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Book Launch! Nili Belkind's "Music in Conflict Palestine, Israel & the Politics of Aesthetic Production" (April 22, noon NYC)

Event Start: 
Thursday, April 22, 2021 - 12:00pm - 2:00pm
Online on ZOOM:

The Center for Ethnomusicology is proud to co-sponsor an online book launch and live performance event for "Music in Conflict: Palestine, Israel, and the Politics of Aesthetics Production," by our own PhD alumna Dr. Nili Belkind (Routledge 2021). 

Hosted by Dr. Moshe Morad with performances by Amal Murkus and members of System Ali 

The event will be live broadcast from Jaffa, Israel over ZOOM, and is free and open to the general public. Join us on Zoom on:. 

(Live event to be held at the Jaffa Theater, a stage for Arab and Hebrew culture)

Dr. Nili Belkind, who holds the PhD in Ethnomusicology from Columbia University (2014), will be in conversation with Dr. Mosha Morad, and with artists and students worldwide, about her new book Music in Conflict (Routledge in 2021). The book examines how the Israeli-Palestinian conflict intersects with music making and cultural production.  The event will feature live musical performances from Amal Murkus (Soundcloud) and members of System Ali (website).

In cooperation with SOAS (London), The University of Illinois at Champaign-Urbana, and Columbia University's Center for Ethnomusicology. 

Music in Conflict Event Poster

Conference: "Music and Migration" -- March 5-6 at the Center for Ethnomusicology

Event Start: 
Thursday, March 5, 2020 - 9:00am - Friday, March 6, 2020 - 6:00pm
701C Dodge Hall (The Center for Ethnomusicology) -- Columbia University Morningside Campus

Announcing a conference on: 


Co-organized by Profs. Alessandra Ciucci and Ana María Ochoa

March 5 and 6 in 701C Dodge Hall, the Center for Ethnomusicology

Keynote: Adelaida Reyes, New Jersey City University

Opening Remarks: Mae Ngai, Columbia University


Featuring presentations by:

Nandini Banerjee-Datta, Columbia University
Alejandra Bronfman, SUNY, University at Albany
Julia Byl, University of Alberta
Alessandra Ciucci, Columbia University
Emily Hansell Clark, Columbia University
Claire Clouet, Basque Anthropological Research Institute on Music
Brigid Cohen, New York University
Denis Laborde, CNRS, EHESS
Andrés García Molina, Columbia University
Nicolas Puig, IRD, CNRS
Althea SullyCole, Columbia University

Cândida Borges - Sound Arts Performing Artist, Visiting Scholar at Columbia University - will show her work with Gabriel Mario Vélez on March 6 from 3-6pm in the Gabe M. Wiener Music & Arts Library.

With the support of:
Office of the Dean of the Humanities (EHESS - Columbia exchange)
The Center for Ethnomusicology
The Society of Fellows and Heyman Center for the Humanities
Center for the Study of Ethnicity and Race

Prof. Barbara Titus - "Sonic Entanglements on Tour: Visiting Colonial Sound Archives in the Early Twenty-First Century"

Event Start: 
Thursday, January 23, 2020 - 4:00pm
701C Dodge Hall (The Center for Ethnomusioclogy)

The Center for Ethnomusicology invites you to a public talk by:

Barbara Titus  
Associate Professor of Cultural Musicology, the Univ. of Amsterdam (UvA), The Netherlands.

Sonic Entanglements on Tour: Visiting Colonial Sound Archives in the Early Twenty-First Century

Thursday, January 23, 2020
701C Dodge Hall (The Center for Ethnomusicology)
Free and Open to All 
Reception to follow

Abstract: In this presentation I report on a sound archive tour through Europe in September 2019 by historians, performance scholars, (ethno)musicologists and anthropologists from Southeast Asia and Europe. During our collective visits of sound archives in Hilversum (Beeld en Geluid), Amsterdam (Jaap Kunst Collectie), Berlin (Phonogrammarchiv, Lautarchiv Humboldt) and Vienna (Phonogrammarchiv), we contemplated and scrutinized 1.) the implications of sound being captured in colonial Southeast Asia and transported to colonial metropoles in Europe, and 2.) the ways in which these objectified sounds and their organization as “collections” provide as well as deny affordances to listeners, musicians and scholars in cultural, musical and scholarly constellations today.

I present our contemplations in dialogue with recent attempts to excavate decolonial and anti-colonial agency from colonial archives (Moreno 2016, Edwards 2016, Steingo & Sykes 2019) and to reanimate the captured voices that have been sonically embalmed for so many decades (Schmelzer 2016, Goh 2017, Mundy 2019). Following this presentation I would like to invite discussion about the implications of me being the individual narrator of this story about our collective tour.

More information about the tour and the participants:

Speaker Bio: 
Barbara Titus is an Associate Professor of Cultural Musicology at the University of Amsterdam (UvA), The
 Netherlands. She studied musicology at Utrecht University and gained her doctorate from the University of Oxford. Trained as a music historian of German musical aesthetics, she shifted her attention to South African street music (maskanda), with the explicit aim to question the polarity that these two fields of investigation still seem to represent. She taught as a visiting professor at the University of KwaZulu- Natal in Durban, South Africa, the Georg-August-Universität in Göttingen, Germany, and was a researcher-in-residence at the University of Vienna in Austria as a Balzan Visiting Scholar.

Barbara has published in journals such as Acta MusicologicaEthnomusicologySAMUS: South African Music Studies and the Dutch Journal of Music Theory. Barbara is a Fellow at the African Studies Centre Leiden (ASCL) Community and the Co-Editor of the journal the world of music (new series). Her book about the epistemic and epistemological dimensions of South African maskanda music is currently under review. She also curates the Jaap Kunst Collection at the UvA, encompassing sound and visual recordings, photographs, correspondence and teaching material of many musics of the world from the 1920s up to the early 2000s. 

Andrew Jones - "The Far East Sound in Jamaica" (Sept. 19, 7:30PM)

Event Start: 
Thursday, September 19, 2019 - 7:30pm
622 DODGE HALL (note, not in 701C)

The Program in Chinese Literature and Culture and the Center for Ethnomusicology Jointly Present:

The 'Far East Sound' In Jamaica

Andrew F. Jones

Louis B. Agassiz Professor of Chinese
Department of East Asian Languages and Cultures

University of California at Berkeley

Thursday, September 19, 2019, 7:30 p.m. 

Dodge Hall, 2960 Broadway, New York, NY 10027

Room 622 


This lecture by Andrew Jones revolves around a cohort of Hakka Chinese entrepreneurs, record producers, and studio musicians who played an outsized role in shaping Jamaica's most important cultural export, reggae music. Chinese-Jamaican producers like Clive Chin and Herman Chin-Loy not only recorded and marketed some of the first examples of the vastly influential and innovative genre of studio remixes known as dub music, but also contributed to the rise of a new and historically plangent subgenre in reggae called the "far east sound." This presentation will explore how "China" sounded in the seemingly unlikely setting of a newly independent Afro-Caribbean island nation, and what this genre of music might tell us about imperial history, migrations of labor and capital, music technology, and the sonic shaping of a postcolonial “home.”

Andrew F. Jones is Louis B. Agassiz Professor of Chinese in the Department of East Asian Languages and Cultures at the University of California at Berkeley and teaches modern Chinese literature and media culture. He is the author of three books on music: Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music, Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age, and the forthcoming Circuit Listening: Chinese Popular Music in the Global 1960s. He has also written Developmental Fairy Tales: Evolutionary Thinking and Modern Chinese Culture, and translated literary works by Yu Hua and Eileen Chang. 



Co-sponsored by Department of East Asian Languages and Cultures, Weatherhead East Asian Institute, and Institute for Comparative Literature and Society



Dr. Luis-Manuel Garcia: "The Call as Sonic Act: Engagement, Interpellation, Ethics" (Tuesday Nov. 5, 4PM)

Event Start: 
Tuesday, November 5, 2019 - 4:00pm
701C Dodge Hall (The Center for Ethnomusioclogy)

The Center for Ethnomusicology is pleased to present a public talk by:

Dr. Luis-Manuel Garcia

(Lecturer in Ethnomusicology and Popular Music Studies at the University of Birmingham, Room 4 Resistance)

"The Call as Sonic Act: Engagement, Interpellation, Ethic."

Tuesday November 5, 2019
4:00PM to 6:00PM
701C Dodge Hall (The Center for Ethnomusicology)

Columbia University Morningside Campus (116th and Broadway)
Reception to Follow

As with all Center events:
Free and Open to All People, Children and Caregivers Welcome

For special accommodations or further information contact:

Facebook Event:


Speaker Biography:

Luis-Manuel Garcia is a Lecturer in Ethnomusicology and Popular Music Studies at the University of Birmingham. He is also a member and resident DJ of Room 4 Resistance, a Berlin-based queer intersectional rave collective. His research focuses on urban electronic dance music scenes, with a focus on affect, intimacy, sexuality, creative industries and musical migration. He is currently researching ‘techno-tourism’ and musical mobility in Berlin while completing a monograph entitled, Together Somehow: Music, Affect, and Intimacy on the Dancefloor.


Selected Publications of Dr. Garcia:

Garcia, L-M 2018, Whose refuge, this house? the estrangement of queers of color in electronic dance music. in FE Maus & S Whiteley (eds), The Oxford Handbook of Music and Queerness. Oxford University Press, Oxford.

Garcia, L-M 2016, 'Beats, Flesh, and Grain', Sound Studies, vol. 1, pp. 59–76.

Garcia, L-M 2016, 'Techno-Tourism and Postindustrial Neo-Romanticism in Berlin's Electronic Dance Music Scenes', Tourist Studies, vol. 16, no. 3, pp. 276-295.

Garcia, L-M 2018, ‘With Every Inconceivable Finesse, Excess, and Good Music’: Sex, Affect, and Techno at Snax Club in Berlin. in N Gregor & T Irvine (eds), Dreams of Germany: Musical Imaginaries from the Concert Hall to the Dance Floor. Berghahn Books Inc., New York, pp. 73-96.

Garcia, L-M 2018, 'Agonistic festivities: urban nightlife scenes and the sociability of ‘anti-social’ fun', Annals of Leisure Research, vol. 21, no. 4, pp. 462-479.

Indigenous Hip Hop Artists & Activists Dioganhdih and Chhoti Maa at the Center, Friday Sept. 6, 4-6PM

Event Start: 
Friday, September 6, 2019 - 4:00pm
701C Dodge Hall (The Center for Ethnomusioclogy)

The Center for Ethnomusicology at Columbia University is proud to present our first public event of the 2019-20 academic year!

A public conversation and informal performance with Indigenous Hip Hop artists, producers, and cultural activists:

Dioganhdih & Chhoti Maa

Friday, September 6, 2019
4:00PM to 6:00PM (reception to follow)
701C Dodge Hall, on the Columbia University Morningside Campus
(@ Broadway and 116th St.)

To reserve space or request special accommodations, or for more information, please write to

Artist Biographies:

Dioganhdih is a queer indigenous hip-hop artist and producer making waves in space where cis+heteronormative culture often remains unchallenged. Shouldering the strength and resilience of their Kanien'kehá:ka and Tsa’la’gi lineage, Dio’s vocal and hip-hop performance is a poetic and lyrical affront to colonialism. Dio’s vision is reflective of their Haudenosaunee ancestors inherent honoring of the Earth and commitment to intertribal relations, civic art and cultural engagement.

Dio Ganhdih (Akwesasne-Mohawk) was born on the Onondaga Nation territory in so-called upstate “New York.” Their introduction to music was through traditional Haudenosaunee ceremony and giving thanks. From early, Dio was surrounded by the celebration of Haudenosaunee culture, laying tempo and lending rhythm to the cultivation of their musical career. 

Dio took their attention for music and love for poetry in hip-hop and started rapping, freestyling, composing and producing music. Dio found mentors and producers in the hip-hop community who were rooted in the culture of radical Black, Afro-Indigenous resistance. 
Rap and lyricism have become a medium for Dio to create larger conversations within indigenous communities about sexuality, gender identity, re-indigenizing and exploring an urban native lifestyle while preserving traditional indigenous culture.

Dio has performed at Stanford, Duke, Yale, Brown University, Oceti Sakowin Standing Rock, SolCollective in Sacramento, Club Gretchen in Berlin, Asinabka Film & Media Festival in Ottawa, House of Vans in Brooklyn, the SoundCloud Summer Party in Berlin, The Chapel in San Francisco, The Art House in New Orleans, and countless dj booths, stoops, bodegas, rooftops and park benches

Chhoti Maa is a multidisciplinary cultural producer & organizer with 12 years of experience.
Chhoti Maa was born in Guanajuato, Mexico. She is based in Oakland, California.
Chhoti Maa is a multidisciplinary cultural producer, working through art, music, writing, red medicine and danza.

Chhoti has self-released 6 projects (2 lps, 4 eps) in her eleven years as an MC / singer / producer. Her sound work is rooted in hip hop, migrantsoul, neufolk, Mexican oral tradition, specifically her Grandma's storytelling magic.

Chhoti Maa has performed, collaborated and taught children, teens and adults in festivals, conferences, house shows, community spaces, museums, theaters, galleries, schools, universities and in the streets of Puerto Rico, China, Cuba, Spain, Qatar, U.A.E., Ghana, Peru, Mexico, Sweden, Canada, the US and multiple Indigenous Nations.

Chhoti’s work deals with decolonial living, intersectional solidarity, contemporary Indigenous spirituality, queerness, migrant empowerment and the reconstruction of the womxn temple. 
Chhoti Maa has received the following awards and grants to support her work as a musician and as a music event curator.
 2019 - Atiza music video selected for 22nd Cine Las Americas International Film Festival, Austin, TX
 2018 - Selected Artist for Joyful Noise’s White Label Series, Bloomington, IN
 2018 - 4th Place in 14th Annual QWOC Film Festival, QWOCMAP, San Francisco, CA
 2017 - Women's Audio Mission Artist Residency, WAM, San Francisco, CA
• 2017 - Beloved Community Fund, Akonadi Foundation, Oakland, CA
• 2012 - MusixMatch Award, "Los Hijos del Sonido Volador", Music Hack Day, Sonar 19' Festival Internacional de Música Avanzada y New Media Art, Barcelona, España

Access to music on various platforms:
Social Media: Chhoti Maa on youtube, instagram, facebook, twitter, bandsintown, songkick & official website.

Congratulations to Dr. Beatriz Goubert!

Congratulations to our newest alumna, Dr. Beatriz M. Goubert! Dr. Goubert successfully defended her Columbia University PhD dissertation in Ethnomusicology, “Nymsuque: Contemporary Muisca Indigenous Sounds in the Colombian Andes” on Wednesday, May 29, 2019. The dissertation was sponsored by Prof. Ana Ochoa, and the committee included Profs. Kevin Fellezs and Aaron Fox (pictured here with Dr. Goubert), joined by our NYU colleague Prof. David Samuels and our Oklahoma U colleague (and distinguished alumna!) Prof. Amanda Minks.

Congratulations Doctor Goubert!

Jessie Rubin (BC Ethnomusicology '19) Wins Ethel Stone Lefrak Prize in the Arts from Barnard College

Jessie Rubin BC '19The Columbia Ethnomusicology community is delighted to congratulate Jessie Rubin, Barnard College class of 2019 and Ethnomusicology track major, who has been awarded the Ethel Stone Lefrak Prize for excellence in the arts by Barnard College.  Jessie has just completed her senior project thesis, entitled "Vocality in Exile: The Indigenization of Scottish Bagpipes in a Palestinian Refugee Community," under the supervision of Prof. Fox.  She is also the second Barnard Ethnomusicology track major to win the Ethel Stone Lefrak Prize in the last two years!

Congratulations Jessie!

Andrés García Molina Wins SEM-Niagra T. Temple Tuttle Prize

Andrés García Molina

The Columbia Ethnomusicology community warmly congratulates PhD candidate Andrés García Molina, whose paper entitled “The Mutual Circulation of Sound and Goods in Havana: On Sound, Circulation, and Architecture,” has been awarded the T. Temple Tuttle Prize for Best Student Paper at the 2019 annual meeting of the Society for Ethnomusicology's Niagra Chapter.  

Congratulations Andrés!

Katie Radishofski Wins Kluge Graduate Fellowship!

Katie Radishofski
The Columbia University Ethnomusicology community warmly congratulates PhD candidate Katie Radishofski, who has been awarded a Kluge Graduate Fellowship, in the Columbia Undergraduate Scholars Program (CUSP),  for the 2019-2020 academic year.  Katie will also  serve as a Kluge Summer Mentor for Summer 2019. 

Katie is completing a dissertation entitled "
The Game Ain’t the Same”: Hip-Hop, Cultural Memory, and Neoliberal Urbanism in New York City" under the sponsorship of Prof. Kevin Fellezs. 

Congratulations Katie! 

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