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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. -
Getting Creative About Development
Atlantic Council AFRICA CENTER ISSUE BRIEF Getting Creative About Development SEPTEMBER 2018 AUBREY HRUBY y 2035, sub-Saharan Africa will have more working-age people than the rest of the world combined. African governments col- lectively need to create eighteen million new jobs each year to absorb the large, young, and ambitious population coming to Bworking age.1 But technological advances, combined with the underde- veloped infrastructure of most African nations, mean that the tried and true model of export-oriented industrialization, which allowed the East and Southeast Asian economies to develop very rapidly, is unlikely to produce adequate job creation in the vast majority of African markets. In fact, manufacturing as a share of total economic activity in Africa has stagnated at about 10 percent,2 and—though there are notable excep- tions, such as Ethiopia—the continent as a whole is deindustrializing.3 Agriculture still continues to serve as the backbone of most African economies, with over 70 percent of Africans earning a living in that sector.4 But as Africa urbanizes, the composition of economic activity is rap- idly changing, shifting away from agriculture and towards the services sector. In 2015, services accounted for 58 percent of sub-Saharan GDP (up from 47 percent in 2005).5 More significantly, 33 percent of African 1 Céline Allard et al., Regional Economic Outlook: sub-Saharan Africa 2015, Internation- al Monetary Fund, April 2015, https://www.imf.org/~/media/Websites/IMF/import- ed-flagship-issues/external/pubs/ft/reo/2015/afr/eng/pdf/_sreo0415pdf.ashx. 2 Brahima Sangafowa Coulibaly, “Africa’s Alternative Path to Development,” The Brook- ings Institution, May 3, 2018, https://www.brookings.edu/opinions/africas-alterna- tive-path-to-development/. -
Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
Prezentacja Programu Powerpoint
SPONSORSHIP PROPOSAL Dhow Countries Music Academy is the only Our students become well educated music school in Zanzibar, located in Stone musicians, both practically and theoretically. Town. The Academy promotes and preserves We also serve as a sustainable training music heritage of the Dhow Region which center that train, and market professionals in include countries along the shores of the Africa. Indian Ocean and the Arab Gulf, like Kuwait Oman, Iran, U.A.E and Yemen. Particular We use music as a tool for social change and emphasis is being placed on teaching youth empowerment. DCMA is active in traditional music styles, such as taarab, creating job opportunities for its students. kidumbak or ngoma. The DCMA is proud to For many of them music became profession. be the guardians of a living cultural heritage Thanks to education they received at DCMA and proud to preserve and promote the many now enjoy local and international musical heritage of Zanzibar and the Dhow music careers. DCMA organizes around 170 Countries. In training the students it ensures paid concerts yearly and cooperates with the continuation, knowledge, and legacy of a hotels and restaurants. 2/3 of the teaching unique musical cultural heritage. staff are Academy’s graduates. DCMA students and graduates are regularly DCMA was established in 2002 and performing in Zanzibar, Tanzania, Africa and throughout the years had more than 1500 other continents. students. It has gained an ever increasing international reputation winning a number of As a non-governmental, non-profit regional and international awards for organization, DCMA is primarily supported preserving musical heritage. -
We're Taking Africa to the World
“We’re Taking Africa to the World”: Commercial Self- fashioning as a Vehicle for Collective Aspirations in the 21st Century JAANA SERRES “It’s finally cool to be an ‘African’” (Kaumbutho). This 2017 blog post by Kenyan poet Kimathi Kaumbutho echoed the performative claims heard throughout the African middle class in the wake of the changing narrative about “Africa,” from “The hopeless continent” (The Economist 2000) to “Africa rising” (The Economist 2011). Elements and signs of “Africanness” have indeed been increasingly featured in “global” popular culture, from clothing lines to films, and even the practice of capitalism is rebranded with “African traditional principles” through the Africapitalist and Ubuntu “economic philosophies.” But as suggested by Kaumbutho’s list of achievements “Africans can take pride in,” one cultural medium has proven particularly instrumental to this new wave of positive identification with “Africa”: Nigerian music. As Nigeria was arguably entering a post-oil era in the 2010s (Burns and Owen), its renewed popular music industry benefitted from the development of digital technology and the expression of corporate interest by telecom companies, retail brands, and foreign-educated young professionals, making it an exemplary manifestation of a new pan-Africanism founded on neoliberal aspirations (Shipley Living the Hiplife). Global professional services firm PwC announced that total revenue for Nigeria’s entertainment and media industry was expected to grow to US$8.1 billion in 2019, calling it the “fastest-expanding major market globally” (Oxford Business Group). However, only a very small share of this revenue occurs from the actual sale of cultural products (PwC 22). -
Davido-Bio-November-2019.Pdf
DAVIDO Nearing the close of 2019, it’s hard for many to say they haven’t heard the name Davido, born David Adedeji Adeleke. The year marks another fete of huge achievements, from opening the year with a sold out date at London’s O2 Arena – making him the first solo African artist to do this – to creating mass hysteria across America with his 2018 single “Fall” which has gone on to have the longest run of an Afrobeats single on the Billboard charts, and saw it peak across Shazam as one of the most searched songs in the United States, and now gears up to release his second album A Good Time, all before a circuit of Christmas shows across Africa. If anything has framed where Davido currently is, it would his “childhood.” The youngest of five, growing up with his parents in Lagos, Nigeria, he was “exposed” to the world. Across summer breaks he would travel to visit his siblings in London and Atlanta, the latter being home to some of the artists that he today he can call his good friends – YoungThug, Gunna, Lil Baby – and the home to some of his favorite rappers growing up – Ludacris, Nelly – the sounds of noughties Hip Hop that he “loved.” It was most likely these trips that would drive a love for music that reflected global ambition. This exposure to the world, would in turn give Davido the opportunity to share with his University of Alabama friends music from Nigeria, that he knew if “given a chance” would go global. -
PROVISIONAL LIST.Pdf
S/N NAME YEAR OF CALL BRANCH PHONE NO EMAIL 1 JONATHAN FELIX ABA 2 SYLVESTER C. IFEAKOR ABA 3 NSIKAK UTANG IJIOMA ABA 4 ORAKWE OBIANUJU IFEYINWA ABA 5 OGUNJI CHIDOZIE KINGSLEY ABA 6 UCHENNA V. OBODOCHUKWU ABA 7 KEVIN CHUKWUDI NWUFO, SAN ABA 8 NWOGU IFIONU TAGBO ABA 9 ANIAWONWA NJIDEKA LINDA ABA 10 UKOH NDUDIM ISAAC ABA 11 EKENE RICHIE IREMEKA ABA 12 HIPPOLITUS U. UDENSI ABA 13 ABIGAIL C. AGBAI ABA 14 UKPAI OKORIE UKAIRO ABA 15 ONYINYECHI GIFT OGBODO ABA 16 EZINMA UKPAI UKAIRO ABA 17 GRACE UZOME UKEJE ABA 18 AJUGA JOHN ONWUKWE ABA 19 ONUCHUKWU CHARLES NSOBUNDU ABA 20 IREM ENYINNAYA OKERE ABA 21 ONYEKACHI OKWUOSA MUKOSOLU ABA 22 CHINYERE C. UMEOJIAKA ABA 23 OBIORA AKINWUMI OBIANWU, SAN ABA 24 NWAUGO VICTOR CHIMA ABA 25 NWABUIKWU K. MGBEMENA ABA 26 KANU FRANCIS ONYEBUCHI ABA 27 MARK ISRAEL CHIJIOKE ABA 28 EMEKA E. AGWULONU ABA 29 TREASURE E. N. UDO ABA 30 JULIET N. UDECHUKWU ABA 31 AWA CHUKWU IKECHUKWU ABA 32 CHIMUANYA V. OKWANDU ABA 33 CHIBUEZE OWUALAH ABA 34 AMANZE LINUS ALOMA ABA 35 CHINONSO ONONUJU ABA 36 MABEL OGONNAYA EZE ABA 37 BOB CHIEDOZIE OGU ABA 38 DANDY CHIMAOBI NWOKONNA ABA 39 JOHN IFEANYICHUKWU KALU ABA 40 UGOCHUKWU UKIWE ABA 41 FELIX EGBULE AGBARIRI, SAN ABA 42 OMENIHU CHINWEUBA ABA 43 IGNATIUS O. NWOKO ABA 44 ICHIE MATTHEW EKEOMA ABA 45 ICHIE CORDELIA CHINWENDU ABA 46 NNAMDI G. NWABEKE ABA 47 NNAOCHIE ADAOBI ANANSO ABA 48 OGOJIAKU RUFUS UMUNNA ABA 49 EPHRAIM CHINEDU DURU ABA 50 UGONWANYI S. AHAIWE ABA 51 EMMANUEL E. -
Foregrounding Female Agency in the Dance Culture of Nigeria
WHAT I DO WHEN I DANCE: FOREGROUNDING FEMALE AGENCY IN THE DANCE CULTURE OF NIGERIA Oladoyin Abiona A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2021 Committee: Angela Nelson, Advisor Jeremy Wallach Rahdika Gajjala © 2021 Oladoyin Abiona All Rights Reserved iii ABSTRACT Angela Nelson, Advisor Scholarship on female representations in hip hop has been predominantly premised on the sexualization of the female body. By focusing mainly on this singular aspect of the genre, we reduce the whole essence of womanhood in the industry to such interpretations. The limited scope of such discussions deprives the women of opportunities to tell their own stories of what they do when they dance. Seeing the cultural significance of dance as a form of popular culture in the Nigerian context, this essay, from a feminist perspective, closes this gap by engaging in a qualitative exploration of the lives of three female dancers in Nigeria telling their stories through dance. They are Kaffayat Oluwatoyin Shafau (Kaffy), Odumewu Debbie (Debbiepinkie), and Usiwo Orezinena Jane (Janemena). Exploring their social media archives, interviews granted to TV stations and a published autobiography “Alajoota” by Kaffy, this essay contextualizes and complicates the interpretations of sexualization in the Nigerian hip hop dance industry. Through dance Nigerian women performers are able to negotiate the heavily male-dominated hip hop scene. For them, dance is a coping strategy, a profession, a space for redefining self and embracing sexuality and femininity, and a form of youthful identity and inclusion. -
History Knowledge Organiser: the First World War Key Terms Definitions Key People/Events Definitions
Knowledge Organiser Year 9 Term 1 and 2 2019-2020 Name: ………………………………... Try using these memorisation techniques with your Knowledge Organisers Quizlet Login Details: Show my Homework Login Details: Autumn Term - Biology Knowledge Organiser 1 1. The importance of communities 2. Organisms in their environment 5. Competition in plants An ecosystem is the interaction of a community of living organisms with the non-living (abiotic) parts of their environment Abiotic (non-living factors) that effect Biotic (living factors) that effect commu- Plants often compete with each other for light, space, water communities of organisms nities of organisms and mineral ions from the soil Organisms require materials from their surroundings and other liv- ing organisms to survive and reproduce Light intensity Availability of food Light is needed for photosynthesis Within a community, each species depends on other species for Temperature New predators arriving Water is needed for photosynthesis and to keep their tissues food, shelter, pollination, seed dispersal. If one species is removed it rigid and supported Moisture levels New pathogens can affect the whole community. This is called interdependence Minerals are needed to make all the chemicals they need in A stable community is where all the species and environmental fac- Soil pH and mineral content New competitors their cells tors are in balance so that population sizes remain fairly constant. Wind intensity and direction Space allows them to grow—it allows their roots to take in water and minerals and their leaves capture sunlight Carbon dioxide levels for plants Plants have many adaptations that make them good com- Availability of oxygen for aquatic animals petitors for example different types of roots ; some have shallow roots to take in water from the surface and some 3. -
Frica 360 Playlist
frica 360 Playlist Alewya Sweating Amaarae Sad Girlz Luv Money Aya Nakamura Doudou Ayra Starr Away Black Coffee featuring Cassie Time Blaq Diamond Summeryomuthi Burna Boy Onyeka (Baby) Busiswa featuring Kamo Mphela SBWL Curtis J featuring Tomie Boy Check Your Balance Daddy Andre Andele DaVido featuring Mayorkun The Best Davis D Dede Diamond Platnumz featuring Koffi Olomide Waah! oLDDDDSSSSSSSOlOlomideSPINALL x Fireboy DML Olomide Sere Drizilik Tell ElGrandeToto Mghayer Focalistic featuring Vigro Deep & Davido Ke Star (Remix) Franglish Bonnie & Clyde Gyakie featuring Omah Lay Forever Remix Harmonize featuring Anjella All Night Jae5 featuring Skepta & Rema Dimension Joeboy Focus Lioness Superstar Major League DJz, Abidoza featuring Mpho Dinaledi SebinaMapara A Jazz featuring Ntosh Gazi & Colano John Vuli Gate Masterkraft x Zlatan x Bella Shmurda Hallelu Midas The Jagaban Cloud 9 Moonchild Sanelly Thunda Thighs Mula Paradis MzVee featuring Sarkodie Balance Naira Marley Chi Chi Nelson Freitas featuring Mr Eazi Tellin Me Something Olamide featuring Bad Boy Timz Loading Omah Lay Godly Oxlade AWAY P. Montana, Twitch 4EVA, Camidoh Fuego Rayvanny Woza Rema Bounce Sauti Sol Suzanna Sha Sha featuring DJ Maphorisa & Kabza De Tender Love SmallShatta Wale 1 Don Sho Madjozi Jamani Sun-El Musician featuring Msaki Ubomi Abumanga Tayc N'y Pense Plus Tems The Key Teni featuring Davido For You Tiwa Savage Koroba Veezo View featuring WNDRSZN Deja Vu WizKid featuring Skepta Longtime Yaw Tog featuring Stormzy & Kwesi Arthur Sore (Remix) . -
P20-21.Qxp Layout 1
Established 1961 21 Lifestyle Awards Monday, November 26, 2018 AFRIMA winner list: REGIONAL CATEGORY Best Female Artiste in Central Africa • Daphne / Cameroon / Jusqu’a La Gare Best Male Artiste in Central Africa • Fally Ipupa / DRC / Mannequin Ft Keback & Naz Best Female Artiste in Eastern Africa • Betty G / Ethiopia / Mengedegna Best Male Artiste in Eastern Africa • Bebe Cool / Uganda / Freedom Best Female Artiste in Northern Africa • Lyna Mahyem ft Medi Meyz /Algeria / Bye Bye Recipient of the Best artist in African electro South African Musician Master KG Hostesses pay attention to the last instructions before the awards ceremony of the All Best Male Artiste in Northern Africa speaks onstage. Africa Music Awards (AFRIMA) at the Accra International Conference Centre in Accra. • Hamza El Fadly / Morocco / Ya Mraya Best Female Artiste in Southern Africa • Shekhinah / South Africa / Please Mr Best Male Artiste in Southern Africa • Nasty C / South Africa / Jungle Best Female Artiste in Western Africa • Tiwa Savage / Nigeria / Ma Lo Ft. Wizkid & Spellz Best Male Artiste in Western Africa • Davido / Nigeria / Fia CONTINENTAL CATEGORY ALBUM OF THE YEAR • Betty G / Ethiopia / Wegegta ARTISTE OF THE YEAR • Davido / Nigeria / FIA BEST AFRICAN VIDEO • Sesan / Gringo (Shatta Wale) / Nigeria BEST AFRICAN ACT IN DIASPORA • Hazel Mak / Malawi / Jaiva Ft. Roberto & Tay Grin Recipient of the Best Female artist in African Inspirational Togolese band Toofan performs onstage. Music Ugandan singer Sandra Nankoma speaks onstage. BEST AFRICAN COLLABORATION • GuiltyBeatz, Mr. Eazi, Patapaa & Pappy Kojo / Ghana-Nigeria / Akwaaba BEST ARTISTE, DUO OR GROUP IN AFRICAN CONTEM- PORARY • Kidi / Ghana / Odo Remix Ft. Mayorkun & Davido BEST ARTISTE, DUO OR GROUP IN AFRICAN DANCE OR CHOREOGRAPHY • Mr P. -
179 Nigerian Pidgin: a Means of Human Development Charles Chukwuma Motanya Abstract
Nigerian Pidgin: A Means of Human Development Charles Chukwuma Motanya http://dx.doi./org/10.4314/ujah.v18i2.10 Abstract Growth and development are the target of every human being. There are several avenues for achieving this said development and one of such means is through the development of a viable language that will aid in people’s effective communication for gains. This paper therefore explores the effective use of Nigerian Pidgin in the development of artistes in Nigeria’s entertainment industry. Data were generated from a library research. The study is based on systemic-functional grammar. The findings indicate that Nigerian Pidgin has offered many artistes the opportunity to showcase to the wider public their works. This in turn, improves their financial and social status. The research recommends that Nigerian Pidgin should be adopted and included among one of Nigeria’s official language. Introduction One of the most important differences between man and animal is man’s ability to speak and make others understand him. Language is the only means through which this is achieved in man’s life. Language is the medium or vehicle for conveying ideas, a system of arbitrary vocal symbol based on social cooperation; the totality of meaningful utterance in a given society (Yule 15). Language is a system of conventional or written symbols by means of which humans as members of a social group and participants in its culture communicates (Encyclopedia Britannica, 2002). Language determines and defines man’s humanity. 179 Motanya: Nigerian Pidgin: A Means of Human Development In Nigeria, we have three major indigenous languages that have national status.