How copyright shapes the nature, value, and meaning of musical creativityCopyright Consciousness explores the mutual influence of intellectual property law, musical creativity, and state cultural policy in Turkey's vibrant music industry. Drawing on ethnographic and archival data from the past five decades, this book is among the first in-depth ethnographies of music and the law. Adapting theories of legal consciousness and introducing them into ethnomusicology, it documents how a broad range of actors, from courts to composers, negotiate and constitute an emergent legality in music. It tracks how these actors make sense of and respond to the music copyright system's purported failures and perceived injustices, often integrating their experiences into larger narratives about Turkish society, the nature and value of musical creativity, and the histories of national genres, especially folk music.

Six decades of writing on literature and art by one of the most significant poets of our timeMeditations gathers together in one volume for the first time an extensive collection of the prose work of Barbara Guest (1920-2006), one of the major voices of twentieth century American literature. Known primarily as a poet, Guest worked in many styles, all represented herein: essays, lectures, art criticism, literary and art reviews, as well as forms of fiction, biography, poetic prose, drama, comics, and other mixed-genre pieces. This collection of the poet's prose illuminates Guest's singular genius, highlighting her structural awareness of language and placing her within the vanguard of American poetry. Much of her writing initially appeared in special editions, often through collaborations with visual artists. Lyrical and intellectually soaring, this collection is a treasure of insights into the relationship between language, image, and imagination. Joseph Shafer's introduction provides a meaningful context for sixty years' worth of critical and creative prose by one of America's finest poets.

Playful love poems to kids, coral reefs, and crowsWinner of the 2024 Cardinal Poetry PrizeFive-Paragraph Essay on the Body-Mind Problem is the inaugural winner of the Cardinal Poetry Prize, selected by renowned poet Robert Pinsky. In free verse and invented poetic forms, Rachel Trousdale explores how the interplay between the mind and body illuminates our most important relationships, whether with other humans, wild spaces, or works of art. Inhabited by crows, yetis, coral reefs, and aliens, these poems playfully examine the intensity and conflict of romantic love; the entropic joys of parenthood; illness and grief; and the ways our physical loves and intangible losses teach us responsibility to the world around us. [Sample Poem]Love Poem With Dereliction of DutyIt's true—I like you more than I like the Marquis de Sade; God that mid-April afternoon in 1995, when I said, "let's take a walk" and you said "sure" and we circled the New Haven Green saying who the hell knows what because if we had seen all this falling in love stuff coming, we would have paid more attention; I just know it took two hours, past the churches and the porn shop and over to the cemetery with all those skull-topped slabs leaning memorially against the brownstone wall; round and round we went like marbles dodging the traps in a game of labyrinth; and finally back to campus through that big stone gate which we entered just as the prof of the philosophy class I was skipping came out and I said oh the pain the pain I can't take it any more and doubled up laughing

Archiving stories of dissonance and curating connection inside the imagined museumThis extraordinary debut poetry collection by Dena'ina poet Annie Wenstrup delicately parses personal history in the space of an imagined museum. Meticulously refined and delicately crafted, Wenstrup's poems weave together the lived experiences of an Alaskan Native person and the histories of unresolved colonial violence in "an authorial reckoning//with what remains." Outside the Museum of Unnatural Histories Ggugguyni, the Dena'ina Raven, and The Museum Curator collect discarded French fries, earrings, and secrets—or as The Curator explains, together they curate moments of cataclysm. Inside the museum, their collection is displayed in installations that depict the imagined Indigenous body. Every artifact contains competing stories, while some display cases are left empty.Into this "distance between the learning and the telling," Wenstrup inserts The Curator and her sukdu'a, her own interpretive text. There, The Curator questions the space between her familial history and colonial constructs of authenticity. In particular, the poems explore how women experience embodiment when they are seen through filters of race, gender, and class: "Always, I've known I embody that which harms me." At the heart of the sukdu'a is the desire to find a form that allows the speaker's story to be heard.Through love letters, received forms, and found text, the poems reclaim their right to interpret, reinvent, and even disregard artifacts of their own mythos to imagine a future that exists despite the series of disasters and apocalypses documented inside the museum. Eventually it begins to dawn on us that this museum may not be separable from the world, and that there may be no exit from its unnatural histories, composed of beauty and foil wrappers, wilderness and contaminated waters. Here, it is up to each one to "decide/who you must become."[Sample Poem]Ggugguyni in the Museum Parking LotI watch her crow. Not as a crow crows but as herself. She's not here for the art. She's here for the minivans that devourdiaper bags, car seats, children. She waits for the doors to retract and expel fruit, Goldfish, and fries. Free for the taking.She scavenges in lurching, crab-like steps. Like me, she won't appear human here. While her legs bring her from one deliciousscrap to another, I work my own inventory. Once my parents named me Swift Raven— a real Indian Princess name.I flew unblinded, my hair in a blue-black braid down my back. Now, I'm ungainly, more harpy than girl. My mouth, a curvecalling for carrion. I'm not here for the art. I'm here for the mirrors, here to unpair earrings and unclasp foil from gum. My beakready to unbind carapace from quiver. Like Ggugguyni, I'm a scavenger lurching from one disaster to another.See how we curate cataclysms' aftermath. While we work, Ggugguyni tells me a story. Once, my grandfather said, a long time agothere was a raven. He opened a door and it was day. Then he drew his wing shut. What Ggugguyni didn't say, but what I heard: oncehe closed the door and it was night. Today I'm telling you this story instead: my mouth is a comma, my mouth is exclamation,my mouth is my body holding open the door. Witness my body create day. See how the light appraises my collection. See how the sunlight exposes how shadow bleached everything white.

Keen, pithy meditations on a world that continues to surprise us /> />The poems in Pulitzer Prize-winner Rae Armantrout's new book are concerned with "this ongoing attempt/ to catalog the world" in a time of escalating disasters. From the bird who "check-marks morning/once more//like someone who gets up/to make sure// the door is locked" to bat-faced orchids, raising petals like light sails as if about to take flight, these poems make keen visual and psychological observations. The title Go Figure speaks to the book's focus on the unexpected, the strange, and the seemingly incredible so that: "We name things/ to know where we are. " Moving with the deliberate precision that is a hallmark of Armantrout's work, they limn and refract, questioning how we make sense of the world, and ultimately showing how our experience of reality is exquisitely enfolded in words. "It's true things fall apart." Armantrout writes. 'Still, by thinking/we heat ourselves up." /> />Sample Text /> />HYPER-VIGILANCE /> />Hilarious, /> />the way a crab's slender />eye-stalks />stand straight up /> />from its scuttling />carapace— /> />the way vigilance />takes many forms? /> /> * /> />That bird check-marks morning />once more /> />like someone who gets up />to make sure /> />the door is locked. /> /> * /> />I sound />like I know />what I'm talking about. /> />I sound like a comedian.

Creative visions of Arctic geography from Indigenous perspectivesGrounded in the spatiality of Indigenous existence, Circumpolar Connections: Creative Indigenous Geographies of the Arctic is an innovatively foundational book about experiences and conceptions of geography in the circumpolar world. The book centers Arctic writers and artists as creators of space and disseminators of geographical knowledge emerging from Indigenous epistemologies. It collects newly commissioned poems, short stories, and essays that are accompanied by responses in the form of visual art – including paintings, photographs, and mixed media artworks – as well as brief academic reflections. Containing multiple languages - from English and Russian to North Sámi, Kalaallisut, and Sakha – as well as translations, the book is grounded in dialogues and conversations between creative practitioners from across the circumpolar North. Among others, they include Alutiiq, Eyak, Gwich'in, Innu, Inupiaq, Inuvialuk, Lingit, and Yup'ik writers and visual artists, alongside Indigenous and non-Indigenous scholars. Extending "geo-" beyond earth and "-graphy" beyond writing, the creative geographies of Circumpolar Connections powerfully expand the Arctic into manifold spaces imagined by a multiplicity of Indigenous stories and aesthetic forms. In doing so, they offer circumpolar conversations that speak to Arctic communities while reaching out to global audiences.[Sample Text]English language assimilation as a bite of sashimiit is like I am eating my own tongue cut precisely, a flesh trianglecool red bloodlessand placed in my mouthI cannot speakit tastes like my own tonguesalt and fleshI am eating my own tonguethe weight of it

A study of transoceanic musical appropriation and Swahili ethnic subjectivity on the Kenyan coastSounds of Other Shores takes an ethnographic ear to the history of transoceanic stylistic appropriation in the Swahili taarab music of the Kenyan coast. Swahili taarab, a form of sung poetry that emerged as East Africa's first mass-mediated popular music in the 1930s, is a famously cosmopolitan form, rich in audible influences from across the Indian Ocean. But the variants of the genre that emerged in the Kenyan coastal city of Mombasa during the twentieth century feature particularly dramatic, even flamboyant, appropriations of Indian and Arab sonic gestures and styles. Combining oral history, interpretive ethnography, and musical analysis, Sounds of Other Shores explores how Swahili-speaking Muslims in twentieth-century Mombasa derived pleasure and meaning from acts of transoceanic musical appropriation, arguing that these acts served as ways of reflecting on and mediating the complexities and contradictions associated with being "Swahili" in colonial and postcolonial Kenya. The result is a musical anthropology of Kenyan Swahili subjectivity that reframes longstanding questions about Swahili identity while contributing to broader discussions about identity and citizenship in Africa and the Indian Ocean world.

New poetry by the author of acclaimed 2023 novel Take What You Need faces the complexities of life on a swiftly heating earth./>/>Idra Novey's first collection in a decade, since Patricia Smith chose Exit, Civilian for the National Poetry Series, brings a lyric intimacy to the extremes of our era. The poems juxtapose sweltering days with children in a city with moments from a rural childhood roaming free in the woods, providing a bridge between those often polarized realities. Novey's spare, contemporary fables move across the Americas, from a woman housesitting in central Chile, surrounded by encroaching fires, to a man in New York about to give birth to a panda./>/>Other poems return to the Allegheny Highlands of Appalachia, where Novey revisits the roads and creeks of her childhood: "Maybe we knew we only appeared/to be floating, but soon and wholly/we'd go under" Like Lydia Davis and Anne Carson, Novey draws from the well of her work translating myriad authors, from Brazilian writer Clarice Lispector to Iranian poet Garous Abdolmalekian, and from her own award-winning novels. These are deeply lived poems, evoking both a singular life and the shared urgencies of our time, a collection of great inventiveness and wit, conjuring our "bit part in the history of the future."/>/>[sample text]/>/>The Duck Shit at Clarion Creek/>/>We liked to stick it in a BB gun and shoot it./>/>We tattooed with it./>/>We said Hallelujah, the poor man's tanning lotion./>/>Then the frack wells began, something black capping the water and we got high watching a green-backed heron die./>/>We got funny at Clarion, flung each other's underwear into the trees./>/>Why was it we got naked there like nowhere else?/>/>Maybe we knew we were getting rusted inside as the trucks we rode into the water./>/>Maybe we only appeared to be floating, but soon and wholly we'd go under, get sucked to the bottom./>/>We'd sink and become creek bed; its deep mud would claim us, hold us hard and close.

Intimate and sweeping poetry that examines race and lineage.Room Swept Home serves as a gloriously rendered magnifying glass into all that is held in the line between the private and public, the investigative and generative, the self and those who came before us. In a strange twist of kismet, two of Bingham-Risher's ancestors intersect in Petersburg, Virginia, forty years before she herself is born: her paternal great-great-great grandmother, Minnie Lee Fowlkes, is interviewed for the Works Progress Administration Slave Narratives in Petersburg in 1937, and her maternal grandmother, Mary Knight, is sent to Petersburg in 1941, diagnosed with "water on the brain"—postpartum depression being an ongoing mystery—nine days after birthing her first child. Marrying meticulous archival research with Womanist scholarship and her hallmark lyrical precision, Bingham-Risher's latest collection treads the murky waters of race, lineage, faith, mental health, women's rights, and the violent reckoning that inhabits the discrepancy between lived versus textbook history, asking: What do we inherit when trauma is at the core of our fractured living?[sample poem]XI. the more ground covered, the more liberated you becameI am scared my mind will turn on me.I am scared I will be naked in a burninghouse. I am scared my children won't outpace me.I am scared my children (who aren't made by me)believe I am a sad imitation of the others.I am scared I will gather in a roomwhere everyone will ask me to rememberand when I don't lie they'll say I'd hate to be you.I've lived long enough to be scared my kidneyswill give out on me. I've lived long enough to know justwhen they should. I have never shared my fearswith anyone; I am scared they will map the landand take liberties. Will the women be ashamed?I'm scared to ask. What will live again? What will die with me?

Examines John Coltrane's "late period" and Miles Davis's "Lost Quintet" through the prisms of digital architecture and experimental photographyLiving Space: John Coltrane, Miles Davis and Free Jazz, from Analog to Digital fuses biography and style history in order to illuminate the music of two jazz icons, while drawing on the discourses of photography and digital architecture to fashion musical insights that may not be available through the traditional language of jazz analysis. The book follows the controversial trajectories of two jazz legends, emerging from the 1959 album Kind of Blue. Coltrane's odyssey through what became known as "free jazz" brought stylistic (r)evolution and chaos in equal measure. Davis's spearheading of "jazz-rock fusion" opened a door through which jazz's ongoing dialogue with the popular tradition could be regenerated, engaging both high and low ideas of creativity, community, and commerce. Includes 42 illustrations.

Inventive poetry explores Jewish identity in America /> />"How can I teach a prayer / I only know how to recite?" "America, whose death / didn't you come from?" These are some of the questions that poet Joshua Gottlieb-Miller wrestles with in his beautiful, gripping new collection. By turns experimental and documentary, Dybbuk Americana draws out the questions around Jewish identity in the United States, and what it means to pass on Jewish identity to one's child. This hybrid text draws on art, mysticism, and history, taking the dybbuk, a figure from Jewish folklore, as its central metaphor. A dybbuk is a restless spirit who inhabits another's body, and as a possessing spirit the dybbuk is often treated as a demonic force, but it can be read as merely trying to climb the ladder of the afterlife. In other words, a kind of striver. Enacting the idea of competing selves in one body, Dybbuk Americana plays with form via a series of text boxes that create a multi-channel effect on the page. The body of the poem can be read with surrounding and intercutting text boxes to generate multiple interpretations. This innovative poetic technique maintains a dialogue with Jewish literary lineages: Talmudic commentary and interpretation of the oral law, as well as the fragmented nature of geniza, a place where Jews store sacred documents when they fall out of use. Dybbuk Americana weaves together the father-son arc within a larger socio-political commentary and historical narrative. Poems move deftly between the ironic and the mystic, from aphoristic questioning and inventive narratives, to interview, oral history, and archival materials. In these lines, "the angels./ They get as close as they can." Witty, curious, warm, and searching, Dybbuk Americana signals a fresh voice in Jewish-American poetry. [sample text] CHAIN MIGRATION It took ten men />to make a minyan, /> />but only one name />of G-d for us to share, /> />so we settled on />America, one by one, /> />we settled on America, />man and woman. /> />My grandfather />earned his way over /> />shoveling coal />in the hold of a boat. /> />Grandmother sewed />gold into her coat. In secret /> />they sewed, they sold, />they glowed. I dream of /> />gold. G-d's name in gold />milked and honeyed /> />in the dust />beneath our boots— /> />our dust. And when they made />a minyan and didn't /> />realize it? And when />they married in /> />and didn't realize it? />No matter: they sewed, /> />they sold, they glowed. />Yes, they sold /> />their solid gold, sold gold />into gold, sewed gold /> />together into dust. />When I was born /> />they gave me />a dead man's name. /> />But that's true />for everyone.

A multivoiced dance history book, authored by twelve diverse choreographersIn an effort to deepen our understanding of what dance is and how it has functioned throughout human history, this prismatic book project is dedicated to an artist-centric perception of dance history. Diverse dance artists from the American dance field contribute personal views of how dance has unfolded over time, answering the question: "Who is in your imaginary dance family tree, FROM the beginning of time to YOU/now?"Twelve illustrated booklets, each written by a working choreographer, address the subject of dance history from nonacademic, subjective, poetic perspectives. The books model a way of enlarging and complicating how we view dance history by giving the authorial microphone to artists, to learn how their embodied perceptions relate to or diverge from the dominant dance canon.With contributions by mayfield brooks, Thomas F. DeFrantz, Maura Nguyen Donohue, Keith Hennessy, Bebe Miller, Okwui Okpokwasili, Eiko Otake, Annie-B Parson, Javier Stell-Fresquez, Ogemdi Ude, Mariana Valencia, and Andros Zins-Browne.Published by Big Dance Theater, Dancing Foxes Press, and Wesleyan University Press with support of the Howard Gilman Foundation and Virginia and Timothy Millhiser.

Classic and new work by poet and jazz writer A. B. Spellman /> />A.

Anthology of new work honoring the legacy of a celebrated African American poet/>/>This carefully and generously curated mosaic of essays, letters, and poems reveals the profound impact that poet Yusef Komunyakaa has had on poets, educators, and readers worldwide. The anthology brings together creative and critical offerings from fellow poets, former students, literary entities, and other admirers. There are emerging and established voices—from previously unpublished writers to Pulitzer Prize winning poets. Together these pieces honor one of the most influential writers of the last half century, one, it turns out, who is as beloved for his teaching as he is celebrated for his creative work. Contributors include Terrance Hayes, Sharon Olds, Carolyn Forché, Toi Derricotte, and Martín Espada, among others. Dear Yusef affirms Komunyakaa's transformative influence, showcasing how his mentoring has ignited creativity, nurtured passion, and fostered a sense of belonging among countless individuals. Through the artistry of these testimonials, we witness the transformative power of poetry and the enduring legacy of a true literary icon./>/>Sample Poem:/>/>from "Reading Yusef," by Major Jackson/>/>Over powdered beignets,/>over a demitasse of chicory/>near Royal, I came to grips I am the lonely sort/>for I am ever seeking potions,/>my head sideways, a book winged/>in my hand, its words from the chitlin circuit,/>fried dough going cold and congealing,/>passing tourists drowned out,/>a sullen look on my face. It is when I most/>want to make love./>/>Dostoevsky was a way out of my confusion,/>as was Baraka whom I gave my reverence freely./>/>Nothing I believed stayed, and thus, my melancholy/>deepened though banjos and clarinets played/>the streets through late afternoon rain, maybe/>Black Bottom Stomp, eucalyptus and live oaks/>aging against arpeggio-runs./>/>from "The Forty-Fourth Poem," by Jennifer Grotz/>The first student in my correspondence course who completed the final lesson on Dien Cai Dau was, like many students in that course, incarcerated in the Indiana State Penitentiary. In his essay, he wrote that Dien Cai Dau was the first book of poems he'd ever read. He'd been so taken with the experience that he'd proceeded to read poems from it aloud to his fellow inmates, after which they'd exchanged stories about being in the military, about Vietnam. He wrote about what it was like to witness violence. About what it was like to be numb, or to want to be numbHe also wrote about appreciating beauty, especially natural beauty, and of an awareness of gratitude for some grace that had nonetheless kept him alive, about how the poems still gave him hope. Dien Cai Dau had had a profound effect on him./>/>from "Dear Yusef," by Emily Jungmin Yoon/>The framework of your class was always care. Because you cared for us, we cared for one another. From then on, my poetry was always about love, even when it spoke through ugly histories, because I wanted to love the people in those narratives.

Site-specific expressive ecologies sustain Korean folk culture in a globalizing world/>/>The madang is a key space and concept for Korean drummers and dancers. Literally a village circle, the madang is also a metaphor for an expressive occasion or cultural space of embodied participation. Korean performers step in the madang as a means of bringing their bodies into purposeful contact with the particular time and place of performance. Kwon contends that the participatory way of being that is cultivated in the madang counteracts the fossilization of tradition by bringing folk practices more fully into the embodied present, even if in an idealized fashion. The madang draws attention to the body; it increases one's awareness of space and place; and it creates open-ended performances that are conducive to a more dynamic range of social interactions. The book starts with a study of a Korean p'ungmul group that maintains a vibrant, expressive ecology in rapidly globalizing Korea. Kwon documents how historical trends, transmission practices, communal labor, and performative ritual all support this expressive ecology. The book then examines how these practices inspire meaningful, site-focused expressions of folk culture in regional, national, and transnational spaces.

**A new understanding of the birth of jazz through a fine-grained social history of early African American musicians **Brassroots Democracy recasts the birth of jazz, unearthing vibrant narratives of New Orleans musicians to reveal how early jazz was inextricably tied to the mass mobilization of freedpeople during Reconstruction and the decades that followed. Benjamin Barson presents a "music history from below," following the musicians as they built communes, performed at Civil Rights rallies, and participated in general strikes. Perhaps most importantly, Barson locates the first emancipatory revolution in the Americas—Haiti—as a nexus for cultural and political change in nineteenth-century Louisiana. In dialogue with the work of recent historians who have inverted traditional histories of Latin American and Caribbean independence by centering the influence of Haitian activists abroad, this work traces the impact of Haitian culture in New Orleans and its legacy in movements for liberation. Brassroots Democracy demonstrates how Black musicians infused participatory music practice with innovative forms of grassroots democracy. Late nineteenth-century Black brass bands and activists rehearsed these participatory models through collective performance that embodied the democratic ethos of Black Reconstruction. Termed 'Brassroots Democracy,' this fusion of political and musical spheres revolutionized both. Brassroots Democracy illuminates the Black Atlantic struggles that informed music-as-world-making from the Haitian Revolution through Reconstruction to the jazz revolution. The work theorizes the roots of the New Orleans brass band tradition in the social relations grown in maroon ecologies across the Americas. Their fruits contributed to the socio-sonic commons of the music we call jazz today.