Another Messiah
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List-Of-Films-EN.Pdf
IndieLisboa’12 has selected 245 films (80 features and 165 shorts) from a total of 3906 submissions covering all festival sections. Portuguese cinema always has a spe- Fiction Documentary cial spotlight at the festival. This year we have selected 48 Portuguese films (10 features and 38 shorts), 24 of those among the National Competition. IndieLisboa’s 80 program is composed of 234 screenings at four thea- 110 ters: Culturgest, Cinema São Jorge, Cinema City Classic Alvalade and Cinemateca Portuguesa - Museu do Cinema. 43 11 Animation Experimental 3 International Competition The International Competition for short and feature films is composed of works that have never been publicly screened in Portugal, finished in the current year or the year before. To this section can apply first or second works - fiction, animation, docu- mentaries or experimental films. Feature Films The Kiosk Anete Melece, Switzerland/anim., 2013, 7’ Äta sova dö/Eat Sleep Die Gabriela Pichler, Sweden, fic., 2012, 104’ Má Raça/Bad Blood André Santos, Marco Leão, Portugal/fic., 2013, 19’ A Batalha de Tabatô/The Battle of Tabatô João Viana, Portugal, fic., 2013, 78’ Mademoiselle Kiki et les Montparnos/Kiki of Montparnasse Amelie Harrault, France/Belgium/anim., 2012, 14’ Eles Voltam/They Will Return Marcelo Lordello, Brazil, fic., 2012, 105’ La maison d’Olga Morgane Le Péchon, France/anim., 2012, 6’ Francine Brian M. Cassidy, Melanie Shatzky, USA/Canada/fic., 2012, 74’ Maria/Mary Mónica Lairana, Argentina/fic., 2012, 13’ Lacrau João Vladimiro, Portugal, doc./fic., 2013, -
The African Roots of Cuban Music,The Music of the Nyayo Era,Kenyans' Elusive Search for a Cultural Identity,How Afrobeat(S)
The African Roots of Cuban Music By Boima Tucker British sociologist Paul Gilroy suggested the history of culture in the Atlantic world is characterized by constant exchange. One of the most traceable elements of that exchange, is the musical connections between communities of African descent on either side of the ocean. These musical practices operate as sites of resistance, cultural retention, and social cohesion that allow us to understand some of the ways we all are formed by trans-continental processes. During the dawn of recorded music in the early part of the 20th century, Cuba—one of many New World sites of African and indigenous resistance to European colonisation and enslavement—would become a hotbed for musical export in the emerging industrialized system of music distribution. Folk musical traditions from across the island would come together in Havana’s studios, and then get dispersed around the entire Atlantic world. In the early part of the 20th Century, Cuban musical styles like son, mambo and guaguanco followed migrants and sailors out across the Atlantic, hitting radio waves in the ports of landing, and spreading throughout the interior of the countries they landed in. With its strong traces of West and Central African rhythms, this music would find legions of devoted followers on the African continent. Local artists would try their hand at recreating the sound, and start to mix elements of their own local traditions creating what we now know as Congolese rumba, soukous, mbalax, semba, kizomba, and highlife, etc. These styles, amongst many others on the continent, would go on to form the backbone of national identity in the post-independence period, their propagation supported with enthusiasm by the leaders of the new nations. -
ALL-2017 \226 Bele\236Nica
ALL-2017 Index Good Short Total Song 1 334 0 334 ŠANK ROCK - NEKAJ VEČ 2 269 0 269 LOS VENTILOS - ČAS 3 262 0 262 RUDI BUČAR & ISTRABEND - GREVA NAPREJ 4 238 0 238 RED HOT CHILLI PEPPERS - SICK LOVE 5 230 0 230 NIKA ZORJAN - FSE 6 229 0 229 CHAINSMOKERS - PARIS 7 226 1 227 DNCE & NICKI MINAJ - KISSING STRANGERS 8 226 0 226 NINA PUŠLAR - ZA VEDNO 9 200 0 200 ALICE MERTON - NO ROOTS 10 198 0 198 SKALP - HLADEN TUŠ 11 196 0 196 BQL - MUZA 12 195 0 195 KINGS OF LEON - FIND ME 13 195 1 196 RUSKO RICHIE & ROKO BAŽIKA - ZBOG NJE 14 192 0 192 ALYA - HALO 15 190 0 190 NEISHA - VRHOVI 16 185 0 185 DISTURBED - THE SOUND OF SILENCE 17 179 0 179 MI2 - LANSKI SNEG 18 175 0 175 KATY PERRY - CHAINED TO THE RHYTM 19 173 0 173 LITTLE MIX & CHARLIE PUTH - OOPS 20 172 2 174 ED SHEERAN - GALWAY GIRL 21 169 0 169 SIA - MOVE YOUR BODY 22 169 0 169 LINKIN PARK feat. KIIARA - HEAVY 23 167 0 167 ANABEL - OB KAVI 24 164 0 164 ED SHEERAN - SHAPE OF YOU 25 161 1 162 BOHEM - BALADA O NJEJ 26 158 0 158 JAN PLESTENJAK - IZ ZADNJE VRSTE 27 157 0 157 SIDDHARTA - DOLGA POT DOMOV 28 156 0 156 SELL OUT - NI PANIKE 29 156 1 157 LUKAS GRAHAM - 7 YEARS 30 153 0 153 HARRY STYLES - SIGN OF THE TIMES 31 151 0 151 ED SHEERAN - CASTLE ON THE HILL 32 151 0 151 MAROON 5 & FUTURE - COLD 33 145 0 145 LEONART - DANES ME NI 34 145 1 146 RICKY MARTIN & MALUMA - VENTE PA'CA 35 145 0 145 ED SHEERAN - HOW WOULD YOU FEEL 36 144 0 144 WEEKEND & DAFT PUNK - STARBOY 37 143 0 143 BQL - HEART OF GOLD 38 143 1 144 RAIVEN - ZAŽARIM 39 143 0 143 STING - I CAN'T STOP THINKING ABOUT YOU 40 142 0 142 -
And Their Hold on East Africa's Popular Musical
The ‘Waswahili’ and Their Hold on East Africa’s Popular Musical Culture By Stanley Gazemba Port cities are melting pots of culture world over. They spur the evolution of new cultures, languages and act as gateways to the world. It is within this context therefore that taarab, a distinct music form that defines East Africa internationally, found fertile ground along the vast coastal strip that was previously the domain of the Sultan of Zanzibar. The East African Coast has had a profound effect on the hinterland in terms of trade and cultural development and is home of the Swahili civilisation that came into strength during the Daybuli period between AD 900 and AD 1200. It is the Swahili who controlled the region’s trade from AD 1200 and bequeathed modern East Africa its lingua franca, the Swahili language and left their mark on the musical cultures of the inland indigenous peoples. A sensuous melodic music deriving from diverse cultures that impacted the coastal culture over the years, taarab easily takes centre-stage in Swahili culture. While it is not necessarily amongst the oldest music forms in the region, given that ethnic groups in the hinterland had been creating music on reed flutes and thumb pianos for generations, taarab is amongst the earliest to be recorded commercially and exported from the region. Performed and recorded for nearly a century now, taarab, which has its origins in the Arab court music of nineteenth-century Zanzibar, owes its development to the political class of Zanzibar. Sultan Said Barghash, who ruled Zanzibar between 1870 and 1888, is credited with introducing taarab to the East African coast and shepherding its growth into the cross-cultural mélange it has become today. -
Connecting Children to Four African Cultures Through Musical Experiences
Connecting Children to Four African Cultures through Musical Experiences by Lana J. Withrow, 2015 CTI Fellow Barringer Academic Center This curriculum unit is recommended for: General Music / Kindergarten-2nd Grade Keywords: Africa, music, South Africa, Kenya, Zimbabwe, Mali, children, drums, dance, stories, games, masks, singing, mbira, marimba, language, folktale Teaching Standards: See Appendix 1 for teaching standards addressed in this unit. Synopsis: Encouraging young children “not just to listen to music, but to interact and become involved with the act of making music”1 is a valuable step in their learning development. Likewise, those children shouldn’t just sing a song from an African country; they should be immersed in a multi-sensory experience! In this unit, music students will hear stories and see illustrations from African books, sing in an African language, play an African child’s game, make and perform rhythms on African drums, dance an African dance, and create African masks and sounds to dramatize an African folktale. Recordings and videos will be used to provide windows into the lives and cultures of four African countries: South Africa, Kenya, Zimbabwe, and Mali. The appealing and fun nature of the chosen musical literature and activities is designed to strengthen the ability of young music students to sing and play music with accuracy, to create music and sounds for dramatization, to respond to musical characteristics and to begin to understand the use of music in African customs and traditions. This unit is easily adaptable for upper elementary grades, and some of the materials and internet links contain interesting and relevant material even for middle and high school students. -
07-2017 Index Good Short Total Song 1 36 0 36 ŠANK ROCK
07-2017 Index Good Short Total Song 1 36 0 36 ŠANK ROCK - NEKAJ VEČ 2 34 0 34 ED SHEERAN - GALWAY GIRL 3 34 0 34 HARRY STYLES - SIGN OF THE TIMES 4 32 0 32 NINA PUŠLAR - ZA VEDNO 5 30 1 31 DNCE & NICKI MINAJ - KISSING STRANGERS 6 28 0 28 ANIKA HORVAT - DIHANJE 7 28 0 28 ALICE MERTON - NO ROOTS 8 25 0 25 CALVIN HARRIS & PHARRELL WILLIAMS & KATY PERRY & BIG SEAN - FEELS 9 25 0 25 LOUIS FONSI & DADDY YANKEE - DESPACITO 10 25 1 26 RUSKO RICHIE & ROKO BAŽIKA - ZBOG NJE 11 25 0 25 SIDDHARTA - DOLGA POT DOMOV 12 25 0 25 SKALP - HLADEN TUŠ 13 23 0 23 LOS VENTILOS - ČAS 14 23 0 23 ONE REPUBLIC - NO VACANCY 15 23 0 23 NIKA ZORJAN - FSE 16 23 0 23 DJ KHALED & BIEBER - I'M THE ONE 17 22 0 22 ISAAC PALMA - ČE TE KDAJ SPUSTIM IZ ROK 18 20 0 20 CALVIN HARRIS - MY WAY 19 20 0 20 MI2 - LANSKI SNEG 20 20 0 20 2B - NAZAJ 21 20 0 20 NUDE - KAKO NAJ POJEM VESELE PESMI 22 20 0 20 JAN PLESTENJAK - JAZ ŽE VEM ZAKAJ 23 20 0 20 ANABEL - OB KAVI 24 19 0 19 JAN PLESTENJAK - IZ ZADNJE VRSTE 25 19 0 19 DAVID GUETTA & JUSTIN BIEBER - 2U 26 19 0 19 BQL - MUZA 27 19 0 19 SIA - MOVE YOUR BODY 28 19 0 19 RUDI BUČAR - TISTI LJUDJE 29 19 0 19 FLIRRT - KRISTINA 30 19 0 19 BQL - HEART OF GOLD 31 19 0 19 GUŠTI - MODRO SONCE 32 19 0 19 ALYA - HALO 33 18 0 18 JENNIFER LOPEZ & GENTE DE ZONA - NI TU NI YO 34 18 0 18 MANCA ŠPIK & ISAAC PALMA - OBA 35 18 0 18 MARAAYA & BQL - IT'S COMPLICATED 36 18 1 19 ŽIGA RUSTJA - RABIM SAMO TEBE 37 17 0 17 SELL OUT - NI PANIKE 38 16 0 16 SAN DI EGO - GLEDAM TVOJE SLIKE 39 16 0 16 ANNA NAKLAB & ALLE FARBEN & YOUNOTUS - SUPERGIRL 40 16 0 16 SIA -
Extended Handshake Or Wrestling Match?
DISCUSSION PA P E R 3 2 Extended Handshake or Wrestling Match? Youth and Urban Culture Celebrating Politics in Kenya FIBIAN KAVULANI LUKALO Nordiska Afrikainstitutet, Uppsala 2006 Indexing terms: Kenya Urban youth Popular culture Music Politics Language editing: Peter Colenbrander ISSN 1104-8417 ISBN 91-7106-567-9 (print) ISBN 91-7106-568-7 (electronic) © The author and Nordiska Afrikainstitutet 2006 Printed in Sweden by Elanders Infologistics Väst AB, Göteborg, 2006 Contents Introduction ……………………………………………………………………………………………………… 7 The Main Objectives of the Research ………………………………………………… 10 The Research Questions ………………………………………………………………………… 11 Chapter One Setting of Democratic Spaces ……………………………………………………………… 12 Perception of Reality, Memory and Age …………………………………………… 16 Youth Identity and Contemporary Political Uncertainties ………… 23 Music Constituting Identity ………………………………………………………………… 27 Urban Culture and Youth Identity: Politics or the Ordinary? ……… 30 Chapter Two Singing In or Out for Politics ……………………………………………………………… 35 The Emergence of Youth Music in Democratic Spaces? ……………… 39 The Personal becoming Political …………………………………………………………… 40 Chapter Three Kenya, my Home, which Songs do you Deserve? …………………………… 44 Talking the Political and Singing the Social …………………………………… 46 Conclusions ……………………………………………………………………………………………………… 51 References ……………………………………………………………………………………………………… 52 Appendix Cartoon strips 1–15 …………………………………………………………………………………… 56 Kenyan National Anthem Ee Mungu Nguve Yetu Oh God of All Creation, Iielete Baraka Kwetu Bless this our Land and Nation, Haki iwe Ngao na Mlinzi Justice be our Shield and Defender, Natukae na Undugu May we Dwell in Liberty, Amani na Uhuru Peace and Unity, Raha Tupate na Ustawi Plenty be Found within our Borders. Amkeni Ndugu Zetu Let One and All Arise, Tufanye Sote Bidii With Hearts both Strong and True, Nasi Tujitoe kwa Nguvu Service be our Earnest Endeavour, Nchi Yetu ya And our Homeland of Kenya, Kenya, Tunayoipenda Heritage of Splendour, Tuwe Tayari Kuilinda Firm may we stand to Defend.