Discussion Questions for Jones-Bamman
Discussion Questions (please respond, as usual, in "Comments" below):
1. What is the goal of this article? How do types of evidence, sources cited, and conclusions drawn help us understand what Jones-Bamman is seeking to accomplish? Hint: ask yourself the “So What?” and “Who Cares?” questions: that is, what is the significance of this article and for whom (which areas of scholarship) might it be useful and/or enlightening?
2. What is the impact or relevance of colonialism in the case of Saami culture and music? What was the historical impact of the colonial experience on Saami? What was the cultural impact? In the “post-colonial” period, what are the legacies of colonialism?
3. It seems to me that “appropriation” is a key term/concept in the case of both this article and in the case of those modern Saami singers who combined joiking with other and/or modern styles. Be prepared to define “appropriation” as it operates in this specific article, and to discuss its application and/or relevance to understanding the issues that these musicians faced. Moreover, can you think of parallel examples, perhaps from other readings?
4. Be prepared to explore the issue of “authenticity” in this case. The term is not necessarily employed, but I would argue that joiking, in the case of the Saami and of this article, came to represent “authenticity.” What were the prior associations of joiking? What strategies did Saami singers and cultural advocates employ to try to shift or “flip” these associations?
5. (further to 3 & 4 above) In light of this historical case, what is the relationship between minority ó majority; subordinate ó dominant; “primitive” versus “authentic”; and appropriation ó assimilation ó syncresis ó acculturation. I believe it is possible to relate all of these dichotomies, thereby building a model, applicable across cultures, which helps us understand and perhaps even predict the ways in which these interactions may operate.
6. What is the relationship, as laid out in this article, between joiking, cultural identity, and liminality? Be prepared to describe and explain. Moreover, be prepared to relate cultural identity, subordinate status, appropriation, and liminality. As with Question #5 above, I believe it is possible to build a model relating all four of these factors, and applicable across cultural situations.
7. What is the role of music in “cultural revitalization” initiatives? (Hint: see pp357ff) What are the nationalist motives driving cultural revitalization initiatives? What are the ethnic or minority motives? Do nationalist versus minority motives clash? Do they align? When and for what reasons? Cite examples from this particular case study.
8. Be prepared to summarize and describe the debates held by various Saami cultural advocates: governmental, academic, Saami, and Saami-in-the-Diaspora. All of these parties believed in the value of joiking as a tool in redressing the post-colonial legacy (see 2 above), but at various points in the debate (detailed by Jones-Bamman) all found themselves in disagreement about how, whether, and in what ways to employ it. What were the terms of this debate? What do those terms reveal about the issues that often arise in post-colonialist cultural-revivalist situations? (cf Dr Smith’s comments about many analogous situations elsewhere)
1. What is the goal of this article? How do types of evidence, sources cited, and conclusions drawn help us understand what Jones-Bamman is seeking to accomplish? Hint: ask yourself the “So What?” and “Who Cares?” questions: that is, what is the significance of this article and for whom (which areas of scholarship) might it be useful and/or enlightening?
2. What is the impact or relevance of colonialism in the case of Saami culture and music? What was the historical impact of the colonial experience on Saami? What was the cultural impact? In the “post-colonial” period, what are the legacies of colonialism?
3. It seems to me that “appropriation” is a key term/concept in the case of both this article and in the case of those modern Saami singers who combined joiking with other and/or modern styles. Be prepared to define “appropriation” as it operates in this specific article, and to discuss its application and/or relevance to understanding the issues that these musicians faced. Moreover, can you think of parallel examples, perhaps from other readings?
4. Be prepared to explore the issue of “authenticity” in this case. The term is not necessarily employed, but I would argue that joiking, in the case of the Saami and of this article, came to represent “authenticity.” What were the prior associations of joiking? What strategies did Saami singers and cultural advocates employ to try to shift or “flip” these associations?
5. (further to 3 & 4 above) In light of this historical case, what is the relationship between minority ó majority; subordinate ó dominant; “primitive” versus “authentic”; and appropriation ó assimilation ó syncresis ó acculturation. I believe it is possible to relate all of these dichotomies, thereby building a model, applicable across cultures, which helps us understand and perhaps even predict the ways in which these interactions may operate.
6. What is the relationship, as laid out in this article, between joiking, cultural identity, and liminality? Be prepared to describe and explain. Moreover, be prepared to relate cultural identity, subordinate status, appropriation, and liminality. As with Question #5 above, I believe it is possible to build a model relating all four of these factors, and applicable across cultural situations.
7. What is the role of music in “cultural revitalization” initiatives? (Hint: see pp357ff) What are the nationalist motives driving cultural revitalization initiatives? What are the ethnic or minority motives? Do nationalist versus minority motives clash? Do they align? When and for what reasons? Cite examples from this particular case study.
8. Be prepared to summarize and describe the debates held by various Saami cultural advocates: governmental, academic, Saami, and Saami-in-the-Diaspora. All of these parties believed in the value of joiking as a tool in redressing the post-colonial legacy (see 2 above), but at various points in the debate (detailed by Jones-Bamman) all found themselves in disagreement about how, whether, and in what ways to employ it. What were the terms of this debate? What do those terms reveal about the issues that often arise in post-colonialist cultural-revivalist situations? (cf Dr Smith’s comments about many analogous situations elsewhere)
posted by CJS at 9:21 AM
2 Comments:
1. I think the goal of this article is to show the reader what this joiking has gone through in only 50 years. He wanted to show the reader about the Saami culture and explain what this vocal genre of joiking is all about. He cited song lyrics from Jonsson and Lars Jonas displaying where Saami and joking music was in the early beginnings, and where it was taken over a period of thirty years. I think that Jones-Bamman might also be writing this article to make the reader aware of not only the Saami and their culture, but about other cultures as well. Even on page 353 Jones-Bamman talks about how "there have been those arguing these efforts to merge popular genres with Saami musical ideas...that result in something of dubious value to Saami culture." There have been those that oppose the use of the Saami dialect or language in popular music because it degrades the traditions of the culture. There are also people who say that this should happen because otherwise no one will get a taste of Saami culture. Most Saami youth do not even speak the tradition language. Jones-Bamman wrote this to show that there are different vehicles that appeal to different generations of culture. If the older generation won't record some traditional joiking, then it takes people thinking outside of the box to appeal to the new Saami youth.
3. Appropriation is a key term in this article. People will often do things that they deem themselves appropriate. If it suits their needs then they will put it into effect. These Saami artists did just that. Sven-Gosta Jonsson did just that. He would sing in the style of the time, but he would also wear traditonal Saami costumes. As Jones-Bamman said on pg 353, "Jonsson was a man caught between two cultures." Jonsson also did not sing in traditonal Saami language, but decided to sing in Swedish. However, he did sing about his culture, which for him was the right thing to do. He used appropriation to the fullest. Lars Jonas even said "I am Saami" on his 1991 CD. He also sang in Saami, which not many people of Saami heritage did. He also sang in the traditonal joiking, but also did joking with instruments, which was not the same as traditional joiking. Traditional joiking used no accompaniment. Johansso believed that "younger Saami listeners would be more inclined to identify with this genre, and thus pay more attention to his message." He knew that this was not the traditional way of joiking and that an older generation might be angered at him for doing so. But he thought that this was a way to get to the youth and to encourage the Saami youth to take interest in their culture. Johansson himself said "if you are going to turn around the youth, then you have to use a little of their language and the musical style they want to listen to." He knew that this is not what was original, but is what might get the Saami youth to listen to their language and get excited about being a Saami again. For so long it was wrong to be Saami, or Lap. People of Saami heritage did not tell anyone because they did not want to associate themselves with it. Johansson tried to figure out a way to make it cool to be a Saami again.
As with the rest of the world, authenticity gets in the way. It seems that these pop artists who use Joiking with instruments are creating a new genre, not something that destroys the old. If music did not evolve, then it would die from boredom. One argument raised about joiking is that it is taken out of context. This may be so, but to acknowledge that it is not being used in the proper context is also to acknowledge that it is a remembrance of the context to which it initially served. Therefore, it serves its original purpose. Another argument is that because it is recorded and performed with instruments, its improvisatory nature has diminished. This may have been true for anything that has an experimental beginnings, but eventually it will work itself out into the contexts and new aesthetic situations that it serves.
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