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Thematische Bibliographien / African War songs / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „African War songs“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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1

Dr., James W. Ellis. "Spirituals and Gospel Songs: Messages of Unity, Hope, and Deliverance." International Journal of Arts and Social Science 4, no. 2 (2023): 42–57. https://doi.org/10.5281/zenodo.7739600.

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Spirituals and gospel songs have a capacity to instill courage and bring people together. Spirituals helped enslaved Americans of the antebellum American South persevere through unimaginable hardships and look optimistically to a future of freedom. Similarly, gospel songs have inspired strength and Christian harmony for centuries. This essay briefly explores the roles spirituals and gospel songs played at the end of the American Civil War and in the post-war endeavors of The Fisk Jubilee Singers and Moody-Sankey revivalists. The essay also includes analysis of Albert Brumley’s popular tw

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Dmitrievskaya, Lidia N. "Russian songs in I.A. Goncharov’s travel diary “Frigate “Pallada”." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2023): 149–55. http://dx.doi.org/10.20339/phs.6-23.149.

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In the travel diary “Frigate “Pallada”, in the chapter “On the Cape of Good Hope” I.A. Goncharov mentions many Russian songs: author’s and folk songs, romances of various artistic merit, and even an opera aria. Together with the owners of guest houses — the British — travelers sing Scottish and English romances and ballads, once they witness an African “ball”, but still it is the Russian song that accompanies Goncharov and his companions on a trip to South Africa. The article provides the texts of Russian songs that are missing in the narrative (they are only named), and their function is esta

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Shepler, Susan. "Youth music and politics in post-war Sierra Leone." Journal of Modern African Studies 48, no. 4 (2010): 627–42. http://dx.doi.org/10.1017/s0022278x10000509.

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ABSTRACTThe brutal, eleven-year long civil war in Sierra Leone has been understood by many scholarly observers as ‘a crisis of youth’. The national elections of 2007 were notable for an explosion of popular music by young people directly addressing some of the central issues of the election: corruption of the ruling party and lack of opportunities for youth advancement. Though produced by youth and understood locally as youth music, the sounds were inescapable in public transport, markets, and parties. The musical style is a combination of local idioms and West African hip-hop. The lyrics pres

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Akurang-Parry, K. O. "“A Smattering of Education” and Petitions as Sources: A Study of African Slaveholders' Responses to Abolition in the Gold Coast Colony, 1874–1875." History in Africa 27 (January 2000): 39–60. http://dx.doi.org/10.2307/3172106.

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By the mid-nineteenth century African societies had begun to use petitions as an instrument of agitation for reforms in nascent colonial policies. This was especially true of those societies located in the coastal enclaves where precolonial European and diasporic African influences were markedly profound. Compared with other African responses to European colonial rule, anti-colonial petitions are less spectacular. This explains, perhaps-deservingly so, why petitions or memorials, which also took the form of deputations, as a historical genre have been marginalized in the polemical studies of A

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Ling, Peter J. "Spirituals, Freedom Songs, and Lieux de Mémoire: African-American Music and the Routes of Memory." Prospects 24 (October 1999): 213–30. http://dx.doi.org/10.1017/s036123330000034x.

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In countries where the history has not assumed the same didactic role in forming the national consciousness, the history of history need not burden itself with such polemical content. For example, in the United States, a country of plural memories and diverse traditions, historiographical reflection has long been part of the discipline. Different interpretations of the American Revolution or the Civil War may involve high stakes but do not threaten to undermine the American tradition because, in a sense, there is no such thing, or if there is, it is not primarily a historical construct. In Fra

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Kimamira, Joseph Kanagi, Francis Muchoki, and Kennedy Moindi. "Impact of Mau Mau Movement on The Family Unit: A Case Study of Nyandarua County From 1952 to 1963." African Journal of History and Geography 3, no. 1 (2024): 10–26. http://dx.doi.org/10.37284/ajhg.3.1.2074.

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After the establishment of colonial rule, colonial land, labour, racial and other exploitative policies forced the Africans to take arms against colonial oppression. This led to Mau Mau War of Liberation. This war had far-reaching effects on the family unit. The purpose of this research is to identify the impact of the Mau Mau war on children and the family unit a case of Nyandarua County from 1952-1963. The social conflict theory has been used to explain how family unit endured heart trending consequences during the period of Mau Mau war. The Mau Mau war disrupted African child’s formal educa

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Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.

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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as partic

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SMITH, CHRIS. "Going to the Nation: the idea of Oklahoma in early blues recordings." Popular Music 26, no. 1 (2006): 83–96. http://dx.doi.org/10.1017/s0261143007001146.

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This paper considers references to Oklahoma in blues recordings from 1924 to 1941, and the paradox that, although the reality of life for African-Americans in that state was little different from life in the Deep South, the recordings usually speak of migration to Oklahoma in optimistic terms. The notion that the Indian Nation (a.k.a. ‘the Territory’) had been a refuge for runaway slaves is rebutted, together with the conclusion that optimistic references in the blues preserve this idea as a collective memory. What is being recalled is rather the period between the Civil War and statehood (190

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Dobie, Madeleine. "Assia Djebar: Writing between Land and Language." Publications of the Modern Language Association of America 131, no. 1 (2016): 128–33. http://dx.doi.org/10.1632/pmla.2016.131.1.128.

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The death of assia djebar on 7 february 2015 marks the end of an era in literary and world history. The last survivor of the generation of Algerian writers who took up the pen in the mid-1950s as their country embarked on its historic struggle for independence from France, Djebar continued writing long after the deaths of Mouloud Feraoun (1962), Kateb Yacine (1989), Mouloud Mammeri (1989), and Mohammed Dib (2003). With her death, the age of decolonization and African revolution as it resonated in literature seems truly to have come to a close. Djebar was the only woman among the Algerian liter

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Erlmann, Veit. "‘Horses in the race course’: the domestication of ingoma dancing in South Africa, 1929–39." Popular Music 8, no. 3 (1989): 259–73. http://dx.doi.org/10.1017/s026114300000355x.

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On a Saturday night of January 1930 several thousand African men clad in loin cloths and the calico uniforms of domestic servants thronged a concert in the Workers' Hall of the Durban branch of the Industrial and Commercial Workers' Union (ICU) in Prince Edward Street. To the pounding sounds of hundreds of sticks, successive teams of dancers, some of them trained by Union officials from the rural hinterland, rushed to the stage performing the virile, stamping ingoma dance. The Zulu term ingoma (lit. ‘song’) covers a broad range of male group dances like isikhuze, isicathulo, ukukomika, isiZulu

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Gahutu, A. M. "Afro-pessimist discourse as a war song against the enemy, Africa." Rwanda Journal 1, no. 1 (2016): 5. http://dx.doi.org/10.4314/rj.v1i1.2a.

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VERMAZEN, BRUCE. "“Those Entertaining Frisco Boys”: Hedges Brothers and Jacobson." Journal of the Society for American Music 7, no. 1 (2013): 29–63. http://dx.doi.org/10.1017/s1752196312000478.

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AbstractCharles Frederick (Freddie) Hedges (1886–1920), his brother Elven Everett Hedges (1889–1931), and Jesse Jacobson (1882–1959) converged as Hedges Brothers and Jacobson in 1910 in San Francisco. Elven played piano, saxophone, and guitar, and all three sang and danced. In 1910–11, critics in San Francisco, Chicago, New York, and smaller cities greeted the act as something new and exceptionally good. Instead of pursuing more general fame in North America, the trio accepted a music-hall contract in England, where they became leaders in creating a craze for American ragtime singing, a craze

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Nandhini, C., and K. S. Mangayarkkarasi. "Mildred D. Taylor’s Song of the Tree: Role of Women in Protection of Nature." Shanlax International Journal of English 9, S1-i2-Dec (2020): 15–17. http://dx.doi.org/10.34293/english.v9is1-i2-dec.3683.

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Equal to man, every woman plays an important role in maintaining natural resources management and they have the respective knowledge and experience gained through close working with environment. Even in this present condition still some writers in their work concentrate on Nature and its importance. African American Literature, the body of the literature that produced in the United States by writers of African descent, highly concentrates on slavery before the American Civil War. Their oral culture is rich in poetry that includes spirituals, gospel, music, blues, and rap. Mildred D. Taylor is

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Wells, Jeremy Dwight. "Civil War Song in Black and White: Print and the Representation of the Spirituals." Humanities 11, no. 6 (2022): 142. http://dx.doi.org/10.3390/h11060142.

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This article explores how White writers wrote about African American spirituals during and after the Civil War. While these writers tended to view Black speech as deficient, they were willing to regard Black musical expression as simply different, paving the way for its eventual nationalization as “American music”. Noting that White writers were not in the habit of admitting the inadequacies of their preferred modes of representation, the article concludes that the print representation of the spirituals contributed to a transformation of what was meant by the word “American”.

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Jacobs, Sylvia M., and William R. Scott. "The Sons of Sheba's Race: African-Americans and the Italo-Ethiopian War 1935-1941." American Historical Review 99, no. 5 (1994): 1775. http://dx.doi.org/10.2307/2168566.

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Preitschopf, Alexandra. "Contested Memories in Contemporary France and Their Reflection in Rap Music." AUC STUDIA TERRITORIALIA 21, no. 2 (2022): 11–33. http://dx.doi.org/10.14712/23363231.2022.2.

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France’s colonial past and its aftermath remain an “open wound” to this day. After a long period of silence, painful issues such as the role of France in the transatlantic slave trade, colonial crimes in Africa, and the Algerian War have more and more become part of public consciousness in France. Interestingly, many French rap musicians who are the children or grandchildren of immigrants from former French colonies frequently use their songs to remind France of its colonial past. However, their messages sometimes compete with remembrance of the Holocaust. The singers’ condemnation of French c

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Li, Zimu. "“The Battle of Diaoyu City” And Its Impact on The Mongol Empire, The Southern Song Dynasty, And the European Landscape." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 275–81. http://dx.doi.org/10.54097/pjrz9g21.

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The Mongol Empire in the 13th century was unprecedentedly powerful, establishing a vast empire on the grasslands and setting its sights on the Eastern Song Dynasty. Led by Genghis Khan, the Mongol army launched a three-pronged invasion of the Song Dynasty. However, unexpectedly, Genghis Khan died under the walls of Diaoyu City, leading to a series of significant changes within the Mongol Empire. First, Kublai Khan was forced to withdraw his troops from Xiangyang, giving the Song Dynasty a breathing space. Then, the internal war between Ariq Böke and Kublai Khan resulted in Kublai Khan's victor

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GORELIK, B. M. "RUSSIAN FOLK SONG ABOUT THE SOUTH AFRICAN WAR AS AN EXPRESSION OF PUBLIC DISCONTENT OF THE EARLY 20TH CENTURY." LOMONOSOV HISTORY JOURNAL 64, no. 2023, №4 (2024): 63–81. http://dx.doi.org/10.55959/msu0130-0083-8-2023-64-4-63-81.

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The folk song “Transvaal, Transvaal, My Country” emerged in the Russian Empire about 120 years ago. It happened in the wake of the extraordinary public interest in the first major armed conflict of the 20th century, the Anglo-Boer War of 1899-1902. The lyrics are based on a poem by a Saint-Petersburg poet, G. Galina. The song about the freedom struggle, which was waged by the people of a distant, but, like Russia, predominantly agrarian country, resonated with the early 20th-century Russian society. Its growing politicisation manifested itself in the keen interest that Russians took in the con

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Terretta, Meredith, and Benjamin N. Lawrance. "“Sons of the Soil”: Cause Lawyers, the Togo-Cameroun Mandates, and the Origins of Decolonization." American Historical Review 124, no. 5 (2019): 1709–14. http://dx.doi.org/10.1093/ahr/rhz1029.

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Abstract A century after the victorious Allied powers distributed their spoils of victory in 1919, the world still lives with the geopolitical consequences of the mandates system established by the League of Nations. The Covenant article authorizing the new imperial dispensation came cloaked in the old civilizationist discourse, entrusting sovereignty over “peoples not yet able to stand by themselves under the strenuous conditions of the modern world” to the “advanced nations” of Belgium, England, France, Japan, and South Africa. In this series of “reflections” on the mandates, ten scholars of

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Daut, Marlene L. ""Sons of White Fathers": Mulatto Vengeance and the Haitian Revolution in Victor Sééjour's "The Mulatto"." Nineteenth-Century Literature 65, no. 1 (2010): 1–37. http://dx.doi.org/10.1525/ncl.2010.65.1.1.

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Marlene L. Daut, "'Sons of White Fathers': Mulatto Vengeance and the Haitian Revolution in Victor Sééjour's 'The Mulatto'"(pp. 1––37) Although many literary critics have traced the genealogy of the tragic mulatto/a to nineteenth-century U.S. letters, in this essay I argue that the theme of tragedy and the mixed-race character predates the mid-nineteenth-century work of Lydia Maria Child and William Wells Brown and cannot be considered a solely U.S. American concept. The image can also be traced to early-nineteenth-century French colonial literature, where the trope surfaced in conjunction with

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Liz, Mariana. "Netflix’s transnational identities: From Europeanness to cosmopolitanism in Sex Education." Journal of Popular Television, The 12, no. 3 (2024): 303–15. https://doi.org/10.1386/jptv_00131_1.

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A British creation, Netflix’s original hit series Sex Education (2019–23) casually navigates local, national and global references. British and American protagonists appear from the first episode, joined by international characters from northern Europe and francophone Africa, although not much is made of these supposedly foreign identities. As much as the period in which the show is set cannot be easily pinpointed, since references to different temporal eras are screened in a vibrant mix of songs, patterns and colours, so does identity appear as fluid, constructed as a diffuse mix of accented

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Beach, D. N. "An Innocent Woman, Unjustly Accused? Charwe, Medium of the Nehanda Mhondoro Spirit, and the 1896–97 Central Shona Rising in Zimbabwe." History in Africa 25 (1998): 27–54. http://dx.doi.org/10.2307/3172179.

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The rising of the Ndebele and southwestern and central Shona people against colonial rule in the 1890s has become one of the classic cases of such resistance. Yet, since the independence of Zimbabwe in 1980, very little fresh research has been carried out on the subject. This paper re-examines the role of Shona religious authorities in the rising, especially that of the medium of the Nehanda spirit of the Mazowe valley in the central Shona area. In just over a century, the figure of “Mbuya Nehanda” has become the best-known popular symbol of resistance to colonial rule in modern Zimbabwe. She

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Burel, Oleksandr. "“Nuit Persane” by C. Saint-Saëns: Oriental Story from a Frenchman." Aspects of Historical Musicology 34, no. 34 (2024): 55–91. http://dx.doi.org/10.34064/khnum2-34.03.

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Statement of the problem. Since the 18th century, oriental theme have been firmly established in French classical music . Camille Saint-Sa&#235;ns (1835–1921) did not miss it in his vocal cycle “Persian Melodies” for voice and piano op. 26 (1870), which he transformed later into a picturesque symphonic canvas “Nuit Persane” op. 26-bis (1891). The very fact of such a transformation cannot fail to arouse research interest, especially since the score became not just a vocal-orchestral version of “Persian Melodies”, but acquired features of spectacular theatricality. If the early period of the

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Kohnert, Dirk. "Réformes économiques au Sénégal : les marges de manoeuvres limitées du nouveau pouvoir." Conservation 2024, no. 10 May 2024 (2024): 1–3. https://doi.org/10.5281/zenodo.13629237.

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ABSTRACT & ZUSAMMENFASSUNG : The election of Bassirou Diomaye Faye as President of Senegal on March 24, 2024, after a turbulent electoral process, reflects the resilience of Senegal's democratic institutions. It provides an opportunity to strengthen transparent governance and combat inequality. It was the first time since Senegal's independence from France in 1960 that an opposition candidate won already in the first round of presidential elections. Western media tried to show that Faye, who was portrayed as a "left-wing pan-Africanist," wanted to promote authentic African culture to break

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Højlund, Flemming. "I Paradisets Have." Kuml 50, no. 50 (2001): 205–20. http://dx.doi.org/10.7146/kuml.v50i50.103162.

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In the Garden of EdenThe covers of the first three volumes of Kuml show photographs of fine Danish antiquities. Inside the volumes have articles on the Stone Age, the Bronze Age and the Iron Age in Jutland, which is to be expected as Kuml is published by the Jutland Archaeological Society. However, in 1954 the scene is moved to more southern skies. This year, the cover is dominated by a date palm with two huge burial mounds in the background. In side the book one reads no less than six articles on the results from the First Danish Archaeological Bahrain Expedition. P.V. Glob begins with: Bahra

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Seck, Fatoumata. "The Cultural Underground of Decolonization." Cambridge Journal of Postcolonial Literary Inquiry, August 10, 2023, 1–23. http://dx.doi.org/10.1017/pli.2023.21.

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Abstract The African liberation movements and the early phases of nation-building on the continent, intertwined with the Cold War and the global student movement, left behind an array of textual, visual, and sonic traces that circulated through underground and clandestine networks across Africa and beyond. These cultural products, which include materials in African languages, remain marginalized in studies of African history and arts. This article posits the cultural underground of decolonization in Africa as a productive category for historical and literary inquiry and argues that exploring t

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Gathogo, Julius M. "Mau-Mau War Rituals and Women Rebels in Kirinyaga County of Kenya (1952–1960): Retrieving Women Participation in Kenya’s Struggle for Independence." Studia Historiae Ecclesiasticae 43, no. 2 (2017). http://dx.doi.org/10.25159/2412-4265/1822.

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The Mau-Mau war of independence in Kenya was fought after the returnees of the First and Second World Wars (1919–1945), who were mainly Christians, succeeded in politicising the black majority in the then Kenyan colony (1920–1963) to demand justice across the colour divides, as a religio-ritual duty which climaxed in oaths. The first stage of the war was seen in the change of contents in the African ritualistic dances that young men and women had gotten used to. In time, the love songs became political and/or patriotic songs that prepared people for a major war that was in the offing. The seco

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E., Ibenekwu Ikpechukwuka, Uche Uwaezuoke Okonkwo, and Efobi Ifesinachi. "Ras Kimono, the Relics of Slavery and the African Diaspora: A Study on the Socio-Cultural Factors in the Haitian-Biafran Relations." Rupkatha Journal on Interdisciplinary Studies in Humanities 13, no. 3 (2021). http://dx.doi.org/10.21659/rupkatha.v13n3.18.

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It is no longer news that people of African descent were enslaved to the new world via: Caribbean, America and Europe for more than four hundred years. Rastafari movement has always engaged in the history of memory especially to reminiscence about slave experiences. Bob Marley songs are replete with such freedom chants. For example, Marley’s Redemption song and Buffalo Soldier are strong lyrics about the horrors of slavery. The cultural linkage between the Igbo of Southeastern Nigeria and Haiti in the Caribbean is examined, especially the nexus between Trans-Atlantic Slave Trade and the Haitia

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Atanda, Yemi. "Film Review: Jagun Jagun, Nigeria, 2023. Produced by Euphoria 360 Media. Netflix. 129 minutes, Yoruba (with English subtitles). No price reported. Directed by Tope Adebayo and Adebayo Tijani." Yoruba Studies Review 8, no. 2 (2023). http://dx.doi.org/10.32473/ysr.8.2.134899.

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I intend to argue in this review that the Yoruba film Jagun Jagun represents the transition of the Yoruba Travelling Theatre into the big screen motion picture. It has been a remarkable transformation from stage crafts to filmic crafts, while still retaining the “family” involvement in the vibrant business innovations of the New Nollywood. Doing this focuses on configuring the interface between technology and entrepreneurship with its attendance use of traditional visual elements, songs, dance, imageries, metaphors and other Yoruba poetic renditions for aesthetic values. However, it is noted t

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Zapędowska, Magdalena. "James Monroe Whitfield, Poetry, and Martin Delany’s Revolutionary Worldmaking in Blake; or, The Huts of America." American Literature, December 16, 2024. https://doi.org/10.1215/00029831-11597487.

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Abstract Martin Delany’s Blake, serialized in the Weekly Anglo-African in 1861–62, includes five unattributed poems from James Monroe Whitfield’s volume America and Other Poems, which appear in the novel as compositions of the Cuban revolutionary poet Placido. Largely overlooked in scholarship on Blake, Whitfield/Placido’s poems are crucial to the impending revolt of the oppressed because they foster a collective emancipatory consciousness and model, through poetic form, the meticulous organization on which the revolution relies for success. Resonating with other poems and songs quoted in the

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Fenner, Chris. "Digitized Publications of Spirituals from the Nineteenth Century." Nineteenth-Century Music Review, November 3, 2023, 1–10. http://dx.doi.org/10.1017/s147940982300037x.

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Compilers and editors of hymnals and scholars of hymnology have often lacked suitable tools for identifying the earliest sources of spirituals, or even key sources that serve as models for later arrangements. In the twenty-first century, the development of internet-based repositories of digital books has enabled the ability to search for publications of spirituals using strings of lyrics or keywords, but more importantly, these repositories allow researchers to examine the relevant sources and glean contextual information about those spirituals beyond what might exist in any list or index. Alt

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Kgaogelo, Moagi. "Basic Impacts of Music to Programming." April 7, 2021. https://doi.org/10.5281/zenodo.4668713.

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Music is a universal language that we all understand. By appealing to our emotions, it has the ability to break down complex issues into things we can all relate to like love, friendship, fear, or loss. In this way music expands our horizons and opens our minds to new ideas.  In my opinion, using music as a tool to build movement is one of the most important aspects to Global Citizen and is something that I believe makes the organization unique. That said, we are hardly the first or the last to use music to inspire and empower as stated by Samthing Soweto songs Music can change the w

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Debaene, Vincent. "The Journey of a Baoulé “War Song”: From Colonial Violence to Negritude." Gradhiva 38 (2024). https://doi.org/10.4000/1451h.

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Among Maurice Delafosse’s books, L’Âme nègre (1922) was undoubtedly the most widely read, both in Europe and in Africa. Notably, many texts from this collection of “oral literature” were quoted, republished or adapted in other contexts in the subsequent years. None circulated as much, though, as a Baoulé “war song” which, after Second World War, was reappropriated by two founding fathers of the Négritude movement, Léopold Sédar Senghor and Léon-Gontran Damas, as part of their quest to dignify and promote “African oral literature”. But when and in what circumstances was this “text” originally c

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Viljoen, Martina. "Mzansi Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2989.

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Introduction Jerusalema, a song from Mzansi — an informal isiZulu name for South Africa — became a global hit during the Covid-19 pandemic. Set to a repetitive, slow four-to-a-bar beat characteristic of South African house music, the gospel-influenced song was released through Open Mic Productions in 2019 by the DJ and record producer Kgaogelo Moagi, popularly known as ‘Master KG’. The production resulted from a collaboration between Master KG, the music producer Charmza The DJ, who composed the music, and the vocalist Nomcebo Zikode, who wrote the lyrics and performed the song for the master

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Wishart, Alison Ruth. "Shrine: War Memorials and the Digital Age." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1608.

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IntroductionThey shall grow not old, as we that are left grow old; Age shall not weary them, nor the years condemn. At the going down of the sun and in the morning We will remember them.Recited at many Anzac and Remembrance Day services, ‘The Ode’, an excerpt from a poem by Laurence Binyon, speaks of a timelessness within the inexorable march of time. When we memorialise those for whom time no longer matters, time stands still. Whether those who died in service of their country have finally “beaten time” or been forced to acknowledge that “their time on earth was up”, depends on your preferenc

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"The sons of Sheba's race: African-Americans and the Italo-Ethiopian War, 1935-1941." Choice Reviews Online 30, no. 11 (1993): 30–6385. http://dx.doi.org/10.5860/choice.30-6385.

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Kobe, Sandiswa L. "Thinking Africa through Soga’s black spirituals: A theological reflection." HTS Teologiese Studies / Theological Studies 80, no. 2 (2024). http://dx.doi.org/10.4102/hts.v80i2.9294.

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This article offers a critical reflection of Lizal’isidinga laKho (hymn 116) and Wazidala iinto zonke (hymn 16) written by Tiyo Soga and recorded in the Methodist Church of Southern Africa (MCSA) hymnal book. From the perspective of black theology of liberation (BTL), I historicise and contextualise hymn 116 and hymn 16 to debunk the argument that Tiyo Soga was alien to the lives, experiences of suffering and pain of his people. The article posits that hymn 116 and hymn 16 are black spirituals that articulate the contexts Soga found himself as a black person during the times of the frontier wa

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Baqar, Ali, Kiran Mujahid, Jahanzeb Jahan, and Rumyia Habib. "Subjugated to Free Independent States of America, Boston Tea Party by Sons of Liberty and Declaration of Independence." Pakistan Journal of Humanities and Social Sciences 12, no. 1 (2024). http://dx.doi.org/10.52131/pjhss.2024.v12i1.1967.

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This article explores how Native Americans and Africans have historically been treated by Europeans, with a particular emphasis on how both groups have been portrayed as barbaric and primitive in a variety of media, including literature, minstrel shows, newspapers, and advertisements. We'll talk about Native Americans' difficulties and how they gained their independence in this section. European colonization of North America resulted in the displacement of these tribes, who were then forced into reservations and subjected to assimilation strategies that were often violent and betrayed treaties

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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont

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Yunita, Ayu Tresna. "Nasionalisme Eropa dan Pengaruhnya Pada Lagu Seriosa di Indonesia." Resital: Jurnal Seni Pertunjukan 13, no. 2 (2013). http://dx.doi.org/10.24821/resital.v13i2.522.

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Gerakan nasionalisme berkembang di Eropa pada tahun 1830 dan menyebar ke berbagai negara di dunia termasuk di Indonesia. Gerakan nasionalisme Eropa pada perkembangannya memberi pengaruh yang besar terhadap perkembangan nasionalisme di kawasan Asia-Afrika khususnya di Indonesia dan perkembangan dalam sejarah musik. Gerakan nasionalisme dalam musik diawali di Rusia lalu kemudian diikuti gerakan nasionalisme di negara-negara Skadinavia, Spanyol, Italia, Hongaria, Inggris dan Amerika Serikat. Nasionalisme Eropa mempengaruhi beberapa komponis dalam menciptakan karya musiknya. Mereka memasukkan unsu

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"William R. Scott. The Sons of Sheba's Race: African-Americans and the Italo-Ethiopian War, 1935–1941. (Blacks in the Diaspora.) Bloomington: Indiana University Press. 1993. Pp. xvii, 288. $42.50." American Historical Review, December 1994. http://dx.doi.org/10.1086/ahr/99.5.1775.

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Totman, Sally, and Mat Hardy. "The Charismatic Persona of Colonel Qaddafi." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.808.

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Introduction In any list of dictators and antagonists of the West the name of Libya’s Colonel Muammar Qaddafi will always rank highly as one of the most memorable, colourful and mercurial. The roles he played to his fellow Libyans, to regional groupings, to revolutionaries and to the West were complex and nuanced. These various roles developed over time but were all grounded in his self-belief as a messianic revolutionary figure. More importantly, these roles and behaviours that stemmed from them were instrumental in preserving Qaddafi’s rule and thwarting challenges to it. These facets of Qad

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Woldeyes, Yirga Gelaw. "“Holding Living Bodies in Graveyards”: The Violence of Keeping Ethiopian Manuscripts in Western Institutions." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1621.

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IntroductionThere are two types of Africa. The first is a place where people and cultures live. The second is the image of Africa that has been invented through colonial knowledge and power. The colonial image of Africa, as the Other of Europe, a land “enveloped in the dark mantle of night” was supported by western states as it justified their colonial practices (Hegel 91). Any evidence that challenged the myth of the Dark Continent was destroyed, removed or ignored. While the looting of African natural resources has been studied, the looting of African knowledges hasn’t received as much atten

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Dawson, Andrew. "Reality to Dream: Western Pop in Eastern Avant-Garde (Re-)Presentations of Socialism's End – the Case of Laibach." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1478.

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Introduction: Socialism – from Eternal Reality to Passing DreamThe Year of Revolutions in 1989 presaged the end of the Cold War. For many people, it must have felt like the end of the Twentieth Century, and the 1990s a period of waiting for the Millennium. However, the 1990s was, in fact, a period of profound transformation in the post-Socialist world.In early representations of Socialism’s end, a dominant narrative was that of collapse. Dramatic events, such as the dismantling of the Berlin Wall in Germany enabled representation of the end as an unexpected moment. Senses of unexpectedness res

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Meikle, Graham. "Indymedia and The New Net News." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2153.

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Scores of farm workers on hunger strike in the US. A campaigner for affordable housing abducted in Cape Town. Tens of thousands of anti-war demonstrators marching in Istanbul. None of those stories made my daily paper — instead, I read them all this morning on the global Indymedia network. Developments in communication technologies have often enabled new approaches to the production, distribution and reception of news. In this article, using Carey’s analysis of the impacts of the telegraph (1989) and Burnett and Marshall’s discussion of “informational news” (2003) as starting points, I want to

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