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Anthropology

<OpenstaxParagraph>
	Music is grounded in the human experience. It is a theatrical expression of its creator’s thoughts and perceptions. The structure of music has evolved along with the experiences of the humans who created it. Examples of this can be found in the early 1800s hymns of Choctaw tribes. These hymns provide an artistic expression of traumatic experiences, referring to a time when the Choctaw people were removed from their homelands and relocated to reservation lands by the US government. They speak of both individual and collective experiences as these peoples made the arduous journey to their new locations. The songs speak about broken promises, the journey, and the fate of their people.
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00002" src="https://openstax.org/apps/archive/20240226.174525/resources/eab4ad152fa4e02a04c01f0e29b1f6b3b33a2981" alt="Illustration on the front of a trading card of many Indigenous people travelling across the prairie, some on horseback and some on foot. A White soldier escorts them." mediaType="image/jpeg" width="571" height="800" />
<OpenstaxFigureText width="571">
	Figure 16.12 This trading card, published by the National Parks Service, commemorates the forced journey of the Choctaw people to reservation lands, commonly known as the Trail of Tears. The Choctaw people have commemorated this same journey in hymns. (credit: “Trail of Tears for the Creek People” by TradingCardsNPS/flickr, CC BY 2.0)
</OpenstaxFigureText>
<OpenstaxParagraph>
	For enslaved people, music was a mechanism of emotional escape from difficult situations as well as a means of communicating with those speaking different languages during the Middle Passage, the journey from Africa to locations of forced labor. One of the most iconic spirituals, or songs for survival, is “Go Down Moses.” Harriet <OpenstaxTerm>Tubman</OpenstaxTerm>, the legendary Underground Railroad conductor, said that she used this spiritual as a way to signal to those who were enslaved in the area who she wanted to help escape to freedom (Bradford [1886] 1995). The song ostensibly speaks about the experience of the Israelites enslaved by the Egyptians in ancient times. For enslaved Black people in America, the song spoke directly to their own longing for freedom. The chorus of “Go Down Moses” is as follows:
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<OpenstaxBlockquote>
	 
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		Go down, Moses,<OpenstaxBr />Way down in Egypt’s land.<OpenstaxBr />Tell ol’ Pharaoh,<OpenstaxBr />Let my people go.<OpenstaxBr />Thus saith the Lord, bold Moses said,<OpenstaxBr />Let my people go,<OpenstaxBr />If not, I’ll smite your firstborn dead,<OpenstaxBr />Let my people go.
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</OpenstaxBlockquote>
<OpenstaxParagraph>
	Listen to this song on the <a href="https://openstax.org/r/locgovjukebox">Library of Congress website</a>.
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	Numerous populations have utilized music as a means of resistance. During the civil rights movement of the 20th century, Black artists such as Nina <OpenstaxTerm>Simone</OpenstaxTerm>, Aretha <OpenstaxTerm>Franklin</OpenstaxTerm>, and Sam <OpenstaxTerm>Cooke</OpenstaxTerm> used their music as a way to challenge structural inequity. Aretha Franklin, a Black singer, songwriter, and pianist, wrote and performed music anchored in the Black church that came to represent Black American culture. She achieved national and international fame for her rich voice and heartfelt performances, and she was able to use her artistic talents to bring a message of both hope and resistance to her audience. Her songs spoke to both where people were and where they wanted to be.
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	Sam Cooke was an American singer who was given the nickname “King of Soul” by his fans and those in the music industry. Like many, he started out singing in church, but eventually his music and passion evolved to secular music. He is credited with having significant influence on the civil rights movement, and his music often explored themes of oppression and fighting for a cause. The music of his first band, Soul Stirrers, focused on stirring the listener’s soul to engage in the movement for racial equality.
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<OpenstaxFigure id="fig-00003" src="https://openstax.org/apps/archive/20240226.174525/resources/4160b69d112569d7a06e13e852924687a20a7529" alt="Suit jacket, hat, and guitar in a glass display case." mediaType="image/jpeg" width="533" height="800" />
<OpenstaxFigureText width="533">
	Figure 16.13 Sam Cooke’s performance outfit and instruments are on display in the Rock and Roll Hall of Fame in Cleveland, Ohio. The music of Sam Cooke had considerable influence on the Civil Rights movement. (credit: “Sam Cooke’s Outfit” by Steven Miller/flickr, CC BY 2.0)
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<OpenstaxParagraph>
	Perhaps no artist in recent times is better known for using music as a catalyst for social change than Bob <OpenstaxTerm>Dylan</OpenstaxTerm>. Dylan was a 1960s-era musical artist who spoke to many cultures and generations about injustice and the need for inclusion and change. His 1964 song “The Times They Are a-Changin’” urged politicians and voters to support the civil rights movement. He was also well known for his opposition to the Vietnam War. His music may have very well changed the course of history, given his influence on his fans’ thoughts, perspectives, and attitudes toward inclusion (Ray 2017).
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<OpenstaxFigure id="fig-00004" src="https://openstax.org/apps/archive/20240226.174525/resources/535465a36355fdd15e72411b84c79f1e6d0fb3a0" alt="Bob Dylan singing and playing guitar during a concert." mediaType="image/jpeg" width="619" height="800" />
<OpenstaxFigureText width="619">
	Figure 16.14 American musician and songwriter Bob Dylan popularized many protest songs, including 1964’s “The Times They Are a-Changin’.” (credit: “Bob Dylan” by F. Antolín Hernández/flickr, CC BY 2.0)
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	<OpenstaxNoteTitle> Profiles in Anthropology </OpenstaxNoteTitle> <OpenstaxH3> Zora Neale Hurston 1861–1960 </OpenstaxH3><OpenstaxFigure id="fig-00010" src="https://openstax.org/apps/archive/20240226.174525/resources/91033a8dd704ddd330e5a97620c623e22cf5f10b" alt="Zora Neale Hurston smiling and playing a drum." mediaType="image/jpeg" width="410" height="800" />
	<OpenstaxFigureText width="410">
		Figure 16.15 In this image, Zora Neale Hurston exuberantly plays a traditional drum. (credit: “Zora Hurston, Half-Length Portrait, Standing, Facing Slightly Left, Beating the Hountar, or Mama Drum” by New York World-Telegram &amp; Sun staff photographer/Library of Congress, Public Domain)
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		Personal History: Zora Neale <OpenstaxTerm>Hurston</OpenstaxTerm> was a Black American anthropologist, author, and filmmaker. She was born in Notasulga, Alabama, to a sharecropper turned carpenter and a former schoolteacher. All of her grandparents were born enslaved. Hurston moved to Eatonville, Florida, an all-Black town, in 1892, at the age of two. She often referenced Eatonville as her home, as she had no recollection of her time in Alabama. She lived in Eatonville until 1904, when her mother passed. At the time, Eatonville was a well-established Black community with a booming economy. According to multiple accounts, Hurston was never indoctrinated into feeling racial inferiority. While she was a resident, her father was elected mayor of the town. All the shop owners and government officials were also Black American elites. In adulthood, Huston often used Eatonville as the setting of her stories.
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		Huston left Eatonville due to a poor relationship with her stepmother. She enrolled in classes at Morgan College in Maryland, lying about her age of 26 to be eligible for a free high school education. She graduated in 1918 and attended Howard University, a historically Black university in Washington, DC, before transferring to Barnard College at Columbia University. At Barnard, Hurston studied under Franz <OpenstaxTerm>Boas</OpenstaxTerm> as an undergraduate and graduate student. She also worked with other foundational anthropologists, including Ruth <OpenstaxTerm>Benedict</OpenstaxTerm> and Margaret <OpenstaxTerm>Mead</OpenstaxTerm>.
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		Area of Anthropology: In addition to her time in academia, Hurston was a central figure in the Harlem Renaissance as a literary artist, working closely with Langston <OpenstaxTerm>Hughes</OpenstaxTerm>, among other writers. She was a pivotal literary artist whose work directly reflected the trials, tribulations, and successes of Black American communities and subsocieties that were often overlooked or exoticized (Jones 2009).
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	<OpenstaxParagraph>
		Hurston was a cultural anthropologist who was passionate about southern American and Caribbean cultural practices. She spent significant time in these geographical areas, immersing herself in the diverse cultures of Black people in the American South and the Caribbean.
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		Accomplishments in the Field: One of Hurston’s most notable anthropological works is <OpenstaxEm>Mules and Men</OpenstaxEm> (1935), based on ethnographic research she conducted in lumber camps in north Florida. One focus of this work was the power dynamics between the White men who were in charge and the Black women laborers, some of whom the men took as concubines. In addition to this work, Hurston studied Black American song traditions and their relationship to the music of enslavement and to the musical traditions of pre–Middle Passage Africans.
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	<OpenstaxParagraph>
		Importance of Her Work: Hurston not only studied human society and culture as an anthropologist but was also an active participant in the arts. She was a central figure in the Harlem Renaissance, which was a flowering of Black culture centered in the Harlem neighborhood of New York City. Her most popular novel is <OpenstaxEm>Their Eyes Were Watching God</OpenstaxEm> (1937; Carby 2008). Her specific anthropological and ethnographic research focus areas were Black American and Caribbean folklore. She also worked for the Federal Writer’s Project, part of the Works Progress Administration, as a writer and folklorist. Hurston is now an iconic figure for the Association of Black Anthropologists and several Black anthropological studies journals.
	</OpenstaxParagraph>
</OpenstaxNote>

16.2.4 The Structure and Function of Music in Different Societies

1 What Is Anthropology?

1.1 The Study of Humanity, or "Anthropology Is Vast"

1.1.1 The Heart of Anthropology: Central Narrative and Commitments

1.1.2 Central Commitment #1: Exploring Sociocultural Diversity

1.1.3 Central Commitment #2: Understanding How Societies Hold Together

1.1.4 Central Commitment #3: Examining the Interdependence of Humans and Nature

1.2 The Four-Field Approach: Four Approaches within the Guiding Narrative

1.2.1 Biological Anthropology

1.2.2 Archaeology

1.2.3 Cultural Anthropology

1.2.4 Linguistic Anthropology

1.2.5 How the Four Fields Work Together: The Example of Race

1.3 Overcoming Ethnocentrism

1.3.1 Enculturation and Ethnocentrism

1.3.2 Primitivism and Orientalism

1.4 Western Bias in Our Assumptions about Humanity

1.4.1 Primitivism and Orientalism in Popular Culture

1.4.2 The Bias of Backwardness

1.5 Holism, Anthropology’s Distinctive Approach

1.5.1 Society as an Integrated Whole

1.5.2 Sources of Contradiction, Conflict, and Change

1.6 Cross-Cultural Comparison and Cultural Relativism

1.6.1 Relativism Is Not “Anything Goes”

1.6.2 Morality, Activism, and Cultural Relativism

1.7 Reaching for an Insider’s Point of View

1.7.1 The Challenge of Representing Others

1.7.2 Collaborative Methods of Representation

1.7.3 Working across Cultures toward Common Goals

1.7.4 Suggested Readings

2 Methods: Cultural and Archaeological

2.1 Archaeological Research Methods

2.1.1 Archaeological Techniques

2.1.2 Archaeological Dating Methods

2.2 Conservation and Naturalism

2.2.1 Early Efforts

2.2.2 Salvage Anthropology

2.2.3 Museum Collections

2.2.4 Interpretation and Voice

2.3 Ethnography and Ethnology

2.3.1 The Development of Ethnography and Ethnology

2.3.2 Perspective and Interpretation in Ethnography

2.4 Participant Observation and Interviewing

2.4.1 Participant Observation

2.4.2 Interviewing Informants

2.4.3 Ethical Considerations

2.5 Quantitative and Qualitative Analysis

2.5.1 Differences between Quantitative and Qualitative Information

2.5.2 Modeling

2.5.3 The Science of Anthropology

2.6 Collections

2.6.1 Archives

2.6.2 Three-Dimensional Collections

2.6.3 Ownership

2.6.4 Suggested Readings

3 Culture Concept Theory: Theories of Cultural Change

3.1 The Homeyness of Culture

3.2 The Winkiness of Culture

3.3 The Elements of Culture

3.3.1 Culture Is What We Make

3.3.2 Culture Is What We Do

3.3.3 Culture Is What We Think

3.4 The Aggregates of Culture

3.4.1 Symbols

3.4.2 Ritual

3.4.3 Social Structure

3.5 Modes of Cultural Analysis

3.5.1 Evolution, Adaptation, and Historical Particularism

3.5.2 Functionalism

3.5.3 Structuralism

3.5.4 Ontology

3.6 The Paradoxes of Culture

3.6.1 Paradox 1: Culture Is Continuous, but It Changes

3.6.2 Paradox 2: Culture Is Bounded but Mobile

3.6.3 Paradox 3: Culture Is Consensual but Contested

3.6.4 Paradox 4: Culture Is Shared, but It Varies

3.6.5 Suggested Readings

4 Biological Evolution and Early Human Evidence

4.1 What Is Biological Anthropology?

4.1.1 Looking to the Deep Past

4.1.2 Exploring What It Means to Be Human

4.2 What’s in a Name? The Science of Taxonomy

4.2.1 Defining the Science of Taxonomy

4.2.2 Defining a Species

4.3 It’s All in the Genes! The Foundation of Evolution

4.3.1 The Units of Life

4.3.2 Gregor Mendel and the Laws of Heredity

4.3.3 Mendelian Inheritance in Humans

4.4 Evolution in Action: Past and Present

4.4.1 Early Evolutionists and the Fixity of Species

4.4.2 Charles Darwin’s Role in Changing Views of the Natural World

4.4.3 Understanding Darwin’s Theory of Natural Selection

4.5 What Is a Primate?

4.5.1 What Is a Primate?

4.5.2 Primate Behavioral Variation

4.5.3 Explaining Primate Success

4.5.4 Primate Classification and Taxonomy

4.6 Origin of and Classification of Primates

4.6.1 Understanding Concepts of Time

4.6.2 Fossils and Dating Methods