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Sound and Sentiment: Birds, Weeping, Poetics, and

Song in Kaluli Expression

Article in Cahiers de Musiques Traditionnelles · January 1990

DOI: 10.2307/40240027 · Source: OAI

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Sound and Sentiment
Birds, Weeping, Poetics, and Song
in Kaluli Expression
thir d edition

Steven Feld
A thirtieth anniversary edition
w ith a new introduction
Sound and Sentiment
Sound and Sentiment
Birds, Weeping, Poetics, and Song
in Kaluli Expression
Third Edition

Steven Feld
Thirtieth Anniversary Edition
with a New Introduction

Duke University Press

Durham & London
2012
 © 1982, 1990 Steven Feld
“Introduction to the Third Edition” © 2012 Steven Feld
All rights reserved
Printed in the United States of America
on acid-free paper ∞

Library of Congress Cataloging-in-Publication Data

Feld, Steven.
Sound and sentiment : birds, weeping, poetics, and song in
Kaluli expression / Steven Feld. — 3rd ed.; thirtieth anniversary
ed. with a new introduction.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-8223-5365-2 (pbk. : alk. paper)
1. Kaluli (Papua New Guinean people)—Social life and
customs. 2. Kaluli (Papua New Guinean people)—Rites and
ceremonies. 3. Kaluli (Papua New Guinean people)—Music—
History and criticism. 4. Folk music—Papua New Guinea—
History and criticism. 5. Folk songs, Kaluli—Papua New
Guinea—History and criticism. 6. Birds—Mythology—Papua
New Guinea. 7. Birds—Papua New Guinea. I. Title.
DU740.42.F44 2012
305.89'912—dc23
2012024696
 To the boy who became a muni bird
and in memory of Charlie Parker, John Coltrane,
and Charles Mingus,

ane kalu ɔbɛ mise

 Contents

List of Illustrations ix
Acknowledgments xi
Introduction to the Third Edition xiii
Preface to the Second Edition xxxix
Introduction to the First Edition 3

1. The Boy Who Became a Muni Bird 20

2. To You They Are Birds, to Me They Are
Voices in the Forest 44
3. Weeping That Moves Women to Song 86
4. The Poetics of Loss and Abandonment 130
5. Song That Moves Men to Tears 163
6. In the Form of a Bird: Kaluli Aesthetics 217
Postscript, 1989 239

Appendix: Kaluli Folk Ornithology 269

Glossary of Kaluli Terms 279
References 284
Index 293
Additional Resources 299
 ILLUSTRATIONS

Figures
1. muni—Beautiful Fruitdove (Ptilinopus pulchellus) 32
2. Overview of Kaluli folk ornithology 48–49
3. gušuwa—Little Cassowary (Casuarius bennetti) 50
4. alin—Great Goura (Goura scheepmakeri) 51
5. obei—Papuan Hornbill (Aceros plicatus) 54
6. ɔlon—Raggiana Bird of Paradise (Paradisaea raggiana) 55
7. tibodai—Crested Pitohui (Pitohui cristatus) 63
8. amo—Sulphur-crested Cockatoo (Cacatua galerita) 69
9. bɔlo—Helmeted Friarbird (Philemon novaeguineae) 77
10. bɔlo—Brown Oriole (Oriolus szalayi) 78
11. nene—Chanting Scrubwren (Crateroscelis murina) 80
12. wɔkwele—Giant Cuckoodove (Reinwardtoena reinwardtsi) 83
13. Phrase elaboration in sa-yɛlab 104
14. Place names in Hane sulɔ’s sa-yɛlab for Bibiali 122
15. The sob 172
16. Gisalo song schematic 184
17. Gisalo melodic organization 186
18. Gisalo temporal organization 186
19. Place names in Sɛyo’s song at Nagebɛdɛn 193

Map
The Great Papuan Plateau 8

ix
 x Illustrations

Plates
1. Aerial view of the Great Papuan Plateau and the Bosavi airstrip 4
2. A Kaluli communal longhouse 5
3. Mt. Bosavi 12
4. A group of Kaluli children 26
5. Gisa, Hedɔ, and old Yafolumi watching pig butchering
and cooking 67
6. Gaso of Bonɔ dressed in a kɔluba costume following p. 236
7. Dancer seen as a “man in the form of a bird” following p. 236
8. Sound and Sentiment mailing label 242
9. Kiliyɛ and the author witness the arrival of Sound and
Sentiment, July 1, 1982 243

Tables
Table 2–1. Food taboos, spells, and curses 64
Table 2–2. Bird feather usage 70
Table 2–3. Bird sound categories 74–75
Table 3–1. Weeping terminology and contrasts 90
Table 3–2. Expressive weeping 95
 ACKNOWLEDGMENTS

Many people helped make this study possible, and it is a pleasure to thank
them here. My greatest debt is to the Kaluli people, particularly those of
Sululib, for their comradery and trust. While I often think of times I spent
with Kiliyɛ, Sɛlibi, Gaima, Gaso, Gigio, Hasili, Mewɔ, Ɛsiyɛ, Ganigi, Gɔbɔ,
Gaso sulɔ, and Ulahi, I must single out Kulu and Jubi, two Kaluli intellectuals
and sensitive companions whose thoughts contribute to almost every page of
the text. I greatly look forward to future times we will share.
Arrival in unknown places amidst numerous technical and practical dif-
ficulties is a part of every fieldworker’s experience; I was fortunate in having
Antje and Bill Clarke in Port Moresby, Ivor Manton in Mount Hagen, and
Keith and Norma Briggs at Mount Bosavi to help make my transitions com-
fortable. I appreciated their hospitality so much during the times I was most
frantic.
Field support during 1976–77 was provided by the Institute of Papua
New Guinea Studies, and I am grateful to its former director Ulli Beier and
music archivist, Frederic Duvelle, for their interest in my research. The Papua
New Guinea Bird Society and particularly Harry Bell, Bill Peckover, and
John Hansen generously aided my ornithological work. I am also grateful to
John for the support he arranged from the National Broadcasting Commis-
sion and its Technical Services Division. Other field support was provided by
the Anthropology Film Center, the Archives of Traditional Music, and my
family; my thanks to them all.
When I returned from the field, Carroll and Joan Williams made the
Anthropology Film Center the right kind of environment for me to begin
putting the pieces together. Performance during the same period with the

xi
 xii Acknowledgments

Transcultural Minstrel Jass Band and Tom Guralnick gave me an important

outlet to express many new things I was hearing.
Sound and Sentiment was first formulated as a dissertation in anthro-
pological linguistics at Indiana University in 1979. For the fellowship that
supported my graduate work, I am deeply grateful to the Danforth Foun-
dation. As an undergraduate Sam Leff, Alexander Lesser, Gerry Rosenfeld,
Gitel Steed, and Colin Turnbull brought me into anthropology and demon-
strated its relevance to a humane and politically engaged view of contempo-
rary life. Then Alan Merriam got me started in ethnomusicology, Carl and
Flo Voegelin drew me into linguistics, Judith Friedman Hansen kept telling
me that there is more to culture than structure, and Sol Worth and Robert
Plant Armstrong posed some tough questions about communication and
aesthetics. Ralph Bulmer and Brent Berlin helped shape my understanding
of critical issues in ethnobiology and Kaluli natural history. Allen Grimshaw,
Bonnie Kendall, and Charles Bird got me through the dissertation and much
more; I think of them with the same fondness I usually reserve for Kaluli
waterfalls.
Rewriting and condensing a dissertation has been a long process, one
that has benefited considerably from Larry Gross’s advice and support, John
McGuigan’s patience, and the careful editorial attention of Marta Weigle
and Lee Ann Draud. I can’t forget Charlie Keil, who came up with a list of
materialist counterinterpretations at just the right moment in the revision
process. The reevaluations they prompted have not changed my basic posi-
tion but did aid the presentation considerably.
Finally, Buck and Bambi Schieffelin walk through these pages with me
in a special way; they brought me to Bosavi as a fellow researcher and kins-
man and continue to share much research and kinship with me. Other special
contributions within are Janis Essner’s maps and diagrams and Mary Groff ’s
magical bird drawings. The last thank you goes to Shari Robertson, whose
love and aesthetic agitation made a major contribution during the writing.
This study is affectionately dedicated to the mythic figure that animates and
links Kaluli sound and sentiment, and to three musicians whose sounds have
had a major impact on my life.

Philadelphia
September 1981
 Introduction to the Third Edition

It’s been more than thirty-five years since I first set foot in Bosavi, and it has
been more than ten since my last visit. How can I now position Sound and
Sentiment in relation to twenty-five years of research visits and the surround-
ing before and after? How can I re-introduce a book that was once more new
and surprising for the anthropology of Papua New Guinea, for the ethnogra-
phy of expression and emotion, for experimental representation connecting
text to sound and image? The only way to begin is to acknowledge how much
has changed since the time of my dissertation (1979), the book’s initial publi-
cation (1982b), and its second edition (1990a).
The most radical changes are surely the stark local ones. Many of the
people you’ll encounter in these pages are no longer alive, and many of the
beliefs, practices, knowledges, rituals, and experiences described are either
considerably muted or are no longer believed, practiced, known, performed,
or experienced. To a great extent, you’ll be reading about past realities in what
has become a considerably more contentious place, a place where the impacts
of evangelical missionization and government neglect collided with trans-
national intrusions to produce varieties of cultural dissonance that were hard
to anticipate in the Bosavi I first came to know in the mid-1970s.
That part of the story isn’t terribly unique to Bosavi or Papua New
Guinea. History has had a way of being particularly punishing in once-
small, remote locales that absorbed in the shock of a mere fifty years of world
contacts what other indigenous places and peoples absorbed over the longer
course of one to five hundred years of colonial and postcolonial experience.
But here the story is equally about a place that has truly become more mar-
ginal as it has become more globally connected. And, so, responding to tra-
jectories of destabilization that are entangled with the desired benefits of

xiii
 xiv Introduction to the Third Edition

“development,” Bosavi’s vexed discourses about authority and autonomy can

rapidly bounce between new imaginations of local and national citizenship,
on the one hand, and, on the other, nostalgias for an “authentic” once-upon-
a-time “culture.”
If that weren’t complicated enough, Sound and Sentiment is occasionally
dragged into the whole affair, variously serving to entice ecotourists, educate
bureaucrats, or enhance local feuds over whose version of “tradition” is to
prevail. Confusing complicities? For sure. But there is no reason to depict re-
cent history as a simple and unidirectional devolutionary slide, nor to depict
Kaluli as once-creative agents who have now been reduced to tristes tropiques
victims in a two-ring circus of globalization and its local backwaters. No, it
is simply and honestly more the challenge to always engage the intensity and
significance of how “then” became “now.”

Then and Now

The field research reported in Sound and Sentiment dates principally to 1976–
77, and the second edition postscript described additional visits in 1982 and
1984. After the second edition was published, I made four additional research
trips in the 1990s: three with my linguist colleague Bambi B. Schieffelin,
largely to work on a Bosavi dictionary (B. Schieffelin and Feld 1998), and one
with my ethnographer colleague Edward L. Schieffelin. Sound and Sentiment
was, of course, deeply informed by the Schieffelins’ research and publications
in the 1960s, 1970s, and 1980s (detailed in the book’s original references sec-
tion). And that conversation continues through recent republication of their
ethnographic monographs (B. B. Schieffelin 2005; E. L Schieffelin 2005), as
well as a stream of publications in the 1990s and 2000s within the fields of
ethnohistory, cultural psychology, and performance (E. L. Schieffelin 1995,
1996, 1997, 1998, 2006a, 2006b) and of language change, ideology, and literacy
(B. B. Schieffelin 1996, 2000, 2002, 2007, 2008a, 2008b).
Additionally, significant research on the history of contact in the South-
ern Highlands (Schieffelin and Crittenden 1991) is now joined by ethno-
graphic studies of immediately contiguous groups: the Kasua and Kamula
to the south (Brunois 2007; Wood 2004); the Onabasulu and Etolo to the
north (Ernst 1999; Kelly 1993; Dwyer 1990); the Gebusi, Bedamini, Kubo,
and Samo to the southwest (Knauft 2002; Sørum 2003; Minnegal and Dwyer
1999; Shaw 1990); and the Faso and Foi to the northeast (Kurita 1988; Gilber-
thorpe 2007; Weiner 1991). This research and writing thickens the historical
Introduction to the Third Edition xv

and cultural texture of the story told in Sound and Sentiment, despite the fact
that there has been no continuing field research in Bosavi since the new mil-
lennium began, and my colleagues and I only maintain contact now through
the post and satellite phone.
But to return to “then,” the question I have most often been asked by stu-
dents reading Sound and Sentiment is to locate the most important event that
set the tone for life in Bosavi during the years of my first research and since.
I have thought about this question often and my answer points to the mo-
ment that set into motion the most sustained interaction with outsiders and
the most sustained set of changes for Bosavi identity discourses. That mo-
ment came in 1964, when missionaries of the Unevangelized Fields Mission
(U.F.M., later known as the Asia Pacific Christian Mission, or A.P.C.M.),
based in the neighboring Lake Kutubu area, spent six months in the Eastern
Bosavi region.
This was the first continuous contact with an outside force, and it was a
signal event in Bosavi history. One of the missionaries, the linguist Murray
Rule, prepared a first description of the Bosavi language, while another, Dick
Donaldson, supervised the initial construction of a bush airstrip at a place
called Waiyu. When the missionaries recruited laborers to clear the forest
there, some Bosavi men were, coincidentally, in the midst of staging a secret
initiation lodge nearby. Fearing that their autonomy and particularly their
ritual secrets were now substantially threatened, the Bosavi male elders and
initiates abandoned the lodge to work on the airstrip. With this act, the insti-
tution of male initiation ended in Bosavi.
Despite sporadic and temporary migration of young men for labor
schemes following construction of the airstrip, Bosavi remained distant from
the colonial territory of Papua through the rest of the 1960s. This remained
true even after the arrival of a resident expatriate missionary family in 1970
and after Papua New Guinea’s independence in 1975. The lack of local roads,
of capital infrastructure, of government presence, and of development initia-
tives all kept Bosavi as physically remote and economically marginal to the
new nation as it had previously been to the colony.
During that period, indeed, when I arrived in 1976, one still encoun-
tered much in the way of local political and economic autonomy, egalitarian-
ism among adult males, and complementary gender roles in Bosavi. Exten-
sive bonds of friendship, obligation, hospitality, and reciprocity were clearly
major factors in the local organization of domestic life, local work, ceremo-
nial activities, hunting and gardening, and bridewealth transactions. In these
ways much of social life in Bosavi through the 1960s and well into the 1970s
 xvi Introduction to the Third Edition

could still be reasonably described with sociological terms like “classless” and
“small-scale.”
But the dramatic changes brought by evangelical missionization rapidly
destabilized autonomy in Bosavi. And with it the ethos that once felt more
egalitarian, classless, and small-scale. And shocking as it is to read today,
Dick Donaldson’s evangelical missive, written in 1964 to call missionaries
to come to Bosavi, set the tone for the long-term evangelical encounter that
included both indigenous missionizing pastors and then a resident expatri-
ate family. Set in motion by those encounters was a kind of rhetoric that re-
primitivized and morally othered Bosavi people while promoting divisive-
ness and hierarchy among them.
Now, what are these primitive people like? Well, to put it plainly, they
are half man, half animal. . . . The people resemble the rugged, unfriendly
land in which they live, otherwise they could have not survived the cen-
turies. . . . The Bosavis mutilate their bodies savagely, and burn their backs
and shoulders with molten resin to make “beauty” weals. They are nature’s
children, naive in simplicity one day—moody and treacherous the next.
In the primeval isolation, they resemble the labyrinth of jungle in which
they live; for if cleared and sown, both yield a wonderful first harvest. This
is my reason for writing, to alert you to the unprecedented opportunities
that await pioneer missionaries in New Guinea today. . . . What a thrilling
adventure! You meet these primitive types first in all their savagery, then
in a few short years you are able to sit down with them at the Lord’s Table,
“all one in Christ Jesus.” (Donaldson 1964:2–3)
When the Australian missionaries arrived to take residence in 1970,
they immediately expressed suspicion and hostility about local practices and
rituals. As confident as Donaldson was that the Bosavi forest was filled with
satanic spirits, the missionaries hardly bothered to learn any of the local cos-
mology. Bosavi people were openly berated about the evil imagined to live
in their environment, in their hearts, and in their minds. The message was
unequivocal: renounce “traditional” ways and prepare for the second coming
of Jesus Christ, or face the hellfire. Evangelical Christianity thus initiated a
local regime of fear, much remembered years afterward for the guilt, chaos,
and confusion it instilled.
Two uncanny coincidences led many Bosavi people to believe that the
missionaries held a mystically powerful key to the depths of their language
and culture. The first of these was the identical initial sound of the Bosavi
word for sorcerer, se, and the ubiquitous new mission word satan. The second
Introduction to the Third Edition xvii

was that a traditional Bosavi story about the world ending in fire resonated
clearly with the mission story of hellfire and apocalyptic destruction. Some
Bosavi people decided to willingly take mission dogma quite seriously, de-
spite their considerable confusion over the meaning of the bible stories.
The profound character of that confusion, widespread during my initial
visit in the 1970s, was brought forth powerfully to me during a return visit
in 1984. Quietly, and secretly, Hɔnowɔ, a young man with whom Bambi B.
Schieffelin and I were working on the translation of Bosavi stories, asked,
“Do you think our Bosavi malolo to [stories, literally “told words”] are like the
misini to [mission stories]?” It was only just then, in the diction, phrasing, in-
tonation, and emphasis of his careful and wondering English question, that
I could grasp the missionary power to speak as the voice of literal truth.
In addition to holding Bosavi people as a captive audience for evangeli-
zation, the missionaries also wielded considerable specific powers. These in-
cluded control of air traffic in and out of the region, as well as control over
access to education, jobs, and virtually all forms of information, develop-
ment, and social benefits. This domination took place at a distinct moment
in Papua New Guinea’s history, a time when the newly independent govern-
ment’s main concern was the development of a national political economy.
Policing what missionaries were doing in the most out-of-the-way areas of
the country was a low national priority, despite widespread reports of cul-
tural destruction or abuse of power by A.P.C.M. missionaries in the South-
ern Highlands and surrounding areas. Indeed, the continued lack of govern-
ment presence in Bosavi meant that evangelical rhetoric and mission policy
was naturalized as de facto law. And this is very much the way it felt on the
ground in the 1970s and well into the 1980s, with Bosavi people assuming that
any message from the mission represented the desires of the national govern-
ment.
Of course, the missionaries were also concerned with good works. They
introduced a clinic at the airstrip and provided substantial health care. But
with this came forms of bodily surveillance and punishment, for example,
refusal of aid to those who transgressed mission policies against smoking to-
bacco or dancing in ceremonies. A similar pattern developed with the mis-
sion school, which also introduced substantial benefit. Nonetheless, de-
mands that students spend long periods away from their home community
undermined parental authority and disrupted family relations. Additionally,
students were indoctrinated and regularly channeled into mission-related
work, and they were rarely rewarded or challenged in any independent areas
of educational skill. Opportunities disproportionately went to those who
 xviii Introduction to the Third Edition

excelled in bible classes. The missionaries placed these students in regional

bible schools for one or two years. When the students returned, they became
village pastors. With this position came considerable local power and influ-
ence, not to mention new access to resources, wealth, and deference. Pas-
tors established mini-fiefdoms, and people feared them, obeyed them, and
worked hard to cultivate their favor.
The dramatic “repent or burn” message so relentlessly preached by the
missionaries and their local pastors chilled somewhat by the mid- to late
1980s. This was due in part to a new and serious government presence in Bo-
savi in the form of construction of a more centrally located airstrip, school,
and aid post that remained outside of mission control. Missionary authority
diminished as well when exploration for oil, gas, mining, and logging began
to sweep through the surrounding region in the late 1980s and 1990s. With
those developments Bosavi people realized that evangelical Christianity
might not be the only route to social change, advantage, or opportunity.
But, in time, explorations came to reveal that there were no substantial
or unique deposits of gold, oil, or gas to exploit on Bosavi land. For this rea-
son, in the late 1980s and early 1990s, Bosavi people became captivated by the
oil project and massive development in the Lake Kutubu area to the north-
east and by the clear-cut logging project on the south side of Mt. Bosavi.
Occasional infusions of cash and material wealth followed sporadic patterns
of migration by young Bosavi men who worked on these projects. Both the
material changes and the stories that came back to Bosavi fanned the fires of
local desire, and this led to broader bases of conflict around real, perceived,
and possible inequities. As outside companies then tried to gain access to
the Bosavi forests for industrial logging, residents debated the meaning of
“development.” Local politicians emerged, and some were quickly enlisted
to work for the logging concerns. Nongovernmental organizations also be-
came involved. They promoted education about the environment and tried to
outmaneuver the attempts by foreign operators to convince Bosavi people to
sell their forest land. Very rapidly then, local Bosavi affairs were dominated
by their connection to regional, national, and world economies.
After twenty years of largely unchallenged authority and control, the
expatriate missionaries left at the end of 1990. Some months before going,
they told me their news with these words: “Money is God in Bosavi now.”
But in a memoir a few years later, mixing tales of quaint adventure and con-
gratulatory conviction, many passages again reprise the voice of Donaldson’s
1964 missive, describing the pleasures of leaving with “former cannibals now
truly God’s gentlemen” and the satisfaction that “likeable rogues hugged us
Introduction to the Third Edition xix

and expressed their gratitude with the same fervour as the finest Christians”
(Briggs 1995:195).
Despite the long period of missionary residency, Bosavi people neither
received much educational benefit nor were empowered with the practical
skills to maneuver as citizens in the new nation. In parallel, lack of consistent
government presence and few local possibilities for economic development
led Bosavi people to feel increasingly alienated in the 1990s. Life took on a
more anxious tone as they waited for something to happen. During my four
visits in the 1990s and particularly in the years leading to the millennium,
local Christians preached that an impending apocalyptic event of extraor-
dinary proportions was coming. Others believed that a dramatic develop-
ment project, like some form of logging or mining, would bring extraordi-
nary wealth. Many people simply yearned for opportunities to participate in
some kind of cash economy, through small businesses and locally sustain-
able agriculture projects. Others imagined ecotourism as a way to bring cash,
interest, respect, access, and new contacts, particularly when it became clear
that the three anthropologists who visited regularly from 1966 to 1999 were
no longer coming to stay.

Bosavi Song and the Politics of Expressive Practice after 1990

As desires mounted in the late 1980s and early 1990s, a particular nostalgia
developed in Bosavi for the expressive practices that were given up under
pressure from local pastors and the A.P.C.M. missionaries. Central to the
local discourse on loss was debate about the largely abandoned ceremonies
and poetic songs that were vibrant in earlier times. Something important
happened then, and it is the key sound story neither anticipated nor told in
Sound and Sentiment.
This is the story of how the children and grandchildren of my closest
interlocutors took their poetic inheritance and, after the departure of the
expatriate missionaries in 1990, then reworked the waning world of ceremo-
nial weeping and song into a new world of Bosavi song performance. This is
the story of “string band,” the generic Papua New Guinea style name, or, as
it is locally known in its unique Bosavi form, gita gisalo (“guitar ceremonial
song”).
Gita gisalo is the music of the first generation of Bosavi people to grow
up in an independent Papua New Guinea. It is also the music of the first gen-
eration of Bosavi people to grow up with evangelical missionization central
 xx Introduction to the Third Edition

to their everyday lives. It is also the music of a generation largely stripped of

the ritual and ceremonial knowledge and practice of previous generations,
the first generation to grow up with access to education through sixth grade,
and the first generation to deal with the sporadic presence of anthropologists,
development workers, politicians, and agents of the Papua New Guinea
state. I first met this generation when they were five- to ten-year-olds in the
mid-1970s, and I came to know them through their hunger for education and
their curiosity for knowledge of the world beyond Bosavi.
String band music retells the main features of Bosavi’s recent con-
tact history. Western song forms and vocal harmonies were first introduced
through the hymns taught vigorously from the 1970s by both Papuan pas-
tors and the expatriate evangelical missionaries. Guitars and ukuleles began
trickling into the Bosavi area soon after, at about the time of Papua New
Guinea’s independence in 1975. The instruments came with Bosavi men re-
turning from early labor contracts in the Highlands or on the coast, or with
the first Papua New Guineans from outside Bosavi coming to work at the
airstrip’s new mission clinic.
This was also the time when the first portable radio-cassette players ap-
peared in the area, also brought by returning laborers. With these came the
first cassettes of the popular music then circulating in Papua New Guinea’s
towns. Among the few national groups to get a hearing, Bosavi people par-
ticularly liked the PNG string band sounds of coastal groups like Para-
mana Strangers and New Krymus. The few available cassettes were played
until they disintegrated; new ones only occasionally appeared with return-
ing workers or with the few salaried mission employees. The combination of
a weak signal and poor reception over the mountains from Radio Southern
Highlands, sixty miles northeast to Mendi, and few batteries to power the
few cassette players meant that Bosavi people heard relatively little of the de-
veloping idioms of postindependence PNG popular song circulating in the
Highlands or coastal communities.
Despite local interest in the new musical possibilities brought by guitars
and Western song forms, string band activities were slow to get started in
Bosavi. The key factor was the expatriate missionaries’ and local pastors’ hos-
tility to secular music. For them, song was simply a vehicle for hymns, and
guitars were only tolerated as accompaniment to mass voices in church. For
this reason a secular string band movement didn’t gain momentum in Bosavi
until the opening, in 1985, of the new community school and airstrip built by
the national government. This took place at Muluma, in the central or Kaluli
area, three hours’ walking distance from the Bosavi mission station at Waiyu.
Introduction to the Third Edition xxi

String band performance became a mainstay of school events at Mu-

luma. Like the local sports teams that also emerged there at the same time,
each group was identified by its longhouse community of origin. The bands
typically consisted of four or five voices, with lead, rhythm, and bass guitars,
and ukulele. Some used two-part vocal harmony and octave doubling, and
the lead voice often sang in a falsetto. The vocal sound was typically strident,
following the missionary model of singing as loudly as possible in church. It
took some time for the groups to blend their voices with the softer sound of
the guitars.
Beginning in 1986 and continuing into the late 1990s, string bands com-
peted for small cash prizes at Independence Day celebrations held at Mu-
luma. While an intervillage competitive spirit was promoted by these events,
the members of these bands taught one another what they knew and shared
the few available instruments. Students who went out to provincial high
schools in the late 1980s and early 1990s brought back new skills and instru-
ments, accelerating the learning of those at the local schools.
The bands that formed at the Muluma school and that competed there in
the late 1980s and into the early 1990s were the backbone of the Bosavi string
band scene I got to know and record throughout the 1990s. During these
years several of the men who started these groups got married, and husband-
wife teams defined a key trend for the groups. In each case the woman was
lead vocalist, and her husband the lead instrumentalist and principal har-
mony vocalist. Most of the songs were composed by the men; through the
1990s I only knew of one Bosavi woman who was active as a guitar band com-
poser.
Experiences of the PNG world outside Bosavi, including provincial
high school and town work, were emerging song topics; lyrics about boy-girl
relationships were particularly popular. Lyrics in both Bosavi and Tok Pisin,
with occasional bits of English, were also common. Some of the groups and
repertoires were initially formed through the experience of singing church
hymns, and some songs are modeled on them, either substituting new texts
or secularizing existing ones.
But what is most remarkable in this overtly very new kind of musical
practice is how the string band songs continue to develop many of the poetic
conventions and topics long central to ceremonial and everyday vocal song in
Bosavi, the very ones discussed and analyzed in Sound and Sentiment. Themes
of hunger, hospitality, sharing, loss, and remembrance are expressed through
locally familiar metaphors like the ones you’ll read about here for women’s fu-
nerary wailing and men’s ceremonial gisalo. Unquestionably, the guitar band
 xxii Introduction to the Third Edition

movement continued and embellished the Bosavi practice of valuing song

for its emotional power and poetic appeal. Indeed, it was not uncommon
for me to witness these songs provoke tears, nor was it uncommon for their
composers and singers to tell me of their desire to move listeners in precisely
this way. So despite sweeping changes in Bosavi expressive and ceremonial
culture from the mid-1970s to the late 1990s, the post-Sound and Sentiment
years of my local research visits were in part taken up with recording and
documenting the exciting birth of a new song movement (Feld 2001b:disc 1).
The question this raises, of course, is familiar for contemporary anthro-
pologists. Does modernity produce as much, or more, or less difference than
it effaces? The drama in this question is especially familiar in the highly me-
diated contemporary politics of indigeneity. And in Bosavi this is particularly
so because of how the place name has repeatedly signaled a remote unknown.
Take, as a recent example, Lost Land of the Volcano, from the 2009 season of
the British Broadcasting Corporation’s “Expedition” series. An international
team of scientists joined filmmakers from the BBC Natural History Unit
in order to travel into the extinct volcano of Mt. Bosavi. “From the world’s
smallest parrot to talking beetles, birds of paradise and tree kangaroos they
discover some of the strangest creatures on earth. And in just four tough
weeks they find over forty species of animals new to science,” the DVD box
proclaims (BBC One 2009). Even The Guardian couldn’t resist the BBC’s
exotica press release, creating this headline: “Lost World of Fanged Frogs
and Giant Rats Discovered in Papua New Guinea.”
Despite global press coverage for the adventures recounted by the three
remarkable films, there was barely any mention of the rain forest–dwelling
peoples who live in the foothills all around Mt. Bosavi, and virtually nothing
about their well-documented knowledge of regional natural history. In the
press Bosavi was simply a “lost” and faraway place synonymous with the tri-
umphal scientific discovery of a giant rat, a citation not much more sophisti-
cated, representationally speaking, than the use of Bosavi in the Hollywood
flop Krippendorf ’s Tribe (Holland 1998) as the remote place where a fumbling
and failing anthropologist (played by Richard Dreyfuss) is exposed by his
archrival (played by Lily Tomlin), who shows up in Port Moresby shouting,
in simplified lingua franca, mi laik go long Bosabi! (“I want to go to Bosavi!”).
I learned a very different lesson about major media potential for indige-
nous recognition in 1990. Just after the second edition of Sound and Senti-
ment appeared, I spent three months in Bosavi recording the sounds that
would be edited into Voices of the Rainforest, a CD that condenses a twenty-
four-hour day-in-the-life of the forest and Bosavi people into one hour. Pro-
Introduction to the Third Edition xxiii

duced by the Grateful Dead drummer Mickey Hart and the beneficiary of his
substantial music industry and sound technology connections, not to men-
tion a world of enthusiastic Deadhead listeners and consumers, Voices of the
Rainforest’s airplay and sales brought attention to the mining, logging, and
environmental degradation sweeping through New Guinea’s rain forests. The
recording’s circulation made audible the deep ecology of the rain forest and
the everyday musical lives of its inhabitants (Feld 2011b; the first edition of
the CD is discussed in Feld 1994).
The CD’s marketplace success translated into substantial royalties, and
together with the proceeds from Sound and Sentiment I established the non-
profit Bosavi Peoples Fund (www.bosavipeoplesfund.net). Since its incep-
tion in 1991 the Bosavi Peoples Fund has supported a variety of educational
and cultural projects meant to advance the standing of the Bosavi commu-
nity in Papua New Guinea and the world. In recent years a key project has
been a Bosavi Digital Archive to preserve the thirty-five years of media ma-
terials that have been collected by my colleagues and me. Currently the ar-
chive comprises some two hundred hours of audio recordings and six thou-
sand black and white and color photographs. Fieldnotes, transcriptions, and
translations, and other documents, as well as a complete digital archive of
publications will eventually be compiled.
There is something at once gratifying and unsettling about such a large
segment of Bosavi history living its research afterlife on a three-terabyte hard
drive. Gratifying because it will ultimately make possible more research, dis-
semination, and feedback, hopefully some of it of real use in Bosavi and
Papua New Guinea. Unsettling because of the potential for exploitative uses
of the material in today and tomorrow’s digital wild west. It only reminds me,
again, that if I’ve learned anything about “then” and “now,” it is that the plot
only thickens.

The Acoustic Turn

“What about an anthropology of sound? What about ethnographies that are

tape recordings?” Those were the opening sentences of a 1972 graduate semi-
nar paper I wrote in response to the theoretical program of my teacher Alan
Merriam’s important book The Anthropology of Music (1964). Whatever I had
in mind, I surely wasn’t thinking ahead to a time when those questions, and
Sound and Sentiment, would position me in the parental or grandparental
generation to today’s “sound studies” or “sound culture studies.”
 xxiv Introduction to the Third Edition

I’ve been excited by the proliferation of new social and cultural studies
of sound, all the more to witness anthropologists locating sound ever more
seriously in transcultural and transdisciplinary research (Anthropology News
2010, 2011; Samuels, Meintjes, Ochoa, and Porcello 2010; also see Diehl 2002;
Fox 2004; Greene and Porcello 2004; Hirschkind 2006; Meintjes 2003; Mora
2005; Novak forthcoming; Panopoulos 2003; Samuels 2004; Solomon 2000;
Weisethaunet 1998; Yamada 1997). But I should contextualize my acoustic
ancestor status by acknowledging that the intellectual agenda of Sound and
Sentiment was considerably more specific. As an experimental ethnography
of sound, or study of sound as a cultural system, Sound and Sentiment tried
first to identify and respond to two serious problems with Merriam’s anthro-
pology of music paradigm.
The first was to critique Merriam’s theoretically and linguistically lim-
ited model for the analysis of “song texts.” In Sound and Sentiment I wanted
to underscore the critical importance of engaging the socio-acoustics of ex-
pressive forms that were in between language and music, forms that featured
complex sonic intersections of verbal art, poesis, and vocalized performance.
In the specific empirical and ethnographic case that came to captivate me,
this concerned the intertwining of song and crying. And if I was first drawn
to how the performance of men’s gisalo songs displayed complex layers of
sung vocalization, poetic texts, and cried accompaniment, I was considerably
more challenged by how to understand the performance of women’s sung-
texted-weeping for Bosavi funerals. In both cases the poetic complexities
that entextualized gender in voice pushed me deeply into the sound sym-
bolism of language in music, and the timbral and textural aspects of music in
language.
While those dimensions of the anthropology of sound and voice were
empirically in line with at least one intellectual legacy, that of Roman Jakob-
son (1980, 1985; see Feld and Fox 1994; Feld, Fox, Porcello and Samuels 2004),
a second concern was neither anticipated by Merriam’s anthropology of
music program nor by any well-developed paradigm in ethnobiology or evo-
lutionary anthropology. This concerned copresent bio- and socio-acoustics,
the interanimation and interarticulation of human and nonhuman sounds
in the community setting of a rain forest environment. How to tell a story
about crying and singing that is equally a story about “nature” as a cultural
construction, about the intertwining of ecology and cosmology?
Whatever I knew about language and music when I went to Bosavi, I
surely didn’t know nearly enough about bioacoustics, ornithology, or envi-
ronmental science. It wasn’t just that my music school ear training didn’t in-
Introduction to the Third Edition xxv

clude bird-call recognition. It was that my imagination of an anthropology

of sound was nowhere near complex enough to imagine an emplaced all-
species approach to vocalization as an archive of ecological and aesthetic
coevolution.
All the same, by the time I went to Bosavi and did the research that be-
came Sound and Sentiment my idea of an anthropology of sound had bene-
fited from multiple and not quite ordinary streams of inspiration. As an
undergraduate at Hofstra College I studied with Colin Turnbull, read his
Mbuti ethnographies (1961b, 1965), listened to his ethnographic LP record-
ings of the Central African rain forest (1957, 1958, 1961a), and developed my
first anthropology papers on sounding social relations under his critical and
generous tutelage. I was inspired by how Colin’s musicianship influenced his
anthropology, and I particularly appreciated his conviction that the auditory
acuity of Mbuti in the Ituri forest was equally about perceptual adaptation
and the sociality of listening.
Also as a Hofstra undergraduate I studied musique concrète, electro-
acoustic synthesis, experimental musics, and jazz with the composer Herbert
Deutsch, also the coinventor, with Robert Moog, of the Moog synthesizer
(Deutsch 1986). I was inspired by Herb’s ability to link skill in improvisation
to experiments with new musical inventions. And he generously encouraged
my first experiments with analysis through synthesis, as I used the Moog syn-
thesizer to explore rhythmic patterns in Central and West African musics.
Additionally, during my undergraduate years I studied media anthro-
pology with Edmund Carpenter at the New School. Erudite about art his-
tory and material culture, Carpenter (1973) was also a deep listener with a
provocative approach to understanding the interplay of auditory, tactile, and
visual senses in the Arctic. His radical text and visual productions (Carpenter
and Heyman 1970) inspired my interest in experimental crossings of anthro-
pology and art (e.g., Feld with Ryan 2010; Blau et al. 2010). While studies of
anthropology and music with Turnbull and Deutsch convinced me that it was
possible to work both as a scholar and as an artist, Carpenter’s involvement
with sensory media studies equally convinced me to work in sound and visual
media simultaneously.
During my graduate school years at Indiana, where I principally studied
linguistic anthropology, ethnomusicology, and aesthetics, I took a year off
to go to film school, first at the Anthropology Film Center with Carroll
Williams, and then at the Musée de l’Homme’s Comité du Film Ethnogra-
phique with Jean Rouch (2003). Williams and Rouch were both equally en-
gaged with documentary realist and magical nonrealist lineages of cinema
 xxvi Introduction to the Third Edition

and photography. In complementary ways each inspired me to join rigorous

technique to experimental practice.
That was my intellectual and artistic backdrop to arriving in Bosavi in
1976. But equally important to how Sound and Sentiment turned out is that
both before and after my first fieldwork in Papua New Guinea I was largely
supported by sound recording, film, and experimental radio or jazz club gigs
until I got an academic job in 1980, at the University of Pennsylvania. It was
there and then, teaching film and sound history, theory, and practice at the
Annenberg School of Communications (and not teaching either anthro-
pology or music) that I transformed Sound and Sentiment from dissertation
to book.
Given my eclectic academic background, I’ve been particularly stimu-
lated by the breadth of contemporary sound studies, even if the literature is
more dominated by research on Western technologies, arts, media, inven-
tions, modernism, and avant-garde works than it is by work on sound in/
as social theory, or ethnographic studies of sound production and reception
in non-Western or West/non-West conjunctural formations. When I look
now at what is recently available in sound studies readers (Kruth and Sto-
bart 2000; Bull and Back 2003; Erlmann 2004; Greene and Porcello 2004;
Pinch and Bijsterveld 2011; Sterne 2012); in works on sound, engineering,
technology, aurality, noise, and hearing (Augoyard and Torgue 2006; Bijster-
veld and van Dijck 2009; Erlmann 2010; Schwartz 2011; Smith 2001; Sterne
2003; Taylor 2001; Théberge 1997; Thompson 2003); or in tracts on sound art
(Chion 1994; Dyson 2009; Kahn 1999; LaBelle 2010), I am deeply reminded
of how rare it was to come across adventurous thinking about sound at the
time when I first wrote Sound and Sentiment (Ihde 1976 and Schafer 1977 were
obvious exceptions).

From Anthropology of Sound to Acoustemology

and Anthropology in Sound

Even if Sound and Sentiment announced the anthropology of sound, I was

restless with the concept by the time the book was published. Teaching in
a school of communications from 1980 to 1985, and returning twice then to
Bosavi for short and long visits to extend my initial field research, I became
deeply engaged with a range of alternatives to the theoretical models I ini-
tially employed. Through the 1980s I tried to develop new perspectives on
Bosavi’s ambient, verbal/vocal, and musical/instrumental sounds in publica-
Introduction to the Third Edition xxvii

tions on dialogic editing (Feld 1987), aesthetics as iconicity (Feld 1988), and
the vocality of women’s weeping (Feld 1990b).
I also tried to expand my phonographic practice beyond an initial em-
phasis on ethnographic documentary LPs (Feld 1982a, 1985), producing an
experimental half-hour radio broadcast titled Voices in the Forest (Feld and
Sinkler 1983). That project was inspired by Murray Schafer’s urging, in The
Tuning of the World (1977), that research in acoustic ecology be presented mu-
sically, as soundscape composition. While I had always wanted my research
to be as hearable as it was readable, it was the documentary sound art broad-
casts by Schafer and his World Soundscape Project colleagues that took me
back to the possibility of ethnography as tape recording, using the mixing
techniques of electroacoustic composition.
Four additional periods of Bosavi field research in the 1990s moved my
research framework from anthropology of sound to acoustemology. I coined
this new term to join acoustics and epistemology, to argue for sound as a ca-
pacity to know and as a habit of knowing. I needed a way to talk about sound
that was neither a matter of critiquing the anthropology of music or lan-
guage nor of extending their scope to include environmental ambiences and
human-animal sound interactions. I wanted to have a new all-species way to
talk about the emplaced copresence and corelations of multiple sounds and
sources. I wanted to have a new way to talk about how, within a few seconds,
and often in the absence of coordinated visual cues, Bosavi people know quite
precisely so many features of the rain forest world, like the time of day, the
season, the weather history. I wanted to link this kind of tacit knowledge, as
well as active ecoacoustic knowing, to expressive practices, to the way Bosavi
listening habits and histories figure in the shaping of poetic, vocal, and in-
strumental practices.
I tried to theorize acoustemology in a few dense articles about ecologi-
cal and aesthetic coevolution (Feld 1996a) and about vocality, gender, em-
placement, and memory (Feld 1996b, 1998). But I did the deeper work in the
audio medium, more directly transforming an anthropology of sound into an
anthropology in sound (Feld and Brenneis 2004).
The development of this anthropology in sound work leads to one of the
better ways I can answer the inevitable question about how to read Sound and
Sentiment thirty years later. Quite simply: listen to it. Listen to my history
of listening to the rain forest and Bosavi people. Listen to how, on each and
every recorded track, you hear different configurations of what Bosavi people
call “lift-up-over-sounding,” a continual overlapping, alternating, and inter-
locking sonic figure and ground. Listen to Voices of the Rainforest (Feld 2011b)
 xxviii Introduction to the Third Edition

to hear how knowing the rain forest world animates multiple forms of instru-
mental and vocal expression. Listen to Rainforest Soundwalks (Feld 2001a)
to hear the everyday ambient sound environment as acoustic habitus. Listen
to the three discs in Bosavi: Rainforest Music from Papua New Guinea (Feld
2001b) to more intimately and acoustically know the two or three genera-
tions of Bosavi people I’ve known. Listen to the Bosavi world of ritual and
ceremony as I first heard it on the wane in the 1970s, including the weeping
and song tracks that are transcribed, translated, and analyzed in that book
(disc 3). Listen to how the world of ritual is embedded in the everyday ways
people work in and sing with the rain forest (disc 2). Listen to Bosavi’s new
music, the bush-modern guitar band remix of poetic heritage, memorial nos-
talgia, and youthful yearnings (disc 1). Experiment with the “lift-up-over-
sounding” of reading and listening to hear felt sentiments as the embodiment
of knowing the world through sound.
If all of that makes you wonder what I have been doing since the Bosavi
research, the answer is more of the same, and in sound and video as much as
possible. My recent recording work in Southern Europe explores interactions
of animal bells, church bells, town bells, carnival bells, and human musick-
ing. Like rain forest birds, village bells habituate local listeners to a sense of
place and produce consciousness of space and time. My research questions
how bells might stand to a thousand years of European pastoral history as
birds stand to thousands more in the Bosavi rain forest (Blau et al. 2002, 2010;
Feld 2004–7; Scaldaferri 2005). The acoustemological triangle that connects
sound to ecology and cosmology is also multiply hearable in my work on jazz
cosmopolitanism in Accra, Ghana, presented equally in sound, film, and text
(Feld 2009, 2012a, 2012b).

Visual Echoes

While I’m excited to see Sound and Sentiment emerge with a new cover,
I admit to a little nostalgia for the one that graced the earlier editions, and I
would like to record the story of its origin. In the late 1960s and early 1970s I
became aware of the work of the designer Quentin Fiore, through his classic
counterculture collaborations with Marshall McLuhan, The Medium Is the
Massage and War and Peace in the Global Village (1967, 1968), and with Buck-
minster Fuller, I Seem to Be a Verb (1970). Imagine my surprise ten or so years
later to find out that Fiore worked freelance for the University of Pennsylva-
nia Press and was assigned to my book!
Introduction to the Third Edition xxix

The previous book cover for

Sound and Sentiment, designed
by Quentin Fiore.

Visiting me at my Annenberg School office, Quentin asked me to tell

him a bit about Sound and Sentiment. I explained that the book begins with
and then unravels a myth, a story of how an abandoned and crying boy turns
into a purple-nosed fruit dove. He then asked me if I had a favorite book
cover in anthropology that I could describe. “Of course,” I replied, “that
would have to be the original French edition of Claude Lévi-Strauss’s La
Pensée Sauvage” (1962). As I reached to take the book from my shelf, he said,
“Oh, yes, of course, the cover with the marvelous French-language pun, just
the title and a bunch of wild pansies.” We smiled at each other as I put the
book on the desk, confirming that it was exactly the one he knew. “I have an
idea now,” he said. And in just a few weeks I saw the Sound and Sentiment de-
sign with the fruit dove whose nose turns the whole cover purple.
Interestingly, the purple shade that Quentin Fiore chose closely mim-
icked the cover color of another book that he (correctly) imagined me to be
fond of in both substance and title: Sound and Symbol, by the phenomeno-
logical musicologist Victor Zuckerkandl (1969). Indeed, while some readers
and reviewers remarked on the color and title resemblance to the Zucker-
kandl book, none mentioned the Lévi-Strauss resonance. In fact, in the mo-
ment of early 1980s colorized cultural politics, a more regular query about the
 xxx Introduction to the Third Edition

cover was a queer one, some readers wondering if the color purple was the
sound of gay sentiment.
While this signification was not my intention, questions about it turned
out to have a positive pedagogical effect over many years, often enough in
dialogues about critical and liberatory potentials of anthropology, about
ethnographies as dream manuals for alternative ways of becoming. So in a
deep sense here, it is Quentin Fiore whom I must thank for a cover that in-
cited some wonderful conversations about how myths once read through
local ethnography could also be read anew through postmodern identity
politics.
I’m similarly grateful to George Marcus and Michael M. J. Fischer’s
Anthropology as Cultural Critique (1986), whose discussion of Sound and Sen-
timent animated both conversations about the allegorical power of ethno-
graphic writing and my “Dialogic Editing” essay (Feld 1987), which became
the postscript for this book’s second edition. But, at least in the classroom,
discussions of representation and experiment were more often provoked by
the book’s visual materiality: the cover, Mary Groff ’s memorable bird draw-
ings, and, most forcefully, by the book’s two color photographs. The sub-
stance of many of those conversations has been reprised in two recent anthro-
pological discussions that reprint and discuss those two images: Christopher
Pinney’s Photography and Anthropology (2011:112–15), and Rupert Cox and
Christopher Wright’s “Blurred Visions: Reflecting Visual Anthropology,” a
state-of-the-field review for the new Sage Handbook of Social Anthropology
(2012).
Both discussions focus on the blur in the second photograph and what it
might suggest about culture in/as motion, about alternatives to the stability
of realism and documentary literalism in anthropological image making.
This was, of course, very much my intention, coming at the end of a book
whose intense engagement with linguistically mediated meanings yearned,
in the last gasps of structuralism and interpretivism, to embrace phenome-
nology and the senses, to move from text to voice, from symbols to synaes-
thesia, from indexicality to iconicity, from cognition to bodily knowing. I
also wanted the book to end aesthetically, and to do that I chose to switch
from exegetic exhaustion to pictorial pleasure, by staging an encounter of
relational epistemologies: an experiment in experiencing, evoking, and em-
bracing the blur.
So like new critical readings that listen to the Bosavi CDs in order to re-
imagine the text as collaborative listenings to histories of listening, renewed
Introduction to the Third Edition xxxi

attention to these images as visual echoes may also incite new ways to read
Sound and Sentiment. Listening and looking alongside reading, I hope that
you can wander along flight paths in a blurry forest of species, ages, and gen-
ders. I hope that you can wonder how deeply Bosavi people know and sound
the world as water moving through land and voice moving through the body.
And I hope that you can join me to wish ethnography a more creative future
in the relationships of words, sounds, and images. All the same, after these
thirty years, I know that to wander, wonder, and wish with Sound and Senti-
ment is also to worry if it is more readers of this ethnography than today and
tomorrow’s Bosavi generations who will know the story of a boy who became
a muni bird.

Acknowledgments

Deep thanks to the Bosavi people, especially the Bona Kaluli living at Sululeb
and Bolekini; Bambi B. Schieffelin and Edward L. Schieffelin; Don Niles at the
Institute of Papua New Guinea Studies; Mickey and Caryl Hart, Howard Cohen,
Jeff Sterling, and Tom Flye at 360 Productions; Cheryl McEnany at Rykodisc;
Tides Foundation for the Bosavi Peoples Fund; Jim Cummings at Earth Ear;
Anthony Seeger, Dan Sheehy, Atesh Sonneborn, Mary Monsour, Sonia Cohen,
Pete Reiniger, and Richard Burgess at Smithsonian Folkways; Doug Schwartz
at the School of American Research; Andy Pawley at Pacific Linguistics; Charlie
Keil, Keith Basso, and Don Brenneis; Osamu Yamaguti and Yoichi Yamada for
the Japanese edition; Carlo Serra, Nicola Scaldaferri, and Sergio Bonanzinga
for the Italian editions; students, colleagues, and readers all over the world; the
John D. and Catherine T. MacArthur Foundation; and Anita and Bob Feld and
Jocelyne Guilbault. A special thanks to Ken Wissoker for making sound serious
at Duke University Press.

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