Decolonization for Ethnomusicology and Music Studies in Higher Education

L. Chavez, Russell P. Skelchy
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引用次数: 16

Abstract

The word decolonization often is used metaphorically in scholarship in the humanities to describe an array of processes involving social justice, resistance, sustainability and preservation. We argue against using decolonization as metaphor because decolonization demands a level of political engagement different from other social justice projects. Decolonization refers to a radical transformation in relations of power, worldviews, and, in an academic context, our role as scholars and our relationship to the university system as an industry. This article interrogates how the word decolonization has been used by ethnomusicologists in previous publications and argues that a discourse of decolonizing music studies and ethnomusicology should not propagate the term as a descriptive signifier while overlooking the issues mentioned above. Excerpts from interviews with three former Society for Ethnomusicology (SEM) presidents are presented for readers to interpret how these people in seats of power are thinking about decolonizing music studies. We conclude by suggesting ten practical approaches and projects that begin to address what decolonization involves and how it can be done.
民族音乐学与高等教育音乐研究的非殖民化
非殖民化这个词在人文学科的学术研究中经常被用作隐喻,用来描述一系列涉及社会正义、抵抗、可持续性和保护的过程。我们反对使用非殖民化作为隐喻,因为非殖民化要求不同于其他社会正义项目的政治参与水平。非殖民化指的是权力关系、世界观的根本转变,以及在学术背景下,我们作为学者的角色和我们作为一个行业与大学系统的关系的根本转变。本文质疑民族音乐学家在之前的出版物中如何使用“去殖民化”一词,并认为非殖民化音乐研究和民族音乐学的话语不应该在忽视上述问题的同时将该术语作为描述性能指传播。本文节选了对三位前民族音乐学学会(SEM)主席的采访,以供读者解读这些掌权的人是如何思考去殖民化音乐研究的。最后,我们提出十个实际的办法和项目,开始讨论非殖民化所涉及的问题以及如何做到这一点。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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审稿时长
28 weeks
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