French Club-Infolettre Template
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hip Hop Music Economy and Social Change in Senegal, Francophone West Africa
Reconsidering Cultural Entrepreneurship: Hip Hop Music Economy and Social Change in Senegal, Francophone West Africa Jenny Fatou MBAYE Thesis submitted for the degree of Doctor of Philosophy (PhD) London, July 2011 LONDON SCHOOL OF ECONOMICS AND POLITICAL SCIENCE 1 Declaration of Originality I certify that the thesis I am presenting for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorization does not, to the best of my belief, infringe the rights of any third party. 2 Abstract The increasing interest in the cultural economy is part of an attempt to invent new industrial development strategies that comprises a capacity to transform locations. In policy-making, the cultural economy is commonly framed from an economic perspective that salutes the role of the cultural economy and the dynamics of entrepreneurship in processes of urban and regional developments. Moreover, explorations of cultural economy and entrepreneurship are mainly represented by studies of Europe and North America. This thesis departs from such a normative perspective, and critically examines the links between a situated music economy, its cultural entrepreneurs and social change in West Africa. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University. -
Alioune Mbaye Nder, Le Souffle Du Mbalax
Alioune Mbaye Nder, le souffle du mbalax Extrait du Au Senegal http://au-senegal.com/alioune-mbaye-nder,3629.html Alioune Mbaye Nder, le souffle du mbalax - Recherche - Art et culture - Musiciens et chanteurs sénégalais - Date de mise en ligne : dimanche 25 novembre 2012 Au Senegal Copyright © Au Senegal Page 1/5 Alioune Mbaye Nder, le souffle du mbalax Danseur et percussionniste dans sa jeunesse, Alioune Mbaye Nder a commencé sa carrière de chant en 1991 avec le groupe Lemzo Diamono. Alioune Mbaye Nder est une des étoiles montantes de la musique sénégalaise. Cet artiste redonne un nouveau souffle au Mbalax. « Lemzo Diamono » travaille avec un guitariste sénégalais bien connu, Lamine Faye. En 1993, Alioune Mbaye Nder devient le chanteur du groupe et « Lemzo Diamono » commence à se faire connaître au cours des années qui suivront. En 1995 Nder quitte « Lemzo Diamono » pour former son propre groupe « Setsima ». Le Setsima Group Le « Setsima Group » sortira plusieurs cassettes entre 1995 et 1998 au Sénégal. Alioune Mbaye Nder devient très vite un artiste populaire auprès des jeunes avec son Mbalax moderne et très dansant. En 1999, sort son album « Pansement », auquel participe Manu Dibango, album trés bien accueilli par le public et place le groupe au top des hit-parades et fait danser dans tout le Sénégal, c'est la consécration ! Suivra une tournée internationale. Nder, dont la musique était surtout diffusée au Sénégal commence à se faire connaître. Il est considérée au Sénégal comme un griot moderne et une étoile, la nouvelle génération après Youssou N'Dour et Baaba Maal. On le connaît au Sénégal comme le « Prince de Mbalax » et quelques fans le surnomment, « le Roi de Mbalax ». -
Alioune Mbaye Nder
Alioune Mbaye Nder Extrait du Au Senegal http://www.au-senegal.com/alioune-mbaye-nder,3629.html Alioune Mbaye Nder - Recherche - Art et culture - Musiciens sénégalais - Date de mise en ligne : dimanche 25 novembre 2012 Au Senegal Copyright © Au Senegal Page 1/5 Alioune Mbaye Nder Danseur et percussionniste dans sa jeunesse, Alioune Mbaye Nder a commencé sa carrière de chant en 1991 avec le groupe Lemzo Diamono. Alioune Mbaye Nder est une des étoiles montantes de la musique sénégalaise. Cet artiste redonne un nouveau souffle au Mbalax. « Lemzo Diamono » travaille avec un guitariste sénégalais bien connu, Lamine Faye. En 1993, Alioune Mbaye Nder devient le chanteur du groupe et « Lemzo Diamono » commence à se faire connaître au cours des années qui suivront. En 1995 Nder quitte « Lemzo Diamono » pour former son propre groupe « Setsima ». Le Setsima Group Le « Setsima Group » sortira plusieurs cassettes entre 1995 et 1998 au Sénégal. Alioune Mbaye Nder devient très vite un artiste populaire auprès des jeunes avec son Mbalax moderne et très dansant. En 1999, sort son album « Pansement », auquel participe Manu Dibango, album trés bien accueilli par le public et place le groupe au top des hit-parades et fait danser dans tout le Sénégal, c'est la consécration ! Suivra une tournée internationale. Nder, dont la musique était surtout diffusée au Sénégal commence à se faire connaître. Il est considérée au Sénégal comme un griot moderne et une étoile, la nouvelle génération après Youssou N'Dour et Baaba Maal. On le connaît au Sénégal comme le « Prince de Mbalax » et quelques fans le surnomment, « le Roi de Mbalax ». -
1 Ok.Indd 1 01/12/11 14:29 Établi Pour Le Compte De L’Organisation Internationale De La Francophonie
1 ok.indd 1 01/12/11 14:29 Établi pour le compte de l’Organisation Internationale de la Francophonie Coordination à l’Organisation Internationale de la Francophonie : Frédéric Bouilleux, Directeur de la langue française et de la diversité culturelle et linguistique Rémi Sagna, Chef de la Division de la diversité culturelle Toussaint Tiendrébéogo, Responsable de projet Coordination à Culture et développement : Francisco d’Almeida, Délégué Général Marie-lise Alleman, chargée d’études, économiste Réalisation des enquêtes Au Burkina Faso : Vincent Koala, Odas Africa Marie-lise Alleman, Culture et développement En Côte d’Ivoire : Alain Tailly, Ivoirégie Marie-lise Alleman, Culture et développement Au Sénégal : Abdoul Aziz Dieng, Abdoulaye Koundoul et Lothère Gomis, Accents multiples Association des Métiers de la Musique du Sénégal Jenny Fatou Mbaye, Doctorante Amsata Sène, Consultant international Marie-lise Alleman, Culture et développement Graphisme l Cnossoss avec le concours de Scolibris et Isabelle Gaudon 2 Profil culturel des pays du sud membres de la Francophonie 1 ok.indd 2 01/12/11 14:29 SOMMAIRE Introduction ................................................................................................................................................................................................ 6 Méthodologie de l'enquête............................................................................................................................................................ 14 LE BURKINA FASO 17 � Ressources humaines ................................................................................................................................................................. -
ENG 350 Summer11
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Mondays and Wednesdays, 6:00-9:00, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our one required textbook, Bradley and DuBois’s Anthology of Rap (Yale University Press) is AVAILABLE AT THE OFF-CAMPUS BOOKSTORE ON SMITH ST. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will also be a Blog with a discussion board and a wide array of links to audio and text resources. -
On Hybridity in African Popular Music: the Case of Senegalese Hip Hop Author(S): Catherine M
On Hybridity in African Popular Music: The Case of Senegalese Hip Hop Author(s): Catherine M. Appert Source: Ethnomusicology , Vol. 60, No. 2 (Spring/Summer 2016), pp. 279-299 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: https://www.jstor.org/stable/10.5406/ethnomusicology.60.2.0279 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:21:01 UTC All use subject to https://about.jstor.org/terms Vol. 60, No. 2 Ethnomusicology Spring/Summer 2016 On Hybridity in African Popular Music: The Case of Senegalese Hip Hop Catherine M. Appert / Cornell University Abstract. This article critically considers the legacy of hybridity in African popular music studies and questions whether contemporary African engage- ments with diasporic popular musics like hip hop call for new interpretations of musical genre. Through ethnographic research with hip hoppers in Senegal, I explore how practices of musical intertextuality reinscribe global connections as diasporic ones and challenge the conditions for musical hybridity. -
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. -
Culture Scope Volume 111: Table of Contents
A: PO Box 699 Lidcombe NSW 1825 P: (02) 9716 0378 W: www.sca.nsw.edu.au E: [email protected] Culture Scope Volume 111: Table of contents Feature Articles: • Gender Inequality devalues women’s work – Nick Baker (Social Inclusion and Exclusion) • Hip Hop, You Don’t Stop! - Morganics (Popular Culture) • Myanmar Film Industry mocks LGBT community – Nick Baker (Popular Culture) • Women bear the brunt of Natural Disasters – Nick Baker (Continuity and Change) What’s the A-gender (Resources from, and to supplement August 2017 PD Day) Personal and Social Identity • Gendered Toy content analysis table – Louise Dark, Newcastle High School • Genderisation of Colours – Katherine Dzida, Figtree High School • Reviewing the concept of gender PPT – Amanda Webb, Moorebank High School • The way we talk to girls and boys – Amanda Webb, Moorebank High School Social and Cultural Continuity and Change • #technologyandgender – Louise Dark, Newcastle High School • Women in Poland – Katherine Dzida, Figtree High School Popular Culture • Assessment task: Kardashian’s Content analysis – Amanda Webb, Moorebank High School • Assessment task: Contemporary Values and contribution to social change – Amanda Newell, Clancy Catholic College Additional resources: • Spotlight on Popular Culture (Reality TV) Part 2 – Kate Thompson, Aurora College • Using Speeches to compare Social Inclusion and Exclusion (ATSI) – Kevin Steed, Macquarie University Many thanks are extended to those who have contributed to this edition. We acknowledge your ongoing support of the Association and teachers of Society and Culture through the quality submissions you have prepared, and continue to submit for publication. These articles take significant time and effort to write and reference and your expertise and innovation is appreciated. -
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. -
Chapter Trek Senegal Guide
Chapter Trek Senegal Guide 2 3 Chapter 1 – Welcome to Trek for Knowledge What is a Chapter Trek? p. 6 Trek Covenant p. 7 Trek Guidelines p. 8 + 9 Trek Itinerary p. 10 A Typical Day on Trek p. 11 One the Worksite p. 12 Living with a Host Family p. 13 Trek Packing List p. 14-15 Chapter 2 – Paperwork and Medical Concerns Passports p. 18 Vaccinations p. 19-20 Medical Concerns p. 21 Malaria & Mosquitoes p. 22-23 Traveler’s Diarrhea p. 24 Rabies p. 25 Food on Trek p. 26 Water on Trek p. 27 International Medical Insurance p. 28 Chapter 3 – Pre Trek Workshops Pre Trek Preparation p. 32 Circle of Trust p. 33 Personal Goals p. 34 Culture Shock p. 35-38 Senegalese Customs p. 39-42 Host Family Gifts p. 43 The Art of Giving p. 44 Chapter 4 – Senegal Profile & History Map p. 45 Senegal Profile p. 46 History, Land & People p. 47 Chapter 5 – Articles of Interest Islam in Senegal p. 56 The Songs of Senegal p. 59 Polygamy Throttles Women in Senegal p. 66 From Beggars to Students p. 69 Leopold Sedar Senglor p. 73 Further Resources p. 77 Chapter 6 – Reflection on Trek Reflection time and Journaling p. 80 Trek for Knowledge Senegal 2013 4 Chapter 7 – Host Family Activities No Regrets! p. 84 Community Mapping p. 85 Family Tree p. 86 Animal Sounds p. 87 Local Language and English p. 88 Tic Tac Toe p. 89 Dots and Boxes p. 90 Hopscotch p. 91 Chapter 8 – Journals Blank Journal Pages p.