Music as Cultural Text
Performance Traditions in West Africa and its Diasporas
Buch in deiner Nähe kaufen
Beschreibung
African music’s most distinctive feature is the urbatextuality that transpires through its diversity and plural functions and the specific geographical, cultural, religious, linguistic, political, economic, and social contexts from which it evolves. This music and its circum-Atlantic offspring are characterized by wisdom, subtlety, resilience, and creativity. They are cultural texts marked by an openness to other customs and societies since they maintain authenticity that does not foreclose hybridity, cosmopolitanism, and other global human sensibilities. These elements have made West African music a transnational commodity and a source of inspiration and survival both on the continent and in the black diaspora. Such patterns characterize Pan-African musical traditions that thrive in several spaces where both plurality and authenticity are welcome. These characteristics are apparent in rich, complex, and vibrant musical cultures such as rap in Senegal, France, and Burkina Faso, Malian traditional music in Canada and France, hip-life and hip-hop in Ghana, Christian songs in Ghana and Nigeria, and ngoyaan, Cape Verdean cabo, and zouk in Senegal. African music’s distinctive features are also noticeable in Niger’s guitar-playing traditions and Tuareg oral poetry as well as in Senegambian blues that influenced their African American offspring whose imprints they bear. By exploring all these elements, the chapters in this book pay homage to the heterogeneity, memories, hope, pain, and humanity in the music of Africa and the black diaspora.
Babacar M’Baye is Professor of English at Kent State University, USA.
Fallou Ngom is Professor of Anthropology at Boston University, USA.
Khadimou Rassoul Thiam is Associate Professor of Comparative Literature at Université Gaston Berger, Senegal.
Alioune Willane is Associate Professor of Comparative Literature at Université Gaston Berger, Senegal.
African music’s most distinctive feature is the urbatextuality that transpires through its diversity and plural functions and the specific geographical, cultural, religious, linguistic, political, economic, and social contexts from which it evolves. This music and its circum-Atlantic offspring are characterized by wisdom, subtlety, resilience, and creativity. They are cultural texts marked by an openness to other customs and societies since they maintain authenticity that does not foreclose hybridity, cosmopolitanism, and other global human sensibilities. These elements have made West African music a transnational commodity and a source of inspiration and survival both on the continent and in the black diaspora. Such patterns characterize Pan-African musical traditions that thrive in several spaces where both plurality and authenticity are welcome. These characteristics are apparent in rich, complex, and vibrant musical cultures such as rap in Senegal, France, and Burkina Faso, Malian traditional music in Canada and France, hip-life and hip-hop in Ghana, Christian songs in Ghana and Nigeria, and ngoyaan, Cape Verdean cabo, and zouk in Senegal. African music’s distinctive features are also noticeable in Niger’s guitar-playing traditions and Tuareg oral poetry as well as in Senegambian blues that influenced their African American offspring whose imprints they bear. By exploring all these elements, the chapters in this book pay homage to the heterogeneity, memories, hope, pain, and humanity in the music of Africa and the black diaspora.
Offers perspectives on West African music cultures from scholars who are native speakers of the languagies they study Includes likely the first extensive discussion of the concept of 'urbatext' in the Anglophone literature Studies a range of genres, incluing Blues, Hiplife, and Hip Hop, and sacred music from a variety of faith traditions
Autor*in
Babacar M'Baye
Themen in »Music as Cultural Text«
Music West Africa African musical cultures Rap Tuareg
Stimmen zu »Music as Cultural Text«
“A wonderful collection, with some words coming out as songs to capture the seriousness of scholarship and the intersectionality between robust creative engagements and scholarly analysis. Various chapters bring to light profound analysis in an accessible manner. In totality, this significant book offers nuanced conversations on music and its multiple contributions to politics and identity.” (Toyin Falola, The Frances and Sanger Mossiker Chair in the Humanities, the University of Texas at Austin)
()