Identity, Nationalism, and Resistance in African Popular Music
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Dancing to the Beat of the Diaspora: Musical Exchanges Between Africa and Its Diasporas
African and Black Diaspora: An International Journal ISSN: 1752-8631 (Print) 1752-864X (Online) Journal homepage: http://www.tandfonline.com/loi/rabd20 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza To cite this article: Paul Tiyambe Zeleza (2010) Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas, African and Black Diaspora: An International Journal, 3:2, 211-236, DOI: 10.1080/17528631.2010.481976 To link to this article: http://dx.doi.org/10.1080/17528631.2010.481976 Published online: 23 Jun 2010. Submit your article to this journal Article views: 398 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rabd20 Download by: [US International University - Africa] Date: 01 November 2016, At: 01:09 African and Black Diaspora: An International Journal Vol. 3, No. 2, July 2010, 211Á236 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza* Loyola Marymount University of Los Angeles, Los Angeles, California, USA This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afro- internationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities. -
The Characteristics of Trauma
DIPLOMARBEIT Titel der Diplomarbeit „Music and Trauma in the Contemporary South African Novel“ Verfasser Christian Stiftinger angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2011. Studienkennzahl lt. Studienblatt: A 190 344 Studienrichtung lt. Studienblatt: UF Englisch Betreuer: Univ. Prof. DDr . Ewald Mengel Declaration of Authenticity I hereby confirm that I have conceived and written this thesis without any outside help, all by myself in English. Any quotations, borrowed ideas or paraphrased passages have been clearly indicated within this work and acknowledged in the bibliographical references. There are no hand-written corrections from myself or others, the mark I received for it can not be deducted in any way through this paper. Vienna, November 2011 Christian Stiftinger Table of Contents 1. Introduction......................................................................................1 2. Trauma..............................................................................................3 2.1 The Characteristics of Trauma..............................................................3 2.1.1 Definition of Trauma I.................................................................3 2.1.2 Traumatic Event and Subjectivity................................................4 2.1.3 Definition of Trauma II................................................................5 2.1.4 Trauma and Dissociation............................................................7 2.1.5 Trauma and Memory...……………………………………………..8 2.1.6 Trauma -
Top 12 Soul Jazz and Groove Releases of 2006 on the Soul Jazz Spectrum
Top 12 Soul Jazz and Groove Releases of 2006 on the Soul Jazz Spectrum Here’s a rundown of the Top 12 albums we enjoyed the most on the Soul Jazz Spectrum in 2006 1) Trippin’ – The New Cool Collective (Vine) Imagine a big band that swings, funks, grooves and mixes together R&B, jazz, soul, Afrobeat, Latin and more of the stuff in their kitchen sink into danceable jazz. This double CD set features the Dutch ensemble in their most expansive, challenging effort to date. When you can fill two discs with great stuff and nary a dud, you’re either inspired or Vince Gill. These guys are inspired and it’s impossible to not feel gooder after listening to Trippin.’ Highly recommended. 2) On the Outset – Nick Rossi Set (Hammondbeat) It’s a blast of fresh, rare, old air. You can put Rossi up there on the Hammond B3 pedestal with skilled survivors like Dr. Lonnie Smith and Reuben Wilson. This album is relentlessly grooving, with no ballad down time. If you think back to the glory days of McGriff and McDuff, this “set” compares nicely. 3) The Body & Soul Sessions – Phillip Saisse Trio (Rendezvous) Pianist Saisse throws in a little Fender Rhodes and generally funks up standards and covers some newer tunes soulfully and exuberantly. Great, great version of Steely Dan’s “Do It Again.” Has that feel good aura of the old live Ramsey Lewis and Les McCann sides, even though a studio recording. 4) Step It Up – The Bamboos (Ubiquity) If you’re old enough or retro enough to recall the spirit and heart of old soul groups like Archie Bell and the Drells, these Aussies are channeling that same energy and nasty funk instrumentally. -
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz Has Had an Especial Role in the Social and Cultural Politics of South Africa
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz has had an especial role in the social and cultural politics of South Africa. This paper will trace its function in the political struggle waged by Black and Colored musicians against the apartheid regime, from the early 1950s until the 1990s, focusing on the work of one artist particularly. While Abdullah Ibrahim is by no means the only South African musician to use jazz for political goals, the development of his career provides an incredible example of the convergence of race, protest, and memory in the performance as well as study of jazz. Ibrahim’s musical career is entrenched in South Africa’s struggle against apartheid, and it is through this lens that I will examine his life and the role of jazz music in general. As early as the 1940s, jazz had emerged as the favored genre of the elite in South Africa. Professional musicians preferred American ‘international’ performance styles, and only a few African jazz musicians brought anything identifiably South African to their performances of American swing. The negative association between traditional African music and the ‘tribal’ past or rural present was begun by missionaries and had become entrenched in African society, most obviously under the Afrikaner’s government’s policy of “forcing Africans to develop along their own lines1”. Like the leaders of the American Harlem Renaissance, the African elite hoped that achievements in the artistic and intellectual fields would help break down the color bar2. Indeed the similar experience of Black Americans and Africans, of “two peoples under white domination,”3 may have increased the appeal of Black American style in amongst South African performers. -
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. -
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. -
FOR CODESRIA Anyidoho/Madame Virginie Niang Sept 17-19
1 THE IMPORTANCE OF AFRICAN POPULAR MUSIC STUDIES FOR GHANAIAN/AFRICAN STUDENTS by John Collins INTRODUCTION A) The role of popular music and mass entertainment in the independence struggle and the consequent importance of local popular performance in the vision of pioneer African leaders: i.e. a mass music for a mass party (eg highlife as the product of the ‘veranda boy’ class). Thus the state support of popular as well as traditional and western type art/religious music sectors by the pioneering leaders Nkrumah, Nyere, Sekou Toure, President Keita. Their approach can therefore be considered as tri-musical B) The failure of this tri-musical approach being transmitted into the Ghanaian tertiary education system. This became rather bi-musical; i.e. the training of students only in traditional African and imported western art idioms C) Some reasons for this intellectual university hostility to popular music/culture 1) imported elitist, Marxist and Frankfurt School ideas concerning the ephemeral, frivolous, low status and inconsequential nature (cf. high art) of popular music and performance. 2) Residual African traditional attitudes towards professional musicians. Low regard and apprehension of such indigenous professional traditional groups as West African jalis/griots, praise drummers and goje players D) The negative consequences of the narrow bi-musical approach has effected both the university students and the evolution of local musical forms such as highlife music and the concert party. It fosters elitist attitudes by students who do not consider the creative role of the masses and intermediate classes important in musical development. It has in a lack of intellectual input into local popular music: few books and biographies on the topic, no intellectual input into it. -
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 -
Igbo Popular Music: a Historical and Sociological Discourse with the Intent of Redefining Its Musical Typologies Since 1960
Trabzon University State Conservatory © 2017-2020 Volume 4 Issue 2 December 2020 Research Article Musicologist 2020. 4 (2): 248-261 DOI: 10.33906/musicologist.752422 CHINEDUM N. OSINIGWE Ajayi Crowther University, Nigeria [email protected] orcid.org/0000-0003-2101-1916 Igbo Popular Music: A Historical and Sociological Discourse with the Intent of Redefining Its Musical Typologies Since 1960 ABSTRACT In Nigeria, music making has been the most dynamic and evolving KEYWORDS process, involving all forms of musical genres - traditional, religious and popular. Music does have a significant cultural and sociological role, Igbo popular music especially among its many ethnic groups, whereby it is employed in Typologies every facet of their socio-cultural existence, from childhood to adulthood respectively. This study examines the Igbo popular musical Tagging genre in Nigeria through its creative forms (highlife and other Periodized hybridized forms), exhibited within the period from 1960 up to the present. The main objective of this study is to capture all musical Hybridized typologies within the period stipulated and tag them, using socio- cultural parameters, such as language, age, group philosophy, musical form, etc. It adopted descriptive and socio-musicological approaches in evaluating the musical trends through periodized format and also using the socio tagging system as its conceptual framework. The following musical typologies (Égwú Nñùtá, Égwú Ìkwǫkìlìkwǫ, Ēgwū O ̣̀gbàrà-o ̣̄fūù, and Égwú A gwàrà ǫgwa) were, however, discovered and tagged appropriately in the course of the study for easy reference, recognition, and for ethnic identity. Received: June 13, 2020; Accepted: December 11, 2020 Introduction Popular music is an extension of several musical typologies, which could be indigenous or acculturated, incorporating both local and foreign elements. -
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 .. -
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African Studies
FILMS, VIDEOS & DVDS FOR African Studies The Future Of Mud: A Tale of Houses and Lives in Djenne A Film by Susan Vogel Presented by the Musée National du Mali This constructed documentary blends In interviews, information with narrative to show family members the cycle of mud building and the lives of masons talk about the in Djenne, a UNESCO World Heritage city in Mali. town of Djenne, its buildings, and THE FUTURE OF MUD focuses on the mason their desires for Komusa Tenaepo, who hopes that his son will the future, as do succeed him. The film shows a day in the life of a distinguished the mason and Amadou, his young helper from Koranic master, a poor family near Timbuktu, as Komusa decides and a staff whether to allow his son to leave for schooling member of the government office charged with in the capital. preserving the architecture of Djenne. The film reveals the interdependence between The film ends with thousands of participants at the masons, buildings, and lives lived in them. It exam- annual replastering of Djenne’s beloved mosque, ines the tenuous survival of the inherited learning an age-old event, which, for the first time, has been of masons, and the hard work that sustain this specially staged in hopes of attracting tourists. style of architecture. It shows life in Djenne’s mud buildings: courtyards, a blacksmiths’ workshop, a 2007 RAI International Festival of Ethnographic Film modern white vinyl sitting room, the construction site, and Friday prayers at the great mosque. 58 minutes | color | 2007 Sale/DVD: $390 | Order #AF7-01 First Run/Icarus Films | 1 Living Memory Malick Sidibé: A Film by Susan Vogel Portrait of the Artist as a Portraitist Produced by Susan Vogel, Samuel Sidibé, Eric Engles & the Musée National du Mali A Film by Susan Vogel The film is constructed in six sketches, focusing on This short but sweet film looks at the work of the “Brilliant!..