Drum Beats from the Rain Forest
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Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit Egbe Onisin Eledumare - 40 Years of African Resistance and Re-Definition in the Caribbean Diaspora. Religion, Politics and Identity of a Pan-African organisation in Trinidad & Tobago Verfasser Bernd Staudenbauer angestrebter akademischer Grad Magister der Philosophie (Mag. Phil.) Wien, im September 2012 Studienkennzahl lt. Studienblatt: A 307 Studienrichtung lt. Studienblatt: Kultur- und Sozialanthropologie Betreuer: Dr. Patric Kment EOE – 40 Years of African Resistance and Re-Definition in the Caribbean Diaspora Page 2/131 EOE – 40 Years of African Resistance and Re-Definition in the Caribbean Diaspora Content I. Acknowledgement (Trinidad).................................................................... 6 II. Acknowledgement (Austria) / Danksagung (Österreich) ....................... 6 III. Terminology............................................................................................ 7 Chapter 1. Introduction ................................................................................ 9 1.1 Aims of this work ...................................................................................... 10 1.2 The fieldwork situation and conditions in Trinidad & Methodology ................ 11 1.4 Structure of the work ................................................................................ 15 Chapter 2. Theoretical Framework ............................................................. 17 -
The Singer As Priestess
-, ' 11Ie Singer as Priestess: Interviews with Celina Gonzatez and Merceditas Valdes ".:" - , «1',..... .... .. (La Habana, 1993) Ivor Miller Celina Gonzalez: Queen of the Punto Cubano rummer Ivan Ayala) grew up in New York City listening to the music of Celina Gonzalez. * As Da child in the 1960s he was brought to Puerto Rican espiritista ceremonies, where instead of using drums, practitioners would play Celina's records to invoke the spirits. This is one way that Celina's music and the dedication of her followers have blasted through the U.S. embargo against Cuba that has deprived us of some of the planet's most potent music, art and literature for over 32 years. Ivan's experi ence shows the ingenuity of working people in maintaining human connections that are essential to them, in spite of governments that would keep them separate. Hailed as musical royalty in Colombia, Venezuela, Mexico, England and in Latin USA, Celina has, until very recently, been kept out of the U.S. n:tarket.2 Cuba has long been a mecca for African-derived religious and musical traditions, and Celina's music taps a deep source. It is at the same time popular and sacred, danceable and political. By using the ancient Spanish dicima song form to sing about the Yoruba deities (orichas), she has become a symbol of Cuban creole (criollo) traditions. A pantheon of orichas are worshipped in the Santeria religion, which is used by practitioners to protect humans from sickness and death, and to open the way for peace, stability, and success. During the 14 month period that I spent in Cuba from 1991-1994, I had often heard Celina's music on the radio, TV, and even at a concert/rally for the Young Communist League (UJC), where the chorus of "Long live Chango'" ("iQueviva Chango!") was chanted by thou Celina Gonzalez (r) and [dania Diaz (l) injront o/Celina's Santa sands of socialist Cuba's "New Men" at the Plaza of the Revolution.3 Celina is a major figure in Cuban music and cultural identity. -
Yoruba Art & Culture
Yoruba Art & Culture Phoebe A. Hearst Museum of Anthropology University of California, Berkeley Yoruba Art and Culture PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Written and Designed by Nicole Mullen Editors Liberty Marie Winn Ira Jacknis Special thanks to Tokunbo Adeniji Aare, Oduduwa Heritage Organization. COPYRIGHT © 2004 PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY AND THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. ALL RIGHTS RESERVED. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY ◆ UNIVERSITY OF CALIFORNIA AT BERKELEY BERKELEY, CA 94720-3712 ◆ 510-642-3682 ◆ HTTP://HEARSTMUSEUM.BERKELEY.EDU Table of Contents Vocabulary....................4 Western Spellings and Pronunciation of Yoruba Words....................5 Africa....................6 Nigeria....................7 Political Structure and Economy....................8 The Yoruba....................9, 10 Yoruba Kingdoms....................11 The Story of How the Yoruba Kingdoms Were Created....................12 The Colonization and Independence of Nigeria....................13 Food, Agriculture and Trade....................14 Sculpture....................15 Pottery....................16 Leather and Beadwork....................17 Blacksmiths and Calabash Carvers....................18 Woodcarving....................19 Textiles....................20 Religious Beliefs....................21, 23 Creation Myth....................22 Ifa Divination....................24, 25 Music and Dance....................26 Gelede Festivals and Egugun Ceremonies....................27 Yoruba Diaspora....................28 -
UNIVERSITY of IBADAN LIBRARY F~Fiva23ia Mige'tia: Abe Ky • by G.D
- / L. L '* I L I Nigerla- magazine - # -\ I* .. L I r~.ifr F No. 136 .,- e, .0981 W1.50r .I :4 UNIVERSITY OF IBADAN LIBRARY F~fiva23ia Mige'tia: ABe ky • By G.D. EKPENYONG (MRS) HIS BIBLIOGRAPHY IS COMING OUT AT A TIME TRADITIONAL RULERS ENCOURAGED THEIR PEOPLE TO AC- T WHEN THERE IS GENERAL OR NATIONAL AWARENESS CEPT ISLAM AND AS A CONSEQUENCE ACCEPT IT AND FOR THE REVIVAL OF OUR CULTURAL HERITage. It IS HOPED CELEBRATED FESTIVALS ASSOCIATED WITH THIS religion. THAT NIGERIANS AND ALIENS RESIDENT IN NigeRIa, FESTIVALS ARE PERIODIC RECURRING DAYS OR SEA- RESEARCHERS IN AFRICAN StudiES, WOULD FIND THIS SONS OF GAIETY OR MERRy-maKING SET ASIDE BY A PUBLICATION A GUIDE TO A BETTER KNOWLEDGE OF THE COMMUNITY, TRIBE OR CLAN, FOR THE OBSERVANCE OF CULTURAL HERITAGE AND DIVERSITY OF THE PEOPLES OF SACRED CELEBRATIOns, RELIGIOUS SOLEMNITIES OR MUs- NIGERIA. ICAL AND TRADITIONAL PERFORMANCE OF SPECIAL SIG- IT IS NECESSARY TO EMPHASISe, HOWEVER, THAT NIFICANCE. It IS AN OCCASION OF PUBLIC MANIFesta- ALTHOUGH THIS IS A PIONEERING EFFORT TO RECORD ALL TION OF JOY OR THE CELEBRATION OF A HISTORICAL OC- THE KNOWN AND UNKNOWN TRADITIONAL FESTIVALS CURRENCE LIKE THE CONQUEST OF A NEIGHBOURING HELD ANNUALLY OR IN SOME CASES, AFTER A LONG VILLAGE IN WAR. IT CAN TAKE THE FORM OF A RELIGIOUS INTERVAL OF TIMe, THIS BIBLIOGRAPHY IS BY NO MEANS CELEBRATION DURING WHICH SACRIFICES ARE OFFERED TO EXHAUSTIVE. THE DIFFERENT GODS HAVING POWER OVER RAIN, Sun- SHINE, MARRIAGE AND GOOD HARVEST. Introduction He IS THE MOST ANCIENT OF ALL YORUBA TOWNS AND NigerIa, ONE OF THE LARGEST COUNTRIES IN AFRIca, IS REGARDED BY ALL YORUBAS AS THE FIRST CITY FROM IS RICH IN CULTURE AND TRADITIOn. -
1 Chapter Three Historical
University of Pretoria etd, Adeogun A O (2006) CHAPTER THREE HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA This chapter traces the developments of music education in the precolonial Nigeria. It is aimed at giving a social, cultural and historical background of the country – Nigeria in the context of music education. It describes the indigenous African music education system that has been in existence for centuries before the arrival of Islam and Christianity - two important religions, which have influenced Nigerian music education in no small measure. Although the title of this thesis indicates 1842-2001, it is deemed expedient, for the purposes of historical background, especially in the northern part of Nigeria, to dwell contextually on the earlier history of Islamic conquest of the Hausaland, which introduced the dominant musical traditions and education that are often mistaken to be indigenous Hausa/northern Nigeria. The Islamic music education system is dealt with in Chapter four. 3.0 Background - Nigeria Nigeria, the primarily focus of this study, is a modern nation situated on the Western Coast of Africa, on the shores of the Gulf of Guinea which includes the Bights of Benin and Biafra (Bonny) along the Atlantic Coast. Entirely within the tropics, it lies between the latitude of 40, and 140 North and longitude 20 501 and 140 200 East of the Equator. It is bordered on the west, north (northwest and northeast) and east by the francophone countries of Benin, Niger and Chad and Cameroun respectively, and is washed by the Atlantic Ocean, in the south for about 313 kilometres. -
An Appraisal of the Evolution of Western Art Music in Nigeria
Graduate Theses, Dissertations, and Problem Reports 2020 An Appraisal of the Evolution of Western Art Music in Nigeria Agatha Onyinye Holland WVU, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Africana Studies Commons, African Languages and Societies Commons, Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, and the Music Pedagogy Commons Recommended Citation Holland, Agatha Onyinye, "An Appraisal of the Evolution of Western Art Music in Nigeria" (2020). Graduate Theses, Dissertations, and Problem Reports. 7917. https://researchrepository.wvu.edu/etd/7917 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An Appraisal of the Evolution of Western Art Music in Nigeria Agatha Holland Research Document submitted to the College of Creative Arts at West Virginia University -
Oral Performance of Ìrègún Music in Yagbaland, Kogi State, Nigeria: an Overview
ORAL PERFORMANCE OF ÌRÈGÚN MUSIC IN YAGBALAND, KOGI STATE, NIGERIA: AN OVERVIEW Stephen Olusegun Titus, Obafemi Awolowo University, Nigeria. Abstract Performance is one of the major arts in most African countries. Among the Yoruba in Nigeria several genre of oral performance has been researched and documented. These include the ijala, iwi, oriki ekun iyawo, Iyere Ifa, iwure, among others. However, very little attention and studies have been committed to oral performance of Ìrègún chants and songs in Yagbaland. This paper, therefore, focuses on the evaluation of oral performance of Ìrègún chants and songs among Yagba people in Kogi State, located in North central of Nigeria. Primary data were collected through 3 In-depth and 3 Key Informant interviews of leaders and members of Ìrègún musical groups. In addition to 3 Participant Observation and 3 Non-Participant Observation meth- ods from Yagba-West, Yagba-East and Mopamuro Local Government Areas of Kogi State, music recordings, photographs of Ìrègún performances, and 6 chants were purposefully sampled. Secondary data were collected through library, archival and Internet sources. Although closely interwoven, Ìrègún performance is structured into preparation, actual and post-performance activities. While chanting, singing, playing of musical instruments and dancing forms the performance dimensions. Ire- gun music serves as veritable mirror and cultural preserver in Yagba communities. Keywords: Iregun Music; Performance; Yagbaland; Chants and Songs Epiphany: Journal of Transdisciplinary Studies, Vol. 8, No. 1, (2015) © Faculty of Arts and Social Sciences 9 S.O. Titus Introduction Performance of oral genre varies in Yoruba culture as varied as contexts for per- formance. In essence, oral performance can only be realized when it is actually performed. -
Philosophical Rumination on Gelede: an Ultra-Spectacle Performance
CULTURA CULTURA INTERNATIONAL JOURNAL OF PHILOSOPHY OF CULTURE CULTURA AND AXIOLOGY Founded in 2004, Cultura. International Journal of Philosophy of 2016 Culture and Axiology is a semiannual peer-reviewed journal devo- 2 2016 Vol XIII No 2 ted to philosophy of culture and the study of value. It aims to pro- mote the exploration of different values and cultural phenomena in regional and international contexts. The editorial board encourages the submission of manuscripts based on original research that are judged to make a novel and important contribution to understan- ding the values and cultural phenomena in the contempo rary world. CULTURE AND AXIOLOGY CULTURE INTERNATIONAL JOURNAL OF PHILOSOPHY INTERNATIONAL ISBN 978-3-631-71562-8 www.peterlang.com CULTURA 2016_271562_VOL_13_No2_GR_A5Br.indd 1 14.11.16 KW 46 10:45 CULTURA CULTURA INTERNATIONAL JOURNAL OF PHILOSOPHY OF CULTURE CULTURA AND AXIOLOGY Founded in 2004, Cultura. International Journal of Philosophy of 2016 Culture and Axiology is a semiannual peer-reviewed journal devo- 2 2016 Vol XIII No 2 ted to philosophy of culture and the study of value. It aims to pro- mote the exploration of different values and cultural phenomena in regional and international contexts. The editorial board encourages the submission of manuscripts based on original research that are judged to make a novel and important contribution to understan- ding the values and cultural phenomena in the contempo rary world. CULTURE AND AXIOLOGY CULTURE INTERNATIONAL JOURNAL OF PHILOSOPHY INTERNATIONAL www.peterlang.com CULTURA 2016_271562_VOL_13_No2_GR_A5Br.indd 1 14.11.16 KW 46 10:45 CULTURA INTERNATIONAL JOURNAL OF PHILOSOPHY OF CULTURE AND AXIOLOGY Cultura. -
Yoruba Culture of Nigeria: Creating Space for an Endangered Specie
ISSN 1712-8358[Print] Cross-Cultural Communication ISSN 1923-6700[Online] Vol. 9, No. 4, 2013, pp. 23-29 www.cscanada.net DOI:10.3968/j.ccc.1923670020130904.2598 www.cscanada.org Yoruba Culture of Nigeria: Creating Space for an Endangered Specie Adepeju Oti[a],*; Oyebola Ayeni[b] [a]Ph.D, Née Aderogba. Lead City University, Ibadan, Nigeria. [b] INTRODUCTION Ph.D. Lead City University, Ibadan, Nigeria. *Corresponding author. Culture refers to the cumulative deposit of knowledge, experience, beliefs, values, attitudes, meanings, Received 16 March 2013; accepted 11 July 2013 hierarchies, religion, notions of time, roles, spatial relations, concepts of the universe, and material objects Abstract and possessions acquired by a group of people in the The history of colonisation dates back to the 19th course of generations through individual and group Century. Africa and indeed Nigeria could not exercise striving (Hofstede, 1997). It is a collective programming her sovereignty during this period. In fact, the experience of the mind that distinguishes the members of one group of colonisation was a bitter sweet experience for the or category of people from another. The position that continent of Africa and indeed Nigeria, this is because the ideas, meanings, beliefs and values people learn as the same colonialist and explorers who exploited the members of society determines human nature. People are African and Nigerian economy; using it to develop theirs, what they learn, therefore, culture ultimately determine the quality in a person or society that arises from a were the same people who brought western education, concern for what is regarded as excellent in arts, letters, modern health care, writing and recently technology. -
Singing Yoruba Christianity: Music, Media, and Morality
Yale Journal of Music & Religion Volume 5 Number 2 Music, Sound, and the Aurality of the Environment in the Anthropocene: Spiritual and Article 10 Religious Perspectives 2019 Singing Yoruba Christianity: Music, Media, and Morality Olabode Festus Omojola Mount Holyoke College Follow this and additional works at: https://elischolar.library.yale.edu/yjmr Recommended Citation Omojola, Olabode Festus (2019) "Singing Yoruba Christianity: Music, Media, and Morality," Yale Journal of Music & Religion: Vol. 5: No. 2, Article 10. DOI: https://doi.org/10.17132/2377-231X.1182 This Review is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Yale Journal of Music & Religion by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Vicki L. Brennan Singing Yoruba Christianity: Music, Media, and Morality Bloomington: Indiana University Press, 2018. 210 pp. ISBN 978-0-253-03209-6 The Aladura movement, an Africanist were able to simultaneously affirm Christian group that began in western their Christian convictions and Yoruba- Nigeria in the early twentieth century, grounded practices of spirituality. emerged partly in response to what Set against the general history of the Yoruba Christians perceived as cultural Aladura movement, and building on the domination within the Anglican Church of pioneering work of scholars like John the colonial era. Interracial tensions began Peel and Akinyede Omoyajowo,1 Vicky L. to develop within the church because of Brennan’s well-written and well-researched complaints by Yoruba Christians that they ethnographic study focuses on one of the were denied administrative roles, rarely movement’s prominent branches, the appointed as priests, and disallowed from Cherubim and Seraphim (C&S) or Ayo ni o using Yoruba music in Christian worship church, based in Lagos. -
Olavo Alén Rodríguez
Cuba Olavo Alén Rodríguez The Indigenous Heritage The European Heritage The African Heritage The Emergence of Cuban Music Musical Genres and Contexts Vocal and Instrumental Ensembles European-derived Art Music and Music Education Administrative Structures and Institutions of Music e Republic of Cuba is a nation of more than sixteen hundred keys and islands located in the northwestern Antilles. e main island, Cuba, with a surface area of 105,007 square kilometers, is the largest of the Antilles. Most of the national population is descended from Spaniards (mostly from Andalucía and the Canary Islands) and Africans (mostly Bantu and Yoruba). Small populations derive from Caribbean people from other islands, French, and Chinese. Spanish is the offi cial language, but some Cubans still speak several African- derived languages. Local religions include several derived from African religions, but the largest in membership is Roman Catholicism. THE INDIGENOUS HERITAGE Before Europeans arrived, aboriginal groups occupied the archipelago known today as the Greater Antilles, calling the largest island “Cuba.” Economically and socially, the most de- veloped Amerindians were an Arawak people, known to later scholars as Taíno. According to accounts by early European chroniclers and travelers, the most important cultural activ- ity of the Taíno was the feast known as areito (also areyto ), the main social event for the practice of music and dance. We know only a few specifi cs about Taíno music, including the fact that performers used idiophonic soundmakers like jingles and maracas and an 105 aerophone they called guamo , made from a snail shell opened at its pointed end. Little to none of the artistic elements of Taíno culture became a part of what centuries later was to be known as Cuban music, though some other cultural traits (such as foods and domestic architecture) survived in latter-day Cuban culture. -
Music for the Gods
Music for the Gods Sanya Osha Yoruba Music in the Twentieth Century: Identity, Agency, and Performance Practice by Bode Omojola University of Rochester Press, 2014, 296 pages, $ 39.95 paperback ISBN: 978-1580464932 During the 1980s, ethnomusicological literature focused extensively on the problematics of identity in the analysis of music and performance practice. In conceptual terms, Bode Omojola, in Yoruba Music in the Twentieth Century: Identity, Agency, and Performance Practice, does not entirely chart a new course diverging from the presuppositions of, for want of a better term,this paradigm. However, his deep and broad knowledge of Yoruba culture and music forms lends a resonance that can be considered to be a departure from, or even at other moments, a transcendence of, to employ an alternative designation, the framework. He is certainly an insider in relation to Yoruba culture and language and, as a trained ethnomusicologist with an anthropologist’s outsider’s eye, he is able to generate a welter of perspectives that grant his work a certain degree of magisterial authority. Traditionally, the Yoruba ethnic group is found in southwestern Nigeria and in parts of the Benin Republic and Togo. Within the group, there are distinct sub-ethnicities such as the Ekiti, Ijesa, Igbomina, Egbado, Oyo, Ijebu, Okun, etc. In Nigeria, the Yoruba can be found in Lagos, Oyo, Osun, Ekiti, and Ondo states; they also reside in parts of Kwara, Kogi, Edo and Delta states. In the African diaspora, through the dispersal caused by the Atlantic slave trade, they thrive in Brazil, Cuba, Trinidad and Tobago, Haiti, Jamaica and other countries in the New World.