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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 deal of success and is now widely recognized as having been a driving force in black South African culture and life throughout the 1950s and 1960s. In the South African historiography Drum has been thoroughly researched. The magazine's impact on South African journalism, literature, gender configurations, African resistance, and urban South African culture has been documented and often lauded by various scholars. Many former members of the South African edition's payroll, both editors and staff alike, have gone on to become successes in literature, journalism, and photography. Often such staff members credit Drum for directly shaping their careers and directly state this in their writings. Consequently, Drum is often associated only with South Africa. While Drum greatly influenced South Africa, its satel¬lite projects throughout Africa were no less important. These satellite projects cemented Drum's reputation as the leading magazine newspaper in Africa and each edition became fixtures in west African and east African societies.

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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 provides interesting insights into the nature of rhetorical performance in the non-Western world.

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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 (June 26, 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 integration. It raises the concept of “street-level multiculturalism” for analysing how African migrants experience and negotiate cultural difference on the ground. It argues that African drum music promotes intercultural contact by arousing curiosity and creating friendly atmosphere. Africans’ engagement in identity politics is based on their marginal status. Their ability to negotiate their African culture and their Hong Kong experience is a politically conscious process.

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5

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

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Rabe, Lizette. "A modern version of the African drum." Ecquid Novi: African Journalism Studies 25, no. 1 (January 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 (November 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 (October 28, 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 American music teacher education programs. This situation is still a major concern because American undergraduate and graduate music teacher preparation remains overwhelmingly dominated by Western classical styles. This situation runs contrary to the massive social, cultural, situational, and musical diversity of American students’ lives. As one small effort to advance musical diversity in my own university music school context, I developed the proposal for and initiated the Montclair State University’s West African drum and dance ensemble.

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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 (September 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 (June 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 (October 1999): 2170. http://dx.doi.org/10.1121/1.427228.

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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. (June 24, 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 instruments can be traced back to an Indian drum type. A comparison of the relevant data with the slitdrums, which also serve for communicative purposes, allows one to conclude that the membranophonic talking drums of West Africa mimicked the sounds of spoken language, while the idiophonic slitdrums of East and Central Africa must have originally been used for a concept-based coding of messages. It is the interaction of the two systems of communication that must have led to the diffusion of drum languages imitating the spoken languages among the ethnic groups using slitdrums. Unlike slitdrums, the various types of talking drums have proven quite resilient. Their survival is due to the tendency of the authentic musical traditions of the West African region to be transformed into popular music styles and thereby perpetuate themselves not only within the region but also at musical events and the music industry of the West, where they find an appreciative audience. Having lost their communicative function and acquired a new role as musical accompaniment, they survive in their natural environment as well as in the role of exotic instruments at various world music festivals.

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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 (November 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 (July 3, 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 (December 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 (March 17, 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 of mass communications in the ancient time. In ancient time news in Africa was first made public from the tower in the center, squares of the city, palace main stairs, market and church. Town Criers, Azmari and shepherds were the journalists and the essential news presenters in ancient times. In the same manner, Afe Negus (mouth of the King) and Tsehafe Tezaze (Minister of Pen) were originally indigenous information regulatory bodies of the empire regime. This research discovered the oldest African newspaper in Ethiopia, a news sheet entitled Zenamewale (Daily News) and the first written newspaper and inscriptions of king Ezana are the first types of African form of news, which dates back to 320 A.D. Zena mewale is believed to be the first handmade press so far known in Africa for 700 years. This confirmed that Ethiopia has 3,000 years of indigenous forms of oral mass communication and handmade press history in Africa. Keywords: indigenous mass communication institutions, tools of traditional mass communication, manuscripts, regulatory bodies, Ethiopia

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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 (November 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 (January 1, 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 simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba. In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes. He nonetheless concludes from them that slaves from the Congo/Angola region probably played a crucial role in forming these early dance styles, and that their spread was connected with French colonialism and slavery and migrations from (once) French colonies. He describes probable Congolese/Angolan influences, such as pelvic isolation, challenge dances, couple dancing within a circle, and transverse drumming, but indicates that these are over time combined with other African and other influences.

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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 (July 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 (November 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 compositions by the present writer, is presented.

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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 (November 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 1899–1902 in particular – and beyond that through detailed analyses of white politics have been at pains to demonstrate the inexorable march of Afrikanerdom to power. The Second World War only featured insofar as it related to internal Afrikaner political developments. Neither was the war per se of much concern to English-speaking academic historians, either of the so-called liberal or radical persuasion. For more than two decades, the interests of English-speaking professional historians have been dominated by issues of race and class, social structure, consciousness and the social effects of capitalism. While the South African War did receive some attention in terms of capitalist imperialist expansion, the Second World War was left mostly to historians of the ‘drum-and-trumpet’ variety. In general, the First and Second World Wars did not appear a likely context in which to investigate wider societal issues in South Africa.

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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 (August 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 (October 1, 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 (January 2011): 79–89. http://dx.doi.org/10.1080/14635240.2011.10708214.

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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 (September 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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De Araujo Aguiar, Luciana. "Festivities as Spaces of Identity Construction." Journal of Festive Studies 1, no. 1 (May 13, 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 “truth” of their personal history. Indeed, during the rodas, the quest for the “afro authenticity” of the jongo becomes the ground for identity construction and for the recognition and legitimization of African origins. This paper focuses on the jongo rodas as a festive event that exhibits the African ancestral past of Brazilian blacks as well as the signs and symbols of a Brazilian black identity.

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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 (March 16, 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 Ouagadougou as Teno situates African cinema in relation to its “brother,” the djembe drum. I argue here that a shift occurs between these two films and their affective engagements with modernity; this is a transition from a sense of millennial anxiety to a thematics of what I call “cinematic kinship.” I ultimately suggest that this shift allows Teno to outline new social roles for the African filmmaker as well as new relationships between African cinema and local publics.

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Friberg, Anders. "Commentary on Polak How short is the shortest metric subdivision?" Empirical Musicology Review 12, no. 3-4 (June 25, 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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Edney, Kathryn. "Integration through the wide open back door: African Americans respond to Flower Drum Song (1958)." Studies in Musical Theatre 4, no. 3 (December 1, 2010): 261–72. http://dx.doi.org/10.1386/smt.4.3.261_1.

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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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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 (March 2006): 312–25. http://dx.doi.org/10.1016/j.fishres.2005.10.011.

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King, Joyce E. "2015 AERA Presidential Address Morally Engaged Research/ers Dismantling Epistemological Nihilation in the Age of Impunity." Educational Researcher 46, no. 5 (June 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 drum processional and a libation honored revered Black ancestors—scholars, artists, and activist intellectuals—Maya Angelou, Ruby Dee, Amiri Baraka, Vincent Harding, and Asa G. Hilliard, III (Nana Baffour Amankwatia II). An intergenerational Native American delegation offered a traditional welcome prayer, gifting of tobacco, and ceremonial drumming and dance performance. Dr. King began her address by acknowledging that the 2015 AERA annual meeting was taking place in the ancestral lands of the Pottawatomie Nation.

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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 way for and nourished the outcomes of the latter, and as the uneven power relations between West Africa and European nation-states become even more explicit in a globalizing economy, Europe or Britain (“the hawk”) seized on the valued resources (“eggs”) of a tiresome and ravaged Gold Coast. To halt the disgrace (animguase) of impending colonial incursion and protectionism, several Akan societies (“chickens”) became hawk-like in domestic matters—for they had less control over international forces beyond their soil—and its internal conflicts had as much to do with their inner drive to maintain “order” in juxtaposition to the exigencies of their times. The key nineteenth-century relationship between Asante of the forest interior and Elmina of the coast provides a spatial parameter and a mnemonic for examining key transformations between those two boundaries as represented by the coastal Fante polities, forest-based Asante, and the Bono, who occupied the northern forest fringe. I argue that the conflicts between and within Akan societies of varying orders were the product of multilayered factors occurring at the same time and in different places, such as power struggles and tensions born of conservatism and Christianity, that ultimately transformed all in the nineteenth and twentieth centuries. Although the Akan share a composite culture, spiritual practice, calendrical system, socio-political structure, and ethos, the transformations in Asante society were not replicated among the Fante or Bono, although the Bono offer a comparative case that diverged from much of the nascent colonial shaping of Asante and Fante society. This essay suggests that Akan societies, beyond the almost exclusive focus on Asante, are better approached thematically than in spatial or chronological isolation, since the themes of social dissolution and conflicts were shared by all in a context of Euro-African commerce, Westernization, and Christian proselytization.

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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 (March 11, 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 waste cooking oil on the walls of drums. Here, we modified the collection drum by fitting a funnel to retain R. differens; and partitioned it into three compartments with wire meshes of variable sizes to filter nontarget insects. Additionally, we replaced mercury bulbs with light-emitting diode (LED) bulbs which are energy-efficient. We evaluated the performance of the modified R. differens trap (modified drums and LED bulbs) compared to the current collection drums and mercury bulbs. The catch of R. differens in the modified drums was comparable to that of current drums. Nontarget insects were significantly filtered from the catch collected in modified drums compared to the current drums. Further, LED bulbs of 400 W trapped a comparable quantity of R. differens as 400 W mercury bulbs, but with less than half the consumption of electricity compared to the mercury bulbs. We concluded that modified R. differens light traps have better energy-use efficiency and ensure safety to collectors, processors, and consumers.

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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 cross-cultural integration, which is accomplished not by mechanical borrowing of authentic musical material, but by developing a distinctive rhythmic pattern and sound production techniques. The combination of the timbres of Chinese gong and the vibrato of stringed instruments in Fusion II creates slowdowns and an "echo" effect typical for electronic music. In the Concerto all the features of the genre are observed, but the classical constant received a refraction in the light of modern processes, which required the composer to use new and sometimes harsh methods, almost completely eliminating the lyrical expression.

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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 (August 23, 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 accompaniment). Musical role, rather than individual or group differences, is the main factor influencing synchronization accuracy. Using linear causal modelling, we found a consistent pattern of bi-directional couplings between players, in which the direction and strength of rhythmic adaptation is asymmetrically distributed across musical roles. This differs from notions of musical leadership, which assume that ensemble synchronization relies predominantly on a single dominant personality and/or musical role. We then ran simulations that varied the direction and strength of sensorimotor coupling and found that the coupling pattern used by the Malian musicians affords nearly optimal synchronization. More broadly, our study showcases the importance of ecologically valid and culturally diverse studies of human behaviour. This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.

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Hu, Xiaoran. "Writing against innocence: Entangled temporality, black subjectivity, andDrumwriters revisited." Journal of Commonwealth Literature 55, no. 2 (April 15, 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 been viewed and criticized as “protest literature”, as literary works whose aesthetic merits are somehow compromised by the overt political purposes they appear to serve. This article seeks to revise such a reading by revisiting the politics of the stylistic innovations in these autobiographical narratives. Themes and motifs directly derived from the rhetoric of political protest, as I argue, in fact problematize a developmental logic governing the biographical transition from childhood to adulthood and contribute to a radical critique of linear temporality and teleological historiography. While writing from polemical positions and from inside the historical juncture of political resistance, these writers’ narrative reflections on and re-orderings of the relationship between the past and the present also partake of the process of refashioning modern black subjectivity, a significant move of literary intervention that still has profound resonance in our postcolonial, post-apartheid, and post-revolutionary present.

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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 (April 28, 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 societies. A reversal to these traditional means of social reengineering will endear these creative practices that create order and social cohesion in African societies. Thus, the theoretical position of Marxist cultural inquiry will be applied as the theoretical framework for this paper. The Methodology applied in this study is research participant observation and sources of data were primary and secondary sources. The findings revealed that consistently, festivals are efforts of man to alleviate human suffering, create order and control his environment through creativity and cultural resourcefulness in performance. It was recommended that given the reality that is subsisting in most Nigerian communities, agrarian festivals, innovative, resourceful and masked designs, costumes, make-up, craftsmanship, dance, and music, drum communication should be encouraged. It was thus concluded that continuous performance will lead to preservation, packaging, promotion and transmission of cultural values from one generation to another which will in turn lead to cultural tourism. Cultural tourism can lead nations out of recession and economic dependence as was experienced in the Indian and Chinese cultural revolutionary experience. Key Words: Traditional theatrical practices, recession, human capacity development, TombianaEgbelegbe Festival

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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 (June 28, 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 heritage dances in nonacademic environments in central Uganda engage music as a pedagogic aid. I draw on the idea of choreomusicology and social learning theories to locate the place of music in dance not just as an accompaniment, but also as a teaching and learning aid. A total of eight dance teachers were engaged through storytelling, interviews, and inquisitorial observation for a period of nine months to elicit their reflections on and interpretations of application of music as a pedagogic stimulus in teaching cultural heritage dances. The findings revealed that elements of music such as songs, mnemonics, instrumental sounds, body percussion, and drum rhythms are key drivers in guiding and framing the teaching and learning processes of the dances. Through music, the dance teachers provoke learners to individually and communally embody, experience, question, abstract, experiment with, concretize, and conceptualize kinesthetic and historicized movement knowledge and skills of the dances. Music scaffolds and staircases learners into kinesthetic journeys of embodied knowing, experiential agency, constructive thinking, creative and reflective imagination, socialized connectivity, and corporeal action. The article provides insights into how music and dance practitioners in Western and non-Western traditions can leverage music to facilitate holistic pedagogic and creative processes of dance.

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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 evaluate progress in MND research in Africa, we examined the published literature on MNDs in Sub-Saharan Africa to identify disease prevalence, genetic factors, and other risk factors. Our findings indicate that the amount of research evidence on MNDs in Sub-Saharan Africa is scanty; molecular and genetics-based studies are particularly lacking. While only a few genetic studies were identified, these studies strongly suggest that there appear to be population-specific causes of MNDs among Africans. MND genetic underpinnings vary among different African populations and also between African and non-African populations. Further studies, especially molecular, genetic and genomic studies, will be required to advance our understanding of MND biology among African populations. Insights from these studies would help to improve the timeliness and accuracy of clinical diagnosis and treatment.

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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; African Basil, Ocimum gratissimum (L.); Moss plant; Barbula indica and Clausena anisata (Willd.) Hook has been used in CSB control. Available literatures showed that garlic, chilies and peppermint applied at the rate of 0.035–0.55g significantly (p≤0.05) reduced oviposition, respectively compared to the control. Similarly, powdered flowers of M. oleifera applied at the rate of 0.5 g per 30 g of seeds caused mortality of CSB better than the control 8 hours after infestation. The use of C. anisata and Permethrin showed percentage mortality of cowpea bruchids was high using Permethrin but was not significantly (p≥0.05) better than Clausena leaf powder. Groundnut oil applied at ˂ 4mls kg-1 does not affect germination process of cowpea stored for up to 12 weeks. However, increasing rate of application decreases germination. The review clearly indicated that plant products have potentials of controlling CSB in stored cowpea as they are safe and free from residue. They are hereby encouraged.

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Van der Schyff, Dylan. "From Necker Cubes to Polyrhythms: Fostering a Phenomenological Attitude in Music Education." Phenomenology & Practice 10, no. 1 (June 28, 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 starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena (e.g., African polyrhythm). To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.”

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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 (July 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 international standards. The checklist evaluates a site’s metrics across 6 categories: clinical trial experience, regulatory processes, staffing, cancer diagnostic and treatment capabilities and equipment, pharmacy management, and research management systems. The checklist was distributed widely across Africa. Any interested site, regardless of its ability to treat patients with cancer, was invited to complete the self-assessment. RESULTS To date, BVGH has received checklists from 40 institutes, of which, 34 offer cancer treatment services. These institutes are distributed across 16 countries and are composed of public and private hospitals, universities, and nonprofit research institutes. Of the sites assessed, more than 85% had performed a clinical trial in the past, with drug studies being the most commonly performed trial. Sites frequently had research coordinators, nurses, and data managers on staff, whereas biostatisticians, database programmers, and epidemiologists were the most commonly unavailable personnel. Whereas the majority of the sites’ laboratories were accredited, fewer than half had the equipment needed for clinical research. More than 70% of the sites had the necessary pharmacy infrastructure, whereas 60% had the requisite research management systems. CONCLUSION With Africa’s cancer mortality rate predicted to double by 2040, more cancer clinical trials must be performed in Africa. Our assessments reveal African institutes’ common areas of strength, as well as opportunities for improvement. Of importance, our results demonstrate that Africa can perform cancer clinical trials.

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Dandara, Collet, Collen Masimirembwa, Yosr Z. Haffani, Bernhards Ogutu, Jenniffer Mabuka, Eleni Aklillu, and Oluseye Bolaji. "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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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 commonly used in African populations lead to a different spectrum of adverse drug reactions (ADRs) when compared to other parts of the world. Coupled with the genetic diversity among Africans, the APC is established to promote pharmacogenomics research and its clinical implementation for safe and effective use of medicine in the continent. Variation in the way patients respond to treatment is mainly due to differences in activity of enzymes and transporters involved in pathways associated with each drug’s disposition. Knowledge of pharmacogenomics, therefore, helps in identifying genetic variants in these proteins and their functional effects. Africa needs to consolidate its pharmacogenomics expertise and technological platforms to bring pharmacogenomics to use.

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