DOCSLIB.ORG

Appendix A: Tables

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Appendix A: Tables Appendix A: Tables Table A.1 Trade value of international and local repertoire sales by format and in total (millions of ZAR) according to the RiSA statistics (for the years 1997–2012; format details for 2007 not available) International Local CD CD MC, MC Albums DVD, music Total CD CD MC, MC Albums DVD, music Total Total singles single video intern. single single video local all 1997 405 40 51 – 496 53 2 92 – 147 643 1998 451 31 35.2 – 517.2 69 5 87.5 – 161.5 678.7 1999 476.3 33.6 34.2 0.001 – 544.2 70.8 1.6 76.1 – 148.47 692.67 2000 430 18.5 18.8 0.025 – 467.3 72.1 0.9 66.1 0,003 – 139.1 606.5 2001 415.45 12.1 21.2 −0.006 4 452.7 87.1 0.6 67 2.1 156.8 609.5 2002 445.9 16.4 22.3 0.006 27.5 512.17 122.8 1.5 64.8 3 192.16 704.3 2003 416 4 20.3 0.02 40 480 150.2 1.2 67.7 5.9 225 705 2004 464 1 12 63 540 259 – 74 14 347 887 2005 501 1 7 83 592 285 1 54 42 382 974 2006 460 – 4 73 537 339 1 44 71 455 992 2007 – 577 – 443 1,020 2008 440 0.013 2 67.3 509.3 291.3 10 9.2 63.3 383.8 893.1 2009 409.73 0.07 1.4 60.3 471.53 320.5 6 10 58.7 395.27 866.8 2010 366 1.6 0.45 58.1 426.2 291 3.5 8.3 61.2 364 790.2 Physical Digital Physical Digital 2011 337 42.2 379.2 311.2 – 311.2 690.4 2012 305.7 48.3 354 289.7 0.04 289.7 643.7 Note: – = not available; intern. = international. Appendix A 185 Table A.2 Sales of units by format (millions), according to RiSA, AGM (2007, p. 11). The numbers of units broken down by format in the international and domestic repertoire are not available after 2006 International Local CD CD MC DVD Total CD CD MC DVD Total single single 1997 9.8 2.2 2.4 – 14.4 2.0 0.1 6.0 – 8.1 1998 10.7 1.8 1.7 – 14.2 2.3 0.2 5.6 – 8.1 1999 10.2 1.8 1.5 – 13.5 2.2 0.1 5.0 – 7.3 2000 9.0 0.9 1.0 – 10.9 2.2 – 4.4 – 6.6 2001 7.7 0.6 1.1 (0.1) 9.5 2.3 – 4.5 – 6.8 2002 7.7 0.7 1.2 0.2 9.8 3.0 – 4.2 (*) 7.2 2003 7.0 0.1 1.2 0.3 8.6 3.7 – 4.5 (*) 8.2 2004 7.9 – 0.7 0.6 9.2 6.5 – 4.7 0.2 11.4 2005 9.5 – 0.4 0.9 10.8 7.6 – 3.4 0.6 11.6 2006 8.5 – 0.3 1.0 9.8 9.7 – 2.9 1.1 13.7 Note: – = not available. Table A.3 Shares of international and local music in the sales, in terms of trade value and units, and annual changes in the total trade value, according to the RiSA statistics (1997–2012) International repertoire Local repertoire Total trade value, change Value share Unit share Value share Unit share 1997 77% 64% 22% 36% 1998 76% 63.4% 23.7% 36.6% 5.3% 1999 78.5% 64.8% 21.4% 35.2% 2.2% 2000 77% 62.2% 22.9% 37.8% −12.4% 2001 74.3% 58% 25.7% 42% 0.5% 2002 72.7% 57.4% 27.3% 42.6% 15.6% 2003 68% 51% 32% 49% 0.1% 2004 60.7% 44.1% 39.3% 55.5% 25.9% 2005 60.7% 48% 39.3% 51.8% 10% 2006 54.2% 41.7% 45.7% 58.3% 2% 2007 56.6% – 43.4% – 2.8% 2008 57% 48.2% 43% 51.8% −12.4% 2009 54.4% 45.9% 45.6% 54.1% −2.9% 2010 54% 46.4% 46% 53.6% −8.8% 2011* 55% – 45% – −12.7%* (−17.9%)** 2012 55% – 45% – −6.7% Note: * Digital sales included in the RiSA statistics from 2011 on. ** Trade value change of physical product between 2010 and 2011. – = not available. 186 Appendix A Table A.4 South African recorded music trade value by format and in total (US$ million; Total also in ZAR million) as given in the following IFPI reports: RIN 2005 (IFPI 2006, p. 96; for the years 2001–2003), RIN 2008 (IFPI 200, p. 83; for the years 2004–2008); RIN 2013 (IFPI 2014, p. 103; for the years 2009–2013) Physical Digital Perf. Synch. Total Total Change % rights revenue US$ ZAR 2001 104.8 666.3 2.2 2002 119.1 757.3 13.7% 2003 119.2 758.1 0.1% 2004 110.6 – – 110.6 915.5 20.8% 2005 121.5 0.5 – – 122.0 1,010.2 10.3% 2006 124.0 2.0 – – 126.0 1,043.1 3.3% 2007 126.2 2.8 – – 129.0 1,067.5 2.3% 2008 114.6 3.4 1.7 – 119.7 990.9 −7.2% 2009 95.6 3.5 2.1 – 101.2 976.3 −1.3% 2010 87.1 3.8 1.9 0.6 93.4 901.6 −7.6% 2011 71.5 4.3 – 0.8 76.6 739.0 −18.0% 2012 66.3 4.3 – 0.7 71.3 687.8 −6.9% 2013 52.7 8.8 – 1.4 63.0 607.6 −11.7% Note: – = not available; Perf. = performance; Synch. = synchronization. Table A.5 Format shares in the sales (in value terms), according to IFPI’s RIN reports (2014–1999, with data for 2001 missing) Physical, Digital, Music MC, VHS, CD, DVD, Perf. Synch. Other*, value value video value value value value rights rights value 2013 84% 14% 2% 2012 91% 8% 1% 2011 93% 6% 1% 2010 93% 5% 2% 2009 94% 4% 2% 2008 96% 3% 1% 2007 98% 2% 18% 82% 2006 98% 2% 79% 14% 5%* 2005 <1% 80% 13% 7%* 2004 9.6% 0.3% 81.3% 8.7% 0.1%** Singles, value LPs, value MC VHS CD DVD 2003 0.7% 12.5% 0.6% 80.3% 5.9% 2002 2.5% – 12.4% – 80.7% 3.8% 2001 – 2000 3.2% 0.005% 14.0% 82.8% 1999 5% – 16% 79% 1998 6% – 18% 77% Note: * Other: physical singles, LP, MC, VHS. ** Other: singles. – = not available; Perf. = performance; Synch. = synchronization . The reported categories have changed over the years. 187 188 Appendix A Table A.6 Sales of international and local repertoire, in trade value terms, according to IFPI’s RIN reports (IFPI 1994–2012). The shares differ somewhat from those given by RiSA (Table 4), because IFPI add a weighting to the raw data of the national organizations in an attempt to reflect the overall market Domestic International Classical repertoire repertoire 2011 48% 52% 2010 45% 55% 2009 45% 55% 2008 43% 57% 2007 43% 57% 2006 45% 55% 2005 40% 60% 2004 41% 59% 2003 32% 66% 2% 2002 27% 73% – 2001 27% 71% 2% 2000 23% 74% 3% 1999 21% 73% 6% 1998 24% 70% 6% 1997 23% 71% 6% 1996 22% 71% 6% 1995 20% 74% 6% 1994 19% 71% 11% 1993 43% 51% 6% 1992 43% 51% 6% Note: – = not available. Table A.7 Formats by average value in international and local repertoire (in ZAR), according to RiSA, AGM (2007, p. 12). Data on the average value are not available after the year 2006 International Local CD CD single MC DVD CD CD single MC DVD 1997 41.22 17.12 21.18 – 27.03 15.98 15.26 – 1998 42.05 17.55 20.71 – 29.51 20.13 15.47 – 1999 46.72 19.21 23.18 – 31.67 18.70 15.33 – 2000 48.16 20.97 18.90 – 33.51 21.19 15.13 – 2001 53.96 19.79 18.81 91.11 38.07 18.42 14.98 – 2002 57.61 21.88 18.34 114.53 40.32 22.69 15.34 89.5 2003 59.51 24.65 16.98 114.95 40.52 20.89 15.18 87.05 2004 58.72 12.45 17.55 99.88 39.89 8.41 15.80 77.47 2005 52.91 24.72 17.24 88.11 37.36 19.33 15.84 69.57 2006 54.28 25.32 14.92 73.42 34.95 17.30 15.21 67.09 Note: – = not available. 189 Appendix B: Interviewed People Agulnik Alex, founder and CEO of African Cream label (since 1995) (interview: 10 June 2005). Alexander David, MD of Sheer Publishing Ltd; former MD at Sheer Publishing, and former MD at Tequila Music (interview: 14 November 2013). Allingham Rob, the Archive Manager for Gallo Africa from 1990 until 2008; cur- rently owns a label called Recordiana (interview: 4 November 2013). Azevedo Joe, Director of RTG (Replication Technology Group) (interview: 26 May 2005). Bennett Mark, worked at the record label Shifty Records; in the 1990s owned and ran two music retail outlets, and later he run the Jive City music retail chain for six years (until 2005) (interview: 1 June 2005).
Load more

Recommended publications
  • Reeperbahn Festival Conference MAG / SEPT 2017
    CONFERENCE 20 – 23 SEPT 2017 MAG Branded PartnershipsBranded Algorithms and on Hackney Camille Licensing and Sync Time for Diversity for Time Equality and Vanessa Reed on Keychange – Photo: Bonaparte © Musik Bewegt / Henning Heide Henning / Bewegt Musik © Bonaparte Photo: Raise Your Voice Voice Raise Your year´s This Conference Focus Music on and Politics mobile apps for your festival proudly presents the official app Available on the App Store and Google Play Meet us in Hamburg in September! Contact Scandinavia - Esben Christensen Contact GAS - Sarah Schwaab [email protected] [email protected] _ INDEX EDITORIAL 4 mobile apps for your festival RAISE YOUR VOICE The International Music World Is Turning Up 7 Its Political Volume SHIRLEY MANSON Early Days In Madison 15 DAVE ALLEN proudly presents Streaming and Music Culture 21 LIVE FOR (RE)SALE A Sort of Darknet for Tickets 25 VANESSA REED Closing the Gender Gap 31 TERRY MCBRIDE Understanding the Value of Music and 36 How to Effectively Monetize It UNSIGNED VS SIGNED Do Artists Benefit from Blockchain? 39 CAMILLE HACKNEY On Music, Brands, Data and Storytelling 45 MUSIC IN IRAN A Personal Experience 49 HARTWIG MASUCH 10 Songs that Helped Create the New BMG 55 PROGRAMME REGISTER SESSIONS 59 SHOWCASES 65 the AWARDS 68 official app MEETINGS 68 Available on the App Store and Google Play NETWORKING 69 IMPRINT 76 PARTNERS 78 Meet us in Hamburg in September! Coverphoto: Camille Hackney, speaker at „Sync Faster – Sync Different and board member of ANCHOR 2017. © Grayson Dansic Contact Scandinavia - Esben Christensen Contact GAS - Sarah Schwaab [email protected] [email protected] 3 _ EDITORIAL DEAR CONFERENCE ATTENDEES, DEAR FRIENDS, we‘re delighted you have made it back to Hamburg once again this year for what is now the 12th edition of the Reeperbahn Festival.
    [Show full text]
  • 1. Matome Ratiba
    JICLT Journal of International Commercial Law and Technology Vol. 7, Issue 1 (2012) “The sleeping lion needed protection” – lessons from the Mbube ∗∗∗ (Lion King) debacle Matome Melford Ratiba Senior Lecturer, College of Law University of South Africa (UNISA) [email protected] Abstract : In 1939 a young musician from the Zulu cultural group in South Africa, penned down what came to be the most popular albeit controversial and internationally acclaimed song of the times. Popular because the song somehow found its way into international households via the renowned Disney‘s Lion King. Controversial because the popularity passage of the song was tainted with illicit and grossly unfair dealings tantamount to theft and dishonest misappropriation of traditional intellectual property, giving rise to a lawsuit that ultimately culminated in the out of court settlement of the case. The lessons to be gained by the world and emanating from this dramatics, all pointed out to the dire need for a reconsideration of measures to be urgently put in place for the safeguarding of cultural intellectual relic such as music and dance. 1. Introduction Music has been and, and continues to be, important to all people around the world. Music is part of a group's cultural identity; it reflects their past and separates them from surrounding people. Music is rooted in the culture of a society in the same ways that food, dress and language are”. Looked at from this perspective, music therefore constitute an integral part of cultural property that inarguably requires concerted and decisive efforts towards preservation and protection of same from unjust exploitation and prevalent illicit transfer of same.
    [Show full text]
  • Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
    VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change.
    [Show full text]
  • Form L5: Title Registration/08
    NICO CARSTENS AS INNOVEERDER VAN SUID-AFRIKAANSE POPULÊRE MUSIEK Susanna Helena Robina Louw Voorgelê om te voldoen aan die vereistes vir die graad MAGISTER MUSICAE in die Fakulteit Geesteswetenskappe, Departement Musiek, aan die Universiteit van die Vrystaat Studieleier: Prof. N.G.J. Viljoen Medestudieleier: Prof. M. Viljoen Januarie 2013 VERKLARING Ek verklaar hiermee dat die verhandeling wat hierby vir die graadMagister Musicae aan die Universiteit van die Vrystaat deur myingedien word, my selfstandige werk is en nie voorheen deurmy vir ’n graad aan ’n ander universiteit/fakulteit ingedien isnie. Ek doen voorts afstand van die outeursreg op dieverhandeling ten gunste van die Universiteit van die Vrystaat. ____________________________________ i ERKENNINGS By die voltooiing van hierdie verhandeling is dit die behoefte van my hart om persone en instansies wat my op een of ander wyse met genoemde materiaal behulpsaam was, opreg te bedank: My studieleier, prof Nicol Viljoen, en mede-studieleier, prof. Martina Viljoen, vir hulle besondere kundige leiding in alle fases en fasette van hierdie navorsing. SAMRO, vir die beskikbaarstelling van navorsingmateriaal, maar veral aan dié personeel wat genoemde materiaal so goedgunstiglik behulpsaam was. SABC en hulle Argief vir klank- en beeldmateriaal. Die FAK/SAMRO/National Arts Council of South Africa, vir finansiële bystand om hierdie projek te voltooi. Ingrid Howard, wat as behulpsame tussenganger opgetree het in my kontak en ontmoetings met Nico Carstens. Corrie Geldenhuys, vir die taalkundige versorging van die teks. Nico, die inligting hierin vervat, is net ’n fraksie van alles wat ek van jou ontvang het. Geen akademiese geskrif kan in elk geval vriendelikheid, openhartigheid en gasvryheid omskryf nie.
    [Show full text]
  • Investing in Music How Music Companies Discover, Nurture and Promote Talent
    Investing in MusiC How music companies discover, nurture and promote talent Investing In Music 2012 contents 1 Introduction by Plácido Domingo 2 Commentary by Frances Moore and Alison Wenham 3 Section One: The Cycle of Investment 4 Section Two: Dicovering and Signing Talent 16 Section Three: Nurturing Talent 18 Section 4: Promoting Talent 3 2012 Investing In Music introduction by Plácido Domingo, Chairman of IFPI Other collaborations are also possible, for example between the artist and a management company. But all these efforts to promote music depend on the protection of the copyrights and intellectual property of the musicians and the producers of the music. Without such protection, investment will not be forthcoming. Collaboration and investment are defining qualities of the music industry and play a vital role in helping artists pursue their career. Of course, the digital era has brought dramatic changes, but I do not believe it has made the investors in music any less important. Even in the age of the internet, where self-publishing is so much easier for artists than in the past, technology alone I am fortunate to have had a career of more than 50 years in cannot ensure an artist’s work is heard and appreciated. music. I have worked with people of exceptional artistic talent That is why artists continue to work in partnership with record and I continue to work today to try and help young musicians companies, management and others to develop their careers fulfil their ambitions and creative potential as opera singers. and bring their music to the widest possible audience.
    [Show full text]
  • Mahlathini Melodi Yalla Mp3, Flac, Wma
    Mahlathini Melodi Yalla mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Melodi Yalla Country: South Africa Released: 2007 Style: African MP3 version RAR size: 1904 mb FLAC version RAR size: 1363 mb WMA version RAR size: 1235 mb Rating: 4.9 Votes: 389 Other Formats: DXD MPC DMF AAC MP2 TTA DTS Tracklist 1 Gazette 2 Melodi Yalla 3 Thuntswane Basadi 4 Thuto Kelefa 5 Bonang Suna 6 Reya Dumedisa 7 Mme Ngwana Walla 8 Jive Makgona Companies, etc. Marketed By – Gallo Record Company Distributed By – Gallo Record Company Record Company – Gallo-GRC Record Co. (Pty) Ltd. Recorded At – RPM Studios Copyright (c) – Gallo Record Company Published By – Gallo Music Publishers Credits Songwriter – Mahlathini And The Mahotella Queens Notes Reissue in Digital from a 1988 LP Barcode and Other Identifiers Barcode: 6 001212 266134 Matrix / Runout: IFPI L142 WWW.CDT.CO.ZA CDBL617-1 Mastering SID Code: IFPI L142 Mould SID Code: IFPI 2727 Other versions Category Artist Title (Format) Label Category Country Year Mahlathini*, Mahotella Mahlathini*, Queens and the Gallo-GRC Mahotella Queens South BL 617 Makgona Tsotle Band* - Record Co. BL 617 1988 and the Makgona Africa Melodi Yalla (LP, (Pty) Ltd. Tsotle Band* Album) Related Music albums to Melodi Yalla by Mahlathini Mahlathini And The Mahotella Queens - Thokozile Mahlathini & Mahotella Queens - Umuntu Mfaz' Omnyama - Khula Tshitshi Lami The Art Of Noise Featuring Mahlathini And The Mahotella Queens - Yebo! Ladysmith Black Mambazo - Favourites Mahotella Queens - Izibani Zomgqashiyo Johannes Kerkorrel - Tien Jaar Later El Gallo Rojo - El dìa de los muertos Mahlathini Nezintombi Zomgqashiyo - Pheletsong Ya Lerato Patricia Majalisa - Poverty.
    [Show full text]
  • “It's Just a Matter of Time”: African American Musicians and The
    “It’s just a matter of time”: African American Musicians and the Cultural Boycott in South Africa, 1968-1983 by Ashrudeen Waggie Thesis presented in fulfilment of the requirements for the degree of Master of Arts (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. L. Lambrechts Co-supervisor: Dr. C. J. P. Fransch March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third-party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Ashrudeen Waggie March 2020 Copyright © 2020 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract In 1968 the United Nations General Assembly instituted a cultural boycott against apartheid South Africa. The cultural boycott prevented South Africa from having cultural, educational and sporting ties with the rest of the world, and it was an attempt by the international community to sever ties with South Africa. A culmination of this strategy was the publication of an annual registry by the United Nations of all international entertainers, actors, and others who performed in South Africa from 1983. Based on this registry a number of academic studies have been conducted, but very few studies have investigated those who came to perform in South Africa before the publication of the registry even though renowned artists such as Percy Sledge (1970), Brook Benton (1971 & 1982), Jimmy Smith (1978 & 1982) and Isaac Hayes (1978) performed in South Africa during this time.
    [Show full text]
  • 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
    [Show full text]
  • Rocky Dawuni Straddles the Boundaries Between Africa, the ​ Caribbean and the U.S
    I International music star and humanitarian activist Rocky Dawuni straddles the boundaries between Africa, the ​ Caribbean and the U.S. to create an appealing sound that unites generations and cultures. With an easy-going charisma and reputation as a dedicated champion of social causes, Dawuni's infectious grooves and dance-inducing anthems have consistently excited fans across the globe. A galvanizing performer, Dawuni has shared the stage with Stevie Wonder, ​ Peter Gabriel, Jason Mraz, Janelle Monae, John Legend, among many others. Named one of Africa's Top 10 global stars by ​ ​ ​ ​ CNN, he has showcased his talent at prestigious venues such as The Kennedy Center in Washington, D.C. and The Hollywood Bowl in Los Angeles. Dawuni's life began as the child of a cook on a military barracks in Ghana. His father’s innate intelligence and charm helped him quickly rise in his position to become the cook for the base's colonels and generals. During this time, his father – Koytau Dawuni, befriended many high-ranking officers and observed the deep pride they felt in sending their children to school. Dawuni's father began to raise his own children with the same standards, investing heavily in education. The second born of eight siblings, Dawuni excelled at school and eventually his father decided to move him back to their home village where he could immerse in his cultural heritage. As it turned out, Koyatu’s humble employment belied his status as a member of the royal family of the Konkomba tribe, which ruled from a village of Bunbon Nayili in Northern Ghana.
    [Show full text]
  • Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy
    humanities Article Political Messages in African Music: Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy Uche Onyebadi Department of Journalism, Texas Christian University, Fort Worth, TX 76129, USA; [email protected] Received: 30 September 2018; Accepted: 30 November 2018; Published: 6 December 2018 Abstract: Political communication inquiry principally investigates institutions such as governments and congress, and processes such as elections and political advertising. This study takes a largely unexplored route: An assessment of political messages embedded in music, with a focus on the artistic works of three male African music icons—Fela Anikulapo-Kuti (Nigeria), Lucky Dube (South Africa), and Alpha Blondy (Côte d’Ivoire). Methodologically, a purposive sample of the lyrics of songs by the musicians was textually analyzed to identify the themes and nuances in their political messaging. Framing was the theoretical underpinning. This study determined that all three musicians were vocal against corruption, citizen marginalization, and a cessation of wars and bloodshed in the continent. Keywords: Political communication; African politics; African music; Fela Anikulapo-Kuti; Alpha Blondy; Lucky Dube; textual analysis 1. Introduction Music permeates significant aspects of African society, culture, and tradition. Adebayo(2017, p. 56) opined that “to the African, music is not just a pastime, it is a ritual” that describes the true essence and humaneness in being of African origin. Cudjoe(1953, p. 280) description of the place of music among the Ewe people in Ghana typifies this African musical heritage. He observed that “music has an important place in the social life of the Ewe people. There is no activity which does not have music appropriate to it: weaver, farmer and fisherman each sings in perfect time to the rhythmic movement of (one’s) craft ..
    [Show full text]
  • Elvis Presley in the South African Musical Imaginary
    54 Acta Academica • 2015 47(2): 54-71 © UV/UFS • ISSN 0587-2405 <http://www.ufs.ac.za/ActaAcademica> Elvis Presley in the South African musical imaginary Harry Sewlall Prof H Sewlall, University of Venda, Private Bag X5050, Thohoyandor 0950; email: [email protected] First submission: 20 June 2014 Acceptance date: 2 June 2015 This paper derives its impetus from a question an elderly American woman once asked me: “Do people in South Africa know Elvis?” “Of course we South Africans know Elvis!” I replied. Or do we, really? Using a historiographic approach, this paper is an attempt to explore how Elvis Presley’s image was first imported into South Africa, especially during the Apartheid era when there was no television and media censorship was a fact of daily life. Additionally, this essay will reflect on the impact of the media – then and now – in creating images, fantasies and illusions in constituting the subjectivity of the Elvis of real life and the Elvis of sound, stage and celluloid in the South African musical imaginary. Harry Sewlall / Elvis Presley in the South African musical imaginary 55 1. Introduction: postmodern technologies and the marketing of Elvis’s image This paper has its genesis in my encounter with an elderly American couple on my first visit to Graceland, the home of Elvis Presley in Memphis, Tennessee in 2002 – the 25th anniversary of the death of the singer. Graceland, incidentally, was opened to the public on June 7, 1982 and on March 27, 2006 was declared a National Historic Landmark (Graceland). According to this online source, Graceland is said to be the second most visited edifice in the USA after the White House.
    [Show full text]
  • 'Women of Mbube: We Are Peace, We Are Strength'
    Music News Release: for immediate use ‘Women of Mbube: We are peace, we are strength’ - New Album from Nobuntu “… joy seems central to Nobuntu's existence: it's present in their glorious singing, their expressive dancing, even in their dress - plaids, stripes, florals in colours as exuberant as their vocals.” cltampa.com Album: Obabes beMbube (‘Women of Mbube’) Artists: Nobuntu Genre: African Mbube Speciality: Female a cappella group Language: Ndebele Label: 10th District Music/Zimbabwe Release: 24 November, 2018 It takes courage, persistence and a great deal of talent to create new songs in a genre of already impeccable standards. Zimbabwean five-piece, Nobuntu are blessed with all three. ‘Obabes beMbube’ is Nobuntu’s new 13-song album of mbube music sung in Ndebele celebrating life, nature, divine inspiration and the power of music as a healing force. Five strong female voices beautifully blended singing a cappella harmonies. ‘Obabes beMbube’ builds on the success of ‘Thina’ and ‘Ekhaya’ which were released in 2013 and 2015 respectively. The music represents a bold shift from the previous bodies of work which featured a fusion of afro jazz, a cappella, gospel and traditional folk tracks. The album name ‘Obabes beMbube’ is Ndebele for ‘women of mbube’, an assertion of Nobuntu’s position as a musical force in a genre that is traditionally a male domain. Mbube (Zulu for ‘lion’, pronounced ‘eem-boo-bay’) was released as the song (‘The Lion Sleeps Tonight’) ‘Mbube’ written by Solomon Linda in Johannesburg and released through Gallo Record Company in 1939. ‘Mbube’ became a UK and USA #1 hit single in 1969 by the Tokens – and is now the name widely used for the South African a cappella genre, mbube.
    [Show full text]