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Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
Terrorism in Africa Extremist Groups Threaten Security Across the Continent
New Strategies Turn the Tide Against Terror PLUS A Conversation With Lt. Gen. Robert Kibochi of Kenya IGAD Opens Center to Counter Extremism Reclaiming the Digital Terrain VISIT US ONLINE: ADF-MAGAZINE.COM VOLUME 12 | QUARTER 1 TABLE OF CONTENTS features 8 By the Numbers: Terrorism in Africa Extremist groups threaten security across the continent. 14 Reclaiming the Digital Terrain Radical groups have flourished online. They can’t be silenced, but they can be defeated. 20 ‘Sharpening Our Arrowhead’ Kenya’s vice chief of Defence Forces looks to finish the mission in Somalia and secure the homeland. 28 The Threat at Home ISIS fighters leaving Iraq and Syria may not pose primary threat to Africa. 34 Extremism Roils Northern Mozambique Mystery surrounds an insurgency’s leadership and ideology as violence persists. 40 Center Rallies East Africa Against Extremists An Intergovernmental Authority on Development facility will use research and engagement to counter violent extremism. 44 Protectors or Outlaws? The CJTF of Nigeria shows the benefits and challenges of working with civilian security actors. 50 Group Refutes ISIS Beliefs An anti-extremist organization says the ISIS “handbook” is based on distortions 44 of the Quran. departments 4 Viewpoint 5 African Perspective 26 6 Africa Today 26 African Heartbeat 56 Culture & Sports 58 World Outlook 60 Defense & Security 62 Paths of Hope 64 Growth & Progress 66 Flashback 67 Where Am I? Africa Defense Forum is available online. Please visit us at: adf-magazine.com ON THE COVER: This illustration shows the tools used by extremist groups for violence, recruitment and indoctrination. It illustrates the challenge of fighting terrorism while highlighting the new strategies needed to defeat it. -
As the Humanitarian Crisis in Mali Worsens, Kathryn M
° mali crisis ° As the humAnitAriAn crisis in mAli worsens, KAthryn m werntz tAlKs to mAliAn musiciAns united in their desperAtion to speAK out About their plight And the threAt of being silenced by Al QAedA hen Malian rapper Amkoullel Could the world have known more, done more, if released his song ‘S.O.S.’ in following the March 2012 coup Amkoullel had been Rapper Amkoullel whose song ‘S.O.S’ October 2011, he could not have able to sing out? was censured by the governent of Mali imagined that a few months later Months later, the world began to learn a bit more following the March 2012 coup it would be censured by the through scant media coverage about the non-existent governmentW of Mali, an African country with relatively government, and the public stonings and destruction of liberal press. But immediately following the coup in shrines in the north. To some, the chaos in the north is March 2012, Amkoullel received a letter of criticism no surprise as, since the 1970s, Touareg musicians have owing to his lyrical depiction of the country-wide been singing about the tensions there – raising corruption and the chaos in the north of Mali. He was awareness with their political lyrics, while wowing us told that it was “not the moment” to sing these lyrics: with their desert blues-rock fusion. ‘This is an S.O.S. We are in a state of emergency. The Now, however, even Touareg music is banned in people are outraged, their dreams are dead. Lies rise, the Azawad where al-Qaeda-linked rebel groups have truths are buried. -
Music, Identity and National Cohesion in Mali: the Role of Music in the Post-Colonial Era by Samantha Potter
Music, identity and national cohesion in Mali: The role of music in the post-colonial era by Samantha Potter This work is licensed under a Creative Commons Attribution 3.0 License. Abstract This article analyses the function music has played in the construction of identities in Mali, arguing that these constructions have directly impacted the process of national cohesion since independence in 1960. The link between this idea and the implications of the 2012 crisis - involving the prohibition of music under Shari’a law - will then be explored. The absence of music, a crucial mechanism for social cohesion, contributed to the complete breakdown of social relations and brought into question the concept of a “Malian” identity. Therefore, amidst ongoing Islamist activity, music’s ability to reconstruct national cohesion has been impaired. Keywords: music, constructivism, fundamentalism, Islam, Mali, cohesion Introduction Despite being a small and landlocked West African nation regarded as one of the poorest in the world (UNDP, 2015), Mali is internationally renowned for its rich musical culture. The country has produced such famed artists as Ali Farka Touré, Tinariwen and Oumou Sangaré, each of whom have been Grammy Award winners. As testament to this, when in April 2012 an ethnically motivated conflict evolved into a religious one as Islamists captured Mali’s Northern Region, reports of the crisis in international media centred on narratives of musical loss (Skinner, 2016, p. 155). Music was banned under Shari’a law and the country’s vibrant musical culture was silenced, as it became a target of religious attacks. The uniqueness of this specific target in a situation of conflict merits analysis as to why music was perceived as a threat by the Islamic fundamentalists, thereby entailing an evaluation of the historical role of music in Mali since its independence in 1960. -
Mahfouz Ag Adnane.Pdf
1 Pontifícia Universidade Católica de São Paulo Mahfouz Ag Adnane Movências tamacheque além-fronteiras: conexões, performances em narrativas insurgentes em festivais culturais saarianos (2001-2017) Doutorado em História São Paulo 2019 2 Pontifícia Universidade Católica de São Paulo PRPG - Secretaria Acadêmica da Pós-Graduação Mahfouz Ag Adnane Movências tamacheque além-fronteiras: conexões, performances em narrativas insurgentes em festivais culturais saarianos (2001-2017) Doutorado em História Tese apresentada à Banca Examinadora do Programa de Estudos Pós-Graduados em História da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutor em História sob a orientação da Profa. Dra. Maria Antonieta Martines Antonacci. São Paulo 2019 3 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL E PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. Catalogação da Publicação Sistema para Geração Automática de Ficha Catalográfica para Teses com dados fornecidos pelo autor AG259 Ag Adnane, Mahfouz Movências tamacheque além-fronteiras: conexões, performances em narrativas insurgentes em festivais culturais saarianos (2001-2017) / Mahfouz Ag Adnane. -- São Paulo, 2019. 370p. il.; 210 × 297 mm. Orientador: Maria Antonieta Martines Antonacci. Tese (Doutorado em História) -- Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em História, 2019. 1. História da África. 2. Festivais culturais. 3. Kel Tamacheque. 4. Saara. -
The Sahel Calling Project Musician Gallery
12 The Sahel Calling Project Raising the voice of the silenced. Musician Gallery Musicians who were interviewed for the short film Ben Zabo (Arouna Coulibaly) Ben Zabo’s lyrics are political and personal, denouncing corruption and calling for democracy in Mali. Sung primarily in his native Bwa language, Ben’s music is a fusion of afro beat, blues, rock, reggae, and funk. He acted as the Sahel Calling field producer in Mali and accompanied the film team to refugee camps in Burkina Faso. “Everyone must know what democracy is and how to make it”. Photo Credit: John Bosch/Peter Buntaine Disco Disco is the lead singer of Tartit, a Tuareg band formed in a refugee camp in Mauritania over 20 years ago. “Musicians are the ambassadors of the people.“ Photo Credit: http://www.festivalpresenzedafrica.eu/GliArtisti.htm Tiken Jah Fakoly Tiken Jah Fakoly is a world-famous reggae artist from Ivory Coast, who has been living in his adopted country of Mali since the war in his home country in 2003. He is extremely political in his music and now has a club and studio in Bamako. He released videos in Spring 2012 denouncing the situation in the north. “The revolution of peace will only happen through better education. We can do this through music.“ Photo Credit: John Bosch/Peter Buntaine Baba Salah Baba Salah is a composer and guitarist who comes from Gao, though has been living in Bamako for many years now. He was one of the first musicians to denounce the situation back in March 2012. He played for years as Oumou Sangaré´s guitarist. -
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UCLA UCLA Electronic Theses and Dissertations Title Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger Permalink https://escholarship.org/uc/item/7pq4x0x5 Author Schmidt, Eric J. Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg.