DOCSLIB.ORG

On Hybridity in African Popular Music: the Case of Senegalese Hip Hop Author(S): Catherine M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On Hybridity in African Popular Music: the Case of Senegalese Hip Hop Author(S): Catherine M On Hybridity in African Popular Music: The Case of Senegalese Hip Hop Author(s): Catherine M. Appert Source: Ethnomusicology , Vol. 60, No. 2 (Spring/Summer 2016), pp. 279-299 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: https://www.jstor.org/stable/10.5406/ethnomusicology.60.2.0279 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:21:01 UTC All use subject to https://about.jstor.org/terms Vol. 60, No. 2 Ethnomusicology Spring/Summer 2016 On Hybridity in African Popular Music: The Case of Senegalese Hip Hop Catherine M. Appert / Cornell University Abstract. This article critically considers the legacy of hybridity in African popular music studies and questions whether contemporary African engage- ments with diasporic popular musics like hip hop call for new interpretations of musical genre. Through ethnographic research with hip hoppers in Senegal, I explore how practices of musical intertextuality reinscribe global connections as diasporic ones and challenge the conditions for musical hybridity. I argue that the formal parameters of musical genre themselves constitute conscious and strategic social practice that situates human actors in local and global place. merging as a distinct genre in the early 1980s, a period of intensifying global- Eizing flows, hip hop was almost destined for a global future. As with African American musics before it—including jazz, gospel, and soul—urban Africa has widely embraced hip hop and adapted it to local realities. While frameworks of syncretism and hybridity have played a part in many productive analyses of the African popular musics that developed during the colonial and immediately postcolonial periods, in this article I draw on extended ethnographic research in Dakar, Senegal to question whether contemporary engagements with globalized African diasporic musics call for new ways of understanding genre in popular music.1 Historically, the term “hybrid” has signaled a unique product of the contact between two distinct cultures, musics, or even races, if we go back far enough to the concept’s roots in the evolutionary racial theory of the Victorian era (Young 1995:27). But for an early generation of Senegalese hip hoppers producing music primarily directed at global audiences, hip hop represented a North American transformation of African traditional practices: a musical returnee, an encounter with sameness. For the later generations who make up a © 2016 by the Society for Ethnomusicology This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:21:01 UTC All use subject to https://about.jstor.org/terms ETM 60_2 text.indd 279 4/5/16 11:40 AM 280 Ethnomusicology, Spring/Summer 2016 widespread network of “underground” hip hoppers concerned with local audi- ences, to localize their music is to engage in hip hop practices of sampling and referentiality that are definitively rooted, not in Africa, but in the struggles of African American urban youth.2 What, then, becomes of hybridity and cultural globalization when we privilege these contemporary and varied local narratives about African popu- lar musical practices that identify the “western” or “global” music involved as diasporic music? In this article I suggest that hybridity—as traced in sound and musical form—reinscribes the limitations of western- centric models of cultural globalization that don’t necessarily account for how music makers understand themselves in relation to a globally interconnected world. Instead, I define genre through the meanings ascribed to sound and form, examining Senegalese hip hop as a constellation of strategic intertextualities that, through an active engage- ment with musical genre and in dialogue with local and global markets, alter- nately blur or reinscribe the boundaries of indigenous and diasporic cultural production. I call for an understanding of musical genre as conscious social practice that situates human actors in local and global place. Music, Hybridity, and Place Ethnomusicologists have established that music produces place through musical signifiers that are perceived as belonging to a certain locale, culture, or group of people (Stokes 1994; Negus 1996; Cohen 1994). Hip hop is particularly suited to processes of musical situation, with its emphasis on regional styles of verbal delivery, lyrical signifiers of place, and locally distinctive musical styles (Forman 2002).3 Senegalese engagements with hip hop, however, fall in a much longer his- tory of musical localization in Africa. Since the early days of the colonial encoun- ter, indigenous instruments, languages, aesthetics, and formal elements have been combined with imported ones to create new popular genres that served alternately to ground musicians and their audiences in local place (Erlmann 1999), to create an image of a cohesive, bounded nation (Turino 2000; White 2008), and to represent them to global audiences in terms of global imaginings of Africa (Meintjes 2003). The Senegalese mbalax music that developed in the immediately post- Independence period is one example of such a new musical genre. Drawing on the jazz and Cuban son of colonial nightclubs, musicians combined imported harmonies and song forms with Islamicized griot praisesing- ing and indigenous rhythms, sounded simultaneously on traditional drums and electrified instruments (for in-depth treatments of mbalax see Mangin 2013; Tang 2007). The result was neither localized Afro- Cuban music nor western- ized traditional music; instead, musicians drew on disparate musical sources to create a new popular genre. This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:21:01 UTC All use subject to https://about.jstor.org/terms ETM 60_2 text.indd 280 4/5/16 11:40 AM Appert: On Hybridity in African Popular Music 281 The novel mixtures like mbalax that developed out of the musical dialogues between Africa and the West in the twentieth century have been fruitfully exam- ined as practices of syncretism and hybridity. Although hybridity is sometimes touted over syncretism for its ostensible emphasis on cultural actors’ agency, I have not encountered substantial differences in how the two terms are gener- ally used to describe musical genres in ethnomusicological literature. Scholarly trends seem to have gradually replaced “syncretic” with “hybrid” in reference to musical expressions understood, explicitly or implicitly, to have formed through the combination of distinct musical practices (for a few examples of such refer- ences to hybridity in ethnomusicological scholarship, see Asher 1999; Bilby 1999 Erlmann 1998:14; Guilbault 1994:166; Horowitz 1999:450; Kaemmer 1989:36; Malm 1993:339; Monson 199:60; Steingress 2002; Taylor 2007:145; Wallach 2005:139; Weiss 2014:513). While hybrid and syncretic practices have been explored as resistant spaces of anti- colonial enunciation (Apter 1991; Bhabha 1994),4 in working from the assumption of preexisting, fundamentally distinct cultural units, frameworks of hybridity and syncretism risk reinscribing bounded cultural units and reaffirming the racial vocabulary of colonialism (Matory 2006:164; Ranmarine 2007:95; Young 1995:27). To talk about African popular musics in the twentieth century as hybrid is often to work from and between dichotomies of rural/urban, local/global, and traditional/modern, opening music scholarship to these same critiques;5 indeed, Veit Erlmann underscored this dependence on discrete cultural units when he wrote that syncretism “no longer adequately reflects the reality of global cultural evolution where culture contact and homogenization are all-pervasive rather than exceptions”(1991:16). More recently, Mark Slobin drew a similar conclusion, declaring hybridity out of vogue in its dependence on musical difference that does not reflect the increased interconnection of the modern world (2007:110). On the other hand, the increasingly popular position that “all music is hybrid” (see Stokes 2004), while bypassing this issue, not only drains the term of any analytical utility but, perhaps more importantly, fails to acknowledge how particular groups have negotiated real encounters with difference through conscious processes of musical hybridity. As Christopher Waterman writes in his work on Nigerian jùjú, “syncretism is fundamentally grounded in human actors’ interpretations of similarity and difference, and in their attempts to make sense of a changing world in terms of past experience” (1990:9). Through prac- tices of syncretism and hybridity, emergent African popular cultures mediated between the colonially imposed binaries of space, place, and time that, whether “invented” or “real”, were clearly central to local understandings of the displace- ments of colonialism and in particular, new forms of urban existence in Africa (Mudimbe 1988; Ranger 1983).6 This article therefore does not suggest that we do away with hybridity altogether
Load more

Recommended publications
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • Hip-Hop & the Global Imprint of a Black Cultural Form
    Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University.
    [Show full text]
  • ENG 350 Summer11
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Mondays and Wednesdays, 6:00-9:00, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our one required textbook, Bradley and DuBois’s Anthology of Rap (Yale University Press) is AVAILABLE AT THE OFF-CAMPUS BOOKSTORE ON SMITH ST. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will also be a Blog with a discussion board and a wide array of links to audio and text resources.
    [Show full text]
  • 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.
    [Show full text]
  • Culture Scope Volume 111: Table of Contents
    A: PO Box 699 Lidcombe NSW 1825 P: (02) 9716 0378 W: www.sca.nsw.edu.au E: [email protected] Culture Scope Volume 111: Table of contents Feature Articles: • Gender Inequality devalues women’s work – Nick Baker (Social Inclusion and Exclusion) • Hip Hop, You Don’t Stop! - Morganics (Popular Culture) • Myanmar Film Industry mocks LGBT community – Nick Baker (Popular Culture) • Women bear the brunt of Natural Disasters – Nick Baker (Continuity and Change) What’s the A-gender (Resources from, and to supplement August 2017 PD Day) Personal and Social Identity • Gendered Toy content analysis table – Louise Dark, Newcastle High School • Genderisation of Colours – Katherine Dzida, Figtree High School • Reviewing the concept of gender PPT – Amanda Webb, Moorebank High School • The way we talk to girls and boys – Amanda Webb, Moorebank High School Social and Cultural Continuity and Change • #technologyandgender – Louise Dark, Newcastle High School • Women in Poland – Katherine Dzida, Figtree High School Popular Culture • Assessment task: Kardashian’s Content analysis – Amanda Webb, Moorebank High School • Assessment task: Contemporary Values and contribution to social change – Amanda Newell, Clancy Catholic College Additional resources: • Spotlight on Popular Culture (Reality TV) Part 2 – Kate Thompson, Aurora College • Using Speeches to compare Social Inclusion and Exclusion (ATSI) – Kevin Steed, Macquarie University Many thanks are extended to those who have contributed to this edition. We acknowledge your ongoing support of the Association and teachers of Society and Culture through the quality submissions you have prepared, and continue to submit for publication. These articles take significant time and effort to write and reference and your expertise and innovation is appreciated.
    [Show full text]
  • Chapter Trek Senegal Guide
    Chapter Trek Senegal Guide 2 3 Chapter 1 – Welcome to Trek for Knowledge What is a Chapter Trek? p. 6 Trek Covenant p. 7 Trek Guidelines p. 8 + 9 Trek Itinerary p. 10 A Typical Day on Trek p. 11 One the Worksite p. 12 Living with a Host Family p. 13 Trek Packing List p. 14-15 Chapter 2 – Paperwork and Medical Concerns Passports p. 18 Vaccinations p. 19-20 Medical Concerns p. 21 Malaria & Mosquitoes p. 22-23 Traveler’s Diarrhea p. 24 Rabies p. 25 Food on Trek p. 26 Water on Trek p. 27 International Medical Insurance p. 28 Chapter 3 – Pre Trek Workshops Pre Trek Preparation p. 32 Circle of Trust p. 33 Personal Goals p. 34 Culture Shock p. 35-38 Senegalese Customs p. 39-42 Host Family Gifts p. 43 The Art of Giving p. 44 Chapter 4 – Senegal Profile & History Map p. 45 Senegal Profile p. 46 History, Land & People p. 47 Chapter 5 – Articles of Interest Islam in Senegal p. 56 The Songs of Senegal p. 59 Polygamy Throttles Women in Senegal p. 66 From Beggars to Students p. 69 Leopold Sedar Senglor p. 73 Further Resources p. 77 Chapter 6 – Reflection on Trek Reflection time and Journaling p. 80 Trek for Knowledge Senegal 2013 4 Chapter 7 – Host Family Activities No Regrets! p. 84 Community Mapping p. 85 Family Tree p. 86 Animal Sounds p. 87 Local Language and English p. 88 Tic Tac Toe p. 89 Dots and Boxes p. 90 Hopscotch p. 91 Chapter 8 – Journals Blank Journal Pages p.
    [Show full text]
  • Reclaiming Our Subjugated Truths: Using Hip-Hop As a Form of Decolonizing Public Pedagogy the Case of Didier Awadi
    RECLAIMING OUR SUBJUGATED TRUTHS: USING HIP-HOP AS A FORM OF DECOLONIZING PUBLIC PEDAGOGY THE CASE OF DIDIER AWADI by Joanna Daguirane Da Sylva B.A., Manhattan College, 2007 M.A., The New School University, 2010 A THESIS SUBMITTED IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Educational Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2016 © Joanna Daguirane Da Sylva, 2016 Abstract When walking through the streets of Dakar, hip-hop makes its way through the radios of the city. Hip-hop has been a prominent and influential music genre and culture in Senegal since the 1980s. Hip-hop music has been used by Senegalese to cover the social, economic and political life of the country, and to promote political activism among the youth. Rapping was not born in a vacuum in Senegal but subtly continues the long-standing tradition of storytelling through spoken words and music, griotism. Moving away from hip-hop stereotypes, defined by critics as violent, racist, homophobic, sexist, materialistic, misogynistic and vulgar, my case study focuses on critical and conscious Senegalese hip-hop, which embraces hip-hop social and educational movements utilized to voice societal injustice and challenge the status quo. Senegalese hip-hop is a platform for political activists to denounce institutional racism, Western domination, poverty, and national corruption, with the hope of contributing to a better and just society that recognizes and legitimizes knowledges and voices of formerly colonized Africans. Didier Awadi is one of the most talented, conscientious, influential and revolutionary hip-hop artists and political activists of the continent.
    [Show full text]
  • Rapper Im Senegal. Die Botschaft Der Straße
    RAPPER IM SENEGAL: DIE BOTSCHAFT DER STRASSE Hans-Jörg Heinrich Vorwort Der folgende Text beruht auf Beobachtungen und Recherchen zu meinem Film Botschafter ihres Volkes1 und bezieht sich in weiten Teilen auf die im Rahmen des Films erstellten Interviews und Gespräche 2 mit senega- lesischen Rappern sowie deren Fans. Ergänzt wird der Aufsatz durch die Lektüre ausgewählter Berichte und Aufsätze, die im Internet zu finden waren. Es handelt sich um die Entwicklung des senegalesischen Rap sowie um eine Situationsbeschreibung aus den Jahren 2003 bis 2005. Die senegalesi- sche Rapszene ist die erste frankophone afrikanische und nach der südafri- kanischen die am weitesten entwickelte und einflussreichste Szene des af- rikanischen Kontinents. Rap ² ein weltweites Phänomen Seit den 1970er Jahren hält der Rap seinen Siegeszug um die Welt. Urs- prünglich von ausgegrenzten Jugendlichen meist dunkler Hautfarbe in den Wohnblocks der Bronx entwickelt, wächst die Lust am Reimen bei Jugend- lichen insbesondere in den ärmsten Ländern und in ausgegrenzten Bevölke- rungsschichten. So gibt es HipHop in den Vorstädten der großen afrikani- schen und lateinamerikanischen Städte ebenso wie in den Reservaten der australischen Aborigins oder der kleinen Insel Réunion, an der Universität von Dakar oder in einer deutschen Kleinstadt. Auch ist Rap schon lange kein ausschließlich urbanes Phänomen mehr. So gibt es den Bauern in der Schweiz, der von seinem Trecker herunterrappt, ebenso wie denjenigen in 1 Vgl. Heinrich, Hans- Jörg (2005): Botschafter ihres Volkes ² die Rapper Sene- gals; De, Fr, Fr/engl. UT, <www.come-me-lion.de>. 2 Übersetzungen der Interviews und Zitate sind von Marianne Theuring und dem Autor. 117 HANS-JÖRG HEINRICH nordamerikanischen Reservaten oder in Landcommunities in den USA, Frankreich oder in Kleinststädten Lateinamerikas.
    [Show full text]
  • Download File
    Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Timothy Roark Mangin All rights reserved ABSTRACT Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin This dissertation is an ethnographic and historical examination of Senegalese modern identity and cosmopolitanism through urban dance music. My central argument is that local popular culture thrives not in spite of transnational influences and processes, but as a result of a Senegalese cosmopolitanism that has long valued the borrowing and integration of foreign ideas, cultural practices, and material culture into local lifeways. My research focuses on the articulation of cosmopolitanism through mbalax, an urban dance music distinct to Senegal and valued by musicians and fans for its ability to shape, produce, re-produce, and articulate overlapping ideas of their ethnic, racial, generational, gendered, religious, and national identities. Specifically, I concentrate on the practice of black, Muslim, and Wolof identities that Senegalese urban dance music articulates most consistently. The majority of my fieldwork was carried out in the nightclubs and neighborhoods in Dakar, the capital city. I performed with different mbalax groups and witnessed how the practices of Wolofness, blackness, and Sufism layered and intersected to articulate a modern Senegalese identity, or Senegaleseness. This ethnographic work was complimented by research in recording studios, television studios, radio stations, and research institutions throughout Senegal. The dissertation begins with an historical inquiry into the foundations of Senegalese cosmopolitanism from precolonial Senegambia and the spread of Wolof hegemony, to colonial Dakar and the rise of a distinctive urban Senegalese identity that set the proximate conditions for the postcolonial cultural policy of Négritude and mbalax.
    [Show full text]
  • Daara J Family, Rap Et Hip-Hop
    Daara J Family, rap et hip-hop Extrait du Au Senegal http://au-senegal.com/daara-j-family,3624.html Daara J Family, rap et hip-hop - Recherche - Art et culture - Musiciens et chanteurs sénégalais - Date de mise en ligne : dimanche 25 novembre 2012 Au Senegal Copyright © Au Senegal Page 1/6 Daara J Family, rap et hip-hop Du meilleur hip-hop au reggae en passant par le funk, le Daara J Family groupe phare de la nouvelle génération sénégalaise, BBC World Award du meilleur album africain en 2003, Daara J est un groupe de rap qui a vu le jour avec Lord Aladji Man (Mansour Jacques Sagna), Ndongo D.(Mamadou Lamine Seck) et Faada Freddy (Abdoul Fathah Seck), Le trio le groupe existe depuis les années 90. Créé en 1992 par Faada Freddy et N'Dongo D, Daara J deviendra « Daara J Family » en wolof, français et anglais sur des beats rap, ragga et soul, ils font un mélange original et leur renommée passera rapidement les frontières du Sénégal pour exporter sa culture autant empreinte des influences traditionnelles africaines que du hip hop et de la soul. En bons ambassadeurs du Sénégal ils ont assuré les premières parties de Peter Gabriel , Zebda, les Rita Mitsouko, Wyclef Jean, Avo ou encore Mos Def. Avec plus d'un milliers de concerts ils ont participé à de nombreux festivals français. En 1997, ils signent un contrat avec le label français Déclic et enregistrent à Paris « Daara-J » mixé par le DJ anglais Mad Professor. Un premier album rap aux influences hip hop, reggae et soul.
    [Show full text]
  • Downloads and Remixes, Akon Sings Across a Global South Populated with a Spectrum of Belongings
    GENERATION “FLY TO FLY”: URBAN TRANSFORMATION, NEW COSMOPOLITANISM, AND THE POLITICS OF WOMEN'S VOICING IN DAKAR, SENEGAL Ali Colleen Neff A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Communication Studies (Cultural Studies) in the College of Arts and Sciences. Chapel Hill 2013 Approved by: Christopher T. Nelson Lawrence Grossberg Louise Meintjes Renee Alexander Craft Michael Palm © 2013 Ali Colleen Neff ALL RIGHTS RESERVED ii ABSTRACT Ali Colleen Neff: Generation “Fly to Fly”: Urban Transformation, New Cosmopolitanism, and the Politics of Women's Voicing in Dakar, Senegal (Under the direction of Christopher T. Nelson and Lawrence Grossberg) The research from which this dissertation is drawn was conducted in 2009-2012 with women vocalists and other cultural and religious practitioners throughout the region of Dakar, Senegal, rural sites in the Sine-Saloum Delta, and the inland Sufi pilgrimage sites of Touba and Prokhane. Using a series of ethnographic methodologies, I approach the phenomenon of Dakroise women’s sounding through the amplifier of media anthropology, in which sound, sensation, and indigenous discourses on culture and the arts illuminate contemporary Senegalese cultural practice. These contexts evidence the specific, cumulative ways in which music works for the women of Dakar. At the same time, I examine the broader current sociopolitical conjuncture at work on Senegalese culture, in which a global economic crisis, the mass migration and emigration of Senegalese young people, new movements in international Islam, and national political and legal strife shape the dimensions of women’s creativity.
    [Show full text]
  • French Club-Infolettre Template
    LA En français SOURCE and In English Une infolettre sur la France et les pays francophones, pour les amoureux de la culture française! Le Sénégal CE MOIS/ THIS MONTH Par/By: Le Club de français JUIN 2017 June 2017 The French Club Edition No. 3 at ARHS ÉDITION NO. 3 OUVRAGE NO. 1 Volume 1 La Culture FESTIVALS IN SENEGAL 1 ÉCRIT PAR/WRITTEN BY: MARA WASKIEWICZ In Senegal there are many different The Saint Louis International Jazz festivals, but the three I’m going to be Festival was founded in 1993. It takes focusing on are Tamkharit/Ashura, place in Saint Louis Senegal, not to be Saint Louis International Jazz Festival, confused with Saint Louis, Missouri. It has grown to be one of the most and Dak’Art Biennale. popular international jazz festivals in the world. It is a good place for people Tamkharit is their celebration of the of different cultures, from different new year. It takes place on the tenth places, to learn about one another. It day of the Muslim year. They also call brings many tourists to Senegal each it Ashura, which means ‘tenth’ in year when it takes place, for a week in Semitic languages. It it a day to late April to early May. It features at commemorate the death of Husayn least a dozen artists. When the festival ibn Ali, the grandson of Muhammad. took place this year it featured, Assane To celebrate, people cook a lot of food Thiam ‘tama’, Jaliba Kuyateh, Lokua and make new year's resolutions. The Kanza, Marcus Miller, and many more most popular custom is for men to talented artists.
    [Show full text]