“In the post-9/11 ‘war on terror’ era, new weapons, methods of surveillance, and violent tactics were developed and used in Iraq, Afghanistan and multiple other countries. Gradually, those methods seeped into local police departments, and are directed overwhelming against communities of color.” writes Mary Zerkel. Republished here in our Acquaintance section via CC BY-NC-ND 2.0.
From the Editor's Desk
Immerse yourself in the energetic, innovative and potentially illegal world of mash-up media with RiP: A Remix Manifesto. Let web activist Brett Gaylor and musician Greg Gillis, better known as Girl Talk, serve as your digital tour guides on a probing investigation into how culture builds upon culture in the information age.
Kashmir-based rock band Ramooz releases the music video for the first track from their upcoming album conceived and recorded during eight months of lockdown in Srinagar. The song “Aalav”, performed in Kashmiri, is infused with emotive lyricism matched by the evocative imagery of its music video. While some might engage with this music video from the frame of a “memoryscape”, its lyrical range and complex scenography ventures equally into the terrain of a “dreamscape”, where disjointed subtexts and multiple motifs point to a story outside of the frame and hidden deep within its contours. As such, “Aalav” (the call) is as evocative as memory and as elusive as dream, and not easily served to literalists. Video credits, relevant links and lyrics included.
(Re)centering Indigenous Perspectives in Music Education in Latin America — by Héctor Miguel Vázquez Córdoba
Indigenous knowledge has been marginalized and excluded through a system based on a worldview that perpetuates colonialism. The actions and attitudes of nation-states and academic bodies deem, recognize, and value certain ways of knowing as “superior,” which marginalizes knowledge from Indigenous cultures. Considering an educational philosophy that puts the knowledge and worldviews of local cultures at its heart is an urgent step towards changing this situation. In this text, I discuss the implementation of Styres’s (2017) Land-centred philosophical proposal in music education. This approach is built on the understanding that Indigenous knowledge has the same value as knowledge that comes from hegemonic Western centres. This perspective proposes to disrupt the role of Eurocentrism that accepts or rejects different ways of knowing and (re)centers Indigenous knowledge and worldviews.
In what Kashmiri writer Mirza Waheed has interrogated as “the world’s first mass blinding,” here is the story of 18-year-old Farzan Sheikh, who was blinded by pellets fired by Indian government forces a year after the horrific four month curfew of 2016. During that year, “17,000 adults and children” had “been injured” and “nearly five thousand” had “been arrested”, while “an entire population spent the summer under the longest curfew in the history of curfews in Kashmir.” However, with so many Kashmiris blinded through the use of pellet fire, the state’s policy did not change. In 2017, Farzan became yet another target of such violence while attending a funeral procession. Azad Essa and Horia El Hadad present his story in this short documentary. Relevant links included.
The latest installment of Kashmiri Hip Hop brings us “Khoon Rezi”, a track by young artists Tufail Nazir and Aatankki who integrate fierce and unapologetic lyricism with a subtle yet steady Trap beat. The track is produced by Semmi On The Beat, mixed and mastered by Ahmer. The music video is directed and edited by Aatankki himself, with Zuhaib Bhat on the camera and drone cinematography by Junaid Bhat / Fx Studio. Lyrics and relevant links included.