Pub Date : 2020-03-02DOI: 10.1093/oso/9780190692322.003.0008
Marta Amico
In spite of recent critical literature about the role of French colonial anthropology in the conception of Malian ethnies, the current Malian conflict is often described as a consequence of ethnic reprisals that provoked the unsettling of national borders. In this difficult context, new musical representations of belonging are organized by local and international actors drawing upon ethnicity to heal national fractures and propose new models of “living together.” Based on long-term ethnography and analysis of musical projects in Mali (video clips, songs, bands, concerts), this chapter questions current reproductions of the colonial paradigm of African ethnicity that now model ideals of “peace” in national and international institutions. It examines how cultural differences contribute to reframing the national boundaries and reshaping peacekeeping politics. Furthermore, it considers the history of anthropological knowledge in light of contemporary power practices within the globalization of African conflicts.
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Pub Date : 2020-03-02DOI: 10.1093/oso/9780190692322.003.0010
Maëline Le Lay
In nominally “postwar” contexts throughout Africa’s Great Lakes region, participatory theater has been mobilized almost exclusively as a tool for either awareness or healing. The rhetoric prescribed for peace and development is so dominant in the humanitarian market that the artist’s ethos is channeled in directions more ethical than aesthetic. The shared circulation of participatory theater through the Democratic Republic of the Congo, Rwanda, and Burundi shows how an aesthetic model is exported and becomes a transnationalized tool, one designed to be tailored to any kind of crisis context. Thanks to NGOs’ powerful influence, this model shapes theater and performance landscapes by influencing generations of writers and actors, uniting creators through artistic networks. This theater is characterized by a strong aspiration to performativity which occurs in texts and performances through the centrality of the chorus, frequent mise en abyme, and the quest for catharsis.
在整个非洲大湖地区名义上的“战后”背景下，参与式戏剧几乎完全被动员起来作为一种提高认识或治愈的工具。在人道主义市场上，为和平与发展所制定的修辞是如此的占主导地位，以至于艺术家的精神被引导到更多的伦理而不是审美的方向。参与式戏剧在刚果民主共和国、卢旺达和布隆迪的共享流通表明，一种美学模式是如何被输出并成为一种跨国工具的，这种工具是为适应任何一种危机背景而设计的。由于非政府组织的强大影响力，这种模式通过影响几代作家和演员，通过艺术网络团结创作者，塑造了戏剧和表演的格局。这种戏剧的特点是对表演的强烈渴望，这种渴望通过合唱的中心地位出现在文本和表演中，频繁的mise en abyme，以及对宣泄的追求。
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Pub Date : 2020-03-02DOI: 10.1093/oso/9780190692322.003.0005
Ian R. Copeland
In Malawi as elsewhere, several NGOs recruit fee-paying “volun-tourists” drawn to a seductive fusion of service and adventure. This chapter considers one such organization—World Camp, Incorporated—and its use of musical strategies during residencies that take place in primary schools and conclude with student-led performances. The efficacy of World Camp’s public health interventions is a matter of considerable ambivalence. In wedding biomedical lyrical content to locally legible musical forms, students enact a hybridized genre with the potential to subvert autochthonous models of knowledge circulation. Volunteers, meanwhile, perceive their students’ performative capabilities through a romantic prism of endemic musicality, an interpretive move that elides the complexity of local praxis and rehashes racial tropes. Ultimately, this chapter argues that volunteers’ reception of their students’ performances completes a circuit of semiotic validation, reifying outsiders’ sense of altruism and perpetuating a model of humanitarian intervention with compromised regard for local impact.
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Pub Date : 2020-03-02DOI: 10.1093/oso/9780190692322.001.0001
S. Anderson, C. Ndaliko
This introduction lays out the conditions for creativity amid contemporary crises in Africa and calls for greater critical attention by both academics and aid agencies to the work of aesthetics in humanitarian interventions. The first section, “Art in Emergency,” dismantles tenacious preconceptions of creativity, intervention, and Africa. The second section, “Art for Emergency,” shows how conditions are shaped by shifts of patronage incentivized by international funding and portable NGO models that prioritize certain cultures and metrics. The third section, “Art as Emergency” spotlights conflicts, intentional and otherwise, between audiences, artists, and administrators, and details further unstable consequences of artist-NGO collaborations, such as the pervasive spread of an aesthetics of efficacy, efficiency, and urgency. The conclusion asserts that aesthetics provide a vital and incisive lens for any analysis of humanitarian intervention.
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