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African Music: Journal of the International Library of African Music, Vol. 9, No. 4 (2014)
No full textMusic and notions of citizenship in the humanitarian work of two NGOs in Uganda
Get PDFThis article explores the ways in which musical practices have become a site for the
enactment of particular notions of \u27productive\u27 citizenship in the humanitarian work of two non-governmental organizations (NGOs) in Uganda - Watoto Child Care Ministries and Uganda Heritage Roots. It also highlights how the global connections forged by the two NGOs have impacted the music-making practices that are central to the organizations\u27 aid-provision mandates. Ultimately, as it will be argued here, these global connections inform the conceptions held by the two organizations of how a \u27productive\u27 citizen of Uganda should carry him/herself
Continuities and innovation in Luo song style: creating the Benga Beat in Kenya 1960 to 1995
Get PDFBenga is a genre of guitar-band dance music in Kenya that first emerged within the Luo community during the late 1960s. Throughout its initial development among Luo bands and subsequent adaptation to several ethnic languages, benga provided many Kenyans with a malleable platform for enjoying a novel, emergent style that connected with the poetic and musical sensibilities of ethnic tradition that have been resilient in both rural and urban life. Each variant of benga expresses markers of its ethnic orientation, not only in the obvious sense of its language, but in concepts of rhythmic structure and melodic phrasing, tempo, form, and vocal timbre. They also present distinct developments in compositional identity initiated by various leading musicians. While these distinctions are obvious to benga musicians and fans, in scholarly and journalistic discussions of benga they are seldom discussed in a substantive way, and benga is often generalized as either a reflection of latent ethnic identities that persist in modern music, or a local derivative of Congolese music
Choreographing Cape Town through Goema music and dance
Get PDFIn this article, I address the distinctive spatial practices of Minstrel Carnival participants, exploring the ways in which paraders use their bodies to collectively lay claim to Cape Town and access urban space through sonic and embodied performances. Recent scholarship has called attention to the central narratives of slavery and emancipation contained within the Minstrel Carnival, as well as the symbolic significance of the Carnival\u27s re-appropriation of city space in relation to the coloured community\u27s colonial and apartheid experiences of dispossession, forced removals, and social dislocation
A Language of Song: Journeys in the Musical World of the African Diaspora. Samuel Charters. 2009. London and Durham, NC: Duke University Press. 59 photos, index, 368pp.
Get PDFEast African Hip Hop: Youth Culture and Globalization. Mwenda Ntarangwi. 2009. Chicago: University of Illinois Press. appendix, glossary, index, 176 pp.
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Ephraim Amu\u27s "Bonwere Kenteŋwene": a celebration of Ghanaian traditional knowledge, wisdom, and artistry
Get PDFBy analyzing Amu\u27s "Bonwere KenteÅ‹wene” (trans. "Bonwere Kente Weaving”), an art song for voice and piano, this article explores some of these paradigm-shifting processes. They include Amu\u27s creation of the song\u27s text as a narrative on an imaginary journey that foregrounds forms of traditional knowledge and their producers, the quest and advocacy for indigenous African knowledge, weaving of the kente cloth, the process of making a new song, construction of Ghanaian identity through composing an art song, and dissemination of knowledge involved in his process and production of a composition. I examine the major factors that informed Amu\u27s inspiration, ingenuity, and agency that provoked this art song. These include translation of the generative power of one type of expressive art form into another expressive art form, his selectivity of pre-compositional resources, and his underpinning creative philosophy
