Co-producing knowledge and Morocco's musical heritage: a relational paradigm for colonial scholarship.
The musical dimensions of the Moroccan Protectorate invite us to rethink certain tenets of colonial history, especially lingering nineteenth-century attitudes about 'indigenous' populations as 'savage'. By the mid-twentieth century, efforts to comprehend Moroccan music were far less motivated by dom...
| Publicado en: | Journal of North African Studies Vol. 29; no. 1; pp. 84 - 131 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jan2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=174034638&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 174034638 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 13629387 RIG jtl: Journal of North African Studies issn: 13629387 maglogo: Y pubinfo: dt: Jan2024 vid: 29 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 174034638 10.1080/13629387.2022.2099844 ppf: 84 ppct: 47 formats: fmt: – @attributes: type: T db: hlh ui: 174034638 – @attributes: type: P db: hlh ui: 174034638 tig: atl: Co-producing knowledge and Morocco's musical heritage: a relational paradigm for colonial scholarship. aug: au: Pasler, Jann affil: University of California San Diego, San Diego, CA, USA su: Morocco Scholarly method City dwellers Praxis (Process) Music festivals History of colonies Expertise sug: subj: Scholarly method City dwellers Praxis (Process) Morocco Promoters of Performing Arts, Sports, and Similar Events with Facilities Live theatres and other performing arts presenters with facilities Festivals without facilities Music festivals History of colonies Expertise keyword: Alexis Chottin Andalusian music Chleuh music cultural renovation Prosper Ricard Radio-Maroc Alexis Chottin Andalusian music Chleuh music cultural renovation Prosper Ricard Radio-Maroc ab: The musical dimensions of the Moroccan Protectorate invite us to rethink certain tenets of colonial history, especially lingering nineteenth-century attitudes about 'indigenous' populations as 'savage'. By the mid-twentieth century, efforts to comprehend Moroccan music were far less motivated by domination and submission than other agendas, beginning with 'cultural protection' to justify French presence, the Protectorate's priority since arrival. Publications and promotion of Moroccan music reflected French desire for long-term impact on the region. This enterprise depended on Moroccan as well as European support, addressing local needs and creating alliances with both urban and rural elites with their own political agendas. Offering archival evidence of the French Protectorate's institutional involvement in renovating Andalusian music – never before examined, yet so important in post-colonial Moroccan identity – and, despite colonial occupation, Moroccan musicians' agency, this article focuses on the interactions between French administrator Prosper Ricard, Algerian-born musician/ethnographer Alexis Chottin, and Moroccan musicians equally concerned about their music's future. Many are here given voice for the first time. Drawing on these stakeholders' expertise and experiences, they co-created new musical knowledge despite power asymmetries, sustained the musical practices of urban and rural populations, and encouraged traditional, hybrid and modern identities. In their newly-created Conservatory of Moroccan Music, music festivals, and Radio-Maroc, relationships shaped through shared responsibility for outcomes emerge as significantly more complex than between 'superiors and subalterns', reaching parity at the Fez festival (1939). Their multifaceted work continues to influence knowledge and praxis today. To understand this requires a new paradigm for colonial scholarship. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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