Africa in Stereo: Modernism, Music, and Pan-African by Tsitsi Ella Jaji

By Tsitsi Ella Jaji

Africa in Stereo analyzes how Africans have engaged with African American song and its representations within the lengthy 20th century (1890-2011) to supply a brand new cultural historical past testifying to pan-Africanism's ongoing and open theoretical strength. Tsitsi Jaji argues that African American renowned track appealed to continental Africans as a unit of cultural status, a website of enjoyment, and most significantly, an expressive shape already encoded with techniques of artistic resistance to racial hegemony. Ghana, Senegal and South Africa are regarded as 3 detailed websites the place longstanding pan-African political and cultural affiliations gave expression to transnational black team spirit. The ebook exhibits how such transnational ties fostered what Jaji phrases "stereomodernism." getting to the specificity of assorted media by which track was once transmitted and interpreted-poetry, novels, movies, recordings, fairs, stay performances and websites-stereomodernism bills for the position of cultural perform within the emergence of harmony, tapping music's skill to refresh our figuring out of twentieth-century black transnational ties.

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Extra resources for Africa in Stereo: Modernism, Music, and Pan-African Solidarity

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Brian Massumi (Minneapolis: U Minnesota P, 1985), 134–35. , 142. indd 13 10/30/2013 6:54:05 PM 14 Africa in Stereo The “Modern” in Stereomodernism What it means to be “modern” is a vexed question in Africa, but rather than revisiting the hackneyed oppositions between purportedly stable categories of the modern (implying Westernized, colonialized, urban, literate, and so on) and the traditional (implying local, vernacular, rural, oral) I am interested in how these categories are always already blurred through movements of bodies, ideas, texts, and cultural scripts.

Natural Science . . ”15 The inclusion of music in a curriculum designed for economic self-sufficiency was one aspect of Washington’s approach that Dube embraced. In assembling a collection of Zulu songs, Amagama Abantu (which will be discussed further below), Dube and his wife clearly intended that they could be used for school music as the title of the last song in the collection—“Umthandazo Wosapho iwaOhlange” (A prayer for the Children at Ohlange)—makes evident. Dube’s embrace of Washington left him out of step with the evolving ideology of the SANNC and more leftist organizations like Kadalie’s Industrial and Commercial Workers Union and the South African Communist Party.

Economics . . , Natural Science . . ”15 The inclusion of music in a curriculum designed for economic self-sufficiency was one aspect of Washington’s approach that Dube embraced. In assembling a collection of Zulu songs, Amagama Abantu (which will be discussed further below), Dube and his wife clearly intended that they could be used for school music as the title of the last song in the collection—“Umthandazo Wosapho iwaOhlange” (A prayer for the Children at Ohlange)—makes evident. Dube’s embrace of Washington left him out of step with the evolving ideology of the SANNC and more leftist organizations like Kadalie’s Industrial and Commercial Workers Union and the South African Communist Party.

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