• louise meintjes talk poster
November 28, 2018
3:30 - 5 PM
Music 1145
In rural KwaZulu-Natal, South Africa, good ululators are appreciated, yet ululation is not considered performance. Ethnography of Zulu men’s song and dance performance prompts consideration of ululation as an artistic and social practice reverberating from the South. Its sound, in turn, invites a shift of attention from technology to the voice; it also genders Sound Studies and finds sympathetic vibrations with Black Studies, which is also curiously underplayed in the current evolution of Sound Studies.
Louise Meintjes is Associate Professor of Music and Cultural Anthropology at Duke University. She is the author of Sound of Africa! Making Music Zulu in a South African Studio (Duke, 2003), an ethnography of the politics of production of mbaqanga music in a state-of-the-art studio during South Africa’s transition years (1990-1994); and Dust of the Zulu: Ngoma Aesthetics after Apartheid (Duke, 2017); an ethnography of a team of migrant Zulu men, singer-dancers/warrior-soldiers, and their experience of post apartheid South Africa. 
Sponsored by the Center for the Interdisciplinary Study of Music, Ethnomusicology Forum, and the African Studies Research Focus Group.
  1. November 28, 2018 - 3:30pm to 5:00pm
  • alex chavez's poster


Event Date: Wednesday, November 7, 2018 - 3:30pm to 4:45pm
Event Location: Music #1145
Dr. Alex E. Chávez (Anthropology, University of Notre Dame) will present a talk titled "Verses and Flows: Migrant Lives and the Sounds of Crossing" on Wednesday, November 7, 2018 from 3:30-4:45 pm in Music Library Seminar Room 1145. Dr. Chávez will cover his new ethnography of Huapango music and US-Mexico border migration, Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño (Duke 2017). Co-sponsored by the Department of Music's Ethnomusicology and Musicology/Theory forums, the Center for the Interdisciplinary Study of Music (CISM), and the Department of Anthropology.
In his book Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño (Duke 2017), Dr. Alex E. Chávez explores the contemporary politics of Mexican migrant cultural expression manifest in the sounds and aural poetics of huapango arribeño, a musical genre originating from north-central Mexico. In this presentation, he draws on this work to address how Mexican migrants voice desires of recognition and connection through performance, and the politics such desires attain amidst the transnational context of migrant deportability. As a researcher, artist, and participant, Chávez has consistently crossed the boundary between scholar and performer in the realms of academic research and publicly engaged work as a musician and producer. In this presentation, he draws on these experiences to address the politics of his intellectual and creative work and how he engages both to theorize around the political efficacy of sound-based practices, the “voice,” and the disciplinary futures of borderlands anthropology.
Bio: Ethnographer-composer-academic-musician, Alex E. Chávez is Assistant Professor in the Department of Anthropology and a faculty fellow of the Institute for Latino Studies at the University of Notre Dame. His research and teaching explore Latina/o/x expressive culture in everyday life as manifest through sound, language, and performance. He has consistently crossed the boundary between performer and ethnographer in the realms of both academic research and publicly engaged work as an artist and producer. He is the author of Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño (Duke University Press 2017) and produced the Smithsonian Folkways album Serrano de Corazón (2016). He has published in various academic journals, including the Journal of Linguistic Anthropology, Latino Studies, Latin American Music Review, and Southern Cultures, has contributed to the prominent volumes Making Sense of Language (2016), Latino, American, Dream (2016), Iconic Mexico (2015), and Celebrating Latino Folklore (2012), and his writing has been featured in public venues such as the Huffington Post and Revista Contratiempo. An accomplished musician and multi-instrumentalist, Chávez has recorded and toured with his own music projects, composed documentary scores (most recently Emmy Award-winning El Despertar [2016]), and collaborated with acclaimed artists including Antibalas, Grammy Award-winners Quetzal and Grupo Fantasma, and Latin Grammy Award-nominated Sones de México. He is currently co-editing a volume provisionally titled Latina/o/x Aesthetics in the Global Midwest—a project that grows out of a collaborative research grant funded by the Andrew W. Mellon Foundation. He is also curating the liner notes for the forthcoming 8th studio album by Quetzal, which is to be released on Smithsonian Folkways Recordings. In addition, he is currently co-producing the 4th studio album by hip-hop artist Olmeca. And in Spring 2019, he will be co-chairing an Advanced Seminar at the School for Advanced Research in Santa Fe, New Mexico—Ethnographies of Contestation and Resilience in Latinx America. Learn more at
This event is co-sponsored by the Department of Music's Ethnomusicology and Music History/Theory forums, the Center for the Interdisciplinary Study of Music (CISM), the Department of Anthropology, and the Department of Chicana and Chicano Studies.
  1. November 7, 2018 - 3:30pm to 4:45pm
  • poster of make SB series

Date: Thursday November 1, 7PM

Location: Santa Barbara Central Library, 40 E Anapamu St

All ages, Free admission

MakeSB, in conjunction with KCSB and CISM (UCSB’s Center for the Interdisciplinary Study of Music) is proud to welcome Old Time Relijun to the Central Library Thursday, November 1st at 7:30PM.  Old Time Relijun will be playing in celebration of their 23-year anniversary as a band, and will be joined by local bands VNLVX from Ventura, and Internet based out of Santa Barbara.

Old Time Relijun is a band whose sound defies easy description; while a lot of their music has foundational aspects rooted in traditional blues as well as classic rock distortion and feedback, the band’s heavy experimentation - both instrumentally as well as with the tempo and timbre of their sound – create a lush and varied soundscape that is both danceable and intellectually stimulating.  Signed to K Records during the 90s as the record label was making history in the Pacific Northwest independent scene, these first shows in over 10 years for the band are a great time to witness first-hand the intersection of mystery and pure avant-garde expressionism that is Old Time Relijun.

Support for Old Time Relijun is provided by Ventura band VNLVX and Internet from Santa Barbara.  Both bands take traditional punk and post-punk riffs – VNLVX more the former, and Internet more of the latter - and add modern flourishes to create a sound that is both classically familiar in how they sound, yet very modern in lyrical content and expression.  The result: truly timeless music that is not to be missed.

The ability to make and create will also be available for all attendees as there will be button making, metal stamping, and typewriters for all to use.

All MakeSB performers are paid for their participation via mini-grant funds provided by the Santa Barbara Public Library. For booking inquiries or to inquire about future shows, email Information about Santa Barbara Public Library System locations, hours, events, and programs is available at All Library programs are free and open to the public.

Contact: Hong Lieu

Phone: 805-564-5670



  1. November 1, 2018 - 7:00pm
  • no no boy poster

Date: Tuesday October 30, 3-5pm

Location: MultiCultural Center Lounge

No-No Boy is a multimedia concert performed by Julian Saporiti and Erin Aoyama. Taking inspiration from interviews with World War II Japanese Incarceration camp survivors, his own family’s history living through the Vietnam War, and many other stories of Asian American experience, Saporiti has transformed his doctoral research at Brown University into folk songs in an effort to bring these stories to a broader audience. Alongside Aoyama, a fellow PhD student at Brown whose family was incarcerated at Heart Mountain, Wyoming, one of the 10 Japanese American concentration camps, No-No Boy aims to shine a light on experiences that have remained largely hidden in the American consciousness. 


  1. October 30, 2018 - 3:00pm to 5:00pm
  • photo of ruben funkahuatl guevara

Tuesday Oct 23 5pm MCC Theater 


Rubén Funkahuatl Guevara is a native Angelino Chicano musician, singer adn songwriter, a record producer of Chicano rock and roll and rock en español compilations, and a performance artist, poet, short story writer, historian, journalist, and activist. His newly published book Confessions of a Radical Chicano Doo-Wop Singer (University of California Press, 2018) is a moving memoir of his life and a compelling counter-history of the city of Los Angeles. 

"It is as if Rubén Fuhnkahuatl Guevara, polymath Azteca warrior and Chicano superhero, rose with the first East Los Angeles Aztlȧn sun that gave creative light to the barrio." - Louie Pérez, musician, songwriter with Los Lobos 

Sponsored by the Transformative Arts Network, the Chicano Studies Institute, and the Center for the Interdisciplinary Study of Music 

  1. October 23, 2018 - 5:00pm
  • Negativland's event poster
KCSB-FM & CISM Present:

Mark Hosler (Negativland)

Wobbly (Negativland)

Irene Moon

Negativland is an experimental plunderphonics project that specializes in audio sampling and that pioneered the "culture jamming" movement. Founded in 1977 and primarily active through the '80s and '90s, the group pushed the boundaries of copyright law and redefined artistic authorship. As they evolved, Negativland dabbled in sound collage, noise, spoken word, and more, all while honing their image of ironic corporatism.

As a solo artist, founding member Mark Hosler manipulates and augments raw sound sources to create a choral rain forest of electronic ear candy, blurring the distinction between man and machine.

Wobbly, who has been working with the band since 1987 and more officially joined in 2011, has since recorded with Thurston Moore, Moebius, and Matmos, among others. His music has expanded upon his work with Negativland, dipping into turntablism, glitch, indeterminacy, and more.

The two are joined by Irene Moon, who fuses entomology with performance art for a musical PowerPoint presentation. Irene Moon also co-hosts "Unknown Territories" on KCSB-FM, which airs every Monday at 9am.

On May 24th, each act visits the KCSB courtyard for a night of audiovisual experimentation. Doors open at 7:30pm and music begins at 8pm. This event is free, all ages, and open to the general public.

Before the performances, Dave Novak (Center for the Interdisciplinary Study of Music) will be facilitating a round table discussion and plunderphonic workshop with the acts. The discussion begins at 2pm in the KCSB courtyard and is open to the general public.

Each part of the night will be live streamed on KCSB at 91.9 FM or online at


  1. May 24, 2018 - 2:00pm
  • poster of cultural sustainabilities conference

May 24-26 THU-SAT

Thursday 7:00pm - 9:00pm

Friday 8:30am - 6:00pm

Saturday 9:30am - 12:30pm

McCune Conference Room, 6020 HSSB

Free and open to the public.

Cultural Sustainabilities is driven by the proposition that environmental and human sustainability are inextricably linked. Leading social scientists, humanists, and activists will convene to address the premise that reversing or ameliorating the negative impacts of human behavior on the globe’s environments is at its core a human cultural question. Topics considered include media, language, singing, fandom, indigeneity, trauma, and trash. The conference honors the work of the keynote speaker, Jeff Todd Titon.

Keynote Address by JEFF TODD TITON “Toward a Sound Ecology,”

Friday, May 25, 3:30 pm

Conference participants: AARON S. ALLEN (University of North Carolina at Greensboro), NINOTCHKA BENNAHUM (UC Santa Barbara), DANIEL CAVICCHI (Rhode Island School of Design), TIMOTHY J. COOLEY (UC Santa Barbara), MARK DEWITT (University of Louisiana at Lafayette), BARRY DORNFELD (Center for Applied Research), NANCY GUY (UC San Diego), MARY HANCOCK (UC Santa Barbara), RUTH HELLIER-TINOCO (UC Santa Barbara), MARY HUFFORD (UC Berkeley) SUSAN HURLEY-GLOWA (University of Texas, Rio Grande Valley), ALEXANDER KARVELAS (UC Santa Barbara), MICHELLE KISLIUK (University of Virginia), MARGARITA MAZO (Ohio State University), RAVI PARASHAR (UC Santa Barbara), DAVID PELLOW (UC Santa Barbara), JENNIFER POST (University of Arizona), ROSHAN SAMTANI (University Studies Abroad Consortium, Stanford University, Madrid), JEFFREY A. SUMMIT (Tufts University), JOSHUA TUCKER (Brown University), JANET WALKER (UC Santa Barbara)

Sponsored by the Interdisciplinary Humanities Center, College of Letters & Science, Humanities and Fine Arts, The Center for the Interdisciplinary Study of Music, and the Departments o Music, Environmental Studies, and Film & Media Studies. Photo by Elza Karimova.


  1. May 24, 2018 to May 26, 2018
  • poster of michael palm's talk

Date: Friday, May 4th, 3PM

Location: SSMS 2135

Feedback loops abound between digital media and contemporary vinyl culture. The majority of record sales occur online, the download code is a familiar feature of new vinyl releases, and turntables outfitted with USB ports and Bluetooth are outselling traditional models. The manufacture of records cannot be digitized; however, as with most commercial culture today, vinyl traffic is driven by algorithms and thrives on social media. Furthermore, the ascent of streaming over the past five years has boosted record sales, creating both-and markets for “flow” and “publication” media, distinguished by Raymond Williams as being accessed or acquired by consumers. Contemporary vinyl culture demonstrates how digital media can play a vital role in any community organized around a shared appreciation for cultural forms and formats, analog or otherwise.

Eschewing nostalgia for records as (merely) a reprieve from digital saturation, in this talk Palm argues that scholars and supporters of independent culture should decouple the digital from the corporate. No doubt, the digitization of popular music has become a largely corporatized affair; however, for many independent labels and merchants the recent re-embrace of vinyl by major labels and chain stores has become as overbearing as the corporate stranglehold on digital distribution. To combat the glutting of a niche market, some independent labels are vertically integrating and beginning to manufacture as well as distribute and sell their own records. The stakes of vinyl’s future involve the viability of an independent supply chain for popular music and the implications therein for cultural production in a digital age.

Michael Palm is Associate Professor of Media and Technology Studies in the Department of Communication at UNC-Chapel Hill and Affiliated Faculty in the Department of American Studies. His research and teaching focus on the history of everyday technology and the politics and economics of popular culture. His current book project is a cultural studies account of vinyl records’ revived popularity, informed by labor ethnography along records’ contemporary supply chain. His book Technologies of Consumer Labor: A History of Self-Service was published by Routledge in 2017. He is also co-editor of The University Against Itself: The NYU Strike and the Future of the Academic Workplace (Temple, 2008), and his most recent articles have been published in the Journal of Popular Music Studies and Cultural Studies. He serves as Diversity Liaison for the Department of Communication at UNC- Chapel Hill and is on the editorial board of the Journal of Cultural Economy.

Sponsored by the Department of Film and Media Studies, the Carsey-Wolf Center, the Interdisciplinary Humanities Center, the Center for Information Technology and Society, and the Center for the Interdisciplinary Study of Music.

  1. May 4, 2018 - 3:00pm
  • shannon garland poster

Date: May 2, 2018


Location: Music Library 2406

In 2011, a minimalist ballad called "Love Doesn’t Exist in São Paulo" became a major hit in São Paulo, Brazil. Describing “bars full of empty souls,” where “no one goes to heaven,” the song describes the feeling of São Paulo as lacking in love. Written by longtime underground rapper named Criolo, whose work usually refers to life for the marginalized in the city’s periphery, the song became especially popular amongst cosmopolitan, middle-class youth, who had already begun using “love” to index ideal social relationships and modes of inhabiting the city. On the eve of the 2012 municipal elections, political activists drew on the popularity of the song to create an all-day music and arts festival called Love Exists in São Paulo, headlined by Criolo. Billed as a non-partisan, popular manifestation expressing the need for São Paulo governed by love, the event seemed to support mayoral candidate Fernando Haddad, who ran on a platform of humanizing the city. Haddad won. Referring to the event in his inaugural address, Haddad proclaimed love to indeed exist in São Paulo, promised to govern with love, and later brought event organizers into city government. This paper teases out the dynamics of city life that primed listeners to resonate with the song Não Existe Amor em SP, allowing its conversion into public event and political expedience. It shows how vague affects produced by experiences of the city become articulated and specified through the medium of song, as well as the ways in which actors drive such affective resonance into particular social meanings and political desires.

Shannon Garland is a Postdoctoral Fellow in Ethnomusicology at UCLA. She received her M.A. and Ph.D. in ethnomusicology from Columbia University. Examining media circulation, band touring, and live performance in the context of emerging music industry organizations, Dr. Garland's work addresses affect, aesthetics and sociality in the production of differential economies of value. Her book project, For the Love: Independent Music, Affect, and Labor in Brazil and Beyond, traces the interrelationships between cultural finance, social networking, and live performance, to show how aesthetic judgement forms through both global political economy and the intimate politics of social relationships. Dr. Garland serves as the 2017-2019 chair of the Economic Ethnomusicology Special Interest Group within the Society of Ethnomusicology.

Co-sponsored by Ethnomusicology Forum and the Center for the Interdisciplinary Study of Music.

  1. May 2, 2018 - 3:30pm to 5:00pm
  • poster of the lecture
February 28th
3:30 - 5:00 PM
Music 1145
This talk examines dohori song and intimate politics in Nepal, with attention to the micro politics of intimate relationships negotiated through improvised sung duets (dohori), and also through the inclusion of broader politics in these duets as the political and media landscapes changed throughout the 1990s and 2000s. Discussion of political topics in dohori lyrics was strictly forbidden in competitions and the state-run media up until 1990. I look at the slow movement toward including party politics and specific social issues in mainstream dohori performance and recordings in the period directly after the end of Nepal's civil war between Maoists and government forces. This period was characterized by calls for progressive reform, including changes in the ways intimate and public spheres were conceptualized politically and musically. Bringing the "public" world of party politics into the "intimate" sphere of dohori performance, this ongoing movement encompassed the inclusion of love in songs sung for party political platforms and vice versa, and attempts to create social change through the words, music, videos, and live performance of dohori songs. 
Anna Stirr is Associate Professor of Asian Studies at the University of Hawaii-Manoa. Her research focuses on music, dance, language, intimacy, and politics in South Asia, particularly in Nepal and the Himalayan region. Her first book, Singing Across Divides: Music and Intimate Politics in Nepal (Oxford University Press, 2017), looks at improvised dohori question-answer songs as culturally intimate, gendered expressions of ideas of nation, belonging, and heritage, within a cycle of migration and media circulation that spans the globe. She performs Nepali folk music as a singer, flutist, and percussionist.
Co-sponsored by the Ethnomusciology Program, the Distinguished Lecturer Series in the Music Department, and the Center for the Interdisciplinary Study of Music.


  1. February 28, 2018 - 3:30pm to 5:00pm