Rhodes University: Hosted Journals
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Marabi Nights: Jazz, \u27Race\u27 and Society in Early Apartheid South Africa. Christopher Ballantine. 2012. Pietermaritzburg: UKZN Press. 16 bw images, bibliography, index, CD, 247pp.
Get PDFHighlife Saturday Night: Popular Music and Social Change in Urban Ghana. Nate Plageman. 2013. Bloomington: Indiana University Press. 30 figures, glossary, discography, bibliography, index, 318 pp.
Get PDFUgandan Music in the Marketing Era: The Branded Arena. David G. Pier. 2015. New York: Palgrave Macmillan. 8 images, 5 figures, 2 tables, index, 203pp.
Get PDFPoetry in Motion: 100 Years of Zanzibar\u27s Nadi Ikhwan Safaa. Directed by Ron Mulvihill. Produced by Kelly Askew and Werner Graebner. DVD. 2016. Distributed by Jahazi Media Gris-Gris Films. Subtitles in Arabic, English, French, Swahili. 71 minutes. Available at www.poetryinmotionfilm.com.
Get PDFMALE DANCERS OF SABAR-STARS OF A FEMALE TRADITION
Get PDFThis article discusses the role of male dancers within the Senegalese sabar tradition. The most common context for sabar dancing is social dance events that are dominated by non-professional female dancers. However, since the independence of Senegal in 1960 sabar dancing has also been developed as a stage art in folkloric dance companies known as ballets in West Africa. Later sabar also began to be performed by dancers and dance groups on stage with mbalax bands. Both of these newer forms of sabar dancing take the form of pre-planned choreographies performed by both male and female dancers; but, many of the best known sabar dancers today are men. Developments caused by the professionalisation of sabar dancing and analyses of the changes that have occurred in the style of dancing to emphasise the masculinity of the male dancers as opposed to the ideas of femininity traditionally attached to sabar dancing are discussed
Azawan: precolonial musical culture and Saharawi nationalism in the refugee camps of the Hamada Desert in Algeria
Get PDFThis article analyses Saharawi music as performed for the refugee community in the camps. I argue that the construction and evolution of Saharawi music in the camps is divided into two main areas: nationalism in relation to the decolonisation of Western Sahara, and maintenance of cultural values in Saharawi music found in the historical retention of the Haul modal system originating in precolonial Saharawi culture. Local audiences use the term Azawan to define the combination of nationalist sentiments and retention of their precolonial musical culture in Saharawi music
Cape Verdeans in the Atlantic: the formation of Kriolu music and dance styles on ship and in port
Get PDFWorking from the premise that Cape Verde is a member of the Black Atlantic musical family whose styles flowed freely from port to port, this study has delved deeper into the styles and time frames that figured into the mix, verifying that periods of intense transatlantic port activity correspond to the emergence of new genres. Cape Verde\u27s musical history might be viewed as a sandbar on the beach that is continually reshaped and born a new by waves of musical influences circling between the continents. The ideas of individual Cape Verdeans ultimately created the music, of course, and a comparative approach is not meant to lessen those musicians\u27 importance, or detract from the beauty and perfection of Cape Verde\u27s greatest treasure. The footprints of transatlantic connections in Cape Verdean musical styles can be found in its rhythms, instruments, vocabularies, scores, and ship route patterns. People create styles, and musical communication happens on the personal level - through sailors sharing a tune at sea, through encounters in harbor dancehalls, and through ideas brought back home. Generations of seafarers found safe harbor in Cape Verde, carrying music round and round the Atlantic, and this process is still shaping the local forms, although the travel is now by jet, and the exchanges are often over the worldwide web. While some details about musical communities on the high seas may be lost to us, there is still information to be gained about Cape Verdean musical forms through a study of the multi-directional movements of musicians, artifacts, repertoires, and ideas around the Atlantic rim