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ABSTRACT In this thesis, I probe into the ways in which the much-debated word Jihad lends itself to multifarious meanings within the Mourid Sufi Order and examine the foundations of the principles of peace and non-violence that informed the relationships between Cheikh Ahmadou Bamba, the founder of Mouridism (1853 ca - 1927) and the French colonial state from 1883 to 1927. As a matter of fact, unlike some Senegalese Muslim leaders who had waged a violent Jihad during the colonial conquest and expansion, Cheikh Ahmadou Bamba promoted peaceful forms of Jihad which partook of his reform and revival movement in the Senegalese society. Yet, it is worth pointing out that the Mourid leader's ethics of peace and philosophy of non-violence as methods of struggle (the etymological sense of the word Jihad) during colonial times have been largely unexplored within academia. The contours of these new forms of resistance were grounded on a peaceful and non-violent approach which, according to Cheikh Ahmadou Bamba, was the only way to reach his spiritual, educational and social goals. This thesis proffers a counter-example to religious violence often associated with and perpetrated in the name of Islam. I argue in this thesis that a close investigation into Cheikh Ahmadou Bamba's epistemology of Jihad evidences that the term Jihad has spiritual, educational, social, cultural and economic functions which naturally contrast with its one-sided and violent connotation spotlighted over the last two decades. In conducting research for this work, I used a transdisciplinary approach that can allow me to address the complex issues of Jihad, peace and non-violence in a more comprehensive way. Accordingly, I have used a methodology that crosses the boundaries of several disciplines (historical, anthropological, sociological and literary).
ContributorsSeye, Cheikh (Author) / Haines, Charles (Thesis advisor) / Gallab, Abdullahi (Committee member) / Talebi, Shahla (Committee member) / Saikia, Yasmin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Eurocentrism in early 20th-century music history in Latin America demonstrates political and racial preferences that placed foreign art music over local music making practices. After the Mexican Revolution (roughly 1910–20), Mexican political and cultural leaders pushed for a “universal” aesthetic in their nation’s art music, implicitly devaluing musical references to Indigenous cultures. This contradicts the era’s indigenist cultural revolution popularized as an “Aztec Renaissance” that celebrated Mexico’s renewed notion of mestizaje (European-Indigenous racial mixture) in music and art. The Mexican elite turned to foreign intellectuals such as Adolfo Salazar (1890–1958), the Spanish-born composer and music critic who came to Mexico as an exile in 1939, to link Mexico’s postcolonial culture with the intellectual inheritance of Europe.This thesis offers discursive analysis of Salazar’s writings in the context of his Mexican years, revealing subtexts of Spanish racial and cultural superiority that indirectly served the elitist agendas of Mexican diplomats and musical tastemakers such as Carlos Chávez (1899–1978). Salazar’s hegemonic legacy in Spanish-language musicology has often been left unquestioned and therefore I assess his influence alongside the development of a music-historical paradigm that defined 20th-century Mexican art music as an international phenomenon. I argue that Salazar’s Spanish-oriented music history established dominance over musicmaking practices in Mexico through demeaning allusions to mestizaje and social hierarchies within musical nationalism. By considering Salazar’s role in Mexican musical nationalism, my thesis reveals how Eurocentric music history writing coincided with colonialist Mexican politics, legitimizing foreign intellectualism over local cultural processes.
ContributorsHeyen, Adam David (Author) / Feisst, Sabine (Thesis advisor) / Bolanos, Gabriel (Committee member) / Saikia, Yasmin (Committee member) / Arizona State University (Publisher)
Created2022