African Music and the History of Time

2021 ◽  
Vol 6 (2) ◽  
pp. 397-426
Author(s):  
Martin Scherzinger
Keyword(s):  
African Music ◽  
History Of

South African Music in the History of Epidemics

2017 ◽  
Vol 54 (1-2) ◽  
pp. 87 ◽  
Author(s):  
Austin C. Okigbo
Keyword(s):  
South African ◽  
African Music ◽  
History Of ◽  
South African Music

Music teaching and the process of enculturation: A cultural dilemma

2015 ◽  
Vol 32 (3) ◽  
pp. 291-297 ◽  
Author(s):  
Eric Debrah Otchere
Keyword(s):  
Music Education ◽  
Music Teaching ◽  
African Music ◽  
Course Content ◽  
Educational Curriculum ◽  
Dominant Feature ◽  
Multicultural Music ◽  
History Of ◽  
Education In Ghana ◽  
Formed Part

The history of music in Ghanaian school programmes can hardly be separated from the general history of education in Ghana. Since the time of colonial administration in Ghana, music (especially as manifested through singing) has formed part of the educational curriculum for different reasons, one being a tool for promoting the culture of the colonialists. Several advances (particularly after independence in Ghana) have been made to incorporate aspects of the Ghanaian culture into the educational curriculum. Over 50 years down the line, what is the extent to which Ghanaian (African) music is studied in Ghanaian schools? In this paper, the extent to which African music is taught in African (Ghanaian) universities is analysed by looking at the undergraduate music course content of two Ghanaian public universities. Although African music is taught, it only forms an infinitesimal proportion of the total music courses that are offered to music students in these two universities. Considering that the process of music education is also a process of enculturation, the concluding recommendation is that although a multicultural music programme is necessary, the teaching of African (Ghanaian) music in Ghanaian universities should be the dominant feature.

Beyond Memory

2009 ◽  
Author(s):  
Max Mojapelo ◽  
Sello Galane
Keyword(s):  
South Africa ◽  
Popular Music ◽  
South African ◽  
Future Generations ◽  
Black Communities ◽  
African Music ◽  
The South ◽  
Accurate Picture ◽  
History Of ◽  
South African Music

South Africa possesses one of the richest popular music traditions in the world - from marabi to mbaqanga, from boeremusiek to bubblegum, from kwela to kwaito. Yet the risk that future generations of South Africans will not know their musical roots is very real. Of all the recordings made here since the 1930s, thousands have been lost for ever, for the powers-that-be never deemed them worthy of preservation. And if one peruses the books that exist on South African popular music, one still finds that their authors have on occasion jumped to conclusions that were not as foregone as they had assumed. Yet the fault lies not with them, rather in the fact that there has been precious little documentation in South Africa of who played what, or who recorded what, with whom, and when. This is true of all music-making in this country, though it is most striking in the musics of the black communities. Beyond Memory: Recording the History, Moments and Memories of South African Music is an invaluable publication because it offers a first-hand account of the South African music scene of the past decades from the pen of a man, Max Thamagana Mojapelo, who was situated in the very thick of things, thanks to his job as a deejay at the South African Broadcasting Corporation. This book - astonishing for the breadth of its coverage - is based on his diaries, on interviews he conducted and on numerous other sources, and we find in it not only the well-known names of recent South African music but a countless host of others whose contribution must be recorded if we and future generations are to gain an accurate picture of South African music history of the late 20th and early 21st centuries.

The Indian Ocean and Africa

2021 ◽  
Author(s):  
Edward A. Alpers
Keyword(s):  
Indian Ocean ◽  
African History ◽  
Immigrant Communities ◽  
African Music ◽  
Important Place ◽  
Nation States ◽  
History Of ◽  
The Indian Ocean ◽  
Monsoon Winds ◽  
Indian Ocean World

The Indian Ocean has occupied an important place in the history of Africa for millennia, linking the continental land mass to the peoples, products, and ideas of the wider Indian Ocean world (IOW). Central to this relationship are environmental factors, including the biannual operation of monsoon winds, which determined the maritime movement of people, things, and ideas. The earliest of these connections involve the movement of food crops, domestic animals, and commensals both from and into Africa and its offshore islands. From the beginnings of the Current Era, Africa was an important Indian Ocean source of valuable commodities, such as ivory and gold; in more recent times, hardwood products like mangrove poles, and agricultural products like cloves, coconuts, and copra gained economic prominence. Enslaved African labor also had a long history in the IOW, the sources and destinations for the export trade varying over time. In addition, for centuries many different Indian Ocean immigrant communities played important roles as settlers, merchants, sailors, and soldiers. In the realm of culture and ideas, African music, dance, and spiritual concepts accompanied those Africans who were forcibly removed from the continent to the different Indian Ocean lands where they were enslaved. A further indicator of Indian Ocean connectivity is Islam, the introduction of which marks an important watershed in African history. The human settlement of Madagascar marks another significant Indian Ocean connection for Africa. At different times and in different ways, colonial rule—Portuguese, Dutch, Omani, French, and British—tied eastern African territories to India, Arabia, and Southeast Asia. Since regaining independence, African nation-states have established a variety of new linkages to other Indian Ocean states.

The Global History of African Music: The Kenyan Song “Malaika”

2017 ◽  
pp. 209-218
Author(s):  
Ian Eagleson
Keyword(s):  
Global History ◽  
African Music ◽  
History Of

Ipi Tombi

Learning Zulu ◽  
2016 ◽  
Author(s):  
Mark Sanders
Keyword(s):  
New York ◽  
South African ◽  
Black People ◽  
South African Government ◽  
African Music ◽  
African Government ◽  
Historical Significance ◽  
History Of ◽  
And Performance ◽  
African Writers

This chapter examines the historical significance of Ipi Tombi, a 1974 musical by South African writers Bertha Egnos and her daughter Gail Lakier, and describes it as an episode in the secret history of learning Zulu. Ipi Tombi was produced with the collaboration of black people, contains African music and dance, and was enthusiastically consumed by black audiences. After opening in Johannesburg in March 1974, where it ran for several years at the Brooke Theater, Ipi Tombi toured in various cities worldwide, including New York where it sparked protests from groups who accused the show of being a propaganda ploy by the South African government. The chapter also considers the legend of Johnny Clegg, a pop singer who blended rock with elements of Zulu music and performance, and concludes with a discussion of the meaning of the phrase “Ipi Tombi” as “Where are the girls?”.

Music in Modern African History

2013 ◽  
Author(s):  
Veit Erlmann
Keyword(s):  
Urban Youth ◽  
Religious Movements ◽  
African History ◽  
Key Factors ◽  
African Music ◽  
Global Culture ◽  
Colonial Legacy ◽  
History Of ◽  
To Come ◽  
The Impact

The history of African music during the twentieth century is the result of complex social, cultural, and musical processes. These processes must be seen against the backdrop of the continent’s continuing attempts to come to terms with the colonial legacy; the challenges and conflicts of the postcolonial present; and the changing place of Africa in the global order. Several key factors shaped the broader contours of this history: the growth of cities; the rise of nationalism; the state as promoter and censor; the dominance of state-controlled media during much of the colonial and postcolonial era and their eventual deregulation in the 1990s; the struggles of musicians in times of economic crisis and failing governments; the ‘worldbeat’ boom of the 1980s and 1990s; the impact of global culture on African urban youth; and finally, the resurgence of counter-hegemonic religious movements.

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