Afro-Asian Musical Imaginaries: Of Circulations and Interconnections edited by Sumangala Damodaran (published by Tulika Books in 2024) is a scholarly compilation of papers emerging from a colloquium held by the India International Centre (IIC) and the Institut de Recherche pour le Développement (IRD). This book, a result of the “Re-centring AfroAsia: Musical and Human Migrations, 700–1500 AD” (RAA) project, challenges Eurocentric historical narratives by exploring musical exchanges between Africa and Asia over centuries.
The collection reframes conventional historical perspectives by emphasising the contributions of African and Asian societies. It presents music as a dynamic medium for uncovering historical connections that precede European colonisation. Through this lens, the book highlights the deep interactions between Africa and Asia, shedding light on cultural syncretism, trade, migration, and societal changes that have shaped these regions.
One of the book’s most innovative aspects is its use of music as a tool for historical research. As we know, traditional textual analysis can often fall short of capturing the full scope of cultural exchanges. Hence, in this compilation, scholars trace the movement of ideas, people, and practices by examining musical forms over time and relate this to the traditional textual resources available. The “Sounds Like” methodology, stands out as it works by identifying sonic similarities across different musical traditions, comparing styles, rhythms, instruments, and performance techniques to reveal cultural exchanges that may not be documented in traditional sources. By focusing on the auditory and performative aspects of music, it offers a more dynamic and empathetic understanding of history, bringing to light interactions and influences between regions or communities, particularly in the Afro-Asian context. This approach, therefore, provides fresh insights into historical processes that conventional methods might overlook.
The book’s interdisciplinary nature is a key strength. It integrates history, anthropology, musicology, and performance studies to offer a multifaceted analysis of musical traditions. Mark Aranha’s chapter explores Cochini Jewish musical traditions in Kerala, utilizing archival recordings to highlight cultural syncretism within this community. Aranha’s work demonstrates how music serves as a repository of collective memory and identity, revealing insights into migration and adaptation.
Luis Gimenez Amoros’s contribution traces the circulation of musical knowledge between Western Sahara and India, focusing on haul, qaul, and qawwali music. His research underscores the transcontinental movement of musical practices and their influence on contemporary sounds.
While each chapter brings unique insights, Kathyayini Dash’s paper, “The Body in Music: Musical Entrances into Historiography,” particularly resonated with me. As a music practitioner and researcher, Dash’s exploration of swar bithana, riyaas, and mahaul jamaana struck a chord. Her use of PaR-based inquiries (practice as research methodology) highlights the importance of embodied histories in music. Dash’s emphasis on the musical system of Wayee from the Bhagaadiya Jath community of Kachch, born out of grief, explores how the body becomes a site and medium for historical and emotional expression. This approach positions musical practice as a conduit for understanding historical narratives, offering a new dimension to observing music, historical paths and connections.
Dash’s paper was a revelation, providing a fresh perspective on how musical practice can serve as an entry point into community narratives. It has inspired me to incorporate more intention and mindfulness into my practice and research, recognizing the role of musical practice and performance in understanding historical contexts.
A notable aspect of this book is its focus on performance as a research method. Engaging directly with musical practices allows researchers to gain deeper insights into the emotional and cultural significance of historical subjects, bridging the gap between academic inquiry and experiential knowledge. This method makes the research process more dynamic and empathetic.
Cultural syncretism and the formation of complex identities are recurring themes. Music is depicted as both a preserver and a transformer of cultural identities, adapting through encounters, migrations, and exchanges. Mark Aranha’s discussion of Cochini Jewish melodies versus Malabar Jewish melodies illustrates how variations reflect personal experiences and migration paths.
The book also highlights the histories and cultural practices of often-overlooked communities. Music becomes a tool for reclaiming these communities’ places in global history. Nkosenathi Ernie Koela and Sazi Diamini’s work on the Siddi Goma community emphasizes Afro-Spiritual Consciousness, mapping cultural, spiritual, and religious commonalities across Black Diasporic descendants and their connections to central, east, and southern Asia.
Afro-Asian Musical Imaginaries offers a compelling exploration of musical connections between Africa and Asia. It deepens our understanding of historical interconnectedness and demonstrates the value of interdisciplinary approaches in interpreting complex narratives. The book celebrates music as a universal language and a site of cultural convergence, reminding us of the enduring connections that unite diverse peoples across time and space.
In summary, Afro-Asian Musical Imaginaries: Of Circulations and Interconnections bridges music, history, and cultural studies, challenging Eurocentric views and revealing the deep connections between Africa and Asia. It highlights music as a cultural archive and agent of change, using an interdisciplinary approach to explore its historical and social significance. The book’s innovative methodologies offer fresh insights into how music serves as a key to understanding cultural and historical connections. With its ground-breaking contributions to global history, colonial studies, and ethnomusicology, it redefines how we view cross-cultural exchanges through music. Essential for those interested in these fields, it provides a valuable perspective on how musical traditions transcend time and unite communities across continents.
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Parvathi Krishnan is a Master’s student in Sociology at the University of Madras.