Catherine Grant
Catherine Grant is a music researcher and lecturer at Queensland Conservatorium Griffith University (QCGU). She convenes the Doctor of Philosophy (PhD) and Master of Philosophy (MPhil) programs, and lectures at undergraduate and postgraduate levels on music research and music in its cultural and social contexts. With research interests at the intersections of music, cultural sustainability, and matters of social justice, Catherine has collaborated on music research projects with artists and communities in Cambodia, Vietnam, Vanuatu, Indonesia, Western Sahara, Brazil, India, and Australia. She currently leads the international research project "Sounding Good", involving nine artist-collaborators from five continents. Catherine has also led research in areas of higher music education, including developing global citizenship in students, and education for social justice. She has authored over 60 research outputs, including the sole-authored book "Music Endangerment: How Language Maintenance Can Help" (Oxford University Press, 2014), the award-winning edited volume (with Huib Schippers) "Sustainable Futures for Music Cultures (OUP, 2016), and the forthcoming book "Sounding Good: Explorations in Music, Cultural Sustainability, and Social Justice," (in press, OUP).
Awarded an Endeavour Australia Research Fellowship (2015) and British Museum grant (2019) for her research in Cambodia, Catherine is recipient of an Australian Future Justice medal for her research, advocacy and activism on cultural sustainability. Her doctorate (2012) was awarded without amendments, and received the Chancellor's Medal for Excellence. From 2016 to 2019, Catherine chaired the Australia-New Zealand Regional Committee of the International Council for Traditional Music, and since 2021 she has served on the grant assessment committee for the Endangered Material Knowledge Program of the British Museum, UK. She has undertaken consultancy and advisory work for Indigenous-led organisations and arts projects in Australia (2012-2014), Vanuatu (2018-ongoing), and Indonesia (2022-ongoing).
Catherine has presented on her research to audiences in Australia, the UK, the USA, Austria, Norway, Nigeria, Ghana, Vietnam, Cambodia, Indonesia, Malaysia, Vietnam, Thailand, and Kazakhstan. Her applied work on music endangerment and sustainability has featured in media including the Boston Globe, The Australian, The Conversation, The Cambodia Daily, and radio stations in Australia, Ireland, and the USA.
Address: .
Queensland Conservatorium, PO Box 3428
South Brisbane QLD, 4101, Australia
Awarded an Endeavour Australia Research Fellowship (2015) and British Museum grant (2019) for her research in Cambodia, Catherine is recipient of an Australian Future Justice medal for her research, advocacy and activism on cultural sustainability. Her doctorate (2012) was awarded without amendments, and received the Chancellor's Medal for Excellence. From 2016 to 2019, Catherine chaired the Australia-New Zealand Regional Committee of the International Council for Traditional Music, and since 2021 she has served on the grant assessment committee for the Endangered Material Knowledge Program of the British Museum, UK. She has undertaken consultancy and advisory work for Indigenous-led organisations and arts projects in Australia (2012-2014), Vanuatu (2018-ongoing), and Indonesia (2022-ongoing).
Catherine has presented on her research to audiences in Australia, the UK, the USA, Austria, Norway, Nigeria, Ghana, Vietnam, Cambodia, Indonesia, Malaysia, Vietnam, Thailand, and Kazakhstan. Her applied work on music endangerment and sustainability has featured in media including the Boston Globe, The Australian, The Conversation, The Cambodia Daily, and radio stations in Australia, Ireland, and the USA.
Address: .
Queensland Conservatorium, PO Box 3428
South Brisbane QLD, 4101, Australia
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Books by Catherine Grant
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Music researcher Catherine Grant joins artist and scholar collaborators from four continents to explore the deep—and sometimes surprising—interplays between music, cultural sustainability, and social justice. Through case studies in Australia, Brazil, Cambodia, India, Vanuatu, and Western Sahara, this book emphasises the potential for strong and sustainable cultural practices to advance social change agendas, and vice versa. Traversing a range of pressing contemporary social concerns—from forced migration, educational equity, and uneven wealth distributions to racial, cultural, and climate justice—Sounding Good contends that understanding the links between music, cultural sustainability, and social justice is more important than ever. Not only will doing so help efforts to protect and promote the rich diversity of musical practices around the world; it will also enhance our prospects of an equitable and thriving world, now and into the future.
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More: https://sounding-good.myportfolio.com/about
Situated within the expanding field of applied ethnomusicology, this edited volume confirms some commonly held beliefs, challenges others, and reveals sometimes surprising insights into the dynamics of music cultures by examining, comparing and contrasting highly diverse contexts, from thriving to ‘in urgent need of safeguarding’. Analyzing sustainability across five carefully defined domains, the book identifies pathways to strategies and tools that may empower communities and other stakeholders to sustain and revitalize their music heritage on their terms. In this way, the book aims to contribute to greater scholarly insight, new (sub)disciplinary approaches, and pathways to improved practical outcomes for the long-term sustainability of music cultures.
Articles by Catherine Grant
ក្តីកង្វល់ផ្នែកសង្គម-សេដ្ឋកិច្ចរបស់យុវតន្រ្តីករបុរាណនៅប្រទេសកម្ពុជា៖ ផលវិបាកចំពោះនិរន្តរភាពតន្រ្តី
Catherine Grant
សេចក្តីសង្ខេប
ថ្មីៗនេះ មានកិច្ចខិតខំប្រឹងប្រែងសាកល្បងសិក្សាអំពីតន្រ្តីមិនមែនលោកខាងលិច ដើម្បីពន្យល់អំពីចលនានៃការជិតវិនាសបាត់បង់តន្រ្តី និងនិរន្តរភាពក្នុងបរិបទសកលលោកទាំងមូល។ ដោយផ្អែកលើកិច្ចខិតខំប្រឹងប្រែងទាំងនេះ អត្ថបទនេះស្វែងរកយ៉ាងទូលំទូលាយនូវទំនាក់ទំនងរវាងស្ថានភាពសង្គម-សេដ្ឋកិច្ចរបស់យុវតន្រ្តីករបុរាណកម្ពុជា និងនិរន្តរភាពនៃប្រភេទតន្រ្តីទាំងនេះ។ ស្នាដៃរបស់យុវតន្រ្តីករបួននាក់បានឆ្លុះបញ្ចាំងវិធីស្មុគស្មាញមួយចំនួន ដែលជាក្តីកង្វល់ផ្នែកសង្គម-សេដ្ឋកិច្ចមានឥទ្ធិពលទៅលើការថែរក្សា និងការធ្វើឲ្យរស់រានឡើងវិញនៃការលេងភ្លេងបុរាណនៅប្រទេសកម្ពុជា ដែលការលេងភ្លេងបុរាណនេះជាច្រើននៅតែប្រឈមនឹងការវិនាសបាត់បង់យ៉ាងខ្លាំង បន្ទាប់ពីវិបត្តិផ្នែកសង្គម និងវប្បធម៌ដ៏ខ្លាំងនៃសម័យខ្មែរក្រហម។ អត្ថបទនេះរួមមានអនុសាសន៍ស្តីពីការគាំទ្រដល់មុខរបររបស់យុវតន្រ្តីករនៅប្រទេសកម្ពុជានាសតវត្សរ៍ទីម្ភៃមួយ ព្រមទាំងអំពីការបង្កើតយុទ្ធសាស្រ្តប្រសិទ្ធភាពថែមទៀតដើម្បីគាំទ្រដល់អនាគតដែលអាចសម្រេចបានរបស់តន្រ្តីបុរាណរបស់ប្រទេសនោះ។
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Music researcher Catherine Grant joins artist and scholar collaborators from four continents to explore the deep—and sometimes surprising—interplays between music, cultural sustainability, and social justice. Through case studies in Australia, Brazil, Cambodia, India, Vanuatu, and Western Sahara, this book emphasises the potential for strong and sustainable cultural practices to advance social change agendas, and vice versa. Traversing a range of pressing contemporary social concerns—from forced migration, educational equity, and uneven wealth distributions to racial, cultural, and climate justice—Sounding Good contends that understanding the links between music, cultural sustainability, and social justice is more important than ever. Not only will doing so help efforts to protect and promote the rich diversity of musical practices around the world; it will also enhance our prospects of an equitable and thriving world, now and into the future.
.
More: https://sounding-good.myportfolio.com/about
Situated within the expanding field of applied ethnomusicology, this edited volume confirms some commonly held beliefs, challenges others, and reveals sometimes surprising insights into the dynamics of music cultures by examining, comparing and contrasting highly diverse contexts, from thriving to ‘in urgent need of safeguarding’. Analyzing sustainability across five carefully defined domains, the book identifies pathways to strategies and tools that may empower communities and other stakeholders to sustain and revitalize their music heritage on their terms. In this way, the book aims to contribute to greater scholarly insight, new (sub)disciplinary approaches, and pathways to improved practical outcomes for the long-term sustainability of music cultures.
ក្តីកង្វល់ផ្នែកសង្គម-សេដ្ឋកិច្ចរបស់យុវតន្រ្តីករបុរាណនៅប្រទេសកម្ពុជា៖ ផលវិបាកចំពោះនិរន្តរភាពតន្រ្តី
Catherine Grant
សេចក្តីសង្ខេប
ថ្មីៗនេះ មានកិច្ចខិតខំប្រឹងប្រែងសាកល្បងសិក្សាអំពីតន្រ្តីមិនមែនលោកខាងលិច ដើម្បីពន្យល់អំពីចលនានៃការជិតវិនាសបាត់បង់តន្រ្តី និងនិរន្តរភាពក្នុងបរិបទសកលលោកទាំងមូល។ ដោយផ្អែកលើកិច្ចខិតខំប្រឹងប្រែងទាំងនេះ អត្ថបទនេះស្វែងរកយ៉ាងទូលំទូលាយនូវទំនាក់ទំនងរវាងស្ថានភាពសង្គម-សេដ្ឋកិច្ចរបស់យុវតន្រ្តីករបុរាណកម្ពុជា និងនិរន្តរភាពនៃប្រភេទតន្រ្តីទាំងនេះ។ ស្នាដៃរបស់យុវតន្រ្តីករបួននាក់បានឆ្លុះបញ្ចាំងវិធីស្មុគស្មាញមួយចំនួន ដែលជាក្តីកង្វល់ផ្នែកសង្គម-សេដ្ឋកិច្ចមានឥទ្ធិពលទៅលើការថែរក្សា និងការធ្វើឲ្យរស់រានឡើងវិញនៃការលេងភ្លេងបុរាណនៅប្រទេសកម្ពុជា ដែលការលេងភ្លេងបុរាណនេះជាច្រើននៅតែប្រឈមនឹងការវិនាសបាត់បង់យ៉ាងខ្លាំង បន្ទាប់ពីវិបត្តិផ្នែកសង្គម និងវប្បធម៌ដ៏ខ្លាំងនៃសម័យខ្មែរក្រហម។ អត្ថបទនេះរួមមានអនុសាសន៍ស្តីពីការគាំទ្រដល់មុខរបររបស់យុវតន្រ្តីករនៅប្រទេសកម្ពុជានាសតវត្សរ៍ទីម្ភៃមួយ ព្រមទាំងអំពីការបង្កើតយុទ្ធសាស្រ្តប្រសិទ្ធភាពថែមទៀតដើម្បីគាំទ្រដល់អនាគតដែលអាចសម្រេចបានរបស់តន្រ្តីបុរាណរបស់ប្រទេសនោះ។
Based primarily on interview and observational data from fieldwork in 2013 and 2014, the findings of this study underscore three challenges in particular to the transmission of traditional music genres in contemporary Cambodia: musical and technical difficulties, the changing social function of the genres, and economic pressures. In addition to intrinsic motivation, participants identified economic gain as a key incentive for young people to learn these genres. The author makes suggestions for overcoming the challenges and further motivating young people to learn traditional Cambodian music.
Previous studies have explored the historical and social context for the endangerment and subsequent revitalization of Cambodian performing arts, but little work has focused on music, or the views of culture-bearers themselves on these issues. By thematically analysing qualitative data from semi-structured interviews conducted in early 2013, this research explores the perspectives and motivations of a group of master-musicians, teachers and performers who are making efforts to sustain and revive their music traditions. Participants emphasised five factors that they believed significantly interplayed with the vitality of traditional Khmer music genres. Four of these were generally perceived to have an overall adverse effect on vitality: ‘outside’ influence; loss of interest and knowledge among younger people; low market demand for performances and teaching; perpetuation of limiting constructs and belief systems. Only one factor identified was perceived to have a beneficial effect on vitality: the strength of infrastructure for learning and teaching. Somewhat surprisingly, then, opinions about the viability of traditional genres were on aggregate highly optimistic, though with some concern expressed about the impact of government action (and inaction) on this issue. Justifications given for sustaining and revitalising traditional Khmer genres included the role of these traditions in education and ritual, Cambodian national identity, and musicians’ livelihoods. The study confirms the perceived value, among one group of culture-bearers, of revitalizing Khmer music traditions.
This chapter examines what is known about how forced displacement (including internal displacement, within borders) affects the capacity of individuals and groups to maintain their musical practices. It considers what we know about the significance of musical and cultural maintenance to people who are forcibly displaced, how people sustain their music in their new homelands, and what barriers, enablers, and incentives they face in doing so. While engaging with pressing ethnomusicological concerns, including the adverse effects on cultural sustainability of global political unrest and the escalating environmental and climate crises, the chapter emphatically considers ways to support sound futures for displaced cultural practices and—more importantly—their human bearers.
Individual and collective cultural identities are shifting, as are the sociocultural and linguistic practices of people and communities across the world. As large-scale and intersecting global forces-from biodiversity loss and the climate crisis, to rapid technological developments, to political instability and conflict-affect people's lives the world over, the social functions and contexts of musical and other intangible cultural expressions are inevitably changing too. Amid these geopolitical, environmental, and cultural shifts, matters of music sustainability and cultural sustainability more broadly have become an increasing point of focus, as culture-bearers and communities, cultural agencies and organizations, governments, researchers, and all other manner of cultural advocates attempt to make sense of these global changes and their implications for the present and future of cultural practices. In this context, this chapter takes stock of the matter of cultural sustainability in relation to music. It is in three sections. The first explores matters of terminology and definitions, and chronicles the ethnomusicological interest in cultural sustainability through the twentieth century, particularly following the establishment in the 1950s of the discipline of ethnomusicology (as we know it). The second section examines the current state of ethnomusicological scholarship on music and cultural sustainability, surveying some key projects, approaches, and recent developments in the field. Drawing on some of our own recent sustainability-related ethnomusicological collaborations with musicians and communities, the third and final section offers our perspectives on some possible productive future directions for ethnomusicological scholarship on matters of sustainability: in particular, attending to the social justice and human rights contexts of musical practices, and expanding participatory and collaborative approaches to music sustainability endeavors.
The women of Leweton have been performing Water Music for international audiences since the founding of the Leweton Cultural Village in 2008, and have been practising this tradition for as long as they remember. This text book contribution introduces the Water Music.
Rika Setiawati and Antonius Kambaru Jawamara.
Drawing on the growing body of evidence demonstrating the key role the arts play in health and well-being, advancing social equalities, and connecting communities, this chapter considers how the arts are contributing to education and knowledge transmission for the adherents of the Marapu Indigenous religion of East Sumba, Indonesia. The local NGO-led project Revitalising Marapu Cultural Assets (2019-2021) empowered Marapu adherents to revitalise their traditional performing arts and oral traditions. The success of this project led into a larger program, Lii Marapu, which aims to increase access (especially of young people and women) to social services and inclusive education by fostering political participation. This
The Cambodian version of the instrument is unique. Called angkuoch in Khmer, it is a precious part of Cambodia’s living cultural heritage (Libin 2014; Narom 2005).
Nowadays, angkuoch and its associated practices are in need of urgent safeguarding. Social and cultural shifts in Cambodia over the last half-century, including the devastation of the Khmer Rouge era in the 1970s, mean that only a few people still know how to make and play angkuoch (Miller & Williams 1998, 204).
Supported by the Endangered Material Knowledge Program of the British Museum (UK) and by UNESCO (Cambodia), in early 2020 we (the authors) led a team documenting angkuoch and angkuoch-making as it is practised in Siem Reap Province in northern Cambodia. Our aim was to help preserve knowledge about angkuoch for present and future generations.
By briefly introducing the angkuoch makers and players who participated in this project, and by presenting some of the information they shared with us during our fieldwork, this article serves as an introduction to angkuoch. It offers a sense of the changes to angkuoch-making over time, and the current state of the instrument in its social and cultural context. It also reflects on one of the key outcomes of the fieldwork: identifying the likely maker of the angkuoch in the British Museum.
A long-standing taboo has likely contributed to a dearth of autoethnographic stories among research on musicians’ health. Here, I move away “from the gaze of the distanced and detached observer, toward the embrace of intimate involvement, engagement, and embodied participation" (Ellis & Bochner, 2006, pp. 433-434) and attempt to demonstrate the legitimacy and value of introducing the first-person voice into the growing body of work on health in the performing arts.
This chapter begins with an overview of common conceptualisations of poverty, culture, and cultural sustainability, then outlines and reflects on the relationship of culture to the SDGs and the UN’s Sustainable Development Agenda. It then surveys existing understandings of the relationship of poverty to culture and cultural sustainability, grouping the literature into three broad and non-mutually exclusive categories: theoretical studies, geographically or culturally bounded studies, and grey literature. The final two sections of the chapter explore in more depth two specific, particularly salient aspects of the relationships between poverty, culture and cultural sustainability. The first of these is the mostly adverse effects of poverty on the strength and sustainability of cultural expressions – that is, how poverty may inhibit cultural vitality and sustainability. The second aspect is the significant positive potential of strong and sustainable cultural expressions for advancing SDG 1 ‘No Poverty’ – that is, how strong and sustainable cultures may help alleviate poverty.
LAN PHUONG, JAYASINHJI JHALA, HOANG SON, and LAUREN MEEKER
Vietnam Institute of Culture and Arts Studies, Temple University [Producer]
Watertown, MA, DER Educational Resources, 2010
DVD, colour, 73 mins, US$195 (institutional sale) / US$39.95 (home use sale)
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LAUREN MEEKER
Sounding Out Heritage: Cultural Politics and the Social Practice of Quan Họ Folk Song in Northern Vietnam
University of Hawai’i Press, Honolulu, 2013
Through case studies in Cambodia, India, and Vanuatu, this article explores social outcomes of safeguarding musical heritage in rural and remote communities. It draws attention to the deep interconnections between safeguarding musical heritage and matters of social justice for rural and remote communities, from poverty to issues of cultural and climate justice. It also considers how initiatives to sustain musical ICH in rural and remote communities in the Asia-Pacific are advancing social change agendas and progressing the United Nations’ Sustainable Development Goals (SDGs).
What roles can music and sound play in driving and enabling sustainable development in the Asia-Pacific region and beyond? This media article explores, through projects in Indonesia, Australia, and Vanuatu. Read the article online at: https://theacademic.com/how-music-and-sound-can-help-advance-sdgs/
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Palabras clave: Enseñanza instrumental; pedagogía uno-a-uno; educación musical terciaria; pedagogía transformativa; enseñanza vocal.