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Halifu Osumare, the Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 Pp., $85.00 (Hardcover)
International Journal of Communication 7 (2013), Book Review 1501–1504 1932–8036/2013BKR0009 Halifu Osumare, The Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 pp., $85.00 (hardcover). Reviewed by Angela Anima-Korang Southern Illinois University Carbondale Ghana’s music industry can be described as a thriving one, much like its film industry. The West African sovereign state is well on its way to becoming a force to reckon with on the international music market. With such contemporary rap artists as Sarkodie, Fuse ODG (Azonto), Reggie Rockstone, R2Bs, and Edem in its fold, Ghana’s music is transcending borders and penetrating international markets. Historically, Ghana’s varying ethnic groups, as well as its interaction with countries on the continent, greatly influences the genres of music that the country has created over the years. Traditionally, Ghana’s music is geographically categorized by the types of musical instruments used: Music originating from the North uses stringed instruments and high-pitched voices; and music emanating from the Coast features drums and relatively low-pitched voice intermissions. Up until the 1990s, “highlife” was the most popular form of music in Ghana, borrowing from jazz, swing, rock, soukous, and mostly music to which the colonizers had listened. Highlife switched from the traditional form with drums to a music genre characterized by the electric guitar. “Burger-highlife” then erupted as a form of highlife generated by artists who had settled out of Ghana (primarily in Germany), but who still felt connected to the motherland through music, such as Ben Brako, George Darko, and Pat Thomas. -
The Mixtape: a Case Study in Emancipatory Journalism
ABSTRACT Title of Dissertation: THE MIXTAPE: A CASE STUDY IN EMANCIPATORY JOURNALISM Jared A. Ball, Doctor of Philosophy, 2005 Directed By: Dr. Katherine McAdams Associate Professor Philip Merrill College of Journalism Associate Dean, Undergraduate Studies During the 1970s the rap music mixtape developed alongside hip-hop as an underground method of mass communication. Initially created by disc-jockeys in an era prior to popular “urban” radio and video formats, these mixtapes represented an alternative, circumventing traditional mass medium. However, as hip-hop has come under increasing corporate control within a larger consolidated media ownership environment, so too has the mixtape had to face the challenge of maintaining its autonomy. This media ownership consolidation, vertically and horizontally integrated, has facilitated further colonial control over African America and has exposed as myth notions of democratizing media in an undemocratic society. Acknowledging a colonial relationship the writer created FreeMix Radio: The Original Mixtape Radio Show where the mixtape becomes both a source of free cultural expression and an anti-colonial emancipatory journalism developed as a “Third World” response to the needs of postcolonial nation-building. This dissertation explores the contemporary colonizing effects of media consolidation, cultural industry function, and copyright ownership, concluding that the development of an underground press that recognizes the tremendous disparities in advanced technological access (the “digital divide”) appears to be the only viable alternative. The potential of the mixtape to serve as a source of emancipatory journalism is studied via a three-pronged methodological approach: 1) An explication of literature and theory related to the history of and contemporary need for resistance media, 2) an analysis of the mixtape as a potential underground mass press and 3) three focus group reactions to the mixtape as resistance media, specifically, the case study of the writer’s own FreeMix Radio: The Original Mixtape Radio Show. -
Culture Course P
a magazine for travelers by travelers • may/ june 2013 GHANA GHANA’s onlY FREE keyvisitor’s guide VOLTA REGION DISCOVER GHANA’s opulent lush CHART YOUR VEGETATION & beautiful mountain RANGES P. 20 CULTURE COURSE P. 5 AND… Jojo Abot: Black Star p. 11 WoodinMothersDayAd.pdf 1 4/3/13 11:48 AM Key Ghana • volume 9 / 2013 may & june CONTENTS 5 24 CHART YOUR DINING INDEX CULTURE COURSE From fine dining to street We introduce you to seven food in Accra venues to give you a head start–but don’t stop there. 26 SHOPPING INDEX C 9 From neighborhood M COMING EVENTS markets to unique boutiques Y Discover Accra’s music, performing arts, galleries, CM 28 sports etc. MY ACCOMMODATION 16 CY INDEX MAP Luxury to budget hotels CMY Explore Accra and holiday rentals K This travel map includes streets & locations 31 TRANSPORTATION 18 BEYOND ACCRA INDEX Discover the Volta Region, unique wildlife, historical monuments Key Ghana LTD and so much more. keyGHANA P.O. Box AT 517 22 Achimota - Accra, Ghana EMMANUEL ARTHUR, Publisher ENTERTAINMENT [email protected] INDEX LAURE LEPLAE-ARTHUR, Creative Discover Accra’s many Director - [email protected] NANA NKETSIA-ESHUN, Country Rep. Tel: 0302 762576; 0245 251404 • Fax: 021 762379 venues for music, film & & Accounts Executive, nnketsia@ E-mail:[email protected] or [email protected] theater ghanakey.com GHANAKEY.COM Box LA 348, La, Accra • artistsallianz.com This magazine is authorized by OPENING HOURS: KEY MAGAZINES INC. Monday – Saturday : 9.00am - 6:00pm www.KeyMagazine.com Sunday: 12noon - 6:00pm or by appointment The Republic Bar + Grill p. -
Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi Ethiraj Gabriel Dattatreyan University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Social and Cultural Anthropology Commons Recommended Citation Dattatreyan, Ethiraj Gabriel, "Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi" (2015). Publicly Accessible Penn Dissertations. 1037. https://repository.upenn.edu/edissertations/1037 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1037 For more information, please contact [email protected]. Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi Abstract Delhi has nearly doubled in population since the early 1990s due to in-migration (censusindia.gov, 2011). These migrants, like migrants around the world, strive to adapt to their new surroundings by producing themselves in ways which make them socially, economically, and politically viable. My project examines how recent international and intranational immigrant youth who have come to Delhi to partake in its economic possibilities and, in some cases, to escape political uncertainty, are utilizing globally circulating popular cultural forms to make themselves visible in a moment when the city strives to recast its image as a world class destination for roaming capital (Roy, 2011). I focus on two super diverse settlement communities in South Delhi to explore the citizenship making claims of immigrant youth who, to date, have been virtually invisible in academic and popular narratives of the city. Specifically, I follow three groups of ethnically diverse migrant youth from these two settlement communities as they engage with hip hop, a popular cultural form originating in Black American communities in the 1970s (Chang, 2006; Morgan, 2009; Rose, 1994). -
Redefining Ghanaian Highlife Music in Modern Times
American Journal of Humanities and Social Sciences Research (AJHSSR) 2020 American Journal of Humanities and Social Sciences Research (AJHSSR) e-ISSN :2378-703X Volume-4, Issue-1, pp-18-29 www.ajhssr.com Research Paper Open Access Redefining Ghanaian Highlife Music in Modern Times Mark Millas Coffie (Department of Music Education/ University of Education, Winneba, Ghana) ABSTRACT: Highlife, Ghana's first and foremost acculturated popular dance music has been overstretched by practitioners and patrons to the extent that, presently, it is almost impossible to identify one distinctive trait in most of the modern-day recorded songs categorised as highlife. This paper examines the distinctive character traits of Ghana's highlife music, and also stimulates a discourse towards its redefinition for easy recognition and a better understanding in modern times. Employing document review, audio review, interviews, and descriptive analysis, the paper reveals that the instrumental structure, such as percussion, guitar, bass, and keyboard patterns, is key in categorising highlife songs. The paper, however, argues that categorising modern-day recorded highlife songs based on timeline rhythms and drum patterns alone can be confusing and deceptive. The paper, therefore, concludes that indigenous guitar styles such as the mainline, yaa amponsah, dagomba, sikyi, kwaw, ᴐdᴐnson among others should be the chief criterion in recognising and categorising modern-day recorded highlife songs. KEYWORDS: Category, Highlife, Modern-day, Recognition, Timeline rhythm, Indigenous guitar styles I. INTRODUCTION Highlife music, one of the oldest African popular music forms originated from the Anglophone West African countries such as Ghana, Nigeria, Sierra Leone, and Liberia. However, the term highlife was coined in Ghana around the 1920s (Collins, 1994). -
Obiaa Pɛ Sɛ Ɔkɔ International.« Negotiating the Local and the Global in Ghanaian Hiplife Music
»OBIAA PƐ SƐ ƆKƆ INTERNATIONAL.« NEGOTIATING THE LOCAL AND THE GLOBAL IN GHANAIAN HIPLIFE MUSIC Florian Carl Obiaa pɛ sɛ ɔkɔ international Ɛno ne answer? Kwame, yɛfiri one ansa na yɛkɔ two Wo nni ntaban, ɛnso wo pɛ sɛ wotu. Everybody wants to become ›international‹ Is that the answer? Kwame, we start from ›one‹ before we go to ›two‹ You don't have wings, yet you want to fly. (Obour feat. Okyeame Kwame & Richie: »The Game«, Crentsil/Obour 2006) Introduction Ghana's soundscape is currently dominated by three major trends. The per- haps most pervasive of these, permeating public and private spaces, is gos- pel music. The gospel music industry has been fueled by the ever-growing number of charismatic churches that, in the words of one author, have »quite successfully colonized public space« (Meyer 2008: 84) over the past few decades. The rise of neo-Pentecostal Christianity in Ghana has fostered a distinctive Christian popular culture and aesthetics that incorporates both local and international styles (Carl 2012 and 2014b; Meyer 2008). The second major trend is highlife, Ghana's classical form of popular dance band music, which prevailed throughout much of the twentieth century (Collins 1996). In contrast to dance band music up until the 1980s, highlife is nowadays often based on synthesized and computer-programmed sounds (Collins 2012). Since the late 1970s, highlife in its live-performed form has also entered Christian churches, so that in terms of musical style there are 33 FLORIAN CARL strong overlaps between gospel music and highlife (Carl 2014a; Collins 2004). Finally, the third trend in Ghanaian popular music, which is the focus of this article, is hiplife. -
Makhulu Cover Sheet Escholarship.Indd
Hard Work, Hard Times Hard Work, Hard Times Global Volatility and African Subjectivities Edited by Anne-Maria Makhulu, Beth A. Buggenhagen, and Stephen Jackson Global, Area, and International Archive University of California Press Berkeley Los Angeles London The Global, Area, and International Archive (GAIA) is an initiative of International and Area Studies, University of California, Berkeley, in partnership with the University of California Press, the California Digital Library, and international research programs across the University of California system. GAIA volumes, which are published in both print and open-access digital editions, represent the best traditions of regional studies, reconfigured through fresh global, transnational, and thematic perspectives. University of California Press, one of the most distinguished univer- sity presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2010 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Manufactured in the United States of America 19 18 17 16 15 14 13 12 11 10 10 9 8 7 6 5 4 3 2 1 The paper used in this publication meets the minimum requirements of ansi/niso z39.48 – 1992 (r 1997) (Permanence of Paper). Contents Preface vii Foreword, by Simon Gikandi xi 1. -
Sharing Knowledge, Transforming Societies the Norhed Programme 2013–2020
SHARING KNOWLEDGE TRANSFORMING SOCIETIES The Norhed Programme 2013–2020 Edited by Tor Halvorsen, Kristin Skare Orgeret & Roy Krøvel Sharing Knowledge, Transforming Societies The Norhed Programme 2013–2020 Edited by Tor Halvorsen, Kristin Skare Orgeret & Roy Krøvel AFRICAN MINDS Published in 2019 by African Minds 4 Eccleston Place, Somerset West, 7130, Cape Town, South Africa [email protected] www.africanminds.org.za and UIB Global PO Box 7800 5020 Bergen http://www.uib.no/en/research/global Th is book has been published with fi nancial assistance from Norad. 2019 All contents of this document, unless specifi ed otherwise, are licensed under a Creative Commons Attribution 4.0 International License. Th e views expressed in this publication are those of the author(s) and should not be regarded as refl ecting the views or position of Norad. When quoting from any of the chapters, readers are requested to acknowledge the relevant author(s). ISBNs 978-1-928502-00-5 Print 978-1-928502-01-2 e-Book 978-1-928502-02-9 e-Pub Copies of this book are available for free download at www.africanminds.org.za and http://www.uib.no/en/research/global ORDERS For orders from Africa: African Minds Email: [email protected] For orders from outside Africa: African Books Collective PO Box 721, Oxford OX1 9EN, UK Email: [email protected] CONTENTS Foreword by Hirut Woldemariam vii Frequently used acronyms and abbreviations xi PREFACE Sustainable capacity development in higher education and research: Norad’s approach xv Jeanette da Silva & -
Pdf) Must Be Completed by the of the Genus and Species of the Probiotic Strain by Using a Manufacturer Or Distributor and Submitted to FDA
Peer-Reviewed Journal Tracking and Analyzing Disease Trends pages 1661–1826 EDITOR-IN-CHIEF D. Peter Drotman Managing Senior Editor EDITORIAL BOARD Polyxeni Potter, Atlanta, Georgia, USA Dennis Alexander, Addlestone Surrey, United Kingdom Senior Associate Editor Barry J. Beaty, Ft. Collins, Colorado, USA Brian W.J. Mahy, Atlanta, Georgia, USA Ermias Belay, Atlanta, GA, USA Martin J. Blaser, New York, New York, USA Associate Editors Christopher Braden, Atlanta, GA, USA Paul Arguin, Atlanta, Georgia, USA Carolyn Bridges, Atlanta, GA, USA Charles Ben Beard, Ft. Collins, Colorado, USA Arturo Casadevall, New York, New York, USA David Bell, Atlanta, Georgia, USA Kenneth C. Castro, Atlanta, Georgia, USA Corrie Brown, Athens, Georgia, USA Thomas Cleary, Houston, Texas, USA Charles H. Calisher, Ft. Collins, Colorado, USA Anne DeGroot, Providence, Rhode Island, USA Michel Drancourt, Marseille, France Vincent Deubel, Shanghai, China Paul V. Effl er, Perth, Australia Ed Eitzen, Washington, DC, USA David Freedman, Birmingham, AL, USA Daniel Feikin, Baltimore, MD, USA Peter Gerner-Smidt, Atlanta, GA, USA Kathleen Gensheimer, Cambridge, MA, USA K. Mills McNeill, Kampala, Uganda Duane J. Gubler, Singapore Nina Marano, Atlanta, Georgia, USA Richard L. Guerrant, Charlottesville, Virginia, USA Martin I. Meltzer, Atlanta, Georgia, USA Stephen Hadler, Atlanta, GA, USA David Morens, Bethesda, Maryland, USA Scott Halstead, Arlington, Virginia, USA J. Glenn Morris, Gainesville, Florida, USA David L. Heymann, London, UK Patrice Nordmann, Paris, France Charles King, Cleveland, Ohio, USA Tanja Popovic, Atlanta, Georgia, USA Keith Klugman, Atlanta, Georgia, USA Didier Raoult, Marseille, France Takeshi Kurata, Tokyo, Japan Pierre Rollin, Atlanta, Georgia, USA S.K. Lam, Kuala Lumpur, Malaysia Dixie E. -
Abstract Humanities Jordan Iii, Augustus W. B.S. Florida
ABSTRACT HUMANITIES JORDAN III, AUGUSTUS W. B.S. FLORIDA A&M UNIVERSITY, 1994 M.A. CLARK ATLANTA UNIVERSITY, 1998 THE IDEOLOGICAL AND NARRATIVE STRUCTURES OF HIP-HOP MUSIC: A STUDY OF SELECTED HIP-HOP ARTISTS Advisor: Dr. Viktor Osinubi Dissertation Dated May 2009 This study examined the discourse of selected Hip-Hop artists and the biographical aspects of the works. The study was based on the structuralist theory of Roland Barthes which claims that many times a performer’s life experiences with class struggle are directly reflected in his artistic works. Since rap music is a counter-culture invention which was started by minorities in the South Bronx borough ofNew York over dissatisfaction with their community, it is a cultural phenomenon that fits into the category of economic and political class struggle. The study recorded and interpreted the lyrics of New York artists Shawn Carter (Jay Z), Nasir Jones (Nas), and southern artists Clifford Harris II (T.I.) and Wesley Weston (Lii’ Flip). The artists were selected on the basis of geographical spread and diversity. Although Hip-Hop was again founded in New York City, it has now spread to other parts of the United States and worldwide. The study investigated the biography of the artists to illuminate their struggles with poverty, family dysfunction, aggression, and intimidation. 1 The artists were found to engage in lyrical battles; therefore, their competitive discourses were analyzed in specific Hip-Hop selections to investigate their claims of authorship, imitation, and authenticity, including their use of sexual discourse and artistic rivalry, to gain competitive advantage. -
The Textuality of Contemporary Hiplife Lyrics
THE TEXTUALITY OF CONTEMPORARY HIPLIFE LYRICS by PETER ARTHUR A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre of West African Studies School of History and Cultures University of Birmingham Edgbaston Birmingham, B15 2TT University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This research looks at the textuality of hiplife - the Ghanaian version of hip hop - by investigating the hiplife discursive and non discursive practices. The thesis of this research is that hiplife provides the platform for self expression or a new culture for the Ghanaian youth. This ethnography of hiplife covers two main areas of investigation: hiplife as a syncretic and a protest culture. Chapter one presents the background and research design of the study while chapter two provides a broad scholarly exploration of hiplife, taking into account the history and culture of hiplife against the background of African hip hop literature. Chapter three explores the cultural production of hiplife while chapter four investigates the very core of hiplife rap, its oral rhythmic production. In chapter five, the hiplife culture, like all hip hop cultures, seeks to redefine the Ghanaian normative moral grounds. -
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.