Read Ebook {PDF EPUB} The Ashanti Doll by Francis Bebey Bebey, Francis. Bebey, Francis — (15 jul. 1929, Douala, Camerún–28 may. 2001, París, Francia). Escritor y cantautor francés nacido en Camerún. Después de estudiar en París y Nueva York, se estableció en París en 1960. Realizó trabajos de investigación y documentación de música… … Enciclopedia Universal. Bebey — Francis Bebey (* 15. Juli 1929 in Douala, Kamerun; † 28. Mai 2001 in Paris) war ein französischer Musiker und Schriftsteller kamerunischer Herkunft. Leben Bebey verbrachte seine Kindheit in Kamerun, kam aber zusammen mit seiner Familie später… … Deutsch Wikipedia. Francis — Francis. Asteroide nº. 2050 de la serie (1974 KA), descubierto el 28 de mayo de 1974 por Eleanor Francis Helin desde Monte Palomar. La descubridora lo nombró en honor de sus padres Fred y Kay Francis. Lista de asteroides * * * Francis, turbina *… … Enciclopedia Universal. Bebey — (Francis) (né en 1929) écrivain et chanteur musicien camerounais. Romans: le Fils d Agatha Moudio (1967), le Ministre et le griot (1992); essai: Musique de l Afrique (1969); poésie: Concert pour un vieux masque (1980) … Encyclopédie Universelle. Francis — /fran sis/, n. a male given name: from an Old French word meaning Frenchman. * * * (as used in expressions) Abbott George Francis Adams Charles Francis Bacon Francis Viscount St. Albans Bacon Francis Bayard Thomas Francis Beaumont Francis Bebey… … Universalium. Francis Bebey — (* 15. Juli 1929 in Douala, Kamerun; † 28. Mai 2001 in Paris) war ein französischer Musiker und Schriftsteller kamerunischer Herkunft. Inhaltsverzeichnis 1 Leben 2 Werke 2.1 Literatur deutsch … Deutsch Wikipedia. Francis Bebey — Francis Bebey, né à Douala en 1929, mort le 28 mai 2001, est un artiste camerounais. Francis Bebey fut tout d abord journaliste de radio en Afrique et en France (à Radio France Internationale), puis rattaché à l UNESCO comme directeur du… … Wikipédia en Français. Francis Bebey — Saltar a navegación, búsqueda Francis Bebey (15 de julio, 1929, Duala 28 de mayo, 2001, París) fue un escritor, periodista y cantautor camerunés.[1] Después de haber estudiado en París y Nueva York, se asentó en la ciudad luz en 1960. Trabajó… … Wikipedia Español. Francis Bebey — (1929–2001) was a Cameroonian artist, musician, and writer. Bebey was born in 1929 in Douala, Cameroon. He attended the Sorbonne and Paris, France, and received further education in the United States. In 1957, Bebey moved to Ghana at the… … Wikipedia. Republik Kamerun — République du Cameroun (frz.) Republic of Cameroon (engl.) Republik Kamerun … Deutsch Wikipedia. Francis Bebey. Our editors will review what you’ve submitted and determine whether to revise the article. Francis Bebey , (born July 15, 1929, Douala, Cameroon—died May 28, 2001, Paris, France), Cameroonian-born writer, guitarist, and composer, one of the best-known singer-songwriters of Africa. He is sometimes called the father of world music. Bebey began performing with a band while a teenager in Cameroon. In the mid-1950s he traveled to Paris to study at the Sorbonne, and during this time he was influenced by classical guitarist Andrés Segovia. After attending New York University, Bebey in 1960 settled in Paris, where he worked on several radio stations and was later hired by UNESCO to research and document traditional African music. Bebey continued composing his own music, gaining notice for his poetic lyrics and expressive voice. By 1967 he had made several recordings and had performed in New York City and Paris as well as in Africa. Highly experimental, Beby often incorporated Latin American, Western, and African sounds into his music. His numerous recordings include Akwaaba (1985), Amaya (1987), and Dibiye (1998). Bebey was also a noted writer, and his first novel, Le Fils d’Agatha Moudio ( Agatha Moudio’s Son , 1971), was published in 1967. Critics found the work a carefully constructed masterpiece of burlesque, and it won the Grand Prix Littéraire de l’Afrique Noire. The following year Embarras et Cie: nouvelles et poèmes (nine short stories, each accompanied by a poem) was published. Bebey claimed that his wide experience as a radio broadcaster affected the style of his stories, which he directed toward hearers rather than readers. His later works include La Poupée Ashanti (1973; The Ashanti Doll ) and Le Roi Albert d’Effidi (1973; King Albert ). Bebey also wrote a book on broadcasting in Africa and two books on African music, notably African Music: A People’s Art (1975, reprinted 1992). THE ASHANTI DOLL. The crosscurrents of this street fair of African (Ghanian) romance are conducted through a dialogue that crackles with all the stylistic fillips, soaring attacks, and counterattacks of people both innocent and wise, ardent and coolly pragmatic. The Ashanti Doll is beautiful Edna, groomed for the ancient and honorable vocation of Accra Market Woman by stout-hearted Mom, her grandmother, to whom the Association of Market Women turns for leadership. A demonstration is obviously called for when a fellow Market Woman's permit is revoked bemuse her kinsman is a member of the opposition in Parliament. Joyfully, the women march on the center of power: ""This is how Africa moves, with an insane desire to make any occasion into a moment to live."" When Edna impulsively plunges into gunfire, she is wounded. But, as Edna's adopted mother, Aunt Princess, reminds Mom, Edna's sacrifice cannot be compared to the Ultimate: ""[Jesus] knew perfectly well. . . that he would be resurrected, whereas if my daughter dies for the sake of Mrs. Amiofi's permit, well, we'll never see her again."" But of more import to illiterate Edna is her marriage proposal from handsome government official Scio, who, in besotted adoration, praises the very ""ignarance"" that will guide him ""like a blind man traveling by instinct along a marvelous path that he neither sees nor knows."" The author's humor tickles like a summer breeze: ""A good bicycle should always break down when it is at rest, preferably in a locked room"" or ""Presentiment is the wretched shell surrounding optimism."" Although Ghanian politicians catch a full satiric draft, the author, whose previous novel, Agatha Moudio's Son, had some notice, is mainly concerned with vital people leading their lives at optimum fever and flourish. Francis Bebey 1929 – 2001. Cameroonian-born Francis Bebey (pronounced bay-BAY) was a man of many talents. He rose through the ranks of the United Nations Educational, Scientific, and Cultural Organization (UNESCO) to become head of the music department at the Information Services branch in Paris. At the same time, Bebey published poetry and novels and a seminal study of western African music. Bebey, an accomplished guitarist, baritone, and composer, also performed African-inspired music at venues worldwide and made more than a dozen recordings. His musical activities helped preserve and disseminate African-inspired music and earned him the sobriquet “ Father of World Music. ” The son of a Christian minister, Francis Bebey was born on July 15, 1929, near Douala, Cameroon, which was then a French and British protectorate. He grew up learning the French language and western musical traditions in school. As a youth Bebey sampled the accordion, violin, piano, and mandolin before settling by age nine on the guitar. Though he learned western music, Bebey was also attracted to the village shaman, an elderly man who played an old harp, a mouth-bow, and intoned ancient chants in the native language, Douala. While the Christian elders of the village believed the man to be in league with the devil, “ to me he represented something else, ” Bebey told Jason Berry of New Orleans Magazine , “ the reality of Africa, the importance of the past. ” Thus Bebey embraced his native music, cherishing and working to preserve it throughout his life. As a teenager living in the capital city of Douala, Bebey played guitar and drums with a popular Cameroonian dance band and became acquainted with such international musical styles as AfroCuban and American swing and jazz. Bebey won a scholarship to study languages at the Sorbonne in Paris, where he also studied literature and discovered the works of Cameroonian novelists Ferdinand Oyono and Mongo B é ti. While in Paris, he became inspired by the classical guitar music of Spanish virtuoso Andres Segovia and tried to emulate his ability to create many different sounds with the guitar. By the end of the 1950s, Bebey was a radio journalist/producer with Radiodiffusion Outre-Mer (now Radio-France Internationale) in Paris and the leader of a Parisian jazz band. When he moved to the United States in 1958 to study mass communications at New York University, Bebey continued his musical career, composing guitar music. Upon his return to Paris three years later, he helped create a radio station in Ghana and became the host of the popular radio program “ Jazz Train ” at Radiodiffusion Outre-Mer. Bebey then began researching and tracking traditional African music for the United Nations Educational, Scientific, and Cultural Organization (UNESCO), traveling around sub-Saharan Africa to make field recordings of native music. While working as a program specialist for UNESCO, Bebey realized that there was no literature on the history of radio in Africa. He filled the gap himself, writing his first book La Radiodiffusion en Afrique Noire , published in 1963. At a Glance … Born on July 15, 1929, in Douala, Cameroon; died on May 28 , 2001, in Paris, France; married Jacqueline Edinguele, August 14, 1956; children: Eyidi, Christiane, Fanta, Francis, Patrick. Education: Sorbonne, Paris, France; New York University, Religion: Protestant. Career; Radiodiffusion Outre-mer, Paris, France, radio producer and journalist, 1957-61; UNESCO, Paris, program specialist, 1961-74; freelance writer, musicologist, concert guitarist, composer, 1963-2001. Membership: Cercle Renaissance, Association des Ecrivains de Langue Fran ç aise, Soci é t é des Auteurs, Compositeurs et Editeurs de Musique (S.A.C.E.M.). Awards: Association des Ecrivains de langue Fran ç aise, Grand Prix Litt é raire de l ’ Afrique Noire, 1968, for Le Fils d ’ Agatha Moudio; S.A.C.E.M., Paris, Prix Jeune Chanson, 1977, for “ La Condition Masculine ” ; Soci é t é Civile pour l ’ Œ uvre et la M é moire d ’ Antoine de Saint-Exup é ry Prix Saint Exup é ry, 1994, for L ’ Enfant-Ptuie . Soon after the publication of La Radiodiffusion en Afrique Noire , Bebey began to produce poems and novels that reflected his experiences and observations in Africa. In 1967 he published a critical, yet humorous, novel, Le fils d ’ Agathe , translated as Agatha Moudio ’ s Son in 1971, which recounts the misadventures of a young Cameroonian man who makes a series of bad marriages. The novel won the Grand Prix Litt é raire de l ’ Afrique Noire. Noting that Bebey “ was close to his readers, ” George Ola-Davies commented in the London Independent , that his “ novels demonstrate his close observation of society ’ s strengths and weaknesses. ” The culmination of Bebey ’ s African musical research was published in 1969 as Musique de l ’ Afrique (African Music: A People ’ s Art) . The study included a sound recording which introduced readers to the sounds and forms of various types of western African music. Although faulting Bebey for neglecting the music of eastern, central, and southern Africa, Gary Giddins commented in the New York Times Book Review that “ Bebey eloquently pleads for a broad dissemination of unmodernized tribal music while hinting only tenuously at the impact it has already had on world-wide music. ” Bebey continued his musical preservation work with UNESCO, helping to produce two more collections of traditional African music: Atlas Musical and Sources Musicales . During the 1970s and 1980s, Bebey produced a handful of literary works, including the short story and verse collection Embarras et cie , and the novels Trois petits cireurs and Le Roi Albert d ’ Effidi , the later translated as King Albert . In his novel La Poup é e ashanti , translated as The Ashanti Doll , Bebey recounts the love affair of an Ashanti market girl, who lives with her grandmother, and a government worker. Bebey ’ s literary works have been the subject of study by scholars, who have analyzed themes of reconciliation, sociopolitical relations, his depiction of strong women, and his use of narrative techniques. Yet by the turn of the millennium, Bebey ’ s literary works were largely out of print. In 1974 Bebey retired from UNESCO to concentrate on his writing and musical activities. Bebey began performing for as many as six months of the year. With an easy manner and rich baritone voice, he would create an intimate atmosphere in the concert hall, introducing his songs with a tale, a poem, or a philosophical text, in the manner of the griot , or councilor-musician-historian. Bebey frequently appeared with his sons Francis, Jr., nicknamed Toops, and Patrick, who had inherited their father ’ s musical talent. To produce his own recordings Bebey founded his own record label in the 1970s, Ozileka, which he ran from a home studio at a time when home studios were rare. In addition to making his own recordings, he produced some twenty works of other artists. His 1972 recording La Condition masculine , in which he satirizes a man who complains about his “ liberated ” wife, became one of his most popular recordings. During the 1990s Bebey released such albums as Django Prface (in honor of French jazz guitarist Django Reinhardt), Mwana O, Sourire de lune , and Travail au noir on his own label. As early as the late 1970s, Bebey researched the music of African pygmees, what he called “ one of our greatest musical treasures, ” according to Africa News Service . Bebey incorporated pygmee music into modern compositions, composing pieces for such traditional African instruments as the sanza (the thumb piano, also known as the mbira, kalimba likembe, and marimba) and the ndewhoo (the pygmy one-note flute). His creation came to be known as Afropop or World Music, a combination of traditional African and Western genres. Bebey ’ s music sampled Latin, jazz, African, and Asian rhythms, African instrumental sounds, and French, English, and Douala lyrics. A free spirit where music is concerned, Bebey did not consider the commercial aspects of the business of music important. “ Above all I wanted to have fun making the music that I wanted when I wanted, ” Bebey told Jean-Jacques Dufayet of France Radio International. “ I let myself go. If there is an audience to travel the same road with me, even the most rocky road, what joy. If not, I can always go alone. ” Although Bebey began composing African-inspired music at a time when many people of African heritage did not value their roots, he saw that valuation change over time. Always stretching the boundaries of his musical talent, Bebey composed a piece for the Kronos Quartet, a San Francisco-based string quartet, in 1994, and in 1998 he performed before a full house in a program called “ Africa at the Opera ” with the Cologne Philharmonic in Germany. Coinciding with his seventieth birthday, Bebey ’ s albums Dibiye and Mbira Dance , which present a representative sampling of his work, went on the market. His song, “ Sabat Mater Dolorosa ” is indicative its creator ’ s polyglot heritage and recurring theme of love. In it he uses Douala, French, and English to sing about loving people despite their differences. Bebey continued a rigorous touring schedule to the end. Resting at home in Paris after a tour of Italy, Bebey died of a heart attack on May 28, 2001. Bebey ’ s work did not die with him; the Association Francis Bebey has dedicated itself preserving Bebey ’ s memory and safeguarding his musical and literary work by conducting research, organizing programs and concerts on African music and literature, and translating, publishing, and disseminating Bebey ’ s works. Selected works. Albums. Concert pour un vieux masque , Philips, 1968. Guitare d ’ une autre rime , Path é , 1972. Savannah Georgia , Decca/Fiesta, 1975. La condition masculine , Ozileka, 1976, reprised, 1991. Ballades africaines , Ozileka, 1978. Pri è re aux masques , Ozileka, 1980. Akwaaba, Music for Sanza , Ceddia, 1988. La lune dans un seau tout rouge , Ceddia, 1988. Paris Dougou , Ozileka, 1990. Amaya , Ceddia, 1991. Django Preface , Ozileka, 1992. Mwana O , Ozileka, 1994. Nandolo/With Love (selections from 1963 to 1994), Original Music, 1995. The Queen of Sheba , Ozileka, 1996. Travail au noir , Ozileka, 1997. Dibiye, Pee Wee, 1998. The Magic Box (includes “ O bia, ” “ Engome, ” and “ Magic Box ” ), Sony Classical, 2001. Writings. La Radiodiffusion en Afrique Noire , Editions Saint-Paul, 1963. (Contributor) An Anthology of African and Malagasy Poetry in French , Clive Wake, ed., Three Crowns Press, 1965. Le Fils d ’ Agatha Moudio (novel), Editions CLE, 1967; published as Agatha Moudio ’ s Son , Heinemann, 1971, Lawrence Hill, 1973. Embarras et cie: Nouvelles et po è mes (stories and poems), Editions CLE, 1968. Musiqe de l ’ Afrique , with recordings, Horizons de France, 1969; published as African Music: A People ’ s Art , Lawrence Hill, 1975. Nouvelle saison des fruits , Nouvelles Editions africaines, 1980. Contes de style moderne (stories), Balafon, 1985. La lune dans un seau tout rouge (stories), Hatier, 1989. Le ministre et le griot (novel), Editions S é pia, 1992. L ’ Enfant-Pluie (novel; title means “ Rain Child ” ), Editions S é pia, 1994. Congr è s de griots à KanKan (play), Lausanne, Switzerland, 1995. Sources. Books. Ogungbesan, Kolawole, ed., New West African Literature , Heinemann, 1979. Riesz, Janos, and Alain Ricard, eds., Semper Aliquid Novi: Litt é rature compar é e et litt é ratures d ’ Afrique , Narr, 1990. Tagne, David Ndachi, Francis Bebey , L ’ Harmattan, 1993. Periodicals. Africa News Service , May 29, 2001, p. 1008149u3613. College Language Association Journal , March 1984, pp. 332-342. Film Quarterly , Spring 1991, pp. 54-57. French Review , April 1996, pp. 842-843. Independent (London, England), May 31, 2001, p. 6. Jeune Afrique , April 1, 1977, p. 6-34. L ’ Afrique Litt é raire , January 1969, pp. 38-40. Language Quarterly , Spring-Summer 1985, pp. 41-43. Los Angeles Times , June 25, 2001, p. B-9. New Orleans Magazine , October 2001, p. 38. New Yorker , January 21, 1974; August 15, 1977. New York Times , February 13, 1995, p. C15; June 7, 2001, p. C21. New York Times Book Review , September 14, 1975; July 17, 1977. Times Literary Supplement , March 3, 1972; August 15, 1975. Whole Earth Review , July 1985, pp. 65-66. World Literature Today , Fall 1977; Summer 1982. On-line. Association Francis Bebey , www.bebey.com (March 26, 2004). “ Francis Bebey, ” Afropop , www.afropop.org (March 26, 2004). “ Francis Bebey, ” Biography Resource Center , www.galenet.com/servlet/BioRC (March 26, 2004). “ Francis Bebey, ” Radio France Internationale , www.rfimusique.com/ (March 26, 2004). — Jeanne M. Lesinski. Cite this article Pick a style below, and copy the text for your bibliography. MLA Chicago APA. Citation styles. Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA). Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list. KING ALBERT. Again, as in The Ashanti Doll (1977), Bebey sets his story in his native Cameroon; and again he savors the subtly shaded rhythms and rituals of African village life, with impressively complex dissonances somehow resolving harmoniously. The village here is Effidi--a proud place, unlike its unworthy neighbor Nkool, since it possesses not only a road but also two upwardly mobile citizens: King Albert, the only black store-owner in the town; and young Bikomou-the-Vespasian (he owns a Vespa motorcycle), a civil servant of the Administration. But problems arise when middle- aged widower Albert wishes to marry Nani, daughter of ""Unionist"" railroad worker Toutouma. First of all, Toutouma is from the hated village of Nkool. Worse yet, Toutouma--following the bent of an imported white class-system--will have nothing to do with a ""capitalist"" like Albert. And worst of all, young Bikomou is also determined to marry a responsive Nard, though the village elders must make the final choice. Political pressures add to the conflict, too: whites are pushing self-government for the country (""What country?"" asks bewildered Effidi chief Ndengue), and the ensuing elections--to choose a representative for Effidi and the ridiculous neighboring villages--raise havoc, with village elders challenged by younger village rebels. The feud between Albert and Bikomou heats up; Bikomou deflowers a happy Nard; but Albert wins her hand. And, after a short exile, Bikomou returns to the sound of welcoming village drums (which comment feelingly throughout), tactfully advises the worried old Chief, and plunges into the election campaign. Finally, then, there's righteous violence (and some angry oration) before the windup: Toutouma wins the election, Albert lands in jail, Bikomou lands in the hospital--but all ends peaceably, even if ""Times have changed, and the drums of Effidi must be silent and listen to those of Nkool."" Despite a good deal of over-attenuated dialogue and blander characters than the Ashanti Doll folk: a sly microcosm of people in political transition, resounding with deep conviction, humor, and empathy.