Upcoming Events

  • poster of shane greene talk

Date: 3:30PM, February 8, 2017

Location: Music Building Room 1145


This talk elaborates on a theory of punk as a mode of aesthetic/material under-production in a context of extraordinary political risk, namely the Shining Path’s Maoist revolutionary proposal and the mass political violence that engulfed Peru during the 1980s. The emergence of punk in Lima, known locally as rock subterráneo, gave rise to a particular subcultural identity, the subte ("under"), a moniker that also took on a riskily ambiguous relation to the Marxist subversivo (“subversive”) in Peru’s armed conflict.  Ultimately, I discuss how Peruvian punk’s particular modes of under-production confronted a state that conflated punks with with political subversives and Maoist militants that saw punks as possibly allies but actually antagonists.


Shane Greene is Associate Professor of Anthropology at Indiana University.  He writes and publishes on social movements, music, art, subculture, urbanism, race and culture. , His most recent book is titled Punk and Revolution, about the emergence of an underground arts and music scene during Peru’s war with the Maoist Shining Path.  He also plays in a bilingual rock band called El Cuervo Sucio. 

This lecture is sponsored by the Center for the Interdisciplinary Study of Music (CISM), the Department of Music, the Latin American and Iberian Studies Program (LAIS), and the Department of Anthropology.  

  1. February 8, 2017 - 3:30pm
  • poster of sound and effect

Date: February 17

Location: TBA 

If we agree that any creative acts and events are first of all a response to one’s immediate physical and spiritual living environment, China’s sound practice - including experimental music and sound art -- could thus be considered immediate or reflexive responses through the medium of sound to their living contexts. From the late 1990s till today, China’s sound practice has been developing in an increasingly globalized social-economic-aesthetic environment, receiving attentions and investments from the art world, music industry and cultural institutes. However, there has been an ambiguous attitude from the public about its legitimate artistic and academic status.  In this talk, I will discuss the brief history of sound practice in China, its current situations, and its major thematic threads.  

Adel Jing Wang (Zhejiang U)

Academically trained in performance studies, Wang Jing (Adel) received her Ph.D. from the School of Interdisciplinary Art at Ohio University, and is currently an associate professor in the College of Media and International Culture at Zhejiang University.  Her book Sound and Affect: An Anthropology of China’s Sound Practice (Zhejiang University Press, 2015) explores the concepts of freedom, affect and sound through anthropological research on China’s sound culture.   She has published in academic journals including Leonardo, Leonardo Music Journal, Journal of Popular Music Studies, and International Review of Qualitative Research.  Her current research focuses on sound studies, sensory studies, performance studies, and anthropological methods.  

Artistically, Jing works with field-recordings, radio art and recently sound theater.  She is an active organizer of sound events and talks and has organized more than 20 sound events in the city of Hangzhou from 2013 to 2015.  From 2013 to 2014, she served as the academic curator of the monthly year–long series “Savaka: Asia Experimental Music Currents” at Rockbund Art Museum, Shanghai.  In January 2015, she foundedThe Sound Lab at College of Media and International Culture at Zhejiang University.  http://www.sonorouspresence.org


  1. February 17, 2017 - 9:00am
  • photo of nomi dave

Date: March 8, 2017 3:30PM

Location: Music 1145

In January 2016, a Guinean hip-hop artist, Tamsir Touré, appeared in court for sexually assaulting a young girl. The case had generated intense coverage over several months after a video of the assault was circulated. Tamsir became a local cause célèbre for both feminist activists in Guinea and for his supporters. On the one hand, activists were galvanized by the public display of the crime and the anger that it stirred in Guinea, and took to the streets and airwaves in angry protest. On the other hand, Tamsir’s young supporters and fans made numerous public pleas, including musical ones, for him to be released and for his crime to be forgiven. 

In this talk, I explore the limits of musical activism by considering some of the varied ways in which music has addressed women’s rights and gender-based violence in Guinea. In particular, I consider two songs that are closely connected to the case of Tamsir Touré: one, a UN-commissioned song against sexual violence, and the other, a song calling on Guinean women to forgive Tamsir and his crime. As I argue, rights agencies often assume that music is an empty vessel upon which unequivocal messages can be imposed. Yet as the examples here show, such understanding ignores the ambivalence that musicians and audiences often hold towards women’s rights in Guinea, as well as the local emphasis on forgiveness as a social virtue. In a context in which crimes of sexual violence are to be forgiven, what can music do?

Nomi Dave is Assistant Professor of Music at the University of Virginia. Her research explores the relationship between music, voice, politics, emotion and violence. She is currently completing a book, ‘The Revolution’s Echoes: Music, Politics & Pleasure in Guinea’, which examines the aesthetics and pleasures of authoritarianism. She earned her PhD from Oxford University, and previously taught at Duke University in Music and Cultural Anthropology.
  1. March 8, 2017 - 3:30pm

Date: 4PM March 9
Location: Davidson Library, Special Collections Seminar Room

CISM in the Archive Series: “Curating Sound Stories: Art, Ethnography, and Practice in Special Collections at UCSB”

Ethnomusicologist, sound curator and artist Noel Lobley presents some creative, interactive and performative sound curation, blending examples from his own practice with rare sounds selected from the special collections at UCSB. Noel is an ethnomusicologist and sound curator who works across the disciplines of music, anthropology and sound studies to develop a series of international curatorial residencies. His research and practice in sound curation focuses on ethnographic field recordings and aims to connect local musicians and communities with institutions and audiences. Through extensive fieldwork in sub-Saharan Africa, much of his creative practice takes sound and music recordings out of archives and back among communities. He has collaborated with musicians, sound artists, DJs, composers and performers in South Africa, the UK and throughout Europe and the US to develop creative and responsible ways for recordings to be experienced in spaces ranging from art galleries and museums to schools and township street corners.

  1. March 9, 2017 - 4:00pm

The Center for the Interdisciplinary Study of Music (CISM) is an association of faculty and students at the University of California, Santa Barbara (UCSB) that promotes the study of music across academic disciplines. CISM begins with the position that music is an important and powerful cultural practice, which becomes fundamental in shaping the materialities and methods of social life. By sponsoring diverse projects that engage multiple fields of knowledge, CISM works to expand the boundaries of traditional music research by creating an environment for high-level study and discussion of music that is not restricted to specialists.