Juliana M. Pistorius

Juliana M. Pistorius is a Marie Skłodowska Curie Global Research Fellow at University College London and the University of the Witwatersrand. Her research engages with questions of race, coloniality, and political resistance in Western art music, with a special focus on opera in apartheid and post-apartheid South Africa. After graduating with a DPhil from the University of Oxford she was awarded a Leverhulme Early Career Research Fellowship at the University of Huddersfield. She is a founding member of the Black Opera Research Network (BORN) and reviews editor for Cambridge Opera Journal. Her monograph, Postcolonial Opera: William Kentridge and the Unbounded Work of Art is forthcoming with Oxford University Press. At present, she is developing a monograph project titled Beyond Boycott: Musical Internationalism and the Making of Race in Apartheid South Africa. 

  • Postcolonial Opera: William Kentridge and the Unbounded Work of Art, Oxford University Press (forthcoming). 
  • ‘Ways with Words’, in Colloquy: ‘Theorizing Global Music History’, eds. O. Bloechl and H. Hyun Kyong Chang, Journal of the American Musicological Society 76(3), 2023, 837-842. 
  • ‘A Modern-Day Florestan: Fidelio on Robben Island and South Africa’s Early Democratic Project’, Twentieth-Century Music 20(1), 2023, 107-125. 
  • ‘Burgerskap onder konstruksie: Rigoletto en Aida by die Suid-Afrikaanse Republiekfeesvieringe, 1971’ [Citizenship Constructed: Rigoletto and Aida at the South African Republic Festival, 1971] (with H. Roos), Litnet Akademies 18(2), 2021, 102-131. 
  •  ‘Inhabiting Whiteness: The Eoan Group La Traviata, 1956’, Cambridge Opera Journal 31(1), 2019, 63-84. 
  • ‘Predicaments of Coloniality, or, Opera Studies Goes Ethno’, review article, Music & Letters 100(3), 2019, 529-539. 
  • ‘Coloured Opera as Subversive Forgetting’, Social Dynamics: A Journal of African Studies 43(2), 2017, 230-242. 
  • ‘Eoan, Assimilation, and the Charge of “Coloured Culture”’, SAMUS: South African Music Studies 36/37, 2017, 389-415. 
  • ‘Decolonising Music: A Response and Three Positions’ (with N. Muyanga, W. Fourie and C. Venter), SAMUS: South African Music Studies 36/37, 2017, 129-156. 
  • Andrea F. Bohlman, Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland, Transposition: Musiques et sciences sociales 11, 2023, https://doi.org/10.4000/transposition.8581. 
  • Nina Eidsheim and Katherine Meizel, The Oxford Handbook of Voice Studies, Transposition: Musique et sciences sociales 9, 2021, https://doi.org/10.4000/transposition.5487. 
  • William Kentridge and Philip Miller, The Head and the Load [Performance Art], SAMUS: South African Music Studies 38, 2018, 82-89. 
  • Eoan History Project, Eoan: Our Story, Muziki: Journal of Music Research in Africa 14(1), 2017, 140-143. 
  • Stephanus Muller, Nagmusiek [Night Music], Fontes Artis Musicae 62(2), 2015, 130-132.