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Journal articles on the topic 'African drum'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Fleming, Tyler, and Toyin Falola. "Africa's Media Empire: Drum's Expansion to Nigeria." History in Africa 32 (2005): 133–64. http://dx.doi.org/10.1353/hia.2005.0008.

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Publishing in Africa remains so difficult an enterprise that many publishers have collapsed, their dreams disappearing with them. This is especially true of the print media, particularly newspapers and magazines. During the past century, many magazines and newspapers failed to establish a loyal readership, keep costs down, insure wide circulation, or turn a huge profit. Consequently, not many African magazines can be viewed as “successful.” Drum magazine, however, remains an exception.In 1951 Drum, a magazine written for and by Africans, was established in South Africa. Drum enjoyed a great de

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2

Bokor, Michael J. K. "When the Drum Speaks." Rhetorica 32, no. 2 (2014): 165–94. http://dx.doi.org/10.1525/rh.2014.32.2.165.

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This article explores the instrumentality of traditional African drums in influencing human behavior, and debunks view-points held by some critics that these drums are mere instruments for entertainment, voodoo, or rituals. It argues that as cultural artifacts, the drums are a primal symbol (a speech surrogate form qualified as drum language) used for rhetorical purposes to influence social behavior, to generate awareness, and to prompt responses for the realization of personhood and the formation of group identity. This ascription of rhetorical functionality to the African drum-dance culture

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3

Knight, Roderic, Yaya Diallo, and Mitchell Hall. "The Healing Drum: African Wisdom Teachings." Ethnomusicology 35, no. 1 (1991): 121. http://dx.doi.org/10.2307/852397.

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4

Shum, Terence Chun Tat. "Street-Level Multiculturalism: Cultural Integration and Identity Politics of African Migrants in Hong Kong." Cultural Diversity in China 3, no. 1 (2018): 37–57. http://dx.doi.org/10.1515/cdc-2018-0001.

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Abstract Multiculturalism is about co-existence of diverse cultures. Current literature on multiculturalism mostly uses a top-down approach to examine how the governments adopt different policies to manage cultural diversity. However, how the migrants use their own culture including music to enhance integration is often neglected. This paper uses the experience of African migrants in Hong Kong to reveal an alternative account of multiculturalism. Based on in-depth interviews and participant observation with African drummers, this paper examines the role of African drum as a means of cultural i

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5

Rabe, L. "A modern version of the African drum." Ecquid Novi: African Journalism Studies 25, no. 1 (2004): 3. http://dx.doi.org/10.3368/ajs.25.1.3.

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6

Rabe, Lizette. "A modern version of the African drum." Ecquid Novi: African Journalism Studies 25, no. 1 (2004): 3. http://dx.doi.org/10.1080/02560054.2004.9653274.

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7

Knight, Roderic. "African Percussion: Mamadou Ly, Mandinka Drum Master." Ethnomusicology 40, no. 1 (1996): 145. http://dx.doi.org/10.2307/852455.

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8

Russell, Daniel A., and Wesley S. Haveman. "Acoustic and modal analysis of an African djembe drum." Journal of the Acoustical Society of America 108, no. 5 (2000): 2591. http://dx.doi.org/10.1121/1.4743633.

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9

Johnson, Hafiz Shabazz Farel, and John M. Chernoff. "Basic Conga Drum Rhythms in African-American Musical Styles." Black Music Research Journal 11, no. 1 (1991): 55. http://dx.doi.org/10.2307/779244.

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10

Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.

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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in Amer

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11

El-Dabh, Halim, and David Locke. "Drum Gahu: A Systematic Method for an African Percussion Piece." Ethnomusicology 34, no. 3 (1990): 475. http://dx.doi.org/10.2307/851637.

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12

Agawu, Kofi, and David Locke. "Drum Gahu: A Systematic Method for an African Percussion Piece." Notes 48, no. 1 (1991): 60. http://dx.doi.org/10.2307/941773.

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13

Nzewi, Meki, Israel Anyahuru, and Tom Ohiaraumunna. "Beyond Song Texts?The Lingual Fundamentals of African Drum Music." Research in African Literatures 32, no. 2 (2001): 90–104. http://dx.doi.org/10.2979/ral.2001.32.2.90.

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14

Green, Doris. "‘‘Greenotation:’’ A system for representing African drum sounds and techniques." Journal of the Acoustical Society of America 106, no. 4 (1999): 2170. http://dx.doi.org/10.1121/1.427228.

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15

Nzewi, Meki, Israel Anyahuru, and Tom Ohiaraumunna. "Beyond Song Texts--The Lingual Fundamentals of African Drum Music." Research in African Literatures 32, no. 2 (2001): 90–104. http://dx.doi.org/10.1353/ral.2001.0057.

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16

Brauer-Benke, József. "Afrikai beszélő dobok." Afrika Tanulmányok / Hungarian Journal of African Studies 14, no. 1-2. (2020): 85–98. http://dx.doi.org/10.15170/at.2020.14.1-2.5.

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An overview of the available historical data regarding the so-called “talking drums” leads to the general conclusion that their most prominent shared feature is their original use for communication. On the grounds of the migrations of various ethnic groups and the comparison of the different types of drums, a likely explanation for the distribution over West Africa of these drums must be sought in the phenomenon of the so-called stimulus diffusion, and the basic idea behind such instruments must originate in the region north of the Sahara; it is also possible that the origin of such instrument

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17

Gomez, Angela, and Livingston Krumah Nelson. "Drum Culture: Capturing, Connecting and Transmitting an African Legacy in Grenada." Latin American and Caribbean Ethnic Studies 7, no. 3 (2012): 321–46. http://dx.doi.org/10.1080/17442222.2012.723910.

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18

Duby, Marc. "‘Sounds of a cowhide drum’: challenges facing a new African musicology." Journal of the Musical Arts in Africa 12, no. 1-2 (2015): 73–87. http://dx.doi.org/10.2989/18121004.2015.1129151.

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19

Shanklin, Eugenia. "Inside, Outside African Lives: Under African Sun ; The Man Called Deng Majok ; The Spirit and the Drum." Anthropology Humanism Quarterly 14, no. 4 (1989): 146–47. http://dx.doi.org/10.1525/ahu.1989.14.4.146.

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20

Ambelu, Ayele Addis. "African Form of Indigenous Mass Communication in the Case of Ethiopia." ATHENS JOURNAL OF MASS MEDIA AND COMMUNICATIONS 7, no. 3 (2021): 183–204. http://dx.doi.org/10.30958/ajmmc.7-3-3.

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The purpose of this article is to explore African form of indigenous mass communication with emphasis on Ethiopian indigenous form mass communication institutions, tools, manuscripts, and regulatory bodies. The method employed for this study is qualitative. First hand documents, tools and observation were considered as sources of primary data. Furthermore, pertinent literature was reviewed. The data was analyzed qualitatively where description of the responses on the bases of themes was given emphasis. The finding of this study argued that drum beating, horn blowing and town crying are a form

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21

Pfeifle, Florian. "Acoustical measurements and finite difference simulation of the West-African “talking drum"." Journal of the Acoustical Society of America 134, no. 5 (2013): 4158. http://dx.doi.org/10.1121/1.4831238.

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22

Gerstin, Julian. "Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean." New West Indian Guide / Nieuwe West-Indische Gids 78, no. 1-2 (2004): 5–41. http://dx.doi.org/10.1163/13822373-90002516.

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Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as chica. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus s

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23

Gaitskell, Deborah. "Tapping Drum - Drum: An Index to ‘Africa's Leading Magazine’, 1951–1965. By Dorothy C. Woodson. Madison: African Studies Program, University of Wisconsin-Madison, Bibliographies in African Studies, 2, 1988. Pp. xi + 207. No price given." Journal of African History 31, no. 2 (1990): 333–34. http://dx.doi.org/10.1017/s0021853700025202.

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24

Kwami, Robert. "A Framework for Teaching West African Musics in Schools and Colleges." British Journal of Music Education 12, no. 3 (1995): 225–45. http://dx.doi.org/10.1017/s0265051700002722.

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Existing classifications of West African musics seem to have a limited applicability as models for music education in schools and colleges. Hence, a more comprehensive classification, highlighting a range of syncretic forms, is merged with a structure in Ghanaian drum ensembles to yield a sequential, two dimensional, model. It is then argued that the model can be used as a framework for teaching West African musics in primary, secondary and tertiary educational institutions. A more general discussion is followed by an integrated arts application; finally, a musical perspective, including compo

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25

GRUNDLINGH, ALBERT. "THE KING'S AFRIKANERS? ENLISTMENT AND ETHNIC IDENTITY IN THE UNION OF SOUTH AFRICA'S DEFENCE FORCE DURING THE SECOND WORLD WAR, 1939–45." Journal of African History 40, no. 3 (1999): 351–65. http://dx.doi.org/10.1017/s0021853799007537.

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In contrast to the situation in Commonwealth countries such as Canada and Australia, South Africa's participation in the Second World War has not been accorded a particularly significant place in the country's historiography. In part at least, this is the result of historiographical traditions which, although divergent in many ways, have a common denominator in that their various compelling imperatives have despatched the Second World War to the periphery of their respective scholarly discourses.Afrikaner historians have concentrated on wars on their ‘own’ soil – the South African War of 1899–

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26

Vinesett, Ava L., Miurel Price, and Kenneth H. Wilson. "Therapeutic Potential of a Drum and Dance Ceremony Based on the African Ngoma Tradition." Journal of Alternative and Complementary Medicine 21, no. 8 (2015): 460–65. http://dx.doi.org/10.1089/acm.2014.0247.

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27

Joseph, Dawn. "Travelling Drum with Different Beats: experiencing African music and culture in Australian teacher education." Teacher Development 9, no. 3 (2005): 287–300. http://dx.doi.org/10.1080/13664530500200269.

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28

Moodley, R., and M. Bertrand. "Spirits of a Drum Beat: African Caribbean Traditional Healers and their Healing Practices in Toronto." International Journal of Health Promotion and Education 49, no. 3 (2011): 79–89. http://dx.doi.org/10.1080/14635240.2011.10708214.

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29

Carter-Ényì, Quintina, Aaron Carter-Ényì, and Kevin Nathaniel Hylton. "How We Got into Drum Circles, and How to Get Out: De-Essentializing African Music." Intersections: Canadian Journal of Music 39, no. 1 (2019): 73. http://dx.doi.org/10.7202/1075343ar.

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30

Kruger, Loren. "“White Cities,” “Diamond Zulus,” and the “African Contribution to Human Advancement”: African Modernities and the World's Fairs." TDR/The Drama Review 51, no. 3 (2007): 19–45. http://dx.doi.org/10.1162/dram.2007.51.3.19.

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From the mid-19th to the mid-20th centuries, representations of Africans at the world's fairs were often aligned with the colonial cultural logic of contrasting the “savage” Other with the “civilized” subject, illustrating the politics of modernity, racialization, and imperial conquest. Certain showcases, however, at the world's fairs in the U.S. and South Africa—as well as performances in the white urban environments of Chicago and Johannesburg—undid this binary by introducing new spectacular economies depicting African modernities.

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31

De Araujo Aguiar, Luciana. "Festivities as Spaces of Identity Construction." Journal of Festive Studies 1, no. 1 (2019): 128–48. http://dx.doi.org/10.33823/jfs.2019.1.1.33.

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Jongo is a cultural practice specific to the cities located in the Paraíba do Sul river valley, in the south-eastern region of Brazil. It is a form of expression rooted in the knowledge, rituals and beliefs of the African populations of Bantu language and which incorporates drum percussion, collective dance, and magic-religious, poetic elements. The roda, literally meaning “round,” is the performance space of the jongo. The quest for an “authentic jongo dance” at the time of the rodas often leads to disputes among various groups claiming the greater “purity” of their group, or the greater “tru

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32

Van Heerden, Willie. "‘THE PROVERB IS THE DRUM OF GOD’: ON THE USE OF AFRICAN PROVERBS IN THE INTERACTION BETWEEN AFRICAN CULTURE AND THE CHRISTIAN FAITH." Scriptura 81 (June 12, 2013): 462. http://dx.doi.org/10.7833/81-0-748.

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33

Izzo, Justin. "Jean-Marie Teno’s Documentary Modernity: From Millennial Anxiety to Cinematic Kinship." African Studies Review 58, no. 1 (2015): 39–53. http://dx.doi.org/10.1017/asr.2015.3.

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Abstract:This article examines discourses and cinematic representations of modernity in two documentary films by the Cameroonian director Jean-Marie Teno. In the first of these films,A Trip to the Country(2000), Teno investigates how ideals and aspirations of modernity as a state-sponsored project in Cameroon have their roots in the colonial period, and his film is characterized by a strong sense of anxiety linked to the turn of the millennium. In the second,Sacred Places(2009), modernity is given a different affective resonance and is linked to the pleasure of cinematic consumption in Ouagado

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34

Friberg, Anders. "Commentary on Polak How short is the shortest metric subdivision?" Empirical Musicology Review 12, no. 3-4 (2018): 227. http://dx.doi.org/10.18061/emr.v12i3-4.6363.

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This commentary relates to the target paper by Polak on the shortest metric subdivision by presenting measurements on West-African drum music. It provides new evidence that the perceptual lower limit of tone duration is within the range 80-100 ms. Using fairly basic measurement techniques in combination with a musical analysis of the content, the original results in this study represents a valuable addition to the literature. Considering the relevance for music listening, further research would be valuable for determining and understanding the nature of this perceptual limit.

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35

Edney, Kathryn. "Integration through the wide open back door: African Americans respond to Flower Drum Song (1958)." Studies in Musical Theatre 4, no. 3 (2010): 261–72. http://dx.doi.org/10.1386/smt.4.3.261_1.

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36

Chernoff, John Miller. "The Artistic Challenge of African Music: Thoughts on the Absence of Drum Orchestras in Black American Music." Black Music Research Journal 5 (1985): 1. http://dx.doi.org/10.2307/779493.

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37

Hutchings, Kenneth, Marc H. Griffiths, and John G. Field. "Regional variation in the life history of the canary drum Umbrina canariensis (Sciaenidae), in South African waters." Fisheries Research 77, no. 3 (2006): 312–25. http://dx.doi.org/10.1016/j.fishres.2005.10.011.

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38

King, Joyce E. "2015 AERA Presidential Address Morally Engaged Research/ers Dismantling Epistemological Nihilation in the Age of Impunity." Educational Researcher 46, no. 5 (2017): 211–22. http://dx.doi.org/10.3102/0013189x17719291.

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This article presents Joyce E. King’s 2015 AERA presidential address, which artfully combined scholarly discourse with performance elements and diverse voices in several multimedia formats. In discussing morally engaged research/ers dismantling epistemological nihilation, the article advances the argument that the moral stance, solidarity with racial/cultural dignity in education praxis, policy, and research, is needed to combat discursive forms of racism. The lecture opened with African Americans and Native Americans performing culturally affirming traditional ritual practices. An African dru

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39

Konadu, Kwasi. "Euro-African Commerce and Social Chaos: Akan Societies in the Nineteenth and Twentieth Centuries." History in Africa 36 (2009): 265–92. http://dx.doi.org/10.1353/hia.2010.0001.

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Akokɔ nto nto, aduasa – the chicken should lay-lay eggs, thirty [plenty]Akorɔma mfa mfa, aduasa – the hawk should take-take, thirty [plenty]Akokɔ, mato mato bi awura – chicken: I have laid-laid some eggs ownerAkorɔma mmεfa me na mabrε – the hawk should come and take me, I am tiredAkan drum textAnimguase mfata okaniba – disgrace does not befit the Akan child[i.e., Akan-born]Akan proverbIn the drum text above, the chicken and the hawk parallel the symbiotic relationship between the “slave trade” and the period of “legitimate trade” between the Gold Coast and Britain. The former “trade” paved the

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40

Sengendo, F., S. Subramanian, M. Chemurot, C. M. Tanga, and J. P. Egonyu. "Efficient Harvesting of Safe Edible Grasshoppers: Evaluation of Modified Drums and Light-Emitting Diode Bulbs for Harvesting Ruspolia differens (Orthoptera: Tettigoniidae) in Uganda." Journal of Economic Entomology 114, no. 2 (2021): 676–83. http://dx.doi.org/10.1093/jee/toab025.

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Abstract Ruspolia differens (Serville) (Orthoptera: Tettigoniidae) is a delicacy in many African countries. It is commonly mass-harvested from the wild using light traps consisting of energy-intensive mercury bulbs which pollute the environment when poorly disposed. The catch is collected using open-ended drums which are inefficient in retaining the insects. The drums also collect nontarget insects including those that produce toxic chemicals (such as pederin) that cause severe burns to human skin. To prevent escape of trapped R. differens, trappers apply potentially hazardous substances like

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41

Zekang, Chen. "JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS." Arts education and science 1, no. 2 (2021): 136–43. http://dx.doi.org/10.36871/hon.202102017.

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The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the c

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42

Jacoby, Nori, Rainer Polak, and Justin London. "Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modelling of West African drum ensemble music." Philosophical Transactions of the Royal Society B: Biological Sciences 376, no. 1835 (2021): 20200331. http://dx.doi.org/10.1098/rstb.2020.0331.

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Human social interactions often involve carefully synchronized behaviours. Musical performance in particular features precise timing and depends on the differentiation and coordination of musical/social roles. Here, we study the influence of musical/social roles, individual musicians and different ensembles on rhythmic synchronization in Malian drum ensemble music, which features synchronization accuracy near the limits of human performance. We analysed 72 recordings of the same piece performed by four trios, in which two drummers in each trio systematically switched roles (lead versus accompa

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Hu, Xiaoran. "Writing against innocence: Entangled temporality, black subjectivity, andDrumwriters revisited." Journal of Commonwealth Literature 55, no. 2 (2018): 277–93. http://dx.doi.org/10.1177/0021989418766664.

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This article examines the representation of time in narratives of childhood experience in Es’kia Mphahlele’s Down Second Avenue (1959) and Bloke Modisane’s Blame Me on History (1963). These two autobiographies are among the most widely-known works by the group of South African writers who have been loosely associated with Drum magazine in the 1950s. Originating from the early years of the anti-apartheid struggle and resonating widely with the heightened anticolonial resistance movements across the continent, writings by the so-called Drum writers, many of whom later went into exile, have often

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Ikiroma-Owiye, Somieari Jariel. "Traditional Theatrical Practices in a Receding Economy: A Focus on TombianaEgbelegbeFestival of Rivers State." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (2020): 108–17. http://dx.doi.org/10.4314/ijah.v9i1.11.

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Lack of cultural reality has often led to recession in most developing societies as perceived in cultural studies. However, traditional adaptations are often deployed to cushion and possibly reverse the severity of recession across time and space. Instances of such reversals include the Chinese reversal to Confucianism, the Indian resort to Hinduism and the traditional African invocation of ancestral myths, religious observances and festivals. From the re-enactment of the procreative Tombiana Egbelegbe festival we have seen that traditional value creates order and social cohesion in African so

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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.

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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural

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Quansah, Emmanuel, and Thomas K. Karikari. "Motor Neuron Diseases in Sub-Saharan Africa: The Need for More Population-Based Studies." BioMed Research International 2015 (2015): 1–9. http://dx.doi.org/10.1155/2015/298409.

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Motor neuron diseases (MNDs) are devastating neurological diseases that are characterised by gradual degeneration and death of motor neurons. Major types of MNDs include amyotrophic lateral sclerosis (ALS) and spinal muscular atrophy (SMA). These diseases are incurable, with limited disease-modifying treatment options. In order to improve MND-based biomedical research, drug development, and clinical care, population-based studies will be important. These studies, especially among less-studied populations, might identify novel factors controlling disease susceptibility and resistance. To evalua

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47

Muhammad, A., and A. K. Bashir. "Callosobruchus maculatus (Fab.) control by plant products in cowpea grains under storage: A review." Journal of Medicinal Botany 1 (December 30, 2017): 51. http://dx.doi.org/10.25081/jmb.2017.v1.897.

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The present review focuses on some major researches dealing with controlling Cowpea seed bruchid (CSB) due to Callosobruchus maculatus (Fab.) [Coleoptera: Bruchidae] by using some plant products. The objective of this review is to look in to the successes of the use of plant materials in the management of CSB especially in the tropics where bulk of the crop is cultivated and consumed. The review of available literature showed that, plants such as Neem, Azadirachta indica A. Juss; Garlic, Allium sativum (L.); West African pepper, Piper guineense Schumach; drum stick, Moringa oleifera Lam; Afric

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48

Van der Schyff, Dylan. "From Necker Cubes to Polyrhythms: Fostering a Phenomenological Attitude in Music Education." Phenomenology & Practice 10, no. 1 (2016): 5–24. http://dx.doi.org/10.29173/pandpr27998.

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Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds we inhabit. I then explore how the phenomenological attitude may serve as a

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49

Seymour, Daniel, Katy Graef, and Jennifer Dent. "African Consortium for Cancer Clinical Trials: Assessing, Profiling, and Building Cancer Clinical Trial Capacity in Africa." JCO Global Oncology 6, Supplement_1 (2020): 63. http://dx.doi.org/10.1200/go.20.59000.

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PURPOSE Cancer now kills more Africans than malaria. Despite this statistic, Africans remain drastically underrepresented in cancer clinical trials. BIO Ventures for Global Health (BVGH) launched the African Consortium for Cancer Clinical Trials to foster cancer clinical trials involving African populations by assessing, profiling, and building clinical trial capacity in African hospitals. METHODS BVGH developed a checklist tool for hospitals to self-assess their current clinical trial capabilities and compare these capabilities with those that are essential for performing trials at internatio

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50

Dandara, Collet, Collen Masimirembwa, Yosr Z. Haffani, et al. "African Pharmacogenomics Consortium: Consolidating pharmacogenomics knowledge, capacity development and translation in Africa." AAS Open Research 2 (June 4, 2019): 19. http://dx.doi.org/10.12688/aasopenres.12965.1.

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Abstract:

The African Pharmacogenomics Consortium (APC) was formally launched on the 6th September 2018. This white paper outlines its vision, and objectives towards addressing challenges of conducting and applying pharmacogenomics in Africa and identifies opportunities for advancement of individualized drugs use on the continent. Africa, especially south of the Sahara, is beset with a huge burden of infectious diseases with much co-morbidity whose multiplicity and intersection are major challenges in achieving the sustainable development goals (SDG), SDG3, on health and wellness. The profile of drugs c

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