p. 324

"the guru-shishya or ustad-shagird (Persian ...) tradition is a culturally specific form of learning."

p. 325

"The gods said, "We can give you the knowledge ... but only the teacher can show the way" (Mlecko 1982, 37, from Chandogya Upanishad)."

the dayan-tabla, the right-hand drum made of ... shisham or rosewood.

to the side (bayan) for optimal sound."

p.

practice

328

"Bol, stemming from the Hindi verb bolna, meaing to speak, refers to the strokes the fingers make on the tabla ... .

329

Tabla players, as time-keepers of the tal, use various thekas or rhythmic structures to keep the beat in instrumental and vocal compositions. ...

Students usually start their talim, or learning, with a kaida composition, a type of pattern that always has a theme of a fixed number of bols ending with a tihai or bol phrase that is repeated three times."

336

"We constantly sped up after each cycle of the exercise. ...

337

In Indian music, it’s a natural tendency to start very slow and end up very fast."

"He would present one tihai and then using a similar pattern and the same bols to develop it into another by changing the rests and accents."

338

"I increased the speed to what I thought was far to fast a tempo to control. ... I wasn’t thinking or reciting but simply observing my hands playing faster and faster. Time went by very slowly. In fact, what seemed by hours was only minutes. Time had slowed down; my breathing slowed down but my hands were playing faster than they had ever played before."

p.

dreams about tabla

342

"Leen’s very first encounter with Zakirji was in a dream. He woke her up in the middle of the night playing loudly, frantically, intensely. Leen did not know anything about this man or the instrument at the time of her first dream. This "calling" instigated a long search, which eventually took her to India. On her journey, she ...

343

knew that she really should be learning from this master that she saw and heard in her dream. ... she dreams of him and of tabla all the time. ...

344

Tabla dreams can take the form of lessons in a house somewhere that Zakirji teaches a composition or part of a composition. ...

345

... an older female student of Zakirji’s ... remembered her dreams of Zakirji and tabla quite vividly. She would have dreams of compositions at night, go into class the next day, and find Zakirji playing it bol by bol."

p. 345

"That night I suddenly woke ... . ... I was paralyzed. I could not move or speak. Just them, Zakirji whispered in my right ear {being whispered to in one’s right ear is characteristic of tantrik diks.a (initiation)}, "Just relax, you have to go through this." ... I could not see him – but I could hear him. He played bols so loudly and so fast that I thought my ears would explode. He played to the right of me, then to the left ... .

p. 346

The bols were crystal clear but he played so frantically that as soon as I heard them, hew ones kept flooding out. This happened over and over again for what seemed like hours. He played well over fifteen compositions ... . We traveled to India, to Thailand, to China, and to the Berkeley campus, where he was, as I was told later, teaching that evening."

p.

transformation

347

"Recently, other anthropologists have spoken of the necessity of documenting and exploring their own transformations in the process of doing fieldwork ... . Rather than marginalizing their extraordinary experiences in the process of collecting data to casual conversations within mainstream academic circles, they have brought discussions of their field encounters such as dreams, visions, sorcery, etc., to the center of anthropological investigation."

348

"Clearly, ... ethnographic encounters ... like dreaming tabla and visions are commonplace."

p.

murder

367

"Bishop Romero, too, "awakened" through his interactions with the poor, and for this he was murdered in front of the altar ... . ...

368

European groups, the UN, put pressure on the government and demand that Mexico recognize violations of human rights; Canada offers support for peace, and even the United States is admitting complicity."

p.

performance

370

"Men dressed as monkeys, men dressed in moss, men in black face, men in jungle spots, parade by in procession. ... They are headed toward Jaguar Rock, a little beyond the pueblo center, where they will play out another scene in Mayan cosmology, celebrating the birth of the world into its present configuration. ... .

371

... around the huge boulder ... the Jaguar twins are attempting a difficult ascent. ...

372

In the end, the world is saved in a flawless game of catch, where stuffed squirrels are juggled back and forth between the jaguar twins and the rest of creation."

p.

interaction

375

"After a number of student programs within Zapatista communities, we have learned that activism and ... service projects can and must be designed in collaboration with our community partners".

377

"the Zapatistas approved our proposal to write a book about them after six months’ considering our proposal."

p. 400

"a line from a Kurt Vonnegut novel, Cat’s Cradle ... : "Peculiar traveling suggestions, are dancing lessons from god".

p. 404

"this experience even allowed me to wonder if perhaps there is a god of fieldwork out there. Are peculiar traveling suggestions not dancing lessons from god?"

p.

resident Koreans

394

"what is called in Japan, Zainichi Kankokujin, or "resident Korean." There are many "resident Koreans" in Japan, many third- or fourth-generation descendants of Koreans brought to Japan when Korea was a colonial attachment to Japan (1910-1945). Even if born and raised in Japan, these Korean descendants are not granted Korean citizenship at birth."

395

For resident Koreans "it was not a good idea to appear to be able to speak Korean too well. It might be better ... at least not to let people know one could speak Korean. She felt that if one knew Korean, people might suspect one were Korean".

396

They "would hide in public their Koreanness, their language ability, and even their relationship to each other."

p.

Ainu

397

"in Nibutani, Japan, on the island of Hokkaido, ... the largest remaining Ainu community in Japan (and the world) resided.

398

In "Abishiri, also located in Hokkaido, ... there is a museum on the Ainu".

416, n. 5

Ainu Friendship Association (Utari Kyokai) : "When the organization was started in 1946, it was actually called the Hokkaido Ainu Kyokai, but there was a decision to change the name at the organization’s general meeting in 1960 because ... the term Ainu ... carried such strong discrimination in Japan".

p.

discrimination

400

"Burakumin are a discriminated-against minority group in Japan descended

401

from people so categorized in Japan’s historic Edo era (1600-1868). They were discriminated against because they were itinerant, rather than belonging to a place, or because their occupations dealt with the dead – considered as a source of pollution. ... Burakumin are identifiable through residency affiliation or masked information on family registries."

402

"Devos and Wagatsuma had done early research on Burakumin when

403

this was still a topic kept hidden and not easily worked on in Japan (Devos and Wagatsuma 1966 ...)."

p. 405

"hibakusha (atom-bomb survivor)"

p. 411

"the "classic cataract" effect experienced by many bomb survivors."