Sensing Colonial Ports and Global History: Agency, Affect, Temporality

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Sensing Colonial Ports and Global History: Agency, Affect, Temporality

An Interdisciplinary Conference at TORCH, The Oxford Research Centre in the Humanities

2–3 May 2019 (Thursday full day & Friday half day)

St Luke’s Chapel, Radcliffe Observatory Quarter

University of Oxford

http://www.venues.ox.ac.uk/about/find-us-2/#

 

Keynote Speakers:

Leila Fawaz (History, Tufts University)

Benjamin Walton (Music, University of Cambridge)

 

Registration closed 

Enquiries: cpagh@torch.ox.ac.uk

 

Organised by the Colonial Ports and Global History Network at the University of Oxford, this exciting interdisciplinary conference brings together scholars from such disciplines and fields as Archaeology, Area Studies, English, History, Italian and Comparative Literature, Music, Sociology and Visual Anthropology.

The aim of the conference is to cross-examine three key concepts – agency, affect and temporality – that are increasingly central to scholarly thought about colonial port cities. In doing so, it also explores anew the implications of the ‘colonial port city’ for global history, both in and beyond the academy.

In addition to the four panels of individual papers, there will also be a World Café workshop for all of the attendees, with featured presenters and topics.   

We are delighted to have two distinguished keynote speakers: Leila Fawaz, Issam M. Fares Chair of Lebanese & Eastern Mediterranean Studies at Tufts University, whose broad expertise encompasses migration, trade and war in the modern Middle East;and Benjamin Walton, Senior Lecturer in Music at the University of Cambridge, whose rich expertise extends from touring opera troupes beyond Europe to the globalisation of opera in and beyond the nineteenth century. 

On 2 May, lunch and tea/coffee will be provided. On 3 May, tea/coffee will be provided.

Programme

2 MAY (THURSDAY)

8:45–9:00 Registration and Arrival

9:00–9:20 Welcome Remarks

Julia Binter and Yvonne Liao (University of Oxford)

9:20–11:20 World Café Workshop 

Chair: Julia Binter (University of Oxford)

Featured presenters and topics:

 

Michael Leadbetter, Phacharaphorn Phanomvan, and Michael Yeo (University of Oxford)

What are port cities, and how should they be studied?

Moderator: Hatice Yıldız

 

David Martínez-Robles (Universitat Oberta de Catalunya)

Rethinking colonial agency: The case of treaty ports

Moderators: Yvonne Liao and Min-Erh Wang

 

Ana Cristina Mendes (University of Lisbon)

Touring Mare Nostrum: The ethics of researching colonial port cities and sea travels in the Mediterranean  

Moderator: Olivia Durand

 

Aaron Jaffer (National Maritime Museum)

Redressing silences in the archive 

Moderator: Katharina Oke

 

11:20–11:50 Coffee Break

 

11:50–13:20 Panel 1

Consuming Colonial Ports: Consumption of Goods and Questions of Agency

Chair: Olivia Durand (University of Oxford)

 

Elizabeth Schmidt (University of California, Santa Barbara)

‘Sundry Sorts of Merchants Goods’: Consuming the Empire in Eighteenth-Century Philadelphia

Mikko Toivanen (European University Institute)

Babel in the streets, Berlioz at the club: Mapping Class and Culture in Mid-Nineteenth-Century Singapore and Batavia through Soundscapes

Emma Bond (University of St Andrews)

Playing with the Sugar Histories of Greenock

 

13:20–14:00 Lunch

 

14:05–15:35 Panel 2

Timing Colonial Ports: Global Time and Local Temporalities

Chair: Hatice Yıldız(University of Oxford)

 

David Irving (ICREA & Institució Milà i Fontanals–CSIC, Barcelona)

Temporality, Aesthetics, and Musical Novelty in Early Modern Colonial Port Cities

Nancy Cushing (University of Newcastle, Australia)

The Time Ball and the Time Gun: Marking Time in a Colonial Port City

 Jessica Fernández de Lara Harada (University of Cambridge)

Summer Grass, Traces of the Brave Ones’ Dream: Harada Hatsu on the recollection of a sense of a timeless Japan in Chiapas, Mexico

 

15:35–15:50 Coffee Break

 

15:50–16:50 Keynote: Leila Fawaz (Tufts University)

Chair: Hatice Yıldız

Reflecting on the port cities of the Levant during the Late Ottoman Period

 

18:00– Conference Dinner at Pierre Victoire for presenters and keynote speakers

 

3 MAY (FRIDAY)

8:15–8:30 Arrival

8:30–10:00 Panel 3

Experiencing Colonial Ports: Forming Global Bodies

Chair: Katharina Oke (King’s College London)

 

Debbie Onuoha (Humboldt University of Berlin)

Lagos, Lagos: Navigating Personal Histories between Two Port Cities on Film

Manikarnika Dutta (Wellcome Unit, University of Oxford)

‘Portals of Death’: European Seamen in the Colonial Port Cities of Calcutta and Bombay

Katherine Roscoe (University of Liverpool)

Embodied Experience and Unfree Labour in Port Cities: Convict Workers in Sydney and Gibraltar

 

10:00–10:20 Coffee Break

 

10:20–11:50 Panel 4

Sensing Colonial Ports: Affective Registers

Chair: Min-Erh Wang (University of Oxford)

 

Aatreyee Ghosh (Leiden University)

Looking from the Verandah: Interrogating the Border-Spaces of Port Towns Canton and Batavia through the Historical Fiction of Amitav Ghosh and David Mitchell

Alexander Petrov (Institute of World History, Russian Academy of Sciences)

The Development of Colonial Ports in Russian America

Nagihan Haliloğlu (Ibn Haldun University, Istanbul)

Sensing and Resisting the Colonial Port in Istanbul in Leonard Woolf and Halide Edib’s Writing

 

12:00–13:00 Keynote: Benjamin Walton (University of Cambridge)

Chair: Yvonne Liao

 

13:00–13:10 Closing Remarks

Facilitator: Olivia Durand

 

 

Symposium and Workshop: South African Opera Productions after the Apartheid

Venue: Universität Bayreuth

Date:   18th– 19th October 2018

Call for Papers:

Deadline: 15th August 2018

With the end of the Apartheid era, opera – stigmatized as ‘eurocentric opera’ – became a symbol of Western dominance/colonial imposition and seemed to be dead in South Africa.

But in fact, especially the so called ‘indigenous opera’ ‘flourishes’ as something of an anachronism and can be assessed as ‘black empowerment’ (Naomi André 2018).

The writing of a historiography of opera productions in South Africa although has academically just shortly started (Donato Somma 2016; Hilde Roos 2013, 2010; Martina Viljoen 2006) and is confronted with problems of different natures: political structures, post-colonization, globalization, unstable artistic standards and institutional relations.

The ‘bloom’ of opera presents itself neither through regular performances nor through crowded theatre halls. This is a consequence of the difficult political relations of artistic production in South Africa, which are among others characterized by a lack of funding and the re-organization of the Performing Arts Councils/ National Arts Councils. The existing significant multiple theatricalities of South Africa are thereby not having a platform to present themselves. The market pressure results often in overseas productions financing the few performances in the country itself. Thereby putting itself on risk to confirm with their opera productions transferred expectations of a South African identity rather than expressing an ‘authentic’ one.

This symposium will focus on South African Opera productions. Thereby the aim of the symposium is to represent the plurality of artistic concepts that deal in different ways with the multiple challenges of political and social transformation. How can opera in South Africa be involved in the process of societal transformation in a post-apartheid society? Which new artistic concepts are needed? How does themes for the libretti change? How did language, the style of composition and orchestration transform? Which new locations for performances are found to involve new audiences? How did the aesthetics change? And how are new media used either for a new aesthetic of performances, as with e.g. ‘Lamento’ (Umculo) or ‘U-Carmen eKhayelitsha’ (Isango Ensemble), or for marketing purposes?

For the first day of the symposium presentations shall focus on one opera productions. To ‘map’ the plurality of the field presentations are invited that cover one of the following topics.

  1. South African opera productions
  • Operas of different opera companies and composers
  • Different locations of opera performances (opera house, township, film)
  • Aesthetics of the opera opus itself
  • Analysis of compositions, libretti & performances

With Prof. Dr. Naomi André (University Michigan, USA), Dr. Donato Somma (University of Witwatersrand, SA) and Dr. Lena van der Hoven (among others) some experts in the field are invited. They will present on ‘Winnie – The Opera’ (Bongani Ndodana-Breen), ‘Princess Magogo’ (Opera Africa, Mzilikazi Khumalo), ‘Heart of Redness’ (Cape Town Opera, Neo Muyanga) and ‘Romeo’s Passion’ (Umculo, Cathy Milliken).

The workshop on the second day will cover transformation processes of Opera production in South Africa focusing on the following topics:

  • Opera institutions & opera companies
  • Finances/ Funding
  • Audiences
  • Marketing
  • Political impact

Abstracts (max. 2000 characters) for 20 minutes papers along with the technical requirements for the talk and a short CV with contact details should be sent by 15th August 2018 to Lena van der Hoven (Lena.van-der-Hoven@uni-bayreuth.de). Contributions from both the humanities and social sciences are welcome (Musicology, Theatre Studies, History, Cultural Studies, Sociology). Early career researchers in particular are encouraged to contribute. The chosen speakers will be informed by 31th August 2018 and the conference programme published online at http://www.prof-musikwissenschaft.uni-bayreuth.de/de/index.html .

 

 

Work & Play: Economies of Music

Work & Play: Economies of Music

The Harvard Graduate Music Forum Conference    •    20–21 February 2015

Keynote:  Robin James (UNC Charlotte)

Round Table:  Verena Andermatt Conley, Robin James, Sindhumathi Revuluri, Kay Kaufman Shelemay

 

– Call for Proposals –

This interdisciplinary conference takes as its premise that music is inseparable from the economic conditions of its production and consumption. Through presentations, lecture-recitals and composers’ colloquia, we seek to explore the intersections of music and economics from a diverse array of perspectives including labor, practice, material culture, and capital.

Questions include but are not limited to:

  • How do musicians and their employers understand musical labor, and how does this impinge on issues of amateurism, professionalism, and institutionalization?
  • How have shifting economic systems — for instance, from patronage to mass consumption, or from liberalism to neoliberalism — altered the place of music in society?
  • How have issues such as postcolonialism, the North-South economic divide, and globalization, intersected with various musical practices to forge divergent models of economies of music?
  • Where does music succeed and where does it fail in transforming economic relations?
  • What are the economic consequences of the material means of musics’ dissemination, such as manuscripts, published scores, phonograph recordings, streaming and live performance?
  • How do questions of cultural and economic capital combine in appraisals and contestations of musical value?
  • How has music symbolically represented economics and status? What is music’s role in this endeavour today?

– Submissions –

We welcome submissions from current graduate students on these and related topics. We seek proposals on all repertoires, musical practices and historical periods, and representing a broad set of methodologies. Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composer colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to relevant sound recordings and/or scores or supplementary documentation.

Deadline for proposals: 5 December 2014

Please e-mail submissions to: harvardgmf2015@gmail.com

For more information please visit: http://projects.iq.harvard.edu/gmf2015