Das von der Deutschen Forschungsgemeinschaft (DFG) im Walter-Benjamin-Programm geförderte Forschungsprojekt „Vom Nativen Bambus zur Indigenen Flöte: Ange- wandte Ökomusikologie und Nachhaltigkeit im Hochlandflötenbau in den bolivianischen Anden“ verfolgte das Ziel, in Zusammenarbeit mit zentralen umwelt- und kulturpolitischen, musikkulturellen sowie gesellschaftlichen Akteur*innen („Teilhaber*innen“ wie Flötenbau- er*innen, Bambussammler*innen, Musiker*innen sowie staatlichen und nichtstaatlichen Insti- tutionen) konkrete Nachhaltigkeitsstrategien für den Hochlandflötenbau in den bolivianischen Anden hinsichtlich der Nutzung des ausschließlich für den Flötenbau verwendeten einheimischen Bambusses (sogenannter „Musikalischer Bambus der bolivianischen Anden“, www.musical-bamboos.com) zu erforschen und zu implementieren. Hierzu wurden Ansätze des Managements natürlicher Ressourcen herangezogen, um ökologische sowie ressourcen- und umweltschutzbezogene Aspekte einzubeziehen. Aufbauend auf eigenen analytischen und theoretischen Vorarbeiten wurden mithilfe von Theorien und Methoden der angewandten Ökomusikologie konkrete Strategien und Handlungsansätze transdisziplinär entwickelt und umgesetzt, die zu mehr Nachhaltigkeit in der Bambusnutzung, im Hochlandflötenbau und in der andinen Musikkultur beitrugen. Im Projektverlauf wurden Konzepte für eine nachhaltige Sammelpraxis entwickelt und in verschiedenen anwendungsorientierten Formaten (Bildband, Practice Manual, Podcasts, Blog u. a.) veröffentlicht. Hervorzuheben ist in diesem Kontext insbesondere ein Pilotprojekt im Nationalpark Cotapata, in dem ein nachhaltiger Managementplan für dieses bolivianische Schutzgebiet entwickelt wurde. Dieser Plan dient nun als Best-Practice-Modell für andere Schutzgebiete und Regionen, in denen musikalischer Bambus geerntet wird. Während der Feldforschung in Bolivien entstanden audiovisuelle Aufnahmen für einen Dokumentarfilm, zudem wurden qualitative Interviews zur Institutionalisierung der Bambussammelpraxis durchgeführt. Im Rahmen eines Forschungsaufenthalts am Museo Nacional de Etnografía y Folklore (MUSEF) wurden relevante Bambusflöten-Sammlungen hinsichtlich der Materialdiversität- und auswahl erforscht. Darüber hinaus wurde am Center for World Music die internationale transdisziplinäre Online-Tagung „Music- Making Materials: Natural Resource Use and Sustainability in Musical Instrument Making“ durchgeführt sowie ein begleitender Konferenzband herausgegeben. Im Rahmen des Projekts fanden ferner wissenschaftliche und praxisorientierte Workshops zum intergenerationellen Wissenstransfer, zu sozial-ökologischen Systemen (SES) in der Musikforschung, zur Entwicklung einer anwendungsorientierten App mit Hinweisen zur nachhaltigen Bambusernte sowie zur transdisziplinären Nachhaltigkeitsforschung statt. Wissenschaftstheoretisch basierte das Projekt auf einem transdisziplinären Forschungsprozess, der Konzepte der transdisziplinären Nachhaltigkeitsforschung in die angewandte Musikethnologie übertrug. Im Zentrum standen dabei Problembezug und Gestaltungsanspruch vor dem Hintergrund der Nachhaltigkeit als normativem Leitbild. Zur Sicherung der Nachhaltigkeit des Projekts wurden mit bolivianischen Stakeholder*innen konkrete Anschlussprojektanträge und Finanzierungsmöglichkeiten evaluiert, die auf weiterführende Ressourcen- und Umweltschutzmaßnahmen bzw. Projekte im Bereich der internationalen Entwicklungszusammenarbeit ausgerichtet sind.

„As a university, we have never closed for one day! We have been there all this while despite the Boko Haram insurgency.“ In this book, academics of the University of Maiduguri in north-eastern Nigeria tell their stories about how they survived the violent movement that started in 2009. With Boko Haram meaning “Western education is sin” the university was one of the main targets of the Islamist group. The eye-witnesses give insight into their individual experiences and coping strategies. Moreover, it becomes obvious how important a university can be in a time of a political crisis.

Artistic activism is one strategy for change towards democracy in transformation processes. In Tunisia, political uprisings began in 2010, leading to countrywide protests and the fall of the dictatorship. Artists and cultural activists have been socio-political actors defining new formats of artistic expression and new roles – as a strategic, constructive, and reflective civil society. This shift is analysed by taking the example of three contemporary art festivals in public space (Dream City, De Colline en Colline, and Interference). Furthermore, German foreign cultural policy and the Goethe-Institut also supported democratic movements, thus a reorientation of policies was implemented due to new tasks, challenges, and opportunities. This study shows that the oft-demanded approach of cooperation in international cultural cooperation must be reconsidered in transformation processes. For this reason, a paradigm shift in foreign cultural policy advocates the development of cooperation towards ownership of local cultural actors.

Das GRASSI Museum für Völkerkunde zu Leipzig beherbergt mehr als 400 ostasiatische Musikinstrumente, die aus China (einschließlich Tibet und Taiwan), Japan, Korea und der Mongolei stammen. Diese Sammlung gehört zu einer der größten ihrer Art in Europa. Viele der Objekte sind über 100 Jahre alt, mit Inschriften und kunstvollen Verzierungen versehen oder aus kostbaren Materialien gefertigt. Der Katalog präsentiert 164 ausgewählte Objekte mit Beschreibungen und ganzseitigen Abbildungen. Eine Einleitung erläutert traditionelle und moderne Einteilungssysteme für Musikinstrumente und interkulturelle Einflüsse, die sich auf die Ausprägung und Verbreitung der Instrumente ausgewirkt haben. Außerdem wird die Geschichte des Museums umrissen. Kurzdarstellung von allen nicht ausführlich vorgestellten Instrumenten vervollständigen den Überblick über die wertvolle Sammlung. Ein Glossar bietet eine zusätzliche Orientierung, um die wunderbare Welt ostasiatischer Musik zu erschließen.

This study investigates Community Perception of the Roles of Civilian Joint Task Force, (CJTF) in Resisting Boko Haram ’s Culture of violence in Borno state. It explores the views of society on the activities and conduct of the members of the CJTF. The objectives of the study were to: examine the reasons of joining and the emergence of CJTF; assess the views of the people of Borno State on the role of CJTF in resisting Boko Haram‘s culture of violent change through combat support activities; explore the opinions of community members and stakeholders on the non-combat support operations of the CJTF; identify the effects of CJTF on restoring affected cultural heritage; and, evaluate the opinion of community members and stakeholders on the behaviour of members of the CJTF concerning cultural expectations in Borno State. The study is qualitative and adopts rapid ethnographic research design and qualitative data collection methods. Multistage sampling was used to ensure that the right persons with the required knowledge and experience were included in the study. Data for the study were thus generated through In-Depth Interviewing (IDI), Key Informant Interviewing (KII), and Focus Group Discussion (FGD), and all the data were logically connected in the analysis section to discern broad patterns. The findings of this study revealed that the rise of CJTF is multifactorial. The study revealed that the factors that precipitated the rise of CJTF vary with time, place, and situation. The key motivating factor were the widespread killings and destruction of property by the Boko Haram, and the counter-attacks and destruction by the military which also adversely affected several communities. The study revealed that within the CJTF, there are both persons with good and bad behaviour, though findings weighed in more on those with good behaviour. There is nevertheless fear amongst the people that the CJTF may become a nuisance when the insurgency is over if proper steps are not taken to sustain their livelihoods. The key recommendations for this study are: the institution of the CJTF is advised to have stricter entry modalities including consultation with community leaders, to ensure that the kind of people joining its ranks is reliable. It was also recommended that the government should consider putting more members of CJTF on remuneration as this will aid them in their daily needs and reduce the tendencies of them getting involved in inappropriate acts. Finally, the community can contribute to supporting families of fallen members of the CJTF to boost the confidence of those still active.

This book examines the contributions of culture industry to peacebuilding through Hausa home videos in northern parts of Nigeria. It analyses eight selected Hausa home videos such as Tsintsiya, Al-Ummar Mu, Wata Ruga, Bakin Zinare, Siyasa ko Kabilanci, Musabbabi, Asali, and Ishara, to explore peacebuilding messages. Drawing on textual analysis, interviews with filmmakers, and focus group discussions with viewers in Maiduguri, Kano, and Jos, the study examines the themes, production processes, and challenges involved in creating Hausa home videos with peacebuilding narratives. The findings reveal that Hausa filmmakers portray peacebuilding through filmi music, inter-religious and inter-ethnic relationships, and security related plots to encourage peaceful coexistence. Despite challenges such as funding constraints, threats, and limited training on peacebuilding, the Hausa home videos reflect a growing commitment within the Hausa film industry to address conflict and promote social harmony. The book highlights the potential of Hausa home videos as a cultural tool for advancing peace in northern parts of Nigeria. Ibrahim Uba Yusuf, PhD, is a Lecturer in the Department of Broadcasting, Faculty of Communication and Media Studies, University of Maiduguri, Nigeria. He is currently a Postdoctoral Research Fellow at the Indigenous Language Media in Africa (ILMA) Research Entity, North-West University, Mahikeng, South Africa. His research interests include popular culture, indigenous language media, broadcasting, and the intersections of Islam and media. He has co-edited Communication, Media and Islam: A Multidisciplinary Reader and Islam and Popular Culture in Nigeria. Ibrahim belongs to several professional associations, including the African Council for Communication Education (ACCE), the Association of Communication Scholars and Professionals of Nigeria (ACSPN) and Society of Nigerian Broadcasters (SNB).

This book thoroughly analyzes the transformation processes of Chinese yangge and its complex entanglements with political, economic, and cultural developments after the Chinese Cultural Revolution (1966-1976). The author systematically explores the historical and political conditions and actively engages in self-reflexive ethnomusicology as an ethnologist. By intertwining insider and outsider perspectives, the study positions itself in the context of postmodern ethnomusicology and the tradition of cultural studies. The result is a comprehensive scholarly exploration of three case studies of yangge, situated in the dynamic interplay between the poles of globalization and national identity.

Culture experts are of the opinion that culture is instrumental at the different phases of conflict. Over two million people have been displaced in North East Nigeria as a result of Boko Haram insurgency. These displaced persons amidst trauma, hurt, losses and despair have been settled in temporary settlement camps. Nevertheless, it has been observed that these people, over time have been able to build up resilience and have adapted admirably to the changing situations. Against this premise, this chapter intends to argue the notion that culture has been influential in the resilience building process among the displaced population. Hence, it seeks to examine the role culture plays in resilience building among the Internally Displaced Persons (IDPs) in Mohammed Goni College of Legal and Islamic Studies (MOGCOLIS) IDP camp, Maiduguri, the Borno State Capital. Qualitative research method was employed using ethnographic approach for data collection through interviews and observations. Purposive and snowball sampling techniques were used to recruit participants and data was saturated with 20 participants, 12 females and 8 males within the age range of 20-50 years. The findings of this chapter brought to limelight the role of culture in resilience building amongst the Internally Displaced persons in North East Nigeria. It is hoped that the outcome will be of use to both governmental and nongovernmental organizations as well as the displaced persons in their effort to come up with strategies for building stronger resilience aer these unfortunate events.

As a result of violent attacks by Boko Haram Insurgents, several communities in Northeast Nigeria have been conquered leading to considerable loss of life and property with surviving inhabitants left with no other option than to flee their habitats for safety. Following the recent “defeat” of the insurgents and liberation of some communities, efforts are being made by the government at both state and federal levels in collaboration with NGOs to resettle the IDPs back to their communities. This paper explores Borno State government’s resettlement and reconstruction process; using the reconstructed houses for IDPs in Mainok, Kaga LGA as a case study to find out if culture is a requisite criterion integrated in the process as it plays a vital role in sustainable development. The study employs qualitative methodology and the results of the research acquired through in-depth interviews with beneficiaries and non-beneficiaries of the housing project, Village Heads of Mainok I and II and a Director in the Borno state ministry of Reconstruction, Rehabilitation and Resettlement point to the fact that cultural considerations are lacking in the reconstruction andresettlement plan and policy of the IDPs by the Borno State Government. Recommendations are made that the international community and the national authorities may find useful while implementing future programs.

This volume is a festschrift to mark the 65th birthday of Raimund Vogels, who has been professor of ethnomusicology at the University of Music, Drama and Media Hanover for twenty years and director of the Center for World Music at the University of Hildesheim Foundation for ten years. During these decades he has, as a ‘foreman’ and ‘bridge builder’, been engaged in numerous projects and activities at the nexus of research, cultural safeguarding and music education in the field of ethnomusicology. His understanding of ethnomusicology as a socio-political practice that regards music as a tool for cultural diversity and social integration has provided important impulses both within and outside the discipline and has had a lasting impact on his academic offspring. Diggin' Up Music – Ethnomusicology as Building Site is a collection of contributions from his former and current doctoral students and research assistants, in which the diverse topics, approaches and perspectives of ethnomusicological work find expression.

Effects of Displacement on Kanuri Cultural Practices of Internally Displaced Persons of Borno State, Northeast Nigeria, is an examination of the experiences of displaced persons of the Kanuri ethnic stock, forced out of their ancestral homes as a result of the violent attacks carried out by Boko Haram Insurgents. The work offers insights on the dynamics of cultural change and its impact on cultural sustainability among the selected population, and at the same time, highlights the contribution of culture in societal transformation.

This paper underscores the urgency of cultural preservation and propagation through Nollywood using indigenous folklores as resource materials in order to enhance purity of content preserved and popularised. The basic idea is that folklores are pure containers and carriers of cultural heritages and can therefore offer richly useful material for the task of preserving cultures. Especially where care is taken not to adulterate content for aesthetic purposes and other concerns, folklores, which in themselves are a product of culture, present the most original form of the people's cultural expression and can therefore ensure that the correct and ideal tinge of culture is preserved and propagated. This paper draws on Nollywood's expression of Inale, an Idoma folklore produced into a film, and Bokwaghfan, a filmic adaptation of the satiric and comic manifestations of Botwev, a Tiv legend. The two films are taken from the dominant cultures of Benue State. Also unique is the fact that Inale is rendered in English, while Bokwaghfan is rendered in Tiv with English subtitling, thus offering an insight into the consequences of the medium of cultural expression. The paper unveils the various aspects of the Tiv and Idoma cultures that have been carefully preserved through these filmic experiences and concludes that Nollywood with its great potential can rely on the folklores of the people to preserve and propagate their cultures in the purest form.