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SUMMARY:Missionary Witchcrafting African Being: Cultural Disarmament
DESCRIPTION:This paper examines 19th-20th century European missionary cultural attitudes\, discourses and practices and their impact on African consciousness and socio-cultural security\, read primarily through the prism of performative cultures (primarily song) in colonial Zimbabwe (1890s-1970s). For decades since their advent on the African continent\, European missionaries rabidly assaulted African cultures\, regarding them as special manifestations of what they called African “savagery.” This assault persisted throughout the colonial period\, though it somewhat became tampered by a reforming Catholic cultural policy which\, from the 1950s\, allowed for selective appropriation of aspects of African cultures in the latter church’s battle to save itself from the winds of political change that were blowing across the continent. I argue that while many Africans held onto their indigenous musical and other cultural practices\, the missionary assault significantly undermined the fountains of African being. As such\, I posit that missionization should be read as an insidious attempt at cultural disarmament that greatly facilitated African subjection to colonialism and neo-colonialism.\nSponsored by the IHC’s African Studies RFG\, the Center for the Interdisciplinary Study of Music\, the Orfalea Center for Global and International Studies and the IHC’s Public Goods Series. \nProf. Chikowero’s paper is available at the link below \nhm 5/24/12
URL:https://www.history.ucsb.edu/events/missionary-witchcrafting-african-being-cultural-disarmament/
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SUMMARY:Copyright\, Piracy\, and the Artist: Music and the Politics of Culture in Postcolonial Mali
DESCRIPTION:The Orfalea Center Seminar Room is1005 Robertson Gym (detached office wing in front of main Ocean Road entrance) \nIn Mali today\, appeals to confront the “scourge” (fléau) of music piracy and affirm the intellectual property of professional musicians resound within the public sphere. These debates echo anxieties about the social and economic value of the arts in an era of private markets and decentralized politics. In an effort to historicize such concerns\, this talk will present a genealogy of copyright (le droit d’auteur) and its criminalized corollary\, piracy\, through an emergent politics of culture in Mali over the past half-century. Emphasizing the production\, circulation\, and performance of music\, this history reveals the  longstanding and steadily deepening social\, political\, and economic precarity that has shaped the subjectivity of the contemporary Malian artist. Framed as a critique\, this talk brings the past to bear on the current era of neoliberalism\, highlighting the anomic disjuncture between an unregulated free market and the disciplinary state institutions that neoliberal governmentality has produced in postcolonial Mali. \nhm 5/24/11
URL:https://www.history.ucsb.edu/events/copyright-piracy-and-the-artist-music-and-the-politics-of-culture-in-postcolonial-mali/
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