Rachel Harris

WISDOM FROM THE WOMEN HEALERS OF THE PSYCHEDELIC UNDERGROUND The use of entheogens, or psychedelics, is out of the closet today. LSD, psilocybin, MDMA, and other medicines once associated only with the counterculture are now being legally studied for their healing properties. But as Rachel Harris shows, the underground use and study of psychedelics by women dates back to the Eleusinian Mysteries of ancient Greece. Harris interviews the modern women elders carrying on this tradition to gather their hard-won wisdom of experience. Any reader interested in inspiration, healing, and enlightenment will find here a wonder-filled narrative packed with provocative and perhaps life-changing insight.

Mrs. Pearl thought she knew what her greatest treasure was. She couldn't think of anything more precious than the beautiful pink and gold pearl that Uncle Odell had given to her many years before. He had since passed and the "quotes" inscribed on it always gave her comfort. She always kept it close to her heart until it was stolen in the middle of the night When the Sea Patrol has nothing to go on Mrs. Pearl reaches out to her community. When her story is broadcast via SEA-NN News some amazing things begin to happen as the whole ocean responds to Mrs. Pearl's pleas for help. As the story unfolds, you will find much more mystery surrounding the story of the pearl. And you will learn that wherever your heart is, that's where your treasure is too.

These guidelines are aimed at string players in the early music scene and focus on orchestral technique and codes of practise. This book gives extensive support and information to student string players starting out in the world of freelance baroque orchestras. It could, of course, be of interest to other orchestral performers. Rachel Harris, member of the Brook Street Band and director of Ensemble Schirokko Hamburg has collated her many years of experience and observation in this set of guidelines.

These guidelines are aimed at string players in the early music scene and focus on orchestral technique and codes of practise. This book gives extensive support and information to student string players starting out in the world of freelance baroque orchestras. It could, of course, be of interest to other orchestral performers. Rachel Harris, member of the Brook Street Band and director of Ensemble Schirokko Hamburg has collated her many years of experience and observation in this set of guidelines.

China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam, author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the internet come into dialogue with local embodied practices. Synthesized together, these practicies create new forms that facilitate powerful, affective experiences of faith.

China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam, author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the internet come into dialogue with local embodied practices. Synthesized together, these practicies create new forms that facilitate powerful, affective experiences of faith.

With the return of material lost for decades, the story of a nearly forgotten Northern California lumber strike is told with immediacy, drama, passion, humor, and relevance to events happening today. The 1935 strike, in which three workers were killed, cast a long shadow over Humboldt County in Northern California. First-person narratives, excerpts from letters and strike bulletins, period photographs, and even a fascinating detour through 1960's San Francisco, make this colorful chapter of American labor history compelling reading.

Used for thousands of years by indigenous tribes of the Amazon rain forest, the mystical brew ayahuasca is now becoming increasingly popular in the West. Psychologist Rachel Harris here shares her own healing experiences and draws on her original research (the largest study of ayahuasca use in North America) into the powerful medicine's effects on depression, addiction, PTSD, and anxiety. In this wide-ranging and personal exploration, Harris details ayahuasca's risks and benefits, helping readers clarify their intentions and giving psychotherapists a template for transformative care and healing.

Arabella Stone, Nashville's darling, is eager to shuck her prim-and-proper rep, and a few wild months spent checking items off her " summer bucket list" is the way to do it. First up: kiss the man she's crushed on since she wore a training bra, the bad boy of country himself, Blue bassist Charlie Tucker. For Charlie, a beautiful woman flirting with him isn't out of the norm-but a beautiful woman bolting after the hottest kiss of his life sure is. And when he finds out his kiss-and-run Cinderella is none other than Arabella Stone, daughter of his label's CEO, he knows he's in trouble. Because not only is she a Stone, she's also his employee for the next few months at the recording studio he just bought. Over the course of one thrilling summer, Arabella and Charlie chip away at her bucket list and fight the simmering attraction between them...knowing that once it's all over, so is their time together.

Pieces of the Musical World: Sounds and Cultures is a fieldwork-based ethnomusicology textbook that introduces a series of musical worlds each through a single "piece." It focuses on a musical sound or object that provides a springboard from which to tell a story about a particular geographic region, introducing key aspects of the cultures in which it is embedded, contexts of performance, the musicians who create or perform it, the journeys it has travelled, and its changing meanings. A collaborative venture by staff and research ethnomusicologists associated with the Department of Music at SOAS, University of London, Pieces of the Musical World is organized thematically. Three broad themes: "Place", "Spirituality" and "Movement" help teachers to connect contemporary issues in ethnomusicology, including soundscape studies, music and the environment, the politics of identity, diaspora and globalization, and music and the body. Each of the book's fourteen chapters highlights a single musical "piece" broadly defined, spanning the range of "traditional," "popular", "classical" and "contemporary" musics, and even sounds which might be considered "not music." Primary sources and a web site hosting recordings with interactive listening guides, a glossary of musical terms and interviews all help to create a unique and dynamic learning experience of our musical world.

Pieces of the Musical World: Sounds and Cultures is a fieldwork-based ethnomusicology textbook that introduces a series of musical worlds each through a single "piece." It focuses on a musical sound or object that provides a springboard from which to tell a story about a particular geographic region, introducing key aspects of the cultures in which it is embedded, contexts of performance, the musicians who create or perform it, the journeys it has travelled, and its changing meanings. A collaborative venture by staff and research ethnomusicologists associated with the Department of Music at SOAS, University of London, Pieces of the Musical World is organized thematically. Three broad themes: "Place", "Spirituality" and "Movement" help teachers to connect contemporary issues in ethnomusicology, including soundscape studies, music and the environment, the politics of identity, diaspora and globalization, and music and the body. Each of the book's fourteen chapters highlights a single musical "piece" broadly defined, spanning the range of "traditional," "popular", "classical" and "contemporary" musics, and even sounds which might be considered "not music." Primary sources and a web site hosting recordings with interactive listening guides, a glossary of musical terms and interviews all help to create a unique and dynamic learning experience of our musical world.

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Throughout the course of the twentieth century, as newly formed nations sought ways to develop and formalise their national identity and acquire a range of identifiable national assets, we find new musical canons springing up across the world. But these canons are not arbitrary collections of works imposed on the public by the authorities. Rather they acquire deep resonance and meaning, both as national symbols and as musical repertoires imbued with aesthetic value. This book traces the formation of one such musical canon: the Twelve Muqam, a set of musical suites linked to the Uyghurs, who are one of China's minority nationalities, and culturally Central Asian Muslims. The book draws on Uyghur and Chinese language publications; interviews with musicians and musicologists; field, archive and commercial recordings, and aims towards an understanding of the Twelve Muqam as musical repertoire, juxtaposed with an understanding of the Twelve Muqam as a field of discourse. The book brings together several years' work in this field, but its core arises from a research project under the auspices of the AHRC Centre for Music Performance and Dance.

The Sibe are an immigrant group, Qing dynasty bannermen who made a three-year "long march" from Manchuria in the 18th century to serve as a border garrison in the newly conquered Western Regions of the Qing Chinese empire. They preserved their military structure and a discrete identity in the multi-ethnic region of Xinjiang and are now officially recognised as an ethnic minority nationality under the People's Republic. They are known in China today as the last speakers of the Manchu language, and as preservers of their ancient traditions. This study of their music culture reveals not fossilised tradition but a shifting web of borrowings, assimilation and retention. Singing the Village is a readable, anthropologically interesting and musically informed account of culture and performance in the Chinese region of Xinjiang. The book approaches musical and ritual life in this ethnically diverse region through an understanding of society in terms of negotiation, practice and performance. It explores the relations between shamanism, song and notions of externality and danger, bringing recent theories on shamanism to bear on questions of the structural and affective powers of ritual music. It focuses on the historical demands of identity, boundary maintenance and creation among the Sibe, and on the role of musical performance in maintaining popular memory, and it discusses the impact of state policies of the Chinese Communist Party on village musical and ritual life. Singing the Village draws on a wide range of Chinese, Sibe-Manchu language sources, and oral sources including musical recordings and interviews gathered in the course of fieldwork in Xinjiang. It includes musical transcriptions, glossaries of Sibe-Manchu and Chinese terms, and is accompanied by a free CD which includes 30 original field recordings.