Lucky Dube Tribute Band 1
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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth -
Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change. -
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. -
“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 -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
Rocky Dawuni Straddles the Boundaries Between Africa, the Caribbean and the U.S
I International music star and humanitarian activist Rocky Dawuni straddles the boundaries between Africa, the Caribbean and the U.S. to create an appealing sound that unites generations and cultures. With an easy-going charisma and reputation as a dedicated champion of social causes, Dawuni's infectious grooves and dance-inducing anthems have consistently excited fans across the globe. A galvanizing performer, Dawuni has shared the stage with Stevie Wonder, Peter Gabriel, Jason Mraz, Janelle Monae, John Legend, among many others. Named one of Africa's Top 10 global stars by CNN, he has showcased his talent at prestigious venues such as The Kennedy Center in Washington, D.C. and The Hollywood Bowl in Los Angeles. Dawuni's life began as the child of a cook on a military barracks in Ghana. His father’s innate intelligence and charm helped him quickly rise in his position to become the cook for the base's colonels and generals. During this time, his father – Koytau Dawuni, befriended many high-ranking officers and observed the deep pride they felt in sending their children to school. Dawuni's father began to raise his own children with the same standards, investing heavily in education. The second born of eight siblings, Dawuni excelled at school and eventually his father decided to move him back to their home village where he could immerse in his cultural heritage. As it turned out, Koyatu’s humble employment belied his status as a member of the royal family of the Konkomba tribe, which ruled from a village of Bunbon Nayili in Northern Ghana. -
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 .. -
Samson and Moses As Moral Exemplars in Rastafari
WARRIORS AND PROPHETS OF LIVITY: SAMSON AND MOSES AS MORAL EXEMPLARS IN RASTAFARI __________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board __________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY __________________________________________________________________ by Ariella Y. Werden-Greenfield July, 2016 __________________________________________________________________ Examining Committee Members: Terry Rey, Advisory Chair, Temple University, Department of Religion Rebecca Alpert, Temple University, Department of Religion Jeremy Schipper, Temple University, Department of Religion Adam Joseph Shellhorse, Temple University, Department of Spanish and Portuguese © Copyright 2016 by Ariella Y. Werden-Greenfield All Rights Reserved ii ABSTRACT Since the early 1970’s, Rastafari has enjoyed public notoriety disproportionate to the movement’s size and humble origins in the slums of Kingston, Jamaica roughly forty years earlier. Yet, though numerous academics study Rastafari, a certain lacuna exists in contemporary scholarship in regards to the movement’s scriptural basis. By interrogating Rastafari’s recovery of the Hebrew Bible from colonial powers and Rastas’ adoption of an Israelite identity, this dissertation illuminates the biblical foundation of Rastafari ethics and symbolic registry. An analysis of the body of scholarship on Rastafari, as well as of the reggae canon, reveals -
Music Have You Ever Seen a Band in Edmonton’S Cariwest Parade That Uses Large Oil Drums to Make Music? That Instrument Is Known As the Steel Pan Or Steel Drums
Afro-Quiz Study Material (15-17) 2017 Music Have you ever seen a band in Edmonton’s Cariwest parade that uses large oil drums to make music? That instrument is known as the steel pan or steel drums. Steel pan originated in the Caribbean. In this module, you will learn about music that originated in Africa and the Caribbean and has since migrated all over the world. Do you know any other types of music that have roots in Africa or the Caribbean that are famous in North America now? Here is a list of activities you will work on: ● KWL Chart ● Reading ● Listening/Video ● Map Activity ● Summary ● Optional video KWL Chart K W L What I know about What I want to know What I learned about African and Caribbean about African and African and Caribbean music Caribbean music music Afro-Quiz Study Material (15-17) 2017 Reading Steel Drums1 Steel drum or steel pan is a musical instrument originally developed in Trinidad, that is played by hammering raised and tuned portions of the bottom of an oil drum. It was the only new percussion (possibly the only acoustic) instrument invented in the 20th Century. Drumming was used as a form of communication among the enslaved Africans and was subsequently outlawed by the British colonial government in 1783. African slaves also performed during Mardi Gras celebrations, joining the French, who had brought the tradition to the island. The steelpan evolved from a communication device to the musical instrument it is used as today. The first instruments developed in the evolution of steelpan were Tamboo-Bamboos, tunable sticks made of bamboo wood. -
106 Operational Arrangement of Rhythm in Nigerian
106 OPERATIONAL ARRANGEMENT OF RHYTHM IN NIGERIAN REGGAE SONGS Ikenna Emmanuel Onwuegbuna Department of Music University of Nigeria, Nsukka Abstract Certain elements are globally accepted as intrinsic commonalities in the phenomenon of sound. Such elements as rhythm, pitch, timbre, and duration when consciously or subconsciously manipulated distinguish the musical sound from the rest. Nigerian popular music—especially the highlife genre—is an acculturative product of the folk music of the traditional environment. The recently renewed scholarly interest in the rhythmic languages of African music has unveiled the centrality of rhythm as the distinctive element of relationship between the Nigerian popular and folk music types.As the argument on the musical value of popular music persists, this scholarly presentation relied on descriptive and analytical methods to show the dominating place of rhythm in the creative rationalization in Nigeria’s reggae songs of the 1970s and ’80s. Keywords: Rhythm, Nigerian popular music, functional, reggae rhythm, song structure Introduction Why is it that Afro-reggae’s biggest exponents come from West Africa? What is/are there in reggae that it quickly found a point of anchorage in Africa? Is it possible that there are similarities between the two Caribbean Island’s calypso and reggae styles and the predominant popular style of West Africa, the highlife? It has been reported that the early stages of Western influence on the popular music of West, East, and Central Africa came from the Caribbean. While calypso, reggae and rumba represent the Caribbean influential styles; highlife, soukous, and makossa remain the most enduring of the styles performed in these sub-regions of Africa (Collins, 1992; Waterman, 2012). -
On the 15Th of January 2012, the 83Rd Anniversary of the Birth of Dr
On the 15th of January 2012, the 83rd anniversary of the birth of Dr. Martin Luther King Jr., I was watching KING, a film based on his life and work. The scenes were frequently ones of bloody abuse of African-American’s and their supporters in their peaceful struggle for civil rights as expressed in the nation’s constitution. These scenes created perplexity in my grandson who then turned to me and asked, “Why are they beating the black people just for being black?” I was moved almost to tears. Not emotions from the history being replayed before me. I had either lived or been witness to some of it and had been a part of the artist contingent along with Stevie Wonder on the marches to establish Dr. King’s birthday as a national holiday in the USA. I was becoming happily tearful at the fact that the civil rights leaders vision was unfolding as here sitting right beside me was a new generation finding human injustice to each other appalling. How did we emerge from this nightmare of brutality? The human desire for freedom, equal rights, justice, love and peace is ingrained in our spirit, mind and body and is evident in the involuntary love for life that makes even the suicidal person struggle to remain alive at that ultimate moment when life is about to leave the body. Entrapped beings will initially struggle to be released. Some do succumb to the seeming futility of their effort due to consistent pressure but there are those who as the reggae artists say “ Can’t cool, can’t quench”. -
Society for Ethnomusicology 59Th Annual Meeting, 2014 Abstracts
Society for Ethnomusicology 59th Annual Meeting, 2014 Abstracts Young Tradition Bearers: The Transmission of Liturgical Chant at an then forms a prism through which to rethink the dialectics of the amateur in Eritrean Orthodox Tewahedo Church in Seattle music-making in general. If 'the amateur' is ambiguous and contested, I argue David Aarons, University of Washington that State sponsorship is also paradoxical. Does it indeed function here as a 'redemption of the mundane' (Biancorosso 2004), a societal-level positioning “My children know it better than me,” says a first generation immigrant at the gesture validating the musical tastes and moral unassailability of baby- Holy Trinity Eritrean Orthodox Church in Seattle. This statement reflects a boomer retirees? Or is support for amateur practice merely self-interested, phenomenon among Eritrean immigrants in Seattle, whereby second and fails to fully counteract other matrices of value-formation, thereby also generation youth are taught ancient liturgical melodies and texts that their limiting potentially empowering impacts in economies of musical and symbolic parents never learned in Eritrea due to socio-political unrest. The liturgy is capital? chanted entirely in Ge'ez, an ecclesiastical language and an ancient musical mode, one difficult to learn and perform, yet its proper rendering is pivotal to Emotion and Temporality in WWII Musical Commemorations in the integrity of the worship (Shelemay, Jeffery, Monson, 1993). Building on Kazakhstan Shelemay's (2009) study of Ethiopian immigrants in the U.S. and the Margarethe Adams, Stony Brook University transmission of liturgical chant, I focus on a Seattle Eritrean community whose traditions, though rooted in the Ethiopian Orthodox Church, are The social and felt experience of time informs the way we construct and affected by Eritrea's turbulent history with Ethiopia.