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Cueing Up: Situating Power on the Tahitian Stage

Published online by Cambridge University Press:  07 March 2019

Jane Freeman Moulin
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Extract

This paper explores the highly complex interactions of Tahitian musicians and dancers in performance. More specifically, it examines the art of cueing as both a musical action and a social process that fulfils the artistic needs of the performance while simultaneously reinforcing Tahitian constructs of social hierarchy and dominance. In Tahiti, cueing is power—sound power—and, by extension, social relations made audible.

Type
Articles
Information
Yearbook for Traditional Music , Volume 36 , 2004 , pp. 109 - 127
Copyright
Copyright © 2004 by the International Council for Traditional Music

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Footnotes

1

This work is an expansion of a paper originally read at the 37th World Conference of the ICTM held in China (2004). The author thanks the anonymous reviewers who provided comment, as well as Helen Reeves Lawrence, who offered many interesting comparisons with practice in the Cook Islands and provided much appreciated feedback on the manuscript. Some of the data contained in this article was obtained during a 1998 fieldtrip funded by the National Endowment for the Humanities Endowment Fund and the Research Relations Fund of the University of Hawai'i at Mānoa.

References

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