Music gonna teach
Decolonising IR through a musical exploration of knowledge
Bibliographic Data
| ID | 6449184 |
|---|---|
| Authors | Kemi Fuentes-George (0000-0003-2365-9556, Middlebury College, corresponding author) |
| Year | 2024 |
| Volume | 51 |
| Issue | 1 |
| Pages | 121-138 |
| Publication date | 2024-11-05 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Review of International Studies (JOURNAL) |
| Journal identifiers | ISSN: 0260-2105 • E-ISSN: 1469-9044 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0260210524000688 |
| OpenAlex | W4404081494 |
| Language | EN |
| Citations received | 1 |
| References cited | 5 |
There is a growing body of literature calling for the decolonisation of International Relations (IR) theory. This literature, which includes perspectives from the Global South, Indigenous, and feminist approaches, has explained how the colonial thought and White supremacy of early IR scholars like Wilson, Reinsch, and Schmitt shaped the contemporary field and is still reflected in mainstream understandings of core concepts like peace, sovereignty, and security. The need to decolonise IR is well established, but the way to do so is not always clear. This paper explores how engaging with the global politics of Afro-Caribbean Rebel Music serves the decolonisation effort. We can understand Rebel Music as a form of knowledge that emerged in dialogue with, and continues to reproduce ideas embedded in, global and anti-colonial Black approaches to IR theory. Textually and sonically, Rebel Music critiques the nation-state as the primary agent of peace, security, and identity, imagines a transnational Black identity, and is one of the primary forms in which we can hear the voice of the marginalised communicate their understanding of world politics. Engaging with Rebel Music is thus one avenue to decolonising contemporary IR
| Citations per year | 0.5 |
|---|---|
| Citation span | 2024 - 2024 (1) |
| Highly cited | No |