Analysing Indian Ocean’s Kandisa: a dialogue with decolonisation

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dc.contributor.authorFelfeli-Crawford, Karishmeh
dc.date.accessioned2021-09-20T10:28:37Z
dc.date.available2021-09-20T10:28:37Z
dc.date.issued2021-07-01
dc.description.abstractThis article provides justification for the minority scholar trained in ‘elite’ music analysis (my term) to apply voice-leading analysis to rock band Indian Ocean’s fusion number Kandisa. In so doing, I find a meaningful new way to address decolonisation debates in music. Born and schooled in India, and now based in Ireland, I first reflect on recent tensions around music theory’s white racial frame as argued by Philip A. Ewell in his 2020 article 'Music Theory and the White Racial Frame', for Music Theory Online. I ask what this means for a minority scholar whose non-luxury training in Western art music (henceforth WAM) and its theory has – curiously – placed me on the fringes of music academe. A close reading of Kandisa is presented next, as an engagement with musical minutiae via a language that I argue is far more accessible and meaningful (to me, my fellow Indian friends and colleagues, and the band members themselves) than any ‘Indian’ music terminology. Recognising the potential for this viewpoint to cause a stir amongst ethnomusicologists who have had the double good fortune to train in WAM as well as its Indian counterparts, I recontextualise Kandisa through the lens of decolonisation literature which includes Audra Lorde, Tuck and Yang, and Sunaina Kale, to name just a few.en
dc.description.statusPeer revieweden
dc.description.versionPublished Versionen
dc.format.mimetypeapplication/pdfen
dc.identifier.citationFelfeli-Crawford, K. (2021) 'Analysing Indian Ocean’s Kandisa: a dialogue with decolonisation', Ethnomusicology Forum, 30(1), pp. 82-104, doi: 10.1080/17411912.2021.1939755en
dc.identifier.doi10.1080/17411912.2021.1939755en
dc.identifier.eissn1741-1920
dc.identifier.endpage104en
dc.identifier.issn1741-1912
dc.identifier.issued1en
dc.identifier.journaltitleEthnomusicology Forumen
dc.identifier.startpage82en
dc.identifier.urihttps://hdl.handle.net/10468/11960
dc.identifier.volume30en
dc.language.isoenen
dc.publisherRoutledge - Taylor & Francis Groupen
dc.rights© 2021, the Author. Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way.en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/en
dc.subjectIndian Oceanen
dc.subjectMusic analysisen
dc.subjectDecolonisationen
dc.subjectPublic musicologyen
dc.titleAnalysing Indian Ocean’s Kandisa: a dialogue with decolonisationen
dc.typeArticle (peer-reviewed)en
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