Volume 14, Number 1 | Spring/Summer 2018 ISSN 2578-4242 1 { STUDENTNEWS } MUSIC AND POLITICS Letter from the SEM President 1 Student Voices: Who Cares About Ethnomusicology? 5 Thoughts from the Field 10 Audiovisual Frames: What Films Can Do: An Interview with Jef Roy 14 Dear SEM 19 “We’re Not Gonna Take It”: Trump and Striking West Virginia Teachers 22 Deconstruction as Political Discourse in Janelle Monáe’s “Q.U.E.E.N.” 25 Stadium Shows and Spotify: Popular Music and the Complicity of Consumption 29 “Baile de Favela” and Its Sounding Transgressions 32 Glocal Politics in Bavarian Slang Rap: “Wolli” by Liquid & Maniac 37 Music and Confict Resolution in Israeli-Palestinian Relations 42 Peacebuilding, Not Politics: Music and MESPO’s Model for Change 46 Ethnomusicology and Empathy 49 After the Mudslides: The Ethics of Singing, Witnessing, and Fieldwork 51 Beyond the IRB: Afirmative Consent in the Field 54 Analogies of Political Structure in Ethnomusicological Writing 56 Politics & Music: An Annotated Bibliography 60 Our Staf 63 Letter from the SEM President The Coextensive Moment of Music and Politics in Africa: A Pedagogical Perspective As I write this brief refection, I wind down the spring semester at Vanderbilt University where I co-teach a course with political scientist Keith Weghorst, titled “Rhythm of Change: African Music and African Politics,” as part of our university’s initiative to support trans-institutional team teaching. As a theoretical concept, the confuence of music and politics may be commonplace to most ethnomusicologists. Yet, collaborating with a political scientist who “gets it” in the classroom was an opportunity I could not pass up. While each of us clearly brings a diferent set of discipline-specifc tools and methodologies to the classroom every week, we nevertheless continue to be surprised at how many case studies, musical repertoires, and pedagogical experiences we have in common (note that both of us conducted doctoral-level feld research in Tanzania). I should say that when we frst started teaching together, it was crystal clear to the students who the “political scientist” was versus the “ethnomusicologist.” We seemed to be speaking diferent languages—he had wonderfully complex graphs; I had slides with musical instruments. Afer several weeks, however, we established a pedagogical groove, and I began to notice fewer charts, diagrams, and organological images in our joint sessions. Since Vanderbilt does not have an African studies program, the students came to the course with a variety of backgrounds and a meager assortment of courses from which they could draw preexisting SEM Cover image courtesy of Liquid & Maniac/Demografics © (see page 37) continued on next page . . . A publication of the Society for Ethnomusicology © Join your peers by following us on Facebook, Twitter , and semsn.com to get the latest updates and calls for submission!