DOCSLIB.ORG

Hip-Hop Pedagogy, Epistemic Disobedience, and Youth Engagement in West Africa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. I am proud to have been trained and guided by my committee of five badass women. They have inspired, motivated, and pushed me to think critically, consider my research identity, and find my strength as I undertook this project. Thank you Birgitta for pushing me to expand my understanding of Hip-Hop pedagogy. Kara and Bre refocused my theoretical framework and discussions on civic education and I am forever thankful for the talks, emails and meetings to push me to my best self. I am fortunate to have had Anu’s help to better frame my research approach. I am incredibly thankful to my advisor, Payal, who has been a source of inspiration, support, and guidance as I embarked on my doctoral journey. Thank you for having my back and looking out, even when I didn’t know it. This journey would not have been possible had it not been for Doyle Stevick and his incredible faith in me. Through him I have been mentored, supported and guided by an incredible and supportive faculty. To my GJMPP mentor, Michelle Bryan for keeping it real and giving me space to grow. Thank you for helping me reframe and contextualize my research agenda. To Madame Sidibe, for being a formidable teacher and scholar. Thank you for taking me in while I was in Dakar and teaching me more outside of the classroom. Had it not been for Prof. Sambou’s diligence and patience, I would not iii have made it very far with my interviews and research questions. To Kiel Downey for always having my back and supporting me as I have grown in my professional and academic endeavors. I am incredibly humbled by the support I received from Jen Bess at the Office of Fellowships and Scholar Programs. With her help, I was able to successfully apply for the Boren and Fulbright fellowships. To Madame Kanté at the Ministry of Higher Education in Abidjan for her flexibility and support of my research work. My research in Abidjan would not have been possible without my research assistants – Mr. Kanate, Audrey, Rama, Moussa, Olivier, Konate, and Theodore. Your hard work, eagerness to develop new skills, and patience to translate, explain and contextualize added incredible depth to my understanding of this study. To Mr. Kanate, I am especially thankful for your motivation which always inspired me. To my dear friend and colleague, Vieux Touré, words cannot express how much your guidance, advice and support have meant to me. Thank you for looking out, always. Finally, to my EDFI family, I’m so happy to have studied, learned and grown with you. Many other friends, colleagues, and mentors warrant acknowledgement, and to all of them, I express my deepest gratitude. To my family and friends for their continued love and support. This has not been an easy road and at times seemed like it was never ending. I can’t believe we made it! Thank you for the care packages, prayers, words of advice and wisdom. I thank my parents for being there for me even when I took my own path. And to my sister and brothers, thank you for your fervent support and laughter. Lastly, I would like to thank the U.S. State Department and the Fulbright Public Policy program, the NSEP Boren Fellowship program, the University of South Carolina’s iv College of Education, and the Grace Jordan McFadden Professor’s Program for their generous support. I thank the West African Research Center, the Ministry of Higher Education and Scientific Research, Unversité Cheikh Anta Diop, and Université Félix Houphouët Boigny for their support. And, to the students, Yenamarristes and Fescists who opened their worlds to me. Without your incredible support, my work in Senegal and Cote d’Ivoire, would not have been possible. v ABSTRACT This dissertation was a 23-month comparative case study of Y’en a Marre, a civic organizing movement based in Dakar, Senegal and FESCI, a student organization in Abidjan, Côte d’Ivoire. This study investigates the ways in which these organizations view Hip-Hop and its pedagogical utility as a means to encourage socialization, promote authenticity, and foster leadership. Through Hip-Hop, young people are drawn to a cultural expression that reflects the social, economic, and political realities of their lives speaking to them in a language and manner they understand. This is critical given sub- Saharan Africa’s tremendous youth population and their potential impact on the continent. Utilizing a transnégritude theoretical framework, this study situates Hip-Hop pedagogy and epistemic disobedience as vehicles of expression impacting language, identity, and engagement as a means to decolonize and liberate from dominant narratives. To articulate Hip-Hop pedagogy as an effective tool for engagement, a comparative case study methodology was employed study to consider the macro, that is the social, political and historical dynamics that have shaped and influenced young people, education and engagement; and the micro—the multilayered lived realities of young people in West Africa. By focusing on young people as an asset, this study considers young people to be at the helm of social change, playing a crucial role in curtailing corruption, migration, and political instability. The influence and notoriety of organizations such as Y’en a vi Marre and FESCI, illustrate the impact of a Hip-Hop pedagogy that not only heals but promotes leadership, ownership, and autonomy. vii TABLE OF CONTENTS DEDICATION .................................................................................................................... ii ACKNOWLEDGEMENTS ............................................................................................... iii ABSTRACT ....................................................................................................................... vi CHAPTER 1: INTRODUCTION ........................................................................................1 Context .............................................................................................................................6 Literature and theoretical framework .............................................................................15 Research design - Comparative Case Study ...................................................................15 Contributions ..................................................................................................................16 Overview ........................................................................................................................17 CHAPTER 2: OUTTA HERE: THEORETICAL FRAMEWORK AND LITERATURE REVIEW ......................................................................................19 Introduction ....................................................................................................................19 Transnégritude ................................................................................................................20 Epistemic Disobedience .................................................................................................27 Civic and citizen education ............................................................................................32 Hip-Hop, transnégritude, and epistemic disobedience ...................................................35 Hip-Hop as Pedagogy .....................................................................................................38 Hip-Hop and language ...................................................................................................44 viii Hip-Hop and Identity .....................................................................................................54 Hip-Hop and engagement ...............................................................................................58
Load more

Recommended publications
  • Kaya Hip-Hop in Coastal Kenya: the Urban Poetry of UKOO FLANI
    Page 1 of 46 Kaya Hip-Hop in Coastal Kenya: The Urban Poetry of UKOO FLANI By: Divinity LaShelle Barkley [email protected] Academic Director: Athman Lali Omar I.S.P. Advisor: Professor Mohamed Abdulaziz S.I.T. Kenya, Fall 2007 Coastal Cultures & Swahili Studies Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 2 of 46 Table of Contents Acknowledgements………………………………………..………………….page 3 Abstract……………………………………………..…………………………page 4 Introduction…………………………………..……………………………pages 5-8 Hip-Hop & Kenyan Youth Culture Research Problem Status of Hip-Hop in Kenya Hypotheses The Setting……………………………….………………………………pages 9-10 Methodology: Data Collection……………………………………..…pages 10-12 Biases and Assumptions………………………..………...…………...pages 13-14 Discussion & Analysis…………………………………………………pages 14-38 Ukoo Flani ni nani? Kaya Hip-Hop Traditional Role of Music in African Culture Genesis of Rap/Hip-hop in American Ghettoes The Ties That Bind Kenyan Radio The Maskani Ghetto Life Will the real Ukoo Flani please stand up? Urban Poetry: Analyzing Ukoo Flani’s Lyrics Conclusion…………………………..……………………….…………pages 38-42 Conclusion Part I: The Future of Ukoo Flani Conclusion Part II: Hypotheses Results Conclusion Part III: Recommendations for Future SIT Students Bibliography………………………………………………..…………..pages 43-44 Interview/Meeting Schedule………………………………………………page 45 ISP Review Sheet…………….……………………………………….……page 46 Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 3 of 46 Acknowledgements First and foremost, I would like to thank the entire Ukoo Flani crew for their contributions to my project. I am fascinated by your amazing talent and dedication to making positive music to inspire future generations. I am amazed at what you have been able to accomplish despite limited access to resources.
    [Show full text]
  • 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.
    [Show full text]
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Gender Dimensions in Emerging African Music Genres: a Case of Kenyan Local Hip Hop
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 5, Ser. 9 (May. 2019) 54-61 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Gender Dimensions in Emerging African Music Genres: A Case of Kenyan Local Hip Hop Pamela N.Wanjala Shamberere Technical Training Institute P.o Box 1316, Kakamega, Kenya Abstract: The question of gender bias is now seen as a major challenge in almost every discipline that deals with human behavior, cognition, institutions, society and culture. Therefore, this paper was an attempt to investigate gender dimensions in the emerging African genres; a case study of local hip hop songs in Kenya. It discussed the extent to which hip hop language is gender biased. It focused on the popular local hip hop songs and video images that occur with the songs. The study used the Social Semiotic Theory in the theoretical framework. Ten hip hop songs and ten video excerpts were purposively selected for analysis. The hip hop songs were coded according to the name of the artist and year of production. The data was analyzed under three sections: Linguistic analysis, Image analysis and Gender analysis. The study revealed that indeed there is gender bias in the language of the favourite youth culture. This was revealed in the lexis that distinguishes gender, in the syntactic analysis and also in the image analysis. It was found that in hip hop music, men tend to be regarded higher in terms of roles, occupation and general human traits like strength and control than women. The study therefore recommends that radio and television stations, and other advertising agencies should join the battle for women liberation by using gender sensitive language and focusing on positive and constructive societal changes in terms of gender roles.
    [Show full text]
  • Music of Ghana and Tanzania
    MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups.
    [Show full text]
  • Global Hip-Hop Class
    AAAS 135b: GLOBAL HIP-HOP Wed 6:30-9:20 pm Mandel G03 Spring 2012 Wayne Marshall [email protected] office hours: by appointment DESCRIPTION Examining how hip-hop travels and is embraced, represented, and transformed in various locales around the world, this course approaches hip-hop as itself constituted by international flows and as a product and set of practices that circulate globally in complex ways, cast variously as American, African-American, and/or black, and recast through the cultural logics of the new spaces it enters, the soundscapes it permeates. A host of questions arise when we consider hip-hopʼs global scope and significance: What does the genre in its various forms (audio, video, sartorial, gestural) carry beyond the US? What do people bring to it in new local contexts? How are US notions of race and nation mediated by hip-hop's global reach? Why do some global (which is to say, local) hip-hop scenes fasten onto the genre's well-rehearsed focus on place, community, and righteous opposition to structural and representational forms of violence, while others appear more enamored with slick portrayals of hustler archetypes, cool machismo, and ruggedly individualist, conspicuous consumption? How can hip-hop circulate in such contradictory forms? In what ways do hip-hop scenes differ from North to South America, West to East Africa, Europe to Asia? What threads unite them? In pursuit of such questions, we will read across the emerging literature on global hip- hop as we explore the growing resources available via the internet, where websites and blogs, MySpace and YouTube and the like have facilitated a further efflorescence of international (and peer-to-peer) exchanges around hip-hop.
    [Show full text]
  • 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.
    [Show full text]
  • A Selective Study of Negro Worksongs in the United States Margaret E
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1976 A Selective Study of Negro Worksongs in the United States Margaret E. Hilton Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Hilton, Margaret E., "A Selective Study of Negro Worksongs in the United States" (1976). Masters Theses. 3429. https://thekeep.eiu.edu/theses/3429 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. A SELECTIVE STUDY OF NEGRO WORKSONGS IN THE UNITED STATES (TITLE) BY MARGARET E. HILTON THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENlS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1976 YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE 5'/t.. g�,.i� 1 ADVISER �t9/t '"(' •err 8'4r: DEPARTMENT HEAD I PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. ' The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holding s . Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a.
    [Show full text]
  • 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.
    [Show full text]
  • The Challenges of Reinvigorating Democracy Through Visual Art in 21St Century Nairobi
    The challenges of reinvigorating democracy through visual art in 21st century Nairobi Craig Campbell Halliday 30 September 2019 Dissertation Submitted in Partial Fulfilment for the Degree of Doctor of Philosophy Sainsbury Research Unit for the Arts of Africa, Oceania & the Americas School of Art, Media and American Studies University of East Anglia, Norwich This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract This study examines the potential for contemporary visual art to reinvigorate democracy in 21st century Nairobi, Kenya, through an interdisciplinary investigation. The new millennium ushered in fresh hope for democratisation in the postcolonial East African country. In 2002, Daniel arap Moi’s 24 years of authoritarian rule ended. The opposition were victorious at the ballot box, instilling a belief amongst the electorate that formal political processes could bring change. However, the post-election violence of 2007/8 shattered such convictions. But, from this election result came a progressive Constitution and with it possibilities for creating change. These momentous events underscore Kenya’s topsy-turvy path towards democracy – a path whose trajectory is charted in the experience of ordinary Kenyans who believe in democracy’s value and their right to participate in politics and civil life. Artists, too, have been at the forefront of this ongoing struggle. This study draws on empirical research to demonstrate contemporary visual art’s capacity to expand ways of practising, experiencing and understanding democracy.
    [Show full text]
  • Transnational Habitus: Mariem Hassan As the Transcultural Representation of the Relationship Between Saharaui Music and Nubenegra Records
    Transnational Habitus: Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records Luis Gimenez Amoros Submitted in partial fullfilment of the requirements for the degree of Doctor of Philosophy, Rhodes University PhD (thesis) Department of Music and Musicology Supervisor: Dr Lee Watkins I Abstract This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul 1- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara.
    [Show full text]
  • D12 Devil 039S Night Full Album Zip
    1 / 3 D12 Devil 039;s Night Full Album Zip Full Album Mp3D12 Devil's Night Full Album Zip FreeD12 Devil's Night mp3 download| Devil's Night complete mp3 album - MP3TLA Login: Password: Browse by Artist: Our stats: Artists: 185157 (+25)| Albums: 692122 (+71)| Tracks: 7515823 (+731) D12, Devil's Night (album) mp3 download Text Of The Day Search by artist, album or song! Find We recommend it!Artist: Album: Devil's Night Year: 2001 Quality: High Rating: Track listing: No.. D12 finally drops their much anticipated mixtape “Devil’s Night” featuring G-Unit and Slaughterhouse.. Porter), Block Symfany, Silent Riot Format: mp3 320 Kbps Duration: 00:45:16 Size: 103 Mb Tracklist: 03:16 01.. 16 Mb 7 D12 - American Psycho mp3 8 13 Mb 8 D12 - That's How(Skit) mp3 1 10 Mb 9.. D12 - That's How mp3 8 44 Mb 10 D12 - Purple Pills mp3 8 94 Mb 11 D12 - Fight Music.. You can download and stream the mixtape for free below, oh D12 the Dirty Dozen return for their latest street album/mixtape.. Features Trick Trick, Young Buck, Maestro plus more Eminem appeared on the track Fame.. 'Cause girl you're amazing, Just the way you are D12 Devil's Night Full Album Zip FreeFor your search query D12 Devils Night Review MP3 we have found 1000000 songs matching your query but showing only top 10 results.. 'Cause you're amazing, Just the way you are And when you smile, The whole world stops and stares for a while. Title Size 1 D12 - Another Public Service Announcement(Skit) mp3 1 42 Mb 2 D12 - Shit Can Happen.
    [Show full text]