箜儂．達貝（Konou Drambé）是馬利（Mali）城市傑內（Djenné）的一個回教修士階級家庭的次子。2009年箜儂．達貝推出一套伊斯蘭頌歌錄音帶，它立刻引發爭議：他被控襲取權威及否認傳承。但這卷錄音帶及其所引發的爭議真正揭露了什麼？ 本文研究在馬利運作中各種作者權威體制（依auctoritas之意），其內涵是在地（古老或近期的）使用和「著作權」國家立法及國際立法間的對立，並呈現出其中所有的張力，但也有在這些不同的體制共存的狀況下，所產生的調整，甚至創新。在過程中，馬利的材料會和其它藝術實踐相參照，它們的作者權威原則皆和著作權概念相左，後者其實就地理、歷史及文化而言，皆有其特定情境，而這些不同的體制發明了新的模式。本文最後會參與「著作權」體系普世性有關的廣泛反思，並論及現代性的複多生產。

In 2009, Konou Drambe, junior of a powerful maraboutique family of Jenne in Mali brings out an audio cassette tape of Islamic praise songs, which creates immediately a debate: Konou Drambe is accused of usurpation of authority and of denial of filiation. But what really reveals this cassette and the debate which it aroused? This text studies the various authority regimes (in the sense of auctoritas) exercised in Mali, local practices (old or recent) vs national and international legislations on “copyright”, by showing all the tensions, but also the settlements and even the innovations which the coexistence of these various regimes generates. In so doing, the Malian data are set against with other artistic practices the principles of authority of which move away from the geographically, historically and culturally situated model of the “copyright”, or which invent new models. In the end, this text participates of a wide reflection on the universality of the system of “copyright”, and on the multiple productions of the modernity.