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Silencing the Drum exposes the profound struggle of Afro-Brazilian sacred music against escalating intolerance. Danielle N. Boaz and Umi Vaughan blend legal scholarship with ethnomusicology, offering a compelling narrative rooted in interviews with religious leaders, musicians, and activists across Brazil. This multidisciplinary exploration examines the relentless attacks against the practitioners of Afro-Brazilian religions—from discriminatory noise complaints in Bahia to vigilante violence in Rio de Janeiro.

The volume integrates multimedia elements including musical samples to vividly illustrate the struggles and resilience of Afro-Brazilian communities in the face of discrimination. As Silencing the Drum confronts the larger global issues of racism and religious freedom, it provides essential insights for scholars, activists, and anyone passionate about human rights and cultural preservation.

For generations, the Ga community in Accra, Ghana, has enforced an annual citywide ban on noisemaking during an important religious festival. In the 1990s and 2000s, this “ban on drumming” became a point of conflict between the Ga people and the newly popular Pentecostal/Charismatic churches, which refused to subdue their loud worship during the ban. Although the Ghanaian state constitutionally and institutionally grants superior status to Christianity and Islam, it ruled in favor of the Ga community, which emphasized its “cultural” rather than religious rights. In The Noise Silence Makes, Mariam Goshadze traces the history of noise regulation in Accra, showing how the Ga people have adopted colonial mechanisms of noise control to counter Pentecostal/Charismatic dominance over Accra’s soundscape. Goshadze shows how the drumming ban represents a reversal of the top-down model of noise regulation and illuminates the reality of Ghanaian secularity, in which the state unofficially collaborates with indigenous religious authorities to control sound. In so doing, Goshadze counters the tendency to push African “traditional religions” to the margins, demonstrating that they are instrumental players in contemporary African urbanity.

Based on extensive field research in India and Pakistan, this new study examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for instruments to be voice-like and carry textual messages in particular contexts. Richard K. Wolf employs a hybrid, novelistic form of presentation, in which a fictional protagonist interacts with Wolf's field consultants, to communicate ethnographic and historical realities that transcend the local details of any one person's life. The narrative explores how the themes of South Asian Muslims and their neighbors coming together, moving apart, and relating to God and spiritual intermediaries resonate across ritual and expressive forms such as drumming and dancing. Wolf weaves in the story of a family led by Ahmed Ali Khan, a North Indian ruler who revels in the glories of 19th century life, when many religious communities joined together harmoniously in grand processions. His journalist son Muharram Ali obsessively scours the subcontinent in pursuit of a music he naively hopes will dissolve religious and political barriers. The story charts the breakdown of this naiveté. A daring narrative of music, religion and politics in late twentieth century South Asia, The Voice in the Drum delves into the social and religious principles around which Muslims, Hindus, and others bond, create distinctions, reflect upon one another, or decline to acknowledge differences.