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An analysis of the musical style of Miriam Makeba
No full textIncludes bibliographical references (leaves 56-67).The motivation behind this study is to explore the musical style of the late Miriam Makeba. The intention is that it will add a valuable contribution to the study of South African musicians and those subsequent scholars, with a common interest, will use the work to further the analytical study of the musical style of South African jazz
Kurzbericht zur Inspektion der Miriam-Makeba-Grundschule (01G47)
Full text linkKURZBERICHT ZUR INSPEKTION DER MIRIAM-MAKEBA-GRUNDSCHULE (01G47)
Kurzbericht zur Inspektion der Miriam-Makeba-Grundschule (01G47) (Rights reserved) (-
Bericht zur Inspektion der Miriam-Makeba-Grundschule 01G47
Full text linkBERICHT ZUR INSPEKTION DER MIRIAM-MAKEBA-GRUNDSCHULE 01G47
Bericht zur Inspektion der Miriam-Makeba-Grundschule 01G47 (Rights reserved) (-
Making History with Music: Miriam Makeba in Guinea
No full textThis blog post was written by Yair Hashachar on Miriam Makeba in Guine
Miriam Makeba Comes to the University of Dayton
Full text linkNews release announcing the University Art Series at the University of Dayton will present the international singing star, Miriam Makeba, who sings in 11 languages and dialects
Johnnetta B. Cole and Miriam Makeba, 1991
No full textWritten on verso: Spelman College 1991 Commencement; President Dr. Johnnetta B. Cole congratulates honorary doctoral degree recipient and speaker Miriam Makeba following commencement ceremony.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the Council on Library and Information Resources (CLIR) in supporting the processing and digitization of a number of historic collections as part of the project: Our Story: Digitizing Publications and Photographs of the Historically Black Atlanta University Center Institutions.</em
Miriam Makeba Speaks at Commencement, 1991
No full textWritten on verso: Spelman College 1991 Commencement; Miriam Makeba, South African singer, speaker and honorary doctoral degree recipient.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the Council on Library and Information Resources (CLIR) in supporting the processing and digitization of a number of historic collections as part of the project: Our Story: Digitizing Publications and Photographs of the Historically Black Atlanta University Center Institutions.</em
Miriam Makeba
No full text456-7.jpg created from original Artwork in the Visual Art Students projects Collection held in the Manuscripts Section of the Stellenbosch Library and Information Service.Description of Artwork
Miriam Makeba, or ‘Mama Africa’, combined jazz and traditional African song to create her unique sound.
Through her work she advocated against apartheid.
Makeba was born to a domestic worker and traditional healer mother and a school teacher father. She grew up in vibrant Sophiatown where beer brewing, gangsters, an emerging music scene and late-night dancing were part of everyday life. Her career started in the shebeens of Sophiatown, where she sang with two bands as well as her all-women group, the Skylarks.
Makeba left South Africa in the 1960s, only to find herself banned from returning by the South African government for being too revolutionary. After she spoke out against apartheid at the United Nations General Assembly in 1963, her records were also banned in South Africa until 1988. The early to mid-1960s marked the height of her career when many of her best songs and performances took place. In America Makeba found fame, recognition and friendship, but many of her concerts were cancelled and albums boycotted after she married American black power activist, Stokely Carmichael, in 1968.
The 1980s was a difficult time for Makeba, starting when her only child, Bongi, died after complications in childbirth. She struggled with alcohol abuse following Bongi’s death and also battled cervical cancer. Makeba turned to religion and music to help overcome her difficulties, releasing two albums and an autobiography. After Nelson Mandela’s release from prison in 1990, he persuaded her to return to South Africa, lifting her ban. She later served as Goodwill Ambassador for the United Nations, and also founded the Makeba Rehabilitation Centre for Girls, helping young women to become independent.
Miriam Makeba is world renowned for the extraordinary music she made for over 50 years, but one of the most memorable things about her was her determination to always be honest – in both her music and the way she expressed her unique identity
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Music USA #2204-B, Interview with Miriam Makeba
No full textThe entire program for the jazz hour (second hour) of Music USA, including an interview with Miriam Makeba, and tune selections from the opera "King Kong," and from the Mal Waldron Trio. This program was broadcast on January 10, 1961, and rebroadcast on July 11 of that year as Music USA #2386-B
[Review of] Miriam Makeba and James Hall. Makeba: My Story
Full text linkLike much of her music, Miriam Makeba\u27s autobiography is both personal and political. As it details the story of a young girl\u27s coming of age and search for identity, it simultaneously records the history of a country struggling for independence. In the prologue, Makeba compares herself to a South African bird soaring above the horror of apartheid (aparthood) which was instituted in 1947. As she recounts the details of war and injustice in direct, understated, idiom-filled prose, and as she intertwines details of ancient customs with the realities of modern technology, Makeba suggests that music best expresses the tragic subject of the inner exile of the South African people
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