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Dancing to the Beat of the Diaspora: Musical Exchanges Between Africa and Its Diasporas
African and Black Diaspora: An International Journal ISSN: 1752-8631 (Print) 1752-864X (Online) Journal homepage: http://www.tandfonline.com/loi/rabd20 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza To cite this article: Paul Tiyambe Zeleza (2010) Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas, African and Black Diaspora: An International Journal, 3:2, 211-236, DOI: 10.1080/17528631.2010.481976 To link to this article: http://dx.doi.org/10.1080/17528631.2010.481976 Published online: 23 Jun 2010. Submit your article to this journal Article views: 398 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rabd20 Download by: [US International University - Africa] Date: 01 November 2016, At: 01:09 African and Black Diaspora: An International Journal Vol. 3, No. 2, July 2010, 211Á236 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza* Loyola Marymount University of Los Angeles, Los Angeles, California, USA This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afro- internationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities. -
A Jewinican (Re)Collection Roberto Alejandro Santos University of Texas at El Paso, [email protected]
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2010-01-01 Exile in the Gramola: A Jewinican (Re)Collection Roberto Alejandro Santos University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the American Literature Commons, Ethnic Studies Commons, Fine Arts Commons, and the Literature in English, North America Commons Recommended Citation Santos, Roberto Alejandro, "Exile in the Gramola: A Jewinican (Re)Collection" (2010). Open Access Theses & Dissertations. 2777. https://digitalcommons.utep.edu/open_etd/2777 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. EXILE IN THE GRAMOLA: A JEWINICAN (RE)COLLECTION ROBERTO ALEJANDRO SANTOS Department of Creative Writing APPROVED: _____________________________________________ Benjamin Alire Sáenz, Committee Chair _____________________________________________ Sasha Pimentel Chacón, M.F.A. _____________________________________________ Maceo Dailey, Ph.D. _____________________________________________ Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © 2010 by Roberto Alejandro Santos All Rights Reserved. Livication For my family & friends EXILE IN THE GRAMOLA: A JEWINICAN (RE)COLLECTION by ROBERTO ALEJANDRO SANTOS, B.A., M.F.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO May 2010 Preface to Exile in the Gramola : A Jewinican (Re)Collection What is a book of poetry but a collection of words and lines, truths and lies, questions and almost-answers. -
Le Reggae.Qxp
1 - Présentation Dossier d’accompagnement de la conférence / concert du vendredi 10 octobre 2008 proposée dans le cadre du projet d’éducation artistique des Trans et des Champs Libres. “Le reggae” Conférence de Alex Mélis Concert de Keefaz & D-roots Dans la galaxie des musiques actuelles, le reggae occupe une place singulière. Héritier direct du mento, du calypso et du ska, son avènement en Jamaïque à la fin des années soixante doit beaucoup aux musiques africaines et cubaines, mais aussi au jazz et à la soul. Et puis, il est lui-même à la source d'autres esthétiques comme le dub, qui va se développer parallèlement, et le ragga, qui apparaîtra à la fin des années quatre-vingt. Au cours de cette conférence, nous retracerons la naissance du reggae sur fond de "sound systems", de culture rastafari, et des débuts de l'indépendance de la Jamaïque. Nous expliquerons ensuite de quelle façon le reggae des origi- nes - le "roots reggae" - s'est propagé en s'"occidentalisant" et en se scindant en plusieurs genres bien distincts, qui vont du très brut au très sophistiqué. Enfin, nous montrerons tous les liens qui se sont tissés au fil des années entre la famille du reggae et celles du rock, du rap, des musiques électroniques, de la chanson, sans oublier des musiques spécifiques d'autres régions du globe comme par exemple le maloya de La Réunion. Alors, nous comprendrons comment la musique d'une petite île des Caraïbes est devenue une musique du monde au sens le plus vrai du terme, puisqu'il existe aujourd'hui des scènes reggae et dub très vivaces et toujours en évolution sur tous les continents, des Amériques à l'Afrique en passant par l'Asie et l'Europe, notamment en Angleterre, en Allemagne et en France. -
History Knowledge Organiser: the First World War Key Terms Definitions Key People/Events Definitions
Knowledge Organiser Year 9 Term 1 and 2 2019-2020 Name: ………………………………... Try using these memorisation techniques with your Knowledge Organisers Quizlet Login Details: Show my Homework Login Details: Autumn Term - Biology Knowledge Organiser 1 1. The importance of communities 2. Organisms in their environment 5. Competition in plants An ecosystem is the interaction of a community of living organisms with the non-living (abiotic) parts of their environment Abiotic (non-living factors) that effect Biotic (living factors) that effect commu- Plants often compete with each other for light, space, water communities of organisms nities of organisms and mineral ions from the soil Organisms require materials from their surroundings and other liv- ing organisms to survive and reproduce Light intensity Availability of food Light is needed for photosynthesis Within a community, each species depends on other species for Temperature New predators arriving Water is needed for photosynthesis and to keep their tissues food, shelter, pollination, seed dispersal. If one species is removed it rigid and supported Moisture levels New pathogens can affect the whole community. This is called interdependence Minerals are needed to make all the chemicals they need in A stable community is where all the species and environmental fac- Soil pH and mineral content New competitors their cells tors are in balance so that population sizes remain fairly constant. Wind intensity and direction Space allows them to grow—it allows their roots to take in water and minerals and their leaves capture sunlight Carbon dioxide levels for plants Plants have many adaptations that make them good com- Availability of oxygen for aquatic animals petitors for example different types of roots ; some have shallow roots to take in water from the surface and some 3. -
News Letter2
5th - Oct - 2020 FESTIVALS IN Africa East Meets West Festival This is an afro-beat festival that brings talent together from West and East Africa. Western artists meet with eastern artists on the same stage to share W E talent and portray different dynamics. There’s a lot of activities seen at East meets West Festival for example deejays playing the best music, face paint- S ing, performances from different artists in form of a Coachella. East meets west has worked with a couple of artists namely Burna boy, Wizkid, Lapidoe, Mayorkun, Leru, Lagum, King Perry, John Blaq to mention Festival but a few. Gidi Fest This festival usually takes place once a year in Nigeria, Lagos. This festival that’s usually known as the Coachella Lagos which features live bands, deejays and musical performances to be done throughout that day. It attracts numerous people from different countries including Uganda, Kenya, United Kingdom, Ghana, South Africa and Congo. Its sponsors for the festival to be successful include brandit old school, vintage studio, brandna tagline, yellow bepink etc Nyege Nyege Festival Nyege Nyege meaning peace, joy and love is a festival that happens in Jinja town located at the pearl of Africa, Uganda. The festival that was founded in 2015 is one of a kind which happens every September. Its takes duration of four days infused with music, dance and excitement. Over 300 artists travel to Uganda during this time to go perform on nyege nyege and sponsor for this beautiful event has been the South African telecom called MTN. Afro-chella Festival This festival is done to embrace thrilling and thriving millennial talent from and within Africa. -
University of Education, Winneba Framing Of
University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA FRAMING OF SELECTED DANCEHALL ARTISTES ON BLOGS SAMUEL TAKYI SELBY 2017 i University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA FRAMING OF SELECTED DANCEHALL ARTISTES ON BLOGS SAMUEL TAKYI SELBY A THESIS IN THE DEPARTMENT OF COMMUNICATION AND MEDIA STUDIES, FACULTY OF FOREIGN LANGUAGES EDUCATION AND COMMUNICATION, SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, UNIVERSITY OF EDUCATION, WINNEBA, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR AWARD OF THE MASTER OF ART DEGREE IN COMMUNICATION AND MEDIA STUDIES (MEDIA STUDIES). DECEMBER, 2017 ii University of Education,Winneba http://ir.uew.edu.gh DECLARATION STUDENT’S DECLARATION I, Samuel Takyi Selby declare that this dissertation, with the exception of quotations and references contained in published works which have all been identified and duly acknowledged, is entirely my original work, and it has not been submitted, either in part or whole, for another degree elsewhere. SIGNATURE: ………………………….. DATE: …………………………………… SUPERVISOR’S DECLARATION I hereby declare that the preparation and presentation of this work was supervised in accordance with the guidelines for supervision of Dissertation as laid down by the University of Education, Winneba. NAME OF SUPERVISOR: MR KWESI AGGREY SIGNATURE: ………………………………………………………. DATE: …………………………… ii University of Education,Winneba http://ir.uew.edu.gh ACKNOWLEDGEMENTS I wish to express my deepest gratitude to each and every person who has influenced my life, directly and indirectly to this point. My greatest gratitude goes to God almighty, the one who gave me life, knowledge, wisdom and understanding to sail through graduate school successfully. -
Ugandan Superstar! - an Anthropological Study of Youth, Music and Social Becoming in Kampala, Uganda
Ugandan Superstar! - an anthropological study of youth, music and social becoming in Kampala, Uganda Cand. Mag. Thesis by Nanna Schneidermann Thorsteinsson Supervisor: Lotte Meinert Student number: 20012461 Number of charaters: 227.797 Department of Anthropology and EthnographyUniversity of AarhusFebruary 2008 Acknowledgements No creative work is the product of one person alone, and I want to acknowledge and thank a few special people and places that have inspired, guided and helped me in the process of making this thesis. First and foremost, thanks to the people who have inspired me to write about music in Uganda and who have agreed to feature on the following pages of my first go at being a serious scholar. A special shout-out goes to Chagga, Nubian Li, Farouk, Bobi Wine, Klear Kut, Ragga Dee, Lyrical G, Babaluku, Twig, GK, Bebe Cool and, of course, Chameleon, for leading me down the yellow brick road, and letting me into the amazing adventures of your lives. And thanks to Isaac Mulindwa Jr. for keeping the gates open. Thanks to my supervisor Lotte Meinert, at department of Anthropology and Ethnography at University of Aarhus, who has taught me to respect my curiosity and follow my heart. Thanks to Peter Ntende, Saava Karim, Musah Kalyngo and Papito for transcribing and translating songs. To Kirsten Toft Bang, thank you for being some of the things that I am not. Together we make one great anthropologist. To Pia Falk Paarup, Rasmus Bang, Mette Nielsen, Mette Kristensen & Mette Krog, thanks for comments on drafts of this thesis and for your friendship. I would also like to thank Gitte Christensen and Nanna Mulamila Olsen for inspiration and moral support. -
Reclaiming Our Subjugated Truths: Using Hip-Hop As a Form of Decolonizing Public Pedagogy the Case of Didier Awadi
RECLAIMING OUR SUBJUGATED TRUTHS: USING HIP-HOP AS A FORM OF DECOLONIZING PUBLIC PEDAGOGY THE CASE OF DIDIER AWADI by Joanna Daguirane Da Sylva B.A., Manhattan College, 2007 M.A., The New School University, 2010 A THESIS SUBMITTED IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Educational Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2016 © Joanna Daguirane Da Sylva, 2016 Abstract When walking through the streets of Dakar, hip-hop makes its way through the radios of the city. Hip-hop has been a prominent and influential music genre and culture in Senegal since the 1980s. Hip-hop music has been used by Senegalese to cover the social, economic and political life of the country, and to promote political activism among the youth. Rapping was not born in a vacuum in Senegal but subtly continues the long-standing tradition of storytelling through spoken words and music, griotism. Moving away from hip-hop stereotypes, defined by critics as violent, racist, homophobic, sexist, materialistic, misogynistic and vulgar, my case study focuses on critical and conscious Senegalese hip-hop, which embraces hip-hop social and educational movements utilized to voice societal injustice and challenge the status quo. Senegalese hip-hop is a platform for political activists to denounce institutional racism, Western domination, poverty, and national corruption, with the hope of contributing to a better and just society that recognizes and legitimizes knowledges and voices of formerly colonized Africans. Didier Awadi is one of the most talented, conscientious, influential and revolutionary hip-hop artists and political activists of the continent. -
HIPLIFE MUSIC in GHANA: ITS EVOLUTION and WESTERNISATION Nana Osei Bonsu M.Ed. IT Student, College of Distance Education, Unive
Afro Asian Journal of Social Sciences Volume X, No. 10.4 Quarter IV 2019 ISSN: 2229 – 5313 HIPLIFE MUSIC IN GHANA: ITS EVOLUTION AND WESTERNISATION Nana Osei Bonsu M.Ed. IT Student, College of Distance Education, University of Cape Coast, Ghana Samuel Kofi Adjepong MPhil Candidate, Institute for Educational Planning and Administration, University of Cape Coast, Ghana ABSTRACT Music is an indispensable aspect of African culture; hence, music permeates in all aspect of African lives i.e. festivals, ceremonies, rituals, music and entertainments. In Ghana, highlife and hiplife music are the two most popular music genres. Hiplife which evolved in the twentieth century is a fusion of highlife and hip hop. This study discusses the evolution of hiplife music genre. It also establishes that although hiplife has western elements in its formation and evolution, those elements have been indigenised, decolonised and Africanised and thus could be said to be African music. Furthermore, this study posits that there has been progressive westernisation of Ghanaian hiplife music and musicians; this westernisation is evident in the stage names, music video concept, costume and music video location of hiplife musicians in Ghana. Key Words: Hiplife, Highlife, Ghana Music, Evolution, Indigenisation, westernisation, Introduction Music is an important element of human culture, and every culture that exists in human history has a form of music. Thus, music is inseparable from culture. Over the years, scholars have defined music in their own perspective. Levinson (1990:273) defines music as ‘sounds temporally organised by a person for the purpose of enriching or intensifying experience through active engagement (e.g. -
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. -
Influence of African Oral Tradition in Winning Jah's Reggae Music
International Journal of Research in Humanities and Social Studies Volume 5, Issue 3, 2018, PP 11-15 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online) Influence of African Oral Tradition in Winning Jah’s Reggae Music Solomon Awuzie, PhD Department of English, Edo University Iyamho, Edo State, Nigeria *Corresponding Author: Solomon Awuzie, Department of English, Edo University Iyamho, Edo State, Nigeria. ABSTRACT Since Bob Marley’s visit to Africa, the reggae music has become one of the music genres the African artistes imbibed. By joining in singing the reggae music, the African artistes have succeeded in spicing up the reggae music with the African oral tradition. Using Winning Jah’s selected reggae songs the influence of African oral tradition on the African reggae music is revealed. The paper concludes that African reggae artistes, such as Winning Jah, have succeeded in adding African flavour to the reggae music. The essence of this is to make it fit as an instrument for African social and political correction. Keywords: Reggae, Winning Jah, African Oral tradition, music INTRODUCTION also given the song the status of the symbol. It has musical makeup that has strong impact on Even though the popularity of the reggae music the African reggae music and that has also in Africa dates back to the 1980s when the distinguished it from other reggae music from Jamaican reggae stars, Bob Marley, Peter Tosh around the world. Jasper Onuekwusi has argued and Jimmy Cliff and others became known in that the African oral tradition “cannot exist the world for the reggae music. Bob Marley’s outside music, melody and rhythm for the trip to Zimbabwe, Burning Spear’s trip to musical impulse often forms the base of [its] Senegal and Jimmy Cliff’s journey to Senegal poetic composition” (118). -
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.