Guinea, Mali & Niger
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Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
CLERMONT MUSIC 67 Commons Road | Germantown NY | 12526 USA | +1.518.755.5089 | [email protected]
CLERMONT MUSIC 67 Commons Road | Germantown NY | 12526 USA | +1.518.755.5089 | [email protected] www.clermontmusic.com Catalog: CLE024 Album Title: Niafunké Artist: Hama Sankaré Format: LP, CD, DI UPC LP (US): 711574868216 UPC CD (US): 711574868223 UPC LP (EU): N/A UPC CD (EU): N/A UPC DI: 192562968970 US Release Date: 12 April 2019 EU Release Date: 26 April 2019 Cover Art: CLERMONT MUSIC 67 Commons Road | Germantown NY | 12526 USA | +1.518.755.5089 | [email protected] www.clermontmusic.com SALES NOTES: Hama Sankare, legend of Mali’s desert blues, releases Niafunke, his second brilliant album recorded March 2018 in Bamako. Sankare brought into the studio dynamic young headliners, Oumar Konate, Dramane Toure and Makan Camara along with long time colleagues Afel Bocoum, Yoro Cisse and Kande Sissoko to forge a set of blazing tracks that breath new energy into the genre and breaking old formulas all the while honoring traditional roots. Niafunke, a city in Mali along the Niger River near Timbuktu is where Sankare continues to live with his family. He, Bocoum and Cisse were contemporary collaborators with Ali Farka Toure whose home was also there and they can be heard on many of Farka’s albums. Sankare’s spirit engages everyone he meets. He has absorbed musical influences from around the world which he brings to these 10 tracks. This is his second release on the Clermont Music label. The album is available in CD and vinyl. Some of the tracks were edited for radio and vinyl formats. The vinyl includes an instrumental version of the track Baba Gomni in which the blazing musicians are featured in full force. -
Unemployed Intellectuals in the Sahara: the Teshumara Nationalist Movement and the Revolutions in Tuareg Societyã
IRSH 49 (2004), Supplement, pp. 87–109 DOI: 10.1017/S0020859004001658 # 2004 Internationaal Instituut voor Sociale Geschiedenis Unemployed Intellectuals in the Sahara: The Teshumara Nationalist Movement and the Revolutions in Tuareg Societyà Baz Lecocq Summary: In the past four decades the Tuareg, a people inhabiting the central Sahara, experienced dramatic socioeconomic upheaval caused by the national independence of the countries they inhabit, two droughts in the 1970s and 1980s, and prolonged rebellion against the state in Mali and Niger in the 1990s. This article discusses these major upheavals and their results from the viewpoint of three groups of Tuareg intellectuals: the ‘‘organic intellectuals’’ or traditional tribal leaders and Muslim religious specialists; the ‘‘traditional intellectuals’’ who came into being from the 1950s onwards; and the ‘‘popular intellectuals’’ of the teshumara movement, which found its origins in the drought-provoked economic emigration to the Maghreb, and which actively prepared the rebellions of the 1990s. By focusing on the debates between these intellectuals on the nature of Tuareg society, its organization, and the direction its future should take, the major changes in a society often described as guarding its traditions will be exposed. INTRODUCTION ‘‘In this still untamed Sahara – among the camel herdsmen, young Koranic students, government officials, and merchants now anticipating a more peaceful and prosperous future – we were seeking rhythms of life unbroken since the time of Muhammad, 1,300 years ago.’’1 When the Tuareg rebellions in Mali and Niger ended in the second half of the 1990s, journalists set out to look for the unchanging character of Saharan life, ruled by tradition and ways as old as mankind. -
" African Blues": the Sound and History of a Transatlantic Discourse
“African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music. -
Tuareg Guitar Music
BLOOMSBURY ENCYCLOPEDIA OF POPULAR MUSIC OF THE WORLD VOLUMES VIII–XIV: GENRES EDITED BY DAVID HORN AND JOHN SHEPHERD VOLUME XII GENRES: SUB-SAHARAN AFRICA EDITED BY HEIDI CAROLYN FELDMAN, DAVID HORN, JOHN SHEPHERD AND GABRIELLE KIELICH BLOOMSBURY ACADEMIC Bloomsbury Publishing Inc 1385 Broadway, New York, NY 10018, USA 50 Bedford Square, London, WC1B 3DP, UK BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in the United States of America 2019 Copyright © Heidi Carolyn Feldman, David Horn, John Shepherd, Gabrielle Kielich, and Contributors, 2019 For legal purposes the Acknowledgments on pp. xviii–xix constitute an extension of this copyright page. Cover photograph: Alpha Blondy © Angel Manzano/Getty All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Inc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. A catalog record for this book is available from the Library of Congress. ISBN: HB: 978-1-5013-4202-8 ePDF: 978-1-5013-4204-2 eBook: 978-1-5013-4203-5 Series: Encyclopedia of Popular Music of the World, volume 12 Typeset by Deanta Global Publishing Services, Chennai, India To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters. -
Les Musiques Africaines”
1 - Présentation Dossier d’accompagnement de la conférence / concert du vendredi 6 février 2009 proposée dans le cadre du projet d’éducation artistique des Trans et des Champs Libres. “Les musiques africaines” Conférence de Jérôme Rousseaux Concert de Smod Du Sahel au Mali, de l'Éthiopie au Soudan, du Congo à l'Afrique du Sud et avec certaines esthétiques satellites qui sont issues du Maghreb et des îles de l'Océan Indien, les musiques africaines forment un gigantesque puzzle qui est le reflet sonore d'un continent multiple et multiculturel, aussi riche et complexe certainement que l'Europe ou l'Asie. Au cours de cette conférence et en utilisant de nombreux exemples, nous examinerons cette grande diversité et nous aborderons quelques questions fondamentales comme celui du regard occidental qui est parfois proche d'un certain néo-colonialisme, la différence entre la notion d'ethnomusi- cologie et de world music dont le continent africain a été dans les deux cas l'un des terrains de base, la place de la musique dans la société comme l'une des composantes de la vie plutôt qu'un art comme nous l'entendons habituellement, et leperpétuel balancement de beaucoup de ces musiques entre la tradition et la modernité. Enfin, nous montrerons l'aspect matriciel des musiques d'Afrique noire, et l'importance qu'elles ont dans ce que l'on appelle désormais les "musiques actuelles". Nous ferons ressortir leur parenté avec le blues, leur rôle dans l'évolution du jazz, dans le renouveau du rap, et l'influence des rythmes comme l'afrobeat dans toutes les musiques qui se réclament du groove et de la transe. -
Habib Koité & Bamada
Cal Performances Presents Friday, April 3, 2009, 8pm Zellerbach Hall Habib Koité & Bamada Dirk Leunis Habib Koité voice, guitar Souleyman Ann drums, calabash, backing vocals Abdoul Wahib Berthé bass, kamale n’goni, backing vocals Kélétigui Diabaté balafon, violin Mahamadou Koné talking drum, doum doum, caragnan Boubacar Sidibé guitar, backing vocals, harmonica Made possible, in part, through funding from the Western States Arts Federation and the National Endowment for the Arts. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. CAL PERFORMANCES 5 About the Artist About the Artist Malian guitarist Habib Koité is one of Africa’s creating a new pan-Malian approach that reflects Habib’s second album, Ma Ya, was released One of the keys to Habib’s success has been his most popular and recognized musicians. Habib his open-minded interest in all types of music. The in Europe in 1998 to widespread acclaim. It spent dedication to touring. A true road warrior, Habib was born in 1958 in Thiès, a Senegalese town along predominant style played by Habib is based on the an amazing three months at the top spot on the Koite & Bamada have performed nearly 1,000 the railway line connecting Dakar to Niger, where danssa, a popular rhythm from his native city of World Charts Europe. A subtle production which shows since 1994 and appeared on some of the his father worked on the construction of the tracks. Kayes. He calls his version danssa doso, a Bambara revealed a more acoustic, introspective side of world’s most prestigious concert stages. Habib has Six months after his birth, the Koité family re- term he coined that combines the name of the Habib’s music, Ma Ya was released in North also participated in a number of memorable theme turned to the regional capital of west Mali, Kayes, popular rhythm with the word for hunter’s music America by Putumayo World Music in early 1999 tours alongside other artists. -
The Last Song Before the War-PRESS KIT.Pages
The Last Song Before the War PRESS KIT SYNOPSIS THE LAST SONG BEFORE THE WAR is a feature-length documentary that captures the power, beauty, and uncertain future of Mali’s annual Festival in the Desert. Told through stunning high definition footage captured at the 2011 festival, the film is a lyrical road trip through Mali, the birthplace of the blues, to the legendary city of Timbuktu where Grammy-award winning musicians play their hearts out in the dunes of the Sahara. Shockingly, the music and the festival were silenced in 2012 when the violent occupation of Northern Mali by extremists destabilized the entire Sahel !region. To date, the festival and hundreds of thousands of refugees remain in exile. ABOUT THE FILM From the bustling streets of Mali’s capital of Bamako to the exotic dunes of the Sahara, THE LAST SONG BEFORE THE WAR takes the audience on a high-definition journey to the most remote music festival in the world. The famed three-day event features Grammy-award winning musicians playing their hearts out in the Sahara Desert surrounding Timbuktu. Over the years, the Festival has attracted some of the biggest names in music from Bono, Robert Plant, Jimmy Buffet, Chris Blackwell (Island Records), and Tom Freston (former president of MTV). Anouk Zijlma of Africa Travel and the Association for the Promotion of Tourism to Africa (APTA) ranks the Festival in !the Desert as “one the most exciting annual events on the whole African continent.” The Last Song Before the War PRESS KIT The festival, in operation since 2001, was originally held in Essakane, a small rural village and commune near the Niger River, where musicians jammed amidst rolling sand dunes and an exquisite night sky, a reflection of the festival’s origins in the ancient nomadic Tuareg culture. -
Médiagraphie MALI
Bibliothèques d’Amiens Métropole Bibliothèque Louis Aragon - Espace Image et Son MUSIQUES et MUSICIENS du MALI Médiagraphie proposée à l’occasion du Festival d’Amiens, Musiques de jazz et d’ailleurs 26-29 septembre 2013 « Le Mali est l’un des poumons musicaux de notre planète. Qu’ils chantent, pincent des cordes ou caressent la peau d’un tambour, ses musiciens sont écoutés et admirés de leurs pairs à travers le monde depuis de nombreuses années. Certains d’entre eux, comme Rokia Traoré, Ballake Sissoko, Boubacar Traoré, Mamani Keita, ou Salif Keita ont écrit les plus belles pages de notre festival. Les projets joués cette semaine sont tous inédits à Amiens et témoignent de l’incroyable culture musicale d’un pays en voie de cicratisation. » Extrait du programme du Festival LE MALI, pays d’Afrique de l’Ouest, se trouve entre le monde arabe au nord et les peuples noirs au sud. Cette situation géographique en fait un pays d’une grande richesse ethnique et musicale. La tradition qui domine encore aujourd’hui est celle des Mandingues : leur empire (XIIIe – XVIIe siècle) connut son apogée au XIVe siècle. Il s’étendait entre le Sahara et la forêt équatoriale, l’océan Atlantique et la Boucle du Niger, soit sur les actuels Mali, Burkina Faso, Sénégal, Gambie, Guinée, Guinée-Bissau, Mauritanie et une grande partie de la Côte d’Ivoire. Il laisse un puissant héritage musical, source intarissable d’inspiration pour les musiciens modernes. Perpétué et enrichi par la caste des « djeli » (griots), attachée à celle des « horon » (nobles) – pour qui les griots sont les musiciens, généalogistes et conseillers – le fonds musical mandingue est un trésor raffiné de mélodies, de contes épiques accompagnés, selon les régions par divers instruments : n’goni (harpe), kora (harpe-luth), bala (xylophone), xalam (harpe), djembé (tambour à membrane), etc… Cette tradition ancestrale se transmet de père en fils – ou de mère en fille - dans les familles de griots comme les Kouyaté, les Diabaté et les Sissoko. -
The YEAR 2014 Top 250.Pdf
WORLD MUSIC CHARTS EUROPE in the Year 2014 Compiled by Johannes Theurer on behalf of the Worldmusic Workshop of the European Broadcasting Union (EBU) The top 250 of 842 nominated records 1 SOUTAK Aziza Brahim Glitterbeat Western Sahara/Spain 2 TOUMANI & SIDIKI Toumani Diabate & Sidiki Diabate World Circuit Mali 3 TAMBUROCKET HUNGARIAN FIREWORKS Söndörgö Riverboat Hungary 4 TZENNI Noura Mint Seymali Glitterbeat Mauritania 5 BEWARE OF THE FETISH Kasai Allstars Crammed DR Congo 6 LINYERA Melingo World Village Argentina 7 GALIZA Kepa Junkera Folmusica Spain 8 AFRICAN WOMAN Sia Tolno Lusafrica Guinea 9 KONPA LAKAY Boulpik Lusafrica Haiti 10 LIBATION Sierra Leone's Refugee All Stars Cumbancha Sierra Leone/USA 11 LANDINI Aurelio Real World Honduras 12 SOO Habib Koite Contre-Jour Mali 13 LOVELY DIFFICULT Mayra Andrade Columbia/Stern's Cape Verde 14 FILM OF LIFE Tony Allen Harmonia Mundi/Jazz Village Nigeria 15 LE GRAND KALLE: HIS LIFE, HIS MUSIC Joseph Kabasele Stern's DR Congo 16 SALVADORA ROBOT Meridian Brothers Soundway Records Colombia 17 DEVIL'S TALE Adrian Raso & Fanfare Ciocarlia Asphalt Tango Records Romania/Canada 18 TALES FROM A FORGOTTEN CITY Mostar Sevdah Reunion Snail Records/World Connection Bosnia & Herzegowina 19 THE SOUND OF SIAM VOL 2 Various artists Soundway Thailand 20 HEVRA (TOGETHER) Aynur Dogan Sony Classical Turkey 21 MARIACHI BEAT Los de Abajo Flowfish Mexico - &s - 22 QUEEN BETWEEN Susheela Raman World Village UK 23 OUR KIND OF BOSSA Bossacucanova Six Degrees Brazil 24 FOFOULAH Fofoulah Glitterbeat UK 25 LET'S DANCE Ibibio -
Congressional Budget Justification Fiscal Year 2017
U.S. AFRICAN DEVELOPMENT FOUNDATION “Creating Pathways to Prosperity” CONGRESSIONAL BUDGET JUSTIFICATION Fiscal Year 2017 The U.S. African Development Foundation (USADF) is an independent agency of the U.S. federal government, funding grassroots development projects to African-owned and led enterprises, cooperatives and community-based organizations. Our objective is to build African communities’ capacity, resilience, and economic activities at the community level so all Africans can contribute to Africa’s growth story. USADF is on the frontier of development, working directly with Africans on the ground to combat some of Africa’s most difficult development challenges with programs to increase U.S. development presence in the hardest to reach areas of extreme poverty. USADF grants (up to $250,000 each), enable our grantees to address the root causes of poverty, hunger, and lack of infrastructure (particularly energy poverty) in their communities to: Combat hunger through resilience, agricultural, and livestock programming Improve access to local and regional markets for small-holder farmers, cooperatives and entrepreneurs Empower women and girls to create and control their own economic livelihoods Create job opportunities and resources for youth through training Promote African solutions to the lack of basic infrastructure, particularly in rural areas and urban slums March 3, 2016 Washington, D.C. www.USADF.gov (This page was intentionally left blank) www.USADF.gov United States African Development Foundation THE BOARD OF DIRECTORS AND THE PRESIDENT OF THE UNITED STATES AFRICAN DEVELOPMENT FOUNDATION WASHINGTON, DC We are pleased to present the Administration’s FY 2017 budget justification for the United States African Development Foundation (USADF). -
Cd Collection For
CD COLLECTION JAN 2013 ARTIST ALBUM LABEL GENRE (approx) Sam Amidon All Is Well Bedroom Commun. alternative VARIOUS Amer. Song-poem Anthol. 60-70s Bar/none alternative VARIOUS History of Jamaican Voc Harm. Munich jazz Cannonball Adderley & Ernie Andrews Live Session EMI jazz King Sunny Ade Best of the Classic Years Shanachie world pop King Sunny Ade King of Juju - Best of Wrasse world pop Africa (VARIOUS) Never Stand Still Ellipsis Arts traditional Arcade Fire Neon Bible MRG indie rock Louis Armstrong Mack the Knife Pablo jazz Louis Armstrong Greatest Hits BMG jazz Louis Armstrong The Hot Fives, Vol 1 Columbia jazz Louis Armstrong Essential Cedar jazz Arvo Part Te Deum ECM classical Gilad Atzmon Nostalgico Tip Toe jazz The B-52's The B-52's Warner Bros indie rock J.S. Bach Cello Suites 2, 3, & 6 EMI classical Chet Baker sings/plays from "Let's Get Lost" Riverside jazz Chet Baker Chet Baker Sings Riverside jazz The Band Music from Big Pink Capitol rock Bajourou Big String Theory Green Linnet traditional Beach Boys Today / Summer Days (& Summ.. Capitol pop Beach Boys Smiley Smile/Wild Honey Capitol pop Beach Boys Pet Sounds Capitol pop Beach Boys 20 Good Vibrations-Greatest Hits Capitol pop Beastie Boys Check Your Head Capitol rock The Beatles A Hard Day's Night Parlophone rock The Beatles Help! Parlophone rock The Beatles Revolver Parlophone rock The Beatles Magical Mystery Tour Parlophone rock The Beatles Sgt. Pepper's Lonely Hearts… Parlophone rock The Beatles Beatles (white album) (2-disc) Parlophone rock The Beatles Let It Be Parlophone