Trauma and Biopower in Post-Pandemic Music, Performance and Media

The essays enclosed in this edited volume narrate the multiple trans-disciplinary relationships between the personal and the public voice, the subjective and the political one in a turbulent world, mainly in the context of the post-pandemic era. The contributors to this volume represent a diverse range of disciplines and originate from various regions across the world, including the United States, Europe, Latin America, and the Middle East. This diversity offers a comprehensive global overview composed of glocal perspectives. Contributors to this volume approach this subject from a wide range of theoretical and disciplinary perspectives from history to music, popular culture, media and liturgy. As emphasized by this collection of works, memorization and narration are manifesting acts to place oneself in the new biopower discourse; thus, becoming testimonies inscribed in flesh. Particularly at present, as uncertainty looms over and governmentality once more speaks in terms of state of exception, one should reflect on the way in which old and new traumas interweave rapidly to expose new biopower manifestations of racism, exploitation, inequalities in the current (post)pandemic era.

Studies how music, media, & performance are used in practices of memory and memorialization after the COVID-19 pandemic Includes interdisciplinary scholarship across the arts & humanities Examines how the COVID-19 pandemic has reshaped contemporary understandings of biopower

Autorentext

Amalia Ran received her Ph.D. from the Department of Spanish and Portuguese at the University of Maryland, College Park (2007) and was a faculty member in the Department of Modern Languages and Literatures at the University of Nebraska in Lincoln and a senior lecturer at Tel Aviv University. She is author of: Made of Shores: Judeo Argentinean Fiction Revisited (Lehigh UP, 2011) and editor of Returning to Babel: Jewish Latin American Experiences and Representations (Brill, 2011) and Mazal Tov Amigos! Jews and Popular Music in the Americas (Brill, 2016).

Moshe Morad received his Ph.D. from the Department of Music at SOAS, University of London. He is the author of Fiesta de Diez Pesos: Music and Gay Identity in Special Period Cuba (Routledge 2015) and co-editor of Mazal Tov Amigos! Jews and Popular Music in the Americas (Brill, 2016); and author of London Calling: Encounters with Britain's Musical Heroes of the '80s (Marom 2019).

Inhalt

Chapter 1.-Introduction.- Inscribed in Flesh.-Trauma, Biopower, Culture, and Affective Resonances in an Age of Crisis.-Part I.-Performing Biopolitics.-Histories and Theories of Pandemic Trauma.-Chapter 2.-Narrating the COVID-19 pandemic.-history, uncertainties, predictions.-Chapter 3.-Traumatic (t)o(ge)therness.- on destructive plasticity and apoptotic biopower.-Part II .-Musical Performance, Sonic Trauma, and Biopower.-Chapter 4.-Convergence of Crises.-COVID and DEIA in Music.-Chapter 5.-We Danced with Joy, Then Hid Among the Dead.-The Nova Festival Massacre at the Intersection of Music, Biopower, Trauma, and Healing.-Part III .-Everyday Practices and Embodied Performances of Biopolitical Trauma.-Chapter 6.-Distance, Social Relationships and Racism in the Shadow of COVID-19.-Chapter 7.-Praying Without a Community The role of Eretz Israel Songs in Jewish Prayer During Social Distancing.-Chapter 9.-Reflexive Modernity among Palestinian Women Struggling with Patriarchal Biopower Reproductive Demands.-Chapter 9.-To Grow Greatly.-An Ethnomusicologist's Reflections on Performing Motherhood at the Crossroads of Biopower and Pandemic Politics in Buenos Aires.-Conclusions.-The Body and Its Impossible Reclamation.