The Tunisian–Libyan Maluf Slam Collaborative was a multinational group of musicians, poets, artists, educators, journalists, and stakeholders that created a series of music concerts featuring Tunisian and Libyan maluf in July 2019. Maluf is considered cultural heritage across eastern Algeria, Tunisia, and Libya and manifests with great variety between and inside each nation-state. Sourced from ethnography in Libya (2014) and Tunisia (2018–2019), this article documents the collaborative’s work, queries the dynamics of transnational traditions, and analyses musical modes and histories of Sufism in order to explain similarities and differences within performances of maluf today.

This study discusses the changing role of music informants in the printed collections of Greek folk music from the mid-nineteenth to mid-twentieth century. The earliest collections do not even include the informants’ names, the focus being laid on the information (the ethnographic material) per se. Even in the early-twentieth century, we know little of the sporadically named informants, such as their education or experience. The transfer of information was often carried out with no official permission and financial returns. This study examines the stages of a transformation, from the informant’s anonymity to their moderate appreciation and final rehabilitation.

In Tuscany, music is employed by park authorities, as well as cultural and conservation organisations, to attract visitors to natural and protected areas. This article examines the benefits of incorporating music performances within these natural settings, highlighting improvements in management, income generation for maintenance and conservation, increased visitor numbers, and enhanced environmental awareness. Through qualitative interviews and the analysis of four case studies, this article explores how integrating musical performances into ecotourism activities can foster a sense of place and stewardship among visitors and local communities.

Islam spread to the area of present-day northern Nigeria in the eleventh century and further southward in the nineteenth century. Some scholars claimed that although Islamic traditions appeared hegemonic, they did not completely supplant local music traditions (e.g., Trimingham 1959). Through a musical ethnography of two predominantly Muslim communities in Nigeria, our article interrogates this claim and explores specific ways Muslim musicians and community members contest Islamic orthodoxy and negotiate some form of liberalism. We argue that negotiating liberalism has been crucial to the sustenance of indigenous music traditions in the communities we studied in Nigeria.

This article addresses the gaps between ethnographic archives and community members who are often deprived of accessing their own materials. In reflecting on results from collaborative research with a Nepalese immigrant community in Alberta, Canada, where we created a Digital Community Archive (DCA), I draw attention to the benefits of combining strategies from applied ethnomusicology and Participatory Action Research (PAR). I propose a new model for archiving in ethnomusicology, the Community Collaborative Participatory Archive (CCPA). This model can improve ethnomusicological archival practice by focusing on collaborative, egalitarian, and grassroots participation, shared roles, and authority in the archival creation and development process.

This dialogue begins with Egil Bakka’s proposal for a science-based definition of dance. Bakka identifies four principles to structure the definition which are (1) drawn on methodologies from studies of dance as culture, (2) informed by the natural sciences, (3) influenced by a relation-based approach adapted to computer science, and (4) based on methods used in constructing dictionary definitions. Following peer review, we solicited public responses to gauge scholarly receptivity to the initial essay. The result is a single-authored proposal by Bakka followed by four independent responses by Kunej, Sarkar Munsi, Savage, and López-Yánez, respectively, ending with a response to the comments by Bakka.