Decolonizing the Mind Through Song

Carter-Enyi, Quintina; Carter-Enyi, Aaron

doi:10.1080/13528165.2019.1593737

Cited by 7 publications

(5 citation statements)

References 11 publications

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“…Finally, Ngũgĩwa Thiong'o (1981) and Quintina Carter‐Ényì and Aaron Carter‐Ényì (2019) argue that African musicians have resisted mental colonization by singing old songs in their native languages and practicing linguistic innovation through their musical practice.…”

Section: Epistemic Colonialismmentioning

confidence: 99%

“…It is rather the assumptions about language and knowledge in logocentrism that we critique. Crucially, we retain an interest in exploring and working with words and writing because, in many forms of decolonial redress, local language revitalization and the lyrics of songs are central (Carter‐Ényí and Carter‐Ényí 2019; Robinson 2020). 2…”

mentioning

confidence: 99%

“…22The languages of the Niger‐Congo region are tone languages and considered “musical” in themselves (Carter‐Ényì and Carter‐Ényì 2019, 62). Moreover, Carter‐Ényì and Carter‐Ényì (2019, 62), who examine the work of South African singer and activist Miriam Makeba, argue that “language and music are so tied in Africa, [that] to divorce a melody from its lyrics . .…”

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confidence: 99%

“…Language and music are thus tied, as if by an umbilical cord. No one who ignores its linguistic aspects can hope to reach a profound understanding of African music” (cited in Carter‐Ényì and Carter‐Ényì 2019, 62).…”

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confidence: 99%

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Introduction

Gatt

Lembo

2022

American Anthropologist

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To change settler colonial perception requires reorienting the form by which we share knowledge, the way we convey sound, song and music." -Dylan Robinson (2020, 28) This special section explores song from a fundamental but unexplored perspective: as a way of knowing for anthropology. The themes touched upon include ontological politics and their relationship with anti-or decoloniality, the other-than-human, and the senses. Feld ([1982] 2012) has long argued for anthropology to attend to the epistemic importance of songs and sound, above all in his proposal for a synesthetic acoustemology (Feld 2015). However, the question of how this could apply to anthropological onto/epistemologies beyond projects focused on sound has yet to be addressed. Much anthropological work on songs or singing is, in the terminology of Tim Ingold (2013), on or about. What we are interested in is anthropological knowing with, from, or through song. Therefore, we ask: How can anthropologists take seriously the ways of knowing that constitute different practices of singing for shaping research? Rather than considering song solely as an object of ethnographic study, what possibilities arise if song is explored as an onto/epistemic practice for the recursive reformulation of anthropological work more broadly?The ways of knowing by singing explored in this special section are relevant across anthropology for two reasons. First, they highlight the logocentrism that continues to underpin the bulk of anthropological knowledge production, despite sensory, process, ontological, and multimodal turns.

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Section: Epistemic Colonialismmentioning

confidence: 99%

mentioning

confidence: 99%

mentioning

confidence: 99%

mentioning

confidence: 99%

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Introduction

Gatt

Lembo

2022

American Anthropologist

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“…Ngũgĩ wa Thiong'o's Decolonising the Mind (1986) advocates for African literature to be written in African languages as a means of expanding the mental space of those who lived through colonization. Others followed in his footsteps and added artistic forms such as song and performance to intentional acts of decolonization and recognizable signifiers of pan-African identity (Carter-Ényì & Carter-Ényì, 2019). Looking at interior design education through the lens of "decolonizing the mind" implies using theories that enable us to steer away from the "object" qualities of interiors so we can expand on their role as social, economic, and political commentaries.…”

Section: Assess Theoretical Frameworkmentioning

confidence: 99%