Traveling spirit masters: : Moroccan Gnawa trance and music in the global marketplace

• Autores: Margaret A. ills
• Localización: The Journal of American Folklore, ISSN-e 1535-1882, Vol. 127, Nº. 503, 2014, págs. 91-93
• Idioma: inglés
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• Resumen

  • Whatever the order of going, one learns a lot from this book about the cultural specificity of trance experiences and the complexities of recent and ongoing translations from performative practices grounded in specific local spiritual ex- periences and belief systems (moroccan Gnawa) to international entertainment genres and per- formance spaces ("trance music" as a world mu- sic category, and world music as a performance circuit). while there are musicological common- alities supporting some intercultural collabora- tive performances (e.g., randy weston with Gnawa musicians) as both possible and exciting, as kapchan reiterates at several points, trance practices are diverse in origin, form, and ethos, in their local development over time and in prac- tice, though the world music industry markets "trance music" as a kind of primordial, holistic category or genre ("ageless, timeless music that reaches into the heart of Africa," from liner notes by barnwell and lawrence, Trance 2, ellipsis Arts, 1995, quoted on p. 147). here she aptly but briefly brings Johannes Fabian (Time and the Other, columbia university Press, 2002) to our intellectual rescue.