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Journal articles on the topic 'Afrobeat'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Segun, Eesuola, and Victor Ojakorotu. "Assessment of Fela Anikulapo-Kuti's Afrobeat songs and the discourse of Africa's integral sustainable development." African Renaissance 15, no. 2 (June 11, 2018): 89–125. http://dx.doi.org/10.31920/2516-5305/2018/v15n2a5.

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12

Bruford, Bill. "Tony Allen: An Autobiography of the Master Drummer of Afrobeat. By Tony Allen with Michael E. Veal. Durham, NC and London: Duke University Press, 2013. 199 pp. ISBN 978-0-8223-5591-5." Popular Music 33, no. 3 (August 28, 2014): 560–62. http://dx.doi.org/10.1017/s0261143014000518.

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13

Windress, Kent Anthony. "Allen, Tony, with Michael Veal. 2013. Tony Allen: An Autobiography of the Master Drummer of Afrobeat. Durham, NC and London: Duke University Press. ISBN 978- 0-8223-5577-9 (pbk). 199 pp." Perfect Beat 16, no. 1-2 (November 11, 2015): 141–43. http://dx.doi.org/10.1558/prbt.v16i1-2.28230.

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14

Osiebe, Garhe. "Methods in performing Fela in contemporary Afrobeats, 2009–2019." African Studies 79, no. 1 (January 2, 2020): 88–109. http://dx.doi.org/10.1080/00020184.2020.1750349.

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15

Royston, Reginold A. "Soulcraft: Theorizing Black Techne in African and American Viral Dance." Social Media + Society 8, no. 2 (April 2022): 205630512211076. http://dx.doi.org/10.1177/20563051221107644.

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This article proposes the notion of soulcraft as an alternative framing for the work that Africans and African diasporans imbue upon material culture and social projects. Through ethnographic encounters with the practitioners of Chicago Footwork and Afrobeats dance music, the author theorizes a Black vernacular approach to the concept of techne. This essay contributes to discourse in the philosophy of technology to document spirituality in viral dance practices and forms of digital embodiment, linking them to metaphysical understandings of “soul” in African and African American philosophical thought. Interviews and critical analysis of digital media help the author illustrate the ways that these African and diasporic media innovators elide the dualistic distinctions between material tech-making and spiritual strivings, in service of an emancipatory ethos for technology.

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16

Adeniyi, Emmanuel. "Nigerian Afrobeats, the Irony of Belonging and Here–Elsewhere Dialectics." Communicatio 48, no. 1 (January 2, 2022): 66–101. http://dx.doi.org/10.1080/02500167.2022.2051059.

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17

Adeniyi, Emmanuel. "Nigerian Afrobeats and Religious Stereotypes: Pushing the Boundaries of a Music Genre Beyond the Locus of Libertinism." Contemporary Music Review 39, no. 1 (January 2, 2020): 59–90. http://dx.doi.org/10.1080/07494467.2020.1753475.

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18

Alakija, O. B. "Living with difference: Ontological security and identification of second-generation members of the Nigerian diaspora in Peckham, ‘Little Lagos’, London." Journal of Arab & Muslim Media Research 14, no. 2 (November 1, 2021): 237–59. http://dx.doi.org/10.1386/jammr_00031_1.

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This article presents the impact of digital technologies and small media on the second-generation members of the Nigerian diaspora in Peckham (London, United Kingdom). Situated within the larger context of global trends, cultural production and commodification that have become central to contemporary identity articulation, the article argues that cultural production and consumption have become the site of creativity in negotiating multiple attachments for this second-generation offspring of the initial migrants in such a way that living with ‘difference’ has become a part of everyday diasporic experiences. The article shows how second-generation Nigerians in Peckham perform their diasporic identities around the popularity and the inclusion of Afrobeats music, Nollywood films and the representation of ankara clothing styles in the host society and in the global mainstream. It reveals the dialectic interaction between local cultures and global media by showing how digital technologies not only make it possible to connect across space and time but also aid the production of new identities. In contrast to the fear of the older migrants over their perception of non-involvement of young Nigerians in belonging to their homeland, a sense of patriotic pride is demonstrated by their offspring. Insights are drawn from seven-month ethnography of the Nigerian diaspora in Peckham, London. The findings suggest that the inclusion of local artefacts from Nigeria in the host society provides a sense of national pride for the born abroad children in their country of heritage.

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19

"Tony Allen: an autobiography of the master drummer of Afrobeat." Choice Reviews Online 51, no. 08 (March 20, 2014): 51–4344. http://dx.doi.org/10.5860/choice.51-4344.

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20

Rens, Simphiwe Emmanuel. "Women’s Empowerment, Agency and Self-Determination in Afrobeats Music Videos: A Multimodal Critical Discourse Analysis." Frontiers in Sociology 6 (May 3, 2021). http://dx.doi.org/10.3389/fsoc.2021.646899.

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Stemming from a broader PhD project, this article argues that neoliberal post-feminist cultural sensibilities–entrenched in contemporary popular culture–about empowered, agentic and self-determining women, are regressive for the feminist advancement of gender-relational equality in the African context. To arrive at this conclusion, the central aim was to elucidate whether the gender-performative representations prioritised in the multimodal discourses of Afrobeats music videos are implicated in post-feminist sensibilities and if so, in what ways and to what effect? Given the continent’s richly diverse, yet largely heteropatriarchal, sociocultural formations, I argue that ideas about empowered, agentic and self-determining (black) African women are–based on the limited purview offered through the multimodal discourses of a small corpus of Afrobeats music videos–no more than sociocultural façades as opposed to gender-relational realities in our context. The article relied on a multimodal critical discourse analysis of a total of nine music videos drawn from the PhD project’s larger corpus of 25 Afrobeats music videos, their accompanying song lyrics, as well as a selection of YouTube viewer comments extracted from the analysed music videos. In critically exploring the gender-relational depictions prioritised in the analysed music videos, I argue for the consideration of what I am coining “misogyrom”; a gender-relational cultural sensibility which, in tandem with a post-feminist sensibility partly undergirding the multimodal discourses of these music videos, effectively veil this popular musical genre’s evidently sexist and misogynistic undertones that subvert potentialities of empowered, agentic and self-determining black African women.

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21

Adu-Gilmore, Leila. "Studio Improv as Compositional Process Through Case Studies of Ghanaian Hiplife and Afrobeats." Critical Studies in Improvisation / Études critiques en improvisation 10, no. 2 (March 31, 2016). http://dx.doi.org/10.21083/csieci.v10i2.3555.

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This study is an examination of the music and working practices of three Ghanaian music producers, Appietus and DJ Breezy—as in much non-Western music, the definitions of composition and improvisation continuously disrupt each other. The studio highlights this blending of processes where the hardware and software can form both the instruments and compositional tools. Hip-hop and electronic dance music rely heavily on improvisation through studio techniques that are idiomatic to the genre, including sampling, sequencing and looping new musical ideas or material from an existing recording. Text and rhythm in Hip-hop are well documented but compositional process involving harmonic and melodic analysis, as well as close sonic study of new production techniques are often overlooked. The music of minority composers of new genres is under represented in scholarship. Therefore, this article focuses to a greater extent on musical analysis and studio, improvisation and compositional processes, with supporting observations on broader cultural context. The methodological approach in this article centers on transcriptions and music analysis, as well as research through interviews with the producers in Accra, Ghana. This blending of interview material and musical analysis (through transcription, reduction and ecological acoustics) examines distinct threads of Ghanaian and international music styles, their paths through different formal and informal networks of education and the environmental affects on their process. An analysis of these producers’ processes requires looking at both musical elements as well as the resources of education and environment, changing the way that we read these contexts by foregrounding the music itself. A brief history of Ghanaian music, from pre-independence to contemporary electronic dance music, including contemporary hiplife and afrobeats, is followed by case studies. In the case of Appietus’ music, transcriptions show Ghana’s unique highlife harmony and its idiomatic harmonic tendencies, whilst interview material on his process shows his unique methods of vocalization in combination with production tools that are informed by local formal and informal educational networks and the Internet. DJ Breezy’s vertically sparse, minimalist Hip-hop influenced afrobeats No. 1 hit, ‘Tonga,’ is analysed using ecological acoustics. In order to focus this paper, I argue that firstly, we rethink the relationship between improvisation and composition through the work of these producers, secondly, that we cannot analyze the music of these producers outside of context, we need to change the way in which we read the context, and thirdly, that we stop using a type of ethnography that exacerbates essentialism.

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22

Booker, Sheriden M. "Bakosó: Afrobeats of Cuba . Eli Jacobs‐Fantauzzi , dir. Clenched Fist Productions/Guampara Films, 2019. 48 min." Transforming Anthropology, March 28, 2022. http://dx.doi.org/10.1111/traa.12232.

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