DOCSLIB.ORG

On the 15Th of January 2012, the 83Rd Anniversary of the Birth of Dr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On the 15Th of January 2012, the 83Rd Anniversary of the Birth of Dr On the 15th of January 2012, the 83rd anniversary of the birth of Dr. Martin Luther King Jr., I was watching KING, a film based on his life and work. The scenes were frequently ones of bloody abuse of African-American’s and their supporters in their peaceful struggle for civil rights as expressed in the nation’s constitution. These scenes created perplexity in my grandson who then turned to me and asked, “Why are they beating the black people just for being black?” I was moved almost to tears. Not emotions from the history being replayed before me. I had either lived or been witness to some of it and had been a part of the artist contingent along with Stevie Wonder on the marches to establish Dr. King’s birthday as a national holiday in the USA. I was becoming happily tearful at the fact that the civil rights leaders vision was unfolding as here sitting right beside me was a new generation finding human injustice to each other appalling. How did we emerge from this nightmare of brutality? The human desire for freedom, equal rights, justice, love and peace is ingrained in our spirit, mind and body and is evident in the involuntary love for life that makes even the suicidal person struggle to remain alive at that ultimate moment when life is about to leave the body. Entrapped beings will initially struggle to be released. Some do succumb to the seeming futility of their effort due to consistent pressure but there are those who as the reggae artists say “ Can’t cool, can’t quench”. On the African continent, ones of this disposition started to resist as soon as the colonizers’ intentions became evident. In the Americas, the ones taken away resisted slavery every step of the way and in Southern Africa the attempts by settlers to subjugate the indigenous population met fierce resistance. Driven by a greedy lust for the people and their wealthy land, Middle Eastern peoples and eventually Europeans developed comparably advanced weapons of mass destruction. Using these weapons to compensate for their being severely outnumbered they enforce pseudo-religious myths of race supremacy and inferiority and were able to create minority regimes to administer wickedness and brutality over the indigenous people and their territory. The end of the last great European tribal war known as world war 2 saw nationalism rear its head universally and by 1960 Harold Macmillan then prime minister of the UK heralded the changes in his speech given right here in South Africa stating that, “The wind of change is blowing through this continent, and whether we like it or not, this growth of national consciousness is a political fact. We must all accept it as a fact, and our national policies must take account of it.” Pan-African discussions inspired by leaders such as the Right Honourable Marcus Mosiah Garvey fuelled a chain reaction of liberation movements and agitation for political independence. People of Africa at home and abroad embraced, coordinated, communicated and became active in the affairs of Africa and Africans universally. The Honourable Dudley Thompson QC represented and got an acquittal of Jomo Kenyatta in Kenya, Kwame Nkrumah declared Garvey a major inspiration, and a picture of Dedan Kimate inspired the now popular dreadlocks and as a child in Jamaica I grew knowing about Patrice Lumumba. In 1493 Pope Alexander VI was audacious enough to draw the Tordesillas line through the Atlantic Ocean granting all territory west of it to Spain and all territory east of it to Portugal (hence Brazil as the only Portuguese speaking territory in South America). This line was extrapolated in the carving up of the African continent at Otto von Bismarck’s Berlin Conference in 1884. The post war liberation movement succeeded in erasing the political dependency aspect of the line so that by the 1980s there was only a small fraction left to go and that was “ the ignoble and unhappy regime that held our brothers and sisters in … South Africa” The struggle against the incarceration of Africans in their own land brought universal action. From the Caribbean, Cuba provided military support much to the chagrin of the so-called right wing western powers. Macmillan’s speech had divided the world into 3 with the so-called left wing being the Marxist/Leninist communists. The resulting Third World was left to be non- aligned but at the mercy of being “developed” by the other 2. The left were often times the only ones who allowed voice to the black and other oppressed peoples as the right were still steeped in the legacy of colonialism and slavery and the so-called first world fear of communist alignment was used as a convenient means of overshadowing the injustice being meted out in many of these countries. Ian Smith seceded from the British Empire and North Rhodesia was not granted independence yet nothing was done, though warships were dispatched to miniscule Anguilla for similar reasons, the military struggle in what was then South Rhodesia, apartheid in South Africa and the Eastern European struggles against Soviet domination stirred world conscience and the artists of the Caribbean played a significant role in the enlightenment that created and maintained that consciousness. By this time the Jamaican born reggae music had been use in land of origin as a vehicle for opening the eyes and ears of the audiences to black liberation that was not being taught in schools and were sometimes against the law in a country of 98% black people whose first national hero is the Right Honourable Marcus Mosiah Garvey. The Ras Tafari movement’s unrelenting African centricity established its influence on the music. Just before the 1970s the Jamaican government and the higher income classes had discouraged this African centricity as radicalism and had deported Guyanese born, UWI, African history professor Dr. Walter Rodney, declaring him persona non grata. The invaluable education that we had received from him especially about Africa before the Middle Eastern and the European arrivals was by this time indelible and so the movement energetically surged forward. The nation of Jamaica though small in area and without military or economic might, rose up to have an artistic and more specifically musical effect on the world that seemed to fulfill King Solomon’s dream as outline in the Kebra Nagast “…And He came forth where they did not look for Him, and illumined the whole world, more especially the First Sea and the Last Sea, Ethiopia and Rôm…”. The Ras Tafari movement inspired mainly by the teachings and activities of the Right Honourable Marcus Mosiah Garvey and of the Negusa Nagast Haile Selassie I challenged oppression using a simple musical form that evolved into being a great vehicle for the message. Rehearsed in its own homeland the themes surpassed just the dancing with and admiration for beautiful women to repatriation to Africa, reparations and human rights. The acknowledged father of lovers rock ( a style of reggae based on male/female love) Alton Ellis released “Going Back To Africa ‘cause I’m Black”. Jimmy Cliff illustrated that positive attitude could create achievement in “You Can Get It If You Really Want”. Mixed race British bands like the Equals challenged racial inequality with “Black Skin Blue Eyed Boys”. There was an alignment with the anti-Vietnam war movements out of San Francisco and bands like Blue Mink’s music searched for the racial “Melting Pot” but not without better treatment of the downtrodden. Groups like the Abyssinians not only took their name from the land of the Negusa Nagast but as orthodox Christians wrote their African centered views, hope for repatriation and gave Amharic cultural information in songs like the anthem “Satta Amassa Gana”, speaking of the land far away and giving praises in Ge’ez an Ethiopian liturgical language related to ancient Hebrew. Africans at home and abroad get a significant boost in confidence when one of ours becomes an international celebrity. Miriam Makeba and Hugh Masakela are examples of South African icons that gained international acclaim by introducing South African music to the world. Their stardom inspired black youth in those days to the extent that the hairstyle called the Makeba, imitating Miriam’s low cut natural hair, predated the Afro and the Soul and was very popular among black women in the USA, Europe and the Caribbean. By the 1970s the Wailers emerged out of Jamaica as a force to be reckoned with universally. The power of the word now stood beside the power of the bomb and the power of money in the cold war era. The group chanted down a system that was likened to the Babylonian displacement, enslavement and exploitation of the nations of Israel. Their music reflected on “400 years” advising the slave master that the table had turned and the system was about to “Catch A Fire”. The oppressed were encouraged to “Get Up, Stand Up” for their rights and not to give up the fight against poverty, for black self esteem and for human equality towards “One Love”. The little island’s music was about to be the “Small Axe” ready to cut down the big tree of hatred. The artists themselves did not escape as the recording companies were concerned about making money and often reluctant to support music whose message could offend some buyers. Communications technology at that time was nowhere near what it is today so the artists had to rely on the recording industry’s distribution mechanisms to disseminate their products. These factors presented a creative challenge that reggae music addressed by creating a blend of dance rhythms and conscious message.
Load more

Recommended publications
  • Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
    VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change.
    [Show full text]
  • Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant
    [Show full text]
  • Rocky Dawuni Straddles the Boundaries Between Africa, the ​ Caribbean and the U.S
    I International music star and humanitarian activist Rocky Dawuni straddles the boundaries between Africa, the ​ Caribbean and the U.S. to create an appealing sound that unites generations and cultures. With an easy-going charisma and reputation as a dedicated champion of social causes, Dawuni's infectious grooves and dance-inducing anthems have consistently excited fans across the globe. A galvanizing performer, Dawuni has shared the stage with Stevie Wonder, ​ Peter Gabriel, Jason Mraz, Janelle Monae, John Legend, among many others. Named one of Africa's Top 10 global stars by ​ ​ ​ ​ CNN, he has showcased his talent at prestigious venues such as The Kennedy Center in Washington, D.C. and The Hollywood Bowl in Los Angeles. Dawuni's life began as the child of a cook on a military barracks in Ghana. His father’s innate intelligence and charm helped him quickly rise in his position to become the cook for the base's colonels and generals. During this time, his father – Koytau Dawuni, befriended many high-ranking officers and observed the deep pride they felt in sending their children to school. Dawuni's father began to raise his own children with the same standards, investing heavily in education. The second born of eight siblings, Dawuni excelled at school and eventually his father decided to move him back to their home village where he could immerse in his cultural heritage. As it turned out, Koyatu’s humble employment belied his status as a member of the royal family of the Konkomba tribe, which ruled from a village of Bunbon Nayili in Northern Ghana.
    [Show full text]
  • Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy
    humanities Article Political Messages in African Music: Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy Uche Onyebadi Department of Journalism, Texas Christian University, Fort Worth, TX 76129, USA; [email protected] Received: 30 September 2018; Accepted: 30 November 2018; Published: 6 December 2018 Abstract: Political communication inquiry principally investigates institutions such as governments and congress, and processes such as elections and political advertising. This study takes a largely unexplored route: An assessment of political messages embedded in music, with a focus on the artistic works of three male African music icons—Fela Anikulapo-Kuti (Nigeria), Lucky Dube (South Africa), and Alpha Blondy (Côte d’Ivoire). Methodologically, a purposive sample of the lyrics of songs by the musicians was textually analyzed to identify the themes and nuances in their political messaging. Framing was the theoretical underpinning. This study determined that all three musicians were vocal against corruption, citizen marginalization, and a cessation of wars and bloodshed in the continent. Keywords: Political communication; African politics; African music; Fela Anikulapo-Kuti; Alpha Blondy; Lucky Dube; textual analysis 1. Introduction Music permeates significant aspects of African society, culture, and tradition. Adebayo(2017, p. 56) opined that “to the African, music is not just a pastime, it is a ritual” that describes the true essence and humaneness in being of African origin. Cudjoe(1953, p. 280) description of the place of music among the Ewe people in Ghana typifies this African musical heritage. He observed that “music has an important place in the social life of the Ewe people. There is no activity which does not have music appropriate to it: weaver, farmer and fisherman each sings in perfect time to the rhythmic movement of (one’s) craft ..
    [Show full text]
  • Music Have You Ever Seen a Band in Edmonton’S Cariwest Parade That Uses Large Oil Drums to Make Music? That Instrument Is Known As the Steel Pan Or Steel Drums
    Afro-Quiz Study Material (15-17) 2017 Music Have you ever seen a band in Edmonton’s Cariwest parade that uses large oil drums to make music? That instrument is known as the steel pan or steel drums. Steel pan originated in the Caribbean. In this module, you will learn about music that originated in Africa and the Caribbean and has since migrated all over the world. Do you know any other types of music that have roots in Africa or the Caribbean that are famous in North America now? Here is a list of activities you will work on: ● ​KWL Chart ● Reading ● Listening/Video ● Map Activity ● Summary ● Optional video KWL Chart K W L What I know about What I want to know What I learned about African and Caribbean about African and African and Caribbean music Caribbean music music Afro-Quiz Study Material (15-17) 2017 Reading Steel Drums1 Steel drum or steel pan is a musical instrument originally developed in Trinidad, ​ that is played by hammering raised and tuned portions of the bottom of an oil drum. It was the only new percussion (possibly the only acoustic) instrument invented in the 20th Century. Drumming was used as a form of communication among the enslaved Africans and was subsequently outlawed by the British colonial government in 1783. African slaves also performed during Mardi Gras celebrations, joining the French, who had brought the tradition to the island. The steelpan evolved from a communication device to the musical instrument it is used as today. The first instruments developed in the evolution of steelpan were Tamboo-Bamboos, tunable sticks made of bamboo wood.
    [Show full text]
  • University of Zululand Master of Music
    UNIVERSITY OF ZULULAND INDIGENOUS FEATURES INHERENT IN AFRICAN POPULAR MUSIC OF SOUTH AFRICA A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the department of Music at the University of Zululand by THULASIZWE NKABINDE DECEMBER 1997 INDIGENOUS FEATURES INHERENT IN POPULAR MUSIC OF SOUTH AFRICA SUPERVISOR: PROF MK XULU DECLARATION The whole of this work is a product of my original thought and research. Where the contrary is found that willl always be acknowledged in full. THULASIZWE NKABINDE ACKNOWLEDGMENTS I would like to express my gratitude to Professor Musa ~IU for his patience, advice and guidance, without which this project would have been all the more difficult. My deepest appreciate goes to my father, Mr. Gibson Siyabonga Nkabinde, my wife Beauty and all my children, Khayelihle, Phelelani and Banele for all their support and encouragement, and to Ms Brenda Trimmel for her endless hours of typing and perfectionist care in the format of this project. I would also like to thank all those people who, in one way or another, made this project reach completion. They are: Professor Joseph Bhekizizwe Shabalala of the Ladysmith Black Mambazo, Marks Mankwane of the Makgona Tsohle Band, Mahlathini and the Mahotella Queens, Yvonne Chaka Chaka, Simon Buthelezi, Bongani Hlatshwayo, Print and Electronic Media, the entire SABC staff and the SABC Choristers, not forgetting the enormous support from the audience, the music lovers. DEDICATION This thesis is dedicated to my late mother Mrs Thembakuye Nkabinde who gave me all the support to pursue my career. ABSTRACT The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms.
    [Show full text]
  • Syllabus—Rastafari: Dread, Politics, Agency
    RASTAFARI: DREAD, POLITICS, AGENCY Instructor: Dr. Neil Roberts Spring 2009 Williams College AFR302.01/ PSCI234.01/ Mon/Th, 2:35-3:50 PM REL261.01 Office: x4772, NAB 213 Office hours: Tu, 1:00-3:00 PM [email protected] Course description: The emergence of Rastafari in the twentieth-century marked a distinct phase in the theory and practice of political agency. From its heretical roots in Jamaica, Garveyism, Ethiopianism, and Pan-Africanism, Rastafari has evolved from a Caribbean theological movement to an international political actor. This course investigates the political theory of Rastafari in order to develop intellectual resources for theorizing the concept of agency in contemporary Africana thought and political theory. We will analyze texts and audio-visual works on the political economy of late colonial Jamaica, core Rastafari thinking, political theology, the role of reggae music, the notion of agency, and the influence of Rastafari on global politics. Course requirements: Participants are expected to attend class regularly and complete readings for class listed on the syllabus. I will generally begin each class summarizing briefly the previous session’s main points, and shall proceed to lecture for a portion of time about the current day’s topic. Although this is primarily a lecture course, you should be prepared to engage in a class discussion and group activities. Throughout the semester, we will be connecting intellectual and political themes raised in various texts and documentaries to musical works. Thus, regularly utilizing services such as iTunes or listening to music on CDs is strongly encouraged. The following requirements serve as the basis for course evaluation: (1) 5-7 page Midterm essay (30%) (2) Group Lyrics and Politics Project (40%) (3) 8-10 page Take Home Final Exam (30%) Required readings available for sale and on library reserve: • Amy Jacques Garvey, Ed., The Philosophy and Opinions of Marcus Garvey, or, Africa for the Africans, 2 Vols.
    [Show full text]
  • Untitled Will Be out in Di Near Near Future Tracks on the Matisyahu Album, I Did Something with Like Inna Week Time
    BACKAYARD DEEM TEaM Chief Editor Amilcar Lewis Creative/Art Director Noel-Andrew Bennett Managing Editor Madeleine Moulton (US) Production Managers Clayton James (US) Noel Sutherland Contributing Editors Jim Sewastynowicz (US) Phillip Lobban 3G Editor Matt Sarrel Designer/Photo Advisor Andre Morgan (JA) Fashion Editor Cheridah Ashley (JA) Assistant Fashion Editor Serchen Morris Stylist Judy Bennett Florida Correspondents Sanjay Scott Leroy Whilby, Noel Sutherland Contributing Photographers Tone, Andre Morgan, Pam Fraser Contributing Writers MusicPhill, Headline Entertainment, Jim Sewastynowicz, Matt Sarrel Caribbean Ad Sales Audrey Lewis US Ad Sales EL US Promotions Anna Sumilat Madsol-Desar Distribution Novelty Manufacturing OJ36 Records, LMH Ltd. PR Director Audrey Lewis (JA) Online Sean Bennett (Webmaster) [email protected] [email protected] JAMAICA 9C, 67 Constant Spring Rd. Kingston 10, Jamaica W.I. (876)384-4078;(876)364-1398;fax(876)960-6445 email: [email protected] UNITED STATES Brooklyn, NY, 11236, USA e-mail: [email protected] YEAH I SAID IT LOST AND FOUND It seems that every time our country makes one positive step forward, we take a million negative steps backward (and for a country with about three million people living in it, that's a lot of steps we are all taking). International media and the millions of eyes around the world don't care if it's just that one bad apple. We are all being judged by the actions of a handful of individuals, whether it's the politician trying to hide his/her indiscretions, to the hustler that harasses the visitors to our shores. It all affects our future.
    [Show full text]
  • Ladysmith Black Mambazo Notes.Indd
    CAL PERFORMANCES PRESENTS ABOUT THE ARTISTS Th ursday, March , , pm ladysmith black mambazo city of Durban, which provided him the oppor- Zellerbach Hall tunity to seek work in a factory. Leaving the fam- Mention African song and most people think of ily farm was not easy, but it was during this time South African practitioners of the vocal arts— that Joseph fi rst showed a talent for singing. After Solomon Linda, Miriam Makeba and, perhaps singing with several groups in Durban, he returned Ladysmith Black Mambazo more than anyone else in recent memory, Ladysmith to his hometown of Ladysmith and began to put Black Mambazo. Ladysmith Black Mambazo has together groups of his own. come to represent the traditional culture of South He was rarely satisfi ed with the results. “I felt Africa. Th ey are regarded as South Africa’s cultural there was something missing…. I tried to teach the emissaries at home and around the world. In , music that I felt, but I failed until , when a at Nelson Mandela’s request, Black Mambazo harmonious dream came to me. I always heard the accompanied the future President to the Nobel harmony from that dream and I said ‘Th is is the Peace Prize ceremony in Oslo, Norway. Mambazo sound that I want and I can teach it to my guys.’” sang again at President Mandela’s inauguration in In the early years, Joseph recruited members May . Th ey are a national treasure of the new of his family, and friends—brothers Headman and South Africa, in part because they embody the Jockey, cousins Albert and Abednego Mazibuko traditions suppressed in the old South Africa.
    [Show full text]
  • Lucky Dube - Page 1 Sur 2
    Lucky Dube - Page 1 sur 2 Lucky Dube Lucky Philip Dube (se prononce doubé) alias Lucky Dube, est un chanteur sud-africain de reggae né le 3 août 1964 à Ermelo, Mpumalanga, Afrique du Sud et mort le 18 octobre 2007 à Rosettenville. Il repose près de Newcastle, dans la province de Kwazulu Natal. Sa mère le surnomme lucky, qui signifie « chanceux » en anglais, car de sa naissance à l'âge de quelques mois, il se bat contre une maladie grave[réf. nécessaire]. Selon CNN, ce nom lui aurait été donné parce qu'il est né après une série de fausses couches[1]. Dube signifie « zèbre » en zulu. Il grandit dans une famille mono-parentale, avec son frère Joe. Il chante son enfance, son vécu, l'histoire, l'Afrique du Sud (situation politique, apartheid), l'Afrique, l'Homme, les problèmes politiques, sociaux, personnels et humains. Il lutte contre les discriminations raciale et ethnique, contre la ségrégation et l'exclusion et en appelle à l'unité entre les hommes. Lucky Philip Dube profite de ses vacances scolaires pour enregistrer ses premières chansons à 18 ans, avec le groupe The Love Brothers et sortir l'album Lucky Dube and The Supersoul, en 1982, dont il est le chanteur principal. Il n'a ni écrit ni composé les chansons de celui-ci, contrairement aux albums suivants. Sur l'opus suivant, Rastas Never Die, sorti en 1984, Lucky Dube crée l'intégralité de l'album seul, aidé en studio d'un certain Dave pour les effets. Rastas Never Die est un mini album reggae.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY The complete list of all sources consulted in the making of this book offers a comprehensive over- view of the literature and other materials available about reggae, Rastafari, Bob Marley, and other topics covered herein. Due to the fleeting nature of the Internet, where websites might change or dis- appear at any given time, online sources used at the time of writing might not be available any longer. The bibliography can also be found on the website of the book at www.reggaenationbook.com. Books History and Heritage (pp. 326-335). Routledge. Bennett, A. (2001). Cultures of Popular Music. Open University Press. Adejumobi, S. A. (2007). The History of Ethiopia. Biddle, I., & Knights, V. (Eds.) (2007). Music, National Greenwood Press. Identity and the Politics of Location: Between the Global Akindes, S. (2002). Playing It “Loud and Straight”. and the Local. Ashgate. Reggae, Zouglou, Mapouka, and Youth Bonacci, G. (2015). From Pan-Africanism to Rastafari: Insubordination in Côte d’Ivoire. In M. Palmberg African American and Caribbean ‘Returns’ & A. Kirkegaard (Eds.), Playing with Identities in to Ethiopia. In G. Prunier & E. Ficquet (Eds.), Contemporary Music in Africa (pp. 86-103). Nordic Understanding Contemporary Ethiopia: Monarchy, Africa Institute. Revolution and the Legacy of Meles Zenawi (pp. 147- Alleyne, M. (2009). Globalisation and Commercialisation 158). Hurst & Company. of Caribbean Music. In T. Pietila (Ed.), World Music Boot, A., & Salewicz, C. (1995). Bob Marley. Songs of Roots and Routes. Studies across Disciplines in the Freedom. Bloomsbury. Humanities and Social Sciences 6 (pp. 76-101). Helsinki Bordowitz, H. (2004). Every Little Thing Gonna Be Alright: Collegium for Advanced Studies.
    [Show full text]
  • Hiplife Music: a Monograph
    HIPLIFE MUSIC: A MONOGRAPH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Emmanuel Anim-Koranteng August, 2018 HIPLIFE MUSIC: A MONOGRAPH EMMANUEL ANIM-KORANTENG THESIS Approved: Accepted: _____________________________ __________________________ Advisor School Director Mr. James Slowiak Mr. Neil Sapienza ___________________________ _________________________ Committee Member Dean of the College Dr. Christopher Hariasz Dr. Linda Subich ____________________________ _________________________ Committee Member Dean of the Graduate School Mr. Adel. A. Migid Dr. Chand Midha ______________________________________ Date ii ABSTRACT This thesis examined the hiplife genre in Ghana and explored the various genres that led to the discovery of hiplife. The purpose of this research was to offer an analysis of the hiplife movement in Ghana as a contributor to youth empowerment applying new forms of entertainment strategies, artist management, and technology enhancement that could broaden the awareness of hiplife and create economic opportunities for artists. This thesis also discussed the event management company, The Afro Giants (tAG), which was created to groom, manage, record musicians, and produce shows around the world. Information for this thesis was gathered from personal contact with industry insiders from most of the entertainment houses, entertainment magazines, and record labels in Ghana. iii ACKNOWLEDGEMENTS A special thanks to God for giving me life and my ancestors who passed the touch to me. I would like to express my special appreciation to my thesis committee members, Christopher Hariasz, Adel Migid and, especially, my thesis supervisor, James Slowiak, for his excellent guidance, care, patience, and for providing a good atmosphere for doing this research.
    [Show full text]