Community Music- an Alternative for Decolonization. the Role of The
Community Music- an alternative for decolonization The role of the music school CECAM in the decolonization of the Oaxacan Indigenous communities Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig!Maximilians!Universität München vorgelegt von Julio Mariñelarena Martínez aus Mexiko 2014 Erstgutachter: Prof. Dr. Alexandra Kertz-Welzel Zweitgutachter: Prof. Dr. med. Dr. phil. Lorenz Welker Datum der mündlichen Prüfung: 23.06.2014 Acknowledgements ! I would like to thank my family, Prof. Dr. Alexandra Kertz-Welzel, Prof. Dr. med. Dr. phil. Lorenz Welker and friends for they support. ! Table of Contents 1. Introduction a. Prologue…………………………………………………………………. 1 b. Purpose of study and outline of chapters…………………………….. 3 2. Community MUSIC a. Community Arts…………………………………………………………. 8 b. The Growth of Community Music……………………………………... 15 i. Context………………………………………………………....... 16 ii. Participation……………………………………………………… 19 iii. Community………………………………………………………. 21 iv. Pedagogy………………………………………………………… 22 v. Identity (Definitions)…………………………………………….. 23 c. The Derridean thought and Community Music………………………. 24 i. Community Music and l’avenir………………………………….26 ii. Community Music and the trace………………………………..28 iii. Community Music and the undecidable……………………….29 iv. Community Music and the différance…………………………. 31 v. Community Music as l’avenir, trance, undecidable and différance……………………………………. 33 d. The Traits of Community MUSIC’s practice…………………………. 35 i. Context, identity, subjectile and iterability……………………. 35 ii. Community and the aporia of hospitality……………………... 38 iii. Participation and intertextuality………………………………... 40 iv. Pedagogy, gift and the supplement…………………………… 42 3. Post-Colonialism (Post-colonial Theory) in the Americas a. Introduction……………………………………………………………… 46 b. The Modernity/Coloniality Group in the Americas…………………... 50 c. Coloniality of Power…………………………………………………….. 56 d. Coloniality of Knowledge………………………………………………. 62 e. Coloniality of Being……………………………………………………... 69 f. Coloniality and Indigenous Music i.
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