Many works of early music originate from the colonial era and are embedded in colonial thought traditions. This year's symposium addresses this heritage: What colonial practices and forms of knowledge shaped early music, and which continue to shape it? What can we learn from decolonial and other power-sensitive approaches – on a theoretical, but especially on a practical level? Several lectures, personal reports, and a joint discussion round will consider these questions from the perspectives of art and music.
The event will be held in English.
Program: 10:00–10:30 AM
Colonial Shadows: Toward a Decolonial Future? Dr. Rahab Njeri, University of Cologne
The close entanglements of aesthetics and colonial heritage are often overlooked. The lecture explores decolonial approaches to reclaiming artistic spaces. Decolonial aesthetics question colonial constructs by focusing on marginalized voices and non-Western, pre-colonial, indigenous art and forms of knowledge. It also highlights their potential for a liberating practice. Dr. Rahab Njeri is a historian and activist. Her research areas include Postcolonial Gender Studies, Intersectionality, Black Feminism, and Critical Whiteness Studies. She is a trainer, moderator, and founder of the Kemet Awards for Achievement in African Languages (KAAAL). She is currently an advisor for anti-racism at the University of Cologne.
10:30–11:00
Diversity and Sensitivity Reading: A Practical Approach to Problematic Content in Opera and Oratorio Leyla Ercan, Critical Classics
How can we recognize and engage with problematic content, often rooted in colonialism, in historical libretti? Some ways of dealing with racism, exoticism, and sexism are presented based on the work of Critical Classics and their editions of "The Magic Flute" and "St. John Passion." The initiative Critical Classics develops discrimination-free editions of operas, operettas, and oratorios. The interdisciplinary team's goal is to raise general awareness of discriminatory language in opera libretti and stimulate a discussion about how to handle their problematic content.
11:00–11:30
Transculturation of Sound: Music and Colonialism in Colonial Hispanic America Hugo Miguel de Rodas Sanchez
During the Spanish colonial period from the 16th to the 19th century, musical practices and traditions emerged, along with new ways of understanding and creating music, many of which still exist today. The lecture addresses these and advocates for a critical approach to the topic of colonialism and music in Latin America, involving not only musicology but also ethnomusicology, anthropology, and history. Hugo Miguel de Rodas Sanchez is a lutenist and baroque guitarist. He performs with various renowned orchestras and is a founding member of the ensemble Los Temperamentos. His repertoire ranges from Renaissance music to the hard rock of the 1980s and also includes traditional Mexican and Latin American music.
12:00–12:30
Origins of Dances: Colonial Narrative in Early Music Dances Jorge Silva
The lecture deals with the origins of some dances in early music and explores how these were appropriated and altered to fit into a narrative of the colonial states and their court societies. Dances such as the sarabande, known as a sensual, fast dance to invoke the goddess of fertility, transformed into a slow, reflective dance. Similarly, the gigue is now considered a dance originating from England, despite its connections to the Canarie and the Canary Islands. Jorge Silva is a harpsichordist, pianist, and singer and regularly performs throughout Europe as a recitalist, orchestral, and chamber musician. He has been invited to serve as the artistic director of the first baroque festival in Cabo Verde in 2025, where he has cultural ties.
1:00 – 2:00 PM
Joint Discussion Round with Änne-Marthe Kühn, Hugo Miguel de Rodas Sanchez, Dr. Rahab Njeri, Jorge Silva, Christina Zintl, and others.
At the conclusion of the symposium, the various lecture topics and the perspectives of the speakers will be brought into dialogue in a joint discussion round. There will be space for unanswered or further questions and time to reflect on, deepen, and think further about what has been heard. Where are the connections and points of reference between the different topics and fields? What can be learned from each other? What can we take away for further practice in early music?
