Lost Paradise – Andalusi Music in Urban North Africa
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A01=Jonathan Glasser
algeria
algiers
andalusi music
andalusia
anthropology
arabic
art
Author_Jonathan Glasser
borderlands
Category=AV
Category=JBSL
Category=JHMC
class
colonialism
embodiment
empire
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
ethnomusicology
genealogy
genre
heritage
history
influence
islam
labor
medieval
morocco
national identity
nationalism
nonfiction
north africa
patrimony
performance
postcolonialism
race
revival
secrecy
sociology
spain
temporality
tlemcen
tradition
urban
Product details
- ISBN 9780226327235
- Weight: 494g
- Dimensions: 152 x 228mm
- Publication Date: 08 Apr 2016
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Paperback
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For more than a century, urban North Africans have sought to protect and revive Andalusi music, a prestigious Arabic-language performance tradition said to originate in the “lost paradise” of medieval Islamic Spain. Yet despite the Andalusi repertoire’s enshrinement as the national classical music of postcolonial North Africa, its devotees continue to describe it as being in danger of disappearance. In The Lost Paradise, Jonathan Glasser explores the close connection between the paradox of patrimony and the questions of embodiment, genealogy, secrecy, and social class that have long been central to Andalusi musical practice.
Through a historical and ethnographic account of the Andalusi music of Algiers, Tlemcen, and their Algerian and Moroccan borderlands since the end of the nineteenth century, Glasser shows how anxiety about Andalusi music’s disappearance has emerged from within the practice itself and come to be central to its ethos. The result is a sophisticated examination of musical survival and transformation that is also a meditation on temporality, labor, colonialism and nationalism, and the relationship of the living to the dead.
Through a historical and ethnographic account of the Andalusi music of Algiers, Tlemcen, and their Algerian and Moroccan borderlands since the end of the nineteenth century, Glasser shows how anxiety about Andalusi music’s disappearance has emerged from within the practice itself and come to be central to its ethos. The result is a sophisticated examination of musical survival and transformation that is also a meditation on temporality, labor, colonialism and nationalism, and the relationship of the living to the dead.
