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2015 FALL/WINTER SEASON the Apollo Theater Launches
2015 FALL/WINTER SEASON The Apollo Theater launches Apollo Comedy Club The new series marks the extension of the Theater’s late night programming and will kick-off with the Apollo Walk of Fame Induction of comedic legends Redd Foxx, Jackie “Moms” Mabley and Richard Pryor Other 2015 Season Highlights Include: The return of the global hip-hop dance theater festival Breakin’ Convention Just added celebrated French dance duo Les Twins Also featuring a new work developed at the Apollo by acclaimed choreographer Rennie Harris Irvin Mayfield, Dee Dee Bridgewater & the New Orleans Jazz Orchestra For the New York Concert Premiere of Bridgewater and Mayfield’s New Album ‘Dee Dee’s Feathers’ A Festive Halloween Weekend Celebration To Include A New Orleans Masquerade Themed Concert and After Party World premiere of renowned Brazilian choreographer Fernando Melo’s latest work; A co-commission with Ballet Hispanico Apollo and Jazz à Vienne’s artistic and cultural exchange continues with Je Suis Soul: A Salute To French And African Jazz And Soul A Celebration for the 35th Anniversary of the Jazz à Vienne Festival featuring French soul’s leading artists The Legendary Manu Dibango, Ben l’Oncle Soul with the Monophonics and Les Nubians The Classical Theatre of Harlem presents The First Noel: A World Premiere Musical; Book, music and lyrics by Lelund Durond Thompson and Jason Michael Webb (Harlem, NY –September 21, 2015)—On the heels of the recently announced expansion of its daytime programming with the Billie Holiday hologram show, the Apollo Theater today announced another exciting new addition to its 2015 Fall/Winter season with the launch of a new comedy initiative – Apollo Comedy Club. -
Trilingual Codeswitching in Kenya – Evidence from Ekegusii, Kiswahili, English and Sheng
Trilingual Codeswitching in Kenya – Evidence from Ekegusii, Kiswahili, English and Sheng Dissertation zur Erlangung der Würde des Doktors der Philosophie der Universität Hamburg vorgelegt von Nathan Oyori Ogechi aus Kenia Hamburg 2002 ii 1. Gutachterin: Prof. Dr. Mechthild Reh 2. Gutachter: Prof. Dr. Ludwig Gerhardt Datum der Disputation: 15. November 2002 iii Acknowledgement I am indebted to many people for their support and encouragement. It is not possible to mention all by name. However, it would be remiss of me not to name some of them because their support was too conspicuous. I am bereft of words with which to thank my supervisor Prof. Dr. Mechthild Reh for accepting to supervise my research and her selflessness that enabled me secure further funding at the expiry of my one-year scholarship. Her thoroughness and meticulous supervision kept me on toes. I am also indebted to Prof. Dr. Ludwig Gerhardt for reading my error-ridden draft. I appreciate the support I received from everybody at the Afrika-Abteilung, Universität Hamburg, namely Dr. Roland Kießling, Theda Schumann, Dr. Jutta Becher, Christiane Simon, Christine Pawlitzky and the institute librarian, Frau Carmen Geisenheyner. Professors Myers-Scotton, Kamwangamalu, Clyne and Auer generously sent me reading materials whenever I needed them. Thank you Dr. Irmi Hanak at Afrikanistik, Vienna, Ndugu Abdulatif Abdalla of Leipzig and Bi. Sauda Samson of Hamburg. I thank the DAAD for initially funding my stay in Deutschland. Professors Miehe and Khamis of Bayreuth must be thanked for their selfless support. I appreciate the kind support I received from the Akademisches Auslandsamt, University of Hamburg. -
Rumba in the Jungle Soukous Und Congotronics Aus Kinshasa
1 SWR2 MusikGlobal Rumba in the Jungle Soukous und Congotronics aus Kinshasa Von Arian Fariborz Sendung: Dienstag, 29.01.2019, 23:03 Uhr Redaktion: Anette Sidhu-Ingenhoff Produktion: SWR 2019 SWR2 MusikGlobal können Sie auch im SWR2 Webradio unter www.SWR2.de und auf Mobilgeräten in der SWR2 App hören Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de Die neue SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app 2 SWR 2 MusikGlobal Die "Rumba Congolaise" – Afrikas neuer "Buena Vista Social Club" Von Arian Fariborz Länge: ca. 58:00 Redaktion: Anette Sidhu Musik 1 Mbongwana Star: „Malukayi“, CD From Kinshasa, Track 6, Länge: 6:02, Label: World Circuit, LC-Nummer: 02339, bis ca. 10 sec. als Musikbett unter Sprecher 1 legen, dann ausspielen und ab ca. 3:30 mit nachfolgender Atmo (Matongé) verblenden Sprecher 1 Heute in SWR 2 MusikGlobal: Die "Rumba Congolaise" – Afrikas neuer "Buena Vista Social Club". -
Jazz Collection: Manu Dibango
Jazz Collection: Manu Dibango Dienstag, 16. Dezember 2014, 21.00 - 22.00 Uhr Samstag, 20. Dezember 2014, 22.00 - 24.00 Uhr (Zweitsendung) Er ist einer der Väter der World Music. Manu Dibango hat mit seinem Saxophon und Soul Makossa eine der grossen Hymnen afrikanischer Musik geschaffen. Der Berner Saxophonist Jan Galega Brönnimann ist zu Gast in der Sendung. Manu Dibango kommt am 12. Dezember 1933 in Kamerun, damals noch französische Kolonie, zur Welt. Seine Eltern schicken ihn mit 16 Jahren zu weiteren Ausbildung nach Frankreich, wo er das Saxophon und den Jazz entdeckt. In Belgien kommt er in Kontakt mit Musikern aus dem Kongo. Ab 1967 leitet er seine erste Big Band, und 1972 feiert er seinen grössten Erfolg mit «Soul Makossa», was ihm auch eine USA-Tournee einbringt. Manu Dibangos Cocktail aus westafrikanischer Musik, Blues, Reggae und Jazz fasziniert auch Pop- Stars wie Michael Jackson und Rihanna, die Soul Makossa covern. 2009 verklagt Dibango die grossen Musikkonzerne wegen der Rechte an seiner Komposition und erreicht einen Vergleich. 2010 wird er zum Chevalier der französischen Ehrenlegion ernannt. Jan Galega Brönnimann, der Saxophonist der Gruppe Brinkmanship, hat seine frühe Kindheit selbst in Kamerun verbracht. Er ist vertraut mit Manu Dibangos Musik und würdigt den grossen alten Mann zu dessen 9x9ten Geburtstag. Redaktion: Beat Blaser Moderation: Andreas MüllerCrepon Manu Dibango: Saxy-Party (1967) LP Mercury, 185 217 Track 7: Wouri Manu Dibango: Soul Makossa (1972) CD Accord, 139215 Track 1: Soul Makossa Manu Dibango: African -
The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. -
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. -
French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs. -
Designfreebies Indesign Brochure Template
Page1 www.karibumusic.org Page3 Bagamoyo Until the middle of the 18th century, Bagamoyo was a small, rather insignificant trading center. Trade items were fish, salt and gum among other things. Most of the population consisted of fishermen and farmers. 19th century: The arrival of the Arabs. Bagamoyo became a central point for the East African slave trade In 1868 Muslims presented the “Fathers of the Holy Ghost” with land to build a mission north of Bagamoyo - the first mission in East Africa. 19th century: A starting point for the expeditions of Livingstone and others. 1874: The body of Livingstone is laid-in-state in Bagamoyo. 1880: Bagamoyo is a multi-cultural town with about 1,000 inhabitants. 1888: Bagamoyo becomes the capital of German-East Africa. Welcome Note KARIBU MUSIC FESTIVAL 2014 Content Festival Overview ............................... Page 7 Karibu Cultural Promotions................ Page 8 Technical partner ............................... Page 9 Partners............................................... Page 10 Festival Artists .................................... Page 11 - 31 Music Workshops & Seminars ........... Page 32 Performance Schedule.......................... Page 36 Festival Map..........................................Page 37 7 Festival Overview aribu Music Festival is an annual, Three-days International Music Festival created by Karibu KCultural Promotions, a nonprofit making organization and the Legendary Music Entertainment & Promotion of Dar es Salaam Tanzania. This is the second edition of the Karibu Music Festival to be held at Bagamoyo, the College of Arts and Culture (TASUBA) and on Mwanakalenge grounds. Karibu Festival is composed of various genres of art such as music, dance and cultural exposure; where by artists from different parts of the world are invited to share the stage with the local artists of Tanzania. -
Identity, Nationalism, and Resistance in African Popular Music
Instructor: Jeffrey Callen, Ph.D., Adjunct Faculty, Department of Performing Arts, University of San Francisco SYLLABUS ETHNOMUSICOLOGY 98T: IDENTITY, NATIONALISM AND RESISTANCE IN AFRICAN POPULAR MUSIC How are significant cultural changes reflected in popular music? How does popular music express the aspirations of musicians and fans? Can popular music help you create a different sense of who you are? Course Statement: The goal of this course is to encourage you to think critically about popular music. Our focus will be on how popular music in Africa expresses people’s hopes and aspirations, and sense of who they are. Through six case studies, we will examine the role popular music plays in the formation of national and transnational identities in Africa, and in mobilizing cultural and political resistance. We will look at a wide variety of African musical styles from Congolese rumba of the 1950s to hip-hop in a variety of African countries today. Readings: There is one required book for this course: Music is the Weapon of the Future by Frank Tenaille. Additional readings are posted on the Blackboard site for this class. Readings are to be done prior to the week in which they are discussed Listenings: Listenings (posted on Blackboard) are to be done prior to the week in which they are discussed. If entire albums are assigned for listening, listen to as much as you have time for. The Course Blog: The course blog will be an important part of this course. On it you will post your reactions to the class listenings and readings. It also lists internet resources that will prove helpful in finding supplemental information on class subjects and in preparing your final research project. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
ECFG-DRC-2020R.Pdf
ECFG About this Guide This guide is designed to prepare you to deploy to culturally t complex environments and achieve mission objectives. The he fundamental information contained within will help you understand the cultural dimension of your assigned location and gain skills necessary for success. Democratic Republicof The guide consists of 2 parts: Part 1 introduces “Culture General,” the foundational knowledge you need to operate effectively in any global environment. Part 2 presents “Culture Specific” the Democratic Republic of the Congo (DRC), focusing on unique cultural features of the DRC’s society and is designed to complement other pre-deployment training. It applies culture-general concepts to help increase your knowledge of your assigned deployment location (Photo courtesy of IRIN © Siegfried Modola). the For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact Congo AFCLC’s Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of the AFCLC. All photography is a courtesy of the US government, Wikimedia, and other sources as indicated. GENERAL CULTURE CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments. A culture is the sum of all of the beliefs, values, behaviors, and symbols that have meaning for a society. -
“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.