DOCSLIB.ORG

Reconsidering Cultural Entrepreneurship: Hip Hop Music Economy and Social Change in Senegal, Francophone West Africa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reconsidering Cultural Entrepreneurship: Hip Hop Music Economy and Social Change in Senegal, Francophone West Africa City Research Online City, University of London Institutional Repository Citation: Mbaye, J. F. ORCID: 0000-0003-2225-6077 (2011). Reconsidering cultural entrepreneurship: hip hop music economy and social change in Senegal, francophone West Africa. (Unpublished Doctoral thesis, The London School of Economics and Political Science (LSE)) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25683/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Reconsidering Cultural Entrepreneurship: Hip Hop Music Economy and Social Change in Senegal, Francophone West Africa Jenny Fatou MBAYE Thesis submitted for the degree of Doctor of Philosophy (PhD) London, July 2011 LONDON SCHOOL OF ECONOMICS AND POLITICAL SCIENCE 1 Declaration of Originality I certify that the thesis I am presenting for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorization does not, to the best of my belief, infringe the rights of any third party. 2 Abstract The increasing interest in the cultural economy is part of an attempt to invent new industrial development strategies that comprises a capacity to transform locations. In policy-making, the cultural economy is commonly framed from an economic perspective that salutes the role of the cultural economy and the dynamics of entrepreneurship in processes of urban and regional developments. Moreover, explorations of cultural economy and entrepreneurship are mainly represented by studies of Europe and North America. This thesis departs from such a normative perspective, and critically examines the links between a situated music economy, its cultural entrepreneurs and social change in West Africa. The empirical investigation of West African hip hop musical practitioners is framed by the notion of “community of practice”. The situated practices of these cultural workers and their music production ecology are investigated – methodologically – from a grounded perspective in order to grasp the originality of their materiality and aesthetics. The empirical focus of this thesis research is Dakar, one Francophone West African urban locale, which is contrasted with the ‘test case’ site of Ouagadougou. The case study locations are ‘experientially situated’, and over seventy semi-structured interviews were conducted with a range of participants both directly and indirectly involved in the hip hop music economy. Underpinning this research is the starting point that using “community of practice” as a conceptual framework offers a theoretically informed empirical basis for situating cultural entrepreneurship in the context of the West African music economy. In response, this thesis introduces the transcultural dimension of Hip Hop to frame its 3 radical culturalisation of the West African music economy. This is done by singling out the political, social and theoretical significance of how hip hop entrepreneurship has become a force to be reckoned within social change in Francophone West Africa: this is a significant contribution of the thesis. 4 Acknowledgements I am profoundly indebted to my “A Team”. Andy C. Pratt, Pr., my PhD supervisor, for his constant support, his understanding guidance and his periodic confidence boosts; his insightful advices and critical way of thinking have been of immense value for me Alexis Nouss, Pr., my unofficial advisor and mentor, for his persistent belief and caring encouragement, and for having taught and inspired me how research can stand as an engaged practice Abdoul Aziz Dieng, my operational collaborator, for his ongoing interest and concern, and for his wide knowledge enlightening and grounding my research in the future of a practice I am grateful as well for the financial assistance I have received from a variety of funding sources. These in no small part made this thesis possible and include Departmental Research Studentships (LSE), a West African Research Centre (WARC/CROA) Graduate Travel Grant and a scholarship from the Foundation Lettera27 through its WikiAfrica Art project Last but not least, a sincerest big up to my biographical family, my ‘emotional site’! 5 Table of Contents PART ONE FRAMING THE ISSUE 11 CHAPTER 1 FRAMING THE RESEARCH 12 1.1. Introduction 12 1.2. Contradictions of the music economy 19 1.2.1. On the complexity of the cultural economy 20 1.2.2. On the consumption and production continuum 23 1.2.3. Productive role of cultural mediation or peopling the cultural economy 27 1.3. On cultural economy and entrepreneurial development 30 1.3.1. Cultural economy and West African development: (yet) another missed boat? 31 1.3.2. Cultural economy and development: which boat anyway? 35 1.4. Research design 38 1.4.1. Taking West African musical entrepreneurship seriously 39 1.4.2. Structure of the thesis 42 1.5. Conclusion 49 CHAPTER 2 OPERATIONALISING THE CONCEPTUAL 51 FRAMEWORK 2.1. Introduction 51 2.2. Considering traditional entrepreneurial landscapes 53 2.2.1. Entrepreneurial innovation and creativity 55 2.2.2. On the front of economics and business management studies 56 2.2.3. From sociology and psychology perspectives 59 2.3. Creative, innovative, cultural entrepreneurship(s)? 61 2.3.1. Cultural and creative innovation 61 2.3.2. Spatialising cultural and creative entrepreneurship 64 2.4. Entrepreneurial communities of practice 68 2.4.1. On the complexity and diversity of cultural and creative 70 entrepreneurship 2.4.2. On the cognitive and pragmatic spaces of West African musical entrepreneurship 74 2.5. Ideal-typology of West African musical entrepreneurs 79 2.5.1. Local cultural entrepreneurs 81 2.5.2. Cosmopolitan musical entrepreneurs 86 2.5.3. Hip hop entrepreneurs 91 6 2.6. Conclusion 95 CHAPTER 3 HIP HOP TRANSCULTURAL POLITICS 101 3.1. Introduction 101 3.2. Hip Hop in translation 103 3.2.1. On a hip hop genealogy 103 3.2.2. Mondialisation: beyond binaries 106 3.2.3. Hip Hop as a ‘transculture’ 109 3.3. West African interlude: on Senegalese postcolonial 111 sociality 3.4. Métissages of hip hop music 119 3.4.1. Hip hop music as a form 120 3.4.2. Performing hip hop music 122 3.5. On hip hop politics 127 3.5.1. To those who set the borders 128 3.5.2. To those who sit on the borders 132 3.5.3. Hip hop ‘biopolity’ 135 3.6. Conclusion 139 PART TWO SPEAKING FROM THE FIELD 144 CHAPTER 4 GROUNDING IN THE FIELD: RESEARCH DESIGN, METHODS AND REFLEXIVE ANALYSIS 145 4.1. Introduction 145 4.2. Reflection on my role as participant observer 146 4.3. Case study approach 151 4.3.1. Case selection 152 4.3.2. Initial contact 154 4.3.3. Formal interviews 157 4.4. Light ethnography 160 4.4.1. Participant observation 161 4.4.2. Informal interviews 163 4.4.3. Passive observation 165 4.4.4. Journal keeping 166 4.5. Reflexive research design 167 4.5.1. Iterative research design 167 4.5.2. From contextual to internal knowledge 170 4.5.3. Triangulation 173 7 4.6. Qualified grounded theory: iterative data analysis 177 4.6.1. On qualified grounded theory 178 4.6.2. Thematic coding 180 4.6.3. Theory building 185 4.7. Conclusion 189 PART SITUATING MUSICAL PRACTICES IN 191 THREE FRANCOPHONE WEST AFRICA CHAPTER 5 SENEGALESE FRAMING OF THE WEST AFRICAN 192 MUSIC ECONOMY 5.1. Introduction 192 5.2. Socio-economic history of musical production 193 5.2.1. Traditional functionalist economy of musical production 194 5.2.2. Contemporary popularisations of musical practices 196 5.2.3. On the 1990s and their generational aesthetics 202 5.3. Political economy of Senegalese cultural production 204 5.3.1. State monopolistic politics of cultural production 205 5.3.2. Presidential patronages of cultural production 209 5.3.3. ‘Politics of culture’ as cultural policy 214 5.4. Popular music: the “street child” of ‘politics of culture’ 218 5.4.1. Legal invisibility of musical makers and workers 219 5.4.2. Individualisation of musical practices 226 5.4.3. Nationalist and state copyright system 230 5.5. Conclusion 235 CHAPTER 6 WEST AFRICAN PRACTICES OF MUSICAL ENTREPRENEURSHIP 239 6.1. Introduction 239 6.2. Contextualised processes of an intermediating community 241 6.2.1. Spatial proximity of the community 242 6.2.2. Institutional proximity of the intermediation 247 6.3. Situated practices of musical entrepreneurs 253 6.3.1. Mutual engagement: beyond immaterial and passionate work 254 6.3.2. Joint enterprise: beyond precariousness and insecurity 260 6.3.3. Shared repertoire: beyond informality and trust 268 6.4. Conclusion 278 PART FOUR SPATIALISING HIP HOP ENTREPRENEURSHIP IN 282 FRANCOPHONE WEST AFRICA 8 CHAPTER 7 RADICAL HIP HOP MUSIC ECONOMY 283 7.1.
Load more

Recommended publications
  • The Line Between Traditional Dances and Bongo Fleva: a Case Study of Youth Participation in Dance Groups in Tanzania Daines Nicodem Sanga
    27947 Daines Nicodem Sanga/ Elixir Soc. Sci. 75 (2014) 27947-27952 Available online at www.elixirpublishers.com (Elixir International Journal) Social Science Elixir Soc. Sci. 75 (2014) 27947-27952 The Line between Traditional Dances and Bongo Fleva: a Case Study of Youth Participation in Dance Groups in Tanzania Daines Nicodem Sanga ARTICLE INFO ABSTRACT Article history: This paper development of traditional dances in Tanzania by using the lens of youth Received: 3 May 2013; involved in performance activities. The paper uses firsthand information from four dance Received in revised form: groups; Livangala, Lumumba, UMATI and Bongo fleva artists to argue against less 15 October 2014; participation of youth in dance. The paper revealed that culture; economic and Accepted: 28 October 2014; administrative factors undermine the motivation of youth to participate in traditional dances and, thus, increased their enthusiasm in Bongo fleva. The paper offers a critical analysis of Keywords challenges that youth faced in traditional dances and how such challenges forced them to Youth, turn their interests to Bongo fleva. Following the shift of interests from traditional dances to Traditional dances, Bongo fleva, the paper suggests for social, economic and political transformation to increase Bongo fleva , the participation of youth in dance . Tanzania. © 2014 Elixir All rights reserved This paper uses first hand information gathered between the Introduction year 2010 and 2012 with Livangala, Tanangozi, UMATI and Much has been done pertaining to youth and new culture in Lumumba dance groups, of which the current two groups Tanzania. This is particularly Hip-hop and Bongo fleva. Efforts located in Iringa countryside whereas the later two situated in have been done to trace the history of Bongo fleva and its role in town centres.
    [Show full text]
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Music of Ghana and Tanzania
    MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups.
    [Show full text]
  • A Word of Welcome from the Conference Organizer
    A word of welcome from the conference organizer Dear conference delegates, Welcome to the Nordic Africa Days 2014 in Uppsala! The Nordic Africa Days (NAD) is the biennial conference which for the past six years has been organized rotatively in each of the Nordic countries. Already since 1969 the Nordic Africa Institute has organised this regular gathering of Nordic scholars studying African issues, and the event has for the past 15 years been formalized under the name of the Nordic Africa Days. The theme of this year’s conference is Misbehaving States and Behaving Citizens? Questions of Governance in African States. We are proud to host two distinguished keynote speakers, Dr Mo Ibrahim and Associate Professor Morten Jerven, addressing the theme from different angles in their speeches entitled “Why Governance Matters” and “Africa by Numbers: Knowledge & Governance”. The conference is funded by long-standing and committed support from the Swedish, Finnish, Norwegian and Icelandic governments. This year, we are also particularly pleased to be able to facilitate participation of about 25 researchers based on the African continent through a generous contribution from Sida (The Swedish International Development Cooperation Agency). Providing a platform for Nordic and African researchers to meet and cooperate at NAD is becoming ever more important, in addition to creating a prime meeting place for researchers on Africa within the Nordic region. The main conference venue is Blåsenhus, one of the newest campuses within Uppsala University, situated opposite the Uppsala Castle and surrounded by the Uppsala Botanical Gardens. This particular area of Uppsala has a historical past that goes back 350 years in time and offers many interesting places to visit.
    [Show full text]
  • 1 Literaturliste Für „Einführung in Die Moderne Afrikanische Musik“
    Literaturliste für „Einführung in die moderne afrikanische Musik“ Dozent: Dr. Wolfgang Bender Inhaltsverzeichnis: 1. Allgemeiner Teil: 1. Theorie S. 2 2. Produktion, Distribution & Archivwissenschaften S. 3 3. Afrikanische Musik allgemein S. 3 4. Moderne afrikanische Musik allgemein S. 5 5. Traditionelle afrikanische Musik allgemein S. 7 6. Weltmusik S. 8 7. Musik aus der Diaspora S. 9 8. Bibliographie S. 11 9. Zeitschriften S. 11 2. Länderspezifischer Teil: 10. Nordafrika S. 13 11. Westafrika S. 14 12. Frankophones Westafrika S. 14 13. Anglophones Westafrika S. 17 14. Zentralafrika S. 22 15. Horn von Afrika S. 25 16. Ostafrika S. 26 17. Süd-Zentralafrika S. 28 18. Südafrika S. 29 19. Lusophones Afrika S. 31 20. Inseln S. 32 1 1. Theorie: Agawu, Kofi: Representing African Music: Postcolonial notes, 2003 queries, positions. New York & London: Routledge Bröcker, Marianne (Hg.): Musik und Religion. 1992 Reihe: Bericht über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music; Universitätsbibliothek Bamberg, ICTM Bröcker, Marianne (Hg.): Musik und Symbol. Musik und Region. 1998 Reihe: Berichte über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music, Universitätsbibliothek Bamberg, ICTM Bröcker, Marianne (Hg.): Traditionelle Musik und ihre Funktion. 2001 Reihe: Berichte über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music, Universitätsbibliothek Bamberg, ICTM Nettl, Bruno: The Concept of Preservation in 1985 Ethnomusicology. In: Jackson, Irene V. (Hg.): More than Drumming. Essays on African and Afro-Latin American Music and Musicians. Westport: Greenwood Press Simon, Arthur: Ethnomusikologie: Aspekte, Methoden und 2008 Ziele. Berlin: Simon Verlag 2 2.
    [Show full text]
  • Appendix 13 Pdf, 765Kb
    UNRSC MEETING OCTOBER 5 – 6, 2010 LASER INTERNATIONAL MANAGING A ROAD SAFETY NETWORK Co authors : Ms. Ndèye Awa SARR – President Dr Daouda SAGNA- Director of Projects MAIN FORMER ACTIVITIES: DECEMBER 2009: FIRST EUROMEDITERRANEAN FORUM IN PARIS FEBRUARY 2010: GLOBAL ROAD SAFETY FILM FESTIVAL IN MARRAKECH MARSCH 2010: Launch GLOBAL HELMET VACCINE INITIATIVE IN SENEGAL MAY 2010: FIRST REGIONAL ROAD SAFETY FORUM IN DAKAR THE MINISTER OF TRANSPORT, THE 18-19-20 FEB IN PARTENRSHIP WITH PRESIDENT OF LASER, THE DIRECTOR MAROCCO OF CNPAC AND THE JURY GLOBALGLOBAL ROADROAD SAFETYSAFETY FILMFILM FESTIVALFESTIVAL MICHELE YEOH RECEIVING FIA AWARD FEBRUARYFEBRUARY 1919 –– 2020 GLOBALGLOBAL FESTIVALFESTIVAL ROADROAD SAFETYSAFETY ININ MARRAKECHMARRAKECH GLOBAL HELMET VACCINE INITIATIVE ¾ PROGRAM LAUNCHED ON MARCH 2010 ¾ SENEGAL THE PILOTE COUNTRY ¾ AIPF PROGRAM LEADED BY LASER INTERNATIONAL ¾ 5 CITIES TARGETTED MARSCH 18, 2010 LAUNCH GHVI SENEGAL Road Safety Ambassador Rita Cuypers receiving DIDIER AWADI FIA certificate M. Greig CRAFT HELMET DONATION IN A PRIMARY SCHOOL IN ZIGUINCHOR 1st REGIONAL ROAD SAFETY FORUM SAFE, CLEAN AND HEALTHY TRANSPORT MrMr EKEKEEKEKE MONONOMONONO (WHO(WHO AFRICA)AFRICA) COUNTRIES AND INSTITUTIONS Senegal, Malia, Ivory Coast, Mauritania, Benin, Togo, Cap Vert, Burkina Faso, Niger, Bissau Guinea, Morocco, Gambia, Tunisia, Cameroun, Nigeria, France, EU, UNECA, WHO, Fleet Forum, LASER EUROPE, TNT, North Star Alliance, UNEP, GTKP IT MOBILE, SICTA-SGS, CETUD LASER GOING REGIONAL AND INTERNATIONAL IN THE HEART OF A REGIONAL ROAD SAFETY NETWORK: WARSO - WAEMU – ECOWAS- WESTERN AFRICAN COUNTRIES ¾ RAISING GOVERNEMENTS COMMITMENT. ¾ FACILTATE RELATION BETWEEN GOVERNEMENT AND INSTITUTIONS. ¾ KNOWLEDGE AND REGIONAL EXPERTISE. ¾ PARTICIPATION IN COMITIES IN CHARGE OF DRAWING AND SETTING UP NATIONAL ROAD SAFETY PLANS. ◦ INVOLVMENT IN ROAD SAFETY AUDIT.
    [Show full text]
  • AURA Ou De La Production Politique De La Musique Hip-Hop »
    City Research Online City, University of London Institutional Repository Citation: Mbaye, J. F. (2010). AURA ou de la production politique de la musique hip hop. Cahiers de recherche sociologique, 49, pp. 147-160. doi: 10.7202/1001415ar This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/13253/ Link to published version: http://dx.doi.org/10.7202/1001415ar Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Article « AURA ou de la production politique de la musique hip-hop » Jenny MBaye Cahiers de recherche sociologique , n° 49, 2010, p. 147-160. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/1001415ar DOI: 10.7202/1001415ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur.
    [Show full text]
  • Transnational Habitus: Mariem Hassan As the Transcultural Representation of the Relationship Between Saharaui Music and Nubenegra Records
    Transnational Habitus: Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records Luis Gimenez Amoros Submitted in partial fullfilment of the requirements for the degree of Doctor of Philosophy, Rhodes University PhD (thesis) Department of Music and Musicology Supervisor: Dr Lee Watkins I Abstract This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul 1- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara.
    [Show full text]
  • The Wordy Worlds of Popular Music in Eastern and Southern Africa
    This article was downloaded by: [University of Liverpool] On: 06 January 2015, At: 06:11 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Language, Identity & Education Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/hlie20 The Wordy Worlds of Popular Music in Eastern and Southern Africa: Possible Implications for Language-in-Education Policy Sinfree Makoni a , Busi Makoni a & Aaron Rosenberg a a Pennsylvania State University , Published online: 16 Feb 2010. To cite this article: Sinfree Makoni , Busi Makoni & Aaron Rosenberg (2010) The Wordy Worlds of Popular Music in Eastern and Southern Africa: Possible Implications for Language-in-Education Policy, Journal of Language, Identity & Education, 9:1, 1-16, DOI: 10.1080/15348450903476824 To link to this article: http://dx.doi.org/10.1080/15348450903476824 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
    [Show full text]
  • Songs by Artist 08/29/21
    Songs by Artist 09/24/21 As Sung By Song Title Track # Alexander’s Ragtime Band DK−M02−244 All Of Me PM−XK−10−08 Aloha ’Oe SC−2419−04 Alphabet Song KV−354−96 Amazing Grace DK−M02−722 KV−354−80 America (My Country, ’Tis Of Thee) ASK−PAT−01 America The Beautiful ASK−PAT−02 Anchors Aweigh ASK−PAT−03 Angelitos Negros {Spanish} MM−6166−13 Au Clair De La Lune {French} KV−355−68 Auld Lang Syne SC−2430−07 LP−203−A−01 DK−M02−260 THMX−01−03 Auprès De Ma Blonde {French} KV−355−79 Autumn Leaves SBI−G208−41 Baby Face LP−203−B−07 Beer Barrel Polka (Roll Out The Barrel) DK−3070−13 MM−6189−07 Beyond The Sunset DK−77−16 Bill Bailey, Won’t You Please Come Home? DK−M02−240 CB−5039−3−13 B−I−N−G−O CB−DEMO−12 Caisson Song ASK−PAT−05 Clementine DK−M02−234 Come Rain Or Come Shine SAVP−37−06 Cotton Fields DK−2034−04 Cry Like A Baby LAS−06−B−06 Crying In The Rain LAS−06−B−09 Danny Boy DK−M02−704 DK−70−16 CB−5039−2−15 Day By Day DK−77−13 Deep In The Heart Of Texas DK−M02−245 Dixie DK−2034−05 ASK−PAT−06 Do Your Ears Hang Low PM−XK−04−07 Down By The Riverside DK−3070−11 Down In My Heart CB−5039−2−06 Down In The Valley CB−5039−2−01 For He’s A Jolly Good Fellow CB−5039−2−07 Frère Jacques {English−French} CB−E9−30−01 Girl From Ipanema PM−XK−10−04 God Save The Queen KV−355−72 Green Grass Grows PM−XK−04−06 − 1 − Songs by Artist 09/24/21 As Sung By Song Title Track # Greensleeves DK−M02−235 KV−355−67 Happy Birthday To You DK−M02−706 CB−5039−2−03 SAVP−01−19 Happy Days Are Here Again CB−5039−1−01 Hava Nagilah {Hebrew−English} MM−6110−06 He’s Got The Whole World In His Hands
    [Show full text]
  • Cultural Images of Contemporary
    Masaryk University Faculty of Education DepartmentofEnglishLanguageandLiterature A COURSE DESIGN : CULTURAL IMAGES OF CONTEMPORARY BRITAIN IN POPULAR LYRICS Diploma Thesis Brno2007 ŠárkaMlčochová Supervisor: Mgr.Lucie Podroužková,PhD. Prohlašuji, že jsem diplomovou práci zpracovala samostatně a použila jen pramenyuvedenévseznamuliteratury. ____________________ ŠárkaMlčochová I would like to thank Mgr. Lucie Podroužková, PhD. for her kind and patient supervision and for the advice she provided to me during my work on this diploma thesis. CONTENT 4 _______________________________________________________________________ 1. INTRODUCTION 6 1.1. ARGUMENT 6 1.2. POPULAR CULTURE 7 1.3. LEARNING A SECOND CULTURE 10 1.3.1. WHY POPULAR LYRICS ? 12 1.4. HOW TO USE THE TEXTBOOK 12 1.5. PREFACE TO THE TEXTBOOK 14 2. THE TEXTBOOK 16 2.1. MONARCHY , POLITICS AND CLASS 16 2.1.1. GOD SAVE THE QUEEN 16 2.1.2. MR. CHURCHILL SAYS 18 2.1.3. POST WORLD WAR II BLUES 20 2.1.4. SHIPBUILDING , ISLAND OF NO RETURN 21 2.1.5. GHOST TOWN 24 2.1.6. A DESIGN FOR LIFE 24 2.1.7. COCAINE SOCIALISM , TONY BLAIR 25 2.1.8. I’M WITH STUPID 27 2.1.9. GORDON BROWN 28 2.2. LIFESTYLE , LEISURE AND MEDIA 30 2.2.1. TOO YOUNG TO BE MARRIED 30 2.2.2. YOUNG TURKS 31 2.2.3. NO CLAUSE 28 32 2.2.4. KASHKA FROM BAGHDAD 33 2.2.5. PROBLEM CHILD 34 2.2.6. HERE COMES THE WEEKEND , POOR PEOPLE 35 2.2.7. TWO PINTS OF LAGER AND A PACKET OF CRISPS PLEASE , 37 HURRY UP HARRY 2.2.8.
    [Show full text]
  • Alioune Mbaye Nder, Le Souffle Du Mbalax
    Alioune Mbaye Nder, le souffle du mbalax Extrait du Au Senegal http://au-senegal.com/alioune-mbaye-nder,3629.html Alioune Mbaye Nder, le souffle du mbalax - Recherche - Art et culture - Musiciens et chanteurs sénégalais - Date de mise en ligne : dimanche 25 novembre 2012 Au Senegal Copyright © Au Senegal Page 1/5 Alioune Mbaye Nder, le souffle du mbalax Danseur et percussionniste dans sa jeunesse, Alioune Mbaye Nder a commencé sa carrière de chant en 1991 avec le groupe Lemzo Diamono. Alioune Mbaye Nder est une des étoiles montantes de la musique sénégalaise. Cet artiste redonne un nouveau souffle au Mbalax. « Lemzo Diamono » travaille avec un guitariste sénégalais bien connu, Lamine Faye. En 1993, Alioune Mbaye Nder devient le chanteur du groupe et « Lemzo Diamono » commence à se faire connaître au cours des années qui suivront. En 1995 Nder quitte « Lemzo Diamono » pour former son propre groupe « Setsima ». Le Setsima Group Le « Setsima Group » sortira plusieurs cassettes entre 1995 et 1998 au Sénégal. Alioune Mbaye Nder devient très vite un artiste populaire auprès des jeunes avec son Mbalax moderne et très dansant. En 1999, sort son album « Pansement », auquel participe Manu Dibango, album trés bien accueilli par le public et place le groupe au top des hit-parades et fait danser dans tout le Sénégal, c'est la consécration ! Suivra une tournée internationale. Nder, dont la musique était surtout diffusée au Sénégal commence à se faire connaître. Il est considérée au Sénégal comme un griot moderne et une étoile, la nouvelle génération après Youssou N'Dour et Baaba Maal. On le connaît au Sénégal comme le « Prince de Mbalax » et quelques fans le surnomment, « le Roi de Mbalax ».
    [Show full text]