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The Grammy-winning singer-songwriter is believed to be the first international artist to perform an open-air concert in the country. The show includes local acts and is hosted by MTV EXIT, the music channel's initiative to raise awareness about human trafficking and exploitation.

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"I thought this was something that was abolished when Abraham Lincoln signed the Emancipation Proclamation, but all it did is become hidden from our view," Mraz said in a phone interview from Zurich, Switzerland. "There was a recent estimate that there are about 27 million people enslaved on the planet, certainly due to hard economic times not just in the Western world but certainly in Third World countries. Humans as a commodity is a great way to run your business. So I signed on, lent my voice, lent my music to the cause."

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The UNESCO Collection of Traditional Music comprises 127 albums of music from around the world. Smithsonian Folkways Recordings published a dozen previously unreleased albums and re-released 115 albums of recordings published between 1961 and 2003 but out of print since 2005. All are available in both digital and physical formats.

With recordings from more than 70 nations, the UNESCO Collection of Traditional Music offers a staggering diversity of our shared humanity. Much of the collection was gathered in situ and is presented as field recordings. Extensive annotations and photographs accompany each release. The republishing of this collection marks renewed commitment to making this unique collection of diverse musical expressions accessible to the public. Starting in April 2014, and until July 2015 two albums per week were released and now all 127 albums are available via digital download, streaming services, on-demand physical CDs, and library streaming audio subscription.

The folk music of Cuba combines Hispanic stringed instruments like guitar and tres (a guitar-like instrument with six strings, paired in octaves like an American twelve-string guitar) with African percussion instruments...

Ht cho is a form of popular musical theatre dating back to the 11th century. Appreciated especially in the northern part of the country, the historical plays and social satires portray village characters...

Drawing from thousands of hours of music recorded and stored in the Department of Irish Folklore at University College Dublin, Professor Ronach U gin selected 21 performances representing the essence of traditional Irish music...

The two principal vocal styles found in the classical music of Northern India are dhrupad and khyal. The dhrupad style, said to be the oldest still in use in that musical tradition, first appeared in the late 16th century...

First issued in 1971, Musical Sources is a collection of 30 compositions from the UNESCO Collection of Traditional Music. The featured field recordings include rarely heard examples of music from the cultures of...

Dance and Festivity highlights music for dance and festive events around the world. Included are the cueca, the national dance of Chile; zapateo, a couples dance from Cuba; and a polka from France...

Nana Myanmar Music is a YouTube channel from Thailand. Nana Myanmar Music has uploaded a total of 10.3 thousand videos which have a combined total of 338.1 million views. This channel has 724 thousand subscribers.

The average earnings per video of Nana Myanmar Music is around $11 to $76 and their estimated net worth is between $61.9 thousand and $271.8 thousand. The net worth is calculated based on multiple factors like the monthly views, country, subscribers and user engagement. Based on these metrics, we estimate that Nana Myanmar Music may be earning between $943 to $6.6 thousand a month from their YouTube channel.

This paper presents outcomes of a phenomenological study conducted to explore the lived experience of refugee musicians. Purposive and snowball sampling methods were used to identify six musicians who performed in the cities of Phoenix and Tucson and had been involved in music prior to entering the United States. The primary data gathering method was structured and unstructured interviews, but observations were made for the musicians who performed in public events during the study period. Audio and video recordings were made and photographs taken during these performances. Study outcomes show that the musicians have persisted in music performance as their primary method of healing trauma and negative emotions. Traumatic experience resulted in their fleeing from their homes and seeking refuge in other countries. After being resettled in the United States, they continue to suffer from the experience of loss, need to adapt and change, and struggle with trauma and negative emotions. Music is their method of healing trauma and facilitating integration. Music produces healing through 1) like a painkiller, enabling them to forget problems that result in distress, 2) being their means to communicate a message of hope, and 3) enabling integration, thus reducing isolation and loneliness.

According to the United Nations Refugee Agency, 70.8 million people were forcibly displaced worldwide in 2018 (United Nations High Commissioner for Refugees [UNHCR], 2019). Of those, 25.9 million were refugees, 41.3 million were internally displaced, and 3.5 million were asylum seekers (UNHCR, 2019). In 2017, 80,000 refugees and asylum seekers, mostly from the Democratic Republic of Congo, Iraq, and Syria, were admitted to the United States (US) (UNHCR, 2019). Generally, survivors of forced displacement have a history of emotional turmoil or trauma because they witnessed serious atrocities, such as murder, rape, and torture. As such, refugees and asylum seekers continue to be affected psychologically in their host countries. In a study of refugee students in North Korea, Choi (2010) found avoidance, disgust, loneliness, feelings of loss, and fear were common despite treatment with music therapy. Several studies (Davies, 2009; Saksena & McMorrow, 2019; Shishehgar et al., 2016) have identified barriers to successful resettlement, including lack of language competence resulting in isolation, limited work and leisure activity due to language and financial challenges, difficulty maintaining habits and routines due to unfamiliarity with the environment, loss of family for practical and emotional support, loss of social connectedness because of differences between the country of origin and the host country, and culture shock.

The use of music when serving the mental health needs of refugees has had reported value in refugee camps (Akombo, 2001; Dau & Sweeney 2007), for individuals with sleep disturbances (Jespersen & Vuust, 2012), and in community (Felsenstein, 2013; Signorelli & Bright, 2006) and clinical settings (Choi, 2010; Jespersen & Vuust, 2012; Jin, 2016; Orth, 2005). Research has also shown the effectiveness of music in dealing with posttraumatic stress disorder among refugees (Beck et al., 2018; Felsenstein, 2013). In one study, the inclusion of refugees in a Swedish choral music performance helped them integrate into their new communities, but more appropriate models of applying music for this purpose are indicated (Quadros & Vu, 2017). In another report, music therapy aided intercultural exchange and provided opportunities for integration through singing and performing percussive music (Posselt & Antink, 2016). Despite the cultural (and musical) differences between musicians with refugee and Unites States backgrounds, the readiness and ability to engage both in shared music making activity has value in the overall health and integration of these individuals into a community.

The aim of the current study was to determine how music performance produces health-related benefits perceived as therapeutic and supportive of health, growth, and wellness of refugees, their families, and communities. To gain an in-depth understanding of the lived experiences of refugee musicians, a phenomenological design was used. This design allows the voices of refugees to be clearly understood as they report what matters to them in a richly engaging manner. As a result, music therapists, other professionals, and persons living in host countries can be better informed to create models that facilitate the use of music and talent for the benefit of the refugees and the communities in which they are resettled.

The current study used purposive and snowball sampling to identify six study participants. Initial contact was made when the researcher met refugee musicians at community events, such as World Refugee Day celebrations in 2018 and 2019 and World Bazaar PHX in 2019, where refugees from around the world perform to entertain guests. Other contacts were obtained through refugee resettlement agencies. Those invited to participate in the study were artists involved in music making before and after being resettled in the US. The number of years that participants had been in the United States ranged from one year to over 10 years, and all were admitted to the United States as refugees. Participants worked in other industries and did not primarily make music to earn their living, but they all verbalized that as an unfulfilled desire. Four of the selected musicians (Furaha, Baraka, DJ Grin, and MC Joel) were originally from the Democratic Republic of Congo (DRC) and lived as refugees in Uganda before being resettled in the US. Two of these Congolese musicians (Furaha and Baraka) were from the same family and included a mother and one of her adult sons who often performed and recorded music as a family. One of the remaining participants was originally from Burundi (Don Brighter) and was a refugee in Tanzania before being resettled in the US. The last participant was from the Kachin tribe (Zau), and he had started making music in Myanmar before being resettled in the United States with his family. Only participants who could communicate in English or Kiswahili were included in the study although other participants were considered if an interpreter could be found. 2351a5e196