This is a book not to be missed. Sacred and Secular Musics explains with detail and nuance the contexts of emergence and understanding – and criticism of misunderstandings – of musics from the Punjab. Kirtans, Qawwali, folk and film tunes are given analytical and biographical treatment here – based upon extensive interviews and well-tuned listening practice. Virinder Kalra’s return from a combative engagement with musicological terrain reunites what has been torn apart by scholarship and politics.
A sonorous demolition of colonial era music orientalism is articulated as a necessary and ongoing project. Here it is informed by historical and archival work used as parallel anti-colonial movement against the drone routines of latter day musicology and its patterned responses in hierarchical mode. That surely ever so well-meaning contemporary music scholars repeat the platitudes and privileges of East India Company judgements is not just an error of disciplinary isolation or demarcation – a book on music is never only about music – here at last is one up front about the isomorphism of soundtrack and power. Get this book not so much to read your way into a better music history or to decolonise your record/mp3 collection’s exotic moments, but to recognise those moments as part of a wider dis-orientation through rhythm and poetry – which could perhaps be claimed as the sonic register of a wider Global South resistance, and not to be merely commercialised and packaged into some rote-learning documentary format.
‘despite increasing hardening physical borders and political sabre rattling. Perhaps only music is able, in the absence of cross-border transnational, political or social movements and institutions, to provide an example of another possibility of a refusal to endorse and promote the outcomes of colonial modernity. Even though, this is only a minor chord in the hugely amplified soundscape that is invested in the continuation of the boundaries between religions. It is one that is worth straining for and making the effort to hear’