A World in Two Cities

Home
Researchers
Projects
Survey
Research Projects
Meskel Meskel 2001, the annual celebration of the Ethiopian orthodox church in Cedar-Riverside

Explore Twin Cities music scenes:

American Traditional/Rock Music in the Twin Cities

Arab American Music Resources in the Twin Cities

Community Radio in the Twin Cities

African Sacred and Pop/Dance Music in the Twin Cities

Hip Hop Music in the Twin Cities

HMong Pop Music in the Twin Cities

Indian Classical (Carnatic) Music in the Twin Cities

Filipino Music in the Twin Cities

Indonesian Gamelan Music in the Twin Cities

Liberian Music in the Twin Cities

Jazz and Improvised Music in the Twin Cities

Traditional Mexican Children's Songs in St. Paul

Lutheran Church Music in the Twin Cities

Japanese Taiko Drumming in the Twin Cities

Tibetan Traditional and Popular Music in the Twin Cities

Meet Twin Cities Musicians:

Local Artists

Learn about Twin Cities music history:

Timeline of Twin Cities Arts Venues

History of Immigration to Minnesota

Festivals in the Twin Cities

We have started this enormous urban ethnography project by literally mapping the Twin Cities, finding out places of interest (cultural centers, grocery stores, restaurants, music stores, recording studios, gathering places for specific ethnic communities, etc.); identifying music venues (concerts, festivals, community events, tournaments, calendar celebrations, etc); and discovering places of worship.

But how does one map, explore, and document such diverse musical and cultural expressions found here? Needless to say there is a huge range of topics to pursue - there is the possibility of learning about musical lives of recent immigrant communities as well as people whose ancestors lived here before the arrival of the Europeans. Within each of these communities one can explore a wide range of genres, from religious to secular, traditional to popular. Projects of this size tend to take a life of their own and the order in which specific tasks are being done does not follow some predetermined hierarchy of ethnographic importance but rather reflects the interests of particular research teams and often serendipitous meetings with interesting musicians.