DOCSLIB.ORG

Anthony Hamilton to Headline the Annual Mahika Mahikeng Cultural Music Festival 2018 the North West Province Will Host the 4Th A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anthony Hamilton to Headline the Annual Mahika Mahikeng Cultural Music Festival 2018 the North West Province Will Host the 4Th A 06/11/2018 Anthony Hamilton to Headline the Annual Mahika Mahikeng Cultural Music Festival 2018 The North West Province will host the 4th annual Mahika Mahikeng Cultural Music Festival to usher in the festive season in true Bokone Bophirima style! This entertainment and arts programme takes place in the capital of Bokone Bophirima, Mahikeng, from December 6-9. The Festival is an initiative of the North West Province Department of Culture, Arts and Traditional Affairs (CATA), in partnership with the provincial Department Of Tourism. The event is organised and executed by Mega Works Trading Enterprise. Mahika Mahikeng Cultural Music Festival is the North West Provincial Government’s premier music and culture festival that aims to position the province as a key entertainment location with a diverse mix of offerings. The festival features a variety of shows over a four-day period ranging from a gospel show to a comedy show, a hip hop show and a jazz night. The event drives economic development in the province, encourages leisure tourism as well as provides job and business opportunities. “As measured by experts from the Department of Tourism, the three-day event last year gave the local economy a jab to the amount of R38 million. That is not to be sneezed at, in a society that thirsts investment and job creation,” says CATA MEC Ontlametse Mochware. The pipe-opener for the Festival is a Gospel Show scheduled for the Mmabatho Convention Centre on the evening of December 6. Gospel giants Lebo Sekgobela, Dr Tumi, Mahikeng YMD Choir and Benjamin Dube are amongst the artists who will be entertaining the crowd on the night. Maftown Heights returns to the festival for the second year running. The iconic hip hop show promises to wow audiences with a line-up of artists that reflect the vibrancy and colour of the South African hip hop landscape. An all-star group of the most iconic motswako hip hop artists will collaborate to perform a tribute to the Motswako King, HHP. This promises to be a moving tribute that will reignite the memory and musical legacy of the incomparable HHP. It is certainly going to be one of the highlights of the Festival. “Mahika Mahikeng this year would not be complete without a tribute to our own home-grown legend who we buried only last month,’’ said MEC Mochware. “Our beloved HHP was the heart of music in the North West. His influence reverberated not only in the capital and other parts of the Province, but also in every corner of the country. Not only did he show his caliber to the people of South Africa, but also earned respect and admiration in the neighboring Botswana and the United States and many other parts of the world.” Comedy night will be held on December 8, where local and national comedians will be featured. The line-up includes King Flat, Mashabela, Summary, Tshekedi Monyemore, Tumi Stopnonsons and many more comics. The Jazz gig takes place December 9 - being the headline event for the Festival. It will feature more than 40 national and local artists. For the first time in the four-year history of the Festival, the Mahika Mahikeng Cultural Music Festival will be headlined by R&B sensation, Anthony Hamilton. The epic line-up also includes Shekinah, Sho Majozi, Sands, Amanda Black, Brenda Mtambo, Mlindo The Vocalist, Zahara, Kelly Khumalo, Lady Zamar, Black Motion, Selaelo Selota, Sereetsi and the Natives (Botswana), Kabelo Buga Luv, Samantha Mogwe (Botswana) and many more. END CONTACT PERSON Siwaphiwe Myataza Mobile: 078 101 9921 E-mail: [email protected] .
Load more

Recommended publications
  • Gender Dimensions in Emerging African Music Genres: a Case of Kenyan Local Hip Hop
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 5, Ser. 9 (May. 2019) 54-61 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Gender Dimensions in Emerging African Music Genres: A Case of Kenyan Local Hip Hop Pamela N.Wanjala Shamberere Technical Training Institute P.o Box 1316, Kakamega, Kenya Abstract: The question of gender bias is now seen as a major challenge in almost every discipline that deals with human behavior, cognition, institutions, society and culture. Therefore, this paper was an attempt to investigate gender dimensions in the emerging African genres; a case study of local hip hop songs in Kenya. It discussed the extent to which hip hop language is gender biased. It focused on the popular local hip hop songs and video images that occur with the songs. The study used the Social Semiotic Theory in the theoretical framework. Ten hip hop songs and ten video excerpts were purposively selected for analysis. The hip hop songs were coded according to the name of the artist and year of production. The data was analyzed under three sections: Linguistic analysis, Image analysis and Gender analysis. The study revealed that indeed there is gender bias in the language of the favourite youth culture. This was revealed in the lexis that distinguishes gender, in the syntactic analysis and also in the image analysis. It was found that in hip hop music, men tend to be regarded higher in terms of roles, occupation and general human traits like strength and control than women. The study therefore recommends that radio and television stations, and other advertising agencies should join the battle for women liberation by using gender sensitive language and focusing on positive and constructive societal changes in terms of gender roles.
    [Show full text]
  • Global Hip-Hop Class
    AAAS 135b: GLOBAL HIP-HOP Wed 6:30-9:20 pm Mandel G03 Spring 2012 Wayne Marshall [email protected] office hours: by appointment DESCRIPTION Examining how hip-hop travels and is embraced, represented, and transformed in various locales around the world, this course approaches hip-hop as itself constituted by international flows and as a product and set of practices that circulate globally in complex ways, cast variously as American, African-American, and/or black, and recast through the cultural logics of the new spaces it enters, the soundscapes it permeates. A host of questions arise when we consider hip-hopʼs global scope and significance: What does the genre in its various forms (audio, video, sartorial, gestural) carry beyond the US? What do people bring to it in new local contexts? How are US notions of race and nation mediated by hip-hop's global reach? Why do some global (which is to say, local) hip-hop scenes fasten onto the genre's well-rehearsed focus on place, community, and righteous opposition to structural and representational forms of violence, while others appear more enamored with slick portrayals of hustler archetypes, cool machismo, and ruggedly individualist, conspicuous consumption? How can hip-hop circulate in such contradictory forms? In what ways do hip-hop scenes differ from North to South America, West to East Africa, Europe to Asia? What threads unite them? In pursuit of such questions, we will read across the emerging literature on global hip- hop as we explore the growing resources available via the internet, where websites and blogs, MySpace and YouTube and the like have facilitated a further efflorescence of international (and peer-to-peer) exchanges around hip-hop.
    [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]
  • Imagination and the Practice of Rapping in Dar Es Salaam
    David Kerr THUGS AND GANGSTERS: IMAGINAtiON AND THE PRACtiCE OF RAppiNG IN DAR ES SALAAM abstract Since the arrival of hip hop in Tanzania in the 1980s, a diverse and vibrant range of musical genres has developed in Tanzania’s commercial capital, Dar es Salaam. Incorporating rapping, these new musical genres and their associated practices have produced new imaginative spaces, social practices, and identities. In this paper, I argue that rappers have appropriated signs and symbols from the transnational image of hip hop to cast themselves as ‘thugs’ or ‘gangsters’, simultaneously imbuing these symbols with distinctly Tanzanian political conceptions of hard work (kazi ya jasho), justice (haki) and self-reliance (kujitegemea). This article examines how the persona of the rapper acts as a nexus for transnational and local moral and ethical conceptions such as self-reliance, strength, and struggle. Exploring the complicated, ambiguous, and contradictory nature of cultural production in contemporary Tanzania, I argue that rappers use the practice of rapping to negotiate both the socialist past and neo-liberal present. Drawing on the work of De Certeau and Graeber, I argue that rappers use these circulating signs, symbols, and concepts both tactically and strategically to generate value, shape social reality and inscribe themselves into the social and political fabric of everyday life. Keywords: hip hop, popular music, Tanzania, Ujamaa, value INTRODUCTION as well as our individual hopes and ambitions. Octavian and Richard, who as rappers adopt It is mid-morning in June 2011 and I am sat with the names O-Key and Kizito, are both students two ‘underground’ rappers, Octavian Thomas and live close to where we meet.
    [Show full text]
  • Across the Atlantic
    AFRICAN / HIP HOP PANTSULA, THROUGH THE EYES OF MICHAEL MOLOI, VIDEO STILL, TV YABANTU DANCE CALL-AND-RESPONSE ACROSS THE ATLANTIC Nuel Nonso (Nigerian-born musician now based in NZ) gives his insights on the flow of dance influences between the cultures of Africa and the US; from shoki to Hip Hop. I remember watching Missy Elliott's WTF (Where They Chinese. If we're so different even within our own borders, From) for the first time and grinning that I-see-you grin why does my Igbo West African body seem to know just when, about two and a half minutes in, they bust the shoki what to do when it hears African American or Caribbean move. Both shoki and I are from Nigeria. rhythms? Is it mutual simply because of a coincidence of BY NUEL NONSO NUEL BY blackness? Or because we have gone on to consciously I’d felt this excitement before. Growing up in South- collaborate in shaping each other's contemporary popular eastern Nigeria, watching African Americans on Soul cultures? Train or any black people dancing on western TV, it was not uncommon for someone onscreen to move in a way The ships that departed those painful-to-recall centuries so familiar that they reminded me of an extended family ago from the Bight of Biafra, the Gold Coast and all other member, a neighbour, or someone at school. You could slave trade ports, carried away with them slices of African chalk that up to the fact that they were black and so was I, culture into what would be the grimmest unknown.
    [Show full text]
  • “Disco Dreads”
    “Disco Dreads” Self-fashioning through Consumption in Uganda’s Hip Hop Scene Image-making, Branding and Belonging in Fragile Sites Simran Singh Department of Music, Royal Holloway, University of London Dissertation submitted for the degree of Doctor of Philosophy September 2017 1 TABLE OF CONTENTS Declaration of authorship ……………………………………………………………….5 Abstract ………………………………………………………………………………….6 Acknowledgements………………………………………………………………………8 List of figures…………………………………………………………………………….7 Chapter 1 Introduction to thesis “The chick with the kicks” ………………………………………………………………9 Self-fashioning through consumption: theoretical frames………………………………21 Thesis outline……………………………………………………………………………38 Chapter 2 Music in Uganda Patronage to persecution: a brief overview of Uganda’s music…………………………42 Global influences, the birth of a music industry and an FM revolution: 1986 onwards………………………………………………………………………… …45 Imagining the popular: 1950s – 1980s…………………………………………………...51 Investigating the traditional……………………………………...………………………57 Music as message in the 21st century…………………………...………………………..61 Chapter 3 Method A Porsche’s place………………………………………………………………………..69 Friendship and the Field………………………………………………………………....73 The epistemic community……………………………………………………………….76 Ethnographic phenomenology…………………………………………………………..78 2 Web 2.0 or social networking………………………………………………………………81 Visualising hip hop…………………………………………………………………………83 Practical tools and concerns in the field……………………………………………………87 Chapter 4 Image-making and the Ugandan hip hop ‘mogul’ The mogul’s visual density…………………………………………………………………..90
    [Show full text]
  • B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
    B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5.
    [Show full text]
  • Annotated Bibliography
    Denise Ama Ghartey Global Studies Final Project Friday, May 14, 2010 Annotated Bibliography Abrahams, Shaheen Ariefdien and Nazli. "Cape Flats Alchemy Hip­Hop in South Africa ." In Total chaos , edited by Jeff Chang. New York , NY: BasicCivitas, 2006. The woman who wrote this article is a native of South Africa. This is where she grew up and where she has loyalties to, although she doesn’t talk much about herself in South Africa she goes through a detailed history of all the political and governmental injustices that colored and African people have to struggle through in South Africa in the time of Apartheid. She says that “…hip hop is about seeing something in what we are often told is nothing.” This is why Hip‐Hop started here in North America as well which is very compelling that this music still has this meaning in other places and has travelled so many miles and has still kept to what has originally set out to accomplish. There is a lot of talking about how the Coloureds (a creolized group in South Africa) were the first group of people to accept Hip Hop. They were from working class families and couldn’t afford to listen to something’s, unlike some of the Black families that were living in South Africa under the apartheid government. It is also said in this book that because of Hip‐Hop more people were able to accept, become more acquainted with and use President Biko’s, Black Consciousness movement more. In modern South African Hip‐ Hop it is frowned upon by many people to rap in English because that is the language of their oppressor so many choose to rap in other tribal languages.
    [Show full text]
  • Hip-Hop Culture and Social Mobilization in Post Colonial Senegal Lucie Latuner Connecticut College, [email protected]
    Connecticut College Digital Commons @ Connecticut College Anthropology Department Honors Papers Anthropology Department 2018 Y’en a Marre! Hip-Hop Culture and Social Mobilization in Post Colonial Senegal Lucie Latuner Connecticut College, [email protected] Follow this and additional works at: https://digitalcommons.conncoll.edu/anthrohp Part of the African Languages and Societies Commons, Anthropology Commons, Music Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Latuner, Lucie, "Y’en a Marre! Hip-Hop Culture and Social Mobilization in Post Colonial Senegal" (2018). Anthropology Department Honors Papers. 16. https://digitalcommons.conncoll.edu/anthrohp/16 This Honors Paper is brought to you for free and open access by the Anthropology Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Anthropology Department Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Y’en a Marre ! Hip-Hop Culture and Social Mobilization in Post Colonial Senegal An Honors Thesis Presented by Lucie Latuner To the Department of Anthropology CONNECTICUT COLLEGE NEW LONDON, CONNECTICUT MAY 3, 2018 1 Table of Contents Abstract 3 Acknowledgements 4 Introduction 6 Chapter I: Y’en a Marre, a History of Social Mobilization, and Figures of Resistance: Responsibility to Pan-Africanist Discourse 16 Chapter II: Expressing Responsibility Through Rap: Creating Urban Spaces of Resistance 43 Chapter III: Responsibility to the Constitution: Maintaining Democracy through Mobilization 66 Chapter IV: Pan-Africanist Responsibility Today: Civic Action in the Face of Neocolonialism 88 Conclusion 110 Bibliography 114 2 Abstract After over fifty years since decolonization, Senegal is seen as a success story in establishing democracy in sub-Saharan Africa.
    [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]
  • Mbalax: Traces of Tradition in Senegalese Hip-Hop a MASTER's THESIS SUBMITTED to the GRADUATE FACULTY LIBERTY UNIVERSITY by MI
    Mbalax: Traces of Tradition in Senegalese Hip-Hop A MASTER’S THESIS SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY MIKAYLA WINNER SIMERAL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY December 22, 2017 Acknowledgements The moment I first visited Africa in 2007, I knew I was meant to do more than visit and leave. I have dreamt of executing musical research on this beautiful continent ever since that day, and ten years later, here I am. This study would not be possible without the assistance and support of some very meaningful people in my life. First, I would like to thank Adja and Mommy Gna Gna for opening their home to me in Dakar. Thank you for your patience and kind support through all of my ups and downs. Bisou bisou to you both. Bouna and Neesa, if it weren’t for you two I would have never gone to Senegal. Thank you for inspiring me to want to learn more about your vibrant culture and allowing me to stay with your family. You are both such a blessing in my life and I can’t imagine what this study would have been without you. Ibou and Paco, my drum teachers at Africa Tilibo, I will always have a special place in my heart for the both of you. Thank you for your patience, your persistence, your smiles, your afternoon tea and your wealth of drumming knowledge. Africa Tilibo became my second home in Senegal, and I will never forget my lessons underneath the mango tree.
    [Show full text]
  • A Design of a South African Popular Music Degree Curriculum
    A Design of a South African Popular Music Degree Curriculum by Kirsten Nicole Adams Thesis presented in fulfilment of the requirements for the degree of Master of Music (Composition) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Barry Ross April 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Kirsten Nicole Adams April 2019 Copyright © 2019 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract The study is a qualitative literature review that aims to propose a design of an ideal Bachelor of Music in South African Popular Music curriculum for South African universities. The purpose of this study is to design a degree curriculum that responds to the demands of the South African music industry, and that will hopefully advance the output of the South African music industry. Although not central investigation in the study, cognisance is taken of the financial limitations higher education in South Africa. The possibility of a Bachelor of Music in South African Popular Music degree curriculum is explored in research material focused on Western popular music literature, the demands of the South African music industry, how popular musicians learn, a comparison between existing Bachelor of Music in Popular Music degrees abroad (Berklee College of Music (US), Leeds Arts University (UK) and Griffith University (Australia)) as well as what is available in South Africa.
    [Show full text]