Implementation of the Music and Musicians, edited by Stanley Sadie, vol. 12, 54–71. World Inventory of Sources of Music Information. New York: London: Macmillan. [published by author]. Chailley, Jacques. 1978. Jérôme Bosch et ses symboles: Essai de décryptage. Bruxelles: Académie Royale de Belgique. Geiser, Brigitte. 1974. Studien zur Frühgeschichte der Violine. Bern: P. Haupt. Gerber, Ernst Ludwig. 1812–1814. “Anhang welcher Nachrichten von Bildnissen, Büsten und Statüen berühmter Tonlehrer und Tonkünstler, besgleichen von Abbildungen berühmter Orgelwerke und ein Register der Erfindungen zur Verbesserung der Kunst und der Instrumente enthält.” In Neues historisch-biographisches Lexikon der Tonkünstler, by E. L. Gerber, vol. 4, col. 661–770. Leipzig: J. G. I. Breitkopf. Hammerstein, Reinhold. 1974. Diabolus in musica: Studien zur Ikonographie der Musik im Mittelalter. Bern: Francke Verlag. Kopp, Leslie. 1979. “Seventh International Conference on Musical Iconography, Roundtable Discussion, Saturday, May 5, 1979.” RIdIM/RCMI Newsletter 4/2: 11–16. Kos, Koraljka. 1972. Musikinstrumente im Mittelalterichen Kroatien: Beitrag zur allgemeinen Organographie der Musikinstrumente und zur mittelalterlichen Musikgeschichte. Zagreb: Muzikološki zavod, Muzička akademija. Kuret, Primož. 1973. Glasbeni instrumenti na srednjeveskih freskah na Slovenskem [Musical instruments on medieval frescos in Slovenia] . Ljubljana: Slovenska matica. Leichentritt, Hugo. 1906. “Was lehren uns die Bildwerke des 14.–17. Jahrhunderts über die Instrumentalmusik ihrer Zeit?” Sammelbände der Internationalen Musikgesellschaft 7/3: 315–364. Leppert, Richard D. 1977. The Theme of Music in Flemish Paintings of the Seventeenth Century. 2 vols. München: Emil Katzbichler. Li Peijian 李沛健 and Dong Xin 董鑫. 2014. 传统与现代接轨 是中国音乐图像学的发展之道: 2013杭州首届中国音 乐图像学国际学术研讨会综述 [The relationship between tradition and modernity in Chinese music iconography: The first international symposium on Chinese music iconography in Hangzhou, 2013]. Renmin yinyue / People’s music 人民音乐 4/612: 74–76. Li Rongyou 李荣有. 2013. Ed. 2013中国音乐图像学国际学术 研讨会暨中国音乐史学会音乐图像学分会成立大会论 文集 [Proceedings of the 2013 international symposium on music iconography and the inaugural meeting of the Group for Music Iconography of the Zhongguo Yinyueshi Xuehui]. Hangzhou 杭州: Hangzhou Shifan Daxue 杭州师范大学. ———. 2016. 大汉故里观图论乐: 中国音乐图像学学会第 二届年会暨学术研讨会文集 [Appreciating images and discussing music: Proceedings of the second annual conference of the Society for Chinese Music Iconography]. Beijing: Zhongguo Wenlian Chubanshe 中国文联出版社. Libin, Laurence. 1986. “ICTM Study Group on Iconography of Traditional Music.” BICTM 69: 12–14. Mirimonde, Albert Pomme de. 1974. Sainte-Cécile: Métamorphose d’un thème musical. Genève: Minkoff. ———. 1975–1977. L’iconographie musicale sous les rois Bourbons: La musique dans les arts plastiques, XVIIe–XVIIIe siècles. Paris: A. et J. Picard. Seebass, Tilman. 1973. Musikdarstellung und Psalterillustration im früheren Mittelalter: Studien ausgehend von einer Ikonologie der Handschrift Paris Bibliothèque Nationale fonds latin 1118. 2 vols. Bern: Francke Verlag. ———. 1979a. Letter to Timothy Rice of 15 May 1979. Archives of the Research Center for Music Iconography, The Graduate Center, City University of New York. ICTM Study Group on Maqām Alexander Djumaev Formation history of Arts Researches of the Ministry of Culture of Uzbekistan.1 In order to develop common approaches A strong interest to study maqām (pl. maqāmāt)—the to studying maqāmāt, these two scholars, representing classical music of the Islamic world—appeared before Western and Eastern traditions of knowledge, co-authe formation of the Study Group on Maqām in the thored an article about maqām that surveyed various framework of ICTM. This interest existed inside other notions of maqāmāt in European and Oriental tradi-study groups and among ICTM researchers/mem- tions and methods of studying it in different regional bers. Some researchers presented papers about various and national musical cultures (Karomatov and Elsner maqām musics during ICTM conferences and sympo-1984). Both became co-chairs of the Study Group on sia devoted to traditional music. Articles, reviews, and Maqām when it was established.2 news on this topic were published in the Yearbook for Traditional Music and ICTM Bulletin s. Thus many The first meeting took place in 1988 in Berlin, where specialists studied the phenomenon of maqām, even the Study Group on Maqām was constituted and at though this work was not undertaken as part of the the same time acknowledged officially by the ICTM activities of an independent ICTM study group. Executive Board. From that time until now, ten study- group symposia have been held in different places A turning point in the history of studying maqām hap- around the world. pened in 1987. In October that year, the third sympo- sium of the International Music Council titled “Living traditions of peoples of Near East and Middle East in modern musical culture” took place in Samarkand The term and notion of maqām (Uzbekistan, USSR). Like previous Samarkand sym- What does maqām mean in the context of contemporary posia in 1978 and 1983, this one was devoted to the musical cultures and ethnomusicological understanding, professional music of oral tradition and its core part— including the points of view of ICTM members maqāmāt. A group of participants concerned with and the Study Group on Maqām? There are various maqām raised the idea of coordinating their efforts in opinions, views, and conceptions about maqām, held by studying this phenomenon in different countries of the musicians and ethnomusicologists in different countries Near and Middle East, Northern Africa, and Southern over many decades. Although the word maqām and its Europe. On the one hand, initiators took into account plural form maqāmāt can be encountered in medieval the necessity of characterizing the historical and regional written sources in Arabic, Persian, Tajik, Turkic, and peculiarities that had developed in these traditions; but other languages, as a special musical term, it appeared on the other hand, they recognized the importance of in European musicology at the beginning of the highlighting the general traits and processes of develop-twentieth century. A key problem recognized by some ment that were common amongst them. scholars is how to “overcome” and unite the variety The main initiator in establishing a Study Group on of meanings of the maqām phenomenon in different Maqām was the well-known German ethnomusi-regional and ethno-national traditions, and develop a cologist Jürgen Elsner (b. 1932), a specialist on Arab unifying, common understanding. For the first time maqām and professor at the Institute of Musical Studies of the Humboldt University in Berlin (German 1 Cf. brief information about Karomatli (Djumaev 2015) and a more detailed article by Elsner and him (2016). Note that the Democratic Republic). A person having identical ideas names Karomatov and Karomatli refer to the same scholar. In was Uzbek–Soviet ethnomusicologist Fayzulla M. this chapter, I use one or the other form, depending on which Karomatov (1925–2014), chief of the Department was used in the quoted publication. He officially changed his name from Karomatov to Karomatli in 1995. of Contemporary Music and Folklore of the Institute 2 Karomatov was co-chair until 2011. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 277–283. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 278 Alexander Djumaev in the framework of activities of the Study Group on Central Asia (specifically in Uzbekistan and Tajikistan), Maqām, this problem was raised and deeply explored mugham and mughamat (in Azerbaijan), muqam and theoretically by Jürgen Elsner in his papers and articles.3 muqamat (in Xinjiang, China, among Uyghur people), The idea of the maqām principle suggested by Elsner etc. The nearest analogies are Indian raga s and Sufyana received detailed development in his contribution kalam or Sufyana musiqi (in Kashmir), which had close “Some remarks on the interregional dimension of the historical ties with some regional maqāmāt forms, spe-maqām principle.”4 Summarizing the results of studying cifically with Bukharian Shashmaqām. maqām, Elsner described the contemporary level of our Each regional and ethno-national tradition of maqāmāt understanding of this complicated phenomenon and its has its own history of development, system of termi-obscure and unstudied sides: nology, notions, etc. They reflect individual peculiarities In the past several decades, music traditions founded formed over many centuries. But at the same time, all of on the maqām principle have increasingly experienced them have much in common. For example, in Central worldwide attention and appreciation. This fact became particularly apparent when [the] maqām music-mak- Asia, maqāmāt create an important subject in Soviet ing tradition in various countries was recognized in and post-Soviet musicological studies, with their own the UNESCO list of Intangible Cultural Heritage of contradictory histories. An ongoing special interest in Humanity. Major achievements have been observed in this topic is found in Tajikistan and Uzbekistan, which research outcomes undertaken on this musical heritage. are the main owners and keepers of this tradition in the Among others, significant monographic studies, comparative investigations and conferences have brought region. Other areas deal with maqāmāt as objects for about quite a lot of knowledge and insights into the comparative studies with their own national musical history of the music cultures of North African coun-tradition (in Kazakhstan) or as a small (rather than a tries, the Near and Middle East, Central and Southeast leading) part of their heritage (in Turkmenistan). Asia in particular and into the maqām music-making tradition in general. These outcomes are remarkable From the 1950s, Soviet musicologists in Uzbekistan and and motivating, and yet there is still a lot in the dark Russia (such as, Viktor M. Beliaev, Fayzulla Karomatov, that requires in-depth studies to find out facts, eval-Tamara S. Vyzgo) introduced to their studies on Uzbek uations and classifications in the primary viewpoint. maqām s a new definition: “professional music of oral Many local and regional classical music traditions of tradition.” This notion was popular in academic musi-the respected countries as well as the folk genres, inte- grated or fused into them, are either not yet collected or cological works during the Soviet period, and is now-meagrely studied and vaguely described. Furthermore, adays used to a certain degree by authors writing in enlightenment and comprehensive study of the his-Russian in the territory of the former USSR. In the tory of specific regional traditions are actually still in 1960s and 1970s, the term maqāmāt (and maqomot their infancy. The importance of the elucidation of and maqom in national phonetic transcriptions) was their original roots and basis, for instance, in terms of interregional suggestions and acquisitions—except for used with a very broad meaning designating “genres the barely differentiated international comparisons of of maqomat” or “cycles of maqomat” for the “repub-factual and historical circumstances—has not yet been lics of the Soviet East” or “peoples of the Soviet East” given due attention. (Elsner 2014:1) (Karomatov 1978:10–11). The same meaning with an In its narrow sense, the term maqām (pl., maqāmāt) even broader application of the term mughamat orig-designates the Arabic maqām s. But at the same time, inated during the same period in Azerbaijan and the it is broadly used by musicologists as a common term Caucasus region. In the 1980s, the term maqāmāt occu-for all similar classical musical traditions with local eth- pied its more precise, regional space in Central Asia, nic and regional diversities. Each of these traditions has and this meaning still survives today. The term covers its own written form according to ethno-national pro-various traditions and schools of maqom music, spread nunciation and phonetic rules: maqom and maqomot in throughout the region of Soviet and post-Soviet Central Asia, basically in Uzbekistan and Tajikistan. According 3 His report on the first meeting of the Study Group on Maqām to contemporary musicological understanding, maqom which took place from 28 June to 2 July 1988 in Berlin was art includes the following well-known kinds of regional under the title “Zum Maqām-Prinzip: Tongruppenmelodik maqom music: the Bukharian Shashmaqom, Khorazmian als Grundlage und Baustien musikalischer Produktion / The Maqām Principle: Melodics of tonegroups and building stone maqom s, Fergana-Tashkent maqom s, Uzbek (or all-na- for musical production,” and was published in the proceedings tional) Shashmaqom (in Uzbekistan), Shashmaqom of the conference (Elsner 1989b). In the 1970s, Elsner started (all-national) in Tajikistan, and others (cf. Matyakubov to develop the idea of the maqā m principle, for the first time, on the basis of Egyptian maqām. 2013:5; Djumaev 2018b). 4 Presented at the International Seminar and Special Lectures, More recently, maqāmāt has become an important offi- “Synthesis of raga and maqam in Kashmiri musical culture,” cial symbol of national cultural identity in independent held in Srinagar, India, 20–21 June 2013. This article has remained unpublished. I am very much obliged to Jürgen Uzbekistan and Tajikistan. It received priority status in Elsner for sending it to me and allowing to use it (email to the current national cultural policy in the both states. author, 23 November 2019). ICTM Study Group on Maqām 279 New national state programmes for the development 23–28 March 1992, with the general theme “Regional of this kind of art were adopted. UNESCO supported traditions of maqām in history and present time.” The several projects for its development and preservation, proceedings were published in two volumes, thanks to and proclaimed it as intangible cultural heritage (cf. the efforts of editors Jürgen Elsner and Gisa Jähnichen Djumaev 2018b). At the same time, there are many (1992). They consist of twenty-nine scholarly articles, unclear and unstudied points in the historical past and with critical comments. The majority of maqām tra-at present concerning maqāmāt throughout the Islamic ditions of the Islamic world were considered during world and beyond—in the new centres of maqām music the meeting. About half of papers were presented by in the USA, Israel, and European countries. scholars from the former Soviet Union. This happened for the first time in what has become a tradition of the study group. As a result, many reports were devoted Conferences and symposia to Central Asian traditions of maqāmāt (especially Shashmaqām in Uzbek and Tajik versions), Uyghur Up until now, the Study Group on Maqām has held muqam s, and Azerbaijanian mugham s. ten symposia (meetings and conferences), focusing The third symposium of the study group was held in on various aspects of the subject. The majority of the Tampere and Virrat, Finland, on 2–5 October 1995, proceedings have been published by the host organiza-upon invitation from the Department of Folk Tradition tions in different countries. Some symposia were briefly of the University of Tampere (figure 1). The selected described in reports of the study group and published in topic was “The structure and idea of maqām in differ-Bulletin s. Consequently, I will not consider the details ent regions East and West: Historical approaches.” A of all events, but instead refer to existing materials short report and a list of presentations were given in the (reports, proceedings in printed or electronic formats). Bulletin (Elsner 1995). The proceedings of the meeting The first meeting of the Study Group on Maqām took were later published by the host institution (Elsner and place from 28 June to 2 July 1988 in Berlin with the Pennanen 1997). In his editor’s preface, local coordi-topic “Maqām – rāga – melodic lines: Conceptions and nator Risto Pekka Pennanen marked some features of principles of musical production.” About thirty schol-scholarly content of the volume and how it was distinct ars from different countries presented their papers on from previous meetings: various aspects of the topic. The published proceed- The studies vary greatly in both approach and scope, ings of the meeting, edited by Jürgen Elsner (1989a), but they focus mostly on the history of maqām musics. contain seventeen articles demonstrating wide views There are themes such as history of music theory, change and approaches to the various maqām traditions. We in a music culture in a historical period, and compara- can mention some titles of the articles published in tive analysis of historically related music cultures. this volume to give an idea of the content of the meet- This volume places an emphasis on geographical areas ing: “The Maqām Principle: Melodics of Tonegroups and music cultures that have not been extensively dealt as Base and Building Stone for Musical Production” with in the two previous meetings of the study group in Berlin (1988) and Gosen (1992). There are Ottoman (Jürgen Elsner), “‘International Segāh’ and Its Nominal classical traditions and fusion music based on Ottoman, Equivalents in Central Asia and Kashmir” (Harold Western and local Balkan musics. (Pennanen 1997:6) Powers), “The Modal System of Azerbaijani Art Music” The fourth symposium of the study group took place (Jean During), “Some Islamic Non-Arabic Elements from 18 to 24 October 1998 in Istanbul, Turkey, with of Influence on the Repertory of al-Maqām al-‘Irāqī the main topic “The maqām traditions of Turkic peo-in Bagdad” (Scheherazade Qassim Hassan), “Afghan ples.” The conference was arranged by invitation of the Regional Melody Types and the Notion of Modes” director of the Conservatory of the Technical University (Hiromi Lorraine Sakata), “The Maqām Principle and in Istanbul, the composer Yalçın Tura. Two dozen schol-the Cyclic Principle in the Uzbek-Tajik Shashmaqam” ars from eleven countries participated in the meeting (Angelika Jung), “Musical Determinants of Maqām in with the papers mainly connected with the maqām Sufyana Kalam of Kashmir” (Jozef Pacholczyk), and music of Turkic peoples (cf. Elsner 1999). For the first “Is There a Muslim Raga Phenomenon in Hindustani time in the scholarly activity of the Study Group on Music?” (Regula Burckhardt Qureshi).5 Maqām, the Turkic “component” of the maqām phe- The second “working meeting” of the study group took nomenon was especially considered by the international place once more in Germany, in Gosen near Berlin on community of maqām researchers. The proceedings were published by the host institution and included 5 The volume starts with Elsner‘s article in both German twenty-one papers by participants and three papers and English; the German title is “Zum maqam-Prinzip: which were not presented at the meeting (Elsner and Tongruppenmelodik als Grundlage und Baustein musikalischer Produktion”. The articles published in Russian have summaries Jähnichen 2006). in German. 280 Alexander Djumaev Figure 1. Participants of the third symposium of the ICTM Study Group on Maqām. Tampere, October 1995 (photo courtesy of Risto Pekka Pennanen). The fifth symposium of the study group was held in The seventh symposium took place from 15 to 17 Samarkand and Bukhara, Uzbekistan, from 26 to 30 March 2011 in Baku, the capital of Azerbaijan. It was a August 2001, in the framework of the third interna-part of the 2nd international musicological symposium tional music festival “Sharq taronalari” with support on mugām within the framework of the international from UNESCO. The main topic was “International festival “Space of mugām” (14–21 March 2011). The comparison of maqām and related phenomena.” The main topic was “The mugām of Azerbaijan and related meeting gathered many scholars from the former traditions in Middle East” (cf. Elsner 2011). Twenty-Soviet republics, European countries, USA, Near and two scholars from twelve countries presented their Middle East (cf. Elsner 2001). The proceedings of the papers during the meeting. As noted in the report on symposium were published in Tashkent (Elsner and the symposium: Jähnichen 2008). The discussion was dedicated to questions of the rela- The sixth symposium of the study group took place tionship between the maqām-principle and the mugām, from 24 to 29 September 2006 at Urumqi, the capital to the construction and formation of mugām music, to the evidences of personal style in mugām performing of Xinjiang, China, on the invitation of the Ministry arts. Proceeding this way, the result of the conference of Culture of the People’s Republic of China and the was very impressive. (Elsner 2011:42) Government of the Xinjiang Uyghur Autonomous The eighth symposium of the study group took place Region. The main topic was “Muqām in Xinjiang/ from 8 to 11 November 2012 in Sarajevo, Bosnia and China and outside:: History and present.” The pro- Herzegovina, upon the invitation of the Academy of gramme included two additional topics: “Manifestation Music in Sarajevo and the Musicological Society of of maqām in different countries and regions” and the Federation of Bosnia and Herzegovina. The sym- “Preservation and transmission of maqām in the 21st posium took place at the Academy of Music in con-century.” There were 75 participants from nine coun- junction with the 8th international symposium “Music tries. As noted by Jürgen Elsner in his report: in society” (cf. Elsner 2013). The general topic of the The most important point of the Urumqi maqām symposium was “Maqām: Historical traces and present meeting was the voluminous information on local and regional varieties of the muqām and the multifarious practice in Southern European music traditions.” This studies on it done by Chinese and Uyghur scholars. topic expanded the usual themes and problems mostly (Elsner 2007:37) connected with regions of Central Asia, and the Near and Middle East. The twelve contributors “offered new The proceedings were apparently published by the host. insights and knowledge on some aspects of the influence ICTM Study Group on Maqām 281 Figure 2. A group of participants of the ninth symposium of the ICTM Study Group on Maqām. Ankara, December 2014 (photo by Alexander Djumaev). of Ottoman music culture in the Mediterranean region the contemporary world.” In proposing this theme, we and especially in parts of the Balkans” (Elsner 2013:77). took into account that current dynamics of change in The ninth symposium was held in collaboration with the contemporary world demand a new, special atten-the Study Group on Music in the Arab World. It took tion to maqām/mugām traditions. As other cultural and place from 17 to 21 December 2014 upon the invita-humanitarian values, maqām/mugām traditions are in tion of the Turkish Ministry of Culture and Tourism a historic period of turmoil. Various factors influence and the Yıldırım Beyazıt University Conservatory for directly and indirectly the authentic music traditions, Turkish Music in Ankara (figure 2). The general topic of thereby developing positive and negative tendencies. the joint symposium was “Maqām traditions between All of these tendencies should be studied by the inter-theory and contemporary music making.” Thirty-three national community of maqām/mugām researchers. papers were presented by scholars in different forms: Thirteen scholars presented their papers during two lectures, presentations, and panel discussions. The days, and participated in discussions with other par-proceedings were published by the host, the Yıldırım ticipants and guests of the symposium (cf. Djumaev Beyazıt University Conservatory for Turkish Music, 2018a). The proceedings of the symposium are being consisting of twenty-one papers giving a picture of the prepared for publication by the host. main scholarly interests in this topic (Elsner, Jähnichen, Our eleventh symposium, under the title “Maqāmāt and Güray 2016). I was elected as chair of the study in the history of Islamic civilization: Interrelations group at this symposium. and interactions,” was planned for May 2020 in St. The tenth symposium took place from 28 June to 1 Petersburg at the Russian Institute for the History July 2018 in Shaki, Azerbaijan, upon the invitation of of the Arts of the Ministry of Culture of the Russian the Union of Composers of Azerbaijan and its chair, Federation. But, unfortunately, due to the situation People Artist of Azerbaijan Franghiz Ali-zadeh, and with the COVID-19 pandemic, this event had to the head of the Executive Authority of Shaki region, be postponed. It is planned to be online on 11–13 Elkhan Usubov (figure 3). The local organizer was an November 2021, hosted by the same institute in Saint ICTM member and active member of the Study Group Petersburg. The symposium abstracts will be published on Maqām, Suraya Agayeva, an Azerbaijani musicolo-by the Ibn Sina Islamic Culture Research Foundation gist and senior researcher at the National Academy of (in Moscow), and the host plans a publication resulting Sciences of Azerbaijan. The symposium was held in the from the event. framework of the traditional Shaki “Silk road” ninth international music festival. The general topic was “The maqām/mugām traditions and the global changes in 282 Alexander Djumaev Figure 3. Participants of the tenth symposium of the ICTM Study Group on Maqām. Shaki, June 2018 (photo courtesy of Alexander Djumaev). References cited Elsner, Jürgen, and Fayzulla Muzaffarovich Karomatov. 2016. “Maqām Traditions between Theory and Contemporary Djumaev, Alexander. 2015. “Fayzulla M. Karomatli (1925–2014).” Music Making.” In Maqām Traditions between Theory and BICTM 127 (Jan): 5. Contemporary Music Making, edited by Jürgen Elsner, Gisa ———. 2018a. “Maqām.” BICTM 138 (Oct): 31–33. Jähnichen, and Cenk Güray, ix–xii . Joint Symposium of ———. 2018b. “Shashmaqam—Music and Poetry of Central the ICTM Study Groups “Maqam” and “Music in the Arab Asia: Interview with Alexander Djumaev.” Interviewed by World,” Ankara, December 2014. Istanbul: Pan Yayıncılık. Zaynab Mukhammad-Dost. http://voicesoncentralasia.org/ Elsner, Jürgen, and Gisa Jähnichen. 1992. Eds. Regionale maqam— shashmaqam-music-and-poetry-of-central-asia/. Traditionen in Geschichte und Gegenwart. Materialien der 2. Elsner, Jürgen. 1989a. Ed. Maqam – Raga – Zeilenmelodik: Arbeitstagung der Study Group “maqam” des International Konzeptionen und Prinzipien der Musikproduktion. Materialien Council for Traditional Music vom 23. Bis 28. Marz 1992 in der 1. Arbeitstagung der Study Group “Maqām” beim Gosen bei Berlin, vols. 1–2. Berlin: ICTM. International Council for Traditional Music vom 28. Juni ———. 2006. Eds. Maqam Traditions of Turkic Peoples. bis 2. Juli 1988 in Berlin. Berlin: Nationalkomitee DDR des Proceedings of the Fourth Meeting of the ICTM Study International Council for Traditional Music in Verbindung Group “Maqam”, Istanbul, 18–24 October 1998. Edited in mit dem Sekretariat Internationale Nichtstaatliche collaboration with Thomas Ogger and Ildar Kharissov. Berlin: Musikorganisationen. Trafo Verlag. ———. 1989b. “Zum maqām-Prinzip: Tongruppenmelodik als ———. 2008. International Comparison of Maqām and Related Grundlage und Baustien musikalischer Produktion / The Phenomena. Proceedings of the Fifth Meeting of the ICTM Maqām Principle: Melodics of Tonegroups and Building Stone Study Group “Maqam”, Samarkand, 26–30 August 2001. for Musical Production.” In Maqam – Raga – Zeilenmelodik: Edited in collaboration with Rustambek Abdullaev, Hooman Konzeptionen und Prinzipien der Musikproduktion. Materialien Asadi and John Baily. Berlin: Trafo Wissenschaftsverlag. der 1. Arbeitstagung der Study Group “maqam” beim Elsner, Jürgen, Gisa Jähnichen, and Cenk Güray. 2016. Eds. International Council for Traditionsl Music vom 28. Juni Maqām Traditions between Theory and Contemporary Music bis 2. Juli 1988 in Berlin, edited by Jürgen Elsner, 7–39. Making. Joint Symposium of the ICTM Study Groups Berlin: Nationalkomitee DDR des International Council “Maqam” and “Music in the Arab World,” Ankara, December for Traditional Music in Verbindung mit dem Sekretariat 2014. Istanbul: Pan Yayıncılık. Internationale Nichtstaatliche Musikorganisationen. Elsner, Jürgen, and Risto Pekka Pennanen. 1997. Eds. The Structure ———. 1995. “Study Group: Maqām.” BICTM 87 (Oct): 15. and Idea of Maqām—Historical Approaches. Proceedings of ———. 1999. “Study Group: Maqām—4th Meeting.” BICTM 94 the Third Conference of the ICTM Maqām Study Group. (Apr): 34–35. Tampere-Virrat, Finland, 2–5 October 1995. Publications of ———. 2001. “Report of the 5th Meeting of the ICTM Study Department of Folk Tradition at the University of Tampere, Group on Maqām.” BICTM 119 (Oct): 16–18. 24. Tampere: University of Tampere. ———. 2007. “Study Group on Maqām.” BCITM 111 (Oct): Karomatov, Fayzulla. 1978. “Osnovnye zadachi izucheniya 36–38. maqomov i mugamov v respublikah Sovetskogo Vostoka” ———. 2011. “Maqām.” BICTM 119 (Oct); 42–44. [The main tasks in studying maqam s and mugham s in ———. 2013. “Maqām”. BICTM 122 (Apr): 77–79. the republics of the Soviet East]. In Makomy, mugamy i ———. 2014. “Some Remarks on the Interregional Dimension of sovremennoe kompozitorskoe tvorchestvo: Mezhrespublikanskaia the Maqām Principle.” Manuscript, 52 pp. nauchno-teoreticheskaia konferentsia [ Maqam s, mugham s, and ICTM Study Group on Maqām 283 contemporary composers’ creativity; scientific-theoretical conference of Soviet republics], Tashkent, 10–14 June 1975, edited by Dilbar A. Rashidova, 8–19. Tashkent: Izdatel’stvo literatury i iskusstva imeni Gafura Guliama. Karomatov, Fayzulla, and Jürgen Elsner. 1984. “Maqam i maqom” [Maqam and maqom]. In Muzyka narodov Azii i Afriki [Music of the peoples of Asia and Africa] vol. 4, edited by Viktor S. Vinogradov, 88–136. Moscow: Izdatel’stvo “Sovetskiy kompozitor.” Matyakubov, Otanazar. 2013. “Yana ‘Khorazm tanbur chizghilari’ haqida” [Again about Khorezm tanbur notation]. O’zbekiston adabiyoti va san‘ati [Literature and art of Uzbekistan] 29 (4220; 19 Jun): 5. Pennanen, Risto Pekka. 1997. “Editor’s Preface.” In The Structure and Idea of Maqām—Historical Approaches. Proceedings of the Third Conference of the ICTM Maqām Study Group. Tampere-Virrat, Finland, 2–5 October 1995, edited by Jürgen Elsner and Risto Pekka Pennanen, 6. Publications of Department of Folk Tradition at the University of Tampere, 24. Tampere: University of Tampere. ICTM Study Group on Mediterranean Music Studies Ruth F. Davis The Study Group “Anthropology of Music in death of Tullia Magrini in June 2005 brought about an Mediterranean Cultures” was founded in September interim period (2005–2007) in which the study group 1992 on the initiative of Tullia Magrini (1950–2005) was forced to regroup as it considered its future without at the eponymously titled conference organized by the the support of the Levi Foundation. ICTM Italian National Committee at the Fondazione Olga e Ugo Levi di Venezia. Joining the Italian par- ticipants were ethnomusicologists Bruno Nettl, Philip 1992–2005: The Venice years Bohlman, and Martin Stokes, anthropologist John Davis, and historical musicologist Iain Fenlon. When Tullia Magrini initiated the study group in 1992, My own initiation into the study group came some nine Mediterranean studies (and Mediterranean music months later, at the 32nd ICTM World Conference in studies in particular) were in their infancy, as yet to Berlin. I can time it almost to the moment: I had just emerge as established academic fields with their own presented the last paper of a panel in the afternoon of dedicated institutes, societies, and publishing forums. the first day on Wednesday, 16 July 1993. The confer- In this respect, as in so many others, her initiative was ence was breaking for coffee and, as we gradually dis- pioneering. persed, I noticed a vibrant, dark-haired person, dressed Until my initial meeting with Tullia, I had not particu-in white, tentatively approaching me: it was Tullia larly thought of myself as a scholar of Mediterranean Magrini, and she was clearly on a mission. Quickly music. I was affiliated at the time with the Study Group introducing herself, she immediately launched into an on Maqām and, like many scholars of the southern and animated monologue, of which I caught only the gist: a eastern Mediterranean, my geo-cultural orientation group of scholars had met the previous year under the flowed horizontally rather than vertically, from Iberia auspices of the Fondazione Olga e Ugo Levi in Venice through the Maghreb, Turkey, the core Arab world, to consider music of the Mediterranean region from Iran, and the various “stans” of Central Asia. Bringing various disciplinary perspectives. They would meet the Mediterranean into the equation was to join the again in 1995, this time to discuss past and present dots, revealing historical connections between ancient trends, all expenses paid. Would I like to join them? Of and modern cultures and civilizations, crucial for pres-course I would. And so began my relationship with a ent-day understanding; acknowledging the centrality person, a city, an institution, and a fluid organizational of the Middle Sea (and its Seas) for musical transmis-entity that provided the framework for a succession of sion and cultural connections; and inspiring a new and scholarly encounters that would transform my intellec-enriched relationship with musical historiography and tual outlook and orientation, opening up new worlds the intellectual history of ethnomusicology. of scholarship, bringing into focus new and necessary My initial encounter with Tullia was, as it turned out, connectivities, and introducing me to a community of typical. It was quickly followed by an extensive cor-sympathetic colleagues with whom I would form lasting respondence (at first, as I recall, on paper, moving as bonds, both professional and personal, which continue soon as was technically feasible to email) about my proto the present day. posed contribution and the logistics of my travel and The study group was approved by the Executive Board stay in Venice so that, by the time I first set foot on the in June 1993. Its work can roughly be divided into three vaporetto to take the magical journey (always at night) periods, according to who was chairing it at the time: down the Grand Canal to disembark at Accademia, the from 1992 to 2005, it was chaired by Tullia Magrini stop for the Palazzo Giustinian Lolin, home of the Levi (figure 1); from 2007 to 2014, by Marcello Sorce Keller; Foundation, I felt I was arriving at a place to which and since 2014, it has been chaired by me. The untimely In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 284–290. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Mediterranean Studies 285 Figure 1. Tullia Magrini at the 6th meeting of the study group. Venice, 10 June 2004 (file licensed under the Creative Commons (CC) Attribution 3.0 Unported license https://creativecommons.org/licenses/by/3.0/). I already in some way belonged, and which I already in 1996 at the University of Bari and the Templars’ Hall half-knew. in Molfetta, in conjunction with the conference and These were the golden years of the study group. The festival on the same theme organized by Dinko Fabris triennial meetings hosted by the Levi Foundation were, and his colleagues at the University of Bari. in current ICTM terminology, more like colloquia than symposia. Each of the fifteen to eighteen or so partici- PUBLICATION INITIATIVES, 1993–2006 pants seated at the long seminar table had been invited Alongside this conference schedule, Tullia maintained a personally by Tullia, and we participated as guests consistent flow of publishing initiatives. These spanned of the Levi Foundation, whose hospitality included a variety of formats, from traditional print journal and international travel, accommodation in the adjacent edited volume to the then (in 1996) novel multimedia Forresteria, and meals throughout our stay. Each pre-Internet format. senter was given a generous slot of some thirty or forty minutes as needed, followed by intensive discussions Selected papers from the first two meetings (1992 which continued through long lunch breaks, dinners, and 1995) were published in the journal of the Levi and evening strolls. Foundation, Musica e storia, in 1993 (Magrini 1993) and 1997. Tullia’s carefully constructed programmes centred on the following topics: In 1996, Tullia launched the study group’s multimedia, peer-reviewed, online journal Music and Anthropology: 1992: Anthropology of music in Mediterranean Journal of Musical Anthropology of the Mediterranean, cultures hosted by the University of Bologna. The online for- 1995: Past and present: Perspectives for the anthropol- mat was a pioneering concept for the humanities at the ogy of Mediterranean music time (including, remarkably, musical scholarship, for 1998: Music as representation of gender in which the multimedia format was so obviously appro-Mediterranean cultures priate). Edited by Tullia Magrini with the support of an 2001: Trends and processes in today’s Mediterranean international editorial board and webmaster Giuliana musical cultures Fugazzotto, Music and Anthropology ( M&A) ran for 2004: Music in Mediterranean islands. eleven annual issues (1996–2006), and included spe- An additional meeting on the theme “Musicisti del cially commissioned articles and reviews, as well as mediterraneo—Storia e antropologia” (Musicians in the selected study-group presentations. The final issue 11 Mediterranean—History and anthropology) was held (2006) was a special issue on Turkey edited by Martin Stokes. In her foreword to the journal (updated in 286 Ruth F. Davis 2004), Tullia describes its geo-cultural focus and, by group hosted by the Levi Foundation. Dignitaries from implication, that of the study group as a whole: that institution and representatives from the University The “Mediterranean” … signifies not merely a geo- of Bologna were joined by ten invited speakers includ- graphical and historical region, but also a metaphorical ing Bruno Nettl, who delivered the keynote address. entity with constructed and contested boundaries, cul- At a special roundtable meeting, “Remembering Tullia tures, and identities. Mediterranean musics offer special and planning for the future,” held on the last morning, challenges to disciplines situated at the intersection of music and anthropology: in this crucial region, musics the study group learnt that due to financial constraints, of all kinds and throughout the world found their ori-the Levi Foundation had been forced to reconsider its gins, came into contact, underwent changes, and often programme, and would no longer be able to host our were dispersed, despite maintaining a distinctive iden-meetings. At the same meeting, Marcello Sorce Keller tity and evolving as a symbol of difference, local his- was elected the new study-group chair, and I was elected tory, and cultural values. By drawing attention to the vice chair. complex phenomena that characterize Mediterranean musics, M&A aims to foster research in the region A book dedicated to the memory of Tullia Magrini, and to broaden the range of approaches to music and edited by Philip V. Bohlman, Marcello Sorce Keller, and musical practices beyond the region’s borders. (Magrini Loris Azzaroni, with contributions from some of Tullia’s 2004) close colleagues, was published in 2009 by the publish- The eleven issues of the journal, as well as programmes ing house of the University of Bologna. and reports of study-group meetings to 2004 can be accessed via the main page: https://www.umbc.edu/MA/. In 2003, Tullia published the edited volume Music 2007–2014: Cambridge – Malta – and Gender: Perspectives from the Mediterranean, in Portugal the Chicago Studies in Ethnomusicology Series of University of Chicago Press, based on papers presented Thus began a new era for the study group, characterized at the fourth meeting of the study group in 1998. Her by renewed and intensive activity, including new ven-introductory essay “Studying Music in Mediterranean ues, new thematic directions, and expanded participa-Cultures” is a classic in the musical literature on tion. Between 2008 and 2014, the study group held five the Mediterranean. meetings in three different countries. These included two colloquia, in Cambridge (2008) and Portel (2011); and three symposia, in Valetta (2010), Lisbon (2012), 2005–2007: In memoriam Tullia Magrini and Cambridge (2014). After a protracted illness, Tullia Magrini passed away on COLLOQUIA IN CAMBRIDGE (2008) AND PORTEL (2011) 24 July 2005. For many of us, our initial shock and sad-In July 2008, I organized the eighteenth ICTM ness found release in conversations at the ICTM world Colloquium “Musical exodus: Al-Andalus and its conference in Sheffield, UK (3–10 August 2005). There Jewish diasporas” at Corpus Christi College, University was a widely felt need for the study group to reconvene of Cambridge. The colloquium was funded by the to take stock and consider the options for the future. It Rothschild Foundation’s Jewish Studies in Europe was in this context that I proposed the idea of hosting Programme, with support from Cambridge University’s an ICTM colloquium on a theme relevant to the study Centre for Research in the Arts, Social Sciences, and group at the University of Cambridge. Meanwhile, Humanities (CRASSH), the Faculty of Music, and it emerged that parallel discussions were taking place Corpus Christi College. The theme was interpreted amongst Tullia’s colleagues at the Levi Foundation and inclusively, and colleagues who were not specialists the University of Bologna with a view to hosting a spe-in Jewish music were encouraged to contribute. The cial meeting in her memory. Eventually I established programme featured eighteen invited presenters, with contact with Marcello Sorce Keller, who had been Stephen Blum as discussant. A highlight of the col-invited to co-ordinate the Italian event, and we agreed loquium was a guided visit to the Taylor-Schechter that since the memorial meeting was planned for 2007, Cairo Genizah Collection in the Cambridge University the Cambridge colloquium should ideally take place a Library. A volume taking the name of the collo-year later, in 2008 . quium, based on selected presentations with several Thus the seventh meeting of the study group, on additional contributions, was published in the series “Cosmopolitan cities and migrant musics” (based on Europea: Ethnomusicologies and Modernities in 2015 topics Tullia had been considering for that year), was (Davis 2015). dedicated to the memory of Tullia Magrini. Held in In December 2011, Marcello Sorce Keller organized the June 2007, this was to be the last meeting of the study 26th ICTM Colloquium, “Pan-Mediterranean poetic ICTM Study Group on Mediterranean Studies 287 competitions and their music: Historical perspectives are of equal and paramount importance. Moreover the and contemporary practice,” in Portel Town Hall in Study Group wishes to be open to all other disciplines Portugal. Participants from Portugal, Italy, Malta, and and approaches that may of contribute to the under- the UK spoke on competitive musical practices in standing of musical interactions in the Mediterranean area. (Sorce Keller 2011) mainland Italy, Sardinia, Corsica, Albania, Portugal, and Brazil, and Salwa El-Shawan Castelo-Branco deliv- 2. A new online journal/website ered the concluding remarks. The second development concerned the study group’s SYMPOSIA IN VALETTA (2010), LISBON (2012), AND online journal, M&A: Journal of Musical Anthropology of CAMBRIDGE (2014) the Mediterranean, whose latest issue, edited by Martin In July 2010, the study group moved to Valetta, Stokes, had appeared in 2006. With Martin’s agreement, Malta, at the invitation of Simon Merceica of the the journal was disbanded, and the newly conceived Mediterranean Institute, University of Malta, for its online forum Mediterranean Music Studies ( MMS) eighth symposium on the theme “Musical translations (2010–2014) was launched under Marcello’s editorship across the Mediterranean.” This was the first meeting of with the assistance of study-group colleague and for-the study group in which participants were responsible mer webmaster for Music and Anthropology, Giuliana for covering their individual expenses. The twenty-one Fugazzotto. Further support was provided by a new edi-presentations included a keynote by Philip Bohlman torial board and a board of advisors. Introducing this with Martin Stokes as discussant, and the meeting was new initiative in an essay entitled “MMS in a Nutshell,” followed by a day trip to the island of Gozo. A special Marcello explains: “MMS is not conceived as a jour-issue of the Institute’s Journal of Mediterranean Studies nal but, rather, a location where scholarly contributions was devoted to selected papers presented at the sympo-appear as they become available, when so dependent on sium (Ciantar and Fabbri 2012). multimedia as to make it appropriate to publish them here rather than on paper” (http://mms.ictmusic.org). The ninth symposium on the theme “Musical insular- In addition to hosting new, original multimedia con- ity: How it favours conservation, how it triggers inno- tributions, MMS would host multimedia adjuncts to vation” took place in July 2012 in Lisbon, Portugal, at paper publications related to the study group’s activities; the invitation of Salwa El-Shawan Castelo Branco of information about Mediterranean centres, journals, and INET-MD (Instituto de Etnomusicologia – Centro de research initiatives; and announcements and reports Estodos de Musica e Danca), Faculdade de Ciências about the study group’s activities (symposia, colloquia, Sociais e Humana, Universidade Nova de Lisboa. publications, etc). Once again, twenty-one international participants gave presentations. In June 2014, the tenth symposium on the 2014–2020: Naples (2016), Essaouira theme “Mysticism, magic and the supernatural in (2018), Tangier (2020) Mediterranean music” took place in St. John’s College Divinity School, University of Cambridge, at the invi- At the 2014 symposium in Cambridge, Marcello Sorce tation of Stefano Castelvecchi. Allan Marett gave the Keller announced his intention to step down as chair, and keynote “Mysticism, magic and supernatural in music his proposal that I replace him was approved at the busi-beyond the Mediterranean,” and Gary Tomlinson ness meeting. I was immediately faced with two pressing closed the proceedings as discussant. administrative tasks, which I carried out with the assis- This period saw two other important developments for tance of Cassandre Balosso-Bardin, elected in 2015 as the the study group. study group’s first secretary. Both tasks would have been impossible without the indefatigable help and support of 1. A new name ICTM Executive Assistant Carlos Yoder. At the business meeting held at the 41st ICTM World 1. A study group mailing list Conference at St. John’s, Newfoundland, in July 2011, the study group approved Marcello Sorce Keller’s The first task was to compile a list of study-group mem-proposal to change its name to Mediterranean Music bers and create a mailing list. This involved tracking Studies (MMS) to reflect its multidisciplinary orienta-down and collating the email addresses of all the partic- tion. As Marcello explained in his report of the meeting: ipants in the symposia and colloquia of the study group The change of name is no simple cosmetic detail. It since 1992, and inviting those who did not wish to be wishes to suggest that, in the study of Mediterranean included to unsubscribe. music, anthropology, ethnomusicology, and history 288 Ruth F. Davis 2. A new study-group website Society (IMS), with a proposal to host a joint ICTM– MMS / IMS symposium in Naples. Dinko explained Having stepped down as chair, Marcello no longer that he intended the event to serve as a springboard for wished to continue editing and maintaining the study-the creation of a “sister” Mediterranean music study group website. After exploring various alternative pos- group for the IMS. In the spring of 2015, he gener- sibilities, we decided to create a new Mediterranean ously invited me to Naples to give a seminar at the Music Studies website on the main ICTM website in Conservatorio San Pietro a Majella, thus creating the line with the practice of other study groups. Working perfect opportunity to discuss the logistics of hosting closely with Carlos Yoder during the summer of 2015, our prospective joint symposium there. At the business we transferred the material relating directly to the study meeting held at the 43rd ICTM World Conference in group from the former MMS website onto the ICTM Astana in July 2015, the study group agreed to host the platform, adapting it and adding new material as nec-11th symposium jointly with the IMS in Naples in June essary. Then, liaising with Marcello, Carlos transferred 2016. After some discussion the study group decided the old MMS website in its entirety to the ICTM web-on the theme “Narratives of movement,” which was site where it is preserved for archival purposes. It can duly accepted by our IMS partners. be accessed via the link http://mms.ictmusic.org on the study-group home page. In June 2016, the study group held its 11th symposium and first joint symposium with the IMS in Naples on TOWARDS NORTH AFRICA the theme “Musicians in the Mediterranean: Narratives of movement.” The symposium was hosted by the On accepting my position as study-group chair, I Conservatorio San Pietro a Majella and the Università affirmed my commitment to build on Marcello Sorce L’Orientale, with the support of the International Keller’s efforts to widen participation in the study Association for Mediterranean and Oriental Studies group and, in particular, to remedying the almost total (ISMEO). The programme committee was co-chaired lack of representation of colleagues from the Maghreb by Dinko Fabris and myself, with Alessandra Ciucci and much of the eastern Mediterranean. This was and Salvatore Morra also representing ICTM. Salvatore, not a new idea: it had been raised in previous busi-whose home was in Naples, liaised on behalf of the ness meetings. However, factors such as differences study group with Dinko Fabris, Adriano Rossi, presi-in professional cultures, language barriers, and above dent of ISMEO, and the Neapolitan host institutions. all, the prohibitive cost for our Maghrebi colleagues The programme consisted of eight ICTM panels across of attending conferences in Europe, had as yet proved the four mornings of the symposium and four ICTM/ insurmountable obstacles. Meanwhile, bureaucratic IMS joint panels, comprising a larger number of shorter obstacles and political instability in the region, espe-presentations, in the afternoons. The study group was cially since 2011, had so far thwarted our attempts to represented by more than fifty participants, includ-hold meetings in the Maghreb. ing two Maghrebi colleagues who were attending for Two international conferences on music of the Maghreb, the first time. The panels were interspersed by a series hosted by colleagues in Tunisia and Algeria, respectively, of lunchtime and early evening lecture recitals: these provided timely opportunities to promote the work of included a recital on the rarely heard ‘ūd ‘arbī (four-the study group more widely. The first, in December stringed Tunisian lute) by Abir Ayadī, and songs and 2014, was organized by Anas Ghrab at the Centre des instrumental music from Anatolia performed by Özlem Musiques Arabes et Méditerranéennes (CMAM) in Doğuş Varlı and Mahmut Cemal Sari. The study group “Ennejma Ezzahra”—the spectacular Alhambra-style was treated to unprecedented heights of hospitality by palace built by Rodolphe d’Erlanger in Sidi Bou Said, our Neapolitan hosts, including exquisitely presented Tunisia. The second, in December 2015, was organized welcoming and farewell concerts and dinners held in by Maya Saidani in Constantine, Algeria (Arabic capital various Neapolitan palaces, and a private viewing of of culture for 2015). Meanwhile, despite the enthusias-Sergio Ragni’s Gioachino Rossini collection, housed in tic support of our Tunisian colleagues, attempts by the the former seventeenth-century palace Villa Belvedere. study group to convene a symposium at the CMAM The 2016 study-group business meeting was held in were thwarted by changes in the centre’s directorship parallel with the inaugural meeting of the new IMS following successive changes of government. (Between study group (which, somewhat confusingly, also 2011 and 2019 Tunisia experienced eleven changes of took the name Mediterranean Music Studies). At the government under eight different prime ministers.) ICTM study group meeting, Alessandra Ciucci was In 2015, following an introduction by my former stu- elected study group vice chair, and Oded Erez was dent, Salvatore Morra, I was approached by Dinko elected secretary, taking over from Cassandre Balosso-Fabris, president of the International Musicological Bardin. The study group reaffirmed its commitment ICTM Study Group on Mediterranean Studies 289 Figure 2. Ruth Davis, André Azoulay, and Alessandra Ciucci during the welcoming speech, 12th symposium of the study group. Essaouira, 19 June 2018 (photo by Lhoussain Simour). to exploring possibilities to hold the next symposium pated in as many of the sessions as his schedule allowed in the Maghreb. (figure 2). The symposium was generously supported by a “Global Humanities Project Grant” from Columbia INTO NORTH AFRICA University, and the ICTM Study Group allowance, then in its inaugural year, provided indispensable sup- The breakthrough came in 2017 thanks to the initiative port for several individual presenters. The dates of the of Alessandra Ciucci who, working through her research symposium overlapped with those of the Gnawa World consultant (who prefers to remain anonymous), arranged Music Festival, and symposium participants took part for the study group to hold the 2018 symposium in in the opening parade and were given passes to attend Essaouira on the Atlantic coast of Morocco, under the the evening concerts. Several Gnawa musicians likewise auspices of the Association Essaouira-Mogador. At the attended some of the symposium sessions and partici-beginning of January 2018, Alessandra and I met with pated in the discussions. In addition, the study group André Azoulay, senior adviser to King Mohammed VI was treated to a welcoming dinner and to evening con-of Morocco and father of Audrey Azoulay, director-gen- certs by local chgouri musicians and an Aissawa troupe eral of UNESCO, in the king’s palace in Rabat. André from Essaouira. A highlight of the symposium was a Azoulay is the founding president of the Association guided visit by Azoulay to the newly-restored Simon Essaouira-Mogador, an organization dedicated to pre-Attias synagogue, renamed Bayt Dakira (House of serving and promoting Essaouira’s rich multicultural memory), which had been converted into a museum heritage, including that of its vanished, yet once major-and study centre devoted to Essaouira’s Jewish heritage. ity Jewish population. As part of its commitment to cul- Azoulay warmly invited the study group to consider the tural diplomacy, the association hosts an annual cycle of new study centre as its permanent home in Essaouira. national and international music festivals including the Gnawa World Music Festival in June. The volume Music and Encounter at the Mediterranean Crossroads: A Sea of Voices, co-edited by Ruth F. Davis In June 2018, some sixty study-group participants, and Brian Oberlander, based on selected presentations including twelve colleagues from the Maghreb, met in at Essaouira, will be published by Routledge in 2022. the beautiful surroundings of Dar Souiri—home of the Association Essaouira-Mogador—for the 12th sympo- At the 2018 business meeting, the study group agreed sium on “Music and sound at the Mediterranean cross- to consolidate and build upon the Maghrebi par- roads.” This was the first meeting of the study group to ticipation achieved at Essaouira by holding the next be held in a North African country. André Azoulay was symposium in a North African country, if possible. A present for the duration of the symposium and partici-proposal by our Tunisian colleagues to host the 2020 290 Ruth F. Davis symposium at the CMAM in Sidi Bou Said, Tunisia, Davis, Ruth F., and Brian Oberlander. 2022. Eds. Music and unfortunately had to be abandoned when national elec-Encounter at the Mediterranean Crossroads: A Sea of Voices. tions were announced for the end of 2019. Instead, the Abingdon, Oxon: Routledge (Taylor and Francis). (Relating to the 12th symposium in 2018). study group accepted the timely invitation by Vanessa Magrini, Tullia. 1993. Ed. Antropologia della musica e culture Paloma Elbaz to organize the thirteenth symposium on mediterranee. Quaderni di “Musica e storia,” 1. Venice and the theme “Music, power, and space: A Mediterranean Bologna: Fondazione Ugo e Olga Levi – il Mulino. (Relating to the first meeting in 1992). perspective” in Tangier, Morocco, hosted by the Tangier ———. 1996–2006. Ed. Music and Anthropology: Journal of American Legation Institute for Moroccan Studies Musical Anthropology of the Mediterranean. Online journal. and the Kasbah Museum of Mediterranean Cultures. https://www.umbc.edu/MA/. (Issues 1–10, 1996–2005, relating to meetings between 1995 and 2004, edited by Tullia The symposium, originally scheduled for 15–20 June Magrini; issue 11, 2006, special issue on Turkish music, edited 2020 and twice postponed due to the COVID-19 by Martin Stokes). global pandemic, is planned to be held virtually, 23–28 ———. 2003. Ed. Music and Gender: Perspectives from the September 2021. Mediterranean. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press. (Relating to the 3rd symposium Once again, the programme includes a sizeable pres- in 1998). ———. 2004. “Foreword.” Music and Anthropology: Journal of ence of scholars from the Maghreb and the wider Musical Anthropology of the Mediterranean. https://www.umbc. Mediterranean region. Confirmed highlights include a edu/MA/ma_for.htm. pre-recorded concert of Arabo-Andalusian music pro- Musica e storia 5. 1997. Venice and Bologna: Fondazione Ugo e duced specially for the symposium by the Temsamani Olga Levi–il Mulino. (Includes articles relating to the second meeting in 1995). Orchestra of Tetouan, with English commentary by the Sorce Keller, Marcello. 2010–14. Ed. Mediterranean Music Studies lead singer, Zaineb Afailal, filmed in the historic build- (MMS). http://mms.ictmusic.org. ing of the School of Traditional Crafts and National ———. 2011. “Business Meeting at the ICTM World Conference St. Johns, Newfoundland (Canada) – Friday, July 15, 2011.” Arts in Tetouan. The symposium will also host the Mediterranean Music Studies (MMS). http://mms.ictmusic. world premiere of Antonio Baldassare’s film Mussem, org/reports.html. providing an emic perspective on the ritual activities of a Moroccan Sufi community during celebrations for the anniversary of the Prophet Muhammad. STUDY-GROUP BLOG In May 2019, following an enthusiastic response to the idea proposed at the 2018 business meeting, the Mediterranean Music Studies Blog (https://mediterra- nean.music.blog) was launched with the aim of contin- uing the conversations, debates, and collaborations aris- ing from the 2018 symposium. Edited by Tom Western, with the support of Oded Erez, Sonja Kieser, and Maria M. Rijo Lopes da Cunha, the blog presents itself as “a space for conversation and community—hosting pieces of research across a variety of media, as well as reports and reflections from fieldwork, and news of events relat- ing to study group interests.” References cited Bohlman, Philip V., Marcello Sorce Keller, and Loris Azzaroni. 2009. Eds. Antropologia della musica nelle culture mediterranee: Interpretazione, performance, identità / Musical Anthropology in Mediterranean Cultures: Interpretation, Performance, Identity. Bologna: Clueb. (Relating to the 7th symposium in 2007). Ciantar, Philip, and Franco Fabbri. 2012. Eds. “Musical Translations across the Mediterranean.” Special issue, Journal of Mediterranean Studies 21/2. (Relating to the 8th symposium in 2010). Davis, Ruth F. 2015. Ed. Musical Exodus: Al-Andalus and Its Jewish Diasporas. Europea: Ethnomusicologies and Modernities. Lanham, MD: Rowman and Littlefield. (Colloquium held in close cooperation with study-group members in 2008). ICTM Study Group on Multipart Music Ardian Ahmedaja The foundation process The establishment of the ICTM Study Group on Multipart Music was carried out with the cooper- Since the foundation of the ICTM Study Group on ation of many individuals. Their number increases Multipart Music in 2009, I have been asked on differ-when one considers that this process was preceded ent occasions by colleagues about the idea and the path by the work of the Research Centre for European which led to this development. I am therefore all the Multipart Music (EMM), which began its activities more grateful to the initiators of this publication for the in 2003 at the Department for Folk Music Research invitation to “overview the history of the Study Group, and Ethnomusicology of the University of Music and its symposia, and its publications, but particularly also Performing Arts Vienna. Significantly, many members reflect on your personal involvement, accomplish-of this network were ICTM members. ments, and challenges” (email from Svanibor Pettan, 12 Apr 2018). The establishment of the EMM was the result of a research necessity. In 2002, work on the research proj- The ICTM Executive Board approved the establishment ect “Albanische Volkslieder und byzantinischer Gesang” of the Study Group on Multipart Music in its meeting (Albanian folk songs and Byzantine chant), supported of 8 July 2009, after the ICTM world conference in by the Austrian Science Fund (project number P 13355), Durban, South Africa. In the minutes of this meeting was being finalized in the department. The project had the following is noted: also given me the possibility to conduct fieldwork in the Multi-part Music: Rice outlined the proposal for a border area of Albania, Greece, and FYR Macedonia. new Study Group for Multi-part Music by interested Experiencing directly how much the music practices members. All requirements needed were met although in the area, of which multipart music is an important originally some board members were concerned the area of study was not well enough defined to be a sep- part, have in common, the need for exchanges with col- arate group. Rice held discussions with the proposed leagues working on the topic increased. However, hardly chair of the group to clarify this issue. The new group any research with a cross-border focus in this area had has elected Ardian Ahmedaja (Austria) as Chair. Board been undertaken. This situation was influenced primar-unanimously agreed to approve the group. (EB min- ily by the very restrictive political situation in each of utes, 104th meeting, 8 Jul 2009:§5207)1 these countries and by their relations with each other I would like to take the opportunity to thank Timothy after World War II and during the wars in the for-Rice for his commitment and support in that important mer Yugoslavia in the 1990s with their impact on the stage of the foundation process of the study group, Wim entire region. I also talked about these concerns with van Zanten, another ICTM Executive Board member the director of the department, Gerlinde Haid. One of at that time, and Svanibor Pettan, ICTM vice president, her main research fields was musical traditions in the for the very helpful consultations in Durban in this European Alps (cf. Hemetek and Morgenstern 2013). context, as well as the other EB members for agreeing She remembered that for her it had also been a chal-with the proposal. Moreover, I want to thank Stephen lenge to undertake cross-border research in the coun-Wild, then ICTM secretary general, with whom I was tries of the European Alps (from the 1970s onwards), in contact for several months before this decision was although the political situation in that area was much taken, and who supported and encouraged the whole more favourable than in the Balkans. process from the very beginning. An analysis of the research situation showed that mul- tipart music practices as a fascinating phenomenon in European musical life has been a favoured object of 1 I am very grateful to Don Niles who made this important doc- research for a long time, but mostly in a national con- ument from the history of the study group available. text. Studies which extended beyond of the political In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 291–297. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 292 Ardian Ahmedaja borders were rare and sporadic (see further discussion This definition was and is the object of discussions in in Ahmedaja and Haid 2008a). Since, as a rule, regional the study group’s symposia. Its contents and under-and the political allocations in Europe do not coincide, standings are being steadily illuminated and evaluated there was an almost untouched area for research here. from different perspectives through the discussion of Therefore, the establishment of an international net-the topics of each symposium. work of specialists on the issue seemed to have become more than necessary. Due to the great diversity of multipart music in Europe, The term multipart music the intended research could take place by concentrat- ing on a certain topic step by step. At the centre of the Before continuing with issues regarding the path of first step was multipart singing in the Balkans and the the study group up to now, I would like to give some Mediterranean area (cf. Ahmedaja and Haid 2008b). insights about the term “multipart music,” which has One of the reasons for this choice was connected with been chosen for use in the name of the study group. the attempt to investigate local musical practices in In spite of the fact that this term has been used for a the Balkans as a part of European ones, which was still long time in records of and writings on local musi-rather uncommon at that time. In addition, the coop- cal practices, only in 2019 did it became possible to eration between scholars from Eastern and Western define it in an entry of a music dictionary: the SAGE Europe helped to reflect changes in the research tra- Encyclopedia of Music and Culture with Janet Sturman ditions since the 1990s within a greater perspective. as general editor (see Ahmedaja 2019). Some of the Part of the symposium, which took place in Vienna, first approaches are those concerning the songs of the 11–13 March 2005, was performances of groups from inhabitants of Rarotonga, the most populous island of Albania, France, Italy, FYR Macedonia, Montenegro, the Cook Islands in the Pacific. James Cowan, a well-and Serbia.2 known writer in New Zealand during the first half of the twentieth century, wrote in the Official Record of I mention these details here to illustrate the similarities the New Zealand International Exhibition of Arts and of the aims, the format, and the kind of the collabora-Industries, held in Christchurch from 1 November 1906 tion within the network to those of ICTM. However, to 15 April 1907: it was during the final discussion of the second EMM symposium on cultural listening and local discourse Chanting their ear-haunting tuneful himenes, and clat- tering away with a strange barbaric rhythm on their (cf. Ahmedaja 2011), which took place 24–26 October wooden drums, the brown Islanders from the Cook 2008, that the question of establishing an ICTM study Group were day after day the centre of intensely inter- group on multipart music arose. Acting within ICTM ested groups, Ahoris as well as whites. One never tired was considered to be a crucial help because of the of listening to the delightful part-singing harmonies of advantages such a broad network with its worldwide these South Sea people … (Cowan 1910:353) radius offers for increasing the possibilities of scholarly Sound recordings of these songs were made in January exchange. By that time, fragments of the EMM work 1907 in Otaki by Alfred John Knocks (Knocks 1907) had been already presented in panels at ICTM world with a group of singers participating at the Christchurch conferences in Sheffield (2005) and Vienna (2007). exhibition. Percy Grainger listened to these recordings Having been asked to get in contact with the ICTM in January 1909 and wrote very enthusiastically about Board, I wrote on 28 October 2008 to ICTM General them (cf. Dreyfus 1985:263; Bird 1999:147–148). In Secretary Stephen Wild. As noted in the above-men-his article “The Impress of Personality in Unwritten tioned Board minutes, one of the requirements was Music,” Grainger also draws attention to the performers: a definition of the term “multipart music.” In con-It will be seen that a great range of personal choice was sultations with many colleagues, especially Ignazio left to all the members of this Rarotongan choir, in each Macchiarella, Ankica Petrović, and Žanna Pärtlas, who of whom a highly complex, delicate and critical sense for ensemble was imperative. Each of these natives had became members of the executive committee of the to be a kind of improvising communal composer, and study group and whom I particularly want to thank to a far greater degree simultaneously creative and exec- here for their engagement, the following definition utive than is the case with peasant songsters in Great was formulated: Britain or Scandinavia, though a somewhat similar gift for complex improvised part-singing is displayed Multipart music is a specific mode of music making in the wonderful Russian choral folk music so admira- and expressive behaviour based on the intentionally bly collected and noted by Madame Lineff. (Grainger distinct and coordinated participation in the perform- 1915:425) ing act by sharing knowledge and shaping values. Here it should be emphasized how striking it is to realize that although Grainger was interested in musical 2 Cf. the website of the Research Centre for European Multipart Music (EMM), http://mdw.ac.at/ive/emm/. traditions of different parts of the world and could be ICTM Study Group on Multipart Music 293 so sensitive towards the potential and the role of music special kind of intentional, meaningful human action makers, in letters to friends he expressed extreme anti- (1979) have had a strong impact on research into Semitic and racist views (cf. Gillies and Pear 1994:4– the roles of protagonists in the making of multipart 6). On these issues, David Pear underlines that “His music. However, observations on specific phenomena private writings reveal a more insidious racism than connected with the second tendency of connotations his mellowed words for public consumption” (Pear of the term can be also found every now and then in 2006:33). early studies, as in the above-mentioned statement by A later, very well-known use of the term multipart Grainger. In this context the “part” as an element of a music in the ethnomusicological literature was already whole appears to a greater extent in the sense of “tak-included in the title of the book Metre, Rhythm, Multi- ing part,” “playing a role,” “participating in the action,” Part Music by Jaap Kunst (1950). Bruno Nettl remarks “influencing interaction,” “performing behaviour,” hereof: “The term ‘ multi-part music’, as used by Kunst, than it does in a “purely” musical context. These under-comes closer to our definition of polyphony than does standings are fundamental to the discussions and the the term polyphony in its narrow sense” (Nettl 1963:247). publications of the study group. This view has applied to many studies up to the present, including, for example, some of the latest publications by Gerhard Kubik about multipart singing practices in Symposia and seminars several regions in Africa (Kubik 2010, 2014). The first symposium of the study group took place It is important to mention at this point that the use of 15–20 September 2010 in Sardinia, Italy. It was hosted English as a lingua franca represents a major challenge by the Facoltà di Lettere e Filosofia dell’Università degli because of the diverse languages we work with. The Studi di Cagliari and the Unione dei comuni della Valle reflection of the potential of different ways of thinking, del Cedrino (The union of the municipalities of the acting, and talking about music embedded in them is Cedrino Valley). Planning and organization was led by therefore an important issue in discussions. This is con-Ignazio Macchiarella. The call for papers was published nected both with local terminologies as well as with the in the BICTM 115 (Oct 2009:39–41). The symposium’s question of language, informing the philosophical ratio-theme, “Multipart music as a specific mode of musical nale of and the methodological approach to research. thinking, expressive behaviour and sound,” was Connotations of the term multipart music which are discussed from various viewpoints, as can be seen from connected with the musical outcome have a longer the programme on both websites of the study group. I history. The parallel German term Mehrstimmigkeit would like to thank Ignazio Macchiarella, who runs both had already been used in that connotation by Guido of them. The first one (http://www.multipartmusic. Adler in his renowned article “Umfang, Methode und org) was prepared right after the symposium. After it Ziel der Musikwissenschaft” (The scope, method, and was hacked in 2014, the address was changed (http:// aim of musicology) from 1885; and additionally in www.multipartmusic.eu). The second website is part his study Die Wiederholung und Nachahmung in der of the ICTM website (http://www.ictmusic.org/group/ Mehrstimmigkeit: Studie zur Geschichte der Harmonie multipart-music). (Repetition and imitation in multipart music: A study Another strong reason to begin our journey in Sardinia about the history of harmony) published in 1886; or was the very intensive practice of multipart music on by Erich Moritz von Hornbostel in his article of 1909, the island. We were able to experience many perfor- “Über Mehrstimmigkeit in der außereuropäischen mances both in Cagliari and in the Baronia region and Musik” (About multipart music in non-European could come into contact with many local musicians. music); and by Carl Stumpf, who entitled the fourth chapter of his book Die Anfänge der Musik (The origins of Collaboration with local musicians during our sympo-music), “Mehrstimmigkeit, Rhythmik, Sprechgesang” sia is an important feature of all of meetings of the study (Multipart music, rhythm, Sprechgesang (speech song)) group. Additionally, this was the first symposium of an (1911:42–53). ICTM study group in Sardinia. This fact is connected with another issue we are trying to pursue: to actively Other connotations of the term multipart music and bring the study group to places where ICTM does not parallels in other languages are connected with the have a strong presence. ways in which this music comes into being and with the action and interaction of music makers. They became The proceedings of the symposium were published by pivotal for research only later. Alan Merriam’s interpre-Ignazio Macchiarella under the title of the symposium’s tation of music (1964) with three areas of equal impor- theme in paperback and as an e-book, which includes tance – concept, behaviour, and sound – and, more audio tracks (cf. Macchiarella 2012; http://www.mul- specifically, John Blacking’s view of music-making as a tipartmusic.eu/publications). Here I want to add that 294 Ardian Ahmedaja Figure 1. Participants and musicians of the second symposium of the ICTM Study Group on Multipart Music. Llogara, southern Albania, 28 April 2012 (photo by Tristan Wagner). the publication of the symposia presentations by local at the Research Centre for the Humanities of the organizers is a third feature that we encourage. Hungarian Academy of Sciences in Budapest, Hungary. This first and very positive experience also helped us This institution had already had considerable experience to prepare guidelines for local organizers, which con-with ICTM symposia. However, it was not an obvious tinue to be gradually improved. This was the case choice as a place for a symposium on multipart music during the preparations for the second symposium, because of the still formative idea formulated by the which took place in Albania, 22–29 April 2012. It well-known Hungarian researcher Benjamin Rajeczky was organized by the Ulysses Foundation based in in 1976: “Even Kodály propagated that Hungarians are Tiranë, led by Emi Aliçka-Ebhardt with the co-organ-a monophonic nation,” as the leader of the local orga- izer being the Department for Folk Music Research nizers’ team, Lujza Tari, pointed out in a recent article and Ethnomusicology of the University of Music and (Tari 2017:223–224). Nevertheless, presentations at Performing Arts Vienna. In the presentations (includ-the symposium and musical performances in Budapest ing films) and discussions, questions focussed on multi- and during the excursion to Szob distinctly showed the part music practices as creative processes and their role significance of multipart music practices in the country. in religious practices, as well as the impact of awards for Presentations and discussions concentrated on three local music. In addition to contacts with local music themes: “Scholarly terminology and local musical prac-and musicians from several parts of the country, the tice,” “The role of educated musicians and missionaries participants were able to experience performances from in local music practices,” and “Individualists in com-the medieval Mediterranean and Sephardic traditions, pany.” The proceedings of the symposium, edited by religious and profane music from Sardinia, as well as Pál Richter and Lujza Tari, were published by the host music and dance from Austria, as can be seen from the institution (2015). programme on the above-mentioned websites. One of the issues discussed during the general assembly Scholars and musicians (figure 1) also helped to dissem- of this symposium was the idea of organizing a meeting inate the symposium’s contents and significance to a on theoretical approaches connected with the terminol-broader public in the country. This aspect was particu- ogy in research on multipart music. Žanna Pärtlas from larly important, because this was the first ICTM sym- the Estonian Academy of Music and Theatre in Tallinn posium held in Albania. The publication appeared with assumed responsibility for this. The result was the first the title Local and Global Understandings of Creativities: seminar of the study group under the title “Multipart Multipart Music Making and the Construction of Ideas, music: Theoretical approaches to terminology” on Contexts and Contents (Ahmedaja 2013). 19–20 September 2014 in Tallinn. In our understand- The third symposium took place 12–16 September ing and according to the experience we had, a seminar, 2013 and was hosted by the Institute for Musicology as a form of academic exchange, has the function of bringing together a small group of researchers, focus- ICTM Study Group on Multipart Music 295 Figure 2. Participants of the fifth symposium of the ICTM Study Group on Multipart Music. Nanning, China, 8 May 2017 (photo by the organizers). ing on one particular subject, which everyone present in Singapore, 4–7 July 2016. The local organizing team is requested to discuss. These are the main differences was led by Larry Francis Hilarian. to the symposium format, in which the group of the Singapore was a good start in this context, also because speakers is relatively large and that of the audience often of its multi-ethnic structure, which we could experience larger, and where more than one theme is discussed. In during the presentations of colleagues from the coun-addition, the context of a seminar is more favourable to try itself and other parts of Southeast Asia, and during follow the so-called “Socratic method,” a form of coop-performances of diverse musical practices such as those erative argumentative dialogue between individuals, of the group Firqah Alwehdah, the Bukit Panjang Khek based on asking and answering questions to stimulate Community, the Guild Hakka Folk Song Choir, and critical thinking and to draw out ideas and underlying the Sari-Sari Philippine Kulintang Ensemble. presuppositions (Vlastos 1983). In our first seminar, each of the eight speakers had ninety minutes to lead a The themes of the symposium were connected with discussion—rather than give a lecture—on a topic con-multipart music as a means of social and/or intercultural nected with the main theme. The distribution of the interaction, the methods of analytical representation of abstracts and the texts with the contents and questions multipart music processes, music education and its role of the previewed discussions in the preparatory period in the community, and with multipart music-making as led to exchanges of literature in languages other than a shared experience. English between the participants, enriching the con- Chu Zhuo, one of the participants of this sympo- tent of the discussions. The seminar was characterized sium took on the responsibility of organizing the next. by unusually intensive discussions, so we intend to use The fifth symposium of the study group took place this type of format again in the future work of the study the following year, May 7–12, 2017, at Guanxi Arts group, alongside symposia. The peer-reviewed publica-University in Nanning, China (figure 2). At the centre tion edited by Pärtlas was published in Res Musica, the of presentations and discussions were understandings of yearbook of the Estonian Musicological Society and the multipart music in a wide range of research traditions, Estonian Academy of Music and Theatre. In addition to the specific uses of sound in space and time, polymu-the paperback version, the publication is also available sic and soundscape, as well as new research. Different online (Pärtlas 2016). viewpoints about understandings of multipart music Alongside attempts to try out different formats for dis- in diverse local and research traditions were debated cussion, we also tried to pursue the idea of organizing particularly intensively. A remarkable aspect was that a study-group meetings outside Europe. A first step was considerable number of students from the host univer-realized with the fourth symposium, which took place sity attended the symposium, despite it being during the exam period, and actively took part in the discus- 296 Ardian Ahmedaja sions. Participants were also able to learn about local of multipart music as a human action are being steadily history and religious practices, music, and musical life, broadened and deepened. The focus on both the crea-and could listen to performances and discuss with local tors and the ways in which this music comes into being musicians from the Guanxi region during the presenta-is very rewarding. tions and the wide-ranging social programme of the Increasing our knowledge about the processes which symposium, including the day in Ma Shan. occur in multipart music practices worldwide is one of Selected papers from the last two symposia will be pub- the long-term objectives of the work of the study group. lished in 2021 in a joint peer-reviewed volume under Another important focus is connected with the changes the title “Shaping Sounds and Values: Multipart Music which occur in these processes and which affect both as a Means of Social and Cultural Interaction.” the music and the music makers. Important aspects The most-recent symposium was organized in coopera- for the future will also be collaboration with research- tion with the ICTM National Committee of Bosnia and ers from other fields of music in order to enrich and Herzegovina and the Academy of Music, University of refine our views of phenomena which are not yet part Sarajevo, where it took place from 23 to 27 September of discussions. 2019. The local organizing committee was led by Jasmina Talam. The themes this time were “Emotion and aesthetic experience during the performance act,” References cited “A capella singing,” as well as “New research.” Among Adler, Guido. 1885. “Umfang, Methode und Ziel der several new members who joined the study group, there Musikwissenschaft.” Vierteljahresschrift für Musikwissenschaft are students who are very much involved in music mak- 1: 5–20. ———. 1886. Die Wiederholung und Nachahmung in der ing. The participants were able to experience a great Mehrstimmigkeit: Studie zur Geschichte der Harmonie. Leipzig: deal about the people, music, and history of the coun- Breitkopf & Härtel. try and the broader region during the presentations and Ahmedaja, Ardian. 2011. Ed. European Voices II: Cultural Listening and Local Discourse in Multipart Singing Traditions in Europe. the accompanying programme. The presentation of CD and DVD with audio and video examples included. the book Umjetnost pjevanja gange: Kulturna tradicija Schriften zur Volksmusik, 23.Vienna: Böhlau. Dinarske zone (The art of singing ganga: A cultural ———. 2013. Ed. Local and Global Understandings of Creativities: tradition of the Dinaric Zone) by Ankica Petrović Multipart Music Making and the Construction of Ideas, Contexts and Contents. Newcastle-upon-Tyne: Cambridge Scholars (2018), provided us with the oportunity to handover Publishing. to the author a certificate of gratitude on the part of the ———. 2019. “Multipart Music.” In The SAGE International study group for her contribution to the study group, as Encyclopedia of Music and Culture, edited by Janer Sturman, 1501–1503. Thousand Oaks: SAGE Publications. well as to the study of multipart music, particularly in Ahmedaja, Ardian, and Gerlinde Haid. 2008a. “Introduction.” southeastern Europe. This was done based on an idea In European Voices I: Multipart Singing in the Balkans and by Svanibor Pettan and in cooperation with the ICTM the Mediterranean, edited by Ardian Ahmedaja and Gerlinde Haid, 7–14. CD and DVD with audio and video examples Secretariat, and is considered to be the beginning of a included. Schriften zur Volksmusik, 22. Vienna: Böhlau new tradition of the study group. Verlag. ———. 2008b. Eds. European Voices I: Multipart Singing in the In this symposium, as in all the others, there was no Balkans and the Mediterranean. CD and DVD with audio registration fee. Since this is not a matter of course, and video examples included. Schriften zur Volksmusik, 22. especially nowadays, I want to thank the local organ- Vienna: Böhlau Verlag. Bird, John 1999. Percy Grainger. Oxford: Oxford University Press. izers of each symposium and of the seminar, who have Blacking, John 1979. “The Study of Man as Music-maker.” In The made this possible. I would also like to thank the former Performing Arts: Music and Dance, edited by John Blacking and the current ICTM secretaries, Svanibor Pettan and and Joann W. Kealiinohomoku, 3–15. The Hague: Mouton Ursula Hemetek, for their exemplary co-operation, and Publishers – De Gruyter. Cowan, James 1910. Official Record of the New Zealand particularly Carlos Yoder, the ICTM executive assistant, International Exhibition of Arts and Industries, Held at whose availability and advice have always been so help- Christchurch, 1906–7: A Descriptive and Historical Account. ful and effective. Last, but not least, a special thank goes Wellington: John Mackay, Government Printer. Dreyfus, Kay. 1985. Ed. The Farthest North of Humanness: Letters of to all members of the study group who bear the brunt Percy Grainger 1901–44. South Melbourne: Macmillan. of the work in all activities and publications. Gillies, Malcolm, and David Pear. 1994. Eds. The All-Round Man: Selected Letters of Percy Grainger 1914–1961. Oxford: Clarendon Press. Grainger, Percy. 1915. “The Impress of Personality in Unwritten Outlook Music.” The Musical Quarterly 1/3: 416–435. Hemetek, Ursula, and Ulrich Mrogenstern. 2013. Eds. Gerlinde Trying to summarize the path the study group has fol- Haid: Eine Bibliographie. Klanglese, 8. Vienna: Institut für Volksmusikforschung und Ethnomusikologie. https://www. lowed so far, it can be said that our scholarly exchange mdw.ac.at/upload/MDWeb/ive/downloads/klanglese%20 has grown and is being intensified. Our understandings 8-Gerlinde%20Haid-Eine%20Biobibliographie-1-01.pdf. ICTM Study Group on Multipart Music 297 Hornbostel, Erich M. von. 1909. “Über Mehrstimmigkeit in der außereuropäischen Musik.” In Haydn-Zentenarfeier: III. Kongreß der Internationalen Musikgesellschaft. Wien, 25. bis 29. Mai 1909: Bericht vorgelegt vom Wiener Kongreßausschuß, 298–303. Wien: Artaria & Co.; Leipzig: Breitkopf & Haertel. Knocks, Alfred John. 1907. “Field Recordings: Southern Cook Islanders in New Zealand. Christchurch International Exhibition.” Grainger collection, Grainger Museum, University of Melbourne. Unpublished sound recordings. Kubik, Gerhard. 2010. “Chapter III: A Structural Examination of Multi-Part Singing in East, Central and Southern Africa.” In Theory of African Music, by Gerhard Kubik, vol. 1, 169–248. Chicago: University of Chicago Press. ———. 2014. “African Music: Multipart-singing.” In Encyclopædia Britannica. http://www.britannica.com/EBchecked/ topic/719112/African-music/57093/Multipart-singing. (last updated 25 Aug 2014; accessed 30 Sep 2018). Kunst, Jaap. 1950. Metre, Rhythm, Multi-part Music. Leiden: E. J. Brill. Macchiarella, Ignazio. 2012. Ed. Multipart Music: A Specific Mode of Musical Thinking, Expressive Behaviour and Sound. Udine: Nota. Merriam, Alan P. 1964. The Anthropology of Music. Evanston: Northwestern University Press. Nettl, Bruno. 1963. “Notes on the Concept and Classification of Polyphony.” In Festschrift Friedrich Blume zum 70. Geburtstag, edited by Anna Amalie Abert and Wilhelm Pfannkuch, 243– 251. Kassel: Bärenreiter. Pärtlas, Žanna. 2016. Ed. “Multipart Music: Theoretical Approaches on the Terminology.” Res Musica 8. https:// resmusica.ee/en/res-musica-8-2016/. Pear, David. 2006. “Grainger the Social Commentator.” In Facing Percy Grainger, edited by David Pear, 31–38. Canberra: National Library of Australia in association with the Grainger Collection, the University of Melbourne. Richter, Pál, and Lujza Tari. 2015. Eds. Multipart Music: Personalities and Educated People in Traditional Practises. Proceedings of the Third Symposium of the ICTM Study Group for Multipart Music, Budapest 2013. Budapest: HAS RCH. Stumpf, Carl. 1911. Die Anfänge der Musik. Leipzig: Barth. Tari, Lujza. 2017. “Multipart Phenomena in Hungarian Folk Music Regarding the Instrumentation and Instrumentalization of Sound.” In European Voices III: The Instrumentation and Instrumentalization of Sound. Local Multipart Music Practices in Europe. In commemoration of Gerlinde Haid. CD-ROM with 65 audio and 32 video examples included. Schriften zur Volksmusik, 25. Vienna: Böhlau. Vlastos, Gregory. 1983. “The Socratic Elenchus.” Oxford Studies in Ancient Philosophy 1: 27–58. ICTM Study Group on Music and Allied Arts of Greater South Asia Richard K. Wolf The mission of the ICTM Study Group on Music The panel chairs were volunteers including Harvard pro-and Allied Arts of Greater South Asia is to foster the fessors in anthropology, South Asian studies, and from study of sound, music, and allied arts in South Asia, the Divinity School, as well as scholars and perform-broadly conceived.1 The group determined “allied arts” ers of the area. International participants and attendas dance, movement, iconography, and visual compo- ees included those from Pakistan, Sri Lanka, Russia, nents of musical performance, while “Greater South Germany, the Netherlands, Canada, and the UK, and Asia” refers to South Asia’s neighbouring countries such participants from the USA included those traveling as Afghanistan, Kazakhstan, Malaysia, Thailand, and from the east coast, midwest, southwest, and west coast. Uzbekistan. This study group hopes to meet approxi- The following individuals were voted in to act as officers mately every two years, generally in conjunction with for the newly formed study group: Richard Wolf, chair; another regionally defined group and in a variety of Brita Heimarck, vice chair; Natalie Sarrazin, secretary. international locations. Following the approval by the Board, the first sym- The group encourages collaborative and comparative posium of the Study Group on Music and Allied Arts work with colleagues across the region and areas con-of Greater South Asia was held in conjunction with nected through geographical contiguity, diaspora, trade, the annual research symposium of the University of and the Internet. It also promotes acts of doing and Visual and Performing Arts (UVPA) in Colombo, Sri making—performing, dancing, composing, drawing, Lanka, 12–14 December 2019. The UVPA conference and other forms of participation—as integral parts of theme was “Urbanism, landscape, and public space: scholarly study. The group strives towards inclusiveness Rethinking creative arts and humanities,” and a fascinat-with regard to scholarly approaches and participation. ing keynote lecture on this theme was given by Sasanka The study group was approved by the Executive Board Perera (South Asian University, New Delhi, India). in March 2016. This followed the first meeting of the The overarching theme of the ICTM Study Group on group held on 4–6 March 2016, at Harvard University Music and Allied Arts of Greater South Asia symposium on the music of South, Central, and West Asia. The was “South Asian music in the world”; Frank Korom programme committee consisted of Richard Wolf (Boston University) gave the insightful keynote lecture (chair), Anna Schultz, Natalie Sarrazin, Peter Kvetko, entitled, “Bhujangbhushan’s oscillation between song and Robbie Beahrs. Presentations filled three simulta-and speech in performance.” The joint conference was a neous panels over three days. Presenters and attendees resounding success, with great comradery and scholarly consisted of approximately a hundred people. dialogue between the participants. The conference featured a performance on dutar, tan- There was a total of fifty presenters for the ICTM por- bur, and sato by Sirojiddin Juraev, one of the finest tion alone, which included scholars from Australia, instrumentalists in Central Asia today. Warren Senders Bangladesh, China, Egypt, Germany, India, Nepal, ( khyal, vocal), George Ruckert (harmonium), and Pakistan, Slovenia, Sri Lanka, the UK, and the USA Christopher Pereji (tabla) also performed Hindustani (figure 1). Panels topics ranged from Revisiting the music for the conference. historiography of Hindustani music’s hereditary practi- Stephen Blum provided the keynote address, “Working tioners; to Colonization, reformation, and transforma-with musics of three adjacent regions,” with Richard tion; Indian folk music; Folk arts, dance, and theatre; Wolf acting as a respondent. Sex, gender, and cinema; South Asian music and arts in diaspora; Sri Lankan and Tamil culture; Folk and gen- der; Devotional music, exchange, identity, and global 1 The completion of this chapter owes much to the contribu- dimensions; and Local music and its spread. tions of Brita Heimark and Natalie Sarrazin. Eds. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 298–299. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Music and Allied Arts of Greater South Asia 299 Figure 1. Participants of the first symposium of the ICTM Study Group on Music and Allied Arts of Greater South Asia. Colombo, Sri Lanka, December 2019 (photo by Kosala Anuradha, UVPA). Meals were generously provided by the local hosts, the Sri Lanka Foundation Institute, and the University of Visual and Performing Arts, under the expert guidance of Saumya Liyanage. In addition, thanks to a generous grant from Harvard University and the efforts of the executive committee (Richard Wolf, Brita Heimark, and Natalie Sarrazin), the study group was able to pay travel expenses for many of the university students from the USA and the South Asian participants. We were also grateful to the American Institute of Pakistan Studies for their valuable support. UVPA organized an impres- sive dance performance for all of the local and visiting scholars, and there was an elaborate dinner with live music on our final evening together. This study group’s joint conference with UVPA in Colombo offered an exceptional opportunity for global scholarly dialogue that will no doubt further significant research in the years to come. ICTM Study Group on Music and Dance in Latin America and the Caribbean Marita Fornaro Bordolli The emergence of the Study Group on Music and Dance sought to transcend traditional classifications of music in Latin America and the Caribbean (ICTM LATCAR) and dance. The event was a novelty for the Uruguayan is an example of ICTM’s ability to establish intercon-university, both in the subject matter and its location: tinental ties. At the 44th ICTM World Conference rather than choosing Montevideo, the capital of the held in Limerick, Ireland (2017), a group of research-country, CIAMEN proposed meeting in the city of ers working on Latin American and Caribbean cultures Salto, on the Uruguay River, a link with Argentina, raised the need to establish a gathering mechanism for and near the dry border with Brazil; that is, a symbolic shared interests. The proposal had a direct antecedent: place for the meeting. The city offered a warm welcome in 2015, led by Jakob Rekedal, a listserv was created with a concert of accordions, bandoneons, and guitars, and began to specifically link researchers in the regions and the performance of a carnival murga in the historic concerned. The study group, therefore, was conceived Larrañaga Theater (figure 1). under a regional perspective, not a thematic one. The study group justifies its existence with a shared past and present, as noted in the official proposal: The many diverse regions and peoples in Latin America and the Caribbean have commonalities in their histor- ical, political, and migration backgrounds and identi- ties. They share, among other aspects, a colonial past, the oppression of Indigenous knowledges and practices, as well as the preservation, maintenance, and develop- ment of unique modes of existence. These processes have informed Indigenous, African, and other expe- riences as well as forms of hybridization or mestizaje, which ultimately influence music, sound, movement and dances as culture and in cultures.1 The organization of the initial symposium was entrusted to the Center for Research in Musical and Performing Arts (CIAMEN) of the University of the Republic, Uruguay. This meeting had a surprising response: 170 attendees; 100 researchers from Latin America, the Caribbean, and Europe; and 70 partic- ipants from Uruguay. Sixteen participants received grants from the ICTM Young Scholars Fund and the Maud Karpeles Fund. The founding group invited keynote speakers with an extensive experience: Samuel Araújo, Enrique Cámara de Landa, Silvia Citro, and Miguel Ángel García. Following the theoretical propositions that served as the study group’s founding ideas, the call for papers Figure 1. Participants of the initial meeting of the ICTM 1 The full mission statement of the study group is available at: Study-Group-in-the-Making on Music and Dance in Latin http://ictmusic.org/group/music-dance-in-latin-america- America and the Caribbean. Salto, May 2018 caribbean. (photo by José Luis La Greca). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 300–301. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Music and Dance in Latin America and the Caribbean 301 The study group was born; its institutionalization came with the formal recognition of the ICTM Executive Board, followed by a business meeting at the 45th ICTM World Conference in Bangkok, Thailand (2019). And, in 2020, a few days before the worldwide paralysis of all in-person academic activi- ties due to the COVID-19 pandemic, the University of Sciences and Arts of Chiapas (Mexico) hosted the study group’s first symposium on 9–13 March, again with a significant attendance of members from various countries. Natalia Bieletto, Julio Mendívil, and María Elena Vinueza were the invited keynote speakers, in a symposium developed with the sound of marimbas at the university and the City Plaza. The elections took place by electronic voting. To end this short, but intense, story, I’d like to point out three characteristics of the study group that I consider essential to its profile. First, an interest in theoretical discussion, attention to epistemological and method- ological novelties regarding new frontiers in manifes- tations, and in the research of the diverse world views present in Latin America and the Caribbean. Second, the openness towards communities historically discrim- inated against or underrepresented, with the frequent stereotypes elaborated for the region. And lastly, the meeting of generations: we argue a lot, but that leads us to share knowledges, experiences, and a passion—in the sense of commitment—for the study of cultures that make us diverse and, at the same time, bond us. ICTM Study Group on Music and Dance in Southeastern Europe Velika Stojkova Serafimovska Since its establishment in 2007, the ICTM Study of the different communities, each with its own indi-Group on Music and Dance in Southeastern Europe vidual cultural expressions and with distinctive cultural has advocated for the scholarly research of music and identity. Communities of different ethnic and religious dance in and about this region, and has served as a backgrounds have been fostering their traditional music forum for continuous cooperation through symposia, and dance forms and expressions. Witnessing different projects, publications, and correspondence. This region, social and economic processes, world and Balkan wars, often referred to as the Balkan Peninsula, is particularly and being on a path of many major historical events, rich with music and dance traditions, which reflect the population has created a vivid and comprehensive the ongoing social, cultural, and political transitions. collective memory and cultural heritage that is mostly Its position, which has historically been a crossroads still alive and in which music and dance play significant between Eastern and Western cultures, and the heter-roles even today. ogenous demographic structure of its population, pro- Being so rich in diverse music and dance forms and voke interest for ethnomusicological and ethnochoreo- expressions in different contexts, the Southeastern logical research by regional and international scholars. European region offers a wide scholarly scope for Especially over the past three decades, researchers focus folklorists, ethnomusicologists, ethnochoreologists, not only on the traditional music and dance forms that ethnologists, and anthropologists. Publications with have been preserved, but also on the changes provoked music scores and dance descriptions from the end of by contemporary dynamics. The most recent wars at the nineteenth and beginning of the twentieth century end of the twentieth century that disrupted commu-by authors from the region and abroad, offer valuable nication among traditional music and dance scholars archival material and a wide scope for research in many from Southeastern European countries, justified the different contexts, since countries in this region have importance of and the need for the establishment of an been part of different states formed during these tur-ICTM study group for this region as a network for shar- bulent times. During this period and until the second ing knowledge and research experience. half of the twentieth century, the existence of an offi- This chapter elaborates the background and the pro- cial scholarly network of traditional music and dance cesses related to the establishment of the study group, researchers did not exist on a regional level, only on a its contribution on regional and international levels, national level. and the challenges faced on its way to becoming one of One of the great contributions to the entire region was the most influential and important scholarly networks the establishment of the Union of Associations of the for traditional music and dance in this part of the world. Folklorists of Yugoslavia (Savez udruženja folklorista Jugoslavije – SUFJ) in 1951, which was an organization on the federal level. The Union organized fairly regular Background annual meetings and published a book of proceedings from every meeting, where scholars and researchers The geographical region of Southeastern Europe is the from academia, research institutes, and higher educa-Balkan Peninsula in its entirety, encompassing countries tional institutions presented their studies on common with heterogenous populations of Orthodox Christian, topics. The meetings were excellent opportunities to Catholic, and Muslim religious backgrounds and dif-share knowledge and experience from different coun- ferent ethnic origins. It extends from Slovenia in the tries, communities, and contexts, not just from the for-northwest to Turkey in the southeast, and between the mer Yugoslav republics (Slovenia, Croatia, Bosnia and Adriatic and Black Seas and the Aegean Sea. The vivid and dynamic history of the region influenced the culture In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 302–309. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Music and Dance in Southeastern Europe 303 Herzegovina, Serbia, Montenegro, and Macedonia),1 and societal changes in the region during the 1990s, but also from other countries in the region, such as institutional cooperation was limited and, between Bulgaria and Romania. Due to the fact that research-1990 and 2000, ICTM as a world organization become ers of that time used mainly German and Russian, visible more on individual level. Since 1991, new gen-international cooperation in the 1970s and 1980s also erations of ethnomusicologists and ethnochoreologists involved relations with scholars from Germany and showed wider intellectual openness largely caused by the the Soviet Union (Rakočević 2019). Considering the commencement of communication with experts from language similarities in most of the former Yugoslav Anglo-American scholarly traditions and achievements countries,2 it is understandable that the connections not only in the anthropology of music and dance, but with other countries from the region, such as Albania, also in broad fields of cultural and performance stud-Greece, and Turkey, were limited and rare. Since the ies, post-structuralism, applied ethnomusicology, pop-1950s, there have been many valuable publications and ular music theories, gender theories, affect theories, etc. books of proceedings from congresses, conferences, While scholars from Slovenia, Croatia, Greece, Turkey, and symposia providing description and analysis of the and Romania become active in ICTM even in early rich ethnographic materials collected at that time and 1990s and immediately after the war, in Macedonia, offering today the possibility for comparative research. Serbia, Bosnia and Herzegovina, Bulgaria, and Albania Unfortunately, with the break-up of Yugoslavia in 1991, these activities became evident only in the early 2000s the Union ceased to exist, and relations established (Rakočević 2019; Rice 1999). These were the scholars among scholars from several generations were politi-who later initiated several meetings at which regional cally interrupted. The economic and political transi- scholars and ICTM members took part, and where the tions in the 1990s, as well as war disputes in the region, idea of establishing an ICTM Study Group on Music limited regional correspondence among institutions to and Dance in Southeastern Europe was produced. occasional individual and personal communications The intention to establish a study group first appeared between scholars and researchers. at the international symposium called “Urban music in Scholars from this region have been involved with the the Balkans: Drop-out ethnic identities or a historical Council since its formation as the International Folk case of tolerance and global thinking,” held in Durrës, Music Council in 1947, when representatives from Albania, 28 September – 1 October 2006.5 Sixty-six Yugoslavia, Turkey, and Greece become members of scholars from Albania, Austria, Bosnia and Herzegovina, the Executive Board.3 Even before that, Maud Karpeles Bulgaria, Germany, Greece, Italy, Kosovo,6 Macedonia, corresponded with the Janković sisters, who continued Romania, Serbia, Slovenia, Switzerland, Turkey, UK, their relationship with the IFMC (and later the ICTM) and USA were present. As a follow-up, the main orga- (Dunin 2014). In September 1951, the 4th IFMC nizer of the event, Sokol Shupo, edited and published conference was held in Opatija, Yugoslavia, organized the book Urban Music in the Balkans, which included all by the Unions of Societies for Culture and Education the papers presented at the conference (Shupo 2006). of Yugoslavia ( BIFMC 5, Nov 1951). Consequently, Inspired by the constructive mutual discussions during papers from Yugoslav scholars often appeared in subthe sessions, Svanibor Pettan initiated the possibility sequent Council publications. Representatives from of establishing an ICTM study group for researching countries of Southeastern Europe were members of the music and dance in the region and encouraged the Executive Board continuously from 1947 to 1985.4 idea that scholars from the region should organize a However, with the generational changes of scholars and panel session at the 39th ICTM World Conference researchers in the region, and after the major political in Vienna in July 2007. Consequently, two panel sessions on the subject of music and dance research in 1 Although the name of the country was formally changed to Southeastern Europe took place. The panel titled “The North Macedonia in 2019, the name “Macedonia” is used in history and perspective of national ethnomusicologies this chapter because the events referred to predate this change, and this usage is in accordance with the preference of the and ethnochoreologies in the Balkans,” organized by author. Eds. Selena Rakočević, opened broad discussions during 2 Bosnian, Bulgarian, Croatian, Macedonian, Montenegrin, which the possibility of establishing an ICTM study Serbian, and Slovene belong to the South Slavic group of languages. Additionally, the language earlier known as Serbo- 5 Under local organization by the Documentation and Croatian was the lingua franca in former Yugoslavia. Romania Communication Center for Regional Music and under the was part of the Eastern Bloc, and some Romanian scholars auspices of Josefina Topalli, president of the Parliament of the fluent in Russian, used this Slavic language in their presenta- Republic of Albania, the symposium organizational team was tions and symposium discussions, as well as in publications. led by Sokol Shupo. During the conference, forty-two papers 3 http://ictmusic.org/general-information (accessed 16 Apr were presented, and one photo exhibition, six new books, and 2020). four CDs with Balkan music were promoted. 4 See http://ictmusic.org/governance/history (accessed 16 Apr 6 Kosovo, then a disputed region, proclaimed independence in 2020). 2008, which is so far not confirmed by the UN. Eds. 304 Velika Stojkova Serafimovska Figure 1. Participants of the initial meeting for establishing the ICTM Study Group on Music and Dance in Southeastern Europe. Struga, 24 September 2007 (photo courtesy of Velika Stojkova Serafimovska). group emerged again.7 Following the world confer- make a formal proposal for the establishment of a study ence, a small, but very important publication of the group. Chaired by Svanibor Pettan (a member of the papers from this two-session panel, was published by ICTM Executive Board at that time), and strongly sup-the Bulgarian Academy of Science in 2008. Important ported and encouraged by Dieter Christensen, Elsie additions to this publication are the “Introduction” Ivancich Dunin, and Olivera Vasić, the participants of by Ursula Hemetek, and the “Afterword” by Timothy the conference, most of them ICTM members, reached Rice (Peycheva and Rodel 2008). The second panel, an agreement about working definitions of “Music and organized by Naila Ceribašić, was named “Postdance in Southeastern Europe,” with a mission state- Yugoslavian ethnomusicologies in dialogue: Three case ment for the proposed study group: studies.”8 Raising important issues in this research dis-Proposed definition cipline after the tumultuous period in the Balkans, the panel presentations were published as a single paper Southeastern Europe is a region that is also known as the Balkans. For the purpose of the Study Group the (Ceribašić, Hofman, and Rasmussen 2008). region is defined in the broadest sense. Shortly after the ICTM world conference in Vienna, a ICTM STUDY GROUP ON MUSIC AND DANCE symposium named “The Balkan Peninsula as a musical IN SOUTHEASTERN EUROPE crossroad” was held in Struga, Republic of Macedonia, The Study Group advocates scholarly research of music 19–24 September 2007.9 Together with Dieter and dance in and about the given region. It serves as Christensen as the special guest of honour, forty-five a forum for continuous cooperation through scholarly participants from Albania, Austria, Bulgaria, Croatia, meetings, projects, publications, and correspondence. Germany, Greece, Macedonia, Serbia, Slovenia, At the meeting of the ICTM Executive Board on 16–17 Sweden, Turkey, UK, and the USA took part, and once February 2008 in Canberra, Australia, the proposal to again the idea of establishing an ICTM study group establish a new ICTM Study Group on Music and concerning music and dance in Southeastern Europe Dance in Southeastern Europe was approved. was raised (see figure 1). At the end of the conference, The study group has held six symposia since its estab-on 24 September, a preliminary meeting was held to lishment, as well as ten business meetings (including 7 The panel participants were Olivera Vasić, Dimitrije business meetings held during ICTM world confer- Golemović, and Selena Rakočević (Serbia); Dragica Panić ences), and published five books of proceedings from Kašanski (Bosnia and Hercegovina); Velika Stojkova the symposia. The symposia are organized by aca- Serafimovska and Ivona Opetčeska Tatarčevska (Macedonia); demic and research institutes, universities, or ICTM Lozanka Peyčeva, Ivanka Vlaeva, and Ventsislav Dimov (Bulgaria); Athena Katsanevaki (Greece); and Sokol Shupo national committees in the different countries of the (Albania). region. Chronologically the meetings have been held 8 The panel participants were Ana Hofman, Naila Ceribašić, and in Struga, Macedonia (2008); Izmir, Turkey (2010); Ljerka Vidić-Rasmussen. Berovo, Macedonia (2012); Petnica, Serbia (2014); 9 The symposium was made possible under the auspices of the Blagoevgrad, Bulgaria (2016); and Sinj, Croatia (2018) Ministry of Culture of Republic of Macedonia on the occasion of the 60th anniversary of the Association of the Composers (see figure 2).10 Due to the COVID-19 pandemic, the of Macedonia and Balkan Music Information Network – National Office. The themes of the meeting were: Iconography 10 Announcements with details regarding the symposia were of Balkan music and dance; Historical sources of music and published in the BICTM 114 (Apr 2009); 122 (Apr 2013); dance in the Balkans; and The role of minorities in transfer- 123 (Oct 2013); 125 (Apr 2014); 131 (Apr 2016); 135 (Oct ring, preserving and creating music and dance tradition in the 2017); 137 (Apr 2018). Reports from the symposia have been Balkans (Stojkova Serafimovska 2008). published in the BICTM 117 (Oct 2010); 121 (Oct 2012); ICTM Study Group on Music and Dance in Southeastern Europe 305 Figure 2. Participants of the sixth symposium of the ICTM Study Group on Music and Dance in Southeastern Europe. Sinj, 18 April 2018 (photo courtesy of Iva Niemčić). seventh symposium scheduled for 12–19 April 2020 as possible, the first study group executive committee was postponed to April 2021 in Trabzon, Turkey. had six members: a chair, two vice chairs, a secretary, and special positions for liaison officer for dance and liaison officer for music.11 This structure is not common The study group’s development and in other ICTM study groups, whose executive commit- challenges tees usually consist of between one and three members. Since 2008, the study group developed its own rules Considering the historical, social, and current political and principles that entirely corresponded to the ICTM events in and among the countries within the region, Rules that existed at the time. as well as the background previously described, it was At the study group business meeting in Berovo (2012), expected that the organization and the functioning of the executive committee was reduced to five members, the study group would require critical understanding having one instead of two vice chairs. In order to be of “the Balkans“ and of the related concept known as more transparent and include as many countries as pos- “Balkanism” (Todorova 1997) which transited from sible, the programme committee for each symposium a geographical to a social meaning. The dichotomy usually has five or six members from different countries, between the Balkans and Balkanism as stereotypically not only from Southeastern Europe, but also members negative social traits on one side, and “Balkan music,” from countries outside the region who are specialists usually associated with rich, colourful, diverse, and in music or dance of this region. By inviting interna-emotional music and dance expressions on the other, tional scholars who have made extensive and insightful challenged the name of the study group. In order to research and publications regarding the traditional music avoid negative associations with the root “Balkan” in and dance of the region—such as, Dieter Christensen, some countries within the region, the name Study Elsie Ivancich Dunin, Anca Giurchescu, Timothy Rice, Group on Music and Dance in Southeastern Europe Carol Silverman, Jane Sugarman, Susanne Ziegler, and was adopted as equally descriptive and neutral in terms others—as members of the programme committees, we of values. attempted to preserve objectivity in maintaining the The organizational structure of the executive commit- quality of programmes. In order to provide continuity, tee of the study group is also slightly different from the the chair of the programme committee and the chair of other ICTM study groups. While small in area, the Southeast European region geographically covers twelve 11 Members of the first Executive Committee were Velika countries, which requires ensuring a balance among the Stojkova Serafimovska (Macedonia) as chair; Sokol Shupo members of the executive and programme committees. (Albania) and Jane Sugarman (USA) as vice chairs; Elsie In order to have representatives from as many countries Ivancich Dunin (USA/Croatia) as secretary; Selena Rakočević (Serbia) as liaison officer for dance; and Lozanka Peycheva (Bulgaria) as liaison officer for music. More on the study group 127 (Jan 2015); 133 (Jan 2017); 138 (Oct 2018). All are symposia, programmes, and reports can be found at http:// available from http://ictmusic.org/publications/bulletin-ictm/ ictmusic.org/group/music-and-dance-southeastern-europe past-issues. (accessed 16 Apr 2020). 306 Velika Stojkova Serafimovska the local arrangements committee of the previous sym- in that its members benefit from the opportunity to posia are usually members of the programme commit- acquire knowledge of different methodologies and tee for the following symposia. diverse literature. The study group symposium presen- One of the advantages of being a regional study group tations on different topics offer a variety of emic and is the possibility of organizing the symposia in different etic approaches and methods from folklore, ethnogra-countries within a relatively close travelling distance, phy, and structuralism, to anthropology and contempo-allowing for good attendance from study group mem- rary interdisciplinary, applied and contextual research bers. As such, study group symposia are usually attended on traditional music and dance. by 40–60 participants, so all important questions, such The Study Group on Music and Dance in Southeastern as decisions for time, place, organizer, and topics of the Europe has grown into a stable and solid scholarly next symposium, as well as study group executive com-group that has developed not just as an academic net- mittee elections, are decided during the business meet- work of members in different stages of their careers, ings with transparent public proposals and anonymous but also a welcoming and open platform that enables voting. Currently, the study-group executive commit-younger members to feel free during their presentations tee consists of representatives from Bulgaria, Croatia, and questions. We believe that the strength of this study Macedonia, Turkey, and UK/Romania.12 group originates from maintaining the balance between The ICTM Study Group on Music and Dance in generations. Selecting a guest of honour at each study Southeastern Europe is the second ICTM study group group symposium acknowledges a selected senior that has music and dance in its name.13 In its mission researcher who is important to the development of eth-statement, the study group advocates research that con- nomusicology and ethnochoreology in the host country siders both music and dance expressions and forms and/or region.15 The generational balance is also visible in different contexts, and a wide range of topics and in the composition of programme committees, which theoretical orientations. The balance between ethno-are a combination of members from several generations, musicology and ethnochoreology is maintained among thus providing a good opportunity for younger scholars members of the executive committee and through to acquire experience.16 the selection of topics for the symposia.14 Most study Observing the development of this study group from its group members are also members of other ICTM study beginning to the present time, one can notice that it has groups with shared scholarly interests, such as the Study been carefully nourished, monitored, and supervised by Groups on Music and Minorities, Multipart Music, senior representatives of the ICTM, including Dieter Applied Ethnomusicology, Ethnochoreology, Historical Christensen, Elsie Ivancich Dunin, Anca Giurchescu, Sources, Music and Dance of the Slavic World, Maqām, and Speranţa Rădulescu, who have given strong support Music Archaeology, and others. Such a diverse mem-and shared their rich experience with ICTM issues and bership of our study group allows for abundant and fre- various challenges, thus being strong pillars on which quent communication between scholars with different this study group can rest and develop. Since its concep-affiliations who are also members of other regional and tion, the study group has been privileged to have Dieter international scholarly networks beyond the ICTM. Christensen and Svanibor Pettan, who shared their Historically, this region has been under different global, valuable experience in guiding the study group through regional, and national cultural and educational influ-the ICTM rules and various challenges. Elsie Ivancich ences during the twentieth century. Former Yugoslav Dunin also gave a selfless and highly appreciated con-countries had more open communications, offering tribution to the development of the study group, as a better possibilities for scholars to travel abroad and creator of the study group’s memorandum and bylaws, opportunities to consult not only regional, but also and especially in setting the standard form of study Western and Eastern literature, methodologies, and group publications and as the main editor of the sec-scholarly approaches. Bulgaria was influenced by the ond, third, and fourth books of proceedings. Through Russian school, literature, and methodology; Romania, the years, they successfully transferred their knowledge Turkey, and Albania developed their own schools; while Greece was much closer to European academia. This 15 Guests of honour have been Dieter Christensen (2007), Elsie is considered as another advantage of the study group Ivancich Dunin (2008), Anca Giurchescu (2010), Victor Friedman (2012), Olivera Vasić (2014), and Carol Silverman (2018). During the fifth symposium in Blagoevgrad (2016), a special presentation was made for introducing the work 12 http://ictmusic.org/group/music-and-dance-southeastern- of one of the pioneers of Bulgarian ethnomusicology, Raina europe (accessed 16 Apr 2020). Katzarova. 13 The first was the ICTM Study Group on Music and Dance in 16 Chronologically, chairs of the programme committees to date Oceania, created in the late 1970s. have been: Velika Stojkova Serafimovska, Arzu Öztürkmen, 14 Currently, the committee chair is an ethnomusicologist, while Speranţa Rădulescu, Naila Ceribašić, Selena Rakočević, the vice chair and the secretary are ethnochoreologists. Svanibor Pettan, and Belma Oğul. ICTM Study Group on Music and Dance in Southeastern Europe 307 and experience in sustaining and developing an ICTM information during study group symposia in different study group to the next generation of scholars who now countries introduced ICTM standards and opportuni-represent the core of the group. ties to many local students and young scholars who have had the opportunity to meet and consult with some of the most influential and well-known senior researchers Study-group accomplishments and of this region. regional influence As a result of this networking and sharing of mutual interests, two sub-study groups have been created, one The appearance of this ICTM study group as an interna- on military connections and another on köçek.18 Beside tionally organized scholarly network among researchers the joint fieldwork research connected with the interest of traditional music and dance in Southeastern Europe of these two sub-study groups, several other joint-re-took place after a period of sixteen years (1991–2007), search projects were conducted on a regional level, most when regional connections had been interrupted and of them resulting in excellent panel sessions with pre-limited in the region. The group has made a visible sentations from different countries.19 Other regional impact on recent developments in ethnomusicology panels are organized around different topics of inter-and ethnochoreology, and has become a well-devel- disciplinary and theoretical approaches that provoke oped network among music and dance scholars and insightful and vivid discussions during the symposia. researchers, and an excellent platform for mutual coop- eration, joint research, publication exchange, and shar- The majority of the presentations are published in ing knowledge and experience on the same or different symposium publications that contribute to creating a topics and scholarly work of the region. shared bibliography that increases the production of scholarly papers on researching on similar topics and/ Up until now, the six study group symposia have pre- or in different contexts in the region. The study group sented topics from different aspects, covering a wide also created an excellent platform for sharing scholarly range of research from local to global interest, such as papers on different topics published in books and sci-terminology, historical sources and iconography, educa- entific journals on national and regional level, which tion, policy, media, public presentations of music and further contributed in exchanging and sharing knowl-dance, professionalism, improvisation, inter/post-dis- edge among individuals, but also between institutions ciplinarity, migrations, music and dance sustainabil- such as institutes and universities. This interregional ity, and other topics of interest among study group individual and institutional cooperation opened up members and the region concerned.17 Since most study the possibility for the members of the study group to group members are affiliated with research or higher publish their papers in peer-reviewed academic jour-educational institutions in their countries, individual nals covering research on traditional music and dance connections have developed in joint projects and insti-in different countries.20 This was especially productive tutional cooperation on a regional level. The dissem- ination of knowledge and the exchange of ideas and 18 The first meeting of the Sub-study Group on Military 17 Themes covered during study group symposia and in subse-Connections was held on the island of Korčula in 2011. The quent publications were: “Governmental policies, patronage Sub-study Group on Köçek had its first meeting in Istanbul in and censorship,” “Tradition – transition – revival,” “Media” 2012. The term köçek refers to genre of music and dance of (1st symposium 2008 in Struga; Stojkova Serafimovska 2009); the Ottoman Court performed by young male dancer. They “How do public presentations affect perceptions and prac- performed before the harem, but also publicly with feminine tices of music and dance: Regional and national experiences,” costumes and dance style. “Educational systems of music and dance (learning and teach- 19 An excellent example of this kind of cooperation is the joint ing processes)” (2nd symposium 2010 in Izmir; Dunin and field research on winter processions and carnival in Macedonia, Özbilgin 2011); “Terminology and theoretical approaches,” conducted by Macedonian and Croatian scholars, which “Crossing national boundaries/intercultural communica- resulted in a panel session from which presentations appeared tion” (3rd symposium 2012 in Berovo; Dunin, Mellish, and in the publication following the symposium in Blagoevgrad. Opetcheska Tatarchevska 2014); “Improvisation in music and Another example is the joint fieldwork conducted in Serbia dance of Southeastern Europe,” “Professionalization of music and Romania by a team of researchers from Serbia, Macedonia, and dance of Southeastern Europe,” “Inter/postdisciplinarity in Romania, and UK. More on this project can be found in ethnomusicology and ethnochoreology” (4th symposium 2014 Opetcheska Tatarchevska (2017) and in Mellish, Green, and in Petnica; Mellish, Green, and Zakić 2016); “Music and dance Zebec (2020). in Southeastern Europe in post-1989,” “Representations of 20 Examples of these journals are: Muzikologija / Musicology pub- music and dance in audiovisual ethnographies in Southeastern lished by the Institute of Musicology of the Serbian Academy of Europe,” “Myth, ritual and interpretations in/of music and Sciences and Arts; Muzikološki zbornik / Musicological Annual dance of Southeastern Europe” (5th symposium 2016 in published by the Department of Musicology at the Faculty of Blagoevgrad; Vlaeva et al. 2016); “Dance, songs, music Philosophy, University of Ljubljana; Българско музикознание / and migrations in, out and within Southeastern Europe,” Bulgarian Musicology published by the Institute of Art Studies at “Carnivals and masquerades in Southeastern Europe,” “Music, the Bulgarian Academy of Science; Musicologist: An International dance and sustainable development in Southeastern Europe” Journal of Music Studies, published by Trabzon University; and (6th symposium in Sinj; Melish, Green, and Zebec 2020). others. 308 Velika Stojkova Serafimovska in the regional educational processes and curriculums network, it has influenced young students and scholars, which are enriched with regional bibliography on dif-who embrace the welcoming spirit of the study group, ferent topics in ethnomusicology and ethnochoreology. the invaluable scholarly encounters, and constructive Students from different educational levels have oppor-discussions.22 In its eleven years of growth and devel- tunities to compare their methodologies, research, opment, this study group follows the true ICTM goals and theses on a wider regional level, and study group and spirit in sharing knowledge about traditional music publications and meetings provide the perfect oppor-and dance in its broader context, but also sharing music tunity for intergenerational communication, offering and dance experiences, thus creating strong connections a wide scope of diverse scholarly methodologies and between people from different communities, countries, approaches. Members of the study group cooperate and and regions. exchange experience in projects of other scholarly and educational networks and organizations, such as the UNESCO Intangible Cultural Heritage (ICH) network References cited of experts and ICH Facilitators. Members of the study Ceribašić, Naila, Ana Hofman, and Ljerka Vidić Rasmussen. 2008. group are actively involved in safeguarding processes of “Post-Yugoslavian Ethnomusicologies in Dialogue.” YTM 40: music and dance in ICH elements in their countries, 32–45. and some were directly involved in the preparation of Dunin, Elsie Ivancich. 2014. “Emergence of Ethnochoreology the nomination files for music and dance ICH elements Internationally: The Janković Sisters, Maud Karpeles, and Gertrude Kurath.” Muzikologija / Musicology 17: 197–217. from this region that were successfully inscribed on the Dunin, Elsie Ivancich, and Mehmet Öcal Özbilgin. 2011. Eds. UNESCO ICH lists.21 Proceedings of the Second Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Izmir, Turkey, One of the unique experiences and also a challenge 7–10 April, 2010. Izmir: Ege University State Turkish Music for local organizers of study group symposia, is the Conservatory. extra-curricular programme. Inspired by the rich and Dunin, Elsie Ivancich, Liz Mellish, and Ivona OpetcheskaTatarchevska. 2014. Eds. Third Symposium of colourful Balkan music and dance with individual fea- the ICTM Study Group on Music and Dance in Southeastern tures in each country, but at the same time close and Europe, Berovo, 17–23 April, 2012. Skopje: ICTM National recognizable to the entire region, concerts, workshops, Committee for Macedonia. Mellish, Liz, Nick Green, and Mirjana Zakić. 2016. Eds. Music and informal gatherings are organized every night and Dance in Southeastern Europe: New Scopes of Research and during the symposia. Most of the participants, together Action: Fourth Symposium of the ICTM Study Group for Music with local traditional music and dance practitioners, and Dance in Southeastern Europe, 24 September – 1 October, 2014. Belgrade: Faculty of Music Art. spend the evenings singing songs, dancing dances, and Mellish, Liz, Nick Green, and Tvrtko Zebec. 2020. Eds. Music playing instruments from every corner of the Balkan and Dance in Southeastern Europe: Migrations, Carnival, Peninsula. The obligatory one-day excursion always Sustainable Development; Sixth Symposium of the ICTM Study offers a visit to a local village or community where tra- Group on Music and Dance in Southeastern Europe, Sinj, Croatia 15–21 April, 2018. Zagreb: Institute of Ethnology ditional food and drink is served, fascinating rituals are and Folklore Research. experienced, and again, songs and dances are shared. It Opetcheska Tatarchevska, Ivona. 2017. “Joint Field Research has been noticed by senior members of this study group Project with Study Group on Music and Dance of Southeastern Europe.” BICTM 134 (Apr): 28–30. that this group has a special feature of functioning as a Peycheva, Lozanka, and Angela Rodel. 2008. Eds. Vienna and the family, thus developing not just professional, but also Balkans: Papers from the 39th World Conference of the ICTM, personal relations and closeness between its members. Vienna 2007. Bulgarian Musicology Studies. Sofia: Institute of Art Studies, Bulgarian Academy of Sciences. We firmly believe that the reason for that impression Rakočević, Selena. 2019. “Practicing Ethnomusicology/ is because of the extra-curricular programmes and the Ethnochoreology within Post-Socialist Realities: The Case informal gatherings where participation in mutual of Serbia with Some Comparative Experiences from Former singing and dancing creates a feeling of belonging, of Yugoslavia Countries.” In Ethnomusicology Matters: Influencing Political Realities, edited by Ursula Hemetek, Marko Kölbl, a family. and Hande Sağlam, 191–214. Music Traditions, 1. Vienna: Böhlau. The ICTM Study Group on Music and Dance in Rice, Timothy. 1999. “The Revision of Bulgarian Folkloristics and Southeastern Europe represents an excellent example for Folk Music Research in the Post-Communist Period (1990– the ICTM of positive influence at a regional level. The 1996).” In New Countries, Old Sounds: Cultural Identity and functioning of the study group, following the agenda, Social Change in Southeastern Europe, edited by Bruno B. Reuer, Lujza Tari, and Krista Zach, 187–202. Beiträge des mission, and spirit of the ICTM, developed a strong internationalen Symposiums in Berlin (22.–27. April 1997). network among scholars and researchers of different München: Verlag Südostdeutsches Kulturwerk. affiliations who share interests in the study of music and dance of Southeastern Europe. Carefully nourished and 22 The latest symposium held in Sinj in 2018 was attended by guided by senior ICTM members in the study group 53 participants, including Ankica Petrović, and Elsie Ivancich Dunin. The pleasant surprise was that almost half of the partic- ipants were young newcomers, who have already initiated joint 21 https://ich.unesco.org/ (accessed 3 Aug 2020). projects and panel presentations for future symposia. ICTM Study Group on Music and Dance in Southeastern Europe 309 Shupo, Sokol. 2006. Ed. Urban Music in the Balkans: Drop-out Ethnic Identities of a Historical Case of Tolerance and Global Thinking? Papers of the International Symposium, Tirana, September 28–October 01. Tirana: Asmus. Stojkova Serafimovska, Velika. 2008. Ed. The Balkan Peninsula as a Musical Crossroad: Papers of the International Conference, Struga, Republic of Macedonia, 20–23 September, 2007. Skopje: SOCOM. ———. 2009. Ed. First Symposium of the ICTM Study Group for Music and Dance in Southeastern Europe, 4–8 September, 2008, Struga, Republic of Macedonia. Skopje: SOCOM. Todorova, Maria. 1997. Imagining the Balkans. New York: Oxford University Press. Vlaeva, Ivanka, Liz Mellish, Lozanka Peycheva, Nick Green, and Ventsislav Dimov. 2016. Eds. Music and Dance in Southeastern Europe: Myth, Ritual, Post-1989, Audiovisual Ethnographies; Fifth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Blagoevgrad, Bulgaria. Blagoevgrad: University Publishing House “Neofit Rilski.” ICTM Study Group on Music and Dance of Oceania Barbara B. Smith, Brian Diettrich, and Kirsty Gillespie Beginnings a whole region far from that of the Council’s birthplace in Europe could further that through what he called the The origin of the Study Group on Music and Dance recent “quickening” of activity in Oceania. As evidence of Oceania is closely linked to the first ICTM world of this, he spoke of the work of Alice Moyle in Australia conference held in the Pacific.1 In 1977, the 24th and of the people interested in western Polynesia (five of conference of the (then) International Folk Music whom were present). Other recent activities discussed Council took place in Honolulu, and an excursion to included: the Polynesian Cultural Center “prompted discussion about commercialization of culture which led to inter- 1. the 1976 UNESCO workshop held in the Solomon Islands on the Techniques of Recording est in forming a study group focusing on Oceania” Oral Tradition, Music, Dance, and Material (Trimillos 2017:9) . 2 After a signup sheet confirmed Culture for Indigenous Melanesians; members’ interest, Ricardo Trimillos, the chair of the 2. the 1982 Conference for Ethnomusicologists at conference programme committee, prepared a proposal Goroka Teachers College in Papua New Guinea, for the new group. At that time, no ICTM study groups the first such conference held in the Pacific which focussed on a geographical or cultural region, making brought together scholars from Papua New the Oceania group the first to propose such an associa- Guinea (four of whom were indigenous islanders tion. Together with its approval in 1979, Trimillos was who later joined ICTM and the SG) and five other countries; appointed acting chair to organize what is now called the Study Group on Music and Dance of Oceania.3 3. the July 1983 planning meeting for the Territorial Survey of Oceanic Music, a research project of The event that Trimillos called the “historical moment” UNESCO in association with the Archive of Māori in the organization of the study group (hereafter SG) and Pacific Music at the University of Auckland, to took place later on 10 August 1983, during the Council’s be directed by Mervyn McLean. (Smith 1984) 27th World Conference in New York. He and eleven In spite of her uncertainty about how best to proceed, persons who had done research on music of Oceania on the insistence of those present, Barbara Smith agreed gathered informally to consider how to energize its to serve as its chair. future development. Dieter Christensen, secretary Oceania embraces Australia and the Pacific Islands general of the Council, spoke first about the Council’s (Melanesia, Micronesia, and Polynesia), with physical desire to become more broadly international and how geography ranging from the world’s smallest continent, this study group devoted to all the music and dance of the world’s second largest island (with rugged mountainous terrain, divided between Papua New Guinea 1 The authors thank Adrienne Kaeppler and Don Niles for their suggestions on an earlier draft of this chapter. in the east and Indonesia in the west), and tens of 2 For information about the 1977 Honolulu conference, see thousands of islands. The contrasting types of islands BIFMC 50 (Apr 1977:6–10). in Oceania include large, high mountains of volcanic 3 The initial designation was the “Study Group on Music of origin, uplifted coral platforms, and coral atolls that Oceania,” but subsequently the names “Study Group on scarcely rise above sea level. This variation in geography Oceania,” “Study Group on Musics of Oceania,” and, on occasion, “Oceania Study Group,” were also used. By 2007 the entails different resources for human subsistence and, ICTM Board approved the current name: “Study Group on therefore, different sociocultural practices, including Music and Dance of Oceania.” Seven chairs have led the study a multiplicity of languages and distinctive performing group since its founding: Ricardo Trimillos (1979–1983), Barbara Smith (1983–2001), Stephen Wild (2001–2005), arts. By the late twentieth century, Oceania included Raymond Ammann (2005–2009), Denis Crowdy (2009– peoples with centuries of global interactions and others 2013), Kirsty Gillespie (2013–2015), and Brian Diettrich still in virtual isolation, as well as great differences in the (2015–2021). For an abbreviated listing of the study group’s activities since its founding, see Niles and Smith (2014). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 310–316. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Music and Dance of Oceania 311 proportion of indigenous inhabitants to settlers and of 1991, a locale much closer than Europe to Oceania, intermarriage among them. Smith immediately explored the possibility of holding Because of the few, slow, and costly means of com- a symposium there. Although that proved impossi- munication at the time, compounded by the limited ble, the Hong Kong conference became a high point routes, infrequent schedules, expense and time involved in the SG’s history. Contributions included a session in long-distance travel, it was obvious that it would be on music and dance in Oceania, another on Christian difficult to get enough SG members together frequently hymnody in Oceania, and a panel organized by the SG, enough for symposia or other organized meetings to “The Chinese and their musics in Oceania.” The latter produce scholarly publications such as those of the drew so much interest that Smith was invited to pres-previously established study groups. The history of the ent a report on it to the immediately following interna-Oceania SG through 2001 can therefore be summa- tional symposium organized by the Chinese Musicians’ rized as a series of informal gatherings at the Council’s Society in Guangzhou, and to Dieter Christensen, who biennial world conferences, at multiple annual meet-later wrote that “the strong horizon-expanding inter- ings of the Society for Ethnomusicology (SEM), and est that our ICTM study group on Oceania evoked at the quadrennial iterations of the Festival of Pacific among Chinese Scholars with its exploratory work on Arts, interspersed with formally organized symposia Chinese influences in the Pacific … [is] to me among and other activities, some of which contributed to what the many highlights of the Hong Kong Conference” Christensen hoped would benefit the internationaliza- (D. Christensen 1991:18). The Association for Chinese tion of ICTM. Music Research considered it important enough for its American membership to get permission to publish the papers of the entire panel (Smith 1992). This became the SG’s first publication. Events within and beyond Oceania, 1988–2001 Of the two world conferences held in Berlin around this time period, at the first in what was then East Berlin The study group’s first symposium was hosted by Deakin and organized in 1987, Artur Simon offered a two-day University, in Geelong, Australia, 3–5 September 1988. symposium hosted by the Museum für Völkerkunde. It closely followed three events of relevant interest in But with too few papers relevant to its chosen topic that country’s bicentennial year. The first of these was of historical sources of Pacific Islands music, it was ICTM’s 8th colloquium, “Documentation of music changed into an informal tour of the musical instru-and dance in the South Pacific and its use in the liv- ments in its South Seas department. For the second ing tradition,” held 9–13 August in Townsville.4 world conference there in 1993 in the by-then reuni-The second was the 5th Festival of Pacific Arts, held fied city, no institution offered to host a SG sympo-14–24 August also in Townsville, and with the theme sium. However, its members presented an important “Cultural interchange.” The third was the symposium session in that world conference, “Music and dance in of the International Musicological Society and Festival a changing world,” with most examples from Oceania of Music (SIMS88) held in Melbourne, 28 August – 2 that challenged the Eurocentrism of one of its themes, September, for which the SG was asked to arrange a ses- “Music and dance in a changing Europe.” sion that would combine two of SIMS88 themes. The The SG’s second symposium took place in Canberra, result was: “Intercultural contact through music and 12–13 January 1995. It followed the 33rd ICTM World dance since 1960 in Melanesia and Polynesia—Among Conference held in that city. The SG was represented by those areas and with other areas of the world.”5 The SG’s a panel proposed and chaired by Amy Stillman called first symposium in Geelong was organized by Gerald “Oceanic music and dance in expatriate and relocated Florian Messner with the theme “The transmission of communities” that contributed to the conference’s third culture in and/or through the performing arts.” Six theme: “Music, dance and migration.” The Canberra papers and two videos were presented and discussed by symposium with the theme “Indigenous performance twenty SG members (half of its then total membership) and music” was arranged by Grace Koch, the first day at from eight countries in a relaxed and friendly way that the Australian Institute of Aboriginal and Torres Strait led to a desire for future symposia. Islander Studies (AIATSIS), and the second day at the When it was announced that ICTM’s 31st World National Library of Australia. Both days began with Conference would be held in Hong Kong, 3–9 July host-country speakers directly involved with Indigenous performance and media, followed by afternoon tours of 4 Organized by Alice Moyle, almost all of the participants were holdings of relevant materials. Papers by SG members members of the SG (A. Moyle 1992). were devoted to early recordings and aspects of media. 5 The SG participants in SIMS88 were Adrienne Kaeppler, Don Niles, Chris Saumaiwai, Amy Stillman, and Filip Lamasisi Yayii. 312 Barbara B. Smith, Brian Diettrich, and Kirsty Gillespie Figure 1. Don Niles, Barbara Smith, and Helen Reeves Lawrence (Helen Fairweather) celebrate the publication of the SG’s second publication, a Festschrift for Barbara Smith, at AIATSIS in Canberra, Australia, in September 2001 (photo courtesy of Don Niles). The third symposium was held on 26 August 1999 nized by Stephen Wild. Cancellation of all flights on in Hiroshima, following the Council’s 35th World US airlines following the 9/11 attacks on New York and Conference in that city, well known for its post–Pacific Washington, DC, kept most members from the USA War emphasis on peace. In a plenary session chaired and Micronesia from attending. The first morning of by Don Niles on its fifth theme, “Music and peace,” the symposium featured the presentation of a Festschrift Stephen Wild’s paper “Music, dance, and reconciliation (Lawrence and Niles 2001)—the second publication by in Australia” was a notable contribution. The SG’s busi-the SG—to a very happily surprised Barbara Smith in ness meeting there was devoted primarily to the chair’s honour of her contributions to the SG during her thir-report on the meeting of all ICTM study-group chairs teen years as chair (figure 1). The afternoon began with in which the coordinator, Tilman Seebass, discussed a memorable Aboriginal rom ceremony from Arnhem the Council’s eagerness to make the work of its study Land, followed by Richard Moyle’s presentation of the groups more widely available. He also announced the “Summary document for the territorial survey” and introduction of a website for the study groups, a need the business meeting with Barbara Smith turning the for mission statements, and consistent operational pro-chair over to Stephen Wild. The second day’s schedule cedures. With Adrienne Kaeppler as acting chair, SG included another rom ceremony and papers on Oceanic members elected Stephen Wild to a new position of popular musics, festivals, and aspects of recording. In chair-elect. The symposium was devoted to discussion that same year, reflecting on his twenty years in the of which of the possible types of items the SG would position of secretary general of the Council, Dieter want on its website, recommendation for approval of Christensen cited the SG’s role in broadening the its mission statement, and discussion of the Australia scope of ICTM: “The ICTM Study Groups, always an and Pacific Islands volume of the Garland Encyclopedia important part of ICTM work, began to expand their of World Music (Kaeppler and Love 1998), followed by scope beyond Europe with the new Study Group on criteria for media to be included in a proposed ongoing Musics of Oceania” (N. Christensen and D. Christensen discography and film-videography. 2001:26). The fourth symposium held in Canberra, 15–16 September 2001, was one of the special events hosted by AIATSIS during its fortieth anniversary. It was orga- ICTM Study Group on Music and Dance of Oceania 313 The Festival of Pacific Arts and symposia verses to a song composed by Howard Charles (then since 2001 ICTM Liaison Officer for Palau) with all joining to sing the chorus. The song and its performance became A significant feature for the dynamics and scope of the so popular that at the end of the closing ceremony, SG, as well as to its connections within Oceania, has the president of Palau told him to keep it going until been its close association with the Festival of Pacific Arts daybreak. The symposium was hosted by the festival’s as a location for its gatherings and symposia.6 From the organizing committee at the Ngarachamayong Cultural SG’s first informal gathering in Papua New Guinea in Center. Yamaguti Osamu, in the absence of the SG’s 1980 at the 3rd South Pacific Festival of Arts, those fes-chair, organized the programme that, as with previous tivals have been intertwined with the SG’s history by symposia, featured the host country’s dance and music. consistently bringing enough members together for an It began with Barbara Smith showing photos and informal gathering every four years, each time in a dif-playing excerpts of recordings she had made in Palau ferent place within Oceania. Established for sociocul- in 1963. Then Bilung Gloria Gibbons Salii, queen of tural reasons for the people of Oceania, this preeminent Koror, explained how women leaders of Palau’s states and recurring event for the presentation of the perform-were organized. She was followed by other Palauans, ing arts of the region offers not only scholars and per- including Faustina Rehuher-Marugg (director of the formers of the delegations from other island countries Belau National Museum, now minister of state), who the opportunity to experience many types of the host spoke about how the preparations for the festival had country’s traditional and evolving arts, but increasingly revalidated the Palauan people’s sense of identity, and also their contemporary popular arts, as well as how vis-Howard Charles, on how the delegations from other iting delegations choose to represent their cultures and countries were housed by the sixteen states. Other ses-identities. Participation in these informal gatherings at sions included a demonstration of how the Micronesian such festivals grew from only six persons to more than marching dance was performed in the Ogasawara Islands thirty by the 8th festival in New Caledonia in 2000, (Japan) and papers on music in Chuuk, on Guam, of where there were two gatherings. The first was hosted Banaban music and its relocation to Rabi Island (Fiji), by Raymond Amman before the festival started, and and other areas of Oceania. A farewell feast hosted by combined the social aspects of making and renewing the Palau Women’s Organization and performances of friendships and learning about each other’s interests traditional Palauan dances and contemporary dance and projects, as well as background information on bands concluded the symposium. that year’s festival. The second, at a hotel in Noumea The SG’s sixth symposium was held in Honolulu, near the end of the festival, was devoted to discussion 19–21 November 2006, immediately following the 51st of what had been seen and heard, its repertory and Annual Meeting of the Society for Ethnomusicology. staging in relation to its theme, “Paroles d’hier, paroles Except for an informal gathering of SG members d’aujourd’hui, paroles de demain” (Words of the past, in conjunction with a symposium of the Pacific Arts words of the present, words of the future). Three del-Association at the Honolulu Academy of Art,7 it was the egates from Palau also visited this second gathering to first time any SG gathering had been held in the city of tell those present about plans for the 9th festival and to its birth. Although the SG had eight informal gatherings express their hope for a large attendance. with SEM between 1986 and 1997, the conference in The close relationship between the SG and the festival Honolulu offered more meaningful interactions. Three became significantly more integrated in 2004, when its SG members presented papers in the SEM pre-confer-fifth symposium was held in Koror, Palau, 1–2 August. ence session on “Whose Asia-Pacific? Representation It immediately followed the 9th Festival of Pacific Arts, and presentation in ethnomusicology.” Adrienne the first of these festivals to be held in a Micronesian Kaeppler presented the Charles Seeger Lecture; and a country, or in any country with such a small population three-session panel called “A sea of islands: Encounters (c. 20,000) to host it. The festival’s theme, “Oltobed a with time, space, and the other” was organized by Jane Malt—Nurture, regenerate, celebrate,” clearly expressed Moulin with nine papers from SG members. At the the purpose for which the first of these festivals was SG symposium—announced with the themes “Pacific founded, and how this festival’s organizing committee strings” and “New research”—fifteen paper presenta-developed such a remarkable and smoothly-run pro- tions were read at the East-West Center, adjacent to gramme. In one memorable moment, musicians of the University of Hawai‘i at Mānoa. The programme visiting countries spontaneously created and sang new included several papers focussed on guitar and ‘ukulele, one on the Chamorro bilembaotuyan (stick zither), pre-6 First held in 1972, this event was initially called the South sentations on stringband music in Vanuatu and Papua Pacific Festival of Arts. From 1985, it became the Festival of Pacific Arts and, more recently, the Festival of Pacific Arts and Culture. It is known informally as FESTPAC. 7 Now called the Honolulu Museum of Art. 314 Barbara B. Smith, Brian Diettrich, and Kirsty Gillespie New Guinea, as well as other research. Special arrange-having only informal gatherings at the 10th festival in ments for the symposium included a performance by the Pago Pago, American Samoa, and the 11th festival in KVU Panpipe and Dance Company from Santa Isabel Honiara, Solomon Islands. This time, the SG met on Island, Solomon Islands, and a concert of Hawaiian the island of Guam, 19–21 May, just before the 12th music at the Kamakakūokalani Center for Hawaiian festival’s opening ceremony. Its 9th symposium, held Studies (University of Hawai‘i at Mānoa); as well as jointly with the Pacific History Association (PHA), had visits to the Kamaka ‘Ukulele Factory and the Pacific the theme “Performing the past, sustaining the future,” Collection of the Bernice Pauahi Bishop Museum. which was closely aligned with PHA’s of “Mo’na: Our The seventh symposium of the SG took place in pasts before us.” Paper presentations by SG members Canberra, 28 September – 1 October 2010, its third in were interspersed with those of PHA, allowing for inter-that city and fourth in Australia, clear evidence of that disciplinary engagements. A particular feature of the country’s importance to the SG’s history. This time it symposium was the involvement of Indigenous present-was held in conjunction with the Australian National ers and special sessions led by invited Chamorro per-University (ANU) School of Music’s Postgraduate formers. A panel with guest performers, organized by Symposium organized around the theme “Tangible Michael Clement Jr. (ICTM Liaison Officer for Guam records of the intangible: Collecting musical and cho-and the Mariana Islands), focussed on the genre of reographic culture in Oceania.” Keynote addresses were improvised verse called kantan chamorita, and a session delivered by Adrienne Kaeppler and Kati Szego, and called “Chant in Guåhan and across the Pacific” featured Don Niles delivered an evening ANU public lecture Leonard Iriarte, recognized as “Master of Chamorro entitled “Audiovisual archives: Researcher’s delight or chant,” and other Chamorro performance specialists. just a tease?” The programme drew attention to cur- A session called “Afro-diasporic women artists on his- rent archiving initiatives in Australia through a round- tory and blackness in the Pacific” was held jointly with table discussion on the National Recording Project PHA and included music and dance, film, and poetry, for Indigenous Performance in Australia, a discussion and a moving presentation read by Teresia Teaiwa. An initiated by Allan Marett, Neparrnga Gumbula, Aaron ensemble of bilembaotuyan (stick zithers) performed at Corn, and Sally Treloyn. Social and cultural events were the closing of the combined event. The SG planned to offered in the city’s centre, including the chance to visit hold its tenth symposium in Honolulu in June 2020, the National Museum of Australia’s temporary exhibi-and in conjunction with the 13th Festival of Pacific tion of the time, “Yiwarra Kuju: The Canning Stock Arts and Culture and the 100th birthday celebration for Route,” which gave delegates an opportunity to learn Barbara Smith, but all events were postponed due to the about an important part of Indigenous Australian his-COVID-19 global pandemic. At the time of completing tory and culture. this chapter, SG members were in discussion about new dates for a tenth symposium to be held fully online and Held 17–19 September 2014, the SG’s eighth sympo- hosted between Hawai‘i and New Zealand. sium was organized in conjunction with the annual con- ference of the Linguistics Society of Papua New Guinea (LSPNG). Activities were spread across two locations: Divine Word University in Madang town, and the Communication and publications Alexishafen Conference Centre at Alexishafen, located Newsletter s have been an important part of the SG’s outside the town. The theme for the SG’s symposium, bonding, especially because of the wide dispersal of its “Celebrating innovation and continuity,” was designed members both within Oceania and those who live else-to complement the theme of the LSPNG conference, where. After earlier notices sent by Trimillos, beginning “Celebrating Tok Pisin and Tok Ples” (Tok Pisin being in 1984, Barbara Smith prepared and airmailed short, the creole language of PNG, and tok ples the Tok Pisin tersely worded Circular s (called Newsletter s after 2001) term for indigenous languages). The programme was a that contained information she thought could be use-friendly gathering of SG members, with each presen- ful, as well as information sent by members for dissemi- tation focussed on an aspect of Papua New Guinean nation to the whole group.8 These included information performance traditions from throughout the country. such as members’ positions, addresses, research and pub-The symposium, supported by Divine Word University, lications, and upcoming conferences and meetings. As the Institute of Papua New Guinea Studies, and the the SG’s membership grew and as more members began Summer Institute of Linguistics, drew upon the many synergies that exist between the disciplines of ethnomu- 8 The SG Circular s, extending from June 1984 until August sicology and linguistics. 2001, are archived online by the University of Hawai‘i In 2016, the SG renewed the close association with the at Mānoa (https://evols.library.manoa.hawaii.edu/han- dle/10524/47070). Newsletter s and other documents since Festival of Pacific Arts that it had in Palau in 2004, after 2005 are archived on the SG’s ICTM webpage (https://ictmu- sic.org/group/music-dance-oceania). ICTM Study Group on Music and Dance of Oceania 315 Figure 2. SG members attend a business meeting at the 44th ICTM World Conference held in July 2017 in Limerick, Ireland: ( front row) Andrew Gumataotao, Stephen Wild, Michael Clement (Sr.), Adrienne Kaeppler; ( back row) Geoffrey Colson, Kirk Sullivan, Raymond Ammann, Jane Freeman Moulin, Ricardo Trimillos, Don Niles, Masaya Shishikura, Brian Diettrich (photo by Kimberly Cannady). using email, their contents expanded greatly; however, World Network to include liaison officers from more it remained a unidirectional means of communication Pacific nations, the SG responded in 2017 by estab-until September 2005, when member Keola Donaghy lishing a new fund to expand access in Oceania and set up an email list for the SG that allowed for dialogue enhance diversity within ICTM. After its approval by and discussion within the group, as well as the dissem-the ICTM Board at the 44th ICTM World Conference ination of information. The Newsletter itself continues held in Limerick, Ireland (figure 2), Brian Diettrich, as to be the principal means of communication within SG chair, announced the Music and Dance of Oceania the membership, with notices about new research and Travel Award generously gifted by Barbara Smith. To reports on significant events in Oceania. be managed by the SG, the award will provide future Beyond its regular Newsletter s and reports in ICTM opportunities for Pacific Islanders and Indigenous Bulletin s, the SG has produced four publications. Australians to participate in study-group symposia and Already described above, the first two of these proj-on special occasions at world conferences. It will ensure ects are a set of conference papers (Smith 1992) and a continued and meaningful links to ICTM from within Festschrift in honour of Barbara Smith (Lawrence and Oceania. Over the course of its history, with more than Niles 2001). The third publication (R. Moyle 2007), four decades of scholarly discussions and events, the honouring Mervyn McLean, focuses on music and SG continues to be the only such organization interna-dance encounters in the region, both historically and tionally devoted to the music and dance of this region. more recently, that emphasize the importance of sound Looking back on its history, and with an eye toward archives, as a link to McLean’s work with Māori music. its future, the Study Group on Music and Dance of The fourth publication (Gillespie, Treloyn, and Niles Oceania continues its research and celebrations about 2017) was prepared in honour of Stephen Wild, and this rich and diverse area of the globe. comprises new scholarship on “Indigenous Australia,” “Pacific Islands and beyond,” and “Archiving and aca- demia,” reflecting the research interests of both Wild References cited and the SG. Christensen, Dieter. 1991. “Hong Kong Highlights.” BICTM 79 (Oct): 18. As a central thread of its scholarship, the SG contin- Christensen, Nerthus, and Dieter Christensen. 2001. “20 Years ues to be an advocate for the peoples and cultures of ICTM in New York.” BICTM 98 (Apr 2001): 25–26. Oceania. As ICTM has increased representation in its 316 Barbara B. Smith, Brian Diettrich, and Kirsty Gillespie Gillespie, Kirsty, Sally Treloyn, and Don Niles. 2017. Eds. A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild. Canberra: Australian National University Press. Kaeppler, Adrienne, and Jacob Love. 1998. Eds. The Garland Encyclopedia of World Music, Vol. 9: Australia and the Pacific Islands. New York: Garland. Lawrence, Helen Reeves, and Don Niles. 2001. Eds. Tradition and Modernity in the Music and Dance of Oceania: Essays in Honour of Barbara B. Smith. Sydney: University of Sydney. Moyle, Alice M. 1992. Ed. Music and Dance of Aboriginal Australia and the South Pacific: The Effects of Documentation on the Living Tradition. Sydney: University of Sydney Press. Moyle, Richard. 2007. Ed. Oceanic Music Encounters: The Print Resource and the Human Resource: Essays in Honour of Mervyn McLean. Auckland: Department of Anthropology, University of Auckland. Niles, Don, and Barbara B. Smith. 2014. Compilers. “A Concise History of the ICTM Study Group on Music and Dance of Oceania.” Online: https://ictmusic.org/group/music-dance- oceania (updated 2018). Smith, Barbara B. 1984. Ed. ICTM Study Group on Oceania: Circular 1 (30 Jul). https://evols.library.manoa.hawaii.edu/ bitstream/10524/47070/3/SGMDO%20Circular%2001.pdf . ———. 1992. Ed. “The Chinese and Their Musics in the Pacific: Five Exploratory Reports from a Panel.” Association for Chinese Music Research Newsletter 5/2: 17–38. Trimillos, Ricardo. 2017. “Celebrating 40 Years of the Study Group!” ICTM Study Group on Music and Dance of Oceania Newsletter (Sep): 9. ICTM Study Group on Music and Dance of the Slavic World Ulrich Morgenstern As the current chair of the Study Group on Music and Aleksandr Serov proposed the first interdisciplinary Dance of the Slavic World, I am pleased to be in a posi-concept of an anthropologically inspired musicology, tion to write a chapter on our group, which counts which should include physiology, ethnography, cultural among the younger ones in the ICTM study group history, and philology (Zemtsovsky 2009; Morgenstern family. This chapter presents some main characteristics 2014:193). This was the same year that Guido Adler of the long history of the Slavic world in ethnomusicol-enrolled at the Viennese Conservatory. Ukrainian scien- ogy and, vice versa, of ethnomusicology in the Slavic tist and composer Pëtr Sokal’skii (1830–1887) called for world, and introduces developments within the study a comparative musical ethnography (Morgenstern 2015), group, which so far include two symposia. and his student, Klyment Kvitka, coined the term eth- Of course, there is neither a distinct phenomenon no-musicology in 1928 (Lukaniuk 2010); their innova-such as traditional music or dance of the Slavic world, tions clearly anticipate the notions of a comparative nor a distinct “Slavic” way of doing ethnomusicology. and anthropological study of music. The role of musical Actually, genres, performing styles, and musical instru-Slavistics (Slavic music studies) in ethnomusicology was ments traditionally used in Slavic-speaking countries evident during the Third Congress of the Internationale often have much in common with expressive practices of Musikgesellschaft (International musical society) in the Germanic, Romance, Baltic, Finno-Ugric, or Turkic Vienna (Internationale Musikgesellschaft 1909), where language-speaking neighbours. Furthermore, academic in section II (Exotische Musik und Folklore, chaired traditions of folkloristics and ethnomusicology of the by Erich M. von Hornbostel), five of thirteen speak-Slavic world are closely interlinked with those of the ers (most of them with Slavic backgrounds) discussed non-Slavic countries. issues of Slavic traditional music and presented inno- vative methodologies. I have to mention in particular Nevertheless, the Slavic world, in all its internal diver- Evgeniia Lineva (Eugenie Lineff), whose observations sity, has continued to contribute to what we nowadays on the social process of singing in a framework of het-consider ethnomusicological thought since the Age erophony had a definite influence on Max Weber’s of Enlightenment. For centuries, the Slavic world has Musiksoziologie (1921:61–62). provided rich possibilities for the study of traditional music and dance, both as artistic behaviour and as a This promising international dialogue was interrupted specific way of thinking, through personal experience. by the First World War and the subsequent establish-Its attractiveness, both for native and for foreign schol- ment of the Soviet Union (1922–1991). The con- ars, contributes to vivid exchanges within the interna- sequence was the forced isolation of Eastern Slavic tional scientific community. scholars from the international scientific community; later, to a greater or lesser extent, this also affected the Key concepts of folk-music research, comparative musi- rest of the Slavic world. The ICTM (IFMC), however, cology, and music anthropology were shaped very early played an important role in breaking through this in the context of traditional music of the Slavic world. isolation and in bringing scholars from the two sides Let me give some examples: the very term Volks-Musik together at academic meetings. Of all Slavic countries, was coined in an ethnographic survey on music in Yugoslavia showed the strongest presence in the IFMC Russia by German-Russian polymath Jacob von Stählin from the very beginning (4th world conference in in 1770 (Morgenstern 2014:177). A century later, the 1951, Opatija, now Croatia), followed sometime later “Russian school” of folkloristics developed theories and by Czechoslovakia (15th world conference in 1962, methods of performer-centred research that anticipated Gottwaldov, now Zlín, Slovakia).1 Nevertheless, in the many ideas of Albert B. Lord’s later studies of epics in what was then Yugoslavia. In 1868, Russian composer 1 On the role of Slavic countries in the history of the ICTM, see also Pettan (2014) who presents a full list of ICTM events In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 317–321. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 318 Ulrich Morgenstern majority of Slavic countries, travel abroad was limited Study Group on Musical Instruments: Brno to a narrow number of scholars, largely under observa- (Czechoslovakia, now Czechia) in 1967; Kazimierz tion by the secret service. The country with the weakest Dolny (Poland) in 1977; and Piran (Yugoslavia, now presence in the Council was the Soviet Union—where, Slovenia) in 1983; even in the 1980s, personal communication with for- Study Group on Historical Sources: Brno eigners, beyond official delegations, was prohibited. (Czechoslovakia, now Czechia) in 1970; Kazimierz Dolny (Poland) in 1975; and Medulin (Yugoslavia, The ideologization of academic scholarship was not now Croatia) in 1979. less disastrous. Particularly in the Soviet Union, socio- In Austria, Walter Deutsch held the Seminar für logical and intercultural approaches were increasingly Europäische Musikethnologie (1971, 1973) with pushed back (Zemtsovsky 2002:182–183) in favour of prominent ethnomusicologists from all Western Slavic nationalist and national-romanticist concepts formerly and South Slavic countries, among them Dragoslav restricted more to non-academic discourses. Narrower Dević (Belgrade), Ivan Kačulev (Sofia), Jan Stęszewski philological issues and the development of historical-ty- (Warsaw), and Julijan Strajnar (Ljubljana).2 The pological methods remained as a relatively untouched basic language for all these conferences (except those field. There were few possibilities to break the isolation in ethnochoreology) was German, international of ethnomusicologists, particularly from the Soviet musicology’s former lingua franca. Union. First of all, it was the tireless Barbara Krader, who, in the post-Stalinist thaw period, “served as a After the breakdown of the totalitarian system—and human ‘space shuttle,’ communicating news of research the generally less repressive Yugoslav “soft socialism”— and researchers between the first and second worlds,” as ethnomusicologists made many efforts to grasp the leg-Timothy Rice puts it (Rice and Slobin 2020). Krader acy of state-socialist ideology (Porter 1997; Zemtsovsky notably contributed to a discussion of certain discrep-2002) and to communicate current research in Slavic ancies between scholarly terminology in Russian and countries to an international audience (Arom and international ethnomusicology (Krader 1990). Such Meyer 1993; Pettan 1998). The 1990s were shaped by issues continue to raise many unsolved questions in the an increasing and broader integration of ethnomusicol-dialogue of “Slavic” and international ethnomusicology ogists (with very diverse scholarly profiles and orienta-until the present. tions) from the Slavic countries into international net- works such as ICTM, but also the European Seminar Collaboration between ethnomusicologists and ethno- in Ethnomusicology (ESEM). Remarkable events in choreologists of the Western Slavic and South Slavic this regard were the 34th ICTM World Conference in countries was comparatively more intensive. Here, it Nitra (Slovakia) in 1997, and the transfer of the ICTM was the more “unsuspicious” fields of style analysis, his- Secretariat to Ljubljana under the term of Secretary torical research, as well as ethno-organology, where a General Svanibor Pettan in 2011. continuous, yet restricted, dialogue was possible. For this reason, four IFMC/ICTM study groups were able Despite these important initiatives, a continuous inter-to hold very early meetings in Slavic countries during national network for the ethnomusicology of the Slavic the Iron Curtain: world has been missed until Elena Shishkina, artistic director of the State Folklore Centre “Astrakhan Song,” Study Group on Analysis and Systematization of Folk Music: Bratislava (Czechoslovakia, now held the conference “Music and dance traditions of the Slovakia) in 1965; Radziejowice (Poland) in 1967; Slavs in the modern world,” 19–21 September 2014 in Bled (Yugoslavia, now Slovenia) in 1971; and Krpácová Astrakhan, Russia. This was the founding meeting of (Czechoslovakia, now Slovakia) in 1974; the ICTM Study Group on Musics of the Slavic World, Study Group on Ethnochoreology (formerly: Folk in which the ICTM secretary general, Svanibor Pettan, Dance Commission, Folk Dance Committee, Study and Rimantas Sliužinskas (Lithuania) played a cru-Group on Folk Dance Terminology, see Giurchescu cial role. A prominent position in the programme was 2006): Gottwaldov (Czechoslovakia, now Zlín, Slovakia) reserved for issues of theory and method in past and in 1962; Strážnice and Veselý (Czechoslovakia, now Czechia) in July 1965; Celje and Velenje (Yugoslavia, present, as well as of contextual research (see Sliužinskas now Slovenia) in September 1965; Dojran (Yugoslavia, 2015a:28, and table 1). The secretary general strongly now North Macedonia) in 1966; Prizren (Yugoslavia, advocated the necessity of a new Slavic ICTM study now Kosovo, also claimed by Serbia) in 1968; Zaborow group in the interest of both ethnomusicology of Slavic- (Poland) in 1976; and Warsaw (Poland) in 1977. speaking countries and the international scholarly com- munity. He also gave an overview on the most prom- ising and urgent issues for the upcoming study group in these countries, as well as the names of all the ICTM exec- utives from the Slavic world. Here you also find an impressive (Pettan 2014:102). overview on all articles from the Yearbook for Traditional Music (and former JIFMC and YIFMC) related to Slavic topics or 2 This seminar should not be confused with the European written by authors from Slavic countries. Seminar in Ethnomusicology (ESEM), founded in 1981. ICTM Study Group on Music and Dance of the Slavic World 319 Table 1. Scholarly events of the ICTM Study Group on Music and Dance of the Slavic World. Event and themes Numbers of presenters Countries Meeting of the Study-Group-in-the-Making 21 Croatia (1), Germany (1), Lithuania (1), Russia (15), Astrakhan (Russia) 2014 Slovenia (3) Themes: Theoretical and methodological issues in Slavic music and dance Slavic music and dance in ritual contexts Historical and contemporary approaches to Slavic music and dance studies Russian Cossacks: Traditional musical culture in the past and the present 1st Study Group Symposium 26 Austria (1), Bosnia and Herzegovina (1), Czech Republic Ljubljana (Slovenia) 2016 (1), Croatia (1), France (1) , Italy (1), Lithuania (1), FYR Themes: Macedonia (2), Poland (1), Romania (1), Russia (2), Anthropology of music and musical folkloristics Serbia (1), Slovakia (1), Slovenia (6), Ukraine (3) in the Slavic-speaking world: History of ideas and ideologies Perspectives and methods of comparative and historical research on vocal and instrumental genres of traditional music of the Slavic- speaking world Selections, presentations, and transformations of traditional music practices in post-socialist Europe Recent research 2nd Study Group Symposium 26 Austria (1), Bulgaria (3), Croatia (1), Estonia (1), (North) Skopje (FYR Macedonia) 2018 Macedonia (6), Poland (2), Romania (1), Russia (3), Themes: Slovakia (1), Slovenia (5), Ukraine (2) Emic (folk) terminology for musical practices Genre conceptualizations Relationships: Music, dance and society 3rd Study Group Symposium (forthcoming) (forthcoming) Poznań (Poland) 2022 Themes: Concepts of old and new in traditional settings and in ethnomusicology and ethnochoreology Music and dance under authoritarian regimes Defining music and dance in the world of the media and digital technologies New research After its approval by the ICTM Executive Board on of Ljubljana’s Faculty of Arts. The chair of the local 30 April 2015, the study group held its first business arrangements committee was Mojca Kovačič. Of great meeting on 18 July 2015 at the 43rd ICTM World help to the young study group was, again, the rich expe-Conference in Astana (Sliužinskas 2015b; figure 1). rience and continuous commitment of ICTM Secretary The following study group executives were elected: General Svanibor Pettan. Elena Shishkina (Russia) as chair, Rimantas Sliužinskas The second study group symposium took place 22–24 (Lithuania) as vice chair, and Ulrich Morgenstern September 2018 at the Saints Cyril and Methodius (Austria) as secretary. University, Faculty of Music Art, Skopje, FYR The first symposium of the study group was held Macedonia. The local arrangements committee was 13–15 October 2016 in Slovenia by invitation of the chaired by Sonja Zdravkova-Djeparoska. Unfortunately, Institute of Ethnomusicology within the Research executives Elena Shishkina and Rimantas Sliužinskas Centre of the Slovenian Academy of Sciences and Arts, were unable to attend. and the Department of Musicology at the University 320 Ulrich Morgenstern Figure 1. First business meeting of the ICTM Study Group on Musics of the Slavic World. Astana, 18 July 2015 (photo courtesy of Rimantas Sliužinskas). Prior to the symposium, elections for the executive posi- Institute of Musicology, Adam Mickiewicz University tions were held with support of the ICTM Secretariat. in Poznań (Poland). Symposium chair is secretary As a result, Ulrich Morgenstern (Vienna, Austria) was Łukasz Smoluch; Bożena Muszkalska will serve as elected as chair, Jana Ambrózová (Nitra, Slovakia) as symposium supervisor. vice chair, and Łukasz Smoluch (Poznań, Poland) as sec- According to the mission statement, the main aims retary. At the business meeting, the newly elected exec- of the study group are to “serve for the study, prac- utives expressed their aim to work together in a most tice, documentation, preservation, and dissemination transparent and cooperative way. ICTM Vice President of traditional music (songs, instrumental music, and Svanibor Pettan sent his gratitude to the absent found-dance) of all Slavic countries and peoples.”3 In the tra- ing executives, a sentiment that was strongly confirmed dition of musical Slavistics, comparative research both by symposium participants. within the Slavic world (to mention only Volodymyr One important topic discussed in Skopje was the name of Hoshovsky, Anna Czekanowska, and Alica Elscheková) the study group. Motivated by the strong presence of eth-and with non-Slavic traditions (Nikolai Kaufman, nochoreologists, a large majority of the members voted Izaly Zemtsovsky, Ihor Macijewski, Ewa Dahlig-Turek, for renaming of the group: from ICTM Study Group on Rimantas Sliužinskas, and many others) is a key issue of Musics of the Slavic World to ICTM Study Group on the group, alongside in-depth, context-oriented, local Music and Dance of the Slavic World. This decision was ethnographies. Other topics, continuously debated at later approved by the ICTM Executive Board. study group symposia, are theory and method in his- At the business meeting, two main agendas for the tory and at present within the Slavic countries, and immediate future were proposed. First, the publication their relation to contemporary trends in international of contributions from the first and second symposia in ethnomusicology. An integral part of the study group a peer-reviewed book (Zdravkova Djeparoska 2020). is music and dance in social processes in the contem-Second, the construction of a new study group website, porary Slavic world, particularly with an intercultural administered by Jana Ambrózová. During the meeting, perspective and a special focus on the urban area. These a number of key points for future study group statutes key issues of theoretical folkloristics (Alan Dundes) were discussed and approved (see Morgenstern and have a long tradition in ethnomusicology of the Slavic Ambrózová 2019). countries too: for example, Croatian ethnomusicologist The third symposium of the study group is planned to be held on 20–23 October 2022, by invitation of the 3 See http://ictmusic.org/group/music-dance-slavic-world. ICTM Study Group on Music and Dance of the Slavic World 321 Jerko Bezić (cf. Marošević 1998) and Ukrainian folklor- Gritsa [Hrytsa], Sofiia I. 1983. “Funktsional’nyi mnogourovnevyi ist Sofiia Hrytsa (Gritsa 1983). analiz narodnogo tvorchestva” [Functional multilayer analysis of folk art]. In Metody izucheniia fol’klora, edited by Viktor The history of our young group has convincingly shown Gusev, Izalii Zemtsovskii, and Igor‘ Matsievskii, 45–53. that the idea of a “Slavic” study group, as well as the Leningrad: LGITMiK. Internationale Musikgesellschaft. 1909. Haydn-Zentenarfeier: topics proposed, were met with an enthusiastic response III. Kongreß der Internationalen Musikgesellschaft, Wien, 25. in international ethnomusicology. This can be seen in bis 29. Mai 1909 [Haydn centenary: Third congress of the the large number of participants at the first two study International Musical Society, Vienna, 25–29 May 1909] . group symposia, and the growing number of countries Vienna: Artaria & Co.; Leipzig: Breitkopf & Härtel. Krader, Barbara. 1990. “Recent Achievements in Soviet represented. At present, more than seventy people are Ethnomusicology, with Remarks on Russian Terminology.” active members or directly associated with the study YTM 22: 1–16. group. It is understandable that in an international eth- Lukaniuk, Bohdan. 2010. “On the History of the Term ‘Ethnomusicology.’ ” Folklorica 15: 129–154. https://journals. nomusicological research group different concepts of ku.edu/index.php/folklorica/article/view/4028/3817. how to define traditional music and different research Marošević, Grozdana. 1998. “The Encounter between Folklore priorities come together. The study group executives are Studies and Anthropology in Croatian Ethnomusicology.” The World of Music 40/3: 51–81. convinced that such divergences are not at all a disad- Morgenstern, Ulrich. 2014. “Zehn populäre Vorurteile über vantage, but stimulate a productive exchange of opin- Volksmusik” [Ten popular prejudices on folk music]. Jahrbuch ions in a spirit of intellectual pluralism and in a cooper- des Österreichischen Volksliedwerkes 63: 177–195. ative atmosphere. ———. 2015. “Folk Music Research in Austria and Germany: Notes on Terminology, Interdisciplinarity and the Early In my opinion, the Study Group on Music and Dance History of Volksmusikforschung and Vergleichende Musikwissenschaft.” Musicologica Austriaca / Journal for of the Slavic World is the best possible place for Austrian Music Studies. http://www.musau.org/parts/ • a comparative study of music traditions of the neue-article-page/view/17. Slavic peoples and their neighbours, including eth- Morgenstern Ulrich, and Jana Ambrózová. 2019. “Music and nic minorities within Slavic countries, from both Dance of the Slavic World.” BICTM 139 (Jan): 27–29. Pettan, Svanibor. 1998. Ed. “Music and Music Research in an anthropological and a historical perspective, Croatia.” Special issue, The World of Music 40/3. • discussion of the intellectual traditions of music ———. 2014. “International Council for Traditional Music anthropology in the Slavic world in an interna- (ICTM) and the Slavic-Speaking World.” Pax sonoris 8: tional framework, 97–103. Porter, James. 1997. Ed. Folklore and Traditional Music in the • a better integration of scholars of the Slavic coun- Former Soviet Union and Eastern Europe: Proceedings of a One- tries into the international academic community, day Conference, May 16, 1994, Sponsored by the Department overcoming the long-term effects of their forced of Ethnomusicology and the Center for European and Russian isolation. Studies, under the Auspices of the International Studies and Overseas Programs, UCLA. Los Angeles: Department of Last but not least, I may say that at symposia of the Ethnomusicology, UCLA. Study Group on Music and Dance of the Slavic World, Rice, Timothy, and Mark Slobin. 2020. “Barbara Krader (1922–2006): Memorial Citation by Timothy Rice (UCLA) several speakers proved to be excellent performers as with Mark Slobin (Wesleyan University).” Society for well. For me, the informal singing during our lunch Ethnomusicology. https://www.ethnomusicology.org/page/ in the Makedonsko selo after the 2nd symposium in SF_Memorials_Krader (accessed 21 Jul 2020). Skopje was particularly impressive. The extensive per- Sliužinskas, Rimantas. 2015a. “Musics of the Slavic World.” BICTM 128 (Apr): 28–29. formance of Macedonian, Bulgarian, Polish, Slovak, and ———. 2015b “Musics of the Slavic World.” BICTM 129 (Oct): Ukrainian songs was not only due to the high spirits at a 50–51. closing event; rather, the situation confirmed the shared Weber, Max. 1921. Die rationalen und soziologischen Grundlagen der Musik [The rational and sociological foundations interest among the study group members in practical of music]. Introduction by Theodor Kroyer. München: aspects of diverse expressive cultures of the Slavic world. Drei-Masken-Verlag. Zdravkova Djeparoska, Sonja. 2020. Ed. Tradition and Transition: A Selection of Articles Developed from Paper Presentations at the First and the Second Symposia of the ICTM Study Group on References cited Music and Dance of the Slavic World. Skopje: ICTM National Committee of Macedonia. Arom, Simha, and Christian Meyer. 1993. Eds. Les polyphonies Zemtsovsky, Izaly. 2002. “Musicological Memoirs on Marxism.” populaires russes: Textes réunis et traduits par Anne-Hélène In Music and Marx: Ideas, Practice, Politics, edited by Regula Trottier. Paris: Éditions Créaphis. Burckhardt Qureshi, 167–189. New York: Routledge. Giurchescu, Anca. 2006. “History of the ICTM Study Group on ———. 2009. “A Model for a Reintegrated Musicology.” Revista Ethnochoreology.” In Dance and Society: Dancer as a Cultural de etnografie si folclor / Journal of Ethnography and Folklore 1–2: Performer; Re-appraising Our Past, Moving into the Future; 40th 93–107. Anniversary of Study Group on Ethnochoreology of International Council on Traditional Music, 22nd Symposium of the ICTM Study Group on Ethnochoreology, Szeged, Hungary, 2002, edited by Elsie Ivancich Dunin, Anne von Bibra Warton, and Laszló Felföldi, 252–263. Bibliotheca Traditionis Europae. Budapest: Académia Kiadó, European Folklore Institute. ICTM Study Group on Music and Minorities Ursula Hemetek As I have been a founding member of this study group invited to take part in this historical conference included and its chair, 1999–2017, this text will also include his colleagues from Yugoslavia, from neighbouring personal accounts, because this study group has been countries (Austria, Hungary, Italy), and from Germany and still is a major part of my academic life. I will first … Most presenters tried to point out interethnic con-outline the history before and after the establishment of nections” (Pettan 2012:450). Bezić (1986) was respon-the study group, and then focus on terminology, as this sible for a publication following this conference. is an issue that seems to have been crucial for the group I was privileged to attend that conference, which was over the years. my first international conference. As a young PhD stu- dent with no international experience, what I remem- ber best was the personality of Bezić, who was the most History I—Becoming: The path to the integrative figure of the whole event. Due to a lack of establishment of the group professional translators, he actually did all translations himself, as he was fluent in Serbo-Croatian, Slovenian, When I started work on my dissertation project in Italian, English, and German. He actually did a lot of 1979 at the Institute of Musicology of the University of intercultural communication by taking on this role. Vienna, supervised by Franz Födermayr, I had no idea For me, being in the process of writing my dissertation what would develop out of this research. The now-ex-on a minority, the Burgenland Croats, it was a crucial isting network of an internationally well-positioned experience to see that minorities could be a topic for focus on music and minorities, which is currently very a whole international conference. There were similar influential in ethnomusicology in general, was not even problems and approaches at an international level and in the planning stages at that time. My dissertation, mutual understanding amongst colleagues from differ-finally finished in 1987, was entitled “Hochzeitslieder ent regions due to their shared experience of studying aus Stinatz: Zum Liedgut einer kroatischen Gemeinde minorities. Probably unconsciously, the idea for my des Burgenlandes” (Wedding songs from Stinatz: On later activities was born there and was also due to the the song repertory of a Croatian village in Burgenland) personal contacts I made during this experience. (Hemetek 1987). The focus was on Burgenland Croats, one of the so-called “autochthonous” minorities in Much later, when I had started to do research on Roma Austria. I was actually conducting ethnomusicological music in 1989 (see Hemetek 2006), I actively contacted minority research, but at the time there was no such some of the people I had met in Zagreb, as I felt rather terminology nor any institutional focus. What did exist alone with this research topic in Austria. One of the was research on minorities in other disciplines, such as first was Svanibor Pettan, who at that time was based ethnology, geography, or political science, which could in Croatia, and Anca Giurchescu in Denmark, both have served as models to a certain extent. of them doing research on Roma music and dance. I found them within the ICTM, the largest international To my knowledge, and according to Svanibor Pettan— network of ethnomusicologists worldwide. who outlined the history of the ICTM Study Group on Music and Minorities in an article (Pettan 2012)— Within my institution, the Department of Folk Music the first internationally visible event with the keywords Research and Ethnomusicology (at that time, the “music” and “minorities” took place in 1985 in Zagreb. Institute for Folk Music Research), I received sup-The key person was Jerko Bezić, the representative of port from its founder and at that time its director, the host institution: Zavod za istraživanje folklora Walter Deutsch, to do research on minorities, as well Instituta za filologiju i folkloristiku (currently, Institute as international networking. In 1990, a conference of Ethnology and Folklore Research). “Those whom he was organized by the department called “Volksmusik In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 322–328. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Music and Minorities 323 ethnischer Gruppen.” In 1994—with the help of the cussion of terminology. This discussion took place in former Austrian ICTM Liaison Officer Emil Lubej— 1998, again in Vienna, and involving a smaller group we managed to organize the international symposium of people. The outcome was a less political definition of “Traditional Music of Ethnic Groups / Minorities,” the term “minorities”: “Groups of people distinguished which resulted in the publication Echo der Vielfalt / from the dominant group for cultural, ethnic, social, Echoes of Diversity (Hemetek 1996), with twenty-three religious or economic reasons.” contributions representing a wide range of themes and Finally, the study group was ready to hold its founda-countries. The symposium, as well as the publication, tion business meeting during the ICTM world confer-was the point of departure for the establishment of an ence in Hiroshima in 1999. Information on operating ICTM Study Group on Music and Minorities. procedures, terminology, as well as on elections had The whole process went slowly, probably because of the been sent to those who had expressed interest. During political implications associated with such a topic. In this meeting, the operating procedures were approved order to make things move more quickly, I asked some (still in use, see website),1 as well as the definition of the colleagues to participate in a roundtable on the topic term “minority.” The first elected officials of the study at the ICTM world conference in 1997 in Nitra. It group were: Ursula Hemetek (chair), Svanibor Pettan showed the diverse approaches and wide range of topics (vice chair), and Anca Giurchescu (secretary). Pettan that we considered to be part of the discussions of such extended an invitation to hold the first study group a study group: symposium in Ljubljana in 2000, which was accepted. Max Peter Baumann (Germany): Indigenous peoples as The following themes for this symposium were also minority groups and immigrants in Germany approved: Music and dance of minorities: Research tra- Anca Giurchescu (Denmark): Migrant communities ditions and cultural policies; Music/dance and identity and the problem of identity in Denmark in minority cultures; Minorities in Slovenia and neigh- Svanibor Pettan (Croatia): Refugees and their integra- bouring regions (figure 1). tion through processes of applied ethnomusicology The group had eighty members at that time, which Eva Fock (Denmark): Youngsters of Pakistani, was quite large for a newly founded body compared to Moroccan, and Turkish backgrounds and their musical other ICTM study groups. The minutes of the business identities meetings were regularly published in the Bulletin. It also Iren Kertesz-Wilkinson (UK): The Gypsies as a minor- was decided to hold business meetings every year: this ity the world over means also during world conferences, which turned out Jerko Bezić (Croatia): Experiences in international to be successful in terms of spreading information about cooperation and minority groups. the study group among the membership of the ICTM. The panel was very well attended. When we finally spoke about the plan to establish a study group, the audience supported this idea enthusiastically and signed a letter History II—Being: The study group’s to the ICTM president (at that time, Anthony Seeger) activities and Executive Board, from which I quote here because I think the argument is still very much in accordance The first study group symposium was held in Ljubljana, with the aims of the study group: Slovenia, 25–30 July 2000. I quote from my report in Let me begin with some background information: the Bulletin: throughout the world, minorities and majorities form The first Study Group Meeting of our very young Study out of contrasting relationships to one other. The Study Group was organised … by Svanibor Pettan and hosted Group understands minorities to mean underprivi- by the Institute of Ethnomusicology at the Scientific leged groups within national states: migrants, refugees, Research Center of the Slovenian Academy of Sciences autochthonous/ethnic groups, indigenous peoples and and Arts. Hospitality and organisation was marvellous religious communities, among others. Underlying the and presentations of inspiring papers were followed by relationship between minorities and majorities lies the good discussions … As expected, most papers focused same imbalance of social and economic conditions, an on identity, on the relationship between music and imbalance that accounts for many similar situations identity. Many colleagues from Slovenia did research on an international level … The Round Table discus- on the minority situation “at home.” One minority, the sion, held on June 26 and entitled “Ethnic Groups/ Roma, a minority world-wide, became the topic of a Minorities,” was attended by 60 colleagues, and the whole day. (Hemetek 2000:24) idea of forming a Study Group met with great inter- est and was strongly supported. (letter to the Executive I also noted in my report that the study group was grow-Board, 27 June 1997) ing rapidly; there were already 110 members. In the The answer was that the EB had “tentatively” accepted business meeting, the study group decided to be active the study group. What they asked for was further dis-1 http://ictmusic.org/group/music-and-minorities. 324 Ursula Hemetek Figure 1. Svanibor Pettan and Ursula Hemetek, during the study-group symposium at the University of Music and Performing Arts. Vienna, July 2018 (photo by Carlos Yoder). during the world conference in Rio (2001), and that finally did. Of course, it is crucial to develop theories the next location for our symposium would be Lublin, and methods for a newly established direction in ethno-Poland, upon invitation of Anna Czekanowska. That the musicological research. That is why I will dedicate more symposium resulted in an edited volume of the papers is attention to this subject below. crucial in my mind, since this was our first study group The topic “Interethnic problems of borderlands” was book (Pettan, Reyes, and Komavec 2001). It contains chosen by the local organizer as it seemed crucial for many articles that continue to be cited frequently. Poland and its history. During this conference, the topic I am convinced that this good start with a symposium, of religious minorities appeared, although it had not as well as the resulting publication, added a lot to the been mentioned in the call for papers. During the busi-further fruitful development and success of the study ness meeting, the chair and vice chair were re-elected. group, because it served as a model for subsequent sym- The publication following this conference did not posia. The model of the social programme, including appear as quickly as the first one, but came out in 2004 many musical events as well as an excursion day, would (Hemetek et al. 2004) and was launched at the third also be repeated by subsequent local organizers. symposium, which took place 27 August – 3 September In the following section, I will only outline some main in Roč, Croatia. characteristics of the biannual symposia up to 2020. All The Roč meeting was organized by Naila Ceribašić, the information about programmes is available on the Irena Miholić, and other ethnomusicologists from the study group’s website. Institute of Ethnology and Folklore Research from The second study group symposium was held 25–31 Zagreb, as well as local people from Roč. This location August 2002 in Lublin, Poland, organized by Anna was quite an experience, because it is actually a small Czekanowska, Piotr Dahlig, and Jacek Piech. One of village, and it was difficult to accommodate all the parthe themes was theory and methods. It was promoted ticipants in private rooms and a small hotel nearby. The for the first time in Lublin, and it reappeared quite meeting was held in the local primary school building, often in the programmes of subsequent symposia, but which caused some problems for technical equipment, there were never many paper proposals for this topic. but Miholić managed to solve them all. The atmos-Everyone felt the need to deal with it, but only a few phere of the small village, especially during the evening concerts on an open-air stage in front of the church, ICTM Study Group on Music and Minorities 325 was unforgettable for me. Although the meeting only history of the study group, the symposium had a key-attracted about forty participants, the study group at note speaker: Bruno Nettl. One reason for asking him that time already had 170 members. was his biographical connection to Prague. He was born In this symposium, applied ethnomusicology appeared there and lived in the city before his family fled from the as a topic for the first time and turned out to be very Nazis to the United States in 1938. Unfortunately, he successful. Of course, it was crucial as sociopolitical could not attend the meeting in person due to sudden engagement was very much connected to minority illness, but his keynote was presented and also included research for many colleagues. From the discussions durin the subsequent publication edited by Jurková and ing this meeting, one panel for the upcoming world Bidgood (2009). As the conference took place at the conference in Sheffield in 2005 developed: “Applied same time as the famous Khamoro Roma music festival, ethnomusicology and studies on music and minorities: the social programme consisted of many Roma music The convergence of theory and practice,” which subse-events. Roma music also featured as one of the topics. quently resulted in an article (Hemetek 2006). Gender This was one of the largest study group symposia, fea-issues appeared for the first time in some papers, turing more than sixty presentations. Elections took although they did not yet feature as a topic. For both place during the business meeting, and all officials were these directions in ethnomusicology—that is, applied re-elected. During that meeting, an invitation for the ethnomusicology and gender—there are now very next study group symposium was extended that met active study groups, which proved to somewhat over-with surprise, but also enthusiasm: Vietnam, namely lap with minorities. Joint meetings were organized later the Institute of Musicology in Hanoi, offered to host with both of them (in 2010 and 2018). The publica-the next symposium in 2010. This was to be our first tion following the Roč symposium was edited by Naila study group symposium outside Europe. In the course Ceribašić and Erica Haskell (2006). of its preparation—due to the strong connection to During the 2005 world conference in Sheffield, a applied ethnomusicology—it ultimately turned out to change in the study group’s board members took place. be the first joint study-group meeting in the history Anca Giurchescu resigned as secretary, and Adelaida of ICTM. Reyes was elected. The sixth symposium was held in Hanoi, Vietnam, The fourth study group symposium took place 25 19–30 July 2010, and was organized by Lê Văn Toàn, August – 1 September 2006 in Varna, Bulgaria, and the director of the Institute for Musicology, and his was organized by Rosemary Statelova and her team. team. I quote from the call for proposals, because it The topic of hybridity appeared here for the first time shows the innovation in the development: and definitely had an impact on subsequent discourse. Since its official recognition by the International It was further developed in presentations at later con- Council for Traditional Music in 1997, the Study Group ferences. Race, class, gender, and education were now on Music and Minorities has met biennially in Europe. In 2010, for the first time, the Study Group will be explicitly named as topics for the first time. meeting in Asia from July 19 to July 30. Doubling the The discussion on terminology and on the mission significance of the event is the meeting of the Applied statement was very important and lively. The final out- Ethnomusicology Study Group, which will take place in tandem with that of the Music and Minorities Study come was a slightly changed definition: minorities are Group in Hanoi. While each Study Group will have its “groups of people distinguishable from the dominant own Program Committee, its own themes and separate group for cultural, ethnic, social, religious, or economic symposia (Minorities: 19–24 July, Applied: 27–30 July) reasons” (changes indicated in italics). And there was a joint session is planned on Halong Bay, a UN World also a new mission statement: Natural Heritage site (25–26 July). (http://ictmusic. org/group/music-and-minorities) The Study Group focuses on music and minorities by means of research, documentation, and interdis- There were enough proposals for the joint session ciplinary study. It serves as a forum for cooperation which could be presented in unique sessions: partic-among scholars through meetings, publications, and ipants spent two days on boats in Halong Bay. The correspondence. model of a joint meeting proved to be successful, and Both texts were replaced by new ones at the 2018 busi- other study groups followed this example.2 For the ness meeting in Vienna. For twelve years, they served first time, the publication following the event was not their purpose, although discussions were ongoing and published by the local organizer because of organiza-sometimes controversial. The publication following the tional problems. It was finally issued in an online ver-Varna conference (Statelova et al. 2008) was presented at the fifth symposium that was held 24 May – 1 June 2008 in Prague, Czech Republic, and organized by 2 Svanibor Pettan at that time served as chair of the Study Group Zuzana Jurková and her team. For the first time in the on Applied Ethnomusicology and vice-chair of the Study Group on Music and Minorities. 326 Ursula Hemetek Figure 2. Participants of the 10th symposium of the study group. Vienna, July 2018 (photo by Carlos Yoder). sion (Hemetek 2012), again presented at the following The ninth symposium was held 4–10 July 2016, at the study-group symposium. Université de Rennes 2, Brittany, France, organized by At the 2011 ICTM World Conference in St. John’s, a Yves Defrance and his team. New themes were local and new executive committee was elected. Svanibor Pettan, national languages—a topic which was very important who had been the vice chair of the study group, assumed for the local organizer due to the political situation in the position of ICTM secretary general and was replaced Brittany—and minorities within minorities. The proas study group vice chair by Adelaida Reyes. The new ceedings were published in 2019 (Defrance 2019). secretary was Terada Yoshitaka. The business meeting at the 2017 ICTM World The seventh symposium was held in the Academic Conference in Limerick, Ireland, brought a new lead-College of Zefat, Israel, 7–12 August 2012, and was ership team. As I was appointed ICTM secretary gen-organized by Essica Marks and her team. Reappearing eral during this conference I resigned as study group topics were methodology, as well as education. An chair. The secretary, Yoshitaka Terada, resigned as well. influential, new topic was the representation of Elections were held with the following results: Svanibor minority musics in film and video, allowing critical as Pettan (chair), Adelaida Reyes (vice chair), and Hande well as affirmative approaches. The experience of liv-Sağlam (secretary). ing for a week in one of the “holy cities” and one of For the tenth symposium, the study group revisited the orthodox centres of Judaism, which at the same Vienna, where it had all started in 1994. The sympo-time hosts one of the most progressive colleges offer- sium was held 23–30 July 2018 and was the second joint ing courses on Arab music (where the conference was meeting in the history of the study group, this time with held), was quite an experience for many of us. There the Study Group on Music and Gender. The hosting were fewer presentations than in Hanoi, but the pub-organization was once again the Department of Folk lication contained a good number of papers, some Music Research and Ethnomusicology at the University of them important for further discussion (Hemetek, of Music and Performing Arts Vienna, the department Marks, and Reyes 2014). For the first time, a dou-that I chair. Most of the department’s staff were active in ble-blind peer-reviewing process was applied, which the organization (Nora Bammer, Marko Kölbl, Martina became the model for future publications. Krammer, Hande Sağlam, and myself). The meeting The eighth symposium was hosted by the National was one of the largest in the history of the study group: Museum of Ethnology (Minpaku) in Osaka, Japan, 70 active participants (lecturers and chairs) plus around 18–24 July 2014, and was organized by Terada Yoshitaka 60 listeners, from 39 counties and 6 continents. This and his team. The theme of gender and sexuality reap-is remarkable, even for an ICTM event, and speaks of peared. Novelties were topics like cultural politics the attractiveness of the topics and the event location and tourism, and, for the first time, new research was (figure 2). The themes featured important discourses as included as a category. There was a noteworthy keynote a reaction to political circumstances, such as “music and by Ricardo Trimillos. At the business meeting, all of the migration—dislocation and relocation.” Terminology incumbent officials—Ursula Hemetek (chair), Adelaida also reappeared as a topic.3 A peer-reviewed publication Reyes (vice chair), and Terada Yoshitaka (secretary)— is expected in 2022. were re-elected unanimously. The proceedings were published after several years (Hemetek, Naroditskaya, 3 Terminology had been discussed at the ICTM world confer-and Terada 2021). ence in Limerick in 2017 in a remarkable panel organized by Adelaida Reyes. As a follow-up, this subject was chosen as a theme for the symposium. Again, few proposals on the topic ICTM Study Group on Music and Minorities 327 Due to discussions during the conference, the defini- distinct, both parts of a single social organism” (Reyes tion of the term “minority” was changed in the business 2007:22). meeting of the study group: Reyes also argues why minority research did not emerge For the purpose of this Study Group, the term minor- earlier in the discipline, and she sees its emergence as ity means communities, groups and/or individuals, being connected to the field of urban ethnomusicology: including indigenous, migrant and other vulnerable groups that are at a higher risk of discrimination on in a scholarly realm built on presumptions of cultural grounds of ethnicity, race, religion, language, gender, homogeneity, there was no room for minorities … The sexual orientation, disability, political opinion, and conditions that spawn minorities—complexity, hetero- social or economic deprivation. geneity, and non-insularity—are “native” not to sim- ple societies but to cities and complex societies. (Reyes The Study Group focuses on music and minorities by 2007:22) means of research, documentation and interdisciplinary study. It serves as a forum for cooperation among schol- I think it is important to note that when this study group ars through meetings, publications and correspondence. came into existence, the field was prepared for such activ- (http://ictmusic.org/group/music-and-minorities) ities insofar as certain old theories of the discipline had During the business meeting at the 2019 ICTM World already been abandoned. Urban ethnomusicology was Conference in Bangkok, Thailand, the themes for the already established, and we did not have to do pioneering next symposium were discussed and the location of work to challenge old-fashioned models like a supposed Uppsala, Sweden, was announced. Later on, due to “homogeneity” of musical cultures. Heterogeneity and COVID-19 restrictions, the symposium planned for hybridity have proven to be important theoretical models July 2020 had to be postponed to October 2021. I also within the study group’s discourses. introduced the newly founded Music and Minorities One field of controversy was connected to “authentic-Research Center (MMRC) at the University of Music ity” and had much to do with the different concepts and Performing Arts in Vienna. The MMRC is, of of folk-music research in search of “national” musical course, closely connected to the ICTM study group. I expression, on the one hand, and modern ethnomusicol-quote from the minutes: ogy, on the other. These discourses were also connected In 2018, Prof. Ursula Hemetek was awarded the to Roma music. In an article called “Encounter with Wittgenstein Prize for her outstanding research and ‘The Others from Within’: The Case of Gypsy Musicians exceptional academic work, particularly in her ground-breaking work in researching minorities’ music. The in Former Yugoslavia,” Svanibor Pettan interlocks the award’s aim is to extend the research possibilities of the object of research with the research tradition and meth-awardee and her team within a five-year time frame. For odology itself. In my interpretation of his article, there this purpose, … at this point, MMRC has established is a clear dichotomy between conservative folk-music its Advisory Board and has its home team. MMRC’s research and modern ethnomusicology. And these are aim is to create a structural basis for ethnomusicologi-personified in the objects of research. The Roma have cal research of minorities. (Study Group on Music and Minorities 2019:2–3) been living in the territory of the former Yugoslavia for decades, but are still defined as the “other.” Pettan sug- gests that because of their lack of a sense of national belonging, because they adopt any music that can be Terminology, theories, and methods used creatively and therefore have no “national” musi- Terminology, namely the definition of the research cal idiom, Roma musicians personify the counterpart to “object”—minorities—seemed to be crucial from the what conservative folk-music research is searching for. very beginning and has continued to be so. Adelaida He argues: Reyes kept reminding us: “our definition is always the Dispersed all over the world, having no nation-state of most useful one for the time being, but the discussion their own, and even lacking a strong sense of belonging process is ongoing” (pers. comm.). She was also the one to a national (Gypsy) body, Gypsies seem to person- ify conditions that are as far as possible removed from who strongly argued that great attention should be paid conditions a (conservative) folk music researcher would to migration, as “migration creates one of the largest, wish for his or her own ethnic group. Gypsy musicians if not the largest, human groups out of which minori- do not perform one “Gypsy folk music” and even do ties emerge” (Reyes 2001:38), and to the relationality of not necessarily distinguish between own and adopted the term, because without a dominant group there are music. (Pettan 2001:132) no minorities: “these require a minimal pair—at least In my experience over the years, conservative folk-mu-two groups of unequal power and most likely culturally sic research, as noted by Pettan, although present at the beginning, has disappeared from the study group’s papers. were submitted, but one paper in particular by Naila Ceribašić Doing research on marginalized groups was not that functioned as an incentive for discussions in the business new, as I have mentioned above. But dealing with paral- meeting. 328 Ursula Hemetek lels, with certain repeated patterns, comparing different ———. 2006. “Applied Ethnomusicology in the Process of the groups and thereby gaining insight into mechanisms Political Recognition of a Minority: A Case Study of the of discrimination and how to react musically, that was Austrian Roma.” YTM 38: 35–58. ———. 2012. Ed. Music and Minorities in Ethnomusicology: rather new. The fact that music might play a special role Discourses and Challenges from Three Continents. for marginalized groups, and that there might be paral- Klanglese, 7. Wien: Institut für Volksmusikforschung und lels worldwide, was an approach which was considered Ethnomusikologie. Hemetek, Ursula, Gerda Lechleitner, Inna Naroditskaya, and Anna a novelty. Czekanowska. 2004. Eds. Manifold Identities: Studies of Music Concerning methods, applied ethnomusicology seems and Minorities. London: Cambridge Scholars Press. Hemetek, Ursula, Essica Marks, and Adelaida Reyes. 2014. to have become increasingly influential in studies on Eds. Music and Minorities from Around the World: Research, music and minorities—especially concerning the socio- Documentation and Interdisciplinary Studies. Newcastle upon political aspects. The ethnomusicological concept of Tyne: Cambridge Scholars Publishing. Hemetek, Ursula, Inna Naroditskaya, and Terada Yoshitaka. 2021. dialogical knowledge production has also become more Eds. Music and Marginalisation: Beyond the Minority-Majority important, and decolonizing knowledge production is Paradigm. Osaka: National Museum of Ethnology. gaining in influence, functioning as a theory and as a Jurková, Zuzana, and Lee Bidgood. 2009. Eds. Voices of the Weak. Prague: Slovo. method. The broadening of the scope of themes and Pettan, Svanibor. 2001. “Encounter with ‘The Others from approaches is also mirrored in terminology. Within’: The Case of Gypsy Musicians in Former Yugoslavia.” The World of Music 43/2–3: 119–137. Although the first-suggested definition of minorities ———. 2012. “Music and Minorities: An Ethnomusicological tried to include discrimination as the common denomi-Vignette.” In New Unknown Music: Essays in Honour of Nikša nator by using the term “underprivileged” (see above)— Gligo, edited by Dalibor Davidović and Nada Bezić, 447–456. Zagreb: DAF. which was not accepted by the Executive Board due to Pettan, Svanibor, Adelaida Reyes, and Maša Komavec. 2001. Eds. it being too “political”—I think the definition suggested Glasba in manjšine / Music and Minorities. Ljubljana: ZRC in 2018 is more precise and much broader, but still very Publishing, Institute of Ethnomusicology SRC SASA. much in concordance with the original suggestion. The Reyes, Adelaida. 2001. “Music, Migration and Minorities: Reciprocal Relations.” In Glasba in manjšine / Music and naming of categories such as gender, sexual orientation, Minorities, edited by Svanibor Pettan, Adelaida Reyes, and and disability underlines the sociopolitical relevance of Maša Komavec, 37–45. Ljubljana: ZRC Publishing, Institute these discourses. of Ethnomusicology SRC SASA. ———. 2007. “Urban Ethnomusicology Revisited: An Assessment I am convinced that the lively discussion process will of Its Role in the Development of Its Parent Discipline.” go on within this forum, and I will be happy to be part In Cultural Diversity in the Urban Area: Explorations in Urban Ethnomusicology, edited by Ursula Hemetek and of these very inspiring discourses. In its twenty years Adelaida Reyes, 15–26. Klanglese, 4. Wien: Institut für of existence, the ICTM Study Group on Music and Volksmusikforschung und Ethnomusikologie. Minorities has proven that minorities are a relevant Statelova, Rosmary, Angela Rodel, Lozanka Peycheva, Ivanka Vlaeva, and Ventsislav Dimov. 2008. Eds. The Human World topic in ethnomusicology, and I am sure it will develop and Musical Diversity. Sofia: Institute of Art Studies. in new, probably as yet unexpected directions, because Study Group on Music and Minorities. 2019. “Minutes: 21st there is great potential here for adding to the discourses Business Meeting of the Study Group on Music and Minorities, Bangkok, 17 July 2019 at 13:00.” 4 pp. https:// of the discipline. www.ictmusic.org/sites/default/files/users/user-609/2019_ Minutes%20of%20the%2021th%20StG%20Businness%20 Meeting_Bangkok.pdf. References cited Bezić, Jerko. 1986. Ed. Glazbeno stvaralaštvo narodnosti (narodnih manjina) i etničkih grupa / Traditional Music of Ethnic Groups – Minorities. Zagreb: Zavod za istraživanje folklora. Ceribašić, Naila, and Erica Haskell. 2006. Eds. Shared Musics and Minority Identities. Zagreb – Roč: Institute of Ethnology and Folklore Research – Cultural-Artistic Society “Istarski željezničar.” Defrance, Yves. 2019. Ed. Voicing the Unheard: Music as Windows for Minorities: Proceedings of the Rennes Symposium of the ICTM Study Group Music and Minorities, 4–8 July 2016. Paris: L’Harmattan. Hemetek, Ursula. 1987. “Hochzeitslieder aus Stinatz: Zum Liedgut einer kroatischen Gemeinde des Burgenlandes.” PhD dissertation, Universität Wien. ———. 1996. Ed. Echo der Vielfalt: Traditionelle Musik van Minderheiten – ethnischen Gruppen / Echoes of Diversity: Traditional Music of Ethnic Groups – Minorities. Wien: Böhlau Verlag. ———. 2000. “Study Group on Music and Minorities – First Meeting – Ljubljana 2000.” BICTM 97 (Oct): 24–25. ICTM Study Group on Music Archaeology Arnd Adje Both Music archaeology: Research on the thousands of years, only instruments made from mate- sounds and musics of the past rials such as bone, ivory, antler, shell, teeth, or stone scarcely survive in the archaeological record. Nothing is As acknowledged by UNESCO, music in all its facets, known about possible instruments made from perisha-including music-related activities such as instrument ble materials. Since Neolithic times, from about 8,000 making or dance, form part of what today is considered years ago onwards, ceramic sound tools were produced, intangible cultural heritage. Therefore, these activities which are sometimes preserved intact and even playa-are a valuable subject of research, documentation, and ble today: rattles, flutes, trumpets, and drums, the latter preservation. Yet, the sounds and musics of the past obviously found without hide. Instrument finds made seem to be gone forever—at least before 1877, the year from metal and less-durable organic materials, includ-when Thomas Alva Edison invented the phonograph. ing the earliest stringed instruments, are so far only The only traces left of the infinite voices of bygone eras known since the Bronze Age, from about 4,500 years are in many cases only sonic relics, whose value can- ago onwards. not be underestimated: these are archaeological musical The archaeological material provides a rich source for instruments and sound tools, which are sometimes dis- the study of organological knowledge and develop-played, but, to a greater extent, stored in hundreds of ments, production techniques, cultural interactions, museums and private collections worldwide. trade, and migration. In terms of archaeoacoustics, the The activity of instrumental sound-making must potential sound range of the sonic relics can be obtained have been already known by early hominins in Africa and studied by means of playing intact originals and, roughly between 2.5 and 1.5 million years ago or even if this is not possible, replicas or reconstructions. earlier, as a byproduct of rhythmic hitting in stone-tool Systematic acoustic and psychoacoustic analysis carried fabrication, but we will never know if individuals of out in sound studios and laboratories may tell us a lot Australopithecus, Homo habilis, or any subsequent spe- about certain components of lost musics (volumes, tone cies sung or intentionally manufactured sound-produc- colours, frequencies, and their impetus on brain waves, ing devices for musical purposes. We can only be more etc.). Also, contemporary musical improvisations and sure about such activities millions of years later. In the compositions, using originals, replicas or reconstruc-time span between 60,000 and 40,000 years ago, the tions of ancient instruments, may at least provide an earliest most likely sound tools are extant in the archae- idea about the musical possibilities that the instruments ological record: pipes (whistles and flutes, belonging to provide. Obviously, the results of such experimenta-Homo sapiens and possibly also Homo neanderthalensis tions with archaeological sonourous material are shaped contexts),1 and, from between 30,000 and 20,000 years according to the musical background and skills of the ago onwards, lithophones, different rasps and rattles, performer or composer at present. What we hear today bullroarers, and shell horns (Both 2018). For many is modern music played on ancient instruments, the musical interpretation also being related to our musical 1 Between 38,000 and 36,000 BCE, several perforated wing socializations and the view of the past that we have.2 bones of vultures and swans, interpreted as flutes or clarinets, as well as pipes produced from mammoth tusks were excavated Fortunately, musical instruments and sound tools are in caves of the Swabian Jura, southern Germany, which by that often not the only traces of past sonic activities. Since time were occupied by Homo sapiens. A controversial find from a cave in Slovenia is the perforated thigh bone of a young the Bronze Age, from about 5,000 to 4,000 years ago cave bear, showing traces of human workmanship as well as marks made by animals, which could belong to Neanderthal 2 This activity can be called “playing history,” in accordance culture (dated between 58,000 and 48,000 BCE, to a period with the activity of “writing history,” the way our understand- shortly before the first evidence of European settlement by ing of the past is actively shaped through observation and anatomically modern humans). interpretation. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 329–335. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 330 Arnd Adje Both onwards, many cultures worldwide developed music known archaeological cultures of humanity and their imagery, showing musical instruments, playing pos-music-related remains. tures, and performance contexts in increasing num- bers. From this information, in addition to the inter- pretation of the archaeological context of music-related The ICTM Study Group on Music finds, enormous insights on ancient music practices can be deduced. In Mesopotamia and China, and later Archaeology in the Mediterranean, a number of cultures developed From the 1980s onwards, the ICTM Study Group on writing and musical notation, presenting further evi-Music Archaeology played a very important role in the dence on ancient instruments, sounds, and musics. formation of the scientific approach, as it represented Such information may contribute to actual musical a worldwide, unique platform of communication and reconstructions, primarily of Greek and Roman musi-exchange for musicologists and archaeologists turn- cal pieces. The earliest traces for vocal music are evident ing to the topic. The stimulus for the establishment of in hymns from the second millenium BC, recorded in this study group was an innovative roundtable entitled cuneiform writing. “Music and archaeology,” held at the 12th Congress Although individual research on past sounds and of the International Musicological Society in Berkeley, musics has been carried out for the last 150 years (Engel California, in 1977. The participants were the chair 1864, 2014), music archaeology became a more widely Richard L. Crocker (Berkeley), Anne Draffkorn Kilmer recognized topic and scientific approach only towards (Berkeley), Mantle Hood (Los Angeles), Charles L. the end of the twentieth century. Challenges in study- Boilès (Mexico), Bathja Bayer (Israel), Liang Ming- ing ancient sound tools today are disciplinary barriers Yueh (China), Ellen Hickmann (FRG), and Cajsa S. between musicians, musicologists, archaeologists, and Lund (Sweden). Among the variety of topics discussed other scientists such as philologists or art historians. were perspectives in the recovery of ancient musics, and While not so many musicians and musicologists draw the recreation of ancient musical instruments. The most on archaeological knowledge, including the treatment prominent contemporary example, which also gave of archaeological finds, not so many archaeologists birth to the roundtable, was the reconstruction project draw on musicological expertise and/or are able to per-of a Hurrian cult song from 1400 BCE, leading from sci- form on a musical instrument. This is one of the rea- entific publications to the vinyl record with the booklet sons why professional musicians are not always given Sounds from Silence: Recent Discoveries in Ancient Near access to archaeological material preserved in museums. Eastern Music (Kilmer, Crocker, and Brown 1977). The Conventional musicologists or archaeologists, on the papers from the roundtable, which already covered a other hand, often do not consider the possibility that wide array of music-archaeological approaches, were the sounds and musics of the past could be a promising published in 1981 by Richard L. Crocker and Ellen and valuable subject of research, not only with regard to Hickmann within the report of the 12th congress of the history of music but also the development of human the International Musicological Society (Crocker and culture and interaction. As archaeologists and conser-Hickmann 1981). vators usually do not draw on specific musicological, In a recent paper, Cajsa S. Lund remembers the meeting in particular organological knowledge, sound artefacts in Berkeley: stored in museums world-wide often remain unrecog- nized or misclassified today. We must establish a global contact network of people interested in the combination of music and archaeol- Despite the scarcity of information in many cases, ogy”, Mantle Hood said. This was in his hotel room, music-archaeological approaches developed since the late at night, while he poured glasses of Jack Daniels 1980s may lead to a fairly comprehensive picture of past – whisky, you know! “Cheers!” I said: “and let’s call this contact network Musical archaeology” . Can you imagine sonourous activities (Both 2009a). Apart from scientific it! There I was among outstanding international methods, artistic skills in instrument manufacture and researchers, drinking Jack Daniels and introducing the experimental playing are required to explore the topic. term Musical Archaeology! One of the participants, Along with a growing amount of research tools and pos- Professor Bathja Bayer from Israel, proposed instead sibilities, the approach often requires a specialist team another name, Archaeomusicology, to stress the impor- tance of both bases of this field of research, namely of multiprofessional researchers and experienced artists, archaeology and musicology. But later on it would such as instrument makers and musicians. One of the become established as Music Archaeology, to reflect the challenges is that the study field is immensely wide: it increasingly archaeological character of much of its evi- covers a time span of roughly 60,000 years ago until the dence. (Lund 2020:334) present (instruments are also buried and rediscovered The ICTM Study Group on Music Archaeology was in recent times), and it has to deal with nearly all so-far founded in Seoul, South Korea, in 1981, on the occasion of the 26th world conference of the Council. The ICTM Study Group on Music Archaeology 331 four founding members were (in alphabetical order) A selection of articles and many of the reports on meet-John Blacking, Ellen Hickmann, Mantle Hood, and ings, conferences, and research activities shared among Cajsa S. Lund. While Blacking and Hood were already early study-group members were included in a new well-known ethnomusicologists by that time, music-ar-publication outlet of the study group: the handmade chaeologists Hickmann and Lund were promising MAB – Music-Archaeological Bulletin / Bulletin d’archéol-scholars, who would dedicate their lifetime to music ogie musicale, with six issues published between 1984 archaeology. Hickmann, who became professor of musi- and 1986 (Homo 1984–1986; Homo-Lechner 2015b), cology in Hannover in 1976, would be elected as the and the succeeding journal Archaeologia Musicalis, with first chair of the study group in 1981 (a position that six issues published between 1987 and 1990 (Homo-she held for about twenty years). By the early 1980s, she Lechner 1987–1990; 2015a). MAB especially demon-was already undertaking extensive research on the music strates the positive energy and the joy that the very first of the pre-Columbian Americas—her husband, ethno-researchers in music archaeology had with their devel- musicologist and music archaeologist Hans Hickmann, oping field. who died in 1968, was a recognized researcher on the The second symposium of the ICTM Study Group on music of ancient Egypt. Lund, who would be the first Music Archaeology was organized by Cajsa S. Lund in secretary of the study group, was a research student of 1984 in Stockholm, Sweden, and the papers were pub-Ernst Emsheimer, Swedish musicologist of German lished in two volumes by the Royal Swedish Academy birth. Her travelling exhibition, Klang i flinta och brons / of Music, which became a great supporter of music-arThe Sound of Archaeology (in Sweden, 1974–1975; Lund chaeological activities by that time (Lund 1986). The 1974a, 1974b), was a landmark event, and since then volumes contained 37 contributions and—even if has been working extensively on the sonic remains of mainly focusing on Bronze Age lurs and the instru-prehistoric Scandinavia. ments rescued from the sunken seventeenth-century Without being officially recognized by the ICTM until Swedish warships Kronan and Wasa—reflect the wide the 27th world conference held in New York (1983), scope of the growing field; in case of the lurs, includ-the first international scholarly meeting of the study ing metallurgical analysis, production techniques, and group was held in 1982 in Cambridge, UK. This event playing possibilities. However, music archaeology at of eighteen participants—among whom were schol-the time was still practised by a small circle of research- ars such as Ann Buckley, Ernst Emsheimer, Frank ers, having little impact in the currents of conventional Harrison, Ellen Hickmann, Peter Holmes, Gunnar (ethno)musicology and archaeology. Larsson, Jeremy Montagu, Laurence Picken, and Joan Two years later, the third symposium was organized in Rimmer—was the very first international conference 1986 by Ellen Hickmann in Hannover, FRG. A photo on music-archaeological topics. It was organized by shows a group of participants arriving at Hannover air-Graeme Lawson, another researcher who would dedi- port (figure 1). While a detailed synthesis of the con- cate his life to the music and sounds of the past. By ference was given by Kenneth J. DeWoskin (1987), the that time, Lawson and Peter Holmes were students papers were published in The Archaeology of Early Music of the British prehistorian John Coles. While Lawson Cultures (Hickmann and Hughes 1988). The volume would focus on ancient European stringed instruments, contained twenty-eight contributions on a variety of Holmes’s research was on European Bronze Age horns topics, including reflections on the methodological and and trumpets. The summary and abstracts of the first theoretical approaches of the research. In 1990, four international meeting are found in the unpublished years after the Hannover event, the fourth symposium “Music-Archaeological Report” no. 6 (Lawson 1982, was organized by Catherine Homo-Lechner in Saint-see also Homo 1984–1986; Homo-Lechner 2015a). Germain-en-Laye, near Paris, France, and subsequently The second meeting of the study group members published in La pluridisciplinarité en archéologie musi-was held at the 27th world conference of the ICTM cale (Homo-Lechner and Bélis 1994). in New York, USA, in 1983. The conference was an In organizing the first four international symposia of the important event in the sense that the study group was ICTM study group—of which three were called “inter-officially recognized as a body of the ICTM at that national meetings,” according to the nomenclature of time. The abstracts of this roundtable were published the time, and one was called a conference—four scholars in the MAB – Music-Archaeological Bulletin / Bulletin played a leading role in the ongoing development of the d’archéologie musicale (vol. 1, 1984, which was still group: Ellen Hickmann (chair), Cajsa S. Lund (secre-called AMB – Archaeo-Musicological Bulletin; see Homo tary), Graeme Lawson, and Catherine Homo-Lechner. 1984–1986; Homo-Lechner 2015b), while the papers The core group of the ICTM Study Group on Music were published by Ellen Hickmann in Acta Musicologica Archaeology consisted of a small number of members, (Hickmann 1985). among which were several scholars who dedicated a 332 Arnd Adje Both Figure 1. Study-group members arriving from Sweden at Hannover airport in 1986: Anders Hammarlund, Olle Henschen-Nyman, Ernst Emsheimer, Doris Stockmann, Cajsa S. Lund, Bo Lawergren (photo courtesy of Cajsa S. Lund). substantial part of their lives to music-archaeological at other international conferences. However, such research (in alphabetical order): Ellen Hickmann, Peter activities seldom had opportunities for publication, Holmes, Catherine Homo (later Homo-Lechner), Bo with the exception of a roundtable at the XIIe Lawergren, Graeme Lawson, and Cajsa S. Lund. While Congrès international des sciences préhistoriques et John Blacking and Mantle Hood soon turned to their protohistoriques (“Music and plays in ancient cultures”), respective topics (without leaving substantial contribu-the results of which were edited by Danica Staššiková- tions to music archaeology, especially in the case of John Štukovská and published in the 4th volume of the Actes Blacking), other members joined the group, mostly eth-du XIIe Congrès international des sciences préhistoriques et nomusicologists and conventional musicologists, with protohistoriques (1993). Another event of this kind was fewer archaeologists. Most of them, however, explored the International Rock Art Congress in Turin (1995), selected topics related to music-archaeological research, with a number of music-archaeological contributions and then turned to other subjects. In a way this reflected published by Hickmann (1996). the scholarly state of the discipline, which was still The proceedings of the 4th symposium of the ICTM forming, although the methodological approach was Study Group on Music Archaeology in Paris (Homo-already established. Lechner and Bélis 1994), and of the 5th symposium in Despite of the fluctuation of active study-group mem- Liège, Belgium (Otte 1994), belong to the “francophone bers, a group of scholars from all over the world was period” of the study group in the early 1990s, and formed. According to the records provided by Lund, reflect the great impact that music archaeology had and between 1981 and 1986 a total of 101 members from still has in the French-speaking world. These volumes 31 countries joined the group (in alphabetical order): completed the initial phase of the early ICTM Study Australia (4), Austria (1), Belgium (2), Bulgaria (1), Group on Music Archaeology (what Lund has called Canada (1), China (3), Colombia (2), Czechoslovakia its “golden era”; Lund 2010:186), which helped to (2), Denmark (2), East Germany (4), Ecuador (2), establish a new scientific discipline at the cross-section England (11), Finland (1), France (3), Greece (1), Iraq between (ethno)musicology, cultural anthropology, and (1), Ireland (3), Israel (1), Japan (4), the Netherlands the arts. (1), Norway (3), Poland (1), Spain (2), Sweden (17), After this period, although the activities of the study Tonga (1), USA (14), USSR (2), Vietnam (1), West group were ongoing, a far lesser volume of research was Germany (7), Yugoslavia (2), and Zambia (1). published. The 6th symposium was held in Istanbul, In the prolific early phase of the study group (1980s Turkey (1993), the 7th in Jerusalem, Israel (1995), and early 1990s), members also organized roundtables and the 8th in Limassol, Cyprus (1996). Only a few ICTM Study Group on Music Archaeology 333 music-archaeology papers from this period, in par- its Cultural Heritage), and ICONEA (International ticular those focussing on stringed instruments, were Conference of Near Eastern Archaeomusicology). From published in Studien zur Musikarchäologie (Hickmann 1998 onwards, the discipline was also opened not only and Eichmann 2000), the first volume of the series of a to scientists, but also to artists, namely instrument mak-newly founded scholarly body, the International Study ers and musicians, who joined and substantially con-Group on Music Archaeology (ISGMA). tributed to the subject. By nature, successive times are followed by less fortu- Between 1996 and 2003, the ICTM Study Group on nate periods. By the mid-1990s, Ellen Hickmann, still Music Archaeology was left without a chair and was not chair of the study group, and other key study-group active. In 2003, the archaeologist Julia L. J. Sanchez members decided to leave the ICTM as an organiza-re-activated the group on the initiative of Anthony tion mostly circumscribed to music scholars. In 1998, Seeger, then secretary general of the Council. The two years after the Limassol conference, Hickmann revival began with meetings in Los Angeles, California and the German archaeologist Ricardo Eichmann (2003), with fifteen participants, and Wilmington, founded the ISGMA, in particular with the aim to North Carolina (2006), with ten participants. These develop within the field a greater focus on archaeo-were rather small meetings, compared to the much logical perspectives, and inspire more archaeologists to larger symposia held in the 1980s and 1990s, reflecting participate. The move was understandable in the sense a new start with a new group of members. On the occa-that within the framework of ICTM, it was extremely sion of the ICTM world conference in Vienna, Austria, difficult to attract archaeologists to become members. in 2007, I was elected chair of the study group. Other reasons for the move were related to unfortu- With the endeavours of local co-organizers, in the fol- nate disputes on funding meetings and publications, lowing years it was possible to hold a series of interna-carried out between the chair of the study group and tional symposia bringing together old and new ICTM members of the ICTM Executive Board. The break was study-group members, researchers entering the field also related to the struggle that the developing field from ISGMA, and a large section of newcomers, includ-had from its very beginning, namely the appropriate ing students turning to the topic, instrument-makers, scholarly affiliation at the cross-sections of (ethno) and musicians. The first symposium of the series was a musicology and archaeology. highly successful joint-conference, held with co-organ- While important members such as Lund or Homo- izer Zdravko Blažeković in New York, USA (2009). In Lechner turned at least for some time to other studies following the consecutive way of counting, this sym-and responsibilities, most study-group members of the posium was the eleventh of the study group since its core group, formerly joining the ICTM, followed Ellen foundation in 1981 (also the twelfth conference of Hickmann to the successful ISGMA Michaelstein sym-the Research Center for Music Iconography), gather- posia, which turned out to be real music-archaeological ing forty participants. Successively, the twelfth sympo-happenings. Between 1998 and 2004 and in collabora- sium was held with the support of co-organizer Raquel tion with Ricardo Eichmann, at that time director of Jiménez in Valladolid, Spain (2011). With more than the Orient Department at the German Archaeological sixty participants, this was the largest meeting of the Institute, Hickmann successively organized four con-study group so far. This was followed by the thirteenth ferences at Kloster Michaelstein, Landesmusikakademie symposium with twenty-five participants, co-organized Sachsen-Anhalt, which were funded by the German by Matthias Stöckli in Guatemala City, Guatemala Research Council (DFG). Later ISGMA conferences, (2013), and the fourteenth symposium with forty par-held with the support of Lars-Christian Koch at the ticipants co-organized by Dorota Popławska and Anna Ethnological Museum and recently at the Humboldt Grossman in Biskupin, Poland (2015). Forum of Berlin, and with the support of Fang Jianjun From a publishing point of view, the revival of the and other Chinese colleagues in Tianjin and Wuhan, study group between 2003 and 2009 was difficult. China, contributed to the recognition of the field of From the first two symposia only a selection of articles music archaeology as a global scholarly endeavour. focussing on the pre-Columbian Americas was pub- The ISGMA was most effective at a time when the lished in a special issue of The World of Music (Both research was intensified and broadened, but its success and Sanchez 2007); and from the joint conference in cannot be understood without the activities previously New York some articles were published in Music in carried out by the germ cell of the ICTM study group. Art (Blažeković 2011). Also, the 2009 Yearbook for Conferences with public concerts, meetings, and publi-Traditional Music featured a special section on music cations also stimulated the formation of other research archaeology (Both 2009b). groups, such as the MOISA Society (International Then, in 2013, a new publication platform in the form Society for the Study of Greek and Roman Music and of a book series was established: Publications of the 334 Arnd Adje Both Figure 2. Participants of the fifteenth symposium: ( front row) Michael Praxmarer, [student], Dorothee J. Arndt, Arnd Adje Both, Annemies Tamboer, Adriana Guzmán, Gretel Schwörer-Kohl, Olga Sutkowska, Marta Pakowska; ( back row) Irena Miholić, Katinka Dimkaroska, Matija Turk, Luboš Chroustovský, Frances Gill, Boštjan Odar, Susanne Münzel, Jean-Loup Ringot, Nino Razmadze, Svanibor Pettan, Fang Xueyang, Aleksandra Gruda, Jim Rees, Susan Beatty, Cajsa S. Lund. Ljubljana, Slovenia, 2017 (photo courtesy of Arnd Adje Both). ICTM Study Group on Music Archaeology. Three vol- the Slovenian Academy of Sciences and Arts and the umes have been issued so far, with 44 individual case National Museum of Slovenia in Ljubljana (2017), and studies on a variety of topics in total. The first two vol-the sixteenth symposium with thirty participants at the umes, Music and Ritual: Bridging Material & Living State Museum of Archaeology in Brandenburg/Havel, Cultures (Jiménez Pasalodos, Till, and Howell 2013), Germany (2018). A photo from the Ljubljana sympo-and Crossing Borders: Musical Change & Exchange sium shows some of the participants at the venue of the through Time (Both, Hughes, and Stöckli 2020), gather Slovenian Academy of Sciences and Arts (figure 2). a selection of papers on topics discussed on the sym- The ICTM Study Group on Music Archaeology devel- posia of 2011, 2013, and 2015. The third volume, The oped over the years beyond a small circle of enthusiasts Archaeology of Sound, Acoustics and Music: Studies in to encompass an international body of experts from Honour of Cajsa S. Lund (Kolltveit and Rainio 2020), numerous disciplines, including science and the arts. is a Festschrift with a core of papers given at a confer- Today, its activities reflect the wide scope of music-ar- ence held in 2016 at the Linnaeus University in Växjö, chaeological research worldwide, benefitting from per-Sweden. The book demonstrates the impact of Lund’s spectives from a range of subjects, including newly research on music archaeology since the early days of emerging fields such as archaeoacoustics, but particu-the study group. Within the series, two special edi- larly encouraging both music-archaeological and ethno- tions feature reprints of the earliest publications of the musicological perspectives, as in the very early days of study group, the Music-Archaeological Bulletin / Bulletin the study group. Its many publications demonstrate that d’archéologie musicale, and Archaeologia Musicalis music making, as a means of sonic interaction beyond (Homo-Lechner 2015a, 2015b). language, has formed an integral part of humanity since Between 2013 and 2018, the ICTM Study Group on Palaeolithic times, despite all cultural specifics. It must Music Archaeology became an associate partner of be mentioned, however, that the study field, due to the the European Music Archaeology Project (EMAP), an challenge that the music itself is lost and the complex-EU-funded multinational project dedicated to the study ity in terms of its multidisciplinary approaches, is still of the musical instruments and sound tools of ancient carried out by a small number of specialists in compar-Europe, in particular their production and playing tech- ison to other musicological or archaeological subjects, nologies, and their cross-cultural relations through time. encompassing maybe not more than two hundred Pioneers of the study group, such as Lund and Holmes, active researchers worldwide. Despite the many insights substantially contributed to this project. Among the gained, we are still far from a comprehensive overview outputs was a travelling multimedia exhibition enti-and understanding of our musical past. tled ARCHAEOMUSICA, of which I was appointed curator (Both 2019), and the two most recent symposia of the study group were related to this event. The fif- teenth symposium with forty participants was held at ICTM Study Group on Music Archaeology 335 References cited / Hamburg 1986). Bonn: Verlag für systematische Musikwissenschaft. Blažeković, Zdravko. 2011. Ed. Music in Art: International Journal Homo, Catherine. 1984–1986. Ed. MAB – Music Archaeological for Music Iconography 36, 203–256. Abstracts: http://rcmi. Bulletin / Bulletin d’archéologie musicale (6 vols.). Vol. 1 gc.cuny.edu/parent-page-for-pages-not-shown-in-menu/ (January 1984); vol. 2 (May 1984); vol. 3 (September 1984); music-in-art-international-journal-for-music-iconography- vol. 4 (March 1985); vol. 5 (September 1985); vol. 6 (March xxxvi-2011/. 1986). Both, Arnd Adje. 2009a. “Music Archaeology: Some Homo-Lechner, Catherine. 1987–1990. Ed. Archaeologia Methodological and Theoretical Considerations.” YTM 41: Musicalis (6 vols.). Vol. 1/1987; vol. 2/1987; vol. 1/1988; 1–11. vol. 2/1988; vol. 1/1989; vol. 2/1989–1/1990. Celle: Moeck ———. 2009b. Ed. YTM 41: xi–xiv, 1–110 (“Special Section on Verlag. Music Archaeology”). ———. 2015a. Archaeologia Musicalis, 1987–1990. Publications ———. 2018. “Music at the Dawn of Humanity.” In Music and of the ICTM Study Group for Music Archaeology, Reprint. Sounds in Ancient Europe: Contributions from the European Special Edition, 2. Berlin: Ekho Verlag. Music Archaeology Project, edited by Stefano De Angeli, Arnd ———. 2015b. Music Archaeological Bulletin, 1984–1986. Adje Both, Stefan Hagel, Peter Holmes, Raquel Jiménez Publications of the ICTM Study Group for Music Pasalodos, and Cajsa S. Lund, 10–15. Rome: European Music Archaeology, Reprint. Special Edition, 1. Berlin: Ekho Verlag. Archaeology Project. Homo-Lechner, Catherine, and Annie Bélis. 1994. Eds. La ———. 2019 “Archaeomusica: Making the Past Audible.” Curator pluridisciplinarité en archéologie musicale. 2 vols. (IVe rencontre 62/3: 425–437. internationale du Groupe d’études sur l’archéologie musicale Both, Arnd Adje, John Hughes, and Matthias Stöckli. 2020. de l’ICTM, Saint-Germain-en-Laye 1990). Paris: Éditions de Eds. Crossing Borders: Musical Change and Exchange through la Maison des sciences de l’homme. Time. Publications of the ICTM Study Group on Music Jiménez Pasalodos, Raquel, Rupert Till, and Mark Howell. Archaeology, 2. Berlin: Ekho Verlag. 2013. Eds. Music and Ritual: Bridging Material and Living Both, Arnd Adje, and Julia L. J. Sanchez. 2007. Eds. The World of Cultures. Publications of the ICTM Study Group on Music Music 49/2 (Special Issue, “Music Archaeology: Mesoamerica.” Archaeology, 1. Berlin: Ekho Verlag. Abstracts: http://www. Papers from the 1st [= 9th] meeting of the ICTM Study ekho-verlag.com. Group on Music Archaeology, Los Angeles 2003). Abstracts: Kolltveit, Gjermund, and Riitta Rainio. 2020. Eds. The Archaeology http://the-world-of-music-journal.blogspot.de/2007/12/wom- of Sound, Acoustics and Music: Studies in Honour of Cajsa S. 49-2007-2.html. Lund. Publications of the ICTM Study Group on Music Crocker, Richard L., and Ellen Hickmann. 1981. Eds. Music Archaeology, 3. Berlin: Ekho Verlag. Abstracts: http://www. and Archaeology (Roundtable at the 12th Congress of the ekho-verlag.com. International Musicological Society, Berkeley 1977). In Report Lawson, Graeme. 1983. Ed. “Current Research in European of the 12th Congress, Berkeley 1977, edited by Daniel Heartz Archaeomusicology.” Summary and Abstracts of a Seminar and Bonnie Wade, 844–869. Kassel/Basel: Bärenreiter. on the Archaeology of Musical Instruments (1st International DeWoskin, Kenneth J. 1987. “Study Group on Music Meeting of the ICTM Study Group on Music Archaeology). Archaeology: International Council for Traditional Music, Music-Archaeological Report, 6. Cambridge. Unpublished. Third International Meeting.” Anthropos 82, 4/6: 645–649. Lund, Cajsa S. 1974a. Klang i flinta och brons. Exhibition Draffkorn Kilmer, Anne, Richard L. Crocker, and R. R. Brown. catalogue. Stockholm: Musikmuseet. 1977. Sounds from Silence. LP disc. Berkeley: Bit Enki ———. 1974b. The Sound of Archaeology. Exhibition catalogue. Publications. Stockholm: Musikmuseet. Engel, Carl. 1864. The Music of the Most Ancient Nations. London: ———. 1986. Ed. Second Conference of the ICTM Study Group on Murray. Music Archaeology. Vol. 1: General Studies; vol. 2: The Bronze ———2014. Carl Engel: The Music of the Most Ancient Nations Lurs. Publications issued by the Royal Swedish Academy of (Commented Reprint). Antiquarian Writings in Music Music, 53. Stockholm: Kungl. Musikalinska Akademien. Archaeology, 1. Berlin: Ekho Verlag. ———. 2010. “Music Archaeology in Scandinavia, 1800–1990.” Hickmann, Ellen. 1985. Ed. Acta Musicologica 57: 1–50 (Special In The Historiography of Music in Global Perspective, edited by Section, “Music and Dance in Prehistoric Cultures: Sam Mirelman, 177–207. Piscataway, NJ: Georgias Press. Reconstructing and Expanding the Boundaries of Tradition”. ———. 2020. “In the Mind of a Music Archaeologist.” In The Roundtable at the 27th World Conference of the ICTM, New Archaeology of Sound, Acoustics and Music: Studies in Honour York 1983). Kassel/Basel: Bärenreiter. of Cajsa S. Lund, edited by Gjermund Kolltveit and Riitta ———. 1996. Ed. Music-archaeological Offprints, No. 1: Papers Rainio, 323–344. Publications of the ICTM Study Group on Related to Music and Dance in Rock Art of North and West Music Archaeology, 3. Berlin: Ekho Verlag. Abstracts: http:// Europe, Greece, Central Asia, and North America. Presented www.ekho-verlag.com. at the International Rock Art Congress, Turin, August 30 – Otte, Marcel. 1994. Ed. Sons originels: Préhistoire de la musique (5e September 6, 1995, with an additional contribution on Music rencontre internationale du Groupe d’études sur l’archéologie Archaeology and Rock Art in India. Hannover: Institut für musicale de l’ICTM, Wégimont, Liège 1992). Etudes et Musikpädagogische Forschung, Hochschule für Musik und Recherches Archéologiques de l’Université de Liège, 61. Liège: Theater Hannover. Université de Liège. Hickmann, Ellen, and Ricardo Eichmann. 2000. Eds. Stringed Staššiková-Štukovská, Danica. 1993. Ed. “Music and Plays Instruments in Archaeological Context (Papers from the in Ancient Cultures” (Roundtable at the XIIe Congrès 8th International Meeting of the ICTM Study Group on International des Sciences Préhistoriques et Protohistoriques, Music Archaeology, Limassol 1996, and papers from the Bratislava 1991). In Actes du XIIe Congrès international 7th International Meeting of the ICTM Study Group on des sciences préhistoriques et protohistoriques, edited by Juraj Music Archaeology, Jerusalem 1994/1995). Studien zur Pavuk, vol. 4, 352–395. Bratislava: Institut Archéologique de Musikarchäologie, 1; Orient-Archäologie, 6. Rahden/Westf.: l’Académie Slovaque des Sciences. Verlag Marie Leidorf. Table of contents: http://www.vml.de/d/ inhalt.php?ISBN=978-3-89646-636-5. Hickmann, Ellen, and David W. Hughes. 1988. Eds. The Archaeology of Early Music Cultures (Papers from the 3rd International Meeting of the ICTM Study Group on Music Archaeology, Wolfenbüttel / Hannover / Hildesheim ICTM Study Group on Music, Education and Social Inclusion Sara Selleri In 2016 I had been living in London for a little over a The World Bank defines social inclusion as: year; since I moved there, I had been a PhD student in The process of improving the terms on which individ- ethnomusicology at the School of Oriental and African uals and groups take part in society. In every country, Studies (SOAS), while working as a gender equality and [certain] groups … may be excluded … based on gen- social inclusion expert in international development der, age, location, occupation, race, ethnicity, religion, for global impact firm Palladium International. At that citizenship status, disability, and sexual orientation and time, I can honestly affirm that founding and chairing gender identity. (World Bank Group 2020) an ICTM study group was not something I pictured In 2018, I conducted fieldwork on issues of social exclu-happening in my near future. sion in indigenous communities in Mexico, on gender and disability in Lebanon, on biased practices in music In July 2016, I presented a paper at the ICTM Music and society in Puerto Rico, and on gender and race/ and Gender Study Group symposium in Switzerland; ethnicity-based inequity in post-apartheid South Africa. my presentation was based on my master’s thesis I witnessed first-hand how the basis for exclusion var-research, focusing on gender discrimination in Italian ies from one country to the next, and the criteria for society, academic institutions, and formal music educa-defining “otherness” can shift, but how the dynamics tion (Selleri 2016). I discussed how structures, forms, underneath it, and the effects on those excluded, remain and systems in place in society and academia have been the same. shaped by dominant social groups, and how, as such, they transmit and perpetuate discriminatory values and Music practice and music education are no exception, attitudes. I advanced how biased, societal practices are and often disadvantaged groups are excluded, made reflected into education and how, in turn, the uneven-invisible, under-represented, or misrepresented in cur- ness embedded into academic institutions is shaping ricula, teaching practices, choice of repertoire, structures biased societies, perpetuating a closed cycle. of academic departments and degrees, funding alloca- tions, and so on. The symposium in Beijing in 2018 After my presentation, ICTM Secretary General (figure 1) and the planned symposium in San Juan, Svanibor Pettan suggested I should consider advancing Puerto Rico, in 2020 raised these key issues in their the academic conversation on the topic in the form of a thematic threads: the former focussed on relationships study group within ICTM. One year later, in July 2017, between power structures in society and music teaching the first meeting of the Study-Group-in-the-Making on and transmission in institutions of formal learning and Music, Education and Social Inclusion (MESI) was held contexts of informal learning, and on the cultural, social, in London, organized by Keith Howard, James Nissen, political and economic dynamics that shape embedded and myself. Several dozen academics from all over the musical value and its recognition, which can deter-world presented and attended, joining our keynotes, mine the styles of music that are included or excluded Huib Schippers and Patricia Shehan Campbell; in late from academic institutions and other music education 2017, ICTM Executive Board officially recognized contexts; the latter aimed to explore how knowledge the MESI Study Group. This first, preparatory meet-systems, institutions and music practices perpetuate ing, focussed on multifaceted educational issues, such social exclusion, how exclusion links with gender disas education and representation, identity, social inclu- crimination and with physical and learning disabilities sion, international development, ethnomusicology, and and mental illness, how different factors of exclusion transmission practices. We also discussed the name of intersect with one another, and how music education our study group; everybody agreed on the words “music has been used in post-disaster, post-conflict, humanitar-and education,” but “social inclusion” seemed to be a bit ian and rights advancement contexts. Social inclusion tricky for some, so I would like to expand on the mean-can therefore be defined as the very first aspiration of ing we have agreed upon as we move forward. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 336–338. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Music, Education and Social Inclusion 337 Figure 1. Joint symposium of the ICTM Study Groups on Music, Education and Social Inclusion (1st) and Applied Ethnomusicology (6th). Beijing, July 2018 (photo courtesy of the Central Conservatory of Music in Beijing). MESI, and what MESI aims to support through music, as straightforward as a “call for papers” was questioned, which in turn can contribute to counteracting exclusion deconstructed, and redirected. in society at large. This is expressed in MESI’s mission Generally, a call for papers requires an abstract, say, statement, which outlines its aims to study and uncover between 200 and 300 words, almost always only in “good practices in music education,” and also analyze English. This requirement poses a risk to those who and interrogate “structures and institutions” to produce do not come from a country or an institution where “actionable results” that promote social inclusion. As English is taught to an academic standard; it also poten-challenging as it can be to define “social inclusion” then, tially excludes those who might have interesting and its real complexity lies in turning it into reality. enriching research, but come from poorer and disad- In my welcome speech at the 2017 London meeting, vantaged educational facilities and are not familiar with I highlighted what I believe is the first bottleneck in the required format. The likelihood is that students promoting social inclusion: ownership. Oftentimes, coming from Western countries and from privileged institutions tend to point fingers at each other when it socio-economic backgrounds are able to apply, but oth-comes to counteracting exclusion and changing social ers from developing countries and/or disadvantaged norms: “Who should do it?” is too often the leading socio-economic backgrounds are left out. question, rather than taking ownership by asking, “how With the aim of avoiding potentially discriminatory can I do it?” Promoting top-down change at the insti-practices, MESI’s call for papers ensured we would tutional level, while focusing on day-to-day, bottom-up offer the possibility to write proposals in different lan-approaches to embed inclusive practices in all activities, guages, to send submissions in alternative forms, and is an effective path in any field, including academia and encourage presentations other than individual papers. music education. Additionally, because of how power- This measure led our symposia to feature—besides a ful a platform music is, especially to young generations, number of traditional twenty-minute paper presen-music teachers and musicians, beyond transmitting tations—workshops, video presentations, Skype pre-musical knowledge and abilities, can actively engage in sentations, performance-based presentations, inter-educating students about social justice and inclusion. disciplinary panels with academics, performers and Beyond ownership, the second greatest challenge to practitioners, etc. Additionally, presenters who origi-social inclusion is responding to the question “how nally come from and conduct research in all continents can I do it?,” and to do so in an actionable manner. (excluding Antarctica) presented at MESI symposia. To this end, two examples show how the MESI Study This was an important result, considering that these Group attempted to respond. Methodologically, when were the preparatory meeting and first symposia of a figuring out what was to be questioned and what had newly founded study group with a specialized focus. to be deconstructed—to ensure it would be the prod- This was also possible thanks to need-based grants, uct of a conscious choice and not simply a creature of which MESI helped to arrange with each hosting insti-habit—I started posing questions systematically, and tution. These grants were given to those coming from by doing so through what I aimed would be an empa-more disadvantaged socio-economic backgrounds to thetic approach. Alongside this, an activity seemingly promote fairer and more diversified representation. In Beijing, this helped to raise important discussions 338 Sara Selleri on decolonization, cultural hegemony and Western- centrism, and the need for global perspectives on music education and social inclusion. An additional challenge to social inclusion presented itself when we received submissions. Most candidates chose the traditional style of an abstract in English, but it was clear that some did not meet academic standards. Instead of rejecting them, MESI undertook a process of revision when the programme committee felt that the research to be presented was of good value, but was lacking in presentation. Many presenters expressed their appreciation for this: they reported never having been given the chance before, and that it had allowed them to learn and grow their scholarship through the application process. The symposium organized for San Juan in May 2020, which was postponed due to the onset of the COVID-19 pandemic, aimed to expand on these practices via plans to implement a system of mentorship supported by senior scholars not only at the abstract stage, but also to develop conference papers and presentations. In the MESI Study Group, we believe these are signif- icant examples of how social inclusion in practice can work; we understand it is a complex process that does not happen overnight, but at the same time, it does not happen in a vacuum, and every measure counts. Starting with small practical interventions is often the most fea- sible way to unlock systemic change. Through the “how can I do it?” approach to foster social inclusion in eth- nomusicology and music education, we look forward to further contributing to uncovering good practices and advancing shared learning in our discipline. References cited Selleri, Sara. 2016. “Music Education and Gender Discrimination: The Italian Paradigm; Analysing Socio-pedagogical Practices and Counteracting Inequalities from the Music Curricula.” Paper presented at the 9th symposium of the ICTM Study Group on Music and Gender. Bern , Switzerland, 18 Jul. World Bank Group. 2020. “Social Inclusion. ” https://www. worldbank.org/en/topic/social-inclusion (last visited 8 April 2020). ICTM Study Group on Music, Gender, and Sexuality Barbara L. Hampton The 28th World Conference of the International Conference offered a topic, “The formation of musi-Council for Traditional Music buzzed with excite- cal traditions: Physical and biological aspects,” under ment as the first sessions began in Stockholm on 30 which Amy Catlin, Hiromi Lorraine Sakata, Ann Dhu July 1985.1 Students who had never attended a world Shapiro, Ines Talamantez, Henrietta Yurchenco, and conference outside their home countries were eager to Barbara L. Hampton presented six papers that focussed catch a glimpse of the ethnomusicologists whose works on women’s participation in musical traditions from they had read, first because the materials were required as many different cultures and put forth then current reading, but later because they, including myself, were approaches to studying women. eagerly anticipating what the authors would write next. Some of us students walked together, but our mentors noticed our interest and introduced us to a Formative years few of what seemed to be larger-than-life figures at the appropriate times. The second part of the 28th world conference was held The Third World Conference on Women had just at the Sibelius Academy, Helsinki. In my informal dis-adjourned in Nairobi (15–26 June 1985), assembled cussions with Pirkko Moisala, we shared our enthu-following the first two in Mexico City and Copenhagen, siasm about promoting and supporting the study of respectively, and plans had been laid for their Beijing women in music and the potential of ethnomusicology conference in 1995. Both feminist scholars and activists to take these studies beyond essentialism; the formation across the globe gathered to share ideas in international of an ICTM study group devoted to the topic was pro-settings. Within the United States, both feminist and posed. The idea was enthusiastically welcomed by many womanist ideas had surfaced at informal teach-ins held colleagues. We agreed that I would approach the secre-by women’s studies programmes, one of the earliest of tary general, Dieter Christensen, and ask if an inaugural which was at Hunter College (established in 1871 as an meeting could be held immediately in Helsinki. Being all-women’s college within the City University of New a faculty member of the Sibelius Academy, Pirkko York). The latter set of ideas found wide circulation in Moisala arranged a space for the meeting which, held Barbara Smith’s Home Girls: A Black Feminist Anthology during a scheduled lunch period, was well-attended. (1983), where the “Statement of the Combahee On that day, we collectively embarked on what would Collective” appeared, and the writings of Gloria become a two-year journey toward official recognition Anzaldúa and Cherríe Moraga from the same year ( This by the Executive Board. Members voted to name it the Bridge Called My Back: Writings by Radical Women of Study Group on Music and Gender and selected senior Color) drew wide attention. Eventually a digest of these scholar Anca Giurchescu (Romania/Denmark) and me ideas would appear in Elisabeth Spelman’s Inessential as co-chairs to lead the group to formal approval by the Woman: Problem of Exclusions in Feminist Thought Board ( BICTM 67, Oct 1985:6). (1988). No longer should the lives of minority women A formal scholarly meeting was required before the of the North Atlantic be marginalized in feminist stud-study group’s application could be reviewed by the ies; instead, the lives of all women from across the globe Board. The study group committed to broad geographic must be included. Essentialist models were untenable. representation in all its official acts; yet in these early The programme committee of the 28th ICTM World months, the membership was largely from Europe and the Americas. Hence, Anca Giurchescu (Romania/ 1 This chronicle was prepared with the assistance of (study group Denmark) and I (USA) proceeded to lead the group, in members in alphabetical order) Naila Ceribašić, Cornelia close communication with the Board, to accomplish its Gruber, Marko Kölbl, Pirkko Moisala, Boden Sandstrom, and official status, while Jane Mink Rossen (Denmark) and Susanne Ziegler. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 339–347. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 340 Barbara L. Hampton Figure 1. Participants of the first symposium of the study group: ( front row) Edda Brandes, Barbara L. Hampton, Marcia Herndon, Henrietta Yurchenco; ( middle row) Jane Mink Rossen, Gretel Schwörer-Kohl, Adrienne Kaeppler; ( back row) Anne Dhu Shapiro, Pirkko Moisala, Akin Euba. West Berlin, 27 July 1987 (photo by Susanne Ziegler). I worked to develop communications with the mem- Marcia Herndon, then new to the group, decided to bership. Susanne Ziegler (FRG) issued an invitation run for election to the chair. Members persuaded her to host the required formal scholarly meeting (sympo-to accept the position of co-chair with Susanne Ziegler, sium) at the historic Institut für Musikwissenschaft in a distinguished scholar who had been involved in the West Berlin (FRG), 27–29 July 1987, a few days prior development of the study group from the very begin-to the ICTM world conference in East Berlin (GDR) ning. A report of the meeting was subsequently pub- (figure 1).2 According to Susanne Ziegler, lished in the ICTM Bulletin (Herndon 1987:17–18). Papers given by Marcia Herndon, Henrietta Yurchenco, It described both the study-group meeting and the par-Barbara L. Hampton, and Pirkko Moisala, were dealing ticipation of its members in the 29th world conference, with gender issues connected to musical performance held 29 July – 6 August 1987 in East Berlin: and fieldwork issues due to the gender of the inves-tigator. A great part of the meeting was left to open Through the organizational efforts of Dr. Barbara discussion, which resulted in a statement of purpose, Hampton and Dr. Susanne Ziegler, two formal ses- presented and accepted at the business meeting. Many sions of papers, two open discussion sessions, a busi- colleagues, men and women, expressed their interest in ness meeting, and four working sessions were held. In the study group, and it became obvious that the focus addition, members of the group attended two concerts, on music and gender gained an important place in viewed a video made by Dr. Artur Simon, and toured musicological research. Further, there was a feeling that the Institut für Vergleichende Musikwissenschaft, the the study group would be the right forum for improv- Internationales Institut für Vergleichende Musikstudien ing women’s status as researchers. (Susanne Ziegler, und Dokumentation, and the Musikethnologische pers. comm., 2018) Abteilung des Museums für Völkerkunde (phonogramm archive, library, collection of musical instruments). On During the time that the group met in West Berlin, the 29 July, Dr. Max Peter Baumann hosted a reception and Board held its pre-conference meeting in East Berlin. luncheon for the group at the Internationales Institut In communication with Dieter Christensen, I learned für Vergleichende Musikstudien und Dokumentation. that the Board had voted: the Study Group on Music At the business meeting, held on 29 July, an interim and Gender was officially accepted. When I gavelled to statement of purpose was discussed. The next meeting order the business meeting and made this announce- of the Study Group was set for June 21–26, 1988, in Heidelberg, in conjunction with the Fourth Congress ment, the Board’s decision was met with jubilance. of Women Composers; twelve papers will be presented, and working sessions are also planned. 2 In this chapter, this symposium is considered the first, A second business meeting was held during the ICTM although symposia were generally not numbered until the ninth, held in Bern (2016). According to the “Memorandum conference in Berlin (GDR). Susanne Ziegler, reporting on ICTM Study Groups,” the 1987 meeting would be consid- participation in the 29th world conference, noted that ered a preparatory one, required before its formal acceptance “seven papers were presented in two sessions under the by the Executive Board. ICTM Study Group on Music, Gender, and Sexuality 341 heading “ ‘The roles of women in musical cultures I and and methodological issues and other subjects related to II,’ organized by Henrietta Yurchenco and Jane Mink music and gender. Continuing the discussions held in Rossen” (Susanne Ziegler, pers. comm. 2018). Berlin, the questions of differences between feminine The report on the formation of the Study Group on and masculine musical styles and perceptions of gen-Music and Gender appeared in the same volume of dered music were salient. How are local constructions the Bulletin: of man and woman articulated by composers and per- formers? A priority was marshalling data gathered by The ICTM Study Group on Music and Gender, which was formed during the Baltic Conference thanks to researchers with different perspectives in order to refine the efforts of Dr. Barbara Hampton and Jane Mink foundational concepts. Rossen, and which held a three-day meeting in West- During the 30th world conference in Schladming, Berlin prior to the 29th Conference, is co-chaired by Dr. Marcia Herndon (USA) and Dr. Susanne Ziegler Austria (1989), four sessions on music and gender (FRG). The group is planning a meeting for June and a business meeting were held. A third symposium 21–26, 1988 in Heidelberg with Susanne Ziegler as was planned for 31 October – 4 November 1990 in organizer. The Study Group has issued the following Oakland, California with the proposed themes: “Music statement of purpose: and the life cycle,” “Children’s music,” and “Theory The ICTM Study Group on Music and Gender seeks and method in the approach to gender” ( BICTM 76, to promote the growth of insight and understanding Apr 1990:27). The meeting had to be cancelled due of gender as a critical factor in social interaction which to the institutional relocation of Marcia Herndon, can contribute a meaningful theoretical dimension to any study of musical culture. A gender balanced view the local organizer in Oakland, who “left the Music of musical and dance activities is required since our Research Institute and moved to Maryland” (Susanne work produces documents which in the future will be a Ziegler, pers. comm., 2018). Herndon’s promise to hold source for historians. Towards this end we shall: the meeting on the east coast of the United States in 1. Encourage understanding of gender in terms of March 1991 was announced in the subsequent Bulletin the roles it plays in society. ( BICTM 77, Oct 1990:12). In that year, Herndon 2. Stimulate critical evaluation of gender roles within together with Ziegler edited a volume that marked our discipline. where scholarship within the study group stood at that 3. Identify basic lacunae in the area of music/dance time (Herndon and Ziegler 1990). cross-culturally. “The 32nd World Conference of ICTM in Berlin 4. Expand the methodological and theoretical basis (1993) offered the next possibility for the group to for data collection and provide a forum for the meet, and a one-day symposium was held prior to the presentation and interpretation of new material. regular world conference of ICTM” (Susanne Ziegler, 5. Publish and disseminate research findings. pers. comm., 2018). The third symposium of the Study ( BICTM 71, Oct 1987:5–6) Group on Music and Gender was scheduled for 14–15 This “Statement of purpose” was key to establishing June 1993 in Berlin with local organization led by the study group and having it approved by the Board. Susanne Ziegler ( BICTM 82, Apr 1993:31). Ziegler Therefore, it had been accomplished prior to the West accepted an appointment at the Berlin Phonogramm-Berlin meeting, where it was ratified by the vote of Archiv and decided to devote all of her research time to the membership. that institution. At the business meeting she resigned, and Pirkko Moisala continued as co-chair with Marcia Herndon (Susanne Ziegler, pers. comm., 2018). Building a database The third symposium of the Study Group on Music and Gender met in Berlin on 14 June 1993 as an “assembly of According to a report by Susanne Ziegler (1988), the the whole.” The group decided that a special committee second symposium of the study group was held 21–26 should be created to circulate working papers devoted June 1988 at the Musikwissenschaftliches Seminar der to issues of theory and method for the purpose of elic-Universität Heidelberg in Heidelberg, FRG, organ- iting comments from the membership. The members ized by Ziegler in cooperation with the International expressed thanks to departing co-chair Susanne Ziegler Congress on Women in Music and the International “for her many efforts to organize, stabilize, encourage Festival of Women Composers, with the theme “Women and further the Study Group’s work.” Immediate plans composers yesterday – today.” Meanwhile several more were to create a newsletter and to update the member-female and male ethnomusicologists joined the study ship list. The “Celebration of success,” a highlight of group, and twenty-three papers were presented to the the symposium, was an afternoon during which sen-thirty-one participants from ten nations. Three work- ior scholars Barbara Krader, Ursula Reinhard, Doris shops offered the possibility of discussing theoretical Stockmann, and Henrietta Yurchenco were honoured 342 Barbara L. Hampton Figure 2. Participants of the fifth symposium of the study group: ( front row) Jarna Knuuttila, Irma Vierimaa, Jane Bowers, Boden Sandstrom, Bliss Little, Susanne Ziegler, Doris Stockmann, John Richardson; ( middle row) Hanna Väätäinen, Taru Leppänen, Naila Ceribašić, Helmi Järviluoma, Margot Lieth-Philipp, Dorit Klebe-Wonroba; ( back row) Gorana Doliner, Maria Susana Azzi. Turku, 4–7 August 1994 (photo courtesy of Gorana Doliner). for their long-term contributions to the field. A collo- participants of the Nordic Forum attended papers pre- quy with these distinguished women, new scholars, and sented by twenty-one members of the study group (fi g-graduate students concluded the event (Herndon and ure 2). At this meeting, the study group reaffirmed its Moisala 1993:26). 1985 commitment to gender studies, rather than wom- en’s studies alone, and called for strategies to encourage more studies of men and greater participation by male Mainstreaming gender in music studies scholars. Hosting institutions were especially generous and hospitable. On the ground floor of the guest house, A central argument was that gender should become a a sauna was available daily, refreshments were served mainstream of ethnomusicological studies, such that regularly, and a boat tour with dinner and dancing was every research project would take it into account. a highlight of the evenings, along with Finnish tango, Glimpses of such a future appeared in 1994 in the form Sami, and other music and dance presentations. of an invitation from Lisbon to hold an ICTM collo- At the study group’s two meetings during the 33rd quium, entitled “The role of women in music: Processes, ICTM World Conference in Canberra in 1995—one networks, hierarchy,” to be chaired by Salwa El-Shawan for discussion (fourteen participants) and one for lunch Castelo-Branco, 21–25 November 1994 ( BICTM 84, (ten participants)—the membership reaffirmed that Apr 1994:29). However, the plans for that colloquium theorizing requires a large data base and more broadly failed to materialize. defined its projects. Two themes for possible meetings in Signs of growth did emerge, however, from the large 1996 were proposed: “Sexuality and performance” and number of participants who attended the fourth sym- “Gender and dance.” The ways in which societies con- posium of the Study Group on Music and Gender struct women and men through music had commanded organized by Pirkko Moisala at the University of Turku, considerable attention, but led to a concern for the dif-Finland, on 4–7 August 1994 (Herndon and Moisala ferent kinds of bodies and how music together with 1994:28). The study-group meeting was connected to dance constructed bodies. Discussion of future meet-the Nordic Forum of Women, which gathered ten thou- ings—plans, themes, finances—was on the agenda, and sand women from Nordic countries. Numerous cultural it was suggested that the possibility of a joint meeting performances of the Nordic Forum were available to the be explored with the Study Group on Ethnochoreology. Music and Gender Study Group members, while many ICTM Study Group on Music, Gender, and Sexuality 343 Finally, by 1998 the study group’s commitment to studies programmes that were opening, some of which the expansion of gender studies and the mainstream-became full-fledged departments; ethnomusicologists’ ing of them in ethnomusicology had a demonstrable sharing of their pedagogical approaches and materials impact. The Study Group on Anthropology of Music was a highlight of this symposium. in Mediterranean Cultures launched a symposium At Kallio-Kuninkaala, an old mansion in the conference theme titled “Music as representation of gender in centre of the Sibelius Academy, served as the site of the Mediterranean cultures.” It was scheduled for 11–13 seventh symposium held on 20–24 January 1999. The June 1998 and resulted in a publication, including con-symposium was supported by the Academy of Finland tributions by members of that study group, edited by and Åbo Akademi University. Its theme was “Gendered Tulia Magrini ( BICTM 82, Apr 1998:33). images of music and musicians,” and approximately twenty papers were presented (Moisala 1998). On one evening, local organizer Moisala arranged for the gath- Pedagogy, field research, and activism ering to conduct a fieldwork experiment to study the gendered behaviours and interplay at a dance-music By acclamation, the study group favoured holding restaurant. The idea was to explore in a self-reflexive its fifth symposium in Zagreb, Croatia, on 12–15 manner how the scholar’s background influences his/ September 1995 (subsequently changed to Punat her observations. Ten members of the study group par-on the island of Krk, on the 20–24 September) with ticipated in the experiment (Moisala 2001). the Institute of Ethnology and Folklore Research and Matrix Croatica (Zagreb) as hosting institutions, and The first study group’s scholarly meeting held off the Gorana Doliner as the local arrangements chair. Its continent of Europe was hosted in Toronto, Ontario, theme, “Music, violence, war, and gender,” emphasized Canada on 5–7 August 2000. This, the eighth sym-music in a war context and gender-conditioned music posium, was distinct in one other way. Advertised as as expressive of resistance to war (Herndon and Moisala a “working group” gathering limited to 20–30 partic-1995a:24). At the business meeting, Moisala was ipants, this was the first time that a limit was placed re-elected to the position of co-chair for another two-on the number of participants by a study group that year term (Herndon and Moisala 1995b:14) and served previously emphasized growth as an objective. Beverley with Herndon, who remained the other co-chair until Diamond was the local arrangements chair and the main 1997. Eighteen papers were presented, including two theme was “Music, gender, and the body,” along with panels specifically addressed to music, war, and exile three subthemes: “Integrating the study of music and in Croatia, and the impact of cultural disturbances on dance,” “Gender and the voice,” and “Technology and gender roles in music. Some papers addressed the fluid-the body in the production and reproduction of music.” ity and ambiguity of gender roles in unstable situations Held at Glendon College, the downtown campus of (ibid.).3 The study group was invited to Gothenburg, York University in Toronto, the meeting was “located Sweden, for its sixth symposium to be held beginning on a beautiful ravine site. Visitors to Toronto, the largest 29 April 1996 in conjunction with a music, gender, and city in Canada on the shores of Lake Ontario, enjoy[ed] pedagogies conference hosted by Margaret Myers at the a city shaped by an extraordinarily diverse population Department of Musicology, University of Göteborg from all parts of the world” (Babiracki 1999:15). (Gothenburg). The focus was on ethnomusicology, gen- Thirty members from seven nations—Australia, der, and pedagogy. Increasing numbers of study-group Canada, Croatia, Finland, Germany, Poland, and the members were invited to serve as faculty in the grow-United States—attended the symposium to present ing number of women’s studies or women and gender their research on the conference themes, including Ukrainian folk dance; Georgian chants from Russia; 3 Feminists have consistently recognized the significance of con- Jewish songs; issues in music education; Sephardic necting scholarship and activism in that their research informs music in Spain; female African composers; Australian activism and new policies, and problems identified by activists aboriginal women’s crying-songs; restaurant music in often make their way onto research agendas. While sexual vio- Finland; and the construction of gender in popular lence has been part of war for centuries, the very first successful music in Iceland and America. (Magowan 2000:21) prosecutions occurred in 1998, three years after this sympo- sium, when the International Criminal Tribunal pronounced Open discussion sessions, then a regular feature of Rwandan Mayor Akayesu guilty of “rape as genocide,” decid- the symposia, were moderated by Beverley Diamond ing the case that Sara Darehshon and Pierre-Richard Prosper brought for Rwandan women plaintiffs (“When Rape Becomes and co-chair Carol Babiracki. At the business meet- Genocide,” New York Times, 5 Sep 1998). The International ing, Moisala resigned from her position, and Fiona Criminal Court Tribunal on the former Yugoslavia did not Magowan was elected as the new co-chair. Evening conclude until 21 December 2017, but one-third of those fare featured Caribbean Mardi Gras music and dance, charged with rape as a crime against humanity were found guilty and sentenced. Feminist scholarship and activism played a surprise performance of Georgian chant, exploration no small role in the conclusions that these tribunals reached. 344 Barbara L. Hampton of the sights of downtown Toronto, and an evening at Musikwissenschaft and Center for Global Studies on Caribana (ibid.:21–22). 13–16 July 2016. Only five years later, on 18 November 2005, the In Bern, thirty-three ethnomusicologists from sixteen study group held a meeting at the Sheraton Midtown countries presented papers addressing a broad variety Hotel, Atlanta, Georgia, during the Society for of topics, including popular music in global contexts, Ethnomusicology conference. Nine members of the gender theory, gender mainstreaming in contemporary group attended and the chair, Fiona Magowan, pro-ethnomusicologies, indigenous articulations of activ- posed to elect a new co-chair to fill the position left by ism, rainbows and diversity, and national discourses Carol Babiracki, whose resignation for health reasons in and gender biases (figure 3). Anna Hoefnagels chaired 2000 was announced in April 2001 (Magowan 2001). the programme committee. The conferees were greeted Nino Tsitsishvili was elected. Discussion focussed on with an informal reception on 12 July, creating a pleas-the issue of funding for study-group symposia. The pos- ant welcoming to stimulating papers, while on the next sibility of holding symposia in combination with other day, the official opening ceremony was held with the conferences was considered. Looking forward, mem-chair, Barbara L. Hampton, presiding. The first Lifetime bers proposed to organize a panel either at the 39th Achievement Award ever presented by the Study Group ICTM World Conference in Vienna (4–11 July) or at on Music and Gender was awarded to Pirkko Moisala, the Feminist Music Theory conference, both in 2007. who led the group for seven years, 1993–2000, the lon-The remainder of the discussion was devoted to plans gest continuous term of any co-chair up to that point. for more collaboration and discussion among members. The study-group chair, Barbara L. Hampton, officiated The chair promised to circulate a list of research pro-at the award ceremony and formally introduced Pirkko jects, compiling a database of publications and schol- Moisala, who gave the keynote lecture titled “Cross- arly materials upon which members could draw, and to cultural encounters: Deleuze and the musicking bodies use the listserv more effectively (Magowan 2006:53). of Tamu women (Nepal),” followed by a lively discus-Financial issues plagued the study group during the sion period. ensuing decade. Panels were dedicated to the indigenous cultures of Australia, Canada, and Ecuador; queer movements and queer theory; musical performance and national dis- The resurgence courses; theorizing gender; changing and challenging gender roles in religion, rock, and flamenco; and gen- At the 42nd ICTM World Conference held in Shanghai, der roles in media and education. In addition, Barbara 11–17 July 2013, the ICTM Executive Board noted L. Hampton chaired a roundtable designed as a brain-that the study group had been inactive for an extended storming/open-discussion session that addressed the period of time. Svanibor Pettan, then secretary general, political implications of gender theories, how gender asked that it be revived. An organizational meeting was theory and activism each implicates the other; the fem-planned in Pittsburgh, Pennsylvania, United States, inist backlash, especially in social media; the ways in for 13 November 2014 ( BICTM 126, Oct 2014:11). which ethnomusicologists can become engaged scholars; Members attended and elected officers. Barbara L. and pedagogies and the possibilities of interdisciplinary Hampton was elected to the chair, and Susan Thomas gender requirements in academic curricula across the was elected as secretary. A committee was appointed to globe. The Swiss Society for Ethnomusicology held its formulate operating procedures, and plans were made annual meeting with the study group, and the round-to present study-group panels at the 43rd world confer- table was followed by a practical workshop of Swiss ence in Astana, Kazakhstan, held on 16–22 July 2015 yodelling. Its members presented papers on Alpine (Thomas 2015:30–31). female tradition-bearers during the afternoon session. At the 43rd world conference, members who presented A highlight was the soundscape tour of Bern led by papers and/or served as panel chairs were (in alphabet-Britta Sweers who introduced the conferees to acoustic ical order): Barbara L. Hampton, Michiko Hirama, impressions of the “City of fountains.” Following the Marko Kölbl, Heather MacLachlan, Inna Naroditskaya, closing ceremony, conferees took an excursion to the Anne K. Rasmussen (then president of the Society Alps in the brightest sunshine—a fitting conclusion to for Ethnomusicology), and Elizabeth Tolbert. At the a stimulating symposium. business meeting, Marko Kölbl was elected co-chair, At the 44th world conference on 13–19 July 2017 in and Shzr Ee Tan was elected secretary. Heather Limerick, the study group presented a roundtable and MacLachlan agreed to chair the Operating Procedures three sponsored panels. The roundtable was “Rethinking Committee, and the study group voted to accept the language and discourses on gender and ‘feminism’ in invitation extended by Britta Sweers to host the ninth ethnomusicology: Global contexts, scholarly trends and symposium in Bern, Switzerland, at the Institut für ICTM Study Group on Music, Gender, and Sexuality 345 Figure 3. Participants of ninth symposium of the study group: ( front row) Lasanthi Manaranjanie Kalinga Dona, Gertrud Huber, Britta Sweers, Barbara L Hampton, Pirkko Moisala, Rafique Wassan, Heather MacLachlan, Alyssa Aska; ( middle row) Marc-Antoine Camp, Marcello Sorce Keller, Loren Chuse, Marko Kölbl, Andres Pfister, Kristin McGee, Sara Selleri, Beverley Diamond; ( back row) Lea Hagmann, Nora Bammer, Ana Hofman, Michiko Hirama, Anja Brunner, Francesca Cassio, Jenny Game-Lopata, Thomas Hilder, Linda Cimardi, Qu Shuwen, James Nissen, Svanibor Pettan, Anna Hoefnagels, Rasika Ajotikar. Bern, 13–16 July 2016 (photo by Laura Mettler, courtesy of Britta Sweers). future directions” (Marko Kölbl, Rasika Ajotikar, Laila of twenty-six consecutive paper sessions at the historic Rosa, and Anna Hoefnagels, who also chaired). The home of Viennese classicism. The rectorate, along with three panels were “Female representation in academia ICTM Secretary General Ursula Hemetek, who warmly and music education” (Sara Selleri, James Nissen, Joan welcomed the participants, launched the opening cere-Bloderer, and Gertrud Maria Huber, who also chaired); mony. The presiding officers of the two study groups, “Representations of gender and sexuality in academia and Svanibor Pettan (chair, Study Group on Music and on the stage” (Ellen Koskoff, Shzr Ee Tan, with Barbara Minorities), and Barbara L. Hampton (chair, Study L. Hampton as discussant and chair); and “Contesting Group on Music and Gender) followed. After gifts of silences, claiming space: Discourses on music, gender thanks from the Study Group on Music and Gender and sexuality” (Kathryn Alexander, Michiko Hirama, were presented to the hosts, the ceremony concluded James Nissen, and Barbara L. Hampton, also as chair). with a stirring performance by Ivana Ferencova. On the It was decided in Limerick that the tenth symposium evening of 23 July, the local arrangements committee would be held jointly with the Study Group on Music ended the day by hosting an elegant welcome reception. and Minorities in Vienna, 23–30 July 2018. Scholars from thirty-four nations presented research The tenth symposium of the Study Group on Music and that they conducted into as many cultures. The gen-Gender was a joint meeting hosted by the Department der and sexuality studies from nineteen different cul-of Folk Music Research and Ethnomusicology at tures provided perspectives on nearly all the feminist Universität für Musik und darstellende Kunst Wien. frameworks and on queer studies. Having no parallel This was the first joint meeting formally organized with sessions—only consecutive ones—meant that all papers the Study Group on Music and Minorities, although were available to all participants. Eight sessions were the two groups have overlapping memberships. The programmed under the heading “Shared themes,” fea-liaison to the joint local arrangements committee turing papers that applied intersectionality and stand-was Marko Kölbl, who worked with other members point approaches to analyses of gender and sexuality. of the committee—including Nora Bammer, Ursula The programme committee—Kristin McGee (chair), Hemetek (chair), Cornelius Holzer, Martina Krammer, Francesca Cassio, Marko Kölbl, and Rafique Wassan— and Hande Sağlam—to generously host the nearly two produced a slate of papers that will continue to be cited hundred scholars who attended this joint symposium for quite some time. Notable was the participation of a 346 Barbara L. Hampton substantially increased number of scholars from Africa Zagreb, Croatia, marking the 25th anniversary year and Asia. Evening activities included a concert by the since Zagreb last hosted the study group, was offered by ensemble Kalyi Jag; an evening of Indian, Pakistani, and Naila Ceribašić and unanimously accepted. However, Afghan migrant dance at the Club Celeste; a presenta-due to the spread of the global COVID-19 pandemic, tion of the book Mansur Bildiks Saz Method; and a work- the symposium was postponed until February 2021, shop, “Music of the Andes,” conducted by the ensemble and subsequently until September 2021. Thunupa. Each study group also conducted a business meeting, the minutes of which can be found at their respective sections of the ICTM website. The excursion Postscript in three-parts concluded with dinner at the Heuriger Schübel-Auer (a wine tavern built in 1682). There all Throughout its history, the study group’s objective of were reminded, while they joyfully engaged in fruitful theorizing gender loomed large. Open discussions of discussion, that Vienna is the only major European city theory and method were held at all the symposia. As with vineyards within its official city limits. a foundation, the early publications turned in thick descriptions of gendered music across the globe. These descriptions led to compendia edited by Herndon and New positionalities Ziegler (1990), and by Moisala and Diamond (2000). The development of international collaboration between In 2019, the study group presented panels and held activists and cross-disciplinary researchers became evia business meeting at the 45th World Conference of dent when major international projects underscored the the ICTM hosted by Chulalongkorn University in urgency of addressing gender-based violence across the Bangkok. More than half a dozen panels featuring globe. A practical result of one such collective effort was papers on music, gender, and sexuality were presented, the development of international judicial procedures many with papers by study-group members, includ-for successfully prosecuting rape as a war crime/geno- ing Michiko Hirama, Rachel Ong, Britta Sweers, and cide and the judiciary response. The Study Group on Barbara L. Hampton. Music and Gender’s research in this area is reflected in From this meeting emerged new stances on both the the themes of the 1995 symposium. Policies on local-activist and research arms. The ways in which violence ized and interpersonal crimes based on gender and sex-and micro-aggressions had permeated universities and uality, including sexual harassment, were addressed in scholarly organizations by 2017 came to the attention the study group’s “Position statement” on interpersonal of the study group which considered the gravity of the violence ratified in 2019 at Bangkok. matter sufficient as to warrant a public statement on Not only in publications, but also in fieldwork situa-the matter. The study group collectively drafted a state- tions, the negotiations of gender identities compelled ment at its 2018 Vienna meeting on sexual harassment new methods. Methods of data gathering were under-which the chair, Barbara L. Hampton, edited during scored during the 1999 symposium, and the process of the 2018–2019 academic year as a “Position statement” refining them and formulating new ones is continuous. on relationship violence and posted as a draft on the This includes addressing approaches to research prob-website in late spring 2019. The statement was officially lems highlighted by LGBTQIA (lesbian, gay, bisexual, adopted by unanimous vote at the 2019 business meet-transgender, questioning, intersex, and asexual) activ- ing in Bangkok and is now posted on the website. ists. Hence, more knowledge is being created about It was decided that the name of the study group LGBTQIA experiences of music and how music is used should be changed to reflect the direction that the to communicate understandings of LGBTQIA lives research and publications of its members had taken and communities. over the past few years. At the 2019 business meeting, Pedagogical strategies must accompany curriculum the name was officially changed from the Study Group changes, as more Women’s Studies Programmes become on Music and Gender to the Study Group on Music, Women and Gender Studies Departments, embracing Gender, and Sexuality. queer studies and propelling the mainstreaming of Finally, in accordance with the term limits inscribed in courses on gender and sexuality in music, folklore, and the Operating Procedures, all but one of the incum-anthropology departments. In many parts of the globe, bent officers accepted those terms and vacated their the COVID-19 pandemic has required new or hybrid positions. Marko Kölbl continued, however. Newly teaching environments and, consequently, pedagogical elected officers were: Marko Kölbl, chair; Rachel Ong, change. Study-group members continue to formulate vice chair; and Rasika Ajotikar, secretary. An invita-pedagogical strategies, to infuse them into these curric- tion to hold the eleventh symposium in July 2020 in ula, and to make ongoing assessments of learning out- ICTM Study Group on Music, Gender, and Sexuality 347 comes—an effort that was launched at the symposium ———. 2001. “Gender Performance in a Finnish Dance Music in 1996. Restaurant: Reflections on a Multicultural Fieldwork Experiment.” Narodna umjetnost 38/1: 7–19. Finally, the rich descriptions and analyses of music, gen- Moisala, Pirkko, and Beverley Diamond. 2000. Eds. Music and der, and sexuality produced by the study group since its Gender. Urbana: University of Illinois Press. Smith, Barbara. 1983. Home Girls: A Black Feminist Anthology. inception continue to be part of the struggle for atten- New York: Kitchen Table Press. tion from major publications in the field. Marko Kölbl Spelman, Elisabeth. 1988. Inessential Woman: Problem of Exclusions and Cornelia Gruber (2018) have produced a study in Feminist Thought. New York: Penguin Random House. showing the percentage of total articles published on the Thomas, Susan. 2015. “Music and Gender.” BICTM 127 (Jan): 30–31. subjects of gender and sexuality between the years 2010 Ziegler, Susanne. 1988. “Study Group on Music and Gender.” and 2016, and have since updated these data. The per- BICTM 73 (Oct): 15–16. centages given for major journals are: Ethnomusicology (6.2%), the Yearbook for Traditional Music (8.22%), the Ethnomusicology Forum (7.69%), and The World of Music (8.11%). Journals supported by an international organization or edited by an international body of scholars tend to have a higher percentage, while jour- nals supported by one nation or largely based in one nation publish a smaller percentage. In all cases, this study group continues to stress the importance of its area of inquiry and strives to move these statistics above single-digit percentages. It will now amass current data collected since its inception and place it into the inter- disciplinary conversation on feminist and queer theo- retical frameworks in its forthcoming book publication: Theorizing Music, Gender and Sexuality. References cited Anzaldúa, Gloria, and Cherríe Moraga. 1983. This Bridge Called My Back: Writings by Radical Women of Color. 2nd ed. New York: Kitchen Table Women of Color Press. Babiracki, Carol M. 1999. “Toronto Meeting of STG on Music and Gender.” BICTM 95 (Oct): 15–16. Hampton, Barbara L. forthcoming. Ed. Theorizing Music, Gender and Sexuality. Herndon, Marcia. 1987. “ICTM Study Group on Music and Gender.” BICTM 71 (Oct): 17–18. Herndon, Marcia, and Pirkko Moisala. 1993. “ICTM Study Group: Music and Gender.” BICTM 83 (Oct): 26. ———. 1994. “ICTM Study Group: Music and Gender.” BICTM 85 (Oct): 28. ———. 1995a. “Study Group: Music and Gender.” BICTM 86 (Apr): 24. ———. 1995b. “Study Group: Music and Gender.” BICTM 87 (Oct): 14–15. Herndon, Marcia, and Susanne Ziegler. 1990. Eds. Music, Gender, and Culture: ICTM Study Group on Music and Gender. Wilhelmshaven: Florian Noetzel Verlag. Kölbl, Marko, and Cornelia Gruber. 2018. “Engendering the Field: Surveying Gender and Queer Approaches in Ethnomusicology.” Paper presented at the ninth symposium of the Music and Gender Study Group, 14 Jul. Universität Bern, Switzerland. Magowan, Fiona. 2000. “Study Group on Music and Gender— Toronto 2000.” BICTM 97 (Oct): 21–22. ———. 2001. “Carol Babiracki Resigns as Co-chair from STG on Music and Gender.” BICTM 98 (Apr): 31. ———. 2006. “Study Group on Music and Gender.” BICTM 108 (Apr): 53. Moisala, Pirkko. 1998. “Study Group on Music and Gender.” BICTM 93 (Oct): 13. ICTM Study Group on Music in the Arab World Scheherazade Q. Hassan My relationship with the ICTM dates back to the 1970s, and scholars from both Europe and the Arab World. first as a member, then as a liaison officer for Iraq, and Personalities, among them Béla Bartok, Curt Sachs, and later, from 1989 to 2019 as a chair of the Study Group Henry George Farmer, came to Cairo to meet with musion Music in the Arab World. By late 1987, when I was cians from different Arab countries including Kamel al preparing to organize a conference on the documents Khola’i, Darwish al Hariri, Sami al Shawwa, and others, of the 1932 Cairo Conference on Arabic Music, Dieter to discuss various issues of Arabic music. Christensen and Salwa El-Shawan Castelo-Branco sug- The 1932 conference and its outcome were certainly gested creating a study group on the music of the Arab outstanding markers that had tremendous impact on world (the name was later changed to Music in the Arab Arabic music up to our day. However, this historical World). Thus the conference that took place in Cairo encounter had not revealed all its secrets and not enough in 1989 was the antecedent and the de facto forebear was known to contemporaries about all its details. The that led to the creation of our study group. Many of the two books published as an outcome of the conference— 1932 themes that were revisited and questioned in 1989 in Arabic in 1933 ( Kitāb mu’tamar al-mūsīqa al-‘arabi-revealed their long-term effects that decided the future yya), followed in 1934 by the French version ( Recueil des of music in the Arab world on theoretical, practical, and travaux du Congrès de musique arabe)—needed repub-intellectual levels. lication. The 169 78-rpm recordings of the Egyptian, The 1932 conference was the very first in history held Moroccan, Algerian, Tunisian, and Iraqi ensembles that on non-Western music, and specifically here on Arabic performed at the conference were distributed only to music. The decision to convene the conference at that those who attended the conference.1 time was related to the historical context of the begin- In 1987 in Cairo, when I was preparing for the ning of the twentieth century which was a socio-politi- conference, I came across many Cairene musicians cal phase bathed in paradoxes. In 1917, the Arab world and individuals knowledgeable in Egyptian and Arab was liberated from the Ottoman Empire. At the same music, who had heard about the recordings but, though time, the serious economic crisis in Europe accompa-they had the two conference books, needed to have nied direct and indirect colonial hegemony over the more details about the 1932 conference. An important Arab world that started by shaping and reshaping bor-specialist in Egyptian music, Tareq Hassan, a professor ders. This period led to the affirmation of national- of medicine and also a composer, revealed to me that istic trends, and to anti-colonial movements inspired the 1932 recordings were neither known to him nor by the desire for independence and the aspiration to to other specialists in Egypt. He even asked whether promote progress and change in all domains of society, they really existed, and, if they did, how to make including music. them available through cassette copies. Meanwhile, we In that context, a conference on Arabic music in 1932 learned that they were kept at the Oriental Institute could not have taken place if it had not corresponded to of Music in Cairo, but have been sealed for many the needs of Egyptian organizers that included members decades. We thus wrote to the minister of culture to of the governing class, intellectuals, and musicians, who present the idea of the conference and its importance, all aimed not only at modernizing Egyptian music but asking, on the one hand, for the support of Egyptian also at extending changes to Arabic music in general. In that, the 1932 conference was firmly established and 1 The original record collection was given only to official par-had a prominent role in shaping the discussions of music ticipants of the conference, apparently on their request. The in the region. It was the first in history to have brought French curator of Musée Guimet, Philip Stern, who partici- pated in the 1932 conference, brought back the complete set of together a large number of well-known musicians the conference recordings and deposited them at the museum where I heard them. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 348–355. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Music in the Arab World 349 institutions to facilitate inviting groups of traditional It is important to mention that the 1989 conference music and folk arts, and, on the other, asking for his was totally backed and organized by the French cen-help to facilitate our access to the historical sealed tre CEDEJ (Centre d’études et de documentation recordings. This second request could not be realized économiques, juridiques et sociales), directed then by for unknown reasons. Jean Claude Vatin. CEDEJ acted as a local committee Among the consequences of the new nationalistic trend in contacting and inviting in its name the Egyptian at the 1932 conference was the birth of the designa-musicians and personalities to attend the conference, tion “Arabic music,” meant to be considered as an inde- and also asking for their support in organizing per- pendent category within the broader denomination of formances of Egyptian traditional music. In 1992 “Oriental music.” This last designation, besides being CEDEJ not only translated, edited, and published the applied to the music in the Arab world, covered the outcome of that conference in a book, Musique arabe: musical heritage of many non-Arab Oriental cultures le Congrès du Caire de 1932, in addition, it published a that shared common history with the Arabs. One of the cassette, that consisted of a selection of Egyptian folk main ideas projected by Egyptians at the conference, music recorded in 1932 ( Musique arabe 1992). based on the inspiration of the European model desig- nated as scientific and universal (Hassan 1992), was the strong quest for fixing durably the rules of Arabic music The study-group policy and goals considered as only oral and the outcome of practice. In point of fact, the conference organizers ignored the real- It was during the ICTM Executive Board meeting ity that the rules of Arabic music had been organized held in Schladming, Austria, in 1989 that our study and written down many times throughout its history. group was recognized as a group-in-formation, wait-These issues that were raised during the 1932 confer- ing for its first symposia to be organized, after which ence that expressed the desire of modernizing Egyptian the study group would be considered official. Inspired and Arabic music remain important questions among by our 1989 conference, we thought that the very contemporary Arab musicians. The concern about first and central goal of the new study group would fixing the post-Ottoman scales, modes, rhythms, and be to organize its meetings as much as possible in the other elements of music, aimed to unify these aspects Arab world. Direct in situ and long-term encounters of music over the whole Arab world, was itself an issue between scholars who work in the West with musi-that represented a critical stand against the oral tra- cians, scholars, and other knowledgeable individuals dition, which was considered to be inferior. And, of interested in the musical traditions of their countries, course, there is also the well-known increasing influ-who knew little about the way Western scholars repre- ence of Western music with its theory and pedagogy, sented their music, seemed crucial. which at the time was considered the proper model to Moreover, in each symposium that we organized in follow. The paradox of the situation was that Europeans different Arab countries, where we dealt directly with present at the 1932 conference were opposed to this oria new context of cultural specificity, diverse perspec- entation. However, if these issues remain valid among tives were opened to us. Meeting with individuals many groups with whom I met, they represent only one interested in research, teaching, or performing musical aspect of the more varied opinions and priorities in the traditions in their social contexts brought to light vari-contemporary Arab world. ous approaches towards musical concepts and research Thus the aim of our 1989 international conference, methodologies, and revealed the complexity of the held on 25–28 May 1989, was to explore the vast and field realities in the different parts of the Arab world, global corpus of written and audio documents that was stretched over a wide territory of 13 million square presented on Arabic music in 1932, and to interrogate kilometres with rich musical traditions that cover a the different issues that were dealt with and the ques-great number of different genres. tions these raised. Through the perspective of contem- Concurrently, our work process faced serious obsta- porary researchers of each of the countries present at cles. The main and the greatest difficulty was that our the first conference, we hoped to re-examine and help study group was formed in the 1990s, during a turbu-fill in the gap of the documentation inherited from lent period where wars started to destabilize the Arab that period on the different Arab musical traditions world. This reality that continues to be the case up to presented at the conference.2 Hassan (Iraq), Suleiman Jamil (Egypt), Mahmud Kamil 2 Participants in the 1989 Cairo international conference (Egypt), Issam al Mallah (Egypt), Nadia Mechri-Saada included Jean-Pierre Belleface (France), Pierre Bois (France), (Algeria), Eckhard Neubauer (FRG) via text, Ali Jihad Racy Nadia Bouzar-Kasabdji (Algeria), Salwa El-Shawan Castelo- (Lebanon/USA), Martha Roy (Egypt/USA), Philip Schuyler Branco (Egypt/Portugal), Jürgen Elsner (GDR) via text, Linda (USA), Artur Simon (FRG), Margaret Toth (Hungary), and Fathallah (Egypt), Mahmoud Guettat (Tunisia), Scheherazade Habib Hassan Touma (FRG). 350 Scheherazade Q. Hassan our day, affected our meeting projects more than once, pologists,3 who presented various forms of mutations preventing us from the desired interaction and the more and changes in Algerian classical and regional music regular contacts that we hoped to realize. Evidently, it (Constantine, Bedouin Sahara, and Haggar), in musi-also compromised the original idea to organize more cal instruments, and in education. The Algerian case symposia in the 1990s, which unfortunately could not interacted with different forms of change that affected be accomplished, precisely because of such conditions. the music of Syria, Iraq, Egypt, Tunisia, the Gulf, and Simultaneously and on a different level, the regional Yemen. Two concerts were especially organized for the geopolitics inherited from the period of coloniza-symposium participants: Algerian classical music at the tion had left an impact on the relatively separated Palace of Culture, and a performance given by musi-relations between the Middle East and North Africa. cians of the Department of Music at the École Normale While French domination in North Africa, and partly Supérieure. A specific dimension of Algerian musical in Lebanon, impacted the use of French language for traditions was presented at the rich and important research, in the other parts of the Arab world the use exposition of Algerian musical instruments from the of Arabic language dominates. And even though papers collection of the National Centre for Historical Studies. and presentations were often trilingual in our sympo- The National Institute of Music also organized a visit sia, the drive to present local scholars who only use to the Algerian National Archive, where documents on Arabic presented difficulties whenever publications traditional music were preserved. were planned. This explains why publications resulting If the two international meetings on Arabic music that from our study-group symposia were not easy to realize, took place in Cairo and Algiers succeeded in bringing leading to publications of individual papers scattered in together individuals concerned with music who did different journals and books, depending on the individ-not necessarily know much about each other, it was ual possibilities. certainly thanks to the institutional backing we received in local accommodation, plane tickets, and cultural musical activities. It is precisely in the 1990s that the Symposia situation in the Arab World started to gradually change due to wars. With the Algerian civil war and, soon after, the war on Iraq that started in 1991, our study group ALGIERS, 25–27 NOVEMBER 1990 went through an unattended period, in which many of For our first official study-group symposium, we had the projects we worked on could not take place. two choices of locale. In 1990, CEDEJ invited us to After the Algerian meeting, we had planned to hold hold our meeting in Cairo again; at the same time, the our next symposium in 1995 in Aden, Yemen, at Algerian musicologist Nadia Bouzar-Kasabji, head of the the French Cultural Centre “Arthur Rimbaud” on Music Department at the École Normale Supérieure of the theme “Tribal and Bedouin music in the Arab Algiers, who had participated in our Cairo conference, world,” considering its particular importance in the suggested organizing our symposium in Algeria. We Arabian Peninsula, which was not sufficiently known. accepted her proposal, and the meeting was planned In addition, the changes in the lives of many nomadic in collaboration between the ICTM and the Algerian tribes who started to settle down presented the question Ministry of Universities, and with the backing of the of how these new situations affected their performances association for the preservation and promotion of the and its contents. We had hoped to map the space of Algerian classical music. Bedouin music and its manifestations in the national The belief in the necessity of modernization, expressed culture of each country of the Peninsula, together with in the 1932 conference, inspired us to choose for our the way this music was presented in the audiovisual Algerian meeting the theme “Changes in Arabic music sphere. Unfortunately, the meeting did not take place in the twentieth century.” We aimed at identifying new for multiple reasons, including economic. However, musical thinking on change as reflected in written material and applied in teaching institutions, and revealed as 3 Participants in the 1990 symposium in Algeria included well in performance contexts in the Arab world in gen-Kadri Agha (Algeria), Abouzaid Amour (Algeria), Jean-Pierre Belleface (France), Zineb Benazzouz (Algeria), Abdelhamid eral, and ways in which Algeria created its own concept Benmoussa (Algeria), Nadia Bouzar-Kasabji (Algeria), Omar of what change meant. Bouzid (Algeria), Salwa El-Shawan Castelo-Branco (Egypt/ Portugal), Aziz Chaker (Algeria/Syria), Scheherazade Hassan The Algerian meeting was a unique occasion that (Iraq), Mohamed Kamal al Kodsi (Algeria), Issam al Mallah revealed to us the presence of a large number of Algerian (Egypt), Nadir Ma’rouf (Algeria/France), Abdul Hamid colleagues working on their music about whom we knew Mashaal (Egypt/Algeria), Bezza Mazouzi (Algeria), Abdel Mejid Merdaci (Algeria), Leo Plenckers (the Netherlands), Ali little. Among the twenty-four participants, twenty were Jihad Racy (USA), Rashisa Rostane (Algeria), Nadia Mechri Algerian musicologists, music sociologists, and anthro- Saada (Algeria), Mohamed Aziz Shakir (Algeria), Nouredine Sraieb (Tunisia), and Habib Hassan Touma (Germany). ICTM Study Group on Music in the Arab World 351 due to its importance, the subject found its place in the meeting took place from 28 April to 1 May 2000 in two next study group symposia. Aleppo, one of the most remarkable historical cities of the Middle East. Nuri Iskandar, the director of the OXFORD, 4–6 OCTOBER 1996 Conservatory for Arabic Music (Ma’had al mosika -l ‘arabiyya) in Aleppo, helped in inviting Syrian musi- The next study-group symposium took place in cians, musicologists, and other specialists in Syrian October 1996 in Oxford, UK, for the first and only traditions. He also found a most exceptional, histori-time in Europe. The former director of the French cal meeting place, the fifteenth century Syriac Catholic centre CEDEJ, Jean Claude Vatin, to whom we owed monastery of St. Asia and its church, situated in one of much for helping in the organization of our 1989 Cairo the oldest neighbourhoods of the city, far from the city’s conference and in publishing its papers, was by then turbulence. Conference sessions, discussions, and live appointed director of the Maison Française in Oxford. performances of Syrian and Aleppan music took place He generously offered to organize a study-group sympo-in the convent. The encounter among Syrians interested sium there, where we had a most stimulating meeting. in their local music, whatever the differences in origin or However, meeting in Europe clearly implied that fewer religion, reflected the normal-life practice in the Middle participants from the Arab world would attend. Among East before the intervention of foreign wars. It was in the twenty European participants, many of whom did this Christian convent that Islamic music was discussed not have the opportunity to come to our previous meet-and performed together with Christian church per- ings in the Arab world, were added those Arabs who live formances. And it was with our Christian colleagues in Europe. Only one scholar was able to come from the including Father Assouad, head of the convent who was Arab world, due to difficulties that were easy to foresee.4 himself a musician, that we attended the Islamic Sufi Besides the theme “Bedouin and tribal music,” sched- dhikr session. More than twenty scholars and musicolo- uled for a previous meeting that did not take place and gists from Jordan, Syria, Iraq, Yemen, Bahrain, France, retained here, two other themes were proposed: “Arab Germany, the Netherlands, UK, Ireland, and the USA music during the Ottoman period” and “Musical instru-participated in delivering papers in Arabic, English, and ments.” A session on “Music in the world of Islam” was French,5 while a number of students and journalists added. Presentations ranged across a broad canvas, with attended as listeners (figure 1). a majority that dealt with Bedouin and tribal music, its “Bedouin and tribal music” and “Arab music during the historical roots and stylistic features in Libya, Tunisia, Ottoman period,” the two themes that were discussed Algeria, the Arabian Peninsula, Oman, Yemen, Syria, in the previous meeting in Oxford, were again chosen Iraq, and Jordan. It was followed by a session on music to become the substance of the Aleppo symposium. during the Ottoman period where Arab-Ottoman The old roots of Bedouin tribes, who live in the east-contacts, sources, and Ottoman music influence in ern desert of Syria, and the long historical exchange of Tunisia and Iraq were presented and discussed. A ses-the country with the Ottoman world, both present in sion devoted to the use of musical instruments was fol- Syrian musical life and in the research activities of many lowed by debates of converging lines of interest on the knowledgeable Syrians, pushed us to seek for more music of some other parts of the Islamic world, namely information. To these themes we added “Terminology Afghanistan, Iran, and Uzbekistan. Presentations were and concepts of the music in the Arab world,” a subject followed by extended discussions. that was meant to prepare the way for a possible dictio- nary project, but that would unfortunately face many ALEPPO, 28 APRIL – 1 MAY 2000 difficulties, and thus could not be realized. In December 1998, two years after the Oxford sympo- Presentations on Bedouin music in Syria, the upper sium, we started preparing for our next meeting that we Euphrates, Jordan, Iraq, Yemen, Libya, and the Algerian hoped to organize in Syria. Thanks to the full backing Sahara in their different genres added to the Berber of the French Institute for Arabic Studies in Damascus High Atlas traditions related to agriculture, were given (IFEAD) and its director, Dominique Mallet, the 5 Participants in the 2000 Aleppo symposium included Jabbar Ali Ahmad (Yemen), Mahmoud al ‘Ajjan (Syria), Ammar al 4 Participants in the 1994 Oxford symposium included John Ammari (Bahrain), Father Assouad (Syria), Saadallah Agha Baily (UK), Monique Brandily (France), Dieter Christensen al-Qalaa (Syria), Monique Brandily (France), Qadri al Dallal (USA), Ruth Davis (UK), Veronica Doubleday (UK), Jean (Syria),Veronica Doubleday (UK), Jürgen Elsner (GDR), Sa’adi During (France), Jürgen Elsner (GDR), Saadi al Hadithi (Iraq/ al Hadithi (Iraq/UK), Abdul Hamid Hammam (Jordan), UK), Abdul Hamid Hammam (Jordan), Scheherazade Hassan Ghassan al Hassan (United Arab Emirates), Scheherazade (Iraq), Issam al Mallah (Egypt/Germany), Jeremy Montagu Hassan (Iraq), Mahmoud Ismael (Syria), Sabri al Muddallal (UK), Eckhard Neubauer (Germany), Anne van Oostrum (the (Syria), John Morgan O’Connell (Ireland), Miriam Olsen Netherlands), Leo Plenckers (the Netherlands), Philip Schuyler (France), Leo Plenckers (the Netherlands), Gerard Rayissian (USA), Razia Sultanova (Uzbekistan/UK), Owen Wright (UK), (Syria), Omar Sermini (Syria), Jonathan Shanon (USA), and and Habib Yamine (Lebanon/France). Habib Yamine (Lebanon/France). 352 Scheherazade Q. Hassan Figure 1. Participants at the study-group symposium. Aleppo, 28 April – 1 May 2000 (photo courtesy of Scheherazade Q. Hassan). together with those on the historical connections orable concerts of Syrian classical music in which the between Arab song and Turkish music since the seven-mutual exchange between musicians and audience that teenth century, Arab reactions against Ottoman style, usually takes place in Oriental music, enhanced by the and presentations on specific cases of Armenian and role of instrumental improvisation, induced ṭarab, took Iraqi musicians at that period. The session on termi-place in the gardens of the convent. nology addressed concepts used in Aleppan dhikr also Things changed for the study group in first decade of related to the secular waṣla, terms relative to the Yemeni the new millennium, as the region was further inflamed. ‘ūd, rhythmic terminology, terms for the Bahraini ṣawt The invasion of Iraq in 2003 added to the regional trag-in the Gulf and Yemen, and the Syrian mawwāl. This edy and to displacements of population. This calamity session benefitted greatly from the thorough discus-had a negative effect on our meeting initiatives. We sions with local musicians. tried to organize meetings in regions relatively far from Remarkable sessions on “Sacred chant in Aleppo the war zone, specifically in the Peninsula, but we failed since the nineteenth century” included performances despite long months of deliberations. Bahrain and by the most-renowned Aleppan singers performing Qatar presented excuses for budget reasons. Al Harthy, sacred music. Among these was the famous muezzin the Omani musicologist, accepted the idea of organiz-of the Aleppo Umayyad mosque and an important ing a study-group symposium in Muscat. A project singer of Syrian secular repertoire, Sabri al Muddallal based on the theme “A century of musical traditions (1918–2006), accompanied by his young disciple, in the Arab world” was elaborated, and a programme Omar Sermini. The well-known Aleppan ‘ūd player, committee was constituted. But the almost-finished Mohammed Qadri al Dallal, analyzed, discussed, and project for a meeting in Oman ended without results. played examples of Islamic sacred music in the Mar Afterwards, our symposia started to take a different Asia chapel. turn in that we had to prepare for joint meetings. After the midday prayer on Easter Friday, we attended the weekly Sufi ritual at Tekkiet al Bandanījī, related to BA’ABDA (LEBANON), 20–21 MARCH 2013 both Qadiri and Rifa’i Sufi traditions. This was followed Nidaa Abou Mrad invited our study group to take by the Good Friday Easter ceremony of the Urfa and part within the annual musicological meeting that Edesse Orthodox traditions, where a liturgical singing he organizes at the Department of Musicology at ritual was performed by priests with an antiphonal cho-Université Antonine in Lebanon on March 2013. rus of men and women, accompanied by organ synthe- Because of the disastrous regional situation, we chose sizer. Afterwards, the Aleppan Archbishop Gregarious to investigate the theme “The situation of music in Ibrahim honoured us with a reception. Other mem-the Arab world in the new millennium,” covering its ICTM Study Group on Music in the Arab World 353 traditions, practices, training/education, and research, its theoretical and historical aspects, its specificity in and examining the apparent consequences of the war contexts of local heritage, transmission, performance, on different regional traditions. modern teaching and the impact of social and cultural Most of the Lebanese contributions by musicians/musi- contexts. In sum, all that characterizes the practice of cologists dealt with musical education in the context the maqām in the different regional traditions was dealt of a society under a high degree of Western influence. with. Thirty-three scholars from Azerbaijan, Uzbekistan, They revealed striking examples of how musical educa-Turkey, Iran, Iraq, and Oman, with European scholars tion in the Arab world, through its institutes employing from Germany, France, Greece, the Netherlands, and Western teaching methods, transformed local styles. Russia presented papers and participated in panel dis-They all revealed a strong awareness of the vital impor- cussions.7 Twenty-one papers were chosen for publica- tance of transmitting local and mashriqī, that is, the tion and, with the backing of the Ankara conservatory, eastern Arab traditions and style, in all levels of musical they appeared in the volume Maqâm Traditions between teaching. Teaching musicology at a university level was Theory and Contemporary Music Making (Elsner, an occasion for both ethnomusicologists and musicolo-Jähnichen, and Güray 2016; see also Hassan 2016; gists to present their methods.6 Lambert 2016; Saidani 2016; Oostrum 2016). A general closing discussion was followed by a very CAIRO, 7–10 JANUARY 2019 interesting and original concert of a Levantine orato- rio, The Seven Last Words of Christ, as they appear in Thirty years after the first conference had taken place the four gospels, performed with well-known Syriac, in Cairo in 1989, we chose that city again for our most Maronite, Byzantine, and Coptic chants, and with recent symposium in 2019. We based our reflection on music from the Arab Oriental art tradition, accom-the fact that the rich outcome of research conducted in panied with instrumental improvisations. The orato- the second half of the twentieth century and early twen- rio was performed by the ensemble of classical Arab ty-first century in different parts of the Arab world were music of the Université Antonine, directed by Nidaa not widespread or well enough known. Based on field Abou Mrad, who also played the violin, accompanied surveys and usually centred on specific communities or by qanūn and two chanters. on a particular genre in a distinct geographical space in one particular Arab nation state, this rich variety of ANKARA, 17–21 DECEMBER 2014 musical cultures is either known in limited places, or reserved to restricted circles of scholars and/or to par- Our next study group symposium took place in Ankara ticular institutions. Thus the theme, “A socio-musical on 17–21 December 2014. It was organized jointly mapping of music in the Arab world,” chosen for our between two study groups, the Maqām study group, Cairo symposium, was based on the expanding knowl-chaired by Jürgen Elsner, and that on the Music in the edge of recent research. We hoped to better locate new Arab World. Organizational backing came from the research outcomes that relied on field collecting and State Conservatory of Ankara, under the auspices of the documenting done in different geographical locations. Turkish Ministry of Culture and Tourism and backed Details provided in describing structure, performance by Cenk Güray, who represented the Vildrim Beyazit contexts and transformational processes, relations to University Conservatory for Turkish Music. neighbouring or even remote traditions, interactions, For those among us who work on the Arab world, it evolutions that took place, without neglecting their was a great occasion to share the broad topic “Maqām historical background, would help expand the bound-traditions between theory and contemporary music aries of history on music in the Arab world. And this making,” common to a vast region that stretches from more global view, we thought, would help us towards North Africa to Central and Southeast Asia. For the first achieving a large mapping that would cover the musical time, scholars from Islamic countries outside the Arab genres and forms that exist in urban, rural, or nomadic world met with Arab scholars to discuss the phenomenon of maqām and learn about its local uses. Subjects 7 Participants in the 2014 Ankara symposium included Suraya presented and discussed covered the concept of maqām, Agayeva (Azerbaijan), Fazlı Arslan (Turkey), Sanubar Baghirova (Azerbaijan), Hakan Cevher (Turkey), Virginia Danielson (USA), Tamila Djani-Zade (Russia), Alexander Djumaev 6 Participants in the 2013 Ba’abda symposium included Nidaa (Uzbekistan), Jean During (France), Mehmet Uğur Ekinci Abou Mrad (Lebanon), Bouchra Bechealany (Lebanon), (Turkey), Jürgen Elsner (GDR), Süleyman Erguner (Turkey), Abdulwahab Redha Benabdallah (Algeria), Amer Didi Cenk Güray (Turkey), Scheherazade Hassan (Iraq), Judith (Lebanon), Ahmad Hamdani (Lebanon), Jumana Hassan Haug (Turkey), Gisa Jähnichen (Germany), Jean Lambert (Iraq), Scheherazade Hassan (Iraq), Kathleen Hood (USA), (France), Otanazar Matyakubov (Uzbekistan), Anne van Abderreda Kobeissy (Lebanon), Jean Lambert (France), Evrim Oostrum (the Netherlands), Okan Murat Öztürk (Turkey), Hikmet Öğüt (Turkey), Maria Rijo (Portugal), Ghassan Maya Saidani (Algeria) via text, Gyultekin Shamilli (Russia), Sahhab (Lebanon), Mustapha Said (Egypt), Celine Waked Emin Soydaş (Turkey), Nasser Al-Taee (Oman), and Timkehet (Lebanon), and Hayyaf al Yasin (Lebanon). Teffera (Ethiopia/Germany). 354 Scheherazade Q. Hassan Figure 2. Participants at the study-group symposium. Cairo, 7–10 January 2019 (photo courtesy of Scheherazade Q. Hassan). societies in Arab countries, whether of Arabs or of all, methods for the ‘ūd were presented alongside papers on and the various ethnic communities who live within the popular music.8 Arab world. This most recent study-group symposium that took At this precise historical phase, we did not neglect the place in Cairo differs from other symposia in that it relationship between traditional practice and the shape was the only one in which we were entirely responsible it has partly taken in the present, due to the dominant for matters of organization due to the absence of a influence of media and technology, whether emerging local organizing committee. However, we had the from internal evolution or from Western influences. chance to use the meeting room of the Centre Français And besides dealing with the traditional music, on d’archéologie Orientale (French centre for Oriental which we have worked until now, we took into consid-archaeology; IFAO) and some of its rooms usually eration the new interests that emerge among the young available for scholars who pass through Cairo. generation, particularly in Western universities, where subjects on popular music became a focus of research. 8 Participants in the 2019 Cairo symposium included Rafik Researchers from the USA, UK, the Netherlands, al-Akouri (Yemen), Amine Beyhom (Lebanon), Aisha Bilkhair France, Malta, Egypt, Lebanon, Morocco, Yemen, and (United Arab Emirates), Salwa El-Shawan Castelo-Branco the Emirates participated (figure 2) in presenting some (Egypt/Portugal), Hicham Chami (Morocco/USA), Philip Ciantar (Malta), Sophia Frankfort (USA), Badih El-Hajj general theoretical issues, as well as on multiple subjects (Lebanon), Scheherazade Hassan (Iraq), Alan Karass (USA), on the music and instruments of North Africa (Libya, Jean Lambert (France), Anne Lucas (USA), Miquel Merino Tunisia, Morocco), the Middle East (Egypt, Jordan, (USA), Gabrielle Messeder (UK), Salvatore Morra (Italy), Lebanon), and the Peninsula (Oman, Hejaz, and the Miriam Olsen (France), Anne van Oostrum (the Netherlands), Nour El Rayes (Lebanon), Maria Rijo (Portugal), Ghassan Emirates). Old record collections, the role of the Naḥḍa Sahhab (Lebanon), Mustafa Said (Egypt), Melissa Scott (USA), or renaissance movement, and issues on new teaching Maho Sebiane (France), Andrea Shaheen (Lebanon), Søren Moller Sørenson (Denmark), Kawkab Tawfik (Egypt), Clara Wenz (USA), and Farah Zahra (Lebanon). ICTM Study Group on Music in the Arab World 355 This Cairo symposium concludes the series of symposia under my responsibility that started in Cairo and ceased at the end of 2019. Throughout all these years, during all the study-group endeavours, I have been fortunate to have had the help and backing of many scholars, musicians and musicologists, members of the advisory board, and others who represent different world centres and universities. I thank them all. My thanks go particularly to Virginia Danielson, the vice chair, who with her stimulation did not leave me struggle for myself. I am also grateful to Philip Ciantar, Michael Frishkopf, Anas Ghrab, and Hayaf Yassine who accepted the task of carrying the group’s responsibility to decide for the future. References cited Elsner, Jürgen, Gisa Jähnichen, and Cenk Güray. 2016. Eds. Maqâm Traditions between Theory and Contemporary Music Making: Joint Symposium of the ICTM Study Groups “Maqâm” and “Music in the Arab World,” Ankara, December 2014. Ankara: Pan Publishing. Hassan, Scheherazade Q. 1992. “Prologue.” In Musique arabe: Le Congrès du Caire de 1932, 23–31. Cairo: CEDEJ. ———. 2016. “Genres and Performers: An Overview on the Prophet’s Birthday Ceremonial Practice in Baghdad.” In Maqâm Traditions between Theory and Contemporary Music Making: Joint Symposium of the ICTM Study Groups “Maqâm” and “Music in the Arab World,” Ankara, December 2014, edited by Jürgen Elsner, Gisa Jähnichen, and Cenk Güray, 133–146. Ankara: Pan Publishing. Kitāb mu’tamar al-mūsīqa al-‘arabiyya uqīda fil Qāhira sanat 1932. 1933. Cairo: Maṭba‘at al-Amīriyya. Lambert, Jean. 2016. “Ottoman and Turkish Music Influences on Yemeni Music”. In Maqâm Traditions between Theory and Contemporary Music Making: Joint Symposium of the ICTM Study Groups “Maqâm” and “Music in the Arab World,” Ankara, December 2014, edited by Jürgen Elsner, Gisa Jähnichen, and Cenk Güray, 161–184. Ankara: Pan Publishing. Musique arabe: le Congrès du Caire de 1932. Morceaux choisis de musique égyptienne. 1992. One audio cassette. Cairo: CEDEJ. Oostrum, Anne van. 2016. “Music and Musicians of the Hejaz: An Account of the Dutch Arabist Christiaan Snouck Hurgronje (1857–1936).” In Maqâm Traditions between Theory and Contemporary Music Making: Joint Symposium of the ICTM Study Groups “Maqâm” and “Music in the Arab World,” Ankara, December 2014, edited by Jürgen Elsner, Gisa Jähnichen, and Cenk Güray, 195–212. Ankara: Pan Publishing. Recueil des travaux du Congrès de musique arabe. 1934. Bulaq, le Caire: Imprimerie Nationale. Saidani, Maya. 2016. “A Concept of the Practice of the Musical Mode of Constantine’s Maluf.” In Maqâm Traditions between Theory and Contemporary Music Making: Joint Symposium of the ICTM Study Groups “Maqâm” and “Music in the Arab World,” Ankara, December 2014, edited by Jürgen Elsner, Gisa Jähnichen, and Cenk Güray, 139–150. Ankara: Pan Publishing. ICTM Study Group on Music of the Turkic-speaking World Razia Sultanova Introduction and dance as found throughout the wide area of the Turkic-speaking world, stretching from South Siberia The Turkic peoples embrace a millennium of history to the shores of the Mediterranean, and increasingly and a vast geographical area. Their ability to travel in diasporic locations elsewhere. This comprises the and assimilate connects distant times and places, cul-art and music of numerous different ethnicities repre- tures and traditions on the steppes of Central Asia, and senting over 170 million people: Altai, Azerbaijanis, the cultural traditions of the sumptuous beauty of the Balkars, Bashkirs, Chuvashes, Crimean Karaites, Babur and Timurid empires. From the scorching des-Dolgans, Gagauz, Karachays, Karakalpaks, Kazakhs, erts to the longest mountain ranges, Turkic peoples have Khakas, Krymchaks, Kyrgyz, Nogais, Qashqai, Shors, lived in a world of demons, and campfires and story-Tatars, Turkmens, Turks, Tuvans, Uyghurs, Uzbeks, tellers. Turkic vocal and instrumental styles link people and Yakuts, as well as ancient and medieval states and across much of the Asia, the Middle East, and Europe, peoples, such as, Bulgars, Chuban, Dingling, Göktürks, with endless variants on the maqām modal structure, Khazars, Khiljis, Kipchaks, Kumans, Ottoman Turks, and dozens of variants of similar lutes, flutes, fiddles, Seljuk Turks, Tiele, Timurids, Turgeshes, and possibly and drums, which build up a kaleidoscopic picture of Huns, Tuoba, Wusun, and Xiongnu. musical cultures that are in a constant state of flux. Today, at a time of globalization and, for many coun- It was only after the break-up of the Soviet Union that tries, the threat of losing identity, research and docu-people perceived the massive underlying cohesion of the mentation of the music of the Turkic-speaking world Turkic world and realized that mutually comprehensi-helps to identify key issues of performance phenom- ble Turkic languages and cultures have been preserved ena, allowing a better understanding of this vast area through music. to emerge. Until recently, the establishment of an ICTM study group dedicated to this area and peoples would have been hard to imagine. Throughout the Cold War, the UNESCO’s recognition of the musical Soviet Union and the modern Republic of Turkey heritage of the Turkic-speaking world regarded each another with undisguised hostility. Within the Soviet Union, a divide-and-rule policy Following the collapse of the Soviet Union, Turkic-amplified the cultural differences between the Central speaking peoples from these territories got an oppor-Asian republics, while in Turkey, “the Central Asian and tunity to use Turkic-ness as a unifying factor to point Soviet Turkic minorities were known largely through to their ethnic and cultural similarities and relations. the work of cultural associations run by émigrés, dissi- The first international organization to support the cul- dents and refugees” (Stokes 2018:xxi). However, music tural phenomenon of the Turkic-speaking world was scholars today have a rare chance to study and share UNESCO. On an official cultural level, it seems that their knowledge thanks to ICTM. nominations for UNESCO’s lists of “intangible cultural heritage”1 are the best evidence for such recognition. Musical heritage of Turkic-speaking 1 According to UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage, intangible cultural heritage people in the modern world means the practices, representations, expressions, as well as the knowledge and skills (including instruments, objects, artefacts, The Study Group on Music of the Turkic-speaking cultural spaces), that communities, groups and, in some cases, World is dedicated to the practice, documentation, individuals recognize as part of their cultural heritage. It is sometimes called living cultural heritage, and is manifested preservation, and dissemination of traditional music inter alia in the following domains: oral traditions and expres- In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 356–362. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Music of the Turkic-speaking World 357 By 2019, twenty-seven “intangible cultural heritage” respects cultural diversity towards music of the Turkic- music-related nominations from the Turkic-speaking speaking world (Sultanova and Rancier 2018:11)6 world area have been approved by UNESCO, clearly The Turkic-speaking world is both geographically huge showing the rich diversity of musical genres performed and culturally diverse (twenty-eight countries, republics, in the Turkic-speaking world: and districts, extending from Eastern Europe through Azerbaijan’s six nominations were approved: Azerbaijani the Caucasus and throughout Central Asia). Although mugham; art of Azerbaijani ashiq; craftsmanship and the Turkic peoples of the world can trace their linguistic performance art of the tar, a long-necked string instru-and historic ancestry to common sources, their exten- ment; Dede Qorqud Festival;2 Yalli traditional group dances; and Novruz; sive geographical dispersion and widely varying histor- 3 ical and political experiences have generated a range Kazakhstan gained three music-related nominations: of different expressive music forms. Additionally, the Kazakh traditional art of dombra kuy; Dede Korkut Festival; and Aitysh-Aitys, the art of improvisation;4 break-up of the Soviet Union and increasing globaliza- tion have resulted in the emergence of new viewpoints Kyrgyzstan had four nominations: Kyrgyz epic trilogy: Manas, Semetey, Seytek; Art of Akyns, Kyrgyz epic tell- on classical and folk musical traditions, and Turkic ver- ers; Aitysh/Aitys, art of improvisation; and Navruz; sions of globalized popular culture have been developed to fit new social needs. In line with the opening up of Turkey won six nominations: Semah, Alevi-Bektaşi rit- ual; Âşıklık: minstrelsy tradition; Meddahlik, the art of many Turkic regions in the post-Soviet era, awareness of the storyteller; Mevlevi Sema ceremony; Korkut Ataa scholarship from these regions has also increased. Festival; and Nevruz; Turkmenistan had one nomination: epic art of Gorogly; Uzbekistan had six nominations: Askiya, the art of The establishment of the Study Group wit; Katta Ashulla, cultural space of Boysun District; on Music of the Turkic-speaking World, Shashmaqom music (together with Tajikistan); Lazgi Khorazm dance; and Navrouz; and its symposia Russia5 (Yakutia) had one nomination: Olonkho, Yakut The 38th ICTM World Conference in Sheffield in 2005 heroic epos. was where the first plans concerning the establishment Why are these UNESCO-inscribed intangible cultural of the study group were discussed. On 9 August 2005, heritage traditions of the Turkic-speaking people so sig-a large number of participants were attracted by the nificant? It is because UNESCO schemes for intangible unity of thought and approach applied to neighbour-cultural heritage assist in the consideration of tradi- ing areas of research. The initial idea to form a study tional heritage that displays the cultural diversity of the group, expressed by János Sipos, was shared by many Turkic-speaking people. colleagues. In that informal meeting, it was considered The wealth of Turkic music culture critically acclaimed important to build a new ICTM study group, initially by UNESCO experts proves its importance and signif-called “Music in Turkic Cultures.” In this context, I icance; nevertheless, international assistance is needed proposed to focus on “Music of the Turkic-speaking to provide safeguarding priorities, to ensure better visi-World” in order to pool efforts in determining the key bility of the intangible cultural heritage and awareness issues of the cultural phenomena of oral traditions. The of its significance, and to encourage dialogue which idea was appreciated and accepted by those in attendance. Agreement was reached to set up the first work- shop/conference in February 2006 at SOAS University sions, including language as a vehicle of the intangible cultural of London with me as convener. heritage; performing arts; social practices, rituals and festive Our study-group symposia history began with this inau- events; knowledge and practices concerning nature and the universe; traditional craftsmanship (UNESCO 2003:art. 2, gural symposium: “Music of the Turkic-speaking world: para. 1–2). Performance and the master-apprentice system of oral 2 The festival of epic poetry and music variously spelled Dede transmission,” 3–4 February 2006.7 Participants came Qorqud, Korkut Ata, and Dede Korkut. from twelve countries (Azerbaijan, Germany, Hungary, 3 Variously spelled Novruz, Nawrouz, Novruz, Nowrouz, Italy, Kazakhstan, Kyrgyzstan, the Netherlands, Poland, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz, etc. It was a joint nomination by Russia, Turkey, UK, USA) and delivered seventeen former Soviet republics (Azerbaijan, Kazakhstan, Kyrgyzstan, papers. Hiromi Lorraine Sakata (UCLA, USA) was Tajikistan, Turkmenistan, Uzbekistan), as well as Afghanistan, India, Iran, Iraq, Pakistan, and Turkey. 6 http://www.unesco.org/culture/culturaldiversity/ 4 Aitys-Aitysh (the art of improvisation) was a joint nomination article16_en.pdf. by Kazakhstan and Kyrgyzstan. 7 At the time, the inaugural symposium of a Study-Group-in- 5 Russia is not a state party to the UNESCO Convention; this the-Making was counted as the first symposium of the study one element originates from the pre-Convention programme group that would subsequently be approved by the Executive of masterpieces. Board. 358 Razia Sultanova the keynote speaker. The main theme of a “master-ap- Siberia, Tatarstan, and Tuva), Turkey, Turkmenistan, prenticeship” relation lying at the heart of both tradi- UK, USA, and Uzbekistan presented papers. The com- tional classical and folk-music education in the Turkic- pact programme included papers of high quality and speaking world was introduced in wide-ranging papers, resulted in intensive, fruitful discussions. The partici-covering history, contemporary transformations, and pants focussed on different aspects of the topic, such as endangered traditions. According to a Central Asian poetic and musical meters in their interactions, unique proverb, “an apprentice who receives no professional view on the free-metric tunes, free and regular metres in training will go everywhere but achieve nothing.” One relation to suspense, and the abstraction of systems of needs a guide, a master, particularly in music. The metric measures in contrast to the characteristic rhyth-meaning of this lies in experiencing how to perform mic components in realizations. music through personal contact with a teacher, from Furthermore, the papers widened the scope of discourse hand-to-hand, from heart-to-heart. Exploring this pro-in a richly faceted variety from different starting points, cess was the main subject of the symposium. such as synchronic and diachronic comparisons, featur- Through our meeting, not only was a little-known area ing specific genres, performance practice in its manifold made better known, but we also developed approaches parameters, and finally, the performer him- or herself based on practice-based investigations. Such oral tra-was the subject of contemplation.8 Supporting sympo- ditions among the Turkic people are performed by sium activities included excursions, concerts, and eve-nomads in yurts in the steppes and deserts, and by the ning gatherings. One excursion was to the Museum of sedentary populations in courts, dwellings, and estates Islamic Art within the Pergamon Museum, where one in cities, oases, and valleys. The evening concert made of colleagues, Roza Amanova, gave a live performance the event unforgettable: for the first time in the UK, of singing and playing techniques on the long-necked musicians from Azerbaijan, Kazakhstan, Kyrgyzstan, lute, komuz. Amanova is a professional performer from and Turkey performed on the stage of SOAS featur-a dynasty of musicians in Bishkek (Kyrgyzstan) and also ing Saparbek Kosmambet, Galyia Kasimova, Sabina a scholar. The second excursion led to the Ethnological Rakcheeva, Cahit Baylav, the Nihavend ensemble, Museum, where Susanne Ziegler invited guests to visit Razia Sultanova, Alyssa Moxley, Gulzhan Amanzhol, the Berlin Phonogramm-Archiv, guiding them through and the London Uyghur Music Group. On 7 February the exhibition of music instruments with detailed 2006, the review in a British national newspaper, The information. Informal evening gatherings with Turkish, Independent, marked the concert as a “five-star event,” Tadjik, and Oriental buffets and music performances talking about the region as politically like a sleeping provided the opportunity for participants to meet each giant: stretching from the Mediterranean to Mongolia, other in a relaxed atmosphere. A report on the sympo-incorporating vast, untapped mineral reserves, and sium was published in the BICTM (Klebe 2011). home to a hundred varieties of Islam. It was said to hold The third symposium, on “Popular culture in Turkic the key to all our futures. In musical terms, the reviewer Asia and Afghanistan: Performance and belief,” was said it could serve as a pointer, and the concert at the held 1–2 December 2012 at the Faculty of Asian and School of Oriental and African Studies showed where to Middle Eastern Studies, University of Cambridge, orga-look (Church 2006). nized by myself as the local programme chair. The sym- The second symposium of the study group was on posium was generously supported with financial suste-the subject of “Vocal traditions of free-metric singing nance from the University of Cambridge, the British in Eurasia,” and was held in Berlin on 25–30 May Council, and TÜRKSOY.9 The symposium programme 2010, at the Institute for Turcology, Free University. noted participation of forty participants from fifteen Organized by the local programme chair, Dorit Klebe, countries around the globe (Afghanistan, Azerbaijan, it focussed on free-metric singing traditions within a Bulgaria, Germany, Hungary, Iran, Italy, Kazakhstan, complex cultural area, determined by its transcontinen-the Netherlands, Norway, Russia, Turkey, UK, USA, tal immensity and its manifold cultural interactions. and Uzbekistan). The venue was the Senate Assembly Hall, the largest Activities began a day before the symposium proper at a conference room of the Henry Ford Building of the faculty-organized roundtable with faculty members and Free University. The meeting place created an excel-representatives of the Turkish, Azerbaijani, and Kazakh lent working atmosphere. The conference was gener- ously sponsored by the Fritz Thyssen Stiftung (Köln). 8 See the programme for this and other symposia on In addition, the Emst-Reuter-Gesellschaft der Freunde, the study-group website: http://ictmusic.org/group/ Förderer und Ehemaligen der Freien Universität Berlin music-turkic-speaking-world/. e.V. supported the conference. Twenty scholars from 9 TÜRKSOY (The Joint Administration of the Turkic Culture Austria, Germany, Hungary, Kazakhstan, Kyrgyzstan, and Arts) is an intergovernmental cultural organization repre- the Netherlands, Poland, Russia (including Adygheya, senting countries with Turkic populations. Its headquarters is in Ankara; it is in official relations with UNESCO. ICTM Study Group on Music of the Turkic-speaking World 359 Embassies to the UK, and the deputy of the general Togay Senalp, Korlan Kartenbayeva, Saule Janpeisova, secretary of TÜRKSOY, Fırat Purtas. Discussion con-Bayan Abisheva, Oyunchimeg Luvsannorov, and sidered “The study of Turkic languages and cultures at Erdenechimeg Luvsannorov. Erlan Ryskali, whose the University of Cambridge.” The days of the sympo-vocal abilities rival any opera singer, performed Kazakh sium itself, 1–2 December, were filled with a busy pro- virtuoso songs as well as a poignant lament, while an gramme. Presenters explored various ritualistic practices Azerbaijani mugam trio gave a spectacular performance. of the contemporary soundscape and delivered papers A full report on the symposium was published in the on popular culture in the Turkic-speaking world; reli-Bulletin (Hall and Olley 2014). gion and music; improvisation as a major music quality; The fifth symposium of the study group concerned cultural preservation; and the issue of national identity “Sound phenomena in traditional heritage of the in the time of globalization.10 Turkic-speaking world.” It was held 21–23 April 2016 The symposium’s evening concert at the tenth-century in Almaty, Kazakhstan, at the Kurmangazy Kazakh Chapel of Jesus College was a highlight of the event. As National Conservatory (figure 1). The jubilee character one participant noted: “A symposium without music of the event—celebrating ten years of intensive work by is like a pond without water!” Several groups of per-the study group—resulted in a series of commemorative formers from Afghanistan, Azerbaijan, Kazakhstan, awards for its most active members. Saule Utegalieva and Turkey sang and accompanied themselves on tra-and her team organized the programme for all sessions, ditional instruments. The concert concluded with a and prepared a very intensive cultural programme and cross-cultural workshop/improvisation conducted by workshops. The keynote speaker, Karl Reichl (Bonn British composer Peter Wiegold. This new initiative University, Germany), gave an inspiring paper enti-not only invited ethnomusicologists and perform- tled “Dastan: The interplay of voice and instrument in ers to the symposium’s workshop, but also brought Turkic oral epics” to encourage the comparative phil-three composers into the mix (Peter Wiegold, Aziza ological-music studies on Turkic medieval epic forms. Sadykova, and Hossein Hadisi), and even an artist The symposium was generously sponsored by (Elena Tchibor, Oxford University), whose exhibition TÜRKSOY, the Foundation of the First President of “Musical instruments of the Turkic-speaking world” the Republic of Kazakhstan – Leader of the Nation, and was displayed during the event. The symposium’s clos-the Kurmangazy Kazakh National Conservatory. Forty ing ceremony was a dinner at the magnificent four- papers were presented by participants from Azerbaijan, teenth-century Old Library of Pembroke College. A Canada, China, Germany, Italy, Japan, Kazakhstan, full report on the third symposium was published in Kyrgyzstan, the Netherlands, Russia (from Moscow, the BICTM (Sultanova 2013). Novosibirsk, the Republics of Adygea, Sakha-Yakutia, For the fourth symposium, the study group met outside Tatarstan, and Tyva), Turkmenistan, UK, USA, and of Europe for the first time: Istanbul, 18–20 April 2014, Uzbekistan. The presentations demonstrated highly concerning the topic “Turkic world and neighbours: original field methodologies. The symposium pro-Similarity and differences in music.” Local programme gramme included a poster session, presentations of chairs Şehvar Beşiroğlu (Istanbul Technical University) new books and documentary films, masterclasses by and Okan Murat Öztürk (Baskent University) orga-the Tuvan folk ensemble Dyngylday, and daily eve- nized all academic panels, which included forty pre- ning concerts by staff and students from Kurmangazy sentations with outstanding evening concerts. Held in Kazakh National Conservatory. A report on the fifth the historic Architecture Faculty of Istanbul Technical symposium was published in the Bulletin (Utegalieva University, the conference was generously supported and Sychenko 2016). by TÜRKSOY. Timothy Rice (UCLA, USA) gave an The sixth symposium of the study group took place at eloquent keynote presentation. After the academic the State Conservatory of Trabzon University in Turkey, sessions, evening concerts featured exceptional musi-15–16 October 2018. The theme of the symposium cians from the Turkic world, coming from Azerbaijan, was “Dance phenomenon: Innovation and creativity Kazakhstan, Mongolia, and Turkey. The concert opened in studying and performing,” with three sub-themes: with five classical Turkish works beautifully performed “Dance traditions through times, cultures, and eth-on kemençe (bowed lute), ney (reed flute), kanun nicities”; “Forms of accompaniment in dance tradi- (zither), and ‘ud (lute), with the subtle singing of Sinem tions”; and “New directions in the study of music of Özdemir. Two segments of Turkish folk and light songs Turkic people.” The symposium brought together par-followed, performed by Abdullah Akat, Okan Murat ticipants from eleven countries (Azerbaijan, Canada, Öztürk, and Erdem Şimşek. Other artists included Ireland, Italy, Kazakhstan, Kyrgyzstan, Russia, Turkey, 10 See the abstracts of papers at: https://studyres.com/ Turkmenistan, UK, and Uzbekistan) and included doc/1191239/1-popular-culture-in-turkic-asia-and-afghani- eleven papers, and three poster presentations. There stan--perform. 360 Razia Sultanova Figure 1. 5th symposium of the study group in Almaty, April 2016 (photo by Anastasya Borovikova). were also two workshops, a masterclass, a video screen- mental and speech intonation,” “Musical instruments ing, a presentation of new books and journals, numer- and the art of maqām,” “New research,” “Computer ous concerts, and a business meeting. Ann R. David research,” and others. The book is a rare document of our (University of Roehampton, UK) and Catherine Foley study group’s activity in Central Asia and Kazakhstan. (University of Limerick, Ireland) delivered keynote A book of articles by study-group members, edited by papers. Every evening was marked with workshops by myself and Megan Rancier, was published in 2018 by various local Turkish and also Irish dances, bringing real Routledge, Turkic Soundscapes: From Shamanic Voices fun and joy to the participants (figure 2). A report on to Hip-Hop. 11 The book has been reviewed in Songlines the symposium appeared in the Bulletin (Mukhtarova magazine (Church 2018). and Sychenko 2019). Publications Governance From the very beginning of the Study Group on Music Up until the end of 2020, the study group has pro- of the Turkic-speaking World, it has been a great hon- duced three books: two edited volumes were released our for me to be involved in every single step of its in the UK and Germany, and one set of proceedings organization, including running its first symposium in for the symposium held in Kazakhstan. After the first 2006 at SOAS, and the third symposium at Cambridge symposium, the volume entitled Sacred Knowledge: University. Thanks to regular emails of organizational Schools or Revelation? Master-Apprentice System of Oral advice and suggestions from Svanibor Pettan and Transmission in the Music of the Turkic Speaking World Stephen Wild, we managed to get it done. Our study was published in Cologne (Sultanova 2009). It was group has been governed from the very beginning by reviewed in Ethnomusicology Forum (Pegg 2011). myself and Dorit Klebe (Germany) as co-chairs,12 with The programme chair of the 5th symposium in Almaty János Sipos (Hungary) as secretary. From 2014 we had in 2016, Saule Utegalieva, also served as editor of the essential help from Galina Sychenko (Russia), Abdullah symposium proceedings. A large volume entitled From Akat (Turkey), Kanykei Mukhtarova (Kyrgyzstan), and Voice to an Instrument: Sound Phenomenon in Traditional Valeriya Nedlina (Kazakhstan). Invaluable colleagues Cultural Heritage of the Turkic-speaking World was published by the Kazakh National Conservatory in English, 11 The hardback version was released in January 2018; the paper-Kazakh, and Russian. The book’s articles cover all the back in December 2019. symposium’s subtopics: “Sound in traditional musical 12 Dorit Klebe and János Sipos very much benefitted the study group in the period 2006–2010. Dorit Klebe also ran the sec-cultures,” “Sound in the intersection of vocal, instru- ond symposium in Berlin in 2010 as programme chair. ICTM Study Group on Music of the Turkic-speaking World 361 Figure 2. 6th symposium of the study group in Trabzon, October 2018 (photo by Özgün Arda Nural). also serve as study group Board members.13 All of our and an “ideologically institutionalized reality”; and the symposia had occasions to pay thanks for the support emergence of new experiences of music, national iden-and assistance from our ethnomusicologist friends tities, and the origin of genres. around the globe who have served as programme chairs; Exploring the music of the Turkic-speaking world, dis-without their help and cooperation our symposia would cussing our subjects at regular symposia, publishing never happen. edited volumes with articles from the symposia, and revealing the mechanism of the colonial policy of the former Soviet Union, helped us to discover the unex- Conclusion plored expanses of this context, leading us on the path for further research. We were lucky to have such an As this study group was created after the collapse of the opportunity through the establishment of the ICTM Soviet Union, it was crucially important that various Study Group on Music of the Turkic-speaking World. aspects of decolonization were studied as the subjects of our symposia. This occurred through the choice of This, then, explains our choice of symposia subjects: particular themes, such as the survival of national iden-how to protect the knowledge of oral transmission tity, resistance and the development of sovereignty, the through the master-apprentice relationship; where the establishment of authenticity, etc. It was also furthered border is between individual and neighbouring identi-by new data appearing from recent fieldwork in those ties; how to evaluate the appearance of current forms of newly independent, former Soviet republics; new inter-popular culture; what is the nature of the sound phe- views from senior musicians who suffered injustices at nomena of traditional cultural heritage; how important the hands of the Communist authorities; the appearis dance as a form of Turkic national identity, etc. Only ance of a divergence between a perceived musical reality the second symposium of the study group, in Berlin in 2010, was based on the purely musicological subject of “Vocal traditions of free-metric singing in Eurasia,” as 13 Study-group members presently serving on the Board are: suggested by the keynote speaker, Anna Chekanowska. Suraya Agayeva (National Academy of Sciences, Azerbaijan), Alexander Djumaev (Union of the Uzbek Composers, Questions of ownership and of national cultural Uzbekistan), Keith Howard (SOAS, University of London, authenticity, which have been raised and studied by UK), Zilia Imamutdinova (Russian Arts Study Institute, Russia), Fattah Khaligzade (Azerbaijani National Conservatory, the members of our study group, helped to resolve Azerbaijan), Rezeda Khurmatullina (Kazan Federal University, common misunderstandings. And by giving equal Russia), Irene Markoff (York University, Canada), Inna weight to profoundly rooted traditions, the activity Naroditskaya (Northwestern University, USA), Hande Sağlam (University of Music and Performing Arts Vienna, Austria), of the study group reflects the multifaceted nature of Guzel Sayfullina (independent scholar, the Netherlands), Alla Turkic music reality. Sokolova (Adyghe State University, Russia), Thomas Solomon (University of Bergen, Norway), Feza Tansuğ (Hacettepe Thanks to the wealth of information produced through University, Turkey), Saule Utegalieva (Kurmangazy Kazakh the long activity of the study group, we now approach National Conservatory, Almaty, Kazakhstan), and Violetta a new stage of the challenge: we are preparing a three- Yunusova (Tchaikovsky Moscow State Conservatory, Russia). 362 Razia Sultanova volume publication of the first “Encyclopaedia of the music of the Turkic-speaking people.” We are working on that major project now, going through various stages of collecting articles to produce the outcome by 2025. As the principal editor of this major project, I am collaborating with a team of regional editors to do justice to this project. References cited Church, Michael. 2006. “Music of the Turkic-speaking World.” The Independent (7 Feb). https://www.independent.co.uk/arts- entertainment/music/reviews/music-of-the-turkic-speaking- world-brunei-gallery-london-6109728.html. ———. 2018. Review of Turkic Soundscapes: From Shamanic Voices to Hip-Hop, edited by Razia Sultanova and Megan Rancier. Songlines 139 (Jul): 66. Hall, Leslie, and Jacob Olley. 2014. “Music of the Turkic-speaking World.” BICTM 126 (Oct): 45–46. Klebe, Dorit. 2011. “Report on the Second Meeting of the ICTM Study Group on Music of the Turkic-speaking World.” BICTM 118 (Apr): 86–90. Mukhtarova, Kanykei, and Galina B. Sychenko. 2019. “Music of the Turkic-speaking World.” BICTM 139 (Jan): 29–30. Pegg, Carole. 2011. Review of Sacred Knowledge: Schools or Revelation? Master-Apprentice System of Oral Transmission in the Music of the Turkic Speaking World, edited by Razia Sultanova. Ethnomusicology Forum 20/1: 107–109. Stokes, Martin. 2018. “Foreword.” In Turkic Soundscapes: From Shamanic Voices to Hip-Hop, edited by Razia Sultanova and Megan Rancier, xxi–xxii. London: Routledge. Sultanova, Razia. 2009. Ed. Sacred Knowledge: Schools or Revelation? Master-Apprentice System of Oral Transmission in the Music of the Turkic Speaking World. Cologne: LAP Lambert Academic Publishing. ———. 2013. “Music in the Turkic Speaking World.” BICTM 122 (Apr): 81–83. Sultanova, Razia, and Megan Rancier. 2018. Eds. Turkic Soundscapes: From Shamanic Voices to Hip-Hop. London: Routledge. UNESCO. 2003. Convention for the Safeguarding of the Intangible Cultural Heritage. https://ich.unesco.org/en/convention. Utegalieva, Saule. 2016. Ed. From Voice to an Instrument: Sound Phenomenon in Traditional Cultural Heritage of the Turkic- speaking World. Almaty: Kazakh National Conservatory. Utegalieva, Saule, and Galina Sychenko. 2016. “Music of the Turkic-speaking World.” BICTM 132 (Oct): 41–43. ICTM Study Group on Musical Instruments Gisa Jähnichen Introduction sicology still accompanied his efforts in discovering Europe’s folk musical instruments. The foundation of The history of this very early study group cannot be the study group helped him very much in carrying out looked at separately from the larger picture of the his dreams of a united European approach to ethnomu-Council and its development. Since musical instru- sicology that stood against the supposed shallowness of ments were a rather obvious topic of interest that com- American professional associations. The later develop- bined all types of more or less substantiated knowledge ments in Europe and among ethnomusicological schol-on diverse peoples, it was fairly easy to establish this ars made these dreams take another and rather unex-study group in the framework of what was then an pected direction. international organization of professionals in the area of ethnomusicology, a freshly emerging discipline of the The long life of the study group has not always been humanities at that time. without challenges. When Stockmann stepped down as chair in 2000, he left an organizational and scholarly On the website of the study group appears a very short heritage that had to be reconsidered in a painful process statement on the first page: of re-establishing and modernizing organology. The Study Group on Musical Instruments is an informal association of scholars, instrument makers and musicians who share interests in studying all aspects of traditional musi- cal instruments. The study group was founded in 1962 by Time periods Erich Stockmann within the framework of the International Folk Musical Council / International Council for Traditional The website of the study group1 contains basic informa- Music. (http://www.uhv.sav.sk/popularis/; accessed 5 July tion about meetings, symposia, and publications. 2020) Here I discuss some meetings and resulting publi- In order to understand Erich Stockmann (1926–2003) cations. The first meeting took place in Budapest in and his strong interest in musical instruments, it is 1964 on invitation of the Institute for Folk Music important to look into his surroundings and the life sto-Research of the Hungarian Academy of Sciences. The ries of his peers. Among them is Ernst Emsheimer (1904– overall topic was “Methods of documenting folk musi- 1989), who must have had a very significant impact on cal instruments.” The programme was organized by Stockmann’s initiative to establish a study group on folk Erich Stockmann, and the local organizer was Zoltán musical instruments. Emsheimer’s network has been well Kodály. No publication resulted from this meeting. As studied by Madeleine Modin. She observes: most of the participants spoke German, the meeting Emsheimer’s interest in the origins of music and Western used this language. polyphony led him, like many of his fellow students, to stud- The second meeting in 1967 was organized by Ludvik ies of primitive music, as it was called at the time. Within this sphere of ethnomusicologists he got his principal and most Kunz at the Ethnographic Institute of the Moravské extensive network and The International Folk Music Council, Museum in Brno, Czechoslovakia. The topic of the first and later International Council for Traditional Music, ICTM, meeting was continued, and the typology of musical became an important forum for them. (Modin 2013: 256) instruments was discussed. The first volume of Studia Stockmann tried in many ways to continue the lega- instrumentorum musicae popularis originates from this cies of Hornbostel and Abraham, along with being an meeting. This volume was edited by Erich Stockmann, effective organizer, administrator, and eventual pres-was published in 1969, and was the prototype in the ident (1982–1997) of the large group of people that the ICTM became. The old-fashioned and heavily 1 http://ictmusic.org/group/folk-musical-instruments (accessed 5 criticized smell of the early Berlin school of ethnomu- July 2020) or http://www.uhv.sav.sk/popularis/ (accessed 5 July 2020). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 363–368. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 364 Gisa Jähnichen design of the entire first series. The entire series was that adheres to international standards of authorship published by Musikhistoriska museet in Stockholm, and responsibilities. Neither the old nor the new series and Ernst Emsheimer was the series editor. published reviews of other publications or events. One Two years later, in 1969, the third meeting took place of the outstanding features of the new series is its regu-in Stockholm, following the invitation of Emsheimer lar publication, mostly occurring in the same year as the to the Musikhistoriska Museet Stockholm. The topic of symposium, from which selected papers are included. this meeting was “Methodological problems in acoustic A long discussion took place concerning changing the research about folk musical instruments and the con-name of the study group from Study Group on Folk struction of folk music ensembles.” The second volume Musical Instruments to Study Group on Musical of the study group’s series resulted from this meeting Instruments. Some members argued that although we and was published in 1972. The third volume of the are all familiar with and support the dynamic devel-series was a Festschrift to Emsheimer on the occasion opment of our research methods and goals, the origi-of his seventieth birthday, edited by Gustav Hilleström nal name is best retained, as it testifies to the histori-and Emsheimer (1974). cal basis of the study group and the sub-discipline of Many of the meetings in table 1 below were organized ethno-organology. Others added arguments about the in Europe; resulting publications in the named series inclusiveness of the notion of “folk,” or questioned and in the same design are noted. The topics were instead recent developments in ethnography in general. quite ambitious and also telling. We may identify a Nevertheless, in 2015, the name was changed during first period from 1962 to 2000, after which Stockmann the business meeting in Luang Prabang. The title of the stepped down as chair of the study group. This was fol-publication series, which corresponds to the old study lowed by a transition period with irregular publications group name in Latin, has been retained since it indeed and changes in leadership and research direction. After reflects the historical origins of the group. In order to 2009, the situation stabilized again, and the new series simplify the matter, recently we prefer to use the abbre-of Studia instrumentorum musicae popularis represents viation SIMP* to refer to the new series. The editorial a large part of this recent development through more board consists of seven members from all continents. than a hundred peer-reviewed articles. All members have PhDs. The printed outcomes and their digital additions (audio In the period until 2009, most activities, meetings, and files and audiovisual files uploaded to specific platforms) symposia, were primarily focussed on Europe. This may can be easily found on our website, where there are fur-have resulted from the way of starting ethnomusicolog- ther links to the contents of the resulting publications ical research in this part of the world, and the need for and an indication of how to purchase them.2 renewing musicology within post-war Europe. Among those pioneering studies into the traditional practice of instrumental music were, as noted above, Emsheimer, Stockmann, Birthe Trærup, and later on Oskár Elschek, Publications and other activities Marianne Bröcker, and Jürgen Elsner. In searching for In 2009, the study group established a new series of ethnographic details, proofs for original ideas regarding Studia instrumentorum musicae popularis. This was dis-technologies or repertoires, the concept of nation states cussed and agreed to by study group members, as well and the documentation of achievements within their as among other ICTM members during the meeting in territories were often emphasized.3 Over the decades, Erkner and in virtual follow-ups. It was felt that the only very little in-depth research about parts of the title of the series should be preserved since it had a world outside Europe was considered, and much of this number of important preceding issues in a unique for-work showed a rather colonial approach that did not mat, and was chosen by its founder and long-standing contradict the newly experienced European openness chair, Stockmann. The format of the early series allowed towards the idea of “folk.” In order to overcome this for a normal text flow and an additional side column. way of documenting, listing, quantifying, or proving Since modern media and online possibilities make ideological ownership or local achievements, the study such an additional placement of information obsolete group underwent a transformation, becoming a com-through the availability of different reading windows munity of experts contributing to discourses that go far and applications, the new series adopted a very simple beyond the theme of musical instruments as objects or and clear layout. Furthermore, publication guidelines tools in music production. were revised to encourage diverse research contribu- tions and an important code of ethics was developed 3 An overview of topics is given in the table and in the contents 2 http://www.uhv.sav.sk/popularis/STUDIA/publications.htm lists of earlier publications: http://www.uhv.sav.sk/popularis/ (accessed 5 July 2020). STUDIA/SIMP_bibliogr.htm (accessed 5 July 2020). ICTM Study Group on Musical Instruments 365 Table 1. Scholarly events of the Study Group on Musical Instruments. No. and year of Place of event and supporting local scholarly event institution Inviting member Topic(s) of event and resulting publication, if any 1 Budapest, Hungary Zoltán Kodály Documentation methods for folk instruments 1964 Institut für Volksmusikforschung der Ungarischen Akademie der Wissenschaften 2 Brno, Czechoslovakia Ludvik Kunz Typology of folk music instruments 1967 Ethnographisches Institut des Mährischen Documentation methods for folk music Museums instruments Studia instrumentorum musicae popularis 1, 1969 3 Stockholm, Sweden Ernst Emsheimer Methodological problems of acoustic research on 1969 Musikhistorisches Museum folk music instruments Forms of ensemble formation in instrumental folk music Studia instrumentorum musicae popularis 2, 1972 4 Balatonalmádi, Hungary Bálint Sárosi Principles and methods of a historical research in 1973 Magyar Tudományos Akadémia Népzenei folk musical instruments Kutatóintézete, Budapest  Studia instrumentorum musicae popularis 4, 1976 5 Brunnen, Switzerland Brigitte Geiser Principles and methods of a historical research 1975 Kuratorium “Die Volksmusikinstrumente in folk musical instruments; The historical der Schweiz” der Schweizerischen development of shepherd instruments Geisteswissenschaftlichen Gesellschaft  Studia instrumentorum musicae popularis 5, 1977 6 Kazimierz Dolny, Poland Ludwik Bielawski Musician – instrument – music 1977 Instytut Sztuki Polskiej Akademii Nauk,  Studia instrumentorum musicae popularis 6, Warsaw 1979 7 Seggau, Austria Wolfgang Suppan The player of folk musical instruments 1980 Institut für Musikethnologie an der  Studia instrumentorum musicae popularis 7, Hochschule für Musik und Darstellende 1981 Kunst, Graz 8 Piran, Yugoslavia Zmaga Kumer and The world of children’s instruments and the 1983 Sekcija za glasbeno narodopisje Inštituta Julijan Strajnar relationship to the culture of adults; The za slovensko narodopisje Slovenske significance of inter-cultural processes for the akademije znanosti in umetnosti, history of folk musical instruments Ljubljana  Studia instrumentorum musicae popularis 8, 1985 9 Orta San Giulio, Italy Roberto Leydi Norms and individuality in the production of 1986 Civica scuola d’arte dramatica, Milan folk musical instruments  Studia instrumentorum musicae popularis 9, 1989 10 Lillehammer, Norway Reidar Sevåg Instrumental ensembles and their music 1989 Norsk Folkemusikksamling and  Studia instrumentorum musicae popularis 10, University of Oslo 1992 11 Smolenice, Slovakia Oskár Elschek (No specific topic) 1992 Slovenská akadémia ved, Bratislava  Studia instrumentorum musicae popularis 11, 1995 12 Terschelling, the Netherlands Rembrandt F. Analysis of instrumental music 1995 Instituut voor Muziekwetenschap, Wolpert  Studia instrumentorum musicae popularis 12, Universiteit van Amsterdam 2004 13 Copenhagen, Denmark Lisbet Torp Traditional musical instruments in museum: 1998 Musikhistorisk Museum Collecting, preserving, researching, and presenting; The revival of folk musical instruments 14 Markneukirchen, Germany Andreas Michel Traditional musical instruments in the age of 2000 Westsächsische Hochschule, Zwickau mass media; Professional making of traditional (Fach-Hochschule) musical instruments 366 Gisa Jähnichen 15 Falun, Sweden Gunnar Ternhag Interaction between instrument makers and 2002 The Swedish Centre for Folk Music and Dan Lundberg musicians; The introduction of new instruments and Jazz Research (Svenska Center for from historical or contemporary perspectives; Folkmusik och Jazzforskning) Nordic folk music instruments in contexts within or outside the Nordic region  Studia instrumentorum musicae popularis 15, 2005 (in a different format as part of the institutional series) 16 Vilnius, Lithuania Rūta Zarskienė and “Classical” instruments in folk music and folk 2006 Lietuvių literatūros ir tautosakos institutas Austė Nakienė musical instruments in “classical” music; Folk musical instruments as symbols; Folk musical instruments around the Baltic Sea  Tautosakos darbai 32, 2006 17 Erkner, Germany Gisa Jähnichen and Percussion; Migration of musical instruments; 2009 Deutsche Forschungsgemeinschaft Timkehet Teffera Current research  Studia instrumentorum musicae popularis (new series) 1, 2009 18 Stubičke Toplice, Croatia Irena Miholić Instrumental melodies and voice construction; 2011 Institut za etnologiju i folkloristiku, Rural musical instruments in the 21st century; Zagreb New research  Studia instrumentorum musicae popularis (new series) 2, 2011 19 Bamberg, Germany Marianne Bröcker Wind instruments in regional cultures; Social 2013 Schwenk und Seggelke Werkstätte für significance of instrumental music practice; New innovativen Klarinettenbau research  Studia instrumentorum musicae popularis (new series) 3, 2013 20 Luang Prabang, Laos Thongbang Song instruments – dance instruments; 2015 National Library of Laos and Luang Homsombat and Emotional implications of instrumental sound; Prabang City Council Gisa Jähnichen New research  Studia Instrumentorum musicae popularis (new series) 4, 2016 21 Sarajevo, Bosnia and Herzegovina Jasmina Talam Musical instrument makers between local quality 2017 Muzička akademija Univerziteta u and global market; Permissibility of instrumental Sarajevu sound in society; New research  SIMP* (new series) 5, 2017 22 Lisbon, Portugal João Soeiro de Musical instruments and the senses; Mobility 2019 Universidade Nova de Lisboa Carvalho and colonization of musical instruments and instrumental repertoires; New research  SIMP* (new series) 6, 2019 23 Colombo, Sri Lanka Saumya Liyanage Musical Instruments and food; Inventions and 2021 (planned) University of the Visual and Performing and Chinthaka P. sustainability of instrumental music Arts Meddegoda  SIMP* (new series) 7, 2021 (planned) Stockmann often stayed for relatively long periods in instrument collection at the Staatliches Institut für Stockholm, and became a close friend of Emsheimer’s deutsche Musikforschung in Berlin. Sachs was later (figure 1). The latter made a considerable effort “to employed at the Museé du l’Homme in Paris before he establish contacts with scholars, musicians and crafts-moved to the USA. André Schaeffner (1895–1980) and men in Eastern Europe” (Modin 2013:266). Claudie Marcel-Dubois (1913–1989) also worked at Sweden’s position as a country between ideologi- the Musée du l’Homme. Schaeffner later worked with cal systems, as well as the political contacts that both the instrument collection at Trocadéro in Paris. Edith Emsheimer and Stockmann had, made it possible Gerson-Kiwi (1908–1992) founded the Museum of for the Study Group on Folk Musical Instruments to Musical Instruments of the Rubin Academy of Music in gather scholars from Western and Eastern Europe, in Jerusalem. All these people, though not always directly order to continue working towards a vision of social involved in the activities of the Council, contributed to balance. Emsheimer’s influence on Stockmann’s further the formation of central views within the Study Group progress derived from his manifold experiences with on Musical Instruments. scholars working with different collections of musical After the reunification of Germany in 1990, a number instruments throughout Europe, such as, Curt Sachs of scholars from the East became silent, discontinued (1881–1959), Marius Schneider (1903–1982), and their work, or withdrew from scholarly activities due to Alfred Berner (1910–2007), who worked with the unemployment or because of their necessary refocus on ICTM Study Group on Musical Instruments 367 New horizons The study group changed over the decades from ( a) a community of dedicated collectors and archivists of musical instruments, such as Ernst Emsheimer, Ludvik Kunz, and Birthe Trærup; to ( b) a group of scholars investigating the historical processes of musical instru- ments in their immediate environment of which Doris Stockmann, Jürgen Elsner, and Marianne Bröcker were excellent examples; to ( c) a large, global, and very diverse group of all of these plus others who try to focus not only on historical aspects and environment, but also having a wider vision of the discipline and the con- tribution of modern organology to the understanding of human creativity. This group is not a closed society of ethnomusicological academics. It is and always has been an open space for anyone who tries to gain more insights, and who tries to leave useful practical traces, as well as for those who provoke discussions and intro- duce ethical issues in research and its application. The study group always welcomes non-ICTM participants Figure 1. Erich Stockmann and Ernst Emsheimer (photo and tries to attract new members through the quality of as published in Modin 2013:263; used with permission). outcomes and networking. Since the Study Group on Musical Instruments has other essential problems in their lives. Stockmann’s good existed for such a long time without a full set of rules intentions were also not always valued as he wished. and bylaws, it may be also proof that such tools are not Such reasons, in combination with severe health issues, always necessary in order to exist and to work effectively. ultimately led to his retirement as chair. The regularity of publications from the study group is Stockmann’s immediate successor, Andreas Michel, was widely unmatched, and the consistency of encouraging not comfortable with his new role and soon declined new members to participate in this scholarly commu-to work as chair, leaving necessary decisions to a few nity is heart-warming (figure 2). people, particularly Gunnar Terhag and several other This does not mean that there are no critical voices. colleagues. In 2007, during the ICTM world confer- In the future, symposia will have to be organized ence in Vienna, Hans-Hinrich Thedens became interim more often outside of Europe in order to support chair, chosen by the majority present at an informal local developments in research and the application of business meeting of the study group. He started to work knowledge. During the early period, specific research on the next study group meeting that was planned to areas and cooperation among scholars determined the take place in Berlin, but quit his work eight months venues for meetings, but subsequently travel oppor-later due to personal reasons. Since preparation for the tunities and varying political backgrounds have had meeting were already underway, Timkehet Teffera and to be considered. The further the study group mem-I took over. We were both former students of Elsner’s, bers reached out, the more difficult the organization of who was one of the few study group members who had truly comprehensive symposia became. Some members been active since its foundation. The participants of the and other interested scholars cannot attend symposia 2009 study group meeting decided to have a new elec-due to difficult visa requirements, lack of funding, or tion for a chair via electronic voting. Based on the suc- the difficulties of getting time off. While such prob- cessful experiences of this first electronic election, such lems are not new, advanced technological possibilities elections were subsequently implemented more widely such as virtual presentations and the quick booking within the Council, particularly following the large of travel routes with subsequent reimbursements, 2013 election at the world conference in Shanghai. In become more and more common. However, another the study group, there were five candidates for chair in big challenge has been the increasing membership of each election, and Gisa Jähnichen was elected in 2010 researchers who are not continuously employed, who and re-elected in 2016 through a similar procedure. are not employed at all, or who are employed in other As one of the earliest study groups, it has no detailed sectors and have to arrange free time in order to stay bylaws regarding re-election. This was simply an accep-connected and up-to-date. Such people should not be tance of common rules at this point of development. excluded from research and intellectual life within the 368 Gisa Jähnichen Figure 2. Participants of the twentieth symposium of the Study Group on Musical Instruments. Luang Prabang, Laos, 2015 (photo courtesy of Gisa Jähnichen). study group and should not be treated differently in Modin, Madeleine. 2013. “Ernst Emsheimer’s Extensive any way. Thanks to a case-by-case consideration, spe-Network.” In Studia instrumentorum musicae popularis (new cific solutions through personal funding are sought, as series) 3, edited by Gisa Jähnichen, 255–270. Münster: MV-Wissenschaft. well as other forms of academic solidarity. SIMP*: see Studia Instrumentorum Musicae Popularis (new series) Studia Instrumentorum Musicae Popularis. 1969–2005. Vol. 1–15. It is not the time to embrace all modern possibilities, Stockholm: Musikmuseet. (contents of volumes 1–12 can be since the experience of face-to-face exchanges and the found at: http://www.uhv.sav.sk/popularis/STUDIA/SIMP_ broad discussions resulting from direct input can hardly bibliogr.htm). be replaced. However, we should not avoid rethinking Studia Instrumentorum Musicae Popularis (new series). 2009–2019. Vols. 1–6. Berlin: Logos. past practices and improving them where necessary. At the moment, the study group enjoys its revival on a global level, in close relations with colleagues from other fields and organizations, and the many new directions in researching all aspects related to musical instruments, instrumental music, and again object-related features recently made observable through modern technol- ogy. We are looking optimistically into the future and try our best to increase the body of knowledge in the study of musical instruments. Additionally, we keep our minds open towards inter- and cross-disciplinary proj- ects, which may grow out of the obstacles that accom- panied the long life of this study group. References cited Emsheimer, Ernst, and Erich Stockmann. 1967. Handbuch der Europäischen Volksmusikinstrumente. Leipzig: Deutscher Verlag für Musik. Hilleström, Gustaf, and Ernst Emsheimer. 1974. Eds. Studia instrumentorum musicae popularis, Vol. 3: Festschrift to Ernst Emsheimer on the Occasion of His 70th Birthday January 15th 1974. Stockholm: Nordiska musikförlag. ICTM Study Group on Musics of East Asia Ying-fen WANG, TERAUCHI Naoko, and Helen REES The ICTM Study Group on Musics of East Asia (hereaf- Founding of study group, 2005–2006 ter, MEA) was founded in 2006, and with the exception of summer 2020 has held biennial symposia ever since. The idea of forming a study group for musics of East The five main regions considered to constitute East Asia Asia was first brought up by TSUKADA Kenichi (Japan) for the purposes of the study group are (in descending with SHEEN Dae-cheol (Korea), Nora YEH (USA/ order of population size) China, Japan, Korea, Taiwan, Taiwan), and TSAI Tsan-huang (Taiwan) at the 38th and Hong Kong, and a major goal of the study group World Conference of ICTM in Sheffield, UK, in August is to increase interaction among scholars and students 2005. They felt the need “to create more opportunities from the entire area. The founding meeting, held in for East Asian ethnomusicologists to present their work Yilan, Taiwan, in summer 2006, attracted eighty-one in languages other than their own, as well as to encour-participants, including thirty-four paper presenters. age younger emergent scholars from this region [East Since 2010, attendance has fluctuated between the Asia] to present their work at regional conferences,” in eighties and just over a hundred, and the number of order to build up their confidence and prepare them for paper presentations has risen considerably, with all sym-future participation in world conferences (Tsai 2016:4– posia since 2010 featuring fifty-five or more, and the 5). In order to realize this idea, they sought advice from 2016 and 2018 symposia both listing around seventy the Council’s then Secretary General Stephen WILD (MEA 2016a; Waseda 2016:2; MEA 2018). The appen- and learned that a founding conference was necessary dix to this essay sets out a chronicle of MEA’s symposia as the first step. Tsai Tsan-huang was entrusted with the in tabular form. task of seeking funding, and succeeded in getting full support from the National Center for Traditional Arts Below, three of us who have served as chair of MEA’s in Taiwan to host the conference at the Center in Yilan executive committee describe and reflect upon MEA’s County, in the northeastern part of the island (ibid.). history over its first fourteen years. Ying-fen WANG, the chair over 2006–2010, covers the founding of After a year of preparation,2 a founding conference on MEA and its first two meetings, from 2006 to 2007; “East Asian music and modernity” finally took place over TERAUCHI Naoko, chair over 2014–2016, addresses three days, 31 August – 2 September 2006. There were the maturing of the group over the next three symposia, eighty-one participants from East Asia, Southeast Asia, from 2010 to 2014; and Helen REES, chair over 2016– Europe, Australia, and the USA, of whom thirty-four 2018, concludes by analyzing the symposia of 2016 and presented papers (Waseda 2016:1). TOKUMARU 2018, commenting on the extent to which we have met Yosihiko from Japan gave the keynote speech, while our original goals, and suggesting some directions for three plenary sessions featured six other invited present-the future.1 ers from the USA, Korea, China, UK, and Australia. With a generous donation from Tokumaru, a prize for best student paper was jointly awarded to Harm 1 Each of us has, in fact, served MEA in multiple roles. Wang LANGENKEMP (Utrecht University) and Hsin-chun remained a member of the executive committee until 2012. Tasaw LU (UCLA) (Wang n.d.). Terauchi served as vice chair over 2012–2014, before becom- ing chair for the 2014–2016 term; she also co-chaired the local During the conference, a roundtable meeting was held arrangements committee for the 2014 symposium and was a to agree upon submitting the proposal to ICTM to member of the programme committees for the 2010 and 2012 form a study group, and to appoint the programme symposia. Rees served as a programme committee member for the 2010 symposium, and programme committee chair for the 2012 symposium, then successively secretary, vice chair, and chair of the executive committee over 2012–2018. Throughout order (surname first, given name second), while others prefer this essay, we capitalize surnames on their first use for reasons Western order (given name first, surname second). of clarity: some of our members prefer to use East Asian name 2 For more details of the preparation, see Tsai (2016). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 369–376. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 370 Ying-fen WANG, TERAUCHI Naoko, and Helen REES committee, together with two co-opted members, to then president, Adrienne KAEPPLER. There were four-serve as the interim executive committee. Ying-fen teen paper sessions, with thirty-nine papers presented Wang was chosen as the acting liaison officer. The and sixty participants from around the world. The sym-meeting also decided that the study group would hold posium themes were as follows (MEA 2007): its conferences every two years, would be as inclusive 1. The role of Shanghai in East Asian musical as possible, and would welcome members from all development regions, but would also particularly encourage inter- 2. Issues in traditional music action among scholars working in East Asia, as well as student participation (ibid.).3 3. East Asian musics and colonialism 4. Music, identity, and the nation-state imagination Based on this decision, the interim executive committee came up with the following mission statement for the 5. Interpretation of East Asian musical notation study group: 6. New research The mission of the Study Group is to provide a forum As WASEDA Minako noted in her report on the sympo-for ICTM members from all parts of the world who sium, “many of the paper sessions were organized under share an interest in the music of East Asia, broadly specific issues and problems shared among East Asian defined musically and geographically, including East Asian music in the diaspora as well as indigenous, musical traditions, which stimulated cross-cultural dis-transplanted, and syncretic music within East Asian cussions and lively exchanges of ideas among the partic-countries. Other performing arts related to music will ipants” (Waseda n.d.). In addition to the paper sessions, also be part of the subjects of study. (MEA n.d.c) a concert on the second evening showcased perfor- The proposal and the mission statement were soon mances of works by four composers who drew inspi-approved by the ICTM Executive Board, and the study ration from traditional East Asian materials. Students group was formally founded in 2006, with Ying-fen of Chinese music at the Shanghai Conservatory also Wang serving as the first chair of the executive com-performed at the opening ceremony (figure 1) (MEA mittee. The website that was first created for the found- 2007). With a generous donation from Kaeppler and ing conference continued to serve as the website for the Secretary General Stephen Wild, the prize for best stu-study group during Wang’s term. dent paper was formally set up on a permanent basis (Waseda n.d.). Before and during the symposium, the executive com- First symposium in Shanghai (2007), and mittee held several virtual and physical meetings to development of operating procedures develop the operating procedures. The finalized version was presented and approved at the general meeting on 22 Although the first symposium should have been held in December 2007 (MEA 2016b). In order to ensure that 2008, the Shanghai Conservatory of Music proposed no country or region would dominate or be excluded to host it in 2007 as part of its eightieth anniversary from the committee, it was decided that “the Board will celebration. The executive committee accepted the pro-normally consist of seven members, representing the posal, and as a result, MEA held its first symposium at various countries and regions in East Asia and includ-the conservatory in Shanghai, China, 20–22 December ing at least one member from outside of the region” 2007. The location was especially significant because (Witzleben n.d.).5 In Shanghai, it was announced that the Shanghai Conservatory is the oldest music conserv-the next symposium would be held in Seongnam, South atory in China, and in the early twenty-first century has Korea, in summer 2010; it would be hosted by one of become a hub of ethnomusicological research and inno-our executive committee members, Sheen Dae-chol, at vation.4 The keynote speech was given by the Council’s his institution, the Academy of Korean Studies (ibid.). In addition, a mailing list was set up for the members 3 Until 2012, MEA referred to its meetings as “conferences.” to exchange information and has been maintained since However, in the lead-up to the Hong Kong meeting, the then by J. Lawrence WITZLEBEN, who went on to ICTM Executive Board asked study groups to use the term “symposium” for their meetings. All our documents from serve as vice chair and then chair of the executive com- 2012 on reflect this change in nomenclature. For the sake of mittee (2008–2010, 2010–2012).6 consistency, in this essay we use the term “symposium” for all meetings from 2007 on. 4 The symposium was organized by XIAO Mei, a member of 5 For a list of executive committee members since 2006, see the conservatory’s faculty and of MEA’s executive commit- MEA (n.d.b). tee (2006–2010). This led to the conservatory hosting the 6 After this symposium, Hugh DE FERRANTI proposed 2013 ICTM World Conference, and to Xiao Mei joining the an “Interest Group for Research on Music and Colonial Council’s Executive Board (2013–2019). Hence, the 2007 Modernity in East Asia” to function as a subgroup of MEA. MEA symposium constituted a significant milestone in the This was approved in 2010, and from October 2011 on it was conservatory’s (and China’s) increasingly active presence in the co-chaired by De Ferranti and Joys CHEUNG. As acting chair international ethnomusicological community. from August 2012 on, Cheung set up a mailing list for the sub- ICTM Study Group on Musics of East Asia 371 Figure 1. Performance by students at the Shanghai Conservatory of Music during the first symposium. Shanghai, 2007 (photo by Terauchi Naoko). MEA matures: The symposia of 2010, 4. Asian music in music textbooks for primary and 2012, and 2014 secondary schools in East Asia 5. Asian soundscapes and cyberspace Following the success of the meetings in Yilan and 6. New research Shanghai, MEA has continued with symposia held every two years in one of the five principal East Asian Among these themes, the second and fifth topics antic-regions. At the second symposium, held in Seongnam ipated hot-button issues of later years.7 in 2010, there were twenty-one sessions and fifty-seven The third symposium was held in 2012 and hosted by paper presentations; the keynote speech was deliv-the Chinese University of Hong Kong. The keynote ered by KWON Oh-Sung, chair of the ICTM Korean speech was given by YAMAGUTI Osamu. The themes National Committee. Six themes were set by the proof the symposium were: gramme committee, ranging over both more traditional 1. World music and Asian traditional music and newer topics (MEA 2010): 2. Music education and Asian identities 1. Intangible cultural heritage in East Asia: History and practical results 3. Cultural destruction and revival 2. Recordings and films: The potential and pitfalls of 4. Cultural tourism and cultural policy audiovisual technology and materials 5. Music at East Asia’s cultural crossroads 3. Reconsidering the sacred and profane in East 6. New research Asian ritual music Almost sixty papers were presented. One of the sessions was dedicated to the sadly topical issue of “Natural group and issued three “Members List and News” mailings in disaster and revival of performing arts,” in relation to August 2012, November 2012, and February 2013. The sub- group organized two panels for the MEA 2012 symposium in Hong Kong, and two panels for the ICTM world conference 7 For example, in addition to later presentations at MEA’s own held in Shanghai in 2013. Cheung stepped down in August symposia, the third joint forum held by ICTM and four other 2013. The interest group has been dormant since January international music research societies at Beijing’s Central 2015 (email from Hugh De Ferranti to Ying-fen Wang, 29 Conservatory of Music in July 2018 chose the ambitious Sep 2018; email from Joys Cheung to Ying-fen Wang, 30 Sep theme “Approaches to research on music and dance in the 2018). Internet era” (ICTM [2018]). 372 Ying-fen WANG, TERAUCHI Naoko, and Helen REES the great Tohoku earthquake that hit Japan in 2011. The panel reported on three case studies, in Japan, Indonesia, and Thailand (MEA 2012). The fourth symposium took place in 2014 in Nara, one of Japan’s most important historical and cultural cen- tres, and location of three UNESCO World Heritage sites. Alison TOKITA gave the keynote speech. The programme committee set the following themes: 1. East Asian musics from a cross-cultural perspective 2. Music in digital culture/mass media 3. Music and ritual 4. Restoration and reconstruction of musical traditions 5. Music and gender 6. New research There were almost sixty paper presentations and two workshops with performances, both of which addressed the fourth theme. The first of these, “Gigaku in the 21st century,” showcased several attempts since the 1960s to revive the lost performing art of gigaku, a masked pantomime. The second, “The importance of silk strings revisited,” examined the difference in sound and technique between traditional silk and modern synthetic fibre strings used on the Japanese zither koto, the Chinese zither qin, and the Japanese three-string plucked lute sangen (MEA 2014). Figure 2. Poster for the fifth symposium. Taipei, 2016 (courtesy of Hsin-chun Tasaw Lu). Since the late 1990s, meetings such as those of MEA have often discussed topics rooted in contemporary or recent musical cultures, with an emphasis on cross-cul- as possible, while encouraging reflexivity of approach tural perspectives, the reception of Western music, and understanding” (MEA n.d.a). This time, MEA transformations of tradition, restoration or revival, gen-came to Taipei, where the hosting institutions were der, digital technology, mass media, etc. At the Nara Academia Sinica’s Institute of Ethnology and Taipei symposium, however, a modest revival of more histor-National University of the Arts (TNUA). Impeccably ically focussed studies was evident, with eight papers organized by a local arrangements committee headed focusing on ancient and pre-nineteenth century music by Hsin-chun Tasaw Lu of Academia Sinica and LEE based on the analysis of old manuscripts. Ching-huei of TNUA, the symposium featured a lively Overall, as is evident from the steady increase in the mix of conventional twenty-minute papers, shorter number of paper presentations, MEA seems to have “lightning papers,” poster presentations, a roundtable, become firmly established during this period among workshops, and performances. Ninety-two participants researchers of East Asian music, both in East Asia itself are listed in the conference programme; of the seven-and in other regions of the world. This has been the ty-one paper and poster presenters, approximately equal case especially among younger scholars and students, a numbers (between eleven and thirteen) listed their cur-number of whom return year after year. rent institutional affiliation as being in Taiwan, China, South Korea, or Japan, with six currently working or studying in Hong Kong, and seventeen outside East Asia (MEA 2016a).8 The keynote speech was given by The second decade of MEA begins, PARK Mi-kyung. 2016–2020 8 It bears mention that people’s institutional affiliations as given Fittingly, ten years after the founding meeting held in each symposium’s programme booklet do not necessarily in Yilan, the fifth symposium returned to Taiwan in reflect their citizenship: many East Asian citizens are study- August 2016, with the theme “East Asian ethnomusi- ing or working at universities in Europe, North America, cologies?” (figure 2); this was chosen “to be as inclusive and Australia, while universities in all five East Asian regions employ faculty from other East Asian regions or further afield, and also recruit foreign students. ICTM Study Group on Musics of East Asia 373 Figure 3. Participants at the opening of the sixth symposium. Seoul, 2018 (photo courtesy of National Gugak Center). The symposium provided a perfect balance between FUJISAWA (CUNY Graduate Center) for a presenta-emphasizing local arts and encouraging participants tion in this mould; her paper “A bunraku-style puppet to look further afield, to consider connections among and Cio-Cio-san in a fantastic Asia” addressed represen-different locales. The opening and closing ceremonies tations of Japanese characters on the European opera showcased students of TNUA performing characteristic stage. The final roundtable, presented by speakers based local genres: beiguan music and a Taiwanese lion dance at universities in Korea, Japan, Taiwan, China, and the at the opening, nanguan music at the closing. The for-UK, considered the definitions and characteristics of mal concert on the second evening brought listeners to “East Asian ethnomusicologies” (MEA 2016a). a different region nearby, with Hong Kong group The In 2018, MEA made its second visit to the Republic of Wind and Silk presenting a programme of primarily Korea: the sixth symposium was held in August at the Cantonese traditional music. Their use of silk strings, National Gugak Center in Seoul, hosted by the Center in an attempt to revive an older timbre of Chinese silk and the Korean Musicological Society. Now under the and bamboo music, gave many audience members a aegis of the Ministry of Culture, Sport, and Tourism of rare opportunity to experience a gentler, more subdued Korea, the National Gugak Center has since its procla-aesthetic than is generally encountered today. mation in 1950 been the central hub for professional The performance workshops covered a wide geographical documentation, development, performance, and dis-range, starting at the plenary session on the opening day semination of Korean traditional music in South Korea with a beautiful demonstration of Paiwan nose flutes by (National Gugak Center n.d.). Thus it was especially Taiwanese Paiwan performers Giljegiljau Pa’adrius and interesting for MEA members to visit this renowned Remaljiz Pa’adrius; this was followed later by sessions on institution (figure 3). KIM Heesun, director of the the Chinese plucked lute pipa, Mongolian and Tuvan Division of Music Research at the National Gugak music, and the North Indian tabla drum-set. Quite a Center, and KIM Woojin, director of the Korean number of papers and panels addressed cross-cultural Musicological Society, collaborated to lead a local topics, encouraging participants to think about both arrangements team characterized by meticulous atten-intra-East Asian musical connections and connections tion to detail and generous hospitality. between East Asia and other areas. An entire panel, for The main theme was advertised as “Performing arts and example, focussed on “Traditional musics of Japan in social transitions in East Asia,” and one of the highlights colonial Taiwan (1895–1945),” while individual papers was a concert of traditional and neotraditional Korean addressed topics such as a comparison of professional music and dance performed by outstanding profes-modern Chinese orchestras in Shanghai, Hong Kong, sional artists affiliated with the Center. The programme and Taipei; the history of Chinese revolutionary music attracted 777 people to the combined symposium and and dance in Burma/Myanmar; and an analysis of concert. Of these, ninety-seven were listed as attending Korean p’ansori storytelling on the international scene. the symposium, which included conventional paper ses-The prize for best student paper was awarded to Kae sions, three workshops, and a film session. Once again, 374 Ying-fen WANG, TERAUCHI Naoko, and Helen REES all five major East Asian regions were well represented years, we have seen noticeably more equal levels of par-both in terms of subject matter and in terms of speak- ticipation in MEA by people from all five main East ers, with Korea itself fielding the greatest number of Asian regions, and less difficulty securing equitable rep-regular paper presenters (twenty-one out of seventy-six) resentation of all regions on programme committees (National Gugak Center n.d.; email from Heesun Kim and the executive committee. to Helen Rees, 13 Sep 2018; MEA 2018). The keynote To achieve this, members of the executive, local arrange-address was given by Bell YUNG. ments, and programme committees have sometimes Many panels created by the panellists themselves, or had to think up creative ways to overcome obstacles to by the programme committee, brought together peo-broader participation. For example, simply relying on ple from different regions working on similar themes in our own e-list and the ICTM Bulletin does not reach all different parts of East Asia, offering a great opportunity the scholars and students in all five East Asian regions to learn what their counterparts from different areas are and elsewhere who might like to submit abstracts for doing. In one particularly notable example of sustained the biennial symposia. Since local scholarly networks cross-border collaboration, four presenters—two based and website access vary greatly, we rely on executive in China and two in Korea—organized a workshop on committee members and longstanding members from their long-running international cooperative project to each area to use local e-lists and social media to spread document the history and ethnography of porcelain the word. On occasion, when this has not worked in hourglass drums, restore selected drums and kilns, and one or another locale, we have extended the abstract compose new music for the drums (MEA 2018:51–52). deadline and redoubled our efforts to inform people, The workshop included spoken explanations, numerous which has generally been effective. What we have had posters documenting different stages of the project, and less control over is visa difficulties. In particular, citizens a performance. It attracted great interest, with several of China generally need visas for entry to other parts dozen audience members in attendance and lively infor-of East Asia, and at some symposia we have lost two or mal discussions at the end.9 three would-be participants to visa denials. We try to The seventh symposium was planned for August 2020, help by having local arrangements committees find out to take place at the Inner Mongolia Normal University and announce months in advance what the visa require-in Hohhot, China. Unfortunately, however, after much ments are. work by the local arrangements committee, the pro- Another major obstacle, especially early on, has been gramme committee, and the MEA executive commit- the differing levels of English fluency across East Asia. tee, the coronavirus pandemic resulted in its cancella- It was decided at the outset that MEA would function tion. As of the time of writing (July 2020), the seventh in English, since it is the only language that virtually symposium will be rescheduled for summer 2022, at a all students in East Asia learn, and thus the sole means location yet to be determined (MEA 2020). of communication for everyone. Furthermore, MEA’s symposia offer the perfect opportunity for non-native speakers to try out English-language papers in a sup- Achievements of the first fourteen years, portive setting. Historically each East Asian region has and future goals had different levels of access to English instruction and practice, with Hong Kong students typically having MEA’s founding goals, as described on the ICTM the most opportunities. Particularly in the early years website, include “increas[ing] communication and of MEA, programme committee chairs had to impress interaction among scholars working in East Asia and upon their committee members that, provided an … facilitat[ing] greater exchanges of ideas both within abstract was clear and comprehensible, the level of East Asia and between scholars in the region and those English needed to take a back seat to the originality elsewhere” (Wang n.d.). The founding goals were artic-and interest of the subject matter. Standards of spoken ulated against a background of quite divergent local and written English have risen rapidly over the (so far) traditions of music-focussed scholarship; for historical fourteen years of MEA’s existence, so this is now less reasons, during the twentieth century, China, Hong of a problem. Kong, Japan, South Korea, and Taiwan each developed In addition, many people have readily rendered assis-their own research foci and methods, with varying lev- tance on an ad hoc basis. Most obviously, perhaps, els of communication across borders.10 In the last few audience members at panels where a speaker has had difficulty understanding questions have been happy 9 Evaluative comments on and descriptions of events at the 2016 and 2018 symposia come from personal observations by Helen to leap in and interpret. Individually, many of us have Rees. made other attempts to help; for example, I (Rees) 10 The development of most of these locally distinct scholarly traditions is addressed by Lee (2000), Tsuge (2000), Wang (2000), Simeda (2002), Jones (2003), and Xiao (2007). ICTM Study Group on Musics of East Asia 375 have run workshops in Shanghai and Taipei on writing ———. 2018. ICTM MEA 2018: Performing Arts and Social English-language abstracts, and have coached younger Transitions in East Asia. Programme booklet. colleagues from China on writing and delivering papers ———. 2020. “Postponement of the 7th Symposium of the ICTM Study Group on Musics of East Asia.” http:// (as, indeed, senior Chinese colleagues have done for me ictmusic.org/group/study-group-musics-east-asia/post/ in reverse). As I commented at the tenth anniversary of postponement-7th-symposium-ictm-study-group-musics- the founding of MEA, “seeing someone give their first east-asia (accessed 18 Jul 2020). ———. n.d.a. “Call for Papers: 5th Symposium of the Study paper in English in our friendly and supportive setting, Group on Musics of East Asia, 25–27 August 2016, Taipei.” and then seeing them go on confidently to successful https://ictmusic.org/group/112/post/call-papers-5th- English-language presentations at conferences in other symposium-study-group-musics-east-asia-25-–-27-august- 2016-taipei (accessed 24 Sep 2018). parts of the world, has been one of the greatest joys of ———. n.d.b. “Executive Committee. ” https://ictmusic.org/ my commitment to MEA” (Rees 2016). At the busi- group/112/post/executive-committee (accessed 25 Sep 2018). ness meeting in Seoul in 2018, pre-symposium practice ———. n.d.c. “Study Group on Musics of East Asia.” https:// run-throughs were suggested as a means to improve the www.ictmusic.org/group/musics-east-asia (accessed 25 Sep 2018). situation still further. National Gugak Center. n.d. “History.” http://www.gugak.go.kr/ site/homepage/menu/viewMenu?menuid=002001002 For the future, we plan to maintain our custom of rotat- (accessed 24 Sep 2018). ing the symposia round venues in each of the five major Rees, Helen. 2016. “Ten Years of MEA.” In East Asian East Asian regions, and to encourage the welcome trend Ethnomusicologies? The Fifth International Symposium of the of energetic participation by citizens and residents of ICTM Study Group for Musics [of] East Asia, 3. Simeda, Takasi. 2002. “Music Scholarship in Japan.” In Garland all five regions and numerous other countries. Those Encyclopedia of World Music, Vol. 7: East Asia, edited by of us who helped create and develop MEA in the first Robert C. Provine, Yosihiko Tokumaru, and J. Lawrence fourteen years have been pleased to witness MEA’s Witzleben, 591–515. New York: Routledge. Tsai, Tsan-Huang. 2016. “MEA and Taiwan: A Time for role in extending professional networks and contacts. Reflection.” In East Asian Ethnomusicologies? The Fifth We look forward to passing the leadership torch on to International Symposium of the ICTM Study Group for Musics up-and-coming scholars; we are confident that they will [of] East Asia, 4–5. Tsuge, Gen’ichi. 2000. “Tôyô Ongaku Gakkai and Music Research come up with innovative ideas to help MEA better serve in Japan.” YTM 32: 157–165. its constituents, wherever they may be located. Indeed, Wang, Ying-fen. 2000. “Taiwan diqu minzu yinyue baocun Kim Heesun, the executive committee chair for 2018– yanjiu de xiankuang yu fazhan” [The current state and future 2020, has already proposed a new initiative for more development of the preservation of and research on traditional music in Taiwan]. In Taiwan diqu minzu yinyue zhi xiankuang systematic online archiving of our documentation, an yu fazhan zuotanhui shilu [Record of the symposium on excellent idea that would have been of great assistance the current state and future development of traditional in preparing this account of our history. music in Taiwan], 94–101. Taipei: Minzu yinyue zhongxin choubeichu. ———. n.d. “Background: Study Group for Musics of East Asia (MEA). ” https://ictmusic.org/group/112/post/background (accessed 24 Sep 2018). References cited Waseda, Minako. 2016. “Looking Back at the Ten-year History of ICTM. [2018]. “3rd ICTM Forum: Approaches to Research MEA.” In East Asian Ethnomusicologies? The Fifth International on Music and Dance in the Internet Era. ” http://ictmusic. Symposium of the ICTM Study Group for Musics [of] East Asia, org/3rd-ictm-forum-approaches-research-music-and-dance- 1–2. internet-era (accessed 26 Sep 2018). ———. n.d. “First Conference in Shanghai (December 20–22, Jones, Stephen. 2003. “Reading between the Lines: Reflections on 2007). ” https://ictmusic.org/group/112/post/background the Massive Anthology of Folk Music of the Chinese Peoples.” (accessed 25 Sep 2018). Ethnomusicology 47/3: 287–337. Witzleben, J. Lawrence. n.d. “Operating Procedures, Next Lee, Byongwon. 2000. “The Current State of Research on Korean Conference, and Mailing List. ” https://ictmusic.org/ Music.” YTM 32: 143–149. group/112/post/background (accessed 26 Sep 2018). MEA (ICTM Study Group on Musics of East Asia). 2007. The Xiao, Mei. 2007. Zhongguo dalu 1900–1966: minzu yinyuexue First Conference of the ICTM Study Group for Musics of East shidi kaocha—biannian yu ge’an [Ethnomusicological field Asia (MEA). Programme booklet. research in mainland China, 1900–1966: A chronicle and case ———. 2010. The Abstracts for the Second International Conference studies]. Shanghai: Shanghai yinyue xueyuan chubanshe. of the International Council for Traditional Music Study Group for Musics of East Asia. Programme booklet. ———. 2012. Third International Symposium of the ICTM Study Group for Musics of East Asia. Programme booklet. ———. 2014. “Program and Abstract.” https://sites.google.com/ site/meanara2014/home/program-abstract (accessed 5 Jul 2020). ———. 2016a. East Asian Ethnomusicologies? The Fifth International Symposium of the ICTM Study Group for Musics [of] East Asia. Programme booklet. ———. 2016b. “ICTM Musics of East Asia Operating Procedures” (revision of Aug 2016). https://ictmusic.org/ group/112/post/ictm-musics-east-asia-operating-procedures (accessed 24 Sep 2018). 376 Ying-fen WANG, TERAUCHI Naoko, and Helen REES Appendix: Chronicle of MEA meetings and symposia, 2006–2018 date event location main or first theme keynote speaker keynote lecture 31 Aug – 2 Sep Founding Yilan East Asian music and TOKUMARU Modernisation, accultur- 2006 meeting (National Center for modernity Yosihiko ation, and inner develop- Traditional Arts) ment: A case of Japan 20–22 Dec First Shanghai The role of Shanghai Adrienne Music of desire and the 2007 symposium (Shanghai Conserva- in East Asian musical KAEPPLER death of the exotic tory of Music) development 24–26 Aug Second Seongnam Intangible cultural KWON Oh-Sung Directions for the future of 2010 symposium (Academy for Korean heritage in East Asia: East Asian musicology in Studies) History and practical the 21st century results 31 Jul – 2 Aug Third Hong Kong World music and Asian YAMAGUTI East Asian networks of 2012 symposium (Chinese University of traditional music Osamu music in retrospect, inspect, Hong Kong) and prospect 21–23 Aug Fourth Nara East Asian musics Alison TOKITA Musical modernity and re- 2014 symposium (Nara University of in a cross-cultural gional identity in East Asia Education) perspective 25–27 Aug Fifth Taipei East Asian PARK Mi-kyung Stylistic transformation of 2016 symposium (Academia Sinica ethnomusicologies? the Korean traditional mu- Institute of Ethnol- sic genre kagok in the global ogy, Taipei National environment University of Arts) 21–23 Aug Sixth Seoul Performing arts and Bell YUNG Exploring creativity in 2018 symposium (National Gugak social transitions in traditional music Center) East Asia ICTM Study Group on Performing Arts of Southeast Asia Wayland Quintero and Patricia Matusky The beginning years and beyond nitas of scholars who are active in the SG today. The text of the Mission Statement emphasizes a dedication to: The ICTM Study Group on Performing Arts of Southeast Asia is familiarly known among its mem- the study and research of music, dance and theatre as found throughout Southeast Asia, and includes bers as “PASEA.” PASEA is now twelve years of age, Southeast Asian performing arts that are found else- and we have a history to share at this point in time. In where in the world. The Study Group intends to pro- 2008, ICTM scholars of Southeast Asian performing vide a forum for the exchange of ideas, new approaches arts began speaking with each other about the possi- and current research among established as well as young ble formation of a study group that would encompass ICTM scholars around the world. The Study Group will also strive to increase communication and interac- all the performing arts found throughout the ASEAN tion among scholars working in Southeast Asian per- region (Association of Southeast Asian Nations). Over forming arts, and to promote future research initiatives the years, scholars have studied and documented char- in areas of Southeast Asia where there has been little or acteristics of the music, dance, and theatre of Southeast no research. (approved on 18 August 2008) Asia that have been found to be unique, exhibit sub- The first PASEA meeting took place on 7 July 2009 dur- stantial differences from the music of East Asia, and are ing the 40th ICTM World Conference at the University performed by both Austroasiatic- and Austronesian-of KwaZulu-Natal, Durban, South Africa. During that speaking peoples throughout both the mainland and meeting, a chair and a secretary were elected—Patricia the vast archipelago of this region. With the purpose of Matusky and Made Mantle Hood, respectively, each to forming a study group focussed on the performing arts serve an initial four-year term, and both of whom would of this ASEAN region, an organizing meeting of ICTM serve on the newly formed Executive Committee for scholars took place on 18 August 2008, immediately the study group. The additional PASEA members who following the 25th symposium of the ICTM Study served by appointment on this Executive Committee in Group on Ethnochoreology at the Royal Bintang Hotel 2009 and beyond included Mohd Anis Md Nor (pub-in Kuala Lumpur, Malaysia. Several dance specialists lications chairperson), Joyce Teo (local arrangements from that study group, including Adrienne Kaeppler, chair for 2010), David Harnish (member-at-large), and the president of the ICTM at that time, stayed in Kuala Felicidad Prudente (local arrangements chair for the Lumpur to work on the possibility of a new study group 2012 symposium). focusing on the performing arts of Southeast Asia. During the meeting in 2009, the name of the study group was formally approved to be the “ICTM Study Group on Performing Arts of Southeast Asia (PASEA).” Development of the Mission Statement It was also agreed upon to run symposia on a biennial and the Executive Committee basis with the understanding by its members that the first symposium, 10–13 June 2010, would be hosted During the 2008 meeting, reports were given by perform- by the Republic Polytechnic in Singapore. For that first ing arts scholars from a number of Southeast Asian and symposium, Joyce Teo was the local arrangements chair, other countries. A Mission Statement was established, and Patricia Matusky chaired the programme commit-and a liaison person (Patricia Matusky) was selected to tee. This first symposium featured presentations by the file the application with the ICTM for a study group more than eighty ICTM Southeast Asian performing focusing on the performing arts of Southeast Asia. The arts scholars who convened at the Republic Polytechnic application was approved in 2008 by the ICTM Board, Arts Management facilities in Singapore. and the PASEA Mission Statement became the guiding document and stimulation for the creation of a commu- Over the course of the following two years, the Study Group By-laws and Guidelines for Symposia were In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 377–382. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 378 Wayland Quintero and Patricia Matusky Figure 1. 5th ICTM PASEA Symposium group in front of Muzium Sabah. Kota Kinabalu, July 2018 (photo courtesy of Department of Sabah Museum, Kota Kinabalu, Sabah, Malaysia). formulated, proposed, and officially adopted at the ICTM website on the web pages dedicated to the Study study-group meeting that took place at the PASEA Group on Performing Arts of Southeast Asia. Hence, symposium, 14–19 June 2012, hosted by the National the PASEA proceedings are now easily accessible to all Commission for Culture and the Arts (Republic of the members of the ICTM, its study groups, and other Philippines, Office of the President) and the Philippine interested readers. Women’s University in Manila. Subsequent to these early meetings, the study-group meetings (general busi- ness meetings) take place once a year at an ICTM world Volunteers conference or during a PASEA symposium. PASEA is now run by the chair, Made Mantle Hood, Numerous volunteers who are active PASEA members elected in 2016 (formerly by Mohd Anis Md Nor, have helped this study group maintain the manage-2016–2020, and Patricia Matusky, 2009–2016); vice ment of its email list and the operations of the various chair, Pornprapit Ros Phoasavadi (fomerly Patricia committees, including the programme, local arrange-Matusky, 2016–2020); secretary, Christine May Yong ments, and publications committees. Volunteers on (elected in 2018); and an Executive Committee com-these committees in past years include: Joyce Teo, Gisa prising appointed PASEA members: Felicidad A. Jähnichen, Hanafi bin Hussin, Mohd Anis Md Nor, Prudente and Patricia Matusky, and formerly Wayland Hafzan Zannie Hamza, Felicidad Prudente, Patricia Quintero (co-chairs of publications); Made Hood Matusky, Bussakorn Binson, Made Mantle Hood, and Marie-Pierre Lissoir (co-chairs of the 2021 pro-David Harnish, Jose Buenconsejo, Wim van Zanten, gramme committee); Ted Tsai Tsung-Te and Catherine Paul Mason, Christine de Vera, Kristina Benitez, Ching-Yi Chen (co-chairs of the 2021 local arrange-Lilymae Montano, Mi Hyun Oh, Teresa Montes, ments committee); Jacqueline Pugh-Kitingan (chair Leo Rempola, Richelle Rivere, Theresa Ascencio, Jon of the student-awards committee); David Harnish Garcia, Felistina Pangsiw, Paz Reconquista, Jacqueline (member-at-large); and Ricardo Trimillos (member-Pugh-Kitingan, Christine May Yong, Larry Witzleben, at-large). This PASEA executive committee formerly Patrick Alcedo, Aline Scott-Maxwell, Lawrence Ross, included Mayco Santaella and Ne Myo Aung (of the Patricia Hardwick, Matthew C. M. Santamaria, Gitameit Music Institue, Myanmar), co-chairs of the Sumarsam, R. Anderson Sutton, Ricardo Trimillos, local arangements committee for the symposium in Clare Chan Suet Ching, Mayco Santaella, Tan Shzr Ee, 2020 in Myanmar, which was forced to cancel. I Wayan Dibia, I Komang Sudirga, Ako Mashino, Sarah Anais Andrieu, A.S. Hardy Shafi, Mumtaz Backer, Jasni In this narrative on developments in PASEA, changes Dolah, Carren Hong Kim Lan, Nur Azreen Chee Pi, took place through two procedures in 2017 which had Pravina Manoharan, and Tan Sooi Beng. been discussed from time to time in past study-group meetings. First, it was finally decided to officially allow The current list of PASEA volunteers for various tasks the use of the local host country’s languages in addi-for the period of 2018–2020 include: Tan Sooi Beng, tion to English as the main language(s) of a symposium. Sarah Anais Andrieu, Randal Baier, Margaret Sarkissian, Second, each of the then four existing Proceedings was Made Mantle Hood, Felicidad Prudente, Desiree formatted in an electronic version and uploaded to the A. Quintero, Lawrence Ross, Marie-Pierre Lissoir, ICTM Study Group on Performing Arts of Southeast Asia 379 Jacqueline Pugh-Kitingan, Christine May Yong, and minutes of study-group meetings. This site was set up Hafzan Zannie Hamza. The PASEA is truly thankful through Google Sites. However, this website is no longer and appreciative for all of our volunteers’ contributions in existence, and the historical and current PASEA files and for the help given by all PASEA members over the are being prepared for storage on external hard drives years (figure 1). that will be maintained by the study-group secretary. At the 2012 PASEA meeting, member Paul Mason sug- gested setting up a Facebook page. The suggestion was The PASEA mailing list accepted and Mason volunteered to maintain this elec- tronic site that would function as an informal method The PASEA currently maintains an email list of over of communication for members and other interested 300 people with an ongoing active membership of over individuals. Today, Made Mantle Hood manages this 120 ICTM members who regularly attend the biennial site. Immediate news to PASEA members, as well as symposia. The membership comes from around the related performing-arts citations, publications, and world and includes scholars studying, documenting, other related information are frequently noted on this publishing, and actively performing in all of the per-social media site (https://www.facebook.com/groups/ forming arts (music, dance, theatre) of Southeast Asia. 171878712943748/?ref=share). The mailing list was maintained in past years (2008– 2016) by the chair of the study group, then this task was transferred in late 2016 to a volunteer (Desiree A. Quintero) who functions as the personal assistant to the PASEA symposia: Past and proposed study-group chair, and now the PASEA secretary man-Following the first symposium in Singapore, 10–13 ages the mailing list. June 2010, each of the subsequent biennial PASEA symposia was hosted by the following institutions: 14–19 June 2012: National Commission for Culture Student awards and the Arts and the Philippine Women’s University in Manila, Philippines (Felicidad Prudente, LAC chair); The possibility of offering an outstanding student-paper award was discussed at the study-group meeting during 14–20 June 2014: Indonesian Institute of the Arts, Denpasar, Bali, Indonesia (Mohd Anis Md Nor and the PASEA symposium in Bali in 2014, and the criteria Made Hood, LAC co-chairs); for determining the award and the administrative body to process the award was discussed by the Executive 31 July – 6 August 2016: Universiti Sains Malaysia, Penang, Malaysia (Tan Sooi Beng, LAC chair); Committee in the following months. Jacqueline Pugh-Kitingan serves as chair of this committee and 16–22 July 2018: Department of Sabah Museum, Kota Kinabalu, Sabah, Malaysia (Sintiong Gelet, Mansur engages PASEA members to help evaluate student Haji Asun, Head of the Sabah Museum, and Jaqueline papers at PASEA symposia, based on the selected cri- Pugh-Kitingan, LAC co-chairs); teria approved by the Executive Committee in 2014. July–August 2021 (instead of 2020, due to the COVID- The award is then given to the selected student (or 19 pandemic): the projected 6th symposium was to take students) at the closing ceremony of each PASEA sym- place at the Gitameit Music Institute in Myanmar (Ne posium. In 2016 at the fourth symposium in Penang, Myo Aung, Institute member, and Mayco Santaella, student awards were given to Christine Yun-May Yong LAC co-chairs), however this hosting was cancelled, (graduate student at Wesleyan University, USA) for her and a 2021 online symposium is planned at the Tainan National University of the Arts in Taiwan (Ted Tsai and lightning paper, and to I Putu Hiramayena (graduate Catherine Chen, LAC co-chairs). student at the University of Illinois at Champagne- Urbana, USA) for his full-paper presentation. At the At least two different themes are proposed for every fifth symposium (2018), the award was given to Gene symposium that serve to guide the papers, lec-Lai, a graduate student at Wesleyan University for his ture-demonstrations, and workshops presented by the full-paper presentation. PASEA members, along with new research papers, video and film presentations, and live demonstrations that are accepted as major contributions. Some of the themes, reflecting PASEA members’ research foci and PASEA website and Facebook page papers, included: A website was created in 2009 to function as an all- • Hybridity in the performing arts encompassing news and documents venue where • Silat (martial arts) of Southeast Asia PASEA members would have transparent and easy • Archiving and documentation access to important PASEA documents including the 380 Wayland Quintero and Patricia Matusky Figure 2. 2nd ICTM PASEA Symposium, Saman dance workshop (Indonesia) at the National Commission for Culture and the Arts. Manila, June 2012 (photo courtesy of Hafzan Zannie Hamza). • (Re)producing Southeast Asian performing arts All symposia feature various kinds of presentations (in the context of tourism, commodification, including regular papers of twenty minutes or “light-local identity, and modern multi-cultural music ning papers” of ten minutes that usually feature reports education) on current research. In contrast, roundtable discussions • Southeast Asian bodies, music, dance, and other may be presented or workshops undertaken featuring movement arts (incorporating movement arts in ritual, theatre, and other contexts) live demonstrations for teaching and illustration pur- poses. In recent years, wherever applicable and appro- • Interculturalism and the mobility of performing priate, the study group has encouraged live demonstra-arts in Southeast Asia tions of performing arts as part of a presentation during • Sound, movement, place: Choreomusicology of the symposia (figure 2). humanly organized expression in Southeast Asia • Performing arts and the religious impulse • Endangered performing arts—maintenance and Sub-study groups in PASEA sustainability efforts • Crossing borders through popular performance There are currently three sub-study groups that engage genres in specialized research in highly contrasting subject • Tourism and the performing arts in Southeast Asia areas of the performing arts of Southeast Asia. • Expressing heritage—inviting encounter: The first of these specialized research groups to emerge Intersections between scholars and performing within PASEA is the Sub-study Group (SSG) on artists in Southeast Asia (theme for 2021) Performing Arts of Muslim Communities in Southeast • Movementscapes and soundscapes (theme for Asia, which was approved at the study group meeting 2021). on 12 June 2010 in Singapore. This SSG is currently For each symposium, the host institution develops one co-chaired by Mohd Anis Md Nor and Raja Iskandar featured theme while the PASEA members suggest and Raja Halid. The SSG aims to promote research on the the PASEA Executive Committee confirms a second performing arts of Southeast Asian Muslims and initi-theme. The sample list above reflects a wide variety of ates cross-cultural dialogues and collaborative research topics and subjects, some of which have been the start-projects amongst performers, artists, cultural workers, ing point and perhaps even the “incubation point,” for and researchers. Members are encouraged to use their at least two publications emerging from the research findings to present papers at PASEA symposia and at of PASEA members: Paetzold and Mason (2016), ICTM world conferences. A good number of papers and Nor and Stepputat (2017). The PASEA Executive based on the above-mentioned activities were presented Committee anticipates other works published by its by the members at the ICTM world conferences in members in the years to come. Astana (2015) and Limerick (2017).To sustain dis- course and related communications, this SSG main- ICTM Study Group on Performing Arts of Southeast Asia 381 tains a newsletter. For the period 2016–2017, this SSG has focussed on the production of an anthology of compiled a list of recent publications from its members the works presented at this symposium. In pursuit of that will eventually be updated and made available in this goal, SOPIRC-SEA intends to establish an online the newsletter. forum through which members can share their reflec- The second SSG to emerge within PASEA focuses on tions on the recent symposium, as well as perspectives, the Performing Arts in Royal Contexts in Southeast theories, bibliographies, and methods that might be Asia (SOPIRC-SEA). This SSG was proposed in 2011 useful to this volume (see http://www.facebook.com/ by member Lawrence Ross, who is now the chair. One group/SOPIRC-SEA). of its major goals is to amass scholarship on the myriad The proposal to start a third sub-study group was pre-connections between the region’s performing arts and sented and discussed in August 2016 during the 4th its royal courts. The scope encompasses the historical symposium in Penang, Malaysia. This SSG encompasses roles performing arts have played in linking Southeast various studies of the popular performing-arts indus-Asian polities, exchanges between court and village, and tries of Southeast Asia, as proposed by Isabella Pek, the legacies of court traditions in contemporary society. who now co-chairs this sub-study group with Sangwoo Royal courts in Southeast Asia have been relevant for Ha. The Institute of Ethnic Studies at the Universiti several reasons: Kebangsaan Malaysia (UKM) hosted the first meeting • They have been sites for the creation, maintenance, in 2016, which was attended by twenty-three partic-and development of numerous music, theatre, and ipants and comprised mostly Malaysian-based music dance forms academics along with scholars from the Philippines • Several extant forms are products of court-to-court and Indonesia. The meeting featured talks from invited migrations speakers: Paul Augustin from Penang House of Music, • Appropriations have occurred by royal courts from Ahmad Izham Omar from Media Prima, and Shamsul folk culture and vice versa Amri Baharuddin of UKM. Each of the speakers shared • Performance has often been a medium for royal their experiences and insights on popular music and displays of dominion performing arts industries in Malaysia. At the 2016 • Many so-called “classical” court forms are seen as meeting it was agreed to work on four research themes: national and popular icons. • Localized popular music, such as Iban pop, Although royal courts are often in symbiosis with mod- Kelantanese pop, Baguio pop, dangdut karwang, Pattani Muslim pop, lukthung, among others ern states, their distinctive institutions, concerns, ideol- ogies, and constitutions of power distinguish them from • Southeast Asian club culture, including electronic dance music, music and youth culture, indie/ a broader examination of performing arts under state underground /DIY, producers, and technologies sponsorship. Performance in royal contexts touches on issues and topics germane to PASEA as a whole, includ- • Performing arts and media, encompassing per- forming arts in screened media, digital media, ing origin and myth, genealogy, repertoire, instruments, Internet media, intimacies of performing arts ensemble types, ritual practices, proscriptions, cultural media, performing arts and social media, media preservation, and so on. By sharing PASEA members’ and globalization/localization/glocalization, neo- research through this SSG, it is hoped that this kind of liberal economies of production and consump- scholarship will foster collaborations with and contri- tion, indie/underground/DIY/corporate produc- tion, and technology butions to other disciplines, with the potential to offer new theories and explanations of how royal systems have • Mainstream and industry, including audience per- affected social change and shaped modern identities in ception and reception, radio/TV/online, Internet of music, events/festivals, fusion/hybridity, econ- Southeast Asia. The members of this SSG also explore omy, politics, gender, composers, performers. ways to make findings useful to the ICTM membership at large, other disciplines, and the general public. The participants agreed to meet once a year to share research projects and provide mutual support in carry- To these ends, a two-day symposium took place in July ing out research and producing outputs, and to present 2018 called “Performing arts and the royal courts of themed research panels, including but not limited to Southeast Asia” at Sunway University in Kuala Lumpur, the above topics. Malaysia. Twenty-one paper presentations by scholars from six ASEAN countries, the USA, Australia, and This SSG organized the “Studies of popular music work-Japan were delivered, along with a roundtable dis- shop” on 12–14 January 2018 at the National Museum cussion on the royal courts and present-day cultural in Kuala Lumpur, Malaysia. The topics of discussions institutions in Southeast Asia, including live demon-included research methods specific to popular music strations of music and dance stemming from the royal studies, its fundamental literature, publishing journal courts of the region. During the past months, this SSG articles on popular music, and contemporary trends in the study of popular music worldwide. Sarah Hill of 382 Wayland Quintero and Patricia Matusky Cardiff University was the resource expert in the work- 2021. This online symposium will be hosted by the shop, and eleven research projects were discussed. On Ministry of Culture, the Ministry of Education, and 11–14 January 2019, this SSG organized the “PASEA the Tainan National University of the Arts in Taiwan. Pop 2019” conference at a meeting location known as There are two book projects by PASEA members cur-RUANG (“space”) in Kuala Lumpur; it drew partici- rently in the works toward publication: pants from the UK, Norway, Thailand, the Philippines, and Indonesia. This conference coincided with the • “The Animal Within: Exploring Ecologies of launch of the International Association for the Study of Human and Animal Relations in the Performing Arts of Southeast Asia” (working title), edited by Popular Music – Southeast Asia branch (IASPM-SEA), Patricia Hardwick and Made Mantle Hood. which continues to work closely with the PASEA Sub- • “Performing Arts and the Royal Courts of study Group on Popular Performing Arts Industries of Southeast Asia: Inter-Court Relations, Intra- Southeast Asia. Kingdom Circulations, and Contemporary Legacies” (working title), edited by Lawrence Ross and Mayco Santaella. Proceedings Thus far, five completed Proceedings have emerged from References cited past PASEA symposia. The chief editor for the first Matusky, Patricia, Wayland Quintero, Desiree A. Quintero, through third Proceedings was PASEA member Mohd Christine May Yong, Lawrence Nathaniel Ross, Made Mantle Anis Md Nor, along with production editors Hanafi Hood, Felicidad Prudente, and Hafzan Zannie Hamza. 2019. bin Hussin and Hafzan Zannie Hamza. The names of Eds. Proceedings of the 5th Symposium of the ICTM Study Group on Performing Arts of Southeast Asia. Kota Kinabalu PASEA members who served as volunteers on the edi- (Sabah, Malaysia): Department of Sabah Museum. torial teams for these and subsequent Proceedings have Matusky, Patricia, Wayland Quintero, Tan Sooi Beng, Jacqueline been noted above. The chief co-editors of the fourth Pugh-Kitingan, Desiree A. Quintero, and Christine May Yong. 2017. Eds. Proceedings of the 4th Symposium of the Proceedings (2017) and the fifth Proceedings (2019) are ICTM Study Group on Performing Arts of Southeast Asia. Patricia Matusky and Wayland Quintero, with produc- Penang: School of the Arts, Universiti Sains Malaysia. tion editors Hafzan Zannie Hamza and Christine May Nor, Mohd Anis Md, and Kendra Stepputat. 2017. Eds. Sounding the Dance, Moving the Music: Choreomusicological Perspectives Yong. The sixth Proceedings will be co-edtied by Patricia on Maritime Southeast Asian Performing Arts. London and Matusky and Felicidad A. Prudente, with production New York: Routledge. editors Catherine Ching-Yi Chen and designer Ting- Nor, Mohd Anis Md, Patricia Matusky, Tan Sooi Beng, Jacqueline Ying Hsiao of the TNNUA in Taiwan. All Proceedings Pugh-Kitingan, Made Mantle Hood, and Hafzan Zannie Hamza. 2015. Eds. Proceedings of the 3rd Symposium of the are typically published by the host institution of each ICTM Study Group on Performing Arts of Southeast Asia. symposium, and the editing is carried out by a group of Denpasar (Bali, Indonesia): Institut Seni Indonesia. PASEA volunteers on an editorial team that varies from Nor, Mohd Anis Md, Patricia Matusky, Tan Sooi Beng, Jacqueline Pugh-Kitingan, Felicidad Prudente, and Hanafi Hussin. 2013. symposium to symposium. Eds. Proceedings of the 2nd Symposium of the ICTM Study The Proceedings include both full and lightning papers Group on Performing Arts of Southeast Asia. Manila: Philippine Women’s University. presented at each symposium. However, a presenter can Nor, Mohd Anis Md, Patricia Matusky, Tan Sooi Beng, Jacqueline request that only his/her abstract be included in the given Pugh-Kitingan, Felicidad Prudente, and Hanafi Hussin. 2011. Proceedings. The full content of the symposium is docu- Eds. Proceedings of the 1st Symposium of the ICTM Study Group on Performing Arts of Southeast Asia. Kuala Lumpur: Nusantara mented in the Proceedings in the form of written articles, Performing Arts Research Center and University of Malaya reports, abstracts, photos, and the actual programme Department of Southeast Asian Studies. schedule. All Proceedings are typically published in hard Paetzold, Uwe U., and Paul H. Mason. 2016. Eds. The Fighting Art of Pencak Silat and Its Music: From Southeast Asian Village to copy (see Nor et al. 2011, 2013, 2015; Matusky et al. Global Movement. Leiden and Boston: Brill. 2017, 2019). Since 2017, all PASEA Proceedings have also been available as downloadable PDF files at https:// ictmusic.org/group/performing-arts-southeast-asia. Looking ahead Due to the spread of COVID-19, the members of the Executive Committee of the ICTM Study Group on Performing Arts of Southeast Asia decided to postpone the sixth symposium that was originally scheduled for late July and early August 2020 to 29 July – 5 August ICTM Study Group on Sound, Movement, and the Sciences Kendra Stepputat, Lara Pearson, and Rafael Caro Repetto The Study Group on Sound, Movement, and the working in inter- or transdisciplinary projects together Sciences is united by a joint interest and research with experts from other fields. Ethnographic methods approach, which lies in the use of methods derived remain an important part of the research and lie at the from the “hard” or “natural sciences” within ethnomu-core of respective projects. The title of the study group sicology and/or ethnochoreology. Our chosen acronym aims towards inclusivity; the term “movement” is used is SoMoS, which in Spanish means “we are.” As our so as to be inclusive of work that explores dance as well mission statement from 2018 explains, the subject of as physical movement that is not typically described as the study group is research of sound and/or movement dance, and the term “sound” is employed to include using multidisciplinary approaches, combining ethno-more than is culturally defined as “music.” musicology and/or ethnochoreology with elements from The ICTM world conference in Limerick in 2017 saw the wide spectrum of different sciences. These include, the genesis of this group, when several of the would-be but are not limited to, fields such as statistics, math-members talked about the fact that although those ematics, computer sciences, engineering, physics, cog- within the ICTM using methods mentioned above nitive sciences, medical science, and biology. We posi- might be relatively few, it would be important to have tion ourselves first and foremost as ethnomusicologists/ a forum and platform to share our knowledge, insights, ethnochoreologists, but add to that methods borrowed methods, problems, ideas, and so forth, with others from disciplines such as those listed above, sometimes Figure 1. Participants of the first SoMoS symposium held online, hosted by KTH Royal Institute of Technology. Stockholm, 30 September 2020 (photo by André Holzapfel). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 383–384. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 384 Kendra Stepputat, Lara Pearson, and Rafael Caro Repetto using similar approaches. From these talks grew the idea to formally establish a new study group within the ICTM. Idea led to action, and in September 2018 we had our first meeting at the University of Music and Performing Arts in Graz, Austria, and decided on the name “Sound, Movement, and the Sciences.” At this meeting the study group-in-the-making elected its ini- tial officers: Kendra Stepputat as chair, Lara Pearson as vice-chair and Christopher Dick as secretary. The group was approved by the ICTM Executive Board shortly after. We held our first official symposium in September 2020, hosted by the KTH Royal Institute of Technology in Stockholm, which included a wide variety of top- ics and presenters from four continents, made possible through an online symposium setting (figure 1). Beyond sharing knowledge amongst SoMoS members, we see our group as an important tool for spreading information about research using methods from the aforementioned range of sciences in ethnomusicol- ogy and ethnochoreology both within the ICTM and beyond. Since our formation, the number of members has doubled. We hope that this trend continues, and that our membership base will become even more inter- national and diverse. Discontinued Committee on Radio/Television and Sound/Film Archives Krister Malm From 1951 to 1983, the Radio Committee,1 known establish a Radio Committee.3 It was adopted by the from 1966 as the Committee on Radio/Television General Assembly: and Sound/Film Archives, was an important subgroup 3. Folk Music in Radio within the Council and, in some ways, a forerunner of study groups. This committee was a main agent in the This Conference strongly recommends the formation of a Committee of the International Folk Music Council establishment of a network between people involved in with the following terms of reference: broadcasts containing folk music, especially in Eastern (i) To collect information about the recorded folk and Western Europe. Recording equipment in the early music that is in the possession of broadcasting cor- 1950s was mainly owned by radio organizations and porations and national institutions specializing in thus, IFMC through the Radio Committee, contrib- folk music. uted to an increased documentation of folk music. The (ii) To co-operate with broadcasting corporations and radio corporations which were also linked to the com- national institutions specializing in folk music mittee by paying yearly fees were the main sponsors of (a) in the methodical recording of authentic the activities of the IFMC. material in the field of folk music, especially in At its pre-conference meeting in 1951, the Executive countries or regions where this is not already being done; Board considered a proposal by the director of the folk music department at Radio Zagreb,2 recommending the (b) in the preservation in permanent form (e.g. by establishment of a “special commission” of IFMC on the making and preservation of matrices etc.) of this authentic material or of any other valu- folk music and broadcasting. The Board fully approved able material already in existence; the proposal and decided to place it before the mem- (c) in the dissemination of authentic folk music bers during what would today be called the General through the medium of sound and visual Assembly. The Board also thought that the BBC might broadcasting and films, by facilitating: assist in convening a meeting of representatives of (1) the preparation of radio programmes broadcasting organizations at the 1952 conference in with suitable presentation, London (EB minutes, 7th meeting, 6–7 Sep 1951:§94). (2) the exchange of material either “live” Following a presentation by Paul Collaer (1952), the or recorded between these various resolution was adopted by conference participants on organizations. 13 September 1951 ( BIFMC 5, Nov 1951:16). (iii) This committee should meet at least once a year. Before the 1952 conference, invitations were sent to The Conference further recommends that this broadcasting organizations and twenty-one such orga- Committee should be as small as possible, and that the· nizations attended the conference. The 1951 resolu- majority of its members should be at the same time tion was replaced by a new, expanded resolution to members of the International Folk Music Council and representatives of broadcasting organizations. Acting on this resolution and on further recommenda- tions proposed by the General Assembly the Executive 1 While commonly known as the Radio Committee, it actually 3 One possible reason for the 1952 resolution was to rein- enjoyed a variety of names, including: Radio Commission vigorate the Board’s initial enthusiasm for such a body. (1951), Radio Committee (1952–1961), Radio and Record Following the 1952 conference, the Board minutes refer to a Library Committee (1961–1966), and Radio/Television and “Radio sub-committee” (EB minutes, 10th meeting, 20 Jul Sound/Film Archives Committee (1966–1983), as detailed 1952:§117). Pakenham (2011:227–228, 230) observes that the below. commission was established in 1951, but was “implemented” 2 Presumably Nikola Sabljar ( BIFMC 5, Nov 1951:5). in London in 1952. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 387–391. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 388 Krister Malm Board subsequently adopted the following additional steps taken by the Council ( BIFMC 7, Sep 1953:16), resolution: and Claudie Marcel-Dubois “praised the audacity of (a) That in accordance with the resolution submit- Council in having implemented the resolution pro- ted by the Conference, a Radio Committee be posed by the Yugoslav National Committee at the 1951 appointed consisting of: Assembly in Opatija” (ibid.:17). M. Paul Collaer (Belgisch Nationaal Instituut voor Radio-Omroep) It was decided that the theme for the 1954 programme in the international series should be “Folk music associ- Mlle. C. Marcel-Dubois (Musée National des ated with the summer solstice,” followed by “Shepherds’ Arts et Traditions Populaires, Paris) songs and instrumental music” (1955), “Folk music Dr. S. Michaelides (Cyprus) connected with wedding ceremonies” (1956), “Harvest Maestro G. Nataletti (RAI, Radio Italiana) and threshing songs and music” (1957), “Traditional Miss Marie Slocombe (B.B.C., London) folk instruments” (1958), “Children’s songs” (1959), A representative of Radio Zagreb with power etc. These programmes, continuing to at least 1966, to appoint up to two additional members. were distributed to radio stations by the UNESCO Radio Division. (b) That Miss Karpeles as Secretary to the Council be ex officio a member of the Committee and should At the 1953 IFMC Conference, there was a new report convene its first meeting. on the activities of the Radio Committee: (c) That radio organizations and other institutions Miss KARPELES considered that the appointment of concerned with folk music be invited to give an the Radio Committee was one of the most important annual contribution to the Council so as to enable steps that had been taken by the Council. Good work it to make an allocation towards the work of the had already been achieved and considerable financial Radio Committee. assistance had been received from interested radio organ- (d) That the Committee should work in close co-op- izations. She said that UNESCO had sent a recording eration with existing organisations such as the unit to Biarritz and Pamplona and the recordings made European Broadcasting Union in order to avoid by them would be distributed to broadcasting organi- duplication of work. (BIFMC 6, Sep 1952:7–8) zations … A questionnaire concerning authentic folk music records had been sent to the gramophone librar- The Radio Committee held its first meeting the same ies of radio and other organizations. One hundred and year, 12–13 November 1952, at UNESCO House in six replies had been received and the data would be Paris. The report from this meeting, inter alia, says: included in the International Catalogue of Folk Music Records which the Council was preparing on behalf of The Committee recommended the Council to bring UNESCO. ( BIFMC 7, Sep 1953:16) to the notice of radio organizations the importance of reserving in their programmes the use of the term “folk At the 1955 conference, there were three sessions music” to authentic folk music, as provisionally defined with papers and discussions arranged by the Radio by the International Folk Music Council at its 1952 Committee. It was reported that seventeen radio organ-Conference. izations now were corporate subscribers to IFMC. It In order to facilitate such programmes, the Committee was observed that the international exchange of records recommended that the Council should encourage was hampered by customs regulations throughout the co-operation between broadcasting organizations and folk music experts. world, and that IFMC should bring this matter, in so far as it concerns folk music, to the attention of UNESCO, The European Broadcasting Union has agreed to make these wishes known to its members and to include in through whose intervention customs exemptions had its Information Bulletin particulars of folk music pro-already been granted in many countries in respect of grammes available for international relay. “serious records” received by learned institutions, and Other matters which are under consideration are: that UNESCO should be begged to urge on all gov- ernments the necessity of extending such exemption (a) The issue, under the auspices of the Council, of an edited recording of the World Festival of Folk to recordings of authentic folk music received by radio Dance and Folk Song which the International institutions ( BIFMC 9, Oct 1955:13). Folk Music Council is organizing in the Basque A new feature of the Journal of the IFMC in 1955 and Country. 1956 was the inclusion of a section devoted to radio. (b) The possibility of seeking the co-operation of Then, from 1957, a section eventually called “Radio broadcasting organizations in arranging an inter-Notes” began appearing in the BIFMC. It appeared national series of “live” or recorded performances presenting the authentic folk music of each partic- once a year until 1965, then for apparently the last time ipating country. ( BIFMC 7, Sep 1953:15) in 1970. Members of the committee and later just the chair and/or secretary were listed on the covers of the Karpeles would remark that the establishment of the JIFMC (1954–1968) and Bulletin (1957–1983), fur-Radio Committee was one of the most important ther showing the importance of this committee. Committee on Radio/Television and Sound/Film Archives 389 By 1957 radio corporations started to appoint liaison The importance of the committee within the Council officers to IFMC. Gradually the broadcasting of folk can, perhaps, be somewhat gauged by how prominently music was seen as a way of promoting understanding it was displayed in the front pages or covers of the between peoples. The European Broadcasting Union two primary Council publications. Between 1954 and started to publicize the reports of the IFMC Radio 1968, the JIFMC either listed all committee members Committee in its Bulletin. In 1958, the Organisation (1954–1961) or its secretary (1962–1968); and even International de Radiodiffusion organized a meeting of more extensively in the Bulletin, all committee mem-experts to discuss folk music in radio. bers were initially listed (1957–1961), followed by just In 1960, twenty-seven radio corporations were sub- the secretary (1962–1983). These listings appeared on scribers to the IFMC, a reconstitution of the Radio the same page with members of the Executive Board. Committee was made, and a new set of rules giving Meetings of the committee were generally annual, usu-more power to representatives of radio organizations ally in conjunction with IFMC conferences, and con-were implemented: sisted of papers and presentations of radio programmes 1. The Radio Committee shall consist of represent- and films followed by sometimes very lively discussions. atives of radio organizations which are corporate During these meetings quite a few cooperation projects subscribers of the Council, and two members and exchanges of programmes were born. appointed by the Executive Board, together with the secretary and treasurer as ex officio members. On 12–15 September 1965, a well-attended meeting of 2. Its terms of reference shall be to make recommen- the Radio and Record Library Committee5 took place dations to the Executive Board on the following in Stockholm, Sweden (figure 1), a year in which no matters: IFMC conference took place. Although not an official ( a) The collection of information about the delegate, I worked at Radio Sweden at the time and recorded folk music that is in the possession of sneaked into quite a few of the sessions. Among other broadcasting corporations and national insti-things, the honorary president of the IFMC, Maud tutions specializing in folk music. Karpeles, made a long, informative presentation on ( b) Co-operation with broadcasting corporations developments regarding the preservation, study, dis-and national institutions specializing in folk semination, and practice of folk music during the past music: sixty years. There is a detailed report from this meeting (i) in the methodical recording of authentic in the Bulletin (BIFMC 28, Jul 1966:12–21). material in the field of folk music, espe- cially in countries or regions where this is Indeed, reports of most committee meetings are docu-not already being done; mented in Bulletin s, some being very lengthy indeed. (ii) in the preservation in permanent form For example, in 1968, another separate meeting of (e.g. by the making and preservation of the committee took place in Copenhagen, Denmark, matrices, etc.) of this authentic material with many papers and presentations of recordings and or of any other valuable material already films followed by lively discussions ( BIFMC 33, Oct in existence; 1968:23–52). (iii) in the dissemination of authentic folk During the following years, the committee held meet-music through the medium of sound and visual broadcasting and films, by ings both during Council conferences and separate facilitating the preparation of radio pro-from conferences. A working group consisting of Matts grammes with suitable presentation, Arnberg (Sweden, chair), Ankica Petrović (Yugoslavia), and the exchange of material either Ate Doornbosch (the Netherlands), and Olive Lewin “live” or recorded between these various (Jamaica, secretary) was appointed in 1973. At the organizations. IFMC conference in 1975, the committee decided to 3. The Committee shall normally meet at least once a make an inventory of folk music—a written index of year. ( BIFMC 18, Sep 1960:18) what is available for exchange purposes and informa- In 1961, the name of the committee was changed to tion concerning radio/television organizations, sound the Radio and Record Library Committee ( BIFMC 20, archives, film archives, and museums. This project was Jan 1962:12); in 1966 the Executive Board approved accepted by the European Broadcasting Union. The its renaming as the Committee on Radio/Television committee also held a trial rostrum with presentations and Sound/Film Archives (EB minutes, 34th meeting, of folk-music programmes, which was very successful, 25–26 and 30 July:§460).4 and it was decided to regularly organize such events ( BIFMC 47, Oct 1975:25–28). 4 This sequence differs somewhat from that presented in the Bulletin ( BIFMC 30, Apr 1967:6), but is based on Board minutes. 5 The fourth meeting of the committee with that name. 390 Krister Malm Figure 1. A scene from the 4th meeting of the Radio and Record Library Committee: Maud Karpeles, Olof Rydbeck, Marie Slocombe (?), and Matts Arnberg. Stockholm 1965 (photo from Matts Arnberg’s archive, courtesy of Svenskt visarkiv). The first regular rostrum of folk music took place in ing with a number of radio/television representatives Budva, Yugoslavia, 26–30 May 1976. There were four and some Board members. categories of presentations: (1) sound recordings of The committee was now felt to be too focussed on only authentic folksongs for one or more voices without any a small part of Europe, in contrast to the very inter-use of studio effects; (2) similarly, for one or more tradi- national outlook of the Council itself. Although it was tional folk music instruments; (3) sound recordings of certainly recognized as an important source of income arrangements of folk songs with or without instrumen-for the Council, the predominant feeling was that the tal accompaniment, using any appropriate composition committee was now out-of-touch with the newly estab-technique and radiophonic effect; (4) similarly, for one lished ICTM, not in communication with the Board, or more instruments. It was decided to hold a rostrum and essentially obsolete in relation to functions, needs, every other year ( BIFMC 49, Oct 1976:11–12). By and even name. A motion was moved and passed dis-now, the committee had grown into a quite powerful solving the committee, but then toned down a bit, to and partly independent body within the IFMC. say that it would be dissolved as presently constituted During the following years, a dispute between (EB minutes, 61st meeting, 7 Aug 1983:§1050; 62nd International Music Council (IMC) and the IFMC meeting, 13 and 15 Aug 1983:§1082).7 Committee on Radio/Television and Sound/Film The announcement to members through the Bulletin, Archives brewed over the Folk Music Rostrum. The ros-however, focussed on the conflict over the rostra, and tra had become quite successful, and IMC tried to take the following somewhat confusing decision: them over. The conflict escalated. Furthermore, communications with the Executive Board had become spo- The Board affirmed its willingness to organise Symposia radic. At the 1983 Board meetings—held in New York, in conjunction with all IMC/UNESCO Radio/TV Rostra, but at the same time decided to return [ sic] before and after the world conference—it was noted responsibility for the “European Folk Music Rostrum” that no report from the committee had been received to the IMC. Consequently, the Board dissolved its since 1980,6 but a “summary” of two meetings by com- ‘Committee on Radio/Television and Sound/Film mittee leaders was received before the Board meeting. Archives’ as no longer congruent with ICTM objectives During the world conference, there was a special meet- and policies. ( BICTM 63, Oct 1983:20) Yet, responsibility for the folk-music rostra had never been with the IMC. 6 Published in BIFMC 57 (Oct 1980:15–17), but following complaints from the executive secretary of IMC, the editor of the Bulletin, Secretary General Dieter Christensen, withdrew the last four paragraphs because they contain “serious errors 7 Supplemented by detailed transcripts of Board discussions at and false allegations, and draw on a document of a confiden- these two Board meetings (ICTM Archive MS 10017, series tial nature” ( BIFMC 58, Apr 1981:20). These paragraphs are 5, folder 3), presumably transcribed by Executive Secretary comments on UNESCO’s lack of financial support for IFMC Nerthus Christensen, from which she later produced the activities and its representation of IFMC. minutes. Committee on Radio/Television and Sound/Film Archives 391 It was also reported that the “Secretary General was charged to pursue with IMC/UNESCO and with cooperating broadcasting organisations the prospects of an ICTM-initiated service for the exchange of pro- grammes of traditional music among regional radio unions” (ibid.). The writer of this entry was a member of the ICTM Executive Board from 1983 and, as far as I remember, the question of exchange of programmes of traditional music was never discussed in Board meet- ings again. This seems a rather unfortunate ending to a committee that had been a major part of Council activities for over thirty years. In 1966, when the Council’s continued existence was very much uncertain, IFMC founder and honorary president, Maud Karpeles, observed that the two most important activities of the Council were its journal and the radio committee; if at all possible, they must be kept going (Advisory Committee minutes, 15th meeting, 21 Apr 1966:§142). And in her autobiography, Karpeles would observe that “one cannot over-estimate the importance of radio and television in furthering the aims of the Council” (Karpeles [1976]: 235). As a separate body within the Council and with a specific focus, the committee is somewhat an early precursor of study groups, which ultimately became very numerous and important parts of the Council, yet the committee never became a study group itself, instead maintaining its own individuality. One of the main differences between the committee and study groups was that the committee never really studied anything. Instead, it was mainly a network of professionals involved in making radio and television programmes with and about traditional music. The change of secretary general and the Council’s change of name in 1981 were to herald significant changes in some Council activities. Seen as a relic of former times, the Committee on Radio/Television and Sound/Film Archives was one of the casualties. References cited Collaer, Paul. 1952. “Importance des musiques ethniques dans la culture musicale contemporaire.” JIFMC 4: 56–59. Karpeles, Maud. [1976]. “Autobiography.” 284 pp. English Folk Dance and Song Society, VWML, Maud Karpeles Manuscript Collection, MK/7/185. http://www.vwml.org/record/ MK/7/185. Pakenham, Simona. 2011. Singing and Dancing Wherever She Goes: A Life of Maud Karpeles. London: English Folk Dance and Song Society. Some Reflections Concerning the Study Group on Analysis and Systematization of Folk Music and Other Early Study Groups Oskár Elschek Study groups and their importance also required the development of activities and coop- eration, as in the case of UNESCO, the International From the 1960s, study groups started to play an increas- Musicological Society, International Council of ingly important role in speeding up the development of Museums, folklore organizations, as well as various eth-research within the Council. Naturally, it is difficult to nographical and ethnological institutes. compare them at the early stages with the much greater role that they play today, with a multitude of specialized One of the initiatives considered in the late 1950s and study groups, changing focus from the largely European 1960s was to establish thematic commissions, which and North American area in the beginning to world-seem to be the starting point of the idea for establish- wide activities that cover Asia, Latin America, Africa, ing study groups. These commissions could work and and Oceania, which characterize them today. meet separately, in addition to the conferences—which remained the principal scholarly gatherings within the Within the International Folk Music Council at the end Council—and they could concentrate their activities in of the 1950s, some rather essential theoretical as well special working groups. The Executive Board discussed as organizational ideas came into discussion, among the ideas and practices proposed by the committees, them the question whether the often-organized inter-sometimes endorsing them, depending on their sig- national music festivals accompanying the annual con- nificance and the possibilities of implementation. The ferences fulfilled the demands of members and were ideas themselves, as well as their subject matter, were well coordinated with the conferences and their schol-frequently initiated by those scholars who were inter- arly programmes? The growing membership and the ested in working on some new specific questions that increasing number of countries participating in IFMC arose at the time, particularly as new views on folk and provided the office in London with new tasks. The gen-traditional music came into use. erally growing interest in folk music had brought to the conferences not only those interested in scholarly Folk dance was one of the areas that found its place and actual problems in the field, but also those who in the long run of conferences. Members were aware were interested mainly as tourists in organized folklore that folk dance and folk music are very close and insep-undertakings and excursions, quite apart from the con- arably connected fields, but folk dance was often not ference itself. well addressed in the framework of typical conferences. Actual dance music had become more and more influ- Although an integral part of the events for years, dis- enced by non-European genres, had gained a role in cussions tried to find new approaches in the work of popular culture, and was increasingly gaining momen-the IFMC and to identify problems connected with the tum in scholarship. Those who were involved in dance research interests of the newly participating countries. research and closely connected with folk music did These deliberations can be briefly characterized as chang-not have their own special scholarly organization for ing from folk-music studies, folklore, etc., to develop- dance. That was also the reason why the newly devel- ing programmes of ethnomusicology and expanding oping field of ethnochoreology and those engaged in to sociocultural and anthropological views (especially it sought to find within the framework of the Council in the USA), changing the ideas and developments of various supportive possibilities for the establishment of our field. It seemed to be essential to find solutions some sort of special organization. Thanks to the inter-that not only met the demands within the framework nationally shared areas and ideas within the Council, of the Executive Board and some commissions (such as popular music and dance, including jazz, was also being those for radio and folk dance), the meetings of national understood as a kind of “folk music,” hence, acquiring committees, and liaison officers. Namely, the chang-a special place in music cultures. To gain a better under- ing relations with other international organizations standing of these interrelationships, it seemed quite In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 392–395. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Some Reflections Concerning the Study Group on Analysis and Systematization of Folk Music and Other Early Study Groups 393 acceptable in our concept of traditional folk music to how often and where they would meet, how they alter research possibilities. would handle publications and editorial issues associ- After an open discussion in 1962 in Gottwaldov, a ated with them, etc. They were in charge of communi-commission chaired by Felix Hoerburger became a cation between the study-group membership and the “bureau” with a focus on folk dance. This was how Executive Board. Study groups did not receive financial in 1962 the first steps were taken for the future estab-support from the Executive Board. lishment of study groups. The importance of dance These were some of the general starting points. Other, was reflected after many years of the existence of the more important aspects were their scholarly pro-Study Group on Ethnochoreology in that it eventually grammes, and their role and meaning in the develop-expanded to create four different sub-groups. In 2018, ment of the IFMC, as well as in ethnomusicology at that study group organized its 30th symposium on large. Each group initially had specific challenges as well dance, having 170 members from 45 countries. The as accomplishments, taking into account their charac-Study Group on Ethnochoreology and its sub-groups ter, potential, conceptions, and the results they sought. (see chapter in this volume) reflect their important Let me take a closer look at an early study group in role in the history of the Council over many decades. which I was actively involved from the beginning to its In the early 1960s, we can see that the changes started end. Its research focus was analysis and systematization with dance and other special fields, asking for similar of folk music. possibilities within the framework of the Council in order to gain special conditions to organize meetings on their own. They reflected particular scholarly, as well The Study Group on Analysis and as sociocultural views in the development of ethnomusicology. In general, we can state that such new breezes Systematization of Folk Music came from initiatives, views, and ideas, from both inside One of the old ways of evaluating folk songs and folk and outside of the Council. They started a dialogue at a music concerned classification from the aspect of struc-time when “study groups” were starting the long, com- ture and conceptualization, rather than as being “sim- plicated, and difficult road to establishment. ple” or “primitive” in comparison to Western art music, a view that was prevalent in historical musicology. In general, there was a lack of analytical views and systems The beginning of study groups considering folk or traditional music as a distinctive and independent sociocultural subject. Therefore, one At the time of the beginning of study groups, the ini- of the essential tasks was to document the characteristic tiative for these projects was taken in countries where features of folk music as a worldwide, but much differ-special research was practised that sought a more entiated, phenomenon. It was an international as well as international comparative and corrective procedure, a national concern to understand folk music, especially in order to transcend national boundaries and develop its specific national and cultural development. multinational and worldwide concepts. This means that the Council became a platform for the rapidly A series of meetings were held in the 1960s in expanding internationalization processes of actual Czechoslovakia, alternating between Bratislava, Brno, research programmes that were evolving important and Prague, to discover and compare classification sys-aspects to be discussed in larger groups of ethnomu- tems to gain analytical data for the desired classification sicologists. This particularly touched those with dif- procedures. After more than six unsuccessful sessions ferent theoretical outlooks when viewing traditional that attempted to find common solutions for Slovak music genres and cultural areas. From this point of and Czech folk songs, a more international way seemed view, study groups played an essential role in the to be more fruitful. The problem raised additional development of the Council from the 1960s on. Study attention in discussions at the 1962 IFMC conference groups provided a framework for the improvements held in Gottwaldov. A proposal for featuring analysis of disciplinary directions advocated by their executives and classification as a leading topic for the 1964 confer-and members. The ideas and the programmes of the ence in Budapest also received approval by the president study groups were subject to presentation and ratifica-of the IFMC, Zoltán Kodály, who was participating in tion by the Executive Board. the Gottwaldov conference. After the study groups were ratified, their executives The resulting publication from the conference in were considered fully competent to discuss and align Budapest appeared as a second part of the 1965 JIFMC, the development of their scholarly units and the admin-namely the Studia Musicologica Academiae Scientiarum istrative areas concerning their programme, such as Hungaricae 7/1–4 (1965). It consists of two sections: the first on “folk music and music history (pp. 11–209); the 394 Oskár Elschek Figure 1. Participants of the meeting of the Study Group on Analysis and Systematization of Folk Music: Valens Vodušek, Margareta Jersild, Ludwik Bielawski, Wiegand Stief, Hartmut Braun, Ilse Deutsch, Jan Steszewski, Julijan Strajnar. Bled (Slovenia, Yugoslavia), 1971 (photo courtesy of Walter Deutsch). second on “methods of classification and lexicographi- concerning discussion, where he gave an invitation to cal arrangements of tunes in folk music collections (pp. meet at a special conference in Bratislava in the follow-213–355). The latter section contains fifteen papers on ing year. This was accepted by the Executive Board, and classification from many cultural areas, spanning from Karel Vetterl was appointed by the Board as the first the Middle East to northern Europe to Japan, with a chair to lead the study group, although he could not multitude of methods, from conventional analyti-take part in the first three meetings of the group. cal ones to those involving computer programmes. A Meetings and resulting publications are listed below: paper intending to compare different classification systems could not be read at the conference because of the 1. Bratislava, Czechoslovakia (1965). Invitation absence of the author, but was later published in the of the Institute of Musicology, Slovak Academy of Sciences. Papers published in Elschek and JIFMC (Elscheková 1966).1 Stockmann (1969) The general discussions started at the conference in 2. Vienna, Austria (1966). Invitation of the Institut Budapest and various systems of classification were pre- für Volksmusikforschung, Hochschule für Musik sented during two sessions. The first session featured und darstellende Kunst paper presentations; the second was a meeting of inter- 3. Radziejowice, Poland (1967). Invitation of the ested participants which would be continued at future Institute of Arts, Polish Academy of Sciences in events. At the same time, I presented a film on making Warsaw. Papers published in Stockmann and the Slovak bagpipe, and František Poloczek, the leader Stęszewski (1973) of the Department of Ethnomusicology of the Slovak 4. Stockholm, Sweden (1969). Invitation of Svenskt Academy of Sciences, took part in the second session Visarkiv. Papers published in Stockmann and Stęszewski (1973) 1 An earlier publication was published by the same author with 5. Bled, Yugoslavia (1971; figure 1). Invitation of the similar goals, but even more challenging comparative content Folklore Institute. Papers published in Deutsch (Elscheková 1963). We must also note how analytical views (1974) (figure 2) have changed (e.g., Tilley 2018). The International Workshop 6. Krpáčová, Czechoslovakia (1975). Invitation on Folk Music Analysis was held in June 2018 in Thessaloniki, of the Department of Ethnomusicology, Slovak Greece, and presented numerous different technologies and concepts. Some Reflections Concerning the Study Group on Analysis and Systematization of Folk Music and Other Early Study Groups 395 Further information about these and other activities of this study group has been summarized by Elschek (1976) and later by Elschek and Mikušová (1991). The latter publication was the final act of this study group. For more than a quarter of a century, the group achieved its purpose by bringing together researchers from differ- ent nations interested in the theme of the analysis and systematization of folk music. New generations of eth- nomusicologists brought new research topics, and this study group ceased to exist. References cited Braun, Hartmut. 1990. Ed. Probleme der Volksmusikforschung. Studien der Volksliedforschung, 5. Bern: Peter Lang. Deutsch, Walter. 1974. Ed. Bericht über die 5. Sitzung der Studiengruppe für die Systematisierung von Volksliedweisen in Bled/Jugoslavien (Slowenien) 13. bis 18. April 1971. Wien: Institut für Volksmusikforschung, Hochschule für Musik und darstellende Kunst in Wien. Elschek, Oskár. 1975. Ed. Methoden der ethnomusikologischen Analyse. Bratislava: Sektion für Musikwissenschaft der Slowakischen Akademie der Wissenschaften. ———. 1976. “Zum Gegenwärtigen Stand der Volksliedanalyse und Volksliedklassifikation: Ein Forschungsbericht der Study Group for Analysis and Systematization of Folk Music der I.F.M.C.” YIFMC 8: 21–34. ———. 1990. Ed. “Rhythmik und Metrik in traditionellen Musikkulturen.” Musicologica Slovaca 16. Elschek, Oskár, and Lýdia Mikušová. 1991. “Publications, Studies Figure 2. Cover page of the report about the 5th and Activities of the ICTM Study Group on Analysis and symposium of the IFMC Study Group on Systematization of Systematisation of Folk Music.” YTM 23: 181–189. Folk Music, which took place in Bled, Slovenia, Yugoslavia, Elschek, Oskár, and Doris Stockmann. 1969. Eds. Methoden in 1971. Vienna: Osterreichisches Volksliedarchiv, 2378-II der Klassifikation von Volksliedweisen. Bratislava: Verlag der (photo courtesy of Wather Deutsch and Erna Ströbitzer). Slowakischen Akademie der Wissenschaften. Elscheková, Alica. 1963. “Základná etnomuzikologická analýza” [Essential ethnomusicological analysis]. Hudobnovedné štúdie Academy of Sciences. Papers published in Elschek (Slovak Academy of Sciences, Bratislava) 6: 117–178. (1975) ———. 1966. “Methods of Classification of Folk Tunes.” JIFMC 18: 56–76. 7. Debrecen, Hungary (1978). Invitation of the Stockmann, Doris, and Jan Stęszewski. 1973. Eds. Analyse und Institute of Musicology, Hungarian Academy of Klassifikation von Volksmelodien. Kraków: Polski Wydawnictwo Sciences. Papers published in Ujfalussy (1978) Muzyczne. Tilley, Leslie. 2018. “Analytical Ethnomusicology: How We 8. Weimar, German Democratic Republic (1981). Got Out of Analysis and How to Get Back In.” In Springer Invitation of the ICTM National Committee Handbook of Systematic Musicology, edited by Rolf Bader, of the German Democratic Republic and the 953–978. Berlin: Springer Verlag GmbH. Hochschule für Musik in Weimar2 Ujfalussy, József. 1978. Ed. “Studiengruppe für Analyse und Systematisierung der Volksmusik (IFMC); Debrecen—1978.” 9. Pürgg, Austria (1983). Invitation of the Institut Studia Musicologica Academiae Scientiarum Hungaricae 20/1– für Musikethnologie, Hochschule für Musik und 4: 213–379. darstellende Kunst in Graz. Papers published in Elschek (1990) 10. Freiburg im Breisgau, Federal Republic of Germany (1987). Invitation of the Deutsches Volksliedarchiv. Papers published in Braun (1990) 11. Santiago de Compostela, Spain (1990). Invitation of the Institute for the Galician Language, University of Santiago de Compostela. 2 Although a publication from this meeting was announced as being in preparation (Elschek and Mikušová 1991:183, 184), it was never published. ICTM Study Group on Computer Aided Research Ewa Dahlig-Turek The beginnings of the Study Group on Computer Aided Research date back to the 28th ICTM World Conference in Stockholm/Helsinki in 1985. In response to the emerging need to support ethnomu- sicological studies with information technology (IT) solutions, Dieter Christensen organized the special session entitled “Computers and traditional music: The use of digital equipment in information retrieval, exchange and analysis.” The meeting turned out to be a great success. As Carl Rahkonen writes in his report, the first computer session created such interest that the room was full to capacity, and the topic had scarcely Figure 1. Helmut Schaffrath. Bochum, Germany, 1992 (photo by Ulrich Franzke). been covered in the ninety minutes allotted. It was decided to convene a second session on the topic during the Helsinki part of the Conference. (Rahkonen In the time that followed, the group met at least every two 1986:31) years (1988: Edinburgh, UK; 1990: Marseille, France; Yet it still was not enough—fi nally, there were three ses- 1991: Nitra, Czechoslovakia; 1992: Vienna, Austria; sions. Despite the broad scope of the title, the discussions 1994: Warsaw, Poland; 1996: Jyväskylä, Finland; 1997: were limited to the use of computers in retrieving infor-Dolná Krupá, Slovakia; 1998: Tel Aviv, Israel; 1999: mation on materials in ethnic sound recording archives Kraków, Poland; 2004: Vilnius, Lithuania). and similar institutions, which gave an initial name to The group’s activities can be divided into two periods the group then proposed to be formed—Study Group separated by the sudden and untimely death of Helmut on Computer Retrieval, with Helmut Schaffrath (Essen, Schaffrath in March 1994. In the first years, only Federal Republic of Germany; figure 1) appointed as its researchers from Western Europe participated in the chairman ( BICTM 69, Oct 1986:26–28). meetings. From my perspective from Eastern Europe, it The first independent meeting of the group took place can be explained by the fact that at that time ethnomu-on 1–3 October 1986 in Essen. This time, the scope of sicological centres in Eastern Europe—although rich in subjects covered a wider range of problems: “Retrieval repositories of folk music resources and very well-de-and databases”; “Automatic musical notation and anal- veloped music theory and analysis—did not yet have ysis”; and “Network activities.” the right IT equipment. My first personal computer, In 1987, the group was officially recognized by the bought in 1990 after enormous sacrifices, served pri-ICTM Executive Board as the Study Group on marily for typing and experimenting with the database Computer Aided Research. Under this name it was software dBase. The economic issues hindering trips to announced for the first time in the Bulletin ( BICTM the West were also important, especially before political 71, Oct 1987:6), with Helmut Schaffrath and Anthony changes in the 1990s. Seeger as co-chairs. Its purpose was “to find new ways My first encounter with the study group took place to use computers in data collecting, analyzing and storat the ICTM world conference in Schladming (1989) ing” (ibid.). In 1987 the study group was present at and was most impressive. Although some IT applica-the ICTM world conference in Berlin with five papers tions discussed in the 1980s may sound naïve from given at special sessions. today’s perspective—such as computerized catalogu- ing—at that time they were innovative solutions In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 396–397. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM Study Group on Computer Aided Research 397 enriching the ethnomusicologist’s workshop with new tools to operate on large amounts of data. Some issues are still surprisingly topical, such as ensuring the com- patibility of different systems, standardizing terminol- ogy, controlling access to information, ensuring infor- mation security, protecting the rights of informants, and so on. The scope of the problem has constantly changed, however, following recent developments and includ- ing issues such as automatic music transcription and notation, digital sound processing, machine-learning, computerized acoustical studies, music similarity, and many more. Helmut Schaffrath was not only the founder, but also the soul of the study group. As the creator of EsAC Figure 2. EsAC 2022. (Essener Assoziativ Code) and co-author (with Barbara Jesser and Ulrich Franzke) of the software for music we resumed work on the renewal of applications that retrieval and analysis of EsAC data, he consistently pro-support EsAC collections (figure 2). In an updated moted the use of this system to study traditional folk form, it will be a tool not only for ethnomusicologists, music. At the same time, he was open to all subjects but also students, teachers, and amateurs of traditional raised by the group members. music. We have been building a monumental database With his death, the study group lost its inspiring leader. containing nearly 20,000 records of Polish folk tunes Due to my close collaboration with Helmut Schaffrath from the collections of Oskar Kolberg (1814–1890), in 1992–1994, the members of the group appointed which will be freely available to a wide audience in me a co-chair with Kathryn Vaughn (1994) and then autumn 2022. as chair (1997). After this change, we attracted more Although the Study Group on Computer Aided Research members from Eastern Europe and adapted the topics does not exist any longer, we thus pay tribute and con-of the seminars to their needs and interests, such as tak- tinue the legacy of our friend—the charismatic founder ing up issues concerning sound archives. and the leader of this group, Helmut Schaffrath. In this second period, the group initially maintained a steady pace of meetings, but the energy gradually weakened as the use of computers in the everyday Reference cited work of ethnomusicologists became a matter of course. Rahkonen, Carl. 1985. “Study Group on Computer Retrieval (in Furthermore, the rapid and lush development in the Formation). BICTM 67 (Oct): 30–33. field of computer-aided research in musicology made it hardly possible for a small study group to com- pete with dedicated global organizations like ISMIR (International Society of Music Information Retrieval), active since 2000 and attracting specialists from the borderland of musicology and computer science. The seminar in Vilnius (2004) was the last meeting of the Study Group on Computer Aided Research. It was for- mally closed by the Executive Board in 2011 (EB min- utes, 105th meeting, 30 Jun – 1 Jul 2010:§5220), and is last listed in Bulletin 119 (Oct 2011). Nevertheless, the spirit of cooperation established at the time continues to bear fruit to this day. Despite the enormous development of IT solutions and encoding standards, Helmut Schaffrath’s beloved “child,” EsAC, is still alive and thriving. EsAC databases continue to be used by Music Information Retrieval people all around the world. In 2017, at the Institute of Art of the Polish Academy of Sciences in Warsaw, in cooperation with the Poznan University of Technology, PUBLICATIONS & EXPERTISE Publications and Expertise: Introductory Note Council publications share the results of scholarly activities with a much wider community, as well as serving to update members on the Council’s past, present, and future activities. The Council’s journal has been its most important scholarly publication from the beginning, and since that time has been an annual publication. Beginning in 2022, however, it will become biannual. The Bulletin of the Council reports on Council activities and serves to connect Council members throughout the world. These two core Council publications have been supplemented over the years by a variety of books and recordings, all reflecting the interests and activities of its members. The scholarly expertise of members is also essential to the Council’s involvement in various relations with UNESCO over many decades. Since 2020, the Council has begun awarding prizes to various outstanding scholarly contributions in print and audiovisual format. And during 2021, ICTM hosted twenty-four online scholarly discussions in a series of ICTM Dialogues, organized to promote the decolonization of music and dance studies. The Council’s Journal Don Niles This chapter concerns the journal of the IFMC/ICTM: The following summary occurs in the first issue of the initially called the Journal of the International Folk Music Bulletin of the International Folk Music Council: Council, then the Yearbook of the International Folk 13. Publication of Journal. Music Council, and presently the Yearbook for Traditional Music. THE HON SECRETARY, introducing the subject, 1 It has little to say about individual articles in said that the publication of a Journal was primarily these volumes, but has rather focussed on milestones in a question of finance. The recommendations of the its history and how its structure has changed over time Executive Board were as follows: to assume its present form. (a) that provided sufficient funds were available a Journal should be published; (b) that it should at first be issued annually with The Council’s need for a journal supplementary bulletins and news-sheets which would be issued to members of the Council as A journal was not specifically mentioned in the draft occasion demanded; constitution of the International Folk Music Council2 (c) that its contents should include reports of that was considered at the International Conference on Conferences, articles, reviews and digests, reports Folk Song and Folk Dance on 23 September 1947, one from Correspondents and general news; day after the establishment of IFMC.3 Nevertheless, (d) that it should be published from the London function 3(b) notes “the establishment of a bureau of Office and that it should at first be in the English information, and the circulation and exchange of infor- language, except for articles in French which mation by means of publications.” should be printed in their original language; (e) that it should be issued free to Subscribers and A year later, at the IFMC’s first meeting in Basel, aca- sold to libraries and members of the general pub- demic presentations were mixed with Council business lic at 10/- [10 shillings] a copy, or the equivalent matters during the same sessions. On the morning ses- of 10/-. sion of 14 September 1948, two papers were presented It was hoped to be able to publish the first number early and then discussion turned to the question of a journal. in 1949. The recommendations of the Executive Board were 1 This chapter would have been impossible without access to accepted. ( BIFMC 1, Oct 1948:11) these journals through JSTOR, made possible because of Further ideas on what the journal should be came at the my honorary associate-professor status with the Australian National University. Naila Ceribašić and Svanibor Pettan post-conference Board meeting where it was empha- carefully read this chapter and offered valuable improvements. sized that the business of the conference should be sepa- The Institute of Papua New Guinea Studies has supported my rate from the contents of the journal (hence, the former involvement in ICTM over many years. My sincere thanks to all. to be put into the Bulletin), and that discussions follow- 2 A copy of the provisional constitution in English and French ing presentations should be summarized (EB minutes, can be found in the ICTM Archive (MS 10007, series 4, folder 3rd meeting, 19 Sep 1948:§24). 94). In her autobiography, Karpeles would reflect: “The two 3 It is also absent from the amendments made to the provisional constitution that was subsequently accepted at the Basel con- most important decisions that were taken [at the 1948 ference ( BIFMC 1, Oct 1948:9–10), and from the revisions Basel conference] were that International Conferences of September 1951, where they are called “Amended Statutes” should be held periodically and that an annual Journal ( BIFMC 5, Nov 1951:22–25). However, the revisions to the “Rules,” approved in August 1957, do note for the first time should be published” (Karpeles [1976]:221). Later, on that one of the functions of the Council is “the publication of the same page, she remarks that these two activities are a journal, a bulletin of information and other books and pam- also the Council’s most important activities. Certainly, phlets on folk music” (sec. 3b) ( BIFMC 12, Sep 1957:21). In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 403–414. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 404 Don Niles Figure 1. (a) 1949 Journal of the International Folk Music Council; (b) 1969 Yearbook of the International Folk Music Council, hard-cover version; (c) 2018 Yearbook for Traditional Music with colour cover. for many people today, the Council’s world conferences journal also initially contained announcements, these and journal remain its most well-known and character-were subsequently transferred to the Bulletin. istic features. The 1949 JIFMC documented the proceedings (papers and discussion) of the conference held the preceding year, but some presentations were omitted, some were Journal of the International Folk Music listed as being presented but not read, and some arti- Council (1949–1968) cles were new, non-conference contributions.5 In many features, the JIFMC closely followed the organiza- Karpeles concisely summarized the contents of the tion of the Journal of the English Folk Dance and Song Journal of the International Folk Music Council and Society, the journal of the society that had co-hosted the her involvement: International Folk Dance Festival and Conference in The Journal contained the proceedings of the confer- 1935, and subsequently published the proceedings of ences and other articles and a lengthy section devoted the conference—a organization of which Karpeles had to reviews of books, records and films … 20 volumes long been a member. of the Journal appeared between 1947 and 1968 … Of these, I was the editor of 13 [1949–1960, 1964],4 The first issue of the JIFMC (figure 1a) in 1949 carried and co-editor of one with Laurence Picken [1961]. The a month (March), as well as a year; a practice that would others were edited by Laurence Picken [1962–1963] continue until 1965. and Peter Crossley-Holland [1965–1968]. (Karpeles [1976]:221–222) It is enlightening to consider the contents of this first As well as editor, Karpeles was IFMC’s honorary sec- issue in more detail to enable comparison with subse- retary, comparable to today’s secretary general, 1947– quent releases. The 1949 JIFMC consists of 68 pages, 1963. This combination of important Council activities with an additional six preliminary pages numbered would only be repeated again by Dieter Christensen, with roman numerals including the title and listing of who edited the Yearbook while secretary general through contents. The main section begins with an editorial, most of 1981–2001. although the name of the editor is not listed, and an introduction to the IFMC, each of two pages. This is Hence, the JIFMC was the published record of Council conferences, particularly the scholarly presentations 5 The contribution by Antoine E. Cherbuliez de Sprecher was made at them. On the other hand, the Bulletin focussed omitted; those by Raina Katzarova, Claudie Marcel-Dubois, on matters arising at the General Assembly. While the and Giorgio Nataletti were presented, but not read at the con- ference; and those by Marjorie Penn, Robert Fricker, and Luiz Heitor Corrêa de Azevedo were new contributions, apparently 4 This long period as editor was not Karpeles’s preference: after not presented at the conference at all. I am assuming that ten years, she pleaded with the Board for someone to take over “read” means actually read aloud by someone during the con- because she was overwhelmed (EB minutes, 22nd meeting, ference, while “presented, but not read” suggests that copies of 10–11 Aug 1959:§256). the paper were available, but not read aloud. The Council’s Journal 405 then followed by a section labelled “Proceedings from ally was stated,8 as well as to include subjects not cov-1st Conference in Basel,” which begins with a few pages ered at conferences. While a few non-conference con-of impressions and a description of the reception held tributions were included over the years, finances had on the opening day, 13 September 1948.6 not allowed further developments along these lines. She The next 46 pages (pp. 7–52) contain nineteen papers. also noted that the informational section of the journal They range in length from one to seven pages, with the called “Notes and News” would now be published in majority being two pages long. Six of the presentations the Bulletin, which would now appear semi-annually.9 are in French, the others in English. One is of a lecture While 1958 should have seen the compilation of given at the reception, while the others are grouped by another five-year index (1954–1958), I can find no evi-their day of presentation, followed by a summary of the dence that it eventuated. The 1959 JIFMC followed the discussion. Three public lectures are also included (pp. general format of its predecessors, but now consisted of 44–48), as well as three papers presented but not read seven preliminary pages followed by 132 pages of arti- (pp. 48–52). There is one photo plus some music nota- cles and reviews. The cost of the journal rose once again, tion for these articles. now to £1. The only photo in the issue is of Ralph “Notes and News” follows, containing reports from Vaughan Williams, the founding IFMC president who various organizations, an eightieth birthday announce-had died in August 1958. The editorial notes his death ment, and an obituary. Four national organizations and reports on the eleventh conference, held in Liège, then give reports, along with others from the African Belgium, with the twelfth to be held in Romania; at Music Society and one concerning a collecting trip by the same time, word had just reached Karpeles about the French Phonothèque Nationale. the death of Romanian ethnomusicologist Constantin Brăiloiu. Karpeles also reports on a planned arrange- Pages 63–68 contain twelve reviews of books and eight ment with the Society for Ethnomusicology, whereby of periodicals and articles. While all the reviews are members of both organizations could get a special sub-in English, the reviewed materials themselves are also scription rate beginning on 1 January 1959. Karpeles in French, German, Hungarian, Italian, and Swedish. notes the assistance of an editorial board consisting of Reviewers are not identified, but all reviews were writ-George Herzog and Klaus Wachsmann, the latter also a ten by the editor, Karpeles (Karpeles 1969:24). member of the Executive Board. The back cover announces that while the journal will This editorial is followed by obituaries for Vaughan initially be published annually, as circulation increases, Williams and an announcement on the establishment it will be published more frequently and in additional of a memorial. Over time, such matters have gradually languages. There are plans to publish articles not result-been moved to the Bulletin. The editor’s introduction ing from conferences, give more space to reviews, sup- today is much more likely to focus on the contents of ply news of folk-music activities, etc. The minimum the journal. annual subscription was £1, but the journal itself was listed as costing 10 shillings or one-half of a pound. The 1959 JIFMC then contains the proceedings from the 1958 Liège conference. The programme is outlined, The basic format described above for the JIFMC con- with the names of presenters followed by the page num- tinued throughout much of its existence, but with ber where their paper may be found in the present jour-some notable changes as well. The price of the journal nal. There is also reference to Bulletin 14 (Oct 1958), increased to 12 shillings in 1952. in which appears a list of participants (pp. 3–5) and a In 1953, a fourteen-page index to the first five volumes report of the General Assembly (pp. 6–15). of the JIFMC was published. In 1955, the number The twenty-seven entries for the conference (pp. 7–90) of reviews was considerably increased, and a new sec-consist of a majority of papers (with two in French), two tion on radio was introduced, reflecting the increasing discussions on specific themes (dance notation and folk importance of that medium and the activities of the music in radio), “performances” of films, two papers Radio Committee.7 In 1957, Karpeles was listed as editor for the first time; previously she was only listed as 8 The idea of two issues per year seems to have been first noted honorary secretary. The wish to have two issues annu-in the EB minutes (14th meeting, 28 Jun 1955:§172). The Board decided against this the following year (EB minutes, 16th meeting, 22 July 1956:§192), but the issue was brought up again at the following Board meeting (EB minutes, 17th meeting, 1 Aug 1956:app. D, no. 6) and eight years later (EB 6 The full programme is not included, but does appear in minutes, 31st meeting, 16–17 Aug 1964:§403). The matter BIFMC 1 (Oct 1948). continues to come up now and again at Board meetings. 7 Beginning in March 1957, this section was moved to the 9 Although there actually were two issues of the Bulletin in 1951 Bulletin as “Radio Notes”; it often occurred annually until and 1955, the year 1957 did mark the beginning of two issues April 1970. The committee was dissolved by the Board in 1983 per year being a regular feature. This continued until 2014, ( BICTM 63, Oct 1983:20). when the Bulletin began being issued three times per year. 406 Don Niles presented in the absence of authors, but not read, etc. Twenty publications that were received, but not All are followed by summaries of the subsequent discus-reviewed, are listed, followed by reviews of 139 items sions. Music notation accompanies some articles along (pp. 85–161). Again, the majority of reviews are in with a two-sided fold-out of Labanotation as well. English, but with nine in French and one in German. The papers range in length from one to seven pages, Reviews are divided into collections; books on music; with shorter papers now being identified as summa-dances, games, and rhymes; bibliographies; various; ries, and most presentations being four pages in length. periodicals; articles; and gramophone records. Items Obituaries for four people precede a lengthy review sec-reviewed are in Albanian, Czech, Danish, Dutch, tion (pp. 93–131). The 106 items reviewed are grouped English, Flemish, German, Hindi, Hungarian, Italian, into music, books, and pamphlets (37 items); periodi-Norwegian, Portuguese, Romanian, Russian, Slovak, cals (20 items); articles (25 items); gramophone records Slovenian, and Spanish. A letter to the editor and a (24 items). While most of the reviews are in English, reply follow; eight advertisements from companies in three are in French. But the items reviewed are in many the USA, UK, and Federal Republic of Germany con-languages: Bulgarian, Czech, English, French, German, clude the volume (pp. 172–176).12 Hungarian, Italian, Japanese, Portuguese, Romanian, In the same year, a twenty-page index of the 1959–1963 Slovenian, Spanish, and Swedish. The twenty-seven volumes was sent to the membership. reviewers are identified by initials. The 1964 IFMC conference was held in Budapest, In comparison, the 1963 JIFMC was edited by where president Kodály lived and worked. The sub-Laurence Picken,10 and consists of four preliminary sequent publication resulting from it is in two parts, pages plus 176 pages of main text. The members of the spread over two different journals—something unique IFMC Executive Board, the Secretariat, and national in the history of the Council. The first part was the 1965 committees are listed inside the front cover, while the JIFMC, but containing only reviews. The second part, inside back cover supplies information for contributors, consisting of the papers, was published in the Studia and notes that photographic plates are included at the Musicologica Academiae Scientiarum Hungaricae 7/1–4 expense of authors (£7/plate). IFMC publications are (1965) (figure 2). But instead of shortened versions of listed on the back cover. these presentations, papers are full length, thanks to No editor’s introduction is included, but a one-page list Kodály’s personal efforts (Stockmann 1985:5–6).13 The of errata precedes three obituaries.11 The proceedings of price of the JIFMC was increased to 30 shillings. the 15th conference held in Gottwaldov, Czechoslovakia For the 1966 issue, there was no IFMC annual con- (present-day Zlín, Czech Republic), follow (pp. 4–83). ference held during the previous year and, hence, Twenty-one articles, with seven in German and two in proceedings from it could not form the contents of French are included, but without a summary of discus-the journal. The editor, Peter Crossley-Holland, told sion. Contributions range from one to nine pages. The the Board that he would consider articles on specific shorter ones are usually marked as summaries. Most themes or unrelated ones (EB minutes, 32nd meet-papers are four to six pages in length. In addition to a ing, 25 Aug 1964:§410). Later, the Council’s Advisory small page of errata, there is a fold-out page showing Committee14 suggested a list of topics towards defining cents calculations and much music notation through-cultural families as expressed in folk music (Advisory out the volume. Committee minutes, 13th meeting, 10 Jun 1965:app. The programme of the conference is included on pp. A). The printed articles are grouped into three head-166–177. Page numbers there indicate where the rele- ings—regional studies (3 articles), instruments (2), and vant presentations are found in the journal; for articles systematization (3). Crossley-Holland apparently tried not included, a short summary is supplied. A glossy photograph of the current IFMC president, Zoltán Kodály, is tipped in. 12 While advertisements do occasionally appear in the Council’s journal, they have never been common. 13 Stockmann sees this as a forerunner of the YIFMC, established in 1969 under editor Alexander Ringer, which was meant to 10 As early as 1961, Picken told the Board that he intended to publish scholarly articles independent of Council conferences include a record of musical examples with the journal begin- (Stockmann 1985:5–6; also see Stockmann 1983:12; 1988:6). ning with the 1963 issue (EB minutes, 25th meeting, 27–28 14 The Advisory Committee’s duties were “to advise the Secretary, Aug 1961:§313). Unfortunately, this ambitious plan could not to make recommendations to the Board, to supervise the be realized because of the high taxes that would have to be paid finances of the Council, to sanction expenditure incurred on a record manufactured in the United Kingdom (EB min- between meetings of the Board and to act on the Board’s utes, 27th meeting, 12–13 Jul 1962:§349; also see BIFMC 22, behalf in matters of urgency” ( BIFMC 30, Apr 1967:5–6). Oct 1962:14). Established in 1959 in London, it continued until 1967. At 11 Obituaries are no longer included in the Council’s journal; the that time, the Secretariat moved to Copenhagen and another last appeared in 1996. They are now featured in the Bulletin. Advisory Committee was established there. The Council’s Journal 407 whereas the new Yearbook was meant to be “a vehicle for extensive studies dealing in depth with aspects of the membership’s original research” (Ringer 1969:6).15 While roughly an average of twenty-one articles appeared in each issue of the JIFMC, the first YIFMC contained ten (figure 1b). Indeed concern over the standard of the articles in the JIFMC had been raised by the Board from at least 1954, where it was noted that the contributions were at that time often amateurish; the journal should be more scien- tific (EB minutes, 13th meeting, 1–2 Jun 1954:§§155, 160). Two years later Karpeles herself noted: Again the standard of the articles has been variable owing to the practice of including most of the papers that have been read at the conferences. The time has probably come to be more selective. (EB minutes, 17th meeting, 1 Aug 1956:app. D, no. 6) Such concerns were at least partially addressed through time, but remained a concern during the existence of Figure 2. 1965 Studia Musicologica Academiae Scientiarum Hungaricae. the JIFMC, particularly in its role as documenting the proceedings of conferences. to abide by the Advisory Committee’s suggestions, not- ing that Yet revision of the format of the Council’s journal was also driven by competition from the emergence of the it was suggested that, if they wished, they [i.e., the Society for Ethnomusicology in the United States: the authors] might orientate their papers towards helping to define cultural families as expressed in folk music. Council was “no longer alone, but in healthy competi-The Editor is not necessarily in agreement with the tion with international organizations professing almost views put forth. (Crossley-Holland 1966) identical aims” (Ringer 1969:6). In contrast to other issues of JIFMC, which served as Ringer’s original plan was for each volume to focus on proceedings of conferences and each contained an aver-some central issue of a specific musical, geographical, age of twenty-five articles, this issue contained only or other nature, but this apparently proved impracti-eight articles. The editor also acknowledges the other cal in the initial volumes. Instead, the 1969 and 1970 members of editorial committee: Doris Stockmann and YIFMC s reflected the broad research interests and activ-Barbara Krader, the latter concluding her second and ities of Council members. Perhaps influenced by the final year as executive secretary (today’s secretary gen-publication of complete papers from the 1965 confer- eral) of the Council. ence, the first YIFMC was dedicated to Zoltán Kodály, The final issue of the JIFMC (1968) included papers expressing the contributors’ “hopeful conviction that it read at the 1967 conference, held in Ostend, Belgium. is man’s humanity to man that will ultimately carry the Of the twenty-one papers from the conference, thirteen day” (ibid.). appear in full (Crossley-Holland 1968:1). The outgoing Not everyone welcomed the revisions to the format of editor, Crossley-Holland, noted that the next journal the journal. Considering the changes to the journal that would follow “a new pattern, under the style Yearbook of she had initiated more than twenty years ago, Karpeles the International Folk Music Council” (ibid.). noted in her autobiography: In 1969 the title of the Journal was altered to Yearbook and it no longer reported the proceedings of the con- Yearbook of the International Folk Music ferences (which I think was a pity) but contained ad hoc articles and, of course, reviews. The editors have been Council (1969–1980) Alexander Ringer, Charles Haywood and Bruno Melth [ sic, for Nettl]. (Karpeles [1976]:222) In the first Yearbook of the International Folk Music Council (1969), editor Alexander Ringer observed that The 1969 YIFMC had, for the first time, separate review its predecessor was devoted to proceedings, occasion-editors for books, audio recordings, and films, and was ally supplemented by other short papers or non-con- the first Council journal edited outside the United ference contributions. They contained things “of a very Kingdom, as it was now published for the IFMC general nature or concerned details of little relevance to the nonspecialist unaware of the necessary context,” 15 See also BIFMC 34 (Mar 1969):6–7. 408 Don Niles by University of Illinois Press, with a grant from the to students, scholars, and, let us not forget, libraries. US National Endowment for the Arts. In 1969, the (Haywood 1971:5) Secretariat also moved away from Europe for the first The programme of the world conference was included time in its history, when Graham George of Queen’s again. While these were no longer proceedings, an University in Kingston, Canada, became honorary exec-important link to conferences remained. utive secretary (called secretary general, as of 1972).16 Although the intention might have been to have the In this first volume, Karpeles’s tribute to the first twen- Yearbook break away from a reliance on conferences as ty-one years of the Council is included (Karpeles 1969). a source for papers, there was little doubt that confer-For the first time, an article appeared in Spanish, and ences did indeed provide excellent potential material the journal had a large editorial board of eleven mem-for inclusion in such a journal. As such, for the 1971– bers. Even larger editorial boards would be established 1977 issues, the editors explicitly sought papers from for most issues of the YIFMC. the now biennial conferences, albeit with the number The cover with the cursive calligraphic name of the of papers selected now significantly reduced because of journal on a solid-colour background (itself a very sig-their expansion from presentations to journal articles. nificant break from the JIFMC) was used on the first Hence, while the JIFMC focussed on presenting short YIFMC in 1969—an issue that also appeared in hard-contributions of as many conference presentations as cover in the hope that it would appeal to libraries—and possible, the YIFMC still relied upon conferences, but would continue, even following a change in the name of with expanded versions of a small selection of papers the journal, until its last usage in 2016, when a redesign that had been presented at them. of the YTM followed. Haywood also expressed a wish to keep the new cover In spite of the bold changes, the 1969 YIFMC did not and design but return to the page size of the JIFMC 18 appear until February 1971 ( BIFMC 38, Apr 1971:5– and a change in typeface; however, the USD 1,500 costs 6), and although it was hoped the 1970 YIFMC would involved remained an “insurmountable obstacle,” so also appear in 1971, it was printed and distributed in that his wish could not be fulfilled (Haywood 1971:6). 1972. These were the only two issues edited by Ringer, The 1972 YIFMC, also edited by Haywood, celebrated yet even in his first issue, he was already requesting the twenty-fifth anniversary of the Council. Yet, apart future submissions be sent to his successor. from the cover of the journal and Haywood’s contri- The 1971 YIFMC combined proceedings from the 21st bution on Karpeles and the first president, Vaughan IFMC conference and the 6th General Assembly of the Williams (Haywood 1972), no other articles focussed Inter-American Music Council, in association with the on this occasion.19 Third Inter-American Conference on Ethnomusicology, Bruno Nettl served as editor for the 1974–1976 issues all held simultaneously in Kingston, Jamaica. Some and was the youngest editor of the Council journal.20 contributions were published in full, others in sum- Nettl dedicated the 1975 issue to Karpeles, but in the mary in combination with the ensuing discussion. The final stages of preparation, he learned of her death. Israel new editor, Charles Haywood,17 recognized the journal J. Katz edited the next three issues, and the last YIFMC as the “life-pulse of the Council,” yet this return to the was edited by Norma McLeod in 1980. use of conference materials was not also meant to be a return to the style of the JIFMC. While recognizing the need for change in the YIFMC, Haywood also noted: Yearbook for Traditional Music (1981– I feel we have thereby greatly reduced, and many aspects completely deleted, features that gave the Journal a present) uniqueness of inestimable value. I refer particularly to the richness and variety of publications reviewed. Those Dieter Christensen replaced Graham George as sec-pages, critically surveying every aspect of international retary general on 1 January 1981 and the Secretariat folkmusic publications, offered invaluable information moved to New York. The name of the Council was changed to the International Council for Traditional 16 The 1971 YIFMC, actually published in 1972, uses both titles, hence reflecting this transition: honorary executive secretary (p. 2, where membership benefits are listed) and secretary general 18 The page-size of the JIFMC is 6.5 × 9.5 in. (15.24 cm × 22.86 (inside front cover, where the Board is listed); apparently the cm), while that of the YIFMC and YTM is 6 × 9 in. (16.51 × former title was overlooked when updating the title elsewhere. 24.13 cm). In the BIFMC, the latter title first appears in the October 1972 19 In the BIFMC, Karpeles summarized the highlights of the con- issue. ference at which the IFMC was established (Karpeles 1972b), 17 When he began, Haywood, at 67, was the oldest editor: based as well as contributing miscellaneous notes from the early years on his year of birth and the year of his first issue. Karpeles was (Karpeles 1972a). the second oldest when she became editor (64), but edited her 20 Based upon his year of birth and the year of his first issue, he last volume at the age of 79. was 44. The Council’s Journal 409 Music on 27 August 1981 at the General Assembly held at the world conference in Seoul, and the name of the journal became the Yearbook for Traditional Music, although it continued the numbering from the YIFMC. The first YTM (1981) was edited by Norma McLeod, who had also edited the last YIFMC. The following year, Christensen became general editor of the YTM, while continuing as secretary general. He would serve as such until 2001, with his final volume co-edited with Stephen Wild. Christensen’s editorship of 20 issues (one of which was co-edited) is the longest amongst all editors; only Karpeles herself comes anywhere near this number in editing 14 issues (one of which was co-edited). The 1982 YTM appeared only six months after the 1981 YTM, and the editor stressed the importance of the journal reflecting the various kinds of activities in which the work of the Council is advanced . He noted that the 1981 YTM contained papers from the first Figure 3. 1988 Yearbook of ICTM Colloquium, held in Kołobrzeg, Poland (1981). Traditional Music, part 2 containing The 1982 YTM published more papers from that collo- cassette. quium, as well as some from the 1977 and 1979 world conferences, one that anticipated the conference to tainly seemed open to future audiovisual publications: be held in 1983, and other articles on related themes “where sound—or moving images—are integral to the (Christensen 1982:ix). discourse, rather than mere illustration, it becomes imperative to present them along with the other modes In Christensen’s part of the 1984 editorial preface, of communication we are using” (Christensen 1988:x). he notes: This issue also saw the first inclusion of colour in the With this volume, the ICTM affirms its policy to have text of the journal: seven colour images, also accompa-its major publications reflect more closely the work of nying Feld’s article. the Council. The general plan is to dedicate, in princi- ple, every other volume to one or more themes of the Colour images would only be found in the journal again ICTM Conference held the preceding year; in other with the 2019 issue, when Cambridge University Press words, each of the Council’s biennial Conferences took over publication. would be—selectively—echoed in the Yearbook of the following year. (Reyes Schramm and Christensen For the 1995 YTM, the ICTM logo was used for the 1984:ix) first time on the spine and p. iv; in 1997 it also appeared Except for the timing coming a year later, this had actu- on the back cover.21 And 1998 saw the division of record ally been done in the 1983 YTM, which included the reviews into geographic areas for the first time. Only in programme from the 1981 conference in Seoul, and 2001 did the year of the YTM finally appear on the was based on themes from it: an issue focussed on East cover instead of just the volume number. Asian musics, guest edited by Hahn Man-young and Despite the innovative use of a recording to accom-Tokumaru Yoshihiko. pany the 1988 YTM, no other recordings were issued to In 1988 the Council’s journal was accompanied by a accompany articles until 2012, when the ICTM web-recording for the first time. The journal is called “[part site was first used for recordings discussed in an article one],” while the cassette is in a cardboard enclosure that (Amy De La Bretèque 2012). looks just like the journal cover, but is labelled “[part The cover of the journal was redesigned and replaced in two]” (figure 3). Side A of the cassette contains the 2017, under the editorship of Kati Szego. She also re-es-twenty-three examples discussed by Steven Feld in his tablished an editorial board. A colour photograph was YTM article (Feld 1988), while side B is a reproduc-used on the cover of the journal for the first time the tion of Feld’s Voices in the Forest, which he had orig- following year (figure 1c), with Lee Tong Soon as editor, inally released the previous year (Feld 1987:side A), illustrating a day’s soundscape in the Kaluli area of 21 The Board invited proposals for a logo in BICTM 85 ( Oct 1994:22). The winner was to be announced in January 1995 Papua New Guinea. This was the only time a physical at the General Assembly in Canberra, and would receive USD recording has been published in conjunction with the 100, a complete set of Yearbook s, or a paid membership for Council’s journal, although the editor at the time cer- three years. I have been unable to find any evidence that such an announcement took place. 410 Don Niles no. name journals edited number of issues journal 1 Maud Karpeles (1885–1976) 1949–1961, 1964 14 (one co-edited) JIFMC 2 Laurence Picken (1909–2007) 1961–1963 3 (one co-edited) JIFMC 3 Peter Crossley-Holland (1916–2001) 1965–1968 4 JIFMC 4 Alexander L. Ringer (1921–2002) 1969–1970 2 YIFMC 5 Charles Haywood (1904–2000) 1971–1973 3 YIFMC 6 Bruno Nettl (1930–2020) 1974–1976 3 YIFMC 7 Israel J. Katz (1930–2021) 1977–1979 3 YIFMC 8 Norma McLeod (b. 1931) 1980–1981 2 one YIFMC, one YTM 9 Dieter Christensen (1932–2017) 1982–2001 20 (one co-edited) YTM 10 Stephen Wild (b. 1941) 2001–2005 5 (one co-edited) YTM 11 Don Niles (b. 1955) 2006–2013 8 YTM 12 Kati Szego (b. 1959) 2014–2017 4 YTM 13 Lee Tong Soon (b. 1969) 2018–pres. 4+ YTM Table 1. Editors of the JIFMC, YIFMC, and YTM. and in 2019 the ICTM began publishing the YTM in for the Far East (McLeod 1980) under McLeod’s editor-collaboration with Cambridge University Press. ship straddling the journal’s name change, 1980–1981. Upon becoming editor, Christensen lists six people “in cooperation” with whom the 1982 and 1984 YTM s Editors were produced: Ranganayaki Ayyangar, Steven Feld, Scheherazade Qassim Hassan, Ana Maria Locatelli de Table 1 chronologically lists the editors (later called Pergamo, Bálint Sárosi, and Tokumaru Yoshihiko. “general editors”) of the JIFMC, YIFMC, and YTM, along with the issues edited, the number of issues for While today it is standard practice to have issues devoted which that editor was responsible, and the name of the to world-conference themes guest edited by the pro-journal concerned. gramme chair(s) and/or local organizer(s), guest editors occasionally edit special volumes devoted to a particu- EDITORIAL ASSISTANCE lar theme or deriving from some other conference. For example, Ricardo D. Trimillos guest edited the 1987 The first time the journal’s editor acknowledges edito- YTM, with many papers on the theme of “creativity, rial assistance is in 1959, where editor Karpeles thanks particularly in the process of improvisation,” deriving the Editorial Board of George Herzog and Klaus from a symposium on improvisation in the perform-Wachsmann “for their assistance in the preparation of ing arts sponsored by the East-West Center (Honolulu, this issue of the Journal” (Karpeles 1959:2), and all three USA) in 1983. Anca Giurchescu, Adrienne Kaeppler, of their names appear together on the verso of the title and Lisbet Torp guest edited the 1991 issue focussed page as the “Editorial Board.” Seven years later, editor on dance, while Kaeppler guest edited another dance Crossley-Holland acknowledges fellow members of the issue ten years later. Krister Malm guest edited the 1999 Editorial Committee, Doris Stockmann and Barbara issue, both because of its focus (globalization of pop-Krader (Crossley-Holland 1966), but these names do ular music and transnational processes) and because not appear with Crossley-Holland’s on the title page. Christensen was on sabbatical.22 Other than for reviews (discussed above), no other edi- torial assistance is acknowledged for the twenty issues Guest-edited, themed sections have also become more of the JIFMC. common in recent years: music and archaeology (Arnd Adje Both, 2009); music and poverty (Klisala Harrison, However, the changes brought about by the YIFMC 2013), and speech and song (Jeffers Engelhardt and included a large, very international editorial board from Estelle Amy De La Bretèque, 2017). With one journal 1969 to 1979, varying between eleven and thirteen issue being devoted to world-conference themes and the members. In addition, for the 1974–1976 issues, Judith following issue being open to any topics, it is difficult McCulloh is listed as associate editor, the first time such to devote the entire open issue to a single theme. Such a title was used (Nettl 1974:7). After 1979, no editorial board is listed, but Erich Stockmann served as sub-edi- tor for Europe, and Tokumaru Yoshihiko as sub-editor 22 Christensen noted the increasing number of articles on popular music at ICTM conferences and wondered if the journal should change its name again to, perhaps, Yearbook for Music Research (Christensen 1999). The Council’s Journal 411 guest-edited sections provide a partial solution by hav- The average for all YIFMC s and YTM s is nine articles ing some articles devoted to a particular theme, while per issue. the remaining ones are open. In relation to entire issues, the 1965 YIFMC of 86 pages The position of associate editor was revived again for and the 1965 Studia Musicologica of 358 pages combine the 1992–2001 YTM s, when Gage Averill,23 Steven to provide 444 pages. Although in two parts, it is the Feld, and Adrienne Kaeppler worked with Christensen. longest Council journal. The longest single issue is that Amanda Minks (1999) and Elizabeth Keenan (2000) of 2019, with 356 pages. The shortest is the first volume served as assistant editors. Henry Johnson is listed (1949) of 74 pages. as co-editor for the 2005 issue, in what today would Aside from articles deriving from conferences or inde-be called a guest-edited themed section.24 After the pendently, reports on various subjects have occasion-demise of an editorial board with the 1979 journal, a ally been a focus of the journal. In 1982, editor Dieter ten-member board was appointed beginning with the Christensen announced that the YTM would increas-2017 YTM. Luo Ai Mei became editorial assistant for ingly carry reports on various kinds of ICTM activities the 2018 YTM. Editorial assistance has thus been var- (Christensen 1982:ix). Between 1982 and 1988, these iously named and focussed, according to the needs of concerned study-group symposia (called meetings at the editor. the time) and colloquia. Between 1985 and 1994, audio reports presented a focus on various aspects of record- CITATIONS ings in different parts of the world. These were initiated For all twenty issues of the JIFMC and the first five of by Salwa El-Shawan Castelo-Branco in her capacity as the YIFMC, bibliographic citations were supplied in record review editor. Finally, country reports appeared footnotes or endnotes, often supplemented by a bib-between 1987 and 1993. liography. The present-day use of the author-date sys- tem for in-text citations only gradually became stan- THE JOURNAL AND CONFERENCES dard. It was introduced by editor Nettl in the 1974 Council conferences and its journal have always been YIFMC for articles with “substantial bibliographical closely intertwined, but the relationship has differed import” (Nettl 1974:8), allowing other articles to use over the years. For almost the entire run of the JIFMC the previous system. Only author Israel J. Katz (1974) (1949–1968), an issue of the journal would include the took the initiative, thereby enabling him to use end-proceedings of the previous year’s conference. The only notes for commentary. exception is for the 1966 issue when there was no 1965 In 1975–1976, the last two years of Nettl’s term, an conference to draw on. increasing number of articles followed the example. The first YIFMC (1969) was meant to be a break with The next editor was Katz himself (1977–1979) and the past practice, no longer offering proceedings of confer-author-date system began to be used exclusively. While ences; instead providing more in-depth and lengthier there were occasional subsequent departures, it became contributions. But after only two issues, things changed. the norm (Niles 2009:xv–xvii) The 1971 YIFMC offered a selection of papers from the conference held in the same year. As conferences were biennial at this time, this practice continued for the Articles 1973, 1975, and 1977 issues. In the most basic terms, the Council’s journal consists Between 1978 and 1982, world conferences once again of articles and reviews. This has been constant through-played no part in the contents of the journal, but the out all its issues. The most articles in any Council jour- 1983 YTM offered papers on themes from the 1981 nal appeared in 1964 (38 articles), while the fewest conference at which the change of the Council’s name appeared in the 1980, 1981, and 1997 issues (6 articles occurred. However, the 1984 YTM went back to the each). This contrast is understandable since the JIFMC pattern established by the JIFMC in drawing on the tried to cover the proceedings of the conference of the previous year’s conference, but now the issues were no previous year, hence articles are more numerous and longer proceedings; instead, they included papers based shorter, while the YTM articles are fewer and longer. on themes from the conference. Hence, for the 1984 YTM, themes from the 1983 conference in New York 23 Averill was an associate editor, 1992–1996, but then became (hosted at Christensen’s university) were featured. The book reviews editor, 1997–2001. Feld and Kaeppler served as 1986 volume used themes from the 1985 conference in associate editors during the entire period, 1992–2001. Stockholm and Helsinki, etc. 24 The 2005 YTM has articles grouped into two themes: “Musical instruments and metaphor” (primarily Johnson’s responsibility) Since conferences tended to be in odd-numbered and “Musical developments in Southeast Asia”—thus a precur- years, YTM s appearing in even-numbered years sor to later issues which include a thematic section. 412 Don Niles concerned conference themes, while YTM s appearing 1967, Barbara Krader became the first reviews editor in odd-numbered years were generally open to any other than Karpeles or the editor of the volume. David submissions. This continues to be the practice today, Rycroft succeeded her as the final reviews editor for the with only a couple exceptions: namely, the 1995 YTM JIFMC (Karpeles 1969:24, n. 10). Henceforth, there included themes from the Canberra world conference would always be at least one separate reviews editor. of the same year—since it was held in January, instead The emergence of the YIFMC in 1969 saw separate of mid-year—thereby allowing enough time for editing. review editors for books (Graham George), records Likewise, the 2004 YTM concerned themes from the (Claudie Marcel-Dubois), and films (Alfons Michael Fuzhou/Quanzhou conference, held in January 2004. Dauer).25 George would be replaced by Israel J. Katz Although originally scheduled for July 2003, it had in the next issue, and Katz would continue in this role to be postponed because the outbreak of severe acute until 1977, when he became editor. In 1970, Katz was respiratory syndrome (SARS) affected the ability of apparently also responsible for records, although subse-many participants to travel to China at that time. quently Marcel-Dubois resumed this role until 1984. For most such volumes based on the themes from world Dauer is listed as the first film reviews editor, 1969– conferences, one or more guest editors are drawn from 1973. Although no one is listed on the title page as such programme chairs or members of the local arrange-an editor for 1975–1979, the verso of the title page lists ments committee. Peter Kennedy as the person to whom films for review should be sent; nevertheless, no film reviews appear during this time (perhaps explaining his absence from Reviews the title page). Afterwards, no one is listed until 1988– 2001 when John Baily is named as film/video reviews In the first journal, all reviews are of printed materials, editor, and film reviews appear again. divided into two sections: Music, books, and pamphlets; Periodicals and articles. In addition to the books (and When Katz became editor in 1977, Barbara Krader the occasional booklet) reviewed today, items reviewed took over as book review editor (1977–1978), followed in 1949 also included pedagogical piano pieces based on by Beverley Cavanaugh (1979–1984). From 1985 to folksongs, periodicals, and individual articles appearing 1991, Anthony Seeger took over this responsibility, in other journals. All reviews are unsigned, but were while Salwa El-Shawan Castelo-Branco served as record written by the editor (Karpeles 1969:24). The first review editor during the same period; and from 1992 Board meeting after the appearance of the 1949 JIFMC to 1996 Stephen Blum looked after book reviews, while decided that reviews should be signed and that they Linda K. Fujie edited the section on recordings (1992– should be summaries of the publications, rather than 1997). Gage Averill took over from Seeger (1997–2001), critical assessments (EB minutes, 4th meeting, 5 Sep and Cynthia P. Wong replaced Fujie (1998–2001). 1949:§42). Beginning with the 1950 JIFMC, reviewers Following the dramatic changes of the ICTM Secretariat are identified by initials (1950–1962, 1964); later, full at the world conference in Rio de Janeiro (2001), the names would be used (1963, 1965–present). 2002 YTM had a completely new group of review Although gramophone records were not reviewed editors working with editor Stephen Wild: Frederick in 1949, new releases from Folkways were listed in Lau (books, 2002–2010), Margaret Sarkissian (audio, 1950 and began to be reviewed the following year, by 2002–2010), and Bruce Koepke (films/videos, 2002– which time the size of the journal had almost doubled 2004). In 2003, Suzel Ana Reily was listed on the title from 1949. As the number of reviews and their vari-page as the editor responsible for website reviews and ety increased, Karpeles soon acknowledged the special wrote a “websites review essay” to introduce this new importance of the review section (EB minutes, 17th resource (Reily 2003). The following year, a regular meeting, 1 Aug 1956:app. D, no. 6). review section for websites appeared. The general editor continued to edit reviews for most Lau, Sarkissian, and Reily continued their work with issues of the JIFMC. During her time as editor, Karpeles Don Niles as editor, with Lisa Urkevich joining them appealed to the Board for the appointment of a sepa-for film/video reviews (2007–2013). In 2011, Sydney rate review editor (EB minutes, 18th meeting, 22 Aug Hutchinson became editor for book reviews (until 1957:§214), but it was only in 1965 that the IFMC 2016), Byron Dueck for audio (until 2015), and Advisory Committee recommended the appointment Barbara Alge for websites (until 2017). In 2013, the of a separate editor for reviews (Advisory Committee Book Notes section was added as a PDF file down-minutes, 13th meeting, 10 Jun 1965:§124a). Ironically, Karpeles, no longer editor, but honorary president, 25 The review editors are not separately listed on the title page for 1969–1970, as is the practice today; rather, I take their names returned as review editor for the 1965 journal. In from the verso of title page, where information on where to send review materials is displayed. The Council’s Journal 413 loadable from the ICTM website, providing a “venue language of articles and reviews; reviewed items can be to review works not typically reviewed in the print in any language. journal”; that is, monographs and edited volumes, plus Beginning in 1980, contributors were encouraged to “published conference proceedings, special editions of submit a one-page summary of their article in the lan-journals, books that take advantage of new media with guage of its subject matter. This followed a suggestion significant online components, new editions of books, by Tokumaru Yoshihiko, who was sub-editor for the Far and more” (Silvers 2013). Under the supervision of the East at the time (Christensen 1982:viii). book reviews editor, the first editor of Book Notes was Michael Silvers (until 2014). Thus, all these review edi- PRINTING COSTS AND ASSISTANCE tors overlapped with the new editor, Kati Szego, when she began in 2014. Such overlap between outgoing and The costs of printing the journal have always been of incoming editors has proved to be very helpful while concern. Already in 1950, UNESCO assisted with such adjusting to the work involved. funding (EB minutes, 8th meeting, 13 Sep 1951:§8), Terada Yoshitaka became video/film reviews editor in although this assistance is only acknowledged in the 2014, Jessica Bissett Perea for Book Notes in 2015, journal beginning in 1951 . Thereafter, the title page Kirsty Gillespie for audio recordings in 2016, and frequently notes the assistance of the International Alexander M. Cannon for books and Dierdre Morgan Music Council (IMC) under the auspices of UNESCO for Book Notes in 2017. Lee Tong Soon became general (1953–1968, 1971–1976).26 From 1977 to 1993, the editor in 2018, with Lonán Ó Briain becoming respon-wording would acknowledge that the IFMC/ICTM sible for reviews of websites (renamed multimedia in was a member or founding member of IMC under the 2019). In 2019, Giorgio Biancorosso took over as film/ auspices of UNESCO. video editor and Alexander M. Cannon added Book Following ICTM’s termination of membership with Notes to his editorial responsibilities. In the following IMC on 1 January 1994, the journal was noted as being year, two new reviews editors assumed duties: Tasaw Lu published by ICTM under the auspices of UNESCO Hsin-chun for books, and Anna Yates-Lu for audio. (1994–2016). The various wordings used imply finan- The number of reviews has fluctuated considerably over cial assistance, but this does not always seem to have been the years. In 1963, the most reviews were published the case, especially in more recent times. From 2017 (132), but only five appeared in 1980, albeit with three to 2018, this notice was removed from the title page. others briefly mentioned. While the JIFMC contained Reflecting its new publication agreement, the YTM an average of 88 reviews per issue, the first YIFMC is noted as being published by Cambridge University (1969) contains only seven. Nevertheless, the impor-Press for ICTM beginning with the 2019 issue. tance and uniqueness of this section of the journal was ONLINE ACCESS realized and the number of reviews gradually increased again, peaking at 94 in 1999. There has been consider- For most of its history, access to the Council’s jour- able variability since then, but the subsequent average is nal has been through printed copies, supplied either about forty per issue. through individual memberships (which began at £1 per annum) or through institutional subscriptions. Access to the Council’s journals was revolutionized Accessibility when ICTM reached agreement to have all of its issues available through JSTOR. This was implemented in The Council’s journals have always aimed to be acces- October 2003 ( BICTM 107, Oct 2005:20–22); some- sible to its members, hence the following sections con- time later, the journals were also made available through cern aspects of accessibility in relation to the language ProQuest. As many research libraries had subscriptions of articles, the costs of printing, and online access. to one or both of these services, users could access any article of any issue online and download a PDF copy. LANGUAGE Use of the journal was no longer limited to physical Other than the initial preference for articles in English copies; it could reach a much larger audience, and all and French as stated at the beginning of this chapter, issues were accessible and able to be searched. guidelines in the journal give no information on the In 2019, when the printing was taken over by Cambridge language of submissions until 1971 when English, University Press, individual ICTM members could French, German, or Spanish are specified as being access the complete run of the journal directly through acceptable. Spanish was dropped in 1977, German in 1991, and French in 2001, leaving only English sub- 26 Funds proceeded from UNESCO to IMC, and then from missions. Of course, this discussion only concerns the IMC to the Council, i.e., IMC would ultimately decide upon assistance. 414 Don Niles the Press’s Cambridge Core, without having to do so through their libraries. Conclusion For over seventy years, the Council’s journal has pre- sented the results of research on music and dance through its articles and reviews. The essential interna- tional character of the Council has been reflected in the journal, but has also shaped the journal’s development over the years. There is no doubt that the decision from 1948 for the Council to have a journal helped create and sustain the organization as it exists today. References cited Amy De La Bretèque, Estelle. 2012. “Voices of Sorrow: Melodized Speech, Laments, and Heroic Narratives among the Yezidis of Armenia.” YTM 44: 129–148. With online audio examples. Christensen, Dieter. 1982. “Editor’s Preface.” YTM 14: viii–ix. ———. 1988. “Editor’s Preface.” YTM 20: ix–x. ———. 1999. “Editor’s Preface.” YTM 31: xii. Crossley-Holland, Peter. 1966. “Editorial Notes.” JIFMC 18: 1. ———. 1968. “Editorial Notes.” JIFMC 20: 1. Feld, Steven. 1987. Voices in the Forest: A Papua New Guinea Soundscape. Wafe Sambo! 001. One cassette. ———. 1988. “Aesthetics as Iconicity of Style, or, ‘Lift-Up- Over-Sounding’: Getting into the Kaluli Groove.” YTM 20: 74–113. With one cassette. Haywood, Charles. 1971. “Editor’s Introduction.” YIFMC 3: 5–6. ———. 1972. “Ralph Vaughan Williams and Maud Karpeles.” YIFMC 4: 5–8. Karpeles, Maud. 1959. “Editorial Notes.” JIFMC 11: 1–2. ———. 1969. “The International Folk Music Council—Twenty- One Years.” YIFMC 1: 14–32. ———. 1972a. “Jottings from the Early Years.” BIFMC 41 (Oct): 27–33. ———. 1972b. “Report of the International Conference on Folk Song and Folk Dance.” BIFMC 41 (Oct): 6–26. ———. [1976]. “Autobiography.” 284 pp. English Folk Dance and Song Society, Vaughan Williams Memorial Library, Maud Karpeles Manuscript Collection, MK/7/185. Accessible online: http://www.vwml.org/record/MK/7/185. Katz, Israel J. 1974. “The Traditional Folk Music of Spain: Explorations and Perspectives.” YIFMC 6: 64–85. McLeod, Norma. 1980. “Editor’s Preface.” YIFMC 12: v. Nettl, Bruno. 1974. “Editor’s Preface.” YIFMC 6: 7–8. Niles, Don. 2009. “General Editor’s Preface.” YTM 41: xv–xviii. Reily, Suzel Ana. 2003. “Ethnomusicology and the Internet.” YTM 35: 187–192. Reyes Schramm, Adelaida, and Dieter Christensen. 1984. “Editors’ Prefaces.” YTM 16: viii–x. Ringer, Alexander L. 1969. “Editor’s Introduction.” YIFMC 1: 3–7. Silvers, Michael. 2013. “A Note from the Book Notes (Web) Editor.” In “Book Notes,” web supplement to YTM 45: W1. Stockmann, Erich. 1983. “Zoltán Kodály und der International Folk Music Council.” Studia Musicologica (Academiae Scientiarum Hungaricae) 25, fasc. 1/4: 5–13. ———. 1985. “Zoltán Kodály and the International Folk Music Council.” YTM 17: 1–7. ———. 1988. “The International Folk Music Council / International Council for Traditional Music—Forty Years.” YTM 20: 1–10. The Bulletin Ursula Hemetek and Carlos Yoder Introduction Editors In the following account, we intend to give some insight The Bulletin editor was not identified in the Bulletin’s into the history of the most important means of com-contents until issue 63 (Oct 1983), but according to munication in the Council. During times when there Maud Karpeles’s unpublished autobiography, she was was no Internet, when international communication the editor of issues 1 through 24 (Oct 1948 to Oct was blocked either by political circumstances or simply 1963). Unfortunately, the transition period following by geographical distances, the Bulletin (figure 1) served Karpeles’s retirement as IFMC secretary in August 1963 as a bond between the members of the international was both turbulent and not well-documented. We can community of folk music and dance researchers, musi-expect, however, that those involved with editing issues cians, and ethnomusicologists. We analyze the devel- 25 to 34 were the executive and assistant secretaries of opment of this publication by highlighting certain key that period: Robin W. I. Band (1964–1965), Barbara issues and statistics. The most important source for this Krader (1965–1966), Felicia Stallman (1966–1967), analysis is the ICTM website (see https://ictmusic.org), Christian Ejlers (1967–1968), Connie Matthews where all back issues of the Bulletin can be found.1 (1967–1969), Jane Skillen (1965–1966), and Chakée The first issue of the publication we now know as the Kirkiacharian (1968–1969). Bulletin of the International Council for Traditional The duties of Bulletin editor were carried out jointly by Music was published in October 1948 by C. W. Mole Secretary General Graham George and his wife, Tjot and Sons in London, UK, on behalf of the Secretariat George, from 1969 to 1981 (issues 35–57). Secretary of the International Folk Music Council (IFMC). General Dieter Christensen was the Bulletin’s edi-It reported on the “First Meeting of the General tor from 1981 to 1996 (issues 58–88), followed by Conference” of IFMC, held from 13 to 18 September Nerthus Christensen until 2001 (issues 89–98). Kelly 1948 in Basel, Switzerland. Salloum was responsible from 2001 to 2005 (issues The Bulletin began to be published regularly twice 99–107), and Lee Anne Proberts from 2006 to April a year with issue 11 (Mar 1957).2 Even-numbered 2011 (issues 108–118). Since issue 119 (Oct 2011) and issues, published generally in October, would focus until the time of completing this chapter (Jul 2020), on the latest IFMC conference, while odd-numbered Carlos Yoder has been the Bulletin’ s editor. Since 2001 issues, published generally in April, would carry news, the editing is carried out in close collaboration with the announcements, and reports written by members, cor-secretary general. respondents, and third parties. The issues appearing in April were called “newsletters,” but the title of the pub- lication did not change.3 Milestones of structure and content Issue 1 was exclusively concerned with the report of 1 We thank the ICTM Secretariats and staff at the American the 1948 conference. Until issue 10 (Oct 1956), this Folklife Center – Library of Congress (USA), the Institut za etnologiju i folkloristiku (Croatia), the Institute of Papua New was the main and oftentimes only kind of information Guinea Studies, and the National Library of Australia for their featured in the Bulletin. These reports described the assistance in making these invaluable resources available. Council’s state of affairs (including detailed financial 2 One issue was published in 1948, 1949, 1950, 1952, 1953, matters), as well as providing the minutes of the latest and 1956; no issues were published in 1954, and two issues were published in 1951 and 1955. These issues focussed pri- General Assembly. marily on the events from IFMC conferences. Karpeles considered issue 11 (Mar 1957) to be “an 3 The covers of issues 11, 13, 15, 17, 19, 21, 23, 25, and 27 include the subtitle “Newsletter and Radio Notes.” experiment,” adding announcements, reports, forth- In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 415–419. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 416 Ursula Hemetek and Carlos Yoder Figure 1. Cover pages of BIFMC 1 (Oct 1948), BICTM 118 (Apr 2011; last printed issue), and BICTM 146 (Apr 2021; one of the latest online-only issues to date). coming events, and personal notices from around the It is noteworthy that much attention was paid to “sis-world ( BIFMC 11, Mar 1957:1). The issue was novel ter societies,” from “other musicologies,” as well as from in many ways: it was the first to list the members of the the discipline itself. So, the first “newsletter” also con-Executive Board, the Secretariat, and various commit- tained a report on the foundation of the “Society for tees; it included the section “Radio Notes,” with reports Ethno-Musicology … for the purpose of establishing from several European broadcasting corporations; signed communication among persons in primitive, folk, and contributions were presented from Australia (Clement oriental music, and for furthering research and scholar-Hosking), Austria (Richard Wolfram), Belgium (Roger ship in these fields” ( BIFMC 11, Mar 1957:6), which Pinon), FRG (Kurt Reinhard), Italy (Luigi Colacicchi), happened in November 1955 in Boston. This informa-Norway (Arne Bjørndal), South Africa (Hugh Tracey), tion was and still is important for the membership as Spain (Salvador Barandiarian), Uganda (Klaus P. ethnomusicology has always been a very dynamic field. Wachsmann), and Yugoslavia (Cvjetko Rihtman); and Until 1986, conference programmes and/or lists it even featured a report written in a language other of participants were predominantly featured in the than English.4 Gradually, and especially after 1966 Journal or Yearbook. Preliminary programmes or when IFMC conferences were no longer held annually, schedules, however, have been featured in the Bulletin the types of contents included in the Bulletin started to since 1971,5 consistently in the issue preceding the coalesce, solidifying into the structure used until today start of the conference. (see below). The “experiment” effectively ended with the transfer of the Secretariat to Canada in 1969, when The minutes of General Assemblies published in the submissions started to be requested in a more system-Bulletin include full financial statements until 1983 atic way ( BIFMC 35, Oct 1969:3). ( BICTM 63, Oct 1983:16–19), but the practice was subsequently reduced ( BICTM 67, Oct 1985:12; 71, The name of the publication became the Bulletin of the Oct 1987:13) and eventually abandoned (cf. BICTM ICTM in issue 59 (Oct 1981), after the adoption of 75, Oct 1989:11). We were not able to establish the the new name of the Council. The following issue (Apr reasons for this development. 1982) included a membership application form for the first time, a practice that would continue for as long as Finally, it is remarkable that the Secretariat had its the Bulletin would be printed. By April 1984 (issue 64), email address published in the Bulletin as early as 1987 the structure of the Bulletin became standardized, and it ( BICTM 70, Apr 1987:8), and that submissions to would continue practically unaltered until the Bulletin the Bulletin and Yearbook were already being “often became an online-only publication in October 2011. received” via email in 1994 ( BICTM 84, Apr 1994:14). 5 Since 2017, the preliminary programme has been hosted on 4 Reports in French, German, Portuguese, and Spanish would be the ICTM website, but a link to it is also included in the occasionally included in the Bulletin until 1982 . Bulletin itself. The Bulletin 417 Democracy as featured in the Bulletin Design Since September 1951, the Council’s amended Statutes Over its seventy-year history, the Bulletin has naturally have allowed members to nominate candidates to serve undergone many changes in design, often following on the Executive Board ( BIFMC 5, Nov 1951:24, new technological capabilities which became available §11c), but it seems that this right was seldom exercised to the Secretariat. It is outside the scope of this chapter by the membership. We can see from the Bulletin that to analyze each change in style or layout, so we will just until 1979 it was predominantly the Board who nomi-limit ourselves to the most important changes, namely: nated the candidates. • Issue 33 (Oct 1968) marks the first observable sty- There were two promising signs of change towards listic break, most notably introducing covers with a more participative direction in the Bulletin s during colour backgrounds that would change with every issue.9 Until then, the covers had been grey. the period when Graham George was secretary general (issues 35–57). First, starting with issue 49 (Oct 1976), • Issue 49 (Oct 1976) included a photo for the first the years of election of all Executive Board members are time, of Maud Karpeles, as part of her obituary. printed in the inside front cover; and second, informa- • Issue 58 (Apr 1981) was, perhaps for the first time, tion about the 1979 elections is prominently featured typed in a word processor, resulting in the impossi- bility of printing characters with diacritics ( BIFMC on the first page of issue 53 (Oct 1978), including terms 64, Apr 1984:2). of service, possibility of re-election, co-options, and a call to the membership to submit “additional nomina- However, the most drastic changes in the contents tions” by correspondence. However, those two prac- and design of the Bulletin occurred when it became an tices would not be continued during the time Dieter online-only publication in October 2011. Christensen was secretary general; it would not be until 2005 that the first modern ICTM elections (i.e., con- ducted by an independent Nomination Committee) The transformation of the Bulletin into would be held. As a result of this development, the first an online-only publication time that biographies and platform statements of nominees were clearly featured in a Bulletin was in issue 106 LAYOUT (Apr 2005:45–50), and the process remains essentially the same today.6 The decision to make the Bulletin an online-only pub- lication caused a complete redesign of its layout in late 2011 ( BICTM 119, Oct 2011:3–4), including the use Length of fonts with full Unicode support to properly render diacritics and non-Latin scripts, formatting the text At only 4 pages and 487 words long, the shortest Bulletin in three columns,10 and most notably, allowing for ever published was issue 3 (Jul 1950). It consisted of a announcements and reports to include photos, illus-couple of announcements and a notice that Karpeles trations, and clickable hyperlinks to online resources. would be travelling to the USA from July to November Incremental improvements to the layout have contin-1950. By contrast, the longest printed Bulletin was issue ued over the years ( BICTM 123, Oct 2013: 4). 118 (Apr 2011), with 96 pages and c. 29,450 words.7 The shortest electronic-only Bulletin was issue 137 (Apr NEW AND UPDATED SECTIONS 2018), with 30 pages and 12,831 words, while the lon- Announcements from the Secretariat, the Executive gest one was issue 122 (Apr 2013), with 100 pages and Board, and other ICTM bodies were moved to a new 61,302 words.8 The extremely large size of that issue section titled “From the Secretariat,”11 which also added prompted the editor to appeal to the Executive Board permanent columns from the secretary general (start-to allow an increase of the frequency of publication to ing with issue 119, Oct 2011) and president (starting three or four times a year (see below). with issue 135, Oct 2017). The remaining announce- ments (i.e., from study groups, national and regional 9 The first volume of the Yearbook of the International Folk Music 6 Previously, ballots, platform statements, and envelopes for vot- Council (1969) also began using differently coloured back- ing and mailing were included as separate sheets with Bulletin grounds for the cover; this practice continued until the last mail-outs. such cover on the 2016 Yearbook for Traditional Music. 7 The Bulletin was printed in A5 size, and the word count listed 10 Later reformatted to a two-column layout, starting with issue here is approximate. 136 (Jan 2018). 8 The online Bulletin is formatted in A4 size, which is twice the 11 Renamed to “Secretariat and Executive Board” in issue 135 size of A5. (Oct 2017). 418 Ursula Hemetek and Carlos Yoder representatives, and related organizations) were moved year total words per year average words per issue to a separate section. Likewise, the “Reports” section was also reworked in this fashion, adding subsections 2012 89,010 44,505 for national and regional representatives, study groups, 2013 93,919 46,959 and other reports.12 2014 83,455 27,818 (beginning of publishing 3 times a year) New sections were added as well, such as “World 2015 76,795 25,598 Conferences,” which includes reports from past confer- 2016 70,971 23,657 ences, as well as announcements of forthcoming ones; 2017 84,200 28,066 “Featured Publications by ICTM Members,” which 2018 60,255 20,085 includes publishing information, direct purchase links, 2019 55,119 18,373 cover images, and blurbs; and “General Information,” 2020 57,496 19,165 which showcases information about the Council that previously was scattered in different parts of the Bulletin. Table 1. Number of words in issues of the BICTM. The list of liaison officers and national committees, which used to be printed in the inside covers, was Increase of frequency reworked into the section “ICTM World Network,” which was subsequently enhanced with direct links to As mentioned above, issue 122 (Apr 2013) had 100 representatives’ emails. Similarly, pages listing members pages and 61,302 words. The extremely large size of that of the Executive Board and Secretariat were added, with issue, which included a painstakingly proofread prelim-profile pictures, direct email links, and terms of office. inary programme for the 2013 world conference, made it very difficult to edit, distribute, and read. Following OPERATIONS an appeal by the editor, the Executive Board approved the increase of the frequency of publication from twice As a consequence of no longer having to print and dis- to three times a year, adding a new issue in January. tribute the Bulletin, in 2011 the deadlines for submis- The goal was to maintain a similar yearly word count, sions were extended by two weeks, and the calls for sub- but distributed over three issues a year instead of two, missions were distributed via the newly created mailing making them easier to produce, distribute, and read, as lists for the World Network and study-group authorities. well as giving more flexibility to submitters. As the new Bulletin would no longer be constrained by Table 1 shows that the number of average words per the cost of printing, and perhaps due to the interest gen-issue, as expected, was strongly reduced following the erated by the new format, the size of the first electronic addition of a third Bulletin in the year of 2014. The issue increased dramatically to 43,818 words, a 49% further reduction in total words per year from 2018 growth over the largest printed issue (118, Apr 2011), on was caused by no longer including the full text of which counted only 29,450 words. However, the high announcements (call for papers, programmes of study-number of submissions to the new Bulletin made it nec- group symposia, etc.) in the Bulletin itself, instead link- essary to establish a strict set of guidelines in 2014, and ing them to online versions at the ICTM website. an Editorial Board consisting of one Executive Board member (Don Niles), the secretary general (at that time, Svanibor Pettan; succeeded by Ursula Hemetek), and the Bulletin’s editor (Carlos Yoder). Conclusion Finally, in 2011 the Bulletin also became an open-ac- After having done the research for this chapter, we cess publication, without any attachments to existing can conclude that the Bulletin has been, and still is, ICTM memberships or subscriptions, and protected the most constant vehicle for communications within only by a Creative Commons BY-NC-SA 3.0 Unported ICTM. It reveals many facts that can be very useful to License.13 This allows the Bulletin to reach a much larger the Council’s members, not just due to their scholarly audience and increase the visibility of the Council’s content—which was not our primary goal of investiga-aims and activities. tions—but also by looking at what facts were featured. The Bulletin gives a unique insight into the operations of the Council and how these have changed over the years; therefore, to a certain extent the Bulletin is the repository of the Council’s history. Indeed, without Bulletin s it would be next to impossible to reconstruct 12 For example, reports from UNESCO, RILM, or ICTM colloquia. many aspects of the Council’s past. 13 See http://creativecommons.org/licenses/by-nc-sa/3.0/ for more. The Bulletin 419 The Bulletin has been a precious publication of the Council for over seventy years, and it definitely shows the imprint of many editors, to whom we owe great respect. Without them we would not be able to define our own identity in the history of this great body called the International Council for Traditional Music. The present always is a result of the past, and for the challenges of the future, it is important to be able to look back. Other Council Publications Don Niles The two primary publications of the ICTM today are right by the Council or just supported by it in some the Yearbook for Traditional Music and the Bulletin of the way. Such support could be financial, but might also International Council for Traditional Music. 1 Both have be scholarly. We can presume that the Council has appeared since the beginning of the Council under vary-agreed that its name be attached to such publications, ing names. However, ICTM publications also include thereby giving some official endorsement to them as the many edited volumes resulting from study-group publications in terms of quality and being in line with symposia, colloquia, and fora. Furthermore, some the aims of the Council. I divide these publications national committees have issued their own publications; into books and recordings with numerous subdivi-and the Council Secretariat has produced directories of sions of each, attempting to group publications shar-members, and of its members’ interests and projects. All ing some similarities. of these publications are treated elsewhere in the appro- priate chapters of this volume. This chapter concerns the other publications2 that the Books Council has had a role in. All of these are listed on the Council’s website: in reverse chronological order The Council was established in London on the after-on one page for books and one for recordings.3 Here noon of Monday, 22 September 1947. Over the fol-I intend to overview these publications, provide back- lowing few days, initial practical issues relating to its ground to their appearance, and highlight trends for establishment were sorted out, and then discussion Council involvement. turned to work that the Council might itself undertake, such as surveying existing folk-music recordings and These are Council publications because publication archives, establishing a bureau of information, outlin-details identify them as such, and there is often infor- ing methodologies on the collection of folk music and mation about their genesis, development, and release folk dance, promoting folk music and folk dance, and in successive Bulletin s.4 They could be published out-classifying folk tunes. Such focusses are not surprising as members sought to learn more about what others had 1 For assistance in locating and copying some of the publications done and were doing, and where these materials could mentioned here, I appreciate the efforts of Naila Ceribašić, be found. Members also wanted to learn about how to Svanibor Pettan, and Carlos Yoder. Naila and Svanibor also helped me with many editorial issues in a complicated pre- collect recordings and make sense of them, and they sentation. Wim van Zanten clarified certain aspects of the sought to promote the traditions that were of interest Council’s engagement with UNESCO and Smithsonian to them and which they often felt were in danger of Folkways. The Institute of Papua New Guinea has long sup- severe modification, if not total extinction, in a chang- ported my involvement with the Council, and my attachment with the Australian National University enabled me access to ing environment. many online materials. I very much appreciate this help. Many of these concerns developed into Council publi- 2 Karpeles (1969:24–25) similarly uses the term “other publica- tions” to refer to any Council publications other than the jour- cations, often requiring many years to come to fruition. nal; however, her usage includes the Bulletin¸ while mine does My overview here is organized by broad subject matter. not. 3 http://www.ictmusic.org/publications/books-by-or-in-col- METHODOLOGIES FOR COLLECTION laboration-with-ifmc-ictm and http://www.ictmusic.org/ publications/recordings-by-or-in-collaboration-with-ifmc-ictm, On the afternoon of Thursday, 25 September 1947— respectively. three days after the establishment of the Council— 4 Indeed, Bulletin s are my primary source of information about all publications discussed in this chapter. Since the genesis of publications and their pathway to publication are often dis- the end of relevant paragraphs to try to achieve a more readable cussed over several issues, I list all of these sources together at text. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 420–427. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. Other Council Publications 421 consideration turned to the twelfth item on the agenda: Catalogues of recordings “Methods of collecting folk song and folk dance.” A number of participants put forth their views on how At the General Assembly meeting held on 11 September such collection should take place. In the end, it was 1951, at the IFMC world conference in Opatija, agreed that: Yugoslavia, it was reported that the Council had been entrusted by UNESCO to prepare and publish a cat- the Conference should endeavour to collect and collate alogue of folk-music records. The recordings would all such experiences from collectors (including publications already issued on the subject) and possibly issue be limited to those available for purchase to the pub-a manual of suggestions to collectors. (International lic, institutions, or commercial organizations, and “it (Advisory) Folk Dance Council 1947:11; Karpeles would include only authentic folk music performed 1972:21) by traditional singers and instrumentalists” ( BIFMC Aside from the publication of IFMC’s Bulletin (1948) 5, Nov 1951:15). Jaap Kunst was appointed by the and Journal (1949), the resulting manual would become Board as general editor. Although Kunst tackled the the Council’s first publication. project, he resigned because of the difficulty in get- ting responses from Council members. An appeal by Maud Karpeles collaborated with Arnold Bake to pro- the Board for Kunst to reconsider did not change his duce it, with a section on filming contributed by Doris decision, so Norman Fraser was appointed as his suc-Plaister. A preliminary draft was compiled and consid- cessor and brought the project to fruition in January ered by the Executive Board, with final publication— 1954 as the International Catalogue of Recorded Folk the Manual for Folk Music Collectors—taking place in Music / Catalogue international de la musique folklorique August 1951 (Karpeles and Bake 1951). It consisted of enregistrée (Fraser 1954). It was published by Oxford 28 pages and cost 3s 6d per copy, with discounts avail-University Press and contains an introduction by the able for bulk purchases. A French edition was to be Council president, Ralph Vaughan Williams ( BIFMC published if funds allowed. Sections concerned prepara- 5, Nov 1951:15; 6, Sep 1952:12, 13; 7, Sep 1953:15; tions for a collecting expedition; the notation of songs, 8, Jan 1955:8; Karpeles 1972:29). instrumental melodies, and dances; recording devices; and a bibliography ( BIFMC 1, Oct 1948:16; 2, Nov The Board hoped that this catalogue would be kept 1949:16; 5, Nov 1951:10, 15, 26). up to date with supplements, and already in 1955, an appendix by Claudie Marcel-Dubois was mentioned. A revised and enlarged edition of this manual was Over the years, various comments on the slow work on edited by Karpeles alone as The Collecting of Folk Music revisions appeared in the Bulletin, but in 1958, Klaus and Other Ethnomusicological Material: A Manual for Wachsmann was announced as the editor responsible for Field Workers (Karpeles 1958), with an introduction compiling the supplements. In 1960, his International by anthropologist Raymond Firth. It was published in Catalogue of Published Records of Folk Music was pub-1958 in collaboration with the Royal Anthropological lished “with the assistance of the International Music Institute of Great Britain and Ireland, with assistance Council (UNESCO)” (Wachsmann 1960) (figure 1). from the Wenner-Gren Foundation for Anthropological It was originally published earlier in the same year as Research. Copies were sold for 6s each ( BIFMC 12, Sep part of the Bulletin of the British Institute of Recorded 1957:11; 15, Oct 1958:9; 15, Apr 1959:2). Sound 17–18 (summer and autumn, 1960). After intro- ductory editorial sections and listings of publishers and WHAT HAS BEEN DONE, AND WHERE ARE SUCH addresses, the catalogue groups the recordings into five MATERIALS? geographic sections (Africa, America, Asia, Europe, While it was certainly important to know how to go Oceania) and one for anthologies. about collecting and documenting music and dance, Future supplements were planned for every two to three it was similarly essential for researchers to know what years. A third volume was reported as in preparation by had been done so far and where such materials could BBC archivist Marie Slocombe, but later on the diffi-be found. Members were certainly aware of relevant culties in finding an editor apparently prevailed and no written and audiovisual materials in their own areas further supplements appeared ( BIFMC 8, Jan 1955:10; of interest, but few would have had a comprehensive 9, Oct 1955:11; 14, Oct 1958:9, 10; 18, Sep 1960:9; knowledge of what existed internationally, who wrote 19, Apr 1961:4; 20, Jan 1962:11, 13; 22, Oct 1962:14; or recorded them, and where they were located. A num-24, Oct 1963:10; 26, Oct 1964:15; 34, Mar 1969:14). ber of Council publications attempted to address these concerns. These are considered in the following sections. With such a focus on listing audiovisual recordings and archiving, as discussed below, it is not surprising that the Council was also concerned with how such materi- als would be catalogued; hence in 1955 it produced a Memorandum on Cataloguing and Classification of Sound 422 Don Niles a bibliography of over 4,500 entries ( BIFMC 8, Jan 1955:12–13; 9, Oct 1955:15; 15, Apr 1959:2). While such a mass listing of sources as appears in Kunst’s volumes was invaluable to researchers, the Council also felt that a more select list of the most important music and dance publications would be of great use. Already in 1951—before the publication of the second edition of Kunst’s work—the Council dis- cussed the publication of a selective bibliography of the standard collections and works on folk music from all parts of the world. However, after UNESCO refused assistance, finding funds and an editor proved particu- larly challenging. Collaboration was finally undertaken with the Czechoslovak Academy of Sciences with Karl Vetterl as editor, but the scope was limited to Europe. Even then, publication of Vetterl’s A Select Bibliography of European Folk Music did not take place until the end of 1966 (Vetterl 1966) ( BIFMC 5, Nov 1951:15–16; 7, Sep 1953:20; 8, Jan 1955:12–13; 18, Sep 1960:11; 20, Jan 1962:12, 13; 31, Nov 1967:14). Immediately after the publication of Vetterl’s work, an annual bibliography of European ethnomusico- logical sources was discussed and actually came to Figure 1. Title page of International Catalogue of Published Records of Folk Music, by Klaus Wachsmann fruition very quickly. Editors Oskár Elschek, Erich (1960). Stockmann, and Ivan Mačák produced ten volumes of the Annual Bibliography of European Ethnomusicology / Recordings of Folk Music (International Folk Music Musikethnologische Jahresbibliographie Europas between Council 1955) ( BIFMC 39, Oct 1971:[ii]). 1967 and 1975 (Elschek, Stockmann, and Mačák 1967–1975). The volumes were published by the Slovak In 1957, shortly after Fraser’s 1954 catalogue on sound National Museum in co-operation with the Institute of recordings, plans for a similar publication on films of Art of the Slovak Academy of Sciences, under the aus-folk music and dance were noted, but progress was pices of the Council ( BIFMC 31, Nov 1967:14; 33, Oct slow. In 1968, Peter Kennedy was appointed editor, 1968:9; 62, Apr 1983:5). with the work to be done on behalf of UNESCO. Films on Traditional Music and Dance: A First International Directories Catalogue finally appeared in 1970 (Kennedy 1970). The 261-page catalogue lists 381 films, arranged according Between 1963 and 1973, the Council published three to county. For each film, details of the length, year, for-directories that were further concerned with sources mat, production, and distribution precede a synopsis. and successively built on each other. They focussed on Appendixes list the films in alphabetical order by title folk-music and dance collections to be found in archives and subject ( BIFMC 12, Sep 1957:9; 24, Oct 1963:10; or other institutions and organizations, and with indi-26, Oct 1964:15; 31, Nov 1967:29; 32, Apr 1968:1; vidual collectors. 33, Oct 1968:9; 34, Mar 1969:6; 35, Oct 1969:17). With a grant of USD 200 from the International Music Council, IFMC produced the International Directory of Bibliographies Folk Music Record Archives in 1963. This was published Of course, the desire to know about existing resources in a double issue of Recorded Sound, the journal of the concerning music and dance was not limited to audio-British Institute of Recorded Sound (IFMC 1963a). visual documents, but also demanded knowledge of It was also available as a separate publication from the written sources. Jaap Kunst’s key 1950 Musicologica Secretariat (IFMC 1963b) ( BIFMC 22, Oct 1962:14– was revised and expanded into a second edition (Kunst 15; 24, Oct 1963:10; 26, Oct 1964:14). 1955) and a third (Kunst 1974), both under the aus- A year later, the Directory of Institutions and Organisations pices of the Council. The third edition contained essen- Concerned Wholly or in Part with Folk Music (IFMC tial introductory material about ethnomusicology and 1964) was published, but it had been under preparation for a much longer period of time. Already in October Other Council Publications 423 1948, in the first issue of the Bulletin, there was a report in March 1965 as Folk Songs of the Americas (Lloyd and about the circulation of a questionnaire from which Ramón y Rivera 1965) ( BIFMC 8, Jan 1955:10; 10, such a directory would be compiled. The directory was Oct 1956:10, 12; 12, Sep 1957:8, 11; 14, Oct 1958:9; mentioned in scattered, subsequent issues, but would 18, Sep 1960:9; 20, Jan 1962:11, 13; 22, Oct 1962:14; only be published in 1964. Five years later, the com-24, Oct 1963:9; 26, Oct 1964:14; 27, Apr 1965:1; 28, pilation of a new edition edited by Peter Kennedy was Jul 1966:5). mentioned, but it does not appear to have been com- pleted ( BIFMC 1, Oct 1948:16; 12, Sep 1957:9; 20, OTHER Jan 1962:12; 22, Oct 1962:14; 24, Oct 1963:10; 25, Apr 1964:1; 26, Oct 1964:14; 35, Oct 1969:4). In addition to publications that fall into the broad cate- gories listed above, there were a few that cannot be char- In 1973, Peter and Beryl Kennedy published The acterized so neatly. International Folk Directory of Ethnic Music and Related Traditions (P. Kennedy and B. Kennedy 1973), consist- The Council’s Statement on Copyright in Folk Music was ing of 148 entries of archives, institutes, and individ- submitted to the General Assembly at the 1957 confer- ual collectors with collections of folk music and related ence in Copenhagen, outlining the Council’s attempts arts, crafts, and customs. It expands on the 1963 and to safeguard the rights of collectors and performers, 1964 directories listed above. These collections include while also making music available to the public (IFMC recordings and also visual materials and artefacts. The 1957). Although the statement was published in the information is based on questionnaires sent to the mem-Bulletin (12, Sep 1957:25–27), extra copies in English bership. While reviewer Frank Gillis thought the num- and French as a four-page leaflet were available for free ber of entries could certainly be increased, he concluded from the Secretariat. Members were asked to circulate that it was “an excellent guide to audio-visual, material it as widely as possible ( BIFMC 12, Sep 1957:2, 11, culture, and other data available to those researchers 25–27; 39, Oct 1971:[ii]). working with folk cultures” (Gillis 1973). The publica- In 2008, the Institute of Art Studies at the Bulgarian tion was available from the Secretariat ( BIFMC 43, Oct Academy of Sciences published the papers from a panel 1973:2, 36). session on the Balkans that were presented at the 2007 World Conference held in Vienna, as well as the papers COLLECTIONS from a number of other Bulgarian researchers who pre- sented at the conference (Peycheva and Rodel 2008). The desirability of some sort of “international song While rather different than many of the other publica-book” was raised at the first meeting of the Council, tions listed here, its publication was supported by the held in Basel in 1948. Although initial hopes were to ICTM secretary general and the Board. publish five or six volumes, each with 100–150 songs, these grand plans were limited by funding; neverthe- Finally, one planned publication that never quite made less, such publications were seen as furthering the dis- it to press was a Festschrift honouring Maud Karpeles on semination of folk music (Karpeles 1965:311). The her 80th birthday. While it was not to be published by first volume finally appeared in 1956 and was edited by the Council, it was being arranged by Barbara Krader, Karpeles: Folk Songs of Europe contains 183 songs from who was IFMC executive secretary at the time, and was thirty European countries (Karpeles 1956). Melodies obviously very closely associated with it. Karpeles’s 80th are printed with the original text and metrical English birthday was in 1965, but the publication was planned translations. Financial assistance was received from the for 1967 and was to consist of contributions from International Music Council (UNESCO) towards its about twenty-five authors, totalling about 300 pages, publication ( BIFMC 1, Oct 1948:17; 2, Nov 1949:16; representing not just Council members, but also other 5, Nov 1951:15; 6, Sep 1952:14; 7, Sep 1953:15, organizations in which Karpeles was active. Pledges 17–18; 8, Jan 1955:8–9; 10, Oct 1956:10, 12). were sought from Council members to secure a copy of the book ( BIFMC 29, Nov 1966:2). However, Krader Immediately after the finalization of the first collec- announced the cancellation of the project in the next tion, the Board discussed a Spanish version of it and Bulletin (30, Apr 1967:2–3), but without explaining also the production of a second volume concerning the the reason. Karpeles replied graciously: Americas. This new volume was to be supported by another grant from the International Music Council When I was told of the project on the day of my birth- (UNESCO). Charles Seeger was to be the editor, but he day I must confess that I received the news with mixed feelings. I was intensely gratified that so many friends resigned after less than a year. A. L. Lloyd was appointed should wish to honour me in this way, but at the same in 1957 and was joined by Isabel Aretz de Ramón y time I was distressed at the thought of the trouble that Rivera. Although planned for release in 1960, there I was unwittingly causing them. Now that the plan has were many delays, and the volume was finally published finally had to be abandoned I am more than ever con- scious of my indebtedness to them and would ask them 424 Don Niles to accept this acknowledgement of my gratitude and thanks. ( BIFMC 31, Nov 1967:2) Recordings The Council has long been involved in publishing audio- visual recordings. The earliest such recordings were in conjunction with festivals that often accompanied early world conferences. Subsequently, the Council became involved with a number of series issued by established record companies. Such collaborations would give added prestige to these releases and, at the same time, increase the Council’s visibility to the broader public. Finally, there have been releases in conjunction with Council publications. Here, however, I treat individual releases separately from those issued as part of a series. INDIVIDUAL RELEASES I divide individual releases into those associated with Figure 2. Cover of World Festival of Folk Song and Folk Dance (Kennedy 1954). festivals, those with publications, and others that do not fit into these two groups. unable to find any evidence that the disc was indeed issued ( BIFMC 9, Oct 1955:12; 10, Oct 1956:10).5 Associated with festivals The second World Festival of Folk Song and Dance was Associated with written publications held in conjunction with the sixth IFMC conference, held in July 1953 in Biarritz, France, and Pamplona, For Steven Feld’s article in the 1988 Yearbook for Spain, which also happened to be the first such confer-Traditional Music, a cassette in a cardboard enclosure ence to be shared between two cities, and in two different accompanied the journal (Feld 1988). Side A contains countries as well. Recordings were made at the festival the 23 examples discussed in his article, while side B and issued on an LP disc by UNESCO, under the aus- is a reproduction of “Voices in the Forest,” which Feld pices of the “International Music Council (UNESCO)” had originally released in 1987, presenting a day’s and in cooperation with IFMC. Dances and songs soundscape in the Kaluli area. This was the only time from France, Spain, Italy, Germany, Switzerland, the a physical recording was published in conjunction Netherlands, Norway, Sweden, Finland, England, with the Council’s journal,6 although the editor at the Scotland, Ireland, Northern Ireland, United States, time, Dieter Christensen, was certainly open to future Turkey, Yugoslavia, Japan, and Indonesia are on the disc. IFMC President Ralph Vaughan Williams gives a 5 Festivals were quite often held at the same time as early world general, spoken introduction, while Douglas Kennedy conferences, but in only four instances were these designated in publications as officially organized by the Council: 1949 provides spoken commentary on each item and in (Venice), 1953 (Biarritz and Pamplona), 1955 (Oslo), and a four-page booklet. After a number of delays, it was 1962 (Gottwaldov). So, for example, the 1951 festival in released by Westminster Recording Company in 1954 Opatija, Yugoslavia, was apparently not a Council activity, (figure 2) ( BIFMC 8, Jan 1955:8, 10; 9, Oct 1955:11). even though an IFMC conference took place at the same time. As a result, the publication of that festival’s recordings in The 1955 Oslo conference was also the occasion for Alan Lomax’s Columbia World Library of Folk and Primitive Music series did not involve the Council at all; therefore, it is the third International Folk Dance Festival. Norwegian not considered a Council publication here (Kennedy 1955?). Broadcasting recorded the festival, and UNESCO said Council-organized festivals were discontinued because of the they would give a copy of the recordings to the Council, “difficulty in getting authentic traditional groups,” and because from which they hoped to make a commercial publi- regional festivals organized by others (i.e., not the Council) were of greater value (Karpeles 1969:20–21). Festivals continue cation. To be compiled and edited by Marie Slocombe to coincide with many world conferences, but the Council is and Edward Nicol, Westminster Recording Company uninvolved in their organization. again agreed to issue the disc. However, I have been 6 Beginning with the 1963 journal, editor Laurence Picken hoped to include an accompanying disc of musical examples from conference papers. While supported by the Executive Board, it proved impossible because of the high taxes charged by the government (EB minutes, 25th meeting, 27–28 Aug 1961:§313; 27th meeting, 12–13 Jul 1962:§341). Other Council Publications 425 audiovisual publications: “where sound—or moving was announced to the membership in the April 1989 images—are integral to the discourse, rather than mere BICTM by Ulrich Wegner from IICMSD. Releases illustration, it becomes imperative to present them were to be released on both CD and cassette ( BICTM along with the other modes of communication we are 74, Apr 1989:5–6). In his president’s report at the 1989 using” (Christensen 1988:x).7 Schladming conference, Erich Stockmann revealed that Although in later years authors were encouraged to the Board had decided at their meeting in May 1988 include audiovisual recordings with their articles for to remain active in the publication of records, hence inclusion on the Council’s website, this was first done the involvement in the new series ( BICTM 75, Oct by Estelle Amy de la Bretèque for the 2006 Yearbook.8 1989:10). Contributors to subsequent Yearbook s have continued The first publication was released in May 1990, although to take advantage of this option. the CD itself states the previous year: Viola Caipira by Max Peter Baumann, Roberto Correa, and Tiago SERIES Oliveira Pinto, issued on Musicaphon ( BICTM 77, Oct 1990:11). The October Bulletin s of 1991 (p. 13), 1992 In addition to the individual recordings listed above, (p. 13), and 1993 (p. 12) note one new release each year, the Council has particularly been involved in various but for the fourth release, the issuing company changed ways with three series of recordings issued over almost from Musicaphon to Smithsonian Folkways. The latter half a century. would issue the remaining CDs in the series. The final mention of the series appears to be in the Board report IFMC World Anthology of Folk Music series to the General Assembly at the 1995 Canberra world Beginning in 1963, the Bulletin s start mentioning conference. Secretary General Dieter Christensen, read-the Council’s interest in producing a series of records. ing the report on behalf of the Board, noted that ICTM Peter Crossley-Holland accepted editorship for such had been requested by UNESCO to assume full respon-a series, but was unable to continue, so this task was sibility for the new releases of CDs for the UNESCO taken over by Charles Duvelle. Although there were Collection of Traditional Music, discussed below. He hopes to release two discs per year, between 1968 and appealed for assistance from the entire membership in about 1975, only five LPs were released by Ocora in the this endeavour. But he then notes that ICTM is also IFMC World Anthology of Folk Music series. The first participating in collaboration with the International was Musique celtique Iles Hébrides / Gaelic Music from Institute for Traditional Music (IITM) in Berlin, which Scotland. This was followed by recordings from West is published by Smithsonian. Christensen observes that Java, Côte d’Ivoire, Solomon Islands, and Venezuela, the goals of the two series are quite different: all produced with Duvelle as general editor ( BIFMC The IITM/Smithsonian series is distinguished by its 24, Oct 1963:10; 26, Oct 1964:15; 33, Oct 1968:9, very substantial documentation primarily addressed 52; 34, Mar 1969:6; 35, Oct 1969:3, 16–17; 38, Apr to specialists, whereas the UNESCO series serves 1971:6, 18). Many of these were re-released by other UNESCO goals of dissemination of knowledge of other cultures as widely as possible and is directed at companies in later years.9 the general public. ( BICTM 86, Apr 1995: 12–13) Traditional Music of the World / The World’s Musical It appears that ICTM’s focus was shifting away from Traditions series the IITM series to that with UNESCO. Nevertheless, seven more CDs in the former series were released by The next audio series the Council embarked on was Smithsonian Folkways, including recordings from known as Traditional Music of the World or The World’s Uruguay, Turkey, Brazil, Benin, Portugal, India, and Musical Traditions. It was a joint collaboration between Greece. The last was released in 2000, four years after ICTM and the International Institute for Comparative the closure of the IITM in Berlin. Music Studies and Documentation (IICMSD),10 with Max Peter Baumann as general editor. The collaboration UNESCO Collection of Traditional Music series and its transfer to Smithsonian Folkways 7 This issue also saw the first use of colour in the pages of the journal: seven colour images. Publication of UNESCO’s Collection of Traditional 8 http://www.ictmusic.org/yearbook/ Music began in 1961, with Alain Daniélou as editor and yearbook-traditional-music-vol-44-2012. in collaboration with the International Music Council, 9 As with all other publications discussed in this chapter, further joined shortly thereafter by the International Institute details can be found on the Council’s website (see n. 3). for Comparative Music Studies and Documentation in 10 Founded in Berlin in 1963 with Alain Daniélou as the Berlin. LPs were issued on a number of recording labels, first director, it was renamed the International Institute for Traditional Music in 1991, but closed in 1996 for financial beginning with Bärenreiter-Musicaphon, and extending reasons. to EMI and Philips. UNESCO’s collaboration with the 426 Don Niles French company Auvidis (later, Naïve) started in 1988, and in 1991 they began releasing albums on CDs. From April 1993, ICTM was represented on the edi- torial committee for the series. A short time later they became more involved in eliciting, evaluating, and edit- ing materials for new releases with Secretary General Dieter Christensen as editor (1994–2001). Detailed submission details were published in the Bulletin. The first five new releases edited by ICTM were to be released in 1996, and announcements for more releases followed. The role of editor was taken over by the new secretary general, Anthony Seeger, in 2001, and then passed on to Wim van Zanten in July 2004, who remained in this role until 2012. However, Zanten and Seeger announced in the October 2005 Bulletin that the series would be discontinued. UNESCO had cancelled the distribution contract with Auvidis/Naïve in May 2005, and they were searching for a new distributor. New proposals would not be con- sidered after 31 August 2005, and they deeply regret- Figure 3. Cover of Croatia, by Svanibor Pettan, originally released in 1998 by Auvidis (UNESCO Collection ted the delays in releasing some of the CDs. There had of Traditional Music series; Smithsonian Folkways long been dissatisfaction with Auvidis. While many UNES08276) (Pettan 1998). CDs were finalized, they went unreleased for many years. For example, between 1999 and 2002 only eight new CDs were released; no more appeared after that Feld, Steven. 1988. “Aesthetics as Iconicity of Style, or, ‘Lift-UpOver-Sounding’: Getting into the Kaluli Groove.” YTM 20: time. Finally, on 23 April 2010, a contract was signed 74–113 (accompanied by 1 cassette). between UNESCO and Smithsonian Folkways to take Fraser, Norman. 1954. Ed. International Catalogue of Recorded over production, the latter being responsible for reissu-Folk Music. Archives de la musique enregistrée, C 4. Oxford: Oxford University Press. ing all existing CDs in the series, but also releasing those Gillis, Frank J. 1973. Review of The International Folk Directory that had been in limbo for many years. By July 2015, of Ethnic Music and Related Traditions by Peter Kennedy and Smithsonian had completed this task. In total, thir- Beryl Kennedy (1973). YIFMC 5: 211. ty-eight albums with ICTM collaboration were released IFMC, see International Folk Music Council. International (Advisory) Folk Dance Council. 1947. “International by Smithsonian Folkways, including those previously Conference on Folk Song and Folk Dance Convened by released by Auvidis (figure 3). Further information about the International (Advisory) Folk Dance Council, London, this series can be found in the chapter on UNESCO 22–27 September, 1947; Report.” ii, 15 pp. New York Public Library *MG p.v. 308. https://nypl.bibliocommons.com/ in the present volume and in Zanten (2010:100–103) item/show/12278598052907_international_conference_on_ ( BICTM 84, Apr 1994:12; 85, Oct 1994:24–26; 88, folk_song_and_folk_dance#bib_info. [appears to be same as Apr 1996:9–10; 91, Oct 1997:9–10; 93, Oct 1998:15; Karpeles 1972a]. International Folk Music Council. 1955. Memorandum on 104, Apr 2004:26; 107, Oct 2005:19). Cataloguing and Classification of Sound Recordings of Folk The Council publications overviewed here highlighted Music. London: International Folk Music Council. ———. 1957. Statement on Copyright in Folk Music Adopted by the varying interests and activities of members since its the General Assembly of the International Folk Music Council, beginning. While the Council’s journal and Bulletin August 26, 1957. London: International Folk Music Council. have continued to be emblematic, they are just a part of ———. 1963a. “International Directory of Folk Music Record Archives.” Recorded Sound 10–11 (April–July): 67–114. Council publications. ———. 1963b. International Directory of Folk Music Record Archives. London: International Folk Music Council. ———. 1964. Directory of Institutions and Organisations Concerned Wholly or in Part with Folk Music. London: International Folk References cited Music Council. Christensen, Dieter. 1988. “Editor’s Preface.” YTM 20: ix–x. Karpeles, Maud. 1956. Ed. Folk Songs of Europe. London: Novello Elschek, Oskár, Erich Stockmann, and Ivan Mačák. 1967– and Company. 1975. Annual Bibliography of European Ethnomusicology / ———. 1958. The Collecting of Folk Music and Other Musikethnologische Jahresbibliographie Europas. Bratislava: Ethnomusicological Material: A Manual for Field Workers. Slovak National Museum in co-operation with the Institute of London: International Folk Music Council and the Royal Art of the Slovak Academy of Sciences. Anthropological Institute of Great Britain and Ireland. ———. 1965. “The International Folk Music Council.” Journal of the Folklore Institute 2/3 (Dec): 308–313. Other Council Publications 427 ———. 1969. “The International Folk Music Council—Twenty- One Years.” YIFMC 1: 14–32. ———. 1972. “Report of the International Conference on Folk Song and Folk Dance.” BIFMC 41 (Oct): 6–26. Karpeles, Maud, and Arnold Bake. 1951. Manual for Folk Music Collectors. London: International Folk Music Council. Kennedy, Peter. 1954. Ed. World Festival of Folk Song and Folk Dance. 30 cm LP disc. Westminster WL 5334. Ralph Vaughan Williams, introduction; Douglas Kennedy, commentary. ———. 1955? Recordist. Yugoslavia. 30 cm LP disc. Columbia KL-217 (also released as SL-217 and CKL-217). Columbia World Library of Folk and Primitive Music, 14. Edited by Alan Lomax. Texts and translations by Albert Lord. (Re-released in an expanded edition on 2 CDs in 2001 on Rounder 11661-1745-2). ———. 1970. Ed. Films on Traditional Music and Dance: A First International Catalogue. Paris: UNESCO. Kennedy, Peter, and Beryl Kennedy. 1973. Ed. The International Folk Directory of Ethnic Music and Related Traditions. Devon: Dartington Institute of Traditional Arts. Kunst, Jaap. 1955. Ethno-musicology: A Study of Its Nature, Its Problems, Methods, and Representative Personalities to Which Is Added a Bibliography. 2nd ed. The Hague: Martinus Nijhoff. ———. 1974. Ethnomusicology. 3rd ed. The Hague: Martinus Nijhoff. Lloyd, A. L., and Isabel Aretz de Ramón y Rivera. 1965. Eds. Folk Songs of the Americas. London: Novello and Company. Pettan, Svanibor. 1998. Ed. Croatia. Compact disc. Originally released by Auvidis-UNESCO; re-released by Smithsonian Folkways UNES08276. Peycheva, Lozanka, and Angela Rodel. 2008. Eds. Vienna and the Balkans: Papers from the 39th World Conference of the ICTM, Vienna 2007. Sofia: Institute of Art Studies, Bulgarian Academy of Sciences. Vetterl, Karl. 1966. A Select Bibliography of European Folk Music. Prague: International Folk Music Council and Institute for Ethnography and Folklore of the Czechoslovak Academy of Sciences. Wachsmann, Klaus P. 1960. Ed. International Catalogue of Published Records of Folk Music. London: International Folk Music Council with the assistance of the International Music Council (UNESCO). Zanten, Wim van. 2010. “UNESCO en intellectueel eigendomsrecht: Cd serie en audiovisueel materiaal van 2003 conventie.” In Documentatie van cultureel erfgoed in juridisch perspectief: Naar aanleiding van de expertbijeenkomst over de positie van intellectuele eigendomsrechten bij de documentatie van immaterieel, edited by Lucky P. C. Belder, 97–110. Amsterdam: Uitgeverij deLex. ICTM, UNESCO, and Scholarly Expertise in the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage Wim van Zanten The International Council for Traditional Music was in the minds of men, it is in the minds of men that founded in 1947 as the International Folk Music the defences of peace must be constructed.”3 On the Council. From its start, the Council was affiliated with UNESCO website, the organization calls for dialogue, UNESCO, founded two years earlier, as a consultative mutual understanding, and the intellectual and moral partner or otherwise. The organizational structure of solidarity of humanity to achieve peace in the world. ICTM, the corresponding terminology, and even the It recognizes that this is not easy: “Cultural diversity is word “council” in its title still resemble the UNESCO under attack and new forms of intolerance, rejection of structure,1 and the relation is also reflected in the “mis-scientific facts and threats to freedom of expression chal- sion” or “purpose” of both international organizations. lenge peace and human rights. In response, UNESCO’s However, UNESCO’s mission includes collaboration duty remains to reaffirm the humanist missions of edu-between its member states and covers education, sci- cation, science and culture.”4 ence, and culture, whereas ICTM is a non-governmen- In May and June 2018, the director-general of UNESCO, tal organization (NGO) of music and dance scholars Audrey Azoulay, underlined these general principles in and others mainly working in the field of culture. her addresses and speeches. She mentioned the impor- I will start with some historical notes. Then, I will dis- tance of cultural diversity for social development and cuss how the scholarly expertise of ICTM was used in economic growth, and remarked that “cultural diversity the context of UNESCO activities, in particular in the is not in itself a factor of peace and progress. For this it production of the Collection of Traditional Music of the requires learning, learning about otherness … and to World, and in the preparation and implementation of recognize the value concealed in each culture” (Azoulay the 2003 UNESCO Convention for the Safeguarding 2018b). A few days earlier, she said she had regretted of the Intangible Cultural Heritage (hereafter, 2003 “the recent trends towards xenophobia, nationalism and Convention), in which I was involved between 2002 exclusion” (ibid. 2018a). Similar words were used in the and 2016.2 director-general’s speech on the occasion of the Peace and Prosperity Forum in Jeju, Korea, on 28 June 2018 (ibid. 2018c). In these messages, Azoulay summarized Historical developments in the some tasks that UNESCO has always considered to be twentieth century: Peace and essential, in particular, to enhance the capacity to live in peace. knowledge UNESCO did not come out of the blue, but had histor- The constitution of the United Nations Educational, ical roots. Before UNESCO, there were organizations of Scientific and Cultural Organization (UNESCO) was intellectuals who tried to establish international cooper-signed on 16 November 1945, and came into force on ation between nations and individuals to achieve peace. 4 November 1946, after ratification by twenty coun- In 1922, the International Committee on Intellectual tries. The constitution states that “since wars begin Cooperation (Commission internationale de coopération intellectuelle, CICI) was established as an advisory organization for the League of Nations. CICI aimed 1 Although the ICTM is not based on states parties like UNESCO, it has a World Network that consists of represent- to promote international exchange between scien- atives and liaison officers from many countries and regions. Furthermore, the ICTM has an Executive Board and a General Assembly (https://www.ictmusic.org/), like many UNESCO 3 “Men” is nowadays replaced with “men and women” when entities. referring to this constitutional statement. See https://en.une- 2 I am very grateful to the editors and Rieks Smeets, who criti- sco.org/about-us/introducing-unesco. cally commented on earlier versions of this essay. 4 https://en.unesco.org/about-us/introducing-unesco. In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 428–438. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. ICTM, UNESCO, and Scholary Expertise 429 tists, researchers, teachers, artists, and intellectuals. It is not clear that the status of the Council in UNESCO included a group of less than twenty people of world decreased considerably after the establishment of the fame, such as Marie Curie, Sigmund Freud, and Albert International Music Council in 1949, as we will see. Einstein. In this group, the letters between Einstein and The IFMC was one of several organizations involved in Freud originated and were published in 1933 under the the establishment of the International Music Council title “Why War?” (Einstein and Freud 2016; see also (IMC) in 1949. As a result, IFMC lost its consultative Helden 2001:9–16). In his letter, Einstein asks Freud: status with UNESCO to IMC, and then became affili- “Is there any way of delivering mankind from the men- ated to UNESCO via the IMC.8 It is significant that in ace of war?” Freud’s answer is not optimistic, and he an article by Anaïs Fléchet on the IMC and UNESCO’s states at the end of his letter: “we pacifists have a consti-policies with respect to music in the years 1945–1975, tutional intolerance of war, an idiosyncrasy magnified, the author concentrates on political issues, but does not as it were, to the highest degree” (Einstein and Freud mention the Council at all. Instead, she only mentions 2016:14–15). some individuals who played a role in both Council and This discussion between Einstein and Freud happened IMC circles, such as Alain Daniélou, Alan Lomax, and when Adolf Hitler took power in Germany and estab-Charles Seeger, and their important work in the field lished the Nazi regime. Following World War II, these of the UNESCO Collection of Traditional Music and issues were and still are on the minds of many world in establishing the journal The World of Music (Fléchet leaders and intellectuals, including ICTM members.5 2013–2014:62, 65). Shortly after UNESCO’s birth, the ICTM was founded Christiane Sibille (2016:279) argues that expert net-at an inaugural meeting in London as the International works of composers, artists, musicologists, and orga-Folk Music Council (IFMC), in September 1947 nizations that survived World War II “were inte- (Karpeles 1969:16–17; BIFMC 41, Oct 1972:6–26). grated in the work of the newly founded UNESCO.” Maud Karpeles was the major convenor of this meeting Traditionally, scholarly societies were on the whole and was IFMC secretary until 1963, and after that its fairly Eurocentric, and focussed on composers and “art honorary president until her death in 1976. In 1947, music.” They excluded “research into non-European she presented as one of the aims of the IFMC “to pro-music and other non-historical approaches to music” mote understanding and friendship between nations and folk-music research from their activities. These through the common interest of folk music” (Karpeles societies also “excluded from the outset … contempo-1969:16; see also Stockmann 1988:9–10). Karpeles also rary popular music, a field that was dominated by the wrote that the IFMC emerging music industry. After that, non-European has always had good relations with UNESCO with music was pushed aside.” Research into such subjects which, prior to the formation of the International was eventually given to NGOs, like the International Music Council in 1949, it enjoyed consultative status. Commission of Popular Arts (Commission internatio-It has since continued to maintain direct contact with nale des arts et traditions populaires, CIAP) that had UNESCO, as is shown by the frequent attendance of a UNESCO representative at our conferences. (Karpeles been established in 1928 (ibid.:264, 280). 1969:19) In this context, the work of the IFMC was apparently This UNESCO representative in the early years of the considered to be less significant than the work of the Council was Luiz Heitor Corrêa de Azevedo, head of IMC. Formal consultative relations between ICTM the Music Section of UNESCO, who attended the and UNESCO were only re-established in 1996. See, first conference in Basel, Switzerland (1948), and also for instance, the report by the ICTM secretary gen-IFMC conferences in Opatija, Yugoslavia (1951) and eral, Dieter Christensen (1996), and the remarks by Trossingen and Stuttgart, Federal Republic of Germany Krister Malm, ICTM president, 1999–2005, on the (1956).6 Azevedo published an article “L’UNESCO International Music Council (IMC): “Historically et la musique populaire” in the first Journal of the IMC has been much focussed on promoting Western International Folk Music Council in 1949. He was mem-Art Music. This was the main reason for ICTM to leave ber of the Council’s Executive Board from 1970 to IMC a decade ago and establish its own direct rela-1976.7 From the optimistic words of Karpeles above, it tionship with UNESCO” (Malm 2003:8). Every six years, this “consultative status” has been reviewed, and 5 Many scholars and diplomats have warned about the parallels ICTM has kept this status until the present day. ICTM that can be drawn between the twentieth and twenty-first cen- is currently one of the 392 international NGOs and 33 turies, in relation to methods used by fascism. One such warn- ing came from the former US secretary of state, Madeleine Albright (2018). 8 For instance, in 1952 IFMC’s request for financial assistance for publications was made by the IMC, together with requests 6 See BIFMC (1, Oct 1948:4; 5, Nov 1951:5; 10, Oct 1956: from the IMC itself, the International Musicological Society 5;41, Oct 1972:27–33). and other organizations; see annex 25, document 32 EX/4 of 7 See http://ictmusic.org/governance/history. the Executive Board of UNESCO, 11 Dec 1952. 430 Wim van Zanten foundations and similar institutions that enjoy official occasion of the fortieth anniversary of the Council, partnerships with UNESCO.9 the long-serving secretary general of the ICTM, Dieter Such a “flexible and dynamic partnership” with an Christensen, further wrote that in the 1950s, there were NGO gives UNESCO the opportunity “to benefit several attempts to get ethnomusicologists from the USA from its expertise, the representativeness of its networks involved in the IFMC. One reason for the stagnation for the dissemination of information and, if appropri-of the IFMC in 1955 was that several members regret- ate, its operational capacities in the field” (UNESCO ted that the scholarly domain in the IFMC was weak, 2020:155). Its advisory association with UNESCO and they wanted to strengthen “international intellec-gave ICTM higher status and the possibility of applying tual exchange.” Those members expected this to change for funding from UNESCO. Over the years, financial when more “Americans” would join the IFMC (ibid.). assistance was granted for a variety of Council projects, In the 1950s and 1960s, American ethnomusicologists such as the publication of the Journal of the IFMC in were looking more at anthropological approaches than 1952 and 1953, the publication of an international their European counterparts (see also Nettl 1988:23).13 collection of folk songs, and several world conferences Earlier, Maud Karpeles had described why the prac-since 2000.10 tice of organizing festivals together with international Moreover, since ICTM regained its consultative sta- conferences had come to an end after the one in Oslo tus with UNESCO in 1996, several officers of the (1955): “The main reason for discontinuing the festi-Intangible Cultural Heritage (ICH) section11 of vals on an international basis was the increasing diffi-UNESCO have attended its world conferences and culty of getting authentic traditional groups” (Karpeles taken part in discussions: Noriko Aikawa in Hiroshima 1969:21). Although Karpeles mentioned this concept (1999), Rieks Smeets in Sheffield (2005), David Stehl of authenticity, she also recognized “folk music as a in Sheffield (2005) and Vienna (2007), Frank Proschan living art” that should be dealt with by its own methin St. John’s (2011), and Tim Curtis in Bangkok ods and not by “methods borrowed from the lifeless” (2019).12 This attendance seems to reflect the import- (ibid.:27–28).14 It is interesting that Alexander Ringer, ant role that ICTM played as a result of editing the CD in his capacity as editor of the same volume of the series UNESCO Collection of Traditional Music of the Yearbook of the IFMC, clearly rejected the concept of World, evaluating more than half of the applications in authenticity for scholarly purposes: the Masterpieces programme, and assisting in the imple-the fashionable concept of “authenticity” has no more mentation of aspects of the 2003 Convention. In 2001, validity as a basic postulate in the philosophy of folk ICTM President Krister Malm reported on the diffi- music than “purity,” its nineteenth-century counter- part. Both are essentially romantic myths that occupy culties in the production of the CD series (see below), legitimate positions in the realm of ideology but are but he also wrote that “our relations to UNESCO are basically irrelevant, if not dangerous, to scholarly inves- excellent” in his report to the General Assembly held in tigation. Living traditions are subject to change virtu- Rio de Janeiro (Malm 2001:6). ally by definition. (Ringer 1969:4) The scholarly work of the Council has not always been Stockmann (1988:4–5) also wrote about the problem-very prominent. In the beginning, much attention was atic issue of “authenticity” in music and dance. This given to the practice of music and dance. For instance, might lead to glorification of the past that was seen as the international conferences in Venice (1949) and the “genuine,” the “authentic,” and “rating the changes Biarritz/ Pamplona (1953) were accompanied by inter-only negatively, as a decay.” The concept of “authen- national festivals of “folk music.” However, “conference ticity” has been very present in discussions about the participants grew tired of watching the same show. At relation between tangible and intangible heritage, the same time, to those of a scholarly bent the IFMC because in the 1972 Convention on World Heritage15 it did not offer enough” (Christensen 1988:13). On the was used as an important selection criterion (see figure 9 See https://en.unesco.org/partnerships/ 13 The issue of international festivals during Council conferences, non-governmental-organizations. and the relation of the Council to organizations involved 10 See, for instance, BIFMC (6, Sep 1952:11–12); BICTM (103, in such activities like CIAP and later CIOFF (International Oct 2003:5); Seeger (2015:272). Council of Organizations of Folklore Festivals and Folk Arts), 11 Nowadays this section is called the Living Heritage Entity. I established in 1970, need a fuller treatment than is possible in will use the old name, which was used in the period covered in this essay. As continues today, ICTM world conferences are this chapter. often planned together with national festivals taking place at 12 In April 2009, Cécile Duvelle, then chief of the UNESCO- the same time. ICH section, declined ICTM’s invitation to attend the world 14 She agreed with R. R. Marett: “The living … must be studied conference in Durban, South Africa (July 2009): because of the in its own right and not by means of methods borrowed from overload of applications for the Representative List of the 2003 the lifeless” (Marett 1920:13). Convention, the ICH Secretariat could not undertake such 15 That is, UNESCO’s Convention Concerning the Protection of travel that year (see below). the World Cultural and Natural Heritage. ICTM, UNESCO, and Scholary Expertise 431 year no. of CDs year no. of CDs year no. of CDs 1991 48 1996 12 2001 3 1992 6 1997 4 2002 1 1993 9 1998 12 2003 none 1994 8 1999 3 2004 none 1995 12 2000 1 Table 1. Number of published CDs per year in the UNESCO Collection of Traditional Music of the World, 1991– 2004. (Based on a list dated 25 February 2003 supplied by the ICH section of UNESCO). Musical Anthology of the Orient, which were edited from 1961 to 1981 by Alain Daniélou, under the umbrella of UNESCO and the International Music Council.17 The first CDs were re-issues of earlier published gram- ophone records; 48 CDs were published in 1991. In the following years new albums were added (table 1). In 1995, the ICTM became officially responsible for editing the albums in this series. Those wishing to pub- lish in the series were expected to send music recordings with liner notes to the ICTM editor, who would find a qualified reviewer for the project. If reviewer and editor were both satisfied, the materials would be passed on to the UNESCO-ICH section, and from there to Auvidis Figure 1. The Jango-ji temple was one of the Nara / Naïve with a request to produce the album. monuments inscribed on the World Heritage List because of its “outstanding universal value.” Nara, 23 October 2004 The first ICTM editors of the UNESCO Collection (photo by Wim van Zanten). of Traditional Music of the World were Dieter 1). At a meeting co-organized by UNESCO in 2004, Christensen (1995–2000), followed by Anthony Seeger international experts concluded in the so-called Yamato (2001–2003), successive secretaries general; I was the Declaration that authenticity is “not relevant when third and last editor (2004–2010). In the late 1990s identifying and safeguarding intangible cultural herit-and early 2000s, the ICTM EB and many researchers, age” (UNESCO 2006:18) (see figure 2). who had supplied the materials for the CD production, became increasingly frustrated because the albums that had passed the editing process successfully were never- theless not published by Auvidis / Naïve. The company UNESCO CD series: Collection of obviously had to deal with a declining demand for these Traditional Music of the World CDs and tougher competition. Legally, ICTM could do nothing more after editing the materials. Apparently From 1991, the CD series Collection of Traditional UNESCO’s contract with Auvidis / Naïve did also not Music of the World was produced under the responsi-supply UNESCO with enough power to get the edited bility of UNESCO.16 Manufacturing and distribution albums published. of the CDs and the booklets with liner notes was done by the company Auvidis / Naïve. This CD series was a Before I took on the editorship in January 2004, continuation of the well-known UNESCO collections UNESCO had fairly well decided to end the CD series. on gramophone records, such as Musical Sources and A The preliminary text of the 2003 Convention was passed in June 2003, then on 17–18 September 2003, the ICH section organized an “Expert meeting on the UNESCO 16 This section is partially based on an earlier publication in Collection of Traditional Music of the World: Analysis Dutch (Zanten 2010:100–102). The scope of the present chapter does not allow discussion of IFMC efforts to record, and perspectives.” This consultation with some ethno- preserve, and perform “authentic folk music” via radio pro- grammes in more detail. However, in many countries the radio 17 See an overview of the albums published in the series played an important role in the dissemination of music and UNESCO Collection of Traditional Music on https:// the IFMC established a Radio Committee in 1951 ( BIFMC ich.unesco.org/en/collection-of-traditional-mu- 6, Sep 1952:7–8). The IFMC also published an interesting sic-00123. Also see, https://folkways.si.edu/ and the “Statement on copyright in folk music” in 1957 ( BIFMC 12, ICTM website (https://www.ictmusic.org/publications/ Sep 1957:25–27), which can also not be discussed here. recordings-by-or-in-collaboration-with-ifmc-ictm). 432 Wim van Zanten Figure 2. Participants of the UNESCO expert meeting on the safeguarding of tangible and intangible cultural heritage. Adrienne Kaeppler, Noriko Aikawa, Chérif Khaznadar, and Wim van Zanten. Nara, 23 October 2004 (photo courtesy of Wim van Zanten). musicologists (including, Anthony Seeger and me) and past recordings and publishing new CDs. Probably producers of CDs resulted in a recommendation to end because the ICH section had new priorities and could the CD series and suggested the following refocus of not properly establish the property rights for titles proactivities: duced in the past,19 it took until 23 April 2010 before The Group unanimously agrees that the UNESCO a contract with Smithsonian Folkways was signed. By Collections had a pioneering role in the field of pub-mid-2015, Smithsonian Folkways had released twelve lic awareness and that UNESCO should re‐establish in unpublished albums that were edited and accepted by the years to come that role in relationship to the new ICTM. Folkways intends to release two more albums technologies and the Convention for the Safeguarding of the Intangible Cultural Heritage which may be that had been on the “pipeline” list of UNESCO in expected to enter into force in the course of 2006.18 2006. According to Folkways, four projects will not be published because information is missing and/or In this situation, the major task for the editor at the because of legal issues. By mid-August 2018, Folkways time was to properly finish the series; in particular, to had also re-issued 115 UNESCO albums that had been prepare some unfinished albums for publication and published before 2004.20 inform authors about the state of affairs. On 13 May 2005, UNESCO cancelled its contract with Auvidis / Naïve and formally finished the Collection of Traditional Music of the World. UNESCO received the unsold copies of CDs and all the materials for the unpublished albums. At that time, ICTM’s standpoint was that Smithsonian Folkways Recordings would be the best institution to take over the task of re-issuing 19 See also Seeger (2015:270), who speaks of UNESCO’s “often overextended and undersupported professional staff.” 20 Personal communication with Huib Schippers, then director 18 See https://ich.unesco.org/en/events?meeting_id=00069. and curator, Smithsonian Folkways Recordings, August 2018. ICTM, UNESCO, and Scholary Expertise 433 Establishing the text of the 2003 sisting of anthropologists, legal experts, and ethnomusi- Convention cologists, took place in Paris, 20–22 June 2002. In this group, Oskár Elschek and I were ICTM members.23 By In a 2004 article, Noriko Aikawa, former chief of the the end of August, the Glossary (Zanten 2002) had been ICH section of UNESCO, describes the steps taken to edited and was ready to be used for discussions on the prepare for the 2003 Convention for the Safeguarding text of the convention that would start in September of the Intangible Cultural Heritage. She describes “two 2002. A short article on the discussions leading to these vain attempts … to establish an international instru-definitions was published (Zanten 2004). ment for the protection of folklore during the 1970s The first “Intergovernmental meeting of experts on and 1980s” (Aikawa 2004:138) The real start came with the preliminary-draft convention for the safeguarding the programme of intangible cultural heritage, estab-of intangible cultural heritage” took place in Paris on lished by UNESCO in 1992, that “afforded an oppor- 23–27 September 2002. Because the work was not tunity to develop a new concept” (ibid.:139).21 finished during this meeting, it was followed by two I will discuss developments from around 1998: the other sessions in Paris: 24 February – 1 March and moment that ICTM, as an NGO in consultative rela-2–14 June 2003. I was asked by the heritage depart- tions with UNESCO, started to play an important role ment of the Dutch Ministry of Education to represent in the discussions leading to this Convention. After the the Netherlands. These meetings of 250–300 repre-programme “Proclamation of masterpieces of the oral sentatives from about 110 member states were much and intangible heritage of humanity” was established in more dominated by legal and political issues than 1997, ICTM evaluated about half of the nominations the meetings in the small group of scholars working by the member states (Seeger 2015:270). The other on the glossary. Several Western countries found this half of the nominations was evaluated by other inter-new convention unnecessary; the main reason may be national NGOs, more in the field of the social sciences, what Laurajane Smith called the (English) “Authorized such as the International Union of Anthropological and Heritage Discourse (AHD) that defines heritage as Ethnological Sciences (Nas 2002:139). material (tangible), monumental, grand, ‘good’, aes- Between 2002 and 2016, I was involved with the thetic and of universal value” (Smith and Akagawa 2003 Convention in several capacities: as editor of the 2009:3). Hence, even establishing the agenda of the Glossary Intangible Cultural Heritage (Zanten 2002); meeting took almost a full day. governmental expert for the Netherlands at the three During discussions, it appeared that not all delegates “Intergovernmental meetings of experts on the prelimi- had looked at the Glossary that had been prepared for nary-draft convention for the safeguarding of intangible this meeting. Moreover, during the total of four weeks cultural heritage” in 2002–2003; ICTM representative of meetings, spread out between September 2002 and at sessions of the Intergovernmental Committee and June 2003, some member states sent different delegates, the General Assembly of the 2003 Convention between that is, delegates that had not attended the earlier meet-2006 and 2012 and the meeting of UNESCO NGOs ings. This also caused delay, because issues concerning (2009); member of the Consultative Body in 2011– the convention text were raised that had already been 2012;22 and advisor supplying technical assistance in solved in former sessions. One had to be patient in such preparing proposals for international assistance from meetings. This slow process also reflects UNESCO’s the Intangible Cultural Heritage Fund in 2014–2016. ideal that the states parties should reach agreement by In 2002, UNESCO started to organize the preparation consensus. of a convention concerning intangible cultural heritage. The above-mentioned Glossary (Zanten 2002) was not The first step was to make a glossary with key concepts included as an annex to the 2003 Convention. In the that would be used in the text of the convention, such beginning, this seemed to be acceptable, as the Glossary as definitions of “intangible cultural heritage,” “safe-was meant to be a work-in-progress, a “modest start” guarding,” “agency,” and “community.” On request of (Zanten 2004:41). However, over the years several Aikawa, an international meeting of eleven experts, con-scholars changed their mind. The definitions in the Glossary were not perfect, but they were good enough. These definitions could have been very useful in sub- 21 A short historical overview of the period 1946–2013, thus including the first ten years of the 2003 Convention, may also sequent discussions about the Convention. On 6–7 be found on https://ich.unesco.org/en/working-towards-a-con- December 2007, the UNESCO-ICH section organized vention-00004. In the 1980s, the section of UNESCO-Culture concerned with ICH was called the “non-physical 23 Oskár Elschek had been a member of the ICTM Executive heritage” section; the name changed to “ICH section” in Board from 1971 to 1987, and vice president from 1987 to 1992–1993. 1997. I was member of the EB in the period 1996–2005 and 22 From 2012, Naila Ceribašić became ICTM’s representative, 2009–2011, and vice president in 2005–2009 (see https:// including service in the Consultative Body. www.ictmusic.org/governance/history). 434 Wim van Zanten an “Expert meeting on ICH keywords” in Paris. This parties ratify conventions and not local communities. meeting was meant “to work out or update definitions What do communities expect of safeguarding, and do for about thirty concepts that are frequently used in the they benefit from the efforts to safeguard their cul-context of the safeguarding of the ICH.”24 This did not tural heritage by conventions, or are conventions only lead to a separate publication, but the “keywords” were enhancing national(ist) policies? Moreover, commu-used in all sorts of UNESCO documents, like the “ICH nities are seldom homogeneous and generally do not kit” explaining the Convention that was prepared by speak with one voice. So, who represents a community? UNESCO and distributed in 2009. (Zanten 2009:294–295; 2011:205) Is the expertise of NGOs used in a proper way? Ideally, local communi- ties and central governments would work together and The role of ICTM and other NGOs in the include the expertise of NGOs and other groups and Convention individuals. Does this happen sufficiently? In December 2007, one-and-a-half years after the I will raise a few issues that are relevant to the position 2003 Convention had become operational follow-of ICTM in relation to the Convention. An overview of ing its ratification by thirty states members in April the activities of the ICTM and individual members con-2006, I reported to the ICTM EB that I found the cerning the 2003 Convention may be found in ICTM’s Intergovernmental Committee rather critical of NGOs. Activity reports, related to its accreditation renewals in Overall the sessions were rather political and less fruit-2015 and 2019, on the UNESCO website.25 ful than they could have been (see figure 3). ICTM was The Convention requires that “communities, groups among the first fifty-one NGOs to become accredited and, in some cases, individuals” participate in the to the 2003 Convention in November 2010. In the process of defining and safeguarding their intan-beginning, the NGOs attending the Intergovernmental gible cultural heritage. Dance and music are only a Committee sessions and the General Assembly of the part of the domains covered by ICH.26 This means 2003 Convention—accredited or not—held infor-that the important role of NGOs, like the ICTM, mal meetings and discussed the NGO interventions in documenting music and dance in the context of at the session and other issues concerning the 2003 UNESCO activities has been changed and reduced by Convention. Around 2008, an unofficial NGO website the Convention. The more democratic, decentralized and facilities for a discussion group were opened with approach has also changed the role of central and local the technical help of Egil Bakka.27 This developed into governments. I argue that the central and local govern-the ICH NGO Forum, which from then on has been ments should pay much more attention to the meth- organizing meetings on the day before the official start ods and techniques used by anthropologists, music of the session of the Intergovernmental Committee. and dance experts, and other social scientists. NGOs Since 2012, the ICH NGO Forum has organized a the-and scholars could assist in these decision-making pro- matic symposium every year. They also have an official cesses by policy-oriented research. place on the ICH website of UNESCO.28 The Convention recognized oral traditions that were Between 2006 and 2012, the NGOs had very little defined in the Glossary (Zanten 2002:5) as “passing time for making comments at the Intergovernmental on by word of mouth and memorizing information Committee and General Assembly sessions. Typically, from the past.” Safeguarding is not aimed at products, one or two NGO representatives had 5–10 minutes but at processes of re-creating living culture (ICH). during a session that lasted five days. However, it Furthermore, the Convention was new in emphasizing must be said that many accredited NGOs only had the crucial role of the culture-bearing communities (and experience on a national level, in their own country, groups and individuals) for defining and safeguarding and not in discussing international cultural policies. their ICH. This emphasis on the active role of commu- In principle, it is a good idea to give all NGOs the nities in safeguarding is very interesting, because states opportunity to attend the Committee sessions, but in practice we may ask how efficient and useful that is, as compared to the NGOs’ tasks on the national level.29 24 See https://ich.unesco.org/en/events?meeting_id=00093. Moreover, my experiences confirm Anthony Seeger’s 25 See https://ich.unesco.org/en/accredited-ngos-00331?ac- remark about the meeting of UNESCO NGOs30 that credited_ngos_name=ICTM&accredited_ngos_country- Address=all&accredited_ngos_geo=all&accredited_ngos_ ga=all&accredited_ngos_domain=all&accredited_ngos_ 27 Member of the ICTM EB from 1999 to 2005. inscription=all&accredited_ngos_safe_meas=all&accredited_ 28 See https://ich.unesco.org/en/ngo-forums-00422. ngos_term=all&accredited_ngos_full_text=&pg=00331. 29 In my opinion, the role of most NGOs is more important on 26 See the variety of ICH elements on the well-documented the national, rather than on the international, level. UNESCO website (https://ich.unesco.org/en/home) under 30 That is, NGOs that have a consultative status (or associate “Lists.” status) with UNESCO. It should be noted that this group of ICTM, UNESCO, and Scholary Expertise 435 Figure 3. The Intergovernmental Committee session is about to be continued after lunch break. Abu Dhabi, 29 October 2009 (photo by Wim van Zanten). he attended in the 1990s: “it seemed that the NGOs We should be very grateful that the ICH Secretariat in health and education were larger and better rep-gradually developed professional standards for evaluat- resented than those in culture” (Seeger 2015:272). ing proposals for the Representative List of the 2003 Further, within the domain of culture, NGOs in the Convention. In principle, the Consultative Body con-field of tangible culture seemed to perform better than sisted of scholarly experts. Its reports, prepared by the those in the field of intangible culture. Paris ICH Secretariat, also raised the standard of the At the 2010 Committee’s session in Nairobi, the evaluations. See also the article by Rieks Smeets, chief UNESCO Secretariat raised the problem that the of the ICH-UNESCO section in Paris from 2003 to Subsidiary Body and the Secretariat could not cope 2008, in which he talks about the “third source of with the many nominations for the Representative List. guidance” supplied by the reports of the Committee For the 2010 round, the Subsidiary Body had selected and its Subsidiary and Consultative Bodies. If we 54 out of a total of 147 nominations and, therefore, want to understand the (fairly fast) developments in the backlog of nominations increased considerably.31 the 2003 Convention properly, these sources32 should Kristin Kuutma (Estonia, chair of the Subsidiary Body, be studied carefully next to the Convention text and 2008–2010) suggested that the Committee change the Operational Directives (Smeets 2012). However, the whole system of examining the nominations for unfavorauble recommendations by these evaluating the lists. She said that more expertise of NGOs and bodies, concerning the proposals for adding an element individual experts was needed. The chief of the ICH-to one of the lists, have quite often been overruled by UNESCO section in Paris, Cécile Duvelle, supported the Intergovernmental Committee. Hence, we may ask Kuutma’s proposal at the session. how serious the decision makers were with respect to the standards for evaluating the proposals and scholarly expertise. NGOs is different from the group of NGOs accredited to the 2003 Convention. 31 In August 2020, there still were 106 backlog files, submitted 32 To be found in the Aide-mémoires on https://ich.unesco.org/ by 24 countries: https://ich.unesco.org/en/backlog-files-00554. en/forms. 436 Wim van Zanten Integrating scholarly expertise into the Forum group met for the second and last time in Tokyo, practice of the Convention Japan, in January 2013.36 I contributed to this ICH-Researchers Forum (2012) During the 2000s, several expert meetings were organ- with an analysis of the 10-minute films of nineteen ICH ized by UNESCO on key issues of the 2003 Convention. elements that had been added to the Representative List To mention a few: gender and ICH (Dec 2003); the of the 2003 Convention in 2011. I advocated that the safeguarding of tangible and intangible cultural heritage task of filming should be given to people with knowl- (Oct 2004); inventorying ICH (Mar 2005); commu- edge of “anthropological filming” and the correspond- nity involvement (Mar 2006); and the role of NGOs ing methods and techniques, and that the video should (Apr 2010).33 However, two former chairs of the 2003 comply with the criteria set for such nominations in the Convention, Chérif Khaznadar and Toshiyuki Kono, Operational Directives (Zanten 2012:87–88). One rea-were of the opinion that the available expertise of indi- son for choosing this topic concerning the submitted viduals and NGOs was not appropriately used in the videos was that a recommendation of the “Expert meet-Convention.34 They tried to “integrate scholarly and ing on the UNESCO Collection of Traditional Music scientific activities into the practice of the Convention” of the World” in September 2003 (see above) was: by organizing the ICH-Researchers Forum that met for “Taking into account the visual components of tradi-the first time in Paris on 3 June 2012, one day before tional music in addition to sound, UNESCO should the fourth session of the General Assembly began. The seek to promote recordings in combination with film final report of this meeting was published in September and additional information on DVD or CD-ROM.”37 2012, with contributions from people closely involved Moreover, in the meeting of the Intergovernmental with the Convention (ICH-Researchers Forum 2012). Committee in Bali, November 2011, the Consultative In his foreword to the volume, Toshiyuki Kono reminded Body reported that submitted videos for items on the us that article 6, paragraph 7 of the 2003 Convention Urgent Safeguarding List should not be “aimed at pro-states that “States Members of the Committee shall moting tourism.” choose as their representatives persons who are quali- It should be added that as regards visibility of ICH, fied in the various fields of the intangible cultural her- UNESCO has on the whole done a remarkable job in itage.” According to Kono, this meant “not diplomats, making the documentation available on the Internet, but experts in various domains of the intangible cultural including these short films, pictures, and sound frag-heritage will be the key players in the practice of imple- ments. It is a great display of the richness of ICH and menting the Convention.” However, this was not what cultural diversity in the world, and a tribute to the dif-he saw happening in the different meetings and, for this ferent communities, groups, and individuals who are reason, he helped to organize the first meeting of the involved in safeguarding these elements. ICH-Researchers Forum (Kono 2012:7–8). There is no doubt that the 2003 Convention changed considerably after establishing the first Operational Operationalization and policy-oriented Directives in June 2007.35 Probably also because of the critical remarks of the UNESCO Secretariat, the chair research of the Subsidiary Body (Kuutma), and two former chairs During 2013–2016, I was involved in supplying tech- (Khaznadar and Kono), diplomats and politicians grad- nical assistance to governments regarding nomina- ually started to listen to NGOs and individuals who tions for the Urgent Safeguarding List and requests for had pleaded that participants should concentrate on International Assistance under one of the mechanisms safeguarding programmes and capacity building, and established for funding safeguarding projects in line with not on listing ICH elements on the Representative List the 2003 Convention. It was clear that several countries (or on the Urgent Safeguarding List, or the Register of met with great problems when asked to formulate how Good Safeguarding Practices). The ICH-Researchers a planned safeguarding proposal could be implemented in practice, that is, how to operationalize it from more abstract ideas about safeguarding to specific activities 33 See https://ich.unesco.org/en/events?categ=2005-2000&coun- try=&keyword=&field_office=&domain=&safe_meas=&text=. with a feasible timetable and a differentiated budget. 34 See Khaznadar’s speech at the opening of the UNESCO requires safeguarding projects to be trans- Intergovernmental Committee (4.COM) session in Abu Dhabi, 28 September – 2 October 2009, at https://ich.une- 36 This second meeting was organized by the International sco.org/en/4com; and Kono’s speech at the opening of the Research Centre for Intangible Cultural Heritage in the Asia-Intergovernmental Committee (5.COM) session in Nairobi, Pacific Region (IRCI) and called the “2013 IRCI meeting on 15–19 November 2010, at https://ich.unesco.org/en/5com. ICH: Evaluating the inscription criteria for the two lists of 35 For the different versions of the Operational Directives, see UNESCO’s Intangible Cultural Heritage Convention.” https://ich.unesco.org/en/directives. 37 See https://ich.unesco.org/en/events?meeting_id=00069. ICTM, UNESCO, and Scholary Expertise 437 parent and accountable. Unfortunately, the UNESCO UNESCO concerning the editorship of the CD series requirements were sometimes felt to be very compli-Collection of Traditional Music of the World, the eval- cated, and some people complained that formulating a uation of nominations under the Masterpieces pro-proposal was as difficult as writing an academic article. gramme, and aspects of the implementation of the 2003 Part of the problem is that governments do not always Convention. It is not clear how its scholarly expertise employ the right civil servants to be involved with ICH. will be used in the coming years. The 2003 Convention For ICH policies, legal experts and diplomats are less covers a wide range of domains: oral traditions and needed than properly trained anthropologists, ethno-expressions, including language as a vehicle of intangi- musicologists, and others familiar with the field of cul- ble cultural heritage;38 performing arts; social practices, ture and social sciences. Scholars should be encouraged rituals, and festive events; knowledge and practices to carry out policy-oriented research that is needed for concerning nature and the universe; traditional crafts-understanding the social processes, including policy for- manship. This wide scope asks for the involvement of mulation, decision making, implementation, and eval- a diverse range of NGOs. Therefore, the influence of uation with respect to ICH. This should be done in a ICTM, which is mainly involved in the domains of proper anthropological way, that is, taking into account the performing arts, rituals, and festive events, is sub-local concepts and ideologies. This means that they have stantially less than under the Masterpieces programme, to deal with the fact that communities may consider where it had a privileged position. themselves to be the centre of the world and/or claim We live in “times of trouble,” and we have to ask our-to possess “authentic,” “unique,” or “original” elements selves what we in ICTM can do “in pursuit of equality, of living culture. At the same time, on the international social participation, human rights, and sustainability in policy level of decision making (UNESCO), concepts the performing arts.”39 Moreover, we increasingly have of authenticity, uniqueness, and originality are not rele-to deal with what on the UNESCO website is formu- vant. What is relevant is what an element of living cul- lated as “new forms of intolerance, rejection of scien- ture means to a particular community (see also Zanten tific facts and threats to freedom of expression [that] 2013:139–140). challenge peace and human rights.”40 We will have This methodological approach would be similar to the to address questions similar to those asked by Alfred way in which social scientists study the belief in God Einstein and Sigmund Freud almost one century ago: and religious convictions. They study what religion “Why war?” However, our answers may be somewhat means to the people concerned, and how it is socially different. Since the 1930s, we know that music and constructed. For a sociological study of religion, a meta-dance do not only unite people, but that they may also physical question whether a holy book was truly written be used to divide them. Minority policies were not by God or a prophet is not relevant, whatever the reli-always tolerant, but were also based on revenge ( eine Art gious conviction of the researcher. Vergeltungspolitik) and the racist concepts of Mussolini, Hitler, and Franco (Elscheková and Elschek 1996:19). Alfred Gell considers different art forms—painting, sculpting, performing arts, literature, etc.—as compo- I advocate that ICTM and its individual members nents of a vast and often unrecognized technical system include more policy-oriented research in the field of that is essential for the reproduction of human societies. ICH. In their reports, they should also explain about He calls this system the “technology of enchantment.” the (anthropological) methods and techniques that This technology makes us see the world in an enchanted they used in their research. In a way, such policy-ori-form (Gell 1999:162–163). Gell’s ideas are very relevant ented research could be part of what Timothy Rice calls for safeguarding policies in ICH. We should not only “ethnomusicology in times of trouble: (1) music, war, look at the symbolic functions of art objects, because and conflict; (2) music, forced migration, and minority then we miss the point of the enchantment generated studies; (3) music, disease, and healing; (4) music in by technology. Safeguarding ICH should mainly be particular tragedies; (5) music, violence, and poverty; concerned with the process of transmitting technical (6) music, climate change, and the environment” (Rice knowledge about living culture and not with questions 2014:193). of “beauty,” “authenticity,” and other value judgments It seems to me that ICTM has the task to continue sup-by decision makers (Zanten 2011:218; 2013:139–140). porting peace by enhancing institutions like UNESCO. Talking to each other in long meetings in order to reach Conclusions 38 See, for instance, Smeets (2004) for the special position of lan- guage in the 2003 Convention. In the last thirty years or so, ICTM has played an 39 Statute 2b (“Mission”) of ICTM’s statues, as amended on 15 important role as an NGO in consultative relations to July 2017, http://www.ictmusic.org/statutes-ictm. 40 https://en.unesco.org/about-us/introducing-unesco. 438 Wim van Zanten consensus may be tedious, but it seems far better than Nas, Peter J. M. 2002. “Masterpieces of Oral and Intangible fighting wars with real weapons. Culture: Reflections on the UNESCO World Heritage List.” Current Anthropology 43: 139–148. Nettl, Bruno. 1988. “The IFMC/ICTM and the Development of Ethnomusicology in the United States.” YTM 20: 19–25. References cited Rice, Timothy. 2014. “Ethnomusicology in Times of Trouble.” YTM 46: 191–209. Aikawa, Noriko. 2004. “An Historical Overview of the Preparation Ringer, Alexander L. 1969. “Editor’s Introduction.” YIFMC 1: of the UNESCO International Convention for the 3–7. Safeguarding of the Intangible Cultural Heritage.” Museum Seeger, Anthony. 2015. “Understanding UNESCO: A Complex International 221–222: 137–149. Organization with Many Parts and Many Actors.” Journal of Albright, Madeleine. 2018. Facism: A Warning. With Bill Folklore Research 52: 269–280. Woodward. London: William Collins. Sibille, Christiane. 2016. “The Politics of Music in International Azevedo, Luis Heitor Corrêa de. 1949. “L’UNESCO et la musique Organizations in the First Half of the Twentieth Century.” populaire.” JIFMC 1: 19–21. New Global Studies 10: 253–281. Azoulay, Audrey. 2018a. “The European Year of Cultural Smeets, Rieks. 2004. “Language as a Vehicle of the Intangible Heritage—Where the Past Meets the Future: What Does It Cultural Heritage.” Museum International 221–222: 156–165. 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Antwerp, Oxford, Portland: Intersentia. Fléchet, Anaïs. 2013–2014. “Le Conseil international de la ———. 2010. “Unesco en intellectueel eigendomsrecht: cd musique et la politique musicale de l’Unesco (1945–1975).” series en audiovisueel materiaal van 2003 conventie.” In Relations internationales 156: 53–71. Documentatie van cultureel erfgoed in juridisch perspectief, Gell, Alfred. 1999. “The Technology of Enchantment and the edited by Lucky P. C. Belder, 97–110. Amsterdam: DeLex. Enchantment of Technology.” In The Art of Anthropology, by ———. 2011. “La cultura viva entre el amanecer y el crepúsculo: Alfred Gell, 159–186. Edited by Eric Hirsch. London: The Reflexiones acerca del tiempo, la tecnología y el resguardo de Athlone Press. la cultura viva.” In Compartir el patrimonio cultural inmaterial: Helden, Andries van. 2001. Een halve eeuw UNESCO: Idealisten Narrativas y representaciones, edited by Lourdes Arizpe, en ideologen, intellectuelen en boekhouders [Half a century 205–230. 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There is a strong consensus and appre- ciation, both for the professional environment and The membership of ICTM is geographically diverse, wider circle of opportunities for African participants. extending across Africa, Asia, Europe, Latin America, Current challenges and limitations include problems in North America, and Oceania. For this chapter, ten paying membership fees through the foreign-exchange members from each of these broad regions were invited system since normal credit-debit/visa transactions are to describe the impact of ICTM on their own profes-limited in many African contexts—this has been noted sional lives, their national framework, and international as a major drawback. Other areas highlighted include networks, and to make suggestions about what within the need to consider the younger generation—scholars the ICTM should be improved. and students—such as through forums and publishing Common themes emerge in the responses, such as the activities; and more support for African scholars, both value of ICTM on forming scholarly networks and financial and through greater representation. A lan-friendships, the value of the study groups, and the guage barrier (i.e., between Anglophone, Lusophone importance of being inclusive of people across all back-and Francophone areas) is noted, but the situation is grounds, including cultural and financial. The issue of much more complex than can be fully represented in English being the dominant language of ICTM and this forum. of research outputs was also a common concern in the majority of regions. Other responses reflect more the ADWOA ARHINE (GHANA) geographical and historical contexts of each region, I have been impacted by the growing scholarly publi-and include the importance of respecting and incorpo- cations in ICTM, especially those in the Yearbook for rating indigenous/First Nations voices in postcolonial Traditional Music, which I usually engage in teaching settings, gender representation (particularly in contexts and research on traditional music in Ghana. I have also where there are few female scholars), and administrative benefited greatly from established scholars who serve in challenges, such as financial transactions through the various capacities in ICTM. ICTM conferences have foreign-exchange system. allowed me to network with ethnomusicologists glob- We are very grateful to the individuals who responded ally and these connections enhance my research and to our invitation to share their thoughts on ICTM. pedagogical approaches. The ICTM world and regional Below is a summary of the responses of each region, conferences have broadened my awareness and knowl-arranged alphabetically. Within each region are mem- edge of foreign cultures. These conferences have also ber statements, arranged alphabetically according to the strengthened ties between Ghanaians and individuals name of the member. from other countries, fostered mutual understanding between nations, and advanced knowledge across com- munities. One of the most difficult aspects of becom- Africa ing an ICTM member is the registration process; we hope the administration will streamline this aspect of This section represents individual and collective voices becoming and sustaining membership, especially in the of the African membership that spans the diverse geo-Ghanaian and most African contexts. cultural and geopolitical regions of Côte d’Ivoire, Ghana, Mozambique, Nigeria, South Africa, Sudan, DANIEL AVORGBEDOR (GHANA) Uganda, and Zambia. It was challenging working with gender balance in mind, especially when women schol- I first participated in a 1983 ICTM World Conference ars in music constitute a significant minority in the in New York City (Columbia University) as a gradu-In Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, edited by Svanibor Pettan, Naila Ceribašić, and Don Niles, 441–452. Ljubljana: University of Ljubljana Press and International Council for Traditional Music, 2022. 442 Kirsty Gillespie et al. ate student, and since then ICTM has been among intellectual environment of ICTM has allowed me to the major sources of inspiration towards advancing my develop research projects on local musical expressions professional career. I am particularly encouraged to see with the support of a number of fellow teacher-research-how ICTM has consistently encouraged wider partici- ers. Internationally, ICTM promotes contacts with col- pation from scholars and practitioners of various geo- leagues from other parts of the world; this allows me to cultural regions. Essays from the Yearbook have always enrich my knowledge of other world musical traditions. been among my research and teaching resources, and The emphasis on the English language as the common the wide diversity of membership is another positive medium of communication poses challenges to those of factor that encourages my ongoing participation in us from the Francophone zone. ICTM. It is my hope that one day, everyone will be able to contribute and at the same time share in the vast and KAPAMBWE LUMBWE (ZAMBIA) growing resources of ICTM, irrespective of individual or regional limitations. Ever since I joined ICTM in 2011, I have been able to access scholarly publications and receive construc- NII MOSES DORTEY (GHANA) tive feedback at my conference presentations—these are indispensable in fostering my scholarly works and In my six years as an active member of ICTM, I have teaching career. Besides academic work, I have been participated in world and regional meetings, two of able to use the knowledge and ideas drawn from ICTM which made a great impact on my career as an African publications to inform my personal music practice as musicologist: the 2015 ICTM World Conference in a performer, and also towards advancing my role as Kazakhstan and the 2018 African symposium at the advisor to various groups in tertiary institutions, and University of Ghana, Legon. The opportunity to share primary and secondary schools. As a liaison officer, I my own research work and exchange ideas at seminars, have been able to organize exchange academic and tra-panel discussions, and performance sessions broadened ditional programmes with groups from different coun-my research options and theoretical perspectives; these tries. Membership in ICTM has allowed me to build experiences have impacted my professional career pos-an important network of scholars and resources, both itively. My greatest challenge—as is with most African locally and internationally. membership—has been how to renew my ICTM mem- bership, and this is because of the limited modes of pay- PATRICIA OPONDO (SOUTH AFRICA) ment available. I suggest transfers of membership dues should be made more flexible based on the options that ICTM is one of the two scholarly societies that I have are available in members’ countries. been active in for over a decade, and its world confer- ences are among those I would not like to miss. The AUSTIN EMIELU (NIGERIA) diversity and levels of scholarship and membership enrich my professional outlook and experiences, in gen- I joined ICTM in 2016 and was appointed liaison offi- eral. The leadership positions in the organization over cer for Nigeria effective January 2017, and have since the years have provided an important channel for growth gained the opportunity to present conference papers and and learning from colleagues in the executives, as well publish in ICTM’s Yearbook. Membership in ICTM has as offering strategic vision for Africa, taking into con-improved my scholarship and enabled me to connect sideration our unique challenges. Hosting both a world with the international network of scholars. The oppor-conference and study-group symposia has enabled me tunity to serve as liaison officer for my country has been to contribute towards the organization, and also bring very rewarding and interactions with the ICTM secre-important dialogue to both my institution and country. tariat and the general membership have been very cor- ICTM should increase African participation, including dial and democratic. This sense of inclusion has greatly representation and service on various committees. The improved my confidence as a scholar and strengthened Yearbook should be published more than once a year. my faith in ICTM as a body that stands to promote music and dance scholarship, and to empower disad- NICHOLAS SSEMPIJJA (UGANDA) vantaged and marginalized groups and peoples within academia globally. The professional network of ICTM membership has been very productive since the beginning of my pro- SIÉ HIEN (CÔTE D’IVOIRE) fessional career, including the period of my doctoral studies. Many of my earliest publications were partly At the professional level, ICTM allows me to enrich influenced by what I had learned from the ICTM con-and deepen my knowledge in music and related fields, ferences, particularly scholarly perspectives. ICTM thanks to the wealth of documentation and meeting membership has enabled me to network with ethno-opportunities it offers. The professional and general musicologists globally; it has also facilitated access to a ICTM and Its Members: Views from Around the World 443 wide range of teaching and research materials and ideas. advance open-mindedness in welcoming the diversities ICTM should strive to give more voice and space to in cultural, linguistic, and academic backgrounds, dif-African scholars and to encourage sustained and rigor- ferent worldviews, and cultural encounters to further ous study of music and dance traditions of Africa. enrich the corpus of knowledge in global research. MOHAMED ADAM SULAIMAN (SUDAN) AISHA BILKHAIR (ABU DHABI, UAE) I am proud to be an ICTM member and liaison officer My participation in the ICTM Study Group for Music for Sudan. ICTM gives me a good opportunity to act in the Arab World symposium in 2019 gave me the and serve in an official capacity to serve Sudan’s musi-opportunity to collaborate with esteemed scholars from cians’ unions and to advertise the opportunities and the Arab world. I got to know colleagues and schol-resources that come with membership in and affiliation ars in the ICTM who helped me enrich my knowl-with ICTM. I have been able to network and exchange edge and understanding of their work in the preser-research ideas within the international community vation of music and performances in their respective of scholars—thanks to ICTM. I hope to see more of regions and locales. I was appointed as a member of the Sudanese music cultures represented in research proj-National Music Preservation Committee by the Office ects and in future conferences and symposia. of the Prime Minister based on my networks with the ICTM. I strongly feel that the ICTM should encour- MARÍLIO WANE (MOZAMBIQUE) age researchers to engage in a cross-cultural study that would concern music festivals, universities (projects/ In my particular professional life, ICTM has had a consultations), and part of government future strategies major impact, especially in developing a network of to develop an effective presence in the global tourist and individuals and institutions at local and international researchers’ market. levels. At the national (local) level, my ICTM mem- bership and its privileges have allowed me to build HSIN-WEN HSU (TAIWAN) some critical mass around ethnomusicological stud- ies in Mozambique, even in other African countries. I The ICTM has had a great impact on my professional believe as my membership is consolidated over the next life. In addition, it shaped my understanding of the few years, the privileges and benefits of ICTM mem-national and international framework of music scholar- bership will become more apparent, and I look forward ship, which led me to meet many scholars whom I had to exploring them and building a deeper scholarly and known from course readings, and opened my eyes to general working relationship with both African and the diversity of world music cultures through cross-cul-international scholars. tural and cross-disciplinary conversations. From 2010 onward, I have presented my research at ICTM world conferences, study-group symposia, and online meet- Asia ings. The scholarly exchange taking place in these events has also prepared me to collaborate with other schol- Colleagues from West Asia, Central Asia, South Asia, ars in promoting organizational development when I Southeast Asia, and East Asia highlighted their profes-was elected as an executive committee member of the sional-national and international interests through their ICTM Study Group on Musics of East Asia (ICTM personal involvements and practices in the ICTM study MEA) and the ICTM Regional Committee of Taiwan groups and activities within their geographic regions, as (ICTM Taiwan) in 2018. well as in world conferences. Many of the long-stand- ing members attributed their extensive activities to their AKO MASHINO (JAPAN) national and regional networking as well as being men- tors themselves; the younger members credited their Since participating in an ICTM world conference for seniors who had mentored them to be actively involved the first time, in Hiroshima in 1999 as a doctoral can-in the national and regional activities. Some commented didate, ICTM has provided me access to a broad net-on the need to prioritize efforts from other language work of other colleagues around the world. Over two mediums by non-native English speakers to disseminate decades, I have taken part in many world conferences research outcomes; it is indeed timely that the ICTM and symposia of study groups, including Performing has embraced the performing arts, particularly music Arts in Southeast Asia, Music and Minorities, and and dance as inseparable entities in many of the ICTM Musical Instruments. I hope ICTM maintains and study groups. In a similar vein, they have suggested that advances its open-mindedness in welcoming people of the ICTM needs to actively increase its membership various cultural, linguistic, and academic backgrounds from the non-English speaking world, maintain and who have cultivated various methodologies, perspectives, and ideas reflecting their cultural and social dif- 444 Kirsty Gillespie et al. ferences. More intersections and additional bridges of important for them to be able to show ICTM as one of these different worldviews would further enrich our the most important conferences they attend, that spe-field of study, the same as encounters with cultural dif- cializes both in dance as well as music. ferences have always stimulated musicians’ creativity throughout the history of music. ARWIN Q. TAN (PHILIPPINES) CHINTHAKA PRAGEETH MEDDEGODA (SRI LANKA) Through the ICTM world conferences and the PASEA Study Group regional symposia of the ICTM that I have The ICTM has given me an opportunity to connect attended, I have been exposed to a tremendous number with academia in the short period of my research life of interesting studies on music. ICTM has become an since there are a number of study groups which orga-important agent to help us understand ourselves with nize symposia biennially, allowing me to participate in diverse cultures to respect each other and celebrate the ICTM events on a regular basis. It has been the best plurality of our traditions as a way to find meanings platform so far for budding scholars to embark upon and answers to our questions. I am impressed with the academia, regardless of gender, age, social, and politi-way ICTM is operating and is being administered. The cal orientation. Study groups should not be confined biennial world conferences, the study groups, and the to music research in a particular place or region but to publication of an annual Yearbook have played signifi-encourage studies beyond national or regional borders cant roles in propagating scholarship within regions and and anywhere in the world aiming at particular research specific fields of study. I cannot really think of a better ideas and methods. The ICTM should find solutions to way to improve what for me is already perfect. disseminate research outcomes from those who are not native English speakers, and to enable expert researchers PAPHUTSORN KOONG WONGRATANAPITAK (THAILAND) to use other language mediums. I joined the ICTM in 2004 as a graduate student at MOHD ANIS MD NOR (MALAYSIA) the School of Oriental and African Studies (SOAS), University of London, and soon after I began to present I was first introduced to the ICTM when I attended papers in many conferences. However, my interest in the the symposium of the ICTM Study Group on ICTM grew during the 45th ICTM World Conference Ethnochoreology in Třešt, Czech Republic, in 1996. in Bangkok, Thailand, when I was given the oppor-It was from then onwards that I was able to develop tunity to work with the local arrangement committee extensive networking within the ICTM study groups, and spent almost two years working to make the event which helped me steer the foundations for the ICTM successful. Being part of the organizing committee for Study Group on Performing Arts of Southeast Asia the 45th ICTM World Conference at Chulalongkorn (ICTM PASEA) with a group of colleagues in 2008, University in 2019 was an unforgettable memory. making music and dance as inseparable entities in Through this experience, I made many new friends ICTM PASEA. As a co-opted member of the ICTM through the ICTM and began to develop strong global Executive Board from 2013 to 2015, I had introduced connections from all continents to outsource Thai and the World Dance Alliance as a representative of ICTM Southeast Asian education, cultural and the performing sister societies at the 15th ICTM World Conference in arts activities. Kazakhstan. It is indeed timely that the ICTM should represent music and dance to remain relevant in the SAIDA ABDRAKHIMOVNA YELEMANOVA (KAZAKHSTAN) twenty-first century. I came to know of the activities of the International URMIMALA SARKAR MUNSI (INDIA) Music Council (IMC) in Moscow in 1971 and in Almaty in 1973. My first contact with the ICTM was The support that ICTM provides to inter-artistic through Razia Sultanova, who had invited me to the and multidisciplinary scholarship is exemplary. The School of Oriental and African Studies, London, in exchange and conversations of individual researchers 2006. I attended my first ICTM world conference in from different parts of the world get encouragement Vienna (2007) and joined in the ensuing conferences and support through the global meetings, as well as in Durban (South Africa), St. John’s (Canada), and the work of various study groups. I have come to see Shanghai (China). Through these experiences, I was study-group symposia every alternate year as my very entrusted to be one of the organizers of the 43rd ICTM own personal time to learn and listen and re-imagine World Conference in Astana, Kazakhstan, the first to be my relationship with my scholarship. One concern I held in the territory of the former Soviet Union. ICTM have had is that the name ICTM does not include the is great! ICTM members are like-minded, sharing com-word “dance”; this is of concern simply because many mon goals and work pathos to elevate traditional per-of the young ICTM scholars are dance specialists. It is forming arts, old and new. ICTM and Its Members: Views from Around the World 445 HUI YU (CHINA) and maintain its wealth with fresh minds. I believe that ICTM connects me to my colleagues and friends in the if the seniors of the ICTM can touch the young schol-academic fields of traditional music research worldwide, ars’ lives and careers more, the ICTM will gain more with whom I maintain consistent contact. It also keeps enthusiastic and qualified new members and so improve me updated on subjects and methodologies of research itself more! trends of traditional music on a global scale. ICTM EGIL BAKKA (NORWAY) activities help me develop a feeling of belonging to this society and to explore the musical heritage of my own The ICTM is my home in the international world of culture of the present and the past. However, the con-academia, allowing me to take my personal and local tribution of East Asian scholarship to the international experiences into a cosmopolitan forum that respects community has much more potential to grow if not them. The ICTM should remind us cosmopolitans that for language barriers and past colonial histories. ICTM most people in the world are not cosmopolitans, but needs to actively increase its membership participation, that their culture and lives deserve equal attention. It especially those in the non-English speaking world, and means that our field needs to promote research at home decrease the financial costs for its members, especially and educate insiders who can do it for the benefit of the those from the developing world. practitioners. Movement and sound are very different expressions that must be studied with different tools. They are drawn towards each other in search of perfect Europe harmony as dance and music, and stand out as an indi- visible unit in society. As objects of research and educa- The respondents from the huge and geopolitically tion, dance more than ever needs as much visibility that diverse area of Europe, including Russia and Turkey, the ICTM can offer. with highly heterogeneous music/dance research tra- ditions, strongly agree in the shared feeling that the CHARITON CHARITONIDIS (GREECE) ICTM is an irreplaceable global scholarly forum that enables vivid international networking in the fields Since 2016, when I first joined the ICTM, I have of academic cooperation, highly inclusive knowledge been an active member of the Study Group on exchange, re-consideration of both worldwide, and Ethnochoreology. Thus, my answers regarding the nationally and individually specific approaches to music impact of the ICTM are related to my involvement in and dance in a friendly atmosphere and with mutual this specific study group and its activities. Acting as a respect. All colleagues point to the importance of the flowing source of music/dance knowledge, the seniors work within study groups, which enables the focus of the study group have formed the fruitful context, on regional and/or thematic particularities of music/ while fostering new members to “ride the tide.” This is dance research. Their concerns, however, relate to the a constant call to build on accumulated knowledge. I need for developing strategies for even more openness think that the main impact of the ICTM internation-of the organization and possibilities for easier payment ally is the music/dance network, the bond among peo-of membership fees. No less critical reflections relate to ple, the corresponding cooperation, and the mutual aspects of entering the structure of the organization and respect. In that sense, I would propose a modification the need for greater balance in flattening its manage-of regulations and procedures that were established ment hierarchies. The voting procedures should also be many years ago, and perhaps, need an updating, in improved with the general prevailing view regarding the order to meet contemporary needs. inclusion of dance in the name of the organization. MARKO KÖLBL (AUSTRIA) ABDULAH AKAT (TURKEY) I vividly remember presenting a paper at an ethnomu- I attended my first ICTM event in 2012 in Berovo, sicological conference for the first time at the ICTM FYR Macedonia. Velika Stojkova Serafimovska hosted world conference in Newfoundland, Canada, in 2011. I us incredibly, and brought together all the smiling faces entered this new space with curiosity and openness, and and warm embraces of the Balkan people. At the end was immediately mesmerized by the variety of research, of the same year, I attended another ICTM meeting in the joy of musicking, singing, and dancing, and above Cambridge, UK. Thanks to Razia Sultanova, I could all the people I met. All of that made me truly under-find an opportunity to widen my relations among stand the global diversity of ethnomusicological epis-scholars who are interested in Turkic music cultures. For temologies, helping me to reconsider European and structuring a bright future, the ICTM should widen its national frameworks beyond an Anglophone and circle with young scholars, because it can only diversify Eurocentric notion of music and dance scholarship. I think that the ICTM still has some work to do in order 446 Kirsty Gillespie et al. to flatten the hierarchies within its organizational struc- (among other continents), allowing individual academ- ture. I am sometimes surprised how logics of seniority, ics to present their research to an international audience prestige, and bureaucracy seem to inform the Council’s on a world platform. institutional politics. OLGA PASHINA (RUSSIA) DILYANA KURDOVA (BULGARIA) Being an ICTM member is important for any ethnomu- My first encounter with the ICTM was in 2017 when sicologist, inasmuch as it helps to get a broad panorama I presented at the symposium of the Study Group on not only of the national types and forms of traditional Music and Dance in Southeastern Europe in Sinj, music and scholarly approaches to it, but also of var-Croatia. As a young researcher this was an opportu- ious practices for the preservation and popularization nity of a lifetime and a petrifying fear, since most of of music performance traditions in different countries. the names I had only come to know via their work, The ICTM could become a more open organization if were present there. The warm welcoming, the friendly the participation in its events was allowed not only to its feedback, and the hearty smiles showed me where my members, but also to a wider range of individuals. I also second family would be from now on. Considering have another suggestion: to define the notion of “tra-improvements, the inclusion of the word “dance” in the ditional music” in the regulations of the ICTM more name of the organization will be of immense impor-clearly, since, judging by my experience of taking part tance for consolidation of the different groups within in the ICTM conferences and symposia, this notion has the ICTM. An online catalogue of all members, their expanded to such an extent that its meaning has been institutions, areas of interest, and literary work will be virtually lost. of great help in various ways. SELENA RAKOČEVIĆ (SERBIA) ANA FLÁVIA MIGUEL (PORTUGAL) I encountered the ICTM in the late 1990s, at a time of I would say that 75% of my international activity is establishing a change from folkloristic ethnomusicol-connected with the ICTM “family.” Here I include ogy/ethnochoreology to a much more diverse approach sharing the teams of research projects, organizing inter-to music and dance research in Serbia. The ICTM national events, constructing institutional bridges, meetings were and still are key to widening research doing ERASMUS teaching mobility, reviewing/writing paradigms and establishing international relations articles, and sharing common seminars. When I am for all members. My impression is, however, that the searching for a colleague in a certain country, or when exchange of knowledge between the so-called main-my university asks me to establish international proto- stream of ethnomusicological and ethnochoreological cols, it is very common to start with the ICTM national schools of Anglophone orientation with the predom-committees or its members. Something that the ICTM inance of an anthropological understanding of music should improve is related to democracy, elections, and and dance, and local scholarly traditions from the other the transparency of this process. It may seem a detail, side, is still not equal, despite all the efforts of good but for me, it is important to know the exact numbers intentions and an atmosphere of equal cooperation of the outcomes when announcing the results of the between all involved. Since dance research is an inte-elections. For me, this is at the moment the priority for gral part of the ICTM, the word “dance” should be improvements to the ICTM. included in the name of the organization. JOHN MORGAN O’CONNELL (UK) BRITTA SWEERS (SWITZERLAND) For more than thirty years, the ICTM has played a sig- I organized a symposium of the Study Group on Music nificant part in my professional development. It pro- and Gender (now Music, Gender, and Sexuality) in vided me with a collegial environment for engaging 2013. It clearly had a major impact on the visibil-with an international cadre of scholars who had like- ity within and of my institution in Bern. The ICTM minded interests. I found the international scope of its Limerick colloquium, the Study Groups on Applied conference venues and study groups especially appeal-Ethnomusicology and on Gender were clearly import- ing. Importantly, I was an active member of the Study ant for my international networking. Yet they were Group on Music and Minorities, which had an import-also important in outlining new ideas and directions as ant remit and continues to have a substantial impact. became especially apparent with the 2017 “Welcome The ICTM has for a long time been distinct from other symposium” in Vienna. The question remains: How organizations in ethnomusicology. In contrast to SEM do we get young scholars into the ICTM? Entering the and/or BFE, it had from the outset a global remit. It structure is not always easy, neither on a local nor on an has actively embraced scholars from Africa and Asia international level. I wonder also about the Yearbook, ICTM and Its Members: Views from Around the World 447 which is highly diverse, hereby reflecting the ICTM. I inclusion of members from underrepresented groups, sometimes would like to see its stronger coherence in particularly in Latin America, the Caribbean, and other terms of content. regions of the “Global South.” ADRIANA VALERIA CERLETTI (ARGENTINA) Latin America My admission to the ICTM meant an opening at the Colleagues from Latin America point out that the international level, a beautiful challenge that I tackled ICTM has worked as a bridge to connect different through a collaborative work with Silvia Citro that is cultures, generations, and academic approaches. These sustained to this day. It also meant a rich exchange with connections have allowed scholars, including those colleagues and an opening to the culture of each of the early in their careers, to broaden their spectrum of countries or places where the biennial conference was knowledge of the fields related to music and dance stud-taking place. The impeccable organization is always ies. The key role of study groups as spaces to develop an extra enjoyment beyond the academic matter itself. new and more specific approaches was highlighted. Improvements are being developed by opening up to However, it also became clear that the ICTM has not other languages and by widening the possibilities for had an equal impact in all countries, especially due to membership and participation in accordance with the financial and language constraints. It seems necessary to economies of emerging countries, such as those that generate more strategies to overcome the exclusion due belong to Latin America. It is worth taking into account to financial and language constraints, and the inclusion that it represents a financial sacrifice for us to sustain of non-academic knowledge(s). Also, the structure of our membership due to the restrictions on our currency. the ICTM could be revised since its actual hierarchy BEATRIZ HERRERA CORADO (GUATEMALA) does not necessarily encourage a wide participation of members. Other suggestions include revising the print- The ICTM has allowed me to meet a wide network ing of the Yearbook due to environmental concerns, and of researchers that I would not have been able to confor the ICTM to have more presence on social media tact otherwise. Participating in the ICTM has been and undergraduate and graduate field-related courses in essential to learn about different research approaches. the region. In my national context, it has allowed me to contact practitioners who safeguard traditional techniques and SAMUEL ARAÚJO (BRAZIL) have a better understanding of intangible cultural her- My participation in the ICTM opened up broader itage. In the international context, I am part of several perspectives for me to seek to understand the issues research networks that help me to be updated and to that interest me, allowing me to identify similarities develop new topics. The ICTM should improve access and distinctions between ways of thinking and making for non-academic people with extensive knowledge of use of sound and movement in the most diverse socio-music and dance traditions, in different languages. It historical experiences. While much is already being could also more directly support early-career scholars done, some of the governance modes can be improved who need to add to their CV to solidify their academic in ways that encourage more engaged participation by careers. This support could materialize in direct collab-the membership. orations with ICTM projects. EDILBERTO JOSUÉ DE FONSECA (BRAZIL) NORA BAMMER (AUSTRIA/ECUADOR) AND JAVIER SILVESTRINI (PUERTO RICO) The ICTM maintains an important dialogue with the The ICTM has been coming home to a community of Brazilian ethnomusicological field, and it was at the scholars, thinkers, and practitioners who have allowed 2001 world conference in Rio de Janeiro that it was us to exchange and broaden the scope of transdisci-finally possible to articulate the creation of the Brazilian plinary ideas, methods, and theories regarding the Association of Ethnomusicology (ABET) that now world’s music and dance practices. This network has completes twenty years of existence. The ICTM should also brought unsurmountable support in the process work more on broadening the dissemination through of our PhD studies. We connected with fellows from social networks of the initiatives, debates, meetings and Latin America and the Caribbean and from other parts conferences promoted by the ICTM together with the of the world who did music and dance research in the academic programmes for undergraduate and graduate region. As a result, the Study Group on Music and courses in the field. Dance in Latin America and the Caribbean (LAT CAR) was established. Nevertheless, the ICTM still has much work to do, especially regarding the representation and 448 Kirsty Gillespie et al. MARÍA GABRIELA LÓPEZ YÁNEZ (ECUADOR) MIGUEL OLMOS AGUILERA (MEXICO) The ICTM has allowed me to be part of an interna- I have been in this organization for a very short time, tional supportive community of scholars on music and but I consider that in Mexico the impact of the Council dance studies. Through the ICTM, I have received valu-has not been relevant so far. I consider that it would able feedback and built strong professional relationships help to promote the ICTM more in each country, with colleagues with whom I have been able to develop including promoting free subscriptions, scholarships, new projects, write books, and specially, exchange inspi-and publications, among others. In particular, I think rational ideas that have encouraged me to keep devel- it would be essential to have economic considerations oping my research. As for my national framework, the for marginalized countries; and also include Spanish as impact of the ICTM has been minimal mainly due a lingua franca or classify linguistic regions, even if the to language constraints. Thus, the inclusion of official plenary sessions are in English. languages other than English should be immediate. I also think that, because of environmental reasons, the MARÍA PEREDO GUZMÁN (BOLIVIA) Yearbook should not be printed anymore. All ICTM activities should permanently offer the option to pres- Being part of the ICTM has enriched my professional ent online and with low/differentiated costs to include life, opening my eyes to realities and beautiful forms as many low-income scholars as possible. of intergenerational and intercultural organization. Internationally, through the ICTM, I have met col- PEDRO MACEDO MENDOZA (BRAZIL) leagues, teachers, and authors that otherwise I would never have met. Beyond the knowledge I could access, Since I am part of the ICTM, I have been able to share what I value the most is the communication on many internationally what I have been doing. I feel that levels: personal, interinstitutional, and international. it is also an opportunity for my work, and that of my However, entering in a moment when knowledge and research group, the Dona Ivone Lara Research Group in its production expands beyond classical institutions, I Ethnomusicology (GPEDIL), to be better known inter-think that the ICTM should work on being more open nationally, drawing the attention of colleagues from other to new voices, especially those non-academic. Especially parts of the world. Today I am organizing its next con-talking about dance and music, big treasures can be ference in my city, Rio de Janeiro, in September 2022, found among communities and stakeholders who pos-together with another group that I approached, LAT sess important knowledge: they should be valued, and CAR, which organized a symposium that I attended in have the same space of attention and visibility that some Uruguay in 2018. I think that the ICTM should cer-PhD professionals have. tainly work on becoming more democratic, less white, less elitist, less colonial, and more open to the participa- tion of people who are not inside academia. North America JUAN FELIPE MIRANDA MEDINA (PERU) North American respondents from Canada and the The friendly environment and the possibility of engag- United States indicate that ICTM is a tremendously ing in discussions and research projects in ICTM events important organization for them; some said that takis what motivated me to devote myself more to music ing part in its activities, such as the biennial confer-and music research. I do believe, however, that the pres- ences and study-group symposia, have been career ence of ICTM could be strengthened much more in changing. Some could not afford ICTM membership Peru, since I have never seen an ICTM LAT CAR event as young scholars, and most were not able to attend arranged here, and I do think there would be people the international meetings until their careers were interested in participating. I find it very valuable that fully launched. They enjoy the international engage-ICTM devoted 2021 to the topic of decolonization. ment with colleagues and the opportunities to have From the Latin American perspective, praxis is a cen-academic and social experiences in different locations tral concept in the scholar’s endeavour. Hence, it would around the world. They appreciate the more relaxed be great if we could blur the theoretical versus applied environment that is less academically stressful than distinction, and consider funding projects and scholars the US-centred Society for Ethnomusicology (SEM). that can have a strong social impact by engaging with North American members’ concerns relate to the traditional music and dance. organization’s governing structure and election pro- cesses that sometimes seem mysterious, and the often formal communication practices seem unnecessarily cumbersome. Also of concern are the privileging of English in scholarly exchanges and the imbalance in ICTM and Its Members: Views from Around the World 449 membership, especially the dearth of members repre- research and other scholarly activities. Additionally, we senting the global south. In this period of relatively have continued to develop frameworks for teaching and easy global communication, some also expressed that representing the musics of Africa both on the continent ICTM members would benefit from more collabora-and in its diaspora. Many of us find ICTM to be very tive opportunities with sister organizations. welcoming and eager to embrace and promote diverse as well as inclusive approaches to African music research BEVERLEY DIAMOND (CANADA) and scholarship. ICTM has been of enormous importance to me profes- JEAN NGOYA KIDULA (UNITED STATES) sionally. Many of us in Canada feel that the sister soci- ety—the Society for Ethnomusicology—is shaped by I joined ICTM after I graduated with my PhD because a certain confidence about the rightness of approaches that is when I could afford the membership fee. My and values in the United States, some of which we initial attraction was that ICTM conferences hosted actually don’t share in Canada. Obviously, I love SEM in different places offered me an opportunity to “taste” as well, since I agreed to be its president a few years the musics/arts/ambiances/foods and other material of ago. The openness to different perspectives worldwide these places. I was afforded a different experience than in ICTM, however, has been exceedingly important to what recordings, videos, pictures, or performances prof-me as a scholar and a citizen trying to understand and fered. The summer conferences offered a less frantic engage in an interconnected world. The style of confer-pace than when I prepared for a conference and travel ences where we encounter wonderful performance tra- during the school year. They also provided opportuni- ditions as well as local scholars has been both energizing ties to learn how scholars and practitioners from differ-and humbling. ent parts of the world operated. What I learned expo- nentially expanded my resources for teaching, research, GEORGE WORLASI KWASI DOR (UNITED STATES) and scholarship. I also met thinkers, leaders, scholars, researchers, performers, and producers who widened I was able to attend ICTM world conferences held at my gaze on and experience of the music and dance St. John’s (2011), Shanghai (2013), and Astana (2015). world. At ICTM conferences, I deliberately search out Having the opportunity to present papers at those new people, sit in presentations from parts of the world I meetings, I received a body of critical responses and know nothing about, and attend as many performances discussions that shaped those papers significantly, and as I can because these are some of the activities at the I benefited from performances that prioritized music gatherings that stir my imagination, refresh my body, cultures of the host cities, regions, and countries. Such and also settle my soul. culturally-situated performances provided me with a deeper pragmatic understanding of the musical tradi- MARCIA OSTASHEWSKI (CANADA) tions I teach in my classes. Nationally, I was the secre- tary of the executive committee and a member of the Although I was a few years into graduate studies before programme committee when the ICTM Study Group I could participate in ICTM meetings it has been the on African Musics held its second international sym-most significant international academic society in my posium at the University of Ghana, Legon, in 2018. career. My first connections with ICTM are through Internationally, I like the rotation of the world confer-the Canadian Society for Traditional Music—the sister ences on different continents of the world. Further, the organization in our region. I travelled to my first ICTM planned tours to historic and outstanding cultural sites world conference, in Rio de Janeiro, where I was wel-are phenomenally illuminating. comed into an enormous, exciting, diverse, and vibrant community of scholars! My first moments as a mem- DAMASCUS KAFUMBE (UNITED STATES) ber of ICTM include hearty welcomes at a grand social and musical gathering. Being so warmly welcomed by Following a productive discussion about the possibility ICTM members at study groups and world conferences of founding a subsection of the African Music Study opened the field to me and welcomed me to make con-Group of ICTM in the United States, in June 2014 tributions as well. Since that time, I have participated in Marie Agatha Ozah, Jean Kidula, and I co-organized the organization and hosting of world conferences and the inaugural symposium of the North American sub-study-group symposia. section of the ICTM Study Group on African Musics. Hosted by Marie Agatha and the Duquesne University JENNIFER C. POST (UNITED STATES) School of Music, the theme of the symposium—“Pedagogy and performance of African and African American ICTM and its Yearbook have always been important to music in higher education”—inspired and framed me, even when I couldn’t afford to keep up my member-diverse presentations. We have since collaborated on ship. I followed the activities of the organization begin- 450 Kirsty Gillespie et al. ning in the 1970s as a graduate student, but regretted own day-to-day practice of ethnomusicology) is rather that I could not find financial support to attend inter-small, however. national meetings until about ten years ago. I find it a wonderful opportunity to gather together with col- RIC TRIMILLOS (UNITED STATES) leagues from around the world in a less formal setting than at many other conferences. In fact, when I step My first encounter with the (then) International Folk away from my field site (Mongolia) in July to attend, I Music Council in 1975 in Regensburg was a per-enjoy the luxury of taking greater risks with my research sonal- and career-changing moment that has con-papers than I ever dared at SEM meetings. tinued to inform and enable both strands of my life. During my formative career years, the collegiality and MARGARET SARKISSIAN (UNITED STATES) respect from ICTM colleagues representing a diversity of approaches and very different positionalities was a ICTM has long been on my horizon. I regularly read welcome respite from the monolingual and monocul-the Yearbook in the library as a US-based student and tural ideological environments of US-based professional finally joined in 1998, a few years into my first pro-societies. These qualities have informed various career fessional job. Since then I have served as audio reviews and personal choices, which have been satisfying. My editor of the Yearbook and attended eight world confer-years on the Executive Board (1977–1993) and the ences. The ICTM community has become increasingly generous mentoring by senior colleagues including important to my professional life. I find the interna-Erich Stockmann, Anna Czekanowska, Kishibe Shigeo, tional membership and the variety of perspectives that Dieter Christensen, and Barbara Smith afforded me this brings intellectually engaging, and I find it reju-international opportunities (and adventures!) that were venating to be in a non-US-centred community. The both significant and memorable. longer conferences and summer schedule make for a more relaxed opportunity to get to know my colleagues and their research. I have found my professional “fam- Oceania ily” in the PASEA Study Group. Their week-long, sin- gle session format conferences create a close commu- For Oceania, members are keenly aware of their geo- nity that enables senior scholars to interact with and graphical distance from the historical centres of ethno-mentor junior colleagues and graduate students. This musicology, Europe and the United States, where a sig-is professionally satisfying and fulfilling at this stage of nificant portion of the membership is based. The Study my career. Group on Music and Dance of Oceania (SGMDO) looms large in the academic life of members from this ZOE SHERINIAN (UNITED STATES) part of the world. Being a member of the ICTM has Involvement with ICTM (in only the last five years) proved invaluable for scholars from this region in mak-has provided me with highly enriching opportunities to ing connections with other parts of the world, but the travel to places I have never been (China, Sri Lanka, distance has posed significant challenges in engaging Ireland, Portugal) and to engage with a much broader with ICTM events in person, leading to a broader con-community of scholars. Meeting SEM colleagues at cern about inclusivity. A separate but related issue is the ICTM has helped me understand the commitment that need for the inclusion of Indigenous and First Nations many of these have to a greater international framing of voices in ICTM activities at all levels, from research colour discipline. This has also allowed my work, especially laboration through to leadership opportunities within my films, much broader exposure. Further, I am certain the organization. This concern is shared widely across that my engagement with colleagues at ICTM in the the ICTM and reflects a rethinking of the discipline last five years also contributed to winning the ICTM more broadly. Best Film/Video award in 2021. BRIAN DIETTRICH (NEW ZEALAND) HENRY SPILLER (UNITED STATES) For those of us in Oceania, ICTM has offered global ICTM’s most significant impact for me has been the leadership, but also local advocacy and support as we opportunity to meet ethnomusicologists from around confront societal problems through our research. ICTM the world while attending the biennial international has long supported scholarship in Oceania, especially conferences. The PASEA symposia have been especially through the SGMDO, one of the oldest study groups important in making connections with scholars of and in the Council. I am encouraged by ICTM’s continu-from my own geographic area of specialization. ICTM’s ing advocacy for members through its World Network, influence in American ethnomusicology (and on my in greater language inclusion, in more opportunities for young scholars and students, and in strong advocacy for ICTM and Its Members: Views from Around the World 451 indigenous voices. Through my own participation in and allows members to actively engage in scholarly dis-ICTM, I am inspired by the work and commitment of cussion who cannot otherwise attend events in person. friends and colleagues in the Council to arts and culture This virtual engagement should be further developed internationally, as we work together toward our shared and encouraged. commitment to music and dance across the globe. CATHERINE GRANT (AUSTRALIA) KEOLA DONAGHY (HAWAI‘I, USA) Since being welcomed into ICTM as a student about In 2005, with an MA in Hawaiian Language and a decade ago, I have felt part of a rich scholarly com-Literature from University of Hawai‘i at Hilo, I pre- munity. For me, the study-group symposia and world sented at the 38th ICTM World Conference in conferences continue to be wonderful opportunities Sheffield. At the end of the panel, I was approached by to stimulate my thinking about current topics and to three gentlemen from the University of Otago in New develop research networks (and friendships). ICTM Zealand. It was suggested I pursue doctoral studies in involvement has also provided me opportunities to ethnomusicology at Otago, and in 2008 I found myself engage with national and international music policy in Dunedin studying for my PhD in music (awarded in and research frameworks. Of all the things I value about 2012). There has been much discussion recently about ICTM, its integrity and sincerity are foremost. Like international conferences, in particular the cost of travel many scholarly organizations, ICTM is (rightly) facing and the carbon footprint involved, but had I not made challenging but imperative questions about diversity, the trek from Hawai‘i to Sheffield, I may never have inclusion, access, equality, and environmental responsi-considered Otago for doctoral studies. For that reason, bility. The strong ethical compass of ICTM’s leadership I will always be grateful to ICTM for the incredible and members is a great asset as we seek to improve prac-opportunity that it facilitated. tices. In my view, this is the most pressing and import- ant task for ICTM today. NAOMI FAIK-SIMET (PAPUA NEW GUINEA) IRENE KARONGO HUNDLEBY (NEW ZEALAND/SOLOMON Since joining the ICTM in 2004 as Papua New ISLANDS) Guinea’s liaison officer, I have expanded my scholarly network. Being a member also helped me gain financial Since 2013, ICTM has supported me as an indige-support to host the 2014 National Dance Workshop nous researcher. Experienced academics within ICTM at the University of Goroka and to participate in the have encouraged me, offered practical opportunities SGMDO symposium held in Madang during the same and openly reinforced my viewpoints and those of my year. In 2021, I presented within the SGMDO’s online Malaitan/Solomon Islands communities. ICTM and symposium on the impact of COVID-19 on local music the SGMDO have gifted me opportunities to connect and dance cultures. As a result of that, I was invited with other researchers; these exchanges have helped me to undertake a survey on the impact of COVID-19 on expand my professional practice. Within New Zealand, Papua New Guinea’s intangible cultural heritage. In the these relationships have helped strengthen our national future there should be more collaborative research proj-framework. The appointment of liaison officers rec- ects between ethnomusicologists and dance ethnolo- ognizes minority indigenous voices and validates the gists. This will generate interest, recognition, participa- importance of diversity in music and dance studies. In tion, and support for scholarly research on indigenous the future, I would love to see ICTM further support cultures that include music and dance. diversity and actively continue the decolonization work that the ICTM Dialogues in 2021 bravely began. For KIRSTY GILLESPIE (AUSTRALIA) many indigenous peoples, music and dance are inter- twined; acknowledgement of dance in our body name I joined ICTM in 2003 and attended my first meet- would further support decolonization efforts. ing of the SGMDO in Palau in 2004, an invaluable experience for a then-graduate student. My first ICTM MARIA LANGTON (AUSTRALIA) world conference (Sheffield, 2005) coincided with the announcement of the ICTM Secretariat moving to ICTM provided the opportunity for me to join the Canberra; it was wonderful to sense a shift in focus inaugural symposium of the ICTM Study Group on of ICTM to this part of the world. Over the years, I Indigenous Music and Dance, held online in December have been able to serve the ICTM in a number of ways, 2020. This event led to the official formation of the study which has strengthened my international networks. group, of which I am the first elected chair. Support from Professional exchanges have become friendships that ICTM for our study group is crucial to our success. An I deeply value. While meeting in person has enriched explicit charter setting out ICTM’s commitment would my life and career, meeting virtually helps our planet greatly enhance our ability to secure funding for our 452 Kirsty Gillespie et al. activities; such a charter could be based on the ICTM against those who cannot travel long distances because “Statement on Indigenous Australian music and dance” of cost and/or lack of institutional support, or for per-of 2011. The ICTM’s formal consultative relations with sonal reasons. A solution would be to reduce the fre-UNESCO would secure international recognition of quency of world conferences; the longer time between global indigenous rights to preserve music and perfor-world conferences would provide the opportunity to mance traditions and establish principles in accordance organize regional conferences. with the United Nations Declaration on the Rights of Indigenous People. BARBARA SMITH (HAWAI‘I, USA) ICTM’s contribution to my career began in 1958 when I presented a paper in IFMC’s 11th confer- ence in Liège, Belgium. A week later, I visited Maud Karpeles in London; eventually I was co-opted to the Executive Board in 1966. The Council’s 24th con- ference in Honolulu in 1977, for which I chaired local arrangements committee, greatly expanded my friendships, and was the birthplace of the SGMDO. Chairing that study group from 1983 to 2001 led to my desire to give back to the Council in the form of travel awards. In 2013 I was voted an ICTM honor- ary member. ICTM now reflects a more global vision than that of IFMC’s founders. The Council should continue this by electing an outstanding indigenous scholar to its Executive Board. KUKI TUIASOSOPO (AMERICAN SAMOA) Being an ICTM liaison officer for American Samoa has allowed me to develop my professional skills and my involvement in community service. I have often been sought after by organizations to give virtual talks or be interviewed on specific topics. As an ICTM liaison officer my profession and name have been circulated amongst networks, connecting me to university stu- dents in other countries who are researching Samoan music. Through this connection, I have been able to mentor and advise on numerous occasions. On an international level, the Pacific seems to be less repre- sented in the ICTM. I suggest that ICTM considers having a world conference hosted by a Pacific nation; this would allow scholars of music elsewhere to be exposed to Pacific music and dance in the Pacific. STEPHEN WILD (AUSTRALIA) Since the 1960s, I had been conscious of the need for stronger international ties for Australian ethnomusi- cology. After returning from studying in the USA, I argued for the Musicological Society of Australia (MSA) to become affiliated with ICTM which resulted in the MSA hosting the 1995 ICTM World Conference. In my professional life, the most important impact of the ICTM was the hosting of the secretariat at the Australian National University (2006–2011). Holding world con- ferences every two years has the effect of discriminating Contributors Ardian Ahmedaja is senior researcher at the Department of Folk Music Research and Ethnomusicology of the University of Music and Performing Arts Vienna, Austria. He is the ICTM liaison officer for Albania and chair of the ICTM Study Group on Multipart Music. Further research areas include local musical practices in southeastern Europe, maqām, religious and secular musical practice, music and minorities, transcription and analysis, and theory and paradigms in ethnomusicology. He has conducted fieldwork in several Balkan and Mediterranean countries, in the European Alpine region, in Belarus, Latvia, and in the USA. A recent publication is Jashar and Idajet Sejdiu: Our Songs Are Indulged (Vienna and Riga 2019, DVD with a 280-page booklet, within the series European Voices). Ingrid Åkesson is an ethnomusicologist whose main field is historical and contemporary aspects of traditional music, especially vocal traditions, connected to social and conceptual frames of reference, as well as to textual and musical expressions. Åkesson formerly worked at the Centre for Swedish Folk Music and Jazz Research, and temporarily at Umeå University. She was co-chair of the ICTM Study Group on Historical Sources, 2010–2018, and chair of the Swedish National Committee, 2014–2018. In addition, she has long been active within other Scandinavian and international associations and networks. Åkesson has published books and numerous articles, and is also co-editor of several anthologies and journal issues. In 2014–2019, she was general editor of Puls – Journal for Ethnomusicology and Ethnochoreology. Daniel Kodzo Avorgbedor (PhD, IU, 1986) is ICTM liaison officer for Ghana and vice chair of the Study Group on Sacred and Spiritual Sounds and Practices. Daniel is currently on a post-retirement teaching and research contract in the School of Performing Arts and in the Institute of African Studies, University of Ghana, Legon, and serves as LAC chair of the 47th ICTM World Conference to be held at the University of Ghana. Daniel was president of the MidWest Chapter of Society for Ethnomusicology, 2006–2007, and held a joint appointment in the School of Music and in the Department of African American and African Studies at Ohio State University, Columbus, where he also served as coordinator of the ethnomusicology programme, 2004–2008. For details, visit http://beaconpros.com. Zdravko Blažeković is director of the Research Center for Music Iconography at the Graduate Center of the City University of New York and executive editor of Répertoire International de Littérature Musicale. In 1998 he founded an annual journal for music iconography, Music in Art, and in 2016 a monograph series Music in Visual Cultures (Brepols), both of which he has been editing since. He is chair of the ICTM Study Group on Iconography of the Performing Arts. His research area concerns eighteenth- and nineteenth-century music of Southeast and Central Europe, music iconography, organology, historiography of music, reception of Greek and Roman organology in modern times, musical contacts between Europe and China before the early nineteenth century, and music symbolism in medieval and renaissance astrology. Arnd Adje Both completed his studies of archaeology and anthropology of the Americas at the Free University of Berlin with a dissertation on the musical instruments excavated in the Aztec temple precinct of Tenochtitlan. He was a lecturer at the Institute for Latin American Studies, Free University Berlin, and the Institute for Musicology, Berlin University of the Arts, a Marie Curie fellow at the University of Huddersfield, UK, and curator of “ARCHAEOMUSICA – Exploring the Sounds and Music of Ancient Europe,” a travelling exhibition created by the European Music Archaeology Project (EMAP). He is general editor of Flower World: Music Archaeology of the Americas and the Publications of the ICTM Study Group on Music Archaeology, which he chairs. Theresa Buckland is emeritus professor of dance history and ethnography at the University of Roehampton, London. Her research interests include social and danced relations across stage and street, particularly in the long 19th century; dance history and historiography; and theory of dance anthropology, ethnochoreology, and ethnography. She has written numerous articles on English folk dance and is the author of Society Dancing: Fashionable Bodies in London 1870–1920 (2011). Edited books include Dance in the Field: Theory, Methods, and Issues in Dance 454 Contributors Ethnography (1999), Dancing from Past to Present: Nation, Culture, Identities (2006), and Folklore Revival Movements in Europe post 1950: Shifting Perspectives (with Daniela Stavělová, 2018). Enrique Cámara de Landa is professor of etnomusicology at the University of Valladolid (Spain). He studied in Argentina, Italy, and France. He earned his PhD at the University of Valladolid with a thesis on the music of bagualas (traditional songs of northwest Argentina). He has taught at universities in Argentina, Uruguay, Chile, Spain, Portugal, Austria, Italy, France, Taiwan, Morocco, and India. He has published on classical and traditional music of Argentina; African-derived musical traditions in Latin America, Spain, India (Hindustani and Carnatic styles), Bolivia, and Costa Rica; as well as, music analysis, Italian tango, music and migration, music and frontiers, multipart music, preservation of traditional music, folk music revival, musical nationalism, music and borders, musical analysis, and the history and theory of ethnomusicology. Rafael Caro Repetto is an ethnomusicologist specialized in the music of Chinese traditional theatre. In his work, he combines ethnographic and computational methods for music analysis. His other research interests include North Indian classical music and Andalusian music of the Moroccan tradition. He is currently a senior scientist at the Institute for Ethnomusicology of the Kunstuniversität Graz. Salwa El-Shawan Castelo-Branco earned her PhD in ethnomusicology at Columbia University and is former president of ICTM and professor emerita of ethnomusicology at the Universidade Nova de Lisboa in Portugal. She is founder and was director of the Institute for Ethnomusicology – Center for Studies in Music and Dance at the same university (1995–2020), and a visiting professor at universities in the USA and Canada. She is the recipient of the Swiss Musicological Society’s Glarean Award for music research (2013). Her publications include Music in Portugal and Spain: Experiencing Music, Expressing Culture, with Susana Moreno Fernández (2019), and Traditional Arts in Southern Arabia: Music and Society in Sohar, Sultanate of Oman, with Dieter Christensen (2009), as well as edited books Transforming Ethnomusicology, with Beverley Diamond (2 vols, 2021), and Enciclopédia da Música em Portugal no Século XX (4 vols., 2010) . Naila Ceribašić is a research advisor in the Institute of Ethnology and Folklore Research, and adjunct professor of ethnomusicology at the University of Zagreb. On the basis of ethnographic and archival research conducted mainly in Croatia, her publications address processes of festivalization and heritage production, music in the context of war and political changes, gender aspects of music-making, musical expressions of ethnic minorities, history of recording industry, and theories and methods in ethnomusicology. Some publications are available at https://ief. academia.edu/NailaCeribasic. In ICTM, she has been serving as a member of the Executive Board (2011–2023), and a representative of ICTM at UNESCO, especially in the Convention for the Safeguarding of the Intangible Cultural Heritage (2012–2021). Peter Cooke (1930–2020) taught music in a number of schools and colleges before moving to Uganda to research its traditional music and to train music teachers there. Returning to the UK, he became lecturer and researcher in Scottish musical traditions at Edinburgh University in 1969 until 1989, when early retirement allowed him more time to continue researching in both Uganda and Scotland. He played a major part in creating the UK National Committee of ICTM, becoming its first chair in 1973, and he was elected to the ICTM Executive Board in 1987. He has enjoyed a variety of music making from keyboard vamping for a country dance band in 1955 and for Shetland fiddlers in the 1980s, to consort playing on recorders and viols. Ewa Dahlig-Turek, PhD, is an ethnomusicologist, professor at the Institute of Art of the Polish Academy of Sciences, and since 2019 also the director of the Institute (in 2003–2019 deputy director). Her research includes studies on traditional music in Poland, with topics such as the history of bowed chordophones and fiddle playing in rural tradition, studies on rhythm morphology of Polish traditional dances, and folk music revival in Poland. She is also active in the area of music information retrieval, working, for instance, on computerized rhythm analysis, and leading a large project on electronic databases of Polish traditional music encoded in EsAC (Essener Assoziativ Code). She is the author or co-author of five books. Leonardo D’Amico is associate professor of ethnomusicology at Yunnan University, Kunming, China. His research fields are Afro-Colombian music, Sub-Saharan African music, music of ethnic minorities in China, and audiovisual ethnomusicology. He holds a PhD degree with honours in musicology (2012) from the University of Valladolid. He taught ethnomusicology at universities in Siena and Ferrara, and conservatories in Brescia and Mantua. He held the position of chair of the Italian National Committee of ICTM (2002–2012), and was co-founder of the ICTM Study Group on Audiovisual Ethnomusicology. He has published the books: Folk Music Atlas: Africa (1998), Cumbia: La musica afrocolombiana (2002), Filmare la musica (2012), Griot: Il maestro della parola (2014), and, in Contributors 455 co-authorship with Andrew L. Kaye, Musica dell’Africa nera (2004). His latest book is Audiovisual Ethnomusicology: Filming Musical Cultures (2020). Ruth F. Davis holds a PhD in music from Princeton University. She is a life fellow and formerly director of studies in music at Corpus Christi College, University of Cambridge, where she is emeritus professor in ethnomusicology. Her publications include over fifty peer-reviewed articles, book chapters, and book projects, including Ma’luf: Reflections on the Arab Andalusian Music of Tunisia (Scarecrow Press, 2004) and Robert Lachmann, The “Oriental Music” Broadcasts: A Musical Ethnography of Mandatory Palestine (A-R Editions, 2013). She has chaired the Study Group on Mediterranean Music Studies since 2014 and produced two edited volumes associated with its activities: Musical Exodus: Al-Andalus and its Jewish Diasporas (Rowman & Littlefield, 2015); and, co-edited with Brian Oberlander, Music and Encounter at the Mediterranean Crossroads: A Sea of Voices (Routledge, 2022). Beverley Diamond is a professor emeritus in ethnomusicology at Memorial University of Newfoundland in St. John’s, Canada, where she was the first Canada Research Chair in Ethnomusicology and founding director of the Research Centre for the Study of Music, Media, and Place (MMaP). Diamond is known for her research on gender issues, Canadian historiography, and Indigenous music cultures. Her research on Indigenous music has ranged from studies of traditional Inuit and First Nations song traditions and Saami joik, to Indigenous audio recording, traditional protocols for access and ownership, expressive culture in relation to the Truth and Reconciliation Commission on residential schools in Canada and decolonization issues. Her latest book is On Record: Audio Recording, Mediation and Citizenship in Newfoundland and Labrador (2021). Brian Diettrich earned his PhD at the University of Hawai‘i at Mānoa, and is senior lecturer in ethnomusicology at Victoria University of Wellington, New Zealand. His research has focussed on the music and dance in Oceania and especially in the Federated States of Micronesia. Among his publications is the book co-authored with Jane Freeman Moulin and Michael Webb, Music in Pacific Island Cultures: Experiencing Music, Expressing Culture (2011), and the volume co-edited with Kendra Stepputat, Perspectives in Motion: Engaging the Visual in Dance and Music (2021). Brian serves as a member of the Executive Board of ICTM (2019–2025), and was chair of the ICTM Study Group on Music and Dance of Oceania (2015–2021). Alexander Djumaev headed the Department of Music History of the Khamza Institute of Art Research in Tashkent until 1993. He is currently a freelance scholar, ICTM liaison officer for Uzbekistan, and chair of the Study Group on Maqām. His main research interests are music cultures of Central Asia, maqāmat, Islam and music, and medieval written sources on music. His recent publications include Musical Legacy of Uzbekistan in the Collections of the Russian Federation (Tashkent 2017), and a monograph on the life and creative work of Nadjm al-Din Kawkabi Bukhari, a fifteenth/sixteenth-century poet, musician, and scholar (in Russian, Tashkent 2016). Djumaev is also the author of video lectures on culture and music of Central Asia, available online as a part of the project “Ferhana. ru” in Moscow. Elsie Ivancich Dunin is professor emerita, University of California, Los Angeles (UCLA); external dance research associate, Institute of Ethnology and Folklore Research (IEF) in Zagreb, Croatia; and advisory member, Cross-Cultural Dance Resources (CCDR) Collections at Arizona State University. Previously she served as the chair for publications of the ICTM Study Group on Ethnochoreology, and organized, in collaboration with IEF, its two symposia on Korčula island in Croatia (2000, 2014). Dunin’s fifty years (1967–2017) documentation of Skopje’s Romani George’s Day / Erdelezi event was displayed in a touring multimedia museum exhibit with an award-winning documentary film. Her research continues to focus on dancing continuities and changes in relation to sociocultural transformations in Macedonia and Croatia, and comparatively with their diasporas in California, Chile, Peru, and Australia. Oskár Elschek, PhD, is a Slovak ethnomusicologist and systematic musicologist, known for his research on traditional music culture of Slovakia in its central and wider European contexts, traditional instruments and instrumental music, historical sources, and theory and methodology of ethnomusicology. He complemented his research position at the Institute of Musicology of the Slovak Academy of Sciences in Bratislava (1954–2005) with professorships at the Comenius University in Bratislava and Universität Wien. He authored or edited eighteen monographs, including Die Musikforschung der Gegenwart, ihre Systematik, Theorie und Entwicklung (1992), A History of Slovak Music (1996, 2003), and Béla Bartók’s manuscript collection of Slovak folk songs. He also founded the international journal Systematische Musikwissenschaft, which he edited from 1993 to 2003. Catherine E. Foley is emeritus senior lecturer in ethnochoreology at the University of Limerick, Ireland. She is founding director of the National Dance Archive of Ireland, founding chair of Dance Research Forum Ireland, an elected chair of the ICTM Study Group on Ethnochoreology, and an elected member of the ICTM Executive 456 Contributors Board. Catherine has published extensively, including two monographs, Irish Traditional Step Dancing in North Kerry (2012) and Step Dancing in Ireland: Culture and History (2013), also numerous articles in international journals such as Dance Research Journal, Yearbook for Traditional Music, Dance Research, and Research in Dance Education. She also published a commissioned choreography, The Sionna Set Dance (2007), and her solo DVD, Stór Damhsa: Irish Traditional Solo Set Dances and Step Dances (2015). Marita Fornaro Bordolli obtained a PhD in musicology from the University of Valladolid, Spain; she has a DEA in music (2000) and anthropology (1999) from the University of Salamanca, Spain, and a BA in musicology (1986), in anthropological sciences (1978), and in historical sciences (1978) from the University of the Republic of Uruguay. Her research covers music and popular culture, music iconography, musical criticism, and musical theater, and she has worked in Uruguay, Spain, Portugal, Brazil, Cuba, Marruecos. Currently she is coordinator of the Research Center on Musical and Scenic Arts, University of the Republic of Uruguay. She is a member of the Uruguayan System of Researchers, and the liaison officer for ICTM in Uruguay. She was president (2010–2012) of the Latin American Branch of the IASPM. Kirsty Gillespie received her PhD from the Australian National University in 2008 for research into the music of the Duna people of Hela Province, Papua New Guinea. She has conducted research into the performance traditions of Papua New Guinea since 2003; her latest book is Pil: Ancestral Stories of the Lihir Islands (Institute of Papua New Guinea Studies, 2018). Kirsty served as the chair of the ICTM Study Group on Music and Dance of Oceania (2013–2015) and as audio reviews editor for the Yearbook for Traditional Music (2015–2020). She is currently an honorary research fellow with the Queensland Museum Network, Australia. Barbara L. Hampton, PhD (professor of music, Hunter College and the Graduate Center; director, Graduate Program in Ethnomusicology, Hunter College, City University of New York). She founded the Mid-Atlantic Chapter of the Society for Ethnomusicology (SEM) and served SEM in various national capacities. Awards include Schuster Prize and Ford Foundation Post-Doctoral Fellowship. Among her publications are contributions to The Garland Encyclopedia of World Music Africa, vol. 1, and the JVC Smithsonian Folkways Anthology of Music and Dance of the Americas, and several articles and book chapters on music of the African diaspora, specifically Ga culture of Ghana and African American religious music. Media appearances include Great Performances, NPR Fresh Air, and Morning Edition. A recent book is Through African-centered Prisms. Scheherazade Hassan is an Iraqi ethnomusicologist specialized in the music of Iraq and the Arab Middle East. She founded the first Centre for Traditional Music based on extensive fieldwork done among the diverse populations in Iraq. She was an associate professor at the University of Baghdad, and taught ethnomusicology of the Arab World at the universities of Paris Nanterre and St. Denis. Currently, she is a research associate at the School of Oriental and African studies (SOAS), University of London, and is associated with the Centre de recherche en ethnomusicologie (CREM) at University of Paris X. She has published books, articles, and recordings in Arabic, English, and French. In ICTM, she was one of the founders and served as the chair of the Study Group on Music in the Arab World. Ursula Hemetek is director of the Department of Folk Music Research and Ethnomusicology and professor of ethnomusicology at the University for Music and Performing Arts Vienna. In 1987 she earned her PhD, followed by her habilitation in 2001, both at the University of Vienna. Her main focus of research is music and minorities in Austria, especially Roma, Burgenland Croats, recent immigrant groups and refugees. She has been the chair of the ICTM Study Group on Music and Minorities from its establishment until 2017, and secretary general of ICTM from 2017 to 2021. After winning the Wittgenstein Award for her research in 2018, in the following year she established and became director of the Music and Minorities Research Center. Gisa Jähnichen is currently a professor at the Shanghai Conservatory of Music. She completed her BA and MA degrees in musicology and regional studies on South East Asia at Charles University in Prague (Czech Republic), PhD in musicology/ethnomusicology from Humboldt University in Berlin (Germany), and professorial thesis (Habilitation) in comparative musicology from the University of Vienna (Austria). She is the chair of ICTM Study Group on Musical Instruments, and is editor of the book series Studia Instrumentorum Musicae Popularis (New Series) and co-editor of the Asian-European Music Research Journal. She is also the secretary of the Training and Education Committee in the International Association for Sound and Audiovisual Archives (IASA). Adrienne L. Kaeppler (1935–2022) was curator of Oceanic ethnology at the National Museum of Natural History, Smithsonian Institution, Washington, DC. Her BA, MA, and PhD are from the University of Hawai‘i Anthropology Department. She was an anthropologist at the Bishop Museum, Honolulu, in the 1970s, and moved to the Smithsonian in 1980. She has carried out extensive fieldwork in Tonga, Hawai‘i, and elsewhere in Polynesia, as well as in museums and archives in many parts of the world. Her research focuses on the relationships between Contributors 457 social structure and the arts, including music, dance, poetry, and the visual arts. She has published widely on these subjects including several books and many articles and chapters. She co-edited the Australia and Pacific Islands volume of The Garland Encyclopedia of World Music (2017). María Gabriela López-Yánez is an Ecuadorian performing arts researcher and artist. She has led research and community-based artistic projects since 2007, and has extensively worked on the staging and academic research of Afro-Ecuadorian music and dances. Her research interests include dances from the global south and practice-based decolonial research. María Gabriela holds a PhD in theatre and performing arts from Goldsmiths, University of London (UK), and an MA in performing arts from the University of Malaya (Kuala Lumpur, Malaysia). She has presented her work in Malaysia, the UK, Turkey, Uruguay, China, France, Ireland, Austria, Ecuador, Kazakhstan, and Portugal. Currently she is a full-time associate lecturer at Carrera de Danza, Facultad de Artes, Universidad Central del Ecuador (Quito, Ecuador). Krister Malm holds a PhD in (ethno)musicology and is assistant professor of (ethno)musicology at Gothenburg University. He is a member of the Royal Swedish Academy of Music, former president of ICTM, a founding member, and also until 2019, a member of the Executive Board of Freemuse—World Forum on Music and Censorship—a member of the jury for “Zornmärket“ (the Swedish Awards for Traditional Musicians), honorary member of ICTM, the European Seminar in Ethnomusicology, and MEDIACULT (the UNESCO-affiliated institute for media and culture in Vienna). He was the Society for Ethnomusicology’s Charles Seeger lecturer (1991) and recipient of the Japanese Koizumi Fumio Prize in Ethnomusicology (2007). More at http://www.kaiso.se/km/ index.html. Patricia Matusky (PhD, ethnomusicology, University of Michigan, USA) has taught many years at universities in Malaysia, Singapore, and the USA. Her publications on Malay folk and traditional classical music appear in international journals, dictionaries, and encyclopaedias, and in the books Malaysian Shadow Play and Music: Continuity of an Oral Tradition (Oxford Univeristy Press 1993, reprint Asian Centre Penang 1997) and, with co-author Tan Sooi Beng, The Music of Malaysia: The Classical, Folk and Syncretic Traditions with accompanying CDs (Routledge 2004, 2017; and Malay language versions 1997, 2012). Matusky is adjunct professor at the Graduate Studies Center, National Malaysian Academy of Arts, Culture and Heritage (ASWARA) in Kuala Lumpur, and is currently vice chair of the ICTM Study Group on Performing Arts of Southeast Asia. Liz Mellish undertook her PhD at University College London (UCL) (2014). She is secretary of the ICTM Study Group on Music and Dance in Southeastern Europe and a member of the ICTM Study Group on Ethnochoreology. Currently she is an independent researcher investigating social dance, cultural events, and choreographic practices in the Banat region of Romania, and dance connections between the Balkans and the UK. Recent publications include: Dance, Field Research and Intercultural Perspectives: The Easter Customs in the Village of Svinița (2016), co-edited with Selena Rakočević; The Cultural Development of Folk Dance Festivals and the Sustainability of Tradition, co-edited with Mehmet Öcal Özbilgin (2018); and “Competition and Community Participation in Romanian Dance Festivals” (2019) in The Oxford Handbook of Dance and Competition, edited by Sherril Dodds. Mohd Anis Md Nor is the managing director of Nusantara Performing Arts Research Centre in Kuala Lumpur, and is currently an adjunct professor at Sunway University in Subang Jaya, Malaysia. He was the professor of ethnochoreology and ethnomusicology at the Faculty of Creative Arts, University of Malaya in Kuala Lumpur, prior to his retirement in 2015. His foremost research area deals with Malay dance and music in Southeast Asia, interfacing of dance and music traditions among the Malayo-Polynesian societies in Southeast Asia, and Islamic performing arts in Southeast Asia. He has published more than 20 books, 93 chapters/articles, and 151 keynotes/conference papers on the performing arts of Malaysia and Southeast Asia focusing on music, dance, and theatre. Jeanette Mollenhauer is an independent dance historian and ethnographer whose research focuses on the Irish and Croatian communities and their traditional dance practices in Australia. Her research has been published in journals from disparate disciplines, including The Journal of Intercultural Studies, Dance Research Journal, and History Australia. Her first monograph, Dancing at the Southern Crossroads: A History of Irish Step Dance in Australia 1880– 1940 was published in 2020. Jeanette serves on the ICTM Executive Board Committee on the ICTM Archive, and has written two contributions for this anniversary publication. Jeanette is also a community dance teacher and the current vice president of Folk Dance Australia. Ulrich Morgenstern, born in Gießen, Germany, studied systematic musicology (MA 1993, PhD 2003, Habilitation 2011) and East Slavic studies at the University of Hamburg. Following visiting professorships in Frankfurt and Cologne, he became professor of history and theory of folk music at the University of Music and Performing Arts Vienna, and chair of the ICTM Study Group on Music and Dance of the Slavic World. Research: European 458 Contributors instrumental folk music, special focus on Russia; multipart instrumental music; European history of folk music research and music anthropology, special focus on performer-centred research; revival and post-revival in Russia, Germany, and Austria; folk music research, ethnomusicology, and political ideologies; ethnomusicology of violence. Fieldwork since 1989: Russia, Belarus, Hungary, Croatia, Austria, Romania, Turkey, Georgia. Bruno Nettl (1930–2020), author of The Study of Ethnomusicology and several other seminal books and more than a hundred articles, editor of Comparative Musicology and Anthropology of Music, a long-time professor at the University of Illinois in Urbana-Champaign, and guest lecturer at universities worldwide, significantly contributed to the affirmation of ethnomusicology as an academic field and counts among the most prominent figures in its history. Nettl’s publications on North American Indigenous, folk, and urban musics, Asian art musics in Iran and India, European traditional and art music, and ethnomusicology, often demonstrate his cross-disciplinary connections with musicology, anthropology, and music education. Within IFMC/ICTM, he was an active member, author of articles, plenary speaker, and editor of the Yearbook (1974–1976). Don Niles is the director and an ethnomusicologist at the Institute of Papua New Guinea Studies. He researches and publishes on many types of music and dance in Papua New Guinea, including traditional, popular, and Christian forms. The author/editor of numerous books, articles, and audiovisual publications on various aspects of music, dance, and archiving, Don also edits the Institute’s music monograph series and journal. He is currently a vice president of the International Council for Traditional Music and former editor of its journal, the Yearbook for Traditional Music. He is also honorary associate professor at the Australian National University. In 2016, he was honoured to be invested as an officer in Papua New Guinea’s Order of Logohu. Ivona Opetcheska-Tatarchevska is head of the Department for Intangible Cultural Heritage within the Macedonian Ministry of Culture. She earned her MA in ethnology and BA in ethnomusicology at the University “St. Cyril and Methody,” Skopje. Since 2015, she has been a PhD student in the Ethnology and Cultural Anthropology Department, University of Zagreb. Her main interests include cross-cultural music and dance studies in Southeastern Europe, and safeguarding of intangible cultural heritage. From 2010 to 2012, she was associate researcher at the Berlin Phonogram-Archiv on the digitization of Cuppers-Sonnenberg’s wax-cylinder collection (the project was awarded the Bruno Nettl Prize in 2013). From 2007 to 2010, she was lecturer at the Faculty of Music Art, Skopje, and from 1998 to 2004, assistant researcher at the Institute for Folklore “Marko Cepenkov,” Skopje. She frequently publishes in domestic and foreign scholarly journals. Patricia Opondo is an applied ethnomusicologist and senior lecturer in African music and dance at the University of KwaZulu-Natal, South Africa. She is also director of the African Music Project and curates the African Cultural Calabash festival. She has served on the ICTM Executive Board and as chair of ICTM Study Group on African Musics. She was instrumental in the University of KwaZulu-Natal hosting the 40th ICTM World Conference and the ICTM SGAM symposium. She was appointed to the South African Ministerial Committee for the National Indigenous Music Project to formulate a national strategy and plan for the collection, preservation, and promotion of indigenous music of South Africa, with the ultimate objective to re-engineer the National Sound Film and Video Archives. Lara Pearson is a musicologist at the Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany. Her work explores bodily and movement dimensions of music experience and meaning, often combining sonic and kinetic analyses. Her stylistic focus lies in South Indian music practices, in particular Karnatak music. She has also published on cross-cultural aesthetics, cultural heritage, music notation, and the concept of improvisation. Svanibor Pettan is professor and chair in ethnomusicology at the University of Ljubljana, Slovenia. His academic degrees are from the Universities of Zagreb (BA), Ljubljana (MA), and Maryland (PhD), while his fieldwork sites include former Yugoslav lands, Australia, Egypt, Norway, Sri Lanka, Tanzania, and USA. His principal research topics are music, politics and war, minorities, gender, and applied ethnomusicology. He was a visiting professor at ten universities and has given over a hundred lectures worldwide. His monographs and edited volumes, articles, CDs, and a film were published in various countries and in different languages. Within the ICTM, he served in many capacities and is a former secretary general, and currently ICTM president and chair of the Study Group on Music and Minorities. Jennifer C. Post specializes in research on Central and Inner Asian music and sound, and musical instruments and their production. Her recent studies in Mongolia with Kazakh pastoralists living in the Altai Mountain region address these topics in relation to environmental change, new mobilities, and well-being. In collaboration with ecolo-gists, she is currently exploring sound in social-cultural-ecological systems in Mongolia. Publications on these topics have appeared in book collections and journals including Ethnomusicology, Ethnomusicology Forum, Journal Contributors 459 of Ethnobiology, MUSICultures, and Yearbook for Traditional Music. Her co-edited volume, Mongolian Sound Worlds, was published in 2022, and she is also completing a book on environmental change and musical instrument production (both University of Illinois Press). She currently teaches ethnomusicology at the University of Arizona. Lee Anne Proberts graduated with a BA with honours (photomedia) in 2001 from the Australian National University. After working at the ANU National Graduate School of Management, she became executive assistant of ICTM in 2006 until 2011, during the ICTM secretariat’s period in Australia. Working with Stephen Wild, then ICTM secretary general, Lee Anne assisted in liaising with the Australian National Library, depositing and preparing the ICTM records for cataloguing and archiving. After the ICTM secretariat transferred to Slovenia in 2011, she worked on an Australian Research Council Discovery Indigenous Project (2012–2015) and continues her association with the Warlpiri people in the Central Western Desert region of Australia’s Northern Territory. Wayland Quintero, PhD, is a lecturer in the University of Hawai‘i system. His research and writing foci encompass contemporary performances, performative practices of indigenous groups in the Philippines, and the ways by which native practices are appropriated by Filipinos in the United States. He is co-chair of the Publications Committee for the ICTM Study Group on the Performing Arts of Southeast Asia, and also a member of the ICTM Study Group on Ethnochoreology. He brings many years of experience into his research, writing, and teaching through long-time residency and practice in New York City, San Francisco, and Honolulu as a performer, director, choreographer, and former resident artist at La Mama Theatre with his three-person ensemble, the Slant Performance Group. Selena Rakočević (1971–2022) was an ethnochoreologist and ethnomusicologist with research focus on multicultural and multi-ethnic traditions of the Banat region in Vojvodina, Serbia. She authored four books about music and dance in Banat. Her other professional interests included ethnochoreology, music/dance relations, and contemporary music and dance. She was an associate professor in ethnochoreology at the Department for Ethnomusicology, Faculty of Music of the University of Belgrade, and at the Music Department, Academy of Arts of the University of Novi Sad. She was particularly active in the ICTM Study Groups on Ethnochoreology from 2002, and on Music and Dance in Southeastern Europe since its founding in 2008. Helen Rees is a professor of ethnomusicology and director of the World Music Center at the University of California, Los Angeles (UCLA). After studying Chinese music at the Shanghai Conservatory of Music for two years, she received a PhD in music/ethnomusicology from the University of Pittsburgh in 1994. Her research has focussed on traditional musics of southwest China, Shanghai, and the Chinese diaspora, leading to many textual and audiovisual publications, including the award-winning film Playing the Flute in Shanghai (2019). She has presented and interpreted for Chinese musicians at venues including the Smithsonian Folklife Festival and the Amsterdam China Festival. Over 2016–2018, she was chair of the executive committee of the ICTM Study Group on Musics of East Asia. Pál Richter graduated as a musicologist, obtaining his PhD degree in 2004. His fields of research are seventeenth-century music of Hungary, Hungarian folk music, classical and nineteenth-century music theory, and multimedia in music education. Since 1994, he has been a research fellow of the Institute for Musicology of the Hungarian Academy of Sciences, and later was the head of the Folk Music Archives of the Institute. Since 2012 he has been the director of the Institute for Musicology, Research Centre for the Humanities. He presents papers at conferences, publishes articles, and studies and teaches at the Liszt Ferenc University of Music in Budapest. Since 2007 he has led the new folk-music training, and is the head of Folk Music Department. Huib Schippers has three decades in leadership positions heading cultural institutions (including the Amsterdam World Music School and the Rotterdam World Music & Dance Centre), academic departments (including Queensland Conservatorium and its Research Centre in Brisbane, Australia), festivals and events (including four editions of Encounters: Meetings in Music), and record businesses (including a record store in Amsterdam and a record label in Washington DC). His career is an example of lived applied ethnomusicology. In terms of research, his focus has primarily been on cultural diversity in music education (e.g., Facing the Music, Oxford University Press, 2010) and on ecological approaches to music sustainability (e.g., Sustainable Futures for Music Cultures, Oxford University Press, 2016). Derek Schofield is currently researching aspects of the history of the folk-dance revival in England. He is the former editor of English Dance and Song magazine and is now the reviews editor of the Folk Music Journal, both published by the English Folk Dance and Song Society; he has contributed to both periodicals. He has written two books about folk music and dance festivals in England, as well as a biographical study of William Kimber, 460 Contributors Cecil Sharp’s first morris dance informant, which accompanied a CD of recordings. He is a retired college lecturer and manager. Anthony Seeger is an anthropologist, ethnomusicologist, audiovisual archivist, record producer, and musician. He has taught at the National Museum in Rio de Janeiro (1975–1982), Indiana University (1982–1988), and UCLA (2000–2013). He was director of the Indiana University Archives of Traditional Music (1982–1988), founding curator and director of Smithsonian Folkways Recordings (1988–2000), and Distinguished Professor of Ethnomusicology at UCLA. His three books, three edited volumes, and over 120 articles focus on the music of Indigenous peoples of Lowland South America, audiovisual archiving, music ownership, applied ethnomusicology, and other topics. He is a past president (1997–1999) and secretary general (2001–2005) of the ICTM, a past president of the Society for Ethnomusicology, and Fellow of the American Academy of Arts and Sciences. Sara Selleri has more than fifteen years of professional experience specializing in gender equality and social inclusion in international development organizations, the private sector, refugee and humanitarian environments, and NGOs counteracting gender-based violence and human trafficking. She is currently working on her PhD thesis in ethnomusicology at the School of Oriental and African Studies (SOAS) in London. Her doctoral fieldwork, conducted in Puerto Rico, explores interacting dynamics of inclusion, representation, and discrimination in society, in autochthonous music practices, and within higher education music institutions and curricula. In her master’s thesis, she focussed on gender discrimination in Italian society and academia. She is the founding chair of the Study Group on Music, Education and Social Inclusion. Barbara B. Smith (1920–2021) was professor emerita at the University of Hawai‘i at Mānoa, where she founded its ethnomusicology programme based upon the musical heritages present in the multicultural population of Hawai‘i. Her extensive documentation of the music and dance of Micronesia (1963) was undertaken at the request of Trust Territory students at the University of Hawai‘i who were concerned with cultural loss. With interest in applied ethnomusicology, she was active in local, national, and international societies for music education. Her honours include those from the Hawaiian Music Hall of Fame, State of Hawai‘i, Society for Ethnomusicology, and the Koizumi Foundation of Japan. She served as chair of the ICTM Study Group on Music and Dance of Oceania from 1983 to 2001. Stephanie Smith has been an active member of the ICTM Study Group on Ethnochoreology since 2002 and co-manages the study group’s listserv ETNOKOR with the study-group secretary. At the close of 2018, Stephanie retired as the Archives Director from the Smithsonian Center for Folklife and Cultural Heritage Center’s Ralph Rinzler Folklife Archives and Collections, after serving twenty-three years. During this time, she managed multiple major archival processing and digitization projects and advised her colleagues on dance-related projects. She is currently a research associate at the Center and continues her research on English country and American contra dance in the United States. Stephanie is the co-producer of a documentary film about English country dance awaiting release. Daniela Stavělová is director of research in ethnomusicology and ethnochoreology at the Institute of Ethnology of the Czech Academy of Sciences, and associate professor in dance studies of the Academy of Performing Arts in Prague, Czech Republic. She has published on the process of the nationalization of dances in Traditiones (2016), rethinking carnivals and folklore revival movement in Český lid (2016 and 2017, respectively), and is co-editor of the edited volume Folklore Revival Movements in Europe Post-1950 (2018). As a member of the ICTM Study Group on Ethnochoreology, she organized symposia and sub-study group meetings. For several years, she was involved in the Erasmus Intensive Programme for New Ethnochoreologists, organized by dance studies, Department of Music NTNU in Trondheim, Norway. Kendra Stepputat is assistant professor in ethnomusicology at the Institute of Ethnomusicology, University of Music and Performing Arts Graz, Austria, where she finished her PhD in 2011. She studied comparative musicology, Southeast Asian studies, and communication studies at Freie Universität and Humboldt Universität Berlin. Currently she is chair of the ICTM Study Group on Sound, Movement, and the Sciences. Her research topics include Balinese performing arts—in particular kecak—and tango argentino in European perspective. Her research focus is on choreomusical aspects of performing arts. She has published articles in the Yearbook for Traditional Music, Asian Music, and is editor of Performing Arts in Postmodern Bali (2013) and co-editor of Sounding the Dance, Moving the Music (2016). Velika Stojkova Serafimovska is a research associate professor at the Institute for Folklore “Marko Cepenkov” where she received her PhD, and at the Faculty of Music at Sts. Cyril and Methodius University in Skopje, Republic of North Macedonia. Her research and publications are focussed on transitional processes of Macedonian tradi- Contributors 461 tional music in sociological and anthropological contexts. As a UNESCO ICH expert and trained ICH facilitator, her work is also connected with safeguarding processes and researching music and dance expressions as intangible cultural heritage in their wider context. Her papers are published in relevant national and international journals and publications. She is chair of the ICTM Study Group on Music and Dance in Southeastern Europe, and chair of the ICTM National Committee of Macedonia. Razia Sultanova is a musicologist and a cultural anthropologist. Growing up in Uzbekistan, she studied at both the Tashkent and Moscow State Conservatories for her PhD degree. She worked at the Union of the Soviet Composers and the Russian Institute of Art Studies in Moscow, and after moving in 1994 to the UK, at the University of London and since 2008 at the University of Cambridge. Former ICTM vice president (2015–2019) and chair of the ICTM Study Group on Music of the Turkic-speaking World (2006–2019), she is currently chairing the ICTM Study Group on Global History of Music. Razia is the author of four books and five edited volumes (in Russian, French, and English). Her monograph Popular Culture in Afghanistan: Performance, Islam, and Gender in Central Asia appeared in 2020. Terauchi Naoko is an ethnomusicologist whose research interests focus on Japanese traditional performing arts, especially on gagaku imperial court music. She received her MA from Tokyo National University of the Arts (1987), DL from Osaka University (1999), and has been teaching at the Graduate School of Intercultural Studies Kobe University since 1999. Recent publications include Japanese Traditional Music: Kokusai Bunka Shinkokai 1941 (CD annotation) (World Arbiter, 2008–2016), Analytical and Cross-Cultural Studies in World Music (chapter contribution, Oxford University Press, 2011), A History of Japanese Theatre (chapter contribution, Cambridge University Press, 2016), and What the Doctor Overheard: Dr. Leopold Mueller’s Account of Music in Early Meiji Japan (co-authored, Cornell East Asia, awarded Bruno Nettl Prize of SEM in 2018). Ricardo D. Trimillos is professor emeritus in ethnomusicology and Asian studies at the University of Hawai‘i at Mānoa. He studied at the University of Hawai‘i (MA), the Ateneo de Manila, the University of Cologne, and UCLA (PhD). His publications include the musics of the Philippines and Hawai‘i and the issues of identity, gender, and education. He has been consultant for the governments of Hong Kong, Malaysia, the Philippines, Poland, and the United States. He has served ICTM as Executive Board member (1977–1993), local arrangements chair for the 24th IFMC conference (Honolulu 1977), founding chair of the Study Group on Music and Dance of Oceania (1983), and guest editor for Yearbook for Traditional Music 19 (1987). Ying-fen Wang (PhD, University of Pittsburgh, 1992) was the founding director of the Graduate Institute of Musicology at National Taiwan University, where she is distinguished professor. She was awarded an Outstanding Research Award from the Ministry of Science and Technology in 2015, the first musicologist to receive this prestigious award. Her main research interests have been nanguan music and the history of music in Taiwan during the Japanese colonial period, including Japanese musicologists’ research of Taiwanese music before 1945, recording industry, radio programmes, and the continuity and change of aboriginal musical life. Besides her numerous articles and book chapters, she authored Listening to the Colony: Kurosawa Takatomo and the Wartime Survey of Taiwanese Music (1943) (in Chinese, 2008). Stephen Wild is an ethnomusicologist living in Sydney, Australia. He was president of the Musicological Society of Australia (1985–1987, 1995–1997), vice president of ICTM (2001–2005, 2011–2015), secretary general of ICTM (2006–2011), and editor of the Yearbook for Traditional Music (2001–2005). From 2001 to 2005, he was chair of the Study Group on the Music and Dance of Oceania. In 1995, he was chair of the local arrangements committee for the ICTM world conference held in Canberra, Australia, and in 2011 the co-chair of the ICTM colloquium on laments. He held teaching positions at Monash University, Melbourne (1969–1972), City University of New York (1973–1978), and Australian National University (2000–2011). From 1978 to 2000, he was a research fellow and research director at the Australian Institute of Aboriginal and Torres Strait Islander Studies. Richard K. Wolf , professor of music and South Asian studies at Harvard University, has conducted research widely in South and Central Asia over the past forty years. He is the author of two monographs, editor of three collections, a performer on the South Indian vina, and an ethnographic filmmaker. His work has concerned social-cultural “style” in South Indian music, music and space-time in Kota tribal society, music in Islamic contexts in India and Pakistan, theory and analysis of rhythm, and emotion. Among recent honors, Wolf was the recipient of a Friedrich Wilhelm Bessel Research Award from the Alexander von Humboldt Foundation and was named the Carl and Lily Pforzheimer Foundation Fellow at the National Humanities Center in 2018–2019. Kim Woo was born and raised in Malaysia, and studied chemical engineering at the University of New South Wales, Australia. He later completed a Master of Business Administration degree at the same university. His career 462 Contributors has covered a variety of industries including petroleum refining, chemical manufacturing, and chemical detection technologies. Before retirement, he held a senior position in the Australian Public Service. His interest in traditional music began in childhood and was enhanced through subsequent exposure to ethnomusicology through his partner’s work as an ethnomusicologist, especially in connection with the ICTM. Carlos Yoder is a musician and systems programmer. He studied piano performance from an early age in his native Argentina, as well as sound engineering, musical production, Hindustani tablā, and Carnatic mrdangam in both Argentina and India. Based in Slovenia since 2005, in 2011 he was appointed the ICTM Secretariat’s executive assistant, as well as editor of the Bulletin of the ICTM. His research interests include the history of the Council, vocal percussion, and computer-assisted music composition. Wim van Zanten was staff member of the Department of Cultural Anthropology and Development Sociology, Leiden University, from 1971 until 2007. He did fieldwork on music in Malawi and Indonesia. His last book (2021) is about the music of the indigenous Baduy group in western Java. Wim was member of the ICTM Executive Board (1996–2004, 2009–2011), a vice president (2005–2009), and programme chair for three ICTM world conferences: Nitra (1997), Vienna (2007), and Durban (2009). He was involved in work concerning the 2003 UNESCO Convention on safeguarding ICH from 2002 to 2016. He was editor of the glossary of terms used in the Convention (2002) and represented ICTM at UNESCO meetings from 2006 until 2012. See further information on https://orcid.org/0000-0002-1406-3884. Susanne Ziegler graduated in musicology/ethnomusicology and Slavic languages and literature from the University of Cologne, Germany. She worked as assistant professor at the Institute for Comparative Musicology of the Free University in Berlin and lectured at various German universities. Until her retirement, she held a position at the Berlin Phonogramm-Archiv in the Ethnological Museum in Berlin, where she was responsible for the historical collections. She published numerous scientific articles. Her fields of interest include the history of ethnomusicology, historical recordings, and music in East and Southeast Europe and in the Caucasus. She joined ICTM in 1983 and was co-chair of the Study Group on Music and Gender (1987–1993) and of the Study Group on Historical Sources (2000–2018). Index of People A Araújo, Samuel, 108, 185, 188, 202, 235, 238, 300, 447 Arda Nural, Özgün, 361 Abdullayev, Rustam, 55 Aretz de Ramón y Rivera, Isabel, 423 Abisheva, Bayan, 359 Arhine, Adwoa, 228, 441 Abou Mrad, Nidaa, 352–353 Arnberg, Matts, 78, 177, 389–390 Abraham, Otto, 363 Arndt, Dorothee J., 334 Adler, Guido, 235, 237, 293, 317 Arom, Simha, 318 Afaila, Zaineb, 290 Aroshidze, T., 51 Agawu, Kofi, 229 Arslan, Fazlı, 353 Agayeva, Suraya, 281, 353, 361 Asaf’iev, Boris, 57 Agha, Kadri, 350–351 Ascencio, Theresa, 378 Agyekum, Kofi, 229 Aska, Alyssa, 345 Ahmad, Jabbar Ali, 351 Assouad, Fr., 351 Ahmedaja, Ardian, 58, 267, 291–292, 294, 453 Attias, Simon, 289 Aikawa, Noriko, 97, 147–148, 430, 432–433 Aung, Ne Myo, 378–379 ‘al Ajjan, Mahmoud, 351 Averill, Gage, 188, 202, 411–412 Ajotikar, Rasika, 345–346 Avorgbedor, Daniel Kodzo, 67, 228, 230, 441, 453 Akat, Abdullah, 359–360 Ayadī, Abir, 288 Akbarov, Ilyas, 52 Ayats, Jaume, 240 Åkesson, Ingrid, 263, 265–268, 453 Ayyangar, Ranganayaki, 182, 410 al-Akouri, Rafik, 354 Azevedo, Luiz Heitor Corrêa de, 18, 52, 124, 172, 180, 404, 429 Akrof, George, 178 Azizi, Faroghat, 58 Aksdal, Bjørn, 265–266 Azoulay, André, 289 Alaiza, Carol de, 252–253 Azoulay, Audrey, 428 Albright, Madeleine, 429 Azreen Chee Pi, Nur, 378 Alcedo, Patrick, 378 Azzaroni, Loris, 286 Alekseev, Eduard, 56 Azzi, Maria Susana, 342 Alén, Olavo Rodríguez, 194 Alexander, Kathryn, 345 Alexandru, Tiberiu, 180 B Alford, Violet, 8, 23–24 Alge, Barbara, 412 Babiracki, Carol, 343–344 Aliçka-Ebhardt, Emi, 294 Backer, Mumtaz, 378 Ali-zadeh, Franghiz, 281 Baghirova, Sanubar, 58, 353 Allgayer-Kaufmann, Regina, 186 Baier, Randal, 378 Almeida, Renato, 14, 16, 174–176 Baily, John, 239, 241, 351, 412 Amakye-Boateng, Ben, 229 Bain, David, 147 Amanova, Roza, 358 Bake, Arnold Adriaan, 14, 46, 77–78, 91, 176–177, 421 Amanzhol, Gulzhan, 358 Bake, Cornelia, 78 Ambrózová, Jana, 320 Bakka, Egil, 41, 102, 115, 249, 251–252, 255–256, 258–260, Amigo, Christen, 151 434, 445 Ammann, Raymond, 310, 313 Baldassare, Antonio, 290 al Ammari, Ammar, 351 Balosso-Bardin, Cassandre, 287 Al-Taee, Nasser, 353 Bammer, Nora, 326, 345, 447 Amour, Abouzaid, 350 Band, Robin, 121, 123, 126, 128, 132, 136, 177, 415 Amuah, Joshua, 228 Barandiarian, Salvador, 416 Amy De La Bretèque, Estelle, 409–410, 425 Barbeau, Marius, 74, 76, 139, 176–177 Anderson, Walter, 173 Barandiaran, Salvador de, 27 Andersson, Otto, 27, 173 Barnecutt, Vicky, 132 Andrieu, Sarah Anais, 378 Barr-Hamilton, Malcolm, 71 Anis Md Nor, Mohd. See Mohd Anis Md Nor Bartók, Béla, 25, 79, 348, 455 Anuradha, Kosala, 299 Barz, Gregory, 204, 237 Anzaldúa, Gloria, 340 Baťa, Tomáš, 28 Appadurai, Arjun, 243 Batchelor, Arthur, 24 Aragão, Pedro, 267 Baud-Bovy, Samuel, 7 464 Index of People Bauman, Gord, 141 Brown, R. R., 330 Baumann, Dorothea, 202, 264 Browne, Kimasi, 229, 231 Baumann, Max Peter, 184, 195, 323, 340, 425 Broxup, Marie, 54 Bayer, Bathja, 330 Bruinders, Sylvia, 228 Baylav, Cahit, 358 Brunner, Anja, 267, 345 Bayley, Amanda, 231 Buckland, Theresa Jill, 20–21, 255–256, 258–260, 453 Beahrs, Robbie, 298 Buckley, Ann, 331 Beatty, Susan, 334 Buenconsejo, Jose, 378 Bechealany, Bouchra, 353 Bukhari, Nadjm al-Din Kawkabi, 455 Béhague, Gerard, 194 Bunea, Diana, 58 Beitane, Anda, 58 Burchenal, Elizabeth, 14–15, 246 Beliaev, Viktor, 51–52, 57, 81, 278 Burckhardt Qureshi, Regula, 279 Bélis, Annie, 331–332 Burstyn, Shai, 267 Belleface, Jean-Pierre, 349–350 Buthelezi, Mangosuthu, 228 Benabdallah, Abdulwahab Redha, 353 Buthelezi, Thabile, 228 Benazzouz, Zineb, 350 Buttenburg, Eva, 85 Benitez, Kristina, 378 Benmoussa, Abdelhamid, 350 Bennigsen, Alexandre, 54 C Berg, A., 129–130 Bergholm, Kari, 249 Cadbury, Tabitha, 7 Bergman, Jerry, 251 Caldagues, Lise, 177 Bermúdez, Egberto, 204, 229 Calzia, Fabio, 240 Berner, Alfred, 366 Cámara de Landa, Enrique, 239–241, 300, 454 Beşiroğlu, Şehvar, 359 Cameron, Meribeth E., 132 Beyazit, Vildrim, 353 Camp, Marc-Antoine, 5, 17, 236, 345 Beyhom, Amine, 354 Campbell, Patricia Shehan, 336 Bezić, Jerko, xvii, 17, 264, 269, 321–323 Cannady, Kimberly, 315 Biancorosso, Giorgio, 413 Cannon, Alexander M., 413 Bidgood, Lee, 325 Caro Repetto, Rafael, 383, 454 Bielawski, Ludwik, 56, 264, 269, 365, 394 Carpitella, Diego, 242 Bieletto, Natalia, 301 Carvalho, João Soeiro de, 67, 165, 366 Bilkhair, Aisha, 354, 443 Carver, Mandy, 227 Binson, Bussakorn, 188, 378 Cass-Beggs, Michael, 221¸ Bird, John, 292 Cassio, Francesca, 345 Bispo, António Alexandre, 195 Castelo-Branco, Salwa El-Shawan, xvii, 33, 57, 97, 99, 101, Bjørndal, Arne, 416 105–108, 117, 143, 148, 156, 164–165, 183, 187–188, 196, Blacking, John, 41, 56, 58, 84, 92, 141, 145–146, 181, 221, 230, 199, 201–204, 242, 261, 287, 342, 348, 350, 411–412, 454 293, 331–332 Castelvecchi, Stefano, 287 Blaukopf, Kurt, 99 Catlin, Amy, 339 Blažeković, Zdravko, 202, 230, 270, 274–275, 333, 453 Caufriez, Anne, 195 Bleibinger, Bernhard, 235 Cavanaugh, Beverley, 412 Bloderer, Joan, 345 Ceribašić, Naila, xv–xvii, 5, 33, 71, 108, 117, 126, 158, 161, 164, Bloland, Sunni, 253 201, 304, 306, 324–325, 327, 339, 346, 403, 420, 433, 454 Blom, Jan-Peter, 141, 249 Cerletti, Adriana Valeria, 447 Bloom, Joshua, 136 Cetewayo Tabor, Michael, 136 Blum, Stephen, 286, 298, 412 Cevher, Hakan, 353 Blume, Friedrich, 85 Chailley, Jacques, 271 Bohlman, Philip V., 284, 286–287 Chaker, Aziz, 350 Boiko, Martin, 58 Chami, Hicham, 354 Boilès, Charles L., 330 Chanunkah, Robert, 227 Bois, Pierre, 349 Chao, Chi-fang, 252 Bonuš, František, 29 Charitonidis, Chariton, 445 Borovikova, Anastasya, 360 Charles, Howard, 313 Boström, Matthias, 267 Charry, Eric, 231 Both, Arnd Adje, 329–330, 333–334, 410, 453 Chaudhury, Shubha, 100 Boulanger, Nadia, 88 Chemane, Jose Alberto, 228 Bouzar-Kasabdji, Nadia, 349 Cherbuliez de Sprecher, Antoine E., 16–17, 74, 174–177, 404 Bouzid, Omar, 350 Cheung, Joys, 370–371 Bowers, Jane, 342 Ching-Yi Chen, Catherine, 378 Boyes, Georgina, 6 Chkhikvadze, G., 51 Brăiloiu, Constantin, 7–8, 25, 405 Christensen, Carolyn, 145 Brandes, Edda, 340 Christensen, Dieter, xvii, 13, 17, 42, 48–49, 54, 56–58, 60, Brandily, Monique, 351 83–84, 89, 93–95, 99–100, 102, 107, 122, 130–131, 133, Brandl, Rudolf, 265 139–140, 143–150, 154, 179–180, 182–183, 185, 193, 271, Braun, Hartmut, 263–265, 269, 394–395 304–306, 310–312, 339–340, 348, 351, 390, 396, 404, Brauner, Harry, 25 408–411, 413, 415, 417, 424–426, 429–431, 450, 454 Brenta, Gaston, 177 Christensen, Nerthus, 95, 143–144 Brinkgreve, Clara, 77–78 Christiansen, Reidar, 173 Bröcker, Marianne, 97, 115, 160, 253, 258–259, 366–367 Chroustovský, Luboš, 334 Brook, Barry S., 147, 270–272 Chubb, Ian, 154 Brown, Marco, 194 Church, Michael, 358, 360 Index of People 465 Chuse, Loren, 345 Dević, Dragoslav, 318 Chyurlionite, J., 51 DeWoskin, Kenneth J., 331 Ciantar, Philip, 287, 354–355 Diamond, Beverley, 109, 138, 148, 156, 187, 201–203, 343, Cimardi, Linda, 345 345–346, 449, 454–455 Citro, Silvia, 67, 165, 300, 447 Días, Ivan, 241 Ciucci, Alessandra, 288–289 Dibia, I Wayan, 378 Cleaver, Eldrige, 136 Dick, Christopher, 384 Cleaver, Kathleen Neal, 136 Didi, Amer, 353 Clement, Michael, 314–315 Diettrich, Brian, 165, 310, 315, 450, 455 Colacicchi, Luigi, 416 Dillane, Aileen, 202 Collaer, Paul, 213, 218–219, 387–388 Dimkaroska, Katinka, 334 Collier, Paul, 76 Dimov, Ventsislav, 304 Collins, John, 229 Djani-Zade, Tamila, 56, 353 Colson, Geoffrey, 315 DjeDje, Jacqueline Cogdell, 229 Coninx, Stef, 202 Djenev, Kiril, 247 Connor, Edric, 14, 172 Djumaev, Alexander, 55–56, 58, 277–279, 281, 353, 361, 455 Cook, Nicholas, 261 Dodds, Sherril, 457 Cooke, Peter, xiii, 88, 230–231, 454 Doe, Eric Sunu, 228–229 Cooley, Timothy J., 237 Doğuş Varlı, Özlem, 288 Corado, Beatriz Herrera, 447 Dolah, Jasni, 378 Corn, Aaron, 155, 199, 314 Doliner, Gorana, 342–343 Correa, Roberto, 425 Donaghy, Keola, 315, 451 Correia, Mário, 240 Dong Xin, 274 Couprie, Leendert D., 272 Doornbosch, Ate, 389 Cowan, James, 292 Dopuđa, Jelena, 246 Cowdery, James R., xvii, 17, 130, 173 Dor, George Worlasi Kwasi, 228, 449 Craig, Gordon, 20 Dornfeld, Barry, 241 Cristoloveanu, Juana, 27, 122 Dortey, Moses Nii, 229, 442 Crocker, Richard L., 330 Doubleday, Veronica, 351 Croft, W. D., 6 Dovč, Janez, 159 Crossley-Holland, Peter, 178–180, 404, 406–407, 410, 425 Draffkorn Kilmer, Anne, 330 Crowdy, Denis, 310 Dreyfus, Kay, 292 Čubelić, Tvrtko, 130 Dudt, Simone, 202 Curie, Marie, 429, 453 Dueck, Byron, 412 Curtis, Tim, 430 Duncan, Isadora, 20 Czekanowska, Anna, 56, 104, 146, 194, 320, 324, 450 Dundes, Alan, 320 Dunin, Elsie Ivancich, 7, 20–21, 26–28, 30, 104, 214, 245, 247, 250–255, 257–259, 303–308, 455 D During, Jean, 279, 351, 353 Dutiro, Chartwell, 231–232 D’Amico, Leonardo, 239–242, 454 Duvelle, Cécile, 430, 435 d’Erlanger, Rodolphe, 288 Duvelle, Charles, 425 Dąbrowska, Grażyna, 248–249, 253–254, 257–260 Dae-chol, Sheen, 370 Daems, Hendrik, 142 E Dahlig, Piotr, 324 Dahlig-Turek, Ewa, 320, 396, 454 Edison, Thomas Alva, 329 Dahmen, Hermann Josef, 177 Ehm-Schulz, Rosemarie, 250 Dal, Erik, 52, 78, 134, 174, 176, 179, 218 Eichmann, Ricardo, 333 al Dallal, Qadri, 351–352 Einstein, Albert, 429, 437 Daniélou, Alain, 425, 429, 431 Ejlers, Christian, 126, 133–134, 137, 179, 415 Danielson, Virginia, 109, 203, 353, 355 Ekinci, Mehmet Uğur, 353 Darehshon, Sara, 343 Elbaz, Vanessa Paloma, 267, 290 Dargie, Dave, 228 Elgar, Edward, 72 Dauer, Alfons Michael, 412 Elizabeth II (queen of United Kingdom), 124 David, Ann R., 360 Ellis, Catherine, 62, 184 Davis, Angela, 136 Elschek, Oskár, 92, 141, 180, 182, 184, 212, 217, 219, 241, 320, Davis, John, 284, 286 364–365, 392, 394–395, 422, 433, 437, 455 Davis, Ruth F., 199, 284, 286, 289, 351, 455 Elscheková, Alica, 394, 437 Dawson, Mark, xv Elsner, Jürgen, 53, 56, 58, 265, 277–281, 349, 351, 353, 364, 367 De Ferranti, Hugh, 370–371 Emielu, Austin, 442 de la Fuente, Mónica, 240 Emrich, Duncan, 16 De Vale, Sue Carole, 85 Emsheimer, Ernst, 91, 331–332, 363–367 de Vera, Christine, 378 Engel, Carl, 330 Dean-Smith, Margaret, 15 Engelhardt, Jeffers, 410 Defrance, Yves, 241–242, 326 Eolian, Isabella, 53, 55 Delavenna, Estelle, 267 Erez, Oded, 288, 290 Delius, Frederick, 72 Erguner, Süleyman, 353 d’Encausse, Hélène Carrère, 54 Eriksen, Helene, 253, 258 Deutsch, Ilse, 394 Erixon, Sigurd, 173 Deutsch, Walter, 318, 322, 394–395 Erler, Annette, 264, 269 Devčić, Natko, 16 Erving, David, 261 466 Index of People Essele, Kisito, 267 Gillis, Frank, 423 Etherington, Frank, 123 Giorgoudes, Panikos, 235 Euba, Akin, 180, 340 Gippius, Evgenyi, 51, 53 Evadine Smith, Constance, 134 Giurchescu, Anca, 104, 214–217, 245, 247–251, 253–260, 305–306, 318, 322–323, 325, 339, 410 Giuriati, Giovanni, 240–241 F Golemović, Dimitrije, 304 Gombač, Boštjan, 159 Fabbri, Franco, 287 Gorbachev, Mikhail, 54 Fabris, Dinko, 202–203, 285, 288 Gore, Georgiana, 254 Faik-Simet, Naomi, 451 Gottwald, Klement, 29 Farmer, Henry George, 348 Goyena, Héctor, 240 Fathallah, Linda, 349 Grainger, Percy, 292 Fedorov, Vladimir, 54 Grant, Catherine, 237, 451 Feld, Steven, 146, 194, 196, 199, 241, 409–411, 424 Grau, Andrée, 254–255 Felföldi, László, 251, 255–256, 258–260 Green, Nick, 307 Feng, Yu, 204 Gritsa, Sofiia. See Hrytsa, Sofiia Fennesz-Juhasz, Christiane, 186 Groot, Rokus de, 141 Ferencova, Ivana, 345 Grossman, Anna, 333 Firfov, Živko, 246 Gruber, Cornelia, 252, 339, 347 Firth, Raymond, 421 Gruda, Aleksandra, 334 Fischer, Silja, 202 Gudewill, Kurt, 221 Flam, Gila, 268 Guettat, Mahmoud, 349 Fléchet, Anaïs, 429 Guidobaldi, Nicoletta, 271 Fock, Eva, 323 Gullyev, Shakhym, 58 Födermayr, Franz 322 Gumataotao, Andrew, 315 Foley, Catherine E., 20–21, 27–28, 30, 104, 108–109, 117, 165, Gumbula, Joe, 155 188, 214, 245, 251, 254–256, 258–259, 360, 455 Gumbula, Neparrnga, 314 Foley, Kenan, 231 Güray, Cenk, 281, 353 Fonseca, Edilberto Josué de, 447 Guzmán, Adriana, 334 Ford, Terence, 272 Gwilliam, Freda H., 132 Fornaro Bordolli, Marita, 300, 456 Franco, Francisco, 437 Frankfort, Sophia, 354 H Franzkem Ulrich, 396–397 Fraser, Norman, 74, 122, 421–422 Hadisi, Hosein, 359 Freeman Moulin, Jane, 315, 455 al Hadithi, Saadi, 351 Freud, Sigmund, 429, 437 Hagmann, Lea, 345 Fricker, Robert, 404 Hahn Man-young, 48, 409 Friedman, Victor, 306 Hải, Trần Quang, xiii, 97, 100–101, 108, 159 Frishkopf, Michael, 355 Haid, Gerlinde, 154, 186, 291–292 Frogley, Alain, 72 Haji Asun, Mansur, 379 Fugazzotto, Giuliana, 285, 287 El-Hajj, Badih, 354 Fügedi, János, 252 Halid, Raja Iskandar Raja, 380 Fujie, Linda K., 199, 412 Hall, Frank, 256 Fujisawa, Kae, 373 Hall, Leslie, 359 Fuller Snyder, Allegra, 250 Halskov Hansen, Lene, 134 Fullerton, Jan, 60, 155 Hamdani, Ahmad, 353 Fürniss, Susanne, 228, 266–267 Hammam, Abdul Hamid, 351 Hammarlund, Anders, 332 Hammerstein, Reinhold, 271 G Hampton, Barbara L., 339–341, 344–346 Hamza, Hafzan Zannie, 378–380, 382 Game-Lopata, Jenny, 345 Haralampiev, Kiril, 247 Garcia, Jon, 378 Harbert, Benjamin, 241 García, Miguel A., 267–268, 300 Hardwick, Patricia, 378, 382 Gardent, Jérémy, 267 al Hariri, Darwish, 348 Gay, Leslie, 229 Harnish, David, 377–378 Geingob, Hage, 136 Harrison, Frank, 331 Geiser, Brigitte, 271, 365 Harrison, Klisala, 49, 234–238, 331, 410 Gelet, Sintiong, 379 Harthy, Al, 352 Gell, Alfred, 437 Haskell, Erica, 325 George V (king of United Kingdom), 8 al Hassan, Ghassan, 351 George, Graham, 84, 133–134, 137–142, 145, 150, 179–180, Hassan, Jumana, 353 408, 412, 415, 417 Hassan, Scheherazade Qassim, 279, 410 George, Tjot, 84, 415 Hassan, Tareq, 348–349 Gerber, Ernst Ludwig, 270 Haug, Judith, 267, 353 Gerson-Kiwi, Edith, 174, 221–222, 366 Hayes, Rebekah, 132 Ghrab, Anas, 288, 355 Haywood, Charles, xvii, 8, 71, 74, 84, 180, 407–408, 410 Gill, Frances, 334 Heaney, Mike, 21 Gillespie, Kirsty, 310, 315, 413, 441, 451, 456 Heesun, Kim, 373–375 Gillies, Malcom, 293 Heimark, Brita, 298–299 Index of People 467 Heins, Ernst L., 77 J Heitor Corrêa de Azevedo, Luiz. See Azevedo, Luiz Heitor Corrêa de Jadinon, Rémy, 267 Helbig, Adriana, 238 Jähnichen, Gisa, 194, 199, 279–281, 353, 363, 366–368, 378, Helden, Andries van, 429 456 Helmersson, Linnea, 252 Jairazbhoy, Nazir Ali, 180 Hemetek, Ursula, xvii, 5, 108, 110, 117, 150, 153, 160, 162–163, Jakovljević, Rastko, 267 165, 171, 186–188, 202, 291, 296, 304, 322–327, 345, 415, Jamil, Suleiman, 349 418, 456 Jamison, Phil, 23 Henschen-Nyman, Olle, 332 Janković, Danica, 25–26, 74, 245–246, 303 Herndon, Marcia, 340–342, 346 Janković, Ljubica, 25–26, 245–246, 303 Herzog, George, 405, 410 Janpeisova, Saule, 359 Hickmann, Ellen, 330–333 Járdányi, Pál, 81, 219 Hien, Sié, 442 Jarjour, Tala, 267 Higuchi, Ryuichi, 202 Järviluoma, Helmi, 342 Hikmet Öğüt, Evrim, 353 Jenkins, Gilmour, 128, 133, 177 Hilarian, Larry Francis, 295, Jersild, Margareta, 394 Hilder, Thomas, 345 Jesser, Barbara, 397 Hill, Sarah, 381 Jianjun, Fang, 333 Hilleström, Gustav, 363 Jianzhong, Qiao, 204 Hindemith, Paul, 138 Jiménez, Raquel, 240, 333–334 Hirama, Michiko, 344–346 Jioandi, Zhao, 204 Hiramayena, I Putu, 379 Jírový, Zdeněk, 29 Hitler, Adolf, 429, 437 Johler, Birgit, 8 Hoefnagels, Anna, 344–345 Johnson, Birgitta, 228 Hoerburger, Felix, 27–28, 213–215, 245, 247–250, 255, 257, Johnson, Carole, 155 259, 393 Johnson, Henry, 411 Hofman, Ana, 304, 345 Jones, A. M., 230 Holl, Monika, 272 Jones, Stephen, 374 Holm, Ralph, 15 Jordania, Joseph, 58 Holmes, Peter, 331–332, 334 Jung, Angelika, 56, 279 Holmes, Robyn, 60, 155 Juraev, Sirojiddin, 298 Holst, Gustav, 72 Jurková, Zuzana, 325 Holzapfel, André, 383 Holzer, Cornelius, 345 Homo, Catherine, 331–332, 334 K Homo-Lechner, Catherine. See Homo, Catherine Hong Kim Lan, Carren, 378 Kačulev, Ivan, 318 Hood, Kathleen, 353 Kaeppler, Adrienne L., xiii, 60, 102, 104–106, 116, 154–156, Hood, Made Mantle, 377–379, 382 158, 160, 186–187, 194, 198–199, 249, 252–253, 255–256, Hood, Mantle, 85, 330–332 310–315, 340, 370, 376–377, 410–411, 432, 456 Hornbostel, Erich Moritz von, 85, 293, 317, 363 Kafumbe, Damascus, 230–231, 449 Hoshovsky, Volodymyr, 320 Kalinga Dona, Lasanthi Manaranjanie, 158, 345 Hosking, Clement, 416 Kalyani, Miss, 55 Howard, Keith, 189, 237, 261, 336, 361 Kamil, Mahmud, 349 Howell, Mark, 334 Kamilov, Kadyr, 55 Howes, Frank, 6–10, 24, 61–62, 132 Karass, Alan, 354 Hrabia, Stanislaw, 204 Karbusický, Vladimír, 29 Hrytsa, Sofiia, 321 Karger, Nerthus. See Christensen, Nerthus Hsu, Hsin-Wen, 443 Karomatli, Fayzulla M., 277. See also Karomatov, Fayzulla M. Hübener, Birgit, 186 Karomatov, Fayzulla M., 54, 56–58, 277–278. See also Karomatli, Huber, Gertrud Maria, 345 Fayzulla M. Huebener, Birgit, 187 Karongo Hundleby, Irene, 451 Hughes, David W., 229, 331, 334 Karpeles, Helen, 5–6, 16, 20, 23 Hui, Yu, 242 Karpeles, Maud, xv–xvii, 3, 5–18, 20–31, 34, 36–37, 40, 47–48, Humphrey, Doris, 246 52, 61–62, 71–76, 79–83, 87, 97, 99, 104, 110, 113, 116, Hussin, Hanafi, 258–259, 378, 382 121–124, 126–136, 139–140, 156, 159, 163, 171–181, 183, Hutchinson, Sydney, 412 212–216, 218, 221, 223, 245–249, 300, 303, 388–391, 403–405, 407–410, 412, 415, 417, 420–421, 423–424, 429–430, 452 I Kartenbayeva, Korlan, 359 Kaseinov, Düsen, 57–58, 105–106 Ibrahim, Gregarious, 352 Kasimova, Galyia, 358 Ilieva, Anna, 254 Katsanevaki, Athena, 304 Imamutdinova, Zilia, 361 Katz, Israel J., 408, 410–412 Impett, Jonathan, 236 Katzarova, Raina, 247, 306, 404 Ismael, Mahmoud, 351 Kaufman, Nikolai, 320 Isolabella, Matías, 240–242 Kaye, Andrew L., 455 Ivančan, Ivan, 246 Kaynnan, Madras A., 55 Izham Omar, Ahmad, 381 Kealiinohomoku, Joann, 250 Keenan, Elizabeth, 411 Kennedy, Beryl, 423 468 Index of People Kennedy, Douglas, 6, 8–9, 14, 16, 23–24, 27, 73–74, 76, 124, Kumer, Zmaga, 365 175–177, 180, 215, 245, 248, 257, 424 Kunanbaeva, Alma, 57 Kennedy, Helen, 23 Kunej, Drago, 267 Kennedy, Peter, 12, 412, 423 Kunst, Jaap, xvi, 16–17, 46, 76–77, 80, 88, 175–177, 180, 293, Kennedy, John, 25 421–422 Kertesz-Wilkinson, Iren, 323 Kunst-van Wely, Katy, 76–77 Khaligzade, Fattah, 361 Kunz, Ludvik, 363, 365, 367 Khaznadar, Chérif, 432, 436 Kurath, Gertrude, 27, 245–246 Khê, Trần Văn, 89, 182 Kurdova, Dilyana, 446 al Khola’i, Kamel, 348 Kuret, Primož, 271 Khrennikov, Tikhon, 56 Kurosawa, Takatomo, 76, 245, 461 Khrushchev, Nikita, 51 Kuss, Malena, 202 Khurmatullina, Rezeda, 361 Kutev, Philip, 52 Kidula, Jean Ngoya, 230–231, 449 Kuutma, Kristin, 435–436 Kieser, Sonja, 290 Kvetko, Peter, 298 Kihonia, Elie, 231 Kvitka, Klyment, 53, 317 Kilanda, Steven Enomb, 5 Kwon, Oh-sung, 100–101, 371, 376 Kimber, William, 459 Kyrova, Magda, 272 King, Anthony, 230 King, Roberta, 231 Kirkiacharian, Chakée, 136, 415 L Kiryasharian, Shake. See Kirkiacharian, Chakée Kishibe, Shigeo, 88, 450 La Greca, José Luis, 300 Klebe, Dorit, 43, 58, 342, 358, 360 Laban, Rudolf von, 246–247 Klebe-Wonroba, Dorit. See Klebe, Dorit Labayile, Kofi Kodonu, 229 Klimke, Martin, 136 Lachmann, Robert, 455 Klotinsh, Arnold, 56 Lai, Gene, 378 Klusen, Ernst, 221 Lajtha, László, 7–8, 16, 79, 175–176, Knocks, Alfred John, 292 Lalendle, Lumkile, 101 Knott, Sarah Gertrude, 246 Lambert, Jean, 267 Knudsen, Thorkild, 89, 179 Lange, Roderyk, 259–250, 253–254 Knust, Albrecht, 246, 249 Langton, Maria, 451 Knuuttila, Jarna, 342 Larsson, Gunnar, 331 Kobeissy, Abderreda, 353 Lattimer, Barbara, 130 Koch, Grace, 311 Lau, Frederick, 105, 412 Koch, Lars-Christian, 333 Laudova, Hannah, 29–30 Kodály, Zoltán, 52, 62, 71, 74, 79–82, 124, 126, 129, 131–132, Lawergren, Bo, 332 138–139, 177–180, 217, 294, 363, 365, 393, 406–407 Lawler, Vanett, 12, 15, 18 al Kodsi, Mohamed Kamal, 350 Lawrence, Helen Reeves, 312, 315 Koepke, Bruce, 412 Lawson, Graeme, 331–332 Kołaczkowski, Jerzy, 177 Lê, Văn Toàn, 235, 325 Kolberg, Oskar, 397 LeBomin, Sylvie, 228 Kölbl, Marko, 162, 326, 339, 344–347, 445 Lechleitner, Franz, 267 Kolltveit, Gjermund, 334 Lechleitner, Gerda, 266–268 Kolomyyets, Olha, 58 Lee, Byongwon, 374 Komavec, Maša, 324 Lee Tong Soon, 67, 165, 185, 187, 409, 410, 413 Könczei, Csilla, 258–259 Leichtentritt, Hugo, 270 Kono, Toshiyuki, 436 Leppänen, Taru, 342 Kopecký, Václav, 29 Leppert, Richard D., 271 Kopp, Leslie, 272 Levitt, Cyril, 129, 132 Korankye, Osei Kwame, 229 Lewin, Olive, 92, 99, 140–141, 180, 182, 194, 389 Korom, Frank, 298 Lewin, Theodore, 56 Kos, Koraljka, 271 Lewis Raphael, Henry, 122 Kosachova, Rimma, 56–57 Leydi, Roberto, 365 Koskof, Ellen, 345 Li Mei, 274 Kosmambet, Saparbek, 358 Li Peijian, 274 Kosten, Tjot, 138 Li Rongyou, 274 Kotovskaya, Prof., 53 Libin, Laurence, 272 Koudal, Jens Henrik, 15, 265, 269 Lichuge, Eduardo, 228 Koutsouba, Maria, 256, 260 Lieth-Philipp, Margot, 342 Kouyate, Ze, 231 Lin, Wei-Ya, 236–238 Kovačič, Mojca, 191, 319 Lineff, Eugenie, 292, 317 Krader, Barbara, 49, 56–57, 126, 129–132, 137, 178–179, 216, Ling, Jan, 91, 99 218, 318, 341, 407, 410, 412, 415, 423 Lissoir, Marie-Pierre, 378 Krammer, Martina, 326, 345 Little, Bliss, 342 Kraus, Egon, 175–176, 180 Liu, Yong, 274 Krist, Jan, 29 Liyanage, Saumya, 299, 366 Krmac, Goran, 159 Llamas, Asensio, 199 Kröschlova, Eva, 29–30, 253, 256 Lloyd, A. L., 423 Kruszona, Zofia, 89 Locatelli de Pergamo, Ana Maria, 410 Kubik, Gerhard, 241, 293 Locke, David, 230–231 Kuijer, Henk, 140 Lomax, Alan, 424, 429 Index of People 469 López Cano, Rubén, 240 Mazibuko, Ntombfikile, 155, 187 López-Yánez, María Gabriela, 441, 457 Mazo, Margarita, 56 Lord, Albert B., 317 Mazouzi, Bezza, 350 Lorenzen, Poul, 8, 14–16, 72, 74, 76 McAllester, David P., 83 Lortat-Jacob, Bernard, 240 McCulloh, Judith, 410 Loutzaki, Irene, 256, 258–260 McGee, Kristin, 345 Loveless, Kenneth, 124 McGuinness, Sara, 231–232 Lu, Tasaw Hsin-chun, 372, 413 McLean, Mervyn, 310, 315 Lubej, Emil, 183, 323 McLeod, Norma, 408–410 Lucas, Anne, 354 Meadows, Eddie, 229 Lukaniuk, Bohdan, 317 Mechri-Saada, Nadia, 349–350 Lumbwe, Kapambwe, 442 Meddegoda, Chinthaka P., 366, 444 Lund, Cajsa S., 330–334 Medina, Juan Felipe Miranda, 448 Lundberg, Dan, 100, 366 Mellish, Liz, 20–21, 307, 457 Luo, Ai Mei, 411 Melngailis, Emīls Jūlijs, 51 Lutzu, Marco, 240 Melth, Bruno, 407 Luvsannorov, Oyunchimeg, 359 Mendívil, Julio, 301 Menon, Narayana, 55 Mensink, Onno, 271–272 M Merceica, Simon, 287 Merdaci, Abdel Mejid, 350 Ma’rouf, Nadir, 350 Merino, Miquel, 354 Macchiarella, Ignazio, 240, 292–293 Merriam, Alan, 145, 237, 293 Macedo Mendoza, Pedro, 448 Mertens, Corneel, 178 Macijewski, Ihor, 320 Messeder, Gabrielle, 354 Mackenzie, Barbara Dobbs, 202–203 Messiaen, Olivier, 88 Mackinlay, Elizabeth, 234–235, 237 Mettler, Laura, 345 MacLachlan, Heather, 344–345 Meyer, Andreas, 265 MacMillan, Ernest, 138 Meyer, Christian, 218 Mačák, Ivan, 422 Michaelides, Solon, 16, 174–177, 388 Madosini, 228 Michel, Andreas, 217, 365, 367 Maeland, Siri, 252, 258 Migliorini, Emiliano, 241 Magogo, Constance, 228 Miguel, Ana Flávia, 228, 446 Magowan, Fiona, 343–344 Miguel, Jon, 378 Magrini, Tullia, 284–286, 343 Miholić, Irena, 324, 334, 366 el-Mahdi, Salah, 54, 180, 182 Mikhailov, Dmitry, 55 Mahling, Christoph-Hellmut, 199 Mikhailov, Givani, 56 al Mallah, Issam, 349–351 Miklič Türk, Barbara, 158 Mallet, Dominique, 351 Mikušová, Lýdia, 219, 395s Malm, Krister, 34, 38–39, 41, 55, 91, 95–101, 104, 115, 146– Millington-Robertson, Janice, 194 151, 154, 171, 182–186, 194, 222, 387, 410, 429–430, 457 Mills, Sherylle, 100, 149 Malm, William, 86 Ming-Yueh, Liang, 330 Mane, Landing, 232 Mink Rossen, Jane, 339–341 Manoharan, Pravina, 378 Minks, Amanda, 411 Mapoma, Mwesa, 99, 227 Mirimonde, Albert Pomme de, 271 Maratovna-Gorokhovik, Elena, 58 Modin, Madeleine, 363, 366–367 Marcel-Dubois, Claudie, 14, 16, 76, 84, 92, 116, 140, 176–177, Mohammed VI (king of Morocco), 289 180, 182, 366, 388, 404, 412, 421 Mohd Anis Md Nor, 253–254, 256, 258–260, 377–380, 382, Marett, Allan, 97, 101, 105, 115, 155, 220, 287, 314, 430 441, 444, 457 Marett, R. R., 430 Moisala, Pirkko, 339–346 Marinus, Albert, 14–16, 74, 76, 171, 174–177 Mollenhauer, Jeanette, xvii, 5, 20–21, 30, 33, 121, 126, 245, 457 Marion, Virginia, 194 Moller Sørenson, Søren, 354 Markoff, Irene, 361 Molnár, Edit, 81 Marković, Tatjana, 202 Montagu, Jeremy, 331, 351 Marks, Essica, 326 Montano, Lilymae, 378 Marošević, Grozdana, 321 Montes, Teresa, 378 Martens, Marie, 15 Monts, Lester, 229 Martí, Josep, 195, 199 Moraga, Cherríe, 340 Martinez, Silvia, 204 Moreno Fernández, Susana, 240, 454 Mary (wife of King George V), 8 Morgan, Dierdre, 413 Masai Hewitt, Raymond, 136 Morgan, Paula, 85, 132 Mashaal, Abdul Hamid, 350 Morgenstern, Ulrich, 58, 291, 317, 319–320, 457 Mashino Ako, 378, 443 Morra, Salvatore, 288, 354 Mason, Paul, 378–380 Moulin, Jane Freeman, 101, 313, 315, 455 Masu, Genjiro, 76, 78, 174 Moxley, Alyssa, 358 Matsumiya, Suiho, 27 Moyle, Alice, 184, 199, 310–311 Matthews, Connie, 124, 126, 132–137, 179, 415 Moyle, Richard, 312, 315 Matthews, Tony, 134 al Muddallal, Sabri, 351–352 Matusky, Patricia, 377–378, 382, 457 Muhambetova, Asiya, 56 Matyakubov, Otanazar, 56–57, 278, 353 Mukhtarova, Kanykei, 58, 360 Mauerhofer, Alois, 264, 269 Mundundu, Anicet M., 230–231 Mavrogordato, John, 8 Munsi, Urmimala Sharkar, 202 470 Index of People Münzel, Susanne, 334 P Murzina, Olena, 58 Mussakhajayeva, Aiman, 57, 188 Pa’adrius, Giljegiljau, 373 Mussolini, Benito, 437 Pa’adrius, Remaljiz, 373 Muszkalska, Božena, 320 Pacholczyk, Jozef, 279 Mutero, Innocent, 228 Paetzold, Uwe U., 380 Myers, Helen, 49 Pakenham, Simona, 6, 10–11, 20–21, 23, 25, 27, 30, 71–73, 75, Myres, John, 8–11 121–123, 128, 212, 387 Pakowska, Marta, 334 Palčok, Zoran, 174 N Pangsiw, Felistina, 378 Panić Kašanski, Dragica, 304 Nabeta, Tom, 176 Park, Mi-kyung, 372, 376 Nahachewsky, Andriy, 256, 258, 260 Parkinson, T. H. R., 180 Nakienė, Austė, 366 Pärtlas, Žanna, 58 Nalder, Maria E., 25 Pașcalău, Gheorghe, 25 Naroditskaya, Inna, 326, 344, 361 Pashina, Olga A., 58, 446 Nas, Peter J. M., 433 Patrick, Steve Wanta Jampijinpa, 155 Nasullayev, Ziyadulla, 55 Pavlicová, Martina, 29 Nataletti, Giorgio, 175, 177, 388, 404 Peake, Harold, 7 Nattiez, Jean-Jacques, 146 Pear, David, 293 Neal, Mary, 21 Pearson, Lara, 383–384, 458 Nedlina, Lera, 267 Pegg, Carole, 360 Nedlina, Valeriya, 360 Pejovnik, Radovan Stanislav, 158 Nery, Rui Viera, 195 Pek, Isabella, 381 Neto, João Pereira, 194 Penn, Marjorie, 404 Nettl, Bruno, xiii, xvii, 46, 131–132, 145–146, 148, 173, 176, Pennanen, Risto Pekka, 279–280 181, 184, 284, 286, 293, 325, 407–408, 410–411, 430, 458 Percy, M. Young, 81 Neubauer, Eckhard, 349, 351 Perea, Jessica Bissett, 413 Neuman, Dan, 102, 151, 194 Peredo Guzmán, María, 448 Newton, Huey, 136 Pereji, Christopher, 298 Ngcobo, Nhlakanipho, 228 Perera, Sasanka, 298 Nguqu, Nozuko, 228 Pesovár, Ernő, 215 Nicol, Edward, 424 Peterman, Kurt, 259–260 Niemčić, Iva, 258, 260, 305 Petersen, Alvin, 227–228 Niles, Don, xv–xvi, 5, 33, 40, 71, 100–101, 105, 108, 110, 113, Petridis, Petro, 16 115, 126, 158, 160–161, 165, 185–187, 191, 201, 211, 291, Petrović, Ankica, 292, 296, 389 310–312, 314–315, 403, 410–412, 418, 420, 458 Petrović, Radmila, 180 Nilsson, Mats, 256, 260 Pettan, Svanibor, xv–xvii, 5, 33, 40, 43–44, 55, 58, 67, 71, 100– Nissen, James, 337, 345 101, 105–106, 108–110, 114, 152–153, 155, 158–159, 162, Nizamov, Asliddin, 54 164, 187–188, 201, 211, 220, 223, 234–238, 242, 273, 291, Nketia, J. H. Kwabena, 175, 218, 228–229 296, 303–304, 306, 318–320, 322–327, 334, 336, 344–345, Nurlybayeva, Fatima, 58 360, 403, 418, 420, 458 Nzewi, Meki, 182 Peycheva, Lozanka, 43, 304–305, 423 Pfister, Andres, 345 Phoasavadi, Pornprapit Ros, 378 O Phumlomo, Lindani, 228 Picken, Laurence, 52, 177, 217, 331, 404, 406, 410, 424 Ó Briain, Lonán, 413 Piech, Jacek, 324 O’Sullivan, Donal, 27, 129, 174, 176–177 Pinon, Roger, 27, 215, 217–219, 245, 248, 257, 416 Oberlander, Brian, 289, 455 Plaister, Doris, 421 Öcal Özbilgin, Mehmet, 307, 457 Plant, David, 12 O’Connell, John Morgan, 351, 446 Plenckers, Leo, 350–351 Odar, Boštjan, 334 Poloczek, František, 394 Oğul, Belma, 306 Pop, Mihai, 27, 177 Oh, Mi Hyun, 378 Popławska, Dorota, 333 Ohene-Okantah Jr, Michael, 228 Porter, James, 318 Okoth, Zippy, 228 Pospíšil, František, 23, 25–26, 246 Oliveira Pinto, Tiago de, 195 Post, Jennifer C., 441, 449, 458 Olley, Jacob, 359 Powers, Harold, 56, 279 Olmos Aguilera, Miguel, 448 Praxmarer, Michael, 334 Omolo-Ongati, Rose, 227 Preglau, Jure, xvii Ong, Rachel, 346 Proberts, Lee Anne, 60, 105, 154, 156, 415, 459 Oostrum, Anne van, 351, 353–354 Proca-Ciortea, Vera, 215, 217, 247–250, 257, 259 Opetcheska-Tatarchevska, Ivona, 20–21, 304, 307 Proosdij-Ten Have, Loekie M., 77 Opondo, Patricia, 105, 155–156, 187, 227–230, 442, 458 Proschan, Frank, 430 Oras, Janika, 267–268 Prosper, Pierre-Richard, 343 Ostashewski, Marcia, 165, 205, 236, 449 Prudente, Felicidad, 377–379, 382 Ozah, Marie Agatha, 108, 117, 164–165, 202, 227, 230–231, 449 Puchberger, Magdalena, 8 Öztürk, Okan Murat, 353, 359 Pugh-Kitingan, Jacqueline, 378–379 Öztürkmen, Arzu, 256, 258–260, 306 Pulikowski, Julian von, 47 Purcell, Henry, 74 Purtas, Firat, 359 Index of People 471 Q Rovsing Olsen, Miriam, 267, 351, 354 Roy, Martha, 349 al-Qalaa, Saadallah Agha, 351 Ruckert, George, 298 Quigley, Colin, 188, 202, 258–259 Rudneva, Anna, 53 Quintero, Wayland, 377–378, 382, 459 Rudolf, Matevž, xvii Ruiter, Frans de, 202 Russel, Maureen, 83 R Russell, Margaret, 8, 72 Rüütel, Ingrid, 55, 58 Racy, Ali Jihad, 349 Ruyter, Nancy Lee Chalf, 247 Rădulescu, Speranţa, 306 Rycroft, David, 412 Ragni, Sergio, 288 Rydbeck, Olof, 390 Rahkonen, Carl, 396 Ryskali, Erlan, 359 Rainio, Riitta, 334 Rajabi, Yunus, 52 Rajaratnam, P., 78 S Rajeczky, Benjamin, 82, 180, 219, 221–222, 263–264, 294 Rakcheeva, Sabina, 358 Sabljar, Nikola, 212, 387 Rakočević, Selena, xiii, 256, 258, 260, 303–306, 441, 446, 457, Sachs, Curt, 9, 86, 348, 366 459 Sachs, Irene, 77 Rancier, Megan, 357, 360 Sadykova, Aziza, 359 Rasmussen, Anne K., 109, 304, 344 Sağlam, Hande, 162, 267, 326, 345, 361 Rausmaa, Pirkko Liisa, 249 Sahhab, Ghassan, 353–354 El Rayes, Nour, 354 Said, Mustapha, 353 Rayissian, Gerard, 351 Saidani, Maya, 288, 353 Razmadze, Nino, 334 Sakata, Hiromi Lorraine, 279, 339, 357 Reconquista, Paz, 378 Salloum, Kelly, 101–102, 151, 415 Redcliffe-Maud, John Primatt, 11 Saltzman, Rachelle, 132–133 Rees, Helen, 369, 374–375, 459 Sami, Abdel Rahman, 175 Rees, Jim, 334 Sánchez, Iñigo, 243 Reichl, Karl, 359 Sánchez, Julia L. J., 333 Reily, Suzel Ana, 105, 412 Sanders, Olcutt, 246 Reinhard, Kurt, 143, 416 Sandvik, Ole Mørk, 9, 16, 74, 76, 175–177 Reinhard, Ursula, 265, 341 Sandstrom, Boden, 339, 342 Reischeck, Andreas, 27 Sanger, Annette, 194 Rekedal, Jakob, 300 Sari, Mahmut Cemal, 288 Rempola, Leo, 378 Sankara Sastry, Emani, 55 Reyes Schramm, Adelaida, 147, 324–327 Santaella, Mayco, 378–379, 382 Reynolds, William C., 247–250, 252, 257–258, 260 Santamaria, Matthew C. M., 378 Rhodes Cooper, Joy, 83 Santos, Artur, 16 Rhodes, Willard, 27, 31, 72, 74, 81, 83–84, 87, 131, 135, 139, Sapper, Jörg, 267 176, 178–180, 217–218 Sardo, Susana, 228, 266–267 Ribeiro, Jorge, 228 Särg, Taive, 268 Rice, Timothy, xvii, 49, 57–58, 102, 106, 151, 188, 272, 291, Sarkissian, Margaret, 105, 202, 378, 412, 450 303–305, 318, 359, 437 Sárosi, Bálint, 56, 183, 365, 410 Richardson, Jon, 342 Sarrazin, Natalie 298–299 Richter, Pál, 79, 267, 294, 459 Saunders, S. J., 131 Rihtman, Cvjetko, 416 Sayfullina, Guzel, 361 Rijo Lopes da Cunha, Maria M., 290, 353–354 Saygun, Ahmed Adnan, 14, 16, 173, 175–176 Rimmer, Joan, 331 Scaldaferri, Nicola, 240–241 Ring, Morris, 73 Schaeffner, André, 76, 366 Ringer, Alexander L., 13, 47, 62, 84, 131–133, 179, 406–408, Schaffrath, Helmut, 396–387 410, 430 Scheepers, Wilhelmina D., 215 Ringot, Jean-Loup, 334 Schering, Arnold, 85 Rivere, Richelle, 378 Schiørring, Nils, 133, 179 Robb, John D., 176 Schippers, Huib, 202, 204, 234, 237–238, 336, 432, 459 Robert, Léopold, 271 Schneider, Marius, 366 Rodel, Angela, 43, 304, 423 Schofield, Derek, 6, 11, 17, 20–21, 23, 459 Roeder, John, 49 Schultz, Anna 298 Rogan, Bjarne, 7, 16, 24 Schuyler, Philip, 147, 349, 351 Romodin, Alexandar, 58 Schwab, Heinrich W., 221 Ronström, Owe, 100, 260 Schwörer-Kohl, Gretel, 334, 340 Roon, Marjolijn van, 77 Scott, Melissa, 354 Rosa, Laila, 345 Scott-Maxwell, Aline, 378 Ross, Lawrence, 378 Seale, Bobby, 136 Rossano, Salvatore, 240 Seaman, Gerald, 51 Rossi, Adriano, 288 Sebestyén, János, 81 Rostane, Rashisa, 350 Sebiane, Maho, 354 Rostropovich, Mstislav, 53 Seebass, Tilman, 183, 195, 223, 271–273, 275, 312 Rouget, Gilbert, 218–219 Seeger, Anthony, xvii, 41, 60, 83, 85–86, 94–97, 100–102, 104, Rovsing Olsen, Poul, 33–34, 37, 39, 88–89, 92, 99, 133–135, 107–108, 115, 139, 146, 148–155, 184–186, 195, 236–237, 139, 141–142, 145–146, 179–182, 223 323, 333, 396, 412, 426, 430–435 472 Index of People Seeger, Charles, 11, 99, 174–175, 313, 423, 429, 457, 460 Spiller, Henry, 450 Sejamoholo, Lebogang, 228 Sraieb, Nouredine, 350 Selleri, Sara, 336, 345, 460 Ssempijja, Nicholas, 442 Senalp, Togay, 359 Stacey, Cara, 228 Senders, Warren, 298 Stählin von, Jacob, 317 Senior, Doreen, 14 Stalin, Joseph, 51, 91 Sereetsi, Tomeletsi, 228 Stallman, Felicia, 126, 131–134, 137, 179, 415 Sermini, Omar, 351–352 Staro, Placida, 252, 258–259 Seroussi, Edwin, 262 Staššiková-Štukovská, Danica, 332 Serov, Aleksandr, 317 Statelova, Rosemary, 325 Sevåg, Reidar, 365 Stavělová, Daniela, 20–21, 29, 252, 258–260, 454, 460 Seye, Elina, 228, 230, 232 Stefanija, Leon, 158 Shafi, A. S. Hardy, 3783 Stehl, David, 430 Shaheen, Andrea, 354 Steinbech, W., 221 Shakhulyan, Tatvik, 58 Steingress, Gerhard, 195 Shakir, Mohamed Aziz, 350 Stepanek, Vladimir, 54 Shamilli, Gyultekin, 353 Stepputat, Kendra, 67, 258, 267, 380, 383–384, 455, 460 Shamsul, Amri Baharuddin, 381 Stern, Philip, 348 Shanon, Jonathan, 351 Stęszewski, Jan, 219, 318, 394 Shapiro, Ann Dhu, 339–340 Stief, Wiegand, 394 Sharp, Cecil, 6, 9, 12, 16, 21–25, 62, 71, 74–75, 78, 123–124, Stillman, Amy, 194, 311 174, 460 Stock, Jonathan, 101, 108–109, 152, 154, 186, 204 al Shawwa, Sami, 348 Stöckli, Matthias, 333–334 Shchurov, Vyacheslav, 53, 56 Stockmann, Doris, 269, 407, 410 Sheehy, Daniel, 234 Stockmann, Erich, xvii, 10–11, 52–54, 56, 71, 74–75, 80, 84, 89, Sherinian, Zoe, 450 91–97, 99, 129, 146, 150, 178–180, 182–184, 199, 211–212, Shirayeva, D., 51 217–219, 222–223, 263–265, 271, 273, 341–342, 363–364, Shirma, G., 51 366–367, 394, 406, 410, 422, 425, 429–430, 450 Shishikura, Masaya, 315 Stojanović, Josip, 177 Shishkina, Elena, 58, 318–319 Stojkova Serafimovska, Velika, 144, 302, 304–307, 445, 460 Shostakovich, Dmitri, 53 Stokes, Martin, 284, 287, 356 Shtarbanova, Anna, 254 Strajnar, Julijan, 93, 318, 365, 394 Shuldam-Shaw, Patrick N., 6, 11, 17 Strehlow, Theodor George Henry, 62 Shupo, Sokol, 303–305 Ströbitzer, Erna, 395 Shuwen, Qu, 345 Strohm, Reinhard, 58 Sibille, Christiane, 429 Stumpf, Carl, 293 Silverman, Carol, 305 Šubelj, Polona, xvii Silvers, Michael, 413 Sudirga, I Komang, 378 Silvestrini, Javier, 447 Suet Ching, Clare Chan, 378 Simeda, Takasi, 374 Sugarman, Jane, 101, 305 Simon, Artur, 241, 311, 340, 349 Sulaiman, Mohamed Adam, 443 Şimşek, Erdem, 359 Sullivan, Kirk, 160, 315 Singh, Jaideva, 177 Sultanova, Razia, 51, 58–59, 105–106, 108, 110, 117, 160, 188, Sipos, János, 357, 360 204, 261–262, 351, 356–360, 444–445, 461 Sirindhorn, Chakri, 188 Sumarsam, 378 Siritipa, Pargon, 267 Sumi, Gunji, 272 Sithole, Clement, 228 Suppan, Wolfgang, 183, 194, 218–219, 222, 263–264, 269, 365 Sjøberg, Irene, 249 Sutkowska, Olga, 334 Sjøberg, Juno, 249 Sutton, R. Anderson, 378 Skillen, Jane, 129, 131–133, 415 Sweers, Britta, 109, 202, 235, 237–238, 344–346, 446 Slaviunas, Z., 51 Swinson, Arthur H., 12–13 Sliužinskas, Rimantas, 58, 318–320 Sychenko, Galina, 58, 359–360 Slobin, Mark, 57, 132, 318 Szego, Kati, 108, 156, 185, 187, 314, 409–410, 413 Slocombe, Marie, 177, 388, 390, 421, 424 Smeets, Rieks, 428, 430, 435, 437 Smith, Barbara B., xiii, 84, 110, 154, 159–160, 310–315, 340, T 450, 452, 460 Smith, Constance Evadine, 134 Talam, Jasmina, 67, 296, 366 Smith, Laurajane, 433 Talamantez, Ines, 339 Smith, Stephanie, 20–21, 252, 258, 460 Tamboer, Annemies, 334 Smoluch, Łukasz, 320 Tampere, G., 51 Sokal’skii, Pëtr, 317 Tan, Arwin Q., 444 Sokolova, Alla, 361 Tan, Shzr Ee, 344–345, 378 Solbu, Einar, 102 Tan, Sooi Beng, 67, 108, 117, 164–165, 189, 205, 262, 378–379, Solomon, Thomas, 361 457 Sorce Keller, Marcello, 155, 203, 284, 286–288, 345 Tang, Patricia, 230–231 Sosimi, Dele, 232 Tansuğ, Feza, 361 Sowande, Fela, 177 Tari, Lujza, 294, 308 Soydaş, Emin, 353 Tāufa‘āhau Tupou IV, 105 Sparti, Barbara, 258–260 Tavlai, Galina, 58 Spelman, Elisabeth, 340 Tawfik, Kawkab, 354 Spencer, Robyn C., 134, 136 Taylor, Malcolm, 23 Index of People 473 Tchibor, Elena, 359 Velasco, Manuel, 240 Teaiwa, Teresia, 314 Velichkina, Olga, 267 Teffera, Timkehet, 353, 366–367 Vetterl, Karel, 29, 52, 219, 394, 422 Tenzer, Michael, 49 Vidić-Rasmussen, Ljerka, 304 Teo, Joyce, 377–378 Vierimaa, Irma, 342 Terada Yoshitaka, 108, 117, 197, 241–242, 326, 413 Vig, Rudolf, 52 Terauchi Naoko, 220, 369, 371, 461 Vikár, László, 52, 221 Ternhag, Gunnar, 366 Villepastour, Amanda, 228, 230–232 Thedens, Hans-Hinrich, 367 Villiers Stanford, Charles, 74 Thomas, Susan, 344 Vinati, Paolo, 241 Thornton, Philip, 25 Vinogradov, Viktor, 51–52 Till, Rupert, 334 Vinueza, María Elena, 301 Tilley, Leslie, 394 Vlaeva, Ivanka, 304, 307 Titon, Jeff Todd, 234, 237, 241 Vlastos, Gregory, 295 Todorova, Maria, 305 Vodušek, Valens, 394 Tokita, Alison, 372, 376 Vrbnjak, Eva, xvii Tokumaru, Yoshihiko, 48, 182, 409–410, 413 Vuia, Romulus, 25 Tolbert, Elizabeth, 344 Vuletic, Dean, 204 Tomlinson, Gary, 287 Vyzgo, Tamara S., 278 Topalli, Josefina, 303 Torp, Jörgen, 73 Torp, Lisbet, 5, 100–101, 249–254, 256–258, 410 W Toth, Margaret, 349 Tóth, Štefan, 247 Wachsmann, Klaus P., 14, 16, 31, 47, 76, 84–88, 122, 139, Touma, Habib Hassan, 58, 349–350 175–177, 179–181, 218–219, 405, 410, 416, 421–422 Tracey, Hugh, 18, 416 Wade, Bonnie, 85 Trærup, Birthe, 364, 367 Wade, Robert, 134–135 Trần Quang Hải, See Hải, Trần Quang Wagner, Tristan, 294 Trần Văn Khê. See Khê, Trần Văn Waked, Celine, 353 Travassos, Elizabeth, 195 Walcher, Maria, 186 Treloyn, Sally, 314–315 Waldheim, Kurt, 49, 183 Trimillos, Ricardo D., 85–87, 99–100, 147–148, 182, 193–194, Walker, Margaret, 262 310, 314–315, 326, 378, 410, 450, 461 Wall, Nicholas, 71 Tsai, Tsan-Huang, 369 Wallis, Roger, 194 Tsao, Penyeh, 185 Walpole, Sarah, 132 Tsitovich, G., 51 Wane, Marílio, 443 Tsitsishvili, Nino, 344 Wang Yaohua, 154, 185 Tsuge Gen’ichi, 183, 185, 271, 273 Wang, Ying-fen, xvii, 76, 174, 185, 245, 369–371, 374, 461 Tsukada Kenichi, 41, 102, 115, 369 Waseda, Minako, 369–370 Tsung-Te, Ted Tsai, 378–379 Wassan, Rafique, 345 Tuiasosopo, Kuki, 452 Waterman, Chris, 99 Tura, Yalçın, 279 Waterman, Richard, 99 Turk, Matija, 334 Watts, Dean Ronald, 139 Tuzi, Grazia, 240 Wayland, Desiree A., 379 Webb, Michael, 455 Weber, Max, 317 U Wegner, Ulrich, 425 Weiping, Zhao, 220 Urbanavičienė, Dalia, 258, 260 Weis Bentzon, Andreas Fridolin, 133 Urkevich, Lisa, 412 Wenz, Clara, 354 Urup, Henning, 249 Western, Tom, 290 Urup, Ida, 249 Wharton, Anne von Bibra, 258, 260 Usubov, Elkhan, 281 Whitehead, Alfred, 138, Utegalieva, Saule, 58, 359–361 Wiegold, Peter, 359 Wiering, Frans, 204 Wiggins, Trevor, 231 V Wilcken, Lois, 194 Wild, Stephen, xvii, 60, 83, 101–102, 104–106, 110, 152–156, Vaal, Henri van der, 272 158, 160, 184–186, 211, 220, 291–292, 310, 312, 315, 360, Väätäinen, Hanna, 342 369–370, 409–410, 412, 452, 459, 461 Valgeirsdottir, Sigridur, 249 Wilgus, D. K., 176, 218 Van Zile, Judy, 194, 250–251, 253–254, 256, 260 Willan, Healey, 138 Varga, Ovidiu, 177 Williams, Gwynn 130–131 Varga, Sándor, 258 Williams, Stephanie, 194 Vargyas, Lajos, 91–92, 217–218 Williams, William Stanley, 14–16, 130–131, 175–176 Vasić, Olivera, 304, 306 Wilson, Steuart, 12, 14–15, 72, 74 Vatin, Jean Claude, 349, 351 Wilson, Vicky, 5 Vaughan Williams, Ralph, 5–6, 8–12, 15–16, 21, 26–27, 46, 61, Wimbush, S. Enders, 54 71–76, 79, 128, 138, 171, 174–176, 180, 405, 408, 421, 424 Wiora, Walter, 46, 175–176, 180, 218, 221–222, 263–264 Vaughan Williams, Ursula, 124 Wissler, Holly, 241 Vaughn, Kathryn, 397 Witzig, Louise, 7, 9, 16–17, 175 Vedel, Klavs, 14–15 Witzleben, J. Lawrence, 108, 165, 199, 202, 370, 378 474 Index of People Wolf, Richard K., 199, 298–299, 461 Wolfram, Richard, 416 Wolpert, Rembrandt F., 365 Woma, Bernard, 229, 232 Wong, Cynthia P., 412 Wong, Deborah, 237 Wongratanapitak, Paphutsorn Koong, 444 Woo, Kim, 60, 83 Wood, Ursula, 72 Woojin, Kim, 373 Wrazen, Louise, 165 Wright, Owen, 351 Wuaku, Hilarius, 228 X Xiao Mei, xvii, 108, 187, 198, 204, 262, 370 Xueyang, Fang, 334 Y Yamaguti, Osamu, 199, 313, 371, 376 Yamine, Habib, 351 Yang, Yan-di, 187 al Yasin, Hayyaf, 353 Yassine, Hayaf, 355 Yates-Lu, Anna, 413 Yelemanova, Saida Abdrakhimovna, 58, 188, 444 Yoder, Carlos, xvii, 33, 40–42, 105, 108, 110, 113, 117, 126, 158–160, 162–163, 165, 187–188, 192, 230, 287–288, 296, 324, 326, 415, 418, 420, 462 Yong, Christine May, 274, 378–379, 382 Yu, Hui, 445 Yung, Bell, 374, 376 Yunusova, Violetta, 361 Yurchenco, Henrietta, 183, 214, 339–341 Yusupov, Leonid, 55 Z Zaderatsky, Vsevolod, 55 Zahra, Farah, 354 Zakić, Mirjana, 307 Zama, Thulile, 228 Zanten, Wim van, 76–78, 97, 102, 105, 154–155, 187, 201, 291, 378, 420, 426, 428, 431–432, 435, 462 Zarskienė, Rūta, 366 Zdravkova-Djeparoska, Sonja, 319 Zebec, Tvrtko, 253–254, 258, 260, 307 Zemp, Hugo, 149, 241 Zemtsovsky, Izaly, 52, 54, 56–57, 317–318, 320 Žganec, Vinko, 130, 175–176, 246 Zhang, Boyu, 109, 204, 229, 236–237 Zhuo, Chu, 295 Zhuzhunadze, Baia, 267 Ziegler, Susanne, 139, 219, 263, 265–269, 305, 339–342, 346, 358, 462 Zinhuku, Praise, 228 Zubović, Alma, 101 Document Outline Dedication Preface Introduction Svanibor Pettan, Naila Ceribašić, and Don Niles Abbreviations ORIGINS AND OPERATIONS Origins and Operations: Introductory Note The Origins and Establishment of theInternational Folk Music Council Don Niles Maud Karpeles:Her Contribution to Dance Research and to the Council Catherine E. Foley, Theresa Jill Buckland, Elsie Ivancich Dunin, Liz Mellish, Jeanette Mollenhauer, Derek Schofield, Stephanie Smith, Daniela Stavělová, and Ivona Opetcheska-Tatarchevska The Council’s By-laws:From Provisional Constitution to Statutes, Memoranda, and Guidelines Don Niles The World Network Svanibor Pettan Meditating on Ideology in the History of IFMC/ICTM Bruno Nettl The Council, the USSR, and the Issue of Political and Ideological Boundaries Razia Sultanova ICTM Archive Stephen Wild, Kim Woo, and Lee Anne Proberts GOVERNANCE Governance:Introductory Note Presidents Ralph Vaughan Williams:IFMC President, 1947–1958 Don Niles Jaap Kunst:IFMC President, 1959–1960 Wim van Zanten Zoltán Kodály:IFMC President, 1961–1967 Pál Richter Willard Rhodes:IFMC President, 1967–1973 Anthony Seeger Klaus Wachsmann:IFMC President, 1973–1977 Anthony Seeger Poul Rovsing Olsen:IFMC/ICTM President, 1977–1982 Peter Cooke Erich Stockmann: ICTM President, 1982–1997 Krister Malm Anthony Seeger: ICTM President, 1997–1999 Anthony Seeger Krister Malm: ICTM President, 1999–2005 Krister Malm Adrienne L. Kaeppler:ICTM President, 2005–2013 Adrienne L. Kaeppler Salwa El-Shawan Castelo-Branco:ICTM President, 2013–2021 Salwa El-Shawan Castelo-Branco Executive Boards Statistical Overview of the IFMC/ICTM Executive Board Carlos Yoder Secretariats The Secretariat under Maud Karpeles:London, UK, 1947–1963 Jeanette Mollenhauer The Secretariat under Robin Band, Barbara Krader, Felicia Stallman, Christian Ejlers, and Connie Matthews:London, UK, and Copenhagen, Denmark, 1963–1969 Don Niles and Carlos Yoder The Secretariat under Graham George:Kingston, Canada, 1969–1980 Beverley Diamond The Secretariat under Dieter Christensen:New York, USA, 1981–2001 Salwa El-Shawan Castelo-Branco The Secretariat under Anthony Seeger:Los Angeles, USA, 2001–2005 Anthony Seeger The Secretariat under Stephen Wild:Canberra, Australia, 2006–2011 Stephen Wild The Secretariat under Svanibor Pettan:Ljubljana, Slovenia, 2011–2017 Svanibor Pettan The Secretariat under Ursula Hemetek:Vienna, Austria, 2017–2021 Ursula Hemetek SCHOLARLY EVENTS Scholarly Events:Introductory Note World Conferences, General Assemblies, and Festivals Ursula Hemetek and Krister Malm Symposia Don Niles Colloquia Ricardo D. Trimillos Fora Svanibor Pettan STUDY GROUPS Study Groups:Introductory Note ICTM Study Groups: Origins and Issues Don Niles Current ICTM Study Group on African Musics Patricia Opondo ICTM Study Group on Applied Ethnomusicology Huib Schippers ICTM Study Group on Audiovisual Ethnomusicology Enrique Cámara de Landa and Leonardo D’Amico ICTM Study Group on Ethnochoreology Elsie Ivancich Dunin and Catherine E. Foley ICTM Study Group on Global History of Music Razia Sultanova ICTM Study Group on Historical Sources Susanne Ziegler and Ingrid Åkesson ICTM Study Group on Iconography of the Performing Arts Zdravko Blažeković ICTM Study Group on Maqām Alexander Djumaev ICTM Study Group on Mediterranean Music Studies Ruth F. Davis ICTM Study Group on Multipart Music Ardian Ahmedaja ICTM Study Group on Music and Allied Arts of Greater South Asia Richard K. Wolf ICTM Study Group on Music and Dance in Latin America and the Caribbean Marita Fornaro Bordolli ICTM Study Group on Music and Dance in Southeastern Europe Velika Stojkova Serafimovska ICTM Study Group on Music and Dance of Oceania Barbara B. Smith, Brian Diettrich, and Kirsty Gillespie ICTM Study Group on Music and Dance of the Slavic World Ulrich Morgenstern ICTM Study Group on Music and Minorities Ursula Hemetek ICTM Study Group on Music Archaeology Arnd Adje Both ICTM Study Group on Music, Education and Social Inclusion Sara Selleri ICTM Study Group on Music, Gender, and Sexuality Barbara L. Hampton ICTM Study Group on Music in the Arab World Scheherazade Q. Hassan ICTM Study Group on Music of the Turkic-speaking World Razia Sultanova ICTM Study Group on Musical Instruments Gisa Jähnichen ICTM Study Group on Musics of East Asia Ying-fen WANG, TERAUCHI Naoko, and Helen REES ICTM Study Group on Performing Arts of Southeast Asia Wayland Quintero and Patricia Matusky ICTM Study Group on Sound, Movement, and the Sciences Kendra Stepputat, Lara Pearson, and Rafael Caro Repetto Discontinued Committee on Radio/Television and Sound/Film Archives Krister Malm Some Reflections Concerning the Study Group on Analysis and Systematization of Folk Music and Other Early Study Groups Oskár Elschek ICTM Study Group on Computer Aided Research Ewa Dahlig-Turek PUBLICATIONS & EXPERTISE Publications and Expertise:Introductory Note The Council’s Journal Don Niles The Bulletin: A Vehicle for Connecting the ICTM Community Ursula Hemetek and Carlos Yoder Other Council Publications Don Niles ICTM, UNESCO, and Scholarly Expertise in the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage Wim van Zanten LISTENING & LOOKING AHEAD ICTM and Its Members: Views from Around the World Kirsty Gillespie, Daniel Kodzo Avorgbedor, María Gabriela López-Yánez, Mohd Anis Md Nor, Jennifer C. Post, and Selena Rakočević Contributors Index _GoBack _GoBack _GoBack _GoBack _GoBack _Hlk99828014 _Hlk99975879 _GoBack _GoBack _Hlk69388850 _Hlk69213224 _GoBack _Hlk69369384 _Hlk69321061 _Hlk69364981 _Hlk69365171 _GoBack _GoBack _GoBack The_Executive_Board Specialpurpose_EB_Committees _GoBack _GoBack _GoBack _Hlk38891215 _Hlk38721364 _Hlk38720059 _Hlk38721221 _Hlk38828225 _Hlk38734527 _GoBack _GoBack _GoBack _GoBack _Hlk48997831 _Hlk48932242 _Hlk46934467 _Hlk45886376 _Hlk46934129 _GoBack _Hlk46139002 CBML_BIB_000_023 CBML_BIB_000_024 CBML_BIB_000_075 CBML_BIB_000_091 CBML_BIB_000_702 CBML_BIB_000_276 CBML_BIB_000_292 CBML_BIB_000_304 CBML_BIB_000_314 CBML_BIB_000_315 CBML_BIB_000_316 CBML_BIB_000_317 _GoBack _Hlk42863938 _GoBack _Hlk44170301 _Hlk526155388 _Hlk41301987 _Hlk41332334 _GoBack _Hlk41331046 _GoBack _GoBack _GoBack _GoBack _GoBack _Hlk47551337 _Hlk41506694 _Hlk47623236 _GoBack _Hlk516487239 OLE_LINK3 OLE_LINK4 _Hlk48650334 _Hlk49240123 _GoBack _Hlk46222742 _GoBack _GoBack _GoBack _GoBack _Hlk41159811 _Hlk48027761 _GoBack _GoBack _Hlk45801824 _GoBack _Hlk528058893 OLE_LINK4 _Hlk528047703 _Hlk528060569 OLE_LINK5 _Hlk528060745 OLE_LINK6 _Hlk528130871 OLE_LINK17 OLE_LINK18 _Hlk528138288 OLE_LINK16 _GoBack _GoBack _Hlk38618755 _Hlk53166901 _GoBack _GoBack _Hlk104272084 _Hlk104274135 _Hlk104041840 _GoBack _Hlk104270327 _Hlk104270718 _Hlk104271082 _Hlk103928181 _Hlk103975199 _Hlk104271199 _Hlk103928248