DOCSLIB.ORG

République Amazone (CD / LP / DL) > 10Th March 2017 (CD / LP / DL), Real World Records > Listen on Souncloud

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
République Amazone (CD / LP / DL) > 10Th March 2017 (CD / LP / DL), Real World Records > Listen on Souncloud aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa The first all-female supergroup of West Africa, the collective Les Amazones d’Afrique brings together musicians fighting violence against women. Whether they are undisputed stars or well-kept secrets, the musicians involved in this project are all among the most acclaimed voices in West African music: Kandia Kouyaté, Mamani Keita, Rokia Koné, Mariam Koné, and Aminata Danté (+ Nneka, Angélique Kidjo and Mariam Doumbia as special guests). The collective elegantly mixes generations and energies and perpetuates the Mandingo tradition by giving it the power of African megacities. An «All-Star» you might think. Yes, but not only that. Inspired by the formidable and mysterious warriors of Dahomey, the greatest Malian singers and musicians of the moment come together to fight against violence towards women. Les Amazones d’Afrique - I Play the Kora aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa The first all-female supergroup of West Africa, the collective Les Amazones d’Afrique brings together musicians fighting violence against women. Whether they are undisputed stars or well-kept secrets, the musicians involved in this project are all among the most acclaimed voices in West African music: Kandia Kouyaté, Mamani Keita, Rokia Koné, Nneka, Angélique Kidjo, Mariam Koné, Mouneïssa Tandina and Pamela Badjogo. The collective elegantly mixes generations and energies and perpetuates the Mandingo tradition by giving it the power of African megacities. An «All-Star» you might think. Yes, but not only that. Inspired by the formidable and mysterious warriors of Dahomey, the greatest Malian singers and musicians of the moment come together to fight against violence towards women. Featuring Rokia Koné, Mamani Keita, Nneka, Kandia Kouyaté, Mariam Doumbia, Aminata Danté, “I Play The Kora”, the first single of the album, is the symbol of the struggle of les Amazones d'Afrique. Its message, in bringing together women singing about why they should “rise up and fight injustice because we’re all equal”, was immediately powerful. The kora, a harp-like instrument native to west Africa, works as a metaphor. Playing the kora was denied to women for years; only men were allowed the prestige. In order to complete their action, « Les Amazones d’Afrique » have decided to associate to the people fighting everyday on the field. Along their tour, they decide to stand as musical ambassadors representing the action lead through the Panzi’s foundation in East congo. Profits from the sale of the track 'I Play The Kora' will be donated to The Panzi Foundation, led by Doctor Mukwege in Bukavu (DRC), which has provided healing support to more than 80,000 women, nearly 50,000 of whom are victims of sexualised violence. Les Amazones d'Afrique have started a crowdfunding campaign to help finance the work of The Panzi Foundation, donate through: www.generosity.com Les Amazones d’Afrique - République Amazone (CD / LP / DL) > 10th March 2017 (CD / LP / DL), Real World Records > listen on souncloud Running on funk and blues with dabs of dub; aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa ancient rhythms blending seamlessly with aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa their western appropriated cousins, Les aaaaaaaaaaaaaaaaaaaa Amazones d'Afrique sound like an aural actuation of the new melting pot cities of the African continent. At times, it’s almost as if we are swirling about in several decades simultaneously: filthy backwards or wah wah guitars, distorted thumb piano, dreamy, jazzy chords and soulful singing over a pneumatic beat give way to the kind of Afrobeat best heard as the dawn rises in a muddy field in Europe during festival season. République Amazone République Amazone is the sound of the diaspora of African music returning home, a reclaiming outside of genre and time. But Les Amazones d’Afrique as an outfit slot into a long tradition of West African female empowerment which extends beyond music. Reviews for ‘République Amazone’ by Les Amazones d'Afrique 'A triumph’ Benin star Angélique Kidjo opens in strident form against a "Congotronic" setting from producer Liam Farrell (of Mbongwana Star fame), whose backings segue easily from spritely African kora to R&B and reggae grooves. There are anguished pyrotechnics from young Malian singers like Rokia Koné and Mamani Keita, sweet love calls and a restless, infectious energy to the album. A triumph. ̣̣̣̣ The Observer (UK) 'A proud, forceful demonstration of the strength and variety of modern African music’ It's a proud, forceful demonstration of the strength and variety of modern African music, brilliantly combined by producer Liam Farrell into arrangements where funk, afrobeat, desert-blues, dub and congotronics swirl infectiously around the women's voices. The ensemble's forces are most proudly heard on the rousing "I Play The Kora" - a world of music in a single track. ̣̣̣̣ The Independent (UK) 'Storming set by all-star African supergroup’ The rhythms are African, electronica swirls around it, reggae bass thunders through the mix, dub distorts the senses, thumb pianos turn into thunder… the lyrics tackle domestic violence, female genital mutilation, forced marriage… it's terrific. ̣̣̣̣ Mojo (UK) 'Revolutionary, pancultural fervour from West African collective’ Some might complain that bands in the 21st century don't aspire to much. Les Amazones d'Afrique want to change the face of an entire continent. Q Magazine (UK) KANDIA KOUYATÉ In 1999, she recorded her first release album Kita Kan (Sterns). From then on, she never ceased to stir her audiences in Africa and worldwide. This long silence could not break the voice of the singer and she is now back with her third release imagined by Ibrahima Sylla and produced by his daughter, Binetou Sylla. MARIAM DOUMBIA She is half of the most internationally renowned Malian couple: Amadou & Mariam. Woman, artist, blind and African, Mariam leaves behind all the prejudices and stereotypes to become one of the most famous African voice. With husband Amadou, she sung on the world’s greatest stages. ROKIA KONÉ Recently nominated at the « Tamani d’Or » in the category of « upcoming artists of the year », Rokia Kone is one of the most popular artist of the Malian music scene today. She opened for many great artists such as Tiken Jah Fakoly, Aliya Coulibaly, Babani Koné and regularly performs in Bamako’s best music venues. NNEKA Born and raised in Nigeria, Nneka Lucia Egbuna moved to Germany aged 19 to study Anthropology at Hamburg University. It was during her student years that Nneka honed her craft as a singer-songwriter. Her politically charged lyrics swiftly established her as one of Africa’s most powerful voices. ANGÉLIQUE KIDJO Since the release of her self-produced debut solo album, Pretty, in 1988, Angélique Kidjo has been embraced by the international press. She has won three Grammys in a career spanning three decades, and received Amnesty International’s Ambassador of Conscience Award for 2016. MAMANI KEITA In Mali tradition forbids to all those who bear the name of Keita, the royal name, to sing or to play an instrument. Luckily, there are some exceptions. Mamani is one of them. Having her debuts as backing vocal on Salif Keita’s show, she enjoys success in France with her recordings, such as Kanou in 2013. MARIAM KONÉ As a singer, Mariam started her career in 2004 with the rap band Pacifique. She won the «Les Talents de la Cité»
Load more

Recommended publications
  • Terry James Resource Library Black History
    TERRY JAMES RESOURCE LIBRARY BLACK HISTORY SUBJECT GUIDE BOOKINGS CAN BE SCHEDULE BY CONTACTING 519-822-4420 EXT. 553 OR [email protected] Searching for Resources? Start by selecting this link: https://ug.ent.sirsidynix.net/client/en_CA/TJR/?dt=list The following instructions may be helpful: 1. Enter your “SEARCH TERMS”, IE: “mathematics” and click on “SEARCH”. 2. Select appropriate search limiters from the left side of the search results screen NOTE: select “VIEW ALL” within categories for more options. Page 1 of 16 3. Click on the small box by each title of interest. Please note that you will need to “SELECT AN ACTION”, before moving on to next search results screen. You can “ADD TO MY LISTS” or “EMAIL TO ME”. NOTE: “SELECT AN ACTION” is located at the top & bottom of the page, in grey bar. 4. Once you have marked all the titles of interest, and you selected “ADD TO MY LISTS”, you wil now need to click on “MY LISTS” near the top of the page: 5. Resources will be listed, and can be arranged by Publication Date, Title, Author and more. Place a checkmark in the box by “SELECT ACTION” and notice that all titles in your list will have a checkmark to be included in the email message you will send to your [email protected] or [email protected] email address. Page 2 of 16 6. The list of selected resources arrives in your inbox within a few seconds. Once the list arrives in your inbox, you can close the browser.
    [Show full text]
  • Black-And-White Marital Relations in John Edgar Wideman's
    0 Actes du colloque international 5 & 6 septembre 2017 Abidjan Le paradigme Afrique-Occident dans une dynamique de globalisation des littératures, arts, et cultures Textes réunis par Kouadio Germain N’GUESSAN ISBN : 9782237968162 © Les Editions INIDAF Email : [email protected] 08 BP 724 Abidjan 08 Abidjan, Côte d’Ivoire 1 A. Comité scientifique 1- Sery BAILLY, Professeur, Université Félix Houphouët-Boigny, Côte d’Ivoire 2- GNEBA Kokora, Professeur, Université Félix Houphouët-Boigny, Côte d’Ivoire 3- Koffi TOUGBO, Maître de conférences, Université Félix Houphouët- Boigny, Côte d’Ivoire 4- Justin ABO, Maître de conférences, Université Félix Houphouët- Boigny, Côte d’Ivoire 5- Coulibaly DAOUDA, Professeur, Université Alassane Ouattara, Côte d’Ivoire 6- BOA Timélé Ramses, Professeur, Université Félix Houphouët- Boigny, Côte d’Ivoire 7- BLEDE Logbo, Professeur, Université Félix Houphouët-Boigny, Côte d’Ivoire 8- BOHUI Djédjé Hilaire, Professeur, Université Félix Houphouët- Boigny, Côte d’Ivoire 9- AMANI Konan, Professeur, Université Félix Houphouët-Boigny, Côte d’Ivoire 10- SILUE Sassongo Jacques, Maître de conférences, Université Félix Houphouët-Boigny, Côte d’Ivoire 11- KOUASSI Jérôme, Professeur, Université Félix Houphouët-Boigny, Côte d’Ivoire 12- YÉO Lacina, Maître de conférences, Université Félix Houphouët- Boigny, Côte d’Ivoire 13- VAHI Yagué, Maître de conférences, Université Félix Houphouët- Boigny, Côte d’Ivoire B. Comité d’organisation 1- N’GUESSAN Kouadio Germain, Professeur, Université Félix Houphouët-Boigny, Côte d’Ivoire 2-
    [Show full text]
  • Musicians Are Suffering
    Music Freedom Report no. 1: Côte d’Ivoire • 3 March 2012 DJ Volcano, Tiken Jah Fakoly, Kajeem, Fadal Dey Côte d’Ivoire: Musicians are suffering Ivorian musicians are struggling to survive. Whilst not actually being subject to official censorship mechanisms, musicians are restricted by unofficial state mechanisms just enough to prevent them from functioning professionally, reports Rose Skelton from Côte d’Ivoire. By Rose Skelton Côte d’Ivoire’s 2010 election crisis, in which former President Laurent Gbagbo refused to cede power to the winner recognised by the Independent Electoral Commission Alassane Ouattara, ended in the death of 3,000 people and the displacement of half a million, according to Human Rights Watch. Also affected during the six-month conflict were many of the country’s musicians, some of whom had been critical of the Gbagbo regime in their songs and others who had musically supported the campaigns as official flag-bearers of one or other side and who suffered the repercussions once the power shifted. Many musicians went into exile in neighbouring countries and many are yet to return. Those who stayed have had to survive in a highly-politicised climate and in an industry that is severely depressed. DJ’s house burnt down DJ Volcano is a DJ, dancer, and choreographer who ran a small training centre for dancers and musicians at his home in Yopougon, a neighbourhood of Abidjan. In January 2011 pro- Gbagbo police came to one of his shows and arrested him, saying that his music was ‘too strong,’ meaning critical of Gbagbo’s regime.
    [Show full text]
  • Vernacular Resilience
    Vernacular Resilience: An Approach to Studying Long- Term Social Practices and Cultural Repertoires of Resilience in Côte d’Ivoire and the Democratic Republic of Congo Dieunedort Wandji, Jeremy Allouche and Gauthier Marchais About the STEPS Centre The ESRC STEPS (Social, Technological and Environmental Pathways to Sustainability) Centre carries out interdisciplinary global research uniting development studies with science and technology studies. Our pathways approach links theory, research methods and practice to highlight and open up the politics of sustainability. We focus on complex challenges like climate change, food systems, urbanisation and technology in which society and ecologies are entangled. Our work explores how to better understand these challenges and appreciate the range of potential responses to them. The STEPS Centre is hosted in the UK by the Institute of Development Studies and the Science Policy Research Unit (SPRU) at the University of Sussex. Our main funding is from the UK’s Economic and Social Research Council. We work as part of a Global Consortium with hubs in Africa, China, Europe, Latin America, North America and South Asia. Our research projects, in many countries, engage with local problems and link them to wider concerns. Website: steps-centre.org Twitter: @stepscentre For more STEPS publications visit: steps-centre.org/publications This is one of a series of Working Papers from the STEPS Centre ISBN: 978-1-78118-793-7 DOI: 10.19088/STEPS.2021.001 © STEPS 2021 Vernacular Resilience: An Approach to Studying Long-Term Social Practices and Cultural Repertoires of Resilience in Côte d’Ivoire and the Democratic Republic of Congo Dieunedort Wandji, Jeremy Allouche and Gauthier Marchais STEPS Working Paper 116 Correct citation: Wandji, D., Allouche, J.
    [Show full text]
  • MIGRATIONSLYRIK IM SPANNUNGSFELD ZWISCHEN TRAUM UND WIRKLICHKEIT 1 Dr
    MIGRATIONSLYRIK IM SPANNUNGSFELD ZWISCHEN TRAUM UND WIRKLICHKEIT 1 Dr. phil. Obikoli Amatso ASSEMBONI Département d’Allemand, Université de Lomé E-Mail: [email protected]/ [email protected] Abstract: Migration ist in den letzten Jahren ein aktuelles Thema der Forschung geworden, das auch von der lyrischen Gattung bzw. in Liedern behandelt wird und viele populäre Sänger auf der Welt beschäftigt. Die vorliegende Studie untersucht Lieder, die die Migration thematisieren. Migration wird hier als globales Phänomen aufgefasst. Zwar wird der Begriff oft hauptsächlich auf afrikanische Migranten bezogen, aber in der Tat betrifft die Migration viele andere Nationen: Überall auf der Welt, wo Armut oder Krieg herrscht, erlebt man dieses Phänomen. Natürlich ist es in Afrika stärker ausgeprägt: Der Traum vieler junger Afrikaner ist es, ihr Land zu verlassen, um ihre Träume in Europa oder in Amerika zu verwirklichen. Dafür sind sie bereit, ihr Leben aufs Spiel zu setzen. Je strenger die Grenzen Europas bewacht werden, desto mutiger werden die „Migrationskandidaten“: Sie suchen alle Umwege, um das „Eldorado“ zu erreichen. Untersucht werden entsprechende Erfahrungen, die in zwei Liedern nacherzählt werden. Es handelt sich um die Lieder „Ouvrez les frontières “ und „Un Africain à Paris “ des aus der Côte d’Ivoire stammenden populären Sängers Tiken Jah Fakoli, den man als „Botschafter“ der afrikanischen Jugend betrachtet. Dabei wird den Fragen der stilistischen Darstellungen und Komponenten dieser Lieder nachgegangen, wobei sowohl die Texte der Lieder als auch deren Videoclips in Betracht gezogen werden. Schlüsselwörter: Migrationslyrik, Medien, Lied, Videoclip. Résumé: Au cours des dernières années, le thème de la migration est devenu un sujet très actuel de la recherche, un sujet également présent dans le genre lyrique ou dans les chansons populaires.
    [Show full text]
  • Chapitre 2 La Politique Publique De L'étranger Et La Crise Sociopolitique
    Chapitre 2 La politique publique de l’étranger et la crise sociopolitique en Côte d’Ivoire Alfred Babo Introduction L’histoire de l’étranger en Afrique de façon générale est mêlée aux mouvements commerciaux de la route du sel, des esclaves, de la pénétration coloniale et du travail forcé. Elle prend également en compte tous les mouvements à la fois massifs et individuels fondés sur la volonté de partir. L’étranger est généralement présenté comme la personne qui ne possède pas la nationalité du pays d’accueil où il peut résider ; et d’après Shack et Skinner (1979), c’est un être qui possède une place organique dans un cercle simultanément social et spatial auquel il n’appartient pourtant pas. En raison des déplacements des populations visant, non seulement à améliorer leurs conditions matérielles de vie, mais aussi à optimiser des stratégies de survie complexes (Babo 2005 ; Parnwell 1993 ; Droz et Sottas 1997), l’Afrique de l’Ouest est une grande zone de migration. Les populations d’origines diverses passent d’un pays à un autre (Pitroipa 2003) et se mettent dans la position de l’étranger qui combine à la fois des traits de proximité et de distanciation, selon un continuum qui couvre une grande diversité de situations. En Côte d’Ivoire, la présence étrangère se situe dans le prolongement d’anciens mouvements marchands qui ont eu lieu en Afrique entre le XIIIe et le XIXe siècle (Akindès 2003 ; Blion et Bredeloup 1997 ; Bierwirth 1997). Par la suite, l’administration coloniale a bâti l’essentiel de l’économie agricole de la colonie Côte d’Ivoire sur l’apport et les flux importants de migrants ouest-africains (Cordell et Gregory 1982).
    [Show full text]
  • N° 662 05.11.03 African Culture(S): a Different Image of the Continent (MFI
    N° 662 AFRICA-FRANCE 05.11.03 African culture(s): a different image of the continent (MFI) Africa’s image abroad is usually perceived as a bad one. Wars, poverty and AIDS hit the headlines in the Western media, conveying a negative vision of the continent. At the same time, and somewhat paradoxically, African culture is more and more exported elsewhere, producing an image of dynamic creativity. However, not without some ambiguity, and it has not yet become an economic asset. Africa’s image in France and in the West is more varied than it might seem. The media still give prominence to news about conflicts and dramatic events, but have in recent years opened up to other aspects of Africa. Television documentaries have enriched and diversified the viewpoints; in France, the Arte TV network is among those which offer reports on African society and culture. The France-Culture radio station in February 2005 broadcast a week-long series of reports on Mali – not to mention the daily news and other programmes on Africa broadcast by Radio France Internationale (RFI), which can be picked up in Paris. The French press also finds room for background stories on the continent, as seen from outside. However, the growing presence of African cultural creation in Europe is more significant. This is notably evident in plastic arts. The Africa Remix exhibition, featuring the works of 87 contemporary artists from across the continent, was shown in Düsseldorf, London and Paris in 2005, before travelling to Tokyo. The interest for African art emerged in the 1990s and rounded a symbolic cape in 2003 with shows such as the Venice Biennale and the Kassel Dokumenta, with Okui Enwesor of Nigeria as Arts Director.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY The complete list of all sources consulted in the making of this book offers a comprehensive over- view of the literature and other materials available about reggae, Rastafari, Bob Marley, and other topics covered herein. Due to the fleeting nature of the Internet, where websites might change or dis- appear at any given time, online sources used at the time of writing might not be available any longer. The bibliography can also be found on the website of the book at www.reggaenationbook.com. Books History and Heritage (pp. 326-335). Routledge. Bennett, A. (2001). Cultures of Popular Music. Open University Press. Adejumobi, S. A. (2007). The History of Ethiopia. Biddle, I., & Knights, V. (Eds.) (2007). Music, National Greenwood Press. Identity and the Politics of Location: Between the Global Akindes, S. (2002). Playing It “Loud and Straight”. and the Local. Ashgate. Reggae, Zouglou, Mapouka, and Youth Bonacci, G. (2015). From Pan-Africanism to Rastafari: Insubordination in Côte d’Ivoire. In M. Palmberg African American and Caribbean ‘Returns’ & A. Kirkegaard (Eds.), Playing with Identities in to Ethiopia. In G. Prunier & E. Ficquet (Eds.), Contemporary Music in Africa (pp. 86-103). Nordic Understanding Contemporary Ethiopia: Monarchy, Africa Institute. Revolution and the Legacy of Meles Zenawi (pp. 147- Alleyne, M. (2009). Globalisation and Commercialisation 158). Hurst & Company. of Caribbean Music. In T. Pietila (Ed.), World Music Boot, A., & Salewicz, C. (1995). Bob Marley. Songs of Roots and Routes. Studies across Disciplines in the Freedom. Bloomsbury. Humanities and Social Sciences 6 (pp. 76-101). Helsinki Bordowitz, H. (2004). Every Little Thing Gonna Be Alright: Collegium for Advanced Studies.
    [Show full text]
  • Femua Festival: «Our Place Is Here!» | Norient.Com 6 Oct 2021 22:30:39
    Femua Festival: «Our Place Is Here!» | norient.com 6 Oct 2021 22:30:39 Femua Festival: «Our Place Is Here!» by Elisabeth Stoudmann The FEMUA festival in Abidjan, Ivory Coast, boasts around 100,000 spectators. Today it's an important springboard for artists who are starting out, from hip hop to zouglou. A report from a gathering that strives for conduit of union and social cohesion. In the Ivorian capital, music echoes from every street corner, usually late at night and at high volume. It's almost 2 in the morning on Saturday 29th April 2017, when Tiken Jah Fakoly goes on stage at the Anoumabo Urban Music Festival in Abidjan (FEMUA). The audience gathered at the foot of the stage is overexcited: the ovation runs through the crowd like a tidal wave. A concert by the Ivorian reggae star - especially in Abidjan, the capital that supported his ascent to glory – is nothing like a Tiken Jah Fakoly concert in Europe. Here, the atmosphere is fervent, vibrant, ready to burst. The lyrics of the singer exiled in Mali are anchored in a reality that everyone experiences in daily life. Listening to one of his cult titles, «Open the frontiers», the first ranks of the 10,000 people standing by the stage get a little too excited. Imperturbed, Tiken Jah Fakoly calms the atmosphere down by talking to them quietly. To pose as a defender of a fairer visa policy https://norient.com/stories/femua2017 Page 1 of 5 Femua Festival: «Our Place Is Here!» | norient.com 6 Oct 2021 22:30:39 between Africa and the West should not make us forget that «Africa is the continent of the future, the continent where everything remains to be done.
    [Show full text]
  • Hip-Hop Pedagogy, Epistemic Disobedience, and Youth Engagement in West Africa
    University of South Carolina Scholar Commons Theses and Dissertations Summer 2020 African, Know Thyself: Hip-Hop Pedagogy, Epistemic Disobedience, and Youth Engagement in West Africa Noella Binda Niati Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Niati, N. B.(2020). African, Know Thyself: Hip-Hop Pedagogy, Epistemic Disobedience, and Youth Engagement in West Africa. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/ 6072 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. AFRICAN, KNOW THYSELF: HIP-HOP PEDAGOGY, EPISTEMIC DISOBEDIENCE, AND YOUTH ENGAGEMENT IN WEST AFRICA by Noella Binda Niati Bachelor of Arts Nebraska Wesleyan University, 2007 Master of Arts University of Rochester, 2011 ____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Educational Foundations and Inquiry College of Education University of South Carolina 2020 Accepted by: Payal Shah, Major Professor Kara Brown, Committee Member Anuradha Chakravarty, Committee Member Birgitta Johnson, Committee Member Breanne Grace, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Noella Binda Niati, 2020 All Rights Reserved. DEDICATION To the members of Y’en a Marre and FESCI ii ACKNOWLEDGEMENTS It took a village to write this dissertation. I am forever grateful and humbled by the support I received from my committee, professors, family and friends alike, who have supported me throughout my studies.
    [Show full text]
  • The Reggae and Râ•Žnâ•ŽB of Tiken Jah Fakoly and Corneille
    University of New Orleans ScholarWorks@UNO Foreign Languages Faculty Publications Department of English and Foreign Languages Winter 2008 Displacement in French/Displacement of French: The Reggae and R’n’B of Tiken Jah Fakoly and Corneille Olivier Bourderionnet University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/fl_facpubs Part of the French and Francophone Language and Literature Commons Recommended Citation Bourderionnet, Oliver. "Displacement in French/Displacement of French: The Reggae and R’n’B of Tiken Jah Fakoly and Corneille." Research in African Literatures 39.4 (Winter 2008): 14-23. This Article is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in Foreign Languages Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Olivier Bourderionnet 1 Displacement in French / Displacement of French: The Reggae and R’n’B of Tiken Jah Fakoly and Corneille Popular music has this advantage over literature: its message is easily accessible to a wide audience and through a variety of media that go from radio to peer to peer networks. Thus, taking a look at popular music artists, for whom it has been established that they are having an impact both in Africa and in Europe, has its appeal. While a large portion of African literature finds most of its public in the West, popular music, on the other hand, travels more freely across continents. This paper examines the works and situations of two francophone singer-songwriters from Africa, Tiken Jah Fakoly and Corneille, and their relationship to France, a country in which they do not live, but where their careers in the global music industry are now rooted.
    [Show full text]
  • I “'Cause This Is Africa”: Contesting Visual, Sonic, and Performed
    “’Cause this is Africa”: Contesting Visual, Sonic, and Performed Representations of Africa in Paris, Montreal, and the 2010 South African World Cup Julia G. Day A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Christina Sunardi, Chair Shannon Dudley Richard Watts Program Authorized to Offer Degree: Music i ©Copyright 2017 Julia G. Day ii University of Washington Abstract “’Cause this is Africa”: Contesting Visual, Sonic, and Performed Representations of Africa in Paris, Montreal, and the 2010 South African World Cup Julia G. Day Chair of the Supervisory Committee: Dr. Christina Sunardi Music This dissertation examines ways in which representations of contemporary Africa are created, perpetuated, subverted, and reinforced through African popular music in Paris, France, Montreal, Canada, and the 2010 World Cup Games in South Africa. As a response to the notion established by scholars such as Achille Mbembe (2001) and Kofi Agawu (2003) who assert that postcolonial discourse on Africa creates a binary that reinforces the otherness of Africa, I suggest that the notion of Afropolitanism provides an alternative approach to understanding representations of contemporary Africa in a way that recognizes the multiplicities of transnational identities and cultural products without writing out the importance of the African continent. I view the artists whose music I analyze as contributors, whether intentionally or not, to a sense of Afropolitanism that straddles multiple levels of representation in a single event. I ultimately argue that representation of contemporary Africa is complex and that Afropolitanism as a framework recognizes the complexities of these representations.
    [Show full text]