Chiwoniso Maraire
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Code-Switching in Contemporary Nigerian Hip
University of Ghana http://ugspace.ug.edu.gh CODE-SWITCHING IN CONTEMPORARY NIGERIAN HIP HOP SONGS BY KUPONIYI ADERIYIKE OREOLUWA (10361991) THIS DISSERTATION IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON, IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF M.A ENGLISH DEGREE. JULY 2013 University of Ghana http://ugspace.ug.edu.gh DECLARATION I, Kuponiyi Aderiyike Oreoluwa, do hereby declare that apart from the acknowledged references cited, this work is the result of my own research. It has neither been partly nor wholly submitted for the award of another degree elsewhere. CANDIDATE ……………………………… DATE………………………… KUPONIYI, ADERIYIKE OREOLUWA SUPERVISOR……………………………. DATE…………………………... PROFESSOR A.B.K. DADZIE SUPERVISOR……………………………... DATE……………………………. PROFESSOR KARI DAKO i University of Ghana http://ugspace.ug.edu.gh DEDICATION This work is dedicated to my late Mother, Mrs Olajide Ilori-Kuponiyi. ii University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENTS I give all the glory to God Almighty. My sincere gratitude goes to my father, Professor F.A. Kuponiyi for his total and unwavering support. Thank you to all my siblings, for their love, support and prayers. Special appreciations go to my supervisor, Professor A. B. K Dadzie for his help, advice and guidance and also to Professor Kari Dako. Again I say thank you to Mr Kenneth Igiri for his prompt response each time I call on him for help and for making my first few months in Ghana comfortable and remarkable. Also I thank everyone that has in one way or the other contributed to the achievement of this work. God bless you all. iii University of Ghana http://ugspace.ug.edu.gh ABSTRACT Most Nigerian hip hop artistes use a combination of English and one or more local language(s) in writing the lyrics of their songs. -
Z Is for Zimbabwe – Sample Chapter from Book
Copyrighted Material MEET ZIMBABWE! is for Zimbabwe MALAWI Z ZAMBIA a m b e z i r R ive i v R Z e i a r z m e Lake Kariba b b ez m i Za Ri NAMIBIA HARARE ve Victoria r Falls MUTARE MOZAMBIQUE BULAWAYO Great INDIAN Zimbabwe OCEAN BOTSWANA SOUTH AFRICA Z is Zimbabwe, the great “House of Stone,” Where zebras, giraffes and elephants roam. ZIMBABWE 311 Sample Chapter from "Australia to Zimbabwe" ©2015 Copyrighted Material MEET ZIMBABWE! Here you can hear the mbira’s soft sounds [em-BEER-rah] Calling the ancestors Mbira out of the ground. (Thumb Piano) Here Victoria Falls Victoria Falls from the river Zambezi, [zam-BEE-zee] “Mosi oa Tunya” And across the plateau, the weather is easy. Here men find great sculptures hidden in stones, Stone Sculpture Near fields where tobacco and cotton are grown. But their food is from corn Cotton served with sauce (just like pasta) – For breakfast there’s bota, for dinner there’s sadza. Once a colony British called Southern Rhodesia, Sadza This nation was founded on historic amnesia Bota 312 ZIMBABWE Sample Chapter from "Australia to Zimbabwe" ©2015 Copyrighted Material MEET ZIMBABWE! Brits believed civilization arrived with the whites, Who soon took the best land and had all the rights. Cecil Rhodes Rhodesia’s Founder They couldn’t believe Great Zimbabwe had been Great Zimbabwe Constructed by locals – by those with black skin. This fortress in ruins from medieval times Bird Sculpture from Had been city and home Great Zimbabwe to a culture refined. White settlers built cities Great Zimbabwe and farms in this place, And blacks became second class due to their race. -
Human Rights for Musicians Freemuse
HUMAN RIGHTS FOR MUSICIANS FREEMUSE – The World Forum on Music and Censorship Freemuse is an international organisation advocating freedom of expression for musicians and composers worldwide. OUR MAIN OBJECTIVES ARE TO: • Document violations • Inform media and the public • Describe the mechanisms of censorship • Support censored musicians and composers • Develop a global support network FREEMUSE Freemuse Tel: +45 33 32 10 27 Nytorv 17, 3rd floor Fax: +45 33 32 10 45 DK-1450 Copenhagen K Denmark [email protected] www.freemuse.org HUMAN RIGHTS FOR MUSICIANS HUMAN RIGHTS FOR MUSICIANS Ten Years with Freemuse Human Rights for Musicians: Ten Years with Freemuse Edited by Krister Malm ISBN 978-87-988163-2-4 Published by Freemuse, Nytorv 17, 1450 Copenhagen, Denmark www.freemuse.org Printed by Handy-Print, Denmark © Freemuse, 2008 Layout by Kristina Funkeson Photos courtesy of Anna Schori (p. 26), Ole Reitov (p. 28 & p. 64), Andy Rice (p. 32), Marie Korpe (p. 40) & Mik Aidt (p. 66). The remaining photos are artist press photos. Proofreading by Julian Isherwood Supervision of production by Marie Korpe All rights reserved CONTENTS INTRODUCTION Human rights for musicians – The Freemuse story Marie Korpe 9 Ten years of Freemuse – A view from the chair Martin Cloonan 13 PART I Impressions & Descriptions Deeyah 21 Marcel Khalife 25 Roger Lucey 27 Ferhat Tunç 29 Farhad Darya 31 Gorki Aguila 33 Mahsa Vahdat 35 Stephan Said 37 Salman Ahmad 41 PART II Interactions & Reactions Introducing Freemuse Krister Malm 45 The organisation that was missing Morten -
Download Tshedi Mholo Full Biography
The Queen of Auditoriums TSHEDI MHOLO South African-born Afro-pop singer An Artist, Entertainer & Philanthropist Ambassador for UnicefSA SmileFoundationSA “Lead to Read Campaign” Email: [email protected] Telephone: (+27) 82 494 8422 TSHEDI MHOLO PROFILE Matshediso Florence Mholo (born Septem- enthusiasm, and unwavering energy are ber 27, 1976) well known as “Tshedi”’ is a attributes that constantly help her to carve South African-born Afro-pop singer, a new paths, mother and a woman who wears so many follow them and make a success of it. hats and is so many things to so many p eople. Though she burst onto the scene with Her rapidly increasing number of fans is her former group Malaika as lead singer, testimony to Tshedi’s she has been able to sustain her relevance personality. She attracts people with her and credibility in the music industry beyond aura and makes them fall in love with her the group’s successes and glories. She has gift, passion, charisma and determination. been able to carve an identity for herself She remains a very modest girl-next-door and emerged as a star in her own right. despite her fame and colourful career. Tshedi is a true survivor who projects It is the combination of humility and a bright confidence, strength, and genuine talent, spark about her that draws people to her. making her a true package deal. She has As a result, she is regularly gracing red earned the reputation of a woman who can carpets and stages at high-profile make a difference wherever it is required, events and TV shows, where she and to those whose lives she touches. -
Zimfest 2007 Registration Guide
ZIMBABWEAN MUSIC FESTIVAL Olympia, Washington • August 24 - 26, 2007 GREETINGS! ZIMBABWEAN GUESTS Welcome to the Zimbabwean Music Festival 2007 Our community began when a master musician from Registration Guide. This year’s festival will be held on Zimbabwe, Dumisani Maraire, arrived in Seattle in 1968. August 24, 25, and 26 at South Puget Sound Community Spreading the joy and culture from his homeland, the College (SPSCC) in Olympia, Washington, with Prefest world is now a much richer place than it was before activities on August 23. Olympia is a community rich in he came. Arriving in 1982, Ephat Mujuru was the next World Music, with local groups performing Indonesian Zimbabwean musician to make the United States a place gamelan, Brazilian samba, West African drumming, and to live and teach on a regular basis. From opposite sides Zimbabwean marimba and mbira, as well as many more of the ocean Paul Berliner and Andrew Tracey were also musical traditions. We are very excited to bring Zimfest instrumental in propagating knowledge. It is to these to Olympia and look forward to sharing this wonder- people that we give a moment of recognition for the ful music and culture with friends and fellow musicians work they have started. This work continues through all here! the teachers who visit from Zimbabwe as well as through Many excellent bands and musicians will be perform- those of us who leave home for a while to deepen our- ing in the afternoon and evening concerts. There is no selves in the Shona and Ndebele cultures in Zimbabwe. charge -
Politics and Popular Culture: the Renaissance in Liberian Music, 1970-89
POLITICS AND POPULAR CULTURE: THE RENAISSANCE IN LIBERIAN MUSIC, 1970-89 By TIMOTHY D. NEVIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 © 2010 Timothy Nevin 2 To all the Liberian musicians who died during the war-- (Tecumsey Roberts, Robert Toe, Morris Dorley and many others) Rest in Peace 3 ACKNOWLEDGMENTS I would like to thank my parents and my uncle Frank for encouraging me to pursue graduate studies. My father’s dedication to intellectual pursuits and his life-long love of teaching have been constant inspirations to me. I would like to thank my Liberian wife, Debra Doeway for her patience in attempting to answer my thousand and one questions about Liberian social life and the time period “before the war.” I would like to thank Dr. Luise White, my dissertation advisor, for her guidance and intellectual rigor as well as Dr. Sue O’Brien for reading my manuscript and offering helpful suggestions. I would like to thank others who also read portions of my rough draft including Marissa Moorman. I would like to thank University of Florida’s Africana librarians Dan Reboussin and Peter Malanchuk for their kind assistance and instruction during my first semester of graduate school. I would like to acknowledge the many university libraries and public archives that welcomed me during my cross-country research adventure during the summer of 2007. These include, but are not limited to; Verlon Stone and the Liberian Collections Project at Indiana University, John Collins and the University of Ghana at East Legon, Northwestern University, Emory University, Brown University, New York University, the National Archives of Liberia, Dr. -
Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge
Mhishi, Lennon Chido (2017) Songs of migration : experiences of music, place making and identity negotiation amongst Zimbabweans in London. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/26684 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Songs of Migration: Experiences of Music, Place Making and Identity Negotiation Amongst Zimbabweans in London Lennon Chido Mhishi Thesis submitted for the degree of PhD Anthropology and Sociology 2017 Department of Anthropology and Sociology SOAS, University of London 1 I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
The Musician in New and Changing Contexts
/ iÊÕÃV>ÊÊ iÜÊ>`Ê >}}Ê ÌiÝÌÃÊÊ - Ê ÃÃÊ-i>ÀÊ£n * ,-* /6 -Ê Ê 1- Ê Ê 1- Ê 1 /" * ,-* /6 -Ê Ê1- Ê Ê1- Ê 1 /" Ê "ÊÎ £°Ê >À>Ê iViÀÀÕÛÃÌi`Ì]Ê Ê}Û>ÀÊ"ÃÃÊEÊ Û>Ê-CÌ iÀ\Ê7", Ê 1- Ê- ""ÊÊÕÃÕ`iÀÛÃ}ÊÊiÊF}ÕÌÕÀiÊÃ>°Ê> / iÊ- Ê ÃÃÊvÀÊÌ iÊ `ÕV>ÌÊvÊ ÊÓäää°Ê*«ÊÇ{° Ì iÊ*ÀviÃÃ>ÊÕÃV>]Ê£nÊ-i>ÀÊ Ó°Ê / iÊ- Ê ÃÃÊvÀÊÌ iÊ `ÕV>ÌÊvÊÌ iÊ*ÀviÃÃ>Ê Ê ÕÃV>°Ê/ iÊÕÃV>AÃÊ,i\Ê iÜÊ >i}iÃ°Ê Ê>À>Ài]Ê<L>LÜi Ê >ÊÓäää°Ê*«ÊÓ£Ó°Ê `ÌÀ\Ê>VʰÊ"Û> Î°Ê / iÊ- Ê ÃÃÊvÀÊÌ iÊ `ÕV>ÌÊvÊÌ iÊ*ÀviÃÃ>Ê Ê ÕÃV>°Ê/ iÊÕÃV>ÊÊ iÜÊ>`Ê >}}Ê ÌiÝÌÃ°Ê / Ê1- Ê Ê 7Ê Ê >ÊÓääÓ°Ê*«Ê£xÈ°Ê `ÌÀ\ÊF>ÊÕ`ÃÌÀ Ê Ê " / 8/-Ê `Ìi`ÊLÞÊF>ÊÕ`ÃÌÀ -ÕLÃVÀ«ÌÊÌÊÌ iÊÃiÀiÃÊ>`ÊÀ`iÀÃÊvÀÊÃ}iÊÛÕiÃÊà Õ`ÊLiÊ>``ÀiÃÃi`ÊÌ\ >ÊV>`iÞÊvÊÕÃV]Ê ÝÊnÓäÎ]Ê- ÓääÊ{£Ê>]Ê-Üi`i -- Ê£{ä{ÈäÎÓ Î • 1 Publications from the Malmö Academy of Music PERSPECTIVES IN MUSIC AND MUSIC EDUCATION NO 3 The ISME Commission for the Education of the Professional Musician 1998 Seminar in Harare, Zimbabwe THE MUSICIAN IN NEW AND CHANGING CONTEXTS Edited by Håkan Lundström 2 • THE MUSICIAN IN NEW AND CHANGING CONTEXTS The Musician in New and Changing Contexts The ISME Commission for the Education of the Professional Musician, 1998 seminar in Harare, Zimbabwe © The authors & Håkan Lundström 1998 ISSN 1404-6032 Legally responsible: Håkan Lundström Publications from the Malmö Academy of Music: PERSPECTIVES IN MUSIC AND MUSIC EDUCATION NO 3 Printed by: Media-Tryck, Lund University, Lund 2002. -
Sem{Studentnews}
SEM{STUDENTNEWS} An official publication of the Society for Ethnomusicology MUSIC AND DIASPORA Welcome! A Letter from the Editor 1 SEM Reports 2 Student Voices 3 The State of the Field 4 Dear SEM 7 Discerning Diaspora 9 Diaspora, Globalization, Transnationalism, Oh My! 10 The Fate of Diaspora 12 The Diaspora Nyunga Nyunga Mbira 13 Songs of a Lost Tribe 14 Diaspora and Technology 15 Towards an Ethnography of the ‘Diaspora’ 17 Reflections on Multi-Sited Ethnographies: Volume 10 | Spring/Summer 2015 Volume An Interview with Deborah Wong 18 Join your peers by ‘liking’ us on Diasporic Sounds: A Resource List 21 Facebook, and get Our Staff 24 the latest updates and calls for submissions! information for cover image found on page 24 Musical Diasporas, Diasporic Musics To our faithful readers and those that “home”—my knowledge base are quite unique, but as the perusing our pages for the first of these issues has grown in photographer of the above image time, welcome to Volume 10 of editing this volume. It is my hope points out, they are indeed SEM Student News. Within that yours will too. I am pleased diasporic—representing the ethnomusicology and cognate to say that we had numerous Atlantic experience and the New disciplines, the term “diaspora” responses to our calls for World experience—of African has been problematized and submission, and we look forward Americans working within these defended, substituted and to continued engagement with communities. This nuanced accepted; here, our contributors both student and professional understanding of diaspora lends engage with the issues and current ethnomusicologists. -
No. 250, 12 Avril 2010
Observatory of Cultural Policies in Africa The Observatory is a Pan African international NGO created in 2002 with the support of African Union, the Ford Foundation, and UNESCO. Its aim is to monitor cultural trends and national cultural policies in the region and to enhance their integration in human development strategies through advocacy, information, research, capacity building, networking, co-ordination, and co- operation at the regional and international levels. O C P A OCPA NEWS No 250 12 April 2010 Published with the support of the Spanish Agency for International Co-operation for Development (AECID) This issue is sent to 10985 addresses * VISIT THE OCPA WEB SITE http://www.ocpanet.org * We wish to promote interactive information exchange within Africa and between Africa and the other regions. Please send us information for dissemination about new initiatives, meetings, research projects and publications of interest for cultural policies for development in Africa. Thank you for your co-operation. * Nous souhaitons promouvoir un échange d’information interactif en Afrique ainsi qu’entre l’Afrique et les autres régions. Envoyez-nous des informations pour diffusion sur des initiatives novelles, réunions, projets de recherches, publications intéressant les politiques culturelles pour le développement en Afrique. Merci de votre coopération. Máté Kovács, editor: [email protected] *** Contact: OCPA Secretariat, 725, Avenida da Base N'Tchinga, P. O. Box 1207 Maputo, Mozambique Tel: +258- 21- 41 86 49, Fax: +258- 21- 41 86 50 E-mail: [email protected] or Executive Director: Lupwishi Mbuyamba: [email protected] You can subscribe or unsubscribe to OCPA News via the online form at http://ocpa.irmo.hr/activities/newsletter/index-en.html. -
Zimfest 2006 Registration Guide
Zimbabwean Music Festival Pre-Fest: July 20 Festival: July 21 - 23, 2006 Oregon Country Fair Site, Veneta, Oregon Dancing Under the Stars Greetings New This Year Welcome to the ever-growing community of Zimbabwean music Besides holding our Festival outdoors and “dancing under the stars,” lovers!! Summer is reaching out to us through the drizzle. Spring rain what’s new this year? Well, much of the food we’ll eat is being grown drumming on the window, budding branches rattling together, birds just for us! “Hey Bales! Farm” near Eugene is planting rows and rows singing in the morning as the sun breaks through the clouds - all of greens for our event. It will be fresh and healthy. More about the whisper to us of the spirit of mbira, the pulse of the marimba, the heart food on page 3. Yum. of our family. The Zimfest community in Eugene wishes to open our arms with joy and invite you all to a very special 15th Zimfest, We considered the idea of a “one price” festival, but instead created a “Dancing Under the Stars - Zimfest 2006” cost structure that better reflects your needs. We believe it will be a little less expensive for most of you, especially those with kids. This year our gathering will be on the Oregon Country Fair site near Everyone under 12 will be free, paying only for workshops. Veneta, Oregon, 15 miles west of Eugene. Native Americans have laughed and danced on this land for centuries. Their spirits look over The Main Stage is the Only Stage this year. -
S. Africa's Koras by STEVE Mcclure Maruyama Is Also a Director of SMEJ Oct
T H E L A T E S T N E S I nternationaW A N D V E W S F R O M A R O U N D T H E W O R L D SMEJ Takes New A &R Focus Evora Top Winner At 1st CEO Aims To Keep Market Leadership S. Africa's KORAs BY STEVE McCLURE Maruyama is also a director of SMEJ Oct. 1 also saw Sony's release of a BY DIANE COETZER France International, the South African subsidiary Antinos Management, whose DCT greatest -hits compilation, which Broadcasting Corp. (responsible for the TOKYO -The appointment of Shigeo best -known artist is Tetsuya Komuro. led the group and its management, MS JOHANNESBURG- Cesaria Evora, KORAs' television broadcast), MCM Maruyama to the new post of repre- In the last few years, Komuro has Artist Products, to seek a court injunc- the veteran singer from the Western Africa, the BBC World Service, and sentative director /CEO at Japan's achieved unprecedented success with tion forcing Sony to halt the release - African territory of Cape Verde, domi- Radio France Internationale. biggest record label, Sony Music independent label Avex as a freelance an unprecedented move in the usually nated this year's KORA All Africa Organizers say the prime motivation Entertainment Japan (SMEJ), is being producer and as a member of the top- non -litigious Japanese music industry. Music Awards, held Oct. 4 at South is to provide a continental awards cere- seen here as a product of Sony's deter- selling group globe. He is still signed to The injunction has not been granted, Africa's Sun City resort.