Educational Content, Pre-Requisite

Total Page:16

File Type:pdf, Size:1020Kb

Educational Content, Pre-Requisite MUSIC FROM BRAZIL MODULES: SAMBA, FORRÓ, CHORO / 2020-2021 / EDUCATIONAL CONTENT, RATES AND REGISTRATION PROCEDURES / MUSIC MODULES FROM BRAZIL The duration of a module is 10 hours spread over 2 consecutive days. They take place at the Conservatory of Aubagne and in the premises of IIWM. 3 modules will be organized from January to May 2021: MUSIC MODULES FROM BRAZIL SAMBA [10H] FORRO [10H] CHORO [10H] January 23 & 24, 2021 March 27 & 28, 2021 May 29 & 30, 2021 > Saturday from 1pm to 6pm > Saturday from 1pm to 6pm > Saturday from 1pm to 6pm > Sunday from 10am to 1pm and > Sunday from 10am to 1pm and > Sunday from 10am to 1pm and from 2pm to 4pm from 2pm to 4pm from 2pm to 4pm CONDITIONS FINANCIÈRES MODULES OPEN TO: GUITARISTS AND SINGERS INSTRUMENTALISTS, INSTRUMENTALISTS SINGERS AND DANCERS AND SINGERS PRE-REQUISITE PRE-REQUISITE PRE-REQUISITE > know how to form and chain chords on > know how to form and chain chords on > know how to form and chain chords on the guitar, being autonomous on a chant the guitar, being autonomous on a melody. the guitar, being autonomous on a melody. melody. EDUCATIONAL CONTENTS EDUCATIONAL CONTENTS Chaque participant assistera gratuitement au(x) concert(s) des artistes programmés lors de sa session de master-class. EDUCATIONAL CONTENTS > The forró is currently a real success > Choro is a popular Brazilian instrumental > We propose to work on the samba and in Europe, it’s a very popular kind of music, that has been developing in Brazil its huge repertoire of songs. A popular ballroom dance. The music is very catchy since the 19th century. Brazilian musical genre par excellence, and lascivious, the songs are contagious > We offer an introduction to this musical samba is both convivial and rich, from a and the texts very poetic. genre in the form of group practice. Work rhythmic point of view as well as from > We suggest that you work in two groups on a repertoire of 5 pieces, instrumen- harmony or melodies. on a repertoire of 5 pieces: a group of tal and songs, of easy level and varied > From a repertoire of 5 sambas, come and musicians and a group of dancers. The rhythms: maxixe, choro sambado, choro learn to sing in choir the most beautiful dancers will benefit from an introduction varandão. Trainees will learn interpreta- choruses, and accompany them with all to percussion and singing, the musicians tion, variation, accompaniment, phrasing. the subtleties of the rhythmic “sauce” and will be initiated to the steps of dance, on The pieces will be transmitted mainly on the counterpoints typical of the Brazilian the rhythms of the xote and the baião. score, a part will be transmitted orally. guitar. ASSOCIATION MÉTIS | 7, boulevard Lakanal | 13400 Aubagne | France / +33 (0)4 42 04 37 73 / [email protected] / www.iimm.fr/en MUSIC FROM BRAZIL MODULES: SAMBA, FORRÓ, CHORO / EDUCATIONAL CONTENT, PRICES AND REGISTRATION PROCEDURES / RATES REGISTRATION FOR 1 MODULE FOR IIWM’S AND CONSERVATORY’S STUDENTS: > Preferential rate: 100€ incl. VAT for 2 days + 10€ membership REGISTRATION FOR 1 MODULE FOR ONE-TIME STUDENTS: > Full rate: 220€ incl. VAT for 2 days + 20€ membership > Reduced rate: 170€ incl. VAT for 2 days + 10€ membership DEGRESSIVE RATES IN CASE OF REGISTRATION ON SEVERAL MODULES: NUMBER OF MODULES 1 MODULE 2 MODULES 3 MODULES 4 MODULES NUMBER OF HOURS 10 H 20 H 30 H 40 H FULL RATE RATE PER MODULE 220 € 200 € 180 € 160 € MEMBERSHIP 20 € TOTAL 240 € 420 € 560 € 660 € REDUCED RATE (-26 YEARS, SENIOR) RATE PER MODULE 170 € 150 € 130 € 110 € MEMBERSHIP 10 € TOTAL 180 € 310 € 400 € 450 € IIWM’S AND CONSERVATORY’S STUDENTS SINGLE RATE 100 € 200 € 300 € 400 € ASSISTANCE AND SUPPORT FOR YOUR FINANCIAL COVERAGE Training institution registered at DIRECCTE, referenced in DATADOCK, IIWM offers several possibilities of financial coverage (Afdas, Pôle Emploi, Uniformation, FIFPL…) if you are entertainment worker, unemployed, music or song teacher, employee of a cultural facility, self- employed worker. Information: [email protected] TERMS OF PAYMENT Wire transfer to our bank account • 30% of the total amount to be paid on registration and 70% to be paid 48 h prior to the start of the master-class. CANCELLATION POLICY • If cancellation is the responsibility of Association Métis, the student’s registration fees will be fully refund. • If cancellation is the responsibility of the student’s decision, the retained fees will be: FROM 30 TO 15 DAYS prior to the start of the master-class 30 % of the total amount of registration fees. FROM 14 TO 2 DAYS prior to the start of the master-class 70 % ASSOCIATION MÉTIS | 7, boulevard Lakanal | 13400 Aubagne | France / +33 (0)4 42 04 37 73 / [email protected] / www.iimm.fr/en.
Recommended publications
  • Brazilian Choro
    The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics.
    [Show full text]
  • PORT 365 Course Syllabus
    University of Washington Department of Spanish and Portuguese Studies Portuguese 365/ JSIS A 365 From Samba to Funk: A Portray of Brazilian Society through Music (Mapping Luso-Brazilian Cultures) Areas of Knowledge: Individual and Societies, Diversity, Visual Literary and Performing Arts Winter 2020 Instructors: Eduardo Viana da Silva [email protected] Class meets on T/Th – 1:30-3:20 pm Phone number: (206) 543-794 Denny Hall, room 259 Office: Padelford, room C-222 Office hours: Tue (3:30-4:30) Th (11:30-12:30) JSIS A 365/ PORT 365 - Catalogue Description Explores cultures of Brazil, Portuguese-speaking Africa, Asia, and Europe within the framework of cultural studies theory. Follows an interdisciplinary approach, drawing from readings, audio files (radio), films and documentaries in history, literature, arts and performances, anthropology, among others. Focuses on selected cultural aspects and countries. Taught in English. Course Description for Winter 2020 This course will look at several cultural representations of Brazil and other Portuguese-speaking countries through music, including genres as samba, choro, tropicália, maracatu, and funk, among others. Most of the course work will focus on Brazilian society and history through music. We will also study some of the musical genres from Portugal, Angola, Cape Verde, and Mozambique and its historical and cultural aspects as well. By the end of this course students will be able to: • Evaluate aspects of culture formation through several music genres in Brazil, Mozambique, Angola, Cape Verde, and Portugal; • Cultivate a critical appreciation and understanding of music genres and artists from the Luso-Brazilian world; • Develop an understanding of pertinent culture differences and global citizenship; • Consider the lasting ideas and values of similarities and differences between the self and the other, in light of each culture; • Learn to read and interpret critically; • Evaluate ideas from multiple perspectives.
    [Show full text]
  • Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant
    [Show full text]
  • Inside the Brazilian Rhythm Section for Guitar, Piano, Bass and Drums
    Inside The Brazilian Rhythm Section for Guitar, Piano, Bass and Drums by Nelson Faria & Cliff Korman Guest musicians: David Finck (Acoustic Bass) Itaiguara Brandão (Electric Bass) Paulo Braga (Drums) Café (Percussion) Sher Music Company Inside the Brazilian Rhythm Section TABLE OF CONTENTS Note from the authors . 10 Drum notation . 13 CD 1 – for guitar and piano players . 14 CD 2 – for drummers and bass players . 15 General information . 18 CHAPTER 1 Underlying rhythmic reference . 18 Samba Sample parts . 19 “Brasilified” – guitar/piano part . 20 “Brasilified” – bass part . 22 “Brasilified” – drum part . 24 Performance notes and extracted examples . 26 General information . 32 CHAPTER 2 Underlying rhythmic reference . 32 Bossa Nova Sample parts . 33 “Rio” – guitar/piano part . 34 “Rio” – bass part . 36 “Rio” – drum part . 38 Performance notes and extracted examples . 39 General information . 42 CHAPTER 3 Underlying rhythmic reference . 42 Partido-Alto Sample parts . 43 “Brooklyn High” – guitar/piano part . 44 “Brooklyn High” – bass part . 46 “Brooklyn High” – drum part . 48 Performance notes and extracted examples . 50 General information . 54 CHAPTER 4 Underlying rhythmic reference . 54 Choro Sample parts . 55 “Saudade do Paulo” – guitar/piano part . 57 “Saudade do Paulo” – bass part . 60 “Saudade do Paulo” – drum part . 62 Performance notes and extracted examples . 64 8 Inside the Brazilian Rhythm Section General information . 68 CHAPTER 5 Underlying rhythmic reference . 68 Baião Sample parts . 68 “Playground” – guitar/piano part . 70 “Playground” – bass part . 72 “Playground” – drum part . 74 Performance notes and extracted examples . 75 General information . 80 CHAPTER 6 Underlying rhythmic reference . 80 Frevo Sample parts . 81 “Sombrinhas de Olinda” – guitar/piano part .
    [Show full text]
  • Aspects of Interpretation and Improvisation in the Performance of Brazilian Guitar Music
    ASPECTS OF INTERPRETATION AND IMPROVISATION IN THE PERFORMANCE OF BRAZILIAN GUITAR MUSIC by Michael Bevan A submission comprising CDs, DVD and an exegesis in fulfilment of the requirements for the degree of Master of Music Elder Conservatorium of Music The University of Adelaide March 2008 TABLE OF CONTENTS Abstract iii Statement iv Acknowledgments v List of Figures vi 1. INTRODUCTION 1 2. CHORO IN ITS HISTORICAL AND STYLISTIC CONTEXT 3 2.1) Background to Brazilian popular music and the development of choro 2.2) Characteristics of choro 2.3) Performance practice within the choro guitar repertoire 3. A COMPARISON OF TWO RECORDED PERFORMANCES OF CHORO #1 (FOR SOLO GUITAR) BY HEITOR VILLA-LOBOS 8 4. THE RECITALS 14 4.1) Overview 4.2) First Recital 4.2.1) Solo 4.2.2) Duo 4.2.3) 7-string guitar and the baixaria in a group setting 4.2.4) Trio 4.3) Second Recital 4.3.1) Harmonic interpretation 5. CONCLUSION 35 APPENDIX A: Track Lists for CDs and DVD 36 APPENDIX B: Recital Program Notes 38 BIBLIOGRAPHY 43 Included with this submission: • CD 1 – Audio Recording of Recital 1 • DVD 1 – Video recording of Recital 1 • CD 2 - Audio recording of Recital 2 • CD 3 – Comparative Examples and Audio Extracts ABSTRACT This research into Brazilian music in general, and choro guitar music in particular, focuses primarily on the various and contrasting ways in which the repertoire is interpreted by Brazilian choro musicians, classical guitarists and jazz guitarists. Socio-cultural traditions and conventions are also explored. An important facet of performance in the Brazilian tradition is improvisation.
    [Show full text]
  • Brazilian Piano Through the Ages
    James Madison University JMU Scholarly Commons Senior Honors Projects, 2010-current Honors College Spring 2012 Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences Rebecca Lin Chen James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors201019 Recommended Citation Chen, Rebecca Lin, "Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences" (2012). Senior Honors Projects, 2010-current. 400. https://commons.lib.jmu.edu/honors201019/400 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2010-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Brazilian Piano Through The Ages: A Look at the Development in Style Through the Context of Social Issues and Historical Influences _______________________ A Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ in Partial Fulfillment of the Requirements for the Degree of Bachelor of Music _______________________ by Rebecca Lin Chen May 2012 Accepted by the faculty of the Department of Music, James Madison University, in partial fulfillment of the requirements for the Degree of Bachelor of Music. FACULTY COMMITTEE: HONORS PROGRAM APPROVAL: Project Advisor: Paulo Steinberg, D.M.A. Barry Falk, Ph.D., Assistant Professor, Music Director, Honors Program Reader: Andrew Connell, Ph. D., Associate Professor, Music Reader: Bob Hallahan, B.M.
    [Show full text]
  • Measuring Disruption in Song Similarity Networks
    MEASURING DISRUPTION IN SONG SIMILARITY NETWORKS Felipe Falcão1 Nazareno Andrade1 Flávio Figueiredo2 Diego Silva3 Fabio Morais1 1 Universidade Federal de Campina Grande, Brazil 2 Universidade Federal de Minas Gerais, Brazil 3 Universidade Federal de São Carlos, Brazil [email protected], [email protected] ABSTRACT Investigating music with a focus on the similarity relations between songs, albums, and artists plays an important role when trying to understand trends in the history of music genres. In particular, representing these relations as a sim- ilarity network allows us to investigate the innovation pre- sented by these entities in a multitude of points-of-view, including disruption. A disruptive object is one that cre- ates a new stream of events, changing the traditional way of how a context usually works. The proper measurement of disruption remains as a task with large room for improve- ment, and these gaps are even more evident in the music Figure 1. Network topology for a disruptive artist. domain, where the topic has not received much attention so far. This work builds on preliminary studies focused on the analysis of music disruption derived from metadata- Regarding the different creative roles played by artists based similarity networks, demonstrating that the raw au- during the genre trajectories, the AllMusic guide defines dio can augment similarity information. We developed a the Ramones as “inarguably the most relevant band in case study based on a collection of a Brazilian local music punk history, creating the stylistic prototype that would tradition called Forró, that emphasizes the analytical and be followed by countless bands who emerged in their musicological potential of the musical disruption metric to wake” 1 .
    [Show full text]
  • African Influence in Brazilian Music: Samba Welson Tremura
    African Influence in Brazilian Music: Samba Welson Tremura Introduction Although we are strongly influenced by Afro-Brazilian heritage, we know very little about their extensive contribution to Brazilian culture. Without question, samba is the most popular musical style and genre ever produced for carnaval in Brazil. The word samba is derived from the Bantu word semba, or belly button. In Africa, entire villages gathered in circles to sing and dance with the opportunity to show their abilities and knowledge of their musical and dance heritage. After each participant completed his or her turn, another member of the group was invited with the dance pattern semba or “belly button touch,” to take his or her place. Like the word batuque (drumming), samba was first associated with any type of popular celebration1. There are those who feel that the lundu, a dance of African origin in Brazil since the shipment of slaves from Angola, is the true musical parent of the samba2. Others theorize that slaves and ex-slaves brought an early form of samba to Rio from Bahia in the nineteenth century “because of the decline in the fortunes of tobacco and cocoa plantations in Bahia state, and because of two important new laws: the Law of the Free Womb in 1871 (which declared all children born to slaves as free), and Brazil’s abolition of slavery in 1888”3. Thus, internal migration took place and the Afro-Brazilian population had the opportunity to move south with their musical traditions. Drumming (1835), by Johann Moritz Rugendas. 1 Enciclopédia da Música Brasileira: Erudita, Folclórica e Popular 1977: 684 2 McGowan & Pessanha 1991: 28 3 Ibid 1 Another theory of the roots of samba is also associated with the ranchos, which is the Portuguese word to describe a group of people.
    [Show full text]
  • Popular Virtuosity: the Role of the Flute and Flutists in Brazilian Choro
    POPULAR VIRTUOSITY: THE ROLE OF THE FLUTE AND FLUTISTS IN BRAZILIAN CHORO By RUTH M. “SUNNI” WITMER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2009 1 © 2009 Ruth M. “Sunni” Witmer 2 Para mis abuelos, Manuel y María Margarita García 3 ACKNOWLEDGMENTS There are very few successes in life that are accomplished without the help of others. Whatever their contribution, I would have never achieved what I have without the kind encouragement, collaboration, and true caring from the following individuals. I would first like to thank my thesis committee, Larry N. Crook, Kristen L. Stoner, and Welson A. Tremura, for their years of steadfast support and guidance. I would also like to thank Martha Ellen Davis and Charles Perrone for their additional contributions to my academic development. I also give muitos obrigados to Carlos Malta, one of Brazil’s finest flute players. What I have learned about becoming a musician, a scholar, and friend, I have learned from all of you. I especially want to thank my family – my parents, Mr. Ellsworth E. and Dora M. Witmer, and my sisters Sheryl, Briana, and Brenda– for it was my parent’s vision of a better life for their children that instilled in them the value of education, which they passed down to us. I am also grateful for the love between all of us that kept us close as a family and rewarded us with the happiness of experiencing life’s joys together.
    [Show full text]
  • Download PDF Datastream
    The Eruption of Insular Identities: A Comparative Study of Contemporary Azorean and Cape Verdean Prose By Brianna Medeiros B.A., Brown University, 2011. A.M., Brown University, 2015. A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Portuguese and Brazilian Studies at Brown University. Providence, Rhode Island May, 2017 © Copyright 2017 by Brianna Medeiros This dissertation by Brianna Medeiros is accepted in its present form by the Department of Portuguese and Brazilian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date ______________ ______________________________________________ Onésimo T. Almeida, Advisor Recommended to the Graduate Council Date ______________ ______________________________________________ Leonor Simas-Almeida, Reader Date ______________ ______________________________________________ Nelson H. Vieira, Reader Approved by the Graduate Council Date ______________ ______________________________________________ Andrew G. Campbell, Dean of the Graduate School ! iii! Curriculum Vitae Brianna Medeiros was born in Brockton, Massachusetts, where she was raised. She graduated in 2011 from Brown University, where she double concentrated in Portuguese and Brazilian Studies and International Relations. While she was an undergraduate at Brown, she spent a semester in Lisbon, Portugal, studying at the Universidade Nova de Lisboa, in 2010. In 2011 and 2012, she received funding from FLAD to travel to the Azores, with the Antero de Quental Mobilidade fund, and begin her research on Azorean literature. In September 2011, she began her graduate career in Portuguese and Brazilian Studies at Brown University. During her time at Brown, in addition to the support received from FLAD, she also received a Belda Research Fellowship to travel to Santa Catarina and Rio Grande do Sul, Brazil, to conduct research on the Azorean presence and legacy in these two states, in 2014.
    [Show full text]
  • MSOM Curric. Detail 2 Semester
    Brazilian Popular Music History and Performance Practice Prof. Cliff Korman BRAZILIAN MUSIC HISTORY, RHYTHM, AND REPERTOIRE FOR THE JAZZ PRACTITIONER This course is designed to introduce and examine Brazilian music from both academic and performance perspectives. Beginning with an overview of Brazilian music history, regional groups, rhythms, and styles, it will proceed by considering each style or rhythm group. For each style the students will learn and perform fundamental rhythms on percussion instruments including tamborim, agogó, ganzá, caxixí, triangle, pandeiro, and surdu. Each area of focus will be covered in one or two sessions, and include lecture, listening, reading, and performance of exemplary pieces. As the students are first and foremost performers, a primary focus of the course is the incorporation of the Brazilian music universe of rhythms, phrasing, and repertoire into their developing styles. They will be required to complete a research project on a specific topic, to be chosen with the instructor, and to become familiar with repertoire associated with their respective instruments (see repertoire list below). The aim is to produce a performer who is well informed not only about musical components and necessary skills for performance, but also about the history and context in which Brazilian music develops. In addition, the course can be directed in some part towards the creation of repertoire and arrangements for combos, big bands, vocal soloists and groups, and chamber ensembles. Students will gain the essential musical and esthetic information to create works that are both stylistically authentic and contemporary. Note: An explanation of Brazilian styles and lists of composers and repertoire follow the course outline.
    [Show full text]
  • Download File
    Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Timothy Roark Mangin All rights reserved ABSTRACT Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin This dissertation is an ethnographic and historical examination of Senegalese modern identity and cosmopolitanism through urban dance music. My central argument is that local popular culture thrives not in spite of transnational influences and processes, but as a result of a Senegalese cosmopolitanism that has long valued the borrowing and integration of foreign ideas, cultural practices, and material culture into local lifeways. My research focuses on the articulation of cosmopolitanism through mbalax, an urban dance music distinct to Senegal and valued by musicians and fans for its ability to shape, produce, re-produce, and articulate overlapping ideas of their ethnic, racial, generational, gendered, religious, and national identities. Specifically, I concentrate on the practice of black, Muslim, and Wolof identities that Senegalese urban dance music articulates most consistently. The majority of my fieldwork was carried out in the nightclubs and neighborhoods in Dakar, the capital city. I performed with different mbalax groups and witnessed how the practices of Wolofness, blackness, and Sufism layered and intersected to articulate a modern Senegalese identity, or Senegaleseness. This ethnographic work was complimented by research in recording studios, television studios, radio stations, and research institutions throughout Senegal. The dissertation begins with an historical inquiry into the foundations of Senegalese cosmopolitanism from precolonial Senegambia and the spread of Wolof hegemony, to colonial Dakar and the rise of a distinctive urban Senegalese identity that set the proximate conditions for the postcolonial cultural policy of Négritude and mbalax.
    [Show full text]