DOCSLIB.ORG

Manthia Diawara

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Manthia Diawara Percursos Intensivos é um programa Manthia Diawara é escritor, MANTHIA DIAWARA a compreensão do nacionalismo contemporâneos no universo da base nas memórias dos antigos dedicado em exclusivo a Manthia cineasta, teórico cultural, académico nos contextos artísticos e políticos crioulização, da diversidade e da inquilinos das Maisons Tropicales Diawara, autor maliano, da e historiador da arte. Diawara FILMOGRAFIA contemporâneos, a intolerância identidade cultural. em Niamey (Níger) e Brazzaville diáspora africana, que pretende é professor universitário na FILMOGRAPHY religiosa, o multiculturalismo, (Congo), o filme levanta a questão In 2009 Manthia Diawara, with his proporcionar uma reflexão sobre a Universidade de Nova York, onde o êxodo africano e de outras da definição da arte, da política de contemporaneidade africana através também é Diretor do Instituto camera, followed Édouard Glissant populações do Sul, e as políticas identidade e da cultura patrimonial do conhecimento aprofundado da dos Assuntos Afro-Americanos. on the Queen Mary II in a cross- An Opera of the World (2017, 70’) migratórias xenófobas do Ocidente”. no contexto pós-colonial. sua obra e do seu pensamento. Diawara nasceu em Bamako, Mali Atlantic journey from South Hampton e recebeu a sua educação primária Wole Soyinka e Léopold Senghor (UK) to Brooklyn (New York), a route Mireille Ngatsé lived for years in the Manthia Diawara, ensaísta em França. Em 1985, concluiu o - Um Diálogo sobre a Negritude reputado na área da literatura that so many slaves took. This poetic famous Maison Tropicale designed by doutoramento na Universidade de (2015, 59’) Based on archive material, Manthia comparada e estudos de cinema, meditation continued in Martinique, the French architect, Jean Prouvé. There Indiana. Anteriormente à NYU, Diawara organizes an imagined que nasceu no Mali, estudou Édouard Glissant: Um Mundo em the native home of Édouard Glissant. was no water or electricity. But she felt Diawara ensinou na Universidade dialogue between Léopold Senghor, em França e é professor na Relação (2010, 51’) The extraordinary voyages resulted secure in the house. She loved the light da Pensilvânia e na Universidade one of the founders of the concept Universidade de Nova Iorque da Califórnia, em Santa Barbara. in the production of an intellectual and the fresh air coming in through the Masion Tropicale (2008, 58’) of Negritude, and Wole Soyinka, a (NYU), é o autor sobre o qual se Grande parte de sua pesquisa tem biography in which Glissant elaborates sunbreakers. In 2000, some French debruça esta instalação, centrando- Nigerian writer awarded the Nobel sido no campo de estudos culturais Who’s Afraid of Ngugi? (2007, 83’) on his theory of Relation and the galerists came to Brazzaville to buy the se na apresentação dos seus Prize for Literature. According to negros, embora o seu trabalho Conakry Kas (2003, 82’) concept of “Tout-monde.” The poet, Maison Tropicale. They dismantled it documentários e livros que expõem Manthia Diawara, “the film probes the tenha diferido da abordagem philosopher and novelist Édouard and put it in containers to take it back as suas reflexões sobre temas Bamako Sigi-Kan (2002, 76’) current relevance of the concept of tradicional formulada na Grã- Glissant (1928-2011), is one of the to France. A few years later, Mireille tão distintos como a diáspora Bretanha no início dos anos 80 Negritude, against the views of its many africana (In Search of Africa; Diaspora Diaspora Conversations: from leading contemporary thinkers in the Ngatsé sees the picture of the Maison do séc. XX. Junto com outros critics, not only to the decolonization Conversations: from Gorée to Dogon), Gorée to Dogon (2000, 47’) universe of creolization, of diversity and Tropicale in an art catalogue, as it was notáveis estudiosos da atualidade, and independence movements of the a vida contemporânea nas cidades of cultural identity. being exposed along the Seine River. Diawara procurou incorporar a In Search of Africa (1997, 26’) 1950s and 1960s, but also to an africanas (Bamako Sigi- Kan; Conakry noção das condições materiais dos The documentary by Manthia Diawara understanding of the contemporary Kas), o cinema africano e o filme afro-americanos nestes estudos, Rouch in Reverse (1995, 52’) takes its point of departure from an etnográfico (Sembène: the Making of artistic and political scenes of assim fornecendo um contexto mais artistic project by ’Ângela Ferreira African Cinema; Rouch in Reverse), as Sembène: the Making of African nationalism, religious intolerance, amplo para o estudo da cultura da on Jean Prouvé’s Maison Tropicale, as artes (Maison Tropicale), a literatura Cinema (1994, 60’), correalizado multiculturalism, the exodus of Africans diáspora africana. Um aspeto desta com Ngugi wa Thiong’o shown at the Venice Biennale. Based e filosofia africanas (Édouard and other populations from the South, formulação tem sido privilegiar a on the memories of former tenants of Glissant: Um Mundo em Relação; “negritude” em todas as suas formas and xenophobic migration policies in Wole Soyinka e Léopold Senghor - Maisons Tropicales in Niamey (Niger) possíveis e não como definição the West.” Um Diálogo sobre a Negritude) ou o única relevante, talvez monolítica, and Brazzaville (Congo), the film raises exílio e a imigração (Who’s Afraid of da cultura negra. Diawara tem the question of the definition of art, Ngugi?; An Opera of the World), em contribuído significativamente para identity politics and patrimonial culture todos se ouvindo diferentes vozes o estudo do filme negro e publicou in the post-colonial context que refletem sobre os problemas vários livros sobre este assunto. e as complexidades africanas, os Sendo ele próprio cineasta, também seus ideais, as relações e confrontos escreveu e realizou diversos filmes. com o mundo e os efeitos da globalização no continente. Maison Tropicale (2008, Mali, 58’) (índia) Realizador/Director: Manthia g alerias Diawara, m unicipais Produção/Production: Jürgen Bock, RSES Maumaus MANTHIARSOS DIAWARAINTENSIVOSU Montagem/Editing: Pedro Rodrigues U Wole Soyinka e Léopold Édouard Glissant, Um Mundo Imagem/Cinematography: Bruno Percursos Intensivos s a programme Manthia Diawara is a writer, Senghor – Um Diálogo sobre em Relação Ramos PERC of events dedicated exclusively to filmmaker, cultural theorist, scholar and a Negritude (2015, EUA/França/ (2010, EUA, 51’) Som/Sound: António Fialho, Manthia Diawara, Malian writer and art historian. Diawara holds the title Alemanha/Portugal, 59’) Goumour Mohamed, Adelaide Who’s Afraid of Ngugi? Realizador/Director: Manthia INTENSIVE CO part of the African diaspora. It looks of University Professor at New York Mboueya, Ed Paredes (2007, Mali, 83’) Realizador/Director: Manthia Diawara at contemporary African culture by University, where he is Director of the Com/With: Ângela Ferreira, Mireille facilitating a more in-depth knowledge Institute of African American Affairs. Diawara Produção/Production: Lydie Diakhaté, Realizador/Director: Manthia Ngatsé, João Fernandes, Salah Reflexões sobre a contemporaneidade africana of Diawara’s work and thinking. Diawara was born in Bamako, Mali and Produção/Production: Lydie Diakhaté, K’a Yéléma Productions Diawara Hassan através da obra e do pensamento de um autor received his early education in France. Jürgen Bock Montagem/Editing: Laurence Attali Produção/Production: Balufu Bakupa- Manthia Diawara is a renowned Legendado em português/Portuguese africano ou da diáspora africana He later received a Ph.D. from Indiana Montagem/Editing: Adam Khalil, Imagem/Cinematography: Karim Kanyinda, K’a Yéléma Productions essay writer in the field of comparative University in 1985. Prior to teaching at subtitles France Langlois Akadiri Soumaila Montagem/Editing: Harry Kafka Reflections on African contemporaneity literature and cinema studies. He was NYU, Diawara taught at the University born in Mali, studied in France and is Imagem/Cinematography: Edgardo Som/Sound: Didier Brudell, Karim A. Imagem/Cinematography: Petna through the work and thought of of Pennsylvania and the University of Parada, Serge Blerald Ndaliko Katondolo a Professor at New York University. California at Santa Barbara. Much Soumaila Mireille Ngatsé viveu durante an African author or from the African diaspora Som/Sound: Awam Amkpa, Serge Som/Sound: Awam Amkpa He is also the focus of this installation, of his research has been in the field Com/With: Édouard Glissant anos na famosa Maison Tropicale which presents his documentaries and of black cultural studies, though his Blerald Legendado em português/Portuguese desenhada pelo arquiteto francês Com/With: Ngugi wa Thiong’o, books on such varied topics as the work has differed from the traditional Com/With: Wole Soyinka subtitles Jean Prouvé. Não havia água ou Njeeri wa Thiong’o African diaspora (In Search of Africa; approach to such study formulated in Legendado em português/Portuguese eletricidade. Mas ela sentia-se Legendado em inglês/English subtitles Diaspora Conversations: from Britain in the early 1980s. Along with subtitles segura em casa. Adorava a luz e 12 / 05 Gorée to Dogon), contemporary life Em 2009, com a sua câmara, other notable recent scholars, Diawara o ar fresco que entravam através in African towns (Bamako Sigi-Kan; has sought to incorporate consideration Manthia Diawara seguiu Édouard Este documentário segue o ▼ ), African cinema and das persianas. No ano 2000, alguns Conakry Kas of the material conditions of African Partindo de material de arquivo, Glissant
Load more

Recommended publications
  • An Opera of the World
    AN OPERA OF THE WORLD A film by Manthia Diawara Year: 2017 Format: Video Running Time: 70 min Produced by Maumaus / Lumiar Cité, with core funding from the Prince Claus Fund for Culture and Development, ZDF/3sat, Portuguese Ministry of Culture/Directorate-General for Arts and documenta 14. Production countries: Portugal, USA, Mali Director: Manthia Diawara Producer: Jürgen Bock Editor: Kenan Akkawi Film title in other languages: Eine Oper der Welt Μια Όπερα του Κόσμου (Mia Opera tou Kosmou) Un Opéra du Monde Uma Ópera do Mundo REVIEWS “Manthia Diawara's film An Opera of the World (2017), based on the African opera Bintou Were, mines the Malian filmmaker's own migration experience against the backdrop of recent tragedies on the Mediterranean Sea. Diawara's film features contemporary philosophers and employs footage of refugees in exodus, probing cinema's power to bear witness.” National Gallery of Art, Washington DC “Wandering the shores of Lesbos, Diawara poses questions in the face of the sea, its myths, and media footage of mass migration… A Sahel Opera becomes a world opera, tragic in its tradition of the genre, but far from a dead end. Might we consider it moving in search of a better death?” Monika Szewczyk, Documenta 14 SYNOPSIS Short Synopsis: Manthia Diawara’s film is based on the African opera Bintou Were, a Sahel Opera, which ​ ​ recounts an eternal migration drama. The Bintou Were opera, filmed on location in Bamako, in 2007, serves as a mirror for Diawara to build an aesthetic and reflexive story, through song and dance, about the current and yet timeless drama of migration between North and South, and the ongoing refugee crises.
    [Show full text]
  • Musical Resistance in Abderrahmane Sissako's Timbuktu
    Observatorio (OBS*) Journal, (2020, special issue), 108-122 1646-5954/ERC123483/2020 108 Musical Resistance in Abderrahmane Sissako’s Timbuktu Katy Stewart* *University of Sheffield Abstract When Abderrahmane Sissako’s film Timbuktu was released in 2014, it attracted a great deal of controversy – as well as an Oscar nomination. Was lauded as an exceptionally artistic, poetic film which brought the world’s attention to the plight of Timbuktu under jihadi rule, but the way in which Sissako chose to humanise jihadists, and the elliptical way in which he constructs the film – missing many of the finer details of the political and military situation – was criticised by some, and it was almost withdrawn from competition at FESPACO, the world’s largest African film festival. This article argues that much is missed in such readings of the film, and proposes that an intermedial approach to analysing the film offers a new understanding of it. By exploring the intermedial and intercultural borders and connections in Timbuktu, it will be shown how Sissako combines diverse influences, including Italian Westerns and the Wassoulou music of southern Mali, to create a film that does not merely represent resistance, but is itself an act of resistance against extremism, in Mali. Intermedial borders between film, music and social media are of particular significance in this regard. With a focus on the diegetic and extra-diegetic performances of Malian singer Fatoumata Diawara, the article demonstrates how such intermediality can engage the spectator’s “symbolic participation” (Manthia Diawara, 2015) and contributes to a movement of artistic resistance against extremism in Mali.
    [Show full text]
  • Manthia Diawara
    MANTHIA DIAWARA New York University Institute of African American Affairs 14A Washington Mews, 4th Floor New York, NY 10003 Telephone: (212) 998-2139 Fax: (212) 995-4109 EDUCATION 1985 Ph.D., Indiana University (Comparative Literature) 1978 Master of Arts, American University (Literature) WORK EXPERIENCE Current Position University Professor, and Director of the Institute of African-American Affairs, NYU 1992 – 2000 Professor of Comparative Literature and Film New York University Director of Africana Studies and the Institute of African American Affairs 1991-1992 Professor of English University of Pennsylvania, Philadelphia Associate Director of The Center for the Study of Black Literature and Culture University of Pennsylvania, Philadelphia 1990 to 1991 Acting Associate Director at the Center of Black Literature and Culture University of Pennsylvania Visiting Associate Professor in the English Department at the University of Pennsylvania, 1989 Associate Professor with Tenure, Black Studies and French/Italian University of California, Santa Barbara 1988 Acting-Chair, Dept. of Black Studies University of California, Santa Barbara 1 GRANTS AND AWARDS 1989-1990 Rockefeller Resident Fellow at the Center for the Study of Black Literature and Culture University of Pennsylvania 1992-1993 Ford Foundation for Pan-African Conference on film 1998 Ford Foundation for editing Yari Yari (video film) 2000 Ford Foundation for Black Renaissance Renaissance Noire 1994-1995 ZDF (German Television) and Arte for a film on Jean Rouch 1997 W.W. Norton Books for a lecture series entitled “Black Genius” 1997 ZDF (German Television) for a Video-Diary: “Navigating the Next Millenium” 1998 NAACP AWARD (New York Chapter) 1998-1999 PHI BETA KAPPA Distinguished Visiting Professor.
    [Show full text]
  • T. (Tracy) Denean Sharpley-Whiting Gertrude Conaway Vanderbilt
    T. (Tracy) Denean Sharpley-Whiting Gertrude Conaway Vanderbilt Distinguished Professor of French and African American and Diaspora Studies [email protected] Vanderbilt University VU Station B Box 351516 Buttrick Hall 231, Nashville, TN 37235 Office Telephone (Administrative Assistant): 615-343-6390 Fax: 615-343-1767 ___________________________________________________________________________________________ Education Brown University Ph.D., French Studies (1994) Minor Area: African American Literary and Cultural Criticism Miami University M.A., French Literature (1990) University of Rochester B.A., cum laude, French Literature (1989) Minor: African Economic History Neil C. Arvin Memorial Prize for Outstanding Work in French Keidaean Honor Society (top 1% of students selected by faculty) Areas of Specialization The Enlightenment Black Paris and Paris in the Jazz Age 19th Century French Narratives Feminist Theory Black Europe/Black France Detective Fiction Diaspora Women Writers Critical Theory and Race Black Diaspora Literary and Cultural Movements Diversity and Pluralism in Academe Professional & Teaching Experience Vanderbilt University, Nashville, TN Gertrude Conaway Vanderbilt Distinguished Professor of French and African American and Diaspora Studies (tenured in both),and affiliated faculty in Women’s and Gender Studies and American and Film Studies; Director of African American and Diaspora Studies, 2004-2012; Director William T. Bandy Center for Baudelaire and Modern French Studies, 2006-2012 Gertrude Conaway Vanderbilt
    [Show full text]
  • The Politics of Representation and Transmission in the Globalization of Guinea's Djembé
    THE POLITICS OF REPRESENTATION AND TRANSMISSION IN THE GLOBALIZATION OF GUINEA'S DJEMBÉ by Vera H. Flaig A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2010 Doctoral Committee: Professor Emeritus Judith O. Becker, Co-Chair Assistant Professor Christi-Anne Castro, Co-Chair Associate Professor Vanessa Helen Agnew Associate Professor Charles Hiroshi Garrett Associate Professor Mbala D. Nkanga © Vera Helga Flaig All rights reserved 2010 Dedication To Deborah Anne Duffey the wind beneath my wings; Herdith Flaig who encouraged me to be strong and independent; Erhardt Flaig who always believed in me; and Rainer Dörrer who gave his life for the djembé. ii Acknowledgements Given the scope of the research that preceded the writing of this dissertation, there are many people to thank. Of all the individuals I met in Germany, Guinea, and across the United States I am sure to miss a few. There are not enough pages to be able to name all people who have: helped me find directions, connect with informants, provided me a place to stay, shared their food, and compared notes in a djembé workshop. To all who remain nameless, I thank you for making this project possible. I would like to thank the Rackham Graduate School and the School of Music, Theatre and Dance at the University of Michigan for generously funding my graduate work. I was honored to receive a Board of Regents Fellowship as well as several Teaching Assistantships which helped me to reach candidacy. I was also honored to receive the Glen McGeoch memorial Scholarship during my final semester as a Graduate Student Instructor.
    [Show full text]
  • IN FOCUS: African American Caucus
    IN FOCUS: African American Caucus Introduction: When and Where We Enter by BERETTA E. SMITH-SHOMADE, RACQUEL GATES, and MIRIAM J. PETTY, editors “Don’t call it a comeback, I been here for years.” —LL Cool J, “Mama Said Knock You Out” (1990) “Wake up!” —Spike Lee, School Daze (1988) “Memory is a selection of images. Some elusive, others printed indelibly on the brain.” —Kasi Lemmons, Eve’s Bayou (1997) hen we fi rst began to assemble this In Focus on black media, our excitement was quickly tempered by the enormity of the undertaking.1 Should the essays focus on mainstream or in- dependent media? Would the contributors emphasize texts, pedagogy, or research? To what extent should we address issues of Widentity facing not only this type of scholarship but also the scholars themselves? Ultimately, we decided to take on all these questions, using Stuart Hall’s provocation “What Is This ‘Black’ in Black Popular Cul- ture?” as both prompt and connective thread. Written in 1992, Hall’s essay still carries particular resonance for this contemporary moment in media history. Hall makes it clear that issues of identity, represen- tation, and politics will always converge around blackness. Further, Hall’s own academic background reminds us that, as a fi eld, black media studies has always drawn on discourses and scholarship from multiple academic disciplines. This context is particularly important 1 We have chosen to use the term black when describing media texts and elements of popular culture and African American when referring to individuals and groups of people. In the essays that follow, however, the authors use these terms in many different ways.
    [Show full text]
  • De-Opacification and the Right to Opacity
    Frantz Fanon Édouard Glissant Seminar | 08.11.2019 | 11am/ 2pm Avenida António Augusto de Aguiar, 148-3º D 1050-021 Lisbon Manthia Diawara LUMIAR DE-OPACIFICATION CITÉ AND THE RIGHT TO OPACITY Manthia Diawara was born in Mali, West Africa. Manthia Diawara will focus on de-opacification He is a distinguished Professor of Comparative and the right to opacity of human emancipation, Literature and Film at New York University. Diawara as defined by Frantz Fanon and Édouard was educated in Guinea-Conakry, Bamako (Mali) Glissant respectively. What did Fanon mean and Paris (France), before migrating to the United by this notion of de-opacification, as a tool States to pursue his studies. Manthia Diawara is a prolific writer and filmmaker. His essays on art, of the liberation struggle and decolonisation? cinema and politics have appeared in The New Is Glissant’s demand for the right to opacity, Times Magazine, LA Times, Libération, Mediapart which guarantees the survival of human and and Artforum. He is the author of two acclaimed non-human diversity, a response to Fanon and memoirs: In Search of Africa (Harvard University other thinkers’ over-reliance on a philosophy Press, 2000) and We Won’t Budge: An African in of existentialist dialectics? the World (Basic Books, 2008). He has published several books on African and African American cinema. Diawara’s notable films include: An Opera of the World (2017), Negritude: A Dialogue between Registration is free, but limited to the number of seats available. Soyinka and Senghor (2016), Édouard Glissant, Please send an email with a short CV to [email protected] One World in Relation (2010), Maison Tropicale until 06.11.2019.
    [Show full text]
  • African Studies Essentials NEW Who’S Afraid of Ngugi? in Search of Africa Manthia Diawara, 2007, Kenya/US, 83 Min
    African Studies Essentials NEW Who’s Afraid of Ngugi? In Search of Africa Manthia Diawara, 2007, Kenya/US, 83 min. Manthia Diawara, 1997, Guinea/US, 26 mn. This documentary follows acclaimed author In 1996, the filmmaker and writer Manthia Diawara, Ngugi wa Thiong’o as he and his political activist now living in New York, returns to Guinea, wife Njeri journey back to Kenya after years of exile. thirty-two years after he and his family were As they are welcomed home by joyous and expelled from the newly liberated country. hopeful crowds, they also must cope with those DVD/VHS Sale: $225 who still find their revolutionary words and deeds threatening. Special Mention, Zanzibar International Film Festival, 2007 Sembene: DVD Sale: $225 The Making of African Cinema Manthia Diawara, 1994, Senegal/US, 60 min. In this rich documentary, legendary Senagalese Conakry Kas filmmaker Sembene Ousmane reminisces about his Manthia Diawara, 2003, Guinea/US, 82 min. career and discusses his craft. In 2003, Diawara visited Guinea-Conakry to see DVD/VHS Sale: $225 what was left of the artists and intellectuals of the Guinean Cultural revolution, and how the citizens of Conakry were coping with globalization. NEW Living the Hiplife Best Documentary, FESPACO, 2005 Jesse W. Shipley, 2007, Ghana/US, 61 min. Best Documentary, Zanzibar International Film Festival, 2004 A musical portrait of life in urban West Africa, this DVD/VHS Sale: $225 documentary follows the birth of Hiplife music, a mix of various African musical forms and American Bamako Sigi-Kan hip hop, in Accra, Ghana. Manthia Diawara, 2002, Mali/US, 76 min.
    [Show full text]
  • Introduction
    Race and the Struggle for Cinematic Meaning: Film Production, Censorship, and African American Reception, 1940-1960 by Ellen Christine Scott A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2007 Doctoral Committee: Professor Gaylyn Studlar Associate Professor Catherine L. Benamou Associate Professor Matthew J. Countryman Associate Professor Matthew H. Bernstein, Emory University ©Ellen Christine Scott 2007 To My Family ii Acknowledgements I would like to thank everyone who has been a part of my intellectual community. Most particularly, I want to express my gratitude to Gaylyn Studlar, a true educator, for always seeing promise in me and for her consistent, genuine support and brilliant direction of this project—from the roughest of first drafts to the final stages. I would also like to thank my dream team committee: Matthew Bernstein, Matthew Countryman, and Catherine Benamou for the supportive and nuanced readings and advice that were formative in this project and in my scholarly development more generally. It is rare to have a committee where all of the members give so much and with so much obvious and genuine interest. I appreciate each of you for all you have done. I would like to thank Sue Kirby, Connie Ejarque, Phil Hallman, Mary Lou Chlipala at University of Michigan’s Screen Arts and Cultures program for showing me love and support and being a home away from home in Ann Arbor. I cannot imagine having finished this project or even being in graduate school without the support of the Mellon Minority Undergraduate Pre-doctoral fellowship.
    [Show full text]