Hearing “African” and “European” music in the Atlantic world

Reviewed by: Music and Conflict Gavin Douglas Music and Conflict. Edited by John Morgan O’Connell and Salwa El-Shawan Castelo-Branco. Urbana: University of Illinois Press, 2010. [viii, 289 p. ISBN 9780252035456 (hardcover), $80; ISBN 97-0252077388 (paperback), $30.] Music examples, illustrations, maps, appendices, index. Music and Conflict is a valuable addition to the growing literature on music in war and peace. In addition to how music might dissolve difference and nurture cross-cultural understanding, the book considers the ways in which music inflames and justifies conflict. The volume brings together an array of case studies and engages conflict with a theoretical depth that fosters thought for exploring countless other disputes. All of the authors in this volume acknowledge the power of music to move people, yet, unlike countless other affirmations of music’s healing and peace-making capabilities, these writers realize that if music has power it also has power to harm. Three themes permeate the book and are found to varying degrees in each of the essays. The first provides insight into how the discourse and the use of music help to identify conflict. By examining the discord [End Page 109] in music discourse and practice, the essays highlight policies and ideologies that inform musical production and meaning. Second is an account of some of the ways that music is employed to resolve conflict by fostering intercultural understanding to promoting healing. The third theme speaks to the applied researcher and suggests ways that ethnomusicologists might operate as mediators in conflict resolution. John O’Connell’s introduction, “An Ethno musicological Approach to Music and Conflict,” is valuable for its careful presentation of the myriad of ways that this topic can be approached. In a Lakoffian manner he highlights that the language of music scholarship, analysis, and practice are heavily imbued with metaphors of conflict, and that war and peace are not discrete categories but best thought of as a continuum of behaviors. The book logically progresses from music used to exacerbate conflict to music used for resolution. Each of the six sections comprises a pair of chapters grouped together under specific conceptual and geopolitical themes. The editors should be commended for the organizational acumen that facilitates dialogue between the chapters. The work’s value emerges from the intersections between the paired articles. The clear, progressive layout lends itself well to dialogue between subsections and, as such, would work well in a seminar context. Part 1, “Music and War,” contains two articles on post-Soviet Eastern Europe. Jane C. Sugarman’s “Kosova Calls for Peace” highlights how “wars require that communities overlook differences in background and orientation so as to act as a united group” and how Albanian songs and music videos produced during the Kosovo War “forged a sense of national purpose by eliding or mystifying social difference” (p. 18). Sugarman argues that this elision of differences was achieved through the evocation of a “mythic mode of representation” that may be identified in song lyrics, the staging of music videos, and “hyper-ethnic” musical arrangements. Inna Naroditskaya’s chapter “Musical Enactment of Conflict and Compromise in Azerbaijan” provides a close reading of the score and performance(s) of the oratorio Qarabag Shikestasi by Azeri composer Vasif Adigozal. She reads across this piece and several others to find a musical interpretation of the conflict over the contested region of Qarabag. Different types of hybridization are engaged strategically in these pieces to balance a proximity to Western music with a distance that keeps them attractively “exotic,” revealing a craving for communication with and recognition by other nations. Part 2, “Music and Boundaries,” explores how music helps define difference within and across frontiers in Korea and Northern Ireland. Keith Howard’s “Music across the DMZ” examines how musical policy reflects the dominant ideology in each sector. Artists on both sides of the Korean demilitarized zone have advanced on different trajectories, each creating music of value. The assumption that true Korean music is maintained in South Korea and has been erased in North Korea is deeply problematic, Howard argues. Musicians in the two Koreas remain more closely connected than the DMZ might tempt us to believe. Howard imagines the role that music...

Reviewed by: Secret Cures of Slaves: People, Plants, and Medicine in the Eighteenth-Century Atlantic World by Londa Schiebinger Rana Hogarth Londa Schiebinger. Secret Cures of Slaves: People, Plants, and Medicine in the Eighteenth-Century Atlantic World. Stanford, Calif.: Stanford University Press, 2017. xvi + 234 pp. Ill. $24.95 (978–1–5036–0291–5). For many scholars the eighteenth-century Caribbean represents a contentious space shaped by European colonization and Atlantic World slavery. For others it is a geographic space where cultures and knowledge collided. Londa Schiebinger’s latest book, Secret Cures of Slaves: People, Plants, and Medicine in the Eighteenth-Century [End Page 120] Atlantic World, combines these views and offers a new perspective: the eighteenth-century Caribbean as a site of medical innovation, experimentation, and knowledge production. She sees its indigenous and African inhabitants as skilled healers—experts on local plants and herbs—and stewards of highly sought-after medical knowledge. As Schiebinger notes early on in the text, “Fine educations in Europe could not guarantee success on the ground in the tropics” (p. 5). As such, European practitioners relied on enslaved healers’ knowledge or knowledge shared with them from indigenous sources. Her book then is devoted to exploring the transfer of knowledge from enslaved African practitioners to European physicians and the contentious relationships between these two groups set against a backdrop of Atlantic World slavery. Indeed, Schiebinger recounts how European physicians resorted to spying on enslaved healers to learn of their secret cures and running “trials” in which European treatments were pitted against local or indigenous ones to test their efficacy. Her book is divided into five chapters. Chapter 1 examines the experimental impulse in the eighteenth-century Caribbean. In this chapter, Schiebinger demonstrates how white physicians took advantage of their new surroundings and their exposure to black Africans in unfamiliar climates to explore questions about racial difference, the origin of black skin color, and the effect of climate and place on bodily temperature through experimentation. Chapter 2 traces how European practitioners gained access to African and indigenous American plant based therapies. Schiebinger balances cautious speculation with textual sources to outline the transfer of knowledge from indigenous sources to African ones, and African ones to European. African slaves not only practiced medicine, but adopted indigenous knowledge and adapted their own healing customs to treat ailments that proved too challenging for European physicians. She draws these points out in her discussion of yaws—a contagious, painful, disfiguring skin condition that left slaves unable to work. Chapters 3 and 4 explore principles of medical ethics and medical experimentation as it was understood and practiced in the metropole and the colonies. Schiebinger carefully puts experimentation on enslaved populations in the broader context of experimentation that took place in Europe and in the colonies on the poor, prisoners, and other wards of the state. These groups, Schiebinger contends, were vulnerable to medical experimentation. Unlike slaves, however, they did not carry a value as property—a status that Schiebinger notes could shield slaves from reckless experimentation. That said, slaves faced having their humanity acknowledged and dismissed. When it suited a physician’s experimental aims, slaves’ bodies could be interchangeable with whites. In other cases, they were viewed as innately different, but close enough substitutes. Chapter 4 stands out for its descriptions of exploitative experiments conducted on enslaved populations. Schiebinger examines John Quier’s dangerous experiments with smallpox inoculation that involved more than eight hundred slaves in Jamaica during the 1760s. This chapter clearly highlights the long and still understudied history of the medical subjugation of Africans and their descendants across the Americas. The fifth chapter rounds out the narrative by exploring the [End Page 121] underlying tensions between white medical interventions and slaves’ use of spirituality in healing as was the case with obeah and vodou. European practitioners and colonial officials, Schiebinger notes, dismissed enslaved people’s healing practices as witchcraft or quackery. Some went as far as citing such practices as propagating rebellion (p. 128). Schiebinger acknowledges that her narrative does “privilege European-style experimentation”—in both the sources used and the ways “experimentation is conceptualized” (p. 15), but she clearly gestures toward the limitations of such sources. The reader does...

Race and Science in Global Histories

Reviewed by: The Occupation of Havana: War, Trade, and Slavery in the Atlantic World by Elena A. Schneider Matt D. Childs (bio) The Occupation of Havana: War, Trade, and Slavery in the Atlantic World elena a. schneider University of North Carolina Press, 2018 360 pp. In June 1762, Britain brought the Seven Years’ War to Havana, Cuba, the largest city in the Caribbean, the third largest in the Americas, and Spain’s gateway to its vast empire in mainland Latin America. Assembled outside of Havana’s harbor was a British force that would number 28,400 sailors, soldiers, and enslaved Africans—amazingly more people than lived in any British colonial city in the Americas at the time. After a six-week siege that even involved digging a tunnel under the famous Moro military fortress that guarded Havana’s deep harbor to dynamite its walls, the Spanish finally surrendered. The British would occupy Havana for nearly a year before it would be returned to Spain in exchange for Florida in 1763. Spain and Britain alike recognized the siege and occupation of Havana as a watershed moment in the history of the Atlantic world, often giving it as much historical weight as the arrival of Columbus in the 1490s and the defeat of the Spanish Armada in 1588. Given the importance of the occupation of Havana for shaping Caribbean, Imperial, and Atlantic history, scholars have analyzed the event from military, political, economic, and diplomatic angles, which has produced a long and detailed historiography. Historian Elena Schneider’s The Occupation of Havana is the latest addition to this largest body of scholarship, and without a doubt it is the most detailed and comprehensive study to date. Other scholars have emphasized the importance of the siege and occupation of Havana, but mainly to illustrate a different story. For example, the event often figures as one of the last battles of the Seven Years’ War that forced Spain to the peace table, or the resistance by Cuban colonists is [End Page 499] highlighted as an early form of nationalism, or most frequently the economic changes initiated by the British during their brief occupation is portrayed as the first step in the development of the Cuban plantation system. Schneider breaks with this scholarly tradition whereby the occupation of Havana is leveraged to make an argument about a different historical topic. Instead, she explains that methodologically her study is a longue durée history of the preceding interactions between the British and Spanish in the Caribbean before the siege, a detailed narrative and analysis of the occupation and of the long-lasting consequences after Havana returned to Spanish rule. In developing this line of analysis, Schneider has performed exhaustive research in over two dozen archives in Europe, North America, and the Caribbean working in sources that range from papers relating to heads of state discussing political and military events down to the minutiae of individual sale transactions recorded by notaries. Drawing on this diverse source base, she skillfully juggles multiple levels of analysis that range from the macro analysis of global-structural events to the micro scale of individual actions by the enslaved produced out of contingency and expediency. Utilizing these sources and examining the occupation of Havana from a long historical view, Schneider argues that “the British invasion and occupation of a Spanish colonial space was not the radical rupture in Cuban history that it was once depicted as being . . . [but rather] the intensification of existing patterns and processes of interactions . . directly connected to slavery, the slave trade, and population of African descent . . . before during and after the events that transpired in 1762 and 1763” (9). In buttressing her argument on how the occupation of Havana was an intensification of preexisting patterns and accelerated interactions between colonies and empires in the eighteenth-century Atlantic world, Schneider has structured her book through six detailed chapters separated into three parts. In part 1, “Origins,” the author provides an intellectual and cultural history of what she wittingly labels the “Deep History of British Plots against Havana,” which traces schemes, conspiracies, and actions to take Havana and New World Spanish lands fueled by religious and imperial rivalries. Collectively, these early...

Reviewed by: Atlantic Studies: Prospects and Challenges by William Boelhower Niels Eichhorn Atlantic Studies: Prospects and Challenges. By William Boelhower. (Baton Rouge: Louisiana State University Press, 2019. Pp. xiv, 294. Paper, $35.00, ISBN 978-0-8071-7294-0; cloth, $80.00, ISBN 978-0-8071-7163-9.) Bernard Bailyn has observed about Atlantic history "that certain historians have found [the subject] strange, that others have said [it] does not exist and if it does exist it shouldn't, [and] that at best [it] has no easy or clear definition" (Atlantic History: Concept and Contours [Cambridge, Mass., 2005], p. 3). In contrast, William Boelhower asks us to move beyond the narrow confines of Atlantic history and embrace an interdisciplinary approach to the Atlantic world that he claims has yielded extraordinary results and promises a much better understanding of the complexities of the region. He specifically argues that geography and maps offer some important overlooked insights. Boelhower divides the book into three parts that address the change from Atlantic history to Atlantic studies, demonstrate with examples how different disciplines can clarify much better the complex nature of the Atlantic world, and finally show why maps are an important and overlooked source. While much of Boelhower's critique of Atlantic history centers on its limited methodological use of sources, he also challenges with case studies in Part 2 the chronological boundaries often associated with Atlantic history. Illustrating the interdisciplinary approach, Boelhower introduces Frederick Douglass's novella The Heroic Slave (1852) to demonstrate how Douglass's fictional retelling of Madison Washington's journey was inspired by the events on board the Creole and how it represents Douglass's own journey through freedom and brief crossing of the Atlantic to Great Britain. The heart of Boelhower's critique is the reminder that the study of cartography offers significant insights. After presenting readers with three early Atlantic world maps, Boelhower shows how these maps illustrate European land claims and provide a visualization of how Europeans stereotyped Native peoples in the Americas as cannibals and hut dwellers. Boelhower's book raises important questions about the study of the Atlantic world. Where historians at times obsess about the chronological end date, Boelhower ignores this debate and includes nineteenth-century figures, such as Douglass, to remind readers that the Atlantic world did not end. At the same time, Boelhower's work is an important reminder that the early Atlantic world was part of a globalized world and that to draw a line between the Atlantic world and global history is counterproductive. The book could have benefited from some more clarification, such as chronology. While Boelhower's suggestion to use maps in Atlantic studies and to interrogate them more closely is important, this perspective raises a few questions. By studying maps, are we risking giving significant attention to civilizations that engaged in mapmaking? Certainly, maps can tell us how Europeans viewed Indigenous people, but they do not tell us how Indigenous people viewed Europeans. At the same time, the [End Page 367] suggestion to reach into literature and literary studies, as well as other language material, is an important reminder of the interdisciplinary benefits not just for the study of the Atlantic world. Boelhower gives scholars much to think about in his book and points out some interesting avenues to take Atlantic studies toward, especially liberating it from the narrow chronological confines of Atlantic history. There are still many stories to be told, and in some cases, the boundaries between the Atlantic world and the rest of the world will continue to blur. Niels Eichhorn New Mexico Junior College Copyright © 2022 The Southern Historical Association

Seeger Lecture, Society for Ethnomusicology Virtual Meeting 2021

This volume of essays both seeks to take an innovative approach to music history and has an unusual history of its own. In 2012 musicologist Reinhard Strohm received the Balzan Prize from the International Balzan Prize Foundation (Milan/Zurich), an award presented to major scholars and scientists with the intention that half of their prize money should be used to support midcareer researchers working on a specified program. Strohm, as project leader, “opted for a project on global music history and, together with a Steering Committee, decided to invite researchers of historical musicology and ethnomusicology for study visits at six participating institutes to carry out or to complete their researches on the music of different world regions” (xiv). With the support of the Balzan Musicology Project, the authors included in this volume “studied the relatedness and the singularity of historical musics around the world,” seeking to articulate in different ways “a panorama of controversy, resilience, and at the very least, interaction.” This volume aims “to promote post-European historical thinking,” “based on the idea that a global history of music cannot be one single, hegemonic history” but “rather explore the paradigms and terminologies that might describe a history of many different voices” (xiii).The resulting collection of essays is collaborative in the sense that it is the outcome of “selected and peer-reviewed research writings” (xiv) produced as a result of study visits to participating institutes, as well as a series of international workshops held at institutions across Europe and England. Only the introduction to the volume, authored by Martin Stokes, was commissioned separately (xiv). Three essays placed immediately after the introduction historicize this intellectual venture and articulate the importance of the Enlightenment as the historical touchstone of the idea of a global music history. Of these essays, David R. M. Irving's interrogates early modern concepts of music in comparison to those of the ancient Greek; Estell Joubert's addresses early global ethnomusicological analytical encounters; and Philip V. Bohlman's concerns musical thought in the global Enlightenment.The remaining sixteen essays are sorted according to the general geographical location of their subject matter, which includes East Asia, South and Southeast Asia, and the Americas. Given the prominence of Africa as a site for early historical work in ethnomusicology, as well as in the field of oral history, not to mention the European colonial presence on that continent from early dates, the exclusion of African case studies and the omission of musicologists and ethnomusicologists studying Africa are surprising. The final essay by Tina K. Ramnarine does explore in part connections established through “past imperial spreads,” drawing on “cultural survival in Caribbean plantation contexts and the legacies of African enslavement” (439).Seven of the essays focus on East Asia, most addressing musical encounters across or beyond that region. These include musical encounters between Latins, Mongols, and Persians ca. 1250–1350 (Jason Stoessel); musics along the Silk and Maritime routes in transcultural perspective (Max Peter Baumann); adaptation of Western music education after the Meiji Restoration in Japan (Rinko Fujita); bidirectional flows of Western and Japanese musics (Oliver Seibt); entangling and intercrossing of European music in Korea (Jin-Ah Kim); interchange of Korean, Japanese, and American musical terminology in Korea post-1945 (Keith Howard); and a general essay on East Asian musics in global historical perspective and the epistemological problems of cross-cultural global approaches (Nicola Spakowski).Three essays discuss musics of South and Southeast Asia: the modernization of old bamboo instruments in Bandung, Indonesia (Henry Spiller); cultural autonomy and the “Indian exception” (Matthew Pritchard); and the poetics and politics of cross-cultural exchanges between Indian and Western musicians (Suddhaseel Sen). The final group of articles discuss different regions and topics from the Americas, including two focusing on Jesuit missions and the appropriation of European practices along with creative adaptation of indigenous practices in South America (Leonardo J. Waisman and Tomas Jeż). Four others approach, respectively, musical topoi representing landscape in Argentine art music (Melanie Plesch); pentatonic scales in the musical representation of the Peruvian Andes (Julio Mendivil); political dimensions of street vendors’ cries in Mexican composer Silvestre Revueltas's early works (Roberto Kolb-Neuhaus); and the use of indigenous musical materials such as the waltz and danza in a Venezuelan masterpiece of musical nationalism (Juan Francisco Sans). The final contribution compares two ethnographic examples related to festivals from the Caribbean and Canada (Tina K. Ramnarine).Martin Stokes's introduction to this volume is probing and useful, querying who would want to construct a global history and why and situating the Balzan project in conversation with earlier engagements alongside historical studies in comparative musicology, ethnomusicology, postcolonial studies, globalization theory, and sound studies (4). However, for this reader, Nicola Spakowski's essay, encountered only midway through the volume at the end of the East Asian section, provides both the clearest map “to the new field of ‘global history,’” a clarifying explanation of the “relation between area studies and the global disciplines . . . in understanding the ‘distant’ and its relation to the West,” and the “conceptual variations in large-scale and connective history” (221). Spakowski's contribution is an important one that acknowledges the difficulty in setting aside Eurocentrism despite the best intentions to do so and sounding a challenge to area studies approaches despite their ubiquitous presence in the volume.Studies on a Global History of Music is an impressive volume on the level of the individual case studies; it covers a great deal of musical time and space, as well as multiple methodologies. While most of the essays seek to decolonize music history and to at least establish dialogues with musics in different eras and locales, the study of global music history provides a substantial challenge in this regard both for its individual authors and for the group as a whole. For the reader from ethnomusicology, as gently hinted in Stokes's introduction (8), the Balzan Musicology Project's volume reviewed here may not seem so new an approach, given the longtime global reach of research in historical ethnomusicology. There are rich offerings in ethnomusicology, as was succinctly surveyed more than thirty years ago in a volume dedicated to a “pioneer in the study of modern music history,” Bruno Nettl (Blum, Bohlman, and Neumann 1991). At that time, the coeditors of that volume, Ethnomusicology and Modern Music History, also acknowledged that their project to document “world history” had its roots in eighteenth-century Europe. Like the Balzan volume, Ethnomusicology and Modern Music History addressed a wide array of music histories from multiple continents, endeavoring to approach “historically situated human subjects” (7) critically by focusing on the manner in which music and its study are perceived differently by both insiders and outsiders, by exploring who holds authority in acts of historical interpretation, by documenting brokers and mediators between and among different musics, and through exposing how music is reproduced and renewed through a multiplicity of factors, both local and global, over the course of time. The search for a global history of music clearly has been and continues to be a subject of deep interest across music disciplines, and Studies on a Global History of Music provides additional case studies and yet more cross-cultural dialogues for those committed to this genre of a broader musical scholarship.

Here we outline several ways that power and identity are asserted and reconfigured through cross-cultural musical encounters, often distancing the "musical explorer" from complex or uncomfortable interactions with members of the communities they source. We take as a case study the founding and formative experiences of the Tenores de Aterue, a US-based quartet devoted to the study and performance of Sardinian cantu a tenore, in particular their interactions with Sardinian musicians and musical connoisseurs, both via YouTube and in their travels to Sardinia. In Part I we propose that a "musical explorer" can refine their practices of cross-cultural engagement by noting the number and range of culture brokers involved in a music's circulation. Part II addresses the possibilities and limitations of audacity (considered a hallmark characteristic of a tenore singers) as enacted by the Tenores de Aterue—outsiders to Sardinian culture and newcomers to cantu a tenore. Part III animates these issues in an extended narrative, recounting a period of heightened discomfort and disorientation in the group's travels. Through this case study, we move beyond determinations of whether appropriation took place in a musical encounter to consider how specific decisions shift power among a range of social actors.

Entering the field with previously attained musical skills may help facilitate initial immersion. However, it may also deceptively signal to informants that an ethnographer is fluent in local intersocial practices. Reflexivity about this disjuncture can be an analytic tool within ethnographic methodology. I draw on field research in eastern Tennessee to show how my fiddling skills positioned me within ongoing social and musical encounters, despite my lack of more nuanced cultural knowledge. I treat the resulting confusion as valuable data in a case study on classed sociomusical interaction and self-making.

ABSTRACTThis paper examines the intersection of music, creativity, and society through the lens of a critical and self‐critical appraisal of the here.here concert series; ongoing research‐led collaboration focusing on transdisciplinary approaches to experimental music with a focus on the socio‐politico‐environmental dynamics at play between all involved in a musical encounter. The authors, both academics and composers, contend that experimental music, in its super‐local, interpersonal connections, can challenge the conventional and institutional, serving as an alternative to the homogeneity and self‐centred individualism fostered by capitalist systems. We propose the concept of a ‘new social virtuosity (“social virtuosity” in a music context was coined by Maggie Nicols in the 1970s to describe Feminist Improvising Group and their challenge of the “technological or instrumental elitism”; often dismissed by male musicians. (We came across it through the PhD research of one of our students Maureen Wolloshin),’ viewing the music landscape as a vast terrain where various musical, artistic, and creative directions intersect and converge, transcending presumed binaries. The paper foregrounds the significance of curatorial practice in bridging these differences and harnessing social dissonance, particularly in the context of the capitalist systems which enable these concerts. The authors argue that curation, despite its necessary interplay with these systems, can act as a tool to disrupt and question them. They explore how the act of curation influences social and political dynamics, examining its potential to create new ways of interaction and empowerment. This approach serves as a contrast to those systems that often cause disconnection and isolation. The authors reflect upon three case studies from the last two seasons of the here.here concert series that explicitly focused on the concepts of ‘ventriloquy’ and ‘social virtuosity’ as forms of creative agency: entering into critical dialogue with and giving voice to seminal works (Cage 4′33, Alexander J. Ellis (1814–1890)) for the former and three contemporary pioneers of ‘social virtuosity’—Eva‐Maria Houben—Maggie Nicols and Eddie Prevost for the latter. The concept of ‘social dissonance’ is examined, illustrating how it can be used as a catalyst for creative dialogue and solidarity, while also encouraging a deeper understanding of our shared societal dynamics. Finally, the paper introduces the concept of ‘a new social virtuosity’, emphasising the importance of listening, collaboration, and collective intention in creating a shared musical experience that expands beyond the stage to include the audience. It concludes by examining the performance of 4′33 within this context and underscores the power of dissonance as a tool for creative and critical thinking.

Reviewed by: Medicalizing Blackness: Making Racial Difference in the Atlantic World, 1780-1840 by Rana A. Hogarth, and: Medical Bondage: Race, Gender, and the Origins of American Gynecology by Deirdre Cooper Owens Wangui Muigai Rana A. Hogarth. Medicalizing Blackness: Making Racial Difference in the Atlantic World, 1780-1840. Chapel Hill: U of North Carolina P, 2017. 290 pp. $27.95. Deirdre Cooper Owens. Medical Bondage: Race, Gender, and the Origins of American Gynecology. Athens: U of Georgia P, 2017. 182 pp. $26.95. Historians Rana Hogarth and Deirdre Cooper Owens have written compelling studies that examine black bodies as objects of medical inquiry and surgical experimentation. Drawing on an impressive range of archival sources, they illuminate the complex ways black people's bodies—through cycles of birth, disease, disability, and death—acquired clinical meaning. Taken together, their works offer fresh insight into understanding how sickness shaped the lived experiences of slaves, and how slavery framed meanings of sickness and health in the eighteenth and nineteenth centuries. Hogarth's carefully researched book, Medicalizing Blackness: Making Racial Difference in the Atlantic World, 1780-1840, explores a provocative question: when did being black become a medical problem—a condition demanding professional attention and specific forms of treatment? Deftly situating her analysis at the intersection of studies of slavery, race, and health, Hogarth locates the "medicalization" of blackness as a peculiar, pathological trait in the late eighteenth-century slaveholding Atlantic. As the book's title suggests, Hogarth is interested in process. The focus on medicalization links her methodological approach to interdisciplinary scholarship that has considered how traits like obesity and alcohol abuse come to be defined, and managed, as medical disorders. Hogarth builds on this framework, showing how skin color emerged as the hallmark feature for pathologizing people of African descent. In tracing the origins and circulation of discourses about black health, Hogarth centers the Greater Caribbean, a region stretching from Kingston, Jamaica to Charleston, South Carolina. Within this space, characterized by similar climate and disease patterns, the West Indies, not Western Europe, functioned as the "font of medical knowledge" physicians turned to for guidance on treating slaves during the late eighteenth and first half of the nineteenth century (31). Through meticulous readings of treatises on "Negro diseases," planter manuals, medical texts, and newspaper advertisements, Hogarth demonstrates how physicians touted their expertise to advance their standing in a medical marketplace crowded with enslaved, spiritual, and amateur healers. Medical ideas about blackness spanned political contexts and [End Page 399] views on slavery and the slave trade. Well-known abolitionists like Dr. Benjamin Rush of Philadelphia taught University of Pennsylvania's medical students that disease susceptibility could be explained by innate racial differences. Not until the 1850s would infamous diseases like drapetomania (the "mental disease" that caused slaves to run away) arise as blatant attempts to justify the continued enslavement of black people, hardening the link between "racial" diseases and proslavery beliefs. Organized thematically and chronologically, Medicalizing Blackness explores diseases and institutions designated for black bodies. In part one ("Marking Difference"), Hogarth focuses on yellow fever, the "black vomit" that ravaged port towns across the American Atlantic. When epidemics struck, physicians observed that "something very singular in the constitution of Negroes" seemed to spare slaves and free blacks from falling victim to the deadly menace (22). The claim had origins in older ideas that Africans were "seasoned" to the diseases of tropical climates, and Hogarth reveals how this theory of innate immunity evolved to be mapped onto skin pigment. Yet in racializing yellow fever susceptibility, white physicians racialized suffering as well. Even when confronted with a terrifying outbreak—such as the 800 African naval recruits who arrived in Barbados in 1815 all struck with the fever—physicians and colonial officials remained convinced that black people could only be mildly afflicted with the disease. This denial and erasure of black suffering placed an "undue burden" on those who were expected to continue laboring and risk their own lives in the face of contagion and death (30). Part two ("In Sickness and Slavery") turns from a disease to which black people were considered immune to one that struck them exclusively. Cachexia Africana was a mysterious disease whose hallmark...

Objetivo: Descrever a experiência dos encontros musicais do grupo Humanizar´t na assistência de enfermagem no atendimento à saúde da mulher. Relato de experiência: O grupo Humanizar´t realiza encontros musicais em diversos setores de um hospital público de média e alta complexidade, situado na região do Triângulo Mineiro. As intervenções musicais ocorreram na sala de Pré-Parto, no pronto atendimento de Ginecologia e Obstetrícia e Maternidade, entre os meses de julho a outubro de 2018. A intervenção usou o recurso de música viva “a capela”, músicas gravadas no formato de Mp3 e músicas acústicas Verificou-se as potencialidades e fragilidades das práticas musicais desenvolvida pelo grupo Humanizar´t na assistência de enfermagem no atendimento à saúde da mulher, como terapia complementar que vai de encontro com as diretrizes do parto humanizado. A música atua no como instrumento modificador do ambiente, capaz de exercer influência na mudança do estado emocional, como também um elemento de interação entre os profissionais da saúde e a mulher. Conclusão: Ressalta-se a importância de implementar práticas acolhedoras e humanizadas, como os encontros musicais, na assistência de enfermagem no processo de produção de saúde, autonomia, estabelecimento de vínculos e protagonismo na saúde da mulher.

At the same time as English noblemen were transforming Bermuda into their home by proxy, English poets were using colonial expansion into the Atlantic world as an opportunity to comment on and attempt to transform their homeland and its imperial ambitions. It was the London stage that reached a critical mass of English people and displayed the new Atlantic world and its colonial subjects, and on that stage England’s colonial exploits and native subjects spoke to the condition and transformation of English culture. This chapter focuses primarily on transformative visions on the English stage, particularly in Ben Jonson’s dramas. However, Ben Jonson is by no means the only English playwright from the early seventeenth century who used the emerging Atlantic world as a touchstone on the London stage. Indeed, as my introduction indicates, most early modern drama is involved with producing English subjects who understood themselves in relationship to that new world. Recently scholars have focused on how Shakespeare’s plays treat Ireland and the related questions of Irish and English identities. Henry V in particular, because of its Irish character MacMorris and its overt reference to Essex’s Irish military campaign, has attracted critical commentary that recognizes the play’s implication in English colonial policy.1 And Shakespeare’s interest in Ireland is not limited to the history plays.

Textile history is not just about the cloth itself; it is also about how that cloth was made, who used it and how, and what these factors can tell us as researchers about wider social, cultural, economic, and political practices of the past. Whether made of animal or plant fibers; woven, knitted, or felted; plain or dyed; embroidered or printed, textiles are used on some level by all societies and cultures. This use ranges from flat textiles such as blankets or bedding to utilitarian and fashionable garments that, respectively, protect or adorn the body, as well as giving observers a visual cue by which they can judge and categorize the wearer. Within the Atlantic world specifically, textiles can tell us about the ingenuity, social hierarchy, and cultural practices of indigenous populations before, during, and after colonial expansion. They can inform us about the development of the Atlantic economy in the early modern period, and the rise of industrial textile production over domestic manufacture from the late 18th century onward. Significantly, they can also tell us about the personal skills, tastes, and circumstances of the indigenous, free, and enslaved people who made, transported, used, and interpreted these goods in and around the Atlantic world. Exploring and understanding the history of textiles therefore involves the study of craft and design, technology and industrialization, goods and consumption, and people and society. Readers will find it helpful to also consult the Oxford Bibliographies articles on “Clothing,” “Material Culture in the Atlantic World,” “Cotton,” and “Silk.”

Reviewed by: The American South and the Atlantic World ed. by Brian Ward, Martyn Bone, and William A. Link Steffi J. Cerato (bio) The American South and the Atlantic World. Edited by Brian Ward, Martyn Bone, and William A. Link. (Gainesville: University Press of Florida, 2013. Pp. 274. $74.95 cloth) The eleven essays featured in this collection arose from a series of conferences at the universities of Manchester, Copenhagen, Cambridge, and Florida between 2008 and 2010. Emphasizing inter- and multi-disciplinary perspectives in the study of the American South, [End Page 293] this scholarship will appear as a three part series published by the University Press of Florida. This initial volume emphasizes both the limitations and possibilities of Atlantic frameworks, addressing key historiographical debates concerning approaches towards the South as a culturally distinct region. Similar efforts to counteract such characteristics within the historiography of the South have explored the cultural, economic, and political ties of the South beyond national borders (The South and the Caribbean: Essays and Commentaries, edited by Douglass Sullivan-Gonzales and Charles Reagan Wilson [2003], for example). This collection, however, provides a much welcomed address of the challenges laid out by historians of both the Atlantic world and the American South, perhaps most poignantly offered by Jack Greene in his 2007 Journal of Southern History piece titled “Early Modern Southeastern North America and the Broader Atlantic and American Worlds.” The contributors to this volume primarily hail from history departments, but a handful of scholars from literature, English, and theater studies departments provide contributions that illustrate the flexibility of Atlantic approaches for cross-disciplinary study of the South. Keith Cartwright’s concluding essay provides readers with a chance to meditate on the future of Atlantic approaches across historical, literary, and cultural disciplines, while Natanya Keisha Duncan, Kathleen Gough, and Leigh Ann Duck each build on post-1990s scholarship on the black Atlantic, as they evaluate personal currents of exchange to and from the United States, Africa, and Europe. The editors provide a pleasant balance between essays that directly address the strengths and faults of the Atlantic framework and pieces that validate its application. Several fresh case studies illustrate how competing legal and political regimes in the Atlantic world influenced the lives of individuals within the South while also engaging with defined historiographical challenges. Jon Sensbach’s essay on early southern religions addresses how the “weight of an apparent fundamentalist destiny overpowers the narrative of southern history,” illustrating the transatlantic character of southern religions, particularly [End Page 294] indigenous religions or non-Protestant denominations before the eighteenth century (p. 49). Although the subject of Martha Jones’s essay has been examined by other scholars, readers interested in the Saint-Dominguan refugee experience in the United States will find this piece provides new material that emphasizes the experience of French slaves as they “confronted new rules, rituals, and structures of power” under the diverse legal regimes of Atlantic port cities (p. 106). Contributors are sensitive to the temporal and thematic limitations that have challenged scholars of the American South in their application of the Atlantic world framework beyond the study of colonial era. Offering the longest piece in the volume, Brian Ward initiates readers into this theoretical engagement, praising the power of local and regional studies that emphasize transoceanic exchange while acknowledging the geographical restrictiveness of Atlantic studies that have primarily emphasized coastal regions or focused on activity on the ocean itself. Trevor Brunard’s essay turns towards another set of boundaries established within Atlantic scholarship, confronting what he and several other contributors view as “an unfortunate distancing between the historiographies and historical practice of colonial America and antebellum American history”(p. 130). Jeffrey Kerr-Ritchie’s excellent critique of the 1970s scholarship surrounding U.S. emancipation and comparative abolition reminds us that even seemingly progressive comparative approaches can still perpetuate notions of a distinct South as a “geospatial framework, expanded to situate the U.S. South in the Atlantic world, ended up generating its own kind of exceptionalist narrative”(p. 150). The thematic fluidity of the essays may seem murky at times, but taken as a whole, the volume engages in a much needed exploration of a conceptual...