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Erschienen in:
Die Vielfältigkeit der Diversität – Eine Einführung Kapitel lesen Erstes Kapitel lesen

2020 | OriginalPaper | Buchkapitel

The Discourse of Diversity and the World Music: Tensions Between Stimulating and Controlling the Difference

verfasst von : Pedro Martins de Menezes

Erschienen in: Ethnographie und Diversität

Verlag: Springer Fachmedien Wiesbaden

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Abstract

The discourse of diversity and the world music seem to experience a tension between incentive and control of the difference: on the one hand, plurality is cultivated, given the interest for ethnicities and cultural specificities apparently irreducible to a single term; on the other, singularity is encouraged, as there is an effort to gather the entire cornucopia of contingencies and idiosyncrasies within one single frame of rigid borders. In the case of the discourse of diversity, there is an attempt to reconcile the universal discourse with the particular discourse. As for the “world music” there is a quest for a variety of sounds, as well as a need to shelter this myriad of immiscible styles under the aegis of a single same kind of music. In face of this balance between centripetal and centrifugal forces, I ask: how can the discourse of diversity and the world music, simultaneously, stimulate and restrain difference?

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Vorheriges Kapitel Diverse Differenzordnungen in der postkolonialen Matrix – eine Suchbewegung
Nächstes Kapitel Differenzpraktiken und Otheringprozesse in inklusiven Unterrichtssettings mit Schulassistenz
Fußnoten
1
Perhaps no other author has ever studied the relations between knowledge and power during the era of the universal discourse as profoundly as Edward Said. In his by now canonic “Orientalism” (Said 2013), the author discloses a perfect symmetry established between the “Orientalism”, a pseudo-scientific doctrine chiseled by the West to study the East, and Europe’s political interests in the rest of the world. Thereby, the orientalist academic and the military conqueror, each by his own ways, represented the civilizatory heroes, responsible for ensuring Europe’s global sovereignty.
 
2
To Bourdieu (2009), the field is a game in which what is in dispute are the rules of the game itself. That is, the opponents are disputing the rights to arbitrate in the game they are disputing. The one entitled to arbitrate the dispute is the player who accepts the rules he intends to legislate, because the agent who mirrors the norm in his practice makes the norm a duplicate of his practice and, thus, playing by the rules, he prescribes how to act. This was Europe about the discourse of progress: by bowing submissively to the laws of progress, the West becomes the showcase of this code while writing the same statute it obeys, actively producing the structure it just seems to be passively reproducing.
 
3
In the previously mentioned work, Said (2013) states that the Orientalism truly believed to be doing the East a great service by studying a culture incapable of carrying out its own studies: “The exteriority of the representation is always ruled by some version of the truism that, if the East could represent itself, it would; since it cannot, the West takes the task and, faut de mieux, for the poor East.” (Said 2013, p. 51). “For what he [the orientalist] says, in effect, is that, without people like him, the Middle East would be neglected and, without his role as the mediator and interpreter, the place would not be understood (…) because only the orientalist can interpret the East, as the East is radically incapable of interpreting itself.” (Said 2013, p. 386).
 
4
The foundational charter of the UNESCO was written on November 16th of 1945, but only on November 4th of 1946 it was officially enacted.
 
5
In a 1994 postface written for a new edition of his already mentioned work, Said (2013) affirmed: “In the American and European campi of the 1980’s, students and professors worked assiduously to expand the academic focus of the curricula in order to include texts written by women and, non-European artists and thinkers. Simultaneously, important changes were taking place as to new approaches of the studies that had been for long in the hands of classic orientalists and their equivalent in other fields. Anthropology, political science, literature, sociology and chiefly history all felt the effects of the critique with broad reach to the sources, the introduction of new theories and the renovation of the Eurocentric perspective” (Said 2013, p. 464).
 
6
In tune with this idea, Borges (2007), in his studies about Kafka, stated that every author creates his own influences by using and systematizing them in his texts, because if they were not there, endorsed in the works, these influences would not have their anteriority pointed out. Accordingly, Todorov writes: “Balzac creates, more than discovers, his characters. But, once created, they introduce themselves in contemporary society and, from then on, we can hardly stop running into them down the streets.” (Todorov 2009, p. 65).
 
7
An effort already accomplished by other authors (Bohlman 2002; Born 2014; Erlmann 1996; Feld 2005a, b; Frith 2014; Kassabian 2005; Nicolau Netto 2014; Taylor 1997) and to which I have been dedicated in a previous text (Menezes 2016).
 
8
The minutes of these meetings can be consulted at the website http://​www.​frootsmag.​com/​content/​features/​world_​music_​history/​minutes/​ (visited in 09/04/2018).
 
9
According to Nicolau Netto (2014), the main parameters of the fabrication of this exoticism are place and ethnicity. That is, non-white musicians from non-Western countries will most likely be classified as members of the world music. Besides place and ethnicity, other non-musical characteristics are evoked to describe the world music. Sometimes, for instance, the songs are considered to be ludic and sensorial. Or they seem to bring a pedagogic value, as if they were ethnographic artifacts that reveal the culture in which they were conceived (Price 2000).
 
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Metadaten
Titel
The Discourse of Diversity and the World Music: Tensions Between Stimulating and Controlling the Difference
verfasst von
Pedro Martins de Menezes
Copyright-Jahr
2020
Buch
Ethnographie und Diversität

Print ISBN: 978-3-658-21981-9

Electronic ISBN: 978-3-658-21982-6

Copyright-Jahr: 2020

DOI
https://doi.org/10.1007/978-3-658-21982-6_5