Relevant bibliographies by topics / Afrobeat

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Afrobeat'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Afrobeat"

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Vakunta, Peter Wuteh. "Fela’s Rebel Afrobeat: A Pedagogical Perspective." Journal of the African Literature Association 6, no. 2 (January 2012): 186–96. http://dx.doi.org/10.1080/21674736.2012.11690188.

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Grass, Randall F. "Fela Anikulapo-Kuti: The Art of an Afrobeat Rebel." Drama Review: TDR 30, no. 1 (1986): 131. http://dx.doi.org/10.2307/1145717.

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Brett, Thomas. "Tony Allen: An Autobiography of the Master Drummer of Afrobeat." Popular Music and Society 37, no. 5 (January 31, 2014): 690–92. http://dx.doi.org/10.1080/03007766.2014.884743.

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Kunnuji, Joseph. "Tony Allen: An Autobiography of the Master Drummer of Afrobeat." Journal of the Musical Arts in Africa 11, no. 1 (January 2014): 113–15. http://dx.doi.org/10.2989/18121004.2014.995441.

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Curry. "Tony Allen: An Autobiography of the Master Drummer of Afrobeat." Journal of West African History 2, no. 2 (2016): 138. http://dx.doi.org/10.14321/jwestafrihist.2.2.0138.

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Klump, Brad. "Origins and Distinctions of the "World Music" and "World Beat" Designations." Canadian University Music Review 19, no. 2 (March 1, 2013): 5–15. http://dx.doi.org/10.7202/1014442ar.

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This article traces the origins and uses of the musical classifications "world music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, Afrobeat, and Latin popular styles. In contrast, the term "world music" was coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and non-Western musics to a marketing category used to sell almost any music outside the Western mainstream.
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KLEIN, DEBRA L. "Allow Peace to Reign: Musical Genres of Fújì and Islamic Allegorise Nigerian Unity in the Era of Boko Haram." Yearbook for Traditional Music 52 (October 12, 2020): 1–22. http://dx.doi.org/10.1017/ytm.2020.5.

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AbstractA proliferation of popular music genres flourished in post-independence Nigeria: highlife, jùjú, Afrobeat, and fújì. Originating within Yorùbá Muslim communities, the genres of fújì and Islamic are Islamised dance music genres characterised by their Arabic-influenced vocal style, Yorùbá praise poetry, driving percussion, and aesthetics of incorporation, flexibility, and cultural fusion. Based on analysis of interviews and performances in Ìlọrin in the 2010s, this article argues that the genres of fújì and Islamic allegorise Nigerian unity—an ideology of tolerance, peaceful coexistence, and equity—while exposing the gap between the aspiration for unity and everyday inequities shaped by gender and morality.
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Inayatullah, Naeem. "Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification." Contexto Internacional 38, no. 2 (August 2016): 523–43. http://dx.doi.org/10.1590/s0102-8529.2016380200001.

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Stewart, Alexander. "Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat." American Studies 52, no. 4 (2013): 99–118. http://dx.doi.org/10.1353/ams.2013.0124.

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Cobo-Piñero, Rocio. "Afrobeat Journeys: Tracing the Musical Archive in Sefi Atta’s A Bit of Difference." Journal of Intercultural Studies 41, no. 4 (June 15, 2020): 442–56. http://dx.doi.org/10.1080/07256868.2020.1779200.

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Dissertations / Theses on the topic "Afrobeat"

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Amaral, Raphael Fernando. "O novo tempo do Afrobeat: expressões musicais e identidades negras." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21316.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T11:30:29Z No. of bitstreams: 1 Raphael Fernando Amaral.pdf: 1223789 bytes, checksum: bd0f8b6773118e7694112dbd907a1fe6 (MD5)
Made available in DSpace on 2018-08-08T11:30:29Z (GMT). No. of bitstreams: 1 Raphael Fernando Amaral.pdf: 1223789 bytes, checksum: bd0f8b6773118e7694112dbd907a1fe6 (MD5) Previous issue date: 2018-06-22
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The present research aims to understande the influences of afrobeat, nigerian musical style, and its main creator, the musician Fela Kuti, concerning emergente musical productions in the urban context at contemporary Brazil. The central scope of the research consists on how musicians and activists have taken the afrobeat as a stylistic and aesthetic reference. Through the analysis of phonographic production and cultural activities it’s noticed that the afrobeat music bacame a new basis for identity and musical dialogue. It explores also the political clashes around the incorporation of afrobeat into different social and ethnic extracts. It is also emphasized that through this style, a new black and young affirmation has been made in the context of the metropolis’ peripheries in Brazil. Inserted in the Cultural Studies, this investigation’s relevance stems from the fact that, with the afrobeat, it is possible to understand certain facets about how occur the cultural movements, identity reconfigurations and a new formations of subjectivities between Africa and America by the routes of the black diaspora
A presente pesquisa tem como objetivo compreender as influências do afrobeat, estilo musical nigeriano, e de seu principal criador, o músico Fela Kuti, sobre as produções musicais emergentes no contexto urbano no Brasil contemporâneo. O escopo central da pesquisa consiste no modo como músicos e ativistas tomaram o afrobeat como referência estilística e estética. Por meio da análise da produção fonográfica e de atividades culturais se percebe que a música afrobeat se tornou uma nova base de diálogo musical e identitário. Explora, também, os embates políticos em torno da incorporação do afrobeat em diferentes extratos sociais e étnicos. Destaca que, por meio desse estilo, uma nova afirmação negra e jovem se fez no contexto das periferias das metrópoles no Brasil. Inserida nos Estudos Culturais, a relevância dessa investigação decorre do fato que, com o afrobeat, é possível compreender determinadas facetas sobre como ocorrem as movimentações culturais, reconfigurações identitárias e a formação de novas subjetividades entre a África e a América pelas rotas da diáspora negra
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Saleh-Hanna, Viviane. "Lyrical passages through crime : an Afrobeat, Hip Hop and Reggae production, featuring black criminology /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3278476.

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Thesis (Ph.D.)--Indiana University, Dept. of Criminal Justice, 2007.
Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4488. Adviser: Philip C. Parnell. Title from dissertation home page (viewed May 20, 2008).
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Wallin, Hageving Andreas. "IFPI : A Postcolonial Critique of the Trade Body’s Organisational Structure and Ideology." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-94723.

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The purpose of this thesis is to present a postcolonial critique that may empower non-Western music industries globally. As per Nigerian music executive Tunde Ogundipe’s reasoning, its analysis isn’t prescriptive – it presents a critical analysis of IFPI’s organisation and ideology, which non-Western stakeholders may use as free strategic business intelligence if/as they please. Using a sociological methodology, IFPI’s organisational structure and operations are analysed with reference to three postcolonial axes: ideology, history and political geography. The analysis uncovers colonial path dependencies and present-day policies that reproduce the ‘civilising mission’.
Syftet med detta examensarbete är att presentera en postkolonial kritik som kan stärka icke-västerländska musikindustrier globalt. Enligt den nigerianska musikföretagsledaren Tunde Ogundipes resonemang är analysen inte föreskriftsmässig – den presenterar en kritisk analys av IFPIs organisation och ideologi, vilken icke-västerländska intressenter kan använda som gratis strategisk affärsintelligens om/som de vill. Med hjälp av en sociologisk metodik analyseras IFPI:s organisationsstruktur och verksamhet med hänvisning till tre postkoloniala axlar: ideologi, historia och politisk geografi. Analysen påvisar kolonialt stigberoende och samtida policys som reproducerar den “civiliserande missionen”.
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Carroll, James Gregory. "Composing the African Atlantic: Sun Ra, Fela Anikulapo-Kuti, and the Poetics of African Diasporic Composition." 2013. https://scholarworks.umass.edu/open_access_dissertations/738.

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This dissertation undertakes a comparative analysis of the musical, written, and spoken production of Sun Ra and Fela Anikulapo-Kuti with respect to the larger African Atlantic intellectual environment, situating the two artists as both shapers of an Atlantic intellectual culture as well as artists who were, in turn, shaped by that culture. Through a reading of their creative work, the dissertation argues that, even given the obvious cultural, temporal, and temperamental differences between Sun Ra and Fela, both artists' orientations toward musical composition and performance share similar preoccupations with the recitation of cultural memory and the dialogic creation of historical narratives which is called Composing the African Atlantic. In the dissertation the concept Composing the African Atlantic is proposed as a means of describing an African diasporic version of musical composition which includes many of the so-called extramusical elements of text and performance - audience participation and dialogue being key - as constitutive elements of composition such that, in their absence, the music is not fully realized. Stated in the active present tense (Composing), identified as culturally rooted (African), and formed within a broad and discursively contested space (Atlantic), Composing the African Atlantic describes the means by which composers such as Sun Ra and Fela Anikulapo-Kuti conceive of performance as an essential part of composition, enabling the musicians and audience to craft the true Text of the music through the activation of communal memory and the dialogic contestation of history. The result, in the case of both artists, is the creation of a singular compositional and performative style which maintains its connection to its core audience through the use of ritualized concert performance, the challenging of historical myths, and the performance of historical narratives which refute the Hegelian contention that Africa is "no historical part of the world." In the process, both artists assert that there is a common African cultural memory which exists throughout the African diaspora as a result, fundamentally, of the Atlantic slave trade, but which is also a living, contemporary, cosmopolitan dialectic of representation and re-presentation.
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Ogunbowale, Mopelolade Oreoluwa. ""In the Ghetto, Life no easy for we": The Construction and Negotiation of Identity in Ajegunle Raga." Thesis, 2012. http://hdl.handle.net/10214/3763.

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This thesis is an investigation into the historical evolution of Ajegunle Raga, a reggae form developed within an urban ghetto in Lagos called Ajegunle and the construction and negotiation of identities therein. The research further argues that Ajegunle Raga is a home-grown oppositional music subculture that draws inspiration from diasporic musical subcultures like Reggae and Hip Hop but retains a genuine representation of Ajegunle in its tales of survival, poverty, marginalization and expressions of creativity within the ambience of the music.
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Books on the topic "Afrobeat"

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Trevor, Schoonmaker, ed. Fela: From West Africa to West Broadway. New York: Palgrave MacMillan, 2003.

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Fairfax, Frank Thurmond. Fela, the Afrobeat King: Popular music and cultural revitalization in West Africa. [Michigan]: University of Michigan, 1993.

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Izsadore, Sandra. Fela and me. Ibadan, Oyo State, Nigeria: Kraft Books Limited, 2019.

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Fela: The life & times of an African musical icon. Philadelphia, PA: Temple University Press, 2000.

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Olaniyan, Tejumola. Arrest the music!: Fela and his rebel art & politics. Ibadan, Nigeria: Bookcraft, 2009.

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Ajibola, Ola. The legend: Fela Anikulapo Kuti. Ikeja, Lagos, Nigeria: Lantern Books, 2008.

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Antonine, Patsy. Afrobeat. First Writes Publications, 1999.

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Antoine, Patsy. Afrobeat. Not Avail, 2002.

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Oruru, Mason. Afrobeat Got Soul. Independently Published, 2020.

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Afrobeat: Fela and the Imagined Continent. Africa World Press, 2003.

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Book chapters on the topic "Afrobeat"

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Wonodi, Ikwunga, and Dike Okoro. "Afrobeat poetry and the African imagination." In Futurism and the African Imagination, 206–9. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003179146-14.

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Olorunyomi, Sola. "Acknowledgments." In Afrobeat! IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.518.

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Olorunyomi, Sola. "Glossary." In Afrobeat! IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.519.

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Olorunyomi, Sola. "Preface." In Afrobeat! IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.520.

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Olorunyomi, Sola. "1. Tradition and Afrobeat." In Afrobeat!, 1–32. IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.522.

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Olorunyomi, Sola. "2. Bard of the Public Sphere." In Afrobeat!, 33–80. IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.523.

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Olorunyomi, Sola. "3. The Empire Sounds Back." In Afrobeat!, 81–126. IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.524.

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Olorunyomi, Sola. "4. Idán, or a Carnivalesque." In Afrobeat!, 127–72. IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.525.

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Olorunyomi, Sola. "5. Alterity, Afrobeat and the Law." In Afrobeat!, 173–210. IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.526.

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Olorunyomi, Sola. "6. The Afrobeat Continuum." In Afrobeat!, 211–20. IFRA-Nigeria, 2005. http://dx.doi.org/10.4000/books.ifra.527.

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