Abstract
This article explores the implications of a performative ecology in Oceania by examining musical practices of “summoning breadfruit” and “opening seas” (wayfinding) in the Federated States of Micronesia. In the islands of Chuuk, dynamic relationships between music and environment demonstrate a deep engagement with place and performativity and a musical interdependence with the Oceanic surroundings. By examining remembered and present-day musical practices, I argue for a relational indigenous perspective that brings together ideas about performance, the physical environments of land and sea, and their integrated spiritual dimensions.
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Copyright 2018 by the Board of Trustees of the University of Illinois
2018
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