The Barber Lectures in Literature are made possible by a gift to UMM from Laird H. Barber and the late Dorothy Klein Barber, both of whom had long and distinguished careers as English faculty at UMM. The endowed lecture series began in 1999 and is shared, in alternate years, between English and Foreign Languages and Literatures (German Studies, French, Spanish); its intention is to provide a stimulating forum for delving into the multiplicity of issues which confront and enrich literary studies in many areas of the world. More information can be found on the Barber Lecture Series website.
Luis E. Cárcamo Huechante
As a founding member of the Comunidad de Historia Mapuche, a collective of Mapuche researchers based in Temuco, southern Chile, Professor Cárcamo-Huechante is co-editor of two inter-disciplinary collections of essays: Ta iñ fijke xipa rakizuameluwün. Historia, colonialismo y resistencia desde el país Mapuche (History, Colonialism, and Resistance from the Mapuche Nation, 2012), and Aküwan ka kütrankan zugu Wajmapu mew: Violencias coloniales en Wajmapu (Colonial Violences in Wajmapu, 2015). He previously published his own book on neoliberalism and culture in Chile: Tramas del mercado: imaginación económica, cultura pública y literatura en el Chile de fines del siglo veinte (Fictions of the Market: Economic Imagination, Public Culture, and Literature in Chile at End of the 20th Century, Editorial Cuarto Propio, 2007). In this year’s Barber Lecture, Professor Cárcamo Huechante aims to elaborate on the ways in which invasive sounds have contributed to the long history of what he calls "acoustic colonialism." Based on some examples of acoustic occupation of indigenous Mapuche territory in South America, he will present and analyze various forms of Mapuche agency in the sonosphere, through audiovisual art, poetry, music, and radio. This enables him to elaborate on the relationship between sound, violence, and colonialism in the past and the present, as well as in the ways in which indigenous activism, media, and the arts can respond to acoustic colonialism.