Abstract
In contemporary Tunisia, compulsive filming and on line music sharing has become a method of expressing musical identities and participating in networks of affinity. In this essay, I provide an overview of the Tunisian musical instrument ʻūd ʻarbī's virtual life as composed of visual, oral, temporal and auditory elements. By investigating ʻūd ʻarbī music videos, I highlight some of the ways in which my own filming of the instrument in the field and mālūf (Arab-Andalusian music) aficionados/musicians' virtual video sharing/archiving contribute to create and maintain communities through video practices. This analysis also contributes to discussions of ways the fields of visual anthropology and film studies have redefined ethnographic method (Hockings, 1975; Zemp, 1988; Baily, 1989) while benefiting from research into media and visual communication, sound and music studies (Feld, 1976; 2004, Lysloff, 2003; Karaganis, 2007; Strangelove, 2010).
| Original language | English |
|---|---|
| Title of host publication | Ethnomusicology in Audiovisual Time |
| Publisher | Zhejiang University Press |
| Chapter | 1 |
| Pages | 1-7 |
| Volume | 1 |
| Edition | Yunnan University |
| Publication status | Published - 2018 |
Keywords
- Tunisia
- ʻūd, mālūf,
- film
- Modernity