[Mansa-l] FW: Mansa sponsored panel at ASA

Richard L. Warms r.warms@txstate.edu
Mon, 07 Nov 2005 08:23:33 -0600


This is a multi-part message in MIME format.

------=_NextPart_000_005E_01C5E374.8AC169D0
Content-Type: text/plain;
	charset="US-ASCII"
Content-Transfer-Encoding: 7bit

 

 

  _____  

From: mansa-l-owner@groups.txstate.edu
[mailto:mansa-l-owner@groups.txstate.edu] On Behalf Of Jansen, Jan
Sent: Monday, November 07, 2005 4:21 AM
To: mansa-l-admin@groups.txstate.edu
Cc: David Conrad
Subject: Mansa sponsored panel at ASA

 

Dear all 

I hope that you all will attend the Mansa sponsored 'roundtable' at the
first session (Thursday afternoon) of this year's ASA in Washington DC.
Because of intercontinental electronic problems, I had to submit this panel
as a roundtable. However, contrary to what the official program suggests, it
will have the form of a panel and I am very happy that Peter Mark will be
our discussant.

Below you find the panel and paper abstracts. Kind regards, 

Jan Jansen 

 

INTANGIBLE HERITAGE IN THE MANDE WORLD 

The panel explores recent transformations in the official construction of
historicity and cultural heritage in the Mande world, and analyzes the
tension between official narratives on  prestigious national pasts and
accounts offered by various categories of media consumers as well as Mande
and non-Mande historians. A special attention will be paid to the way
UNESCO'S Intangible Heritage program has been interpreted and incorporated
in local and national debates on conservation of culture in the Mande world.


Discussant: Peter Mark (Wesleyan University) 

 

Culture of/as Redemption? Narratives of cultural authenticity on Malian
national television 

Dorothea E. Schulz, University of Indiana 

The paper explores recent transformations in the official construction of
Mali's historicity and cultural heritage, and analyzes the tension between
official narratives on Mali's prestigious national past and accounts offered
by various categories of media consumers. It focuses on a popular weekly
television show that features Mali's "authentic traditions" and combines it
with a "call-in" format to elicit tele-spectators' feed-back and support.
The paper places the analysis of current, conflicted constructions of Mali's
cultural heritage in the longer history of constructions of Mali's "cultural
integrity" and "heritage" on national media. It argues that the tendency to
frame Malian identity as a matter of a cultural authenticity (encoded as
moral integrity) is a typical feature of postcolonial state politics in the
current era of cultural globalization and of the normative fragmentation of
national political fields.

 

The Devil on Display: Heritage and the Public Image of the Kankurang
Masquerade 

Ferdinand de Jong, University of East Anglia 

The Kankurang masquerade is one of the traditional performances in Senegal
which is increasingly identified as part of Mandinko cultural heritage. The
Senegalese and Gambian States even intend to add the masquerade to UNESCO's
list of Intangible Heritage. The original performance context of the
Kankurang masquerade is the young men's initation. The performance is
therefore part of a practice of secrecy that reinforces age and gender
categories and its script prohibits women and other non-initiates to view
the masquerade. However, since the masquerade is increasingly performed as
part of a Mandinko heritage, questions arise regarding its appropriate
performance. The practical question its performers face is how to show what
should not be seen. This invites a reflection on the conventions and
reinventions of the public display of a secret masquerade.

 

Kela Jeliya : What intangible heritage ? Which means of transmission? 

SimonToulou,  University of Geneva (Switzerland) 

A group of experts meeting within the framework of UNESCO (Turin, March
2001) have defined the oral and intangible heritage as: "peoples' learned
processes along with the knowledge, skills and creativity that inform and
are developed by them, the products they create, and the resources, spaces
and other aspects of social and natural context necessary to their
sustainability; these processes provide living communities with a sense of
continuity with previous generations and are important to cultural identity,
as well as to the safeguarding of cultural diversity and creativity of
humanity". 

Since the above definition is general, this contribution will rather focus
on two of its main points (i.e. the cultural space and the form of cultural
expression providing continuity with previous generations) to see to what
extend the cultural setting of Kela (a small village of griots in Mali) can
be eligible for UNESCO intangible heritage through the didactic analysis of
chosen cultural activities and the means of transmission used by the griots
of that village.

 

Splitting Sunjata? - Mande Intangible Heritage in an Age of New Borders and
New Technologies 

Jan Jansen, Leiden University 
 <mailto:jansenj@fsw.leidenuniv.nl> jansenj@fsw.leidenuniv.nl 

The past decade showed interesting efforts, both in Guinea and Mali, to
appropriate the Mande Sunjata epic and to incorporate it in a nation's
history. These efforts seem to have gone unnoticed by local audiences in
both Guinea and Mali, as well as by African and non-African researchers.
This presentation will focus on the way Sunjata's heritage is appropriated
In Guinea where the Sosobala has become a UNESCO monument of intangible
heritage. Moreover, some attention will be paid to events in Mali (RTM
television programs and articles (revue Jamana), manifestations to celebrate
the deeds of Sunjata and other 'historical' ancestors). A special attention
will be paid to the media and technologies mobilized by those who seem to
appropriate and relocate the narrative heritage on Sunjata. These case
studies will be placed in a wider context of the academic debate on 'owing
culture'. 

 

********************************************************************** 

This email and any files transmitted with it are confidential and 

intended solely for the use of the individual or entity to whom they 

are addressed. If you have received this email in error please notify 

the system manager. 

********************************************************************** 


------=_NextPart_000_005E_01C5E374.8AC169D0
Content-Type: text/html;
	charset="US-ASCII"
Content-Transfer-Encoding: quoted-printable

<html xmlns:v=3D"urn:schemas-microsoft-com:vml" =
xmlns:o=3D"urn:schemas-microsoft-com:office:office" =
xmlns:w=3D"urn:schemas-microsoft-com:office:word" =
xmlns:st1=3D"urn:schemas-microsoft-com:office:smarttags" =
xmlns=3D"http://www.w3.org/TR/REC-html40">

<head>
<META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; =
charset=3DUS-ASCII">
<meta name=3DGenerator content=3D"Microsoft Word 11 (filtered medium)">
<!--[if !mso]>
<style>
v\:* {behavior:url(#default#VML);}
o\:* {behavior:url(#default#VML);}
w\:* {behavior:url(#default#VML);}
.shape {behavior:url(#default#VML);}
</style>
<![endif]-->
<title>Mansa sponsored panel at ASA</title>
<o:SmartTagType =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags"
 name=3D"country-region"/>
<o:SmartTagType =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags"
 name=3D"PlaceType"/>
<o:SmartTagType =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags"
 name=3D"PlaceName"/>
<o:SmartTagType =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags"
 name=3D"State"/>
<o:SmartTagType =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags"
 name=3D"City"/>
<o:SmartTagType =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags"
 name=3D"place"/>
<!--[if !mso]>
<style>
st1\:*{behavior:url(#default#ieooui) }
</style>
<![endif]-->
<style>
<!--
 /* Font Definitions */
 @font-face
	{font-family:Tahoma;
	panose-1:2 11 6 4 3 5 4 4 2 4;}
@font-face
	{font-family:Times;
	panose-1:2 2 6 3 5 4 5 2 3 4;}
 /* Style Definitions */
 p.MsoNormal, li.MsoNormal, div.MsoNormal
	{margin:0in;
	margin-bottom:.0001pt;
	font-size:12.0pt;
	font-family:"Times New Roman";}
a:link, span.MsoHyperlink
	{color:blue;
	text-decoration:underline;}
a:visited, span.MsoHyperlinkFollowed
	{color:blue;
	text-decoration:underline;}
p
	{mso-margin-top-alt:auto;
	margin-right:0in;
	mso-margin-bottom-alt:auto;
	margin-left:0in;
	font-size:12.0pt;
	font-family:"Times New Roman";}
span.EmailStyle18
	{mso-style-type:personal-reply;
	font-family:Arial;
	color:navy;}
@page Section1
	{size:8.5in 11.0in;
	margin:1.0in 1.25in 1.0in 1.25in;}
div.Section1
	{page:Section1;}
-->
</style>

</head>

<body lang=3DEN-US link=3Dblue vlink=3Dblue>

<div class=3DSection1>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<div>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter tabindex=3D-1>

</span></font></div>

<p class=3DMsoNormal><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font =
size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'>
mansa-l-owner@groups.txstate.edu =
[mailto:mansa-l-owner@groups.txstate.edu] <b><span
style=3D'font-weight:bold'>On Behalf Of </span></b>Jansen, Jan<br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Monday, November =
07, 2005
4:21 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
mansa-l-admin@groups.txstate.edu<br>
<b><span style=3D'font-weight:bold'>Cc:</span></b> David Conrad<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Mansa sponsored =
panel at
ASA</span></font><o:p></o:p></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p><b><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-weight:bold'>Dear all</span></font></b> <o:p></o:p></p>

<p><b><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-weight:bold'>I hope that you all will attend the Mansa sponsored
'roundtable' at the first session (Thursday afternoon) of this year's =
ASA in <st1:place
w:st=3D"on"><st1:City w:st=3D"on">Washington</st1:City> <st1:State =
w:st=3D"on">DC</st1:State></st1:place>.
Because of intercontinental electronic problems, I had to submit this =
panel as
a roundtable. However, contrary to what the official program suggests, =
it will
have the form of a panel and I am very happy that Peter Mark will be our
discussant.</span></font></b><o:p></o:p></p>

<p><b><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-weight:bold'>Below you find the panel and paper abstracts. Kind =
regards,</span></font></b>
<o:p></o:p></p>

<p><b><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-weight:bold'>Jan Jansen</span></font></b> <o:p></o:p></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p><b><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-weight:bold'>INTANGIBLE HERITAGE IN THE MANDE =
WORLD</span></font></b> <o:p></o:p></p>

<p><b><i><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:
Times;font-weight:bold;font-style:italic'>The panel explores recent
transformations in the official construction of historicity and cultural
heritage in the Mande world, and analyzes the tension between official
narratives on&nbsp; prestigious national pasts and accounts offered by =
various
categories of media consumers as well as Mande and non-Mande historians. =
A
special attention will be paid to the way UNESCO&#8217;S Intangible =
Heritage
program has been interpreted and incorporated in local and national =
debates on
conservation of culture in the Mande world.</span></font></i> =
</b><o:p></o:p></p>

<p><b><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-weight:bold'>Discussant: Peter Mark (<st1:place =
w:st=3D"on"><st1:PlaceName
 w:st=3D"on">Wesleyan</st1:PlaceName> <st1:PlaceType =
w:st=3D"on">University</st1:PlaceType></st1:place>)</span></font></b>
<o:p></o:p></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p><i><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-style:italic'>Culture of/as Redemption? Narratives of cultural
authenticity on Malian national television</span></font></i> =
<o:p></o:p></p>

<p><b><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-weight:bold'>Dorothea E. Schulz, <st1:place =
w:st=3D"on"><st1:PlaceType
 w:st=3D"on">University</st1:PlaceType> of <st1:PlaceName =
w:st=3D"on">Indiana</st1:PlaceName></st1:place></span></font></b>
<o:p></o:p></p>

<p><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times'>The
paper explores recent transformations in the official construction of =
<st1:country-region
w:st=3D"on">Mali</st1:country-region>'s historicity and cultural =
heritage, and
analyzes the tension between official narratives on <st1:country-region =
w:st=3D"on"><st1:place
 w:st=3D"on">Mali</st1:place></st1:country-region>'s prestigious =
national past
and accounts offered by various categories of media consumers. It =
focuses on a
popular weekly television show that features <st1:country-region =
w:st=3D"on"><st1:place
 w:st=3D"on">Mali</st1:place></st1:country-region>'s &quot;authentic
traditions&quot; and combines it with a &quot;call-in&quot; format to =
elicit
tele-spectators' feed-back and support. The paper places the analysis of
current, conflicted constructions of <st1:country-region =
w:st=3D"on">Mali</st1:country-region>'s
cultural heritage in the longer history of constructions of =
<st1:country-region
w:st=3D"on"><st1:place =
w:st=3D"on">Mali</st1:place></st1:country-region>'s
&#8220;cultural integrity&#8221; and &quot;heritage&quot; on national =
media. It
argues that the tendency to frame Malian identity as a matter of a =
cultural
authenticity (encoded as moral integrity) is a typical feature of =
postcolonial
state politics in the current era of cultural globalization and of the
normative fragmentation of national political =
fields.</span></font><o:p></o:p></p>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><font size=3D3
face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p><i><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-style:italic'>The Devil on Display: Heritage and the Public Image =
of the
Kankurang Masquerade</span></font></i> <o:p></o:p></p>

<p><b><font size=3D3 face=3DTimes><span lang=3DEN-GB =
style=3D'font-size:12.0pt;
font-family:Times;font-weight:bold'>Ferdinand de Jong, University of =
East
Anglia</span></font></b><span lang=3DEN-GB> </span><o:p></o:p></p>

<p><font size=3D3 face=3DTimes><span lang=3DEN-GB =
style=3D'font-size:12.0pt;font-family:
Times'>The Kankurang masquerade is one of the traditional performances =
in <st1:country-region
w:st=3D"on"><st1:place =
w:st=3D"on">Senegal</st1:place></st1:country-region> which
is increasingly identified as part of Mandinko cultural heritage. The
Senegalese and <st1:place w:st=3D"on"><st1:PlaceName =
w:st=3D"on">Gambian</st1:PlaceName>
 <st1:PlaceType w:st=3D"on">States</st1:PlaceType></st1:place> even =
intend to add
the masquerade to UNESCO&#8217;s list of Intangible Heritage. The =
original
performance context of the Kankurang masquerade is the young men&#8217;s
initation. The performance is therefore part of a practice of secrecy =
that
reinforces age and gender categories and its script prohibits women and =
other
non-initiates to view the masquerade. However, since the masquerade is
increasingly performed as part of a Mandinko heritage, questions arise
regarding its appropriate performance. The practical question its =
performers
face is how to show what should not be seen. This invites a reflection =
on the
conventions and reinventions of the public display of a secret =
masquerade.</span></font><o:p></o:p></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p><i><font size=3D3 face=3DTimes><span lang=3DEN-GB =
style=3D'font-size:12.0pt;
font-family:Times;font-style:italic'>Kela Jeliya&nbsp;: What intangible
heritage&nbsp;? Which means of transmission?</span></font></i><span =
lang=3DEN-GB>
</span><o:p></o:p></p>

<p><b><font size=3D3 face=3DTimes><span lang=3DEN-GB =
style=3D'font-size:12.0pt;
font-family:Times;font-weight:bold'>SimonToulou,&nbsp; <st1:PlaceType =
w:st=3D"on">University</st1:PlaceType>
of <st1:PlaceName w:st=3D"on">Geneva</st1:PlaceName> =
(<st1:country-region w:st=3D"on"><st1:place
 =
w:st=3D"on">Switzerland</st1:place></st1:country-region>)</span></font></=
b><span
lang=3DEN-GB> </span><o:p></o:p></p>

<p><font size=3D3 color=3Dblack face=3DTimes><span lang=3DEN-GB =
style=3D'font-size:12.0pt;
font-family:Times;color:black'>A group of experts meeting within the =
framework
of UNESCO (Turin, March 2001) have defined the oral and intangible =
heritage as:
&quot;peoples&#8217; learned processes along with the knowledge, skills =
and
creativity that inform and are developed by them, the products they =
create, and
the resources, spaces and other aspects of social and natural context =
necessary
to their sustainability; these processes provide living communities with =
a
sense of continuity with previous generations and are important to =
cultural
identity, as well as to the safeguarding of cultural diversity and =
creativity
of humanity&quot;. </span></font><o:p></o:p></p>

<p><font size=3D3 color=3Dblack face=3DTimes><span lang=3DEN-GB =
style=3D'font-size:12.0pt;
font-family:Times;color:black'>Since the above definition is general, =
this
contribution will rather focus on two of its main points (i.e. the =
cultural
space and the form of cultural expression providing continuity with =
previous
generations) to see to what extend the cultural setting of Kela (a small
village of griots in Mali) can be eligible for UNESCO intangible =
heritage
through the didactic analysis of chosen cultural activities and the =
means of
transmission used by the griots of that =
village.</span></font><o:p></o:p></p>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><font size=3D3
face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p><i><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times;
font-style:italic'>Splitting Sunjata? &#8211; Mande Intangible Heritage =
in an
Age of New Borders and New Technologies</span></font></i> =
<o:p></o:p></p>

<p><b><font size=3D3 face=3DTimes><span lang=3DNL =
style=3D'font-size:12.0pt;font-family:
Times;font-weight:bold'>Jan Jansen, Leiden University</span></font></b> =
<br>
<a href=3D"mailto:jansenj@fsw.leidenuniv.nl"><font face=3DTimes><span =
lang=3DNL
style=3D'font-family:Times'>jansenj@fsw.leidenuniv.nl</span></font></a><f=
ont
face=3DTimes><span style=3D'font-family:Times'> =
</span></font><o:p></o:p></p>

<p><font size=3D3 face=3DTimes><span =
style=3D'font-size:12.0pt;font-family:Times'>The
past decade showed interesting efforts, both in <st1:country-region =
w:st=3D"on">Guinea</st1:country-region>
and <st1:country-region w:st=3D"on"><st1:place =
w:st=3D"on">Mali</st1:place></st1:country-region>,
to appropriate the Mande Sunjata epic and to incorporate it in a =
nation's
history. These efforts seem to have gone unnoticed by local audiences in =
both <st1:country-region
w:st=3D"on">Guinea</st1:country-region> and <st1:country-region =
w:st=3D"on"><st1:place
 w:st=3D"on">Mali</st1:place></st1:country-region>, as well as by =
African and
non-African researchers. This presentation will focus on the way =
Sunjata's
heritage is appropriated In <st1:country-region w:st=3D"on"><st1:place =
w:st=3D"on">Guinea</st1:place></st1:country-region>
where the Sosobala has become a UNESCO monument of intangible heritage.
Moreover, some attention will be paid to events in <st1:country-region =
w:st=3D"on"><st1:place
 w:st=3D"on">Mali</st1:place></st1:country-region> (RTM television =
programs and
articles (revue Jamana), manifestations to celebrate the deeds of =
Sunjata and
other &#8216;historical&#8217; ancestors). A special attention will be =
paid to
the media and technologies mobilized by those who seem to appropriate =
and
relocate the narrative heritage on Sunjata. These case studies will be =
placed
in a wider context of the academic debate on &#8216;owing =
culture&#8217;. </span></font><o:p></o:p></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p style=3D'margin:0in;margin-bottom:.0001pt'><font size=3D1 =
face=3DArial><span
style=3D'font-size:8.0pt;font-family:Arial'>*****************************=
*****************************************
</span></font><o:p></o:p></p>

<p style=3D'margin:0in;margin-bottom:.0001pt'><font size=3D1 =
face=3DArial><span
style=3D'font-size:8.0pt;font-family:Arial'>This email and any files =
transmitted
with it are confidential and </span></font><o:p></o:p></p>

<p style=3D'margin:0in;margin-bottom:.0001pt'><font size=3D1 =
face=3DArial><span
style=3D'font-size:8.0pt;font-family:Arial'>intended solely for the use =
of the
individual or entity to whom they </span></font><o:p></o:p></p>

<p style=3D'margin:0in;margin-bottom:.0001pt'><font size=3D1 =
face=3DArial><span
style=3D'font-size:8.0pt;font-family:Arial'>are addressed. If you have =
received
this email in error please notify </span></font><o:p></o:p></p>

<p style=3D'margin:0in;margin-bottom:.0001pt'><font size=3D1 =
face=3DArial><span
style=3D'font-size:8.0pt;font-family:Arial'>the system manager. =
</span></font><o:p></o:p></p>

<p style=3D'margin:0in;margin-bottom:.0001pt'><font size=3D1 =
face=3DArial><span
style=3D'font-size:8.0pt;font-family:Arial'>*****************************=
*****************************************
</span></font><o:p></o:p></p>

</div>

</body>

</html>

------=_NextPart_000_005E_01C5E374.8AC169D0--