Music, Women and Secrecy Transformation | Aisha Bilkhair
Ever since its inception, music contributed to shape and influenced the experience and development of humankind. The spiritual interaction between human beings and sound can be detected in many aspects of life. Music can bring back memories, celebrate sentiments, imitate nature, set the rhythm of work as well as stimulate creativity, love, sleep, nostalgia, patriotism, and euphoria. We will explore aspects of how secrecy is maintained by members of these musical groups and how such secrets are enigmatically circulated, and how they are sometimes trivialized for purposes known only to the group.
There is a brief discussion related to the role of women in utilizing musical forms to orally circulate knowledge, worldviews, and life concepts from one generation to the next. Women are highly regarded in these musical groups’ hierarchy as they are called ‘mama’ and all other members are their children. The reconstruction of social settings and the elevation of mothers contributed to the empowerment of these women who became social and mentally tough especially in maintaining these musical traditions.
This presentation is concerned with the legacy on the musical expressions of African origin, which have survived to the present. It encompasses the period before and after the discovery of oil, and it investigates the travel of these musical genres from Africa, its transformation to sustain its existence, and its impact of different forms of music on the UAE socio-cultural landscape. At the same time, it seeks to understand the impact and function of musical traditions on those who imported it; and on their descendants, who continued to perform the music of their ancestors’ under a strikingly different socio-economy and evolving identity.
A Different Kind of African-Indian Imagination: Media, Performances, and Constructing Blackness | Neelima Jeychandran
This paper aims to understand how race and Blackness get reimagined, adapted, and visualized in India through films and expressive cultures. With three distinct examples — a Malayalam language film, Sudani from Nigeria, performed historiographies of African-Indian saints through Dhammal dance, and the touristic commodification of Dhammal performance by the Siddis — I want to discuss how diverse media and mediations socially construct race and color and simultaneously complicate our understanding of Indian Ocean migrant history. In particular, I discuss how the African descent community in India constructs Blackness and Africanness through stories of migration of Black saints, rituals, and Dhammal performances. In other words, I ask, how do regular people, through an array of media, produce a complex and, at times, competing discourse on race, class, caste, and color? How do racial assumptions and different outlooks on Afro-Indian connections need to be reviewed in the Black histories of the Indian Ocean?
Colourism, Creolization, and the Case of the Chagos Islands | Cóilín Parsons
In two novels from the past two decades — Shenaz Patel’s The Silence of the Chagos and Natasha Soobramanien and Luke Williams’ Diego Garcia — the plight of the Chagos islanders is brought to a global novel-reading audience. Removed from their archipelagic home in the 1960s, the islanders’ dispossession, settlement in (primarily) Mauritius, and long fight for return are the subject of two novels which take widely different approaches to narrating this loss. Patels’ realist prose, with some temporal disjunction, takes a journalistic line on the dispossession and life in Mauritius, documenting displacement and subsequent discrimination. Soobramanien and Williams’ highly fragmented, bricoleur novels with shifting narrative standpoints and intoxicated prose, set in the UK, is a more complex investigation of the politics of solidarity and activism in the fight for return. In both, we find an attention to colourism in both Mauritius and the UK that complicates quite substantially Francoise Lionnet’s study of creolization in Mauritian literature. The presence of the islanders, in both Mauritius and the UK, forces a re-consideration of even the dynamic processes of creolization, as we consider the secondary colonization of the islanders in and by Mauritius, and the way that the islanders become re-coloured in the creole society of Mauritius. As Mauritius, thanks to the work of Lionnet (working with Shu-Mei Shih and developing Glissant), is one of the proving grounds of theories of creolization, the paper argues that paying new attention to the colourism that the Chagos islanders have faced since the 1960s complicates our understanding of the processes of creolization in the Indian Ocean.
Black Interiority Visualized: Slavery and Black Cinemas | Robert Patterson
Black cinematic narratives of slavery, especially those that emphasize nuanced and complicated Black perspectives, aim to show the brutality of slavery as an institution; the cruelty of enslavers; the psychological grip that slavery holds on the enslaved and their descendants; the various forms of resistance the enslaved enacted; the ways that the enslaved formed community and family; the epistemologies of race and white supremacy that the enslaved shared; and the sustained efforts the enslaved took to live beyond slavery’s limitations (sometimes even understanding that limitations that would exist after Emancipation). While not exhaustive, this list details the perspectives and themes that emerge prominently in Black cinematic narratives of slavery that, even if not always produced by Black people, still work intentionally to counter dominant narratives of slavery to create narratives that do not espouse these principles. In some ways, cinematic narratives of slavery complement and visualize post-civil rights narratives of slavery and autobiographical narratives of slavery in particular. They also extend narratives of slavery to audiences who primarily consume knowledge through visual media. The adaptation of written texts to cinematic ones further evidence this claim.