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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. -
AFRICANDO Martina
AFRICANDO Martina EXIL 2665-2 LC 08972 VÖ: 26.05.2003 DISTRIBUTION: INDIGO Trifft der Begriff Melting Pot auf irgendeine Combo zu – dann ist es diese. Afrikas schillerndste Salsa-Bigband hat sich in der Dekade ih- res Bestehens auf fünf Studio-Alben in den Olymp des Afro-Latino- Genres katapultiert. Mit gutem Gewissen können wir sagen, dass sich karibischer Hüftschwung und die smarten Stimmen Schwarzafrikas nirgendwo so packend und natürlich verschmelzend begegnen wie bei Africando, der Formation um das Mastermind Boncana Maiga. Nach ihrem Meisterstreich Betece (EXIL 9766-2), der das neue Salsa-Millenium mit Gastauftritten von Salif Keita oder Lokua Kanza an der Spitze der Weltmusikcharts glanzvoll einläutete, und dem nachfolgenden Doppel-Album Africando Live mit den Hits aus ih- rer ganzen Laufbahn, sind die interkontinentalen Herren zügig mit neuen Surprisen zurück: Das elegante neue Album Martina ist ihr mittlerweile siebtes Werk – und diesmal verzeichnet man auf der Li- ste der Eingeladenen sogar Ismael Lô. Musikalisch konzentrieren sich Africando diesmal vor allem auf die descarga, das explosive Im- provisieren mit dem Charakter einer Jam-Session. Noch haben wir die atemberaubenden Live-Versionen des CD-Mitschnitts aus dem Pariser “Zénith” im Ohr (Live - EXIL 0543-2), auf dem Africando mit dem zündenden Backing von multinationalen Instrumentalisten ihre Hits Revue pas- sieren ließen und Bilanz eines überragenden afro-karibischen Siegeszuges zogen. Der begann 1993, als Boncana Maiga, ein kuba-verrückter Musiker aus Mali, But- ter bei die Fische machte. In den Sechzigern hatte Maiga während seines Auf- enthaltes in Havanna die legendäre Formation Maravillas de Mali gegründet, spä- ter mit den Fania All Stars getourt und in Abidjan ein Studio hochgezogen, durch das Berühmtheiten wie Alpha Blondy oder Mory Kanté defilierten. -
Carnival in the Creole City: Place, Race and Identity in the Age of Globalization Daphne Lamothe Smith College, [email protected]
Masthead Logo Smith ScholarWorks Africana Studies: Faculty Publications Africana Studies Spring 2012 Carnival in the Creole City: Place, Race and Identity in the Age of Globalization Daphne Lamothe Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/afr_facpubs Part of the Africana Studies Commons Recommended Citation Lamothe, Daphne, "Carnival in the Creole City: Place, Race and Identity in the Age of Globalization" (2012). Africana Studies: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/afr_facpubs/4 This Article has been accepted for inclusion in Africana Studies: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] CARNIVAL IN THE CREOLE CITY: PLACE, RACE, AND IDENTITY IN THE AGE OF GLOBALIZATION Author(s): DAPHNE LAMOTHE Source: Biography, Vol. 35, No. 2, LIFE STORIES FROM THE CREOLE CITY (spring 2012), pp. 360-374 Published by: University of Hawai'i Press Stable URL: https://www.jstor.org/stable/23541249 Accessed: 06-03-2019 14:34 UTC 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 Hawai'i Press is collaborating with JSTOR to digitize, preserve and extend access to Biography This content downloaded from 131.229.64.25 on Wed, 06 Mar 2019 14:34:43 UTC All use subject to https://about.jstor.org/terms CARNIVAL IN THE CREOLE CITY: PLACE, RACE, AND IDENTITY IN THE AGE OF GLOBALIZATION DAPHNE LAMOTHE In both the popular and literary imaginations, carnival music, dance, and culture have come to signify a dynamic multiculturalism in the era of global ization. -
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. -
Halifu Osumare, the Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 Pp., $85.00 (Hardcover)
International Journal of Communication 7 (2013), Book Review 1501–1504 1932–8036/2013BKR0009 Halifu Osumare, The Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 pp., $85.00 (hardcover). Reviewed by Angela Anima-Korang Southern Illinois University Carbondale Ghana’s music industry can be described as a thriving one, much like its film industry. The West African sovereign state is well on its way to becoming a force to reckon with on the international music market. With such contemporary rap artists as Sarkodie, Fuse ODG (Azonto), Reggie Rockstone, R2Bs, and Edem in its fold, Ghana’s music is transcending borders and penetrating international markets. Historically, Ghana’s varying ethnic groups, as well as its interaction with countries on the continent, greatly influences the genres of music that the country has created over the years. Traditionally, Ghana’s music is geographically categorized by the types of musical instruments used: Music originating from the North uses stringed instruments and high-pitched voices; and music emanating from the Coast features drums and relatively low-pitched voice intermissions. Up until the 1990s, “highlife” was the most popular form of music in Ghana, borrowing from jazz, swing, rock, soukous, and mostly music to which the colonizers had listened. Highlife switched from the traditional form with drums to a music genre characterized by the electric guitar. “Burger-highlife” then erupted as a form of highlife generated by artists who had settled out of Ghana (primarily in Germany), but who still felt connected to the motherland through music, such as Ben Brako, George Darko, and Pat Thomas. -
We're Taking Africa to the World
“We’re Taking Africa to the World”: Commercial Self- fashioning as a Vehicle for Collective Aspirations in the 21st Century JAANA SERRES “It’s finally cool to be an ‘African’” (Kaumbutho). This 2017 blog post by Kenyan poet Kimathi Kaumbutho echoed the performative claims heard throughout the African middle class in the wake of the changing narrative about “Africa,” from “The hopeless continent” (The Economist 2000) to “Africa rising” (The Economist 2011). Elements and signs of “Africanness” have indeed been increasingly featured in “global” popular culture, from clothing lines to films, and even the practice of capitalism is rebranded with “African traditional principles” through the Africapitalist and Ubuntu “economic philosophies.” But as suggested by Kaumbutho’s list of achievements “Africans can take pride in,” one cultural medium has proven particularly instrumental to this new wave of positive identification with “Africa”: Nigerian music. As Nigeria was arguably entering a post-oil era in the 2010s (Burns and Owen), its renewed popular music industry benefitted from the development of digital technology and the expression of corporate interest by telecom companies, retail brands, and foreign-educated young professionals, making it an exemplary manifestation of a new pan-Africanism founded on neoliberal aspirations (Shipley Living the Hiplife). Global professional services firm PwC announced that total revenue for Nigeria’s entertainment and media industry was expected to grow to US$8.1 billion in 2019, calling it the “fastest-expanding major market globally” (Oxford Business Group). However, only a very small share of this revenue occurs from the actual sale of cultural products (PwC 22). -
Heritage Month
HARRIS BEACH RECOGNIZES NATIONAL HISPANIC HERITAGE MONTH National Hispanic Heritage Month in the United States honors the histories, cultures and contributions of American citizens whose ancestors came from Spain, Mexico, the Caribbean and Central and South America. We’re participating at Harris Beach by spotlighting interesting Hispanic public figures, and facts about different countries, and testing your language skills. As our focus on National Hispanic Heritage Month continues, this week we focus on a figure from the world of sports: Roberto Clemente, who is known as much for his accomplishments as humanitarian as he is for his feats on the field of play. ROBERTO CLEMENTE Roberto Enrique Clemente Walker of Puerto Rico, born August 18, 1934, has the distinction of being the first Latin American and Caribbean player to be inducted in the National Baseball Hall of Fame. He played right field over 18 seasons for the Pittsburgh Pirates. Clemente’s untimely death established the precedent that, as an alternative to the five-year retirement period, a player who has been deceased for at least six months is eligible for entry into the Hall of Fame. Clemente was the youngest of 7 children and was raised in Barrio San Antón, Carolina, Puerto Rico. During his childhood, his father worked as foreman of sugar crops located in the municipality and, because the family’s resources were limited, Clemente worked alongside his father in the fields by loading and unloading trucks. Clemente was a track and field star and Olympic hopeful before deciding to turn his full attention to baseball. His interest in baseball showed itself early on in childhood with Clemente often times playing against neighboring barrios. -
Roczniki Hum$Nistyczne
7RZDU]\VWZR 1DXNRZH .DWROLFNLHJR 8QLZHUV\WHWX /XEHOVNLHJR 7RP;/,9]HV]\W 52&=1,., +80$1,67<&=1( 1(2),/2/2*,$ ALFONS PILORZ EVOLUTION SEMANTIQUE DES EMPRUNTS FRANÇAIS EN POLONAIS /8%/,1 TABLE DES MATIERES Avant-propos ................................. 7 Corpus ..................................... 29 Petitcorpus .................................. 67 Analyse ..................................... 77 Remarquesfinales .............................. 159 Bibliographie ................................. 161 AVANT-PROPOS Si les gens regardaient l’étymologie des mots, peut-être comprendraient-ils que la richesse du français vient du brassage des cultures. («Lire», no 204, p. 43, publicité des diction- naires LE ROBERT) Toute préocupation étymologique suppose une visée diachronique. L’étude de l’emprunt entretient des rapports intimes avec l’analyse étymologique. Cependant elle déborde le cadre strictement linguistique de celle-ci pour entrer de plain-pied dans le domaine de l’histoire des rapports culturels. L’emprunt linguistique est un phénomène panhumain, non moins généralisé que les échanges de biens matériels et de techniques. Depuis de très anciennes époques préhistoriques, les sociétés humaines échangent biens de consommation (sel, par exemple), matières premières (silex, ambre...), instruments (couteaux, grattoirs...). Depuis fort longtemps, il n’y a pratiquement plus de groupements humains autarciques. De même, il n’y a guère d’autarcie sur le plan lingui- stique. Les langues, véhicules de cultures, cultures en permanent brassage (évi- -
United States Court of Appeals for the First Circuit
United States Court of Appeals For the First Circuit Nos. 12-2364, 12-2367 UNITED STATES, Appellee, v. WENDELL RIVERA-RUPERTO, a/k/a Arsenio Rivera, Defendant, Appellant. APPEALS FROM THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF PUERTO RICO [Hon. Juan M. Pérez-Giménez, U.S. District Judge] Before Torruella, Lipez, and Thompson, Circuit Judges. H. Manuel Hernández for appellant. Robert J. Heberle, Attorney, Public Integrity Section, Criminal Division, U.S. Department of Justice, with whom Francisco A. Besosa-Martínez, Assistant United States Attorney, Nelson Pérez-Sosa, Assistant United States Attorney, Chief, Appellate Division, and Rosa Emilia Rodríguez-Vélez, United States Attorney, were on brief, for appellee. January 13, 2017 THOMPSON, Circuit Judge. This case arises out of a now- familiar, large-scale FBI investigation known as "Operation Guard Shack," in which the FBI, in an effort to root out police corruption throughout Puerto Rico, orchestrated a series of staged drug deals over the course of several years.1 For his participation in six of these Operation Guard Shack drug deals, Defendant- Appellant Wendell Rivera-Ruperto stood two trials and was found guilty of various federal drug and firearms-related crimes. The convictions resulted in Rivera-Ruperto receiving a combined sentence of 161-years and 10-months' imprisonment. Although Rivera-Ruperto raises similar challenges in his appeals from the two separate trials, each trial was presided over by a different district judge. Thus, there are two cases on appeal, and we address the various challenges today in separate opinions.2 In this present appeal from the first trial, Rivera- Ruperto argues that the district court committed reversible errors when it: (1) denied his claim for ineffective assistance of counsel during the plea-bargaining stage; (2) failed to instruct the jury that it was required to find drug quantity beyond a reasonable 1 See, e.g., United States v. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
Wyclef Jean at the International Balloon Festival
PRESS RELEASE Embargoed till March 30, 2017 6:00 AM WYCLEF JEAN AT THE INTERNATIONAL BALLOON FESTIVAL SAINT-JEAN-SUR-RICHELIEU, March 30, 2017 – The International Balloon Festival of Saint-Jean-Sur-Richelieu is proud to announce the presence of Wyclef Jean for its 34th Edition. The worldwide superstar Wyclef Jean will be performing on the Loto-Québec stage on Saturday August 12th, to the greatest pleasure of his fans, as well as the supporters of his 90’s Hip Hop group The Fugees. It is clear that Wyclef Jean will have the whole crowd dancing to his many hits, such as «Sweetest girl» and «Divine Sorrow», without mentioning the titles from his most recent album J’Ouvert, including «I Swear», out last February. With influences from jazz to classic rock to reggae, Wyclef Jean knows how to reinvent himself while offering eclectic music. Sometimes pop, sometimes Latin, his creative and adventurous music was often rewarded, as reflected by his three Grammy Awards. His six solo albums sold close to nine million copies throughout the world. The signer-songwriter and producer is also behind numerous worldwide hits interpreted by many other artists including Shakira, Carlos Santana, Whitney Houston and Destiny’s Child. Since this past November, the electro-acoustic ballad «Divine Sorrow», achieved in collaboration with Avicii, is a great success. With over nine million vues on Youtube, this song reminds the public how Wyclef Jean will never cease to create music and will keep on surprising his fans. His last album J’Ouvert is a great example, and can only keep building his fans’ excitement towards his upcomming album Carnival III coming this summer. -
“Indépendance Cha Cha”: African Pop Music Since the Independence Era, In: Africa Spectrum, 45, 3, 131-146
Africa Spectrum Dorsch, Hauke (2010), “Indépendance Cha Cha”: African Pop Music since the Independence Era, in: Africa Spectrum, 45, 3, 131-146. ISSN: 1868-6869 (online), ISSN: 0002-0397 (print) The online version of this and the other articles can be found at: <www.africa-spectrum.org> Published by GIGA German Institute of Global and Area Studies, Institute of African Affairs in co-operation with the Dag Hammarskjöld Foundation Uppsala and Hamburg University Press. Africa Spectrum is an Open Access publication. It may be read, copied and distributed free of charge according to the conditions of the Creative Commons Attribution-No Derivative Works 3.0 License. To subscribe to the print edition: <[email protected]> For an e-mail alert please register at: <www.africa-spectrum.org> Africa Spectrum is part of the GIGA Journal Family which includes: Africa Spectrum • Journal of Current Chinese Affairs • Journal of Current Southeast Asian Affairs • Journal of Politics in Latin America • <www.giga-journal-family.org> Africa Spectrum 3/2010: 131-146 “Indépendance Cha Cha”: African Pop Music since the Independence Era Hauke Dorsch Abstract: Investigating why Latin American music came to be the sound- track of the independence era, this contribution offers an overview of musi- cal developments and cultural politics in certain sub-Saharan African coun- tries since the 1960s. Focusing first on how the governments of newly inde- pendent African states used musical styles and musicians to support their nation-building projects, the article then looks at musicians’ more recent perspectives on the independence era. Manuscript received 17 November 2010; 21 February 2011 Keywords: Africa, music, socio-cultural change Hauke Dorsch teaches cultural anthropology at Johannes Gutenberg Uni- versity in Mainz, Germany, where he also serves as the director of the Afri- can Music Archive.