Indo-Muslim music, poetry, and dance in North America

Amerasia Journal

Volumn 31, Issue 1, 2005, Pages 81-102

  Leonard, Karen ^a   Sakata, Hiromi Lorraine ^b,c  

^a UNIVERSITY OF CALIFORNIA   (United States)

^b Department of Ethnomusicology ^*

^c UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63549087596     PISSN: 00447471     EISSN: None     Source Type: Journal    
DOI: 10.17953/amer.31.1.70g0k4n121n58261     Document Type: Review

References (31)

1. Arjun Appadurai terms those easily transformed as soft (as opposed to hard) cultural forms. Arjun Appadurai, "Playing with Modernity: the Decolonization of Indian Cricket," in Carol A. Breckenridge, ed., Consuming Modernity: Public Culture in a South Asian World (Minneapolis: University of Minnesota Press, 1995), 24
2. For music in South Asian diasporic communities, see Gregory Diethrich, "Desi Music Vibes: the Performance of Indian Youth Culture in Chicago," Asian Music 31:1, 35-61
3. Karen Isaksen Leonard, South Asian Americans (Westport, Connecticut: Greenwood Press, 1997)
4. Hiromi Lorraine Sakata, "Spiritual Music and Dance in Pakistan," Etnofoor: antropologisch tijdschrift 10:1/2 (1977), 165-173
5. C.M. Nairn, "Ambiguities of Heritage," Toronto Review 14:1, 1-5
6. Sally Howell, "The Art and Artistry of Arab Detroit: Changing Traditions in a New World," Nabeel Abraham and Andrew Shryock, eds., Arab Detroit: From Margin to Mainstream (Detroit: Wayne State University Press, 2000), and "Cultural Interventions: Arab American Aesthetics Between the Transnational and the Ethnic," Diaspora 9:1, 59-82
7. India Today, December 31, 1994
8. Regula Burckhardt Qureshi, Sufi Music of India and Pakistan: Sound, Context, and Meaning in Qawwali (Chicago: University of Chicago Press, 1995)
9. Spencer J. Trimingham, The Sufi Orders in Islam (Oxford: Clarendon Press, 1971), 195
10. John Rockwell, "Qawwali Music Stirs the Audience," New York Times, March 5, 1975
11. Hiromi Lorraine Sakata, "The Sacred and the Profane: Qawwali Represented in the Performances of Nusrat Fateh Ali Khan," The World of Music 36:3 (1994), 86-99
12. Urdu, Pakistan's official national language, is substantially the same as Hindi but is written in Arabic script
13. Petievich, "Intertwining Religion and Ethnicity," states that most participants are men (162), but Leonard has noticed many women among association leaders and poets
14. Ras H. Siddiqui, Pakistan Link, January 12, 2001
15. Pakistan Link, December 9, 1994
16. A geet and ghazals evening hosted by the southern California Pakistani American Arts Council in a college auditorium featured not only Salamat Ali Khan, Pakistan's well known vocalist, but two of his sons, who are based in San Francisco and play some fusion music, along with a noted percussionist from Pakistan, Abdul Satar Tari, then residing in New Jersey but now in southern California. See Peter Manuel, "The Popularization and Transformation of the Light-Classical Urdu Ghazal-Song," in Arjun Appadurai, Frank J. Korom, and Margaret A. Mills, eds., Gender, Genre, and Power in South Asian Expressive Traditions (Philadelphia: Univer-sity of Pennsylvania Press, 1991), 347-361, for the "Hinduization" of the ghazal in India today
17. Rajesh Thakkar, "Transfer of Culture through Arts: the South Asian Experience in North America," in Milton Israel and N.K. Wagle, eds., Ethnicity, Identity, Migration: The South Asian Context (Toronto: Center for South Asian Studies, University of Toronto, 1993)
18. Ashwani Sharma, "Sounds Oriental: the (Im)possibility of Theorizing Asian Musical Cultures" in Dis-Orienting Rhythms: The Politics of the New Asian Dance Music ( London: Zed Books, 1996), 26
19. The MIT South Asian American Students (SAAS) sponsor the Boston Bhangra Blast where student teams from MIT, Harvard, the University of Massachusetts, Tufts, Northeastern, Cornell and Boston University compete: The Tech, November 2, 1999, 119:55, http://www.tech.mit.edu/V119/N55/bhangrablast.55f.htm
20. Bay Area Tamil Manram Newsletter, Issue 2, February 1998. http:// www.indsangh.com/tmanram/newsletter/Feb98/bhangra.htm
21. Ilana Abramovitch, "Flushing Bharata-Natyam: Indian Dancers in Queens, N.Y.," paper at 17th annual Conference on South Asia, University of Wisconsin, November, 1988
22. India-West, July 25, 1997; Leonard attended another debut in southern California, of sisters from Karachi, in 2004
23. Kiren Ghei, "From Bhangra to Kuchipudi: Movement Dimensions of Indian Public Events in Los Angeles," paper at Western Conference of the Association for Asian Studies, CSU, Long Beach, October, 1989
24. Miss India Georgia, directed by Sharon Grimberg and David Friedman, 1998
25. For Pakistani musicians of the Sham Chaurasi gharana, see Adam Nayyar, "Punjab" in The Garland Encyclopedia of World Music, vol. 5, South Asia: the Indian Subcontienent (2000), 78
26. see also Daniel M. Neuman, The Life of Music in North India: the Organization of an Artistic Tradition (Chicago: University of Chicago Press, 1990)
27. See Sharma, "Sounds Oriental," 28
28. Davey D, "What is Hip Hop?" http://www.daveyd.com
29. Also see Jeff Chang, Can't Stop, Won't Stop: A History of the Hip-Hop Generation (New York: St. Martin's Press, 2005)
30. For traditional Afghan music, Hiromi Lorraine Sakata, Music in the Mind: the Concept of Music and Musicians in Afghanistan (Washington: Smithsonian Institution Press, 2002)
31. Mattias Gardell, In the Name of Elijah Muhammad: Louis Farrakhan and the Nation of Islam (Durham: Duke University Press, 1996), 293-300