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Offers expansive and intersecting understandings of erotic
subjectivity, intimacy, and trauma in performance ethnography and
in institutional and disciplinary settings. Focused on research
within Africa and the African diaspora, contributors to this volume
think through the painful iterations of trauma, systemic racism,
and the vestiges of colonial oppression as well as the processes of
healing and emancipation that emerge from wounded states. Their
chapters explore an acoustemology of intimacy, woman-centered
eroticism generated through musical performance, desire and longing
in ethnographic knowledge production, and listening as intimacy. On
the other end of the spectrum, authors engage with and question the
fetishization of race in jazz; examine conceptions of vulgarity and
profanity in movement and dance-ethnography; and address pain,
trauma, and violation, whether physical, spiritual, intellectual,
or political. Authors in this volume strive toward empathetic,
ethical, and creative ethnographic engagements that summon
vulnerability and healing. They propose pathways to aesthetic,
discursive transformation by reorienting conceptions of knowledge
as emergent, performative, and sonically enabled. The resulting
book explores sensory knowledge that is frequently left
unacknowledged in ethnographic work, advancing conversations about
performed sonic and somatic modalities through which we navigate
our entanglements as engaged scholars.
The first full-length study of the musical pasts of Asafo warrior
associations based on the author's "ways of walking" with local
scholars along the Ghanaian littoral. What is Asafo ndwom (music)?
How and when is it performed? What is the state of this warrrior
tradition that once served as the bedrock of the Akan, Ewe, and Ga
societies in Ghana? How does Asafo enact the past and serve as an
archive for the people? In an attempt to answer these questions,
Walking with Asafo in Ghana investigates the musical pasts of
Asafo. The book is an ethnography of walking, organized into eight
chapters. Each chapter ends with a piece of creative writing in the
author's "ethnographic voice," in which she sums up the main ideas.
It is Aduonum's attempt at an anticolonial and decolonialist
African musicology, one that subverts and decenters white racial
framing of research, analysis, and presentation, disrupting how
Euro-American concepts frame our ways of telling and experiencing
ndwom. Aduonum's goal on this trajectory is to tell her story,
create something new, and chart a new path. Through this fluid and
complex book, she repositions African Elders' knowledge as
"epistemologies of decolonization and de-coloniality" and centers
the stories shared by local Fante scholars. The text is polyvocal,
multimodal, multiperspective, performative, reflexive, and
dialogic, informed by the structure of Asafo ndwom, appellations,
proverbs, her mentors' tellings, and "embodied" calling and
responding. It is a performative scholarly discourse, ndwom-based:
a performance. As a celebration of Asafo, those warriors who
insisted their lives matter, the text is meant to be read and
performed. This book is openly available in digital formats thanks
to a generous grant from the Andrew W. Mellon Foundation.
Teacher, Scholar, Mother advances a more productive conversation
across disciplines on motherhood through its discussion on
intersecting axes of power and privilege. This multi- and
trans-disciplinary book features mother scholars who bring their
theoretical and disciplinary lenses to bear on questions of
identity, practice, policy, institutional memory, progress, and the
gendered notion of parenting that still pervades the modern
academy.
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