3 videos found 1 – Bigga and Niiles-Jouni Aikio on the stage of Vuohču Sámi Márkanat performing the joik version of Lady in black, by Uriah Heep 127views 2 – Mari Boine performing Gula gula with her band on the stage of Ijahis Idja festival 96views 3 – Niiles-Jouni Aikio on the stage of Vuohču Sámi Márkanat performing Áillohaš joik 79views
3 videos found 1 – Two excerpts from the performance of Bigga and Niiles-Jouni Aikio at the Vuohču Sámi Márkanat 116views 2 – A recent example of the 3-4 drumming formula offered by Ante Aikio in the second half of his joik Jurddarávdnj 73views 3 – Sami children (Helli and Biret Ingermaria) joiking and drumming on the stage at the beginning of Vuohču Sámi 62views
FIGURE 1. Sápmi borders according to the subdivision of Sami dialects (Ligi 2016: 222). FIGURE 2. Map of the archaeological finds and regional variations of the drums cataloged by Manker in his 1950 monography. FIGURE 3. In Manker 1938, Drum n. 30. FIGURE 4. In Manker 1938, Drum n. 71. FIGURE 5. Excerpt of the melodic and drumming lines which characterize the joik Dolla, by Angelit Tytöt. FIGURE 6. Rhythmic and vocal complexity of the joik Gumpe, by Niiles-Jouni Aikio. It is possible to notice the extensive use of “acciaccature” and mordants which performed in order to amplify the expressiveness of the joik by imitating the wolf ’s howling. FIGURE 7. Example of “southern” drum’s shape and figurative system represented on the membrane of Manker’s Drum n. 30 (Manker 1938) found in Folddalen (Norway). Its first account dates back to 1727 (Henneberger Museum, Meiningen). FIGURE 8. Manker’s Drum n. 71. A “northern” bowl-shaped drum owned by the noaidi Anders Poulsen in the XVIII century. Dimensions: 43.8 x 32.8 x 9.9 cm (Sámiid Vuorká-Dávvirat Museum, Karasjok). FIGURE 9. Frames from the Sami movie Ofelaš (Nils Gaup, 1987). The noaidi beats the drum to find out if the bear hunt would have taken place under good or bad omens. FIGURE 10. Mari Boine’s drum and percussive style during the performance of Gula Gula at the Ijahis Idja festival (Inari, 16th August 2019, frame from Video example 2). FIGURE 11. Angelit Tytöt trio (Ulla Pirrttijärvi, Ursula Länsman and Tuuni Länsman), in Angelit 1992 (booklet). FIGURE 12. Niiles-Jouni Aikio during one of his tour in Africa (Dar es Salaam, 2013, photo: courtesy of Aikio family). FIGURE 13. Niiles-Jouni Aikio joiking and playing his drum in Vuotso (10th August 2019, frame from video by N. Renzi). FIGURE 14. Wimme Saari joiking at the opening stages of Ijahis Idja festival (Inari, 16th August 2019, photo: N. Renzi).
1 video found 1 – Calung Banyumasan 98views
Etnografie sonore | Sound Ethnographies n° III/1, 2020 Titolo Audio Video Photo Editoriale/Editorial Saggi The Sami Drum from Oracular Rituality to Musical Performance – Nicola Renzi The Politicization of Tradition: The New Visibility of Zikir in Soldier Send-Off Ceremonies in Turkey – Ferhat Arslan Lo zikr della confraternita sufi del villaggio rom del Poderaccio – Marco Romano Coppola Relazione fra parlato e cantato nei repertori di emisyô ed esyongano dei Bakonzo (Uganda) – Vanna Crupi Vite transnazionali e musiche locali. La comunità cinese di Milano e il teatro delle marionette di Wencheng – Francesco Serratore Saggi audiovisivi Calung Banyumasan: Shaping Bamboo, Sounding Identities – Daniele Zappatore Istituzioni L’Istituto Ernesto de Martino tra impegno politico e indagine etnografica – Antonio Fanelli Recensioni Nicola Scaldaferri and Steven Feld (eds), When the Trees Resound. Collaborative Media Research on an Italian Festival, English edition edited with an introduction by Lorenzo Ferrarini. Photographs by Stefano Vaja and Lorenzo Ferrarini (book with 2 CDs, 2019) – Nina Baratti Sergio Bonanzinga, Luisa Del Giudice e Thomas A. McKean (a cura di), Street Music and Narrative Traditions (libro 2019) – Gioele Zisa Notes on the contributors
