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BOOK REVIEWSZiff,Bruce and PratimaV. Rao, eds. Borrowedower: ssays nCulturalAppropriation.ewBrunswick,ewJersey: utgers niversityress,1997.x, 337 pp., bibliography,ndex.Borrowedoweruxtaposes ixteenssays nthe ppropriationfculturalpracticesndtheir roducts. he essayists rite rom ositionsepresentingdiversecademic ndartisticackgrounds,ocial ocations,opical oncerns,theoreticalrientations,nd analyticalmethods. hisheterogeneityerveswell the book's focuson contestedssues ofauthenticity,epresentation,heritage,nd intellectualroperty.t conjures p a vivid enseof usthowmalleable notion he traditional s,andof hemyriadhingstcanmeantopractice,ostudy, rto selltradition. his kaleidoscopic isionrendersBorrowedower useful ounterpartobookspresentingustainedrgumentsby ndividual uthorse.g.,Said 1978;Clifford988;Torgovnick997), swell s tocompilationsfessays ontributednlybyacademicwriterse.g.Howes 1996).Even the contributorshoproposeoverarching odelsforthinkingboutappropriationre well ware hat onditionspecifico eachcase inevitably omplicateny general tatement n thesubject.Becauseof his, heirssaysre most onvincinghen hey eturnneluctablyocases.As editors ruceZiffndPratimaV. Rao write, Context ounts p. 13).Ziff ndRao beginby summarizinghevariousgroundsnd means forresistance oappropriationpp. 8-16;cf.Warren 989on tangible ulturalproperty).heythen ivepride fplacetotwo ssays nmusic. n African-AmericanMusic:Dynamics fAppropriationnd nnovation, erry . Hallgrappleswith he nequity ftheU.S. music ndustry'sommercializationof ubculturalorms. all emphasizeshe mpact f hisprocess n AfricanAmericans. long heway, ereappropriatesdeasof primordiallyfricanrhythms p. 42) and essentialBlackrhythmicense p. 46). Althoughat first lancethis anguagemayseemto reinscribeominant tereotypesof a biologically acializedmusicality, all locates thesephrases n ahistoricizedultural omain haracterizedy ocial ppression,ssimilationistpressures,nd the ppositional arkingf thnicityymusical ractice. henext ssay sAnthonyeeger's Ethnomusicologynd MusicLaw, probablyfamiliaromany romtsprevious ppearance nder slightlyifferentitleinEthnomusicology1992).Seeger resents nuancedconsiderationf deasabout theownershipftraditionalmusic, llustratingrom everal iversevantagepoints he imitations fcopyrightaw in an interculturaletting.He takesas his chief xampletheintricateale ofcertain ecordings eproduced fSuyamusic.The editors ive hese wo ulturalnalyses fmusic prominentositioninBorrowedower.hisacknowledgeshe entralityfmusical ppropriationto late twentieth-centuryediated nterculturallows. t also situates hebook n an interdisciplinarypacebetween ditedvolumes ocused hieflyon issuesrelated o music e.g.,Baumann1991) nd those imited onon-musicalmodesofculturalppropriatione.g.,Messenger 989).Thismovetowards more isiblenterdisciplinaryialogue one nwhich eegeronghas been active benefitsll concerned.The remainingections fBorrowedowerretitledAppropriationnArtand Narrative, Appropriationn Colonial and Postcolonial iscourse,

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134/ 1998YEARBOOK FOR TRADITIONAL MUSIC

Appropriation in Popular Culture, The Appropriation of ScientificKnowledge, and Appropriation and Tangible Cultural Property. Theessays gathered under these headings are too many and too diverse tosummarizehere,but briefmention f severalmay suggest hebook's relevancetomusical ssues.Lawyerand anthropologist osemaryJ.Coombe examinesideas ofauthorship, uthenticity,nd appropriation.Coombe is uneasywith the rhetoric of cultural authenticitysometimes marshaled againstdominant misrepresentationsof First Nations people (pp. 79-80). Shepositionsthisuneasiness, however, n tensionwithher mistrust f univer-salizinganti-essentialisms, tating hat in contexts fpostcolonial truggle,thepostmodernclaim that culturesare constructed, mergent,mobile,andcontestedmay seem somewhatempty (p. 93). Joane Cardinal-Schubert'scritique of non-Nativeuses of Native imagerycenters on cases, contexts,and greed,recounting ollisionsbetween consciously ppropriative ontem-porary rtistic ractice nd a stance whichchallenges nyclaimtoa putativelytranscultural ostmodernism.NellJessup Newton's lucid account ofoppo-sition othemarketingfCrazyHorse Malt Liquor brings nto focus roubledintersectionsfmarketplace ommodification,raditional eliefs, ommunityheterogeneity,nd jurisdictionaldomains. Newton'sessay providesconcreteexamplesofmanyof thearguments reated ategoricallyn the ntroduction.Deborah Root writes f would-be White Indians and of reflexive ensionsin her own workon Native issues. She questionsmanynon-Nativepeople'sconstructionsf Native culture s the maginary pace thatcan save us fromourselves (p. 232). And James D. Nason masterfully elates intangibleculturalpropertyssues to histories ftangible ppropriation,U.S. legislation,U.N. documents on intellectualproperty, nd the collected products ofresearch on esotericknowledge, ncludingsome formsof music (p. 244).The book is intelligentlynd carefullydited,withfew ypographicrrors.Bridgingpassages would have smoothed thewaybetween certainessays,aswhen traversinghe abrupt change from Hall's authorial voice to Seeger'sethnomusicologicalwe . But infact, ditorial ntervention f this ortwouldhave diminishedthe utility fthesedisjunctures,whichreflect he hetero-geneous social realities he book depicts.The flashofdisorientationne feelsupon traveling rom ach essaytothe next ctually s a useful hock ofarrival,an experiencewhich can serve as a tool forgaining critical distance fromthe nterpretiverames hat writers nd readers take forgranted.The nearlyunavoidable ubiquity of appropriative representation, ven in anti-appro-priativetexts,requiresbothwriters nd readers to attendcritically o theirown assumptions about language and cultural difference.Two small buttellingexamples may illustrate his. One essay (trenchantly pposed to theappropriationof traditional orms riginating rom lose to the author's owncultural ocation)invokes hecommercialuse of a Kwagiutldesignby, imply,theJapanese (122). This starkly eified airof words which Japanese ?)seemsa disquieting cho ofa homogeneousOtherpervasive n the dominantNorthAmerican media. Anotheressayechoes inheritednotionsofculturalhierarchywiththeunfortunate hrase, some ofthemostcomplexcultures(p. 141).The pointofmentioning heseslips s notto devalueparticular ssaysor the book as a whole. Rather, t s to demonstrate hedangerousease withwhichweall can inadvertentlyerpetuate eductiveor in therepresentational



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sense of theword,appropriative) deas when writing bout music or otherculturalpractices.Borrowedowerwill be usefulto scholarsof traditionalmusic. The diverseviewpoints it representswill provoke its readers to reflect on issues ofappropriation n musical culture,research,and publication. It could easilysupply comparative xamples for lassroom discussions about musical issuesand related areas of social practice nd critique.And itsprominentnclusionof musical studies in a compilation intendedfornon-musicologicalreadersdoes more than mark a growingaudience for futurework on traditionalmusic. It affirms ora widerpublic a factthatmanymusic scholars under-stand as a commonplace, but one that often s elided in public discourse:thatprocessesofmusical appropriation can be foundational to thehumaninteractions ived in the meeting places called culturalboundaries.References citedBaumann, Max Peter, ed.1991 Music inthe ialogue ofCultures: raditional usic and Cultural olicy.nternational InstituteforComparative Music Studies and Documentation, Berlin, InterculturalMusic Studies2. Wilhelmshaven: Florian Noetzel Verlag.Clifford,James1988 The PredicamentfCulture:Twentieth-Centurythnography,iterature,nd Art. Cambridge:Harvard UniversityPress.Howes, David, ed.1996 Cross-Culturalonsumption:lobalMarkets,ocal Realities. ondon and New York:Routledge.Messenger, Phyllis, ed.1989 The Ethics of Collecting ulturalProperty:Whose Culture?WhoseProperty? lbuquerque:Universityof New Mexico Press [revised edition forthcoming].Said, Edward1978 Orientalism. ew York: Pantheon Books.Seeger,Anthony1992 Ethnomusicology and the Law. Ethnomusicology6:345-59.Torgovnick,Marianna1997 Primitive assions:Men, Women,nd theQuest or Ecstasy.New York: Alfred A. KnopfWarren, Karen1989 A Philosophical Perspectiveon the Ethics and Resolution of Cultural Property ssues.In The Ethicsof Collecting ultural ropertyMessenger 1989, above), 1-25.

ROBERT C. LANCEFIELDDeVeaux, Scott. The BirthofBebop:A Social and Musical History.Berkeleyand Los Angeles: University f CaliforniaPress. xvi, 572 pp.,musicalexamples, bibliography, ndex.This book, an outgrowthof the author's 1985 doctoral dissertationonColeman Hawkins and Howard McGhee, examines theemergenceofbebopin the context of the political,racial and economic climate of the UnitedStates at midcentury.Bebop has often een portrayeds an aesthetic evelopmenthatprioritizedimprovisation ver theensembleplayingor section work ofbigbands andconvertedazz from formofpopular entertainment nto an intricate ndrecondite art form.DeVeaux, believing music cannot be reduced to anarrativeof stylistic evelopment (p. 38), devotes considerable attentionto the economic and political constraints acedbyblack big bands and themarketforces that led to the growthof small nightclubsand the viabilityof combos or cocktail units forplaying in them.


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