DOCSLIB.ORG

Working Papers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Working Papers University of Bayreuth African Studies 27 WORKING PAPERS works! 10 Fieldwork Experiences and Practices in Africa Nikitta Dede Adjirakor, Oladapo Opeyemi Ajayi, Hanza Diman & Mingqing Yuan University of Bayreuth 27 African Studies WORKING PAPERS Fieldwork Experiences and Practices in Africa Nikitta Dede Adjirakor, Oladapo Opeyemi Ajayi, Hanza Diman and Mingqing Yuan, 2021 ii University of Bayreuth African Studies Working Papers 27 Contents University of Bayreuth African Studies Working Papers iii BIGSASworks! iv About the Authors of this Issue v Foreword vi Clarissa Vierke Fieldwork Experiences and Practices in Africa Fieldwork Experiences and Practices in Africa: An Introduction 1 Nikitta Dede Adjirakor, Oladapo Opeyemi Ajayi, Hanza Diman and Mingqing Yuan Using Oral History to Research Fuelwood Energy in Togo: Some Experiences from the Field 5 Hanza Diman Doing Fieldwork while Parenting: Between Methodological Benefits and Institutional Constraints 15 Anna Madeleine Ayeh The Challenges of Fieldwork “at Home” While Doing a PhD in Germany: "Insider" and "Outsider" Positionalities of a Single Researcher 29 Alhassane A. Najoum Fieldwork as Decolonising African Literary Studies: Researching Tanzanian Hip-hop and Spoken Word Poetry as a Ghanaian 40 Nikitta Dede Adjirakor Literary Fieldwork in Nairobi: Becoming Chinku and the “Third Mankind” 55 Mingqing Yuan Fùjí Music in Contemporary Yorùbá Urban Spaces in Nigeria: Reflections from the Field 68 Oladapo Opeyemi Ajayi The Reviewers of this Volume 78 Our latest BIGSASworks! Publications 79 BIGSASworks! 10 Fieldwork Experiences and Practices in Africa iii ii Bayreuth African Studies Working Papers 20 University of Bayreuth African Studies Working Papers The University of Bayreuth African Studies Working Papers are published by the Institute of African Studies (IAS), Bayreuth, Germany. The IAS promotes and coordinates African Studies involving scholars from a wide range of academic disciplines covering almost all faculties at the University of Bayreuth. The IAS acts as umbrella organization and has three central units: the Iwalewahaus, the Africa Multiple Cluster of Excellence, and the Africa Research Center (Forschungszentrum The Institute of African StudAfrikaies (IA, Swhich) at th eis Uundernivers iconstruction).ty of Bayreuth pTherom IASotes coordinatesand coordina researchtes and teaching as well as the African studies in 12 subject gtrainingroups di softr ijuniorbuted o researchers,ver the six fac ucooperateslties of the U withniver spartnersity of Bay rworldwideeuth. and facilitates the exchange of information between persons and institutions engaged in research and teaching in or about It coordinates research and teaching, training junior researchers, and promotes the exchange of Africa. information between persons and institutions engaged in research and teaching in or on Africa. In the Working Papers series, we present empirical studies and theoretical reflections, put pre- The ‘Bayreuth African Studieliminarys Workin gfindings Papers’ rupepo forrt o ndiscussion ongoing pr oandject sreport, the re sonult songoing of curre nprojectst and current research. The research and matters relatedWorking to the fo cPapersus on A fusuallyrican Stu reflectdies. Co workntribu-tinio-nprogress;s may be s allubm contributionsitted to relate to African Studies in the Editor-in-chief Antje Dangeneraliel (antje and.dan Bayreutiel@uni-bha Africanyreuth.d Studiese). in particular and invite discussion and feedback. Submitted papers are subject to internal review at the University of Bayreuth. The ‘Bayreuth African Studies Working Papers’ is chronicled on the EPub document server at the Contributions can be submitted to the editor-in-chief Sabrina Maurus university library: ([email protected]) ■ https://epub.uni- The University of Bayreuth African Studies Working Papers feature on the EPub document server bayreuth.de/view/seatrie thes/B universityayreuth_Afr library:ican_Stu dies_Working_Papers.html Other IAS publications are av2005ailabl e- h2018ere: https://epub.uni-bayreuth.de/view/series/Bayreuth_African_Studies_Working_Papers.html ■ https://epub.uni-bayreuth.de/view/series/Bayreuth_African_Studies_Online.html ■ http://www.ias.uni-b2018ayreu t-h ongoing.de/de/fo rschung/publications/nab/index.html https://epub.uni- ■ http://www.lit-verlabayreuth.de/view/series/University_of_Bayreuth_African_Studies_Working_Papers.htmlg.de/reihe/BzA Institute of African Studies Director: Prof. Dr. Cyrus Samimi Institute of African Studies Vice Director: Prof. Dr. Eva Spies University of Bayreuth Chair Person: Prof. Dr. Rüdiger Seesemann Deputy Chair Person: Prof. Dr. Cyrus Samimi Wölfelstr. 2 D-95440 Bayreuth Universität Bayreuth Institute of African Studies Phone: +49 (0)921 554511 95440 Bayreuth www.ias.uni-bayreuth.de [email protected] Phone: +49 (0)921 555161 Fax: +49 (0)921 555102 www.ias.uni-bayreuth.de [email protected] iv University of Bayreuth African Studies Working Papers 27 BIGSASworks! The Bayreuth International Graduate School of African Studies (BIGSAS) was founded in 2007 and funded in the framework of the ‘Excellence Initiative’ by the German Research Foundation (DFG) and the German Council of Science and Humanities (WR). Since January 2019, BIGSAS is part of the Cluster of Excellence “Africa Multiple: Reconfiguring African Studies”. BIGSAS offers a multi- and interdisciplinary research environment based upon the expertise of more than 40 Senior Fellows and more than 70 associated members from all over the world. In the focus of this unique structure of creative and innovative training are approximately 80 Junior Fellows from 26 African, American, Asian and European countries. BIGSAS not only provides clearly structured, academic and career-oriented training opportunities but also contributes to the creation of an African universities’ network. Six African Partner Universities in Benin, Kenya, Morocco, Mozambique, South Africa, and Ethiopia cooperate closely with BIGSAS in recruitment, training and mentoring of doctoral candidates. With BIGSASworks! we aim at offering Junior Fellows at the Graduate School a platform for publishing research-related articles. Each issue focuses on a certain thematic field or theoretical concept and Junior Fellows from any discipline are invited to submit papers. At the same time, BIGSASworks! opens a space for Junior Fellows to work jointly on articles towards further publication and to get practical experience of what it means to be an editor. The name BIGSASworks! has various implications. First, it is an abbreviation of “BIGSAS Working Papers!” Secondly, it shows the work of our BIGSAS Work Groups. Thirdly, taking “works” as a verb, it demonstrates the work that BIGSAS Fellows carry out, with BIGSASworks! guaranteeing a visible output in addition to doctoral theses. Bayreuth International Graduate School of African Studies Dean: Prof. Dr. Martina Drescher Deputy Head: Prof. Dr. Martin Doevenspeck University of Bayreuth Geschwister-Scholl-Platz 3 D - 95440 Bayreuth Phone: +49 (0)921 55 5101 www.bigsas.uni-bayreuth.de [email protected] BIGSASworks! 10 Fieldwork Experiences and Practices in Africa v About the Authors of this Issue Persons marked * were part of the editors’ team. Nikitta Dede Adjirakor* received her PhD in Literatures in African Languages from the Bayreuth International Graduate School of African Studies (BIGSAS) at the University of Bayreuth, Germany. Her research interests include digital literature, poetry, Swahili literature and African popular culture. She is currently a research fellow in the Recalibrating Afrikanistik research project between the Universities of Leipzig, Bayreuth and Cologne. Oladapo Opeyemi Ajayi* is a BIGSAS Junior Fellow working at the Department of Literature in African Languages, University of Bayreuth. He is currently completing his PhD on Fuji music and everyday life in the contemporary Yoruba/Nigerian urban space. He is fascinated by the aesthetic experience of popular music. He is also interested in emerging meanings and concepts in Yoruba popular culture. Anna Madeleine Ayeh is a BIGSAS Junior Fellow working at the Department of Social Anthropology, University of Bayreuth. She is currently completing her PhD on women’s practices of religious knowing in Benin and researching the impact of the Covid-19 pandemic on work and care arrangements of members of University of Bayreuth. She is fascinated by feminist and post- /de-colonial theories and academic debates on knowledge (production), learning, social differentiation, and care. Hanza Diman* is a Junior Fellow at the Bayreuth International Graduate School of African Studies (BIGSAS) at the University of Bayreuth. He holds a BA in Germanistik from the Université Abomey- Calavi in Benin, an MA in African History and Francophone Studies at the University of Bayreuth. He is currently finalising his PhD thesis on the history of fuelwood energy in Togo. His research interest areas include African political history, environmental history and theories and methods in African history. Alhassane A. Najoum holds a PhD in Social Anthropology. After his studies and work in sociology at the University of Niamey in Niger, he did his doctoral studies in social anthropology at the University of Bayreuth, Germany. He is an alumnus of BIGSAS (Bayreuth International Graduate School of African Studies) and DAAD (German Academic Exchange Service). His current research focuses on the situations of women and children in Niger. Mingqing Yuan* is a junior fellow
Load more

Recommended publications
  • 1 Literaturliste Für „Einführung in Die Moderne Afrikanische Musik“
    Literaturliste für „Einführung in die moderne afrikanische Musik“ Dozent: Dr. Wolfgang Bender Inhaltsverzeichnis: 1. Allgemeiner Teil: 1. Theorie S. 2 2. Produktion, Distribution & Archivwissenschaften S. 3 3. Afrikanische Musik allgemein S. 3 4. Moderne afrikanische Musik allgemein S. 5 5. Traditionelle afrikanische Musik allgemein S. 7 6. Weltmusik S. 8 7. Musik aus der Diaspora S. 9 8. Bibliographie S. 11 9. Zeitschriften S. 11 2. Länderspezifischer Teil: 10. Nordafrika S. 13 11. Westafrika S. 14 12. Frankophones Westafrika S. 14 13. Anglophones Westafrika S. 17 14. Zentralafrika S. 22 15. Horn von Afrika S. 25 16. Ostafrika S. 26 17. Süd-Zentralafrika S. 28 18. Südafrika S. 29 19. Lusophones Afrika S. 31 20. Inseln S. 32 1 1. Theorie: Agawu, Kofi: Representing African Music: Postcolonial notes, 2003 queries, positions. New York & London: Routledge Bröcker, Marianne (Hg.): Musik und Religion. 1992 Reihe: Bericht über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music; Universitätsbibliothek Bamberg, ICTM Bröcker, Marianne (Hg.): Musik und Symbol. Musik und Region. 1998 Reihe: Berichte über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music, Universitätsbibliothek Bamberg, ICTM Bröcker, Marianne (Hg.): Traditionelle Musik und ihre Funktion. 2001 Reihe: Berichte über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music, Universitätsbibliothek Bamberg, ICTM Nettl, Bruno: The Concept of Preservation in 1985 Ethnomusicology. In: Jackson, Irene V. (Hg.): More than Drumming. Essays on African and Afro-Latin American Music and Musicians. Westport: Greenwood Press Simon, Arthur: Ethnomusikologie: Aspekte, Methoden und 2008 Ziele. Berlin: Simon Verlag 2 2.
    [Show full text]
  • Download This PDF File
    CONTRIBUTIONS OF YORUBA MUSICIANS TO THE DEVELOPMENT OF NIGERIAN POPULAR MUSIC Funso A. Fagbile and Blessing A. Amole Introduction Nigerian music as it is today has produced many kinds of art, religious, folk and popular music, some of which are known to be spread around the world. Ogisi (2005) classified Nigerian music into traditional, art, religious and popular music. He stressed further that traditional music is ethnic based and integral to culture, art music is contemplative music for aesthetic enjoyment, religious music is performed for religious activities in and outside the religious centers such as church, while popular music is essentially entertainment music. Nigerian popular music is further subdivided into two types: those in which Islamic musical element fused with African traditional music and those in which African idioms fused with elements of western music such as juju and highlife (Euba, 1989:14). Nigerian popular music is one of the least researched areas of the various types of Nigerian music and as such different areas such as contributions of Yoruba musicians in the area of popular music are yet to be addressed. Therefore, this paper tries to look into the area of Juju and Fuji music, their exponents, life history and contributions. Popular music in many African countries have seen turbulence and violence during the transition from a diverse region of folk cultures to a modern nation-state. Nigeria has more difficulty than most African countries in forging a popular cultural identity from the diverse people of the countryside. From its beginnings in the streets of Lagos, popular music in Nigeria had long been an integral part of the field of African pop, bringing in influences and instruments from many ethnic groups, most prominently including the Yoruba.
    [Show full text]
  • Contemporary Nigerian Popular Music: a Menace to National Development
    Journal of Arts & Humanities Contemporary Nigerian Popular Music: A Menace to National Development Ogunrinade D.O.A1 ABSTRACT There is no gainsaying that most of the recent forms of contemporary popular music produced, packaged, made available for public consumption constitute grave danger and serious threat to moral uprightness in Nigerian society. This has exposed the Nigerian society to a wide variety of insecurity and violence. This is evident as seen from series of moral decadence and dissipation that infiltrated the lives of the citizenry - especially the youths (the leaders of tomorrow) ranging from, sexual abuse, money mongering, indiscipline, examination malpractice and indecent dressing to mention but a few. Music is a powerful tool and a force for mobilization which brings about either reformation or deformation of character due to the type of rhythm, melody, harmony and principally the lyrics of the songs. This paper examines the new trend of contemporary popular music in Nigeria with a view to assess its negative and pessimistic impacts on the character of the citizenry in Nigerian society. Live performances of contemporary popular music were observed and audio and video tape materials relating to the said music were also analyzed based on their educational and moral values of such songs. It was discovered that many of contemporary popular music as we have it today in Nigeria communicates vulgarity and coarseness to the listeners and this poses a lot of negative effects on the attitude of the youths. Musicians employ indecent words to attract the youth thus creating negative influence on the character of the leaders of tomorrow (the youth) to engage in various debaucheries.
    [Show full text]
  • Free Fuji Music Download of Alhaji Wasiu Ayinde Marshal Wasiu Ayinde Marshall Alhaji Ayinde Marshall
    free fuji music download of alhaji wasiu ayinde marshal wasiu ayinde marshall alhaji ayinde marshall. Photo Credit: Saheed Ojubanire More than a year after the release of his hit album titled: "Money Making Machine" (MMM), Fuji music star, Alhaji Wasiu Alabi Odetola popularly known as Pasuma, would soon be releasing a follow-up album, after all. 1 Fuji Music Star Who Has Not Paid Homage To NURTW Topshot Turned King, Jafo Authority. Photo Credit: blackboxnigeria.com His Royal Majesty, Oba Sulaiman Adeshina otherwise known as Jafo Authority, or simply Jafo, was installed eight months ago as the Oniba of Iba in Lagos State. Iba Kingdom is within Iba Local Council Development Area (LCDA) on the outskirts of the Centre of Excellence. Check Out The Year 5 Popular Fuji Stars Visited Saudi Arabia To Perform Hajj (Photos) Hajj is one of the five pillars of Islam. Every year, Muslims around the world travel to the Muslims' holy land, Saudi Arabia to perform Hajj, Many Celebrities in Nigeria who are Muslims have visited Saudi Arabia to perform Hajj and Umrah. In this article, Engrlas bring you five popular Fuji Stars that have visited Saudi Arabia to perform Hajj and the year they visited it. (Opinion): As An Elected Council Chairman In Lagos, Will Bayo Olasoju Still Remain K1's Manager? On Saturday, 24th July, 2021, Hon. Bayo Olasoju who happens to be the Manager to Fuji music legend, Alhaji Wasiu Ayinde Anifowoshe Marshal better known as K1, was elected as the Executive Chairman of Isolo Local Council Development Area (LCDA) in Lagos State.
    [Show full text]
  • Foregrounding Female Agency in the Dance Culture of Nigeria
    WHAT I DO WHEN I DANCE: FOREGROUNDING FEMALE AGENCY IN THE DANCE CULTURE OF NIGERIA Oladoyin Abiona A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2021 Committee: Angela Nelson, Advisor Jeremy Wallach Rahdika Gajjala © 2021 Oladoyin Abiona All Rights Reserved iii ABSTRACT Angela Nelson, Advisor Scholarship on female representations in hip hop has been predominantly premised on the sexualization of the female body. By focusing mainly on this singular aspect of the genre, we reduce the whole essence of womanhood in the industry to such interpretations. The limited scope of such discussions deprives the women of opportunities to tell their own stories of what they do when they dance. Seeing the cultural significance of dance as a form of popular culture in the Nigerian context, this essay, from a feminist perspective, closes this gap by engaging in a qualitative exploration of the lives of three female dancers in Nigeria telling their stories through dance. They are Kaffayat Oluwatoyin Shafau (Kaffy), Odumewu Debbie (Debbiepinkie), and Usiwo Orezinena Jane (Janemena). Exploring their social media archives, interviews granted to TV stations and a published autobiography “Alajoota” by Kaffy, this essay contextualizes and complicates the interpretations of sexualization in the Nigerian hip hop dance industry. Through dance Nigerian women performers are able to negotiate the heavily male-dominated hip hop scene. For them, dance is a coping strategy, a profession, a space for redefining self and embracing sexuality and femininity, and a form of youthful identity and inclusion.
    [Show full text]
  • The Construction and Negotiation of Identity in Ajegunle Raga
    “In the Ghetto, Life No Easy For We”: The Construction and Negotiation of Identity in Ajegunle Raga by Ogunbowale Mopelolade Oreoluwa A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in History and International Development Guelph, Ontario, Canada © Ogunbowale Mopelolade Oreoluwa, June, 2012 ABSTRACT “In the Ghetto, “Life No Easy For We”: The Construction and Negotiation of Identity in Ajegunle Raga Ogunbowale Mopelolade Advisor: University of Guelph, 2012 Professor F.J Kolapo This thesis is an investigation into the historical evolution of Ajegunle Raga, a reggae form developed within an urban ghetto in Lagos called Ajegunle and the construction and negotiation of identities therein. The research further argues that Ajegunle Raga is a home- grown oppositional music subculture that draws inspiration from diasporic musical subcultures like Reggae and Hip Hop but retains a genuine representation of Ajegunle in its tales of survival, poverty, marginalization and expressions of creativity within the ambience of the music. Figure 1: Map of Lagos showing Ajegunle and its environs. Used with permission from Odunuga Shakirudeen of Department of Regional and Urban Planning, University of Lagos, Nigeria. iii ACKNOWLEDGEMENTS I would like to appreciate all those that have contributed immensely to making this project a success. First of all, I thank God for the inspiration, strength and determination to complete this project. I sincerely want to appreciate my dad, Lanre Ogunbowale, my mum, Theresa Tokubo Koya and my sisters, Tobi and Busola Ogunbowale for always motivating and encouraging me. I cherish your love, support and friendship and whatever I do is to make you all happy.
    [Show full text]
  • LCGFT for Music Library of Congress Genre/Form Terms for Music
    LCGFT for Music Library of Congress Genre/Form Terms for Music Nancy Lorimer, Stanford University ACIG meeting, ALA Annual, 2015 Examples Score of The Four Seasons Recording of The Four Seasons Book about The Four Seasons Music g/f terms in LCSH “Older headings” Form/genre term Subject heading Operas Opera Sacred music Church music Suites Suite (Music) “Newer headings” Genre/form term Subject heading Rock music Rock music $x History and criticism Folk songs Folk songs $x History and criticism Music g/f terms in LCSH Form/genre term Children’s songs Combined with demographic term Buddhist chants Combined with religion term Ramadan hymns Combined with event term Form/genre term $v Scores and parts $a is a genre/form or a medium of performance $v Hymns $a is a religious group $v Methods (Bluegrass) $a is an instrument; $v combines 2 g/f terms Genre/form + medium of performance in LCSH Bass clarinet music (Jazz) Concertos (Bassoon) Concertos (Bassoon, clarinet, flute, horn, oboe with band) Overtures Overtures (Flute, guitar, violin) What’s wrong with this? Variations in practice (old vs new) Genre/form in different parts of the string ($a or $v or as a qualifier) Demographic terms combined with genre/form terms Medium of performance combined with genre/form terms Endless combinations available All combinations are not provided with authority records in LCSH The Solution: LCGFT + LCMPT Collaboration between the Library of Congress and the Music Library Association, Bibliographic Control Committee (now Cataloging and Metadata Committee) Genre/Form Task Force Began in 2009 LCMPT published February, 2014 LCGFT terms published February 15, 2015 567 published in initial phase Structure Thesaurus structure Top term is “Music” All terms have at least one BT, except top term May have more than one BT (Polyhierarchy) The relationship between a term and multiple BTs is “and” not “or” (e.g., you cannot have a term whose BTs are “Cat” and “Dog”) Avoid terms that simply combine two BTs (e.g.
    [Show full text]
  • “Which Way Nigeria?”
    J EAN-CHRISTOPHE S ERVANT “Which way Nigeria?” MUSIC UNDER THREAT: A QUESTION OF MONEY, MORALITY, SELF-CENSORSHIP AND THE SHARIA “WHICH WAY NIGERIA?” Music under Threat: A Question of Money, Morality, Self-Censorship and the Sharia by JEAN-CHRISTOPHE SERVANT Published by Freemuse Editor in Chief: Marie Korpe Translated from French by Daniel Brown ISSN 1601-2127 Layout: Sigrún Gudbrandsdóttir Cover illustration: Ali Bature Printed in Denmark 2003 by Handy-Print © Freemuse 2003 The views in the report do not necessarily represent the views of Freemuse. Report no. 04/2003 Freemuse Wilders Plads 8 H · 1403 Copenhagen K. · Denmark tel: +45 32 69 89 20 · fax: +45 32 69 89 01 e-mail: [email protected] web: www.freemuse.org OTHER PUBLICATIONS BY FREEMUSE: 1st World Conference on Music and Censorship (2001, ISBN: 87-988163-0-6) “Can you stop the birds singing?” – The Censorship of Music in Afghanistan, by John Baily (2001, ISSN: 1601-2127) “A Little Bit Special” – Censorship and the Gypsy Musicians of Romania, by Garth Cartwright (2001, ISSN: 1601-2127) Playing With Fire – Fear and Self-Censorship in Zimbabwean Music, by Banning Eyre (2001, ISSN: 1601-2127) TABLE OF CONTENTS PREFACE 5 ABSTRACT 7 5 CASE STUDY: FEMI KUTI - ABOUT THE AUTHOR 8 the banning of "Bang, Bang, Bang" MAP 9 5.1 Biography of Femi Kuti 56 INTRODUCTION 11 5.1.1 NBC vs. Femi Kuti 59 1 THE YEARS OF DEMOCRAZY: 6 GANGSTA RAP AND MAKOSSA 1999-2002 15 6.1 High moral grounds versus 65 the "Music of the Devil" 2 GENERAL BACKGROUND ON NIGERIA 2.1 Religion 17 7 SHARIAPHRENIA 2.2
    [Show full text]
  • Genre, Form, and Medium of Performance Terms in Music Cataloging
    Genre, Form, and Medium of Performance Terms in Music Cataloging Ann Shaffer, University of Oregon [email protected] OLA 2015 Pre-Conference What We’ll Cover • New music vocabularies for LC Genre & Form and LC Medium of Performance Terms • Why were they developed? • How to use them in cataloging? • What does it all mean? Genre, Form, & MoP in LCSH Music Terms When describing music materials, LCSH have often blurred the distinction between: • Subject what the work is about • Genre what the work is • Form the purpose or format of the work • Medium of performance what performing forces the work requires Genre, Form, & MoP in LCSH Music Terms Book Music Score • LCSH describe what • LCSH describe what the musical work is: subject the book is Symphonies about: Operas Symphony Bluegrass music Opera Waltzes Bluegrass music • LCSH also describe what the format is: Rap (music) $v Scores and parts $v Vocal scores $v Fake books Waltz • And what the medium of performance is: Sonatas (Cello and piano) Banjo with instrumental ensemble String quartets Genre, Form, & MoP in LCSH Music Terms Audio Recording • LCSH describes what the musical work is: Popular music Folk music Flamenco music Concertos • And what the medium of performance is: Songs (High voice) with guitar Jazz ensembles Choruses (Mens’ voices, 4 parts) with piano Concertos (Tuba with string orchestra) Why Is This Problematic? • Machines can’t distinguish between topic, form, genre, and medium of performance in the LCSH • All coded in same field (650) • Elements of headings & subdivisions
    [Show full text]
  • Bisade Ologunde: I Am Still Trying to Hold on to What Moves People About Music
    The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. BISADE OLOGUNDE: I AM STILL TRYING TO HOLD ON TO WHAT MOVES PEOPLE ABOUT MUSIC EDITOR 'S NOTE: Lagbaja is not only the theme for the music album of Bisade Ologunde 's team. It is a theme but more than a theme. It is a concept. A concept of a masked musician. An anonymous man, an unknown instrumentalist striking the keyboard notes or blasting away on the bass guitar. Bisade would not confirm this, but Lagbaja, that is the concept of an unknown man rings a strident bell with both a musical and political resonance. Can we expect not to recall that Fela Anikulapo-Kuti in the 70s released an album titled Unknown Soldier ? Which itself echoed the summed up verdict of a judicial commission that investigated a raid of uniformed soldiers on his erstwhile residential compound in Lagos - the Kalakuta Republic. As Bisade confesses to us, influences fly from mind to mind purely at the stream of the subconscious: Nobody can hold on to it! UESTION: Can you give us a Q brief introduction to your person? ANSWER: Well, I call Bisade a musician. I'm also a producer. We have a band, we've been together now for about five or six years; sorry, this is the fifth year; in another one month, it will be five years we've been together.
    [Show full text]
  • African History Through Popular Music” Spring 2016 Professor Lisa Lindsay
    History 083: First Year Seminar “African History through Popular Music” Spring 2016 Professor Lisa LinDsay Classes: TuesDays anD ThursDays, 2:00-3:15 in Dey 306 Office hours: WeDnesDays 2:00-3:30, ThursDays, 3:30-4:30, anD by appointment Dr. LinDsay’s contact information: [email protected], Hamilton 523 Daniel Velásquez’s contact information: [email protected], Hamilton 463 Course Themes and Objectives Over the last three Decades, African popular music has founD auDiences all over the worlD. Artists like Nigeria’s Fela Kuti, South Africa’s Miriam Makeba, anD the Democratic Republic of Congo’s Papa Wemba (all pictureD above) have attracteD wiDespread attention in their home countries anD abroad not only because their music is extremely catchy, but also because they have expresseD sentiments wiDely shareD by others. Often, music such as theirs has containeD sharp political or social commentary; other times, African popular music speaks to the universal themes of love, making a living, anD having a gooD time. In all instances, however, African popular music—like popular music everywhere—has helpeD to express and Define people, their communities, anD their concerns. What music we listen to can say a lot about who we think we are, who others think we are, or who we woulD like to be. Music, then, is connecteD to identity, community, anD politics, anD these connections will form the central themes in our course. In this seminar, we will stuDy popular music as a way of unDerstanDing African history from about the 1930s to the present. In other worDs, we will listen to, read about, anD analyze music in particular times anD places in Africa so that we may learn about the societies where it was proDuceD anD consumeD.
    [Show full text]
  • African Musician As Journalist: a Study of Ayinde Barrister's Works
    New Media and Mass Communication www.iiste.org ISSN 2224-3267 (Paper) ISSN 2224-3275 (Online) Vol.46, 2016 African Musician as Journalist: A Study of Ayinde Barrister’s Works Kola Adesina, Ph.D Adeyemi Obalanlege, Ph.D Idris Katib Department of Mass Communication, Crescent University, Abeokuta Abstract This study was conducted to test the validity of contention that Sikiru Ayinde Barrister (SAB) music is journalism, particularly when its contents are juxtaposed with different sections of a newspaper or magazine. Being a qualitative essay, copious quotations from SAB's works were done to test each unit of the analysis such as education, politics, news commentary, travel/tourism, editorial, poetry etc. A total of 13 albums representing 10% of SAB's works were selected and graded on their contents based on their suitability to each of the categories above. Findings however revealed that music of SAB is journalism. Apart from informing, educating and entertaining his audience, SAB also employed his music for agenda-setting and social responsibility purposes in media theoretical framework. The criticism aspect of his music had played the watch-dog and advocacy roles of the media on the populace and the government especially during the military juntas of Gen. Muhamadu Bihari, Ibrahim Babangida and Sani Abacha respectively. The study found that selected works of traditional musicians such as Ayinde Barrister and Ayinla Omowura qualify journalism in structure and content. Introduction Journalists are sometimes regarded as mobile encyclopaedia because they access, process and sift deluge of information at their disposal and at the same time, feed the society back.
    [Show full text]