There has been the recurrent suspicion that community, harmony, cohesion, and similar relational goods as understood in the African ethical tradition threaten to occlude difference. Often, it has been Western defenders of liberty who have raised the concern that these characteristically sub-Saharan values fail to account adequately for individuality, although some contemporary African thinkers have expressed the same concern. In this chapter, I provide a certain understanding of the sub-Saharan value of communal relationship and demonstrate that it entails a substantial (...) allowance for difference. I aim to show that African thinkers need not appeal to, say, characteristically Euro-American values of authenticity or autonomy to make sense of why individuals should not be pressured to conform to a group’s norms regarding sex and gender. A key illustration involves homosexuality. (shrink)

It is often suggested that artists from one culture (outsiders) cannot successfully employ styles, stories, motifs and other artistic content developed in the context of another culture. I call this suggestion the aesthetic handicap thesis and argue against it. Cultural appropriation can result in works of high aesthetic value.

We develop a process-based framework, articulating the escalation of difference between “private” self and “public” display as an alternative trajectory in the pursuit of authenticity to alignment and compromise. A parsimonious model presents an endogenous dynamic of binary choice that generates momentum toward polarization. The model is illustrated in the context of “black” metal – a branch of heavy metal music that appeared in Norway in the early 1990s, notorious for its involvement in criminal activities. Using fanzine data, we construct (...) a narrative of how a process of escalation led to innovation and transgression through self-selection and exclusion. The analysis addresses two related theoretical problems – what motivates actors to challenge normative scripts and “burn the bridges” to social acceptance, and why such challenges may prove more effective in achieving recognition than compromise. Examples from politics, culture and sports reinforce the importance of these problems. (shrink)

In this paper I defend a contextualist interpretation of authenticity in musical performance: we judge a performance as authentic not in respect of a stable set of requirements but according to contextually determined factors. This solution is the natural outcome of an independently supported ontological account of musical works: Musical Stage Theory. The aim of the paper is to give new momentum to the debate concerning the notion of authenticity and to challenge a monistic interpretation of authenticity: there is not (...) one authenticity but many. (shrink)