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Rosa Aparecida Do Couto Silva Fela Kuti
1 UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” FACULDADE DE CIÊNCIAS HUMANAS E SOCIAIS ROSA APARECIDA DO COUTO SILVA FELA KUTI: CONTRACULTURA E (CON)TRADIÇÃO NA MÚSICA POPULAR AFRICANA FRANCA 2015 2 ROSA APARECIDA DO COUTO SILVA FELA KUTI: CONTRACULTURA E (CON)TRADIÇÃO NA MÚSICA POPULAR AFRICANA Dissertação apresentada à Faculdade de Ciências Humanas e Sociais, Universidade Estadual Paulista “Júlio de Mesquita Filho”, como pré-requisito para a obtenção do título de Mestre em História. Orientador: Prof. Dr. José Adriano Fenerick FRANCA 2015 3 Silva, Rosa Aparecida do Couto. Fela Kuti : contracultura e (con)tradição na música popular africana / Rosa Aparecida do Couto Silva. – Franca : [s.n.], 2015. 129 f. Dissertação (Mestrado em História). Universidade Estadual Paulista. Faculdade de Ciências Humanas e Sociais. Orientador: José Adriano Fenerick. 1. Contracultura. 2. Música popular. 3. Pan-africanismo. I. Título. CDD – 780 4 ROSA APARECIDA DO COUTO SILVA FELA KUTI: CONTRACULTURA E (CON)TRADIÇÃO NA MÚSICA POPULAR AFRICANA Dissertação apresentada à Faculdade de Ciências Humanas e Sociais, Universidade Estadual Paulista “Júlio de Mesquita Filho”, como pré-requisito para a obtenção do título de Mestre em História. BANCA EXAMINADORA Presidente: _________________________________________________________________ Prof. Dr. José Adriano Fenerick (UNESP – Franca) 1ª Examinadora: ____________________________________________________________ Profa. Dra. Márcia Tosta Dias (UNIFESP – Guarulhos) 2º Examinador: _____________________________________________________________ Prof. Dr. Marcos Sorrilha Pinheiro (UNESP – Franca) Franca, 17 de agosto de 2015. 5 Aos queridos Ângela, Antônio, Miguel, Ana Carolina e Matheus W. 6 AGRADECIMENTOS No processo de pesquisa de mestrado do qual este trabalho é fruto tive a sorte de encontrar pessoas que me auxiliaram de diversas maneiras e às quais eu serei eternamente grata. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Ajaja Gbara Eni : Exploring Citizen Rebellion in Post
AJAJA GBARA ENI1: EXPLORING CITIZEN REBELLION IN POST-COLONIAL NIGERIA Elom Tettey-Tamaklo Senior Thesis, 2019 Department of Political Science, Haverford College Dr. Susanna Wing, Advisor 1 Fighting Oppression/Liberation Struggles 1 TABLE OF CONTENTS Acknowledgements………………………………………………………………………….3 Introduction and Methodology ……………………………………………………………..4 The Post Colonial African Project ………………………………………………….5 CHAPTER 1: Literature Review …………………………………………………………..10 A: Theories of Resistance ………………………………………………………….12 B: Forms of Resistance …………………………………………………………….14 CHAPTER 2: Roots of Rebellion …………………………………………………………..28 Family Legacy ………………………………………………………………………28 Yoruba Influences …………………………………………………………………. 32 CHAPTER 3: The State of The State………………………………………………………..43 Features of the Post-Colonial Nigerian Project……………………………………...47 CHAPTER 4 : Bridge Over Troubled Waters…………………………………………….....54 A: Civil Society ……………………………………………………………………..54 B: The Rise of Lone Wolf Citizen Activism………………………………………...62 CHAPTER 5: Fela’s Rebellion ……………………………………………………………..64 Fela: The Political Philosopher ……………………………………………………..67 Fela: The Political Griot …………………………………………………………….74 Fela: The Political Practitioner ……………………………………………………...94 Conclusion …………………………………………………………………………………102 2 ACKNOWLEDGEMENTS A popular African proverb says, “if you want to go fast, go alone, but if you want to go far, go together.” The journey of writing this thesis has been a long and hard road and it would not have been possible without the help of the following people. First of all, I want to thank my parents who have supported me through this process. Your late night calls, encouraging texts and words of affirmation made me believe that I could do it. Also, I thank my tribe; my family and close friends in and outside Haverford College who have helped me write this thesis. You have encouraged me, checked up on me, read my drafts with me, stayed through the night with me, prayed for me and believed in me. -
FELA and the Black President Film
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. I aacLJJm eside Forward HE following is a diary I kept between January 2nd to 28th 1977when I was acting in Fela's biographical film The Black President, co- produced by Fela Anikulapo-Kuti, Faisal Helwani, Alex Oduro and J.K. Braimah. I first saw Fela play in 1972 when he came to the University of Ghana Campus at Legon, where I was then an undergraduate. In November 1974 I stayed at his Africa Shrine (Empire Hotel) with members of Basa-Basa and the Bunzu Sounds, the resident groups at Faisal Helwanis Napoleon Club in Accra. Faisal and Fela co- produced two albums we recorded at the EMI studio in Apapa including two Afro- beats I played and composed jointly with the Bunzus. 'Onukpa Shwapo and Yeah Ku Yeah' were later released on the New York Makossa Lable as 'Makola Special' and 'Volta Suite' respectively. On the first day of our stay at the Shrine we were teargassed, as Fela's Kalakuta Republic across the road was attacked by sixty riot police trying to retrieve a runaway girl Fela had been harbouring. I stayed at the Shrine again in December 1 975, enroute to visit and play with Victor Uwaifo. It was on this occasion that I did the interview with Fela. -
Asimilación Musical Y Crítica Política En La Obra De Fela Kuti Agustín Haro
ESTUDIOS HISTORICOS – CDHRPyB- Año V - Julio 2013 - Nº 10 – ISSN: 1688 – 5317. Uruguay Asimilación musical y crítica política en la obra de Fela Kuti Agustín Haro1 Resumen: Olufela Olusegun Oludotun Ransome-Kuti en Abeokuta, Estado de Ogun, Nigeria en 1938, conocido como Fela Kuti fue un músico y activista abocado al highlife jazz para posteriormente crear un género musical que revolucionaría no solo África, sino Occidente, el Afrobeat. Prolífico músico, su fama fuera de los limites africanos comenzó a surcar a mediados de la década de 1970 con discos como “Coffin for Head of State” o “Zombie”, álbumes con una critica política muy fuerte que lograron colocar a Kuti en la escena musical europea y norteamericana, logrando transmitir un mensaje al exterior de cómo se estaban viviendo en su Nigeria natal. El objetivo del articulo será buscar demostrar como se introdujo de forma clara dentro de su faceta artística un proceso de asimilación tanto del inglés, como de géneros musicales provenientes como ser el jazz, soul, funk y como a partir de ahí con estos elementos occidentales, realiza una mordaz crítica política a los gobiernos de turno y de las nociones que se encontraban impuestas en Nigeria a partir de los procesos de colonización. Como problemática se buscará resolver la dicotomía que provoca esta imbricación/asimilación para criticar Occidente. ¿Por qué Fela se valió de estos recursos? Palabras claves: panafricanismo – black power – critica política – crítica cultural 1) Introducción: Nacido bajo el nombre de Olufela Olusegun Oludotun Ransome-Kuti en Abeokuta, Estado de Ogun, Nigeria en 1938, Fela Kuti fue un músico y activista creador de un género musical que revolucionaría no solo África, sino Occidente, el Afrobeat, del cual es considerado padre hasta el día de hoy por los críticos musicales. -
Nonviolent Protest in Africa: Echoes and Lessons from Fela Anikulapo Kuti
Nonviolent Protest in Africa: Echoes and Lessons from Fela Anikulapo Kuti Noah Opeyemi, BALOGUN Department of Peace and Conflict Studies Afe Babalola University, Ado-Ekiti, Ekiti-State Email: [email protected] Tel.: +2348030627731 Abstract This study examines the intersection of popular music/culture, social movement and protest by analysing the numerous protest music produced and performed by Fela Anikulapo Kuti, Africa’s most iconic resistant artist of the twentieth century. It engages the core questions of right, injustice, and inequality that have manifested in Africa/Nigeria’s underdevelopment since the Union Jack was lowered in 1960. It argues that Fela’s music did have obvious impact on Nigerian youth and the working class who attempted to revise or renegotiate their relationship with the Nigerian state. Yet, it posed hitherto unanswered questions of the changing meaning of social movement in relation to artistic production- an aspect of African studies that scholars have completely overlooked. It concludes that as people reconfigure social relations from one stage to another in their life, their engagement with the State and the social meaning attributed to social justice, which Fela’s music emphasised, also change. Thus, popular consciousness shaped by resistant music is not immutable to nonviolent social protest. Rather, it continued to change as individuals and groups reconstitute their relationship with the society, and as their social status transformed in accordance with the acquisition of better education, wealth/resources, among other significant elements that shape human’s consciousness. Introduction: Understanding Nonviolence Violence involves the use of physical force to achieve and aim. It is the use of physical force may be directed at hurting, damaging, or killing a person or an animal. -
Fela Kuti Jazz Side of Fela Mp3, Flac, Wma
Fela Kuti Jazz Side Of Fela mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Folk, World, & Country Album: Jazz Side Of Fela Country: Japan Released: 1998 Style: Afrobeat MP3 version RAR size: 1111 mb FLAC version RAR size: 1801 mb WMA version RAR size: 1232 mb Rating: 4.2 Votes: 714 Other Formats: XM DMF ADX MP1 ASF MOD DTS Tracklist 1 –Fela Anikulapo Kuti* & Africa 70 J.J.D. (Johnny Just Drop) Part 1 12:28 2 –Fela Anikulapo Kuti* & Africa 70 Roforofo Fight 15:40 3 –Fela Anikulapo Kuti* & Africa 70 Sorrow Tears And Blood 10:14 4 –Fela Anikulapo Kuti* & Africa 70 Water No Get Enemy 10:57 5 –Fela Anikulapo Kuti* & Egypt 80 Just Like That 22:58 Companies, etc. Phonographic Copyright (p) – Kalakuta Records Copyright (c) – Kalakuta Records Licensed From – Fela Anikulapo Kuti Estate Limited Licensed Through – M.W.F. Ltd. Manufactured By – Victor Entertainment, Inc. Distributed By – Victor Entertainment, Inc. Credits Art Direction, Design – Diamond Heads Booklet Editor – Yukio Yui Compilation Producer – Taro Mineuchi Compiled By, Liner Notes – Paul Bradshaw Executive-Producer – Soh Fujimoto Management – Mie Tanaka Mastered By – Kazushige Yamazaki, Koji Noda Photography By – Tohru Sakai Producer – Makoto Torii Producer [Assistant] – Paul Fisher Production Manager – Emmanuel Louison Promotion – Isamu Senda, Masaaki Kasuya Remastered By – John Pierce Ali Bears Barcode and Other Identifiers Rights Society: JASRAC Related Music albums to Jazz Side Of Fela by Fela Kuti Fela Anikulapo-Kuti & The Africa 70 - Fela Anikulapo Kuti & The Africa 70 fela anikulapo kuti - army arrangement Fela Anikulapo Kuti & Africa 70 - Upside Down Fela Anikulapo Kuti - Teacher, Don’t Teach Me Nonsense Fela Ransome-Kuti And His Africa '70 - Fela Fela Fela Fela Kuti & Africa 70 - V.I.P. -
Fela Kuti, James Brown and the Invention of Afrobeat
Make It Funky 99 Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat Alexander Stewart Evoking the image of ships and black sailors navigating the Atlantic, Paul Gilroy’s heuristic stresses dynamic cultural exchange among diverse popula- tions of the African diaspora and the mother continent itself—the “black Atlan- tic.” Gilroy argues for the central role of black musical expression in producing a “distinctive counterculture of modernity” on a basis of shared oppression, common goals, and hybrid cultures (Gilroy, 1993, 36). While the perspective of black Americans’ discovery and cultivation of African cultures and sensibili- ties (both historical and imagined) is more familiar to those on this side of the Atlantic, this process also figured importantly on the African continent. During the early postcolonial years, the interest of African Americans in discovering their African roots stimulated a similar impulse in some Africans. Describing the epiphany brought on by his 1969 trip to the United States, Fela Anikulapo Kuti, the originator of the jazz, funk, and soul-infused genre Afrobeat, recalled: It was incredible how my head was turned. Everything fell into place, man. For the first time, I saw the essence of blackism [black nationalism]. It’s crazy; in the United States people think the black-power movement drew inspiration from Africa. All these Americans come over here looking for awareness. They don’t realize they’re the ones who’ve got it over there. Why we were even ashamed to go around in na- 0026-3079/2013/5204-099$2.50/0 American Studies, 52:4 (2013): 99-118 99 100 Alexander Stewart tional dress until we saw pictures of blacks wearing dashikis on 125th Street. -
Multimedia Suggested List
ANGOLA ARTIST Nastio Mosquito (1981 - ) - Specialty: Contemporary Artist ARUBA ARTIST Frederick Hendrick (Henry) Habibi (1940 - ) - Specialty: Poet, Literary Critic - Most of his poems are written in Papiamento AUSTRALIA ARTIST Gloria Petyarre (aka Gloria Pitjara) (1945 - ) - Specialty: Aboriginal artist. Her works are considered highly collectible; prices range from $2,000 - $30,000. AUTHORS Faith Bandler (1918 – 2015) - Specialty: Writer Mary Carmel Charles - Specialty: Writer Alexis Wright - Specialty: Writer Kate Howarth - Specialty: Writer Glenyse Ward - Specialty: Writer Fifty Shades of Brown: Sources for Building Ethnic-Centered Community Collections for New Americans of Color by Wilma Kakie Glover-Koomson 1 BARBADOS AUTHORS Austin Clarke (A.C.) (1934 - ) - Specialty: Novelist, Short Story, and Essayist - Bibliography: The Polished Hoe; Storm of Fortune; Survivors of the Crossing Kwadwo Agymah Kamau - Specialty: Writer - Bibliography: Pictures of a Dying Man; Flickering Shadows Karen Lord (1968 - ) - Specialty: Writer - Bibliography: Redemption in Indigo; The Best of All Possible Worlds Glenville Lovell (1955 - ) - Specialty: Writer, Dancer, and Playwright - Bibliography: Fire in the Canes; Song of Night; Mango Ripe! Mango Sweet (play) George Lamming (1927 - ) - Specialty: Novelist, Poet, and Essayist - Bibliography: In the Castle of My Skin; Natives of My Person; The Pleasures of Exile – Essays MUSIC/MUSICIANS/LABELS Arturo Tappin Rihanna (aka Robyn Rihanna Fenty) (1988 - ) - Specialty: Singer, Songwriter - Albums: Unapologetic; Talk that Talk; Loud; Good Girl Born Bad; Rated R Shontelle Layne (1985 - ) - Specialty: Singer BENIN ARTISTS Meschach Gaba (1961 - ) - Specialty: Artist (Contemporary African and Cultural), Sculptor - Bibliography: Meschac Gaba by Stephen Muller (August 2010) MUSIC/MUSICIANS/LABELS Angelique Kidjo Wally Badarou Fifty Shades of Brown: Sources for Building Ethnic-Centered Community Collections for New Americans of Color by Wilma Kakie Glover-Koomson 2 BRITAIN AUTHOR V.S. -
Afrobeat, Fela and Beyond: Scenes, Style and Ideology
AFROBEAT, FELA AND BEYOND: SCENES, STYLE AND IDEOLOGY by Oyebade Ajibola Dosunmu BA, Obafemi Awolowo University, Ile-Ife, Nigeria, 2001 MA, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Oyebade Ajibola Dosunmu It was defended on November 12, 2010 and approved by Jean-Jacques Sene, PhD, Department of History, Chatham University Laurence Glasco, PhD, Department of History Mary Lewis, PhD, Department of Music (Emerita) Nathan Davis, PhD, Department of Music Akin Euba, PhD, Department of Music ii Copyright © by Oyebade Dosunmu 2010 iii AFROBEAT, BEYOND FELA: SCENES, STYLE AND IDEOLOGY Oyebade Ajibola Dosunmu, PhD University of Pittsburgh, 2010 Afrobeat first emerged in the late 1960s amid the rapidly changing postcolonial terrain of Lagos, Nigeria. Created by Fela Anikulapo-Kuti (1938-1997), the genre blends scathing anti-establishment lyrics with Yoruba traditional music and Western forms, particularly jazz. Fela’s ideological dictum: “Music is the Weapon of the Future,” encapsulates his view of music as an oppositional tool, his enactment of which led to frequent violent confrontations with the Nigerian state. Throughout his lifetime, Fela held hegemonic sway over afrobeat’s stylistic and ideological trajectories. However, following his death, the genre has witnessed a global upsurge with protégés emerging in New York City, San Francisco, Paris, London and other cultural capitals of the world. In my dissertation, I chronicle afrobeat’s transnational networks and discuss processes of stylistic and ideological affiliation through which such networks have emerged. -
Overcoming Nigeria's Challenges of Corruption and Opacity In
Overcoming Nigeria’s Challenges of Corruption and Opacity in Governance Overcoming Nigeria’s Challenges of Corruption and Opacity in Governance Jide Ojo ii Overcoming Nigeria’s Challenges of Corruption and Opacity in Governance Overcoming Nigeria’s Challenges of Corruption and Opacity in Governance ISBN NO: 978-978-975-620-9 @ Jide Ojo 2019 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photo-copying, recording or otherwise, without the prior written permission of the copyright owners. First published 2019 For enquiries: [email protected] Printed by Legacy Company/Publishing & Multimedia Co. Ltd. For: Centre for Information Technology and Development (CITAD) iii Overcoming Nigeria’s Challenges of Corruption and Opacity in Governance Preface T his book, “Overcoming Nigeria’s Challenges of Corruption and Opacity in Governance” is one of the project activities I am implementing under the Anticorruption and Accountability Project being coordinated by the Centre for Information Technology and Development (CITAD) Kano, with funding support from MacArthur Foundation, Nigeria. There is no gainsaying that opacity in governance promotes corruption and as such all means must be explored towards achieving greater transparency to promote good governance. While legal means, such as arrests and the prosecution of corrupt leaders may be pursued as means of deterrence, civic engagement and education, through informed commentary, news analysis and sensitisation of the public also play key roles in the fight against corruption and bad governance. Hence, this book is my modest contribution to the public discourse on how to find lasting solutions to the nagging challenges of corruption and the lack of accountability in our politics, elections and governance. -
UNIVERSITY of IBADAN LIBRARY Felafrobeat Index
FelA frobeat Index Afrobeat through Highlife in Nigerian Newspapers and Magazines, 1959-1979 UNIVERSITY OF IBADAN LIBRARY FelAfrobeat Index Afrobeat through Highlife in Nigerian Newspapers and Magazines, 1959-1979 ( UNIVERSITY OF IBADAN LIBRARY 11 Publisher &$het IFAnet Editions(c) 2013 / E-Edition Information Aid Network (IFAnet),Ibadan, Nigeria Website: http://www.ifanet.org ISBN Number: 9 7 8 -9 7 8 -5 3 4 9 4 -0 -5 UNIVERSITY OF IBADAN LIBRARY Acknowledgements The coming of this index benefited tremendously from the team of documentalists at the Information Aid Network (IFAnet), Ibadan, and I'd like to specially thank Christopher Oni Ola who was the network's archival and information services consultant. Linda Itose and Racheal Akinduro deserve special mention as my lead researchers on this project, just as well as other researchers such as NoimotOlayiwola (nee Ogundele), Aanuoluwapo Rebecca Oyewole and BunmiMorakinyo who worked as research assistants at various stages of this publication. I can't forget the collegiate spirit with which both KunleBaiyere and Benson Eluma assisted me with the literature review of related texts for the sixties period. I wish to express my profound gratitude to Mr. GbengaOlaoye for doing the initial production layout. Two scholars of conflict studies found this enterprise equally worth their while: Tolu Johnson shot through aspects of the exciting times via his lenses, while Dr. Phillip Olayoku lent invaluable critical evaluation on thematic thrust. To all, I am very grateful for your sharing of creative time in order for me to achieve the dream of denying the future researcher on Highlife and Afrobeat the horror I went through in sourcing for basic data and developing a mere cultural timeline of the era.