Most of the Yiddish songs we know today were created in the first half of the 20th century and distributed through commercial channels such as sheet music, concerts, radio broadcasts, records and CDs, theater stages, and more recently through songbooks produced in educational settings around the world. Our discussion focuses on lesser-known songs – Eastern Yiddish musical folklore, which emerged over a period of approximately four hundred years preceding the formation of the “popular” repertoire. Although we lack transcriptions of melodies or lyrics from before the end of the 19th century, a comparative study of documentation collected from then until the middle of the 20th century reveals that older layers of this musical-poetic creativity had been preserved over long periods of time. I refer to this older repertoire as the "musical pripetshik." Similar to the traditional combined home-heat-generating cooking oven known as the pripetshik, this old song repertoire was an integral part of Jewish culture, evolving in meaning and function over time. While for many, the image of the pripetshik corresponds to the nostalgic song by Mark Varshavski of 1901, this lecture will explore the earlier history of this and other poetic and musical images to offer an appreciation of their significance.

This lecture originally took place on July 23, 2024.

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The Military Entertainment Complex: Chimurenga Afrosonic Making of Zimbabwe (MIT Press, 2026) by Dr. Mhoze Chikowero is the story of the making of post-independence Zimbabwe from the sounds and songs born of the country’s armed liberation wars, waged against British Rhodesian white settler rule since the 1890s.
The war from 1896 through the twentieth century to resist the initial colonization, as well as the one waged to reclaim land from the colonial farmers in the 2000s, is known as Chimurenga, and the music it produced is thus called Chimurenga music. The sounds and music were Afrosonic—that is, deeply grounded in the ideology of the 1960s–70s war, spawning the cultural liberation of a people whose self-expression the colonial system had criminalized and oppressed for close to a century.
The living labs of the liberation war, Chimurenga, powered not just military but also cultural rearmament, thereby producing cultural blueprints for a confident, regenerative public consciousness and expressiveness as independence. The open-access title captures the sounds of self-liberation, framing a state of militant audibility in public cultural expressiveness, public policy propagation, and contestation. It invites readers to imagine, see, hear, and feel self-liberation war redeployed as popular entertainment in the service of state making.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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The early twenty-first century ushered in a period of change in Bolivia. The country welcomed its first Indigenous president, a new constitution, and a profusion of laws that recognized individual music and dance expressions as intangible cultural heritage. Using cultural heritage lawmaking as a window through which to view the de-centered workings of the Indigenous-focused Plurinational Bolivian State, Heritage Fever: Law and Cultural Politics in a Decolonizing State (Oxford University Press, 2025) by Dr. Michelle Bigenho and Dr. Henry Stobart unpacks the myriad motivations for heritage making in this this politically transformative moment. Heritage Fever reorients UNESCO-driven heritage debates towards a different set of questions—a pivot the authors call “heritage otherwise.”

These inquiries focus on how citizens use law to frame expressive culture and engage their new state. Through grounded case studies, Bigenho and Stobart reveal how competing claims over cultural expressions stimulate aficionado research and produce an abundance of cultural activities. Managing these productive conflicts often involves strategic uses of scale within the country's new political autonomies, even as old-style nationalisms lurk beneath a plurinational sheen. One case study highlights imagined Indigenous autonomy as bolstered by decolonizing historiography that predates the Plurinational State by several decades.

Privileging the stories told by those who championed or who were bureaucratically involved in the respective heritage-making campaigns, Heritage Fever's research draws from the authors' combined fieldwork in Bolivia over the last 30 years, recent multi-sited fieldwork conducted as a team, and ethnographic interviews conducted with Bolivians involved in heritage-making projects. Contributing to legal anthropology, critical heritage studies, ethnomusicology, and anthropology of the state, Heritage Fever looks beyond intellectual property frames, opens new perspectives on archival thinking, reflects on decolonizing practices in expertise and knowledge production, and uncovers the agency of mid-level citizens in a decolonizing state.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. 

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