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NO19-Digital Media in Central Africa.Indd
REFERENCE SERIES NO. 19 MAPPING DIGITAL MEDIA: NEWS AND NEW MEDIA IN CENTRAL AFRICA. CHALLENGES AND OPPORTUNITIES By Marie-Soleil Frère December 2012 News and New Media in Central Africa. Challenges and Opportunities WRITTEN BY Marie-Soleil Frère1 Th e Democratic Republic of the Congo (DRC) is the largest country in sub-Saharan Africa. Rwanda and Burundi are among the continent’s smallest states. More than just neighbors, these three countries are locked together by overlapping histories and by extreme political and economic challenges. Th ey all score very low on the United Nations’ human development index, with DRC and Burundi among the half-dozen poorest and most corrupt countries in the world. Th ey are all recovering uncertainly from confl icts that involved violence on an immense scale, devastating communities and destroying infrastructure. Th eir populations are overwhelmingly rural and young. In terms of media, radio is by far the most popular source of news. Levels of state capture are high, and media quality is generally poor. Professional journalists face daunting obstacles. Th e threadbare markets can hardly sustain independent outlets. Amid continuing communal and political tensions, the legacy of “hate media” is insidious, and upholding journalism ethics is not easy when salaries are low. Ownership is non-transparent. Telecoms overheads are exorbitantly high. In these conditions, new and digital media—which fl ourish on consumers’ disposable income, strategic investment, and vibrant markets—have made a very slow start. Crucially, connectivity remains low. But change is afoot, led by the growth of mobile internet access. 1. Marie-Soleil Frère is Senior Research Associate at the National Fund for Scientifi c Research (Belgium) and Director of the Research Center in Information and Communication (ReSIC) at the University of Brussels. -
Democratic Republic of the Congo
COUNTRY OF ORIGIN INFORMATION REPORT DEMOCRATIC REPUBLIC OF THE CONGO 27 JANUARY 2009 UK BORDER AGENCY COUNTRY OF ORIGIN INFORMATION SERVICE DEMOCRATIC REPUBLIC OF THE CONGO 27 JANUARY 2009 Contents_______________________________________ PREFACE LATEST NEWS EVENTS IN DEMOCRATIC REPUBLIC OF THE CONGO, FROM 15 DECEMBER 2008 TO 22 JANUARY 2009 Paragraphs Background information 1. GEOGRAPHY ..........................................................................................1.01 Map - DRC.....................................................................................1.05 Eastern DRC.................................................................................1.06 2. ECONOMY .............................................................................................2.01 Natural resources........................................................................2.09 3. HISTORY ...............................................................................................3.01 History to 1997.............................................................................3.01 The Laurent Kabila Regime 1997................................................3.02 The Joseph Kabila Regime 2001.................................................3.04 4. RECENT DEVELOPMENTS ............................................................................4.01 5. CONSTITUTION ........................................................................................5.01 6. POLITICAL SYSTEM ..................................................................................6.01 -
Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy
humanities Article Political Messages in African Music: Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy Uche Onyebadi Department of Journalism, Texas Christian University, Fort Worth, TX 76129, USA; [email protected] Received: 30 September 2018; Accepted: 30 November 2018; Published: 6 December 2018 Abstract: Political communication inquiry principally investigates institutions such as governments and congress, and processes such as elections and political advertising. This study takes a largely unexplored route: An assessment of political messages embedded in music, with a focus on the artistic works of three male African music icons—Fela Anikulapo-Kuti (Nigeria), Lucky Dube (South Africa), and Alpha Blondy (Côte d’Ivoire). Methodologically, a purposive sample of the lyrics of songs by the musicians was textually analyzed to identify the themes and nuances in their political messaging. Framing was the theoretical underpinning. This study determined that all three musicians were vocal against corruption, citizen marginalization, and a cessation of wars and bloodshed in the continent. Keywords: Political communication; African politics; African music; Fela Anikulapo-Kuti; Alpha Blondy; Lucky Dube; textual analysis 1. Introduction Music permeates significant aspects of African society, culture, and tradition. Adebayo(2017, p. 56) opined that “to the African, music is not just a pastime, it is a ritual” that describes the true essence and humaneness in being of African origin. Cudjoe(1953, p. 280) description of the place of music among the Ewe people in Ghana typifies this African musical heritage. He observed that “music has an important place in the social life of the Ewe people. There is no activity which does not have music appropriate to it: weaver, farmer and fisherman each sings in perfect time to the rhythmic movement of (one’s) craft .. -
JAH LIGHT « Almighty Zion Keepers » Facebook .Com/Lightjah Facebook .Com/Azkprods.ABIDJAN Instagram .Com/Azkproductionsabidjan Who Can Save Ft
JAH LIGHT « Almighty Zion Keepers » facebook .com/lightjah facebook .com/AZKprods.ABIDJAN instagram .com/azkproductionsabidjan Who Can Save Ft. Don Carlos (single) ALBUM RELEASE : April 9, 2021 REGGAE / WORLD / AFRICA Jah Light, Basile Valentin Okon, was born on September 2, 1981 in Cocody, Abidjan, Ivory Coast. His father was a school Director and his mother a sales agent. He grew up with his ten brothers and sisters in the town of the Two Plateaux where he spent his childhood and his school years. He is rapidly taken by the music virus and spends his free time in the backstage of ‘informal’ recording music studios that are growing in many townships of Abidjan. He integrates different local reggae musical bands and began singing with the band « Reggae Jam » in 2001. The band performed regularly in the various Reggae spots of the city (Pams, Jamaica, Kingston, Menekre). He was barely 20 years old when he decided to stop studying at INSAAC (the Ivorian National Arts and Music Institute ) and immerses himself in the reggae culture, preferring to spend days and nights with elders musicians. Jah Light then embarks on a Bohemian life specific to aspiring artists. He will hit the road touring in the sub-region, notably in Burkina Faso and Benin. Jah Light is making a name for himself. He makes a first collaboration with the #1 Reggae singer from Ivory Coast Alpha Blondy on the 2011 « Vision » album with the International Herb title and also a collaboration with the Ivorian Reggae Band Les Vieux Mogos - the most international Band of Abidjan - with the track I’m Dread. -
World Music and Activism Since the End of History [Sic]
World Music and Activism Since the End of History [sic] PETER MANUEL “A thousand militant voices will sing a freedom song The people united will never be defeated…” So proclaimed these verses of “El pueblo unido jamás será vencido,” which, together with a host of nueva canción anthems, sustained the spirits of millions of Latin American progressives through the dark days of Cold War US-supported military dictatorships. But what happens when freedom is finally obtained? When the socialist ideal is discredited? When the economic hegemon is no longer an easily identified antagonist—the imperialist USA—but the intangible workings of an amorphous global financial network? Does the socially conscious music then stop? Is there anything for the thousand voices to sing of, besides love, dancing, and sex? Or, for that matter, nihilistic rage? However one might answer these questions, the third quarter of the twentieth century stands out as a historical moment in which progressive, activist songs occupied lively niches in popular music cultures throughout much of the world, serving as soundscapes for set of socio-political movements that, although diverse, shared a commitment to universalist values ultimately deriving from the Enlightenment. But whether in Jamaica, Pakistan, Spain, or Latin America, these musical movements have largely evaporated. What happened? In recent decades, historians have written extensively about what appears to be a dramatic and tangible change in global socio-political culture since the 1980s. This transformation has been interpreted from diverse perspectives, and with varying degrees of optimism or pessimism. In Francis Fukuyama’s paradigmatic, seminal, and much-debated formulation1, it is the triumph of capitalism and liberal democracy, the exhaustion of structural political and economic alternatives, and, hence, the effective “end of history.” For some cultural theorists, it is a postmodern condition marked by new aesthetic and epistemological sensibilities. -
Politics and Popular Culture: the Renaissance in Liberian Music, 1970-89
POLITICS AND POPULAR CULTURE: THE RENAISSANCE IN LIBERIAN MUSIC, 1970-89 By TIMOTHY D. NEVIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 © 2010 Timothy Nevin 2 To all the Liberian musicians who died during the war-- (Tecumsey Roberts, Robert Toe, Morris Dorley and many others) Rest in Peace 3 ACKNOWLEDGMENTS I would like to thank my parents and my uncle Frank for encouraging me to pursue graduate studies. My father’s dedication to intellectual pursuits and his life-long love of teaching have been constant inspirations to me. I would like to thank my Liberian wife, Debra Doeway for her patience in attempting to answer my thousand and one questions about Liberian social life and the time period “before the war.” I would like to thank Dr. Luise White, my dissertation advisor, for her guidance and intellectual rigor as well as Dr. Sue O’Brien for reading my manuscript and offering helpful suggestions. I would like to thank others who also read portions of my rough draft including Marissa Moorman. I would like to thank University of Florida’s Africana librarians Dan Reboussin and Peter Malanchuk for their kind assistance and instruction during my first semester of graduate school. I would like to acknowledge the many university libraries and public archives that welcomed me during my cross-country research adventure during the summer of 2007. These include, but are not limited to; Verlon Stone and the Liberian Collections Project at Indiana University, John Collins and the University of Ghana at East Legon, Northwestern University, Emory University, Brown University, New York University, the National Archives of Liberia, Dr. -
Tony Chin Earl Zero Derrick Lara Papa Michigan Johnny Dread Anthony John Fully Fulwood Mellow Movement Iriemag.Com
DEC 2015 CA 01.04 T R A X ROOTS / ROCK / REGGAE / RESPECT featuring HOUSE OF SHEM ARMY RAS D Z-MAN TONY CHIN EARL ZERO DERRICK LARA PAPA MICHIGAN JOHNNY DREAD ANTHONY JOHN FULLY FULWOOD MELLOW MOVEMENT IRIEMAG.COM CA ISSUE #01.04 / DECEMBER 2015 “ If you haven’t confidence in self, you are twice defeated in the race of life. With confidence, you have won even before you have started.” - Marcus Garvey Nicholas ‘Nico’ Da Silva Founder/Publisher & Editor in Chief IRIEMAG.COM MERCH. The Official ‘Rockers’ Tee from Irie Magazine Available in T-Shirts & Hoodies for Men/Women Two styles to choose from: Jamaica or Ethiopia IRIEMAG.COM House of Shem Derrick Lara Papa Michigan Ras D New Zealand Jamaica Jamaica Jamaica Army Fully Fulwood Tony Chin Johnny Dread U.S. Virgin Islands Jamaica Jamaica United States Earl Zero Anthony John Mellow Movement Z-Man United States Jamaica United States United States NZL HOUSE OF SHEM IRIEMAG.COM REGGAE HOUSE OF SHEM House Of Shem is an Aotearoa (New Zealand) based harmony trio comprised of Carl Perkins and his FOLLOW two sons, Te Omeka Perkins and Isaiah Perkins, who are each multi-instrumentalist and producers. House of Shem Formed 2005 in the rural area of Whanganui, the band embodies elements of roots reggae, pacific reggae and traditional maori music with relatable song-writing that connects powerfully with not only New Zealand and Australia audiences, but reggae listeners globally attracting fans from all Featured Album areas of the world. Since bursting onto the music scene with their debut album ‘Keep Rising’ in 2008, House of Shem has released three very successful Albums and built a rapidly growing loyal fan base. -
MANCRIS LOVAÏLE Genre : REGGAE & SOUL « Vers L’Intérieur »
MANCRIS LOVAÏLE Genre : REGGAE & SOUL « Vers l’Intérieur » https://www.facebook.com/themancris ManCris Lovaïlé, auteur, compositeur, interprète, paré d’une volonté farouche de défendre le Reggae et son impact positif, chante depuis ses jeunes années. Fan de Bob Marley, Third World, Mighty Diamonds, de music Soul, à l’affût de toutes sortes de sonorités, il commence la programmation à l’âge de 16 ans sur un D-20 Roland, puis se spécialise dans le Reggae Roots. Après de multiples expériences, de Combos Rap- Ragga en Groupes Soul-Reggae, de Dubplates en Guitares-Voix, il crée en 2010 le groupe I-Trinity- I avec JustOne et Ange, transfuges de K2R Riddim. Il sera l’une des voix de cette formation musicale pendant cinq ans durant lesquels ils sortiront un EP 4 titres « ÇA R’COMMENCE » et un album « REGGAEALITY » sous la direction artistique de Tyrone Downie et mixés par Timour Cardenas. Ils feront notamment les premières parties de PierPolJak au festival Les lutins festifs, d’Omar Perry au festival Roots dans la vallée, de Tarrus Riley au festival Rockambolesk, des Gladiators au festival Roots’ergue, des Israël Vibration au Cabaret sauvage. En 2015, le groupe se dissout… ManCris Lovaïlé prend en main la réalisation de son album solo. Il ouvre les tiroirs dans lesquels reposent tout un tas de textes, de mélodies, de vibrations, et entre en état de création, de composition, d’écriture. Accompagné de son Logic Pro X, il reprend le mode lecture d’une histoire laissée en pause depuis son vieux D-20, enrichie par les partages et les collaborations et appelle son opus solo "Vers l'intérieur". -
Democratic Republic of Congo
Journalists can no longer muster the courage to cover so-called sensitive stories. Instead, they file “rent-paying” stories that merely help them to get by financially. DEMOCRATIC REPUBLIC OF CONGO 72 MEDIA SUSTAINABILITY INDEX 2010 INTRODUCTION OVERALL SCORE: 1.80 Four years have passed since the first presidential and legislative elections in 2006 ended years of DEMOCRATIC DEMOCRATIC destabilizing rebellions and armed conflicts, and one year remains until the next elections in 2011. Security in the Democratic Republic of the Congo (DRC) remains a concern, and destabilization is a real possibility. A sense of insecurity has heightened since the assassination of a prominent human-rights activist, Floribert FChebeya Bahizire, chief executive officer of La Voix des sans Voix (VSV; the Voice of the Voiceless), in Kinshasa on June 1, 2010. The murder chilled human-rights advocates and media professionals alike. Journalists can no longer muster the courage to cover so-called sensitive stories. Instead, they file “rent-paying” stories that merely help them to get by financially. All the panelists admitted that self-censorship driven by fear is now the greatest threat to the right to inform and be informed in the DRC. Accordingly, the indicator concerning professional journalism scored lowest in this year’s MSI. Other incidents stemmed from insecurity in the eastern provinces. Chebeya Bankome, a media professional, was assassinated in April 2010. In another incident, a journalist accused of “treason” was arrested and thrown into jail for five months because he had published a press release of the Forces Démocratiques pour la Libération du Rwanda (FDLR), a Rwandan rebel group based in the mountains of the eastern DRC. -
Central African Republic Media
The panelists agreed that freedom of speech protections and rule of law are lacking, but the economic constraints on the development of stronger media enterprises remain the greatest challenge to Central African Republic media. CENTRAL AFRICAN REPUBLIC 56 MEDIA SUSTAINABILITY INDEX 2012 INTRODUCTION OVERALL SCORE: 1.77 CENTRAL AFRICAN REPUBLIC Media professionals in the Central African Republic (CAR) continue to subsist despite deteriorating working conditions, meager operating budgets, dilapidated facilities, and technical barriers to disseminating their reporting. They face government tactics of harassment, suspensions, and other deterrents, particularly in Mrelation to the country’s persisting problems of corruption and banditry in the southeast. All of these factors complicate the media scene and create a largely unsustainable environment for the press. In 2012, a donor-funded project sponsored by the EU and French Embassy laid out the areas of concern for media development in coming years. Anticipated legal reforms would vest authority in official regulators, while allowing the High Communications Council (HCC) only the power to exact administrative sanctions in cases of violations of journalistic ethics. In preparation for these changes, the Central African Media Observatory (CAR’s self-regulation body, known by its French acronym, OMCA) underwent genuine restructuring. In April 2012, the OMCA Elective General Assembly permitted the establishment of a new office consisting of five elected members, and a review of OMCA’s status. In addition, a new code of ethics for Central African journalists was adopted. Current CAR law accommodates online media, and in practice, online media outlets are left to operate without interference. This is in contrast to the print and broadcast sectors, which are subject regularly to government interventions that skirt the law. -
Who Is Allah?
Who is Allah? Bruce B. Lawrence Duke University (ca. 4600 words) Table of Contents Introduction Chapter I – Allah invoked practice of tongue Chapter 2 – Allah defined practice of mind Chapter 3 – Allah remembered practice of heart Chapter 4 – Allah online practice of eye/ear Chapter 5 – Allah debated who gets to define, who gets to answer: Who is Allah? Conclusion Acknowledgments 1 3 April 2013 Introduction Timeline Islam is a religion of the 7th century. It remains vital, flexible, and potent in the 21st century. At its core are revelations given to an itinerant Arab merchant named Muhammad. The revelations begin by invoking the name of the Sender: Allah. Sidebar One: Dates for the Prophet Muhammad -- Born, 570 CE Married, 595 CE Called to prophesy, 610 CE Left Mecca for Medina, 622 CE Died, 632 CE Anecdote on Bismillah It was the summer of 1985, and the King of Morocco was celebrating his birthday. Crowds of ordinary Moroccans gathered in the historic city of Marrakesh. My wife and I were leading a student summer program in Morocco 2 and had been invited to participate. One evening we went to a huge soccer stadium. We wanted to see and hear the legendary reggae singer of West Africa, Alpha Blondy. We arrived at 9 PM. Three hours later, at midnight, Alpha Blondy had yet to appear. All were restive, some were annoyed, some – a very few – had already left. Then a murmur began. It grew and grew as the diminutive singer strode on stage, grabbed the microphone, and whispered into the now silent stadium: “Bismillah ar-rahman ar-rahim, Barukh ata Adonai, Our Father who are in heaven.” In Arabic, Hebrew and English the names of God—Allah, Adonai, Father—tripped off his tongue and rippled across the stunned audience. -
Chanting up Zion: Reggae As Productive Mechanism for Repatriated Rastafari In
Chanting up Zion: Reggae as Productive Mechanism for Repatriated Rastafari in Ethiopia David Aarons A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Shannon Dudley, Chair Giulia Bonacci Katell Morand Christina Sunardi Program Authorized to Offer Degree: Music i @Copyright 2017 David Aarons ii University of Washington Abstract Chanting up Zion: Reggae as Productive Mechanism for Repatriated Rastafari in Ethiopia David Aarons Chair of the Supervisory Committee: Shannon Dudley Ethnomusicology Since the 1960s, Rastafari from Jamaica and other countries have been “returning” to Ethiopia in the belief that it is their Promised Land, Zion. Based on extensive ethnographic research in Ethiopia between 2015 and 2017, this project examines the ways in which repatriated Rastafari use music to transform their Promised Land into a reality amidst various challenges. Since they are denied legal citizenship, Rastafari deploy reggae in creative and strategic ways to gain cultural citizenship and recognition in Ethiopia. This research examines how reggae music operates as a productive mechanism, that is, how human actors use music to produce social and tangible phenomena in the world. Combining theories on music’s productive capabilities with Rastafari ideologies on word-sound, this research further seeks to provide deeper insight into the ways Rastafari effect change through performative arts. I examine how Rastafari mobilize particular discourses that both challenge and reproduce hegemonic systems, creating space for themselves in Ethiopia through music. Rastafari use reggae in strategic ways to insert themselves into the contested national narratives of Ethiopia, and participate in the practice of space-making in Addis Ababa and Shashemene through sound projects.