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The Performance of Authority in Malagasy Slam Poetry

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The Performance of Authority in Malagasy Slam Poetry Moving Words, Managing Freedom: The Performance of Authority in Malagasy Slam Poetry By Hallie E. Wells A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Anthropology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Charles L. Briggs, Co-Chair Professor William F. Hanks, Co-Chair Professor Charles K. Hirschkind Professor Shannon Jackson Summer 2018 “Moving Words, Managing Freedom: The Performance of Authority in Malagasy Slam Poetry” © Hallie E. Wells, 2018 Abstract Moving Words, Managing Freedom: The Performance of Authority in Malagasy Slam Poetry by Hallie E. Wells Doctor of Philosophy in Anthropology University of California, Berkeley Professor Charles L. Briggs and Professor William F. Hanks, Co-Chairs Through an analysis of slam poetry performance in Madagascar, where poets are encouraged to express themselves freely but also to “manage” this freedom, this dissertation illuminates how speakers determine what kinds of speech are possible and appropriate in various contexts, how they perform authority, and how they anticipate and manage the consequences of their speech. Slam—a performance poetry competition created in Chicago in the 1980s—has become a popular literary and social movement around the world, but in Madagascar it has flourished in a context that includes pre- colonial genres of verbal art that are central to everyday life and to politics. In many of these genres, and especially in kabary—a form of oratory that ceremonializes major social and political events—public speech has long been reserved for elder men. Slam’s insistence on “free expression” thus constitutes a radical break from long-standing notions of the social roles and risks associated with public speech. As slam poets and audiences navigate the terrain of “managed freedom” in live events as well as videos that circulate online, they forge an entirely novel mode of authoritative public discourse on the slam stage and the Facebook page in a plurilingual and rapidly urbanizing postcolonial context. This research, based on a total of twenty-two months of multi-sited ethnographic fieldwork in multiple cities across Madagascar and in Paris, France, advances scholarly debates on performance, aesthetics, media, embodiment, and politics. It is also a timely intervention into the fierce debates currently raging around the possibilities and limitations of liberal framings of “free speech.” This dissertation treats the concept of free speech as historically and contextually specific rather than abstract and generalizable, and illuminates how speakers balance liberal discourses of individual freedoms with notions of responsibility and accountability, dialogic authority, and embodied relationality. 1 Ho an’ny poeta rehetra, na iza na iza, na aiza na aiza À tous les poètes, qui qu’ils soient, où qu’ils soient To all poets, whoever they are, wherever they are i Table of Contents List of Cities, Organizations, and Acronyms v Map of Madagascar vi Acknowledgements vii Introduction: Voha varavarana (Opening the door) 1 1. Introduction 1 2. Theoretical framework and contributions 5 3. Paths 8 4. Chapters 11 5. Preliminary Notes 12 On Malagasy 12 On names 13 On transcription and translation 14 On texts 15 Chapter One: Dialogic Authority in Kabary 16 1. Introduction 16 2. Kabary history and form 17 3. A path of speech 21 4. Blame (tsiny), apology (fialantsiny), and responsibility 24 5. Analysis of a kabary by Harisoa Ravony 27 6. Productive constraint 32 Coercion of the speaker? 33 Coercion of the audience? 40 7. Conclusion 41 Text 1: Full text and translation of kabary by Harisoa Ravony 43 Chapter Two: Managing Freedom in Slam Poetry 48 1. Introduction 48 “Freedom has to be managed” 49 2. “Slam is dead; long live slam!”: a history of slam poetry 53 3. Fields of bodily and linguistic practice 56 Habitus, corporeal schemas, and the double horizon 63 Institutional fields 65 Bodily and linguistic practices 67 ii 4. Language ideologies and the “we” of discourse 71 The body of “I” 74 5. Analysis of “Mamadou” by Barry Benson 76 6. Analysis of “What the poem says” (“Ce que dit le poème”) 80 by Gad Bensalem 7. Conclusion 82 Text 2: Full text and translation of “Mamadou” by Barry Benson 84 Text 3: Full text and translation of “What the poem says” 88 (“Ce que dit le poème”) by Gad Bensalem Chapter Three: Speaking History and Identity at the National Slam 91 1. Introduction 91 A brief history of ethnic division 93 Linguistic phenomenology: language as oriented and orienting 96 2. A plurilingual and intercultural nation 98 3. Difference and the nation: issues at the National Slam 106 Comprehension 106 Federation and competition 109 4. Analysis of “A Malagasified Malagasy” (“Un malgache malgachisé”) 114 by Lonaky 5. Analysis of “The long-suffering people” (“Jalim-bahoaka”) 119 by Makwa Joma 6. Conclusion 121 Text 4: “A Malagasified Malagasy” (“Un malgache malgachisé”) 123 by Lonaky Text 5: “The long-suffering people” (“Jalim-bahoaka”) 127 by Makwa Joma Chapter Four: Translation, Circulation, and the Aesthetics of Difference 133 1. Introduction 133 2. Translation, interpretation, commensuration 133 Translation 133 Interpretation 136 Commensuration 139 2. Translating difference at the World Cup 140 3. Interpreting difference: an analysis of “Hat of the Forest" 146 (“Satrok’ala”) by Baly 4. Commensurating difference: an analysis of “Madagascar” 150 by Caylah 5. Conclusion: kinship, diaspora, echoes 154 iii Text 6: “Satrok’ala” (“Hat of the Forest”) by Baly 156 Text 7: “Madagascar” by Caylah 158 Chapter Five: Mediating Authority, Orienting Publics 161 1. Introduction 161 2. Corporeality and temporality in digital circulation 162 3. Orienting (counter)publics 165 4. The Spoken Word Project 171 5. The Slam Média competition 177 6. Conclusion 179 Text 8: “I have the horror of declaring war on you” 180 (“J’ai l’horreur de vous déclarer la guerre”) by Ranala Conclusion: Fehin-teny (Knotting Words) 183 1. Integrating phenomenology and practice theory 184 2. Freedom of expression 184 3. Diversity and difference 185 4. Translation 185 5. Publics 186 6. Authority 186 Bibliography 187 iv List of Cities, Organizations, and Acronyms City / Town French Name Slam Organization (with approximate (as of 2015) pronunciation) Antananarivo (An-ta-na-na-reevoo) Tananarive Madagaslam Section Tana and Madagaslam national headquarters Antsirabe (An-tsee-ra-bé) Antsirabe none Antsiranana (An-tsee-ra-na-na) Diégo-Suarez none Fianarantsoa (Fee-an-ar-an-tsooa) Fianarantsoa Fianarant’slam Mahajanga (Ma-ha-ja-nga) Majunga Slamasôva Moramanga (Moo-ra-ma-nga) Moramanga none Morondava (Moo-roon-dava) Morondava none Taolagnaro (Toe-la-nyaroo) Fort Dauphin none Toamasina (Too-ah-ma-seena) Tamatave Collectif Taly Toliara (Too-lee-ara) Tuléar Tu’Slam Tsihombe (Tsee-oom-bé) Tsihombe none Other Organizations and Associations Fi.Mpi.Ma: Fikambanan’ny Mpikabary Malagasy: Association of Malagasy Mpikabary (nationwide but headquartered in Antananarivo) IFM: Institut Français de Madagascar: French Institute of Madagascar (Antananarivo, but part of a global network of French cultural Institutes) AFT: Alliance Française de Tana: French Alliance of Tana (Antananarivo, but part of a nationwide and global network of French cultural Alliances/centers) CGM: Cercle Germano-Malgache: German-Malagasy Circle (Antananarivo, but part of a global network of German cultural centers) Havatsa-UPEM: Union des Poètes et Écrivains Malgaches: Union of Malagasy Poets and Writers (Antananarivo) ENS: École Normale Supérieure: Teacher’s College (Antananarivo) CRAAM: Centre de Ressources des Arts Actuels de Madagascar: Resource Center for Contemporary Arts in Madagascar (Antananarivo) FFDSP: Fédération Française de Slam Poésie: French Federation of Slam Poetry (Paris) v vi Acknowledgments This dissertation is the work of many. I am first, foremost, and forever indebted to the ancestors who forged the path. I am fortunate to have had not one but two dissertation co-advisors, Charles Briggs and William Hanks, who gave me a firm footing in many of the theoretical paths I trace here, and who have patiently and enthusiastically cheered me on from the very beginning. It has been a privilege to share this journey with them. Charles Hirschkind read innumerable drafts of this document with the keenest eye any writer could ask for, and gave generously of his invaluable time, insights, and energy. Shannon Jackson enabled me to see the bird’s eye view of the paths I was tracing—a tremendous gift. Courses and conversations with Laura Nader, Cori Hayden, and Julia Bryan-Wilson helped me find my footing. When this project was still just a tiny bud, it was nurtured by my mentors at Barnard College and Columbia University, Paul Kockelman and Linn Mehta. My immense thanks to Zoë Crossland for being there at the beginning and all the way through, and for introducing me to the Ramilison family. More recently, I have had the great fortune of tossing ideas around with interlocutors at the Madagascar Workshop, the American Anthropological Association annual conference, the UC Berkeley Center for African Studies and African Research Seminar, and the UC Berkeley Anthropological Inquiry Working Group: in particular, Michael Lambek, Jennifer Cole, Jessica Winegar, Leonardo Arriola, Liliane Koziol, Martha Saavedra, Stephen McIsaac, Annie Malcolm, Adeola Oni-Orisan, William F. Stafford, Jr., Beth Packer, and Seth Palmer all helped me to sharpen my argument and strengthen
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