{"id":13834,"date":"2020-12-21T10:06:56","date_gmt":"2020-12-21T09:06:56","guid":{"rendered":"http:\/\/www.auxsons.com\/?post_type=focus&p=13834"},"modified":"2020-12-21T12:34:52","modified_gmt":"2020-12-21T11:34:52","slug":"lullabies-come-hell-or-high-water","status":"publish","type":"focus","link":"https:\/\/www.auxsons.com\/en\/focus\/lullabies-come-hell-or-high-water\/","title":{"rendered":"Lullabies, come hell or high water"},"content":{"rendered":"

What is a lullaby? Ethnomusicologist Madeleine Leclerc and musicians Piers Faccini and Robin Girod give us their takes.<\/strong><\/p>\n

In 1969, the ethnomusicologist Hugo Zemp held out his microphone in the village of Filinui in the Solomon Islands. He recorded a woman called Afunakwa performing a lullaby to her child \u2013 a \u201crorogwela\u201d as they say in the Baegu language \u2013 one of the hardest moments to capture. Published a few years later by UNESCO<\/span>\u2019s Musical Sources, this little song against a forest background became a global sensation when it was sampled by the French group Deep Forest in 1992 for its track \u201cSweet Lullaby\u201d, and would also be taken up shortly afterwards by the Norwegian Jan Garbarek, who mistakenly credited her as being of Pygmy origin. Beyond the questions of cultural appropriation inherent in these samples and the problematic iconography attached to them, we start by asking: what is a lullaby? And why do we have such a need to be lulled? <\/span><\/p>\n

Deep Forest - Sweet Lullaby <\/i><\/strong><\/p>\n