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UID:5df4957459f3f423ac94101f1227ddf1
CATEGORIES:Séminaire du CREM
CREATED:20230620T143146
SUMMARY:M. Stokes — Hydropoetics, Song and ‘Deep Time’ in an Anatolian Landscape
LOCATION:Lesc – salle 308F (3e étage) - 21\, allée de l’Université\, Nanterre\, \, 9
 2000\, France
DESCRIPTION:Avec Martin Stokes*\nThe case of Enver Demirbağ (1935-2010), a noted vocali
 st in the ‘Harput Music’ (‘Harput Müziği’) tradition of South East Anatolia
 , invites thinking about the relationships between vocal production and geo
 logical deep time. This is, indeed, a catastrophic landscape, marked by inu
 ndations and earthquakes, deeply etched in local myth and mysticism. And by
  human and more recent ecological catastrophes, too. One is the nearby Keba
 n dam,\ncompleted in 1974, intended to supply the Turkish state with a quar
 ter of its electricity needs. Demirbağ’s voice is coterminous with the dam,
  with the wealth it bought, briefly, to the region, and with the decline th
 at followed. We might want to think, however, about the entanglement of thi
 s voice and its poetry with the landscape on a much broader scale. With ref
 erence to some recent ethnographic thinking, notably that of Gordon Gastill
 o on rubble (Gastillo 2014), David Irvine on anthropology and geological de
 ep time (Irvine 2022), and the 'environmental humanities' touching ethnomus
 icology at the moment, I will explore the ‘hydropoetic’ entanglement of voi
 ce, water and landscape in this - and broader - contexts. \n\n* Martin Stok
 es is King Edwards Professor of Music at Kings College London. His most rec
 ent book is Music and Citizenship (Oxford, 2023). Currently he is PI of the
  ERC/UKRI project 'Beyond 1932: Rethinking Musical Modernity in the Middle 
 East and North Africa'.\n
X-ALT-DESC;FMTTYPE=text/html:<p><strong><img src="https://lesc-cnrs.fr/images/vstoichita/Seminaire_Stoke
 s_2023.jpg" width="250" height="333" alt="Seminaire Stokes 2023" style="mar
 gin-right: 10px; margin-bottom: 10px; float: left;" />Avec Martin Stokes</s
 trong>*<br />The case of Enver Demirbağ (1935-2010), a noted vocalist in th
 e ‘Harput Music’ (‘Harput Müziği’) tradition of South East Anatolia, invite
 s thinking about the relationships between vocal production and geological 
 deep time. This is, indeed, a catastrophic landscape, marked by inundations
  and earthquakes, deeply etched in local myth and mysticism. And by human a
 nd more recent ecological catastrophes, too. One is the nearby Keban dam,<b
 r />completed in 1974, intended to supply the Turkish state with a quarter 
 of its electricity needs. Demirbağ’s voice is coterminous with the dam, wit
 h the wealth it bought, briefly, to the region, and with the decline that f
 ollowed. We might want to think, however, about the entanglement of this vo
 ice and its poetry with the landscape on a much broader scale. With referen
 ce to some recent ethnographic thinking, notably that of Gordon Gastillo on
  rubble (Gastillo 2014), David Irvine on anthropology and geological deep t
 ime (Irvine 2022), and the 'environmental humanities' touching ethnomusicol
 ogy at the moment, I will explore the ‘hydropoetic’ entanglement of voice, 
 water and landscape in this - and broader - contexts. <br /><br /><strong>*
  Martin Stokes</strong> is King Edwards Professor of Music at Kings College
  London. His most recent book is <em>Music and Citizenship</em> (Oxford, 20
 23). Currently he is PI of the ERC/UKRI project 'Beyond 1932: Rethinking Mu
 sical Modernity in the Middle East and North Africa'.</p>
DTSTAMP:20260519T130115
DTSTART;TZID=Europe/Paris:20240226T100000
DTEND;TZID=Europe/Paris:20240226T120000
SEQUENCE:0
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